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? i 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 Huemer, 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 I! 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 'see '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. !t 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 artist/idealist 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: AA^fttTi PA id. So tAJ TK£ £-AJC) 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 legs.' 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 learnt. 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 I 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 wiil 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.' 1 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, JOKf 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 littered 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! ! 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! 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.r 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~AHlN\ftTtON.....IT'S ..A'AAU- /N THE TiAAlN&-.. -A-A-ANP /AJ« - • TH£ SPAQNG- ■ • * (yom PAUSE^ .. -... ST^AY-y-X-N-NGE THAT7HE AMERICAN.....WEPF THB Ott£$> TO WORK THIZ OUT.. 35 The bouncing ball says it all. The old bouncing-ball example is often used because it shows so many different aspects of animation. A ball bounces along, s \ BC4N\<. gO/HK and where it hits - the 'boinks' - that's the timing. The impacts - where the ball is hitting the ground - that's the timing of the action, the rhythm of where things happen, where the 'accents' or 'beats' or 'hits' happen. And here's the spacing. r <-I 3 F£mp$-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 £V££ Lisrmro CLASSICAL MUSIC WlL&YOURB 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 old 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 JMr 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 (4BA0 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 snbetween and the inbetweener, the helper 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. 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. &cmme *&mxm Bxm^ j MB&Wmt flD&iTTOH 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 i£ 5-4. 60 & 72L 7S, w ^ 3f 4$ i|"j|l[ll|ll SI ~' ft \ &3 ™ I 1« I ft . S7 , ?3 lit i' 11 h-h+h-h I U 111 |u|ti|uln [ir| ll To walk across the screen it's going to take 4 seconds - 96 frames. So the animator does drawing number 1 and drawing number 96 and gives this chart to the assistant and goes off to play tennis, He wanders back in next day and blames the assistant for the terrible result. This may seem far-fetched, but it does happen. Moving on - we know the extremes and the breakdowns are crucial to the result, but the snbetweens are also very important. The genie in the computer creates perfect inbetweens, but for 'drawing' people - getting good inbetweens can be a real problem. Grim Natwick constantly intoned, 'Bad inbetweens will kill the finest animation.' In 1934, when the novice Milt Kahl - having just started work at Disney - first met the great Bill Tytla, he told Tytla that he was working in the inbetweening department. Tytla barked, JOh yeah? And how many scenes have you screwed up lately?' 52 Like most people starting out, i did all my own inbetweens. Then I got my first 'official' job animating for UPA in London. They gave me an inexperienced assistant who drew well, but this is what happened: We had a simple character of the period, a little girl called Aurora who was advertising Kia Ora orange drink. 'Where's the Kia Ora, Aurora?' She looked like this. I drew drawings 1 and 3 and 5, my assistant put in inbetweens 2 and 4. He liked circular eyes like this: So the inbetweens all went in like this: 53 As is common in production when racing to meet the deadline, we end up hiring anybody off the street who can hold a pencil. And this is what happens: Say a live actor is holding an animated coffee cup - The inbetweener from the streets doesn't understand simple perspective - so the curved top of the cup gets put in straight on the inbetweens. 4- 3 Result: 'Frying tonight.' Wobble, wobble, wobble. And if it's this wobbly with a simple thing, just imagine what it's going to be like when we are dealing with complex drawings. All the shapes will be doing St Vitus's dance. So the assistants' or inbetweener's job is really volume control. A lot of assistants worry about the quality of their line - matching the animator's line quality. I always say never mind the line quality - just get the volumes right. Keeping the shapes and volumes consistent = volume control! When the thing is coloured in, it's the shapes that we see - it's the shapes that dominate. 54 Whenever we were under the gun and short of skilled helpers, we found if we outnumbered the dodgy inbetweens by three good drawings to two bad ones - we just scraped through with an acceptable result. t 3. BAD —f— BAD £OCP 5 When we only had two good ones with three bad ones in between them - the bad ones outnumbered the good ones and the result was lousy. <5co£> \ 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 £ 7 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: PUTS*4- W /f£Rfc ... NOTOK- 55 3 i_ S Hr —S— " " I MoT OK PMf5 IN H£&£ fltf^Z IN HB^0 So: Number 4 is wrong. 3 compounds it. 2 compounds it more. oCGGQ'~\ 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£ imStWnj Cuc&tfl To 3 + 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 wasshocked. 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 Rertherman 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.' APl/ANTA^/HS WE a=TA NATjRAE FLOW OF FWIP( ACTION. ITmi^zVITAPrV cf IMPjZOViSfflON. ITS V£hlY lC£&TN£?- WEGOWITft -fh FLOW -TAKiMG all of 17*. action as ircowm along, OFTtH Hit UNCONSCIOUS M IHP STARTS TO KICK /A/: LIKE AUltfCrXZ Sf\yiHG THElfL CHABACmrZ TELLS Trf^M WHATS GOlHG 7£> HApPEN- i r can ppoiuxe Sti&ppm -Mmtf. ITS FUN. Pis ADVANTAGES iHiMGfc STAPT TO WAN PER. - __- TiNiE 7£> ASS/ST .—■ ITS EXPENSIVE ~~lUe P&OWCER-fiATZS WS- — /r Cm BE HAR£> ON TftfL NEFVES -MAP ARTiST dui NERVOUS &REAK-POrVM VME A£ WE CREATIVELY LEAP-IN 3*3 TttWSH ApOUNP IN iht VOID - ESPECIALLY WfTU LOOMING- VEAt>LlNE$. 61 2. The planned way, called ( f^O^F TO First we decide what are the most important drawings - the storytelling drawings, the keys -and put them in. Then we decide what are the next most important positions that have to be in the scene. These are the extremes and we put them in - and any other important poses. Then we work out how to go from one pose to another - finding the nicest transition between two poses. These are the breakdown or passing positions- Then we can clinically make clear charts to cushion and ease in and out of the positions and add any finishing touches or indications for the assistant. To illustrate how effective the pose to pose method is, the brilliant Disney art director-designer Ken Anderson told me that when he was making layout drawings of characters for animators working on Snow White and the Seven Dwarfs, he drew lots and lots of key poses of Grumpy for each shot Ken's drawings were then given to one of the Grumpy animators. Ken found out later that the guy just put charts on the drawings, handed them to his assistants and went off to lunch, and took the credit, for what in effect, was Ken's fine animation. WE GET Cugirv:. • iŽe ToiMtOF1%t IS NCB WE CAN GPTNie&PRAtotNG&vd tZEmOf g&\pA&& FD£ ITS I ft OP£>££~ ~1t\t kt$HT7WH0S HAPPEN AT~#& JŽtGtfrTtME zuJ IN -tftt Pmtr FŮCjE lit Ik 01/hzai+. Time - Hit PlR^m LDVFS us, /is easy tk> assist: fík A QUICK WAY TO WORK *J ■Fč^čS us up to po moef selves. W£ KEEP SANE, OUR.HAIfZ WT SlAHblHGONfENP- - Wb EACH MOf^F MONEY AS rV^ARř <2té CEEARPf HOT MAPA(Zft$f$. TPotoi v&fr tW0 to cm TiME sté on tSLib&lsT, Sô íščiUJ/MCE /S MoTPfWA£C£0 As MUCH AQ Kčf.iAf2fWy. í spa* t?m expefcEce yw3£K/Nc£ gOTrf £/PP£ CF-äe F&C£> "Wf pair £«T- AMD ftS A BIG BiXT-Wf? M16$ iUe ftoty, T^e ACTIOH CAM BE A Bít CHOřP^ A Btr UNNATURAL* AAIÍ> (FmCO^ECrrHAT^/AmHC A CoT Oř O VE&APplHG SCnoH 16 (í It CAN <30&&ipfikOWP& WAV %ul BBptiBgmV 3uJ SQUISH Y-čQtíAUý UHHATUrZA^ ■ IT CM BE TOO UmRhl - A grT COIM'BL-O&frčp. NO SlfRFfZlSES WHERESitaz MA&tc^ 62 So it's pretty obvious the best way to work is going to be: f —rl. COimiHATtOH OFSFtZAlQHT AMBAD W FDSFTo R3Sp First we plan out what we're going to do in small thumbnail sketches, (it's also a good idea to have done this with the other two methods.) Then we make the big drawings - the storytelling drawings, the keys. Then we put in any other important drawings that have to be there, like anticipations or where hands or feet contact things - the extremes. Now we have the structure, just as we had with the pose-to-pose system. But now we use these keys and important extremes as guides for things and places we want to aim at. After you get your overall thing - go again. Do one thing at a time. We'll work straight ahead on top of these guideposts, improvising freely as we go along. We'll do several straight ahead runs on different parts - taking the most important thing first We may have to change and revise parts of the keys and extremes as we go along, rubbing bits off and re-drawing or replacing them. So: we make a straight ahead run on the primary thing. Then take a secondary thing and do a straight ahead run on that. Then take the third thing and work straight ahead on that Then the fourth thing, etc. Then add the hair or tail or drapery or flapping bits at the end. WO&kihc- ThltS WAY Co/ASlhtg: -/fie STRMCrURgP PlAHHtHG OF WITU NATURAL- Fl^FlX>N ofikt Straight Atimo apfpoch. ITS A muAUCB gmWB£S/ PumtHG 3*J spontaneity. ITS A&AUNC& —: 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 ok, lwouis ~TtWM&NAiI~ SKETCHES 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 I 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, I 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. 1 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 ' /! /' \' Y -3 4- /r ia/E/Ve; ,',vft[iMTt~.-.';> I 'a c A wo ............................. ^ t- tmjs 0. . o ,■■"-■1 o 1 TTT i a..... I T I / Y .................................i........ ? / .2.______.............. ' / 10 ■........... t <> ■ /? ■ i"? .......... w- i ! ................................. .... 1 j i" Ifl ----------_------- if ,?P............ *) ; 2fe........... i .i r i • so i ^ r ■■>-'■■ ;< fs'A'-- q. \ ______! _ __.^i_ri.Li&._ X S3..................... -■fi? 41 .................. 4-:. / is;............... i" ■ 47 <■[-■< If- ■;i / ■ sr ! . .„ >s..... a.- \ :.:r ,4 r / V / \ t (.;■■ . ; t :-o i 3 ,....................... \ t' -,~t X C, ___- J....