DIRECTOR OF ANIMATION 'WHO FRAMED ROGER RABBIT' A MANUAL OF METHODS, PRINCIPLES AND FORMULAS FOR CLASSICAL, COMPUTER, GAMES, STOP MOTION AND INTERNET ANIMATORS To Imogen, my co-conspirator and wife, without whom this book would certainly not exist - and the author might not be around to write it. I want this book to put over what I have found to be the best working methods, so that animating becomes better and easier to do. There are lots of formulas, principles, cliches and devices here to help, but the main thing I want to pass on is a way of thinking about animation in order to free the mind to do the best work possible. I learned it from the best in the business and I've boiled it all down into a systematic working order. It transformed my work - I hope it will be useful to you. vi CONTENTS 1 WHY THIS BOOK? 11 DRAWING IN TIME 23 TIME TO DRAW 35 IT'S ALL IN THE TIMING AND THE SPACING 41 LESSON T 46 ADVANCING BACKWARDS TO 1940 47 History of the Chart and Inbetween 48 Extremes and Breakdowns 57 Keys 61 Three Ways to Animate 68 Testing, Testing, Testing 70 The X-Sheet 75 Came the Dawn . . . 76 The Best Numbering System 78 The Great Ones and Twos Battle 80 The Top and Bottom Pegs Battle 84 MORE ON SPACING 88 Classic Inbetween Mistakes 90 Watch Your Arcs 92 Getting More Movement Within the Mass 96 The Elongated Inbetween 99 The Major Beginner's Mistake 99 The 'Ruff' Approach 101 How Much Do We Leave To The Assistant? 101 Take The Long Short Cut 102 WALKS 106 Getting the Weight 109 Set the Tempo 111 The Passing Position or Breakdown 115 Two Ways to Plan a Walk 118 The Double Bounce 120 Loosening it Up 128 Digging Deeper into Walks 135 There's Nothing Like Trying It 136 The Heel 136 Foot Action 142 Normal Walk Spacing 146 Weight Shift 147 The Belt Line 148 Arm Movements 156 Counteraction 163 The Recipe 167 Sneaks 173 The Tip Toe Sneak 176 RUNS, JUMPS AND SKIPS 189 The 4 Drawing Formula Run 192 The 3 Drawing Run 195 The 2 Drawing Run 200 The Recipe 201 Run, Jump, Skip and Leap 209 Skips 212 Jumps 213 Weight on a Jump viii 217 FLEXIBILITY 218 The Breakdown 223 Simple Overlap 226 Overlapping Action 230 Simple Counteraction 231 Breaking Joints to Give Flexibility 246 Flexibility in the Face 249 Overlapping Action in the Face 251 Instant Read - Profiles for Readability 256 WEIGHT 262 Pressure and Weight 264 How Much Effort Do We Have To Expend? 269 Dancing 272 Rules of Thumb On Synchronising Action 273 ANTICIPATION 282 Surprise Anticipations 283 Invisible Anticipations 285 TAKES AND ACCENTS 295 A Hard Accent Bounces Back 295 A Soft Accent continues 297 TIMING, STAGGERS, WAVE AND WHIP 297 Stagger Timings 299 The Side to Side Vibration Formula 301 Whip Action 301 Wave Action 304 DIALOGUE 305 Phrasing 310 Picture and Sound Sync 311 Accents 314 Attitude 314 The Secret 315 ACTING 320 Change of Expression 321 Look for the Contrast 323 An Acting Point ix 324 Body Language 324 Symmetry or 'Twinning' 325 Steal It! 325 Eyes 327 ANIMAL ACTION 328 Live Action Reference 330 Basic Animal Walk Pattern 333 DIRECTING 334 The Brief 334 The Leica Reel 334 Separate the Characters 335 Best Foot Forward 335 Casting Animators 335 Making Changes 335 'Say! Say!' 335 Voice Recording 335 Hook Dps 335 Research 335 Editing 335 Believe in Your Material 338 REVIEW 338 The Procedure 339 The Ingredients 342 Acknowledgements I2 % © & 5 | & "2 X WHY THIS BOOK? When I was ten years old I bought a paperback book, How to Make Animated Cartoons, by Nat Fafk, published in 1940. It's now long out of print, but I used it as a handy reference guide for 1940s Hollywood cartoon styles when i designed the characters and directed the animation for Who Framed Roger Rabbit. A/lore importantly for me, however, the book was clear and straightforward; the basic information of how animated films are made registered on my tiny ten-year-old brain and, when I took the medium up seriously at twenty-two, the basic information was still lurking there. I was living and painting in Spain when the incredible possibilities of what animation could do engulfed my mind. I planned my first film and took the money i had left from portrait painting to London. I starved for a bit, finally found work animating television commercials and managed to self-finance The Little Island - a half-hour philosophical argument without words which won several international awards. The Little Island, 1958 Three years later, when I'd finished the film, the unpleasant realisation slowly crept up on me that i really didn't know very much about animation articulation, that is, how to move the stuff. To train myself I traced off the animation that Ken Harris had done of a witch in a Bugs Bunny cartoon (Broomstick Bunny - 1955, directed by Chuck Jones). Doing this only confirmed how little I understood about movement. While I was making The Little Island I had seen a re-release of Bambi, but since I'd considered myself a revolutionary in the field of animation, I'd rejected the film as conventional. But when I finished my film, i saw Bambi again, and almost crawled out of the theatre on my hands and knees. 'How did they ever do that?' I'd learned just enough to realise that I really didn't know anything! 1 Animation master Ken Harris and wannabe, 1969 So, how and where to get the expert knowledge? I was working in England as an independent and didn't want to go into the Hollywood cartoon mill, I wanted it both ways. I wanted my artistic freedom but I also wanted the knowledge. Preston Blair's How to Animate Film Cartoons was available, but because I was put off by the squashy-stretchy 1940s cartoon style, it was harder for me to grasp the underlying principles 1 was after - although it's a solid book and Preston was a very good animator from the Golden Age. It's ironic that forty years later I would become best known for my work on Who Framed Roger Rabbit - drawing in precisely the same style that had put me off learning from Preston, Much later, I was able to work with Ken Harris, the first 'real' master animator I met, and whose witch in Broomstick Bunny I had traced off. It's generally agreed that Ken Harris was the master animator at Warner Bros. Certainly he was director Chuck Jones's lead man. In 1967, I was able to bring Ken to England and my real education in animation articulation and performance started by working with him. I was pushing forty at the time and, with a large successful studio in London, I had been animating for eighteen years, winning over one hundred international awards. After seven or eight years of working closely with Ken, he said to me, 'Hey Dick, you're starting to draw those things in the right place.' 2 'Yeah, I'm really learning it from you now, aren't I?' I sard. 'Yes,' he said thoughtfully, 'you know . . . you could be an animator.' After the initial shock I realised he was right. Ken was the real McCoy whereas I was just doing a lot of fancy drawings in various styles which were functional but didn't have the invisible 'magic' ingredients to make them really live and perform convincingly. So I redoubled my efforts (mostly in mastering head and hand 'accents') and the next year Ken pronounced, 'OK, you're an animator.' A couple of years after that, one day he said, 'Hey, Dick, you could be a good animator.' When he was eighty-two, I would go out to Ken's trailer home in Ohai, California and lay out scenes with him that he would later animate. He'd often take a half-hour nap and I'd keep working. One day he conked out for three hours and by the time he woke up, I had pretty much animated the scene. 'Sorry, Dick,' he said, 'you know ... I'm just so god-damned old.' (long pause) 'Oh ... I see you've animated the scene .. .' 'Yeah,' I said, 'I didn't know what else to do'. 'Nice drawings ...' he said, then pointed. 'Hey, that's wrong! You've made a mistake.' And of course he was right. 'Dammit Ken,' I said. 'I've worked with you for thirteen years and I still can't get your "thing". I'm afraid it's going to die with you.' 'Ye-e-aaahhhhh . . .' he snickered, then said, 'Well, don't worry, you've your own pretty good thing going.' Then he snickered again. Ken was a very fast worker and I was always squeezing him for more and more footage and getting him to animate even when the taxi was ticking outside waiting for him to catch a plane home to the States. When he died in 1982 at eighty-three, my real regret was that when I was a pallbearer I didn't have the guts to tuck a blackwing pencil into his hand in his open coffin. He would have loved that. When I first started working with Ken, we had just completed the animation sequences which occur throughout Tony Richardson's epic film The Charge of the Light Brigade and I thought I was getting pretty proficient. When Ken saw it in the theatre he said, 'God, Dick, how did you guys ever do all that work?' (pause) "Course it doesn't move too good . . .' But I'm still not ashamed of our work on that film. After that we went to see The Beatles' feature cartoon The Yellow Submarine, Though I liked the designer Heinz Edelman's styling, the 'start-stop, stop-start' jerky quality of most of the animation meant that after a half hour much of the audience went to the lobby. No matter how stylish or inventive - jerky or bumpy animation seems only to be able to hold the audience for about twenty-five minutes. While The Yellow Submarine had an enthusiastic cult following from the advertising agencies and university crowd, the general public avoided the film. It killed the non-Disney feature market for years. 3 A top United Artists executive who distributed The Yellow Submarine told me, 'This is the Beatles at the height of their popularity and still people stay away from non-Disney animation.' Film executives at that time always said of animation, 'If it doesn't have the Disney name on it, no one will go see it.' But the real point is, it wasn't just the Disney name - it was the Disney expertise that captivated the audience and held them for eighty minutes. Almost the same week Disney's The Jungle Book came out and was an instant hit. I went along to see it reluctantly, thinking (as I still considered myself an innovator) that though there might be something interesting, it was probably predictable stuff. That's how it started - with standard-issue wolves adopting the 'good housekeeping seal of approval' cutesy baby. I remember the boy Mowgli riding a black panther moving and acting in a cliched way - until he got off. And suddenly everything changed. The drawing changed. The proportions changed. The actions and acting changed. The panther helped the boy up a tree and everything moved to a superb level of entertainment. The action, the drawing, the performance, even the colours were exquisite. Then the snake appeared and tried to hypnotise the boy and the audience was entranced. I was astonished. The film continued at this high level, and when the tiger entered weighing eight hundred pounds and was both a tiger and the actor who did the voice (George Sanders), I realised I didn't even know how it was done - let alone ever be able to do it myself. I went back to my studio in shock and, through the night, I wrote a long fan letter. In those scenes I thought I had recognised the hand of the great Disney genius Milt Kahl, who Ken Harris had raved about. The first name on the directing animator's credits was Milt Kahl, so I assumed the work that stunned me had been Milt's. And it turned out that it was - except for one shot that was by Ollie Johnston. Johnston and Frank Thomas had done lots of other marvellous work in the picture. So I wrote to Milt saying that I thought The Jungle Book was the absolute high point of pure animation performance and that I didn't think it would ever be possible for anyone outside the Disney experience to reach that pinnacle. It turned out Milt said it was the best letter they ever had - and even better, that he knew my work a bit and wanted to meet me. Irrepressible ambition made me change my opinion that they alone could attain such heights; I figured, I think correctly, that given talent, experience, persistence - plus the knowledge of the experts - why should everything not be possible? I couldn't stand it any more. I had to know everything about the medium and master all aspects of it. Cap in hand, I made yearly visits to Milt and Frank Thomas, Ollie Johnston and Ken Anderson at Disney. One of the most important things Milt said was: 'Our animation differs from anyone else's because it is believable. Things have weight and the characters have muscles and we're giving the illusion of reality.' 5 A powerhouse of animation knowledge. From the left - Ken Harris, Grim Natwick and Art Babbitt, with students Richard Purdum and me outside my Soho Square studio in London, 1973. But how to make it believable? f didn't go there to drink Milt's bathwater or to find out what Frank Thomas had for breakfast. I would fire my carefully prepared list of questions at them and later write down everything they said. These wonderful virtuosos became my friends and were incredibly generous with their help. As Milt said, 'If you ask questions you find out what you want to know. If you're lucky enough to ask someone who knows.' I was also fortunate enough to enlist the marvellous legendary animator Art Babbitt as a collaborator and teacher, Babbitt had developed Goofy and animated the Mushroom Dance in Fantasia. He 'dumped his kit' of knowledge by giving several month-long in-house seminars as well as working with me in my London and Hollywood studios for several years. In 1973,1 hired the eighty-three-year-old - but still brilliant - Grim Natwick as a 'live-in' tutor in my London studio. Grim had made his name designing Betty Boop and animating most of Snow White herself in Snow White and the Seven Dwarfs. I also worked closely with Emery Hawkins who Ken Harris regarded as the most imaginative animator. Emery was wildly creative and rotated in and out of every studio. I was also able to work for a short time with Abe Levitow, Gerry Chiniquy and Cliff Nordberg. Dick Huemerr one of the first New York pioneer animators, and later a key Disney story director (Snow White and the Seven Dwarfs, Dumbo, Fantasia and all the early Disney features) also gave me a very clear picture of the early days of animation. Most of them are gone now but this book is full of their accumulated knowledge and craft. 6 I scribbled this of Milt when he was lecturing us at my studio. Milt is saying, 'Don't listen to Dick, he's too technical,' Milt was always encouraging me to do my own personal more unconventional work, which he liked - but I wanted the knowledge first. Two geniuses at once tutor the author - Frank Thomas standing and Milt Kahl at the desk, early 1970s. Used by permission ney Enterprises. Inc 7 374305 Art in action: his first month long seminar at my London studio was like water in the desert for us. 8 In the three-day masterclasses I've been giving lately, some experienced professionals initially feel that we're running over material that they're quite familiar with. Then about half way through the seminar things deepen and on the last day it all suddenly knits together. Some even describe it as an epiphany. Well, it sure was for me when I finally 'got it'. So please read the whole thing. Animation is just doing a lot of simple things - one at a time! A lot of really simple things strung together doing one part at a time in a sensible order. The movie actor, Scott Wilson sat through my three-day San Francisco masterclass. To my surprise he came up at the end and said, 'Of course you realise, Dick, that this whole thing has been about acting.' I said, 'What?' and Scott said, 'These are the exact equivalent methods, exercises and analyses we actors do in our acting workshops.' So acting is intrinsically part of the whole. And if you can't draw or articulate movement how are you ever going to do the acting? Someone once asked Milt Kahl: 'How did you plan out the counteraction you used on that character?' Milt blew up: 'That's the wrong way to look at it! Don't think of it like that! I just concentrate on giving the performance - that's what's important! The play's the thing. You'll get all tangled up if you think of it in a technical way!' Of course he's right. If a musician knows his scales, he can concentrate on giving the performance and bringing out the ideas inherent in the music. But if he constantly has to think of the mechanics of what he's doing - then he can hardly play. Therefore, if we know and understand all the basics - then we've got the tools to create. Only then we can give the performance! This book is an anatomy course in animation. Just like an anatomy course in life drawing, it shows you how things are put together and how they work. This knowledge frees you to do your own expression. It takes time. I didn't encounter Ken Harris until i was nearly forty and he was sixty-nine. I had to hire most of my teachers in order to learn from them. I hired Ken in order to get below him and be his assistant, so I was both his director and his assistant I don't know if this is original, but I finally figured out that to learn or to 'understand' I had to 'stand under' the one who knows in order to catch the drippings of his experience. There's a tale about a decrepit old Zen master wrestler. A very fit and brilliant young wrestler begs the old master to take him on and show him the master's ninety-nine tricks. The old man says, 'Look at me, I'm old and decrepit and I'm not interested.' The young man keeps pestering the old man who says, 'Look, son, I'm fragile now and when I show you the ninety-nine tricks, you'll challenge me, they always do - and look at me, you'll make mincemeat of me.' 9 The Charge of the Light Brigade, 1968 'Please, oh please, master,' pleads the powerful young man, 'I promise I will never challenge you! Oh please teach me the ninety-nine tricks.' So reluctantly the old man teaches him until the young man has mastered the ninety-nine tricks. The young man becomes a famous wrestler and one day takes his master into a room, locks the door and challenges him. The old man says, 'I knew you'd do this - that's why I didn't want to teach you in the first place.' 'Come on, old man, there's just me and you in here,' says the young one, 'Let's see what you're made of.' They start and right away the old man throws the young fellow out of the window. The crumpled-up young man moans up from the street below, 'You didn't show me that one!' 'That was number one hundred,' says the old man. This book is the ninety-nine tricks. The hundredth trick is called talent. I became a repository for various strands of animation lore and I've taken all this stuff and given it my own twist The goal here is to master the mechanics in order to do new things. Get the mechanics into your bloodstream so they just become second nature and you don't have to think about them and can concentrate on giving the performance. I remember once saying to Emery Hawkins (a wonderful, unsung animator), 'I'm afraid my brains are in my hand,' Emery said, 'Where else would they be? It's a language of drawing. It's not a language of tongue.' So everything I know about animation that I can put into words, scribbles and drawings is here in this book. 10 DRAWING IN TIME Why animate? Everyone knows It's a lot of hard work doing all those drawings and positions. So what's the hook? Why do it? Answer: Our work is taking place in time. We've taken our 'stills' and leapt into another dimension. Drawings that walk: seeing a series of images we've made spring to life and start walking around is already fascinating. Drawings that walk and talk: seeing a series of our drawings talking is a very startling experience. Drawings that walk and talk and think: seeing a series of images we've done actually go through a thinking process - and appear to be thinking - is the real aphrodisiac. Plus creating something that is unique, which has never been done before is endlessly fascinating. We've always been trying to make the pictures move, the idea of animation is aeons older than the movies or television. Here's a quick history: Over 35,000 years ago, we were painting animals on cave walls, sometimes drawing four pairs of legs to show motion. 11 In 1600 BC the Egyptian Pharaoh Rameses II built a temple to the goddess Isis which had 110 columns. Ingeniously, each column had a painted figure of the goddess in a progressively changed position. To horsemen or charioteers riding past - Isis appeared to move! The Ancient Greeks sometimes decorated pots with figures in successive stages of action. Spinning the pot would create a sense of motion. As far as we know, the first attempt to project drawings onto a wall was made in 1640 by Athonasius Kircher with his 'Magic Lantern'. 12 Kircher drew each figure on separate pieces of glass which he placed in his apparatus and projected on a wall. Then he moved the glass with strings, from above. One of these showed a sleeping man's head and a mouse. The man opened and closed his mouth and when his mouth was open the mouse ran in. Although photography was discovered as early as the 1830s, most new devices for creating an illusion of movement were made using drawings, not photos. In 1824 Peter Mark Roget discovered (or rediscovered, since it was known in classical times) the vital principle, 'the persistence of vision'. This principle rests on the fact that our eyes temporarily retain the image of anything they've just seen. If this wasn't so, we would never get the illusion of an unbroken connection in a series of images, and neither movies nor animation would be possible. Many people don't realise that movies don't actually move, and that they are still images that appear to move when they are projected In a series. Roget's principle quickly gave birth to various optical contraptions: The Thaumatrope: A cardboard disc mounted on a top - or held between two pieces of string. A birdcage drawing is on one side and a bird on the other. When the top is spun or the strings are pulled the disc twirls, the images merge and the bird seems to be in the cage. The Phenakistoscope: Two discs mounted on a shaft - the front disc has slits around the edge and the rear disc has a sequence of drawings. Align the drawings with the slits, look through the openings and as the discs revolve we have the illusion of motion. 