After a whirlwind trip to Turin/Italy, London and New York, we had a terrific response to our MUSHKA presentation at Lightbox in Pasadena last weekend. It ended with a standing ovation...how about that?!
MUSHKA at Lightbox
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Sword in the Stone Storybook Art
These incredible storybook illustrations are by Al White, who contributed to many Golden Books for Disney as well as other companies. Just look at these gorgeous colors!
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Robin Hood at 50
Despite being criticized for its story treatment and its re-use of animation, Robin Hood's popularity seems to have grown over the years. The film inspired projects like Zootopia, Sing and many other movies that feature anthropomorphic animals.
Milt Kahl's and Ollie Johnston's animation shine in this production. Well worth studying frame by frame. The overall animal universe was created by Ken Anderson.
I still find myself re-watching certain sequences and really enjoying them. Milt's scenes with Lady Kluck are on another level, and Prince John's opening sequence is excellent.
Early animation with by John Lounsbery.
Also a Lounsbery Scene.
This next three are by Milt.
Most images Heritage Auctions.
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MUSHKA Score Release
Go to Animation Magazine for more exciting infos about our MUSHKA film score release:
Listen to a sample of Fabrizio Mancinelli's magnificent score, played by the Synchron Stage Vienna Orchestra:
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MUSHKA's Lullaby Wins
...best song in an animated short film!
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The Art of Walt Disney, Signed and Illustrated
Books on Disney animation are a real treasure. And Christopher Finch's 1973 edition of "The Art of Walt Disney" is no exception. This was the first Disney book I owned way back. I had to have the German bookstore order it from the US, it took forever to get there.
Heritage Auctions is currently offering a lovely edition full of signatures and drawings. The original owner was a Disney cameraman who had worked at the studio from Snow White on.
There is a Marc Davis Thumper, an Eric Larson Roquefort and a Milt Kahl Medusa.
Talking about Medusa, I am trying to locate a special Milt drawing of her, in which she puts on lipstick. Rendered in felt pen and grey markers I remember seeing it many years ago. It is one of those Kahl masterpieces in staging and draughtsmanship. As soon as I find it I will post it here.
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Thanksgiving
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Maid Marion
This is Maid Marion's response to Robin Hood's marriage proposal.
"Marion. my love, will you marry me?", "Oh darling, I thought you'd never (ask me)." Milt Kahl animated this close up scene. As usual every drawing is gorgeous. Milt has such graphic control over the her head movements. There are some potentially tricky perspective changes, but Milt is right at home here. He always incorporated the most beautiful head angles for his dialogue scenes. This goes for all of the characters he ever animated.
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ASIFA Screening, Monday 12/4
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Members can find more info in the latest ASIFA Weekly. To become a Member and RSVP for this screening, please email info@asifa-hollywood.org.
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Heinrich Kley, Silberhochzeit
A beautiful Heinrich Kley ink drawing, with the translated title Silver Wedding Anniversary. It iscurrently for sale here:
https://kunkelfineart.de/artwork/die-silberhochzeit/
The thing with Kley is that his work doesn't get old. It is timeless because of his astounding draughtsmanship and his sense for comedy. He really should have worked for Walt Disney.
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Fabrizio Mancinelli
Fabrizio wrote the score for MUSHKA. It is a magnificent score! Here you see him with Richard M Sherman during a musical "brainstorm", a few years ago. This pic was taken at my home. I do own a piano, but I don't play myself. So it is always a special occasion when Richard or Fabrizio (or both) stop by to fill the house with beautiful music.
It was magic witnessing these two magnificent talents coming together to produce the emotional musical landscape for our film. Richard started out by writing a beautiful lullaby (Mushka's lullaby). Fabrizio picked up this theme and incorporated it throughout the overall score.
I remember when Fabrizio had finished writing his first piece of music for a montage sequence. He sent the file to Richard to listen to and to get his input. It turned out that Richard left a phone message full of praise and affection. It was beautiful! Now everyone was on the same page as far as the musical direction.
Fabrizio has written scores for numerous feature films as well as shorts. Go to his website to find out more about his many accomplishments:
https://fabriziomancinelli.us/
I love this photo of him with Diane Disney Miller, who was very fond of Fabrizio and his passion for Disney.
Fabrizio with the one and only Ennio Morricone.
With MUSHKA singer Holly Sedillos after recently winning the Hollywood Music in Media Award for best song in a short film (Mushka's Lullaby).
I encourage you all to listen to Mushka's Lullaby (featuring Holly Sedillos) here:
https://www.youtube.com/watch?v=KEhncKYpRAg
I cannot overstate how grateful I am to this young composer who contributed so much to our film with a musical score that exceeded my wildest expectations. Thank you, Fabi!
Take a look at a conversation between Fabrizio and Richard Sherman here:
https://www.youtube.com/watch?v=eAA6HwV6FkY
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MUSHKA Model Sheets
These are key animation drawings from individual scenes, arranged for model sheets.
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Puss 'N Boots 1994
For the main character's design I started out by drawing my own cat, and went from there.
The publisher was Steve Fiott who at the time put out Storyboard Magazine.