^h„....., ......... i.. . \ ■ f / | .1? , / .......... ! ' ■ " S 4- c~ ( S h'A-S..:<" 41 ....^...^0.,.......... If- 7. ~'/r,>jt&>': .4 r f 7 7 7 7 $ S i 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 K /N i/)fc Afexr m/jD Rosined ^tt>& fuiztu&st O/VtS W/i-C- ALMOST CCT££ up trie- Qt-trsibP BAiUS. The ?Q INT IS THAT 'fa ZPAC-ttiQ c7f Yfe WIS CAN lNC£^S£7lit,pEp£?£CTI\l£ BilT IT SffPP CpU$T£ES 4f Vk.. gfxS^ CF 7#e ASCOHb 86 So when we're going to turn a head, it's going to be the same kind of thing: A To StiOWef> ug ir mju&r ihBetween it- £ hoe a &owp> f//e HEAD while -tfe head static - SO WE OiSPlACE THE Mi POLE FO^mOMTO MAKE IT COHVlUCJNGr - ALSO WE TEHp TO LOWEfLCUZsHEAD ON A TURN. Incidentally ~ on a head turn, Ken Harris showed me this: Do it yourself or have somebody else hold up two fingers. Look first at one, relax, then turn the head round to look at the other finger. During the head turn, something interesting will happen. The person will blink. The eye, switching focus from one side to the other, will blink en route. (Unless they're frightened - then the eyes will stay open.) So we'll PROBABLY BLMK T>UZlN&1keTU£m' 87 CLASSIC iNmWčm Mi$TAÍ<££^) A M ALL ETHOS A NAIL WH CH mips - ANDWb WAHT OHG IHBzrTw&zH ßJOWT IN THE" MíPPL-Jž. PLUGGED INTO A CP, PtfOm OR, WHATEVER, Poes p&as&y PTC /r R/SHT You&GtfAer-* #3 x A. puts w a prop of watěr. SFTWĚěN i^és^ two pos/ttöns. L r J anp pyfô /r fzi&rrw -Hiß ^3 omousLY THE CHANGE £>N£-Y TA/fřS CONTACT. Gor~r& use \ COŕA/ÁON Tft/g, iS RIDICULOUS BUTihe, P?QWVALENTOFTgN HAPPENS WITH OOMPlZX INBZTWEENS- tvery drawing is important. We can't just have brainless drawings joining things up. in one sense there are no inbetweens-aH the drawings are on the screen for the same amount of time. AMP I6NO&NG Tfl-tPHoNZ POL£ p&HClPLE,,. 'BuTiPwrr , ITS HOTLiHzs-GOT TO WiNK IN TBRMS OF MASSES! WHBH A GOLFCLUg tfiVZA GOLF ball- AT Hie AAOMBNT OF IMPACT WE MIGHT BUF /TWOULp GO SACK TO ITS own shafz wmf'N vtfzy few ffamez . 89 Ideally the inbetweener should understand and be able to complete eccentric actions. NOT \ \ \ JUST A \ \ AND NOT Uf<£~Wt$ 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 8: \—*r But sometimes it is angular or straight. Straight lines give power. N

t$TANC£ <30£S IN AM ARC 90 CONTINUOUS Fvew ' IH ARM SW/Ait> IWUSC W tie ■M Th*E A£C IS ÔO 'MPORfA/Vri £ay WE ŕWE ŕuSfTrCWC 3, 5 7- i i i / ♦ • « * 6# / 3 / \ 3 3 ; 7 \ / 1 1 \ •£ \ / » • * é # ff 5 5 5 DO frY£ JOIN THEM UPttK&THlS? — 0£ LIKE TW/S? irVe'j-í- SB, i OFTEN q * x „ / \ W£ <3£rT^ŕ$~ \ / Nßim&L Om THIHG MOU TUB OTVzR u ^ 91 /F IT tStfTIH itic A£& 0Z> PATH Or ACTiOH -Ike- AtffMATlQti Will- HOVFlOMf. GOT TO GO- with iite. FlO^, tim&A&C£ (_mL#& A $mAi6HT (S &3GZ1!££Z?) 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 MEAN,YOU QXlLPN'r ( ) gAU'lTWU-SPEgb K~-~Jf~\ HAY£ AHSAVYBltllAft? ( ) upas irdrops -wott'rrr? bail §towm ufas ^-^ /^\ 0\r FAILS. COUlt> YOU* \) q &uriW& i& EXACTLY WHATS IN A PmsHHlAUy fusu&h&p instruction AQA% ITS All (H %&TlN\m ad Wife SPAC-tMG' GETTING MORE MÖVFMEHT 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. 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.' COtiTAt-T '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 tost in an overlay of attractive detail. 95 In the 1930s, when animators started studying live action film frame by frame, they were star-tied 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. JRéSíIÍ-T" Bam .n- £iThf££. (F-rtieanimation WAS FüWrß tVť£" M^ŕVT/V^D L/Tŕ^e buck l-ih&s ABDlMťD /r 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 1 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 EEAVE 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.' Miit 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~1he> LONG SHQfZT 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. I'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 ! 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.' Stpp To f-£a/V fAl a WALK THe £uoW£R ir /s, faster -/HOee 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. tJ$Ej-es&(?) mmm&nm $amx\f\t iummnoht oh wawcs; PlP you kncw We put a MltWSN ptXJJtffc of WSShT on cuk, Fm &ao) D&YT mediant [>0wn UP \ . (Al____ cnostfe Lfi&. ewe @ as we dip www ^ravitv is jx>m& Scm OF TkiYCftK- cm AftM Ate fir TW»R W/C*5T FWT rj?wec^iTiMenp&/wfty A£tf2p. WAMtftf&lS We wpr <5uit fTcx.JT 44 MlUg AS fOSSJptt. a*-we jyfleup one. foor Fr> A SOFT ^Al\)D/N& PO^SNf HELP yOU MUtfH WH£N yoiife A#¥P TO ANIMAL THp WALK 0f A but happy MaW - 0£ pc& if? i+o^ss'i'vwr £Vff>Y we v^E 1=6 rs airiiPTO Qgc ware). J All WALKS ARB DIFFERENT NO TvvO pEOpi-£ IN THj£ WOetP WAt-K W£ S4M£. ACTDKS 7iey TO Sf?T ffOt£> OFA CttA£AOT££ sy FfGuie/Nsarr how mkmhr waw$- 103 Why is it that we recognize our Uncle Charlie even though we haven't seen him for ten years -walking - back view - out of focus - far away? Because everyone's walk is as individual and distinctive as their face. And one tiny detail will alter everything. There is a massive amount of information in a walk and we read it instantly. Art Babbitt taught us to look at someone walking in the street from the back view. Follow them along and ask yourself: - VtHATt TH£\& FINANCIAL FO&TiQti ? - State of uzawh? - ARF TNgy - p£RMt$SIV£ ? - 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. I t> sgew 7H/S - And in a. STEP'^e BOW £|s£s UPONT1& PAssjns ■Po&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 SHG&rSTEPZ IH A STRAIGHT LINE - LEGS t06fth&Z = URlE UP u com OH ThtBOPY w—-— mm—ir- :... ^» — as OpPaSEP to mistsk macho: % % % 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 -mFvvif^r^), m PottT gh7t w?!6ht a %A.Qmi j^v#- f/OVm^HT 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 NOT ON-Ik CONTACT \ Pes i new Ai wEommp) w£ cvw IGNORE? IMS as P&OCEEO BUT WE MIGHT AS WEIL UNDERSTAND THE NORM &EFC&E we %takt /m/hss/ms APo>Wb. 107 H&.t we Putin the up POSlTfON. -the push -cpe TH tGOV PUSHING OFF HFTS "Th* PEIVIS, l?CPY a*xc) HEAO UP To its highest position -Then~%t le<* /^thrown cur To Catch us on ■ik contact Position - Sc WE DCNTFAi-L oh omr. FACE ■ LETS SPREAO IT OUT AND EXAGGERATE IT A LiTTLE MOßE so tf-s contact POWN contact So, ina normal* izeau^tiowaek Just after it* step The. WEIGHPGa C0S {pQW) JUSTAFWfrU* CONTACT 7tJ1Ut WEtGHTGCtTnjp) JU$TAFT&L1fa M&iHG PC&fnot, CONTACT ■%\t pom tp TfeAAOVp ^iHQr uP) ft* UP Contact Me&flNT 108 SET THE TEMPO "the Fimr THING To to IN A WALK IS ßETA 5ea7" ŠEHEEALEt PEOPLE WALK ON te-'s - /MAßC/W '77MĚ i^J^^^^^.J Bi-iT /UäY ANIMATORS DoNT LiKß To Vo ITCN /2-tS. iÚŕíAgpTO DIVIDE UP. YOU HAVE To USEsTW/ßPS'—-TNiHH PAETEi IN 79/£cS. Trtß /A( řfTr/ffiJS. A££ 6oí*íS To 6£ "-V 7W«Pi. 00 PS - /yoiY tVHFPjs Tto We PUT Tu í ZteWM 0/? ŕJP' hWf , TWŕ Ii! <ä£TTTN& HA£D -^f^C/AUV nŕH^ŕ Wť áer WTD THE A£MS AN ŕ PŕA£>ŕ AnŕD 15 AM easier, way- HAVE Him/HEE walk GM l&s — OS- CW 9'S. muc-p, easier. Tö walk ON IQ. 's — /TS 1íP pIY7up — same THING ON £?'<5\ (_ each STßp - % Sec) st^ps sk.'; 9 i. 13 M í ( f i ,7 a 5 t í t, T ft -t-H i ss UP cnrxX.r NICH ÉVĚN. PlVťi-'íCWé Ate>W - _5 7 ť fwTKT POWN rjg* I (ITS TApjiMS ŕtA^E ÍN A S, ACTfO(\í-S//MCE ■7ífíí ii WW / ť^T£OlY WAPK5 ARŕ CPfĚA/ öW 0S. 109 4 p?34M£s - a vefcy fast hmn (fa smps a second) 6 f^A/y|£s -- A oe VZ&Y FAff WAlk: SttTS A -s^coai d) 8 ffcAAUSS - StOW fcM £R 'CAeTcT^' WALK (3 St£PS A S^CON>) /?, FiSAMes = ££i£K, fSl\SfN&£S-~l~lKi?- WALK—'NATuflAL-- WALK (^Z~ ^iWPS A S^CcNby tb = Strolling walk - morb L&sumy (% o=a ss(mt> swf) tA fsam0s - Slow step ( ommp pepSECoNL) 32 fzam&s - „rSHOW MB Hie. WV,,, ,Tt> GO HO/HpL. The best way to time a walk (or anything eise) 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 Jone 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, 'AH 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 ocmG These walks - take a fpw sit=ps aczoss %c pag^o^^c^v- ooaj] T£y to wozk our a o/cie walking ih pmc£ w/tw fUe feei sliding back^ic. that all Bpccmi loo TeChn (Ga/_- w waw ou& b&Ain fr^f to concentrate ON an IHT&jZE&WNG WALK -F'KCGKj&S'I'HCr FORWARD. W&CAN WORK. OUT A CYCLE FbCTlic WALK LAT&z,,. RsfiffAPS JUSTfa^fUe. fer BOL>y. BlTTUFN HAV&1U& A&yE ^HitHmp PERFORMING S&>ARAT£P/- CYCLeS AR£ MECHANICAL u4 LOCK JUST LIKE WHAT THEY ARF - C/O^S ■ CHUCK JOHlS TELLS tfi-S T/A/y :5s ye^eaU> GPANDmiGFrm SW//V<£, ^ *G£an0ap WHY VO&Tke SAMF tVAtfe /WNJ -THFPFS A SIMPLE WAY TO nuiLD A WALK- START WrW JUST 3 DRAWIH&S - o o 111 thzn Put jn Ih&mipple POSiTtOH* "T&e PACING POSITION-or Breakdown Th is. T/M£ hi&h0z than Previously. WE'&E MAKING: iT THE UP FC&tTTCH--THEHlGH I vv^W omrrn? \ \TUzBmTt-eg \ 1 ANP O&CCfiTACiS j \ IfVW-ACrVlS / \ iUi LOW / 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 tVf/Af HAPPENS IF m&O JX?WN ON VIE PA&J/W& FOSitiOfi I We get a very t>tFFE&&ttT WALK-A'CAlZTCOiY' WALK how m pmiHG Position isthb low AiVD the Contacts act as the high" £77«- GlVINaA FEELING of WEIGHT- 112 TÍJřSf CONTACTS AREJJ-LTHE ■SAME &UT TH& tA\Ot>L£ FDSíTíOM UTTßgpf CH AUG & TUE WALK OWiO&$& Wě u NBßfr TH£ \ WA Sl-CW m MIGHT GO AS FAß as1ws- TjMě TD accomodate J almost a SMEAK. lrV«AT ÍF THE FEßT SWING OUT SiPEWAYS ÓH THE PAS&IN6 POSlTÍONSI 113 AMD WHY Q\Gwlb WE ZrUCK WITH THE- SAME S^HAPE? HOW ABOUT INSTEAD* pFfeAIS/Nk The WHOUE Fr?pV oh 7& pa% ros -Stretch it. AWf -SCT/A Converse/ $qha£h (T. WITHIN E&tEE 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 foe. stance Pur DCWM WHE£ß the uP 'WOULD - AA/p vi ß CAN Stiu-Go pom To TAKE. the mmi AA/P Stiw- Go OH TUB push off PASS pom pom position was - pur a STRA&HV but PEl-AY the leo; PRETTY TSy /r? P£OPi.£ Anyway, back to the normal: (3 WAYS TO P^AA/ A WAi-K J ߣVI&MIUGt 1kt CONTACT' M&1HOD'. First we PO^/t/c/vs We Pur in PASS Pes o o o pur w thp /.-OW MP TBE Him low 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 What we second system pok, (S THE- WAV AFT $AS£iTT OPT0hl Fl-ANNffi a WAEK-AHO ITHA& a vEfiy cvmihg ivim tc> m DOWN powh Start off o up how put iN -Hit Pacing Portion - - FOP-now, RjQHTiN the and ONE CTOUfl nbktmio -positions wju. m the contact I AlthOU(Bh irk \ i Kind of~ awkward i IS 6ETdcxt> \ CONTACT POSITIONS \ THIS WAY " , 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 acapfmic, But if we taks bow methods.