the illusion of life disney animation b

Djsm~,
AnJnj~¥'
Frank
Thomas
and
Olli
~
J
1b.
delil>C"lion
of
any personality almost
stan.
,",
'
;(h
.
C()Sluming
has been
an
essential pan
of
the
:
;::::
:
~'i!~~~";~:;~:
slightly less understood
impact and poIenli.l
of
lhe rolors them-

·
Hee
is more
sensili,'.
(han
rl>OSl
when he
"On50meofl
lte
caricatures. .
[would
make
"""
face
,'''''n.
because
of
hi
s character. .
he
'(
look
good in
any
OIher color. And olher
ma
ke their
fa~s
completely red. and
f",os

"
'ere
no!
red
.
Red
is
vibr~lions
and
il
"ibrations and
~II
Of;1 is elecl
,ic
and
iI's alive
if
you'""
around a pcrson
for
a linle
while
. .
he
or
be
does
no1.
Relative
value

s
can
be
learned.
approach always will remain. making
onhodo
~
or
sensa!ional. dark and mystic
Of
· realislie
or
abs
lracl.
no
maUCr
how

·ell
he
leams!O
pOI colors togelher. This is a conSlanl
:
:';:~"~
producer who wanlS a special feel
to
his
if
he
has

a dozen color stylists and back-
paimers.
seldom will any
be
exactly right for
, There
must
be
conferences. crit-
and
to
oblain a
i ilit idea
and graphic
will ha\'e the responsibility for
IIQI
only
a cnlor
~
ey
for the whole picture. but
of
til.!
characters
in
tbe
various
direetor aJ
,,
'.YS may have visualized

in
a pink gown. but if pink does
nOl
fit
the
1Ct.eme
being
suggest~-d,
he
had bener
be
pre_
change
his
concept. perhaps radically. The
1
"Nutcracker Suite"
or
tbe
quaint
tt
'.
house only can evolve as
the
"m together perfectly. The background man

ill
have
complete authority in this area. since
is

fully
.uccessful when one function has dom-
t
a balance is maintaiMd. the direc-
·
layout
man "',ork
do",ly
with tbe painter
producer watches
the
results carefully.
1irtt~r
oelp
comes from the Color Model supervi-
~
~~:f.~~:~:~~~:r"j~f'~
ability
to
qualify for
In
k and Paint Department well.
is
easy
to
do and woat
is
difficult and time
how much any
prOCI'S

S will
cme
what colors are available. and even "'
hich
ones
are stable
or
cause problems_
In
addition. she
is
3
fine
anist and has a good color sense, She knows how
much
tbe
thickness
of
a cel
wi!!
darken a color
and
"'hat
to
mi
x
to
compensate for
tl>e
loss.

To
tbe un·
initiated,
the list seems endless.
As
one
of
the women put it.
"You
had
to
know
e"ery
other aspect
of
the business
to
do your own
wor
~
.
and
be
creative about it. . . We'
re
li
ke a
liai
·
son between all

the
departments,'"
Finding a set
of
colors that will work with the gen·
eral scheme. the specific background. and
the
needs
of
t
he
character
is
only the beginning
of
the
problems
tbe
Color Model expert faces.
All
of
the earlier
work
has
been done on paper with a variety
of
technique
s.
and
now a way

mUSt
be found
to
achieve
an
equivalem
effect
in
flat shades
of
tempera paim within outlines
on
a cel. Handsome. appealing characters
li
ke Jiminy
Cricket or Thumper look
so
right that the average
person has great
difficulty
in
imagining their being
any
other way. but tbey all took imagination. dedica·
tion. and
persi~tence.
One small example
is
the expense that will
be

incurred
in
putting any character on the
SCreen,
To
begin with. each color represents
an
expense
in
itself
by
the
time
it
is
mi
xed, put
in
small jars. dispensed
to
the painter.
PUt
in
the
exact area
On
the
eel. and then
allowed
to

dry. Each use
of
color adds an additional
expense.
so
the
Color Model advisor speaks up early
when she sees a
bit
of
questionable detail
on
the
an
i_
mator's drawings. That item will have
to
be
drawn
many times. have a color selected.
be
painted
on
hun
_
dreds
of
eels. and. finally. check
ed
carefully.

We
were
told.
"Each
button
COStS
ten thousand dollars
!"
and

1: became vcry selective
in
our decorative additions
to the
characters. The question is constantly asked.
"Is
it
worth it?"
"Do
we really necd that
ex
ira
but_
ton?" " How about the buckle on
tbe
belt
docs
it
really need three colors?"
Jiminy Cricket had

27
colors
in
Pinocchio, but "'ben
he
appeared later
in
the
Mid
y
MouS<'
Club
films that
number
was
CUt
to
nine, Almost any character will
h
.ve
that many colors.
no
matter how simple
he
is.
There are always lots
of
little places
to
paint>

such u
inside
the
mouth. the eyelids.
the
bonom
of
the
feet: a
person docs
IIOt
ordinarily think
of
these as having a
diff.",m
color.
)'1'1
il
i~
needed for definition
E'-cl)'oJ>e
kllQw,
if
the
character
is a
drab
liule
guy,

•
flamboyant
extrovert. a deceitful villain. a S
Weet
IJIO(hcrly
type.
but
the
selection
of
the
eHct
colors
!hal
go
logCtller
10
CrealI' this appearance is a
mauerof
ptrW1131
JIIl'ference. The beueT the
I~SIC
and judgmem
rJ
the
c(llor
,noo.kl
experts. the more handsome
the
\'lIarXlOr

will
be.
These
chalicnJ;es
are
compounded
by
ttlt
fact
thai
<01()fS
thaI appear right
in
a daylight
lC!Iing
become
garish against a nighnime background.
Olkn.
different
se1
of
colon; will ha,'e to
be
chosen
r.:.!he
night
scene.
or
for
some

O1her
unusual
sequence
II'iIh
a ,peciallighling or
mood.
And
the problem does
101
SlOp
lhere
.
l!
is
DOl .oougll
(0
choose colors for one character
111M
IIIill
wor~
Ihroughnullhe
whole
film.
H
is
colors
ibomusl be related
to
those
of

all the other characters
lII¥aring with him
in
all the
""luc"""s;
and. inevita-
bly.
"'"'
sh.oo
and hues Ihal seem
perf«1
fur
one
firgurt
cla:;h
and
Fighl
wilh
Ihe
perfeci
.;e
leclions for

<halllCler
beside him. Then when Ihal annoyance is
1OI
,
"td.
the
""xl sequence introc.luces new Figures who

lipid evcrything
Ihal
has been
d«ided
up
10
this poinl
The

is 'Iill more. Often there will
be
mOre
Ihan
_
cilaractcr
representing a
generallype
of
pel1'on in

\lOry. Tltere mighl
be
two bad
guy,

·orking as a
1I:Im.
'"
three fairies who arc
alway.

togelher. Tlte
~Ie.
of course.
w~~
seven dwarfs.
Seuing
Ihe
cokIr
n"o(lC\<ls
is
a difficult
and
lime-consuming prnce-
• .
It
lake
s mure than
one
nice skelch
10
Find
the

trs.
Iftt.: picture
is
designed to
be
reali<lic. brighl
col.

en
on
the
characlers will
be
a problem. causing the
lrad;groond
painter
con'tan!
headaches as he
endeav
.
cnlOfu
the
Figure>
back into his painting ur maintain
UlKctssful
color scheme for mood. Snow Wltile run-
,
through
In.:
woods
in
terror is a good example
of
colors
thai
ooapltd as well
10
tlte threalening foresl as

tor
had
prtvioosly
10
Ihe sunny glade where she had

""
~
ing
nowers. M
Uied
color.; and a moderale
of
hue
s give lhe painter far more lalitude in
:
::::,,,,;:,:::.pictures
on
the screen. A characler
will limit the
badgrounds
10
about
I'1S
of oolors for the whole picture; any
other
. will be muddy.
100
light. 100 colorful,
Black is

a complete absence
uf
lighl
on
lhe screen
and Ihus becomes a hole ratber Ihan a color. While
it
may add
Kcent
and sparkle to a still
<.Irawing.
il
has a
lendency
10
suck Ihe life oul
of
the object when
it
is
projected.
In
SlupinK
Beaa/y. the bodice
of
Merry·
wealher's peasant
costume was black; and while
il
made a brisk pallem in lhe o,"crall design. there

was
an
ama:>:ing
los.
of
vilalily
in
the scenes
in
lite color
print
compared
10
the rough peneil animal
ion
.
BIK
k detail.'
alo;o
tend
10
blend intu lite darkcrareas
of
lite backgrounds. causing them
10
lose lheir identi-
ty. The marcelled wJves
of
Captain Hook's hair
io

Pe/er Pan caused much consternation
in
the lnbet

een
Depanmenl because lite
comour
could
1101
be a straighl
inbet

eeo
oflhe
lines. but had
10
be a complete draw·
ing
of
lite hair
in
a new posilion. Ho

ever. his hair
caused
even more consternation
in
the final
Film
as

il
faded into lite dark shapes
in
lhe background
in
scene
after
see

. We could have saved ourselves a
101
uf
work
and
money if

e had known that tbe oolors
behind him were
going
10
be Ihal dark .
As a
rohn.
Pitlocrhio
is undoubledly tbe mosl gor·
geousJy inlricate Ihal
e,
'C
r will be done. f"uttJmi(J
had

more imp.ressive scenes and visual surprises. but for
richness
of
handcr fted detail. Pitlocchio will never
be
surpassed. Walt knew Ihal be wanted a picture wilh a
greal
f«ling
uf
atmosphere. with dimen<ion and space
in
lhe backgrounds.
He
wa
nt
ed
dimension
in
his char·
acl
ers
100. wilh an
emphasis
on depth and roundness
in
tbe actions.
To
aid
in
this. lhe Color Model advi·

sors.
working wilh lite background painters. the color
experts. and a special group
of
effecls animators had
developed
several
t~hniques
Ihal changed a nal area
of
paint into a rounded form. TIley used a blend (hat
was rubbed on. drybrush Ihal was st

ed
. . and air·
brush th
at
was sprayed on.
Gradually
one
department after another

·as crealed
10
controllhcse special processes.
~
airbrush
depar1
.
mell1

alone had over Iwenty
wumen
in
;1.
all adroit
al
controlling lite delicale spray Ihal
o;oftcne
d harsh areas
of
color.
The
killen Figaro had boIh airbrush and
drybrush
00
his face
10
give him (he .soft. furty
loo
k
,
Iypical
of
a kiuen. Since Iltere was
no
way
of
making
(hese
particular effecls

e~actly
the sallle way Iwice
in
a
row. there
waS
bound
10
be a nicker and a crawling
wben
il
was finished. but
it
helped lhe appea

nce
~
muo.:h
thai lhe decision
'u
s
made
10
uSoe
boI
h
te.:"h
·
mques.
l!

w
as
imperative Ihal Ihi s work
be
startetl early so
lhe~
would
be
lime to
e~perimen1.
Th
is hltllthc added
ad antage
of
keeping the
,,
'hole
e
~w
ucited
as they
saw new
df«"
being created for the
piCIU~
e,'en
though lheir
o,,
'n part
of

lhe production at that time
migJIt
have been minimal
or
rootinc.
It
also ga
ve
the
animators
I chance to make their
OWn
5UggcS
Iions and
enn
to
inoo
'p
onm,
emergin,
ideas imo their handling
of
the
c1l.arac
l
CT"S
. When Walt Slaned
Funt(u
;u. many
of

,he pictorial suggeslions
,,
'e
~ so diFfcrcnl from the
SUl
ndard appearance of cartoon material Ihat a special
crew
of
color
uperu
was combined "'ilh the
I«
hni·
ci.lJI~
and cameramen
to~
what could
be
done
in
Ih
is
new direclion
bef~
commining the "'hole Studio to
the projecl,
Typical
of
the new men
we~

eS
l
abli~hed
paimerl
soch
as
Lee 8
Iai
•. Elmer Plummer. John
lle
ne
h. and
painter·teachcT
Phil Dike. who was put
in
charge
of
all
color. Everyone was
encour~ged
10
experime
nt
in
tech·
niquet,
ibign.
and effects. As John Hench said. " ThIlI
was
one thing;

if
yoo wanted
10
do
something Walt
v,oold
let
you
do
it." John
gill
inlo back
,roonds.
,,
-hich
soon led
10
a curiosity ahoul
"'ha
t
ha
ppened
in
cam·
Cf1I
. He h
ad
done some photography, so
he
tried

dif
·
fercnt
I
~
1
05CC
what
df«I
S
hecould
gd
. This led to
three yean; in the fabled Special Effecls Depanmenl
doing everything.
At one time he
e""n
did so
me
effects
animal;on. His sense
of
design led to work at WED,
the
" Imaginecrin," subsidiary company that
c
~ated
Disneyland and Wall Disney World.
tk
later became

one
of
WED
',
chief
uccutives
.
Walt
tried these men
h
e~
and
I1e
tried them lhere.
IS
he
found out wh:tt they coold do best; and wilh
hi
s
;1ICe$SlJ\\
drive
10
pia«
an iooividual for
t"a~imum
crcative output,
he
Maned them de"ciopinll his radical
ideas
for a

roneen
fea
t
u~
film,
Li
ke the
s
tyli
~
t
s.
they
werc
unhampe~d
by past
nper
ienccs on cartoons.
and

ell: free
10
uprns
an idea in the medium W I
heM
~ui
t
ed
!hem. without regard for how
it

evemually
could
be
duplicated on
cds
.
Alone
meeting.
Wall'
~
eye was caplivuted by a
series
of
wf
t pastel sketches
01\
black paper soo,.·;ng a
tiny
fairy
srnltlling
dewdrops on the pllJItS at night.
Wall panicularly liked the delicate handling aoo the
1;10

that seemed
IOSUITOOOO
lhe fig<=5. and
he

-wed

boIh
of
those featurc. kept in the final furm.
no
IIWIa"
how
it
w~s
done,
To
lhe a.'scmbled l,rtists.
liOlJleoid
aoo some new,
he
said. " 1
$a
y
the~
arc
possibilitlcs.
those backgrouoos down
the~

~oo
wi.h
ourdt-fl"
drop fairy lhere's a
cha~
for a differem
trcaunm

Get aw
ay
from lhe vivid
001"
aoo
ge
t a
night
rokr
for her.

