WITH A TNO DRAWING RUN - “THE PROBLEM WITH The LEG ACTION 1S THAT iS GOING To FLICKER AND LOOK LIKE WHAT IT 1S ~ JUST 2 DRAWHES SHOWING MORE OR LESS AT ONE Pus /2) equars = (@/ janes Pree TOON, a SCRAN fee ur THEY STIL WANTED To Gertie HUMANLY MPACIBLE SPEED — ONE SOLUTION 1S NOT TO PUT the PASSING POSITION CF the. LEOS IN The MIDDLE ~ But TO FAVOUR TWO OF The LEG PCSINONS CLOSES TOGETHER... SO THAT The Ye READS “ie TWO DRAWINGS ad THEN 17 JuPS The BIG GAP. 1B AND The, WEIGHT BEARING FEET ARE ALSC PRETTY CLOSE TOGETHER . very Creve! AND #15 “The SAE THING WHT & BACK oR FONT VIEW - !“Tie SAME IDEA WORKS PRETTY NICELY ONA 34 WiEW - exes eso88. e ARDPHAADS Bur FOR A SIDE VIEW WITH A TALLES FIGURE WIT! LONGER LEGS HE BEST Jo REVERT TO A 3 DRAWING RUN. Bur FROM Te FRONT OR “The: BACK ViBA Fhe. 2 DRAWING DEVICE WiokKS ASTONISHINGLY WELL. NOT POSSIBLE, Bur BELIEVABLE, 12. STERS in A Se@ono! S0,He. ACTUAL PASSING POSITION |S OMITTED ~ IMPLIED ~ BY The 2 CLOSE TCGETHER, DRANINGS AT BACH BND ~ AND ihe BYE JUMPS Toe GAP HHERIE THC PASS POSTION WOULD NORMALLY Be 197ris y ANOTHER WAY TO PO-tne 2 DRAWING RUN 19 TO KEEP VARYING “the SLHOUETTES _ AS WE Go ALONG — “THEN The EYE READS IT AS A SCRT OF CONVANGNS StRAMBLE — ANOTHER TACTIC |S TO FLAIL The ARMS ABOUND FRANTICALLY~ PROGRESSING “fhe BODY tnd) HeAD LEAN FORWARD AS SHI GOES - OR BACKWARDS TO DWEET he EYE 2ud “TAKE The CURSE OFF “Ye. 2 DRAWING ‘FLICKERING ‘Fest ACTION. Wy “Hl. HEAD CouLP MOVE IN A TIGHT CIRCLE ~ USING A MINIMUM OF 4 DRAWINGS Te BO IT. - AND THAT CIRCLe ACTON COULD ASO FORWARD - OR BACK - 198* INCIPENTALY, HERES A SUGGESTION OF A PATTERN FOR. AAMIS FLAWLING Duby ARUN. (IP ITE A RUN ON THOR THE AMS NOULD FLAIL TWICE AS SLOW AS Te RUN) 5 &%) FORA FINAL VARIATION O A 2 DRAWING Eu —“Me PASTESS POSSIBLE RUN - We CAN GET INTO BLURS — WE CAN HAVE JUST TWO DRAWINGS - (ow ewes) PUT ITS QUITE BRPECINE TO FILM THESE ON 2 FRAME DESOLYES —> SO THE DRAWINGS ARE ONTWOS - FoR 2 FRAMES aa BUT SOFTENED BY The DESOLVES - AY eee ie fpwee _ 1) Po Se HY re Rewer 6 Ter Ba Pease : llee exioape FRAME L (Ca Focus FEME #15 Soleo% Pode ses WE CaN, OF COURSE ADP MORE BLUR ROSMONS. gyi Se pees I'VE FOUND THAT 2. FRAME DISSOLVES CAN BE CUSED IN ALL SORTS OF ACTION TO SOFTEN THINES: © ESPECIALLY WHEN The ACTION (= CLOSE-TOGETHER - IT ACTCAS AKIND OF VARNISH. 199SUMMING UP ON RUNS: RUAS ARE ALWAYS ON ONES (09g fos 9 2s Ns pee) WE CAN DO EVERYTHING WE DO ON WALKS EXCEPT REDUCER - ROUGHLY BY HALF IS The HEAD PUMPING LIP aud DOWN? OR ROCKING SIDE 1 Cop? The QUEEN OF EN GLAND: 10 _ANP OF COURSE, WHAT ARE THEY RUNNING FROM — OR To? AND TO WHAT PURPOSE... WILL HAVE A DRAMATIC. EFFECT ON THE RUN. 200Heres an extenve> (Rav, JUMP, SIP wd LEAP) ON the Nexr 6 PROES (Aue on ones) “TWIS OLD LADY LOOKS A Bir LIKE AN ANIMATED ROAD MAP, BuT HER ACTION Site BGT ON The BASKS~ EVERYTHING WEVE BREN TALKIN ABOUT. FIRST W/E BULD HER STARTING RUN - ON 49 - EEGMAIG WH The. Conmers 71 , 5 24d 72 2 rsors @ ‘SHE STARTS OUT WITH A VERY CONTAINED OLD PERSONS RUN - LiKE AN BX-ATHLETE. HER HEAD GCES UP md Dow aud AROUND INA TIGHT CIRCLE «€CR Ce orvese) (AND HER HAND ACTION ~ BerPathes 4 093 B- PUNCHES FORWARD - VE — Like A BOKERS - HAVING WORKED OUT the BODY, HEAD, LEG td ARM. ACTION, WE ADD The BORBMS PIGTAML. 1nd CHIN ACTION aed) FLAPPING ANCIENT BREASTS LATER “AS. USUAL, PONS ONE THIS AT A TIME 201SHE GOES UP a) DOWN MORE AS SHE TAKES BIGGER STEPS -AND SHE GOES LOWER AS SHE PREPAPES TO JUMP...W YA “ENS Ni ue “QOS Wie oe pas or a 82 om as 207THIS. OLD LADY MAY LCOK A BIT LIKE A WALKING ANATOMY LESSON - Bu SHES PEAY A Puce/vonse RABRA|CAT FERIA SHES A STANDARD 408 HOLLY HOD PEAR ‘SHAPE , BUT WITH KNEES ad ELBOWS 2ad_ WITH he. FLOPPY HAIR ETO. THERES A CONTRAST BETINEEN SOFT ad HARD BITS. HERES The PATTERN OF HER GIRLISH SKIP RUNS (WV aud HOPS FROM HER LEFT FOOT AND LANDS ON The SAME LEFT Foot. 2 FRAMES LATER HER RIGHT FOOT LAUDS AND SHE HoPS FROM IT 30d LANDS ON flat SAME RIGHT FOOT — “THEN IMMEDIATELY PUTS DOWN “ee LEFT FOOT. pad HOPS FeOm IT, LANDING ON The SAME LEFT FOOT, Then SAME WITH WeRIGHT, pre (HER BOP! KeePs REVERSING ise) 6 4 oF 33 Hen ew ec reer ee is e, OP HPSEC ae ee HORN Fore get @ 6 "e peawnes % G0 aur See ie Rae er AERC foe | Sb o HORS ON LEE Roar a= oP 208Ki oe ‘ 6 J A SKIP IS TWO BOUNCES ON ONE FOOT 6 THERE ARE ALL KINDS OF SKIPS BUT “The BASIC ONE IS ’ Ste HOP, STEP-HoP, STeP-HOP, STEP-HOP, of. ° WHEN WE GO FORWARD OUR FOOT SKIDS A BIT. é e 4 ’ ~~ sree HOP 8°” STEP 6 WE STEP AND HOP ON ONE FooT- . e THEN WE CHANGE FRET Qed HOP ON The OTHER Foot 4 USUALLY, WE TAKE TWICE AS LONG ON The STEP ° AS WE DO ON The SKIP. OR WE HOP BROADLY LIKE the OLP LAYS SKIP (“HOPPING OW [eS — ow coves) ID Yeu HOP OVER “TWen You Go cen) AND YewHop oveR MP ECE SNE er “CE fect Laon Git Peer MANY THINGS CAN HAPPEN WITHIN The ACTON — MOVEMENT CF ARMS, HEAD, Btt. To MAKE If INTERESTING ~ “THERE ARE SO MANY VARIATIONS ~ VARIOUS TYPES So MANY POSSIBILITIES . ALITTLE GIRL SKIPPING ROPE USES A DouBLe BOUNCE. TH GuITE DEPINITE ACCENTS. A PRIZEFIGHTER SKIPPNG ROPE HARDLY LEAVES “the GROUND. “HARDLY AMY MOVEMENTS. “THERES A ROUBLE BOUNCE ON EACH FOOT. VERY SLIGHT, VERY SLICK. 209Sa EEEREE — 5 SAY WE DOA SUBTLE SKIP WALK - ee We WAUT The FIGURE T STEP aud HOR CHANGE Feet, STEP ard HOP CHANGE FEET, STEP and HOP, ete. HAVING ACTED IT OUT Cm. te fost Dove - HCPPNG: AROUND The ROCM To PO THIS) WHAT DO WE 00 FIRST? “the CONTACTS, Ct ONS? THERE'LL BE SEVERAL. wesner: The (MPORTANT. ONES = WITH A NORMAL WALK , MAKE The: (© MAIN CONTACT POSITIONS . WHATS “the TEMPO? ser WELL, TO AccomonATi the Ire cers fg (1 SCONE LETS DO ITON 24's (1 SECOND FOR E We mare-tee Fiesr SEP coTaer, NOW WaT? wer. WELL, WEE Gor 24 RAMs. PUT IN‘The NEXT 2 STEP ConTACIS. (Ake THEM § FRAMES APART — (ESS B CONPCIS FETC SECOND xf IB ABCUT WHAT IT WAS WHEN PRED ARCUND Tee BOOM) Lets Leave our the ARM ACTION FoR NOW. 2, NOW AA. WE RAYE 6 PO 1S Paar “fhe PASSING POSITIONS BETWEEN EACH ATACT nn But WAIT A MINUTE, LETS RE CLEVER - % BREAK The ACTON UP A BIT £75 MAKE The ARM SWING AT ITS FON The ae CONTACT POSTING ni'ss THAT WILL MAKE CearTacrs*17 aad*4f PASSING POSITIONS FOR- The ARMS. OK, NOW WELL PUT IN the FASSWG FoSimaNS. AGH OVERALL STRIDE - HICe~ NOW ALL WE HAVE To Bo IS MAK NTELLIGENT INBETWEENS CUSHIONING Tz ARM SWINGS AT EACH END. 5 WORKS WELL-ONTWOS ( Burwe Cound POLISH IT FURMHe BY ADDING CHES ) 210BALK FET Fy lg essWE COULD ALTER he TIMING ON A SKIP (A SfuP 1S KinD OF Like A RHYTHMIC DANCE JE WE HAD THIS - = A WALKING DANCE. ee @ 8 Chage hot Bg 8 8 Ngee HOP HOP. Hep Hop HOP Hop, HOP WaP Change Foot Cige foot Bur TO CHANGE Tue RHYTHM SLIGHTLY, IT COULD BE - a 8 (Ofms 8 — Chage fist gg form 8 HOP HOP. HOP «HOP HOP HOP. HOP Hop Change feet chage tet INA BROAD JUMP The PERSON STARTS WITHA Runt aud WHILE RUNAING WORKS INTO AN ANTICIPATION. (CANCE TO HAVE the SPINE SHAPE KEEP REVERSING Scpuncnes Pon” Cones On CARDING uP SAME SORT CF THING IN A HURDLE. The RUNNER IS MAKING PROGRESS — BUT FAUSES JUST LONG ENOUGH TO CLEAR fie HURDLE - QUITE SIMILAR. TO A HORSE IN A HORSE SHOW — er a er “ANTICIPATES Dont TFASHNG ihe aD RoBANRD Tate anor os Hel. RFACH ad STRETCH xd LAND aad GO Into A Bunt AGAIN. THERE IS ANTICIPATION BUT IT PORSNT LAST VERY LONG. 212GET LOTS OF LEAN INTO Tie BODIES, (THERES AN! OLD “GOLDINAGE” ANIMATION MAXIM Vv WHEN You THINK YouVE GONE FAR ENOUGH - GO TWICE AS FAR. THEN THEY Say,“ 1 (7S Tec FAR -YOU CAN ALWAYS PULL IT BACK LATER WELL, | NEVER. SAW ANYONE PULL IT BACK. BEING BELLIGERENT, 1D SAY, HELL You CAN ALWAYS INCREASE IT LATER! CAND 1 HEVER SAW ANYONE INCREASE ITLATFR EITHER) ANYWAY, IT HELPS TO GET LOTS OF Led INT® The BODIES, A CARICONY JUMP LiKE THIS ICRES FINE, ABM ACTION IS GCOD, LEGS ARE OK. age TSS Conte KEEP Contact Conrace Bur Lets DELAY ONE oF The LEGS - s* — conTAC owner "Aiea Smee ~HELPS BREAK IT UP WITH MORE ACTION WITHIN the JUMe To AVOID FLOATING ad GNE WEIGHT - IF A PERSON JUMPS IN The AIR. WE'VE GOT TO GET ACTION WITHIN The GENERAL ACTION. Get The. ARMS GOING OF the FEET GOING _ WITHIN ihe GENERAL JUMP. “THIS HELPS GNNE IT WEIGHT aed AVOIDS FLOATING. (213LETS TAKE 2 JUMPS STACTING FROM A STANDING POS|MON: SOTH TAKE ABDUY The SAME TIME = 144 SeCoNes TO DOThe JUup, (TS GONG D Be FASE _ TO SHOW THIS WITH (CARTCON CHARACTER’ PROPORTIONS THIS IST JUMP IS ONTOS, [BUT OF COURSE, CNES COULD BE ADDEDIN Te VARNISH’ IT: NOTHING WRONG WITH IT- 6 IT FUNCTIONS WELL. i HIKE IT BECAUSE ITS NOT OVERANWATED. \ ~ SIMPLE, CLEAR. 