* Am Push TumToGmeizs-rz_z^> <^__z_l CONTACT MfftfOP PWN PCS: AlETSt?D GFT ALllfitUP 3»J DOWN BifiSGS OF A NORMAL walk-ITklkiSA/m'WtNSr' wz'&jmSTACTM5 offohe phase bazuer o&cne pw&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. Tri£ iPfA /s z 'Bmncm ?m stwp* you goutfce rwm. YOU &o DO WN (ok uf>) 7W fC£ /A/SfgA£ r^F Ot€f ID W3T£P. £AY A (6 W STPP (o/vonsS Be-c^m thz&s* wreo//feon.) I Hike. AVAEtE BUT AlSQ POVili (3 i q APD ik Trie ST^pp/Afe T (3 <» 5" / ^ use Tk contact CorJiwcTf MP pass fts up MP ftWr*S + fi*K ft& A£E TW W^A^MIbPKnTfllJS Wttf «>WS 118 / madew& PoU6L£ &OUHC& WALK BY COM&iNlNa The TWO APPROACHES. i D<£> -flfe STRAIGHT LEG CONTACTS FIRST, BifT ALSO MADE THm THE LOW - 1kz X^OWN. LoosmiNú it up Weft APM Wf^-L. SWT OUT W m-/ -NOTHINGFANCY ypT-THrAW NöRMAOy WtL-L- movč oppos rns to rm u&& TTíE^HOUL-p^S (PPFDS/rtô-THeL-BSÍ WIH. GIVE IT MORE UFF S Ž R7MIWRD WftfENAČM \£ BACK (fwwjN&irAfARr j mow lítí pop. AOMĚ v/TAnry«-we'pe TAKiNe oüg PASIOPPW MOW AND APpifVS ÍN TfYWGS To BCM-í>oN systém- OVÝ L£1S roS^MřTHlK^ "10 MAK'r 7Tfl<. SiM,pL£ řOmUlA WALK riif? W i-Wé , PA&/N6 án?Ai*HT 120 pass f»s. How about ms? p&TML TWATÍ WfU-GíVř A ATTWř Ě?MP QFTrfF Sit? as tr sack view 121 ANY SMAH D£TA,'L At-Te£S A WAU<-UK£ MC'VfNG ~TM£ HtAD Up Q^POWn' -CeTIUTlM'G (T f£DMQ>£ TO Sij>£ - SMX ANP FORTH ■- C?£ A Ct«//YATfa/ CP" ANV of THIS. o^ b ) S orir He GBoTiSTS WOBBLE. \Abjko yoa s&f this a lot w/7h RpuriCfANS/ flcrcR£ op. people WHO iMA£'NP A|4- THE? TIM&- in Mou-Ywtcp pcins in floatklCU& |n L-OV£ WITH (ts^-f Nor n ac+t a p *a vom BAcK '. /h^V ( WAS A iřlS AMP MOW Wř^ř GoiÚGTO pomiUéSTcíU-e. i^SS WARMS wrjXOKC WřieíX 123 wŕ'pe Gom to "mmc'THf ve&. vve'čč TO S£NO /T Wf-fFíW? IT vVOiO> ££ND THAT WAV^/VCf WHAT AErgA^BiTT THě joint OF CCVÄSp THŕ "f^éOWLVT/Mř if c HANOIS lá IN vv&Vě taken A tfAMMK Aí^P JülNf r* WA/ to have a ^öT Of=Tttí£ TA Ké MC£$>t!SL& (JF WWTtď) AMO IT W/14,ßE Acc^prAßrE I (M AAOTTO^ / 124 WHY AR£ W£ POJNcSTHiS? fVE^YTHI/v/G m'RZ Oom (STO GETMORB CM/\tt<3£f ACTION WflWH itfE ACTION. to LiM£#£ THiHSS UP- GETMOQ= UFB INTO It Grim Natwick said: 'We used to bet ten dollars against ten cents that you could take any character and walk it across the room and get a laugh out of it. 'We used to have about twenty-four different walks. We'd have a certain action on the body, a certain motion on the head, a certain kind of patter walk, a big step or the "Goofy" walk that Art Babbitt developed. 'While the opposite arm naturally moves with the opposite leg, we'd break the rules eight or ten different ways to make the walk interesting.' 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SEtpp/m £opb uses: a Pvu&le BoumCe. with Quite definite Accmrs. A PMzsFiGHTm skipping &ofe harj>w EEMe$~tUt gucmd. hardly any■Atam&ns. Ttte&S A DOuBtG BOUNCE ON FACH m^T^v^v £U0pTt VSPYSUC^ 209 ( i-zrs WW* DO A SKIP WALK azwahtUx fiGcm To SrzPtHJ mp F&T, <$T&P Zvd HOP, Change %t$p aJ Hop, ac. :-'~v v3 AonoiroaT(ytuicit TvejcftrpcNt- - i-PftHGr AftflyNPTifr/aaCM TO POTfiiS ) . -at po DO FiR£r? Answer: Tht CONTACTS- Answer; 7fe iMFOfmNV O/veS - AS t-v/TH A NOfcWAl- WALK, MAm TH& TWO WAIN CoNTAer POS/nOA/S. ok, whats Tfe rmpoT a>, srttr: W&j, To ACcxmoPAT^-tde'QOFS Po /row 24'A *P3o*"» ft>RtwA OK, WiV iwat? -VlV.-'r-f. W0tt-,Wp/£6oT ?4Fi2AM)2&.. mak^th&w g frames Af^er -that t&. ) " V£ -VOIV AT/- /MVF To PO is PiAf iN Tr* PfiSSMG positions gFTW^v/ &Oi CONTACT,,, IMT WAIT A MINU7&, Lm m Qi&lpp.-: break 17a,A&noN up A sit Let? MAKE The. ARM $WlN<$ AT ITS pes- ch -fte 2^ ccmoTpcsrTicm^ J3ii AHOTHATmUlfAAK? CCfWCT$*l7M^4( T -L p?\^m PDST/PVS Fc&TU&Abm. cm, now mu~ put iHtxtjm^o pomak. "m:£V ,V:c£ -tffOE. \ : # a>p w£ //Ave To /c AMKje? vTsius&tT iNRFfwmis cmitmN& l&cAm £ww6s Armctf mo. 210 211 WE Cmu? APT&Z tie T//V1 W G OH A SKIP (A Sfop is Kind of uKß A rhythmic pAHOF) ÍF WE HAP 7V(S - " - A walking-danc&.j 8 mm, S rm . g g cfa^e tW g g g g ^ v ^ HOP //ÖP ^ Hop hop.. . hop hop CbMýz Peľ Cbo^e íhtít Sur ro Change ~ne rhythm slightly, /r eomio se - Hop hóP Ohavme P>af toftmsSi :h:.,^o- g g lom 8 Hop hop x hop Hop Hop Hop Í^^^Ú i U A EPOAO JUMP The pĚp&OH STARTS" WITH A RüN dui WHILE fcüNNlNQ,, Wöfif& (MFC AM ANTtOlFATtöH- (jOCSjO HAVe Ike £p/«£ ZHN^ P&VepSiX&J .-■^7 /Vri /st c^cfs tip pcwiY TP 60 PCvW To G;C Lip AKT OF Trf/Atö- /A/ A HüBDLEPTht IS. MAKiNO PPCOEpši - MUT FAUSEŠ JUST LONG ENOUGH TO C uA/S-IZič HUßPd& *<$tífľ&SmtAR-. TÖ A tíCf&E IN A HOPS? SHOVÍ- f'tueb Apfipa Faß- claw/ v" heli4- PčAOH 'hJ STÍ^íCH W/VO & J SO into A PUN A&Attí. TUzßP l-i ANTICIPATION TM'it POFStiT IA€t Vř^Y LOŇOr- 212 Get ECj2 OF EEAM into 1U, $Ol>i&£. TtiEm m olp "GOP&AGE/ AHWATiCfJ MAXIM ■ * wh&i You TttiHK You've qohb FA^FNou&h - Go twjCeAS FAR- ' then ThiZY SAY,v if Tea far - Y'o'J CAN ALWAY& ree IT SACK later, i Wm-,. i N SEESAW anyor-e pulp it eaok-. BjzmGz&zNT, r'p SAy^moc You gam always w«e itlatfr.' CAtiO i MEVEE S4W ANYOME MCEEASE it LATER- EITHER anyway, it helfz To get LOTS OF Lmi itfTo ike BoPi&>, A "CAEJco^Y'JuMP UKEItifc Wc£KS Eitiz, ARMACTICN f£ GCOt>f LEGS AR.E OK ^ffEEP^ BREAK IT UP WITH MORE ACTION WITHIN The JUMP [W&GHTJ OH A JUMP loAVolP FLOATING ^ CtNE WEIGHT - IF a Person jumps in U\e aifo we've Got to gei' action wiwiNifiz gemeRal a&hoH- GET The, AlOYU qoihg &F APDED/N ^lé'yARNlStTtr. J MoTHifa WRON6 with it" it FUNCTIONS Wm-i P\pz£it&mAHP£ tú NOT ö VmAN /MATĚP.. Butnoai verk ijoo&m Hie whole thing up" we can go quite FAR gy planning i ton oaííx Tul APPING IN" aaočěštf&ch-mor£ ccmppč&ôcn-PßAY&P parts -mopfapm PFVFmiS-&&zonľmy acton- SHičT, anv-EXTRA s'/ts. "7že,£PSww í^miíôh trk alt a mrr^c^jm^ rtš what vou ufá 2*0 HOWŕAUCH ófz how uttlt- "im iSß these bFvicéš 7oG$TYCU&&gUVT. I ' 3 + í t 7 7 S ct IO 10 II 1.2- 214 215 /887 MŠwmd Muyhrióg*, ' human AN!> an/mal lOCOMCTiOH' ~Ht>e MUY&ĚJDGE BCCkS ape A TiZfa£üR£ tpovb CF ACTON information. Nß/fr. ßEPN AflYTHWG Mke Tum WÚ& on s/a/ce. Shooting-inaction in F&öfrrof Ti&KGRcuiiSb Gt>b$ SticfflS & jißr \a/H£iZE -ft«. ups au£í-/ft€. dcms are 6W -fre DiFFßpmT Parts cfiu BcdY. 216 FLEXIBILITY AS / SrjE/t, THZ£EAIZE 2 St<5 AN /MAT/OH hLAWS- we ElTHEEL HAWfo* "king KOHG'fFFzQT where &ER.YTHMG moves AEOVNP 7Ui> Same amount @> 'everything rS flashing AROCiHP AH-GV&Lrti PEACE wewaattto have a Stable image still- have FLZKlBlUfty -THIS i$ HOW m GiFT IT: 'Xkt FCELOWklG DEVICES ARE GUARANTEED To l-IM£E& UP, l-CxDSpN tipaj C-iNE 'SNAP' &\d V ITALiTY To Ctip PER-rOBMANTE Ljh.IE KEEPtHe %t FiGORE Stable soeip. 217 WE'VE ALREAOV (NTPOPUCeb SOM£ of JHFSE DEYlCßG ftrrH WAElM POSITION oe IHTmfAEPiATE ft&CftoH Q WHATPVeR. You WANT TO CALL IT ) - BpTWEBN 2 extremes . Wff£ßF" PO IV£ QO IN 1&e, m IDOLE? C-ZuCiAl! AS WB'vb SEEN Wim 1h* WAlfä, it GlVES CjjARACTßß. TO ih&MOVE ilt A TRAVELLER-A TmSITlOWAL fäSmoN. AliP WljEPE WEPüTlTiz So /MF&RTANT, l'fsThz. £Eq?ETOF AH iMATkxt', i TBLLYOU! \r j 1£T$taK£^R 1EXTFEMEZ OFAIMfrl G}OlMGFRö/a HAPFYio sap - Pur IM Tl\t mioeie FöSmCH WoulD BE EÖGIOALLY - 218 BKrmm seeakpowh £x~pm£ moče interese m t cjuh> evfív Just mr JT=wy-fJíe CHANE& Ot samb MOUTH ptSH IT UP - KmP "O*. MOUTH E-OWOPlT DOW M GiE- TAKB k MHAfŤY MOUTH ommr - moee vítali fY A QUfCKm WJHAPPM03S. it wohle Amcr Thi CMgßfä 2ŕd AMP pist0no Tki.FAC% &[EmOi(MG A Totally VlEEEEmT CWAA/Oe 219 Exrpme. Breakdown pcrneME vo wego vP on one&ipe? O '} THINKS about iT, increase 7U smiee? o false OOHFl£>mOF PFPUOF it? The unhappy frOWU / Mew /r,„ A S/MFPE BPHK we cam Start TO ^mplCH tnm@3 TO Be (MA&tNATIVE ^ MOBILITY = OOPS, Something i et? ok Hap a P£fNK Saps wTHaae 220 BREAKDOWN EKJÍZeME tfAS-A pROROUNP £Fp£CTON Hit ACTION 2*á OH-A^ACTEpZ. / (JANG MY HAT ON THlS! MAKE The ĚXTČEME& (oe CoAfwas) THEN "ftte BpEAKPOlNN Cc^ PASS/NO řOQTioH.) TNeN A44k£ ike AlřXT $&m&EAK(N& fT POWN INTO Eť£]Z SAAAPEP& s)TS. (then oo separate xstraight-AtrEAt>'pons on separate b/tsj 221 30 ym£s a&o when, i was first CATCHING ON TO AM, THE. STUFF, i Wo£K&> BRIEFLY w fix ase levhoW, Km Horn's farm ppotege A%e ppew beautifuux ^ / was (Mf&sm> &r mmr&e >QuAury a\mi> it* Quantity ofm work* fast an&gcqp! WORKING oh TOLX&tt stuff, abe PRDtXXlEP 20 to 25 SECONDS a WEEK WtftETke OTHERS managed To QTpUGOLE THROUGH 5 seco&c, anp> abes was %ETTE£. I always REMEMgEZ abb say ims tome ON a tuespaw * pick, i've pone all -ike, extremes ■ •tomorrow I'm going to br^akthfm au-POWH. -fHENTfctEST OFTke WEEK i'll APPINIfa &fts ^ PIECES ! THfS5iAlPUT OYeplAP' Q\VfS> US ACTION MtyiNAM ACTiQtt- MoPE fewWGg '-ftofe (HfE ■ 7H6 t$16c&!N IPEA-WECAUt>0 If v^ey stf grty O^mCAMPotT BROADp/ - GIVES US MOVEMENT WITHIN A MOVEMENT. fUli^ed apart' AGAtU, /OT" GOING OVl? TW\ K / / HERE \ — \ - TO \ V HERE- W<*^ A B GIVES US KMOR£BAtiG FOR OUR BUCK' 222 Ken HAWS WOULD OFTEUľVA vm INTFP.FSTin'& THING: Though HE was VERY CouFiPmr Of HIS ANIMATION ABILITIES, KEN HAb LESS CONFIPENCč IN HiSTKAWNG- H& LIKED TO mak0 FULL UGF OFTk^ pT>UtßH SKETCHED gy OHilCKJCtiLS, HIS VIFJeCtOČ- AT WAP-HESS - aaô LATčPON, MY PI&FCTIN&PPAWINGS- I 'p OFTEN FitiD KsV AAAKiNO AN EXACT T0AaN& OF MY DPAWHG'a" ^"S" ^ USING IT AS Tue PASS IN& KM mai PfeAFPom) SUT HED PlACF T To FAVOUR. PPAWIHG'a" UKF this ~+ OP li^P HrCF IT To FAVDU&pRAWmY UKE FAR. FPOM BEING A LIMITATION, THIS ACTUALLY (VAS AN ASSrT To K&i. IT G AYE h!lS VfGXKA ŠTA&LITY- INSWAP OF HAVING FACILE DRAWINGS FLASH/NO ABOUND ÁLL ÖVE£lti& PLACS -OVtRAMMATlNe- WATCHfNG WM to THIS §&&N&iteg$&ULT£J I QPAWMtf LFARHED To UN'PEQSWF SUBTLE MOVEM.FNTmCH STIL^UflAßmi AVöiPt HO-göläHOo, AND HE LEANS FC£WA&>^ 223 IF mT\iriU-H£bt> ± Iti Ikt, Al mít - tvé MAKč trc+0£PETo^L THIS WITH Ute- HSAE- %£c) uok wat happen TO Tkl TURBAN AAA8S -llk SMdXltífUAMWLt, Th/Q CEčaTěG A EEAU-YNlCE OVERLAPPING OF %t AÁAŠ&Š on a v m QlMPtis MOVE - WE'VE USFP ONLY 3 foS/7?ödS. STpAl&HT m\i£ WNFTH&OH A BLAHO D&i&N Oř A SiMpLF CHARACTER- - WITH HO CHAN&E OF mpPeS^iON -NOT 0ena BLIHK'HAK/NO A VER.Y OEElHAPY AAOVE- ahd Yer tr will havf a lot of li ff just efcause of ike, spAam. (Sq) W LOOK F0P*WAY£TÓ PLAOžiíie. MlPPLE BĚEAKCDWN POSITION -(Oft PC&ivONs) WffžEE WF CAN &BT AN OVFELAP OfÍZ<č^MASSE§. ^MOVFMPMT WITHIN MOVEMENT 4 VPaWING OVERLAP on a California - issue Mouse samp ReAt> eor>y P/ZC&flčSSĚD FORWARD C0HTÍN0& Fc&NAKb lie 6Am amount Tlt-TW POWN JUST* ßiTMoiZiß.. 224 Oŕ Couesh, WS B&AKpoWN fbsmcN KiNP OFfHm OAkl GTr Car OF HMD, LlKtz BV&YTHittG fySE, lit HOW, iWHEN WHEßE Wß USE (T, WHEN I WAS ASSISTING KeN HA££/S 3w) THEßB P BE A hand . jPAMN IT/ DICK, í just WANT A ZtPA'I&HT INBEV/0EN , W THEßc! JUST ONE MB A STRAIGHT iNBETWBEN! THE GUY JííST ČELAXBŠ HlSHANb! I PONT WANT All ITHS ORAZV FLASHING- AEODNP AlTOVEPTl^ KlNP OF STOFF! BUT WHEN I pip GET to KNOW HOW, WHEN WHEl^f to ü$ß lTf I CANAttttÖST OM I MADE MY LIVING WITH Hhe&P&KuOWN PRAWIM&, I often HAD TO PPOOVCE MASSIVE AMOUNTS of ' FOOTAOE AT #e U&T MffVÜfe- i secmb[^telephoneanimaio/l' animating atíT^same tme as Poing The- güS/AJcSS OHTkcPHONE.