Our
bIodgrounds should
be
done
,n
I
fantastic
,,
'.y
when rcndcring lhem:
iii)
l
oa)'.
kt'l
open up and give us something thai
hiu
us. BOO.\I'''
When lhe meeting was
0''''

' the
pu1.1.1cd
t~hnlC"
asked each other.
"l
-1
ow
Ih
e dickens arc
we
goinglO
get this thing on the
KreenT'
The
new anistS
de~d.
100. Obviously.
'''''"'
painting " '
;1.$
lOOt
!lor
ans,,
·er. They
,,
'oold
ha,
'c 10
uplorc
all t

he
l
echrucal
devices and
]If'OC('sses
.ha. might help lhem .
IS
well
.
think
up some new things to tl)' in evcry arca.
Su.d)

the sketches, lhey gradually f""nd
""
na
in
c

~
that could
be
dra"
'
n.
and others lhat
"wid
ha, ,
III
~Iy

on what the
camerl
could do: the
kn~,
tile
fi
lte
rs
. the double and triple exposurcs, Still
might
be
h:tndled wilh special work
01\
top
oflhecm
airbruSh. oils.
5mud~s.
bknds_
They
u ied a
fim
tesl and looked
al
"
long
and
hard.
"Oee it doeS,,'t look anyth
i"g
li

ke the
,",""
"
••
lik
ed: what do
we
do now?" All the eXpenS, 1 '
thoc
showin,
s.
offering S
UJi\CSlion$
from
limiled knowledge. and lhe materials werc
for a second try. Finally a way
waS
h:t, :
taken
lti
many
a>
twctlly separale
the
camr
ra.
or
a mask
LO
block out light

from
neath.
or.
IiOft
mul.iplane effect "'ith slightly
fOCtls
edges; each
SCene
was diFfercnl. each
inative
e ~
p
l
omtion,
II
original sketch in every way . ll>osc
,I"""ed
and
$/Iimmercd. "'
ere
feminine
and
worked
in
backgroooos
of
pure magic.
The "'hile ballerina blossom
Ih
at floated.lO

fully down onto the placid, black water wa,
i'
",,~,"
"'hite oolline that matched the rolor
of
the
pculs
she gill looked 1
00
hanh.
too
ch>ll
ky.
Th;.~_
shot again wi.h a slighl diffusion th
at
helped.
wa
s
not
unl
il separate exposures inlcnsifi"']
ItIt
t
h31
she seellled to glow "'ith a pristine
bc:ltlty.
and radiant. Elmer Plummer
h.ad
do"

"",
••
knew
,,
-
ha
t
he
"'amed
in
values.
and
wort.,.]
IIIMI
In
S"",ial Effecls unnl lhey g

il: btll
he
$l
il1
paUMW
lhe
bIockgroono.!
himself 10
be
su", Ihal il would
look
ju~

1br
way he "'anted il.
Elmtr
explai

d
hi
s posirion
rhi
s
,,
'ay: " I was a
bo.a
fdt
uri". and h:ld
picw",s
hanging all
o~er
lhis
roll/llry
arercolors and oil
s.
aoo
~II
of a sudden I
"-l1ll)
'~
lf
dOIng.
"01')1 s

ke"h
in paslel. bul
done:
in
IU<h
I , y Ih.r
ir
w.,
hard (or a guy who was
nQI
a
p!O-

ho
did
IIQI know lhe lechn
ique-to
pul
il
down
fie
wno
y:. Wah relied on lhis u!>Compromising
insiSI
CIIC(
On
exacl values
300
relalionships
10

gel the

weHecl
s
he
,,
'U
~.king
on
,'''
~n
.
The
corn-
-mercial
anisl
who mighl say. " Thal's good
enough:'
~
would
neVer
h e ,
'''
pc:l'$iSl.~~
or
,'''
judgmenl
10
~
kIlO""

the
diHe"'~
,
[1
ofren rook
gn:~1
]lCTliiS
lence.
One
of the m.osl
imp"'
ss
ive
KC

S
in
lhal
k<jucnce
is
1'"
pride
of
1'"
harem in the Arabian
Dance.
the
d
elinre.
whit~

fi
sh with lhe long flowing lail. sur_
rounded by
her
bevy
of
maids. As their black.
~mi
·
t
r.
lII
sparem tails enshroud her
at
lhe stDrt. there i
ll
I
•
•
,
filmy light
provocativ~ly
gleaminll behind this t
of
veils, Never h"s
an
object on celluloid looked so diaph-
anous
~nd
delicate. When Ihis effeci finally

h~d
been
perfecled.
il
presenlcd an cnormOllsly ronlplicatNi job
for
thc camcl'lIman. but
Ih~1
·

,as
OOIhing
10
the shuck
he
rttCh~
when the
rompkted
~ne was broughl
10
him.
lbe
Slack
of
dl'llwinp
was far
n~
Ihan one man
could
carry-lhe

scene was over 100
f«ttonll
- and
il
luoI:ed like a
~
mall
rnounlain. for
il
included nul only
separale
dr~wings
for lhe
fhh
bul for all
of
tl>e
'par
.
kles. lhe effects. the
shadinll on the tails and
Ille
fins.
Each
le~11I<kktl
anulher group
of
drawinll". In facl.
the
SC<:IIC

had
bttn
so
unusually
luge
that the anima-
tor.
Don
Lusk. and his assislams had been the subject
of
Je"enl
gag
dnwinp
showing them d

'3lfed
by
lhe
~ne
or
buried under layers of pa"",r, The ar\JOII
r>&
tU311y
was
I:>n*en
inlo
th=
!o«
1IC
~.

"h"'h
lNdt,
ea.<icr 10 carry. but
it
~
Iill
look
'u'>\
as
lung
10
$IIott
The
.
uc«
ss
of
these glorlUu_
""c
nc:
~
"')S
dDt.
large
nlCdMlre
to Phil Dike. the
'tUdl
0'~
c
ob

~
nalor.
lie
had an mgenious
""
l
Ui
,on 10
the
prOOIt1o
Ii
gClling a
,alhfaclory
re_,ull fmm
Ihe
clu""e,,~
lies
of
lhe film being u
>e
d. I k
a,~NI
Tcchniroklr
111
prim a
KCIIC
as far
10
the
m!

,
iok
a
~
lhey
wuld
(
••
lhey called "
OUI
of line
");
then. g
oouall
y.
on
~
s
o,
'e
prom
••
he
had
them ne
~k
.
onr
~
ill I

lilllc .
10
normal.
110en
he
ordered
Ihc
sa
me
thlllll
••
t
he
blue. This "-
ay
he klli:w
"hal
he could tIp:<!.
what hues
Were
on
his palellC. and could
work
IOda
limitalions.
These
c~pcrin",nting
3ni,,.
h:Kl funller
d,rr""h.

wilh lhe slightly
mOl'<'
orgami
cd dcpanmc1ltS"
surmtlndcd lhem.
Walt
h:od
~
"
'
~y
of Idling"""
pr-
son
10
go ahead and gel "'hal "

nttdcd.
10do

c~
r
"''as
~"''''''Y
10 rompielC lhe
.JOb-

1Ih:,u
any
oflhc

other people
,,
'
100
would
~
in'

h·
c-d
m sa
a
proj«t
. When lhese
roew
men
" ,01
10
aooIher"
"",n
l and annolloccd that they had
10
ha.e a «rlIiI
Ih
ing. ur somelhing h
ad
to be
d{lll<
"
~n","

"'.y
.•
they
needed
six
in
kers r
iChl
away 10 do
W11I1'

dirtttly
fOf
lhem. lhere were all
"'I<t
s
of
departmea
jcalou
~ ic
s
and " 'oundcd
~
b'OS.
Su""' ·
o'iOrl
""'"
b'JIII
10
:!o

he
new. unheard
of
p

oblcI05.
run
their.
menlS cffocicmly. and
>tilt
g
o~c
Wall "'
hal
ho
___
!<n
. when
!>OTOC
OUl$ider
came
in
wilh
an
lde~
of
ubi!:
over
for a while. lhere
n"tur~tt

y
wa
.
SO
Ill"
ronnicl
MI
one could
c,
'
cr
run
IQ
Wall and
iI.,k
him
10
,tr:t,~.
0,,1
or
Ikflne lines
of
aUlhorilY. So coch
man
hadlOW
hi
s own diplomat and do whal he
C<>\lld
to
get

Olhrn.
coopc:nl1e
.
ThaI
w,s
the "'00-1 pan
of
1'1111
Dok~
'~
a'l."'_
l
ie
" 'lIS respecled and
he
was hked. bulhe
IWIO
cnll1dy Ihroogh other
","'Opl
c a
nd
tho"
de" _,
"'
olh
"'ords
as
his only lools.
li
e (oold

not
poII1Jl
~

them.
or
shoot
it
for them.
or
c
han~
a
teltS
for_
and sioce
lie
worked primarily with
Oilier
an,!-1

was
no
end
of
opinions on whal the color
>hooldll
and Ioow
it
could

be
oblaioc't! , But Phil
w.
s
''tT)

Iomatic. always look the
bl~nlC.
:ond
~_
thai the mos1 beauliful scenes c,'
Cr
done
In
IIU
,,~'"
(
'plum!
fore, ".
on
film.
Ink
a
nd
P
ain
t
'I\Im:
ron>es
a day "'hen the animal ion drawings

h3\"e
lien
COO
l
plete<J,
ThI:
sc~ne
worh
in continuity. tm,
ct.nmr
Kts
as
~
.hould,
hi,
c~pres.sions
communi·
~
>troI!gIy,
the
I~yout
Stlppotb
hi~
actions. and tt
"',k
of
C05!Umes
an
d props are all accounled
for,

0.
~I
<by,
a
big
(I\rt
k goes up on lhe prodU(:lion
BIn
lhe
dra
Vl
'ings an: far from finished,
They
apprund
as "
-001111
~Iy
,
Now
be
pUl
in
lo Im,ir final form, lhe way lhe
"il
l
see
lhem,
III
tilt I"'cr-lies. lhe drawings were inked direclly on
pafIm

the)
'
~n:
dn
wn on, wilh
00
shades
of
tlnl'l
for
le~lure
s,
doCS,
~lwJ
d«orolions
Ihal
bc
<lone
with
a pen, Celluloid! were used only
W Nckground
~nd
"
hdd
·'
obj",ls
Ihal did
001
TIll!
SlI>ed

the
ledious
VI
'
"",,
of
redra"
'ing
c"cry
·
II
"'"
JllClure
for
e>"cry
single fra""" Winsor
ftll
Ihal
Ihis ronslanl lracing broughl a
life 10
Ihe
Iolal drawing Ihal was
an
form. bul
fe
w who fol lowed
bll diligence and
ded
i
c~li

on
,
He
ri,hlfu
ll
y
•
com"",
r
dal
lrade
OUI
of
,m,
lit
had
tIt"eloped,
l
' ;r,'ro
by
Ihi
, cr
ilk
i
sm.
lhe ",,,n in the
~ludiQ'i
~arch
for easier and quick
er

"-ay,
10
gel
II
I ,
As
long as
1m,
backgrou
nd
,,
'.1
lop
of
Ihe drJwings, lhe
aC
li
on
of
lhe