The illustrations are felt pen and Magic Markers.
Merry Christmas!
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Eric Larson Pics
Over the years I have talked about Eric Larson quite a bit. Eric was heading up Disney's animation training program during the 1970s and for part of the 1980s. He was also the person who hired me to join Walt Disney Productions (which sounds soo much better than the Walt Disney Company.)
I still feel so lucky that I knocked on Disney's door at the perfect time. A group of young newly trained animators had just left the studio, and there was a need for replacements. What lucky timing!
Eric Larson trained and helped kickstart careers of so many animators from my generation. Quite a few went on to become leaders in the industry.
When I recently finished my film MUSHKA I thought I better dedicate the film to someone, who played a major role in my animated career. Eric was the first one who came to mind. Without his trust in me I would not have had the dream career at Disney.
The photo above shows Eric drawing Fantasia characters as part of a backdrop for the 1941 film TheReluctant Dragon.
The following photo shows him next to Don Lusk, a young animator who helped Eric with characters like Figaro and Cleo for Pinocchio.
The training program during the late 1970s. There is Phil Nibbelink on the left, Eric, and Michael Cedeno. In the back are effects animator Mauro Maressa, Bruce Morris and Darrel van Citters.
Not sure who is directly behind Eric.
It is just in retrospect that myself and all the other trainees from way back realize just how important Eric was to all of us. He of course taught us the proper mechanics of animation, but even more importantly the Disney philosophy for entertainment and how to communicate with an audience. How to search for that extra sparkle that makes a character come off as unique and interesting.
Eric is the godfather of Sybil Byrnes, Milt Kahl's daughter.
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Jungle Book...Again
We had such an interesting variety of materials for the Jungle Book exhibition at the Walt Disney Family Museum.
Obviously lots of original art, pencil tests, video interviews and more.
This is a document I found particularly interesting.
Director Woolie Reitherman sends an official note to storyman Bill Peet. Bill and Walt had already faced off in disagreement over Peet's story treatment and the selection of character voices.
Here Woolie is setting up a meeting for the three of them in an effort to discuss and hopefully settle some of these points of contention.
You can tell from the tone in Woolie's inter-office-note that the situation is somewhat serious.
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MacBadger Ruffs
You can't win them all. Recently Heritage Auctions offered this fine group of rough animation drawings of the character Angus McBadger from the 1949 film The Wind in the Willows. The auction item's description said that Bill Tytla drew these sketches and that they originate from the artist's estate.
The thing is...these are Milt Kahl drawings. This particular film was in and out of production during the early 1940s, and that's when Milt drew them. There is a short window of time between the start of animation on April of 1941 and the beginning of the Disney strike on May 29, 1941. It was then when Tytla left the studio. He must have saved these roughs by the "junior animator", presumably because he liked the vitality in Milt's sketches.
Anyway I did not end up with these terrific drawings, I was outbid. But if the current owner would like to publish them here on this blog, please, leave a comment.
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Patrick Mate does Mushka
I just found out by accident that my friend Patrick Mate posted this illustration on his blog in November of last year. At that time we had a nice chat after the MUSHKA screening at CTN.
He added:
#1409 Bravo Andreas and Thank you!!!!!
I absolutely love it! Patrick is such an amazing artist. Always full of ideas, and he is comfortable in just about any graphic style. Here is a link to his gorgeous art:
https://patrickmate.blogspot.com
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Joy
Can't tell you how happy I am about MUSHKA's musical success. Richard M. Sherman kicked off our musical journey years ago by contributing the film's melodious theme as well as a beautiful song.
Richard is the most inspirational, generous, down to earth genius you could ever meet.
The Sword in the Stone, Mary Poppins, The Jungle Book, Chitty Chitty Bang Bang, Mushka
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A masterful Performance
This section from the 1938 short The Brave Little Tailor is often accredited to Fred Moore. Not so. Fred did work on later scenes where Mickey leaves the castle reluctantly, and when he is fighting the Giant.
But this extraordinary performance by Mickey in front of the King and Princess Minnie was animated by Frank Thomas. At the start of the film Mickey had proclaimed that he "killed seven in one blow". The audience knows that he was talking about flies, but everyone else believes he meant giants. And so this misunderstanding gets Mickey in trouble as he tries unsuccessfully to rectify the situation.
It is the level of acting, feeling of weight and appealing draughtsmanship that completely captivates me. Most of Mickey's previous (and later) performances had roots in vaudeville. Physical, broad gags that made the audience laugh and connect with his personality. But this is different. As close to an award winning performance as an animated character can get.
I had the good fortune to discuss these groundbreaking scenes with Frank Thomas years ago, when I asked him wether Walt Disney had any specific reaction to his work here. I was sure that Walt saw this as a new artistic breakthrough for Mickey, and that he possibly complimented Frank. But no, Frank did not remember any particular praise from the boss. Just the fact that he liked and approved those scenes. Then again ....Walt was not known or handing out compliments very often.
I came across these rough animation drawings just recently, and I am trying to find more. If I do I will of course post them here. Frank ended up doing just about every drawing for the animation, he had full control over the performance.