- CLIENTS WOULD ß-ant*yj£CAME'To Toil BEGAU-SB. Op Hl&H StANPA'PPS. - we PONtT CAßE IP YoiAP- MANS in We. HOSPITAL m TlMBUtJ SSXrfi&ABS, so ALL l HAPJoPO WAS JOIN A LOT of STUFT UP IN AN INTERESTING WAY. i FöUNO THAT ALfAC&T ANYTHING" WILL WO£K. PUT IT SOM £WHE)2 f£e S e M/T/íél MIDDLE FAIRPY iN TELLi OENTPA IT NEVER LETfWETOWN, OFCOP'ßSErTHF WOm ti/OUWNT BE AS (SCOP AS IF / O HAP ike TIME Tö ANALYS& ?uš THINK WHATHalHELL I WAŠ PO/MS, BuirAT5/n Tlít MORNIN& WlFHjFFLAPf, HôUNNs -ptt laBBATH W A GMJMPy cuent pHONiHein'4Houes, iTGFPSYoiiTHRaBN. - í P ŠTA&T BEING CLEVER d J TpmN The. gPEAKPOWN OFF .LÍKETHíŠ - 225 NON m (SME to A ElfEEmtrWtíÔ WffH A S/MIIA& A/AM f - OVEh^iAPpm-Aeraí rm /S WHEPE WINGS MOVE Ihi ŕXŕcfS, - WhfßP EVEPVTHitlG POEš HOT HAPPEN AX H& &AME TIME, take ä rollywcop stucco iwhug- QiMCKEf AfKXtNb Tö » SG/tfpTMô " HIS JOWLS WILL pfiAQ- A& HE TERMS' HßAPA(ZRlVßS AT lít Pč&TimTtôN cur his jowls %é Ttfeti optnr A/Zfi\\]p LATp &CWI4 Tô NoiUm- 3ŕií) Kef P oh áOirtO - fnotify m&ht KßHPati \ TheJaeson /s -The. JowlS &$&V&&tf Tm'm ft&utr iaaihtenon mô then THESf"FOLLOW^THßci-i&H^ -GmmTFo ey T^MAínácvoH- "OVFELApPlNG AßTtON'mlams ÜHE part STAHES first %J OlJfFß papts FOLLOW- l0s TAKŽ A TYPICAL UTTčm BLAHI>I ßO&NG PrSIĚW LIKE WEY HAP FORTY GoMeRMS IK ike, EtEO's^ TtfK Pult OpĚATllEF TO TURN To WORK with" -is it? 226 We COUUO CONT£l5tfT£ TO gCf&DCM $í piXTflHOIN AH FQüAUX PULL- S&AKDOtA}^ RJGHt iH h\ť M IPOLF Hud GO HOMB, ŕte MIlftfWL said, "the MOST PlFftCUOT thing ToPOiH ANlAAATlON MOWING. - you know, thats a ve& mm statf-msht " Right, Sur Heeds hon vm Can make "nothing' at te&r intčR&stihis.., We can takč ihc CUI&e OFF THIS, ö&AW&f BITOFACTION ■ ßi SJMrVf &PPAKING- TUz AOTlOH INTO PApTS. ry$£> Ros.. Tifŕ r/eS WCliíů Sö LETS 3MW MO/ŕ ?£D$t$0f ftoit lite Fccr FiRSt First, gifTWEte? stuck wm Deis-* \ 7 Wft*- BEST SlWWCŕ) 3uÔ MIPS, GčTTUČS. STILF VčLAYftieHBAP l^ihe. BUT THROW IH A b-ink FvUOWS LAST- fOfc) S/NCe MOST OF OU&BOW A&nafc STA&T FČCůí Hl HIPS STOMACH FI EST. takés a step ■ikeHPAP. Om^ß-FodT&LiT^ cvee.wwičHfflHs i H M/D TWRff, THROW in A StOŕľ 227 We HAVm'r EVßN TíL-TfP HIS HEAD CHANGED H/S EXPRESSION - &ff £/AW SV Ot&OÁPPtWS PAß-K Wß'VE tHjčCTEfr PIPE INTO A ftf>mß/AN SnUATOi. HEAP ISTttpWHS -7Ä. OtUfcEjOT WetGriP CM&t £AO< T*or SUGHTLY AS WfiiiGHr continue. FöRWARP (& shifts om fa lít strm. WE CAH 00 O/V KKř T7Í/S FOP&ffit*,. P/4ss //řAP snu. 228 NO MATTER HOW p&PW'Die ACT/OA/ {£ THAIS' OA\UM> FQ&-W&CMI AMKF ff MOZE !NT£t2£STtH& BY OVF^APPlH Fi&st mov& what ■rt&§riotm>&& Fbor sp&htty 3«! EKWKMW £tf01tP*=RS AZHESrpfS M SetTUS H£ AAS j~usroNE um& perA/l thats? piffw^ht wiu cuahse gvmmm- PAS ft£ Stf/m'MrflGtfT Shifts weight A&tS SwftSftrsr tt£4D, H/a4. 229 so j To MAKE ßVPhi-file, PULlEŠTAOrtON OiZ FI6URĚ iN7PRßSTIti&, Wß &£&AKlfc BODY lN1D SpCT/OA/S -INTO PlFtfsF&NT £A/r/T/£S Ttvé MOVE SECTIONS - O/VIs AT A TlMF, COH^TANTO/ OY£&APP(H& The CHjser C 'líre AßM£ Aa/p m Can it up (tfro Smau£&sb2t(ohs if m likb- 'People unfold, part starts fipsf, cíí^ičratihgíCu, &4&r@í fb£-OTU&ß~ PAßT€ TO FöLlOW. - W LI ich TP FN * follow TpgOÜ&l/f when A RötlßE «5DES moM QVE PLACE to ANoTHF^ A ŕ1L>mbe(z of THINGS, TAKE PMÖP 3^ £\ÍEptMiN6 ISN'r HApF&ilMB AT%iSAtf&TiM&. wf holo BACK oa/ AN AC-TOM, lUNSS PONT START oh clip ATIkSMAČVm. va&OÜS PARTS OFlti^tOW OVFR-LAP jžACHOW&Z, ZO TWfS í-S l/WWT^ OAUŕí> /a/ 7^ G£Apr - vO VFRTAppiMOr ACffDH' ~>ik\p\jß (oomtFiihoxioAij A Tŕtép^S HOT MUCH ToSAy AßCMT CouASrm^tM OBVIOUSLY WF PO FF NÁTUjŽALPf To BALANCE OtífZ&pLVpS. ohiě PAjzr£ofg popwačd AS ANöTLI^ PAßT ISALAnCbS BY GoiNG-BACK- -Op. OmPAßT3o0& UP AS AHOTHFßlSALAN'CBB 230 Now m com To ohe of lue Mosr fascinating PřweeS in ani/mtíon- BPEAKíNG DP JöWIS To &c»ty& IT To l-OOS&i THiMS? VP. iré QUITE A MOUTHFUL, Tm P(OHE£& PlStt&Y ÁHIMATOn VlSCOVEZzDTflK PEVlCE 3^ ALLTk&OOOE GrVYS WEREWIHOIT, BUTAET&A&&TPWA^Tke,OHE WHO GAVE ITA MAME. WHEN I HOVC&E MILT KAHL PO/m5 iE I ZEMAEKeD oh tp-ad MET SAID* OH( WELL, YodVE QOTTo ooTHATtTHMK IE Ifo S,AlO>* oh, I NCTCE THAt YoüRE šPEAKING ft\(L JOINTS HEEE SUCCESSIVELY IN ORÜEfZlO G}tVE FLEXIBILITY PAVETEROWN ME OUTOF%^EOON\.. tfé NOT WHAT\1X GALLEP ~&UT M/HATIS IT? PUT SHAPE/f TMS - when an Am <3cčS UP l<$ GrOíN&To g com SACK POWN ABAiN - Tiie Hand will mfP on Going but lh FLEOW jo/nt mUDS oEBßtAK^' Going back mili&- OPPOSITE PlßECTiCN -9tŕ&TiNGrON ITS WAY BAOKTGWN- k3?eaeihg''means bewh0 ihtLJoint whether-oenot it would actually Bene in eealítY, AUD THEN Wß'REGtölHGTo KčEP OH POING it CONVNiim^Pf -SUCdE^lVFLY ~ To mak£ things EIMSEN- 231 NATWtČKt1lie Fl£ST ANIMATOR To PßALP/ ppaw women, always S/WD, 'CUid/FS APß &FSAUriHiL"TÓ VY ATOM' in Hit íws q&ms f&enp, animator billnoían developed'purserhosz'animation, ■IT tVAS NOVEL :W funny GiNCp NOŽOCN HAP ANY BCN&? ^ pVFPfTHlNG FLOWEP WITH ENDLESS CuPViNG ACTIONS,- LOTS OF VACATIONS OH FV&RE 8^ POUND FiGitPES MAFiNG pöUHT>ßP ACTIONS- BUT NOW WE CAN GET CliPVFŠ N ITH STRAIGHT L/NES j SUCCESSIVE BF-EAKlNO JOINTS FNABLE US TOGETTi^ EFFECT OFCUPVEP ACTION BY USING SffcAt&HT LIN&S; Wž'BE FPeEP FOm/ER- F&MT&eTYRAMlY OF HAVING To AN/MATE PüEgmY PlGOm, t ALWAYS, FieUW-D THAT ^plčAWHGS THAT WALK TALK' SHOU& BEANYT/pEOF FIGUŘB IN Alľf STYLE, MAPFOF FlFSHANPBONES, 7W/£ OPENS UFA PANPOpAS SÚC OF Stiffs WHAT ATOOL! CAN HAVE gONES 7^QtnAI&HTS' IN OUR-FIGM&S ZajSr/U-Wč FLUIP, FLOWING MOVEMENT. IÚ GOING To BE STIFFA^ A &0apo, tŕs STILL AWFUUT PIG-ID. 232 now wbgo pom He. s/Ďŕ= - ^UCCfSSIVm sčwaiq 1fa jam: M -fflfô ÉXAMft-^ AU-Yhe. gfttPS öfcAߣ PHYSICAL^ fO^ISĹE-flAWr ŕMP To ACmAW/ ßENP OR /?ßrAK ANYlWH&ťt WHCfi& WAY Y&, 233 Urs po IT AGAIN; "Trie. rtßcW Í^ADS a«? TkeJoiHI^ BPmK IN SUCCESSION - 234 A THiNGrTö PeMEMBEČ IN ßßEAKiMG ike JOINTS. SUCCESZIYPL-Y IS -WHEEß Vom-The. ACTION 9?yeT? WHAT 3-TAm MOYIHG EiESrr? IS iTTCie Éi-BOW? The MPs?'Tie SHOUIPFR? NEHO? IN MoSTßfä ACTIONS OF-flie. BOPY'ľhe SOÜECE^STASSTOF^e ACTION IS /N1&EÍPS. PANCEpS, SAY,, 'áoFt&M YöUlOHIPSjl-Om, f ČOM PEAEIE. y/ TAKE A MAN S LAPPIMG A TAßiM', The. ACTION KrAim FROM NíŠNlpQ- WE HAVE POTS OF LEEWAY TO A&lFívniATE o J EXAGGERATE ßEEAKIHG JOlNPS ßFCAU5i= iT HAPPENS ALLfitĹ. 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Ohe, REASON /s that 'flit f^iFNVAL part of PANONQ is NOT W/A7Š HAPPFN/NG To ~t>z f£ft sut ^ HATS HAfPFNiNQlOTficBOpy --fae WFIGHT-iUe UP ,W TOWN OFTlxOBoDY- KEN WARE/S tm) ART BABBITT W&& BOTH GPfOALIETS IN PANCF ANIMATION ^THPf &PTH SA/P BXACTPY The: GAMF THING'- /TŠ The, UPANP POWN ONTteBOW&d HANDS That & most important th ing in a panof- /ré what's happening to iUt $cpy with -fat. wfi&ht movino up -Met pom in pzhythm- F WF SPOOK OUT -fUiFFFT W JUS>T AÍ /£s £VE£ý 4™ PPAWHG (S AH ZXTZčME- Ttí(s (S AU- OH OMéS 3 SímiTtoCPP STPAfétfT WSPTWffiľtô CfF í3£*>r ?WA + +■ 4- -f 270 Oh a pamcě- usimv HtrlUe. m\r oh iUe pcm?. m n^citi^ weightas-Pu ßopy ccMts vcwn. Í- t + To 6& W -ft & s&r + We CAN ACCENT £iWm -The POWN Qťlh&UP OFike ŠOPY- OM A omoč. , ir WB Ôer Mcsr OFTht ffl<$ B&aS&GHT-THEN We CAN ALMOST KkHORE "file LITHE SEATS OR. SfzCDNPfi&y ON& PONT SPRNP T/MĚ OH ikt INFSti/TeSMAL ' AHVTtilNG i-PSS THAN f Fp^mš WOW £ĚAP. (Strikt Awn TH trfa mmr - PtAuy pioti ■ -fHFN suppoRT it with SßccNP^FY ch -3WFF. 271 WtlH PAiiQ&S'MOTCZ %*, TwiSiT Me &HOULP&& ASTHPYOPPOSE iUe. TW&FIN HIPS. TA& HIPS aJ ^HOMTWS ~1pNP TO COUNTS OTHER AU--fteT7M£ -£HOM£>eg VOWH, HiP 0 p $tfCMl£>£& UP, HIPPOWN- Heap at DiFF^em Amie to saouu^is. OH-foe ZitfCFTUz &&T LßAN f£>£ PVliAMCS lfaöww TUofflPS WEIGHT 'SHiFcs OH SYHCMItOttiSlMGc iUtfcnon to a musical emr, the&eare 2. rmles or tho/h$: ; rule of thumb * 1 (j3JlLE OF THUMB^Z u~ frame beat IrH HAYFibe VISUAL ACCpNT POSIVOH OCCUR. 2- FRAMES AHEAD OF TU* ACTUAL SOUND -P&CEmiE iUeSOÜNp gy 2- F&Wß$. Ä 11111■ 11 ■ I ii So WF CAN EiTtiZR. AN/MATE Hie HE 2- FRMK AHEAD OF Tue SOUND OR, m CAM Atil/Wre L&ßL WITH The SotWP 'ad ADYAMCß-Tie PtCWRF IN "flfft ßPITlNG, LATßR GtßTirSO TLOOJCS Ei&HT El MUCH PßffmTHIS) MANY Live ACTION £DtfCt?£ OFTEN PlXTTht VISUAL HlT AHffl> &/%>1ke, L&m OEihtOfEEAU- BZATLWiTH A 12 FRAME B&XTIWS -f F&VWfö AHEAPcF~&i SCOHD.j AS WEH PIALO&OE, I.THWfUe ßE&T WAV I^TO ANIMATE LEVßE WEH tu. &UNp ~THßN FIDDLE WITH E/N-Eit FOlTlhKS TU-L IT LOOKS JUST RASET. ALSO WE L&AE-N THIS WAY. AS &ÜLE2 OF THUMS AfcE ONLY WHAT THEYAPß ~EUiE$ OFfHU^ß - TRY IT tob SEE WHAT WO&<2 EßST MAVßE iE* eFTTEZONt FRAMEAPVANOOP, MAYBETWO, AMY££ s OEA-.. MYBE its ßESTI^VßE. Tut mvBp. gens? ure.) 272 ANTICIPATION ISTHBPbAHYBCPi WfO VO&n'tKMOW wuatw& Gift's GOHGTo Po? " TM&PB A& OHP/ S THINGS. IN AHIMATlOH - c 1 anticipation' 2 ACTION 3 faction ANb THESE IMPLY The ^EST LMAPN TO P>0 TH&TWNG& WELL PTZpONSP LIKE shifting GEARS ON A CAP OP GETTING DP&SSEP, WE know THAT WF tvhnk Or something pipBf-THFtt PO IT As with spfpch, we mow that our- Spain fixes upon ifa Sense of what IT WANTS TO SAY -THEN INTO A YEfOy COMPLEX OEplTS OF MUSCLE ^FLECTIONS (O SAY It- GfO. ANTICIPATION. IS The pRPPAPAVON FOP AN ACTION, (which w£ au-^ccgn^wh^ ANTICIPATION TAKES PLACp iH ALMCXT PYEPV ACTION- - W G££OmiNLY in EV&ZY BIO Action- ANTICIPATES ACTION R&AGVCN *- Gone ^ viemts dj $m£S. ANTICIPATION IS ALWAYS iti 1k, OPPOSITE PIPFOTtON Id WHEPEH^-MAIN ACTON IS GOIHOTO GO. 274 tFACTION K INT^ WHOLE bopy THEN WE HAVE AHTlOtpATtON OF T££M£NPOUS LATENT FOpC0 - USUAlPf ike- anticipation issiower- t£S2 violent than The action BEFOPF VNFGO BACK-WE GO TOWN SETOFF WF QO ty> WE Go up Before we Go powh, The PtiUF IS-' $fFO& WF GO ONF WAY - R£ST GO Hie OTRFfO WAY,' 275 OF COUpSP-, WfTřf a "CAflTCOti' CAPTCOH sommiH& a/rnctPAr&shís &ar ivd p&wtims o ah ENTRECHAT = WIC&LIH&FEET a MAN ON A PN ING. roam) (m Amm ANTICIPATE ßAOK BßpOßF SWINGING FeP~WAp~P, anticipavcn Tmz uz čXAcwf wrniM Gomoro HAPPßlH- m farj-Y mys of animation -fae contact was fikf hitting a pudoing- 4 FpAMgS, ££M AATVVŕC/CSAíD, 'Ar D/swey's ŕ lpačnep Hoaotö pzt-Nge A punch Fpav\ AßrßAßß/m APTSA\Dt s Po/V'r rVßß SFOW fie tfANP (TrlN&1Ue CHIN- SHOhl Tkt HÄMO AFjßR ITS PASr yzie GM/V W TBe Ctf/W r/AS AloKßD our PlACß í " tom wejuST SHOW Hie RpCütr TrfĚppíS -flit CONTACT ■fit PAND him no point ' IOTMČ& •iUe IMPACT Km HAfZP-&TO)T>Mp 7W& t S Wf/AT Tm PIP/n OLO FILM'S. TPßY WOUPD ČPWCUt -ice sfö)utotcontact''ppAtté^ ióJUSFSPOw TU f>itroFlbe Pip *«í Puta Bí6 BAřB ON it. £Q, WP pUTiQcSOLiPP mr WtfčNTkc Ft$TI$ pASF'fe FACF ~ WHFN %t CHAfWCTFß- /S1 plSLOO&FP 2n$cnoM P&cm twsee want to go- fpk too fast hop i&e 7& /r - /rfcjuer poe ohp OFTtiO PPMFS. -ITklNY&l&lZ l&Hie&{£ BWWeftm-IV this gives, fTi&e- SAW? Srty A SOCCp^ GCrtMe /S TO STOP A lVffi A OjRCULAF fOOT FPOU&&H - OFCouFSE, "fa* F£*7T FLOWStf /7S£U= A'V ANTICIPATION. OFCAffCHlNG Ha Mr. 283 Ifi/S PEVICEGnES. AN EXTZA PUNQU To AN ACTION SYINVISIBLY ANTICIFAT/A& AA>Y ACnCft. IT'S %t SAME TWm AG A 'NATumC ANTICIPATION - JUgrGp iue. ORPC&fTE WAY FlgST-pxt ONLY FOR ONE, TWO OR- THREE ERAM&. A &ASEBAIE PLAYER HAVING OauGHT A BALL COULD ANTICIPATE -^tANVQWlON' Op HIS THROM EofcJI&TZFPAMES- itii. ANTIC. FORWARD FOR 2FRAMES- HOW G}0 BACK INTO TVNORMAL'ANTICIPATION 0*1 ir poll. Conclusion ; WHENEVER pCSSI&LE m TEy JO FlNP AN ANmffi~iCti(oRAMcif>Mioil$) BEfoRE'%^ ACTlOY. -ryTLA SAIP, \\ and £0, m simple. $e PlRgCT. be ciea&. * VERY SIMPLE. make a statement- W FINISH IT- SiMPpf. - / we anticipate 1k action 2 pc it z %d show we've pobit. ANTICIPATION l~EAt>$ ON NATURALEY LZi&HT INTO 'TAKES.'W ^eeffllS' 284 TAKES AND ACCENTS A AW AHVCIPAVOH OF AN ACCENT WWCP TttEM S£TU£ Accent anticipate Sees something- SURpfHG'n& - TtflSL /£ "TAo BAS C PATTERN OF A OAPJCON TAKE. Hf^e fcuows a BuMO-t of fo^Ht/pAS mi mmvof^ on HoiVfvJOCi> $$jfiS WoPm> OUT (N ilio FfSo's 9tJ ..... 