Directed by Wilfred "JAXON" Jackson, laid out by Maclaren Stewart. Assistant director Mike Holoboff, secretary Toby (Tobelmann). This FINAL draft dated 11/3/52. Animation by Marvin Woodward (Lost Boys, John, Michael), Eric Larson (Peter), Harvey Toombs (Wendy), Don Lusk (Tink), Norm Ferguson (Nana), Jack Campbell (Father), Art Stevens, Milt Kahl (Father, Mother, Wendy), Marc Davis (Mother), Hal King (John), George Rowley (anchor chain, pixie dust, sail, ship), Josh Meador (cloud-ship). And that concludes the draft for Peter Pan, the fourteenth complete feature film draft on this blog! (Ok, you smart-alecks, we still need to see the last page of the Pink Elephant sequence...) As always, I feel the need to stress that these documents were kept to keep track of the responsible person, and as such it may not reflect precisely the specific directing animators who worked on the sequences. If e.g. an inker or checker needed to find out who animated the scene because of some question...
Hans- Your comments are right on target. I had a media teacher that was fond of saying "Technique should be the second thing a viewer notices" - the implication was that the message/intent should alway be first. The issue of technique and awareness always bothered me when watching Sleeping Beauty. There's no question that Earle's work is amazing, but I remember being so struck by this "new look" that I think I missed some of the more subtle ways that characters were handled...
ReplyDelete-bob
Bob, in my mind, your media teacher should have said "Technique should be the LAST thing a viewer notices!"
ReplyDeleteI know what you mean, about Sleeping Beauty. When I saw it in the cinema the first time in the late 70s, my mother whispered to me during the first scenes: "Are you sure this is a Disney film?!"
Børge felt that the quote best stand alone, and I can see his point - that is why I moved my comments to here - the comments section. Here is what I removed:
ReplyDeleteYou will realize that it also indirectly can mean that whatever style a picture is in, if the audience thinks about this style, they are lost for the story. Which is what killed hand-drawn animation, at least temporarily, a few years back...
I somehow also recall a similar quote from The Illusion of Life, which does not make it less important here. I really need to read this our Good Book again soon! Everybody should, actually...
It reminds me of the old James Stewart documentary on tv yesterday, in which he says something like "If you act so that the acting doesn't show through, you are doing a decent job."