24d SOLID. , 357 7a 13ST Lo Bur NOW Lets LOOSEN “he WHOLE THING UP We CAN GD QUITE PAR a BY PLANNING ITONCHES & aud ADDING IN MORE STRETCH - MORE CCMPRESSICN - DELAYED PARTS - MORE ARM REVERSAS~ SECONDAZY ACTION- SHIRT, ANY EXTRA BITS. “The RESUET IS MUCH MORE FLUID 2) LOOSE Cod carteony) (TS ALLA MATTEROF TASTE, | ITS WHAT YOU LIKE dod HOW MUCH G2 HOW LITTLE YOU UE THESE DEVICES 4545 07 78% fo ton 2 2 Bu Ie TO GET YOUR RESULT. Wey [4d ii ify! Zz is Fo 1s Fer Bur HAzpLY SEE 2143s fH 27243) 33 37 1} HARDLY SEN irq a 23 Vl 215FLEXIBILITY AS | SEEIT, THEREARE 2 SIG ANIMATION FLAWS — WE EITHER HAVE The KING KONG EFFECT WHERE EVERYTHING MOVES AROUND e SAME AMOUNT EVERYTHING (S FLASHING ARCUND ALL Ove The PLACE &) WE WANT T HAVE A STABLE IMAGE and STILL HAVE FLEXIBILTY &D “THIS IS HOW We Ger iT: “The FOMOWING DEVICES ARE GUARANTEED TO LIMBER UP, LOOSEN UP au) GINE ‘SNAP’ Dud VITALITY TO OUP: PERFORMANCE WHILE KigePING Te FIGURE STABLE and SOLID. 217WE'VE ALREADY INTRODUCED SOME OF THESE DEVICES WITH WALKS aad RUNS, BUT | WANT TO TAKE EACH OF THRIM SEPARATELY 2d DIG INT THEM. First, (Re BREAKDOWN) A GREAT WAY TO GET FLEXIBILITY IS WHERE WE'RE GOING'T PLACE “ho BREAKDOWN DRAWING OR PASSING POSITION OR MIDDLE POSITION OR INTERMEDIATE POSITION CWHATEVER. You WANT TO CALL IT) ~ BETWEEN 2 EXTREMES WHERE DO WE GOIN The AUDDLE? CRuciAL! AS WE'VE SEEN WAH The WALKS, IT GNES CHARACTER TO ‘The MOVE. ITS A TRAVELLER — A TRISITIONAL FOSITION. AND WHERE WE PUT IT IS SO IMPORTANT, (TS The SECRET OF ANIMATION, | TELL YOU! IT STOPS THINGS JUST GOING BORINGLY FROM A fo B. GO SOMEWHERE ELSE THATS INTERESTING EN ROUTE FROM A To B. EMERY HAVIKNS, A MASTER ANIMATOR OF ‘CHANGE’ SAID To ME “DICK, PONT GO FROM A To 8. GO FROM Ato X+to B- GO Fem A te G to B. L GO SOMEWHERE FISe IN the mipoie! A SIMPLE, POWERFUL TOOL = | FIRST GOT ONTO THS BY WORKING WIT KEN HARRIS, WHEN HE'D CuT uP MY DRAWINGS, OR BITS OF THEM, and HE'D STICK THEM DOWN. IN A PIFFERENT PLACE. 1 ENDED UP FEELING-SO STRONGLY ABOUT The EREAKPOWN THAT FOR YEARS | WENT AROUND RANTING aed RAVING THAT 1 COULD WRITE A WHOLE BOOK ABOUT (T. CLITHAS ONLY JUST OCCURRED To ME THAT THIS /S IT:) LETS TAKE OUR (oe) . 2 EXTREMES oe ws OF A AN [oO Oo GOWG FROM, Ne _~ HAPPY te SAD = Purin The. MIDPLE FOSITION cs os wee” (G8) (G8) (S foul LOGICALLY — OK, Bur Due 218uid Even JUST Be Sale MOUTH SLAY “The CHANGE - 2 se SAME MOUTH ~ peer DOWN oe TAKE APPY MOUTH iTup- EXTREME — BREAKDOWN — EXTREME: mOlIGIOs QO® Q&Q® OS® (2 MORE INTEREST. MORE ‘CHANGE’ A QUICKER CHANSE MORE VITALITY A QUICKER UN HAPPINESS. = (T WOULD AFFECT The CHEEKS Bed MANGE The EYES AND Give MORE CHANGE TS UNHAPPY = iT WOULD DISTEND The. FACE STRETCHING “the CHEEKS, NOSE, EYES 2 A TOTALLY DIFFERENT CHANGE W GulP... y OH, OH, 219Exteewe = BREAKDOWN = EXTREME ‘e) s) a) = THINKS remee, (S)(B)(O) - gas ON ONE SIDE? Sy ~~ EASE On FALSE Ke (i) (QL - conepence The SMILE? Y REDUCE IT? oO = HMMM ~~ Lae Sy = seven e. UNHAPPY mouTH — a co = GIVES Some a6 (OS > Seg A SIMPLE BLINK & CS us at = oops, WE CAN START oO O oO To SrmeicH runes \\ TY a Ly - — ve os ING HET? Ler sraer 5 io) 3 2 Somers 161? ona EY na HAD A DRINK ? IMAGINATIVE «+ a = YouR Serer is } © USAFE WMT ME 220EXTREME E2zAKDOWN EXTREME “is'b Bg Beran) IN REVERSE. SION , ) WHERE WE GO WITH The MIDDLE ‘TRAVELLING POSITION HAS A PROPOUND EFFECT ON The ACTION 2d CHARACTER | HANG MY HAT ON THIS! (MAKE The EXTREMES (08 Contacte) THEN The BREAKDOWN (oe PASSING POSITION.) THEN MAKE The NEXT BREAXDOWN B#TWEEN “The. EXTREME 200 The MAN BREAKDOWN, KEEP BREANINE (7 DOWN NTO EVER SMALLER BITS. (CTHEN DO SEPARATE “STRAIGHT-AHFAD’RONS ON SEPARATE ars) 224FO YEARS AGO WHEN | WAS FIRST CATCHING ONTO ALL THS STUFF 1 WORKED BRIER WITH ABE LEVITOW, KEN HAREIS's EARLY PROTEGE. ABE Deety REAITIEULY oud | WAS IMPRESSED BY BOTH The Quality AND ‘The QUANTITY OF WIS WORK. FAST AND GcoD! WORKING ON Tous STUFF, ABE PROPLCED 20 % 25 SECONDS A WERK WHLE Tie CTHERS MANAGED TO STRUGGLE THROUGH 5 SECONPS. AND ABES WAS BETTER: 1 ALWAYS (PEM PM Bee ABE SAYING TO ME ON A TUESDAY + * DICK, IVE DONE ALL “the EXTEMES TOMCREOW I'M GONG TO BREAK THEM ALL DOWN, “THEN ‘The REST OF The WEEK I'LL ADD IN-The BITS aac pieces! AGAN, Lens SAY Misr AHEAD Purr Tut Becakcown MOVES Wyle. FORWARD MIDDLE ABT- iS PULL SONE cen Cai En DOTHIS - DOTHS - THIS (S The RAW IDEA. a WECAN DO IT. (NES ws wee Bere OR WECAN Do 1 FOR OME BeoADLy PULLED APART ~ 222KEN HARRIS WOULD OFTEN DO A VERY INTERESTING THING: AVOIDING I “fe DDL. > Ag BORING, AN “THOUGH He WAS VERY CONFIDENT OF HIS. AMMATION ABILITIES , KEN HAD LESS CONFIDENCE IN Hi DRAWING. He LIKED TO MAKE PULL USE OF The ROUGH SKETCHES BY CHICK JONES, HIS DIRECTOR. AT WARNERS - aud LATEROK, MY DIZECTING DRAWINGS. \'D OFTEN FIND KEN MAKING AN EXACT TRACING OF MY DRAWING'A' 0&8" aud USING IT AS The PASSING FOSITICN “Coe BRR CONH ) Bur HED PLACE IT To FAVOUR PRAWING'A™ LIKE THIS OR HE'D PLACE IT To FAVOUR PRAWANS 8 Like FAR FROM BEING A LIMITATION, THiS ACTUALLY WAS AN ASSET TO KEN, IT GAVE HIS WORK A STABILITY — INSTEAD oF HAVING FACILE DRAWINGS FLASHING ARCLND ALL OVER The PLACE 'OVERANIMATING © WATCHING HIM TO THIS ~ aud SEEING the RESULTS, | GRADUALLY LEARNED TO UNDERSTRTE dea) GET SUBTLE MOVEMENT WHICH WAS STILL LuMeee. OVERIAP ) #1 OVERLAP ) GAY WE HAVE A MAN WITH ATURBANY ~ a 223IF wet be tea 2 WEGer THI WITH The HEAD - LOOK WHAT HAPPENS ie TURBAN MASS & SHACK Iki thee MUDDLE. ond Weve SEP THIS CREATES ONLY 3 POSiTIONS. A REMLY NEE OVERLAPPING, Sea OF The MASSES sell ON A VERY TF IN BETWEENS: SIMPLE Move BLAND DESIGN OF A SIMPLE CHARACTER - WITH NO CHANGE MAKING A VERY CRDIWARY MOVE TST BECAUSE OF Tine SPONGE: WE'VE DONE THIS ON A OF BX PRESSION ~ NCT EVEN A LIN AND YET IT WILL HAVE A LOT OF LI &o) WIE LOCK FOR: WAYS TO PLACE The MIDDLE BREAKDOWN POSITION - (OR POSITIONS) WHERE We CAN GET AN OVERLAP OF The MASSES. = MOVEMENT WITHIN MOVEMENT. ON A CALIFORNIA “ISSUE MOKSE A DRAWING }) “+ + Pacer eae 224OF CouesE, THIS BREAKDOWA PoSmION KIND OF THINS CAN GET Cur OF HAND, LIKE EVERYTHING ELSE, 18 HOW, WHEN aud WHERE we USE (IT WHEN | was ASS HAREIS dud THERE D BEA MAND 4 SETTLING HKETHS A ome ~ 1D START BEING CLORR ad THROW The BREAKDONN OFF LIKE THIS ~ “-—+— foo KEN Would FREAK Our, “Goppanan ti, DICK, | JUST WANT A STRAIGHT INBETWEEN, in THERE! Just GIVE Me A STRAGHT INBETWEEN! THe Guy JUS RELAXES HIS Han! 1 DONT WANT ALLTHIS CRAZY FLASHNG AROUND AL OVER The PLACE KIND OF STuEr?" C Ken HAD Aweusey Good TASTE) Bur WHEN | DID GET 7 KNOW HOW, WHEN aud WHERE TO USE IT, 1 CAVALMOST SAY 1 MADE MY LIVING WITH The BREASDOWN DRAWING: 1 OFTEN HAD To PRODUCE MASSIVE AMOUNTS OF FOOTAGE AT the LAST MINUTE. | BECAME! The TELEPHONE ANIMATOR! ANIMATING AT fhe Swe Time AS PONG “he BUSINESS ON The PHONE. CLIENTS: WOULD JRANT, “Wee CAME TO You BECADSE Or HIGH STANDARDS ~ WE DONT CARE IF Your. MNS IN The HOSPITAL OF IM TIMBUKTEO — ITS YOUR. SHINGLE ON The PaO, BUSTER , YOU Fix IT!” We USUALLY HAD GOOD STORYTELLING KEYS i) EXTREMES, SO AML! HAD PO WAS JON A LOT OF Siclee uP IN AN INTERESTING WAY. | POUND THAT ALAEST AINTHING WILL WORK. PUT IT SOMEWHERE ELSE IN-the MIDDLE , FAIRLY INTELLIGENTLY. IT NEVER LET ME DOWN. OF COURSE, THE WORK W/OULDNT Be AS GOOD AS IF 12 HAD the TIME TO ANALYSE ‘oud THINS WHAT The HELL 1 WAS DOIMS, BUT AT SIN The MCRNING. WITH JET LAG, HOLDING The LAB BATH aud A GRUMPY Ci leit” PHONING IN HOURS, IT GETS YOM THRCUGH. 