13 The 'Wheel of Life' (or the Zoetrope): Appeared in the USA in 1867 and was sold as a toy. Long strips of paper with a sequence of drawings on them were inserted into a cylinder with slits in it. Spin the cylinder, look through the slits and the creature appears to move. The Praxinoscope: Devised by the Frenchman Emile Reynaud in 1877. He was the first to create short sequences of dramatic action by drawing on a 30 foot strip of transparent substance called 'Crystaloid'. This opened the way for the tremendous advances to come. The Flipper book: In 1868 a novelty called 'the flipper book' appeared worldwide and it remained the simplest and most popular device. It's just a pad of drawings bound like a book along one edge. Hold the book in one hand along the bound edge and with the other hand flip the pages and Jsee 'em move'. The result is animation - the illusion of continuous action. Drawings in time. 14 This is the same as school kids making drawings in the corners of their math books and flipping the pages. Today the 'classical' animator still flips his drawings the same way as a flipper book before testing it on the video or film camera. He places the drawings in sequence, with the low numbers on the bottom, then flips through the action from the bottom up. Eventually he should get good enough at it to approximate actual screen time and spot any errors or drawings that need altering. Now that we have the video camera with its instant playback of the drawings at film speed, not everyone learns to flip. In 1896 a New York newspaper cartoonist James Stuart Blackton interviewed the inventor Thomas Edison who was experimenting with moving pictures. Blackton did some sketches of Edison, who was impressed by Blackton's speed and drawing facility and asked him to do some drawings in a series. Later, Edison photographed these - the first combination of drawings and photography. In 1906 they publicly released Humorous Phases of Funny Faces. A man puffed a cigar and blew smoke rings at his girl friend, she rolled her eyes, a dog jumped through a hoop and a juggler performed. Blackton used about 3000 'flickering drawings' to make this first animated picture - the forefather of the animated cartoon. The novelty brought explosions of laughter and was an instant hit. 15 A year later Emile Cohl made and showed his first animated film at the Follies Bergeres in Paris. The figures were childlike - white lines on black - but the story was relatively sophisticated: a tale of a girl, a jealous lover and a policeman. He also gave lampposts and houses intelligence and movement, with emotions and moods of their own. Cohl's work prefigures the later animation dictum, 'Don't do what a camera can do - do what a camera can't do!' Winsor McCay, brilliant creator of the popular comic strip Little Nemo in Slumberland, was the first man to try to develop animation as an art form. Inspired by his young son bringing home some flipper books, he made 4000 drawings of 'Little Nemo' move. These were a big hit when flashed on the screen at Hammerstein's theatre in New York in 1911. As another experiment he drew a bizarre short film, How a Mosquito Operates, which was also enthusiastically received. Then in 1914 McCay drew Gertie the Dinosaur and McCay himself performed 'live' in front of the projected animation, holding an apple in front of Gertie and inviting her to eat. Gertie lowered her long neck and swallowed the fruit - astounding the audience. This was the first 'personality' animation - the beginnings of cartoon individuality. It was so lifelike that the audience could identify with Gertie. It was a sensation. 16 In McCay's words: '1 went into the business and spent thousands of dollars developing this new art. It required considerable time, patience and careful thought - timing and drawing the pictures [my italics]. This is the most fascinating work ! have ever done - this business of making animated cartoons live on the screen.' McCay also made the first serious dramatic cartoon, The Sinking of the Lusitania, in 1918. A war propaganda film expressing outrage at the catastrophe, it was a huge step forward in realism and drama - the longest animated film so far. It took two years of work and needed 25,000 drawings. Later, as an older man being celebrated by the younger funny-cartoon animators in the business, McCay lashed out at them saying that he had developed and given them a great new art form which they had cheapened and turned into a crude money-making business done by hack artists. This well defines the endlessly uncomfortable relationship between the pioneering artrst/ide-alist and the animation industry - working to comfortable and predictable formulas. Still doth the battle rage ... In the twenties Felix the cat became as popular as Charlie Chaplin. These short Felix cartoons were visually inventive, doing what a camera can't do. But more importantly a real personality emerged from this flurry of silent, black and white drawings and Felix 'himself connected with audiences worldwide. The Felix cartoons led straight to the arrival of Walt Disney, and in 1928, Mickey Mouse took off with his appearance in Steamboat Willie ~ the first cartoon with synchronised sound. 17 The brilliant Ward Kimball, who animated Jiminy Cricket in Pinocchio and the crows in Dumbo, once told me, 'You can have no idea of the impact that having these drawings suddenly speak and make noises had on audiences at that time. People went crazy over it.' Disney followed Steamboat Willie with The Skeleton Dance. For the first time, action was coordinated with a proper musical score. This was the first Silly Symphony. Ub Iwerks was chief animator on both films and a lot of the sophisticated action of The Skeleton Dance still holds up today. Disney leapt forward again in 1932 with Flowers and Trees - the first full colour cartoon. 18 Then he followed it one year later with Three Little Pigs. This had a major impact because of its fully developed 'personality' animation - clearly defined and believable separate personalities acting so convincingly that the audience could identify with and root for them. Another first. Astonishingly, only four years after that, Disney released Snow White and the Seven Dwarfs, the world's first fully-animated feature-length film, raising cartoon drawings to the level of art and holding the audience spellbound for eighty-three minutes. A truly staggering feat accomplished in an incredibly short space of time. (It's said that many of the artists booked themselves in advance into hospital to recover from the effort of completing the film.) The tremendous financial and critical success of Snow White and the Seven Dwarfs became the foundation of Disney's output and gave birth to the 'Golden Age' of animation: Pinocchio, Dumbo, Bambi and Fantasia, as well as the Silly Symphonies and Donald Duck and Mickey Mouse shorts. 19 Surrounding the potent Disney centre were the satellite studios: Max Fleischer with two features - Gulliver's Travels and Mr Bug Goes to Town - and Popeye shorts; Warner Bros' Looney Tunes and Merrie Melodies with Bugs Bunny, Daffy Duck, Porky Pig; MGM with Tom and Jerry, Droopy and the great anarchic Tex Avery shorts, and Walter Lantz with Woody Woodpecker. Fed as they were by the knowledge and expertise emanating from the Disney training centre, their much wilder humour was often in reaction to or in rebellion against Disney 'realism' and 'believability'. But after the Second World War the situation changed. The arrival of television and its voracious appetite for rapidly produced product demanded simpler and cruder work. 1950s stylisation gave birth to UPA studios in Hollywood who created Mr. Magoo and Gerald McBoing Boing. UPA's approach was regarded as more graphically sophisticated than Disney and used more 'limited' and much less realistic animation. At the same time there was a worldwide flourishing of personal, experimental and 'art house' animated films made in new ways with many different techniques and with very different content to the Hollywood product Animators were reinventing the wheel stylistically but were ignorant of the structural knowledge developed in Hollywood's Golden Age. This knowledge, though residing in the hands of the originators, was generally ignored as being 'old hať or was forgotten in the following thirty years. However, in the last few years, the renaissance of animation as a form of mass entertainment is giving rebirth to the old knowledge. The startlingly successful innovations of computer animation are helping to transform animation in all it's multi-faceted forms into a major part of the entertainment mainstream. Alongside this, there is also the explosion in the computer games industry. If drawn 'classical' animation is an extension of drawing, then computer animation can be seen as an extension of puppetry - high tech marionettes. Both share the same problems of how to give a performance with movement, weight, timing and empathy. The old knowledge applies to any style or approach to the medium no matter what the advances in technology. Most of the work methods and devices in this book were developed and refined in the Hollywood animation studios between 1930-1940. I've co-ordinated what I've learnt from various approaches and I'm presenting it here in a form based on my own experience in this medium - with its limitless possibilities of imagination. Emery Hawkins said to me, The only limitation in animation is the person doing it. Otherwise there is no limit to what you can do. And why shouldn't you do it?' 20 21 22 TIME TO DRAW This section is really for classical animators. However, I haven't been surprised to find that most of the leading computer animators draw rather well, so it may be interesting to them too. It certainly helps enormously to be able to put down your ideas - even in stick figures. For the classical animator it is crucial. Drawing should become second nature, so that the animator can concentrate on the actual actions and the timing of them and give the performance life. When you're doing cartoons all the time, it's very easy to slide into formula drawing. During the making of Who Framed Roger Rabbit I found this pinned up on our notice board: . EFfTAw oF KM UNFoRTtMre Artist* AA^fttTi PA id. So tAJ TV*£ £-wC> rt£ Life drawing is the antidote to this. When you're doing life drawing, you're all alone. One of the main reasons animators - once they become animators - don't like to spend their evenings and spare time life drawing is because it's not a collaborative operation. Animation is usually a group effort, and one has the stimulus of constant interaction, both competitive and co-operative, with the cut and thrust, highs and lows, political factions of complaint and inspiration, all the tensions and anxieties, rewards and excitement of group production. 23 With life drawing there's no one to admire your efforts - rather the reverse. It's always shocking to find you're not as advanced or skilled as you thought you were, and since it's about the hardest thing to do with no rewards other than the thing itself - it's no wonder few do it or stick at it. Most animators are exhausted at the end of a day's work and have families to go to. Also, one has to do a lot of life drawing to get anywhere - not just a bit at a time here and there. But the fact remains that there is no replacement for the hard work of solid life drawing. There is one payoff and it is substantial - the gradual and fundamental improvement of all one's work. Winsor McCay once said: 'If I were starting over again, the first thing I'd do would be to make a thorough study of draftsmanship. I would learn perspective, then the human figure, both nude and clothed, and surround it with proper setting.' And Milt Kah! said: 'I don't think it's possible to be a top notch animator without being an excellent draftsman. You have to try for the whole thing, you know, got to know the figure. Know the figure well enough so that you can concentrate on the particular person - on the difference - why this person is different from somebody else. The ability to draw and be able to turn things and the ability, the knowledge that enables you to caricature and to exaggerate in the right direction and emphasise the difference between things is what you're doing all the time. Any time you're doing a strong drawing of anything well, your drawing is strong because you're depicting why this is different from something else. You need that figure-drawing background in order to sharpen. Every animator should have this background and unfortunately they don't! You just can't know too much. If you're going to lampoon something, or do a satire - you have to understand the straight way. It gives you a jumping-off point. It gives you a contrast. You just do it and do it... and do It!' 24 Art Babbitt is blunter: 'If you can't draw - forget it. You're an actor without arms and tegs.' But we can learn to draw. There's the myth that you are either a born draftsman or not. Wrong! Obviously, natural talent is a great help and the desire is essential, but drawing can be taught and drawing can be fearnt. Its best to have done a ton of it at art school to get the foundation in early. But it can be done at any time. Just do it. Here are three pieces of drawing advice that were given to me - and which stuck. When I was fifteen years old and really keen on being an animator, I took a five day-and-night bus trip from Toronto to Los Angeles, and walked up and down outside the Disney Studio fence for days hoping to get inside. Finally an advertising friend of my mother's saw my drawings and rang up the Disney PR department, and they took me into the Studio for two days; they were very kind to me and even did a press story on me. It was there that I received my first piece of great advice. Richard Kelsey (Disney story artist and designer/illustrator) said, 'First of all, kid, learn to draw. You can always do the animation stuff later.' I desperately wanted to become an animator and I produced my sketches of Disney characters, which were kind of at the Roger Rabbit level since I was a precocious little bastard. Dick Kelsey looked at them and said, 'Yes, but 1 mean really learn to draw/ 25 ard Kelsey with eager beaver. Disney studios, 1948. My commercial work, age 17. Weeks later when I was getting on the bus to go home to Toronto, I rang Dick up and asked again, 'What do you think I should do?' - 'Learn to draw!' he said. One great regret I have in my life is that forty years later, when I was animation director on Who Framed Roger Rabbit, I saw Dick in the Disney canteen out of the corner of my eye, but I was so caught up in the production politics I didn't break away to go over and thank him. I never had another chance. After my trip I went straight to art school and received the second piece of advice, from a great teacher and superb draftsman, Eric Freifield, then teaching at the Ontario College of Art. He looked at my life drawings and said, 'Well, here's a clever little fellow who's never seen anything.' I said, 'What should I do?' He said, 'Go to the library and look at Albrecht Dürer for two years.' I did. And not surprisingly my interest in animation vanished for years. I paid my way through art school by knocking off Disneyesque dog food ads like the one above - at the same time doing 'realismo social' like this lithograph of a revival meeting 'Where the healing waters flow'. After that I lived in Spain for a couple of years doing paintings like these until a totally unexpected affliction by the animation bug got me. Forty years later a top executive on Who Framed Roger Rabbit kept referring to me as 'artsy craftsy' or 'artsy fartsy'. How did he ever know? He must have smelt it as there was no sign of it in my animation. 26 27 The third piece of drawing advice came many years later - I was fifty - when I was pretty accomplished, and it came from a much younger man. My talent is primarily 'linear', which makes cartooning easy. However, since animators have to enclose their shapes, there is a tendency to end up just drawing outlines - like colouring-book figures. In other words, animators don't usually draw from the inside-out, like a sculptor does. Sculpture had been my weakest subject - although I'd done a lot of life drawing and had a grounding in basic anatomy. John Watkiss - then a twenty-three-year-old, self-taught, brilliant draftsman and anatomist -held his own life drawing classes in London. (Recently he was one of the principle designers of Disney's Tarzan.) I used to hire John periodically to do presentation artwork and we were friendly. I went to John's evening life classes for a while and one day John, who is ruthlessly honest, pointed to my drawing and said, 'Hey! You missed a stage!' I felt like a butterfly pinned to the wall. He was right. I knew exactly what he meant. I was weak from a sculptural point of view. I was too linear. Years later, when I had dropped out of the 'industry' part of animation, I re-studied my anatomy and worked on drawing from the inside-out. I advanced backwards and filled in the missing stage. 28 I showed my ex-illustrator mother several of these life drawings when she was bed-bound just before she died. 'I've been working at reconstituting myself, Mom, doing all these drawings.' She looked at them carefully for some time, then said, 'Very nice, very nice . ., Nothing new,' Advice from the inside - from one's family ~ somehow doesn't have the same impact as from the outside. However my mother had once said, 'When you go to art school, you'll find everybody sitting around practising how to do their signature,' and sure enough, there they were, some of them doing just that. She also gave me this great advice: 'Don't try to develop a style. Ignore style. Just concentrate on the drawing and style will just occur.' Of course there's an opposing view to all of this 'you've got to learn to draw' stuff. The great Tex Avery, master of animation's ability to do the impossible and make the unreal spring to life - and the first director of Bugs Bunny and Elmer Fudd - said: '! was never too great an artist. I realised there at Lantz's that most of those fellows could draw rings around me ... I thought, Brother! Why fight it? I'll never make it! Go the other route. And I'm glad 1 did. My goodness, I've enjoyed that a lot more than I would have enjoyed just animating scenes all my life.' Tex stopped animating and became a great, original and innovative director. The biographer John Canemaker said: 'While Disney in the 1930s was trying to convince the audience of the "reality" of his characters in his film world, by creating his "illusion of life", Tex went in the opposite direction, celebrating the cartoon as cartoon, exploring the medium's potential for surrealism.' He never let audiences forget they were watching an animated film. Tex had a twenty-year run with his wildly funny approach to the medium, but he found it impossible to sustain. 'I'm burned out,' he said. His colleague, animator Mike Lah said, 'He didn't have any more space. He used it up.' I love Tex Avery's cartoons - his drawings and character designs. His Droopy is my favourite cartoon character. One of the nice things about doing Who Framed Roger Rabbit was to emulate Tex Avery's humour- 'But not so brutal!' were my instructions. Though, as Milt said, 'You have to try to have the whole thing.' I am convinced that if an animator's drawing foundation is strong, he will have the versatility to go in all the different directions possible at his fingertips. He'll be able to draw anything -from the most difficult, realistic characters, to the most wild and wacky. And it's not likely he'll exhaust his resources and suffer burn-out. Because of his strong drawing ability, Milt Kahl was usually saddled with animating 'the Prince' or Disney's 'straighter' characters - which of course are the hardest ones to do. Whenever anyone criticised his work, he'd say, 'OK, you can do the Prince.' And they'd soon vanish. Word spread among the more 'cartoony' artists that, 'Milt draws beautifully but he can only do the straight stuff and he can't handle zany stuff at all.' Then, between features, Milt animated most of Tfger Trouble, a 'Goofy' short. Everybody shut up, and stayed shut up. His work is a classic of broad and crazy animation. 'If you can draw funny that's enough' is an animation myth that's been around a long time, and still seems to persist. This is because a few of the early animators lacked sophisticated drawing skills - but nevertheless were very inventive and excellent at getting the essence of the drama and performance. The myth was that ail they needed was to have a good draftsman as an assistant to do the final drawings and everything would be fine. But in the mid thirties, when the new wave of young animators with better drawing skills came on the scene and learned from the old guys, the ground was soon Jittered with out-of work animators who could only handle the cruder cartoons. The new breed of better draftsmen took their jobs away from them, if the present boom in this medium ever contracts it's certain that the more skilled artists will be the survivors. Bill Tytla - famous for his animation of Stromboli in Pinocchio, the Devil in 'Night on Bald Mountain' from Fantasia, and Dumbo with his mother - once said: 'At times you will have to animate stuff where you can't just be cute and coy. Those are the times when you'll have to know something about drawing. Whether it's called form or force or vitality, you must get it into your work, for that will be what you feel, and drawing is your means of expressing it.' 30 31 Obviously all this doesn't apply so much to computer animators since the 'maquette' of the character is already planted inside the machine, ready to be manipulated. But since most of the leading computer animators draw rather well, many work out their positions in small sketches, and, of course, the planning, layout and story artists and designers draw exactly the same as their classical equivalents. I had an unnerving experience in Canada when a friend asked me to give a one-hour address to a large high school gathering of computer animation students. They had a very impressive set-up of expensive computers but, from what I could see of their work, none of them seemed to have any idea of drawing at all. During my talk I stressed the importance of drawing and the great shortage of good draftsmen. A laid-back greybeard professor interrupted to inform me, 'What do you mean? All of us here draw very well.' Words failed me. At the end of the talk, I showed them how to do a basic walk, and as a result got mobbed at the exit, the kids pleading desperately for me to teach them more. 1 escaped, but I'm afraid that's what the situation is out there - a lack of any formal training and no one to pass on the 'knowledge'. You don't know what you don't know. One of the problems rampant today is that, in the late 1960s, realistic drawing generally became considered unfashionable by the art world, and no one bothered to learn how to do it any more. The Slade school in London used to be world-famous for turning out fine British draftsmen. A distinguished British painter who taught at the Slade asked me, 'How did you learn how to do animation?' I answered that I was lucky enough to have done a lot of life drawing at art school, so without realizing it I got the feeling for weight which is so vital to animation. Then i said, 'What am I telling you for? You're teaching at the Slade and it's famous for its life drawing and excellent draftsmen.' 