This is a transcript of the mp3 originally shared by Sewardstreet and recorded at Disney Animation back in the late 1970s. Tape 9 and 15 were done manually, I will update this article with the remaining sections later on.
1 Intro - 00:36
2 Rescuers Clip - 03:41
3 Detracting from the Main Action/Layout - 02:56
4 Getting the Most Out of Any Scene - 03:27
5 Aristocats and Character - 03:00
6 Walt and Story - 01:56 7 The Influence of Voice - 06:38
8 Repeating the Past - 00:53
9 Lazy Bastards (Live Action) - 04:10
10 Favorite Characters - 04:38
11 Repeating the Past II - 06:46
12 Resue of Animation - 02:48
13 Using the Medium Well - 03:00
14 Reproducing Roughs and Believability - 06:49
15 The Crutch of Live Action - 03:55 16 Mouth Shapes - 00:58
17 Overtime - 00:29
18 Final Words - 00:29
Transcript:
9. Lazy bastards:
Oh that s terrible, that's even worse, you see, live action… We used to use live action for reference and I used it myself live action only I didn't get … I didn't use it blindly. We have a tendency, we have a bunch of lazy bastards around here and they would …. They take the dam stuff because they're too… they don't have a think you know, they draw the character on the photostat, and …. That's what you get, you get the same performance you got from a second rate actor you know, or a third rate maybe, because, the people they get in here, you know, they are not gonna get John Barrymore to …er…. To do the reference work, so you get … you get somebody who hasn't been discovered yet, and most of them unfortunately won't get discovered, you know!Question (inaudible)
Yeah well so that's no way of working you know, I feel, I have said it before in Nicholas session I think, (…) tee you how it to yourselft to know how things work so you can do them, you know, voila, having a live action crutch.
Question: What have you found good source of study for the way things move?
Oh Muybridge, Muybridge is wonderful, because you, know… One thing is good about it is, he has this grasp, that's a hell of big help because you see, the relationship, you know, between how high or low, things are, you know, and then the, all these things we have, these books we have round here, the reproductions are small, they are not too good but, if you can get the originals, the …. You know we have been through that, I don't know whether they got access to these plates or not, UCLA or somebody has them.
The ones I got the most out of, the photographs were good enough so you could tell where the scapula is, you could see the motion of the skeleton pretty well in these things, you could which is high or low, what is sagging and what wasn't but you can take that stuff and you can analyse pretty well off of it and you can apply it to live action, apply to things you watch moving, you can sort of see it working, it is like learning a language really you know.
But if you guess or you analyze action and guess or you know where the weight is, and where the muscular effort is used and where are things going along with just momentum and swinging through and that sort of things, well then you are making a hell out of progress you know, and of course, that's not, that's only one of the tools you need you know….. (the) main one is, of course, unless you have a good, feeling for entertainment, and, comedy I guess for all the things that are gonna make up entertainment …
You are not gonna be, you are not gonna be really worth a whole lot to the studio, well you will be valuable but you are never gonna be as valuable as someone who is a … a good entertainer,
15. The crutch of live action.
I
would sure hate to see you people resort to the crutch of live action in order
to get the result because you can, you
can use live action like they did for Snow White, and a whole lot of things,
Sleeping Beauty, you know, throughout Sleeping Beauty, and get a certain
result, at least it is going to be acceptable, but it is not gonna be as good
as if, the person doing it was a good enough animator to really… and knew how things move enough to get a convincing
performance of his own, you know, that's my point, it is never gonna be that
good, the live action is gonna be stilted, relatively, it is not gonna be as
good result, I always try to use where … to get the best out of it, and where
it didn't come up to what I thought it wasn't gonna be, I change it, but even
so, I wish I hadn't had, like on 101 Dalmatians, (...) any of that stuff and then Cruella. All the
live action, all the human characters on that were based on live action you
know, and I don't think they came off as well.
Oh yeah Marie Wixx did the live action for reference for that, she is quite a well known actress, she was a pretty good talent too, and then Marc Davis who did the animation of Cruella, a hell of a fine draftsman, good man, but I think that any of us would do a better job if we didn't have it or at least, if you gonna use it for reference, we gonna use it just for that, for reference, don't accept it blindly.
Oh no I haven't had a reference, the only reference I had for Medusa, was out of watching people all my life. Yeah I have (...) a lot of the stuff but, I have never used any of the… there is not reference, I don't need it, I have worked enough with the human figure so I don't need it, it is easier if you know something, if you know how things move, that's a hell easier than if you don't know, or if you have to rely on something, if you have to rely on some kind of a crutch, it is much easier and less work if you know it, it is hard in the first place, harder to learn, I mean it takes time and effort to learn it. Once you have it, the understanding of things, of the motion…. It is never easy you know, you are not gonna find it easy anyway. I always have to struggle with most of the stuff
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