225NOW Wie COME To A DIFFERENT THING WiTH A SIMILAR. NAME ~ (Oeecareme acres, THIS /S WHERE THINGS MOVE iN PARTS, 2E EVERVTHING DOES NOT HAPPEN AT The SAME TIME, TAKE A HOLLYWOOD BULLDOG “TURNINS QUICKLY ARCUND Tes SFE SOMETHING Hs 5 Jos Wie HG HEAD APRS RAG AS HE ATs fps THEN Serre DOWN To NoRHA {HOST MISIIT HEP ON {eowe' mM” | DESTINATION an) KEEP ON GO} THE JARGON IS “The JoWLS aed FARS Dene” IVE Pow RESULT CF Bie Mey ACTON 3 THEN THe FOLLOW THROUGH? ENERRTED BY ‘i. MAN ACTION. “OVERLAPPING ACTION’ MEANS. OE PART STARTS. FIRST and OTHER: PARIS FOLLOW. Lisi TAKE ATYPICAL UITFERLY BLAND, BORNG DESIG LIKE THEY HAD FOR TV COMMERCILS The. (9508. “THis Pui. Nor Meck CeesTIRE To week Is GONs- Wit, TO TURN = 1S IF? ‘aud FACE US. 226COULD ConteiBute TO The. BOREDOM BY PUTTING IN Av EQUALLY PULL. BREAKDOWN RicHt IN the MIDDLE aud GO HOME, AS MILT KAAL SAl0, * Te) MOST DIFFICULT THING TO PO IN ANIMATION IS NOTHING. — YOU KNOW, THATS A VERY TRUE STATEMENT. Ried’, BUT HERES HOW WE CAN MAKE NOTHING’ AT LEAST INTERESTING... TAKE ‘he CURSE OFF THIS VERY ORDINARY BIT OF ACTION BY SIMPLY BREAKING The ACTION INTO PARTS. PASS. POS xe > rs a Fae gies mews $e Leth SIMPY MOVE — DELAY Tle HEAD “Tle Lars NOI The. THEN eveaRyTHINS PREY Nee The FECT PRs aed Te REST — STOMACH 2a) HIPS. SETTLES "RST, BUT NE STILL. DELAY The HEAD —_2ud"The HEAD. ‘Stuck Wir DoFS~ BUT THROU MA BLINK FOLLOWS LAST SINCE MOST OF CUR BODY ACTIONS START FROM The HIPS... PASS Pos WEILL MOVE the HiPS and TAKES A STEP. STOMACI Onige oor SLIDES © Serres. H srt DAY Si saan pols 2 IN MID TH FIST. is HEAD. ie BLINK: 227WE HAVENT EVEN TILTED HIS HEAD OR CHANGED HIS XPEESSION — BUT SIMPLY BY OVERLAPPING PARTS WE'VE INJECTED LIFE INTO A PEDESIRIAN SITUATION, land Fk HEAP ISTURAWG “fie, one roor wet at oder BACK Foor ASHE ey BRK ‘STEPS OWE SUES AS WEIGHT “Borne FORWARD 1S SHETINE VaR 48 he SEM. WE CAN GO ON LIKE THIS FOREVER... PASS POR, gg ad | | —S POT SLIDES Oe winks Serco Renta as Reo leas AS-ARM SHINES: AS HEAD DEAYTICHRD — DELAY Be HEAD = FORWARD “THeAS HEAD STL DELAYED 228NO MATTER HOW DEADLY ‘The ACTION IS THATS CALLED FOR.“ WE Ca MAKE (T MORE INTERESTING BY OVEELAPPING™ cD yy 3 ¢ XG << e > — - Se = SLIDES OTHRE Foor Suierey SEIS JUST ONE LITTLE DETAIL THATS DIFFERENT WILL CHANGE EVERYTHING fo SHIFTS WEIGHT au SHIFTS WEIGHT ABMS ShideS Poot 1 ONE SIDE Te OTHER SIDE BALANCE, ud SETTLES ACHE TURIS bes BLINE IEAD. HIM Fer IS SLDNG CHER 229SO) TO MAKE EVEN the DULLEST ACTION OR. FIGUIRE INTERESTING, WE BREAK the BODY INTO SECTIONS INTO DIFFERENT ENTITIES aid MOVE SECTIONS - ONE AT ATIME, CONSTANTLY OVERLAPPING. “fhe HFAD “the SHou.nees “the CHEST The ARNE “the PELVIS DRAPERY hte Legs he. Fer AND Vile CAN BREAK IT UP INTO EVEN SMALLER SECTIONS IF WE LIKE CConeision) PROPLE UNFOLD, OIE PART STARTS FIST, GENERATING Yi. ENERGY FOROTHBR PARTS TO FOLLOW ~ WHICH THEN ‘FOLLOW THROUGH? WHEN A FIGURE GOES FROM ONE PLACE To ANOTHER, A NUMBER GF THINGS TAKE PLACE dud EVERYTHING ISNT HAPPENING AT Yho SAME TIME. We HOLD BACK Of AN ACTION. THINGS DONT START OR END AT fhe SIMETIME. VARIOUS PARTS OF “ike BODY OVERLAP EACH OTHER, SO THIS iS WAATS CALLED IN “The CEAPT — OVERLAPPING: ACTION’. (SIMPLE COUMTERACTION e THERES NOT MUCH ToSAy ax ABOUT COUNTERACTION, OBVIOUSLY WE PO IT NATURALLY TO BALANCE OURSELVES. ONE PART GopS FORWARD AS ANETHER PART BALANCES BY Going BACK. OR ONE PART GORS UP AS. ANOTHER BALANCES BY GONG OWN, 230NOW WE COME To ONE OF ‘The MOST FASCINATING DEVICES iN ANIMATION — BREAKING OF JOINTS Te GINE FLEXIBILITY AND EVEN MORE INTERESTING + ‘SUCCERSIVE BeEAKWe-CF JOINTS T GE FLEXIBILITY, hes WE KEEP ON Deine 171 LOCSEN THREE UF. ITS QUITE A MOUTHFUL, THE PIONEER DISNEY ANIMATORS DISCOVERED THIS DiVICE aud ALL fle GOOD GUYS WERE DONGIT, BUT ART BABBAT WAS The ONE WHO GAVE ITA NAME. WHEN 1 NOTICED MILT KAHL DOWNG IT 1 REMARKED ON IT, aud MIET SAID, “OH, WELL, YOUVE GOTT DOTHAT.” ITH IE I SAID OF, NOTICE THAT Youre BREAKING “fhe JOINTS HERE SUCCESSIVELY |N ORDER TO 1 GWE FLEXIBILITY, “HED HAVE THROWN MMe OUT OF The OOM. ITS NOT WHAT ITS CALLED - BUT WHAT 1S IT? PUT SPY, (TS THES - c WHEN AN ARM he HAND Wits. GoRs uP Mee? OW Gong aud _ Sur ISGOWGTO og Be ELBOW JONT Come BACK BENDS oF BEPAKS OWN AGAIN — GONG BACK INTHE. OPPCBITE DIBECTICN ~ STARTING ON iTS WAY BACK DoW NX iG Ne “BEENING' MEANS. BENDING The JOINT WHETHER: OR NOT IT WOHED ACTUALY BENP IN REALITY. AND THEN WERE GOING TO KEEP ON DOING IT CONTINUOUSLY Asuctesstvely © TO MAKE THINGS LIMBER: 231GAM NATWICK The FIRST ANIMATOR. To REALLY DRAW WOMEN , ALWAYS SAID, “CURVES AGE EEAUNIFULTO WATCH £ IN The 1920'S GRIMS FRIEND, ANIMATOR: BILNOLAN DEVELOPED RUBBES HOSE' ANIMATION. IT WAS NOVEL aid FUNNY SINCE NOBODY HAD ANY BONES aud EVERYTHING FLOWED WITH ENDLESS CURVING ACTIONS LOTS OF VARIATIONS ON FIGURE 8S, ROUND FIGURES MAKING ROUNDED ACTIONS. Bur NOW WE CAN GET CURVES Witt STRAIGHT Lines! SUCCESSIVE BREAKING JOINTS ENABLE US TO GET ~The EFFECT OF CURVED ACTION BY USING STRAIGHT LINES. WERE FREED FOREVER FROM The TYRANNY OF HAVING TO ANIMATE RUBBERY FIGURES, | ALWAYS FIGURED THAT “DRAWINGS THAT WALK ‘ud TALK’ SHOUD RE ANY TYPE OF FIGURE IN AMY STYLE , MADE OF FLESH AKD BONES. “THIS OPENS UP & PANDCRAS ECK CF Suto WHAT AOL! WE CAN HAVE BONES. 2ud STRAIGHTS’ IN OUR-FIGURES aud) STILL HAVE FLUID, FLOWING MOVEMENT: BAY WE ) INBETWEEN Vv oe —_ V) Te f a. aoneup. | \ \\ I | / . ang STRAKGHT HELPIT EY Dad i BETWEA L PRASEING EASE IN PASS PES in fh. HAND 2nd OUT rf \ A f \ \ Q x {TS GONG Te BE STIFFAS A BOARD. 1S STIL AWFULLY RIGID. 232\ om WE WONT DUCK the PROBLEM WITH A RUBRERISED ARM - eye Bur welt dad BREAK 2 BREAK (REND) IT AGAIN v1 Gud BEEAK The JONTS (TACAIN THEN The STARTING wm WRIST “Thee eow alts ™ apenes wafers Bena Fis Beak pow fe PASS os “ns aio ory 4 Look meee 460" THISHAND IS. MTHS EXAMPLE ALL The BENDS OR BREAKS ARE PHYSICALLY POSSIBLE. WE HAVANT HAD TO ACTUALLY BEND OR BRENC ANYTHING The WRONS way Yer. 5 But WECAN 233Let pO It AGAIN: ~The ELBOW LEADS 2d “The JONTS BREAK It SUCCESSION - (| SLWars Thuakor IT AS°DOS BRQUIS’ = PNB x MEXICAN BEER DE COURSE Hs wr wie sare) Hise MoS, 234A THING TO REMEMBEZ IN BREAKING the JOINTS SUCCESSIVELY IS ~ WHERE DOES The ACTION STAeT? WHAT STARIS We VING FIRST (8 1T the ELBOW? The HiPS? The SHOULDER? HEAD? IN MOST BIG ACTIONS OF The BODY The SOURCE The START OF The ACTON 1S iN Te HIS. DANCERS SAY. “Go FROM Your HIPS, LOVE. FROM the HIPS, DEARIE. 7 TAKE A MAN SLAPPING A TABLE: “The ACTION STACIS FROM HIS HIPC— thnks Zap tele Fowusen HIPS START MeNING ELBOW BREAKS Downy ANTICIPATING HIM OYE aed UP AS HAND CONTINUES LP His Move ew BACKWARDS aed UP ELBOW LEADS: STARTING FOWN NOW. WE HAVE LOTS OF LEEWAY 10 ACCENTUATE 9ul EXAGGRIMTE BREAKING JOINTS PECAUSE iT HAPPENS ALL Tuc Time IN REALITY. Re 235LetS KEEP ON HITTING Ths TABLE - ITS AN AWEULLY GOOD EXAMPLE OF HOW We CAN ACHIEVE The SAME FLEXIBILITY ASRUBBER HOSE’ ANIMATION BY BREAKING The JOINTS WHEREVER. WE CAN — GOING UP ~ “The ELBOW LEADS aude HAND PRAGS. FE Hall IS CLOSE TOF] Look AT the. STUEF GOING ON IN HERE ~ = iz. Tue vast Tne tonamen is. “fhe. ARIN 5 Downe Bur The, FINGERE Ate STIL DELAED. 236ONE MORE TIME - SHOWING The IDEA Simply. NOW HES GONG To BANG HS FIST OM the TABLE ARM GOES Down HAND IG ae foREARM Sr. GONE UP AS HAND GonrauesuP GONG Ui ELGOW = oN wes AS FLEON ~ PROBARLY LeaDS GOING ae BAM AS Ol The PRECEEDING P16 6 ‘ “The: BLEOW HITS The TABLE FIRST = FOLLOWED BY the. FOREARM Bad FIST = MORE UNFOLDING. ae IF ALL ThesTOINTS BO NOT BREAK AT The SAME TUE WELL GET ALL The FLEXIBILITY WE'LL EVER. NEED, ) Sy _ — ee ITS LIKE WHAT WE Do WHEN WE MAKE A PENG APPEAR RUBBERY. AND ITS JUST WHAT A BALINESE, HINDU CR CRIENTAL TEMPLE DANCER OB A VAUDEVILLE ECCENTRIC DANCER DORS - AND fikED ASTAIRE! “THY ONLY Gor STRAIGHT BONES: aud TOWNTS TO WORK WITH Te GIVE The ILLUSION OF CURVACEOUS, LIMES MOVEMENT 237BEATING ONA SASS DRUM HAS A VERY SIMILAR ACTION TO SMACKING “Tle TABLE. 