285 BUT Wß'ßp atiTf WßCOüLP Srf&l&lHfrl OU&gAŠtC TAKß/SYAPP/A6- /Ar a slight up AHnamjou onue pom anticipation; ac hptakps a Crosse wcto- A SHcfiT HARbpp LOOK ACCENT S14GHTUP To AMTľCUFWp TW AtmClPMW PcWN ANt\QAPAT£ j*, (SOK up ápmŕS HßPßS A POPMULA POPLAN OPPlNAPY ^W\16HT UP m) POAllN TAKE (W I řboT*%$e^) (TřífSií Vi&Hpy-TYPč- TiM/Nô) O AO -WAC&NT-*a u (iff \tom-mm i.* _»J 8 /o n \b +4+1 ON TWD5 Similarly UP ON 0/ť£S ÍOWN ON TvVCS ' 2 5 4- S pÓWNSŕ(Oŕň£ j_j—j—j—i CO IL H-W-1 UP Ol OHč& 17 it IS. P ŕoiVŕi TWOS 286 WAPHEP-SHOPVS -TYPE TiMtfiG- Ijwri 7 (r VOWN 3 5 7 pop ~?To 8 SW£ fi2W 1t\t I 7 3 Z 7 4-M EpDtA 7Tq8 Samp thing wftyikeEcW-mAliohtnos (takes one fcoT* 75 SEC-) TWOS I-1—h-l AW/fte ACCSVf is oNiMfztr 8 9 IO I' (7-i3i4- (4 Si ^9) 8 a /o /' lie /f l-U—I—hM PCWH CH cwek 17 POP m« J A 1To9 ^ 1 TWOS f/ '5 J£ /7 4-1-1-I Alternate #7 We Can EXAGsepAm PvmTHfm as Aittew As: W£ /jke //Vfte p&w/m BMTIUESEARP €,TANPAR£> TfMlNGS. 287 ThčščÄßE Soup woßtm fopmui^s-eufwp-Can Stapf mope inv&wve■■- Ä t—I—I IfM—I—I----4 f-----h-f-H 6 Go UP ON ONES TX>m ON 288 NOW LßTS MAKE IT KINO OF A WUBLF TAKP-Wížfo KBBPikt SAW QUARK gut pRABiH-HFAP FPOM SiPp to E(pß ' ON tú WAY UP TO #1!. PoPituHFO SHAPE, 3«á MPUTH oh^il W£ SHOULDN'T WOPPY ABOUT pISTcPTPO PPAWIN&S OP IMAOPS.. UYP ACTION HA%TFPP\BPY PtZtOpIFP PRAMPO. BUT WF SHOULD PFM&Agp£ WHATlľi^ OP4GINAP YOpVm OF A CHAßACrPR. IS -/VHP NOT STPPTCH W CG/APPPSS FORGFTUHa WIS VOPUMP- SO IHATlhe. OMMTT^ CHANOFS OVPßAPP BFÁp. MILT KAHL- SAIP, " / KFfP ike ŠAMF AAAOVNTOF AAffiT IN A TAKF Bur m oan Tush itapjDüNP UKßMAP - 289 WE SHOULDN'T &E AFRAP OF VIZTOPTtON Me INTEElC^OFANAOTON- Cm. VmitHQZ OE IMAGES MAY LOOK GRANGE, ^ m REMEY ONLY SEElfeSpgExd E£> We EEEO-&eP!S1DEriOH WITHIN WTHATt WHAT COUNTS. THZEE IS WEE DISTORTION W LEAN IN LIVE ACTION W WE CAN GO FURTHER-— OotNQ POWH INTO AH ANTICIPATION YOU'P IZXPECT THIS~ AMTIO, Tfa Em-Y AGTitL0G£ Bi.iT let? JmAV-Ute stomach afea fOKJUST % FZAM& OR S H2AM£$ oR 4 « - STAY& WT NOW Ttt8&4¥ Opes PCWH V PRAY IT 2-,3 cr-f Tkt S1£VWA60 UPASTlizLFQSGO DOWN WHtOi fS A/V AHTIC-IPATIOH OF AN ANWGtPATfCN HizAD fiU. BtSe flni!c FOLLOWS f&£T PEpAL- AFWT-Tkt HEAP fei BoPY HMB &FTUWikt,Am& CoW> MOVE/NTO A f&SrriOHToTAXEiUCtit&F THiZ IS HOW TiXAVEEY P/D HIS WIU>, CRATf TAm - L?mNt>tN UP ANOTWePumiE RPFiNEM&TF- TdtAßM OcuU> KEEP KNOCKING HIS HAT OFF aJöN AGAlH- KMD OF CHAPWtESQuE.. wbe> HEED A m/nimüm of 12. fpame& FÖRTHS stuff ■ OTHm-Afm Ogmes. up ivü KNOCHE -Hit HAT The OTHFfr WAY -OlOPCESlT BACK OH. Hlü EEßTCoUL-D FEPAe sHTaeAlP-■ENPLESS VARIATIONS- 291 Irs a gcůp ipm id look roe ah lemA 'sm^worn^ v( , pprk sAi a man s&fss scMpmm ouri&úFaus a*J yells1 whááAäAat?!1 TtjfS WiLLpO1%£ JOB OK - SufPß-R UÜH FOP ÁNOtHEP. upfakdohn ~ ANcmmfL fO%mON THAT WILL Sf&NGlHtsN if 2tJ GIVE US MCfcB "change '-mč&E VITALITY- SO m LOOK Toil WHAT#féfZ CAN 6Nß Í/S MQ&E CHANGE OF SHAPE WFHlH Tkt ACHOH-Lgrk PUT IN ANOTHER. ONE-. NAVßH/M pOOK UP B&V&s-facVOWJ AAmCtPATfoN. A&NH, Wß AHTtCipME ihs ANTICIPATION amyse wefep in PANo$ß of o/mwimTm - or oi&mTue uly nm& - Bur its ALWAYS WOKTH » ÍFTH&& ANOTHER MČM&tfl&Y POSITION pOSSÍPLE 7& CFFATE MPFF CctímST- MOPE CHA USE WITHIN. (AéAiN, T»emN£MtU6 PKEltZilNS-lTP) 292 HAVING Too MUCH AHVOlpATiOH CAN BE COWSOMETIMES CW-1 MjSS UHUECE^A^Y JUSTTO COlftZAbCTALLTHlS WL$>f UptpOMH -aJ apounp ACTION", O&OFitz&WMGEST takk i'veevep-^e^i w&tNA?mwmB&(Lfm\80N£AsiuvtUAirt. n& smack mt^mwie crlktamtmaopE £cp^n ^dnet BmsGNftt tHfZXMMCN BY AH AIO& WWCH SHOCKS H/M. 7JlBm> LOTS OF ACTION BeHlNP him -hJ AZQUNO HIM which could P&L8X€c& Aff&NTtOM, YBT his take JUMPS right out at YOU, HP- HAPPLY MOYPS any p&taace at all, YET YOU s££ it! THePES HO ANTICIPATION pown no STfitfCHEP ACCpNT ?ARX OPTHE PEASON wes& it is BECAUSE H(& HEAP AS FPOJEN in Tk M(t>pl£ cp 1Uv £cp&N~ (Tkt 1$acej®' cwtpal om) his heap mak& a short, sharp aacye up, mm cmshoh's back a sit -TH&H cmtOtiS fllCK To% Iff A WpitW- HOU>. Tm wa&iwgty /c Brm^ torn wan a cushion pack. ^_^t T-i-Li ust&nin&, n atv&ot (pfmmz to &ap AHYACcm: -r£x finm savs its sp&Mm > You NEEP a MINIMUM OF 5 FPAMB To fcEAb A\ HOU>. TEXk STUFF WENT80 FAST -THAT 160FSS IT WO&S /IS &4OU0H OF A PAUSE iHTticCOMTBCr OFAUOTHATQPflzP- 293 FINALLY I CAUGHT Ott~ A<$ USUAL/ 1k* SECRET /S KltiO OF S/MPl^I ITV JUST CtZTTlHCr Tkn DIFFERENCE 3ETW0FN A HAW ACCENTfytJ A SOFT ACC&HT a ha&> Accmr m^Qits - Ir &ovnc&s sack- tfv ^ f&NT miul mzo »«J YOUfl FiHGffs fVR to Bounce £ackt gs-gpuP oe torn at sum a en: ir won't stay static. m) A SOFT ACCENT j ACCBir- IF m WTAU AW IE wuh A HAhiMm, Tfc ANVIL IS. OBVIOUSLY a(OT AFFECtEP 0N ikt HAMMER W WfiEN -ffie HAMM8Z GOMES VOfiH IT BOMCm baqk. THIS &CH1NC& SACK tsfkeAQC&tr. Th& SCUNJ> ;c HtsREs ! T&MiE AEWR lH>HtT IS MzREWE&?r1be-&O0Hb coitwzr w IT Mft&>m%L¥^ . „ ,„ _ -v FOP-I FRAME 8QUN&S.8ACK $LOWG)NTo AHQ1J>) Samie wm a hammer Hlfrim a NAIL - 72e AQCeUT /S HOT WWi T#e HAMM& domms, NAtL. A6Am,ike.Sa)mi$ON iUfL. bounce - OK? FRAME AFjm TZtt CQtfWCT, WO. NQT£V£NtW&0NE. ITS tufS ONE. F% SOFT ACCENT WlU-KZgPOHGOIHG - think of ah oR&mm CONDUCTOR. COHEUCTHG WALTZ T&MPO ' WE FEEL TiA- ACG£WT ASOUFHERE %JlfaHAHp CmrttfOEZOH Writes mr' Acc&fr. 294 (_ AHAÍCD aoWcg &4C/f J a m/w potftrm H£ FlHQEiZ ■emphatically- Going out --—> kosmr US 4- S (f) l-H—I—I-1 FSlT (6) 10 9 8 7 U4—U BOUNCth& ßAGK 4-- ^ALTHOUGH SOmiMeZ A ŕ&ČP AGířCW STOPS A£piiPiW-~CR AS A&OfflY AS iTCAH^j G A SOFT ACCENT '^J^^J A0AH THINK OF A WALTz-- Fčut Accafr f_Uíf —-fr. 60 M& úwr pgq- -■-í* ACC^ŕ7 /i3 4 £" Wf-F&Žl 1fo ACPFNT OH-iFO r\0 m still spm> into oufoA&LmT Buri6e,/AovEfmtrcofmMu^. 295 ä KMAT& mrrl AFmumPP/hb ourf isilp BouMc^ßACH m a ttAfä> ACCFtft f 3 57? our imoite, n -nm nomc& back / 3 Ä" 7 ? 4-1 7Aŕ Q 3 TWDß *-"-1-! 7)b abound 7#e WOfZLt> OF men tod ANIMALS - none OF ITSHOT AT no&MAL &peep* IT was ALU IHTEHTIONALLY FlLAAZO Too FAST ok TOO BLOW, H? HAP ELEPHANTS RUNNING LIKE MICE 9w3 VICE VZgSA, PEOPLE IN R.ELIG(ou& FtlTUALS fcAC/MS AROUND as IF FLAYING TAQ, PEOPLE KISSING IN SLOW MOTION, ETC AFTER. an HOOP, OF THIS tour, MWP TUPNED INSIDE OUT—GIVING a KlNOOF ENe VIEW OF LlftE Or^d ACTION- WA& a SHOT OF a TEAMP ON a F&RK $&NCH PUTTING a MATCHSTlCK IN HIS EAR it WAS FILMED SLIGHTLY Iht SLOW MOTION/ so C£ 32 FRAMES A SECONP. AS HE FIPDLEP WITH MATCHSTCK YOU SAW little ftPPLlNQ MUSCLES OF PLEA&Lt%0 SPPEAP HIS FACIE WHICH YOU WOULt> NEVZfZ SEE AT NORMAL QPEED. STRANGE, But OOMPuLSlVB VIEWING* SINCE THEN i'VE ALWAVS T&IED To AVOID NORMAL TIMING, I apwvs TPNToGO JUST a LITTLE 1b0 fasp W THEN SWITCH To G01N6JDPTA LITTPE Too SLOW — COMBINE it. GtO FOP- Hit CHANGE, Tte CONTRAST. Th. &low AGAINST 1kt, FAST, KEEP SWITCHING BACH ^ F0m. Ifi /m^p To DETECT ZlXTfWES CeMftlASlVE VIEWING-. THEPPEARE SEtt&ZAP WAYS To STAGGER- DRAWINGS' &ACK w) Pom To CAUSE THINGS TO SHAKE OH Vt&BATP, To MAKE HANDS T^mtSPE Ok HUP NTPi LAUGHING o£C&fNQ. WE MAKE A SERIES OF DRAWINGS OF NORMAL ACTION INTERLEAVE TH&A mCK ^dud FOPTH IN DIFFERENT WAYS To MAKE THEM SHUbDER SHAKEN. 297 Tm šwpim foiw of staggfr Vibration /s this - Srí wf waht a l-faron at&&f To ftuttfR in H?,wmc>„. 5&78 #/ W # VIBRATING V/FMAKF #/; WHFN IT &low& TO A STOP. OF CQUi&F W&CAK MAK? NXOZJF FIMlBLF fV&toNG POS/770NS WITHIN T7i& 14- B It 12, II BUTlT will work wfll. mirum WAV' TtíFSČ ARF The, VlßPA710t(& /host ANIMATOR ttäe- FOR, LACK OF A NAM F l GAU, IT V UP DOWN' OR KgA: UP town CpoSč Tcxsm&t- w Ikt- FAR. AFART mOfČT A YA&čTV OF ZPAGH& ftUkt-ACXX- The ohlx ppo$pm wim this, mewo /s w \rrm& to b? a bit mechaai/cap-Wp cqupd bppak it up &y poim&-/aoPe intepestiHo pacing positions witíhn ir. &íf l7e PpAlPY Gpmr method IS % iTTO m ^ keng&titfpom šhamus culhane who Qotipfpo^ FpROCiSOM- POP pack opa naíáe, ík oapiih& ít itie SlOß TO Stf>E VIBPAVOH FORMULA SAy WP WANTBb ~b HAVF a heap womp? Pizotf we make a WPGPT A S/£)P70S/ůř WOBSíB BY HAVING Z STPIPS OF ACTION, 2- PATTERHg OF A onou iimčPčAvzo^ 17 t A 4- THFN WF MAKE A CAf^PUi TPAONG CF&I &é #33 JUSTStíGtfflY OPFSET- W WE MAKř A HpW Sfí£/^ OF P£AW7Ms£ 70 32A 64 3 8A etc (NTEPlF-AWiHG TWO Sŕ£/ES OFPPmiN^ (SíVEš MS AU- K(Nb% OP ?0S8ißfUT!&S FOPL VlBčATIMG ACTION. 299 9 i 3 (f Km HÁČ&(S ANIMATED A scěHP WUERb 1t& CUA&APtčfí m ah *bawquaw" viB&wch dam uem šopy fítútô ms -tum, -vo #/s pmsf w n/s back, uzm im $y$rm IT woBfä TMS- ŮE&IEŠ / to 7 INTlsfCEAYEP with s^e/Ěs i A fo $a NiCEpť ) s/ SAY Wß WANT m Am ZA. ISING IN TRfO/mi 0P~ IN E-Á3-E, ab ir Gfom an- (mo OF COURSE WE CAN Sß MO& INVENTS WITH ÖOt ß4S£MO R%(WNS W ßfZfrKpöWifc WITHIN h ACtfOPtJ SEßi&z A 6o, £AS/04Uy iléjM&T"MO tE&£$ OFPRAwihm PONE SEPAPATEPY INTERLEAVED WfiH EACN CWŕ? - $MNG 0NPPES& fm&lßlElTf£S of WúSgLES} ^JUDpm, QUIVER »w) SHAKES. 300 HANO PRWBS HW/P FOUWAKp C OHIY PĎŘ OHĚ fRW£ PUČE- IZia Soam OrfeF&ME AFTWl Hit aw: RřlAxss on f\e,HB<;r mm- AFrm^s^ WAYBACVOH Same Kin p of thing as jhc whip but without ike. Suap AcmT. KßN HAj2R(& u$8> this example ' a mam swing ims on a rop£ - / AUHOJ&H \ / IK p&ufY \ I -fk^RoPEWOUH> \ XteřUl&SlRfifírr] \ OFik^lAAN. / {AMP 0?CDUfQs\ /řiť- ufrmott ] Going c*mz Ouš C&M/NG BAZK ■ 301 Hzm -fee. WHIP ACTION APPUEP TO A WOMAN BATTING ff&l - (hxAGGE&TEP) ttZlPlUQ US OXTONTk*. LAST ^MONTHSCF[A CH&Srm CAROL, A8E UpiWNAHMAlW A WOHPBRFaL LirrLB LAUffl OH 7WYT/M, A\t PiHHEfZ k&£ *d I WEgE PENXQElCHtNG The WiN& tod I RATTLED ON ABOUT HIS WORN Tl^&mT LAUGH HP'O JUST OCHE, AmSAtt>,v,WSt,IM A^uup/ GLAD ^ THAT V£Af& AGO KEN HAZ&& SNOWED ME THAT WHIP PRINCIPLE AS A PATTERN fc& A IAU6H.' *WHAT? CtfOWME &Wfm!"WeSrUM8i$P EACK1b1he,miDIO tod ASfCCr^mLEO SOMETHING LIKE THIS - ^WHAT?"! BURBLZP, * I POtiTGZT IT.,' * COMEOKI, DICK, ITS A WHIP PATTBpH. ~LOOK( LIKETHIC, " THATC WHAT YOU D/D ON T/tfY TIM ? " Yffli, VOU KNOW, "fee WHIP ACTION- LIKE THl^/f, ABES LAVISH ISOH-fkn NEXT PAGE M IkCWOim VETO SHOWJW How SUBTLY THESE- THINGS CM BE U^EO, The, SHOULDER GO UP and Pom WtTHlhl Tkt, IM5H ^ YOU CAN JU$TABOUT££j£-$e Wtf/p PATTERN UNDERLYING- Hit ACTION, 302 303 DIALOGUE IMAGINE A HANPSOrAE MAN TAUKltiG To A BEAUTIFUL W DUZ iS HW«f SAVS: it looks Urn hf!$ sa//aig/ / to/e VÉstí, po&n'tit? Htsk mot. H ES SAY I HG, "'ELEPHANT JUICE f YjnY it YEApLOUD 9AU&HTEP BROUGHT THlQ home FßOM SCftOÖL.) TPY IT It ILLUSTRATES 1Í& POINT THAT Alt tout HAW ^TAÜPAPDlSEp MQUfN SMFES FOE. EVERN CONSONANT W VOWEL- W& 'PE AU- PlFFEpENT OuP MOUTHS ÄßE ALL PlFFZpPNF ■JnJ WE USE THEM DIFFERENTLY. ThePES NO SčT WAY TO FOtM INPNlPUAL LETTER W VOWEL'S Aeoerj//MCA^>;/vto^ mouth pifffPewly than^e^igish Qufen, of CQüR&f all CUP.NOUTHS OPEN FOP YOW£LZ A;E/1,0,11.