Prod. 2074 - Peter Pan (XIV)  - Seq. 12.0 - Underground Home

135136137138139140
141142143144145
Directed by Ham Luske, laid out by Al Zinnen, Ken Anderson and Ken O'Connor. Assistant director Rusty Jones, secretary Ruth Wright.
This Revised Final draft dated 9/24/52.

Milt Kahl (Peter, Wendy, Michael), Hal Ambro (Wendy), Bill Justice (Wendy, John, Michael, Lost Boys), Les Clark (Wendy, John, Michael, Pirate), Iwao Takamoto (Wendy), Hal King (Michael), Marvin Woodward , Hugh Fraser, Fred Moore, Julius Svendsen (all Lost Boys), Bob Carlson (Hook, Smee, Pirates)

A plethora of animators and their junior animators/assistants (Takamoto and Svendsen being the unusual names here). It is interesting to see Bill Justice's scenes interspersed as if he was assigned left-overs, or filling out holes in the schedule. Also, again, this draft is dated two months before Fred Moore died.

Comments

  1. AnonymousDecember 2, 2012 at 4:38 PM

    Just out of curiosity a final draft is just like a timecode for the final picture? What's exactly on the screen is exactly on the draft no changes

    ReplyDelete
  2. Hans PerkDecember 2, 2012 at 4:52 PM

    Hello and welcome, puppyjonathan!

    You can find descriptions of the function of drafts all through my blog, probably on some 20 of the 835 posts. Last one was my November 4th posting where Frank Thomas himself describes it as "the most important document that everyone uses to find out who is responsible for what, and when." As such, as I wrote before, it is a production document aiming to show the persons responsible for the scenes - it is not a historical document.

    At times there ARE changes between draft and final image, if there have been edits made after the draft was finalized. It is not always that the draft is revised at such a late date, so sometimes we see scenes on the draft that were cut out of the final picture.

    ReplyDelete
  3. Zartok-35December 2, 2012 at 8:18 PM

    Happy birthday to me! For my birthday this year, I get to find out that Milt Kahl is responsible for Michael's unusual looks in shot 64!

    I love Smee and his mother tattoo, in shot 59.1. Thats another scene I enjoyed since I was young.

    Tomorrow, I have a feeling we'll see some masterful dance animation by Cliff Nordberg!

    ReplyDelete
  4. John V.December 3, 2012 at 2:26 AM

    John and Michael don't really appear in scene 13 the way the draft says they do.

    Nearly the end of the film and finally Bill Justice appears, primarily animating John and Michael. He would have been a regular in Jack Hannah's shorts unit at the time, and I'm curious about how shorts animators were recruited to work on features. Did they consider it an honor? (Did they get paid a higher rate?)

    ReplyDelete
  5. Steven HartleyDecember 7, 2012 at 3:07 AM

    A lot of Bill Justice animation there, and I agree with Zartok - that Milt scene (60.4) of Michael is rather odd. He draws him - perhaps a little too real.

    There appears to be a lot of small scenes by Sven - perhaps he was an assistant that was given leftovers.

    ReplyDelete

Post a Comment

Popular posts from this blog

Prod. 2074 - Peter Pan (XVII)  - Seq. 15.0 - Voyage Home -- Ending

Image
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
Read more

The First Hyperion Ave. Studio

Image
I used to wonder where precisely Walt Disney's first 2719 Hyperion Ave. studio was located, and what it looked like. Since reading about it first in the 1970s in Dave Smith's article in Michael Barrier's great Funnyworld, I spent hours looking at photos, aerial photographs, maps etc, until I found I had a pretty good impression. My aim here is to pass some of that on to you, as I have found there was an interest in this since I posted this image of the staff with their new Charlotte Clark dolls on my Facebook page: Looking through Cecil Munsey's Disneyana, it appears to me that the "funny looking" Mickey with the button eyes is actually an example of the 1930 British-made pose-able Mickey by the Dean's Rag Book company of London. First, the WHERE. Here is the front of the Gelsons parking lot, with the original plot of the studio indicated in a blueish hue. We see the very small building, the back yard that has a car shed does not even reach the current Gel
Read more

Miffy the Movie in cinemas in Holland!

Image
Finally, the film I directed called " nijntje de film " ( miffy the movie ) has gone into general release in 118 cinemas in Holland today! As you can imagine, I am very proud of this film. Interestingly, the reviews are split in two: the ones where the reviewer saw the film WITH a children's audience all give the film four out of five stars, while the ones who have NOT seen the film with kids give it three out of five, and mention "I doubt if the film can keep the young audience captivated." The "four star" reviewers note that it can - that the film "works!" In the Dutch TV guide Troskompas , in the very first review published a week ago, I found a very clear view on this: the reviewer wrote that he feels he has no way of judging the film, but as his kid loved it and was entertained all the way, he could not but give the film four stars. To me, that is the only way to look at it: does our target audience like it? Are they amused and entertai
Read more