8 CW LOOK AWFULY COMPUCATED AT FIRST Bur You QUICKLY Ger use io Woud USE IT EVERY CHANCE You GET. ITEECCMES SECOND NATURE dud SM PLE. IN REALISM = 238OF COURSE, PRUMMERS DO ALL KINDS OF SPINS ad FLOURISHES - : BUT THIS 18 The BASIC PATTERN - oo COMING DOWN = GOING uP Wie Cou a2 ‘srrenenT Fron? 10% OF ADD IK #74, WHOSE ara COU ARRIVE SAME ASS Fut DELAY tte MANE AN DRUWSTEK, \ | “ie t-te PATTERN ~ te |DA \ 115 or Yok Good SPACHe Wineil Needs WORE VRCIETY Result: CURVACECIS, UNFOLDING MOVEMENT — MADE WITH A RULER. (os Qa 239AN ORCHESTRA CONDUCTOR. BREAKS JOINTS IN SUCCESSION LiKe CRAZY. wexreEMe veto 7 a © 2 3 + > 5 a ( | +e Z } A ELBOW GOS FORWARD 4 HAND 2d BATON GO BACK. WRIST BREAKS FERWARD (AS ELBOM, FNGERS, BATON 0 BACK. Lets TAKE the VERY BROAD ACTION CFA MAN SLAPPING OUT A MUSICAL BEATAND THIS 1S A REDUCED ACTION FDR A CONDUCTOR v«+ 10 tt as he >) 4 _ Tia fu Gs Feeinne NPST KREG BACK 5 Figs) AND ad WR 6D BACK ELECW GOES BACK FoleTHee eal, BATON COUTINUE FORWARD AS ELBOWARRIVES FORWARD: ‘dad RLEOW STARS FORHACD IT LOOKS COMPLICATED, BuT WHEN You START TO THINK THIS WAY, Iv AINT: ITS BASICALLY “The SWE ACTION AS HITTING (Roney ast) “the TABLE OR: BEATING The BASS PROM Gy OR A FIST BROADLY KNOCKING ON A POOR - 3 4 s ese mote || tl dig tin 241THERE ARE LOTS OF SIMPLE LITTLE ACTIONS WHICH CAN BE ENHANCED WITH JUST A TINY BIT OF FLEXIBILITY. SAV, AHAND CLAPPING ~ ~~» we nak IEE Lf WRIST LEADS -TIP DRAGS GOINS UP WRIST LEADS ~TIP DRAGS Gon DOWN AISO, If HELPS DRpL ACE gu “The PALM SLIGHTLY ON the HIT” IF the HAND StAYS IN BON) “fhe SAME PLACE iT Wee NOT AFTER THEHIT ) , LACK VITALITY. DISPLACE The HAVD THATS WHAT WE FEEL IS the BEING HIT SLIGHTLY. h PISPLACEMENT ofthe HT AGAIN, We CouLd BO THIS: + “R= “DQ ge Sa = t i t EO eZ BE BREAKLONN AS PReViis =... WRIST BREAKS AS (At Be HAVEN OR: CouLD HAE CE the FINGEES KeeP RISING — INFETWEEN GOINSDOWN INBETWEEN Goins: DOWN Ss AND Til DISPLACE “the PALM ON The HIT: Sc ste Mt ONE INBETWEEN WRIST COULD ARIE FIRST 242OF Cowee, APPLAUSE (WAY BE LIKE THis- SPANISH FLAAIENCO PERSON CLAS SO We'd Draw IT THIS WAY, OBVIOUSLY - DIFFERENTLY. TIPS OF FINGERS 1T PALM is AND ORVOUGY A WRESTLER CAPs DIFFERENTLY \ FROM A DRUNK OR A DIPLOMATS WIFE-OR A BABY. Bur The PRINCIPLE IS STILL THIS A NUMBER. OF JOINTS BREAKING, ONE APTRR ANOTHER, HAND Covtrives uP AS ELBOW Goes Doma THEN Weis ed 4 i | Bebe Gens uP \ “tee HIT Ss SS eZ A VIOLINIST- GOING UP The WRIST Leaps Come Donn! The WRIST SribL. LEADS audtie- a NG HAND Drags. . A PRASGING ¥ esc NS ALHAND FLAPPING ~ CALA ITALIAN ) a t VERY RAPIDLY (ON ONES - a4 t 243EVEN IN A LITTLETTHING LIKE THIS WE GAN GET FLEXIBILITY ~ a & 7 | VS fl Bitr ON te way DOWN DRAG ‘fhe BETWEEN x TE OFEN THESE FINGERS A SreAlcar INEETNEEN GaWNE UP WOULD BE OK. SAY WEIRE HAMMERING A NAIL AGAW, WECAN TAKE ALLTHIS Teo FAR. BUT The THING (S Taki SomeOues HANDS. KNOCKING TOGETHER é 1 GONE ‘Goopy, ccovy” é . é Mate We JUST WANT a : A FO INBETWEEN IT PAVOHEINe The ANTICIPATE 244 c es ff TA OT ce TE WE HAD & BENE PRELING OF CONTOT A = BETTER Gone WP WHEN is PRESSUR 16 RELEASED. aid PRESS URE TO BREW HTH Te KNOW IT'So WECAY USts(T Wie WE Wan (WHICH Wis B& ALOT.) oA AND iT WeULD BE FINEIT MIGHT NOT BE NECESSARY 7 ‘OveRANMare rr WiTH BROKEN JOINER - But MAYRE IFS Goon.” Ler8 TRY IT Ay | s 2 - a The wesrs Leap )] Chow: NOW HOW ABOtiT THIS FOR. PULLING Ir APART? 4 5 os Bb . ‘ 2S) re , GC co a ad : : BLEOWS Go FIEST - ANP COME IN A BIT THEN WEisis LEAD Cur AS HANPS FLOP Ove. @ IT MIGHT Be NICE TO HAVE Just ONE BREAK - < P Se PR Cg et INS A A MATIER OF DEGREE - WEP SHOWN? THESE DEVICES aw PRINCIPLES IN The RAW- IN “The. CRUDEST POSSIBLE STATE TO MAKE IT CLEAR TO LIMBS THINGS UP —TO SOP THINGS BEING STIFF OR STUTED- WE CAN USE THEM INCREDIBLY SUBTLY C8 OVERUSE THEI 30 THINGS GO RUBBERY OB MUSHY. BUT ITS SURPRISING HOW FAR WE CAN GO WITH BREAKING JOINS Deg) HAVE IT WORK BEAUTIFULLY. 245poo ( FLEXIEILITY IN The FACE TIERES A TENDENCY To FORGET HOW MOBILE Oule FACES REALLY ARE IN ACTON -AND ITS ALWAYS SHOCKING To SEE HOW MUCH DISTORTION THERE IS WHEN WE LOOK AT LIVE ACTION OF ACTORS’ CLOSE-UPS FRAME BY FRAME.THE SKULL OBMOUSLY REMAINS The SAME RUT THERES LOTS OF ACTION HAPPENING BELOW THE CHEEKBONES. OUR UPPER TEETH DolT CHANGE POSITION AS RiEY RE LOOKED OO Olle Ku. “THE HINGED LOWER, JAW ACTION IS PRIMARILY UP and DOWN WITH A SLIGHT LATERAL MONOI. SE ALD HOW SMALL “the LOWER TAW IS HINGED IN FRONT OF the EAR. IT CAN APPEAR, ART BARBITT OFTEN TOLD OF HOW, AFTER. ANIMATING “the BEAUTIFUL EVIL QUEEN MAGIC WRROK ON Tie WALL’ SCENE WW SNOW WHITE aed the SEVEN DWARF” (4 DEGREE OF REALICM THAT NO ONE HAP EVER ATTEMPTED BEFORE, LET ALONE SUCCEED IN ACHIEVING,) HE BECAME INHIBITED WHEN ANIMATING CLOSE-UPS ON The 7 DWARFS. HE GOT HELP FROM The OTHER TOP MEN IN DARING 7 COMPRESS and DISTEND The FACES. HE ALWAYS Sib,” BE SBME, Dow BE AFRAID To STRETCH The. FACE.” and COMPRESS iT. “Theeek 4 TENDENCY TO HAVE & BIMPLE MOUTH SQUIEMINE STRETCH IT 70 MAKE AROUND = FLOATING IT AN INTEGRAL PART ON The: FACE OF the FACE. THERES A TREMENDOUS AMOUNT OF ELASTICITY IN OUR FACE MUSCLES. A WAN SMOKING y A PIPE > Leavin ) our Tou PIPE SUCKING: IN 247TAKE ons FOR EXAMPLE ©) IOS Qoee cheek, FACE, NORE 49d) a Be We COULD GO FROM ANY OF THESE POSITIONS TO ANY OTIER W ANY SEQUENCE, VARYING IT. SHO ROO “The CHEW Cai) PULL Ti, NOBE AROUND - GuLp, AGAIN, WITH SQUASH Oud STRETCH, WE TRY To KEEP The SAME AMOUNT OF MeAT- IF YOU TOOK It OUT oud) WEIGHED IT=IT WOULD WEWGH The GAME. Au UNCOUTH FELLOW - Sup Rome BURP, 50, AGA, VTS WHO IS CHEWING ? FAT, SMALL , OLD, CRA2Y, INWB/neD? A SOPHISTICATED PERSON CHEWING VERSUS & TRAMP WHO HASNT ENTEN Foe 2 WEEKES? 248HERES ATHING YOU OFTEN Se SEE GOOD ACTORS DOING: SAY SOMEONE GETS FRIGHTENED - \ - a WK rg eo FROM ONE iv “ IN SECTIONS - = “tcomason & 9g ACTION WORKS GS 9 A WS way FIRST the EVE - THEN he NOSE Teal Toe MOUTH THEN Fa HAIR (OE) VICE VERSA -WORKS TE WAY UP the FACE - \\Y _~ GRE 4 3 js ; FIRST tue MOUTH. THeN “the NOSE. “THe the EYE THEN Tre HAI. SwHAT FEOM SQuINT- 3333 JD BYE OPASFIRST- OSE SrRAIGHTENS - JAW FAUS = ud) OPENS ) 249START WITH The EYES —THEN KEEP Gone The CHINGE COWD TRNEL ACEOSS The FICE: AS The MOUTH OVEELARS ad STRETCHES ~S —_— a - Gp OPPOSITE - we aos Fest hie Partie A BRAVE FACE OW IT- ID LIKE T ANIMATE ONE SIDE SEPARATELY and THEN ANIMATE The OER. 250CINSTANT READ ~ PROFILES FOR READABILITY ) THES HASTO GO IN the. BOOK SOMEWHERE aud IT MIGHT AS WELL BE HERE... S oR eur te waar Next? A X (ruins), (A) -. OBUOUSLY... j “The NEXT EXTREME WHERE SHELL SWAY , Tote OMe SibE—_, ~ CauTHiS% ta \; BECAUSE WHEN TACT AT Our \ J TAKE ABOUT YA SECOND To SWiNs \ SIDE oud | \ te Beet Sine x = [ SECOND OVERALL. 252NOW IT LOOKS + + + LIKE (7S Att GOING TO WORK~ and WE CAN KIND OF REFAX, BREAKING IT DOWN FUeTHER Bud ENTOY TAKING ON The REST Err BY BIT PUTTING IN The HANDS CiRCLING ud OTHER Curvy Ens. “The CHAR ARE SIMPLE @s7 GOING OVER —> 3 aud COMING BACK je qa! 23 26 @ ‘4 A a 254“fIIEN ADD IN ONES THROUGHOUT — Butr THEYRE JUST BRAINFESS INBETWEENS TO Seow nee CUT FURTHER Ger TG Gee 8 © Bs Beth Bre baxt Grass cane out pesr Fike, Din MED any comecrens) 255WEIGHT ™ “THE FIRST QUESTION | EVER ASKED MILT KAKL WAS: ‘HOW DID You EVER GET THAT JUNGLE BOOK TIGER TO WEIGH SO MUCH?” He ANSWERED, WELL, | KNOW WHERE the WEIGIT (S ON EVERY DRAWING. 1 KNOW WHERE The WEIGHT 1S AT ANY GIVEN KOMENT ON the CHARACTER. 1 KNOW WHERE The. WEIGHT 1S, 200 WHERE I COMING FROM aud WHERE 11S Just TRAVEHING OYeR- 200 WHERE The WEIGHT IS TRANSFERRING TO.” Wee ALREADY SEEN THAT IN A WALK WE FEEL tue WEIGHT ON the DOWN RSMON WHERE The LEG BENDS AS IT TAKES the WEIGHT, ABSORBING The FORCE OF The MOVE. Bur HOW ABOUT OTHER KINDS OF WEIGHT? OB JECIS -LIGAT? HEAVY? HOW PO We SHOW THAT: ONE WAY WE CAN SHOW HOW HEAVY AN OBJECT 1S - -18 BY “the WAY WE PREPARE 1 PICK IT UP. “TO PICK UP WEIGHT WE HAVE TO PREPARE FOR IT -Te ANTICIPATE the WEIGHT. OBVIOUSLY PICKING UP A PIECE CF CHALK , A PEN OR.A FEATHER DOESN'T PEQUIRE ANY PREPARATION - r, WE CAN SUGGEST WEIGHT RY JUST HAVING Hin. PATA HAC SENE WALK AROUND IT ~ SIZING IT UP > BAD. No FEELING OF WEIGHT HowS He Gowe-Te DoTHIS? Hes CONSIDERING ITMUST BE A POLYSTY REE ROCK: WHATHES GOING TO PICK UP. HOW HEAVY (ST? HES ANTICIPATING WHAT ITS GOING % WEIGH « 256MAAYRE WE PONT HAVE The SCRENTIME TO HAVE HIM WALK AROUND, BUT ONE Ws) OR MOTHER, HES GONG Te ANTICIPATE Bre. WEIGHT Sern” & de HE'b CERTAINLY SPEEAD HIS FEET FigsT AND BEND HIS KNEES « AND GET AS CLOSE TO Tu WEIGHT AS POSIBLE, fe ® we ADJUSTS HIMSELF Bopy GOES RACK TeIES To Ger $c AST NOT DAWASE = AS HE LIFTS UNDERNEATAT® = RK ACH SE, He PORT eS ARCH REVERSES HeaD Srreneeres WEIGHT - miGHT REVERS! WANT A HERNIA. ADJuST FEET IN AS He