This is animation history worth studying.
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Ward Kimball 110
Here is another pic taken during my last visit to his house in 2002. At age 88 he was still curious, passionate and of course...funny. Disney was so lucky to have one animator among his crew who constantly thought outside of the box.
Here are a few visual reminders if his genius.
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From Cruella to Disneyland
I remember years ago I just had to ask Marc Davis about his departure from Disney Animation after having animated the incredible character of Cruella de Vil in 101 Dalmatians.
At that time he was at the peak of his craft, why didn't he continue his animation career?
It turned out Marc had high hopes for a future project he helped to develop called Chanticleer.
It's story was based on a French folktale in which a rooster believed that his own crowing in the morning made the sun rise every day. Included were plenty of other anthropomorphic animals like a fox, an owl, a mole etc.
When presented to a group of executives, including Walt Disney, Marc remembered one of the execs exclaiming: "You can't get a personality out of a chicken."
And apparently that was the end of the meeting. An alternate project, developed by Bill Peet, called TheSword in the Stone got the green light instead.
Soon afterwards Walt asked Marc for help with Disneyland. Upcoming ideas for new rides needed a humorous touch, and Marc moved over to WED.
In the end Marc felt very happy and challenged with this new assignment, but I can't help but wonder how Chanticleer might have turned out. I do know that Marc's friend Milt Kahl was leaning more toward The Sword in the Stone.
Here is my first post on Chanticleer from 2012:
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Milt Kahl's Birthday
Today, March 22, is Milt Kahl's birthday. I have posted many tributes to Milt over the years, so here is something different.
As I pointed out before, Prince Phillip was his least enjoyable animation assignment. But as always he did a terrific job, the way he brought him to life with subtlety and humor.
Years ago I was lucky enough to purchase all key drawings from a Phillip scene that ended up being cut from Sleeping Beauty. That scene has the Prince seated at the beginning, before he hears Aurora's singing in the forest. He gets up, walks screen left, then comes to a stop and looks to the right. He is trying to figure out where this beautiful voice is coming from. It might have been Milt's first production animation of the character, because the design looks different from the final version. As you can see in the first image, his face is a bit more stylized.
Walt Disney asked for a change in the character design. Apparently Phillip did not look handsome enough in Milt's early version.
The second image shows a few adjustments, particularly in the facial area. This look would become the final model, and I have thought that Milt drew this sketch as well. But in taking a closer look, I believe that somebody else did the "draw over". It is my educated guess that Marc Davis re-drew this Phillip pose.
There is an attempt to simplify the shoulders and the chest, and the line work reminds me of Marc's graphic style.
As much as I prefer Phillip's final design, the first drawing is a masterpiece.
Then again all of Milt's drawings are.
Here is the link to my first first post on Milt Kahl years ago...:
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Otto Dill
Up until a few days ago I have never heard of Otto Dill. I don't know how that's even possible, since Dill is a German Painter who lived from 1884 until 1957. As soon as I googled him I fell in love with his work. He was known as the painter of lions, but his work includes a vast variety of animals as well as landscapes. I am still trying to analyze his impressionistic style, and who might have influenced him. I can see hints of Delacroix and Daumier.
Dill started drawing and observing animals in zoos, before traveling to North Africa, Italy, France and Spain for further study and painting. He was an extremely prolific artist, but unfortunately a large collection of his work was destroyed in 1943 during a bombing in WWII. Still, much of his art is still around and sought after by collectors and museums. In 2001 his home town Neustadt an der Weinstrasse opened a museum in his name. They only exhibit his work.
I don't know about you guys, but I ask myself the question: Where have you been hiding all my life?
This painting of a tiger knocks me out...for obvious reasons.
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Another Ward Kimball Post
It always fascinates me to see an artist's style change over the years or decades. Ward Kimball drew these caricatures of colleague Harper Goff sometime during the 1950s. Goff was a Disney story man/art director for the film 20.000 Leagues Under The Sea. Alongside Kimball he also played the banjo in the Disney artists jazz band Firehouse Five Plus Two. I just found out that later he would art direct the iconic, original Willie Wonka & the Chocolate Factory.
Kimball's graphic style is very much - labeled as - mid century modern. Sort of non Disney, experimental. But let's not forget that he co directed the 1953 short film Toot Whistle, Plunk & Boom at a time when a few Disney artists were trying to branch out into new visual horizons.
Here is a reminder of Kimball's drawing style a decade or so earlier. Fred Moore was setting the Disney style at that time. The characters looked round, dimensional and as Art Babbitt would say "juicy".
Both styles of course absolutely brilliant!!!
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The Anatomy of Motion
This is the title for a book that Marc Davis had been working on for many years. Unfortunately it was never published, but all of Marc's research still exists. Motion range as well as comparative anatomy among a number of species are top subjects. Also many studies of bone and muscle structure.
The book was intended for artists, animators and physicians. I will post Marc's initial sketches (he also produced final illustrations) from time to time, and I highly recommend studying them. Print them out and create your own Marc Davis Anatomy booklet!
I believe some of this material dates all the way back to the late 1950s.
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More Pages to Explore .....