'If the students want to do that,' he said, 'then they've got to club together and hire themselves a model and do it in their own home.' At first ! thought he was joking - but no! Life drawing as a subject went out years ago. It wasn't even on the curriculum! I had a boyhood friend who became a bigwig in art education circles. He ran international conferences of the arts. About sixteen years ago he invited me to Amsterdam to a conference of the deans of the leading American art colleges. He knew me well enough to know I was bound to say controversial things, so I was invited as his wild card. In my talk i found myself lamenting the lack of trained, talented artists and that I was hampered in my own studio's work because I couldn't find trained disciplined artists to hire. The applicants' portfolios were full of textures, abstract collages, scribbles, often nude photos of themselves and friends. No real drawing. I didn't realise how strongly I felt about this and as I talked I found myself nearly in tears. 32 My advertising campaign design for Mike Nichols' The Graduate. A foundation of life drawing was invaluable when I had to draw this simple ieg for this movie logo. I harangued the deans of the art schools for failing in their duty to provide proper skills to their students. Surprisingly, when I finished, the deans called an emergency meeting to which I was invited. 'Look Mr. Williams,' they said, 'you're right, but we have two problems. Number one: since classical drawing was rejected years ago, we have no trained teachers who can draw or teach conventional drawing as they never learned it themselves. And number two: our mostly rich students - on whom we count for our funding - don't want to learn to draw. They would rather decorate themselves as living works of art - and that's exactly what they do.' So I said, 'Look, all i know is that I can't find people to hire or train; but otherwise I don't know what you can do.' They said, 'Neither do we.' Lately things have improved somewhat. So-called classical drawing seems to be coming back, but with a hyper-realistic photographic approach because skilled artists are thin on the ground. Shading isn't drawing, and it isn't realism. Good drawing is not copying the surface, It has to do with understanding and expression. We don't want to learn to draw just to end up being imprisoned in showing off our knowledge of joints and muscles. We want to get the kind of reality that a camera can't get. We want to accentuate and suppress aspects of the model's character to make it more vivid. And we want to develop the co-ordination to be able to get our brains down into the end of our pencil. Many cartoonists and animators say that the very reason they do cartoons is to get away from realism and the realistic world into the free realms of the imagination. They'll correctly point out that most cartoon animals don't look like animals - they're designs, mental constructs. Mickey ain't no mouse, Sylvester ain't no cat. They look more like circus clowns than animals. Frank Thomas always says: 'If you saw Lady and the Tramp walking down the road, there's no way that you are going to buy that they're real dogs.' But to make these designs work, the movements have to be believable - which leads back to realism and real actions, which leads back to studying the human or animal figure to understand its structure and movement. What we want to achieve isn't realism, it's believabiiity. While Tex Avery released the animator from the more literal approach in order to do the impossible, he was only able to do it so successfully because his animation was mostly done by Disney drop-outs who already had 'the Disney knowledge' of articulation, weight, etc. So, ironically, his rebellion, his 'going the other route', had its basis in an underlying knowledge of realism. But don't confuse a drawing with a map! We're animating masses, not lines .So we have to understand how mass works in reality. In order to depart from reality, our work has to be based on reality. 34 IT'S ALL IN THE TIMING AND THE SPACING I met Grim Nlatwick (born Myron Nordveig) in a Hollywood basement when he was in his eighties. Grim was the oldest of the great animators, being already in his forties when he animated eighty-three scenes of Snow White in Disney's Snow White and the Seven Dwarfs. Previously, he'd designed Betty Boop for Max Fleischer, for which he received nothing and was furious about it 'til the day he died, aged 100. I'll never forget the image of this big Norwegian American sitting in the golden twilight, extending his long arms and spatula hands saying . . . .V "A - A- AH IHrTflON.....IT'S ..A'AAU- /N THE TiAAlNQ-.. -A-A-ANP /AJ« - • ... ST^AY-y-X-N-NGE THAT7HE AMERICAN.....WEPF THB OttEZ TO WORK THIZ OUT.. 35 The bouncing ball says it all. The old bouncing-ball example is often used because it shows so many different aspects of animation. A ball bounces along, s \ BC4N\<. gO/HK and where it hits - the 'boinks' - that's the timing. The impacts - where the ball is hitting the ground - that's the timing of the action, the rhythm of where things happen, where the 'accents' or 'beats' or 'hits' happen. And here's the spacing. r <-I 3 F£mp$-f>4— lOfiWSS—> First plot out the timing -where you want the ball to hit the ground. Then push the coin around - taking a picture at each frame - and see what looks right or wrong. Try it with different timings and spacing. You're already animating. You're already dealing with the important fundamentals and you haven't even made a single drawing. You're doing pure animation without any drawings. 37 Hidden in this simple test is the weight of the ball - how it feels, light or heavy; what it's made of. Is it large or small, moving fast or slow? This will all emerge if you do several tests - which only take a few minutes to do. The importance of the timing and the spacing will become obvious. Because you did it, a certain amount of personality will creep into the action - whether the ball is deliberate, slow, jaunty, erratic, cautious, even optimistic or pessimistic. And all this, before you've made a single drawing. This reveals how important and dominant the timing and the spacing is. Even if the ball positions were drawn in detail by Michelangelo or Leonardo da Vinci, the timing and the spacing of the drawings will still dominate. Another interesting way to experience the difference between timing and spacing right away is this: Let's put a coin under the video camera and move it across the page (or screen) in one second - 24 frames of screen time. That's our timing. We'll space it out evenly - and that's our spacing. Now we'll keep the same timing - again taking one second for the coin to move across the page. But we'll change the spacing by slowly easing out of position number 1 and easing gradually into position number 25. \iQtf> (MP** Hot~P> It still takes one second for the coin to get over there. It has the same timing - but there is very different movement because of the different spacing. Both start together ~ and both hit the middle together - but the spacing is quite different. And so the action is very different. 38 You could say that animation is the art of timing. But you could say that about all motion pictures. The most brilliant masters of timing were the silent comedians: Charlie Chaplin, Buster Keaton, Laurel and Hardy. Certainly for a film director, timing is the most important thing. For an animator, it's only half the battle. We need the spacing as well. We can have a natural feel for timing, but we have to learn the spacing of things. One other thing: The bouncing ball example is often used to show animation 'squash and stretch' - that is, the ball elongates as it falls, flattens on impact with the ground and then returns to its normal shape in the slower part of its arc. It might squash and stretch this way if it was a very soft ball with not much air in it, but what I've found is that you can get a good enough effect with a rigid coin - provided the spacing of it was right - so this added technique is not always necessary. Certainly a hard golf ball isn't going to bend all over the place, in other words, if you do this squishy squashy thing too much, everything comes out a bit 'sploopy', like it's made of rubber. Life ain't like that. At least most of it ain't. More about this later. Golf ball bounce, 1951 Having established all this, let's go to lesson one: 39 Stills from Charles Dickens' A Christmas Carol. 1972. We're starting to get better. I got my first Oscar for this half-hour film made originally for TV. You wouldn't think a lot of this was drawn by Bugs Bunny animators! It couldn't have been done without Ken Harris who carried the load on Scrooge. Towards the end, Chuck Jones (the Executive Producer) lent us Abe Levitow, a great unsung animator with majestic qualities. We also had help from Disney alumni George Nicholas and Hal Ambro. My own stalwarts were Richard Purdum, Sergio Simonetti and Roy Naisbitt, 40 LESSON ONE UNPLUG! Unplug! Take off your head phones! Turn off the radio! Switch off the CD! Turn off the tape! Close the door. Like many artists, I had the habit of listening to classical music or jazz while working. On one of my first visits to Milt Kahl I innocently asked: Mttf, po you gy££ Lisrmro CLASSICAL MUSIC WlLgYOURB WOfcKlflG? 41 Since it came from a genius, this made quite an impression on me. After this I learnt to face the silence and think before swirling my pencil around. My animation improved right away, This has been the case with many artists when I've passed this wisdom along. Recently, two previously sound-addicted computer animators were shocked to find that their plugged-in colleagues instantly made them objects of ridicule for not having wires coming out of their ears. They were even more surprised at the startling improvement in their work, .,. end of lesson one. 45 ADVANCING BACKWARDS TO 1940 Let's advance backwards to approach where animators were during the 'Golden Age'. And then go forward from there - so we can do new things. The thing you are going to build on must be basic. Everyone wants to decorate their house with interesting pieces before putting in the cornerstones and supports. Everyone wants to jump ahead to the sophisticated bit - glossing over the dull, old support work. But it's the thorough understanding of the basics that produces real sophistication. As Art Babbitt said: The knowledge that went into making little drawings come to life is in the early Disneys, Nobody taught us how to articulate these fanciful characters. We had to discover the mechanics ourselves and pass them around amongst each other. There are many styles but the mechanics of the old Disney animation remain.' They had it all worked out by 1940, around the time that Pinocchio was released. It was a wonderful system - precise and simple. First we'll take it bit by bit - and then we'll put it all together. 46 A very interesting thing happened when we worked with Grim Natwick. He was so oid that each day he tended to snap back into a different professional period of his life: one day he would come in and do circular 'rubber hose' animation from the 1920s, then the next day he would be in a 1936 'Snow White' phase, making tons of smoothly moving drawings, the next day would be sharp, physical actions with plenty of static holds from his 1950 UPA 'Mr Magoo' period, then he'd be doing as few drawings as possible, as if he were animating a 1960s TV ad, and then the next day back into fulsome Fantasia mode. One day I found him drawing in an old style - something like this: He wasn't just showing the arc of the action - he was indicating ail the different spacings on his drawing. I suddenly realised that this was probably the origin of the charts that animators put on the edge of their drawings e.g. HAND H£AO TAU- I asked, 'Hey, Grim - did these charts just gradually move across the page away from the drawings? A far-away look came into his eyes - '... Yes ...' 47 In the 1920s, animators did most of the work themselves. Dick Huemer was the top New York animator and was working for Max and Dave Fleischer on their Mutt and Jeff series. Dick told me they said to him, 'Your work is great, Dick, but we can't get enough of it/ So Dick said to them, 'Give me someone to put in the in-between drawings and I'll do two to three times as much work.' And that was the invention of the 'inbetweener'. Dick later said in an interview that it had been the Fleischers' idea and that he just went along with it. But Dick actually told me that he had invented the inbetween and the inbetweener, the heiper or assistant. The main drawings or extreme positions came to be called extremes and the drawings in between the extremes were called the inbetweens. / The chart shows the spacing. -f—H- s We'll put in three even inbetweens between the two extremes. Number 3 is smack in the middle between 1 and 5. Then we put number 2 right in the middle between 1 and 3 - and number 4 In the middle between 3 and 5. We've got the inbetweens spaced evenly. ^MRfiWB _-EXTREME Take the example of a swinging pendulum: The extremes are where there is a change in direction - the ends of the action where the direction changes. 48 Because the pendulum's arm maintains its length as it swings, the middle position creates an arc in the action. We can see how important that middle position between the two extremes is going to be to us. It's obvious how important this middle position is. In the 1930s they called this the 'breakdown' drawing or 'passing position' between two extremes. ex-mmiB *&mxm Bxm^ j MB&Wmt FOSiTTOH IHSZWmt / 2 3_ 4- 5 Some animators underline the breakdown or passing position because it's so important to the action. I have the habit of doing this because it's a position which is crucial to helping us invent. We're going tu make tremendous use of this middle position later... 49 If we want to make our pendulum ease in and out of the extreme positions, we'll need a couple more inbetweens: So our chart will look like this. I 3 ± s 6 7 III I III What we're doing is easing in or easing out of the extreme positions. 'Slowing in' or 'slowing out' is the classical terminology for it, but i prefer today's computer animators' term of 'easing in' and 'easing out'. To make the action even slower at the ends, let's add a couple more inbetweens. Now our chart will look like this. li 1 1 ill 1 ' z 1 1 1 l 4* i£ 5-4. 60 £6, "^2. 78 8+ 90 ^ 3f 45 l|n)n)i||H SI ~' ft \ &3 ™ 1 \ 5 J-1--.+„-1-) sad bap sad If the breakdown or passing position is wrong, all the inbetweens will be wrong too. BAP Grca> t % 3 Jj- 5 Q,. 7 H—t——• h-I SAP SAP BAD ISAP When we're not accurate, here's what happens: The animator supplies a chart and wants equal inbetweens. This is putting them in the right place. Y" —x \ / z 3 4~ But let's say the assistant puts the breakdown or passing position slightly in the wrong place - 4r ihe asst; purs*4- 55 3 i_ S Hr —S— " " I MoT OK fltf^Z IN HB^0 So: Number 4 is wrong. 3 compounds it. 2 compounds it more. oO-OZ)^i o° °o And instead of ending up with fluid actions like this - u q - we'll get this all-over-the-place kind of thing. „q One thing an animator should never do is to leave his assistant to make 'thirds'. / 2- 3 A-If we need to divide the chart into thirds - |-(-j—-—j - the animator should make one of the inbetween positions himself - ' 2- 3 4 --|--1 - in order to leave the assistant to put in the remaining position in the middle. 56 Leaving thirds to the assistant is cruel and is asking for trouble - but it's fair to make a chart like this, calling for an inbetween very close to an extreme: / AAAKe QK£ m&TwM o-0s££ To 3 ■f 4—- Ki \ * > M4k£ ON£ IgTWN CUX££ To MAKfJ ose (srww cuft?5 to i mm? anoh^ \svnh oasse to- 4 (keys) And now we come to the Great Circling Disease. For some reason, animators just love circles. We love to circle the numbers on our drawings. Maybe it's because, as old Grim Natwick said, 'Curves are beautiful to watch.' Or maybe it's just a creatively playful thing. 1 once worked with a Polish animator who circled every single drawing he made! 'Is animation, man! Circle! Circle! Circle!' You'll notice that so far I haven't circled any extreme positions. In this clear working system and method developed by the 1940s, the extremes are not circled, but the key drawing is. The drawings which are circled are the 'keys'. Question: What is a key? Answer: The storytelling drawing. The drawing or drawings that show what's happening in the shot. 57 If a sad man sees or hears something that makes him happy, we'd need just two positions to tell the story. These are the keys and we circle them. These are the drawings we make first. How we go interestingly from one to the other is what the rest of this book is about. Take a more complex example: Let's say a man walks over to a board, picks up a piece of chalk from the floor and writes something on the board. If it was a comic strip or if we wanted to show what's happening on a storyboard, we'd need only three positions. We'll keep it simple and use stick figures so we don't get lost in detail. These three positions become our keys and we circle them. The keys tell the story. All the other drawings or positions we'll have to make next to bring the thing to life will be the extremes (not circled): the foot 'contacts', the passing positions or breakdowns and inbetweens. 58 If we time this action out with a stopwatch, we might find that our first key position at the start will be drawing 1. Say it takes him 4 seconds to walk over and contact the chalk on the floor -we'd circle the second key drawing as 96. And when he's stood up, stepped over and written his stuff, it might take another 4 seconds - so our third key could be the last drawing in the shot - 192. The whole shot would then take 8 seconds. Of course, we don't need to time it all out first, but before we dive into animatorland with ail that stuff, we have to clearly set out with our keys what it is we're going to do - and we can test our three drawings on film, video or computer. We haven't dealt with how he or she moves - whether the character is old or young, fat or thin, tall or short, worried or happy, beautiful or ugly, rich or poor, cautious or confident, scholarly or uneducated, quick or slow, repressed or uninhibited, limping or fit, calm or desperate, lazy or energetic, decrepit or shaking with the palsy, drunk or frightened, or whether it's a cold-hearted villain or a sympathetic person - in other words all the 'acting* stuff, plus alf the trimmings -clothes, facial expressions etc. But what we have done is made it very plain what happens in the shot before we start. if we were to make a diagrammatic chart of the whole scene, it would end up looking something like this; 59 Important animators are called key animators, and word got round that they just draw the keys - anything that they draw is a key - and slaves fill in the rest according to the little charts provided by the key animators. Wrong. A key animator is simply like a key executive -an important one. Many good animators call all their extremes 'keys' - I sure used to. But it makes life so much clearer and easier if you separate the keys from the extremes. Actually, I never heard Ken Harris ever call a drawing a key, but he would say, 'Draw that one first. That's an important drawing.' And it was a key, really. JVe worked every system, good, bad or half-baked, and experience has convinced me that it's best - even crucial - to separate the storytelling keys from the extremes and all the other stuff. (Of course, as in our example above, the three keys will also function as extremes.) Separating them out stops us getting tangled up and missing the point of the shot, as we vanish into a myriad of drawings and positions. There may be many keys in a scene - or maybe just one or two - it depends on what it is and the length of the scene. Its whatever it takes to put it over, to read what's to occur. You can spend time on these keys. I remember once visiting Frank Thomas and he was drawing a cat. 'Dammit,' he said. 'I've been working all day on this damn drawing - trying to get this expression right.' I was shocked. All day! Wow! That was the first time I ever saw anyone working so hard on a single drawing. How was he ever going to get the scene done? Finally, the penny dropped. 'Of course, stupid, its his key1.' It's the most important thing in the scene! He's got to get that right! And it was encouraging to see anyone that great struggling to get it right! 60 1. The natural way, called (^J£A{&HT AH&AL\) We just start drawing and see what happens - like a kid drawing in the page corners of a schoolbook - stick the numbers on afterwards, Disney director-animator Woofie Reitherman said, 'When I didn't know what I was doing in an action, I always went straight ahead. I'd just start on ones. Half the time I didn't know what I was doing. To me, it's fun. You find out something you wouldn't have found out otherwise.' Api/anta^s WE a=ta NATARAL Fl-OW OF FWIP( ACTION. ITmi^zVllAPrV cf iMPjZOVimiCN, ITS VERY lC£&TN£?