^ay)EE,EYE, on(yoo. \ ANP TUET CLC&B FOPlüz consonants £,m, ?t f, t, V. (see, m,peetEFF, TEE^Z vee ■) AHt> -tttETOMGUE l& Up befinp TktTmN FoZ n,p, L,TH t(rmu&i mtcňTAvms&iT-Bur a lot ofTkz Positions in peal life are ambivalent W individual. 304 HOW NOT To to LIP SYNC- i had an ENTHUStA&TlO b% W TEaCHEE WtfHA WIPE mouth FMLLOF VEEY lars? TffETH SETOFF &V fcED LIPSTICK- EVEPV AAOfcNlHG SHE hal ws ALL STAND UP W SLOWLY EE - nunaj-szb ~ AVTEP : ^ MOO VAH sull EIPSSSSSS, MOO VAH bull ^/PSSS&SS, AiZH THUH VEHREF SEHSSST LIPSSS TOO TAWK annnp sss/a/g w/ththth. Eoelohed &y- vV <5OOOO MOHRUNNING Too Yooo, &oood MOHIZLINN/NG too yooo-\AlEEfZ OLL INN OWEIZ PLAYYSP7-Z WITH SSUNNSHEYENEE FAVSSBZZ. OEHH, ~THESSS iZZ THUH WAY ee TOO StAHPlRT AHH NEEYOO PAY ee.'' sometime shfp have us sit ^ -say V - (pliH) fou a minute ( kind of enjoyed hearing 1k*, little explosions of air. People pont talk like this I WE SMUDGE FROM ONE WORP &HAPE Tolhz OTHER. ~V«L ANIMATOR CALLED \T i. PttlCASlN-G.^) L-IKE {N/W&(C - you SMUbGEOYEZA FAQT CoiAPtEX ravage hitting jU^TiktAAAIH THINGS -YOIA DONE have TO MACHINE gun EVEE>/ NOTE EQUALLY'YOU 8LVIZ OVEE- it when WE speak WE POAlT a0p. tick yoo lateh EVEfcY little StL ah huu- Sted lettepl W fop. some People hapjdly movetheie. lips when they talk. The^ thing /S To think OF Ike, WoEES, word shapes xt? PHRASES -NOTOP lettezs. OUZ MOWH& AEE ALL DIFFERENT. /host People have EiTHEfclht Top /gjj -Ike tomotA Teeth aee' TweTH VtSltSLE MOZT OF%^TtNi£- ^-^ FEAWREp mostOFTktLT/me. 305 ■iUMcxr mi i\m uap with up sy/vc sd far. was with Vincent P&ce£ voice- BECAUSE He HAI> SUCH A kAOKlue FACJE, MOUTH ,J*HA® W THPOAT fmAlkt^(bE HE ICOKED ASYOtJb EXPECT, BUT WHEN ME TUPNEt> TO 1%e, F&OMT KB LWK& Ulfe A FiSH, Hmo RJWAZD-i'm A FRteWM Vincents mmr tou> him he HAP A OIANTVOICE WHICH GAVE hm THAT AWFULEY &ch THEAT&cal VOICB. mP TM op mo, TkoTop TEETH WOUti> F£A7VPE,„ at ONCE, AU-IHCHE £NP BJECMSE H£ SPJZmb OUT HIS DIALOGUE VOU HAbTfttsTim TO ARTICULATE A/^e FOPS, C&ACKI&, SLOW VOWELS ad CGMSOiVAMS^ (UKE RACK IN GRAPE <$/x) SOU CQULt> OV0ZAMIAAATE IT *d IT STILL LOVKEp NATOPAL. AAOSrTP/ WE HAVE ID HOtt> DOWN OU{L MOUTH ACTION f UNL&S WE'EE SHOUTING} OH s/A/s/Afo 7fe tM&OfoFAKr CONSONANTS APgjln, CU&EP MOUTH ONES' M om$~ To P&AD THESE POSITIONS WEN Em ATLEA^T WO FRAMES ■ OHEISMTENOUGH, WE VON'T MAKE THESE? POSITIONS "Hit VOWEE THAT FOU-OW& WILE Be V/77AT8X) 306 fbl&OOO CE&P UALOQVE WE&HOULE M ^TO OUH VOWELS- (NO W»J^s) POttf CUSHION INTO IT. CumOH SACK AFTER,-fee ACCENT HIT IT BIG, TH&I SOFTEN It ttrrrk* XHALO&M ACCENT- U- *B£N<3!* • e :y . (Oft) WE COULO CUSHION A BIT ATlk*. BOTTOM OF Ht, fOP~ toh HAVE A SMALL POP TO Ik^NG* ZZ> LA A J A A 1 Taee tu worn *B&Y$ zoll' wiry wo vowels - Htrtkt, f/est yomL HAium MNikT^, 3 again, ie someone says a gQDAP> vowel LlKEH^Vl^ois. WQWl -pon't ease INTO 7V vowel feom The11w " WITH several p/ZAWIN6S- = vm Mmv ™d soft ok, writs ao. ) EOSE ik^MiooLE positions. smack zi&htint> it w get much mow vitality. <*d don't FoEset COM PjEfSS To ZXS7END 1s& a p&0val&ITFAULT INI t>lALOSUE it THWifai'&OTTVtA. OF"#t«. FACE PO&tlr SrmvH COMPOS EOMBh, WHICH MAKES OWL ANIMATION STIFFS STILTEO, 307 -^e(Křy) 12? ÜP&VbiC /SGřrr/MS lie FEEPIN6 OF Tit W0&> a^NOTikz INDIVIDUAL PBTtbR^ ~%t ÍDčA í8 NOT To U TOO AtílVU - GET%t SHAPE CFÍi(t W0&) ^ MAKE SÜßE WE SčF ľF SELECT WHtffe IMPORTANT Sto) AVOtľ> flAffim %tlAO0lABOUHD ÁMiNÁT/HO EVERY LItUeTHiHG, ACTOÍS FITTING PIALÖGOP 0\lEPL POpElGN FILMS fHTCHUfik ACCENTS *) GUSS OtíHkMltblS UtřF 'Tupy match %t fiP&r vom. ATiU£-mRroFitt& sentehce *i Hn last accentcp-fc ^níehce-3W whaú jW Between wile wcbk (ôurmh to wo&c) Think of itthiswa-Y- TAW 1ko W0&> ^PotTúNž- VoNT do THIS PO IHlS' JUST USE 7- POSiTIQHS. Go F&M OHE To iht OTHER - U&ítake^heuoí GAME THIHG - 60 STPAIGliP FRotA ONE ToTke. opier- - PONT OFEN it twice, TttHB BOIL it TOWN so irkt/MHE. 4\ <♦ V <*V O ~'T>oNtopen: iTTwa We cant m UtePap in reaping ove. Sounp track, liAAEMOHY" /S not Z cms - in one /rfe HOT'- f A EM OP '.{hues rmi'R£ StN&MS f MEN\" OH~p££S f t OPShl f n this cm i't> oio$£ Ute, mm m toom h "fee WE Pont ANIMATE lEVEßy SINGLE VOWEU 308 f?m&fi8£& ih upp&r tern ape anchored to fk&SKuu- *J to not animate 1u*, 'PCWE& JAWS ACTION tQH&Tp/UPtotfPCWN'*' WtTHIk. I~tf£ -ftd ToHGVE fOPMtHC i&e SOVHIS. A &)PF* N&fgg IMBETW^ike. TOMGVE IN SPEECH. Ou&ToN®)E§ WC&C $0 F/&T, THAT Ilk just up or just powH^HjmB seen en &>im (oecw^ it pav&$) c ft o ivirm&AWiMG- / \ V Tit tongue V^rSO few of us Can m& /r- f TOmUZ !T> OH P DOWN OHTke.NET f&\M£ 7?!e *ft>M<5c£ /S WcoK£P Tk> BACK OrTke, LOWER JAW W /S A£7T FLOATING AROUNP IN UfABO OR STUCK IN The,THROAT AiCO 7ft£jAWS *«J TEETH AmT-RUBBER.. %Z CONSISTENT A^PUT TEETH. ttOmVzR, THEPE& SOME A mM FUNNY SWFF 80G POME THESE PAYS' WmE THEY J(JST SAY, * HEEL, fit A CARTOON - pefc HAVB IT BE A CA&ZOtf !' TR&f Tk&TE&TH AS RUBBER. POP FROM dOErzN (HLA&IOttS-BUT NOT WHAT WflSECN ABOUT] HEZR. AkOWEl WEZAtP WE Hm> AT LEAST TA FRAMES TO PeAP IMPORTANT CONSONANTS ' Hf CNHa&QOHD reaping weQnp/ have one f£am£ IN PlQATEP FC& AH W SOUNp - - tTZ NOT ENOUGH. / ,„,\/ y / So we smi* TFRCMTke. p&ze&EPiNG ^OUND. GflVp IT ANOTHER-EXTRA FRAME IN FRONT OF IT TO RESISTED - NEVER AFTER... s / EE 1 / M M \ / / BECATm WENEEP To HlfitiK, INCOM/NG- "V'VOWBP QNTleNO&E, 309 brings US T£> Ifte. thorny problem or' voweanimate l&velsvnc or animateThe Picture O^eream?ahead op-tit sound momlatioh ofCTiKD fram& mead oFtaSom, ot what? AP&wm WOPKoBVEp. fog.) IF WeR? OA/TWOS - W IT WORKS OvTlWWAY- WORK OHE FRAME- AHEAD. I-—" / 2- & 3 i 1 a a 6 7 \ j y ? B ;o i / / / H 7 y / ...... 9 4- FtO-OKd'fA' £>£AW7M3S % 3«? 7 ^Rl&PT ONIfaWSCum PUrovsCm' drawing #5 o/ve f0ame ahead of%sPMf souno *~ f #7 V'pRAWHQ IFm&\ [_AHEAP 0FlkY$OUNt>ek) THFPE &A CpjPE RULE OF THUMB THAT IT HOOKS &ETTE& W ITHTtes PlCWPE LEADING -fa, sound BY Z f£AM£S, 3&OM&E: OP 77WS, A PI&EASE SPRANG UP WHERE SOME EPHoRS ^ET UP TmlTYFANNY -THAT ANIMATORS M^T ANIMATE EVERYTHING 2 FRAMES AHEAD OFlfaQOVMD SO THEY COULD JUST PlOR IN TboPESULT^ <£o HOME. WRONG. Ttt&RE mTjm-a&ms. SOMETIMES LEVEL SYNC WORKS &EST- /fc B^rr^ WITHitf^ PICtWE OHE PRAM? APVAUCED, OFTEN /r AS LETTER & FRAMES AHEAP TktVmxe) ^ SOMETIMES ITS BETTER WTHiie PlOlVRE EVeH 3 FRAMES AHEAD OP % TpEPE /£ ONE REALSYtJC ndTHATlZ LEVEL. RIGHT ON^/ACPUUnoN/& fco% RERTTOT, logically. ITJUS.T DEPENDS WHAT LOOKS BEST WHPN WEpLAY WITH IT. So WE EXPOSE RWrroHlkuNO&B^ OR ONE FRAME AH&£> - IF (7$ CONVENIENT—NEVER, M-Tg, THm WE CAN RONOifltlpSTS AT LEVEL&YNC, THEN APVAHCETb^ PlOVRE OHEORTwC ORTHREE FRAMES — PEpmPlNG OH WHAT LOOKS piOtf TO as. WE LFAPH THINGS TH(S WAY. IT ALL- VEPEHbS ON Tkt CHARACTER W TYPE OF VOICE HOW WE'VE PONE ik^JoS. 310 ■iZffc Ou> MASraa? PutshaPP physical actions f/w tos: 3 o& 4 WIBS AttfflD OF Tfo MO£>WWT?0/V — 77/£N put Tkt, mouth action oh tu&hc&e - (m A AWim cr sflwwa) ifoh on&- " ^ ..v ' ■- Hmt> Acce^r x a/ s / v 7 / 1 9 4 /o u IFOH TWOS -- y a A 1 hi IV 7 A . 9 a/' ii THPi GzrUP Tff£p£ (oRPomiM*) TOP^ACCEnT 3ae4 WIS EAZty-THENUtt MOUTH a/in QouNL>. pj&uit. Mucnm~r&z, than mrrtus /r AU- ATOHC& FCPOP&i oh MOPUWTOM x MOST OF UttTlME ThfL HEAP ACCENT /S UP. 0 ANTICIPATE VOWN © 7W£tt ACC#/tS (J> T/Y£N A/PS OV7ii£ VK>W#- £ fffr tfCwuy A MOKB. 7WT Ktfef WfflWS.) W£ CAN DO /f W P&/mSE, but MOSTLY ITS StPONOEP. G0IN6 UP, (&ut VOMN /S F/tf£, TOD.) ANYWAY; THPPE& ALWAYS AN ACCENT--UNLESS lit AN UTTEW BoHlbfe PERSON spmtNS, u JVeu., at i-mt Kox/fee HOME! *- 3 accents t yowa- T yews- v. HITONM fa VOWELS WHICH APE IMPORTANT QLOSZOYEPTkuOWEB, we hit certain accents when sp&jqms &w We Slop owg? ■«* sgsr. *w£ll( at last YOtffce HOAAb! '' T Bf&Acemr "weuy aj -usr Voyfc home!* Just Mir-fhe, main Asc&ns. select what& important- whether its a soft o& happ Agcent. HAWAQCfrTT: * //fi''' (3g POvW (pE.ui) ^ YOU BOUNCE sack. soft accent: *j\fOQQooL Go vown (azar) *J CoWiNOB. 311 HeREZ AH PXA!APL£0F gODV ACTOV PPEPOMlHATihB-.^ $Hpk SAWG-//W- SUP INTO ^O/dBTHiNG C0OP£&' f £he doss it WITH Hm&fOUtP&R.-irk up as TOWAZO m f ANTiaPATK DOWN hp FAST PcPsPUz, MAN ACmiT ON CCOUfc-also AT fi^AMP Tim HER- tt&£> ACQ£NTgqes VOW Otitfebo" THEONPf MOUTH accentAl&O OUiU^OOT StfOULbEP- UP, HpAO 1X>WNi M.OUTH PXAQGPMTE& -~ apt To HIT OHOf APG&fT IN Ihe ^PNTEhlOp. IHlKG ZOO- - LER . * 7WS tWS FlME, BUT WOULD HAVE EJFH BETTER lE^PEAO *t) OH&JLPER- A02FNT HAb G0ME3ce+f=ffMSAf&P oClttM'MOUlLATPN. ACTION DIAL O iMpNS \ T / \ X \ . \ 1 ' ANTIC. DCMfi X 7 up x r IS AS" 1 /7 j CTJJ /? 2/ srxs aouihf Try AhltlC, 1 ACC&IT \ x V \ ■ 27 \ \ \ L ss /Pttom-jygjz I t AQcmr x n 3? 4f HEAP SHcuu&l 43 OpiNS 1 pONU u up J i. . 46 I / 4-7 / /< 3 f 57 'OOoO- ■ &3 OO A Sari 312 f (T) f +3+ -(■£T+ -ř-7-l- 313 AAAKE iUt- PojNTOF-hi^SHof CLEAR WtfH BOVYAOTlON FIRSt ThcSOPY ATTlTVbP SfiOUL-O BCHO T^FACIAL- ATTirUĎg. /ft AU- OHE. "Tfe, EXPČBSŠIOH C^iltc-BCPV FAC£ IS MOREMPOETAhST THANTht, fiAOVEMENT. \F m &et SODY má HEAD m fóe- PlGHTATTJTUĎE WBCM ALfAOST 60 VIMWTteMCWHS. TUMlOtm AOTtON CAH GO OH LA§t -th0/ CAtt&Efkt- WSf THlHGTo wokk Oft. Km HAPE(S> SMU HB i-EAlZNEDihtmostaěcvtupSYA/C wheh HBHADTo ANlMMB AAMfó/AN CFA&CTEP WHO hap HO MOUTH, WS mbant hb HAD TO GETTkcHEAD ÁCCtm PkSHTTofAAKEitCONVIHGlHO. IH pUHHim weSHOULP AAAKESUEE we WNTHÁVE TQQ AMXQiGom ON. HúlNMAMY rx£$ TOP THl% ZENTEHCE- fOPTH^ th0u6ht? APTiTGWftá Boil irpOylN S0/7S s//AflP"J K&g irS/MUE. We Car onm Purow-z One thing atatime. Očistaš we camohly sayohe meD ata mo, we CAH OHOf PROJECT CHB GESWBEATA 77ME Tk& WHOLE PTpE SHOXJID W&< TONAPP 1WCHB THING. ONE EVENíNG INiti&EARjy 70S. I WAS TALK/ng ToMtLTKAHL AgOUfTUz SuVEPB tfOUW SHAPEŠ HE AL-WAYS GOTIH fHS ANMATíCN. HE SA/p/ WATCH SlNGEfZS FO&MOUTH SKAPEŠ." / ABKZp, l)$ 7HEEEANY gEAHSECČETTo ElPSYNc?" HE UTMP. Vl YOU WAKTibe STO? / U- TUL-YOU The. SECPEP! You KnOW THATjM H&E&N WlfH HťSFPDG AiUPPET? WELL,HÉS A $ENlOČ>f. HE UNPERSTANPS SQMřWG that PuPPeTeEPS HEJBp píp BBFOpB. UEPE HESJuST GOT a SOCK om MS HANO »J TtíOU&h HECáN NEVEÍG AiAlCH fht. $OUNt> EKACTVY, he VOES A FAR BTTTBP jOg 7HAN AAOST OF us ANINIATóRS WUH AlL OU&TeCHNICAL- PESOU/ZCBS, YOU WATOH WHAT H£($ pOlHGÍ HÉS PRaG££S$tN& jke. ACTioN-AfřS Gom SOMEWUEPE WITH THATFEOG WfíEN HZŠ TAlKlHCG. ,!'/ LEAČNčP 7his BACK OH'sohgct-peSCWH' WH&i I HAOife FOX SAYíNG lólh-ČABBtp ^PAi GOINGTA PD/&T yuh, ETC,ETc. I PAROLY aaovbo fhcAiOUTH ATALU HE WAS SP&KlNG THEOUGH HIS TE-ETH WH EN HE PUSHBO FOÍWARP 7oWAEDSi!