TRIES Une BITS — TOGETA ERRATICALLY PURCHASE. - ~ Aen Sse fl TENS « | ket > Pea GIPACIMENE - KNEES saake ‘FMS BACK OR UMATEVER,, 257i LIS aN a A MAN CARRYING A SACK OF POTATOBS ON HIS BACK BENDS DOWN TO COUNTERBALANCE “the WEIGHT Te WEIGHT FORCES: HIS RODY CLOSEO- 0 The GROUND, KEEPING The KNEES BENT 2ud MAKING Te FEET SHUFFLE ALCUG. The FEET ALSO SPLAY CUT TO FORM A SORT OF TIAIPOD ] SPREAD The WEIGHT OVER. A LARGER AREA Feer APART Fer Dour Kies Cone OFF ALWiNe BAT The GROUND WeRY Mac. gr "TOF DIFFERENCE IN THESE WALKS CR. BUNS (S DETERIMIMED BY The WEIGHTe RB2SON MIGHT BE CARRY Ks PERSON (S CARRYING A HeaWvY RECK- “The WEIGHT WOULD LOWER The SHOULDERS oud StRECH the ARMS. The HERD ax NECK Goud COME BOHN. (Paczo stein arse) ele Move AGAIN, The MORE SLOWLY PASSING FOOT ud he BODY With HARDLY WiLL RAsE LEME The G£OuND OMY SLIGHTLY ad Nhe “The Knees WIL PASSING POSITION CeWAN GeNT ye TIME But the Beck a Vex wins. NOT PAISE —> dj FROM The WEIGHT. Aral, “the Timing oF The. Pet COuwL-D BE ERRATIC ~ §& STEP PAUSE, STEP, STEP, PAS, STER PAUSE, STEP, STEP, STEP Pause, @® te CouD GLOE RAPIDLY m8 THe DROP IT 258A HAND PICKING UP ASIC HANDKERCHIEF LYING ON “The GROUND ENCOUNTERS NO RESISTANCE - BUA HAND PICKING-UP A BRICK~ LETS CONSIDER WHAT HAPPENS TO The WHOLE BODY ~ ANGLE OF HEAP Cou Cros “He Weickr x — Sh “The ARM IS He Pe Te te BRICK WW The RIGHT HAND. PICKING UP A FEATHER. ISNT GOING To HAVE ANY EFFECT ON The Body. SEY CF SS REVERSING The FEATHER SHAPE A To Sue ti toe. MOVE MARES The FEATHEREVEN, FIGHTER. OF Course, ONE WAY70 GET WEIGHT (So BE CONSCIOUS OF IT. “The. GREAT ANIMATOR, BULTYTLA SAYS — “The FONT 18 THAT YOU ARE NOT MERELY SWISHING A PENCIL ABOUT, Bict YOu HAVE WEIGHT IN YOuR FORMS sue You DO WHATEVER You. POSSIBLY CAM Wri THAT WEIGHT “Te CONEY SENSATION. 17 IS ASTRUGGLE FORME ad | AM CONSCICUS CF IT AML Tee TM” 259A HAND PRESSING: ‘Ov WATER SAY & Ha PRES ANA Falcon: “The Aen INST ‘STeAIGATL Kare a tte ue DSPLCg Saxe OF “Take ur Wen Lt RRR ON Tee WATER. 5 DROP A FEW THINGS WHICH FALL AT DIFFERENT SPSES BECAUSE OF THEIR WEIGHT ang) WHAT THEY EE MADE OF. A SUK HANEY Ase WOULD CATCH A CERTAIN, AMOUNT OF AIR AS IT PALS ee aes CATCHES Bor DROPS Ae PEs wile TAND IO FLOAT + Piet — IT wont Linge IN The AIR + eae Ale mus i be SEE ie LS —_Y_Ee —— Za NN TARE A CHINA Cue = a IN REALITY the CaP WOULD PROBABLY SHATHER. ON IMPACT BEC WE CAN HAVE (T BOUNCE AROUND A Bit. TAKE LIBERTIES Win REALITY But MAKE IT APPEAR RELIABLE. if \g® a TREN IF SHarTeS az 2S ESS 260A FALLING LEAF WILL LINGER IN The AIR” 9 AIR CURRENTS WIL AFFECT IT- ITS FAL IS BEING RESISTED BY The AIR. p & he TIMI CE TH e WOULD Ba SOW a) GRUCEFUL. Sa ce Cay La Se eet Cac in sag sexs eae WATE. ~ A SLOW SKID TOA HALT: ° A PEBBLE DROPPING INTO WATER. COPY) DOUGH FALLING Oy A suscemup- ™, {\ 2 A vit, ornare f Sete ae aS SAME SORT OF THING WITH Py 1A Piece OF PAPER PROPPING LY a . Ts See 261FRESSUE tad WEGHT-) NOT MUCH PRESSOR PRESS Te Stee - reget FLATTEN END oR STRENGTHEN FOR PRESSURE Y 1 FURTHER. Suppose the SURFACE IS SOFT - CloTt eR RUBBER ~ IT WOULD GIVE wc Seip he Pees Ensees awe ARE y PRESSURE AGAIN, IN PICKING UP SOMETHING HEAVY, “The | WHOLE BODY WILL HELP IN PICKING UP A PENCIL AND The SOBRCE OF “He SCURCE oF The ACTIN “he ACTION ISN the HIPS. 16 INT BLE, OBVICUSLY a Nor | Peat Te HIPS X 262AVERY HEAVY BOK FALLING A HARD GOLF BALL FALLING™ A STEEL BAL. OR BOWLING BALL FAME. ods WO To eee. the IMPCT The ROR IS PARTINEY Chew SH Te Cotter At Tis MOMENT OF INERT, reromner sow PRESSURE IS PART OF WEIGHT - Foucnns 2 estes Basson PRor ve ( AI \ L _ 1 | ~ JE We PUSH HARD eNCueH OUR HENS Wile BEND 2a CURE Wit SLIP CR SUPE. } \ . WN) THERES REISHNCE Commu FROM The THN WE'RE TRYING To MOVE 263HOW MUCH EFFORT Po WE HAVE TO EXPEND @ To Move SOMETING? @ TO CHANGE ITS DIRECTION? @ OF To SOP IT? WILL INDICATE HOW MUCH IT WEIGHS. COMING TO A STOP IS PART OF WEIGHT= ad REESE ACAD Hh THEN WE GO INTC CORNEXT ACTION it 7 Re a (== aad WEAK POINT PREPARING — BoDY RACK Spictimy BORN FeRWARD GOING BACK FIRST IN the OPCOTE PIRECTON MAGAIPIES Ys PESUET, “TAKE A SIMPLE THING Lite STARTING A WALK NOW, MAKING The ACTION STRONGER - ( UNMATURAL Os The oBvious Way TO SARTA WALK 7B GoTo Nis Leer wit The: ($70 SAO Wo FARTHBCT Foot HIS LEFr Foot Fron the Sar: fhe. WALK DIRECTION \ WOK the FCOT WEEE GOING. NAREST 76 WRonG = WHERE Hels GoW ~ 7 276Bar HE COULP ANTICIPATE “the WALK WiTh HIS RIGHT Foor Like THIS = Bis ReHT Foor (COULD BACK UP 4S AN ANTICIPATE ~ ® ALTERNATIVELY HE COULD ANTICIPATE HIS WALK BY BACKING uP To FREE { AIS RIGHT Foot | To SP OVER. AN A Bauer LIE 1S. AN ANTICAPATION BEFORE JUMPING UP IN The Ae To Do AN ENTRECHAT = WIGGLING FEET We co DOWN BEFOREWEGO Ut A MAN ON A DIVING BOARD ~ Q ATP Qo 0 0 O J plore ¥ ANTICIPATE Z Ve ——— —~<& STaer WiMk Wicecr/ Le (ree srou Reveses) ” hows :) cess SS 277ALLER TAKE A Hi IRITING = Its Fe CI = pf eenanLaR® _f x \ IN Le a a BUT JUBT BY PUTTINGIN ASMAL ANTICIPATE UP BEFORE HE WRITES ~ WE Foe. The PERSON THINKING. LE SS aan x Wea = ee oat, THEATRICA. i SHO & @ 15 HF wo tA ef ¢ oe lIS STOCK IN TRADE - Age et ames, + |} fi ye Rd POSIP SOMECNES GONE To HIT SOMEONE The anriciparion HE WOULD TEUS US EXACTLY ANTICIPATE BACK WHare GONG Te BEFORE SWINGING J HAPPEN. FORWARD a Kz IN “The EARLY DIYS CF ANIMATION the. CONTACT WAS LIKE HITTING A PUDDING — He Ute yas. uslay HAL Foe 4 Fennes, RNED HOWTO DELWE? A PUNCH FROM ART BABRITT. VER SHOW the RAND HITTING Ths CHIN. SHOW The HAND ihe CHIN aud Tae CHIN HAS MOVED our oF PLace!” “é ite usceour TOpay WE JUST "a foracr SHOW The Recurt aad SHOM THERE Is He Ha No Fone Butring OF CONTE PONT 2 lores “the IMPACT IEW HARRIS TOM? diz THIS (S WHAT THEY DIDI OLD WESTERN FILMS. THEY WOULD EDITOUT. “Hee POINT OF CONTACT’ FRAMES TO JUST SHOW The RESULT OF The HIT 0) PUTA BIG BANE ON IT: SO, WE Pur toe SOUND HITT WIEN The FISTIS PAST Te FACE ~ WHEN “fhe. CHARACTER IS DISLOPEAD ud te ARM SWINGS THROIGH, WE GET fie IMPACT, The STRENGTH FROM the, DISPLACEMENT AGAIN, The ANTICIPATION (S- We PREPARE FR Tie ACTION. WE BROADCAST WHAT WERE GONG T Do, “fe ONLY TROUBLE WITH ANTICIPATIONS 1S THAT THEY CAN BE CORNY. “the. AUDIENCE GOES, “AW SURE, | KNOW, ( SEE, NOW YOURE GONE TO DOTHS «+ BORNE! © THEN The GREAT THING (S TO DO SOMETHING DIFFERENT- A SURPRISE ~ ‘nies CAN GE VERY Funny (O8. SHOCKING) JUST PONT DO WHATS EXPECTED. 280WE CouLD SAY THAT Aw ANTICIPATION 1S AN EXPECTATION OF WHAT WiLL OCOUR. THE AUDIENCE EXPECTS SOMETHING Te HAPPEN BEFORE IT ACTUALLY HAPPENS. A SURPBISE GAG WORKS WHEN The AUDIENCE READS ‘The EXPECTATION nud EXPECTS A CERTAIN THING TO HAPPaY ud THEN SOMETHING QUITE DIFRERENT HAPPENS ~ : / The INHALE IS ACTION ees Tle ANTICIPATION a ~~ ly a NA, If ¥ Wy ( WZ ' of Uj ~ % Li INHALE * ANTICIPATION ACTION INHALE * MORE MORE ACTION, ANTICIPATION . ~& | = by 2. 6 Pe Za w Freer! 1 v \ Ss y ! Z Zy is A \ MORE iNHALE ACTION PEACTION MORE Yer WORE = MORE ANTICIPATON Ce ReSutr REACTION REACTION. 281Csuepeise ANTICIPATICNS ) auricieare Cg war Fee ir = AcirictPare 282 sireonce ANI Py j fi. Ph > Li AwneiaTe—— . INVISIBLE AN TIONS, A WAY TO GET SNAP’ WHICH ANIMATORS ARE ALWAYS TALKING ABOUT IS THIS: SAY_A CHARACTER. SEES SOMETHING MILDLY SURPRISING dud LOOK UP SLIGHTLY - S aN a \ @ S Qe = \ ‘ f TrRAMe (FRAME ‘ WE PUT INA VERY FAST ANTICIPATION ~ 4 DRAWING OB TWO IN The OPPOSITE DIRECTION FROM WHERE WE WANT TO, GO. ITS 700 FAST FOR the EYE To SEE IT ~ 18 Jue FoR. ONE OR TWO FRAMES ~ ITS INVISIBLE TO Te VE BUT We Fee IT TaIS GIVES IT fle: SNAP SAY A SOCCER GOALIE 1S GOING 7 STOP A BALL Wit A CIRCULAR FOOT FLOURISH — 2 s Prt Op 2 THEN Moms IN OPRDSITE DIRECTION > _s Gos UST A ONE FRAME A ANTIC/PATION WiLL DO the TREK: OF CouRSE, The FOOT FLOURISH (S ISELE AN ANTIC|PATION OF CATCHING “lee PAL- 283THIS DEVICEGMES AN BeRA PUNCH To AN ACTION BY INVISIBLY ANTICIPATING ANY ACTION. ITSThe SAME THING AS A NATURAL ANTICIPATION — JuSTEO The. OPPOSE WAY FIRST — BUT ONLY FOR ONE, TWO OR THREE FIRAMES. A BASEBALL. PLAYER HAVING CANGHT A BALL COULD ANTICIPATE the ANTICIPATION CF HIS THRO y Lat \ ANTIC.. FORWARD FOR ZFPAMES- NON GO BACK INTO The NORMAL ANTICIPATION — rt IA, ie CONCLUSION : WHENEVER POSSIBLE WE TRY TO fe AN ANTICIPATION oR armeiparest) BEROPE “lee. ACTION. TYTLA SAID, ‘" " ge SIMPLE BE DIRECT. , AND BE CLEAR.” * BE VERY SIMPLE MAKE A STATEMENT a8 FINISH [T- smPLy.7 | WE ANTICIPATE ‘he. ACTION 2 DOIT 3 aud SHOW WEVE DONE IT, ANTICIPATION LEADS ON NATURALLY RIGHT INTO “TAKES oud ACCENTS’ —~ 284TAKES AND ACCENTS A“TAKE IS-AN ANTICIPATION OF AN ACCENT WHICH THEN SETTLES. ACCENT LE OF SN Awrici Pl SS ) wh 2 / Fl \\ le See Wh arena cagA ret TS: IS The. BASIC PATTERN OF A CARTOON ‘TAKE. HERE FOLLOWS A BUNCH OF FORMULAS aud VARIATIONS ON HOLLYwcOD THES WORKED OUT IN “The IYOS Pad 408... 