A. Film L.A. test

I dug up a few more photos to add to the fray: As we have seen here , Palo Alto native Ollie Johnston appeared in the 1934 "Quad", the yearbook for Stanford University in Palo Alto, California, member of the Delta Tau Delta fraternity, Class of 1935. Here are a few more early images of Ollie: first his Sophomore portrait from the 1933 Stanford yearbook (issued in 1932), then another image from the 1934 book (from 1933), as Junior Football Manager, followed by the 1934 jearbook Junior portrait... These images precede my previous Ollie posting by 72 years... Lastly a recent snapshot taken on the pavement outside the Disney Studios theater: Ollie's handprints, to commemorate his Disney Legend status... < Click on it!

Directed by Ham Luske, laid out by MacLaren Stewart and Don Griffith. From an animation standpoint, the draft for this last sequence is a bit of a let-down, as several scenes, mainly involving dogs, had not yet been assigned--or at least not yet noted on this draft. And yet this was the one that was used for reference, in this case in the BG Morgue (which could explain it). We find Milt Kahl for most of the assigned scenes, and Cliff Nordberg animating Nanny Cook. If someone has a final draft of this sequence, I'd gladly post it... This THIRD draft of 4/7/60... Thus ends the draft of One Hundred and One Dalmatians. I remember seeing it in the mid 70s in a cinema in Amsterdam where it for many, many years was the only film they ran. It may not have many "Magical Moments," but it is a very entertaining 79 minute escape, with wonderful animation, not only by Milt Kahl, Frank Thomas and Ollie Johnston, but by a slew of lesser-known but very accomplished artists who deserve re...

I miss you at breakfast, Ollie! (See previous posts here , here , here and here ...) [Addition: A lot is said about Ollie around the blogs. One of the most touching stories, telling about the mildness of Ollie in a work situation, is the infamous story of how Heidi Garofalo-Guedel-Ballreich, at the time an assistant at Disney's, lost his scene of Evinrude in the Rescuers by putting it on top of her car and driving off, and how Ollie reacted. He could have had her fired in a heartbeat, but he just said "You're kidding... I'll have to do all that work over again...," which he did - and gave it back to her to touch it up. Go here , search for Ollie and read from page 293. I am proud to have known this gentle man.]

Here is a good long sequence, the one-before-last in the picture. And as all the action sequences, this one is directed by Woolie Reitherman, laid out by Basil Davidovich. The animation staff includes John Lounsbery, Ted Berman, Blaine Gibson, Bill Keil, Fred Kopietz, Ambi Paliwoda, Milt Kahl, Hal King, Bob McCrea, Frank Thomas, Don Lusk, Julius Svendsen, Art Stevens, Bob Youngquist, Eric Cleworth and Cliff Nordberg (dogs), Marc Davis (Cruella), John Sibley and again Cliff Nordberg (Baduns), Bill Keil again (truck driver), with Dan MacManus and Dick Lucas taking care of the live-action model cars. Of course, the scene to look out for is Milt Kahl's sc. 39: Pongo rolling in soot. It was reportedly the most troublesome scene that Milt had ever encountered, and I should think he didn't mind the result when he was done. Try THAT in CG! This final draft of 8/22/60... Is everyone aware of Mark Mayerson's insightful commentary and mosaics for this film? Also check out Mike Sporn...

Directed by Ham Luske, laid out by MacLaren Stewart, Al Zinnen and Joe Hale. Here, Ms. Ruth Wright, the secretary, has specified exactly who did what for us, something we do not see too often. We meet animators Marc Davis (Cruella), Cliff Nordberg (Baduns), Hal King and Ollie Johnston (Dogs), Eric Larson and Les Clark (Pups), Julius Svendsen (Collie), Hal Ambro (Cows) and one scene of Perdita by Blaine Gibson. In this sequence, the model shoot of the cars is mentioned as Music Room. This was the generic name for the director's room, dating back to early Hyperion days around 1929, where the directors (Walt, Ub and later Bert Gillett) would lay out and time their short films in a separate room with Carl Stalling on piano. Not much later (late 30-early 31), Wilfred Jackson got his own Music Room with musician Frank Churchill. And so on... This final draft of 4/28/60...