Jungle Book Recording Session Break

There aren't many people I recognize in this casual setting. In the back is Milt Kahl, arms raised, in the center smiles Ollie Johnston, arms crossed, and I believe Ken Anderson sits on the right with his head half obscured by someone else. (Perhaps Floyd Norman can identify the rest.)

The boards show Anderson's designs for King Louie and Baloo, dressed in drag disguise. 

So the voice artists being recorded that day might have been Louis Prima and Phil Harris, who performed the Sherman brothers' song "I wanna be like you!", one of the highlights of the film.

It looks to me the location could be Sound Stage A or B on the Disney lot.

In later years I was present for many recording sessions there, which involved my characters.

Seems like we had better catering than what I see in the photo. Beside coffee there was never a shortage of fresh fruit, bagels, cookies and sandwiches.

And that was necessary, because those recording sessions could last for many hours.

For final dialogue directors and animators prefer to choose from a number of takes, to pick out the one that sounds just perfect.

Looking at this photo is like time travel, a moment during early production from a film that would change my life.

A closer look at some of Ken Anderson's character designs for this hilarious sequence.

More Jungle Book production art can be found in Pierre Lambert's wonderful coffee table book,

Le Livre de la Jungle:

http://www.amazon.com/Le-Livre-Jungle-Pierre-Lambert/dp/2732439231/ref=sr_1_1?ie=UTF8&qid=1361253078&sr=8-1&keywords=lambert+le+livre+de+la+jungle

Pinocchio Story Sketches

I would really like to know who the Disney story artist is who was responsible for the beautiful sketch above and the storyboard below. The style with its rendered characters looks familiar, I believe it is someone, who only worked on Disney's Golden Age features before leaving the studio.

I can't get over the expressive poses, appealing and beautifully staged. 

Animators like Norm Ferguson were smart enough to take advantage of this great material and applied the dynamic acting in these poses to their animation.

A few lively Ferguson roughs, the last two are extremes for a planned piece of action.

By drawing so loosely the animator is free to focus on the character's emotion and the overall entertainment. 

Kittens

To many Marie, Berlioz and Toulouse might not be considered classic Disney characters, but when The Aristocats premiered way back, the film was enthusiastically received, particularly in Europe.

I understand that by now Marie has become quite the star in Japan.

Ken Anderson did tons of exploratory drawings of the kittens. These color sketches give you an idea about his process, and how he tried to differentiate the three from each other through proportions, attitudes and coloring.

The following five sheets show Milt Kahl's first attempts to adapt Ken's designs for animation.

I remember senior clean up artist Chuck Williams telling me how surprised he and others were, when the final designs were approved. "Oh, is THAT what they are going to look like?" was his reaction. Obviously Chuck had expected something different.

I find these preliminary drawings by Milt very charming. They were drawn on small note pad paper sheets, 6" x 8 1/4" with a super sharp pencil, probably during a story meeting.

The fluffyness of Marie's fur was later streamlined to avoid complicated line mileage.

In these drawings you see Milt helping Ollie Johnston with design and drawing issues.

Ollie animated key personality scenes with the kittens in sequences like the singing lesson and Berlioz painting Edgar's portrait.

I really enjoy the believable child like behavior in Ollie's animation, and I love Marie's diva attitudes.

Words of Wisdom from the Masters

Another clip from the 1977 UK TV show on Walt Disney.

Three of the Nine Old Men talk about various topics. 

Ward Kimball reflects on Walt's personality, Milt Kahl defends the character styling of Bambi, and Frank Thomas elaborates on squash and stretch.

Milt Kahl's Black Cauldron

These are the last drawings Milt Kahl ever did for Disney.

He had already left the studio and moved to Marin County in Northern California.

The film The Fox and the Hound was being produced without any input from Kahl, but the management team that would head up the next animated project The Black Cauldron felt, it couldn't hurt to ask the old virtuoso to help out with a few character designs.

So they sent him the Lloyd Alexander books and told him that the movie would be based on story elements from these fantasy novels. Milt liked the material and went to work.

There is one problem with this scenario:

The studio neglected to also send along any rough design sketches that would stimulate Milt's imagination. When designing characters Milt had always relied on 

Vis Dev sketches from artists like Bill Peet, Ken Anderson, Tom Oreb and others.

Milt himself admitted that he sees himself more of a refiner when it comes to setting the look of Disney characters for a new film.

So by not having any fresh visual material in front of him, Milt couldn't help but recycle some of his own design elements from earlier movies. 

All of these are BEAUTIFUL drawings, but ...Taran looks like a mix of Peter Pan and Mowgli, Princess Eilonwy resembles Alice and Tigerlilly, and Fflewddur Fflam could be the brother of Roger from 101Dalmatians (Gurgi is a more interesting invention).

The costume designs lack spark as well. All of this would look so much more inspired, had the studio supplied Milt with inspirational sketches from Disney artists like Mel Shaw, Vance Gerry or Peet Young, who all worked on Cauldron. 

The Gwythaints are distant relatives of the vaultures from Jungle Book.

The Horned King should have been a menace like Fantasia's Chernabog.

The Witches of Morva are variations of Medusa and Madam Mim, gorgeously drawn though.

In the end our animation team did change some of these character concepts, except for Taran and Eilonwy. We were asked to basically use Milt's models, but we sure weren't ready to take on that kind of realism. 

It's fun though to think that Milt's career and mine overlapped just a little bit. And by the end of production of The Black Cauldron I felt like I had learned how to walk, and it was time to move on to new projects with a tiny bit of experience under my belt.

The Other Genie

Most of you are familiar with the Genie from the movie Aladdin, superbly animated  by Eric Goldberg.

You might not know that there is another Genie, who came before, also superbly animated, this time  by John Lounsbery. In 1957 Walt Disney introduced an educational TV show called "Our Friend The Atom", which described the benefits of nuclear power - with a cautious but optimistic look toward the future.

The show is mostly live action, but it did feature a few animated segments. 

The discovery of atomic energy is compared to a fable, in which a fisherman finds a bottle. He opens it, and a giant Genie appears. 

Cliff Nordberg animated the fisherman, and as mentioned Lounsbery did the scenes with the Genie, this time portrayed in purple.

Below are a few key drawings (clean up over the roughs) from a scene where the Genie threatens the fisherman: "Know that presently thou will have to die!" 

At least that's what I think he says, it is a bit hard to understand from the DVD.

The drawing style of the animation is 50ies graphic, but Lounsbery is able to get a nice sense of scale and dimension in this up shot.

A couple of pages from the book Our Friend the Atom, which was published around the time of the TV show.