The Black Cauldron

 

Next month The Black Cauldron will be 40 years old. It was released on July 24, 1985.

I still remember those wonderful pastel color sketches Mel Shaw produced for the film. An enormous amount of gorgeous storytelling illustrations. Come to think of it, they would make a terrific art book.

The story sketches shown here are by Dave Jonas, who also came up with the drawings over the movie's end credits. (Earlier Dave had done the same for the film Bedknobs and Broomsticks.)

The maquettes are by Ruben Procopio. The background art is by Dave Coleman.

I have said this before, our inexperience as young film makers really shows in the film. Many of us were straight out of art school with little experience in animation. But...I keep meeting young people who are very fond of The Black Cauldron. 

My design marker drawings on the Horned King model sheet. I still prefer my cool color concept over the red tones used for the final version of the character.

I drew these character poses for a limited edition cel set up. 

Mike Ploog created a to of visuel development art.

Character poses by me for this Taran and Eilonwy model sheet. Followed by a cel from one of my scenes.

A Marc Davis Wire Sculpture

Did you know that Marc Davis experimented with sculpting in wire? Long before his best friend Milt Kahl produced a series of ballet poses in wire, Marc created this magnificent bull. I love that he added a few cut out metal "shapes" for variation, which puts it in the realm of cubism. 

What I don't understand is why Marc left out the bull's male anatomy. It would be easy to add it in wire, and Marc had done so in many of his bullfight depictions. 

Be that as it may, this is a magnificent piece of art. 

Thanks to Chris Merritt for the photos. 

Julie Riehm

Julie Riehm Casaletto is one of the nicest people you could ever meet. She was Disneyland's first  ambassador. Walt introduced Julie in 1965 to a television audience during a show called "Disneyland's 10th Anniversary". They both meet various Disney imagineers like Blaine Gibson, Claude Coats, John Hench, Marc Davis and Mary Blair. The conversation is about upcoming attractions at Disneyland.

I had the pleasure of meeting and talking to Julie on a few occasions at D23. Since I had watched this TV episode, I asked her what is was like to share scenes with Walt. She laughed and said that to her surprise Walt went off script quite a bit...as the cameras were rolling. She tried her best to keep up with Walt's improvisatory style throughout the shoot. Julie remembered his sincere enthusiasm for what lied ahead at the park. 

I never thought that one day I might be part of the world of Disney Imagineering, but that's what happened. Currently I am an adviser on a couple of amazing upcoming projects. Who knew.....

Nightkill

I am experimenting again with the idea of drawing wildlife from documentary film footage.  Let's face it, you will never be able to witness a scene like this one in the wild. When you study film footage, you can select the frame that "does it for you". Drama, staging, mood etc.

I don't recommend this type of reference for beginners. You need to start with zoo visits and witness REAL animals in front of you. That's a MUST! Qnce you have spent some time doing this, you can move on to photographic and film reference. 

There are SOOO many extraordinary wildlife videos on Youtube, it's almost overwhelming.Take your pick. 

Rare Photos of Marc Davis and Milt Kahl

This is a very special treat for me, and I am sure it is for you all as well.

In 1967 Marc and Alice Davis spent some time in Italy, and they visited Gamma Animation Studio. One year later Milt Kahl and his wife Phyllis visited the studio as well, possibly on a promotional tour for The Jungle Book. You can see Milt drawing Shere Khan in one pic.

What is funny about those visits is that Marc drew a sketch of himself in the guestbook, and one year later Milt added a drawing in which he is on the ground under Marc, but gagged. 

There are way too few photos about Disney animators at work, let alone on vacation or on promotional tours. That's why I want to thank Claudio for unearthing these treasures.

Gamma Film was founded In Milano in 1953.

All images Courtesy of MUSIL - Museo dell'Industria e del Lavoro di Brescia e dalla Fondazione Luigi Micheletti - Italy.

Lilo 2002

Lilo and Stitch is in the news again, so I thought I might post film frames from a few of my scenes with Lilo. Just going through these scenes after so many years...a lot of emotions are coming back to the surface. It was a privilege animating this complex character. The studio knew me from my work on Roger Rabbit and Scar, but this was a very different challenge. All about subtleties, holding the character still for the most part to let the audience know about what Lilo was thinking. They really took a gamble on me here. 

What a beautiful film. Look at those mind-blowing watercolor backgrounds. Everything came together here. The unusual story, stunning art direction, emotional as well as very funny animation and an amazing score by Alan Silvestri. 

I only animated Lilo in these scenes, except when we hear Elvis singing out of Stitch's mouth. I did both characters in that section of the film.

 

  

 

More on Lilo's visual development and model sheet here:

https://andreasdeja.blogspot.com/2011/06/lilo.html