-a.\
~Slri(lcd
10
lhe
O('I'n
arellS. and this lim-
I
)'pes
of

gag.
I"''' could be
u~.
Then
one

dem:I
"h
y lhe figure5 could
IlOl
""
on the
••
::.'7.
,~~'~~;:;~:'
were drJwn
on
lhe paper
•
I
Insl
ead
of
being done as simple ink
dnw
·
both
"'"
ch<lraclefli
and

lI>(ir
locales could bc
;
,.
all
the
s
h~
of
grey as "'ell
as
black
and
AS
long
n
II>(
pai",
u~
"'n
~ue.
lhe
":~:
::::~"';
l
he
eel
would block
OUI
Ih

e parIS
of
tl
he
wal
co>"
ering. while lhe
dur
cd
httIt
dfect on . i else in lhe Kelle. Earl
'i
dilCO\'~ry.or
in
\'en
l
ion.
a
nd
btcn
00
essential change
in
Ihe procedure in
t~:
:!hing
lO!>lIy
1 1 lhe drawings "'ere lraced
cdluloid. bul quile another
10

do
iI,
Anyone
.,

".
'.
,' o w on glass wilh a pen will
m:all
Ihal nothing mighl come
OUt
of
lhe pen al
aU.
except a
long.
fine scralch, You draw
~Iow
l
y.
you draw
fa~I,
),ou
ma
ke
link
mO
kes. ),ou usc sweeping lines. lhen
suddenly.
for

no
reason, Ggrbloob! a
hug<'
$
pl.ner
of
ink
"}ln~s
oul all al
once
, ll>c same is true
of
tracing
/'
onlO
a eel.
It
seems
II>(
ink
mUSI
be
··floa
led"
00
ralher
Ih
an elched in 10 bc
~
uccc

s,fu
1.
I n New York,
il
Will'
fell that only men could master
Ihis diffICult
an;
in Ho
ll
ywood Walt assigned
IWO
,,
'Ornen
10 lhe
job.
and
"'hen he could not
p.ay
lhem
he
married one and made the other
he
ad
of
1m,
Ink
and
Painl Depanment, T
he

IW
O ladie.'
in
qUeslion ne"er
denied l
he
slOry. although
tl>(y
exhibiled knowing
smiles
as
they listened 10
W~It'
Ii relelling
of
;1
O'~
lhe
years,"
Mary
Tebb
remembers !he days Ihal followed
be
·
~a"SC
she
in
ked all of
Th~
SkrltlOIt f)wrct by llersc:lf.

riM
.

ulls. and
,~nebrae
_
She ask! het'selfnow. " lIow
did I
do
it? I don'l know. J
wa.
young, J
sec
il
now
and
I'm am
azed!"
HUI
it was simpl
er
then with a heavy.
untapered line
~rQund
e>"erylhi
ng
and none
of
lhe
refine"",nlS

Ih<I
! would
ma
ke each eel
>uch
a "'ark
of
an
in only a few
""'"'
)~ars
.
II
WiU
Walt.
as
in
aillhe
otl>(
r functions.
,,
'
00
gradually raised the qu
alilY;
he
asked in a w
ay
Ih
al

~howed
he
e~pec
!
ed
(he
girls lobe
able
10
do ;!. In M
ary's
""ords. " Th
at's
"'
h<I!
maOc
him
g",al,
I Ihink. because
I>(
brought out from

""'"'
than "
-e
lhoughl "'e had,'·
I'ainling
is not
~s
difficult as lhe

in
king. but
il
s!ill
lak
es
palience.
OfJ!~niz
al
ion.
and considerable skill.
Mary u plained lhe
job this "-
'y.
··
You , ,!O learn
how to do
it
right first: leam how 10
mi~
your rolors •
read
yo-ur
mod
el.
put the rig
h!
painl on
Ih
e righl

Ihinll- how
10 dry it- and
be
su",
yo-u
don't do
il
""
the frool side
of
lhe eel inslead
of
II>(
back,
It
50Undi
easy.
001
it'.
amll1.i
ng how nlany
people
can
'I
do i!
!"
On
drawing after drawing lhere an: linle
areu
Ihal

could
be
anylhing:
pan
of
Ih
e flowing hair. lhe skill, a
tail. a ribbon. or even a hand behind
II>(
b;ock
in
II>(
middle
of
an K lion.
Looling
at
the:
drawinll by
il~lf.
lhere is
00
""'
y of lelling what
il
mighl be.
or
·
ha
l

color Ihould
be
pul On i\. SOnlelimes a check
of
!he
dra"
'
ing5
in sequence will
rtoveal
II>(
idenlily. but
of
len
a fu
Ji
c
onfe",1lCC
must
be
called,
··
W
h<l1
is Ihis thing
sOO"
'ing Ihrough t n:: supposed 10
be?·'
To Iwlid this
kind

of
confronla!ion, lhe animalor's a5li$llnl
usu
ally
ad,
Wbo
Kill
,?
inI9J4.}"",y
,.1:1
'"~

poirUM
• c/ pink
painl
.
"
'<IS
iWt!
in
,''''
,
m.1
1M
'ff'~'
~
do,"'" milk,·
\
A
()

•
~
little
OOIes
on
his
dr~wing~
c ~ pla
,n
ins
any
m)"5-
IIIrious
forms
erealed by the
"",'-eme"t
.
The
""OItl(n
"'00 had "'-
or
ked up
to
the
"lOll:
impo ·
")Ob:s cootinu.lly were looking for

·
ay.

to "':Ike
fir
mdi,
-idual
cds
10m;
'1"IOfC
appealing. They did no!
.10
St'O
crudt. barren
"'00
going .hrough
.he
planl.
~
though
the)' l
"""
, thai pnlbably.
in
ac
.i"".
these

"IISS
"'
OlIld
do
tlocjob. Still.

if
the dr4""'ings could
lor
NIk
to i0oi; b,mer. '0 have a bil
of
_hading. or a
-'go:.
Of
one
"IQI'C
color.
or
a bil
of
detail tlla,
_101

ally
male
the wort
Sp.1r
U",
. they would sug-

looI;ing
al
• eel
of
Sn"w

White. some
"f
the
w"men
lilt
thiot
tile
bI;oo.:k
hair looked
unnatur~
1
and han.h.
S()
*r
tntd adding a

.
'Sf'
of
dr
ybru.
h
on
a lighle, Grey
tlMlfltn
the
cdge
of
her hair.
II

helped immensely.
SO
*r
procteded to add ;.
10
e,
'
el)
'
cd
all ,hroullh .
l1c
~.
"l1h no
indkation.
(o,m
the animator and
IlCIIi
n, to
Kuide
tl\o!m
but ll1cir
""
-n sens.c
of
,,'hat
IIattd
right
. This had to be do"" on .op
of

lile
cds.
_
tho:
OIIly

y to he
sUre
the
effe<.
·' was
worling
tom
001'
to
I
lle
""XI
W:l
S
by
ml'pin~
tho:
whole s
he ,t
""I/uloid.
heavy

·ith paint.
It

"
'as
tiring and
ri
_ked
~
l
ile
pain!.
butlhere
"'as
no
OIher

·ay.
No
001' quile rem
l:
"'ixrs
wllQ
first
.
~uggeslcd
the
IIa
of
,nkin
g
tho:
ou

tline
of
an
a, ,~

·ith lhe
SlIme

IIw
,,-ookl
bc
u~d
to
fiJI
in lhe area. but
it
MUlklnilCd
lho:
aprcarance
of
til.:
char""tcrs. Each
~
mal,
s . srpar4.e
c"lor
must
ha"e
an
outli""

I
it
(!elining
it
from the area ""AI 10
it
.
1l>e
hat is
_roIor.
lho:
hair aoolrn,r.
Ill.:
face still
.nother.
and

. W
lot

lhtst'
ootli"",
arc
done
in
black ink. there
thea,)
'.
crude:
loot Ih.1 is tine for

PCN
Leg
PelC
but

""",.
for
more
oclicatc
c
harac~c
rs
.
CoIoretI
ink
s
tried
011
tlot
first color films and "-nt= an
imPfO'~
-
•
but
"Iotn a
!oot
of
quality and careful shading
nttd«!.
11ot)"

were still
100
strong. So sonle<'ne
up
. ·
,th
tlot
Klta of inking " 'i,h the
~~
p3im
.""Id
be
put
on the back o( the cel. This palot
tIlin
ned
do""n
to the
coros
i
steJ'IC
)"
of
ink and made
dM:Ur
'"
ma"h
the
~)"i
n g

effec~
of
the thick-
of
the
eel
on
lhe
color
beneath il. Now there
wa
s
CM!m.!Nt
"as
scareely noticed
on
the screen. The

op:n for
SCl
ft
c
olor
c
hang~
011
~ny
form. the
Ih.ldes
aOld

subdued "aloes Ihat
l>3"e
the beauly
~
been
s«king
.
This t)·
po:
of
'l'ftne"'ent
was particularl)" needed on
femini"",
f
ac~
"'helhc, thl:y " -
ere
human or ani

ls.
A strong outline around
any
p3rts
of
lhe
""ad
changed
the feeling. as indicated by Ihi_, nme f",,,,
a
I'j~O<"(hio

directive; " When Pinocchio is a puppet. before
1lcL
COITIeS 10 life.
"'e
are
going
10
have the bl
ac
k line

·here his neck joins because
it
looks
"lC<:hani
cal.
but
"'hen he c
ome
s
10
life.
il
spoils the cute""ss .o have
those
li""$
in
blact
SO
We

just ink this
in
the
SlIme
cu
lor as his
ne~
k
SO you
don'l
gct any hanl edge
ho:re_"
Hefon: lung. the
chane
.
c",
had
"lOll:
colored lines
on lhem than the
bl<IC
k. and they became so
on,
-
01
,
~
Ihal the
Co
lor Model e

.pert
s had a whole page
of
notes
on
just the inking.
a.t<Ic
from
11M:
notauon~
of
lhe
colOO'
lhemsel,
·cs.
1l>e
na~
a«epled
for the
col
·
ored
Ii""
be<.:anw
a ""self·ink line."' and even afler
lht
inkers
"ere
replaced

';
{h
duplicaling
proce:»n
. lhere
wa~
still the
r.eed
in crilleal arcas f"r this kind
of
fines ,.
Stili
l))o(R
refinemrnts " -ere ,ugges
ted man
y
mon:
.
01le that was quite impor1ant fot a few )'
urs

·
IS
ca
lled lhe ··blend."· a

·
a.y
liltle crayon tlult came
in

"anou
s colors
and
c
ook!
be rubbed on top
of
11M:
""I
to
~Iig
htly
du
ken the
c"lor
un<kr""alh , With the

aliMic
painting mid strong
dimensi""
in lhe backgrounds. the
ccls with
IlM:ir
Oat
colon

·
ere
beginnin~
'0

loot
like
display
urdhoanl
."
Tlle
srlf
·ink line leading to
aOOll1c
•
Shade had helped. but
now
""ith a trans!",re
",
smudge
dfeet
available
,n
lhe blend
s.
a
luming
edge
roookl
bc
suglle"cd
. As with
tho:
drybrush.
il

required flipping
lhe painted
"",Is
10
""
Sllre the
"'ork
followtd through
in both placement and density from "",I to cd : it took
tim"
and
judg
nw~t
10
put
on
juS!
the righl amount
in
the right
place~.
but
il
ao.kJcd
"'och
to the
~ppurallCC:
.
.
.".,

bknd
,,
-
as
such a
suttessful
addilion Ihat n"t1l
Mick
ey
and Pluto "'ere given a face· lift
in
Th~
Poim
·
u .
Mi
Ck
ty's
dleeh
were not only round and
~
hadc:d
.
bolt
lhey
had a lighl bil
of
~allh
y
co

lor: Plul
o's
"'''ndcrfull~
flal lack
of
anatomy .\uddcnly sported
sh:ooJing
thaI
made
him
10m;
like a collec.ion
of
old
telephone poles. In the
ne~t
picture. he had
aU
of
hi
s
fornwr cartoon noppiness reslored.
However.
"'hen
lhe blend was taS
ldully
used
it
Cre-
aled

maf\
'elous crfecl<.
In
SOIlle
caSl'll. the
scM-In
k
line:
would be rubbcd off after
1l1c
3rea had been
p.1i~
I
e<l.
and lhe place "'here the
~,,
-
o
colors
ca
nle together "'as
, "r'
~
'oc
~
"'
~
~
, ,
•

I
,
,
\
,
*1""
"'pin,

,'~
_",1
·
'''
t.
ill
J{H
'
1')""'"'
-,~
~
"''hi
ot
bI., ,
.