285SUT WHILE WERE ATIT, WE COULD STRENGTHEN OuR BASIC TAME BY ADDING IN A SLIGHT UP ANTICIPATION OF the DOWN ANTICIPATION AS HE TAKES A CLOSER FooK- Saw sor sees “ JY ce) &( A &/ \f \ NX I '}) Lif WA \ Suesrup \Ss 0 eee, “the ANTICIPATION DOWN SoS Dont SETTLES HERES A FORMULA FOR AN ORDINARY STRAIGHT UP aud DOWN TAtE (458 rect ee ) (‘ste DISWEY- TYPE TimiNs) ¢ : ect ee ‘| . (@\ weveghiaw | te iene —_ 5 Yh SMM eR Posion = QO promt AR. Geet d ty WA 6 qo ny — (TEN ~ ye ™ 146 cor & B10 12,16 Hi i fed! OWN ON THOS: HP ON CNES (We OWN ON TOS: SIMILARLY ~ i Z We & i Lf 2 K / . poHN a OHS | + 6.78 9 9 ow er of 2 84S H+ be 6) |}-—-++H! UP ON ONES. DOWN ON TWOS 286Hees the SAME THING EUT WITH (4 Reames = :) AGAIN, The ACCENT S r WARNER: SHORTS TYPE TiminG— | gust cree f, Sec Ge a8 EE 6 i eweoune f 7 1 ') Down WIA. ee o 4 ) &B A (8) AGE Sy “Ger u pow / 287 i eqo pak ON THOS. 4 THB 4 OWN ON ONES SANE THING FeOM The SIDE - i . 7 oh co 5 a © EES A - Pop @ s7 Freon go" Beit row 6 & ones 708 B ‘SAME THING Win the BODY-BUT ALL ONTWOS, CINE One FCT =% SEC:) 3 THs. + We CAW EXAGGERATE FURRY THING AS MUCH AS WE LIKE IN The DRAWING BUT THESE ARE STANDARD TIMINGS. 287HERES A SIMILAR: ONE- “The CHARIS ARE The SAME AG Tite MOUSE ~ALL ON THOS - AGAIN The ACCENTAT (2 FELT LiKE AM ELECTRIC SHOE ad 8 ALREADY OF ATS WAY 1OHIT t / S57 PoP Gu BIS IT Twos |__| Fro bot THESE ARE SOLID WORKING FORMULAS - BUT WE CAN START BEING MORE INVENTIVE — Le@ Take ONE THAT LASTS TUST OVERS FOOT (19 FRMMES) "ge ON Twos, 288NOW LETS MAKE IT KINDOFA DOUBLE TAKE. POP tin HEAD WELL KEEP the SAME CHARTS BUT DRAG HEAD SHAPE, BYES FROM SIDE TO SIDE ond KEEP IT SQUASHED" 21d a CNS WAY UP TO #11 lo Onn 14 \ o ce a “ is 6,19 a ih | +f} l aa aud BACK Pow ON TOS SHOWING IT THIS WAY ~ 99 10 it ——| TC ii WE SHOULDN'T WORRY ABCUT DISTERTED DRAWINGS OR IMAGES. LIVE ACTION HAS TERRIBLY DISTORUEP FRAMES BUT WE SHOULD REMEMBER WHAT the ORIGINAL YOLUME OF A CHARACTER IS - ANP NOT STRETCH md COMPRESS FORGETTING THIS YOLUME— SO THAT The CHKCACTF CHANGES OVERAH. SIZE. MILT KAHL SAID, "/ Keg? the SAME AMOUNT OF MEAT IN A TAKE” HIKE MADWE SHOULDNT BE AFRAID OF DISTORTION IN-the INTERIOR OF AN ACTION CUR DRAWNIES OR IMAGES MAY LOCK STRANGE, BUT WE REALLY ONLY SEE the Si@RT oad END FOSTIONS. WE FEEL the DISTORTION WITHIN a2 THATS WHAT COUNTS. THERE IS WiLD DISTORTION aud LEN IN LIVE ACTION 44d WE CAN GO FURTHER — Gog pow ANTIC. Beboey S POWN antielbarcn ©) AB foe ees YoWb exter ee ‘BEND THiS” s) ) (i. (’ (ey BUT LER: DELAY the STOMACH AREA FOR JUST 2. FRAMES OR & FRAMES OR 4 FRAMES - “the STOMACH GeRS Down AFTER The HEAD rb BODY Have BAY STAYS PUT- Gane INTeRNAL. SHRM SETNED The AMS COWD MOE WTO aud COMPRESSION . A POSITION To TAKE Tike CURSE OFF The HOLD, “the HEAD COMLDGO UP AS The 12E5.GO DOWN WHICH IS AN ANTICIPATION OF AN ANTICIPATION - TitIS IS HOW TEX AVERY DID HIS WILD, CRAZY TAKS = EXTENDING OW A SeRIES OF COMPOUND ACTIONS - DELAYING BIS, OFTEN JUST 2 FRAMES APART — &\ SERIES OFACTIONS =4 CUMULATIVE RESUIT? 290ART BARRITT HAD A GREAT EIMBELLISHING DEVICE FOR The HANDS AT The END OF A TAKE WHICH LOTS OF ANIMATORS. UTILISED ~ AFTER ‘he TAKE, WHERE HES COMNG BACK 7 NORMAL. (IF WE MVE tee TIME Feeir) HAVE The ARMS MAKE AN ELABORATE FLURRY -ON ONES:-VERY FAST: a ) “Theseus meu Bs “TE CAN Ae A FGuRE 8 ‘se “eBiiieO FACH OTHER: NY FACH OTHER, “The Lert ARM DOES The SAME AS The RIGHT - BUT STARTS LATER aud COUNTERS IT K . HIS LEFT fAess PBLAYED. wine Hs RIGHT ARM 1S: UP - , ANOTHER Lire REFINEMENT- “Te ARM COULD KEEP KNCCKING HIS HAT OFF ad ON AGAIN- KIND OF if QO Cone AR CHAPLIN QUE... z se Coes ae - wd KNOCKS a8 fe “The HAT the ‘2 ~ OTHER WAY 1 ~ OR Purs IT WED NEED ‘BACK ON. A MINIMUM OF 12 FRAMES hy Wis FEET CouL> FOR THIS STUFF - 4 J PEDAL IN The AIR- “ENDLESS VARIATIONS ~ 291Ir8 A GOOD IDEATO LOOK FOR AN EXTRA BREAKDOWN LETS SAV A MAN SEES SOMETHING OUTRAGEOUS ood Yeu’ “WHAAAA AAT?! “THIS. WiLL DO The JOB OK - BuT LETS LOOK FOR ANOTHER BREAKDOWN - ANCTHER. POSITION THAT WILL STRENGTHEN IT Aid GIVE US MORE CHANGE “MGEE VITALITY: peors Ds SO WE LOOK FOR WHA TENG? CAN GIVE US MORE CHANGE OF SHAPE WITHIN Thhe ACTON LETS Pur IN ANOTHER. ONE. HAVE HIN! LCOK UP BEFORE The. DOMAL ANTICIPATION. AGAM, He ANTICIPATE “Tle ANTICIPATION Vel ss L me MAYBE WE'RE IN DANGH2 OF CYERANIMATING ~ OF Gi-binGThe LILY HERE BUT ITS ALWAYS WORTH SEEING [fF THERES ANOTHER MOMENTARY POSITION POSSIBLE TO CREATE MORE CONTRAST - MORE CHANGE WITHIN. (‘AékiN, THERES NOTHRG KE TRYING IT) 292HAVING TOO MUCH ANTICIPATION CAN BE CORNY SOMETIMES ond CRAZY TAKES UNNECESSARY, QUST TO CONTRADICT ALLTHIS WILD, UP DOWN aud AROUND ACTION, ONE OF te STRONGEST TAKE |'Ve EVER SEEN WAS IN A FILM WITH BASIL RATHBONE AS the VILLAIN, HES SMACK IN the MIDDLE OF the CINEMARCOPE SCRE aud HES BENG GINEN INFORMATION BY AN AIDE WHICH SHOCKS HIM. THERES LOTS OF ACTION BEHIND HIM ond ABOUND Hil WHICH COULD DEFLECT COR ATTENTION, YET HIS TAKE JUMPS RIGHT OUT AT YOU. HE HARDLY MOVES ANY DISTAACE AT ALL, YET YOU REALY See IT! THERES NO ANTICIPATION DOWN od NO STRECHED ACCENT: PART OF THe REASON We SAE IT IS BECAUSE HIS HEAD IS FROZEN IN The MIDDLE OF thhe SCREEN- Te 'sAceey’ carTeAL Oui) HIS HEAD MAKES A SHORT, SHARP MOTE UP THEN CUSHONS BACK A BIT He WeAD GOES KP 4 (the Accenr) IN'3 ReMeD! ~THEN CUSHIONS BACK TOF It WA VIETUAL HOLD. THE TAKE; THEN, © & FRAWES LONE Wt A CUSHION BACK. So, IF WE DEFINEA TAKE AS A STRONG MOVEMENT TO SHOW SURPRISE OR REACTION , HES SUCCEEDED WITHOUT ALL CUR ANIMATION DEVICES, HOWEVER USEFUL THEY ARE TO US, LIFE DOESNT FOLLOW CUE CONVENIENT ANIMATION FORMULAS. (Gust STUDY ANY Hue A071) GETING ACCENTS RIGHT WAS The THING THAT GAVE ME-the MOST TROUBLE IN ANIMATING. | REALLY HAD TO WORK AT IT— IF (TWAS A SOPT ACCENT WITH A HEAD OF A BODY-OR, A SHARP HARD ACCENT OF A HAND OR FINGER. ~ PLUS HOW LONG + 6 NS TO HOLD A SS HAND OUT THRE + ms ) eg (ESD TO READ? ‘eras + Gris SI Sev. Ds eas TRY TO POINT 4 THES IN A SECOND = 4 ACCENTS, “TEX AVERY BAYS TS S FRAMES. YOU ITS PRETTY HARD 0 DO. + srane HOLDS OF Nesp A MINIMUM OF 5 FRAMES 7D READ 6 FRAMES EACH - AND HOW DO YOU GET FROM HOLD. TEXS STUFF WENT SO FAST ONE TO The OTHER? ANYWAY, IVE FOUND THAT “THAT | GUESS IT WORKS AS ENOUGH OF You NéED ATLEAST GFRAMES TD CEAD MY ACCENT — A PAUSE IN The. CONTEXT OF ALLTHAT SPEED. 293FINALLY 1 | CAUGHT ON AS USUAL, The SECRET 18 KIND OF Simeee! ITS JUST GETING The DIFFERENCE BETWEEN A HARD ACCENT aud & SOFT ACCENT: A HARD ACCENT REQOWLS ~ if BOUNCES BACK~ sPipie IN A Bite A pee Se ee. ve — = Sw, «BOUNCE BACK, CGO UP oe Sey —_ 08 DOWN OR SHWE 4 BIT IT WONT STAY STATIC. au) A SORT ACOENT KEEPS OW GONG. Speen A _ Ane IF We Powur MORE = Se BES -| an Wik CUSHION NA IT SIONS Toa SOP Witt A HARD ACCENT — IF WE BIT AN ANVIL, WH A STL HAMMER, he ANVIL IS OBVIOUSLY NOT peiaueti BY The HAMMER aud WHEN “The HAMMER COMER DOWN (r BOUNCES Back AN This BOWCE BAK \ iS Te ACCENT: The Sounip js HERE. ot | rie ATED The iT (8 WHERE We Ger the SCONE SLOWS INTe> AHOLD) SARE WITH A HAMMER HITTING A WAIL - The ACCENT IS NOT WHEN ‘The HAMMER Gonmners “te NAL. Aga, the SOUND 15 ON “an BOUNCE BACK = ONE FRAME AFTER S= “the CONTACT, Wor BUEN THC. WE On A SOP ACCENT WILL KEEP ON GOING - THINK OF AK ORCHESTRA B 4 CONTACT ad IT IMMED ATELY, FOR} FRAME BOUNCES BK (20d CONDUCTOR CONDUCTING - WALTZ TEMPO - WE PEEL The, ACORN) ‘AwOuT HERE mi 2d Tu HAD CONTINDES CN Ties Fh ACENT: A _ 294A HARD ACCENT BOUNCE BACK Gotta cr cer — > Accenr AMA POMTNG =f 2 8 sa 5 © HE FINGER k EMPHATICALLY WE FEEL “The ASCENT (Artiouel SOMETMES 4 HARD AGRON SIRE ABRIPRY —CR AS ABPUPRY AS roan.) ons Ca SOFT ACCENT CONTINUES ) GONG OUT FET Ce —> — Acca 1234 & 128 a G AGAIN, THINK OF J ) 4 IO CONDUCTING J) noar 84) A WALTZ. ptt WE STILL SPEED INTO OUR ACCENT BUT the MOVEMENT CONTINUES . 