|
[ Pobierz całość w formacie PDF ]
. 75 The artificiality of the sequence botheredeven the layout men who were designing the bed itself: The bedposts weresupposed to be four growing trees, but were those trees growing in a perfectrectangle by plan or by accident?76By the summer of 1937, all three sequences had been wholly or partly an-imated, but Disney decided to scrap them anyway.By then, he knew that hecould make those cuts without any damage to Snow White itself because whatwas left in the film was so concentrated.There was no need to tell more aboutthe dwarfs through the soup-eating and bed-building sequences, in particu-lar, because so much about them would have already been revealed in earliersequences.To achieve that result, Disney had no choice but to scrutinize the work ofhis animators intently in the sweatbox, ordering changes that were in many1 24 thi s character was a li ve pers on cases extraordinarily subtle.Such orders were not nitpicking.It is almost al-ways clear from the sweatbox notes that Disney was asking for changes sothat a character better conformed to his conception of that character as itwas evolving in his work on the story.On March 6, 1937, for example, he watched a Dick Lundy scene in whichHappy approaches the kettle where Snow White has started soup cooking;Grumpy stops him, warning of poison. The feeling was not that Happy wasgoing to taste the soup, the sweatbox notes said, paraphrasing Disney s com-ments, but that he expected Grumpy to interrupt him.This of course is notright.He should keep right on going as though he doesn t know Grumpy iscoming. Happy was the fattest of the dwarfs; he would not have been eas-ily distracted from the soup.Moore and Tytla, who had first animated the dwarfs, were not immunefrom such detailed inspection of their work.On June 11, 1937, Disney sweat-boxed a Tytla scene in which Grumpy takes oªense and sticks out his tongueat Snow White.Disney asked for these changes: Have Grumpy make hisreaction.a few frames earlier and have him react a little slower.Don t have[the] reaction so extreme it would be just sort of a stiªening before he turnsaround, it is sort of a little take not violent. The animators themselves caught the spirit of what Disney was doing.Lundy recalled animating a walk that I think was the best walk I ever did;but when I got a test on it, it wasn t Happy.It was drawn and looked likeHappy but it wasn t the way Happy walked, so I had to throw it away andredo it, so it would be the way Happy walked.I had everything working.twist, and overlap, and all that sort of thing.But it wasn t Happy, so I justhad to toss it.His personality wasn t there. 77As work on the film progressed, Disney became ever more absorbed in hischaracters and the story.Robert Stokes, one of the animators of the girlSnow White, spoke of observing him: I can remember nights when I workeda little bit of overtime, say, and he d come in and pull up a chair and we dtalk.until eleven o clock, just his views on things.Animation, the char-acter, the type of person this character was he believed that this characterwas a live person, and he had a way of instilling that in you.I d hear himpadding around in the various rooms, maybe run a Moviola or flip a few draw-ings and then go on to the next room. 78Dick Huemer remembered Disney s utter dedication during work onSnow White: He used to come on like a madman, hair hanging down, per-spiring.Christ, he was involved. 79Wilfred Jackson, who moved over from short subjects to direct part ofthe leap to feature fi lms , 1 93 4 1 93 8 1 25 Snow White in 1937, said: There is more of Walt Disney himself in thatparticular picture than in any other picture he made after the very firstMickeys.There wasn t anything about that picture any character, any back-ground, any scene, anything in it that Walt wasn t right in, right up to thehilt.I mean literally that he had his finger in every detail of that picture,including each line of dialogue, the appearance of each character, the ani-mation that was in each scene.nothing was okayed except eventuallythrough his having seen it. 80It was not just the animation of the dwarfs that caused headaches as pro-duction of Snow White spread beyond the small group that had worked onthe film through much of 1936.On the shorts, a single layout man and a sin-gle background painter typically handled an entire film, assuring a consis-tency of treatment; but Snow White would, of necessity, be spread amongdozens of artists.Here again it fell to Dave Hand to try to fit everyone intoa single harness.As the layout artists for diªerent sequences bumped againstone another, it was all too easy to miss an opportunity to make what was onthe screen seem more real. There must have been at least fifty or sixty cor-ners in the main room of the Dwarfs house, the layout artist Tom Codricklamented, because diªerent units were working on the same room and hadbasic thoughts about what the room was like or the shape of it [ Pobierz caÅ‚ość w formacie PDF ] |
Archiwum
|