;.;
\\
n
•
~
~

\
.'
, -
I
""
/'

-~
~ . ;/
'-
~
(
~
•
r.
•
" '
" '-
@ ;
:'
,,:
'
, ,
•
C
J
',
\.
cu"erW by
the

blend
so
thai
it
bt:camc invisible. Wah
was
as amv.ed as anyone.
"Th
is
is
very effective! I
think
we
a~
cenainly on the righl
track:
' Then.
,membering
hi.
continuous
financial
problem.
he
cautioned.
"But
let's
be
very sparing
Wilh
Ih

is blend
and
tholil:
lhings. That
i
~
"h
al
wHI
hold
up
the
works:
aU
that
bknd
will slow
it
up."
Later he
commented
a~ain.
"\
say \'.al
eh
this
bklld
business. and
not
de) a

101
of
unlll'l:essary work. It is
tOO
upcnsivc. 1
00
.
We
muS!
keep
from going
bmc
on
Ihis
pkture.··
Most
of
these inoo\'alioos had been
worked
00\
by
the
I
nk
and Paint ,",pc:rvi:;ors and the
Color
Model
advisors
since
lhe

rest
of the
depaMment
was
too
bu
sy
producing the eels
to
do any experimenting. Wah
ask
ed,
"Can'l
",e
do
wn>elhing
"",.,

?"
and
the
women
thought back
10
their
an
school days.
or
their
childhoods. for any materials

!1Ia!
mi,h!
gi
.
'
~
a rIC'"
effect
A~
!he:
demand
,re'"
for
!hi~
clabon>!e
d<:<.:ora·
lion. a

hok
liule d<:panmcn!
e."()I~c,J.
(()II~~'nIGf
peoplc

""
wcre
WpI
al lhoir O"'n special tff«lS,
When thaI mammoth scene
of

tho:
fish
from
It
"Ar~bian
Daocc"
am"ed
at Ink and Paint.
il
"'M!!Iis
group
who pul IIv
lra~m
palnl
on
IIv
fill5.
!lor
drybru~h
on
tho lips of the tails. tho sp;lItlcs
In
!lor
water. the highlightS
<m
tho
hubbles all
lhe
( l
in

"'or\.: thaI had tll
be
"'alched
and
checked and
follQw.td
through unlil finally tho c
a"",,,,man
rlaced
lhem
01
his
pegs. one by one. in sucuss c C.'postoRS.
to
o;ro-
ate
11M:
nlyst
ic
and shImmering
~pec
tadc
of
Ihls
pncr
lor;al harem,
llIc
Irails
of
fairy dustlllarking

the
PIths
of
tIM:
d<:wdrop fairlcs .
Tin~Cf
&11
In
P"
u
Pn"
.
.t
e'
<
el)
'
~horobject
,1000
'ing "'ith
ir~n
t
mat~_tIt
tIM:
work
of
this
speCIalized
crew
. Difficu

lt
and"
mandin~
as
it
was,
it
Wa, the es,,",nee
of
fanla,y.
SKIf'J
and
animation. layoul
and
background. special df«ll
and
can~ra
cou
ld all creatc
i""redillk
illulJOR>.
I
lho visual s!imulalion Ihat came
frum
this
patltrn.t
c~re
and \kill addcd a touch thaI could
not
be

Ilupl>
caled by anyone
else
.
Actually. thore was more
in,
·u
l.
'
ed
here
IIwt
JIll
anislic
endeavor
.
llIc
!ransparenl pa;nllhat
,.,

the appealing filmy
dfecl
on
the
screen
"'as
IIII4r
from the bile
of
an

Asi
an
ox.
alld "'
as
sme
lly
MIl
unpleasant!u
usc.
When
this paint was emplo)'«!
kr
Fwaw
<"II~J
jM
I.,
_
.1<lb«,,1t
ul

t
ntr

.
.1
TIN.
""i"

rtI

.1111
fr_
/!IJ9

dot
''111;'"
'"
~",I

""
[,"""" "'PI",
.

"/1'",,",,"1.,
S~".··
.
nIlHtJ
I.""
.
J,,
·
b'~Jh
.
",.
1I"""'I"'f<nl
f1<1;nI
.
"Ir-all
'"
",1</0';,,"

/()

.
01'
jOO
of
1,~ci"6
"
pono:il
J,u,,"
"S'
m
Ih
•

A
~"'

'"
"'Ilpl
•

,
III
Q ''''';''1
'"
""'"
-
I
"p', .

,.,.

ottJ
"."tJ
•
.,
H,,,
.
Mrr
'Y""
,
" bil
of
In-
."
~ ,
;
11
,
.h~dow5.
i. was imperative
lh~1
00
oulline
be:
~n.
S<!
lhe
in

t
ers
had
.0
.race
t
he
drawings
0010
.he
~I
s
in
",
h
~.
~mounld
'0 invisible
ink
. The p,amlers com-
plained
.ha. lhey I"lOl only
had
10
wort: fas!
bu
. rould
no!
c,,",n
s«

.he
lint lhey
"'~re

OI"klng
IO
!
The washoff relief
cds
had .he cmuls
lOll
on
Ihc
bac
k
of
the
eel

here lhe
p,ain
l
",
'U
10
lO
.
1Uld
ulreme
<;are

~
10 be
uS«!
01"
boih ,.·""Id c
ome
off
.he
~I
'ogclher. Becky Fallber
,.
",
'
110
"'
as
lalcr he:.!
of
Ihc
drpanmcnl.

y
••
"0Il
.
il
w~.
honible! Everybody
moaned when lhey
g01

those kinds
of
scenes
."
The
re
even
waS .rouble with the
eel.
lhenlselve
s.
e~peda
ll
y
w
he
n the only ones available
Were
made of .he highly
f1~mmablc
nilralc. O
ne
shipn",nl would
be
yellow.
one
grey.
one
Stl would buck
le

. the nex, would warp.
~nd
a
ll
""
oold shrink once lhey ""ere

ltO
~
I«
.
When .
he
animation
on
8"mbi
.,
aned
rille"

,
I
hroop.
lhe Ink and Pain' Deparlmenl. a
ntw
probkm
.lrosoe
. The
~gs
of

the
!ltt
r
Iud
10
Ix
5troII&
and ngld
fOl"
.he animal
10
be rotIvir>eing. The
aSSISlan's
and
inbe'''''ccners
in.he
ani
ml
lion bUIldIng h:.!
we
n
"".II
care in
p<"IC
lically l<acing the legs dunng a scene
of
lillie nlO'·
el"l"lem.
bu, now lhe inkers found .hey coold
",h~rr

, all
'h,
" ~'".
I GJ ,hi.
, Y
r.o"'P
.
,101
wpy
Ihese dr,;wings accuralely enough
10
a"oid
lhe
jilitTli and wobbles Ihal always manaJ;ed
10
creep
in
. Since lhe
mO~cS
were
so
,
01,11
,nd
no
knowledge
of
animalion principles
wa>;
in~olved.

the Ink and Painl
artiSis suggeslcd Ihal Ihey
do
Ihe
inoclwecning on lhe
eels,
ciiminaling Ihe
e
~lra
drJwings Ihal were causing
lhe Irouble.
There
were many days during (he making
{)flne piclUre Ihallhey
regrell~'<l
baving made (he offer.
001
lhe resulls wcre magnificcnl.
This Iyl'"
of
dedicalion.
in
addilion
10
lhe len long
weeks
oflraining
hefore anyone
e~en
was hired. led

10
III<:
mosl bcauliful inking eVer done.
The
lal"'red lines
and
lhe sure, def! much made each eel a work
of
an.
Be
fore lhe
War
1here were many
1alen1ed
candidales
10
choose from for
(hi,
work. and lhe ones selec!Cd were
line:
anisls
in
lheir
own
righl. Belly Kimball admils.
"n inkcrs were
"el)'
good
31
dr,;wing . .

They had
10
be, because Ihey had
10
gel Ihal feeling
of
lhe ani.
malor's drawings
in
lheir ink lines. and
ifs
vcI)' hartl
II}
cOnlrnl a I"'n on Ihal slipl"'l)' celluloid."
M~I)'
Tcbb
fell lhal the morale
of
lhc
slaff
was
renecled
in
(he

·o
k Ihey produced. "'I (hink Ihm's
one n:ason why lhc produel ilself i
s.

. slil1bcauliful
. because
il
was done by dcdiealed 1"'000Ic.·· TItcre
is cenainly some
elusive
rea~,"
why lhe pKlUres never
look
daled. heyond the
slyle.
and fashions
in
both an
work
and humo
Wilh lhe second
World
War
came
economic
prob
!ems. and lhc
in"nen~e
slaff
of
highly skilled special·
iS1S
no longer could
be

hdd
!Ogclher.
Whon
pox<
rClUmed
four years laiN,
Ihe
mnecnlralion " .
,.
00
bener
way
.
~
10
achie"c
Ihe
,''''''e
re,
,,1i
Ihal
"1'1('(
h.Id
eml
SO
much
in
lime and
effon
. Since no

rI.
,<:or
d~,,~",
kepi
in
Ihal era when procedures chan
j;
e<l
WUn
c<1Ch
scene. gradually people forl'ol how lh;ngs
had
been
done. Before long. the
C<juipmcm
Ihal once
prodoctd
III<:
greal effccl
s-
Ihc
dnnn
lhal had
ek:m
,d
(he
frosled
cells, the mechanism (hal had
proce~",d
wa,ho(f

"hd
cels. the in cmions
111:11
had
held delniled wor\;
1000ethtr
under lhc came
ra-
Wa
S
all
ruSl;ng
On
(he
bacllO!.:II'Jd
newcomers walking around the
101
"I nonn
wOl'\lJtfed
why anyone would keep
ju"k
like lhal around.
JUi>!
a
few years Imer.
i1
waS
lhro, n
OUi
OC'C3Use

the
,"1m;!
was
in
new procedures.
The primm)' concern
waS
(0 free the
in
k
.rs
fromlk
~~of
c
oole"
tracing.
5Q
they
~ould<kvOle
Ib<v
tIme
10
thlnv
tmU
re"lty counted. There
wa~
~
1tIl't
OIIlbc
pan

of
the anima
l"'"
al lhe!>llme lime
10
faI_
""Y
10
duplIcate accural
ely
theIr
own
crisp.
!III-&
drawlnl" on
thl:
eels.
The:
"'O"",n "'
ere
good.
vay
goJOd.
but
I""i.
won:
""'"
.
1111
a

tratlng.
and
_inKs
never
h:av<:
thl:
villllily
of
thl: orillll1al.
In
lhe
'*
rofnn.
Ub
Iwerk. adapled the Xerox proce." to
0111
IIII(th.
creat
Ing
a great machine that copied the
,nVlIIIgS
OIl an
ch,elric~lty
charged plate.
Th"re
was
'WY
hnlt \ltl , ,y
in
the

",.ult.
and a light hne w
as
",10",
OIIt
cnhrely.
bot
the
~nimator's
drawing
"111
do:rc.
~ronll
and Irrevocable:
In
the !>Iacke"
of
"'In
flC!.
thIS
heavy. black line put uS right back
_ tilt
1921),.
hefon: the
rdinemenu
of
inking had

Other
oolon

Ihat the Xerox CorpocallOfl rould offer
were
no belle
••
so
we
allem~ed
to
mate
I""
dark
outhne
""*
man: acceptable by .ISlng
II
as
the "ylc
of
the woole ptClure. backgrounds and all 1010 1"",·
,;"

wa.
IhI:
result.
spearheaded
by the mulmal"nted
Ken
Ano.lc:rson;
the linear qualily
of

the anwort
gave
a
crisp. handsome: look. especially for a fIlm about
!>lack
and
while dogs, Th" animators were
very
pltased.
bul
Wah
leh
it
hleked l
he
delic~cy
",id
the c
a.e
that the old
picture. had achieved. Many in the IlKhencc relt
"'"
same
wa
y.
saying thaI they
m~
the elegance
of"'"
prewar films. It

was
not
unlll
we
h.ad
perfected a
&",y
Ii""
for
TM
Ru€"~rs
that we
w""'
able:
10
lose
the
harsh OIIt""" and regain a
sof
t
IooIt
ThaI simple
change brought rave.
from c.i,
ia
wOO
claimed
we
had developed a
wholt

new Slyle for this picture .
WI;,
~~i1J,,~
~~J
.,,/.
/r;~tuJ
from
kood
.
n,.
~~i_.
", u.,u
llot
lai'
~
·
'pi
"prod.,'i""
~
s·
, Xmnpn>«

f!.~';,w ,
II!,
~
,,.,, "
'ssM
'h,
I
;~

//0.
!aul
,lot"
liM.IootI,i

.
Many
s
~
ori~s
~m
10
call for a final shoe of the
main charxlCcr

alking a""ar inlo the
di~t~occ:

hile
the
ca
~n
pull.
back
~lo
""I
y-us
ually
up imo the s
ky

for
~
picwre
of
the
SU"""
or
the
m<)()f1
or
a ti,l., llial
says.
"The
End
."
This was always almost
impofoSiblc
10
animale. because:
of
the dual problem
of
making t
ile
figure juSt
the
righl amount smaller

ith
neh

S
ICp
",
-hile keeping tile same spirit throughout .
The
c
amen
u ~u a
lly
pulls up int
c)
the
sky because
the
c
h~ractcr
looks SO [uTibl., thaI
he
is ruining tile wllole cooccpl:
and,
even though the see""
needs
10
continue for al
kh
l nine feel.
it

ould
he impossible to k

eep
him
Q1l
the
screen any longer.
Out
will\
the
Xcro~
machine. all that h"" changed.
We
~
10
animate
only
one
complelC
SlCp
cl
chanw:tcr