295A KARATE FOOT, APTER SNAPPING OUT, WIL BOUNCE BACK IN A HARD ACCENT. “THEN BOUNCER BACK APIER SPEEDING Our INTO They i, 3 579 “FELT ACCENT?) i L j pu) we‘ pean’ *4 pop totz @ 2 fe b/————! 97 6 2 oa 4 BOUNCES BACK TO WE Ger The SOW oF ‘the SHOT AS The GUY POPS BACK ORIGINAL POSITION WITHOUT ANY INGETWEENS aud THEN SLOWS BACK 7D HORMAL © oe 5 Z % IMRT * A SOPT ACCENT A HARD ACCENT “1b BE HAPPY To “wav cee -rany ” ce Se YL (90 18 Mgr | ACCENTS ARE UP ef 4 we, ‘e7 4 "i “hs fom (Bur usuawy ”) SBE ‘DIALOGUE! BACK f BOUNCETIMING, STAGGERS, WAVE AND WHIP WE HAVE The ART THAT CAN PLAY MOST FREELY WITH TIME, WE DONT HAVE TO USI NORMAL TIME. WH CAV EHHER GO Teo FAST-To GET SPASTIC. HUMOUR avd FRANTIC ACTIVITY- OR GO TOO SLOW oud GET BEAUTY 2nd DIGNITY. YEARS AGO A SCIENTIST FRIEND OF MINE SHOWED IME FILM HE MADE AROUND The. WORLD OF MEN 24d ANIMALS ~ NONE OF IT SHOT AT NORMAL SPEED. IT WAS ALL INTENTIONALLY FILMED Te FAST OR TOO SLOW. HE HAD ELEPHANTS RUNNING LIKE MICE aud VICE VERSA, PEOPLE IN RELIGICUS RITUALS RACING AROUND AS IF PLAYING TAG, PEOPLE KISSING IN SLOW MOTION, B70. APTER AN HOU? OF THIS YOUR MIND TURNED INSIDE OUT— GIVING A KIND OF GOBS EVE VIEW OF LIFE ond ACTION. THERE WAS A SHOT OF A TRAMP ON A FARK BENCH PUTTING A MATCHSTICK I HIS BAR IT WAS FILMED SLIGHTLY IN SLOW MOTION, 30 O8 32 FRAMES & SECOND. AS HE FIDDLED WITH ‘the MATCHSTICK You SAW LITTLE RIPPLING MUSCLES OF PLEASURE SPREAD ACROSS HIS FACE WHICH YOU WOULD NEVER SEE AT NORMAL SPEED. STRANGE , But COMPULSIVE VIEWING. SINCE THEN I'VE ALWAYS TRIED Te AVOID NORMAL TIMING, | ALWAYS TRY TO GO JUST A LITTLE Téo FAST aud THEN SWITCH TO GOING JUST A LITTLE Too SLOW — COMBINE IT. GO FOR the CHANGE, The CONTRAST. The SLOW AGAINST The FAST. KEEP SWITCHING BACK md FORTH. ITS HARD To DereOT Bur MAKES COMPULSINE VIEWING. ( STAGGER TIMINGS} THERE ARE SEVERAL WAYS To STAGGER DRAWINGS BACK ond FORTH To CMR THINGS TO SHAKE OR VIBRATE, To MAKE HANDS TREMBLE OR HELP WITH LAUGHING OR CRYING. WE IMAKE A SERIES OF DRAWINGS OF NORMAL ACTION and INTERLEAVE THEM BACK oud FORTH IN DIFFERENT WAYS TO MAKE THEM SHUDDER id SHAKE. 297THe SIMPLEST FORM OF SGGER VIBRATION (§ THIS - SW WE WANT A LEAPON TEE ( - f.? To FLUTTER. IN The WIND. -- #1 ood #9 ARE The 2 EXTREMES aud WE JUST MAKE 7 EQUAL IN GETHENS THEN WHEN WE EXPOSE z 44 3e5678F = - WE SKIP ONE aud GO OR SKIP ION OUR K-SHEETS 3 FORWARD Bae) THEN ABOUND INSTEAD OF the USUAL- = COME BACK ete. — FORA HOee < ViOLENT z= &i + FFECT 9 AND WERE NOT LIMITED Z VIBEATONS, ALSO TO JUST THAT, FOR VARY be HOLD SOME FORZORZ On DOS! FRAMES td OTHERS ROW, 5 > ITS AN ERRATIC EXPOSURE- = —— = IT. DEPENDS HOW VIOUNT = ANY COMBINATION CAN WORK. We WANT IT TO Be. -S— =z THIS. IS the PRINCIPLE = — OF STAGGERED EXPOSURE = = 6 s = ANOTHER. WAY TAKE A DIVING BOARD VIBRATING APTER. the DIVERS LET IT - we mare *1,¢ O17 ‘ (OF COURSE WECAN MAKE MORE FLEXIBLE PARSING % POSITIONS WITHIN The E =o PxreEWes 5 WITH EVEN ITHHS eur yr a / 5 ¢ WILL WORK WELL. < beet 7 EITHER Way. 9 317 z RRR! 7 THESE ARE the VIBRATIONS MOST ANIMATORS USE — FOR LACKOF A NAME | CALL IT te UP md DOWN” OR ‘BACK aid FORTH! VIBRATION. | 1S SURPRISING HOW McA You CAN REPEAT EACH END, #1 70 *17 exe. AND WHEN IT SLOWS TO 4 STOP S I 298THIS CAN BE USED FOR LAUGHTER OR CREING; ' laf A a as * srounes Sounders raid SHOULD RES we DOWN OR SHNERING WITH COLD: Oe SIMPLY BECAUSE Tbe HERD EXTREMES ARE CLOSE EETHER 21d The KNEES FAR APART WEGET A YARBTY OF SPAQNG WW Be ACTON. THE ONLY PROBLEM WITH THIS METHOD IS THAT IT TENDS TO BE A BIT MECHANICAL - WE COULD BREAK Ir UP BY DOING MORE INTERESTING PASSING POSITIONS WITHIN IT. BUT The RELY GREAT METHOD IS The. ONE DEVELOPED BY NOBIMAN FERGUSON Ar DISHES. KEN HARRIS SHOWED IT 70 ME aud KEN GOT IT FROM SHAMS CULMANE WHO GOT IT FROM FERGUSON. FOR LACK OF A NAME, TA CALLING IT ‘The SIDE 10 SIDE VIBRATION FORMULA SAV WE WANTED B HAVE A HEAD WOBBLE FEOM SIDE TO SIDE - j L iz WE MAKE A SERIES ~} OF DRAWINGS FROM | to Say, 33- THEN We MAKE A CARSEUL AND We GET TRACING OFF 1 apd #33 A SIDE TO SIDE JUST SUGHTLY OFRSET~ WOBBLE BY 1d WE MA New SERIES 3 GA vine 2 WINES #14 70 BBA HM en irs GONG UP The OTHER SIDE. ee RN 2 re [NTERLEAVING THO SERIES OF DRAWINGS INTERLEAVED- GIVES US ALL KINDS. OF POSSIBILITIES FOR VIBRATING ACTION. 299KEN HARRIS ANIMATED A SCENE WHERE the CHARACTER HAD AN EARTHQUAKE” VIBRATION GOING UP HIS BODY FROM HIS TORS, TO HIS LEGS, ano HIS BACK, USING THIS SYSTEM iT WORKS LIKE THIS = 4 A if 1 iA INTERLEAVED WITH SERIES [WORKS / iA to 9A ee) SAY WE WANT AN ARM, 25 RAISING IN TRIGHMPH f ~>, ORIN RAGE, a VIBRATING ~ SIT GOES UR- ! (AND OF COURSE WE CAN GE MORE INVENTIVE WITH GUE PASSING POSITIONS an) BREAKPOHNS wimin cao) SERIES A SO, BASICALLY 11S JUST Wlo SERIES OF DRAWINGS DONE SEPARKPLY and INTERLEAVED Wert EACH OTHER — GIVING ENDLESS POSSIBILITIES OF WOR BLED, JUDDERS, QUIN wd SHAKES. Ps B 3 | ~~the MAND ON IS oo Gone BACK UP ROCHA A fe phe on Lf lee eucehe Ae tos Pacr 7 cay res ‘the BY SNAP OMY FOR One FRUME PLACE Be SOUND ONE FRAME APTER Be Sar WAVE ACTION SAME KIND OF THING AS the WIP Bur WitouT The SNAP ACOENT. | KEN HARRIS. USED THR EXAMPLE: f A MAN SWINGING ON A ROPE / heTHOMEH f int Bear \ “Fie ROPE WOUD / Bz Pag SrateiT BY fe Weta yd \, OF the daa. u GONG OVER aud COMING BACK. 301Hecate WHIP ACTION APPLIED TO A WOMAN BATTING HER EYES ~ (EXAGGERATED) sx“ ~faass LELPING US OUT ON The LAST 2 MONTHS OF A CHRISTUS CAROL, ABE LEVITON ANIMATED A WONDERFUL. LITTLE LAUGH ON TINY Ti. AT DINNER ABE aad | WERE DEMOLISHING the WINE avd | PATLED ON ABOUT HIS WORK 14d The GREAT LAUGH HED JUST DONE, ABE SAID,“ WELL, AWFULLY GLAD y THAT YEARS AGO KEN HAREIS SHOWED ME THAT WHIP PRINCIPLE AS A PATTERN Foe A LAUGH. “WHAT? SHOWME, SHOW the! “We STunBleD BACK TO The STUDIO ond ABE SCRIBELED SOMETHING: LIKE THIS © ann, eRe Bee “waar?! BURBLED, * oceans “COME ON, DICK, ITS A WHIP PATTERN - LOOK, LIKE THIS...“ “Tats WHAT YOu DID ON Ty TIM?” YEAH, YOU KNOW, The WHIP ACTION - LIKE THIS. ARES LAUGH (S ON The NEXT PAGE ond) IMM NCLUDING ITT SHOW JUST HOW SUBTLY THESE BASIC THINGS CAN BE LISED. The SHOULDERS GO UP aud DOWN WITHIN The LAUGH 20d YOU CAN JUST ABOUT SEE the WHIP PATTERN UNDERLYING the ACTION, 302DIALOGUE IMAGINE A HANDSOME MAN TALKING 70 A BEAUTIFUL WOMAN an) THIS IS WHAT HE SAYS: jo je je /= je ee es “o : IT LOOKS LIKE He's SAYING," 1 Love You,” DOESNT ir? HES NOT. HES SAVING, “ELEPHANT Juice’ (MY 11 YEAR OM DAUGHTER BROUGHT THIS HOME FROM SCHOOL.) TRY IT. IT ILLUSTRATES the POINT THAT WE DONT HAVE STANDARDISED MOUTH SHAPES FOR EVERY CONSONANT 20d VOWEL... WERE ALL DIFFERENT: Que MOUTHS ARE AL DIFFERENT tu) WE USE THEM DIFFERENTLY. THERES NO SET WAY 1O FORM INDIVIDUAL LETTERS aud VOWELS. The ACER , TIM CARREY, MOVES HIS MOUTH DIFFERENTLY THAN The ENGLISH QUEEN. OF COURSE ALL CUR MOUTHS OPEN FOR The YOWELS A,E,1,0,U.( AY, EE, EYE, OH, YOO. AND THEY CLOSE FOR The CONSONANTS B,(M,P, F,T,V. ( SEE, EM, PEE, EFF, TEE and Vee") AND “The TONGUE |8 UP BEHIND The TEETH FOR N,D,L,TH 20d T (THOUGH We Der AMIS SE Ir But A LOT OF the POSITIONS IN REAL LIFE ARE AMBIVALENT 3d INDIVIDUAL. 