ítPA6glT. HP fFGGRESEP IbWAPm TThlEABBIT! I PRoaP&Stp ITA& he SPOKE i^lHAÚThiSECRETT $OM£WH£&£, AHYWHERč, MYOUŠPEAK." WHEN í GOT BAQK TO BU&UH4T> ! KUZm IN To KEN W >J JVMFEP UP ^ POWN, *IV£ GoTTkdŠECPET! ^ŠECČETOF LlPČYNcl AAlLT f AAě7U.ilSEC&T( Km eookpo up Quizzica/J-Y^ xKTkc SECPET! " í BURBLEP^THE^ECRET /£ 1o FRCG8BSS fíu ACTIOH AS YOU CPEAtl " Kms EYBS, RDLÍSP HEAVBNWARD.U WHAT VO YOU "MINK I VE &EEN T&//N&7Ó TELLYA? * well, TU Penny ppopped Cfmaux) akio i neveri uookeo &ack. tuats it. 314 ACTING IH %f M3ok SONlFBOPY a&Keb LOUIS A$M7f60$e,11 WHAT It miH&? LOUtS AMJWE&D,. *man, if you have 7© ASK, yow'uL HEYEp khow. " But we all mow about acting! w& to itau-lay- we're acting pifferfnt pAm ALLikt T7M£. TH&fe ape SEVERAL OF US in here, X>0 YOU ACT ~%t SAME WAY WITH YOUR, Wife/HiK8ANt>/LOVER, AS WHEN ATRAFFiC Cz? PULLS YOU OVFPL? OP WlTHTkz. bank M.ANA&ER.? OR WtTfY YOUR CHILDREN? WiTA you&boss ? with Co-WORKERS ? FRlEpp>? WITH YoU&&UBOPDINATES? /OUR enem& ? WE'RE ACTING ROL-ES ALL~tt\OTlME/ DEPENDANT ON ttzSlTUATtON Wb're IN a*) W£ know ip WE TPOTOUT T?\e PERSONALITY APRFOPRJATE To WHATO fzpQuiRPO ih OUR SITUATION. THE PES'- ihz-AimO&TAfZlAN -The OHILP The STUOENT RESPONSIBLE ADULT "Tfte LOVER The FRIEND Tk*- CLOWN -%e mRATHETlOj KlNPLY PERSON ~jlie< H-UMTER 'the, POWER-(ORATY MANIAC efe. ikz. THING 1% T0> BE AWA& Cf IT J U£E IT TO EXPRESS TWMASS-TS DEVELOP He. ABILITY TO PPDJeCT IT THROUGH OUR ]>RAWiti(SQ OIZ INVENTED- IMA£fc£ BY GETTING INTO Tht CHAMOTp^ WE'RE DEPICTINGt IN Tag. SITUATION T^'RE Mt KNOWING WHAT IT IS THEY WANT- WHY THBY WANT IP - THAT$ ACT/NO}, 315 WE WANT To PUT SOMETHING OVER CLEARLY THROUGH A PAßTlCULAR. CHARACTER CLEAR. PEPtcriOKS OP WHATS going on WtrHIke CHARACTER-> do one thing at A time be crystal cleapl, í F {ne ŠTAíTT with that, then we can DEEPEN öu& PERFORMANCE as much AS. WEARß CAPABLE OP. w£ certainty alp KNOW 1hc &a&!CEMOTiONS. AMP we apt khow about FEAi?- oížeejp hunger COLP pust vanity COVE W Trie. NEEb to ŠLEEP, KNOWING TríĚSř, ITS JZ^Sr about HOW PiFFZßENT PEOPLE HANDLE thheaa. So (újuSTA Question of widening our. range to ac^omikopa^ more- roles - which we po NATUHALoY %Y &&s&&A7tON W bxpe^i£NCe -(A^ř) having 3*J developing Ike ability To pmjßCT it into He character. — we-'ize wording on. milt kahl always <5m>// thlnkyou just po if ifyou have a problem you have to putt over. got to have a thorough u n perstans in g oflalhat you're after. a\ho if you know what you're after. - you just keep after it till- you -set it ''' ANO, vV g}m: ita LOT OF thought how YoUfre going Tu po %n be&t.JÖß of platting Hu, performance ONihe &C&een -PiATTlNe over. what YOU have WW over/' Got to Gtet inside -fat- character, whatwes he/she/it want? ANP EMEN more interesting - why pce&^CMAt&CPFEfr want? what AM 1 poing- vvhy am i poing it? i^e People who w know how to act alp say, vn You vontact, YOU become jf ife MOVIE GENE I4ACKMAN S4lD SOMETHING PIKE/ ^ I work PIKE a\ä£> AT never BFING CAUGHT ACTING, ^ GOOD actocs DO a lot of search So -foe. REALITY thč/re PeR/CTiNG-&EGDÍÁE& JMĚr reality. 316 The, FINE CMA&mR- ACTOR, A/£J> ßEATTY SAip.1 ^qw£ /4Cr#£S -HYPNOTl^B THEMSELVES INTO SECDMlHG ikt PA&X - g'^t" a v££y SMALL GROUP of actors ACTUALLY HYPHOTlSE jko AUDJFNCB. SO fk^lDFA fS TO tiVPNOJlSE iUt, AüPiZNCE. FßANK THOMAS USES Hu WORD ^CAPTIVATE! ^YöURE 7ö lT WITH GOAAßTH/NG &EAL THAT TttES CAM IDENTIFY WITH, * coho-usioh- , m try ro make irso real, supfr-ptal, that m compulsive. MOWING. WE EXPERIENCE Ute, EMOTION ^ maqnify ih* &&ULT ive Always Been embapjzassed gy animators hanging around1ke water COOLER. TALKING ABOUTsrUE ACTING? ITS well known THAT A l~ot of AIZT&TS CAU talk A terrific fi@H% but WH&n YOU see THFipo prawings, it£ a peap giveaway of what" they're REALLY LIKE, amp HOW MUCH aaör& so when THEIR PPAWWm ARF ACTUALLY MOVING APOUNP. YoUCAN see A PERSON'S strengths 2nd WEAKNESS^ RIGHT away- [F m'ZE A COLD F/SH, SUPERFICIAL PERSON or. EMOTIONAL WRECK,THERE IT is FOR ale 10 SEE, SO we CAN ONLY EXPRESS OURSELVES AS. BeSTWE can with WHAT we HAVE TO OFFER. EMOTIONALLY Vnd TECHNICALLY. (mv) a REALLY good PROFESSIONAL SHOULP ßEABLE TO MANDLS A ' WIPE RANGE OF ACTING- MATERIAL, WHATBVER Hls/hf&Z EMOTIONAL STATE OFMJNp. Theres, this «stoey about a seriously PEPRt&sm man in Germany WHO WENT TO SEE A PSYCHIATRIST: -Tl\e PSYCHIATRIST SAYS, vv YOUVE LC&FYOUR SENSE OF HVMOUR IN LIES YOUNEEPTO HAVE A ßEAlLV GOOD LAü&H. GOTölUzGipzCMS-7?#=Re& THIS GREAT CLOWN! GtROCK, 7ft FUNMlEXT/AAN YOU'VB £\JFfZ SEEN? ike AHS.WER COMES sack/' / am GROCK, " Frank Thomas, a master of animating empathy ^ pathos, aajvays CR/nc/5^M^(jiow^reuer/vm) For spending too men time on gpectacmlar surrounding, animation UGtiOUTlU^ Z-k yeazs OF PRODUCTION pre^UPE W WOULP PpREAD IT EVERY time THINGS got ROUGH. WH&N ik& KiCjVRg CAME OUT 9td WAS: A HIT, NOTHING E&om FRANK. % MONTHS LATER* Tpk Tke. BIGGEST PICTURE of TMENL NOTHING FROM FRANK'S MOUTHS LATER, I HANG PflM UF, ^Hl'Ff&HK. its pkx" , i r t V J~AIH , f r ^ *///, FRANK/ WELL, we MAPE it! Irk a HIT, FRANK! lit a ff/r! ' xV / MEAN1, well/ Wr dip The. $£&t we COULD ^ ITS a huge success! enormous!* .....YEAH/ 'WELL, i KNOW, FRANK, it COULD HAVE gpEN SETTER, but WE REALLY WORKED HARD W LOVES it! x/ er , YEAH' * (nell, er, m, i GUESS THAT YOU COULD say that WE RAISED a GIMMICK TO 1ft ft- level OF a NOVELTY, BUT ITS a HIT I " ^awf comg on frank, / know you a ah/ays' criticise me for, Mot qpassing tuo- Audience emotionally ~ rut You've Got To GIVE it to me, when 1U VILLAINS going TO K/llthe PA&glT&y dipping him iHTk^ VAT OF acetone, ALLTk&KiDS fNUi n-AUD lEAfCE' YELL, uPOA/V do IT i poht do ITf/y (LONG pause)!/ WISH THEY had. r/ WELL, i KNOW what FRANK mean's. IN my PEFENSE, I HAP To push IW StZONGLY EOR SOME ANIMATION I DIP AT eroht OF 1fa> OPENING CARTooN WHERE W0 COULD AT LEAST see WHAT~ffa° PA$g\t LOOKED LIKE before HE STARTED SHOOTING-AROUND like a crc&s: between CHEW'ho &um aJ A FIREWORK- mtT~WER?EWAZ a real opportvnITf for. PATHOS THAT WE MISSlED- THERZ was a shot OF ROGER sitting ON A (3AP3AGE CAN IN A BACK alley CK-mOAgOUT what H0 thought WAS HIS wife's Mi fidelity* 318 UK e GfROCK, i WANTED TO SHOW A COMPLFTpPY DIFFERENT SIDE OFl%e. RABATS PERSONALITY b&ttltíb WS PROFESIONÁL mask, i WAHTtD Tö ANIMATE IT MYSELF, BUT t H40 Too MUCH EISE To DO. WE HAP A řlNE LZ~AD ANlAArVoK WHO WAS. ATihe-TlMF VETSY PONtyf W / KmW he WA£ %jC0. A Top EXECUTIVE COIAES IN 3wJ SAYS*SY Tito WAY, 7>tCKt SOzdSo WIY WANTS TO POTHAT$Cm&, I SAID, *0HNO, HES A SUPERS B&QAP ANiMATOH W INVENTIVELY FUNNYf EKCELLEPlT, SUT / THINK HE& řOf&WS SC£NE. H-té got A GFEAT GlRlFFIEND, HE'c VEPY UPw) N0TIU& fEpSON. mC\MJo&* *BUT Tie REAltY WANTS TO 00 lT( PICK, Ht'S 8EEN PHONtNS ME UPABOUT IT/' VW HES WRONG - (t'lp 8e OK- BUT IT WON't HAVE OTHER. SfPE To IT ikeomezeoy shoulp doit.9 "buthe1s p/inô.topoir/f. í pOQBike. ARGUMENT. OUTVOTED ITS WČOHG, BUTiU p/CWßE F£-qp§ LIKE A HIT ^ ANYWAY I CAN f AFFORD TD &E FffZEU OF CöüfiSßilt, RESULT WAS fuST PÍKEÄPP%c OTHER. MANIC SCENES - ^lWE /W/S&ED HAVING ANOTHER PIMEN&ION Tö "fte. CHARACTER WHICH WOULD tW?6t\f0N A MUCH SfTOVÖrR čNOUONAC PULE WTTHfko AUDIENCE, WIN SOMř, COSĚ SOME. (N an INTERVIEW in Ml 2 ATikt XAd&ES FILM F&TlVAP, F pan k tho/HAŠ TALKED ABOUT A MAN *WHO NFVER. nad TAPBNTFÖPL BNTFFTÄíNMENT, HB IA7AS one- OŕíkiP best ASSISTANTS WE EVEft had, 140 KNEW EVEfyWfNG YOU COUPD TEACH about MOVEMENT, MOVING ite CHAfiACTßR *J W0SHT 2*3 DEPTH BALANCES w$ ALLTHčCeTHín&s. HECOULp PPÁWTHEM like ANYTHING, BtfTttEHAD a VERY WEAK sen S*EOF ENTERTAIN men t iné HE HAP a VERY poor- OHOICE OF WHAT TD PO IN ANIMATION — SO HIZ ANIMATION WAS. ALWAYS flat it ALWAYS MOVED NlCEPY, BUT NCßoPY WANTED Tó LOOK AT ftA MILT kahl APWAYS SAIP^/Ú AAAATTER OFffCKiNa "ft* RIGHT THlN&ToPO ty\d MAKING UP YOCIfaMIND ABOUT THAT, ANPTHEN not letting any OTHER, lt>EAS INTERFERE mm IT. Powr pet YOUR MAIN I PEA get &UfüED or iNTEßFECEP WITH BY SOMETHING COKOLU&taN' WE THINK ABOUT it in Tk^OVEPALP, JUNTAS IF we WEßE AN ACIC& POmit HOW do WE DO it iko BEST WAY to put Ike ZuStNESS BEST? BEFORE WE ANIMATE we Ff&OČE OUT IN AWANCF EXACTLY WHAT Wb'pe &OING Tö po KhlOW WHERE were GOING. in PLANNING LOCK doinn ifemfočTANT FošES. 319 AETBAg&TT SAID THAT 1%^ Q&AT SlLETVTLA Qz&NOWNEb Fa^T^EMoTDNAL PDffiR. HEARXFELT RATION 1NHIS WOEK) SPENT PAYS WORKING ON TINY THUMSNAIIX. m HAt> EVEEYTHIN'GALL WORKED OUT /N MINIATURE gEFOEE . AN MATING, f AHp The. END RESULT StllL CAME OUTJuSr AS QWCHlX AS O7H0Z ANIMATORS GtPlkA NAlWiCK ALSO TOU> ME, U TYtlA WAS A VEBY', VEE-Y CAIZ&FUL PLANNED." CHANGE OE EYPRE^lON j / WAS VEEY TAKEN WITH WHATPISNEY AWSteR-ANIMATOrJtEACMER ERIC, EAR&ON HAS TO SAY IN FRANK THOMAS W OLLIE JOHNSTONS [7HE ILLUSION OF LIFE? HES\A\E IN ~fh* EARLY MICKEY MOUSE THEY OtSOOVEEBE THIS PRINCIPLE: IF YOU WERE LOOKING AT A PORTRAIT ANE- * THE SUBJECT GRADUALLY LOWEREE HIS 8 ROWS INTO A FROWN - Paused - and then lifted one umw md glanced to the side, You IMA\EDIATFEY WOULb SENSE A CHANGE FROM ONE THOUGHT TO ANOTHER. SOMETHING VEEY IMPORTANT HAPPENED1. THgOUGH A CHANGE OF EXPRESSION ike THOUGHT PROCESS MS SHOWN/' I THOUGHT, ok, LETS JUST SKETCH TP IS OUT IN ilk SIMPLEST FO&A *J WHAT TLOOKS LIKE - brows into a FKJWM- WP7S ON£ BR0*i To WSli^, ' QREAT H^k THlHKlHGl THEN I WOHDEI&Eb - IS THFPEANi WAV To StPEUGTHW THIS TvfilHEE? OK, i-mt HAveTb^pyegRQus. GO (J? IH AH ANTKXPAVCH S£ftg& GOING DQW4. 320 rm wows, can m srtmGiH&i it further, srm.? WHY PONY WE ANTlCiPATfcifal tAiSEP EiEgRQW BY lowering it FURTHER? pont CHANGE 1&e.£XP£&£S/ON wring a SOW move- H&'O THIS EYAMPLB : GAy WE HAVE a PERSON R£AplN& a BOOK' fOPA S7A.CT WEO HEEP SQfnETHlNS TO CHANGE FFQfft -ZOMETHlHG OPfü&fTE- somrme lyAit a pöt piffeRent fpom whaf me(P£ <3om&to ohange to. Lgfc WFT%±so0k UP *J Pum lfm pown DsepBc mto it - GlYEHiM A COM PLA ZEH t OP- AMUSBb ( EXPPMZIOH — Ttt&N WEVE ÖCT A &G.GEP OWi&E-A STROKGS& CHARGE. Sur we PONT WANT1D chahgf ws FXPRmöH Wfiim HeMom whfrf wf cahtsee IT so wf mm a fcsivoH whfpf m $m fke. changp seföpf tu* movb. 1k, EXpRE^SOH AS HßS To TvflJJ scAeeo, theh move^-? ■Oß) HAVF HM MOVE W CHANCE ik^EKPPE^tON ATtke FW OFKPMOYE msPE WECANZEE \T. EltUEP WA-Y is MICH Mopp FFFECTIVE IOEA /s To PUT ftm OHAHGF WHtsRE YOU CAM SEE IT- NOT DuZifiG IteßßÖAD MOVE -UNPp^S 1k* MOVB QUim SHOW - TUEN Wß CCOPP REAP IT Againf mino is Hn, Pipot. yve think or wngz spfORE Um, ßapy We& th&a. TFFREk. APWm A SPPirOEGQtfPOF ^TUlNKiMSr VMF^ BFEOPE Tlpt CmPAOTEZ f>05 %lACT(ON 322 A BAP ACTO& WlPP POINT TllEEE PEGQEt! rum* BUT WF CAM TAKE IVOUT OF ikiPEALM OF^CUCME zmpPY by pointing Fif&r tod THEN ^AYfNQ (Ti OR, SAX if FIRST THEN POINT THE^E Hl£GC£&! MUCH BjZTTEp* A@E Swoug&z THAN MCJD&mVt, WITH FtHNWQ -if£ A GOOD IPEATO PEAP W(W1U^WEI£T->k) HAVE fkz HANP z>J F/N6EF& Come up PA&T. ANP - A vepy aaINOP tv IUG - Hi A FASTtAOV&A&iT-IF WEP£ GOING FEEwQpTt^t): We ccupp incept i frame £#Df3Ef (S) in. Iti^w^Hc^ Pim^ok: loe>Fmid£eE $ut we h3eh ikFSNAPf 323 mpy LANGUAGE He &&Lum pizney art v>\mm/'pesignek, ken Anderson sa/d, ° PAM&folMZ /s "fte, £w a£tof ANIMATION. Booy LANGUAGE (8 iUe^fíOOT té FORTüliATW/ T iQ UNMEČ&ALÍ i WA£ IMITH KEN IN TčURAN TUST