-alking
away
from u
s.
and it
tan
bo
size
con"cnie

nt for us to
draw
. Once the
action
c~ked
and approved. the
dra"
'ings arc
st
ili
10
'"
Xcro~
DepMlmcnt
where
theyall'
bl"",'n """1110
61:
correct s
ile
ror the SCene. More than that. tht
drP
ings
~rc
repe~tw
o,"cr
~nd
over.
snl:lller each
ti

tru.1
theon:licaliy
OOr
charac
ter
can
keep
",.I~ing
b·
ever
.
From
a pr.tI'tical stan.dpoinl , the painters
c~
paint him a
ft
er
he
reaches a tiny Si
7.e.
but
uswlly'"
point is
no!
",ached
until the
~
s
or lhe !CellI:

lint
!Je<,n
well n"'l.
1loe
ooc
problem
thai
",
"'ains
10
be
sot'"W
is
brouaIl
about
by
lhe
"cry
procwu",
that
sa~es
50 much
eff<rt
fiwGlrom
Th<
Rc,""ucrs.
TMn
I"nd//ines
,md"
medi"m

t"1
,_,
ill
,M
Xerox
I.",~hin'
finally
~~,.
,
uS
1M
'''fl
." ,

"',u
mort.
Colo,m
line.
"dded
Ii!
a
cd
of
this
WrrropI""d
thf
df/icdcy
"

hod

mjoYfd
" '
ith
the
inHn~.
(}lol""';""
IIf
t~f
,'0.</
.

y
lmall.
insignificant, hanlly ooliceable error in
lilt
:l,'cmenl
is
magnified by repel ilion. A slighl limp.
,gimpy
,,'alk
.•
n
unnalUr~1
TOil
to
Ihc
OOJy.
a fool
_picks
up

100
high. a leg lhal pushes into lhe ground.
lilly
l
illi
c
Ihing
Ihal
would
nC,
'
cr
be
nmiced
in
one step
1I1I1
ordinary scene. becomes amplified wilh each
~al
Unlil
Ihe
characler looks as if somelhing
is
ItIIit>ly
"rong wilh him: and as
the
camera soars
up
l1li0
t

he
sk
y.
mo"
of
lhe audience
is

ondering if
I(Jn'Ir(lIle silould not go help the poor fellow before
it
is
100
1>1~.
~re
continucs
10
be
a need for good inking.
bUI
it
is
In
Imall
areas "'here a self_ink linc i,
u~cd
or
where
some
imtreMing

eff':':l
is
desired, The long hours
of
endless copying ha"c givcn way
10
special
wor
k
thai
re<juires
II\c
same s
kill
s. bul
nOW
Ihc inkers
Can
con·
cemrale
on
juS!
the
Ihing
.,
Ihal will
ma
ke
Ihe
picture

look
il
s besl while cosling Ihc leasl.
With.
gianl
machine
to
ta
ke
o,',r
Ihe dull pans
of
their jobs. they
now
c
an
devOle
lheir lime
10
lhe project' lhal a
machiroe
cannot do.
From lime
10
time. Ihe key creative perwnnel
felt
Ihal some
of
Ihe
Ink

and Painl aniSls who
had
done
superb work should gel
"",en
nedil
for their effon
[I
would be impo,,;bJe
10
mentionc~eryonc.
of
course.
bur a
few. wilh unusual talcnlS.
or
Iha!
cXtra
bit
of
dedication. should
be
recogni7.ed. Th
is
neVe'
oc<:urred
for sevcral
reason
~.
FifS1

of
all.
in
lhe early years,
00
one
gO!
screen credit. Walt had known
Ihal
the
audi·
ence

'uuld respond beller
10
one
name-onc
producI
Ihal easily could
be
rememhercd than to a long
list
of
unrerogni
7.ed
names. Slili.
he
was appreciali''e
of
erea-

live
effon and
fell
Ihe person who did an ooisianding
job
should
be
given credil for il.
On Ihc comic strip
he
had tried
10
replace
his
own
name with those
of
the men who aClllally
we
re
doing
the
con1inuily and the drawings. bul
he
was lold
by
lhe
syndicate thaI such a change "

ould k

ill
the
strip. 1be
public
kn
ew Wah
Di
sney and Ihal was
the
name lhey
wamed
10
sec on lhe drawings. regard
Ie"
of
ho
made lhem. When he embarked
on
Ihe fealure films.
howe,'c
r.
Ihcre
WaS
a precedent already sel
from
lhe
live aclion films that justified
Ihe
naming
of

his
k
ey
people.
Bul
by
Ihat
lime. Ihere were over 600
mem-
bers
of
his staff putting
in
long hours.
wor
k
ing
with
complele dedication to the studio
and
devotion to
lhe
films. Mosl
of
lhem were unconcerned
aboUi
SCree
n
credit. preferring
10

be
known as just pan
of
lheleam.
Slili.
il
was impossible
10
lisl
even half
the
number
of
people who really had struggled to
ma
ke each tilm
an
outstanding experie
'lCe
for the thealcrgocr."
Ass,s-
lanlS. inbelwccncrs. cutters. sound men. cameramen.
and. especially. the "girls"
in
Ink
and
Pa;nl
had
lobe
len

OUI.
evcn lhough
Ihe
tilms could nc,'e. have
been
made wilhout lheir suslained effons. Some people
claimed Ihal Ihis work was only a craft and
001
al
all
comparable
10
lhe
neative
thinking done
by
lhe "men
in
lhe main building." but
we
relied heavily
on
their
skill.
and thcir ideas. and they ncvcr
leI
uS
down.
We
loved those girls, Still do!

/
//
II.
The
Disney Sounds
"llhml' "
~,,()(I
muir
,if ",,,,I<'
IIYIII/d
},
i"di
"
"'~"j,,lJIr
w
I
h
~
"";'''/11''''1
-;
( rea/i:mi,,"
""
/hrir
pan'"
how
"'''''
''
1'
mUlI,
-

i,I.
h",,'
11111"""/
it
is
far
,,,'uple
1<1
',.,,,,1
10
/I"
10
""'
S;<'-<
I J
illl/Y
of
rh
ythm,
II"
,
d
,
,,,c
'-
Ih~
Music
~
<rl
"'as

~iII
be
in
g
d'
me on the l
aS!
segme
nl
. of
r_ ",
,"
'
hen
I""
Bambi
"'C
'"
on(wed
;010
rull
pro.
""
.1IIId
W
~
II

3S
kepi hoppins from o

ne
prujoe<:
•

room
to
l
he:
nc:xt
to k
ttp
up "'j
l"
lhe
re
d .
as
I
hc:y
~
.
0 day
he
,,
·
~
s
ca
lle
d

in
lo a met'linS
un
fir
kn
ll
n~
~
q
l>C
nc
e
in Ham
bi
JUS!
~s
he
fi
ni.<hed
y
.e

,ng
Iflo:
,,
'o
k
ree
ls on B
cc

th
ow
n
',
"a>wml S)"I11 -
,.,.
y.
The
Il
~
",
bi
p
ict
u~
~c
l
was
on
ly
ha
lf
«.>
m
ple

III.
'-
die
inI/:".

"'
'as
clear and
(he
music-ian.
Ed l'Iu",b.
QI
~
10
~n
.
hi
,
Kkas
on
the
§CQI"C
he
wa
s
WIIIIII
I H3If"'ay Ihrough
IIj
~
(JTcscnl
a,jon.
Wa
ll
~
h,

m a
lld
as
k
ed
the
projcc
ll
o n
isl
if !
1Ic
f"
a"II/';"
IIIriI
" (
(t
sfill
up
in
Ih
e bOll(h.
The
y w
eI"<!.
so
he
IIltd
II>
flo:

l
IN:
storm music from lhe PU5wm/ Sym·
,.,.,
nln
in
.ync
""ilh lhe flllll,bi red _ w e
wnc
I
by
l
he
ro"
-
Cf
of
lhe music and lhe
uci
lcm,,"1
•
ptt
10
the
dnowi
n
g
~.
"

11m
" "
1IS
o"~
r
.
Wah l
umcd
and said.
·'
There.
iI
.
that'
l
",
h
al
I
wa
n!.
Some
lhing big! Sce lhe
dif
fN .
.,
1"
1
,:1"
.i00i;

" -a
.p:I
" .hock. p:ln disbelief. and part


"'Bou,
Wa
l!
-I
h
::
u
's
n
""loo"en!"'
.
'II!
1tipOIldtd. " Yu h. , ,
?.
and
wa
il
ffl 10
he
~
.
_
~

·hy Ed roukl

001
"·. il,, lhe
sam<'
SOI1
of

II
"
"S
1\0
rnor.:
Ihan "'
h;l
l
he
as
k
ed
of his
whok
lit!
O:I
y .
fl
"r
day.
M
m.iI:
it ulldoubl
cd

ly
the
1110.1
importanl addilion

,.
.111
bo
~
10 lhe piclure.
II
can
do
more 10
• pnlduction
10
li
f",
10
,in
il
inlegrily.
~
I)"k
,
~
:?'
mn
n
in~.

and unily lhan
an)"
other
~
'ngk
; . W
illi
lhe surge
of
a full on:heslra. lhere
W
all
Di
sney
"'ill
be
bigness and majesl)" and
soarill~
spirits; "'i
th
I
ner
mu
s,
flullc
ri
ng
n",lod)" line
on
a single

in§uurrK'III
•
or pulsaling drumheals. lhere will be agilalioo.
appoe
·
hension. suspicion. Mu
sic
Can
build Icn.lion
in
com·
mo
npl
ace
>«
n c~
or ea""
il
in n
oc
s
Ih
al have btton",
visua
ll
y lno
fr
ighlening.
At times lhere is
nl

in playing counler
10
"'h
al
is
being ,.,n, Chaplin
"
'
rile
~
of
ho
s troubles in
getli"l
arrangers 10 realize Ihal
Ihc
mu
sk hehind
hi
s
{ramp
charneler . Ilould
001
w"mpllO
be
funny. bul should
S
lri
v" for an emolional dimension. " 1 wanled I

I>e
music
10
be
a counlerpoinl
of
grocc and ch
am.
10
e
~
pre.!s
s.e
nlimelll.
,,
'illloul
,,
'
IIie
h. as Hu
lon
say
•.
a work
of
an
is inc""'plel",
""
Slill
other

limes require lhe music 10 express
:Ill
allilodc:
1113
1 c
annoo:
be
.1
00 '
11
mooll
y
in
"",,'inll
dr.ow
·
ing,. Feelinp
of
isol~tion.
rejec1ion.
an
awarenes
~
0 1
beauty.
~
sen
!;C
of
growing .trengtll.

of
lIope.
of
dc~otio
n-
theS<'
are
~II
inner emoti
on;
tllat are diffi.
(lilt to show. FonurI3tely. this
i
~
the area
of
greatest
strengtll
for
mu
sic.
~nd
the mu.ician "'
1\0
feels the
mood
in
your
fi
lm can make

it
all intensely moving.
Since
mu~ic
is IiO
dosely
assodalW with
nlOS
l
of
the major evenlS in
our
live
s-
nursery
.<o
nss.
C~IIII)
'
fire songs.
s-cl\ool
5O
ngs.
rel
i
giou~
5Ongs.
dances.

eddings. and. finally.

funerals-it
becomes the 5001
of
our
nrmory.
f,,",~e
r
coloring
OUr
Impressions.
JU
SI
lhe playing
of
a familiar theme bring.
I>K~
the
CI11<>-
lions
of
I""lt experience. and through associations
W~
Can
be
made
10
feel empathy
nen
fOf
proples

uf
di~
·
tant cultures. This
b«mnes
a "ital elemenl
in
makmg
fanta>y

orlds
belicv~ble-notjust
as
~
plact obse
·
~
from lhe comfort
of
OUr
lhealer scats. bul a
"'gion

·c
aclually inhabit
f{)l"
the duration
of
the film.
"dare lhe days

of
,;<)\lnd.
it

a
~
the organ;,ts and
piano players
in
theatefli ""rms the
wuntry

ho used
lhe magic
of
mu
SK"
10 trnnsl""1 audlcnces
10
other
lands and other times.
In
a pnnmi\"e
~nd
"ery di""';l
",,,
y.these
muslciam
comm
unic~tcd

w;lh lhe
vic"
·"fli.
leading
them from one emotion!O another as the slory
in
tho
film unfol<kd. From opera thoy look thomes of
pnsion and
_nl.
dr)criptive
pawlV'
and mood·
scUtng phra>cs.
In
fol k songs. popular soogs. sentl-
nlCnlll ballads. Ihey
found
m(lodie.
"'ith
strong
connotalion~
thaI crealed an immensc
emotll)ll.ll
It-
sponsc.
~
'
I
oy'"

theater mu.oc,ans
Ilad
a
lfItC,al
fffiill
for
JUS
t
lho
righl music 10
fit
any silualion.
t~
bP:.
ground
10
r~"eall
lunes from cverywhere.
and
I~
abi~
ily
10 improvise constMlly. adapting new
i<kas
to
old
song •. Thoir music communicaled;
Dan,c.
R0-
mance

.•.
Loneliness

Cold

.loy
~
.