- WEGOWITft -fh FLOW -TAKIMG ALL CFTUzfCTiCN As ircowm along. OFTtH Hit UNCONSCIOUS M IHP STARTS TO KICK /A/: LIKE AUTtfOkS Sf\ysHG THE I EL CHAfyCmTZ TELLS THEM WHATS GOiHG HApPEN- IT CAN PPOtUXE ~MA&iCf ITS FUN. PIS ADVANTAGES iHiMGfc STAPT TO WAN PER. - __- 0 First we decide what are the most important drawings - the storytelling drawings, the keys -and put them in. Then we decide what are the next most important positions that have to be in the scene. These are the extremes and we put them in - and any other important poses. Then we work out how to go from one pose to another - finding the nicest transition between two poses. These are the breakdown or passing positions. Then we can clinically make clear charts to cushion and ease in and out of the positions and add any finishing touches or indications for the assistant. To illustrate how effective the pose to pose method is, the brilliant Disney art director-designer Ken Anderson told me that when he was making layout drawings of characters for animators working on Snow White and the Seven Dwarfs, he drew lots and lots of key poses of Grumpy for each shot Ken's drawings were then given to one of the Grumpy animators. Ken found out later that the guy just put charts on the drawings, handed them to his assistants and went off to lunch, and took the credit, for what in effect, was Ken's fine animation. Ví/ř GET Cugirv:. • iŽe ToiMtOF1%t SC&tB IS NCB • irb sr^ĹCfumfcALcucAiwf lcgíom.. WE CAN GPTNie&PRAtotNG&vd cufARpf í^\t>ABL^ fds mobile IN OP£>£&~ Tkt kt$HT7WH0S AT~$&txčhtt(MB 2*ut) IN -iut umrr riACf m ik ovtmi- time Ai-Lcmpp. ■ Tht PiRčCím LDVčs us. /is ^syi^Asser fík A QUICK WAY TO WORK *J ■Fč^čS us up to po moef selves. W£ m&P SANE, OUHHAI& fSHT SlAH[>lHGON$ENP-- V/B EACH tfORF MCN0V AS čv£ARŕ= CLEARLY HOV AAAI>A(Žrt$f$. TPotoi tW0 to J5&we£ oh Titóč sté on As MUCH AQ K£f.iAf2fWy. í Sp&K t?m ttpftiECe VVô£KWc£ BOTH £/PP£ CF-äe FWC£> "Wf pQÍľ £OÍV AMD ľtSA BIQ BUT-Wf? M(6$ iUe ftoty, T^e ACTION CAN BBA BIT CHOřPy A BIT UNNATURAL* AAIi> IF W£ THAT 15y AWlNC A CoT oř O VE&APplHG ACflOH To (í It can N ofikt Straight Atimo apfpoch. ITS A muAUCB g{5fWB£N' Plannmg 3*J spontaneity. its a&aunc& V!$APVANTAG£S —: A/OW£ THAT/ KNOW OF,,, 63 Let's take our man going over to the blackboard again. What do I do first? Answer: The keys - the storytelling drawings or positions that have to be there to show what's happening. Put it where you can see it... so it reads. What do we do next? Answer: Any other drawings that have to be in the shot. Obviously, he has to take steps to get over to the chalk - so we make the 'contact' positions on the steps where the feet are just touching the ground. There's no weight on them yet - the heel is just contacting the ground. As with the fingers just contacting the chalk - they haven't closed on the chalk yet. If we act all this out, we might find he takes five steps to get to the chalk and bend down. I notice that when I act it out,! automatically pull up my left pant leg as I bend down, then I put my hand on my knee before my other hand contacts the chalk. I would make an extreme where the hand just contacts the pant leg - before it pulls up the pants. These will be our extremes. We're working rough, sketching things in lightly - although we probably have made rather good drawings of the keys. (I haven't here, because I'm trying to keep it simple, for clarity). 64 We could act it out, timing the steps and putting numbers on the extremes or we could leave the numbering till later. I would probably put numbers on it now and test it on the video to see how the timing feels as his steps get shorter - and make any adjustments. What next? We'll break it down, lightly sketching in our passing positions or 'breakdowns'. We won't get fancy about it now - the fancy stuff comes later in the book. For now, we'll just make the head and body raise up slightly on the passing positions of the steps - like it does on a normal walk. 65 We'd probably have numbers on the drawings by now, and when we test it, we've got three or four positions for every second - so it's easy to see what our timing is. And to make any adjustments. And if the director wants to see how we're doing - it looks almost animated. Now we'll make straight ahead runs on the different parts - using our extremes and breakdown positions as a guide - and altering them, or parts of them, if we need to as we go along. Take one thing at a time and animate it straight ahead. separat? few oh heap RUN OH f&rr Maybe he's mumbling to himself, or maybe he's talking - maybe his head just wobbles around with self love. Whatever it is, we'll treat it as a separate straight-ahead run, working on top of what we already have. We'll make another straight-ahead run on the arms and hands. Maybe they'll swing freely in a figure eight or a pendulum movement; or maybe they hardly move before he reaches for the chalk. Maybe he pulls up his pants as he moves along - or scratches or snaps his fingers nervously, or cracks his knuckles. When we arrive at our key, we might rub out the arm and alter it to suit our arm action. Or delay his head. Or raise it early to look at the board. We can do lots of interesting things with the legs and feet, but for now we just want them to function smoothly. (I'm avoiding the problem of weight at this stage because the up and down on the head and body that we have at the moment will be adequate for now, and the figure won't just float along.) When he writes on the board, we'll treat that as a separate run. If he has long hair or a pony tail, we'll do that as a separate straight-ahead run. His clothes could be a separate run, baggy pant legs following along. If he'd grown a tail, that would be the last thing we'd put on. 66 I've shown these things in different colours to be as clear as possible. In my own work I sometimes use different coloured pencils for the separate runs - then pull it all together in black at the end. I was delighted to find that the great Bill Tytla often used colours for the separate bits, then pulled them all together afterwards. To recap: Having made the keys, put in the extremes, then put in the breakdowns or passing positions. Now that we've got our main thing - we go again, taking one thing at a time. First, the most important thing. Then, the secondary thing. Then, the third thing. Then, the fourth thing etc. Then, add any flapping bits, drapery, hair, fat, breasts, tails etc. The general principle is: After you've got your first overall thing - go again. Do one thing at a time (testing as you go along). Then pull it all together and polish it up. Make clear charts for the assistant to follow up or do it all yourself. It's like this: STOW BOARD 67 Of course, you can work any way you want. There are no rules - only methods. You might feel like ignoring all of this and just work straight ahead or work from pose-to-pose, or start one way and switch to the other - why not? What's to stop us re-inventing the wheel? Lots of people are busy doing it. But on the other hand, why bother? This method of going at it was developed through concentrated trial and error by geniuses and it's a wonderful basis on which to operate. Having used just about every approach going -including no system - I've found this is the best working method by far. Get it in your bloodstream and it frees you to express yourself. Use this technique to get past the technique! Milt Kahl worked this way. Near the end of his life J told him, 'Now that I've been working the same way, I really do think that - apart from your talent, brain and skill - fifty per cent of the excellence in your work comes from your working method: the way you think about it, and the way you go about it' 'Well...' he said thoughtfully, 'you're right. Hey, you've gotten smart!' Milt often told me that by the time he'd plotted everything out this way, he'd pretty much animated the scene - even including the lip sync, Then he'd finish putting numbers on the drawings, add bits and make little clinical charts for the assistant ~ easing things in and out. He complained he never really got to animate because when he'd finished plotting out all the important stuff - it was animated. He'd already done it. I rest my case. I always use the video to test my stuff at each stage - even the first scribbles - time them and test them. In the 1970s and 80s, Art Babbitt used to get mad at me for it - 'Goddamit, you're using that video as a crutch!' 'Yes,' I'd say, 'but is it not true that Disney first instituted pencil tests and that's what changed and developed animation? And don't you always say that pencil tests are our rehearsals?' Assenting grunt. 'And what's the difference between rushing a test in to the cameraman at the end of the day when he's trying to get home, and if he does stay to shoot it, hang around the next day till the lab delivers the print and mid-morning interrupt the editor, who's busy cutting in the main shots, and then finally see your test - when we can use today's video and get a test in ten minutes?' Art would turn away, 'I am not a Luddite.' (Machine wreckers protesting the Industrial Revolution.) 68 Whenever Ken Harris had to animate a walk, he would sketch out a quick walk cycle test and we'd shoot it, pop the negative in a bucket of developer, pull out the wet negative (black film with white lines on it), make a loop and run it on the moviola. I've done hundreds of walks,' Ken would say, 'all kinds of walks, but I still want to get a test of my basic thing before I start to build on it.' Bill Tytla said, If you do a piece of animation and run over it enough times, you must see what's wrong with it.r I actually think the video and computer have saved animation! Certainly the success of Who Framed Roger Rabbit contributed substantially to the renaissance of animation, and having the video to test everything as we went along was crucial to us. We had a lot of talented but inexperienced young people, and with a handful of lead animators we were able to say, 'Take that drawing out, change that one, and put more drawings in here* etc. This enabled us to keep improving everything as we raced along, so we were able to collectively hit the target. Milt always said he would never bother to look at his tests. 'Hell, 1 know what it looks like - I did it!' He would wait to see several of his shots cut together in a sequence but only to see 'how it's getting over'. But that was his way. I have never reached that stage and probably never will. I test everything as I go along and it really helps. We're building these performances, so why not test our foundations and structure and decorations as we proceed? And since it reveals our mistakes -mistakes are very important since we do learn from our mistakes - we make our corrections and improvements as we build. Of course, at this stage i wouldn't have a problem routining my way through a job without testing - but why? The video or computer is there, so let's use it. An interesting thing I've noticed is that when animators get older their perception of time slows up. They move slower and animate things slower. The young guys zip stuff around. So, the video is a useful corrective to us old bastards. And young ones when it's too fast. 69 Before we dive into walks and all the articulation stuff, there are some other important camera techniques we should know about. On the next page is a 'classic' exposure sheet called the X-sheet or dope sheet - the first sight of which is guaranteed to put any beginner or artist off the whole business. When I was a kid and first saw one of these I thought, 'Oh no, I don't want to be an animator anymore. I'll just make the designs for other people to move around.' Actually, it's awfully simple when you make friends with it. It's just a simple and efficient form where animators write down the action and dialogue (or music beats) for a scene or shot - plus the information for shooting. Each horizontal line represents a frame of film. # _.___ The columns 1 to 5 show five eel levels of animation we can use if we need them. (Usually you need just one or two.) ACTION DIAL CAMERA 70 The A&UDH column Is for us to plan out our timing - how long we want things to take. The D/AL column is for the measurement of the pre-recorded dialogue and sometimes the breakdown of music into beats etc. This 'classic' X-sheet is designed to hold 4 seconds of action (1 second = 24 frames). it has darker lines to show the footage, which is 6 feet of film (1 foot = 16 frames). Many animators always number the footage going down the page. I've also written in the camera dial numbers - the frame numbers in the camera column. Some animators time things out by thinking in seconds. Others think in feet = 2/3 of a second. Ken Harris thought in feet and would tap the end of his pencil every foot. I think in both seconds and feet, but seconds is easier for me. Also, you can think in 1/2 seconds = 12 frames to a half second. That's march time, which is quite easy. (Computer animators please bear with me here - you obviously have your own systems of timing.) is Cp- SEQUENCE SCENE Af\:T\OK' s 4 3 ! Z \ ,-f 1 ^ CAMERA INSTHUCTION8 7, , . r ' /! /' "Mis' CVI/tefW M M/' \' Y -3 4- /r i-VEI'Ve; ,'.vftrr,AriTi? I 'a c A wo ............................. ^ fc IN TMJS d(J(.!.W.V ■? ft; r ia/£ A'.rr /i,-t;v '■i rtA'l f'. ,'rV\*:v?. W, L i '■1 7 ? ; IS 1.1- \ L- 1 1'- i r /7\r v i 7 v ,- 7 I CI ' it i w / j i ■i-l t %1 * , 2,- 1 v :>7 J*. . o V- :, ' ■J-L,?______™„ Jii_ _..... ........_ .... _______ ■K- ' ' , i ■it:- ■■■1 i 4-3 ■U i j 4'r N ■■■n^-t J •.n j, St ■:.- (t..... l T / Y .................................i........ ? / .2.______.............. ' / 10 t <> ■ /? ■ i"? .......... w- i ! ................................. .... 1 j Ifl ----------_------- if ,?p............ *) >i ; 2fe........... i ;■ i • so i ^ r ■■>-'■■ ;< fs'A'-- q. \ ?S..... \ :.:r i V- ,4 r / V t t;- . ; t :-o i 3 ,....................... \ t' 72 X C r f 7 7 7 7 $ S d .....£7^ This system obviously enables the cameraman to stack his levels correctly - working from the bottom up - and take a frame of film with all the numbers across matching the dial number on his camera. But there is one very important thing here: (^a&e you a memSr of k-i-^s-s?^) Keep It Simple, Stupid! Use simple numerical sequences! Animation is complicated enough without making it any worse. 73 My years in England taught me that the English just love complexity. A very brilliant friend, who is a top Oxford mathematician, called me up and said, 'We're about to penetrate your principality.' I said, 'You mean you're coming to visit?' 'indeed.' 'Wow/ I said. 'You just used nine syllables to say what a North American would say in two! Vi-sit!' We sure used to pen-e-trate-our-prin-ci-pal-it-y with our exposure sheets until Ken Harris joined the team, They looked something like this: owsw Yak Ke Top vim DC1VN Ap£> /N i/)fc Afexr m/jD Restrict ^tt>& furthest O/VtS WILL ALMOST UP l&e- Qt-tTSibF BAiUS. The ?Q IHTI& THAT -?//£■ £PAC#J C7F Yfe cr~lh smms Amount* Wis CAN INCR&SG-l$e,F&&pecri\/& BuT \T sttw- Ch^T^ES 4f Vk.. gfxS^ cf t^e /^c a£ow 86 So when we're going to turn a head, it's going to be the same kind of thing: a To SHOVtef> ug /rw/u-look wf^-fe-FWueea S MOP A f?OWP f//e HEAD WHJi£ -tfe W£AD REMA/NS SrAT/C - SO ^ OtSPUCE THE MiPOL-E FO^mOMTO MAKE IT COHVlUCJNGr - AisomTmpTo LOWEfS-OUZsHEAD ON A TURN. Incidentally ~ on a head turn, Ken Harris showed me this: Do it yourself or have somebody else hold up two fingers. Look first at one, relax, then turn the head round to look at the other finger. During the head turn, something interesting will happen. The person will blink. The eye, switching focus from one side to the other, will blink en route. (Unless they're frightened - then the eyes will stay open.) So we1^ proba.se/ 87 CLASSIC iMBčTWEĚH MiSTAH^^) A M AL- U BT H ř7S A NAIL WH CH mips -AND We WANT OHe íNSETwgsM ElôHT /N TWe M(PPU=. PLUGGED /N A CP, PŕfONe OR. WtfATčVčŕ?/ Poes p^řcise-y PI4T^ IT Rt&HT ^WWU-, I FOLLOWED #3 X A. LATßfZ THß SAME f>mjc5ôed-íN f>£fZ£Ott PUTS /N A PROP OF WATER. SrTW£f=N TH^Se TWO POSITIÖHS. I $ L . j anp pyfô /r fzi&rrw -faß ^3 omousLY THě change CONTACT. QOTTZ) USE \ COľAfAON TTfYS, iS RIDICULOUS BtfTihe, pzQWVAL-ENTCFTgN HAPPENS with QOMPl-ZX INBZTWEENS- tvery drawing is important. We can't just have brainless drawings joining things up. in one sense there are no inbetweens-ail the drawings are on the screen for the same amount of time. /rs HOTLiHzs-CzCT TO THiNK IN TERMS OF MASSES/ whbh a GOLFCLVig HiT£> A GOLF ball- at Hie aaombnt of impact we might \ but it WOULD go sack to its own &tfA?£ wrrHtti 89 Ideally the inbetweener should understand and be able to complete eccentric actions. not \ \ \ just a \ \ $traight\ \ AND NOT UKB'WtS BlITLitfETHtS - WATCH yOUR, ARCS Most actions follow arcs. Generally, an action is in an arc. Most of the time the path of action is either In a wavelike arc or in a sort of figure 3: \—*r But sometimes it is angular or straight. Straight lines give power. N

t$TANC£ <30£S IN AM ARC 90 continuous h&w ' /A/ -m/S AfcM SW/Ait> THE a£C is 00 /MPORfA/Vri £AY vve rWE füsmcWC / ř 3, 5 7-lil/ / 3 / \ 3 3 ; 7 \ / 1 1 \ •£ \ / ff 5 5 5 DO WfcjOIN THEM UPUrrĚTHiS? — 0£ /-/Ke TW/S? irVe'j-i- err aw utterly pirmmr wwr- so m roll or eup ^ d&awíkgs To MAŕCg SÜßE WHArfcfr ajqc OE-fte ac-TW c>£ rWř/ OF A&TÍON SHOUU> SB, i OFxm q * x _ vVřorr-TMJS- / v / \ W£ <5^tt^řS- \ / Nßim&L Om TtitNG MOU TUB OTtízR. u ^ ^ 91 /F IT tSrlTIH itic A£& 0Z> PATH Or ACT!OH ^e- AtffMATlQti Will- HOVFtf)% GOT to WITH iUt Fio^, tim&A&C£ (_mL#& a ^rmenr ts £#>&£d?) The stuff on these pages looks awfully simple set out like this - 'Oh, I knew that/ But as soon as we get into sophisticated images and actions this all tends to go out the window. I recently heard about a Hollywood assistant, a talented draftsman who was working on realistic horses (about the hardest thing there is to animate). He drew the stuff beautifully, but he just couldn't get the hang of keeping things in the right arcs. His directing animator, James Baxter, finally suggested he take a blue pencil and just trace the horse's eye positions separately and look what was happening to the flow. Clink! The penny dropped. %€FOZ£ AFTeR, So we're back to the old bouncing ball again. These basic things are so important. Most animators would say scornfully - 'Oh sure, the bouncing ball - everyone knows that.' But do they? TAK£ A HWYSMm> Lj-f^) I M&N,YOU QXlLPN'r ( ) upas irdrops -won't it? bail §towm ufas ^-^ 0\r FAILS. COUlt> YOU* \) Q But fW/s i& EXACTLY WHATk in a PmsHNlAUY aqa% its All (h %&TlN\m ad Wife SPAC-tMG' GETTING MORE MOVEMENT WITHIN itie-MAS^ Now we can start getting more sophisticated. We're going to keep finding ways to get movement within movement, action within action - getting more 'change', more bang for the buck. 92 Ken Harris showed me how to exaggerate a hit. Say a creature shoots through the air to hit a cliff: We'd need about five drawings - even spacing on the head - to get him over to the cliff. The figures overlap slightly to help carry the eye - on ones, of course, because it's a fast action. No inbetween between 5 and 6, To get more impact, more power to the hit, add in another drawing where he just touches the cliff, just contacting it before he's flattened on the following frame. This will give more 'change' - action within action. rf^P CONTACTS Now to give it yet more impact, we take out drawing number 5, throw it away, and stretch out the drawing that's touching the cliff. It becomes our new number 5. Now our action kind of leaps a one frame gap. We won't see it, but we'll feel it and it will give a much stronger impact to the hit. There's an interesting thing here which takes us right back again to the bouncing ball. In 1970 I showed Ken an early edition of Preston Blair's animation book when I was questioning whether we need that amount of squashing and stretching of things. (You can gather by now that I'm not too keen on 'rubber duck' stretching around - although twenty-five years later that was what was required on Who Framed Roger Rabbit, a cartoon of a cartoon.) I noticed that Ken, though famous as a broad action animator, used squash and stretch rather sparingly. 93 had the page open on the bouncing ball. It was like this - which certainly works OK. Ken said, 'Yeah, sure, but wait a minute - never mind that. We can make this much better. We need to have a contact in here before the squash.' CONTACT 'Put in a contact where the ball just touches the ground and then it squashes. That'll give it more life.' (Move the preceding drawing back a bit to accommodate it.) NIX 'And do we do the same when it takes off again?' Answer: 'Not in this case - just when it contacts. You get the "change", then it's off again.' The animation grapevine flows like lightning: 'Did you know Ken Harris in London has corrected Preston Blair's bouncing ball?' Preston's next edition came out like this: Perfect. 94 This is not done to show disrespect for a skilled animator like Preston, who was the first classical animator to make real animation knowledge accessible, or to put him down in any way. Ken was just showing an important device to get more action within the movement. Ken continued, showing the same idea with a frog. 'Have him contact the ground before he squashes down. Then keep his feet contacting the ground as he takes off. That'll give more change to the action.' Next, a jumping figure. 'Have at least one foot contacting the ground before the squash down, then leave at least one leg still contacting the ground as he takes off again.' This is great because we're getting more 'change' - more contrast - straight lines playing against curves. We're doing it with bones as well as round masses. We can use straight lines and still get a limber result. More on this later. We don't have to be stuck with rubbery shapes to get smooth movement. This will also free us from having to draw in a prescribed cartoony style because it 'suits animation' and is 'animatable'. I'm using crude drawings here because I want everything to be crystal clear. I just want to show the structure and not get lost in an overlay of attractive detail. 