I only did a few scenes for Fantasia 2000. Eric Goldberg invited me to animate a section of Rhapsody in Blue, which was a joy to work on. And I consider this part of the feature film a masterpiece.
Don Hahn asked me if I might animate Mickey interacting with conductor James Levine. Of course I jumped at the chance.
Here is a character layout sketch followed by a rough animation drawing of Mickey, as he adjusts Levine's bow tie.
I sketched this King Triton a few years ago. I don't remember what for, but to my pleasant surprise I saw an enlargement of this image on a wall of the Disney cruise ship Destiny earlier this year.
There is nothing more fascinating than being able to go back in time and see production photos from Disney animated films.
We see Mary Costa, who voiced Aurora, visiting Eric Larson, Marc Davis and the ink and paint department.
There are great pics with Marc at his animation desk, and background artists Eyvind Earle with Walt Peregoy.
Also photos that show how a couple of the film's opening scenes were shot in a vertical Multiplane setting.
Looking back, I believe that this beautiful sketch by Heinrich Kley got me thinking in terms of a story for an animated film, featuring a tiger and a girl.
The power of art! It can inspire, and in this case, it gave me an idea that kept me busy for eight years.
An exquisite sequence of rough animation drawings is currently being offered at Heritage Auctions. Animator Marc Davis was a master of combining a bold graphic style with graceful motion in the service of personality. While actress Helene Stanley's live-action reference footage provided a crucial foundation, Davis made necessary creative adjustments to successfully translate a series of photostats into poetic, balletic movements. Through caricature, contrasting timing, and exaggerated weight, he transformed reference into pure graphic action, making scenes like this one a profound joy to watch.
I am thrilled to see that my 2015 book 'The Nine Old Men" is still popular. At Amazon it has been hovering in the top 10 list of various categories.
Now back to the Milt Kahl book........
A few of my animation rough drawings arranged for a mini poster by a fan. I remember animating any one of those scenes.
I am in disbelief at the passing of actress Daveigh Chase. Working on the character of Lilo was a profoundly moving experience for me as an animator. Daveigh’s voice performance was utterly unique and inspired, presenting a brand-new challenge and the perfect opportunity to bring an unorthodox Disney girl to life.
Here are a couple of photos with the two of us in my office at the Orlando Disney Studio.
Aloha and thank you, Daveigh.
Congratulations to our friend Holly Sedillos, who's screen credit in Steven Spielberg's new film "Disclosure Day" is: Vocal Soloist.
We couldn't be happier. Holly is terrific in all of her vocal performances! In film and on stage!
Holly sang "Mushka's Lullaby" in my animated film MUSHKA. Check out this music video:
https://www.youtube.com/watch?v=ast84XT6-KI&list=RDast84XT6-KI&start_radio=1
Last year author Pierre Lambert issued yet another beautiful Disney art book in his long line of exquisite publications: The Aristocats.
There are many gorgeously reproduced images of designs, story sketches, animation drawings and cel set ups. I think many of you will enjoy flipping through the pages of this new book.
It is available at Amazon France:
https://www.amazon.fr/Pierre-Lambert-Aristochats/dp/2386400468
In last year's published book Hercules, The Art of Gerald Scarfe, Gerald explains some of the difficulties he and I had coming up with the final design for the character of Hercules.
I remember Hercules being the last character design to be approved for animation. Gerald had tried a stylized version as well as a realistic approach. In the end the two of us worked things out together on a few sheets of animation paper, as you can see in the sketches below.
I think you'll find his notes and observations interesting, and I found Gerald lovely to work with.
Gerald Scarfe is on Instagram:
https://www.instagram.com/officialgeraldscarfe/?hl=en
Walt Disney was very firm when it came to choosing a background style for The Jungle Book. He made it clear that the was displeased with the look of the previous film The Sword in the Stone. Those backgrounds were too bright and colorful as far as Walt was concerned. For the Jungle Book he asked for a more monochromatic and realistic approach to the color palette.
Walt Peregoy had just styled The Sword in the Stone, and he was ready to continue painting in his somewhat abstract manner.
Peregoy left the studio after Disney's decision, and retired background artist Al Dempster came back to the studio to take over The Jungle Book.
Here you see the different approaches of both men.
If you ask me, I absolutely adore the way The Jungle Book turned out. Spending time in Dempster's beautiful jungle sceneries is a real treat. But I also know that Peregoy would have created a fascinating forest for this film as well.
Peregoy