Bra"cry

Walt bffluglll men
in
from
all
oyer the
coonl')'
to
hel" dc"clop a new
u~c
of
",u,ic
in
a woole
now
ilB:!
of
cnlcnainment. TIley i""loded Carl Stalhng.
~

had oncc
pbyw
fOf
lho
1 1Ougl!
-
0·Grams
bact III
Kat-
SIS
Cily:
Ikn
Le,,·i
s.
also from Kan
s;os
City;
Fnoi
Churchill. who
wTOle
the
mu~ic
for the
famous
tlypa-
p<'r
sequence wilh I'luio. and
"Who',
Afl1lld
of

the
Bi
g.
Bad Wolf ' and all t
he
wng.
for
S_
11".0.:
Leigh I
brline
.
,,"
'00

'as
moS
I
f~lfK)Us
for "
Wlft
Yo.
Wi.J\ Upon a Star"' bul had
done
tho
m

~ic
flO"
~

divcn;c
suh)«ts
as TI OmsshUl'I"" ,,,,d,II<'
ANI_
Th
Old
Mill
:
~nd
Ollie Wallacc. ",'
100
I;omf"M'J
do!
.<;ore
for /)umh<, wilh Churchill
and
wa
s
be>!
i.DtM
for
"Dcr
Fuehrers
Face

The,
nrn
were
jOll
a

~
Albef1
Malotte. who achieved
nlOR!
fame
as
lhta:e
poser
of"TIle
lord's
Pra)'cr.·· and the h'ghl)'
~
I'aul Smith. fresh out
of
uni"ersity and
full
ofmlWCll
ideas. H
is
adaptalion
uf
canO<\f1lCChniques
in
!he
5CIl'!$
f{)l".he
Trul'
Uf,
Ad",nlur,
s ,,'cral years

liIICf
III.kW
immeasur.obly 10 tllal
SoeflCIO
of
live action
films
IJUtio
Bakrl' al

comribu.NI to botllli •
,
aclion
and
~~,
shn ing «jual facili,y
in
~)"mphonic
s
un
es
Of
~
( h
osc
s.
Each
of
the.
",

men had a greal
SCIIS<'
of
melody'-
a unique abllny
10
orcho

r4le ,'cry
lfItCW
f
II~.
CI"
them all.
F",nt
Churcll,1I probably
h3d
,he
feel
for.he
an
,mal(:d film.
a~
hi.
!CO«:
for
S"",,·
\I·/itr
showw
'"

well. The buhbhng qualily
and
fri<-tdy
spirit of lhe
"",c
lion
in
which the
~nimals
UtI;(
Iht
pi
10
,he dwarf
s'
oottagc

-
a~
especially apprahtIJ. _
" ,
as
~cd
F d
Plumb
"hat
gin
lhe mus",!IuI
u.
somwnng

Ed
squinled
hiS
eyes. " Y·
know
.
1\.,,_
or;"w
eyery
oote
in
thai
orchema
t
ion
and
I
>I,ll
~.
~
figurc
OUl
what dnes
i,

·
Aflcr Fr.nk ChurchiWs dealh.
hi. room
as
.0

Ollie Wallace. 011",
wa
s ptPl""ry. 5pr\I(\J .

al~y
.
had a
Iwin~lc
in hi. eye

"hon
~clauDeil
that
Frank
'~
spirn "-
as
re"pons,hle
(Of
the:
grUI
,.
~
t"-
to.lIinlK"d
to come f

."
that room
w~

IIQIkkd
_
htad~
and
~miled
.
Sut one
d~y
he
was
SCI"
,·
"ng
II1II
prof~
gn:

anno)"lIocc
··
Th
at
Churchill
ha'"·t
_ntltn
a
d«ent
note in lhe la.t
Ihr«
day
s!··

In
1928
.
00
00.:
knew how tile llrawings
of
Ille
~V\OOI1
~nd
the
limes
of
the
mu
sk
enuld
be
plJIlIw:d
~r
It
"'a, easy enough 10 improvis.e
a ::OI"I.'
10
~
oornpklt\l
filn •.
bullo
figure out ahead
of

limc
,,
·hell:
it
bexs

wld
Ottur on Ille drawings "·as
~)
·
ond
,~
W
al
l in,;sled
I~
mu,1 he a way lhe
IWO
\Wid
be
"urted
logether and he eonlrolled and built
IfIOIIlnd
changed. What kind
of
graph
or
c
h~rI
or

kOIt
roIIld
t>c
de,·ised Ihal
w<lu
ld bring the
mu
sk
and
pK1~
1.lhc.?,
1\1:
,,,1)· arri,·ed
Wilfml
Jackson had lhe
ans"
·
".
.
""
metflll"lOl"lle
.
He
rea.wned
Ilia!
if lhe film ran at
._
lpo-ed
of
24

fl"3n~
a second. all one
hoolo

_

drlerminc how
mIlCh
music wem by
in
a,;«
·
.t,
"
lI
hough
h
is
knuwledge
of
musical siruciure "'as
n41mrn(ory.
lie
did know
b;lr~
and
beat.
,

d

~wffs
:
~:~
';':"i~'
;'OC;'~':'::"~'":::OC~
':,"~;:;":':"::~~
d
~:'!~:
::Ihc
se
first
.".t""
rIC"
· langua
,e
hoo been disco\"crW.
hctITI
$l.implc
C1IOUglI
nov. .• bul Dave Hand reponed
.
:
~~~
.
~:~;":
:N;';:W~
,Y;:ork
were baffled and tried
)'car
.nd

a half before figuring out
acrenlS would
occur"
hile
tile
drawings. Jackson·s s)"Slem "·as calii ly
:
~~~
;~~~!':'_~
'
~ionS
in
.empo
and
0100
lime
Ille
.ong
adhemllo
a s.ricl
he
",rillen
OUI
from b"ginning
10
end.
the
dilttlor kne'" ",h:,t pari
of
Ihe

song
"'1JU1d
be
any
ac
tion
he
planned. anll the
mu
sici~n
"-ell: being planned
10
go
"'Ih
animator
knc"
· that if he had
hi
~
ch
a.
·
from
nlly
in
Me"sur'\' 54 .0
I~
middk
of
I~r'\'

wooid
be
dlher
a slid(, "'hi.\lk
or
an
glissando
(0
back him up
On
Ille
final
Tht
musician
and the director
wo.ked
closely
lO-
la
tile
$.I"~
room. planning .he
~ntir'\'
pic.ure:
anImator bej!an a
scerIC
. Wil fred
J
ac
k~

in
an inte.view: ··Fir51lhe mus;·
~\lU1d
IUUeSI
lune_, for .he various
~Iions
of
'
:~';:;I
'O
gel
Ihe
mood
Of
general.l)'pc
of
action
II
. lie
"ould
paliently play Ille
Sam '
phras.e
o"er
and
o"cr
again
,,
·hi
le

Ihe animal ion
di=IOf
visualized and timed (he aclion
in
his mind.
WorkinK
back and forth. lhe musician
,,"OUld
""""'ti""'5
~h:ongr:
el"menl~
in
the
~ore
10
enhance
~rlain
"",lions.
Of
the
dirw()I"
,,
·ould modify
SOnIC:
piece
of
husiness.w
Ihay
il worked beller musically When
bOlh

"'ere
!HIlisfied.
(he
director " -ould mark the aclion
do,,
·n on lhe .dope
shee
t"
[Bar Sheell
,,
'hik
hi
s panner
~
kelChed
OUI
lhal
pan
of
lhe music
SCofc.
TIM:n
lhey would move on
10
lhe
rIC~t
link
pie«
of
action.

··
This
dose
cooperalion became the Siandard
pnx-e-
dure as other
mu~icians
"'ere added to the staff. It
wa
s
a long and tetlious process
for
mu
sicians more a<kpt
.1
improvising tbrl)ugh inspirJlion. and they often
,,
-iM\ed
lhe)"
could
wilhdra"
· from lhese daily meetings
.fln
laying oul _ basic fOOIagu and the
numbc.of
Iw"s
in
a '
."IM:
'If

a chorus. Even after the
di=
.
or
had
worked
o,
·
tt
evc
r)"
I.st
"" en,enl
in Ihe
pi""re
.
slrelching
il
'"
condensing
it
10
fil
Ih" palle.n
or
lhe
beau.
there:
"
'a

.< slill the animator who
h~d
10
be
sa.isfied. and
he
inc,·i.ably had more refine"",nl, and
ideas
Ilia!
built on
,,
·
1Ia1
alread)" had been done. Ther'\'

ere other limr:s " 'hen It anima.or simpl)"
muld
not
rut
over
all the busirICss demanded within Ille
fOOl
a
~
limilation! impoM:d by It
mUli
e.
an
d lhen lhe musi.
cian "'ould

bc
asked
10
add jusl onc more lillie beat to
his
music-jU
.
<1
one?
ASIOUndoed
a(
Ihis lack
of
com·
prehension
of
lhe basic
ma'hemalkal
SlructUIl:
of
mllsic. lhe n'"sici;1.n would insist on a
filII
"",asurc.
or
bener )·el. a phrase. bul that
onl)"
~med
10
add fT1I)r"(
problems. The

IIClion
could
nt~
br:
padded by thai
much,
SO!he
··)·
12
measure· ·
,,
·as
in~cmed.
T
I)
~
measure containing
1,,"'0
bca(s. an exIra beal
w~s
added. crealing a measu""
of
Ihree
~alS
.
When
lhe first musicIan
lave
inlo
this rompromise the

kmpo
wa,
in
120.
I,,-
cl'
·e
fra~
10
each
be~t.
50
il
,,
-
as
~
alled
a 3· 12 measure; bul the lern, I"'rsiSled f"(gard·
less
of
lel11[X1
f(1f years_ It
wa>
like adding
an
exira
~Iep
on
u"",

fOOl
in
a mareh;
insl~:ul
of
··Le
fl, righe
lefl.
righl:·
il
b«all1". ··Left. righl. ri
ghl.left.
righl'-·
When
an
animator
"itb
a
lI1usir:~1
background asked
hov.
. Ihi, "·as possible. he
~imp
l
)"
""
"lIS
lold.
··Oh.
Churchill

knt"'
·
~
00"
· 10 do it!··
W.1t used to claim lhal Frank Churchill always
~kpt
Ihrough lhe
;,
Iory
lI1"eling
~
alld
rIC'·er
li~lened
10
his
firsl instructions.
bot Frank hardly can
~
blamed. lIe
kne
w that
no
maner ,,'hat
kkas
w~re
tossed out. and
00
maner

how
cnt
hu
~ i3
sticall)
'
they might
be
receivw.
that
wook!
h~ve
linle bearing
On
the
mu~ic
he eVentu·
ally
"wid

ite
.
Il
y t
he
t
ime:
footage "-as addW.
~
~pealw.