95 In the 1930s, when animators started studying live action film frame by frame, they were startled by the amount of transparent blurs in the live images. In order to make their movements more convincing, they started using stretched inbetweens. Ken used to call them Jlong-headed inbetweens'. For a zip turn - on ones - although it also works for two frames: j z. Let's take these drawings of pounding a door. Shoot the inbetween (2) on —3_ 3 ___ ones. This is one of the very few cases where you can shoot the sequence in —"X" reverse. It will work on ones - or with just the inbetween on ones and the extremes - (1) and (3), on twos. 96 In the late 1930s when tracing and painting the drawings on to eels was all done by hand, many painters became very adept at 'dry brushing' the desired transparent live action blur effect. Animators indicated the blur on their pencil drawings and the 'dry brushers' would cleverly blend the colours together to simulate the transparency in the blur. SWA. ftetyUfiBb) After the 1941 animators' strike and World War I!, budgets shrank and so did the use of skilled backup painters. But a lot of animators just kept on indicating blurs and it became a cartoon convention to just trace this in heavy black lines - ignoring the fact that the dry brush artists were long gone. Now it's become a cartoon cliche. A cartoon of a cartoon: With characters just vanishing from the screen, Ken told me: "We'd have this witch up in the air laughing and then she's gone. Instead of making a blur we just used to leave hairpins where she was.' ft "We learned that from the Disney guys in a fish picture. They'd have these little fish swimming around and something would scare them and they were gone - that's all - with just a few bubbles for the path they took.' In the early days, speed lines were a hangover from old newspaper strips: Then they were used in animation to help carry your eye. But they're still around now when we don't really need them. You don't even need to show the arrow entering. We have nothing and then it's just there - maybe with the tail vibrating. IV O t H I N (k Just SM TÄa. PéSUÍ-T" Bam .n- £iThf££. iFTÍizANtMA-Tiotí WAS FüWrß tVť£" M^ŕVT/V^D L/TT^e BtfCK UNŽS A13DUNP ir TD Gwetr&meNGM. However, I find the elongated or 'long-headed' inbetween is very useful cartoon effect, but also for use in realistic fast actions: not just for a zippy 98 Again, we're returning to the original purpose - emulating the transparency of broad, live action blur movements. It's especially suitable with 'soft edge' loose drawings - where the outlines aren't sharp and enclosed like colouring book drawings. Doing too much action in too short a space of time, i.e. too great arm and leg swings in a run. The remedy: go twice as slow. Add in drawings to slow it down - take out drawings to speed it up. Ken Harris told me that when Ben Washam was starting out at Warner's, he became famous in the industry for 'Benny's Twelve Frame Yawn'. Ben drew well and made twelve elaborate drawings of someone going through the broad positions of a yawn - an action something like this: Then he shot it on ones. Zip! It flashed through in half a second! So then he shot it on twos. ZZZip! It went through in one second! So then he inbetweened it (twenty-four drawings now) and shot it on twos. ZZZZZZ! It went through in two seconds - almost right. Then Ken showed him how to add some cushioning drawings at the beginning and end - and bingo, Ben's on his way to being a fine animator. Some animators want to save themselves a lot of the work so they draw very rough. ('Ruff' -they don't even want to spend the time spelling 'rough'. Too many letters in it to waste our valuable time . . .) And they leave lots and lots of work for the assistants. I've never understood why some people in animation are so desperate to save work. If you want to save work, what on earth are you doing in animation? It's nothing but work! JUIFF APPROACH J 99 In the early days at The Disney Studio, when animation was being transformed from its crude beginnings into a sophisticated art form, they used to say, take at least a day to think about what you're going to do - then do it. One old animator, writing about the subject forty years later, advises that we should spend days thinking about it. He's read up on Freud and Jung and the unconscious mind and he writes seductively about how you should ruminate until the last minute and then explode into a frenzy of flowing creativity. He told me that in a week's work he'd spend Monday, Tuesday, Wednesday and Thursday thinking about it and planning it in his mind. Then on Friday he'd do it. The only problem is that it then takes three weeks for somebody else to make sense of it. i knew this guy pretty well - and he made it sound so creatively attractive that, though i felt it was artistic b.s„ i thought I better try it out i managed to ruminate, stewing and marinating my juices for about a day and a half and then couldn't stand it any more. I exploded into creative frenzy for a day, drawing into the night like a maniac. The result was pretty interesting, but it really did take three weeks to straighten it all out afterwards. And i don't think it was any better than if I had worked normally - maybe just a bit different. I think Milt Kahl has the correct approach: 'I do it a lot. i think about it a lot, and I do it a lot.' Ken Harris worked intensely from 7.30 am till noon, relaxed at lunch, hung around doing bits for a while, went home to watch TV (or play tennis when he was younger) and thought about what he was going to do the next day - then came in early, avoided social contact and did it. He worked carefully and thought very hard about his stuff. He said he was surprised when he saw some of Ward Kimball's working drawings because they were exactly the same as his -very neat - very carefully done - usually something on every drawing in the shot. When i first saw Milt's work on his desk I was startled by how much work he did. His drawings were finished, really. There was no 'clean up' - just 'touch up', and completing details and simple inbetweens or parts of them. Ditto Frank Thomas, ditto OIHe Johnston, ditto Art Babbitt, The two exceptions to this were Cliff Nordberg, a marvellous 'action' animator who worked with me for a while, and Grim Natwick. Cliff did work very roughly - so he was awfully dependent on having a good assistant and it always caused him a lot of concern. And Grim was a law unto himself. There's an animation myth about the assistant always being able to draw better than the animator. (I never met one who did.) The myth is that the animator creates the 'acting' and the fine draftsperson improves the look of everything and nails it all down. Well, there aren't that many fine draftspeople around and if they're good enough to nail all the details down and draw well, they really should be animating - and probably are. (An exception to this is the assistant 'stylist' on commercials where the 'look' of the thing is it's raison d'etre. There are a few excellent ones around.) Rough drawings have lots of seductive vitality, blurs, pressure of line, etc. But when they're polished and tidied up you usually find there wasn't that much there to begin with. 100 As we go along through this book itlt be apparent how much work we have to do to get a really interesting result. No matter how talented - the best guys are always the ones that work the hardest. But hang the work, it's the unique result that we're after. Every time we do a scene, we're doing something unique - something nobody else has ever done, it's a proper craft. HON MUCH PC WE L-mV£ To 7fe ASSlSmr?) Milt Kahl's answer: 'i do enough to have iron clad control over the scene.' Ken Harris's answer: 'I draw anything which is not a simple inbetween.' Milt again: 'I don't leave assistants very much. How much can I get away with leaving and still control the scene? If it's fast action, I do every drawing.' The purpose of the assistant is to free the animator to get through more work by handling the less important bits - but as we have seen, he/she can't be just a brainless drawing machine. The computer produces perfect inbetweens, but obviously has to be programmed to put in the eccentric bits that give it the life. Here's my tip on saving work - my rule of thumb: TAKE'the, LONG SHOfZT CUT, The long way turns out to be shorter. Because: something usually goes wrong with some clever rabbit's idea for a short cut and it turns out to take even longer trying to fix everything when it goes wrong. f've found it's quicker to just do the work, and certainly more enjoyable because we're on solid ground and not depending on some smart guy's probably half-baked scheme. And again, if you don't want to do lots of work, what are you doing in animation? One of the things I love about animation is that you have to be specific. If a drawing is out of place it's just wrong - clearly wrong - as opposed to 'Art' or 'Fine Art' where everything these days is amorphous and subjective. For us, it's obvious whether our animation works or not, whether things have weight, or just jerk about or float around wobbling amorphously. We can't hide in all that 'unconscious mind' stuff. Of course, we can dress up and act like temperamental prima donnas - but we can't kid anybody with the work. It's obvious whether it's good or bad. And there's nothing more satisfying than getting it right! 101 WALKS Advice from Ken Harris: 'A walk is the first thing to learn. Learn walks of all kinds, 'cause walks are about the toughest thing to do right.' Step To LShN fAl A WALK THE £U0W£r it /s, JHEMOEE YaigE (N BALANCE- AN&1&E FA>TEg ~ MOTE air OF BALANCE ■ Walking is a process of falling over and catching yourself just in time. We try to keep from falling over as we move forward. If we don't put our foot down, we'll fall flat on our face. We're going through a series of controlled falls. We lean forward with our upper bodies and throw out a leg just in time to catch ourselves. Step, catch. Step, catch. Step catch. 102 Normally we lift our feet off the ground just the bare minimum. That's why it's so easy for us to stub our toes and get tipped over. Just a small crack in the pavement can tip us over. d$Ej-ess(?) mmmmittG tammc itimmn&h oh walks; PlP YOU KNCW We PUT A MltWSN pbuMf* OF WSSttf ON 0U£ Fm EACU Ofitff mediant M& 5CM£ OF 1&e WCfyf- a/ft amis' /teiMr TW»R W/C*5T Fti^r PfeSfl st«B8fN&cx\£ tee A£pp WAMtftf&lS We wpr <5uit ftocfl* Ai, MltLg AS fOSSJptt. A*-we p&op foor GuiPps paw Ft* A SOFT LAl\)D/N& Paswr help you mush when youfe as^#> to animal th^ waik a 8^r HAPPY MaM - 0£ POPS if? CALVES PgOPUT £Vff>Y TW€ v^E 1=6 rs air iiPTO (740 WAITS), Alt WALK? ARE DjFF&TR^n: NO TvvO P8>PL£ IN TH£ WOelP WALK S4M£. Across Tjey to sft hold dfa cha^t^ -rp/ to ?u -me Wf/oL£ £rqey wrm th£ WW-K- 103 Why is it that we recognize our Uncle Charlie even though we haven't seen him for ten years -walking - back view - out of focus - far away? Because everyone's walk is as individual and distinctive as their face. And one tiny detail will alter everything. There is a massive amount of information in a walk and we read it instantly. Art Babbitt taught us to look at someone walking in the street from the back view. Follow them along and ask yourself: - VtHATt TH£\& FINANCIAL FO&TiQti ? - State of uzawh? - sad? - ^appv ? - P&UNK? Then run around to see the front and check. So what do we look for? The big eye-opener for me happened like this. (Unfortunately it's a little politically incorrect, but it's a great example, so here goes.) I was in my parked car turning on the ignition, when out of my peripheral vision I semi consciously noticed a man's head walking behind a wall. 104 It passed through my mind that he was gay. A gay walk. Now I'm quite short-sighted - my eyes were focused on the ignition key, and it was a busy street with lots of cars and people - and he was about fifty yards away! Wow! How did I know that? This is crazy. All I'd seen was his out-of-focus head moving along behind a wall for a split second! I started to drive away, then stopped. Wait a minute - I'm supposed to be good at this. I'm supposed to know these things. I have to know why\ I remembered Art's advice, re-parked, jumped out and ran a block and a half to catch up with the fellow. I walked along behind him, copying him. Sure enough, it was an effeminate walk. Then I got it. He was walking as if on a tightrope and gliding along. Now how could I have registered this with out-of-focus peripheral vision at fifty yards without even seeing his body? Simple, really. There was no up and down action on the head. Try walking on an imaginary tightrope and your head stays level. No ups and downs. ..I. And in a. PAssjns ■m&iriOM- From then on the first thing I always look for is how much up and down action there is on the head. The amount of up and down is the key! WOfr\m OFTfN TAKE SHGR-STEPZ IN A STRAIGHT LINE - LEGS T&SPWffiR = ItTrlB UP U COM! OH TbtBOPY w—-— mm—ir- :... ^» — AS OpPoSEP TO MISTSK N>ACHO: % % % A ♦ ^ 105 Women mostly walk with their legs close together, protecting the crotch, resulting in not much up and down action on the head and body. Skirts also restrict their movement. Mr Macho, however, because of his equipment, has his legs well apart so there's lots of up and down head and body action on each stride. c getting tTfF^yifi^r^), m portr qft weight gy a mom r/ovmznT When we trace off a live action walk (the fancy word is rotoscoping), it doesn't work very well. Obviously, it works in the live action - but when you trace it accurately, it floats. Nobody really knows why. So we increase the ups and the downs - accentuate or exaggerate the ups and downs-and it works. i-fe rm up and wwn mmai & yo^MAssg im*mg> yai ~m fm~m of w^a-fT. Wrt0N7HFA«66 vm\L~ m&i irk gy a straight OH )T i TrKS , 106 Before we start building walks and 'inventing' walks - here's what happens in a so-called normal' walk: mm tie 2 CONTACT Positions - In a normal, conventional- walk, ine ARMS Aftt ALWAYS opposite To j he u-.6S ic Give SALAMCz ANO THRUST. Com\CT Contact NEXT WELL PUT in THE -TmtAlbPLZ POSlTiCN- SfeAKDOWA/' -7He HAtf-WAy PHASE &EC4JtfE THE /-B3 /s STRAIGHT C\P ON WE PARSING POSITION, lit GOING To WfT BOW dud H£AD SUSHTLY hflGHEtZ. SEXT C&MJS we t^iw POSiTiCN " WHER£~thE &&4TLE& takes THE WEIGHT ANbjusTTo Complicate l-ife - IN A HOmAL walk the a£/tf s(VW6/sat on tw£ dokw position / flNb NOT ON-Ik CCNTPCT \ PcsmcvvAi webmmz) w£ can tGNCR£1Ht$ as P&OCeeO But we might as weil und0sstand the NORM &etore WE 107 h&.T 'm pur in VfB UP POSlTToN -the push -cm TH tCOT PUSHING OFF MFTSTfc* pelvis, l?cpy a*xc) hbao up 'TO ITS HIGHEST PC'^ITiCM -THEN~%t LEG ^THROWN cur To ca1q4 us on ■ik contact Portion - Sc rVE OCHTFALL OH OUR. FACE ■ LETS SPRBAO IT OUT AND EXAGGERATE IT A LiTTtE MOßE so lf-S CLEARSEPL,., CONTACT PCWN (".OjMTAC-T SO, INA NORMAL* IZEAU^TIOWALK JuiT after flu: Step Ike. W&IGH fOi CZS {pOVN) JUSTAFWTk contact. 7tJ1Ut weightGOeTTÜP) JüSTAFt&Llfa PORTION\ contact ■%\t pom ^iHQr UP) ft* up Contact MFPiANT 108 SETTßßTcMPO "the Fimr 7HIHG To to IN A WALK /S S FT A 5EA7" C^A/f^Y PčOPl^WALKON te-'s - MARCH TíMĚ [^oS^m^SmJ But LAZY AN.iMAJOßS Dotí'r im To Vo it cti /2-ls. lÚHAgpTO omdě UP. YOU mVp To USe'TWRPS1— THiHH PAß-TW in 7W/7&s. Trte fAÍ řfTr/ffiJS. A££ 6oí*íS To 6£ OH THtPPS. OopS - ftoiY tVHFRč Tto WE FW Tb« itewW Op. dJP' ŕf£f , TWŕ \$ <ä£TTTN& HAŕD -ŕ^f^tVAuy WHéW Wť áer WTD THE A£MS AN ŕ í4ŕA£>ŕ AflŕD 'A^T/fvíS' aho p>&kp£ps Tŕ/EPEs ,4 N 'Ji AN BASIER, WAY- HAVě Him/HER* WAÍ-K CM i&S — as, WA7A CW s'S. MUC-ŕí fAS/eßTö WALK ON IQ. 's — /TS EA&Y T&PIVibE-UP— $AM£ THING ON 8's. (_ each STßp - % sfc) st^s sk.'; 9 M í t f i ,7 a 5 t í t, T ft -t-H i NICH í>íVťi-'íCN£ Ate>W - _5 7 ť fwTKT POWN ^g* I / E^PUCěP U(>AHt> POWIH f ACTfO(\í-S//MCE dUMp, giŕMP ôiWP, 3 rfffSA SjKbW- 109 4 F?34M£S - A V&rZY FAST" RMN (*o S?sPS 4 SBCCWD ) 6 r%m£Z --- a W oe vaey fa?r walk: -4 Smps a -S£cc># d) 8 ffcAAUSS - StOW fcUfl £R 'CAeTcT^' WALK (3 St£PS A S^CON>) /?, FjSAMes = ££i£K, £llSiN£s.S~lu) tb mmts = QrmiLiHG walk - morb L&sumy (% a=Aszcmt> f^swf) 7-4- fsam0s - Slow step ( oNemp pep-Seconl) 32 fzam&s - „rSHOW MB Hie. wav,,,.TO GO HO/HpL. The best way to time a walk (or anything else) is to act it out and time yourself with a stopwatch- Also, acting it out with a metronome is a great help. i naturally think in seconds - "one Mississippi' or 'one little monkey' or 'a thousand and one, a thousand and two' etc. Ken Harris thought in feet, probably because he was so footage conscious ~ having to produce thirty feet of animation a week. He'd tap his upside-down pencil exactly every two thirds of a second as we'd act things out. Milt Kahl told me that on his first week at Disney's he bought a stopwatch and went downtown in the lunch break and timed people walking - normal walks, people just going somewhere. He said they were invariably on twelve exposures - right on the nose. March time. As a result, he used to beat off twelve exposures as his reference point Anything he timed was just so much more or so much less than that twelve exposures. He said he used to say 'Well, it's about 8s.' He said it made it easy for him - or easier anyway. Chuck Jones said the Road runner films had a musical tempo built into them. He'd time the whole film out, hitting things on a set beat so they had a musical, rhythmic integrity already built in. Then the musician could hit the beat, ignore it or run the music against it. Chuck told me that they used to have exposure sheets with a coloured line printed right across the page for every sixteen frames and another one marking every twelve frames. He called them '16 sheets' or '12 sheets' I guess '8 sheets' would be the normal sheets. ! mentioned once to Art Babbitt that i liked the timing on the Tom and Jerrys. 'Oh yeah,' he said dismissively, 'All on 8s.1 That kind of tightly synchronized musical timing is rare today. They call it 'Mickey Mousing' where you accent everything - it's a derogatory term nowadays and considered corny. But it can be extremely effective. 110 In trying out walks, it's best to keep the figure simple. It's quick to do and easy to fix - easy to make changes. also, in ocm These walks - take a few §>eps aczoss %c pageozsc&en^ DONTJ TP/ TO WOZK OUT A CYCLE WALKING IH PLACE WITH fUe FEE I S Li PING BACK^lc. THAT AIT BpCcmi TOO 7£OfAI (GA/_- W WAnT OUR- BkAlN FREE TO COl\C-ENtRAT^ OH AN INTEFE&ThlG WALK -PROGRESSING- ED&WA&D- W&CAN WORK. OUT A CYCLE EoCflic WALK LAT&Z,,. PERjjAPS JUSTfa^TUe. F^rr BOL>y. BIT THEN HAVE The A&yE -u^HxtHEAO PERFORMING SEPAl^ATBEy. CYCLED ARE MECHANICAL u4 LOCK JUST LIKE WHAT THEY ARE - CYCLES - CHUCK JOHES TELLS CE HIS T/A/y 3 Y0%.cU> G0AIDPAUGH7LTI SAYIH&, /f *&£ANDAP WHY VO&Tke SAMi? WAVE KEEP EAPM6 CttTkt (Si-ANP? Incidentally, if you are using colours as I am here, it works just fine when you film them. I often have a lot of colours going at first, and you still see the action clearly. Now we're going to start taking things out of the normal: ~1hz passing po^moN on m&Kvpmj A V&2f SIMPLE WAY To &UIIT) A WALK- START WITH JUST 3 DRAWIH6S - o o 111 TUBN Pur JN ~th&MIPPL& POSfflOH* "T&e PACING POSmCN-or Breakdown Th is. T/M£ h)lQH8Z THAN Previously. -fflp UP PCfiiTlCN- \-fat beht leg \ \ WfH-ACTAS / \ -fte tow / When we join these up with connecting drawings, the walk will still have a feeling of weight because of the up and down. We can make tremendous use of this simple three drawing device. £UT LOOK what HAPPENS if m&O jx?wm ON the PA&J/W& WSitiON l We get a Vfiey t>tFFe&&NT \NAUi" A'CAlZTCOiY' WALK how m pmiHG POSiVCN 1% THE low /wd thb Contacts, act as THB HlG,H " STILL GlVINaA feeling OF WEIGHT- 112 7?íř£É CONTACTS Ai-l~7HE ■SAME &UT THEtA\Ot>L£ FDSíTÍOM UTTßgpf CH AUG & fH£ WALK owiQbSW we u Neßpi the \ in a Si-cw Srpp m Might go AS faP ASfws- TjMZ TD ACCOMODATE J ALMOST A £Ai£AK. Mat /f the F&sr&wim out sideways öh th? paseno fošítíonsí Ihč VARjATiONš AČČ řNDi^ss - 113 AMD why SHOILD WE be stuck with th£ SAAfP £/MPE? UOW ABOUT The mOl-E FtPpy 7& pas? ros -Stretch it. 0£ WTHiN KEZplHa PEI-VS To my knowledge, I think Art Babbitt may have been the first one to depart from the normal walk or the cliche cartoon walks. Certainly he was a great exponent of the 'invented' walk. He became famous for the eccentric walks he gave Goofy - which made Goofy into a star. He even put the feet on backwards! He made it look perfectly acceptable and people didn't realize they were backwards! Art's whole credo was: 'Invent! Every rule in animation is there to be broken - if you have the inventiveness and curiosity to look beyond what exists.' In other words, 'Learn the rules and then learn how to break them.' This opened up a whole Pandora's box of invention. Art always said, 'The animation medium is very unusual. We can accomplish actions no human could possibly do. And make it look convincing!' This eccentric passing position idea is a terrifically useful device. We can put it anywhere and where we put it has a huge effect on the action. And who says we can't put it anywhere we want? There's nothing to stop us. 114 For that matter, we can keep on breaking things down into weird places - provided we allow enough screen time to accommodate the movement. take fez stance Pfissm vhlo -Pur 1HB DCWM WHE£ß THE uP 'WOULD /iORMAWf&e - AA/p VI ß can S HUGO dowh To TAKE. the mmi Still- GO oh tub PUSH off PAS. , www POWH PC&iTiON was - /?ur BUf PELAY THE WSfa (Fö&ßALANC£^) PRETTY TSy /r? People Po move Anyway, back to the normal: (3 WAYS TO P^AA/ A WAi-K J TktCONTAClV m&1hod'. First we VWKfe TNe cowTAcr WePittTN Ute PNä&iNCi Position PASS pas o o o purw thp /.-OW MP IhEHiGh POSITIONS l-OW high 115 I've found that this contact method is the one that gets you through - takes you home. It's especially suitable for natural actions - which is what we mostly have to do. I've found it to be the best way to do most things. Milt Kahl worked this way. 'In a walk, or anything, I make the contact positions first - where the feet contact the ground with no weight on them yet. It's kind of a middle position for the head and body parts - neither an up or down. I know where the highs and lows are and then I break it down. Another reason I do it is because it makes a scene easy to plan.' 'I always start off with that contact because it's a dynamic, moving thing. And it's much better than starting with the weight already on the foot, which would be a very static pose!'* " WHICH IS EXACTLY YiHAT WE SECOND SySTEM DOES, -THIS is Tm WAV A£T$AS£iTT OPT0\t Fl-anhep A walk-ano itha& a vEfiy cunning ivim tc> m dom powh Start off T O up MOW PUT iN Tiit Pacing Position - - FOP-NOW, Rj&HTJN THE and cnb OEOufl nektmio 'Positions will m the contact I AlthOU(Bh irk \ i Kind of awkward i T3 6et(icxt> \ C-oHTACC PCS iTIONS \ THIS I'VAy - 116 The cleverness of this approach is that we've already taken care of the up and down in the first three drawings. Of course, we can put the passing position up, down or sideways - anywhere we want. But having the downs already set helps us invent; it gives us a simple grid on which to get complicated, if we want. We know it'll already have weight and so we're free to mess around and invent eccentric actions, or actions that couldn't happen in the real world. Again, we're not stuck with one method or the other. Why not have both? Not only but also ... I highly recommend the contact approach for general use, but starting with the down position is very useful for unconventional invention. From now on we'll use both approaches. Its k/np of acapemic, But if we take bow methods^ Am Push TumToGmeizs-a_z^> <^__~_l contact MfftfOP pwn pcs: AlETSt?D get am-lfitUP 3»j down b*as&3 of a normal walk iTkikcSAm'wm* wztejmsTmm offohe phase bazuer o&cnepw&e unm- 117 Hie POu&l£ gQQHCB 'Truckin' on down.' The double bounce walk shows energetic optimism - the North American 'can do' attitude. They used this walk like mad in the early 1930s - lots of characters (bugs and things) all trucking around doing jazzy double bounces. Bf IpEA /S z 'BOUHCZS fER YQU BOUbiCE TW7C£. YOU &o DO WN (oK uf>) 7W ICE SNSTZAO OF OtCf ID W3T£P. £AY rk A (6 W SVrP (on cnbS Bec^m THZ&s* ujt awfe on.) Wf4u siw w/th -mB&rr xortti - zpr&p the Mass apa^t for etA:Rf7y; I Hike. tAI&PLB BUT Aiso po\Htj f3 ; ^ APD W FocT"- T (3 4 5" / ttzfe use fk Contact UP pass fts up MP CCWPKMS + 90S, A££ W^AW>Mfl)PKriTaiJS WttfW>WS 118 / madew& &OUHC& WALK BY COM&iNlNa The TWO APPROACHES. I D<£> -flfe STRAIGHT LEG CONTACTS FIRST, BifT ALSO MADE THm THE LOW - Tkz DCW/V. LoosmiHú it up Weft APM WřU- SWT OUT ItV ith TH lí S fMPí~£ CpCHÉ WAI-K -NOTHING FANCY YPT THjě -A^Mí NöRMAOy WlW-MOV£ OPPOS IT1£ TO THĚ WIH. GIVE IT MORE UFF \£- BACK ( fWWJN&íTAfARr J mow um tjut TW shoulps5 pop. 