BEFOREThc^pEVOLUTcN &d Ihap A NASťV SHOCK ^ a BtfrLE^ON WREN they PAN MY & HetlfLOSCfiRrMtiNMQ M CäRStMAŠ CApDĽ FOP AN IPANIM ÁUPtENCE. We hap TRJEP1Ö have as m(£h EOPf LANGUAGE ih Iki film a& we Cúuip but m Yi&fe left Wm T>\cmts' L-iTEPm STOP/, OF Cwm ike. AUJ>WC£ PiDHr WP0£frNi> a WCPD. A chuck {fcNes cáptccN emt oai aTteR- ^ $lew cwcrlfo watzp. SO fdp.us, w£&hou(m KEEP \NOPDS To a -BARE MINIMUM MAK& EMEETtHlNG A& CLEAR AS wecah THI3DUGH PANTOMIME. WESHCULO FEEL mMYčOMfa&XXlbTmfoSZSW. (fi A GREAT IP& To STUbY SIL&IT MOVIES, ALTHOUGH MUCH OFÍŘCACTING /£ jJMGUAČPf HAfaMY ^ com- irk all very o&sl almost a lost art; AN ACTOR-HAS TO BE SPONTANEOUS TO A PESPEG - BUT nk MOTSPCWANEOUS TOP US' ITS ANYTHING BUT- WECAN^IľtOWN tul &NEITÁ LOT Or'THOUGHT, WE CAN T$f TtiJNSS, lĚSflUm^mak^CHANGE, we've GOTiUe-Eot>YCOtft&OLod WgRE NOT LIMlTEP BY PHYSICAL VEXTEPTTY, OPGMlfŕf, OP. AGE/OR. PACE(or. S&(. AGAIN/ We CAN INVENT WAAT W&NT EXIST IN REALITY tut STILL MAKE IT APPEAL ßßLIEVAOLE« ( SYmerPY a^TwimiŇď) I F&EL THAT SYMMETRY HAS GOTTEN A BAP PRESS BECAUSE OF &AD ANIMATION ACT/NO. PEOPLE SAY \410/P TWINNINGWHERE BOTH APM& 2>J UANÖS APE VOlNG ike, SAME THING}- &jtjust WAW AMY FOL mcJttl, pm&iBl OR LEAbEK CF WmiWEP, OP EYpEPT ON TElEVlSCN, men they're laying pawNik^-iAw weirapms ^ han^s willtW'N p^mmetpiqalo/. f tm \ \TH WITH HOW WE USB It Á WAY lo TAKE ih^ CMPSPOFRTW INNING ISJUSTTO PptAY ONEOrTkt. HkHDS ORAPMS BY4o£&m& Like a t>anq*r wouu> 00 - OP UFT ANO7U0Z PAßT- 0A l&E p^mOTlYE planes. In a ma&mwas Tv mmm^cuss on acting, Michael caine shockep everyone by Sa>^ *tF you see some acx&r pcwg a ptzzp of astó imr you amípe- steal it f/ (frf&ř&m^Y^mAL IT ľ U*i>t0Kß shook, nemou) "ggeAÜSr,,, TH0Y Otof SOWD apvice CAME FPOtA Tht DISNEY stupio eaply on'- if you'pe short of time, $p&> ton Tk* eyes ■ ~Tm &£s apr WfW people WAICH, í THINK thats why we s&e tl&&oiáľ 0>£ person r&yealeo INII&EYeS. (ík SCAÉY- Wépe looking inzioe &£h other!. 9® 3 £y£S arfsupremply sxpkp$£i{t£ W communicate with ik^BiP^ ALONE. Wp CAN OFTEN TFW-T^ SWKy JtfST WW ~7K EVES, AND HOW MUCH MOPE DRAMATIC IT IS TO JU&T TURM lite EYES iMSTEAP opiu^WHoi-BBopy! HpRES SOMETHING WE SEE ALL PAY EW i'dNOTSEENIT ANIMATED QNTIL I STARTEDRANVNG ABOUTITTO ANIMATORS SV&RSAGO; WH&l LISTENING OHike, PHONE -fkt, EYe& FL(CK&£ AROUND IN A STACCATO FASHION PEFLECVNG 1&& LISTENERS SHIFTING THOUGHTS IN REACTION-OUP EYES APE RARELY STILL- lit e-oop to di&teN£> Pupil to show form - feel paptofTuese. \ Move, papsu Ootw with w> as if irk it&vi- rbzam it POftH-'Ttm&k AN INFINITE VARIETY OF BLiHKS, BUT HEpfk A SIMPLE FORMULA. ©'© © © © © jl, ob © © 0 © TtfS /S CRUDE, BUT EFFECTIVE - WO&<& WELL ON ONEZ 0& twos, WE CAN GO ON FOREVER A&DUT ACTING WEpo) SUTOURTpg /S-0 PUTOVEFLTkz.pOiNTOFiM^^cEHE CPEARLY. ® GET Itf&IO&iie- CHARACTER, ORCHAfMRTERZ- (jva) EVm&o>Ys really PiFF&z&rr) (D SHOW CLEARLY WHAT THEY'RE THINKING. 326 ANIMAL ACTION FOUR LEGGED ANIMALS WALK LIKE TWO OF US. JOINED TOGETHER - OME SLIGHTLY AHEAD OFTkz OTHER." TWO SfTS OF LEES SLIGHTLY OUT OF PHA§E. WE LOOK FOR ALL Tk^Am THltim AS WE PO WITH A HUMAN. START WltH1%e CONTACT POSITIONS Cp£OBABP/ STAPrmoHTt^FRONTFCCT) WHERE AflE Tke. UPQ W DOWNS? WHERE IGik^WElGlTP? WHAfsTi^^PEED? CHAPACTEfZ? DIFFERENCES IN 8UILO? A FOU& LFGGFb WALK PELVIS UP Ct&STDpM BUT WITH TWO SETS CF LEGS. WORKING, THERES A LOT OF WEIGHT TRANQFfRPMCE GOIHSOK-WHERE^The. WEIGHT IS COMING FRO/A; WHERE IT IS WHER0 ITS GOING TO. 327 we'&= GoiNG To EE ^AUSTiC ;M OUR ACTON WERE GOING To NAME To to 7?;e ReSEARCIE HOW %t ANIMAL IS BUILT, /ft SIZE w7yp£- WATCHING WATCHING UNTIL WE KNOW IE j LIVE ACTION E£FE£ENCZ^ StjDv FILM *J VIDEO d^Tk& EXTRAORDINARY MUYBRlpGE PHOTOS of ANIMALS WHElZET^e i&HS. ^JLONZ W CHANGING muscle SHAPES ARE CLEARLY OISIUYLP AGNNZTBflO&RCUf/O ■I r I A MAESTRO OP ANIMAL ACTION, MET KAUL §AlL> HE ElE THOROUGH RESeAI&I OH ANIMALS tut ALWAYS DID. HE SAID HE SPENT HUNDREDS OFH0U& XJUP/fNG ACTiOHS OF VARDUS ANIMALS tej WALKS *J RUNS- WHATS HAPPENING - WHERElttt. WEIGHT IS W HOW YOU DRAW THEM. HE SAID HE DlONTTUim THERE WAS, AN EASY WAY OF ARRIVING, AT THE2eTh!N&: WeJOStHAVE ToQoTMOU&i IT A^T SWORE BY%^m)'BZiD&£ gOOKS - fouHD THEM EVEN BETTER THfiH FIEA/BECAUSE OF ilaG^LS. TW£NS WTH-QpA&JNSP Tkt f/acw roov AQXioti 0: ■Tkt TAIL fZCOT M.OVBS. p/j %vl^T IVW SfyCK L8S& ACTS U^A WHIP. TAIL FF&fA ASOVe. Since w$tanimal walks are pretty'similar, if we understand il walk of a medium built -■■'tmal eke a HORSE, p06 or LARGE CAT we can APPLY SAME KNOWLEP&E To OTHE9- ANIMALS oe pen DING on THElt SiJE, WEIGHT, DESIGN bud THEIR- VMING ~Ta&. INTERVALS cFTHhR PREf lAt&NG. ■E WE GET IX>WN on ALL FOURS WE CAN FEEL HOW THEY WALK. ' " "j 328 POez A fřoč§£ WALK UH& AN 0€tßiCHAMb A MAN? POSS AM OSr&QH MID A MAN W&UK LlKßA HůBSč? 329 q&fi£lC WALK PATTERN^ APPPfiKOlO NOSTAMmtS- WS AMPbm SIZE POGr-SO MUCH GOiti6 OH THAT COUTJPS. HELP ' A ^ maw FKrumm, up 13 is COHffrCT 330 ľ. 331 HBReS A FUAWy INVENT-J^ WALK CH A VOtim- ON TWOS - WAiKiNG CH 16 s, ITS PLAHHBO WITH Tit?. ffšDW LSG »»j rSe CPpčSlHô SACK ^TWimii^TAKm-^í^pTaOBlUeR- TÍvl ßxm£rm*l sJ^n ARzLBVEL -m^ihe. R4SS/AS FCSIVCN SCOI ^ ttčAP AZě ČAtseD Suienny. Tie DDHW ÍS 0JV#5 aJ"fe UP isch**I3. Sl/APLBj ŠELiěVASLZ, ZW NO AN/MAL- WALKS UKSTfttS. DIRECTING / THINK THERE OHM A FEW IMPORTANT THINGS TO KNOW ASCOT PlRECTiNGt -BUT wgVEGCTTO KNOW THOSE. PtRpOTCgkjOB (STO MAKE If ale WCXK. I HAVETH&E CD be simp-ee. ® g£ clear, © put EVERYTHING} WHEPE YOU CAN SEE it. Tk<- director is a 2 paced creature with a foot in % camps. 7k^mTtoN$Em&m 333 m NOT A BUSINESS ITS AH EXP&SSlON i EN\m/ HAWKINS (ANIMATOR.^) * ITk A Bti£lN&$( GOD PA/AN (ft ° (Anon, ex^wm) OF CoUfiSR Ilk BOTH' BUT DO YOU KHOW %e Goim IDLE? WHOEVER HAS Ttm.&OLD AWAKES ike WEPT BEING HlRFp> TO PO A JOS W WE SHOULD PO WHAT WE^PE BEIHG PlpJFP>TO t>0. WE SHOULD FOLLOW the. IF WE WAtiT APTlSnO FftZEPOM TtiEN WE PPOVIDE C0£ OWN GOLD. QJi^eribf) is soMPonm! i always \npte op ohf sheet of paper what 1k*, goals are - if pat ■--we're supposfe-to to. fo& fxak\rle, who framed roger pasbit"'fiua- F1PST, MAKeikt, MANAGE OF LVEACTiON CAPlDOH &a)M BLEND TOGETHER CGNVIHCItfGL/. GECDPO, USE (3 pi&NEY AUTtCULAVON (f> warmer TYPE CHAPACTEFS © TEX ay FRY HUMOUR (^SUTNaTSa SiW] OUflJOB IS to ALLAY Tk^FEAZS CfTkt, EXECUTIVES atti INCITE GPEED 0 CUH TALENT DlSPpAY-SOLV/m ikt. FRORLEIAS UP f&ZNT. DESIGN fit $WFF op SELECT WHATt GOOD >^ SHOW it (jU LEICA Pmp) ORANMATtC, OP. FIlMZP CoLOOZ StV&iCA&b WILL SHOW WWTS WOELING - (AMD ' - WHAT ISN'T) ITk SOMETHING Pot EYEpYOHE To HANG THElfc HATON ^ CAIM DOWN. THEN Wet MAKE Hit. CHANGES TO THAI leica reel -NCTTQ %^ ANIMATION* 7M WAYlknAAllMATdtS CAN GET ON WITH TUEIP- WORK Iti SOME KlNP OFPfACF, ( SEPARATE'Ikt CHARACTER?) ^HoW ifa.PIFFERfNCE %EWmNTkm. I~& AlLToDO WPP CONTRACT: v-----^ ^17rsi shapes., COCV&, VOICES. PPTOPPOBim together: Sfa&J LITTLE, pATtJ TH/N, VHLZw) SHORT, RdUN£> ^SQUARE, OLD ^ YOUNG, RICH 9*e> POOR ek~ 334 -fh ib íssovfpv important1. A succjsssful examples MtíEYk LjONKiNG where au~%^ cpeatupes sowito, pcok w behave Quite pimmmy bachow&z. Cg&rr foot forwapp) purik* be&t animatws on open/m^ ehping s*oUs \--pimyQ qPOTTEP through Ttt&MÍPPLP - PIKE actočs who KNOW iH IMPORTANCE OF STAGE ENHANCES W EXITS, PUTTk&BFST PEOPLE ON CpOS? UPS. W PONG SCENES, LESS EKPEPIFNCEP PEOPLE ON 3 FčxSTíCNôSfOS W AAIPPLE PEOPLE lUTh^MlDPLE. ^CASTING} AHlMATO^) EVE&YBoPY HAB IHEI^WN^'WYPOWELL, irccu&JcßTO v——--- CAST THEM POE WHAT Ttí&f CAM PO %fě NOT WHATTHßY C0T PCX C MAKING CHANGES^) UNLESS THE/'PE AŠZlMG FO&HELP, ALLOW 1fo ANIMATOR. To GUVE ^—™-~--B>\PTH UMINtPpPFP. ONCE THFY'PE PPEGNMT WITH A NEW SCENE THEN WONT IAIMP MAKING CHAMGpS. id a PREVIOUS OME, We'PE ALL T^ §M C*say! say! \) Keep fkt t>cm om fop cdhwsuvons mm evepyone ctluitrnt* tE PIQHT A&CVT SOMETHING, C voice R0x>ppiM^) if you cast iu psm AaotFot%^jo$ inn^mmT thing " - !K -fite, WOZLP. THFYÍL USUALLY G}IVE IT TO YOU ON TAKE ONE, THEM JOST G&TAUOTHFP TAKE FOP INSURANCE, AOUAU-Y THEY'lE USUALLY GNEITTO YOU OM 1k PEHEWSAi- - SO TELL The PFCOPPIŠT To PECOPP EVERYTHING. IÚ ONLY IF YOU HAYENT AaAĎE CPEAP whats tpQulPEP THAT YOU CAN ENP UP WITH FIFTY TAKES- C Hook- up&j irk om p^pommury to ensure that one animator snot Hem - UP PfPFFCTPYtdtu&next PERSONS shot. THEPES no PKOJBE FOPi an anmatioh PlWÔTOt to GETTHI5 wipou& A\f we CAN pPAW PeCFpßT AAATCH -UPS, í FESEA&H ) VEPy, \/EPYf VERY IMfOP-ßNT ^EAtCH EVePYWNGTILLYOU KNOW —-—— Tko šupjBCT miPE our. Pont wimg it (~&PmN<=T) WE SHOUlP KNOW EPITING TEC0lQiM. / STUPY AK I RA KUROSAWA -y iho JAPANESE PlPFOoa, WHO i THlUK /S Tkt. WOPLP'S GBEATUT EPI&& AS WEPL AS PIPECTDP, Sep eve in Youfi matfp/al) another gzeat things asout kurosawa is, that ™~ HE ĚEPIFVEŠ IN H{£ MATpPJAP. HET&uštv ThE AUPIENCE bed TPUBTS HlMSčlP Tö Tm- WS SlOPY Que ALLOWS ik&AtiPIENCE TO COME td ikt film. Sb AS A PIPE&OP YOU HAVE TO BELIEVE in )POrLMFTEPfAL. 335 UJ Roger Rabbit © Touchstone Pictures and Amblln Entertainment, Inc. Used by permission (rom Touchstone Pictures and Ambhn Entertainment. Inc. lap' ^ (A I £ í ALWAYS SKETCH 0V0Rmm OUTSMAIL FUS5T. fk i-tlTL* VRAWifiSS, 8£CAU$£ TtíďčZ^lMmAiWs? 337 aho in coHcimott- -tie, Review ■ To MAKE Hit §OUP: Veannihg SrORYßOAlcO (_ desighep Al&apV ? or rough) EßAÖ& To fr mr ihc'LmcA'Pm- oa '/animatic oh filmed ^dryboaw t^ttISb planning prawings (t^^m*****) THSN MAH PC6 (Jw) POSITIONS K--* 1k<~ B& P&AWimS OR Ret IfM THAT NAVE To 3£ THERE. r^r Extreme - anyower foemons that have to be there. -Ü&UAtAY "CONTACTS' test Passing position's (p&hwg just in rough) SFON7AH0Ok Flow fltd WECAH KEEP OH \ Do Several straight aheap ike, PRIMARY THING ike ^ECDNOAPY THING ike, THIRD THING %, POUOH THING ANY OTHER- gll&'E-IKE PHPß&Y IWR. FAT TAILS ek. 338 r Anp To po 77//S Wakz UQiMG : c9oob K&/s Fojt ciAfZíry WEIGHT - 'CHAHäť ANTfC/PATtöN. 70 &ET FLEXIBILITY : We'te usm ovmswm actioh(^^mn^iim) ®J Hte'iEfe t«5 successive EfáAKm OF JOINTS Accmrs - neap, čopy, hanps , feet StAGG&Z VlßRAT/ons COMPRčSStOtf aJ PlSTEHTiOH ^StpwW aj Wčtou) plřf&RčHT WALhS tJ = Hrŕte SrPESS/^^DiFFRmoE gerwzčti things z») People. IN VČNXep* MOV&S THAT CANT happen m He,REAL WORLP but we MAKE hook believable. FÖK DIALOGUE Wč'&e PRjCSR^INQ it SDM£Wtfc&=. W^ßß tiSfrJG ALL-FHm£ THINGS gRQAPLY OR VERY &UBTIK ALLTtftS l^ik^AHAlOMY lömABLE UOTö GiVE-fte- PeZPC^MANC£/ Sustain it make: it compulsive viewing. ANP OMce its ALL A8SORB0P INTO %e BLC&P&TRjEAM -TO frjee US To FXPRBQs! 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 Giroisx 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 foliowing 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 stiffs 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, fnc; 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 Muybrrdge, 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