K<1ion§
CU
I
00
1.
and
c"C1')
'lhing plas-
ICmI
together
,,
-ith
an
assonme:nl
of
)·
12
me:asll~'.
all)
' original plan "'ou
k!
be SO
but,he=!
lhe~
"'ould
be
link
of
i
llef

t.
Ue
figu~d
.
COI'TCCtly.
Iha
t
he
""OIlld
do
be
n
efto
wail
un
l
il
lhe decisions had been
made
and
lhe
foouge,
SC
I. and then
he
could write
~
:orc
,,
'i

th
integrily
and now.
"'gardles'
of
"'hal had
happo.:ocd
10
lhe
soo,alk

SlnK
IU~
,
He would 5
il
al
hi
' piano pen·
ci
lin
g
in
hi
' melodies a
nd
mUliering.
"Thi
,
ltOIe

is for
lhe
dill'uQI". and
Ihi.,
is for lhe producer. while this
link note
oo"
'n hell' is f
or
the animat
or.
and
Ih
i.
i$
f
or
the di.ecto' s Aunl
Tilda.
and Ihis is just f
Ql"
me!"
It

-as 001 an
ca,y
prucWll~
for
an)
'

OIlC.
bul 1
""
1
c"""
rollabor.u ion " 'lIS the
"ny
Ihing that prodU«d
lhe
1lC'"
art fonn.
From
lhe ad"enl
of
sound to l
he
laIC
Ih
inie
•.
music and animalion had been
0IlC.
Wil
f=!
J.,bon
C~(lI\'»Cd
Ih
e:
general feeling: " 1
do

001 believe
thell'

-as m eh Iht)ughl given to the I1m,ic
as
ono:
thing a
nd
thl: animation as another. I
be
lieve
we
con·
ceived
of
tl><:m
as
dw>cnls
which

e
"'
c,-"
trying 10
fusc
into a ,,'
1><.>11:
IICW Ihing Ihal

·ould be more lhan

simply mo"emcnl p
lu
.<
so
und
."
Jerome Kern rccoK·
nized the artistry
in
Ihi
s process
~nd
claimW thai a
di.ltioc
t
ne

music.1 fonn had been
crealw.
He termW
it
"the
use
of
music as language·' and credited Walt
"'i
th
mak
i
ng

an oOl,tanding cootribulion to the
m~ic
of
hi
s timc-po$Sibly l
he
only
",al
contribulion of
tlw:
I

:micth
<.TIltu,),!J
lbc
dfec
l
of
absolutely c'-':I)·thing
being related
to
the musical beat
bttamc
SO

·,,11
do :1opW
thaI.
in
lhe musical

-orld. " M
ic
kc)"mous.
ing"·
lJcc,~mc:
lhe name for mllsle thaI accented
QI"
echoed
e.
·
,,1)'
oc
lion on lhe ,, n.
As
a "'
ay
of>\COring.
it
" -
OS
IlOl
limiled
10
ca'
lO
ons.
but also was used
wi
lh

good
effect
in
such
pi
cturcs
a.
Kj,'g Kong. matching
the
hu
ge
ape's
aSC(!<>I
of
lhe
Em
pire Stale Building
"'i\h dr.lm.lic progression
in
the orchestration.
If
Ihi
. close integrali
un
uf music and aclion had
been a
heao.h><.:he
lu
lhe musicians.
il

w
as
equally
dcm;mding f
or
lhe animators. forcing lhem
10
beconle
more
crisp
in
the
ir
Ihin"ing
and
bener
Ql"gani
7.w
in
thei
. ,5UICment T
he:y
al"
'
a)"5
had been
rtqui=!
to
Be
l

iIoCTOSS
the
~tUf)'
poinls
on
lhe
leaSI
amounl of l
ime:.
bul
It "
y had never faced the discipline
of
"''''k
i
ng
IOthr
rigid pal1ern of a beat. Where ,,,.d,na
I)'
they ,,'
oW!I
h,a.
·c la""n an e.<lra
c
i
~ht
'"
ten
f
r

~m".
to
COInf>IrIc.
l><.:tion.
stage a pose.
QI"
reg"tcr
a look.
the
InUIIl
moo.: them ""arch f
or
the:
absolule essence
0(

Klc
a-l
hal
and
~hing
more. No fnlls.
00
"'I~:
pi
ri
ght 10 thc point.
It
is doubtful If lhey
ncr

,.,
ha,
'" "",hie,·w Ihis
con.ci§c
dislillation
,,
'
;(Il00
11'''
('I
stanl
[IIl:S>u",
thai
do"'
d lher r,nd a

y. 1.001:,.
back
On
it
no
w. we
Can
sec thai
it
"'as "aluable
ad
necessary Iraining. Unlimiled footage
nc~rly

al"'11I
lulls
Ih
e animat
or
inl
O a
~
l
ipshod
I'crfuflilance
While
II><:
shons fealuring M
ic
~
cy
and acl,on
lIP

re
giving lhe
",u,
kians
such prohl",,,;.
the
S,u,
Symphonics
Were
pushing illto

~
new relalioMlt
,p
/I
music and ani",alion. He",. the ;lItegnty oflhe
"""*
was mure imponant. a
nd
the action had
10
do
:odaptillg. When a
Ihc,,1C
from
used.
il
bail
10
be
used imacl
or
Ihc "'hoi. cffet!
Bar Sheets
The exposure sheets were
,I~,"
and
only
enough footage for Ihree
ur
four beals

10
Wilfred Jackson wanted to
see
lilt
OUt
before him
li
ke S
Moel
music. so
he
"ba
r sheel
."
This
of
len "'as
calkd
lhe"
sil"lCC
;1 ,,"cnlually
CQfIlaincd
all lhe
dope
mu
s;,,
and the aclions. bul
;"
"'",
. ;,,'

'"',.

lay
OU
I the
bars
of
mus;,,
in long
boxes
tM
Vie"~';:;:::;::,<::::::::;:::';~;;::~,:
songs.
~
'
\1
cach beat.
and
a notation
of
lilt
§Ian
of
which p
ar1
was "erse and " 'hich
chonos.
(h
al mighl
De

used.
and
whe~
tilt
'nu,K:
i
nt
o 3
~co
nd
song,
Evel)
.
thinll;;':ir.:,;~
~:
b<I
~
es.
(Veil the location
of
sound
dialogue.
Along wilh I
hi
s was

riltcn
ii
"
"~,,

,;~

scenes. lhe st
ans
and cuts
~nd
tDe
pal1em
Wilh
alilhe
information
in
ooe
"':':::~;;::
:
Ii«
how any changc on one pan
lhe ot
lw:r
parts. and
corrttlion~
could
be
~
impl
)'-OO
paper. Disaster follo
ed
,,
'

hCQ
forBOI
10 correct the animator's cxpowrt
ootif)' the
cutlcr.
or
mado.
aJI~
'i
e"~I)'one
concerned. bul
Ih
at son
Iplikl!
Tlw:r~
"
'~
re
00 3-12 measures here,
aJ>d
co
n-
lIdmbIy
mort
work
,,
'
as
requ,red
10

fiJ>d
a<:.ions lha.
Ii
Ihc:
mus>c
.
IOId
the
>l0f)'
. and
>I,ll
buih a pe
noo
ali-
.,
II
mo.n~
ih3
1 " 'as righl. ,·isuall
y.
,
••
t)U
1d
",Idom
rn.t :
sound
on
the
U1

lC
k a. Iha. poin •. and lhe
~
had
'0
11«0"'"
mon: like choaographcTli,
1)'uI
~
10
1lI"ld
~
un,riC<J
'la
,cmcnl in m

, cmcn. rich in
_1QrI31
CO
men' and w'lh a
mlle
si,
'c
nQ_all
w'lh,n
.'.
ro,C"~'
of
an
e.<tubl',hcd

>COre.
Th
e visual male-
!III
roukl
JIOl
be
choppy
or
f


gnlC:
med;
it
had
tQ
ha" c
.,
"~
u n
ily
Ill'
I"" m
ll
sic.
1.1ho:v
fil'S!
btt
n sim_

, Meps and runs I
ha
l
eas
il
y could
10
f
ul
!Q,1,
· lhe Ileal
of.he
'''U
SH:.
8uI wilh
1II111l<:ne
e on humor and pcf'll(lnal'IY. the films
qu, c ~ ly
inlo Slories Ihal (iC"'llnded 'he acling
:
::~~~:"
:
,:m!po
.
100. This rcached a peak ,n 1935
C,mur/,
which comb'ned
,,
·c
ll

·koown
strong perwnalilH:S and a .i.llalion pla
ytd

,.
~
and
,he
~aff
line
s.
ka";ng
Ih
i


hich
bors.
or
,,,,,,a
'
lIre
s.
of
the
son~,
,

No-
!.hee

l.
~
dclcmllncd the ,cmpo
t aw
us
lhe number
of
fran

. lOs.
16s

halevcr.
The
.lr
UClure
lhe number
of
beiliS
10
,h
~
bar.
;
~
:::;~:::".·.
:',:':'":':".:':'~bcal.
h~c
'h"
In ,h,s

12 f",me>
'0
each bar.
enlirely
in
pantomime. It was a rarc combinalion.
reOeel,n, slill another use
of
music as language. As
One
pnxiuc<:r
sa'd.
" Who else

-oold lake a bandcon·
CCTt
out
of
W
alt·,
boyhood.
mi~
in 'William Tell"
and
'
Turke
y in ,he
Siraw'
and a Kansas cyclone. and
come

OU
I
w'lh
a performance Ihal would enchant
ToscaninP'" (Typical
of
Wah.
he
did
001
Slop
I"'",
bm began
Ih
inking
of
an
eVen
bigger
li
se
of
lhe
sa
me
principle. He called Ihal one
f"IIIIIU1;(I,)
In
addition 10 lhe siories Iha, called for . piriled
mu

sH:.
Ihl:re "'
ere
""'lIC~S
Ihal
ulkd
for a
mood
10
be
eSl
ablished by a spcc
iallhernc
. In many
in!.WlCe:§.
lhe feeling of Ihis score

"t)Uld
inO""nee lily furthtr
<k
"eloprncnl 10
~
uch
an
Ulen
l Ihal
il

·as
decided

10
record lhe
IiOUnd
rim
and

urI<
10
ils
limitalion~,
The",
is a f
pedal
feeling
in
wor
k that is done
Ihi
s
""
ay ,h
a,
i1
n
O!
found
in
oth
er
mClhod

s.
hil
I
il
is
"",re
cxJl"nsive
becau~
of lhe demands
il
makes
in
all
the crea
li
ve
<kpannlC:nls.
A bar is
Ihll
$ 24X
loog_
'C"
:
I
".
.,

.
I.;

.
Now we added lbe """ne <lans and
CU
I
S.
nOIing
how
many
Fra
mes
beFore:
a bar.
or
aFte
r a b;tr
il
mighl
be
. [f
a
scene
,,
·
e, ,
~
hiflcd
.
il

·as eraseU and pul

in
its
ne

·
Ioc~ion
.
.
r:r:-:-
-l
.
Ne~1
Ca
ll
1l:
Ih
e aClion. ,
imc<J
10 the beal
of
a me
lro-
""n

. lhen wriuen On lhe bar
,hee
l.
, ,Ia
ling lhe aclion
10

lhe bealS.
Now" ,
knew jusl how many
ban

,'"
needed ror
nc
h bi.
of
business.
Lalcr. dialogue was added,
sho

·i
n'

·here lhe 'ake
Maned
and ended. Locali
on
of
wun
d effecls were
•
OOI
ed.
100
. (There is s.i
ll

00
music sllggeMed. just
lhe bealS.)
Timing, Spac
in
g,
and
th
e Metronome
The:
IoCt;O"
,n • sccne
wI.
pl.nr.td by
IN:
.niml_
tor and ,
.1'=1<)<
.,
,h<c
lime
ot'
the
handoot
.
If
1M
I'<:
wal
musk.

there
"'_ldbcclI,,"'~
uxt
Of
•
tempo
seI
by
the
"",.ician
,hal
could
be
m.l"'cd on
th
e
c
~
poiu"
. bee!.
When
. mcl('{)r'l()<l1<
"'as to th.t
tcmpo.th<:>sc

rin.n b

"
btt.mc
ludi-

bit.
, i
VIR,
•
,oad
indka-
tion
of
,""
lfnOU
nl
of
Ii

f.,.
lIN:
oc
t_
of
the
=~
.
If m.n, "
'as
""
sound
10
sf
as
I ,

ide.
,he
m<:tro-
"""'"
,"
'llt
M
only
""
Y
t"
dele.n,ine
the
length
"r
Iny
of
, ""lion.
A
Stlti",
of
12
,
(N'icc.
strond)
""
n
,,_lI
y "sed.

h
ie
ll
mcam
thai.
bel'
came
~
12
rl'lll'O. Th
is
ju.r
hlJlP(ns 10
be
'M
tempo
of
III
mw:hc:$.
al'ld
ofr

,ood o
l'ornl,i,
·.
",
'hen no me'
",nome
i.

~
y,
W"
,,
'le ""}' cll·
k""""n march
until the
rb)1hm
il
well e5llblio/led
in
)'00
' mInd. tap )'
011'
f_
ane!
t\Io, ,
•
r ,
nd
"",n'
II><
"P'
aI
you ac, out
,h.
>Unt
.
You
,,

',
111101
be mon:
til
,
.
(!'IIme
"
rr
. M
ill
K
ahl
CHl<c
proool.imed
in
"
IC<'
-
, "Evcryooc ""Ilk.
on
l~nlc,.
••
""


""",.
_
th,n,
""",""

i.h
''''m~''
WIlt S'"l'IChfidd immedi_
~Iydn:w
I.ke«:hof.
man
at
I~
oo.:lor', off,ce
")'-
in" "Som<
lhin,'
.

rong
"'ilh me,
Ooc .