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L\RZ atrtt DCMS ARE ON t^e blFFE-fcmT PARTS CFlU BODY. 216 FLEXIBILITY AS / S^Eip THtzezAtte 2 AH /MAT/OH f~LAW§- we ElTWZ have The "king kohg'effect where &er.ythin'g moves aeovnp 7Ui> Same amount @> EVEfZYIHlNG fS FLASHING- AWiiHP ALE CVEfLTk PiACE wewaatto have a Stable image stile have flexibility TAHS 1$ HON m GET IT: 'Xkt Following devices are gua&nteepto eim£e& up, l-ooseh ap^} c-iNE 'Snap' W v italitv to cup per-fo^mait:e wile keeP^g %t figvpe Stable soeip. 217 m'Vß ALREAOV INTPOPUCeb SOM£ OF THESE DEVICES ftrrH WALKS W mr I WANT To TAKE FACE OF THEtA $FPA£AT£LY ^ P/6 INTO IhBtA. Fif&T, (^eg^KOT^V) A w To ö£T fl^Xibiuty is wnmp we'^e going tö Flage Tk B&EAKPOWft PRAWIH& OF -f/gSlHG TO/77 O/V Oft M)p[>lM POSITION 0£ !NTEF?M£P(ATE ft&ffiOtf Q WHAJPVm. vou wamt to call- it ) - BeTWEEN 2 EXTREMES ■ WH^F PO WE GO IN 1fa MIDDl-E? CguClAi-! AS WE-'VE S#5V WflU Ute WALfä, IT GlVBS (UfAEAGTEp: TO ift&MÖVZ* ITt A TRAVELLER-A TPANSITIOWAL FoStWN. AHO WljFRF WEPüTlTiz So IMRöRTANT l'fsThz. ^CfFTOFAHIMAToM'', I TFllYOU! \X GTOfX 7WMGSJUXF GOING mkiN&Ly FpöAA A-fcS. qo $ömm&& fl&& thats int^f-fsting ^nkcute frcm atöb. HAWtflHSf A master ANIMATOR OF 'OHANGB' SAlPToMF, ^ptOrC, PöjfTGOFFOM ATbB. Gro EPCM A +o X-to GO FFDA\ A fo Gt-fo P. GO SDMEWHEm £lSe iHTlteMipPLEE A S/MPLE, POWEgFULToOE- I FÜZ&t got OfJTO 77-//ST SY WOßKlNQ WW k&N HAf&K, WH£N HßkCüTltPMY PßAWlN&s. OH ßrmoF THE1A, W HE'O 577ck1HFM vowh in a PtFFE&NT place. i ENQEP UP FEEL-lttGSQ j LElkTAKE OMR, -ZEXVZßMES. CT AMAN 0OINQERO/A rfAPPyio SAP - Putin 77ie MIOELE PoSmON IT Woutt> SF LÖGIGAW/ ~ 218 MOČ£ INTEREST MÖ&B X^/MMSe' same MOtíTJl pt£tí ir up - keep SC- TAKÉ k MHAřPY AAOUTfí ■^mmmt ir ^mmr A Quicker, caamsz - AAO&E YlWťY A QUfCKEČ WJHAPPMČSS. IT WOm> AFFECT Thi CMEEČ& *^ /WP <5wg MORE OHANGßlö UNHAPPY (T wouu> PlSTENO Tki-FfiCE ite NOSE EVES. A TÖTALEY V\PFE£mT CHANGE 219 Exr&me Breakdown' pxt^me vo w(=G0vp on om&iPE? O '} THINKS about ik INQg&SE Tt& sm!l£? o FALSE COHFl£>mO£ mmc? it? Lf^g #EPt)c& The unhappy mowh to GrfFem thins* mobility = oops, Something i et? ok Hap a p&nk You ft Secret /s SAfE with me 220 BREAKDQWH EKjpEME tiAS-A pRORDUNP EFFECT ON-flit, ACplON 2*á CtfA^Tfc/?. / PAMG-MY HATON Wis! MAKE The EXTREMES (oe contacts) THEN "ftte BpmKPOlNN (_CI^ Passing PoqVoh .) Turn aaak£ ike Al&xr $&m A&O WHm I WAS FIRST CATCHING ON TO AM, TH& 'STUFF, I WORKUP B&EFLY w fix ase leviioW, Km HAmz's FAgpf ppowg£> a&e Petty BmcriFuux / was (Mf&sm> &r mm n<& >q\akitY ahi> %t Quantity of m work/fa^tano^oop! WORKING oh TotX&tt STUFF, Age proposed 20 to 25 SECONDS. A WEEK WNtEfke others MANAOEP To SrpMG^E- THROUGH 5 SECOND, ANP ABES was gETTEg- I ALWAYS RZtom&S. ABB SAY IMS tomb CH A TUESPAY vS PICK, I'VE pone ALLTko ekteemez ■ •TbMOZmw !% QOiNG To BREAKTHm AlTPOWH. "[HEN Th, ETST OFTl\t WEEK I'LL APPlNTUe. BITS W PIECES! TflfS^iAlPUT OVm-AP' Q\VfS> US ACTION MtyiNAM ACliQtt- Mo?E fewWGg '-ftofe LIFE ■ ~m& t$16c&!N IPEA-W^C/WDO IT VE%y stf ST-Y CfrWECANPoiT BROADp/ -gives as AAOVEMEHT within a movement FULIMD APART- AGAlft, /Of G.o1n0 OVl? fWi I \ He&l \ — \ -Tb \ V A B GtNES US yMORJEBAUO FOR. OUR- BUCK' 222 Ken HAWS WOULD OFTEN ľV A vm lNTEPFSTtN& TN INS: Thouôh Hz wa$ VFßY coHFipmr er ms ANIMATION A&Lm&Sf KEN HAb LESS CONFiPFNCp IN ttíSľKAWNG- hi£ LI kfd To MA^F FULL UGF ÖFik^ px>\xm SKerem sy (Uhxkjonbs, his VliüECTOP- AT WAP-NF^ - atiô LATPP-OK, MV PIIZECTIM3PPA\NING&- ! b OFTEN FIND KsV AAAKlNe AN EXACT T&ACUfiG OF MY ŕMWWS'X" od'S" iw) USIKG If AS"f#e PAS&IN& mal PfeAKPom) SuTHčD PiA^F IT To FAYOQíZ. PPAWIHG'a" UKě this -* Oíl Hß'p HßCF IT To FAWUfrpRAWmY LIKE Th!$^> FAFL FPOfA miHG A LIMITATION, Th.1 Iti Ikt, M \ot>it - tvé w uok WAT happens TO Tkl TURBAN AMSS - Th/Q CRPA7&2 A REAUN NICE OVERLAPPING OF Tt-€ MaS&% on a v m QiMPLB MOVE - we've usep OfJLT 3 PoSfflotä. Tfa Í^T WHP9 STfčAi&HT in$etw£en-s. WE'VE PONE TWS on A BLAHO D&iGN OF A SiMPLE CHARACTER- - WITH NO CWH&E OF EXPRESSION -NOT EVEN A BLiHK-HAN/NO A VER.Y OEPlNARV MOVB-AHt> YET IT WILL HAVE A POT OF LIFEjltSr BECAlSE OF The, SwaNô. (SO) WE LOOK řV&WAYSTo PPHOETÍi^ MlPPLE ŠĚfEAKCDWN POŠÍPíON -(Oft Posmcws) WHERE WE CAN OET AN OVERLAP OF TZ«z~MASSE§. * MOVEMENT WITHIN MOVEMENT- 4 VPAWINC OVERLAP on a California -issue Mouse £AMP ReA£> dud eor>y P/ZC&flčSSĚD FORWARD C0HTÍN0& FcRWAKO lie 6Am AMOUNT TiUjm POWN JĹlSľ* ßiT MoR.&. 224 Oŕ Couesh, WS B&AKpom Ft&mcN KiNP OF TH(N9 GAU GFTOXiFOF NMD, LlKtz BV&YTHittG £LSE, lit HOW, lAHEM WMSßjS Wß USE (T, WI4FN I WAE ASSISTING KfN 3w) TmßB P m A HAND . K^i IVÓ«/Í) pp^KOUT ; (3oP>PAMN ITj PICK, i JUST WANT A ZTPA'I&RT INBFTW&N , W THFßF l JUSrONFMF A SflsfiKSHT iNBmwmi! THE GUY J«ST ČPLAXgl HlSHAMb! i PONT WANT ALL THIS ORAAY FLASHING- AEOÜNP AťPOV&lite. PIMF KiNP OF'STUFF! Bur wHm i pip Get to kmow how, when wmzp- to a$ß iti i canal/v\c&t SAY l MAPFMY PIV1M6 WITH %OWN PRAWIM&, I Often HAD TO PPO0VC& MASSIVE AMOUNTS opFOOTAGP AT Fht- LAST M/AfOfc-I $peMEy1Ji&TčU?pHONčANIMATOR! AMMAJitiG ATih-zSAME tme AS POING The- BUSiNßSS OMlľA&PHom.- CLipNTS WOULP ^ANT,*WpCA/A£!ö Yoil BECAUSE. Of Hi&h StanpApps - m poNt capf if Youp- awn's in Iht hospital- o&m TlMBUtJ ^Xt^KES/ SO ALU l HAPTopQ WAS JOIN A LOT OF STUFF UP IN an INTßRF^VKlG WAY. I PoUHO THAT A^/MÖSr ANVTHiNGr W\pp WOPK. PUTITSOMĚWHž££.£lS£ inThe, mIPPPZ FAIRP/ INTcU-lGmXPi- ITNČV&I2 Lm'fmPOWhi, of eoN'ßSE/thf WOpK WOuiPNTSf AS cSOOP AS if /O HAP ikeTÍMFTö ANAPYS& ?uš THlHK WHAT Hit HBLL i WAŠ PO/HO, BL^r AT 5 /n Tlít MORNING WlTHjFTLAčf, HôLPim Ttt laBbath W a &MjmPy cumrr FHOHiHein4Hohes, itšftšYouthpcl&h'. - IP ŠTART &FIHO CLFVPP. d J TFPOW The. gPFAKPOWN OFF 225 non mCxmb to a PifFčmtrwtíô wtw a s/miua&NAMf- rm /S WINGS MOVE ihi PARTS. - WhfßP &/e£VTHitlG PO?š HOT HAPř&N AX Tkn &AM£ TIME, TAmA Rouywcop mu-ľ>co twhug- QiMCKPf APCi-WP TO Stf£ £öMßTWH& " HIS JOWLS WILf PRAG- AZ HE TERMS' HßAPAlzRlVßS AT lit cur His JöwlS %é TtíGR OptrU^ A/Zfí\\Jß i-ATp &cwt4 Tö NoízMAL 3ŕií) KePP OH áOiMO - f notify Mlétír KßHPati \ mô THěN Th&Ý^oU&WTttf^fáH" -šwmxčD ey íIí&.ma(na&\cH-"OVB&AfPlNG AßTtON'MěAKS. OHč FAßTSTA&S FIRST toi CffißP PAZíS FöPL-ÖW- L0S TAK& A typical- UTTčm BIAHPI ßO&HG PěSIĚW PlKČTHPy HAP FbßTV GoMeRMS 77/fc PK«-C3?ATtfPP TO 7W/2jV 1/ WITH" -IS IT? 226 we couep CONT&BUTE- to gCf&DCM $i Pi\tTlH&IN AH EQüAUX PULL- BfSBWXXXtöi RJGtít íH H\ť M IPPeE Hud GO homb, MlETKAM- SAID, VTHZ MOST PlFtfCUPT THING ToPOlH ANIMATION /£ AÍCWIHG. - you KNOW, 7UATS a VE& TRUE STATEMENT " Right, Suruzern how we Can make "nothing' at C-p&t iNTčRESnrfé.,, WE CAN TAKE The CUI&E OFF THIS, CSPINA^f BITOFACTION ■ Bi SJMrVf S&MCm TUz ACTION INTO PAWS. fA*£> PCS.. Tiíť ŕ/eS WCtítĎ SC LETZ S/MPľ/ MO/ŕ fČDffišPf ftoit lite FCOT FiRSr áruc/í iv/rw DOTS" l/V. Wft*- EEsr Siwwcŕi au) Mips, G&rrues. Stir T^PCW /M A BJNK fül^OWK MST fofe) Since hostcfohybom aqtionz sta&t fčcůí iu hifs tvřit mové /í/ps 3^ GTOMACH f-ic'mß/AN SfľítAVQN'. HEAP tSTttpWHS 1k. OÍU^EOOT WeteriF CM&t gAčK Ex>r as Hb Sn^s (SACK steps ove& ^ stomach spc^s SUGHTĽY AS WfiiiGHr F7££r MOVE WHAT It&^HoULp^ FboT St-l6mW 3«! EKWKWM £tfaitP£RS AZHESrpfS 3*J SETtUs? H£ A/AS j'ustone Uttt& petAii- that? p\FmmT wiu cuahse gvmmm- PAS ft£ SHIFTS Vf&CMT SHIFTS WEIGHT A&tS SWESpbcST To ON&QifrE 15 CTH^e BALANCE. SeTtt^S 4s tf£ turns SUNK H&ad, H/m. 229 SD] Jo MAKO EYEHHe PULL&T ACTION OEl FIOURE INTEREST I Wß !5ßFAKlli& BODY IN1D SECTIONS -INTO PlFEEE&NT ENTITIES W MOVE SECTIONS ~ O/Vls AT A7fM£, CO^TANTEY OYE&APP(H& Tie CHjser C omtpy flu-LEGS AHO WE C/W &&EAK IT Up INTO EVEN SMALLER ^eCTOMS IF Wis LIKE- (cONCi-UZIONjJ 'People unfold one papt starts fiezt, ^ieratihqíCu, Enee&y Fbp-ow&iz- pacts ro follow - which then 'follow theou&h- VYHFN A FlOURE GOEZ FRO/A OttF PLACE TO ANOTHER, A ALIASED of ThlimS. take PLAGE 7>u9 EV^TE/NO ISN'r HAPPEN ims AT ÍIuĺSajyIE TIME. WE HOLE BACK OH AN ACTION, lUNSS "OCŔTSTART OH ENO ATTv§!\METlME. VAß-IOÜS PARTS OFlk^mW OVER-LAP EACH QTHEFZ, EO TH\S iS WHATS ČALLFE ih Tajl CČAFT - yO VEREAEPIECr AOJIOH' ~>iH\pVE (OOmTEllAQXiOttJ a TPeP45S MOTMUCH T&S+y AßCMT Co^rmAOTON, OBVIOUSLY WE PO PF NÁTUpALEf To BALANCE OXR&ßEV&S- OHE FAPrOrOn FCFŤWAPE AS Another pa/ot isalancbS BY Going-BACK- -Op. OHE PAETf-£\OES UP AS AHOTHOE- BALANCES 230 HOW m CöN\B To OHE OF lPie MOSr FASCINATING PFVICBS IN ANIMATION- breaking of joints, To GiVE FEEXIS/UtY anefvfn AA3ÍZ& interesting J£U CCESSI VE BFEÁKiNG of JbiNTSlO GIVE rEFtmUTYj re- Wß k?ßP cm t>c»ty& it To i~oc£&t thims? vp. iré QUITE A mouthful, "Tfiř P(OHE£& PlStt&y ANIMATOR VlSCOVtSZzDTftK PEVlCF ad ALLHi&GOOP guys werepoingit, BUT AFT &A&&TT WA&Jke* ome WHO gave ITA NAME. WHEN i noticed MILT KAHL poing it i PEAAAPKeD ON ľT-uv) MILT said(OW( well, YoaVE GOTTo po that * ITHiHk if i b <,A\E * oh, I notce THAt YoÚPE š leaking ft\o joints heFe successively in orperto g^\ye fí-^xieility^ h^l> hayetirown ME OÜF OE%iL~FOOhA.- TS NOT WHAT líh CAlTFP 'BUT WHAT IS IT? FUTSmPLYf ITSTNľS. - WHEN AN Am <3cčS UP l<$ GoíN&To g com back POWN AGAiN - Ike HAND WIU- mfP on Going ŠUT lh Ei-ßOWJo/HT QOIHG BACK mili&-OPPOSITE DIRECTION -9tAETINGrON ITS \NAY BACK FoWty. K3EEŘ<íNG'MEANS BEWHQ ihtL JOINTWHETHER-op NOT IT WOULD ACTUALLY BEHP IN ߣALiry, AND THeH WE'RE GölHGTö KEEP OH POING IT COHVNULCmW -SUCCESSIVELY -To MAKE THINGS LIMSEF- 231 QRl/A WATWlCK,Hie first A(i/MATČ>& To really PRAW women, always S/WD, 'CUid/FS AEE &EAUT1HIL.1& WATCM'' in Hit iws q&ms f&enp, auimato&billnoian develops rurberhösz'animation, ■it WAS hovel :W funny GiNCe NOEOOY HAP ANY BON&? ^ EVERYTHING FPOWEP with ENDLESS CüE-ViMO ACTIONS^ LOTS of VARIATIONS OU FlOERE 81, ßOUND EiOUEES. MAYING ßöUHT>ßp ACTIONS- BUT NOW WE CAN GET CURVES WITH STRAIGHT P/NE$J ŠyCCF^WB BREAKING JOINTS ENABLE US TOGETTi^ EFFECT OFCUR-VRP ACTION BY USING STRAIGHT PME&: WEfe EREEE> FÖEENE&- F£0M7fi£AH//N6S THAT WALK n>td TALK' SHOULP SE ANY TlfT OF FIGUŘE IN Alľf STYLE, MAPE OF FLESH AN P BONES, TO/S 0REH$ UFA PANPOßAS WKOFSrttřF WHAT AľcOL! VY E CAN HAVE gON ES ^QtnAI&HTS' IN OUR-F(GUm dadSr/LCHAW FLUIP/ FLOWING MOVEMENT. irk Goiuo To be stiffa^ a board.- lis stile awfulp/ rj&id. 232 NOW WBGO pom He. S/Ďŕ= - SUCCfSSlVßpf tšRRA^NG ílu Jam: líí -fflfô EXAMPLE At-i-The. SfttPS öfcARE PHY^CAUOf POSSIBLE. ŕ//W^fr ŕMP To ACKiAUN ßENP OR. Í?RPAK ANÜhpHOt^ WROÍÍ& WAV Yŕŕ - Osut vitß can ) 233 Urs po IT AGAiH; £LßOW l£At>§ ^ ~UicJoiH1Z BPmK IN SUCCESSION 234 A THfNGrTö PmmSrn- IN ßtZEAKiNG ike JOINTS. SUCC£Š£IV&y IS -WHEP& VOm The. ACTION ^TÄ^T? WHAT 3TAKTB MOYIHQ f/čST? IS ir-TCie Éi-BCW? Ite MPS? Títt SHOUIPFR? h\FAt>? IN MC&Tßfä ACTIONS OFTke. BODY The &Ott£C£,1&&£Vm~OFrí>e ACTON is /NlfatíiPS. PANCEPS. SAY,, FßOM 1U&HIPS, PFAIZIF. y/ TAKE A MAN SLÁPP/NG A TA&L&', TÍie ACTIO*! StA/ČTS FPOM NlSHlpV- WE HAVE FOn OF imWAY 10 A&lFivniATF W WAG&rfiATE ßfeAKIH^ jEVAtfS ßECAUSE i T HAPPENS AU-fiii. TitAE IH REALITY- 235 jLi?TS KßFP oh h ITTlUG Tk ta&PF - it's an awfully gcop fxaníPlf of How wf Can ACNievz The SAMB Fl&XimufY A$'FlU&ßß&. WOS£' animation sy SRBAKjNGThe, joints Y/HEpEVEß. WF-Can -éfOíNG UP - Iti^^pBöW Lm>S SadikettANOPizAGS. ■fke-AAhi fS f&WAř Bunde* OH E MOpč T/Mŕ- SHOW(N&%e> l&EA /6 STU- fbJ^JSM /7S i-/Kŕ WčGD |v//ev WfZMAKZA PuNCiL APPEÄß ZUBB&Zf. AkP IťS JUST what a BAHNěSě, HiHOU C£ Cto&mETßMPUs paňcč-r, CCA YAUPßVlUZ .ßCCcNT£ic trnem poes - ahd e&epastaír-eí they've o/p/ or straight "bones -di'J toiht8. To work Wim -To Gm TS £ tU-itSlCH of curvaceous, LI/AmZMÖVEMWT 237 f^ATiHC OH A p&W /MS A VW ZiMLAft AQTlON TO SMACKIN& ~ftt& TABLE- pgr IS h&p BytQc To -Tfrs Sent Joint £UmE$& cav /-cok AWFituy cmfucw& AT R w Btir £>tf QuiCfoy G$ETtiX'EDTo Taut! USp IT &/ERY CtiAHCE Vblj GET, IT&£(XMEZ SeCDW? 2fet) SJMRif. /A/ 'RfAMSVM 238 Of eoüf^E $>fmM$m§ do au- of zfMB w ^um0^HM « 239 ah oimzwA ODNPUCTC& gems jam m süeopssfcw likec&azy. BLSOW Goes. R#mR£> fi& UAtib ;W gATcH GO g/CK.- WZ&r fe&WAßp £9 ŕ&gOW, g£Toti Qb BACK ■ U&é take ílte- $roaľ> Mytou or a m0 slapp/ä&car a mosícal- bzat^ 240 AND TH/S IS A rf01c0p AOTiOti řÓ/2. ACjONDliCro&n, Tri&i All £o££ pôjWARb W#£r gggArS jSAcK ŕs pr&cPS H-AW WR&réO SCK A% £lJ3otf<3CfSmCi< FufíWčR W BATOH C&fíWiM fO&tfA&P AS mscxNAW^s fv&wm ir Pcom coMmcATPo, Bar when you stapt to think this way( to ain't. 241 Tfee afe lots of Simple little Acrtom which can Bp éřhamcfd WITH" JUST A VHYgiT OF FLFXlßiUTY. žayf ÁtíAHt> CĹAppiHô 4- 3 — JVßfsr LFAt>$-t/p prass going- up wp&r í^os - 71 p Pß/fös GaßGUM ALSO, IT HBLfŠTO 7>?špL/C APk\ ye f/post 242 Oŕ Cottf&č apppah&£ im &EIAK0 THIS' SpAAl/SH FIA/WfNCo fEFSOtt CUPS so wŕo t>fm tr ws way, o&viouspf- p{FFß&mo/> tips or Firfsm wrPAW FTOM A P&UHK OR A PiPtaAAPS WlFß-OP- A BABY- Bpťíh-e, F/ZjNCípPF IQ erilTTHiz-A tfUMgm Or JOiUIS SHAKING/ ON& Umo GoNntfOfS up AS £L£öWOo&$ Vcml AftPWß Hul (lir HANO PRASS, A M AMP FLAPPlHe Ca la itauah j vmv P-Apsm OH OH£s - .2- 243 ESVŕsAi IN A L-tfncTHtrfG- Ll&-TMS WE (3AH OET FuEKlßlUT/- msmm qxn& üp would moK. p&ú -fte iHBrnmi CAí WE[RE HAMMčRjNO A A/A/ L - f p WE HAP A * BerrtEČ Gatö třp AFW Buf AGAty WECAN TAKE Ali tms Too FAR., w tithing fs to know rrso weqah a&s/r wmtwpwANT (whighwubeaeot) Take someom&k HAHÍ& Knocking- Toomgz 'ôoopy scow fcAím we Jíst wakt jo IN&ETWmt it FAVOtí£íH<$ Tk&ANVC-tRAlE v AMt> (T WOUL0 m fine- 244 rr MiGHr not &e NtassAP/ tô ^cn&wiswč rr withmpokch jô/a//s -&ur MAy$č its Gcoo, pmt&f n clunk- NOW HOW AßOUT WIS FOE, PUU-INO St apart? elbcw/s go p/eSr - anp Com in a Bit TWm I-V/2/S75 ŕ-čAP out AS tiANPS hcp OS?. So irk aw- a matter, or pte^m - Wffer sHowm th£S£ pgv/cřs a*) mmoipim in %e &a\w- ití The, CRUDEST POSSIBLE SiatT TO J\AA¥^ (rCT-ZAß- TO LiM&m*7HmS up —To STSP B&m ^TlFFOß-SrilTpP' w£ cam imTUm ItíC&fyWj SuBTty ol OYe&OSz Tum SO T#/MSS Go ßU&BpRY 0& MUSUy. Burr its Sumzi&hg- how FAT^w cm GO with &m\Kim jö/Afrs RAVß IT WO&K BmUVFUUY. 245 QflmífšíLtry inlüFAciP) -Tr/ĚfiĚJC A -TťMDe/fcy Tö FöföSrT how MOBlLß Otí& FACřS RE4«y Aße //V ACTlöH-AHb ffk ALWAYS SHOCKING To sff how /kmOW distortion 7ÍÍ&íě is WHEN We lock AT uve ACTION OF ACľ&RS' CLO&e-ups frame &Y FRAME. 246 7H£ skull omouav ftmitis r«e smz &utthfre2 iok of action HAPPmiH^ &&lowtue CM&Ksmt&- Ou& um& t&zth doh't ovm&f pc&eon a& theEpe looheo omo om, ^kull. ~Vi£ LIIR6BD l~oWE& JAW ACncti l§ P&MA&LV Up *k) down WITH a •SLiGMT UTtfZAL MOTION. TU Ttmrnoi IS TO EOfc&sO JUST HOW &6 OHIO N\QUTH CAv/ry CUE P.EHTiSr KNOWS how S\& rr IS^ -fye. 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Ho OF WEtGH T ITMOST BE A POEYSiYPWE RccK- Hons he Goih&to pothis? he* Ccnsip^jmo ^ WHATHZŠ 60ING- 76 PCK lip- HOW HčAVi IS tT? hfs ANftCiPATiNO WHAT Tft GoiMG 15 m<6H„, 256 MAYB& m V>cfltTW£lfieSc8&NTfME To HAVE HllA WALK APOUtii), BiWCmv/Ay CfZAHOTUßKi HEk GOINGTö ANTlOiPATE^vm^E ADJVSI5 H-fMS£U= JC NOT P/wMP H'^SOF, KE PO£5KT WA\T A HERtitA. <*o& AS K£ UFTS ?f£r UFT TftES To q&r IA/0ÖHT> MlStfT A-MusrF£FriN pACttAACti ac fte Tftßf TO &öT A 257 A MAif CAUSING A SAQKOFPoTATomOHHiZBACK RčNPS QOAWTO COUmPBALANCETt(s.M/EIGHT skuFTLB ALCHE,Tht f££T AiSO SiPtAY CUTTö F&RM A ^OßTOFTpJpOD To SPRm>~%e.YI&@tfrC»t& A !-AR£tfTl ARMA'. PWr APART ai-ways Bmr comoFT Tke A l^TóEt>lFFE^(^IHT^lNAi^Ot^l^\Sp^^iH^€i%e, WZt&HTTÍtt jEPE^i MI0E BtCtfRHfiS. ITA PĚPSOV IS CÁS&ŕlHG A flfAVY BOCE- (püUW SU&HWf apart) MOČ£ SLOWLY aJ-ífe Em WlLLRAl$£ only šu-tstmy OHTh& PASSING Pt&ffiOfi &tíTTke-££Xi< WlU-HOTßAISZ AT AU. GöUi-D B£ cRßATiO - A&AíH^it, PídoT [aj ill. 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GkmrANf/MTOfr, BiU-TYTLA SAYS - ^ 7% fcwr /s w yo« /4ßr A£?r /H^euy saJMtNG A mte^ About; ßutr You {-íaw wmsHTiH youp fo&ws V ytw do wwra^e you possi&W Cam Wim twt m(&tF lö CQHW Sm&TON* IT ISA smtX&LB FO^ MF ad I AM OOtäOcOS CfiTAPFÍit . 259 OH a sauooo.' a srr- BAU-- oh VWTĚP 1* WaTp£ Slít WllupeAU-V f4AVE -grk pisce a fpw 7ňíWGs wm&i mi- at PiFm&tr sř&t>s &&caus£ op tm^ vtrnonT *<ř ÝtHArTH&ffZP aAAPé of, waw> Ofií^t a fcPopí HAS AtR la nos - a HřAvy falls - air Buf ppcRÍ IN ÍJtt air ■ /IND SpTTL-eS ;=3^c- SerrLC ATAtí.- TANSACtímCuP- W Ute Cuf WOUU> řBD&BLY SHAfípft ON IMPAQX sut m cm ha\/£ tr Scm&£ abouhd a $0)>kč PAiee ..... 260 A FAW-WS í-EAF LINQfelN 1h&Alt' Aiß Cum&tTš WtU-AFrßCf IT- /7t FA«* mo-mt SA/VíĚ SÖST OF TO rA -ftcT/MHWS CFTHI6 BV WATpfL -a SiOíV SWPToA HAt-T• /NTS' WATER--' a F@W £'MAW-P/SSIpATE- peer A POcK To Tile l^Y čPQs A ĚAW- OF/KUD- dJWT WHFN IT kits. 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HOW YOU CMCOSßlO ZfOP-WfWT KlNP OFA STOP - WHeTHZR. itS ah ALffil SfOp OH a LATi OHE, CtiCCS(/fä whe&E IO Do IT IS AN IMPOP-TANT CHOICF, I HAJE Tö S>EEA FcOT Com THfcGI&H du) LAND *,J THßN NOTMlHGi HAPPENS To IT I THINK WHEN IT WE CM&TTO 60AHEAP -Mi pLITTht WEICHT ON IT- OlC BOOK FÖPWWP - OH PAISE Tki OTHEP-POcTF-f/ 264 9of How much effort íttäk^ to stop som&wihg shows (iow much itweiohs. A&O/ iUe SpmP OF an action WILL vetermine HOW VIOLENTHm vpapery /S - 'f Á MA/V /£ R.U.NMIU&- WITH A COAT MAEE OF THiN, PIOHT AMTERIAL- W HE COMES Tú A S UPPEN OTO?, Tte MATE&AL WILL CONTINUE TO FLOW, TotWPON GOlNS -TOQOAHFAP OFH/M /NPFPßNbENTPy ^uěTtfEH FLORBAOR^é 4TCfs- /viATCBiAi, o>mí\m ^ settles A (VcPAWW /A/ A SlPKNlOHTlE-.. ~fke fAATmAL Will BLOSSOM ^ RAP VIOLENTLY. SO ■ mtN SUP ŠTOpS, HER Ci-OTř/řS ftt) HAlfL Foi-löW THfZWßt Al&lVMÔ LATER- THAN-&& MAIH AOlCfi. AHb 0FCOUPSE/ Hm, MAIN AOTiCN ALSO StdPS IN PARTS, FlNlŠHlHG UP AT AFFERENT TlMES- //AS THERE evek- &EEN AN AOTON whepe ALLTke. parts OF A gODY moved UNlFoRM.pi: CEXCEPT IN ROgöl^ %tá RgOPAgRY NOTEYEN MTtfe?tO) A&aiu, 'follow -wmm' /sifc. result of *w is GtEHerateo s/iUv. main action. 265 Bar ík ohli way m can pta'ily show wmtr & with Ha action. say vVŕfe picking MP A HEAVY batch of HAY (Y/7W A PttCHfO&r 266 back-Co imm a m& a&aih- wim Qum&ffOHs vp PcvfTomwTMmup irnmantm-y- wpUP CDMeS POtWl JATÉ oncn-mip $ovi Sfáňm? m ^Nps tmu Hanps POfír so ěhtŕtít-o físip #vök • AWPSPiť ps-ayép- Bewies iir lb6s siiě/ustfrcN YiBR*ns coKcavfm -to šopy. Heap ři« owe H£ ea(í&-T6THKWfT. tort, ^ hi^^A&h 267 A (Y an AN vie- WHfp.g' HPS (SstW& lb Mir A* WW MOST £16 ACTIOMS gWcK Atari Goes o*ivj& flS HEAD ANP A4*S wee OK TTflE FPAMS AfilE THIS , pis/eases SO W£ TK/ Tc? F/AJD AW-lte, W\£l0«S possibilities to Cam/ weight YtSuALOt " Can wez&ay pasts? GO FAST AA'p SiCW? 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A$ ßÜLES OFTHUM S AtE ONLY WHAT THEY ÄßE "£W£S OFjHUMß, JE-V TTSEE WHAT WO&& BßSF MAY&E /Ti* &ETT8.00N& FRAME APVANOEP, MAYBETWO, AMY££ % MAYBE its ßESTI^VßO. .Ort rißVER gerrm utz.) 272 ANTICIPATION ISTHBRb AHYBCPi WfO VO&n'tkmow Gifts GOHGTo Po? T$6 g&at am 1mai0r-1 bil-ltytla BA'A " TMmB A& OHP/ S THtHGS. in AHIMATlOH - C 1 ANTICIPATION 2 ACTION 3 FACTION ANb THESE IMPLY The £E5T LMAPN To PO TH&TWN6& WUL o. ■Z PO IT, 3 tew- "EM THAT you ye po//e IT. ^Vse 3/a ANTICIPATION j M/Y? EfWtfrS^ ff COH/HwAP(M7PS MKT /S To? WPPN- Tv?e AUC>I£HCE &£FC MMFfS GOlH&To HAPPEN -TPpYOP^TtiO ANTICIPATION 3j SO tHFY ANTIC!PAW IT WITH U$. 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ANTICIPATES ACTION REACTION T#e ANTiClpATiON 1$ ALWAYS iti 1k, OPPOSITE PimTTiON To m02£lhe-MAtN AOVON IS GOIti&Tb GO. 274 tFaction k nib&WHcu eopy THEN WE HAVE ANTlOlpATON OF TfZ£?A£NDOlt£ LATENT FOF^E ■ USuAW/itte-ANTICIPATION ISSLCW&R- tES2 VIOLENT THAN The ACTION GLOW ANTICIPATION,,, r, *Z/P/ = FAST ACTION MPS $rm$ slow whp vp Tnm puvs iu scpy into it tap. -C&AStW&CHW A FZUNNFF- WlLi-QO BACK gfFOfe (Some FWWARP ££r OO W0 GET A AiLKN STFQN&&. AOVON —- ANY ACTION CAN BE £NHAftCEP IF 1UEFE IS AN ANTICIPATION BEFcRFifie AtTiCH, we go 6A<3K before we Go fo&wafd . we go forward &efof-e we go back- m go town setoff m go m we Go up before we go pom. The RUFF IS-' &FFOFF WE GO ONE WAY - F.IFVT CO Hie OTRE^ WAY,' 275 OF CCVpSP, WfTřf A "CARTOON CARTCOH sommiH& a/rncfPAr&sh/s &(ir ivd p&wwms&cmour— He&juSrGoiE. anticipation HAPPENS Wim ^ UNP£RSlATßp MOVEMENTS- GeirwG up mm a chair , we gpsagjk before we go fawrn* oohh ßßasE we go up. Ko\ J Kŕ anticipates: sack 7S <=o ft^tw/sp GOč£ FofrWAßP ■W PCVářťfoQQ UP SOÍAECNe AAAKimA POINT' O NOW, MANINO T(,t ACTION BIRCmeR- ' Tap&a shpeetuiho Eike Stapuns-a walk- PfiEPA&NG- BeOS PACK SUéttty BOH ľb&WAPp GOIUQ BACK PRST /ŕVTKe OřPcSiTĚ PlfižtTiON AJAěNiFIR %í ČěSUIT. its UMATUPAL To STAPxAWAlK FAm&r foesr f) 1 ■ PtRpOTtON \ W>'ě£ e,otn&. JI! i&r&s-im wan HIS EEřrřCOT- STAR-T-ike WAEK WimíLe.Fcor NčAP&SP To 276 Bur Hp Coulp ÁHVCipA-m -the, walk WITH m% e/ewr foot His PS&ATEoaT CÖU&D BACK UP AZAH ANTICIPATE - AN'nc he could anticipate HtS WALK gy caching up with his TO F/?EE his muT m>T To STčP A PALLET FLIP IS AN ANTICIPATION 8EP0PE JUMP1H6 UP IN %e AltZ To T>0 AN ENTRECHAT = WI&&LIH& EEEF A MAN ON A P/Vlftö ČOAfä { id Amm**^ PO a fltít(£$ V Wt£ (so POWH EěFO&EWEGO UP O 0 (SAQC ARCH RßYEZScS} '' AGAIN J 277 Vi m S/MAUťR ACTIONS - TAKE A HANO iVftJTWS " ear jm by purrmtN a s/mi ahticuwe up Bm%& hé nws - we /m. -fte razsoAi iv/hi<íng , Q£ H/ř CAM OSE Ft-ArAßOYAHT TH^TRíGAH GESTOSES AS ANTiQPATCH ■ BAY A SHOrt&z WOMAN /S GOtNe To PWttßR HAND ON Hߣ HiP^ (m A Fteit&s) 278 if someonfs go/no to h>t someone HßWOUtP ANTICIPATE ßACK BßpOßE SmN<íG Feß-WAPP, Tlu ANriClpATcN wwife oomovo hlAPPßN. IN itte,mRlY £MS OFAN/MApON Ute CCHlAPT WAS OtKE HITTINO A PüWlNQ- Tie ^ ;r WS 4 FpAMgS, o Em mrwtcKSAio, 'At D/swey's ŕ lfačnep How tů v&ln&Č A puhcH opav\ aiZt ßAßE/to AETOA\Df s Po/V'r rVßß S#öW fŕ.e tfANP P lTrlNOT*s OHM- S/iW 1&e. /-ÍAW0 AFTßE ITS PASO yzie GM/V W 7ue CA//W //AS AtoKSD our PLACß í " tom wŕjwsr ThěPE ÍS mo f??wr ■ikL CONTACT úd SHOW Tic HAND PASriUe HITTING POINT ' (o TIMES •iUe IMPACT KEN HAPZR&TOPPm THIS is WHAT THFY PIP in OLE FILMS- THE/ WOULD Ep\TCW -icesFtxNTOFContact'ppa(A^ iöJUOOSHOw tu ke^xltofiuz Hip t>hó puta g/é SAME ON IT. SO, Wč pUTiQc sol Hit WIEN Tkc Em is pAsrte. FACE ~ WHEY %t OHAPACTEE- /S1 plSEOt&EP 2iib1UAPM Sto/wesTttR&i&t* WEGiETTteJMPACFfTke smENEffl fl&MlteD&PLAeFM&rn Again, the ANTICIPATION f2 - Jtfŕ ff&pAfí£ fcP-lkz ACTION. WE BROADCAST WHAT m'fr Da fh. 280 m CoulO SAY T7+AT Ak/ ANTiC-lPATiON IS an EXPECTATION of WHAT MllEOCCMR. THř A(apí£nc& ExpčCJS SOmrHlNQ 7& HAPPEN BEFORE IT ACTUALLY HAPPENS- A ZURRZiSE GAGt WORm WHEN "fat AUpiZNCß tu £tpECthTiON w exacts A certain thing to happen -w th^ something- epH/rr p/rmßfNT happens- Hie INHALE IS. 1ÍU, AtTiCiPATiôH ACTION ÍNHNS'AbiXlOlpATai action \NHAlE~toOZE AHTte (PAPON WORE ACTION MOfe /NHALé : more ANTia&m ACTION PpAQTON op přSuí-r MORE reaction RmOTlON. 281 WVlS/jgi£ anticipations) A WAY TO GET kvVAP' WHICH ANIMATOR ARE ALWAYS TALKING ABOUT /S TfilS: S/l/^ C^^TE^O^SOWTW^ 2-J LOOKS UP Sf-t6ttttY- Pt/r /a//a vsey past"anticipaton - a pfawinoo&two in %v opposite d/^ecbcw r&cm twpge m want to go- /rh too fact fop. i&e eye to see it ~ irtjusr fofl ONE OFTtiO FRAMES - Ifk INYlQ&tE ToTkEEYE gKTWEFEEEIV THIS GIVES, iTiito 8MAf? SAY A &oCCe(C Goalie /s eom ia sroP a ivrfl a oircuiaf- Toot FLouftSN - i z s 4- 6 OFCouFSE, iU FOOT nou&Sff ITSELF AN ANTICIPATION OFCAtCHINC Ha VALL- 283 Ifi/S P£VtCE&NEZ AH EXTRA PUNCH To AN ACTION SYINVISIBLY ANTICIPATING ANY ACTION-irt %t SAME THING AS- A "NATURAE ANTICIPATION - JUSTClO The. OPPOSITE- WAY FlgST-mr QNC-Y FOR ONE, TWO OR THREE ERAM&. A m&EBAlE PLAYER HAVING CAUGHT A BALI- COULD ANTICIPATE ^tANVQWloN CE HIS THROW EoRJiRTZF&WES- ■ffie- ANTIC. FoEWApp Top. NOW GO BACK iHTo Tu^HORMAP' ANTl&PATIOH o/n ir Conclusion ; WHENEVER R0S$t&LE WE TRY To FlNO AH ANTlCJfmctifipAMcipAwiJs) BEFORE ACTlcN. ^YTLA SAIP, \\ ANP £0, m SIMPLE-$E PIR&OT. „ m CLEAR,. * VERT SIMPLE. make a statement- W FINISH IT- SitoPpf. -~-v / WE ANTICIPATE 1k> ACTION 2 PO IT Z 2W SHOW WE'VE LXMR IT, ANTICIPATION1 LEAbS OW NATUfiALEY RZiOHT I WTO KTAKE^'^3 'ACQffTfS' 284 TAKES AND ACCENTS A TAKE m AN AHV CI RATION OF AN ACCENT WWCU THFN S£TU£ ACCENT ANTICIPATE Ta £EES SOMETHING-QllfLpfllSim - POVlN &OES up "-\fl* TtfiSL /£ Tie, HAS C PATTERN OF A OARTcoN TANS. HF£F fbUOWS a BUMCPI of PgRiHUiJ& %d variation^ on ffcWtfOOb Tf^ WoPFFP OUT (M Tku (cf3o's 9tJ 4V'S..... 285 BUT WttfLP Wß'ßB ATlTf WßCOüLP STfi&l&lHfrl ÖÜdPAZlt TAtfßÍŠVAPPIHč IN a slight uf anticipation onue pom anticipation, ac hptakps a Crosse wck~ A SHcfiT HAffypp Px>K S14GHTUP ToANTT&iF&lp Tka ANTICIPATION PcWN ANriCJPA-m J*, GöpZ. UR ŠFTTV&S HßPm A POPMUTA POP-AN OPPlNAPY ŠTPA16HT UP m) PONN TApfc (W I řboT*%$e^) u f fr \tom-mm \A ~*J 8 /o í a- ifc +4+1 £OVW TWOS GlMIlAm UP ON 0/ť£S ^Op. ÍOWN ON TvVCS ' 2 5 4- S pÓWNSNOŕňS j_j—j—j—j COfL H-W-1 UP ON OHč& 17 i> IS. P ŕoiVŕi TWOS 286 /teff&Vfce, SAmTHm ZUTWEH ( OWN ON TWOS 288 NOW LETS AAAKF IT KINO OF A POUBLETAKF, WE^LL KBBPikt SAMP CHARTS ßu? PRA&1U-HpAP> FROM S\PB TO E(m d*é KEEP IT*SQUA$H&>' ON tú WAY UP TO* U. Popitu um SHAPF, pfés a«á /mew Otfŕit we shouldn't worn about pISTcRTEP ppawih&s or images.. l WE ACTION HA%TEpR\m PI^ORTpP FRAMES. BUT WE SpOllEO PEMFMgERZ WHAT The- OftGlHAL YOLVm OF A CHARACTER. IS - ANP not StPETCH W Ca/APRF£S FOPGETTNa THIS VOLUME — SOlHATThecMčACTE]? CHANGES OVERALL SfTr- milt kahl saip, " / KEPT The šamf amount of AAffiT IN a TAKF But WE CAM Tush tTAPOüHP LIKßMAP - 289 WE SHOULDN'T &E AFRAlP OF VIZTORTtON Me INTER^LOFAN ACTION- OWL C£ (MAGES MAY LOOK SiRAffQ^ ^ WE REALLY ONLY SFF^eSfaPTW #VP WE F^EE-nePlStOETiON WITHIN WTWATt WHAT COUNTS. THERE IS WILD DISTORTION W ^gy/ WE ACTION W WF G4A7 GO FUEJHER-— GOIHQ PCWN INTO AH ANTICIPATION YOU'P tZXPECT THIS- ANTIC, Tfa &mr OtOEZPONH AGTitlEG£ SENP- Bi.iT LETZ PEiA/Tke Stomach AR&K fOKJUST % F&AM& OR S FILES' oR 4 FEAMEZ - STAYS TUT- NOW WE Opes pown v PRAY it 2-,3 CR-f 60 UPA81tte.EEG£GO OONN WHICH fS a/v ANTICIPATION OF AN AfilTICiFATtOl HEAD fiU. BtSe flni!c FOLLOWS F&£T ArrwMkt Heap Sopy hmb &FTUWikt,Am& CoW>MOVE/NTO A FOerTlONTOTAK^iktCUR^ OFF-tte HOU>. THIS, IS HON TiXAVERY P/D tf/S |VKJ>, CRAVf 7ak£S ' EmNt.tN<3 ON A S^£5 OF CoMfwHP ACTIONS' PELTING prtE, DFT^V JWST * FRM^S A^T- A S^^S CFAC77a/S- C UMULATlVF RESULT. 290 AßT SAßßlTT HAPA OgEAT EMßELUSHlMOi PEVICE' FO&lfe HANDS at 7k END CTATaKE> WHICH LOTS OF ANIMATORS UEUSEp- A FTE& 1kt TAKß, WHEEE HES COMING-BACK TO NORMAL (lF WE HAVE Ihe Tim FoE If) HAVE %<. PßlAVEP while HIS ZtGHTAßM !<> UP ANOTHeß little REFlNEMETT- Ktt ARM OOULO KEER KNOCKING HIS HATOFE&JON AGAlH- KIND OF C-HaP^N^Que,, W&r> HEED A m/nimüm of 12. frames fokthis stuff ■ OTHfE-Afm GOMES. HP ivü KNOCKS -Hit HAT The OTHER WAY -OfOPCESlT BACK OH. Hlü EEETCoULE fepAl im'Tue Am- ■ENPLESS VARIATION'S- 291 Irs a gcůp ipm id look roe m zmA 'sm^wem^ v( , Wik SAY A MAN SEES SOMETHING OtfTßAOßUUS a*J YčUJŠ ' WHÁÁAäAaT?H Ttiiš WIELpO 1%£ JOB OK - SufLßTS UX>\< EOF- ANOTHčfc ŠFEAFDOWN ~ ANOTHER. POStfiON IfiAT will ŠTRČNOThm IT frě GIVE US MCfcB "CHANGE '-MOSE VITALITY' SO WE LOOK Wß WfiAIJMfZ CAN ErIVE ^ MORE ÖMANGß OF SHAPE WtfNlH 1ke ACHOH-LErk PUT IN ANOTHER- ONE. NAVE HIM LOOK UP 8EřOČ£Ílcc.VOWA/ ANVCIPATToN-A<9MHf Wß AHTÍCIPAT& ifa, ANTICIPATION AAAY&E WßtßE IN PANE$ß OF CYEČANIMATW& - OF &&(NčrtUe LILY H&& - BuT ITS ALWAYS WOKEN lETHPfiES ANGINER MOMENTA^ POSITION 7£> CČEAT& MPFE OoNlFAST- MOEß CHAN&E WiTWH. (A&jn, THemfi&fHHté NKEl&fiNSriT.j 292 HAVING Too k\UCH AMVOlpmOH CAN g£ COWSOMETIMES CW-Y TA/(j5S UNNEC^A^Y Jusrib contbadctallthis wld, up(pown *d azoundAtrial, o&OFitz&WMGEST TAf^S lYtZEVEP-^EEN WAS in A wim WfTH SAQlL PMHBQNZ AS "#e VILLAIN* HES 5MACK iNit^mms CFTxoCIHENW&jDPE SC/^f SEIN6GNEN tNfZXMttCN BY an WHICH shocks H/M. the&& lots OF ACTION behind MM %J ABOUND H/M WHICH COULD P&l8x€C& AffENTiOM, yet HIS TAKE JUMPS RIGHT out at YOU, HE HAPPLY MOYtS amy P&TAACE AT all, yet YOU REAuy seb it! THeEeS- NO ANTICIPATION DOWH no STRETCHED AOC^IV ?ar-T ofthe reason wes?e it is because h(& Head as fpojeh in ifa. Mit>ue of sc&^af (pit l$*ce& cwtzal oval) his head mak& a short, sharp aacmb up; then qishons back a m %. Hm> Gees, up To44-(^a,k(cmr) iHSn^&i -TH&H cmtOtiS Sffl.To*i\ IN A WpitW- HOtD. the tnv,-m0/, /S SfWJ ions WsTHA Cushion pack. v 02 3 51~#£0 how po you 6ET FEQlA CME-ToikiLonm? ANYWAY, i'vbFound that Yd) Nm> AT least 6>Fm& TD €&t> AHY aqo&t. -r^x Amy sm rrs SF&Mm > You NEED A MINIMUM OF 5 FRAMB To g&Ab A HOU>. TEXk STUFF WENT SO FAST THAT (60ESS it WOftQ AS ENOUGH OF A PAUSE iNTtiiCCQMTEKT OFAILTWT 293 FlNAlLY I CAUGHT OH- AC USUAL/ 1k* SECRET /S KltiO OF SmP&l HQ JUST OETFNO Tkn VIFFEFENOE BETWFEH A HAW AOC&htTA soft ACCENT a ha&> Accmr g&coas - i r bounces back 3^ *bwr miui mzo »«J /owe. anss^ #tt Bounce £ackt oeqpuP oe torn at sum a en: ir woh't stay swttc. m) A SOFT ACCENT jAE&P-B ON GOIHG. IF Ft>lHT M0& G&ffl i&e. HAND WISE CMSEm AS IFSIOWSToASidB WITH- A tiARt> ACCENT - IF WE FIT AN AN\NE WITH A STEEL HAhiMm, Tfa ANVIL /S OEVfOUSEY MOT AfF&OTEP 0>Y ikt FAMM£r W wttEN -ffie HAMM8Z CDMES VOfiH ir gouticm Back. THIS &GHNCf& SACK Tht Scunp ;c HisFE, ! TI&ME APWR lH,Hir coitwzr W it Mft&>mmy^ . „ ,„ _ % fop-I PpmE 8DUNO&&CK &U>W£M7oAHQ}J>) Samp wte a hammer HlTYim a NAIL - 72e ACCENT /S ADT WfflW T#e M4MH0£ Gomms NAtL . ittL. somas S4ck - QWF FRAME AFf&Z Thi CQMWCT, WO. ITS TH/S t?tf£. A SOFT ACCENT WIFE Km* ON GOING - CONDUCTOR. CQNPttCFttE WALTZ TEMPO- WEFFFl The, Aco^hl r ASOttTtfEFE ddHuHANP CONrtNOEZCN Writes mr' Accmr, 294 A HAIcD aoWCg BACK J) a íaah potftrm H£ FlNGBZ GfOim oar --—> ACCfiWT US 4- S (f) l-H—I—I-1 F< (6) 10 9 8 7 U4—U 4-- (^AWou&i sometimes a agtícw srořfi as^íptĺy-or as abčopuy as itcan^ WE F BEL G a softacc&tr '^J^^J A0AH THINK of CTMPUOrm A WAIT?-- FßLT Accaff KEE?S GOING -b- Go(H& oar /=gq--■-P- Accmi Wf-FEEL 1fo ACPENT CH*f-Q, r\0 m snu- opEEh mo oufôAQZčHr suriUe,mvEM&ircontinues. 295 ä kmat& m?r( AFmumpp/HB ourf isilp bouMččmx m a hačď ACCčtft f 3 57? our imoite, n -tmt goiistm back / 3 ä" 7 ? 4-1 7A.ŕ q 3 tw *—"-■-1 7) /M PACT &ÍCK A šOFT ACľMT ^ íh B£ HAřřY To~ a ttM&ÁOcmT WHY CGUtOßC&rr O^HABO^ {Hi7Hm ' £" 7 íS 7 q " 13 /S ;f /* hH™+-{ & Ulli i^4--444-fH UP&X f9 s? t /* 4— ACCčNKÁ-RČtjp 296 TIMING, STAGGERS, WAVE AND WHIP WZHAVElti&AP-T that CAN PLAY MOST rPPELY WITH TIME. WE PONT HAVE TO «S£- NOmAL time. WE CAN FiTHEP. <50 Too FAST-To get S&&T1C HUMOUfi Vw) FRANTIC ACTIVITY-OH GO TOO SPOW W GET BEAUTY ^ DKSNITy. Years Aao a zcienvst fplieno of mine showed me fipm he naape abound ife WOPLt> of Mm tod ANlMAPS - none OF ITSHOT AT no&MAL &PEEP. IT WAS AH* I NATIONALLY FlLAAPP TcO fast Oft too blow, h? HAP ELEPHANTS IZUNMHG like mice &d vice vzesa, people in religious Pptuals facing arouhp as if planing tab, pfople kissing in slow motion, etc. aft&pan hour, cf this VOUP MWP TURNED INStOEOUT—GlVmG A KlNPOF FNp VJEW of UFfE Or^d ACTION- Tft£& wa& A SHOT of A teamp ON A r%rk $&nch POTTING A MATCH&TlCK in his BAR IT WAS pILMEP SLIGHTLY Iht SLOW MOTION", SO C£ 32 FlZAMES A SEGONP. as FIPPLEP WITH Tk*, MATCHSTICK you saw LITTLEPlPPLlNQ MUSCLE of PLBASUtg $PP£At> m FAO0 WHICH YOU WOULP NEVZfZ s£f AT NOPMAP QPEED. ^TPAHGE, Bur COM PUPS tv£ VIEWING. Since thfn I've always t&ied to Avom normal timing, i awvs tzytoGo JUST A little too FAST* W 7h&nSWtfCH To GolNSJpPT A PITTPE TOO SLOW — COMBINE it. GtO fop- Hit CHANG?, TU CoNTPAST TU &low AGAINST p\4ßr-/St 2- EXTismčS W OfuSrMAKE 7 EQUAL- IH ßETWmfS I 1 ' 1 I 1 ' 1 I /rO/V OUR. X-sheets /HSTEAP OFikt USUAL 3 .... 6 ■ WESKlřONBdJGO FORWARD THEN Com BACK dc- amp we're not LMiTtf> to just that for varf0v Hold some fort-ofc? FRAMES. ^ OTHERS fvRCW. its ah ERRATIC EYRO%uPE-it PEFEflOS HOW WOLEHT WE WAHT it TO BE. 3 VIBRATIONS. ALZO WORK WELE ONVNOS.'- S. _ 2- £._ s 7 6 OR^KiE AE0UNO for. a moee Violent EFFECT s 3~ _7_ 1 ANOTHER l/VAY- TAKE A PN IRQ BOAft> VIBRATING we make #/; when it TO a stop OF COUi&E W&CAH MAK? NXOZJE FLEXIBLE pasing POSITIONS WITHIN Tk& EXTREMES hf B It 12, II BUTT WILL WORK WELL EITHER WAY' THESE ARE fkc v t BRAUCK* /HOSr ANIMATÔB& usb- FOR LACK OF A NAME i CAELITÍiOWN' OR KgAC ektpemfs Aer Close Tcxsm&z- W Ttt- FAR- AOAPT mOfČT A YA&čTV Of ZPAOH& m%.ACnoH' THE ONE( PßCfym WITH TWS METHOO its THAT iPTfritä TO b? a bit MEOIANlCAC-WE CQUPD B&ak it UP &Y POIN&-MOPE /A/7^Č£5T7Atô flSS/Afô fD£/7KW£ WITH (H iľ. &UT 77e RčAUOf GffiíT METHOD IS % \TT0 mb ^ kengotit.fso^a shamus oulhahe who qotitEPÖ/A FERSClSOH- Fon uck ufa NAÍÁE, ík ČAHLÍM& it itie SlOß TO SIPE VIBEAVOH FORMULA SAy WE WAHTEP ~b HAYF a HEAE WOBBLE FjZOtf S/Ai= 7£> WE MAKE A $E£IE£ OF PEAWiNOZ FSM I -b SAYf SS - AM> WE OFT A SlbETOŠIEE WÖBSlB BY HAVIH& Z STp/pS OF ACTION,. 2- PATTERHz OF ACTON IHTE^LEAYEO^ 17 t A 4- THEN WE MAKB A CA&miL TEAaNO CF&I 2m3 #33 JiiSTOUeHTiy OPFSET- W WE MAK& A NEW S&ZEŠ OF P£AVY/MSS &IA\ TO ggA 60!NOUPTů^OTH&tŠ\l>E. 64 3 8A Ott. (KTEnZAVlKG TWO Sr£/E$ 0FPEAM/IH@S 6?/H££ MS ALE KlNbl OF BOSSlßfLlT/ES FoPi VlBZATIMG ACTION. 299 9 i 3 (f Km HÁČ&(S AHMArm A ScěHě WHbPb TU CUA&APtčfí HAD am * eačmquaw" VlB&WCti Gam arm šopy řkon m ram, to //ß tf&s, W m áw, uším this sysnm IT WQKfä LIKE THIS- I TO 7 (NTßPlSAY£P WITH IA To $A h}(CEPY \ \ on-twos j s/ £4/ h£ want m Am ZA. ISING iNWlOMFH op- IN E-Á3-P, vmmtNG ab ir qoes oto* (mo ofodüzs? can sß mm invenvme with öök fAS&itfs Formats w &fz&KpowN$ within h Acnaii^ 6o, ßAS/04uy iféiffl&rtwo seaes opppAwmz pone smPmpf wäiNTč&m&> wth FACH OTHpfZ - GMNG 0N&U3B& fm&lßH-lT/SS OF WOSgLFS} ^JUDDm, SHAKES. 300 HMD PRWBS WHIP FORWAKp C OHIY pďř OHE- fRW£ ApTWi Hit aw: REiAxss on f\e,HB<;r mm- AFT&nk-tstitíO WAYEACVON Same Kinp of thing as jhc whip but without ike. suap AomiT. Km h apr! z u$s>'this example: a man swing ims on a rope " í MJHOJ&H \ / wmurt \ [SFfíjLlčPStPAfflT] \ OFTb&MAH. / {AMP OfCDU&sS Ouš COMNOBAOK. 301 Hzm -fee. WHIP ACTION APPU& TO A WOMAN BATTING ff&l - (exAGSeUTEP) WZ-LTUG US CWONik-e LAST ^MONTHSCF[A CWWS CAROL, ABE LPttTO'NANlMAWP A WOHPBRFaL UTTte LAUGH OH TWYT/M. Ar PiHHER kt£ I WERE PmOPftHtNG The WiN& avd I KATTIBD ON ABOUT HIS WORK Tl^&mT LAUGH HE'o JUST OONlE. Am§AU>}XWELL,IM A^ULLY GLAb ^ THAT YEARS AGO K£ti HAZ&& SHOWED ME THAT WHIP PRINCIPLE AS a PATT&N ft&A LAUGH.' 'what?stiovtm £HOW(m!"msruM£L£p BKKK>ik,mtixo tod AgfSc$mLED something LIKE THIS - ^WHAT?"! BURBL&P, * I POtJTGZT IT.,' XKCDmON( DICK, ITS A WHIP PATlWN, ~LOOK( LIKETHIS,,, " WATS WHAT YOU d/d ON TlHY TIM ? " YEAH, VOU KNOW, WHIP ACTION- LfK? THlS.Z LAUGH ISOH-fkz N&CT PAGE IM IMCLUMG VETO SHOWJW HOW SUgTLY THBSB 0AS/C TWA/OS CAN 8£ UZgP. The, SHOULDER GO UP and povJN WrTHsM T^e LAUGH ^ YOU CAMJU$TAEOUT£E}Zltie, WHIP PATTERN MML>ERLYl*&- Hit ACTION, 302 303 DIALOGUE IMAGINB A HAtíPSOŕAF MAN TALKltiG To A BEAüVFüL V0k\AH W DUZ iS WHAT HE SAVS: it looks like he!& sawaig/ / to/e VÉstí, po^h'tit? he's not. h es sav i hg, * elephant ju ics f QaH u year.ol& daughter. brought tms home FČOM SCHOOjL?) TRY IT It ÍLLUZTRATEŠ He. POINT THAT Alt DON t flave STAHQNČDíSED MOUftí FOR evern CONSONANT W VOWEL, W^ßE ÁLLPlFFEfceNT Ou£ MOUTHS AReAJT t>lrFER0T ■JnJ U^ETH'EM DIFFERENTLY. TheRÚ NO SčT WAV TO FoW INPNltHHL LFTTgSnä VOWELS--Ute ACT^fJlMCAmXMOY^ m MOUTH PlFFZ&Mtty THAN %-e.EUGUšH queen, of COURSE ALL CURI HOlflHS OPEN fori YOW£lz A,E/1,0,11. (AY f ee, eye, ON (yoo. \ AN[> THEY olo&ě FOR-Tiz CONSONANTS £,M, P, f, t, v. (see, EM,PEEf EPF, TEE^Z vee ■) AHt> -ttf&TONGUE l& UP BEFIND TktTEFfP FoZ N,l>, l,th t(wouěh mtcňTAvms&n- But a lot of it e Positions in zeal eifeare ambivalente individual. 304 HOW NOT To to LIP SYNC' I HAX> AN ENTHUSIASTIC b% W TEACHER- WITH A WIDE MOUTH FULL of VERY LARGE TffiH SETOFF &v &ZI6HT RED LIPSTICK. EMERY /AORNiHG SHE HAD WS ALL STAMP UF> W VERY SLOWP/ EE- NUNN-SEE - AVTEH : 11 MOO VAH SULL OIPSSSSSS, MOO vah BULL LIP$&$&$S, ARIZ THUH VEHRER SEH&SST l/PSSS TOO tawk annnp sss/a/g w/ththth. Followep &y- vV <5coop MOHiZfiNN me Too Tooo, &ooop> mohiz&nn/nG 100 yooo- WEER^ DLL inn OWRR PPAYYSE7-Z WITH SSUNNSHZYENZP FAYSSBZZ. OHHH, THISSS IZZ THUH WAY EE TOO STAHR-RT AHH NESYOQ PAYBE/ sometime shfp haveu& sit ^ -say V- (Pun) for Aminote ( Kino of enjoyrp hearing ik^ little expeo&ious of air. People pont talk like this I we smudge from one worp shape Toihz other.. ~V«l animators, called it i. PHRASING?) eike IN MUSIC - YOU SMVDGeOYE&A FAQT COMPLEX PARAGE HlTflNG jU^TikiAAAlN THINGS -YOIA PONT HAVE TO MACHINE GUN EVEI&/ NOTE EQUALLY'YOU 8LVR, OVftZ it WHEM we SPfAK WE pon't APR TICK YOO eateh EVEfcY LITTLE sir ah (R.UU- Sted lettfel W fop. Some People hardly move their: lips when they talk. The^ THING /S To THINK OF ike, WORL>S, WORD SHAPES xt? PHRASES -WCtOF EETfEZS. OttZ MOUTHS ARE ALL P/FEEfRENT. /HOST PEOPLE raye p-/TREfciUjL TOP /gjj Th^ tOTTOtA TEETH ARE' TweTH VtSHSLE MOZT OFTh^TlME- FEATORETO MOSTOFTkzTIME. 305 ■iUMcxr mi i\m hap with up sy/vc sd far. was with Vincent ppicea voice- because he nap> such a mokile face, MOUTH, jaws W THPOAt fPON\1kt$m heicoked ASYOtJb expect, but when HE turned TO lite, fpomt HE lcok& UtfE a FiSH, Hmo w-i'm a tpibhw vincents mtVST T0U> him he hm> A OUTVOICE &ox' which gave him that awfully &ch theat&cal voice, mr TMx) YOU OOULP OVEXANIMATE it *d it STILL LOVKEp NAToPAL. mc&tpy we have ID holp DOWN OUtP- MOUTH ACTION f unless we're SHOUTING Oft ZjNGiNG. fMPOpOFANT CONSONANTS A&EJk^ ClOSEP MOUTH ONES' M OPDEP. To PmD THESE POSITIONS WENEEP AT U~A$T WO FRAMES . ONE l&HT ENOUGH. £lF WE VON'T MAKE THESE TO&iTlONS Hit VOWEL THAT FOLLOWS WILL BE V/r/ATEU) 306 fbi&ooo oe/sp dialogue we&houlp m two oufl vowels- (no wemwrn^) POttf CUSHION INTO IT. OSHiON SACK AFTEPL The. ACCENT HIE IT THEN &OFTEN IT. tttrfh*. XHAIO&M AOZENT" U- *B£l*3!" (Oft) we COULD CUSHION a BIT Ar"1kt BOTTOM OF ft*. fOP~ have a SMALL POP TO Ik^NG* A J A A 1 T~Am iu worn *B&Y$ £qll* with two vowels - Htrtkt, fim yomL hajzde£ MNikT^, t3 AGAIN, if someone says a gQDAP vowel lik? HgYl^oiz WQWl -pon'p ease INTO He. vowel fpom The11W " WITH several drawings. = VEP-V MUSHY ™d soft (cRirtCtW AmOMG ANIMA10RS\ lter/s«£ ok, writs ao. ) lo%£ Hz, middle positions, smack zmriNio ir W get much aaqze vitality <*d oont Timer COM PjEfSS To mmio me A FEj&VAL&tf EA-ULT I SI t> IALOS0E it THAT'ituZOWM OFPACE PO&flr SrmtjH CcMP£%& WHICH mm OWL ANIMATION STIFFS STILTE&, 307 ^ejféč?) 12? ÜP&VbiC !Z GETTING Tie FEELING OF Tit WORD a^NOT ikz INDIVIDUAL LETTERS ~%t ídea í8 NOT To ŠETůO AtWE - QETlk- shape ofikt W0&) ^ MAKE SÜßE we see ľT select WHA1& MRöRTAHT ad AVQtľ> fttffim %t MO0IABOUHD ÁH/MÁTltíG EVERY LlTUčTHltíG, AcTOfS FtľTim DIALOGUE OVEP FOREIGN FILMS HlTOKLlikt ACCENTS *) GUSS Ofi&^MÍlUE UtřR TheY match tW first vowel att^start ofíu& sentehce *i mst accwfcF-fc intence-3W whaú in Between will work (ôurmh to wo&c) Think of it this w : IHSTYiN TAW 1ko W0&> * FORTUNE- VoNT do tw/s PO IHlS' Go fisdm ohe To iht other - ľ^íÍtahe^heuoÍ game THIHG - go straight from ohe To Tke. OTHER - •= PONT OFEN it twice, TUHB BOIL IT DOWN SO Ilk t IMELE. 4\ <♦ V <*V V* 6> = POUT OFEN ITTWRU HB »- 0« Hŕŕ CAwr l/reE*/. /a/ reaping ovr. Sound track. /ft hot'- (a em oh UNLESS THEf'RS StN&MS f MEM-OH-REES f t OPShl Ín-wís cm i't> oio$£ Ute, mm m toom h "ebb we Pont animate emery s/n&le voweu 308 aoemea\ber ih upper, -rem are anchored to fk&SRuu- **j to not animate 1k*, 'lower JAWS kxiou t£,YO$TLY ur^powh-^ WITHThzL-tfS TOHBUE fOPM(h& sdvhis. A N&fgg ittdmwmtilkz rome in speech. OurTohwes work So pmr, rmrni JUST ur or JUST POWN^NJVEB s.eeh en &>vte (pFcw®£ it pauses) / \ V The toHGoe wei&ts V^rSO few of us Cm mub /r- f TOmUZ ije oh le dowH CMTk.Hm FZAHE UNCH ! "7?!e TOUGQE IS WC0K£P 1k, HACK CF"%e iOW^ JjW tout I § NOT fLOATINO ARODHb IH UMBO or stuck in fk& THROAT also THEjAulS *d TEETH aizntRUBBER. &e CONSISTENT A&out TEeTH. However, the&es some a mm fuhhy zwtf Brno pome thfse mys where they just say, * HEEL, fit A CARTOON - Lzk HAVB it BE A CA&DOtf !' A MO they TREAT TktTFETH AS RUBBER POP FROM ™ %R 0^ Tm& OSS,"' dOFTZN HILARIOUS-BUT NOT WHAT Wt'EE^H ABOUT] HERE- AkOfflzR RVI£* WESAlb WE NEEP AT LEAST 1 FRAMES: to &EAb iMPO&ANT GOKSOHAHTS - reaping weOnly have one frame IN PlCATED FC& AH W SOUNp - - fTS not mOUOH, i / V y / So m steal \TFRXMTke, RReem>m <0>OUNb. &lVe ITANOTHLERr-RIXTRA FRAME in FRONT OF IT TO RESISTED - NEVER. AFTER... s / SB 1 / At AA \ / / WfNEED To HlfTtiK, INCOMING-HV" VOWEL QNTZeNO&E, 309 THIS S£/M3S US To i£t& THORNY PROBLEM OR' To WEANIMATE LEVEESWfc OR- ANIMATEIke PICTURE O^E FEAMBAHEAD OFHtc ZOOHD MOWLMIOK O^TWO FRAM& AHEAP OF°faZO(jfi(t>/ o£ WHAT? AtfSWzfc Y\(OrKlBVEE- fog.) IF WERE OH TWOS - W ITWOZKS Oaf THAT WAY- WO£K OHE FRAME AHEAD. I-—" / 2- to £z 3 i *E 1 A a 6 Yv\ 7 \ j V ? B ;o i / / / H 7 y / ...... 9 FtrroK&'fA' drawings. % a«? 7 ^-Ri&HT OUTk^AA'SOVHV, PutovsCm' drawing #5 0/V£ F£ame ahead OFTbtEfW sound i_AHEAE OFlkYSOUNbek) THFEE ISA C&ip£ fZVL£ of THUMB THAT IT LOOKS BETTER W LWltes P(cwe£ LEAOm 1fa SOUND 8Y Z f£AM£S, S£e*US£ OP Ttt/S, A PISeMe SPRANG- UP WHE&e SOME EDHD&S ^ET UP Iki TYRANNY THAT ANIMAroRS MUST ANIMATE EVEP/THlNG 2 FRAMES AHEAD OFT^QOOND SO THEY COULD JUST PLOP IN ThoEESULT^ <£o HOME* VYgoHG. THERE /SWT'JUSTOHERULE. SOMETIMES EEVEE SYNC WO&& &EST- /fc gj=Tt£R lY/TWTte. PlOrWE OHE FRAMF ADVANOEt>/ OFTEN IT IS LETTER: & FRAMES AHEAP TktDismz) ^ sometimes its better: wrwfke picture e^eu 3 ff&mes ahead ofifoSMtx -v^6/ pRAWItiRAwtm WHY '^^v'pRAWINQ There is cue Peal svtJo ^thatis level noHTOHik^ sacculation is fco% perfect, logically, it just depends what cooks best whfn ineplay with it So we&fose Right on He no&e^ or, ONE FRAME AH&£> - IF its CONVENIENT—NEVEhZ LATFj, then we cau ronOtjfCTEOTC at l&jel&WC, Tfr£N ADMUCE1H PlOVRE CtiEORTwC oe.THREE frames — DEPENDING on what looks R4&HT TO . we leaem THINGS TH(S WAY. IT ale DEPEHPS oh Tito (m&AOPEfc W type OF VOICE HOW we've dohe 1kejb8. 310 ■iZffc ou> MASraa? Putsha&p physical action Heap mo/ez 3 on 4- f&Mes AttSAD OF 71**, MOt>KLATION — THEN PUT -fat, MOUTH ACTION ON TU^HOtB - (m A mum cr sflwwa) IFON ONES- " ^ ..v ' ■- Hmt> Acce^r x a/ s / y 7 / i 9 4 /o u ifon TWOS y x A 1 A/ / V S AGW x 7 . 9 u THEY GertlP Tfff&B (oRPomiM*) TOP-^ACCBfT 3ae4 wis EA£E/~THSNlUt MOUTH OP0& at in QouN2>. PUTZIMPLY- A BeAtfTtFUt- than mrrtus /r Ort MOPUtATOW X most of TktTIME fkt HEAP ACCENT /s up. 0 ANTICIPATE POM/ © 7W£tf ACC#/1S aP (J> A/PS OVifie VOWEp £ fffr ifeltiW A MOKB. TW Ktfef WfflWS.) WE CAN W IT IN $EVmS£, BUT MOSTLY ITS QrPOHOER GOtNS UP, (BUT VOrtN /S f/tf£, Too.) ANYWAYt TH0PEI& ALWAYS AN ACCENT—UHLEZS lit AN UTTERLY B0H1N& PERSON Zp&KsH& TAKP-" u well, at lmt Youke home! *- s accents t yowa- T VOWfL. r vowel V. HIT ONLY 1ktV0W&$ WHICH A& Mf&Pmtn QLOSZOYEfZlkuOTHEB, WE HIV CERTAIN ACOENTS WHEN SPEAKIHS b»d WE SUJR OVW? Th, SgST. ^W£tt, at last YOuke HOMb! T Sf&Ace»ir "weuy at t^sr Vowe home!* Ju&THir-fh&MAiNACc&ns. Select what& important- wHm^iikA §orro£HAPbNscmT, HAfT>AQCfrrr: * Ar*2''' (3g POvW (pftui) ^ YOU BOUNCE SACK. Soft Acc^t, *jAiOQQQo... GO POWN (ORUP) *J CoNTiNVE. 311 HpRck AN EXAMPLE OF BODY ACTOV PR&0MM7IN3: §AWG*lU-SUP INTO ^O/ABTHiNS OOOEEfo!' f £HE DOSS IT WITH H&oSHOUEDEZ- ITS UP AS SHE WPM§ TOWARD tfS, ANTICIPATE DcWH G0& HP FAST roe-t&e, AAAIM ACCENT OH OOOLE&-ALSO AT fi^AME TIME HEP- HEAP ACQfNTcoES VCMl OilTbebo" THEONEYMOUTH ACSCBNT Al&O OUiU^OOT SHOULDER UP, HEAO TXOWN, MOUTH EXAQGpMTED -APE To HIT ONLY ACCENT IN Tk$ ^ENTEMCfz. Here AEJEik-tMAiHEWmE^' /^stD(^^@r^&se^X THlUG a°0- -LER." 7WS WORKS FINE, BUT WOULD HAVE SEEN LV&I SETTLE IF^HEAO *t) CHOJLP&2 A02£NT HAL> COME 3 ceE T?M£$ AH&O ofTuM'mooulavoi. ACTION DIAL o tuens \ T / \ X \ . \ 1 " AHWC- POiJN X 7 GOlN9frO\W ss /pHOUfr-PFP / OOPS, up I t Acorno x n 3? 4f HCAP SHcuU&l 43 OpiNS 1 pONhl u UP J i. . 46 / / 4-7 / /< 3 f 4? 57 ''00*0"-- ■ &3 A mm 312 + Cpl+ +3+ -(■£T+ 7 4. 313 MAKč iut- Pointof-tk^SHofcw\r Wtrp SODYACriON first. ThcSOPY ATTnvbZ SHouLO BCHO "fAe- FACIAL ATTITUĎR. /ft AU- one. 'The, RXPRESSION CFiltc-BOPY Qt*) fac£ /£ MORB WPORTktiTTtíAHTkt, NxOVFMFNF. \F m GFT -#e SODY má HRAD IN fóe- RíGHTATTJTUĎE WRCM AL/AC&T 60 WllHCOrTtt&AACim&. %t MOUTH AOTtON CAH GO OH LA§T - TH&j CAHBČlht. WSf THlHOTo WOKK Oft. Km hapeis, syi> he ufapned -p& most aěcvt lip sya/c wm hehadto animme aamrtían chapaoer WHO HAP HO MOUTH. WS MEANT PF HAT) TO GFPTkcHFAD ÁCCENTZ Rl&fPTořAAKF ITQONVIHCIH0. IH pUHHim m £HOUU> AAAKE SUPE WE WNT HAVR TOOMUOHGOIŇ& OH. HOW MAMY ř£Sč£ fOR 7WS ZmTFHCF- foRTH^ TH0U6HT? AOFlTGWftá BOíl irpOWN S0/7S S//AR£"J K&g itQMPLR. WF QAH ONPf PUTOWZ ONE THING ATATlME. kJu&TAS WE CAMONLY ŠAYOHF ViOFD ATA TlMF/ WF cam QHLY PROJECT ONE GRCWBFATA 77M& The. WHOLB FC& SHOUID 1/^opK TOW0> TUALCNE THMG. one EVENíHG iNili^fapp/ 70s. I WAS TALK/NG ToMILTKAHL AČDUTTUz SUPERB WVuThf SpApRŠ hf ALWAYS GOTIN /fVS AN/MATíON. pf £A/Í>/ WATOH SlNGER-S FoR MOUTH SKAPEŠ." / ASm>, "iS thereawy R&PSFORčTTo LIPŠYNc?" HF lit HP. Vl YOU WAřiTite ŠĚCRRT? I 'll TELLYOU The. SECRFr! You KNOW thatjm H&p30n WlfH HťSFEOG AiUPPFT? WEll,J4FS A GFHIUŠ í Hp UHPPPSTAŇbs SOMřWG THAT PuPPeTfRRS HFWER PIĎ BEPORE. UfRe HeSJia&T OOT a SOCK OHER MS HANP zhč) TtíOUOH PFCáN NEVF& AiAlCtí Tht. SOUHP RKACíLY, HE DOčS A FAR BETíEP jOg 7HAU /HOST of us ANíNIATóRS WfíH ALL OURT^chmical R££OVče££, you WATOH WPATHE($ pOlHGÍ HčS, PRQG£R£$tN& jk€ ACficN-AfřS GtQtNG SOMFWUFRE WtTH THAT FROS WMEN TAtXm. ,!'