, .•
bttn

Ikin'
()n
13


Wilh lhe m,:ln
,IlOn

1"IIn
·
ning,
I~
mo"
C>
" 'cre I
c'"
N ;
how
long
dotll~
ch ·
aclCr

7Jk.
bow

y
SlC'pS
dotl
he c
al
e

·
~n
doe>.
~
"op,

how
lonE;'
~
~kP
II
w:as.1I
n.ocN
()n
c~
.
~
.
pos"re . heel.
<<>rr<<
!
w.
al·
I
C""'.'
OO
cried
)!
ill
'l'IOl~r
"'
oy
, "nlil
Ih.
"cry
be.1

pallem
of
0<1100
I\ad
bttn
rouOld
.
II
",·
oscalkd.
" "i
Old
-
in,
lhe
quid
"-
'y
I()
do
lhe
1nO$
1."
T"
roncci,-c
"r
a Inies
or
""c
;"".

Ihal would
pUl
""cr
I~
siorypoinl,
kccp
I~
per
.o,

lily or
Ihc
ch
ar
_
""it"

00
he
;n"glno
l,,
·.
cnouglc
l<)
he
Ctl
lc
na
ining

.

bit

i",menl
To
do
il all " '
;I
hin
lhe
IIm'1>
of
the
alloctttl rOOl."" " 'I
ch
I
r~
linK
of
ICC<:nC
.
I()
malch
I~
heal and geM"rei
Ih
l '
g.,
·e

~y n<
.nd
m
yc
h",.
100/;
more
Ihon
"" "" d"'''-inX
abilily.
A vis,tor
.'a1k,,,,Ihroo,h
the h
all.
"'
oold
hea.
the
",.u.red licks
.nd
cocb
(omi
n, from
"".",1
to()n"
II
lhe


lin

,
I.
III<
,,,,imol""
Ii"cn
cd and
acl.d.
conoidered and
limed. Thai metronome
10
'
11
I
'!e
m.
"n",knlln,
l
:as
kmasltt

ic "10.
, ,
_
"""",iblc
for
F*
k
i"3
"""'"

c
nlena
inmenl
inlo
s",all
.mounts or
fOOl
l,e
Ihln
~n
y
oohe. prooNUrc,
TIo,-
bo<Itrring ",./1
""1
{)ft/
y
~
~
of
("f)ft
'
tK'
MYI/o'Io,-
, .""nd_
,
!O
cP·
,
,0

-'J
0,
" ,
'vi
' 0
Tlo,-y
,
'
~/,,~
fra_
" "
,"'
{)ft,M
txpos""
J
A",
'
It
'lo,-
f-
of
a
rMrI
,
liu
,/oj
• .
Th~
;~spirm;OI"'1
,

k~1C1I
by
Mrl
Slo,,~,
,/w,
J
~
88~S'M
,lrrsunt
.
EXAMPl.ti
fll
,
n~
-Ktltt

·
,,11
_ _
NI
,rod
for a , iilt,
Soc

d<lCripllon: Ani",als
playing;
fo
>
in
waler;

lIoun<l
dh
'cs in.
,p
l.'hi"~
,,
·
.ter
.11
""cr
hI>
friend.
TempO'
St
c
mC"lrot><>mc
()n
12
beac
.
"
OOloge
: Und
ele.mlned,
bUI keep bri,k
.nd
l>II.y
.
In
Ihi,

""

fron.
TIo,-
F
.,.
aNI
,10,-
/f
",,"".
,here:
had
10
he
,he j.pInlcd
r~l
·
,nK
of
1"0
kid.
In
lhe old
'''''''""n, hole.
The
.n
i·
maUM"
dccKkd
'0

.,
;on lhe
occ


"h
,hi:
f", alone
'"
I
II<
wot
e •.
'h
en bring
lho
I
'Cl,,,ld
in
on
the
nimh r
",,,
L"tcnlnK
10
,he
rRC,m-
,
, "'" d<ccnmnctl tho,
,t>t

"'"
>h<>uld
fUn
for
II)
f s
hef"",
hi:
Jumped
For.t>t
d
i~
•.
It>t
I"'P
"""'Id
h.,
·c •
bi,
leap
wi,h •
11,,,,
_
i
ni;
i~i2:~~;~
,~
AI·,n
-,
",,,,."'

~


It"m
/H
, of f
ru

It
'
~"
j"
~m
aN
,,,,,
.t
'""It
'(Jnd'n
~
and
iw
"'l"ng
l'<M1tJ(
1l
,M
~",

nd
/

<N
si

'"
~,~II'
fr
- '
Ch<mM
{)ft
,10,-
r
_
q
'(Jjj
"
~
,
10,-
"
I, IotJb /
,u
,II
,.
)
""

:!4
frame>,
~In!
,he

t sI
. Thi,
W1$
chancd
on
"""jlo)$U~~.
, ~
h
the
I fnme>bbnk
.,Ihe
>Ian
.
co,ng
16 f

",.,
(0'
Ihc
spIaI/I.
>nil
"""'

8
f"", "

(111;1

,
,lie

pioclu~
or
""
ro
. drenched.
bul
boighi",
.
The
whol<
ow,
'-10
~
fttt
8
'''mon.OI'
,

Thr
I.you,
,,'.,
<lIc
ok.'<!

" ',",IT

-",
.""'"PI
_lor
Ih< pop 10

run
[Of
16
f , ,j
from
(he
field
booIo,
1<1
the
rdllC
of ,he
_wr.

""'''
'inp

re

o(lho
.i,

oil'"
dog
>lid
hi, Illiludo .hroughoul
""
at100II.
Ali
,h.,

re
·
d


to
dc:lCfminc
.hI:
.pacing.
00101
far he
_Id
"""

00
.""
"
dn
_
."II1II,,,,.
"-n'
.
imple:

of

k
in,
.he
di.

-

from
,

fiBl dnl""

10
lhe
>pol " .
""",,
he
~,anddi"idlng
j,
in
to
Th~
(lnim"'",
m(!k~
.
"
r"""
,hrno
'
;"JI
"'~r'r
1M
P"P's
hh>J

,/I
bot
""
,~
of
Ilrr d
"wing'
i" rlrr Tun
,mJ
jump
.
•
16
<'<lUI'
.pac

. Earh of
,he
,
became
It\<
!">Si
lio"
of
,he pup
',
head
.,
he
~

'"'
hi
. run. To
k ,p 'hi' nm 'i, ,'y
.•
n S
(",me
galk>p
was
c~".
,"'hie
P'"
the
pup.
hap-
py. bouncinB """,<monl ••
he
cnlc«d
. Wi,h coofi.
den«
in
,he
timing
and
,he
p.3.h
of
ac'ion. a
ll
of

,he
••
;m"')(
"' cnttgH:' ,"()Il ld
,,",W
boo
conccnlr •• cd on
"",tin,
d",,,,' in,>
or
0 pl
oy-
ful pup
in
• mi",hievou.
mooJ
.
W1><n
tho
f"'X'"d"'"
i.
,,
'rinon do" 'n >tep
by
i tep
th
is
"'ay.
i.
~n"

Ilk. an
im'ol.'tt! and tntiou.
pm-
.:0
•.
bu. ""tually i.
to~

only a mall

of
min"t
1lw;
bi,
••
hanl"",
i.
thai it
~i'"UlItc",,_a~
10
think about his
""nco
pl.y
"'ith tho
idoe
••
. and
,
it all
","

'
ff
in hi. mind
ber"",
be
i,
co.mni
l1cd
to •
'pa;
ifio
artion. 1lw;
>lcpo
that ,.,nd
,
""",
h

",.1
in
""';tin.,,,
ill
oll

imulal.
hi,
imagination. and in.
on:'~
lxlth
the

fu"
of
doin,
the
ocellC
ond
Ute
prtlbobil.
ity that
it

ill
comcOUI
on
tho
so"",,, just ,he y
II<
has .·i
li«<l
i, _
A
c\oocr!>hot
or
til<
ac·
tion
of
,II<
(ox and hound
pI

.yi
n, in
Ute
" '
''ff
. Wi,h
no
$Olid ,
un ,.,
",,"Ulh
tll<
ir r

t. pcrspc<,,,'c
bo,
.
cornel
impo

.a
nt as the
only mean. or

bI,>iling
the k",,1
or
.he "'ater. A
IIrld is
dra"
'n

.0
n:mind .Ite
animato<
or
the
d"'

·
;ng
n:

ric.ion. as he
bob!;
the
cha
te

"P
and
do

"
t()
l i
ve
Ute
fttli
~
of
""inl

in
at
T1tc
timing
()
r the
acti"",.
"hkh
. n: matched
to
.h
i.
pcOl{l«.ivc.
i.
til<
only y
of
_;"~in,
thi,
ill".ion.
-
•
T~
r~ptJ
.
u'r
Uofft
~'jdo.~
0<1i<><t
"'IHJplhr

"'~
.
IN
j
ump
.
rmd,~
spl~sh
.
• -'-"Ii" :''"''\".
~'''''
'
F'''
''
,
" .,
':->
,.
~
\o
.
.'
,
,'.
.
~
-
.'
",

. .
:
/(
. " .

, .

'.,
,
,
# '
:""

t;
.
EXAMPLE
,1'2
.
,
•
WOT~in,
'0
mu.i~
in
dn
n/nl>ilJh"/In.,po.
Sec"" de"criplioo: Fi , h.·
tie

P;I
runs
iftlO
his
$'''''''
houH.
slams
doof
Wel-
come mal I
••
n fron,
of
door. He
ope

door.
pull
~
in
"
,I.m~
door
.pun.
TtmpO: ,
woJ
14~.
0 7 f'"mes
pcr
""'!

.
First. we de,ermi""
tbc
nuun
acccnt~
, t
, ant
lO
~alt
h
,"
,he
0<11011
. "They
- ,
1. Gotn"broughtlocdoor.
2.
Sllmm,n,
the
door.
1.
Or<n,ng
III<
<100<.
4.
Pulling
the
mal
'Q
.

S. Slmu1Iing,hodc>Ofagain.
S~c<,"d.
""C
"udy
the
uposure
>heel
In<!
,ht
lay.

"
',')
,.
I'
<. '
,'.
.>"<-
.;""
.'
"'"
and
co.mlle. lhe bIg
~km/;n'~
of
1roe
.,c."".
Set·
,in&th<'
,nclWOOmc'ma

14
I>o.!.
",
'e u')' 10 vi<u.lize
lhe
'ypc
of
KIK>n
,hal

'ill
""
bc:~1
for
'h"
",wo{ion.
We
"'"'"
10
S«
.be
pig
\.11\11
"
gle
ntllnUy
.nd
. kid on
[he
romo

he : ,empt<
'0
n;ach
'he
door
.
(TIl

,'>'do.he
aud~
•
ch2ncc
to
.han:
hI>
.","""""
•.
and
,he
mU'tel.n an opponun;ty
'"
.uppor1
,roc
lC!ion.) The
bel'
:>I'ccn,
musically
for
h,m

'0
da
~h
in,o ,he house
would be
on
Mca'Su,. 155.
w"h
,he
door
.Iam
roming
7
f",rntS
!a,«
on
,be
up·
~.
The nc

bI&
accen'.
for
,he
"I"'n,n&
of
.he
doxw.
cornu

on
MC&lu, ,
151>.
jUl,
21
f.amu
af
,Of
'he
d<><>r
slam.
The
d<><>r
muM
be clo>cd
10011
enough
'0
g.,
the
pic''''''
of
lhe house
w"h
,he
",ekomr
ma,
.,
,tt<:
do<>rs,cr.

bu,
nOl
".,
long
,h.,
'he
'empo
"
,poilcd.
A,
'he
door
i.
ope

'\!. ,he pig
~n'idpale,
f,

.
n"'''ie.
7 f,,,me
•.
divtS
for ,tie

,.
and
gnbs
"

""
,he

~t
be.t.
'''''''
pull>
"
in very
f
The

,,"'
door
~ I.rn
rould
rome-
""
d

do

bnL
of
M
enure
In
A.lln,.ll
of
'hI<

OU,
10 ,he
II.h
of
lhe
""',

oornc
.how.
,h.,
'h"
pa'_
'em
is
jlUssible
.
II
i,
f.st.
bul
.Ho"",, Ii" ,
"' ,.

ery·
Ih,n
&-,heudted
f:>l'c.'he
",och.
or<!
lhe

l",bbi"1
"r
,he
and
.
"ll
len.,
p<CM"
fo<
8
r",,,,,,,
bef"",
,hean
'"khnl.tctche,
of
,he po>Il"""
<>f"'"
lillie
"'.
throw
,,,,,,,,
the
ac:ti<>n
help;
10 prove
OU'
,he
pl"""'"g
ll>e
;1(1)00

,,",II
be
brhk.
bUI
"'hen
" " chaned
on
lhe
ul"""'"
''''''''
il
i<
all
cleat
or<!
look>
in'ere,""&'
II
,.
1>me
'" "an
.n"nallng