/ LEAPNĚP TWí-S BACK OH[So^OEÍk^OUTH' WH en i tfAOife FOX SAYfNG lóTh-PABBtr, v//vt GOlNGTA rdast YUP, &t,£Tc. I PAROLY flAOVEO ikiMOUW ATALL, HE was &P&KtMG THROUGH his TEETH WHFH HE PUSHED FOPWARP TOWAEDSTÍítPASglT. HR fPOGRRSFD TbWApm ThuPAmiTl I PROG&&&> ITA& H£ SPOKE ^INAÚi^tSFCPFT go. SOMF-WHERF, anywhbrč, a&youšprak." whrn l got back to em&land ! r1as.hfp in to kfn w >j jumfep up ^ vown, *IVE GOTTkdŠECREr! TUilŠECRFTOFLlP^YNcl MlLTKAHLTOLP A4Ě7U±SČC&t( Km lookep up Quizzicai-lY' xKTkc SFCPFT! " i BUPBLEP,"THFŠBCRFT /£ io PROGRES^ Rtu. ACTION /4S YOU &F&^, " Kms &ES, ROUSP HEAmiWAČD.U WHAT DO YOU twnk I ve ěčen T$YiNGTo TěLLYA? * WEiL, TU Penny propped Qfmaux) akio i nevěr Lccmo &aok. ~mm ir. 314 ACTING IN -fuz, mok SOMeBOW A§KEb LOUIS AZ/WStROnG-,11 WHAT is SITING? LOUIS ANOWt£z>; SMAN, if YOU HAVE ID ASK, YOULL NEVER KHOW. " &ut WE ALL r DO OklETPlNO AT A TIME BE CRYSTAL CLEAR, if WE štart imitp that, then WE can PeEPeN ÖUfr PßPföRMAblCF M much A§ WEARß CAPABLE Oř. WE CERTAINLY ale KNOW 1hc &A&!CEMOFiONS. aho WE ALE mow about fea& GFtFEJP HUNGER coup lust VANITY LOVF W Trie. IHEEO 70 SLEEP-KNOWING THESE, its .JUST about HOW PiFFZßENT PEOPLE HANDLE THžM. So lú JUST a Question: Of widening Qi)(L range to acčom/kopAte- moče ropes - which we po naturaujy %y o^frvatön W experience - (A^ř) HAV IM G DEVELOPING Ike ABILITY To PíČCJECT IT INTO He CHARACTER. — we're working on. Milt kahl always // think you just lv it. ifyou have: a problem you have to putt over- got to have a thorough unperstandfng of what YOU'RE after. anp IF you know what you'RE AFTERI - you just keep AFTER wmLLYou&ET IT/' ANO, vV Gm: it a- LOT OF THOUGHT how YoUfr£ GOING Tú PO %n best.JOB OF putting iu performance oNiue Screen -PiatíiNS over, what you have Tom over/' Got to (set m ide -fóe qharactteč. whatwes he/she/it want? amp By EH iaore INTEGRATING " why VOES/k^CMAPACTElZ WANT? what M i POING xi) \why am / poing it? i^e People who w know how to act all say, "ym contact, you BECOME/ -Th& Mom sme, Qehe Hacjkmau sa id something like, u/ WORK likeaaáp AT NBVERZ BEING] CAUGHT ACTING; ^ good actozs do a lot of rf&ea&ch so Tie. Reality the/re lDeP/cTing- 316 The, FINE CMA&mR- ACTOR, A/£J> ßEAfrV SAip.1 $QAA£ ACTORS ÜYPNOTtSB THEMSELVES INTO BECDMlUG ikt M£T- Eur A V&RW ZMALLQPOuP OFACTORS ACTUALLY HYPNOTISE jkt- AUDjENCB. So ike* IDEA IS To HiVPNOJlSE flit AUDIENCE, FßANK thomas USES Hu word ^captivate! ^YöuRE TRYIAIG to GRAß % to have a really good laugh, götötu^ciptlus -Tn^&- THIS GREAT CLOWN, GROCK / 7kN& STRAIGHT FOR, EMOTIONAL CENTRE. part OF tW REASON WAS THAT I FELT WE WBZBN T yet GOOD FNOU&H AT IT, QO welP WORK ON ih* n WORLD" OFTk-e, PIECE W LEAVETk^HAMLBT"SliUFF till last - but franks c&mam is valid- 317 Animation1 was Kino of in lUe. dolpwias, mm m Started making who fPameD ZOGBZ RAB&T' FPANK WROTE ME A WONDERFULLY ENQDOfiAGHG LETTER INCLWING, 11 IF YOU SIZING THIS off, you'LL BE a HERO. " | CARRIED FRANKS LETTER. IN MY CHEST POCKET THSOUGNOUT iUt 2-k YEA&S OF PRODUCTION- PRESSURE W WOULD EeREAD IT EVERY TIME THINGS GOT ROUGH. WHEN Tk& PICTURE CAME OUT 9wJ WAS A HIT, NOTHING PROM FRANK. % AAONTH& HATER, ffk 7#e BIGGEST PICTURE OF Th-^YEAR NOTHING FROM FfOANK- 3 months later i pang HlM ur ^Ut, FRANK, ITS pkx" *///, FRANK, WELL, WE MAOE tr! Ilk A NlTf FRANkI IT? A fffr! ' ,,,,Y£Af/.,/' xV / MEAN, WELL, WE DIP $E$T WE COULD ^ ITS A NUGtE success! enormous!" .....YEAH/ 'well, I KNOW, frank, IT could have &EEN better, BUT WE really worked hard *W gVERW&opy loves IT! X/ er , YEAH' * WELL, ER, um, i GUESS that you COULD SAY THAT WE raised* a gimmick to LEVEL OF A novelty( BUT lit A HIT I " ^aw{COMeOtt FRANKf I KNOW YOU ALWAYS CRITICISE ME FOR, nopGPABSIHGTke- AUPieNCe EMOTIONALLY ^ RUT YOUVE dOT To GIVE IT TO ME, WHEN "TU VILLAIN^ G}oiN& TO KlLLTHE RA&RlT BY DIPPING HIM iHTk^ VAT OF ACETONE, ALL~T^KiD& INilin-AUDlENOE YELL,uPOA/V DO it! PONT DO ITf/y (LONG PAUSE)!/ WISH THEY had. * W&L, I know WHAT frank MEANS. in my pefehse, I HAD To PUSH VERY &trongly for Some animation i did at front of 1fa> opening cartoon where W0 could at LEAST SEE WHAT~ffa° RABBIT LOOKED LIKE BEFORE HE STARTED SHOOTING-AROUND l-IKE a CRC&S BETWEEN CHfMJiNG &OAA aJ A FIREWORK- mtr~WER?ewaz a REAL OPPORTUNITY FOR, PATHOS that WE MISSED- there WAS A SHOT OF pdger. sitting ON A garbage CAN IN A BACK alley CRYING AR'OUT WHAT h0 thought WAS HIS WIFEk IN fidelity* 318 uk e OROCK, i WANTB0 TO show A COMPLETELY PiFFEßElfT S{OE QFitte. RAßgfTS PERSONALITY g&4ttít> WS PROFESIONÁL MASK. I WAtíTEP 7ö AN (MATE IT AtymF, BUT I H40 Too MUCH BESE To PC WE HAP A řlNE VpAD MlM&o^ who WAS. ATihe-TlMF VFECY LONELY W / KNZW h F WA£ %dMAN ftOK1ke>JO0. A Top EXECUTIVE COMES (N aw) SAYS*SY 1f»e, WAY, PfCH, SOfrd^O WAY WAm TO PQJHAT SCENE, I SAtP, * Off ho, HES a SUPERS B&ÖAP ANIMATOR W inventively funnyf bxcellznt, sar / think he§ wrdhg ä^tws scbne. frče got A GREAT QIRLFmHp, lies VERY UPw) UoTIUe- ľFpSOK TCfrT^JÖg? *BUľ nf .£gAuy WANTS to 00 \t( DICK, Htk $EEN PHONfMSMB UPABOUT IT/' VW - t'u. o/<- ßurvr won't havb ö7fö# s/ße To it 7%e other Guy smu_Lt> doit.9 lW hf1s p/fAt6_ to po ir/f. í LOSBike. AFQUMENT. OUTVOTeP- Tfé WZöMG, &KT 1k* PtCWßE Fe&J§ LIKBA HlTfrnJ ANYWAY i CAMf ÁFFORP TO 0E FffZEU OF CöüfiSßHt, flEŠUlT WAS JIST fík£~au.%c OTHER. /HA/VIC SCENES - ^IWB /W/S&ED HAM (HG ANOTHER. PMBNSION To ^CHARACTER WHICH WOULD mE<$\\l&t A MUCH STRONG eF- FUNCTIONAL PULE tylTMfkc £U.bl&HC£. WíN SöM£, LOSE $ÖM£ - M AH tNTBPLVlBW in Mlž ATikt XAO&ES ram FFSTÍVAL, FßANK THOMAS TACmO ABOUT A man *WHO NEVER HAD TALENT FO^ ENTBJZTAINMLW. HB was ONE- 0r1kiE BEST ASSISTANTS WE HAV, tíž Khim B/E&YTHíNO YOU COULD TEACH ABOUT MOVEMENT, MOVING The CMAFACTßR. *J W0&HT 2*3 DEPTH BALANCE w$ ALLTHEK&tuin&S. HECOULp PtAWTHEM LIKE ANYTHING, BtfTHEHAb A VERY WEAK SENSB OF jENTtE&TAlNMENt viJHBhAp A VERY POOF- £NOiCB OF WHAT' to EC in ANHAAtfON — so ws AtfiMATiON was. ALWAYS FLAT it ALWAYS MOVED NICELY, BUT NCßoPY WÁNTEP Tö LOOKATlf*' MILT KAHL ALWAYS SAIĎ^/ú AAAATTFR OFTfCKiNO "ft* RIGHT THlNBtoPO ty\d MAKING UP YOUfahAINt> ABOUT 7#AT. ÁNO THEN NOT LETTING ANY OTHER lt>FAS INTERFERE WrMlT. F>OHT EBT YOUF MAIN I PEA GET gUfüEJ? OR INTeF-FeFeP WITH BY COMETHínc3 ELŠEz/' CqhoUJÁÍON'-- We THINK ABOUT IF IN Jke, OVERALL, JUNTAS IF we WERF AN actor. EOmit HOW TOO m t>0 IT ike. BEST WAY TO Pur Ike &UŠINFSS 1k EVEE>/THIN'GALL WOgKEE OUT (N AAINIATU^JE gEFO££ . AN MATING, f ANp iht, ENP EESULT $tlU- CAMEOUPJuST AS QWCKEX AO OTHER. ANIMATORS GrgltA NATWICK AESO TOEt> ME, ^TYTEA WAS A VEBY, VERY CAIZ&FUL PLANNER." CHANGE OF ZYPP^iOH j / WAS VEEY TAKEN WITH WHATPISNEY A¥Ste^ANIMATOrJteACH&Z ERlCEAfrSON has to say im fpank Thomas W oum Johnston's hue illusion of LiF&fJ HESAIE MTh* &A&EYMICKEY MOUSE THEY Ol£COVE£BP> THIS PRINCIPLE: IF you weee LOOKING AT a PORTRAIT ANL>- * THE SUBJECT GRADUALLY LOWERED HIS 8Z0WS into a FgOWN -PAUSES * ANE then LIFTED ONE AM> GLAHCFE to the SlbE, you IMMEDIATELY WOULE SgWSE A CHANGE FROM ONE THOUGHT to ANOTHER. SOMETHING VERY IMPORTANT HAPPENED1. THROUGH a CHANGE of EXPRESSION ike THOUGHT PROCESS WAS SHOWN/' i thought, ok, lets just zketch this our in us simplest foFM *J See inhat itlcoks like - S-TWEN AMD &i-AUCg$ / BROWS lim A FPQ\NH- WF7S ON£ BROW To TH£SlD£, ' (GREAT. HFS TtflHKlHQ1, THEH I Y^OHEBEEl)- IS THESE ANY WAY To OrpEHOTHW THIS TvfiTHEP-? OK, i~mk HAveTti^&yegi&us. EfEgRDW sy LOWERING ITFU(lTHE&? 0? A SLOW SUNK S-NpOJTB MIGHT HELP /r- MAY8E WEVE OVflZANlMATEP (T BY NOW MAYBE ftt A BfT COENY ~gUT ITSHOWS WHAT WE CAN CO BY LOOKING TOE. EXTPA POSITIONS - MORE OHAN&E -MOEE SANG FGRsttvL-BUOK. MILT jKAHL ALWAYS SA!£> POtfV" CtfAAftSE It&eXP&SSON WRING A SOW MOVE. HE'O THIS EXAMPLE: GAy WE HAVE A PERSON ££AD/A&A BOOK" Fora S7A,er weo Heed somwim ro change fpqm -zomethihg ofpxte- S0MBTWM6 THAlt a lot diffpr&pt fpom what wefp£ <30lNUtlHk) HAVEfkzHANi> F/H6ER& Come up LMT ANO - A VERY /V) INOR THIUG - Hi A rTVST"MOVENW4T-IF WERE &QIN& FRON\q)Ts^): WE CCUEO INSERT I FRAME £m>EP&) IN Tk^WfbN& pim^ck: TooFmioBeE UXT WE FEEL TkiQNAPS 323 1SÖPY EAttGUAQE tkc mmm vwtei akt píí^ector/pe^ignek, ken Anderson saip, ° pam&MlMZ /S TÍío Aer OF AMMATION. SOW tAA/StMar ŕS iUe^^ODT -ad FORTOlíATWf iTiQ UNMRČ&ALÍ t w& wnv ken s n tehrah (Tust befc^tm^revoluVcH &d i hap a NASťY shock ^ a bičle^on wren they pan my & Hou^c&cAR-wmim M chrstm^ cardľ for ah irahimáupience. We HAP TRJRPTö (jave A&MtfOH EOVf LANGUAGE im Iki FiUA as m CúuLP but m StfL!^ YlRpE left Wm PICKENS' literate A ftC&D- A chuck jcNes cA^rccH sam& OAI atteR- tá $tm us cwoFlfo water, so FORVß, WeSHOUIM KEEP \NORL& To a -bare MINIMUM make WmtlMlHG A& CLEAR as we CM THROUGH PANTOMIME. we&HCVLD F^WEMYeOMfa&XXlbTmfoS&W. tfi a (Stä&iT To stuw sil&IT movies. although much OFÍŘCACTING /£ lm&hamly MAMMY toi corny- ift ALL very qjear- ALMOST A LOST art AN ACTOR-has TO BE SPONTANEOUS jo A PESREB - BUT tů NOTSPcWÄNEOUS for US' /TS AHYTHIHG &IJT< we CAN S/F tOWN tul &NČITA EOT■ CFTHOUWT. we (^Tty THINGS, TiSTTUm^ MAK? CHANGE, we've GOTiU e- COPY CONTROL- od W0RE NOT IHMlTEP BY řr/yS/CAF VEKTERTTY, Od GfiAVfŕf ( OR. age, OR RAPE, OR ASAtN, we QAAl iNY&tT what WON'T exist in REALITY tut SrtLoMAKE it A PPEARL ßßURVAOUB* (sym&TPr q&twihiwg^ i REBE THAT SYMMETRY M4S GOTTEN A BAP Fr&2 BECAUSE of &AD AM/MATioH ACTING. ?BO?l£ SAY "AWPTWtmm'- where BOTH ARMS %ů HANöS ARE OOiMGTkt SAME THING\ &JOMT WAm AflY POL tüCJttl, p&AQHER OR LEAbBz. OF Vlfflp/fc, OR EXPERT ON TElEViSCN, men they're laying powNikciAw their apms ^ hanili wiletw^ šymmetricmoy. HEf$k ike, SROAI> PATTERN - f tmi \ TH& 8/ZßAK l x WENm> ßALANCp, HAmSNYf abundance; 324 - HAPřiHESS FOPL^H.. AUD (TS UP TO You or. to send mon# SO TUT I CAN GLORIOUS success &NLtGm&/M&T HARMONY Ropspmiw ABLmmcE Tŕí^y MAY PO IT/N A m>OC£I> VE&StON - vVm om, Herrn, it coměz moM my - Am ťa-H&i&z HEARr,,, om to you- m o>RDm TO&ZltfGA lHOlUSNB- -FurufiE FóftUZAU-. AMP WATCH )butä&F WUEN YoVt& LAYING DOWN I^PAW AČOUTZOMetylNS,. WßJlßT Po iFNATUtMlY ( THIHK »W IS am ČXPRP&IOH OF (WWW, BmtV, BAWCE, Ofá&Z ^ AMO&TY ^ PeCPEZ use tTALLHi^ vms (&Fm&tfG TUF To fOlNT oh WHAT&Eft) ^ THEN F&WU TVfTTO éXŕČČSS ikt WHOLENESS THW'fe TRYING Tö COkVsV. <0/ A JUPI&OUC US0 OFTWMNIHG & EFFECTIVE B&CAU&E Itk EAÍEEYWHERB. ttVAU.TôJX>\ WITH HOW WB USB IT. A WAYToTAHEihe. CeíRŠEOFFTWlMm ISJUSTTO PEtAYOHEOFikt.HAHtXoraems ßY4o£e>mm Eike a pancčr woulo po - OE T Or AHOTH0E PAßT- ^ f OP. USE PwmOTlYE PLAN&. IN A MAß/ELEOÜS TV MASTEČC-IASŠ ON ACTING, MlCMAEE CAIN E SHOCkEP EYEPYoHE BY SAflté^ *IF YOU SEE SOŘE ACTtíl POIHO A PlBCE OF ßUSIftf® THAT YOU AmiPB- SfóAE IT * (jkm gffgxV^T^r. IT ľ (_AwOi0Kß shook, nemou) x^£CAUSg„, Tŕťgy Dtof SOWD APViCE CAME FEOtA Tut PiSNE/ ŠTUPIO EA£EY OM- IF YOlim SHOET OF T/MB, sp0> ITON 7Äe EVES. Tm 0m AE& WW PEOPLE waich. í THINK THAIS WHY WE SEE 1U&&OUĽ Oft FEESOH g£YEAL&> IN'1ke.&0&. ire SCAÉY". W4p LOOKING IN^IOE WACH OTHBf?. 9® 3 £Y£S AEFSUpppMELY EXPRP$£l{t£ W £W ComOtilCATEWITH H&EYES ALONE. We CAM OFTEN TFLLlkz- STCKy JUST WITH Tfo FVpR, AMP HOW MUCH MORE VPAMATR IT IS TO JU&T TURN lite EYES INSTEAD OEit\e~ WHOLE BOPyi HePES SOMETHING WE SEE ALL PAY EVERN lb NOT SEEN IT ANIMATED UNTIL I STARTED RANTING ABOUTITTO ANIMATORS 5v&RSAGO; WH&t Ltsmtm oHlke, PHONE-tit*. EYES FL(CKE£ AROUND IN A STACCATO FASHION PEFLEOFNG The, LISTENERS SHIFTING THOUGHTS tN REACTION-OUP &Y££ ARE RAREFY STILL- lit eoop to pi&teNpPupil to show form -feel partofPuesr. \ Move, papsu Ootw with w> as if irk it&vi- rozam it POftH- There's an infinite variety of blinks, Buthepes a simple formula. ©'© © © © © JL, ob © © 0 © TtfS /S CRUDE, BUT EFFECTIVE - W0&<& WELL on OA/eS or TWOS, WE CAN go ON FOPpMER AEOUT ACTING Qtob WZpo) SUTOUPTpg /s- 0 PutovEp-Tk&PoiNTor~fu&-^cene Cjlearly. ® GET fN&IO&iie. CHARACTER, or CHARACTERS-(j*a) EVm&oj>ys reawj p/ff&Z0NT) (D SHOW CLEARLY WHAT THEY'PE THINKING. 326 ANIMAL ACTION FOUR LF&GET> ANIMALS WALK LIKE TWO OF US JOINED TOGETHER - OME SLIGHTLY AHEAD OFTkz OTHER " TWO SETS OR LE<5$ ^LIGHTLY OUT OF PHA^R. WE LOOK TOR ALL Üt^&AWP TWNG& AXWEPO with A HUMAN. START WltH1%e CONTACT PO^ITIOMS (ppo&ABLY startWG oh UPFRONTfoot) WHRRR ARF The, UPQ W CoWS? WMRRs ISikoWRlGl-fr? WHATS-lk^PEFD? CPAPAOTEfZ? DIFFERENCES IN 8UILO? A FOUR LEGGED WALK PELVIS Up CH&TPOWH BUT WITH TWO SRT€ OF LESS. WORKING, THERES A POT OF WRIGHT TRA1\&f£RENCF Gd/HSOX-WHERFTh^ WEIGHT IS CO Mm FROM/ WHRRF IT 1$ WHERRr IRQ GOING TO. 327 m'&= GoiNG To EE ^AUSTiC ;M OUlZ ACTION WEPE GOING To HAVE To to 7/se RESEARCH'-HOW %t ANIMAL. IS BUILT, irk SIZE W7YP£- WATCHING WATCHING UNTIL WE KNOW It j LIVE ACTION Pl%FERENC&^) STUD"/ film #d VIDEO d^Th& EXTRAORDINARY MUYBRlpQE PHOTON of AN/MAIS WHERBThe, i&HS. ^JLOWS W CHANGING muscle SHAPES ARE CLEAElV DISPLAYED AGAINSTBACtfGPCUtfD &Ptt>&. ■I r I A MAESTRO OP ANIMAL ACTION, MCI kaul §AiL> HE bib THOROUGH research ON ANIMALS tut ALWAYS DID. HE SAID HE SPENT HUNDREDS OFH0U& SVjp/ING, ACU0HS OF VAPOlS ANIMALS tej WALKS *J RUNS- WHATSHAPPSNlNG - WHERElttt. WEIGHT IS W HOW YOU PEAW THEM, HESAlfr HE DlONTTHlHK THERE Wfi&ANEAS? WAY OFAZPlViHG ATTH£eThIN&; We just HAVE ToQoTMQU&i IT >AWAIKCH A VOtim- ON TWOS - WAiKiNG OH 16 s, ITS Pi-AHHSD WITH-Ike. ffCNT IBG SfcJ rSe GPPC£!H6 BACK imTwiMité-TAKtfälke.SlčPTaGEtiíeR. Tk.ßxmEmi*l atJ*/7 AZBUVEL ^1he. PASS/AS ŕCÍ/ľ/CW *L scol tt&p asz čAtseD suie/sny. mm ts ojv#5 aJ-fe up isch**i3. SmplSj seue/aslb, but no an/mal. wajjs uksthis. DIRECTING / 7WHK THERE A&EOHQf A FEW IMPORTANT THINGS TO KHOW ASCOT PlRECTtNG " BUT wgVEGCTTO KA/OV THOSE. 'Ike Pt&CTGgkjOB (STO MAKE If ALE WOK. I HAVE THREE RUL£Q- O BE SIMPLE. ® g£ CLEAR., © PUT EVECYTHlk'G WHERE YOU CAN SEE IT. Tk<- DlR&CTUR- IS AT- FACEP CREATURE WftH A FOOT M % CAMPS, TteZmTiON ImAW^m 333 I* m not a BV£ins$$ m AH EXPRESSION i EMERY HAWKINS (ANIMATOR.^) 'N ITk a Bti£lN&$( (GOO OA/AN (ft ° of CoV#£F IT& GOTH- BUT DO YOU MOW %e GOLS>EN idle? WHOEVER HAS lU&OlOAAAKESiUe RiMA We£E BEING HlPM> to PO AJcS w we should po what We'PE GEIMS hi&e&TO po. we SHOULD follow tk$. if we waht artistic freedom then w$ provide co£ own gold. QheKR\kFJ /s so MPonm! i always mirwon one sheet of fapeP wmlte,<$oM£ ape - what ■--WE'EE SUPPC&EDTO TO. FO£ EXAMPLE, ih&WHOFPAMEP POGEfr PASBIT"' FILM- h££t, MAKEikt, JAAZRlA&e of LiVEACTiON CA&OON M BLEHD together CONVINClHSLy. GECOND, use (3 Dl&mey AlCtfCULAVON (f> WAPHEP- TYPE CHAHACTEES © TEt AVEFY HUMOQfZ CSUTMOTSO gflMi) OUftJOB IS to ALLAY Tk-e-FEAfcS Opikt- EXECUTIVES atjjjj INCITE C&EEO 0 CUH TALENT DlSPLAY-SOLV/m Tkt, pP-OSLErAS UP FFOHT DESIGN The $wff OH SELECT WHATk GOOO >^ SHOW it WOpFS. (jU leica S^j Oft ANIrAATtC, of filmed CoLODZ StV&YgCA&> will&HOYi whats WOEFIHG- (amd ' - WHAT isn't) ITk SOF\ETHlK 3*vs>SQUAfiE, OLD ^ YOUkB, PlCH ^ POOfZ. 334 Tfr/s /í 50 VRRY importarti a succjsssful examplbis BlQHRVk 'LjONKiNG where AU-lh, creatures sound, look w behave QUlfR PIFReRFNTLY from eachome&, Cg&rrrootf&wÄŽb) Purityrestanimatorscmih*,oprn/m^ endings*oUs \--pimyQ spotted through Tk^MibhOE - likeactopb who know iht IMPORTANCE OP STAGE ENTRANCES w EXITS, PUTTk&B&t peoppb ch CpOŠp ups. w DONG SCENES, LRSŠ RKPERIENCEP PEOPLE OH 3 FOöTiONG^hots 2*aô AAIPDLR PROPER lUTh^aaiddle. ŕcASTlNš ANIMXIO&) RVRZVBoPY HA^THRI^WHGrlH0POiWEll, ITSCURJcßTO v——--- CAST Tím FOR WHAT THEY CAM W %fě NOT WHATTHeY C0T PO. C making chang&f) unless th&/&aswmg FOLREiR, auow ^animator To give ^—™-~--BtRin unimpeded. ONCR they're rrrgnmít with A new ŠCENE THPY WONT MIMO MAKING changes. TO A PERVIOUS OMR. WE'RE ali -fite. §M C*say! say! '\J Keep fkt door om Eoiz cdrtriruvons rsoh rvrryone atiuiTmt* iF yoa fHm mrr$im^ MK jQst§Ay!$AYl*THé/ mm t£ RIGHT ABOUT SOMETHING, C VOICE fíEODK>//V^) IF YOU CAST ike. Rim AO0tF0t%^j0$ Itklt^RMlEtT THfttG " - w -tfie WO&P. THEYÍR USUALLY QIVR IT TO YOU ON TAKE ONE. THEM JOST GIET ANOTHER- TAKE FOR JN&UBANCE, ACfliAlRY THEVk U&KAIĹY GIVE ffTO YOU OH 1k. RrHEAASAL - SO TELĽfhe. RRCORRISP To RECORD RVEPYTHING. IÚ ONLY IF YOU H AYE NT MADE CLEAR WRAPS tEQulRRD THAT YOU CAM END UP WITH EIFtY TAXRS- C Hook- hp&j irk our Re^PoNwiury to emsupr that onr an/matops shot Horn — up PerfectlytdtU&next person's £HoT. THepes no excuse for an animation diwcto& to GET this w/ror& a\P we CAN PRAW PERFECT/WCH -UPS, í JZ&SEA&M ) VERW, very very important. 'RRSEAtCH BVfRYWNG tipe YOU KNOW ---— Tko šurjbct Ih/SIDE out. VONT WING IF (~&DmMGT) WRT SHOULD know RDFRIhlG TEC0QtM, / study AKlRA kurosawa -y iho japanese PlPECtoa, WHO i TP i uk /S The WORLD's GRERMT edrdr. AS well AS DlRROOR. (^gRUEVE in YOVRo MATERIAL) AttOMRR- GZRAT things ASOUT KUROSAWA IS, THAT ™~ HR gRLIEVRS IN H{£ MATERIAL - h^T^usts TMo Audience ^ trusts hmsfrf to teu* ríš sioRY allows The, audienqč TO COME TO ikt RILAA. So ASA DIRECTOR YOU HAVE TO BELIEVE IN YooRMRTERJAL. 335 UJ Roger Rabbit © Touchstone Pictures and Amblin Entertainment, Inc. Used by permission (rom Touchstone Pictures and Ambhn Entertainment. Inc. lap' ^ (A I £ í ALWAYS SKETCH 0V0Rmm OUTSMAIL FUS5T. -ffe Ltm* VfcXftiNíSS, 8£CAU$£ 7tíďz£X-lHtHKM&AiWs? SSPM TO StfplV ŕf -P* f££4 /? WCßxm Cl&WúR Höf: 337 ahd in conclusion- -tie, Review ■ iho pepCEPUgF TO MAKE §OUP: Vlannihg Story BOAico (_ demons? a^reapi ? or rough) OßAb& TO fr mr Jho Leica'Reel oa '/animatio or filmed Sidryboa&d /-MOS 70 tSt^Sb Planning prawings (t^^m*****) THSN mah pc6 TEST K--* 1k<~ B& DRAWINGS OR Po% \TM THAT HAVE To &R THFRR, TE§T EXTgßM^ - ANY OTHER ROSTiONS THAR HAVE To ££ THERE. -usually 'contacts' TEST PASSING POSITIONS (p&HtfG TUST IN ROl\&i) SFON7AN0Ok Flow fltd WECAH KEEP OH TE&Vlfe, \ po Several straight ahead P-üüS iko P&fMAgy THING -%e secondary thing ike, THIRjD THING, %, POUOH -THING ANY OTHER- giT&-LlKE PHPß&Y HAIR, FAT TAILS ek. 338 r AnP 70 PO 77//S wáZB UQlNG čtoob Km FOjC ClAíäTY WEIGHT - CHANGE' ^ ÁNTfaPATtON. Tú &et FLEXIBILITY: We'te ušing otmmm action(^^mn^iim) ®j m'tB using successive Emmern of Joints ACC&rrs - heap, eopy, hanpq , feet QazrimEmEi) stagger Vf/srat&nq CoMP&SSlOtf aJ PlSTEHTiOH (q^uMH aj W&oh) PIFFEPmr walks tJ rvns - m'pe SiPES9^1livDif=m&oe between things Zn) people, IN VENXep* MOVES THAT CANT HAPPEN m He, ZEAL WOPLP but vi'£ mane look believable. FrOK dialogue we're ppcsr^ihg it somewhere ■ We're us/üg all-rum= things %rqai>lY or very Susny. ALLTtftS, IQUhlANAIDMY to ENABLE up to eiVE^ PERFORMANCE, sustain it MAKE it COMPULSIVE Vt&w(ng. ANP ONCE its all a8&ORBEP INTO %-e- BLOOP&TRjEAM -TO free us to EXPRESS* 339 Start with the things that you know and the things that are unknown will be revealed to Rembrandt, 1606-1669 ACKNOWLEDGEMENTS Now I know why authors profusely thank their editors! So thanks to Walter Donohue at Faber and Faber for daring to think there might be a useful book here and for his enthusiasm and patience as I struggled endlessly to complete. And thanks to the production team: Nigel Marsh, Kate Ward and Ron Costley for coping with my unorthodox format and crazy demands, Linda Rosenberg of FarrarF Straus and Girotsx has been an energetic enthusiast and supporter of the book all the way along. I'm also very grateful to Roy E. Disney who has helped me in many different ways. The Disney Studio has been very generous and co-operative as they always have been during my life-long one-foot-in and one-foot-out relationship with them. Special thanks to Howard Green for his consistent help and encouragement. I think the book already shows how much I owe to my teachers and friends: Ken Harris, Art Babbitt, Milt Kahl, Emery Hawkins and Grim Natwick. But I want to especially thank Frank Thomas and Ollie Johnston for their kindness and advice over the years. It's been a privilege to have these men as allies and friends. Thanks to author/animator John Canemaker for his advice and long term support. My 25 year collaborator Roy Naisbitt saved the old artwork I would have thrown out and that's why we have the illustrations. Thanks Roy. Animator/director Neil Boyle started out as my protege and ended up giving me sound advice over the three and a half years it's taken. Catharine and Andy Evans at Dimond Press went far beyond the call of duty as we pushed their laser copier to its limits. Thanks to Chris Hill for his help with the computer images on the cover. I want to thank my son, animator Alex Williams for constantly telling me the book will be useful. My old school friend, animator Carl Bell has been helping me with stuff for years. Also my friend, author Ralph Pred, has been extremely stimulating and encouraging. My photographer friend Frank Herrmann took the early photographs. Thanks Frank. The 'old man' photos are by Jacob Sutton. Thanks, Jake. Thanks to builder Dennis Nash for building me an inventive place to work on the book. And thanks go to the following who all helped in different ways - Chris Wedge, Tom Sito, Morten Thorning, Miguel Fuertes, Jane Miller, Nicola Solomon, Sue Perotto, Dean Kalman Lennert, Di McCrindie, Lyn Naisbitt, Julie Kahl, Heavenly and Scott Wilson, Phil and Heather Sutton, John Ferguson, Ted and Jill Hickford, Marilyn and David Dexter, Ellen Garvie, Mallory Pred, Saskia and Rebekah Sutton. The cover on page x appears by kind permission of Animation Magazine, Roger Rabbit © Touchstone Pictures and Amblin Entertainment, inc. used by kind permission of Touchstone Pictures and Amblin Entertainment, Inc. The photograph is by Jacob Sutton; The photographs on pages 2, 6, 8 and 45 are by Frank Herrmann; The stilis on page 4 and page 10 from The Charge of the Light Brigade © The Charge of the Light Brigade, courtesy of MGM; The photograph on page 7 is used by kind permission of Disney Enterprises, Inc.; The stills on pages 18 and 19 from Steamboat Willie, The Skeleton Dance, Flowers and Trees, Three Little Pigs and Snow White and the Seven Dwarfs are used by kind permission of Disney Enterprises, inc.; The poster on page 21 is used by kind permission of the British Film institute; 'Epitaph of an Unfortunate Artist' is from the Complete Works of Robert Craves, courtesy of Carcanet Press Limited, 1999; The photograph on page 26 appears by kind permission of Disney Enterprises, inc.; The photograph on page 39 'Golf Ball Bounce' © Harold Edgerton, courtesy of the Science Photo Library; The Bugs Bunny sketch by Ken Harris on page 46 appears by kind permission of Warner Bros.; The photographs on page 328 are by Eadweard Muybridge, courtesy of the Kingston Museum and Heritage Service; The sketches on page 336 and page 337 appear by kind permission of Touchstone Pictures and Amblin Entertainment, Inc. Every effort has been made to contact or trace all copyright holders. The publishers wii! be pleased to make good in future editions or reprints any omissions or corrections brought to their attention. 342