304HOW NOT TO DO LIP SYNC: | HAD AN ENTHUBIACTIC OTL GRADE TEACHER. WITHA WIDE MOUTH FULL OF VERY LARGE TEETH SET OFF BY BRIGHT RED LIPSTICK. FURY MORNNG SHE HAD US ALL STAND UP ond VEIeY SLOWLY Be - NUNN - SEE - AYTEH: " “MOO VAH BULL LiPSSssss, MOO VAH BULL LIPSSSOSS, ARR THUH VEHREE BEH&SST LIPSSS TCO TAWK ANNND SSSING W/THTHTHS FoLoWep By- “GoooD MOHRRNNING Teo YOOO, GOOD MOHRENNING To YOoO- WEER OLL INN OWRR PLAYYSEZZ WITH SSUNNSHEYENEE FAYSSEZZ. OHHH, THISSS |ZZ THUH WAYEE y TOO STAHRRT AHH NEEYCO DAYEE.” SOMETIMES SHED HAVE US SIT 51d SAY “P* (PUK) FoR A MINUTE ~ > aud | KIND OF ENJOYED HEARING ‘he LITTLE EXPLOSIONS OF AIR. PEOPLE DON'T TALK LIKE THIs! WE SMUDGE FROM ONE WORD SHAPE To the OTHER. The ANIMATORS. CALLED 17 LIKE IN MUSIC - You SMODGE OVER A FART COMPLEX PASSAGE HITTING JUST ta MAIN THINGS —YOU DONT HAVE TO MACHINE GUN EVERY NOTE EQUALLY—Yau BLUR OVE IT- WHEN We SPEAK INE PONT AR TICK YOO LATEH EVERY LITTLE SIL AH BULL 2u0 LETTER and FOP. Some PEOPLE HARDLY MOVE THEIR LIPS WHEN THEY TALK. ‘The THING IS TO THINK OF the WORDS, WORD SHAPES and PHRASES - NOT OF LETTERS. OUR MOUTHS ARF ALL DIFFERENT. MOST PEOPLE HAVE EITHER Tu TOP (@) “the BOTTOM TEETH ARE TEETH VISIBLE MOST OF The TME- FEATURED MOST OF the TIME. — . Z 305“The. MOST FUN lie HAD WITH LIP SYNC SO FAR WAS WITH VINCENT PRICES VOICE- BECARE HE HAD SUCH A MOBILE FACE, MOUTH , JAWS 2ud THROAT. FROM the SIDE HE LOOKED AS YOUD 2XPECT, BUT WHEN HE TURNED 70 The FRONT Ite LOOKED LIKE A FISH. Kinp OF HELO RICHARD- 11M a FRIENDLY VINCENTS DENTIST TOLD HIM HE HAD A GIANT VOICE BOK- WHICH GAVE HIM THAT AWFULLY RICH THEATRICAL VOICE. Bur the GREAT THING WASTHAT HIS FACE WAS SO ELASTIC THAT FOR A SECOND OB THO , The TOP TEETH WOULD FEATURE -.. AND BECWSE HE SPREAD OUT HIS DIALOGUE You HAD the TIME TO ARTICWATE ALL “The. POPS, CRACKLE, SLOW VOWELS and CONSOANTS— (+ikE BEING BACK IN GRADE SIX.) YOU COULD OVERANIMATE IT and IT STILL LOOKED NATURAL. MOSTLY WE HAYETO HOLD DOWN OUR MOUTH ACTION , UNLESS WERE SHOUTING of SINGING. The IMPORTANT CONSONAMS ARE the CLOSED MOUTH ONES - ® © ,© © ,O Pet ee IN ORDER. To READ THERE POSITIONS WENEED AT LEAST THO FRAMES. ONE ISNT ENOUGH. CIF We Don'T MAKE THESE POSITIONS “he VOWEL THAT FOLLOWS WILL BE VITIATED.) 306FOR GOOD CRISP DIALOGUE WE SHOULD ROP INTO OUR VOWELS- (NO INBETWEENS ) DON'T CUSHON INTO IT. CUSHION BACK AFTER ‘he ACCENT. HIT IT BIG, THEN SOPTEN TT, HIT The DIALOGUE ACCENT- ie. “B ANG!” EY GBS @R) We COULD cuisHioN A BIT AT he BOTTOM OF the POP ond HAVE A SWALL POP TO The'NG” EGG IGE Take The word “BAYS BOLL” wind TWO VOWELS - HIT The. FiRSt VOWEL HARDER THA tered, EY GILLES g re TO Fol cusHlOniNa BACK cusHioN ’ + AGAIN, IF SOMEONE savs 4 Beoa voweL Like Hey!“or Won! - DON'T EASE INTO ‘The. VOWEL FROM The." W" WITH SEVERAL DRAWINGS. he us = VERY MUSHY 20d SOFT oO } ERITCINM AMON ANUMATORS e “WE/ shes OK , BUT TS ALL 4 BIT Sort LOSE the MIDDLE POSITIONS. SMACK RIGHT INT IT aud GET MUCH MORE VITALITY. w EN ON Ww 210) DONT FoRser COMPRESS: “Te DIGTEND “he. FACE - STREFCH IT. Pop A PREVALENT FAULT IN DIALOGUE 1S THAT tee BOTIOM OF “the FACE DORRNT STRETCH ond COMPRESS ENOUGH, WHICH MAKES CUR. ANIMATION STIFE aud STILTED. 307ie) TO HP SYNC ISGETTING the FEELING OF the WORD ad NOT the INDIVIDUAL LEMERS “The IDEA 18 NOT 7 BE 100 ACTIVE - GET The SHAPE CF the WORD 2d MAKE SURE WE SEE IT SELECT WHATS IMPORTANT ad AVOID FLAPPING The MOUTH AZOUAD AN IMATING EVERY LITTLE THING. ACTORS FITTING DIALOGUE OVER FOREIGN FILMS HIT ONLY the ACCENTS ad GLOSS CHER the MIDDLE STUFF: “THEY MATCH the FIRST VOWEL AT The START OF The SENTENCE aw The LAST ACCENT OF The SENTENCE- Gud WHATS IN BETWEEN WILL WORK (ae-TEND To WoRK,) THINK OF IT THIS WAY = TAKE he woke “FoRrune’- V maroay i - = iT DONT DO THIS FoR DONT OREN IT TWKE, TUNE DO THE: JUST USE 2 POSMONS. : Go FROM ONE “O The OTHER - BOIL IT DOWN So nS SIMPLE, CHOON Lers take HEW0 © 4 ; OQ aK ee Cu ‘5+ $ O = DONT OPEN Ir Tw 7 SAME THING - “ay oN GO STRAGHT FROM Is - Ee « ONE the OER S Wek 30 HE_+ O We CANT E LITERAL IN READING Que SOUND TRACK. "MEMORY IS HOT 2 OPIS ~ ITS ONE HS Nor: ORM Oa : MEM OH REE WE DONT ANLES THe Re SwOutS —} AUNATE 2 MEM- OH- REESE Ree is “MEM- Ree” obey 308 ” hee is CASE VOWEL. Ib CoS The MOUTH EN ROUTE 40 \PEEKeMeNGER. he UPPER TEA ARE ANCHORED To the SKULL a1 DO NOTANIMATE aed The- LONER. la ACTION 1S NOSTLY UP od DOWN — WITH The LIPS awd TONGUE FORMING The SOUNDS. 7393) A RULE: NEVER INBETWEEN the TONGUE IN SPEECH. OUR TONGUES WORK SO FAST, THAT ITS JUST UP OR JUST DOWN — NEVER SEEN EN ROUTE (OF cours: ir Pauses.) ISNT THEA SAYS ° 2 ° Ss ° S “The TONGbE WEIGHS NOTHINE- —y YET $0 Few oF aS CAN HOLD IT? L UNH! coe ween! ob arta ee “The TONGUE IS HOOKED ON “the BACK OF The LOWER ThW aud IS NOT FLOATING AROUND JN LIMBO OR STUCK IN the THROAT. MSO THE JAWS 21) TEETH ARENT RUBPER. BE CONSISTENT ABOUT TEETH. HOWEVER, THERES SOME AWFULY FUNNY SUFF BANG DONE THESE DAYS WHERE THEY JIST SAY, “HELL, ITS A CARTOON - Leis HAVE IT BE A CARICON.” AND THEY TREAT The TEETH AS RuGBER ad POP Feo gmp \ TO To mS oO ims mis 8 ig OS 2d CrieN, Bur NOT WAT 2) \ weleeen Agour} HERE. ANOTHER RULE* WE SAID WE NEED Ar LEAST 2. FRAMES 7D READ /MPORTANT CONSONANTS - LIKE MW, 8, PF, V oT (or'm’) IF WE DONT, The VIEWER WONT See IT, 16 ON the SOUND SO We SEAL READING WEONLY IT FROM The EET HAVE ONE FRAME + PRECEEDING } INDICATED Foe T ‘SOUND. t woe BECAUSE AVM? SOUND - — GIVE IT ANOTHER—> We NEED + EXTRA FRAME faced Hit the - (TS NOT ENOUGH. IN FRONT OF IT INCOMING TH+ worecisze- t & Y “vowet. tC NEVER HEIR... ON The NOSE, 309THE BRINGS US TO the THORNY PROBLEM OF : Do WE ANIMATE LEVEL SYNC OR ANIMATE The PICTURE ONE FEAME AHEAD OF the SOUND MODULATION OR TO FRAMES AHEAD OF tte SOUND, OB WHAT? ANSWER: WoRK LEVEL. —= z PUT OUR DRAWINGS 96 2007 RECHT ON THEA! SOUND. (2%) IF Wel ONTHOS - dud IT WORKS Out THAT Wey ~ WORK ONE FRAME AHEAD, — tt Pur cui” DRAWING FS ee © one reine AHEAD OF The’ Sou Z— 8 3 7 7'Y DRM | FRAME AHEAD OF The’ ‘SOUND ee, : i THE ISA CRUDE RULE OF THOME THAT IT LOOKS BETTER Witt the PICTURE LEADING Te. SOUND BY 2 FRAMES. BECAUSE OF THS, A DISEASE SPRANG UP WHERE SOME EDNORS SET UP “Th. TYRANNY THAT ANIMATORS MUST ANIMATE EVERYTHING 2 FRAMES AHEAD OF Tt» SOUND SO THEY COULD JUST PLOP IN The REQULT wd Go HOME. WRONG. THERE ISNT JUST ONE RULE. SOMETIMES LEVEL SYNC WORKS BEXT- SOMETIMER 1m BETTER WITH the PICTURE ONE FRAME ADVANCED, OTN (TIS BETTER 2 FRAMES AHEAD (HENCE The DISEACE) ud SOMETIMES (TS BETTER Wit fhe PICTURE EVEN 3 FRAMES AHEAD OF The SOUID. IP You ALMays AUSWER, sp pnt “He 2. FRAMES AEA” Alcea fee YOU Ger A CRAZY S/TUATION Fi a <'h PRM way 2 WHERE You THINKING SIDEWAYS — ee ZA 4 PRAWING SELF ere. CONCLUSION: 7 THERE |S ONE REAL SYNC. ad THAT IS LEVEL. RIGHT ON-The MODULATION 1S (00% PERFECT, LOGICALLY. IT JUST DEPENDS WHAT LOOKS BEST WHEN WE PLAY WITHIT: SO WE EXRRE RIGHT ON The NOSE. OR ONE FRAME AHEAD -|F [TS CONVENIENT — NEVER LATE, “THEN WE CAN RUN OUR-TESTE AT LEVEL SYNC, THEN ADVANCE The PICTURE QHE OR TWO OR THREE FRAMES — DEPENDING ON WHAT LOOKS RIGHT TO US. WE LEAH THINGS THS WAY. IT ALL DEPENDS ON The CHARACTER ud) TYPE OF VOICE aud HOW WE'VE DONE The JOB. 310ACCENTS: “Te OLD MARTERS PUT SHARP PHYSICAL ACTIONS 20) HEAD MovES 3 OR “A FRAMES AHEAD OF The MODULATION — THEN PUT ‘The MOUTH ACTION ON The NOSE - Cw A mute cr Sars.) L IFON ear x ONE- “3 reams AHEAD AL ‘SOUND 2a 7 PUT'SIMPLY = | Ts DeVCE GES A BEAUTIFUL. Resuur. SSK ea) MUCH BETTER, THAR HTT IT ‘ALL ATONCE acca Pop oF ‘ON MODULATE MOST OF serie ‘The HEAD ACCENT (S oe * ANTICIPATE DOWN THEN HEAD ACCENTS UP THEN LIPS ON The VOWEL (_r& acusey & Vow THe Welee HriNE.) WE CAN DO IT IN REVERSE, BUT MOSTLY ITS STRONGER. GOING UP. (BUT Dow IS Fite, 720.) ANYWAY, THEREIS ALWAYS AV ACCENT — UNLESS 1 AN UTTERLY BORING PERSON SPEAKING. » vores WELL AT LAST Youke Home! “= 3 acciars ca + e vows. vowel. Yow. HIT ONLY The VOWELS WHICH ARE IMPORTANT, GLOSS OVER Thy OTHERS. WE HIT CERTAIN ACOENTS WHEN SPEAKING ad WE SLUR OVER The REST. @ = “Weu., ar wast Yourke Home!” ‘ BIG ACCENT WELL, aT LAST Youre Home!” ie ber JUST Hit the MAIN ACCENTS, SELECT WHATS IMPORTANT WHETHER ITSA SOFT 0% HARD AGENT. HARD Aecer: “we!” Ge DOWN (oR UP) aud You BOUNCE BACK. sorr acter: WOOO00”, GO OWN (oRuP) 20d CONTINOE. attES AN EXAMPLE OF BODY ACTION PREDOMINATINE: SAYING," ILL SLIP INTO SOMETHING COOLER adeewr DOES IT WITH HERSHOULDER- UP AS SHE TURNS TOWARD US , ANTICIPATES DOWN GOES UP FAST FORhe MAIN ACCENT ON COOLER. SO AT the SAME TIME HER HEAD ACCENT GOES DoW thet! THE ONLY MOUTH ACCENT ALSO ON the'Co” CULDER UP, HEAD DOWN, MOUTH EXAGOQERATED — ALL To HIT The ONLY ACCENT IN The SENTENCE. coo ie 312 2k te MAN EERE: KSTD GD md EB) tthe ORY. (ORKS FINE, BIT WOULD HAVE BEEN EVEN BETTER I The HEAD ae) ER ACCENT HAD COME 3 cb+ FRANES AHEAD of e'OO" MODULATION.ATTITUDE MAKE The POINT OF tne SHOT CLEAR WITH BODY ACTION FIRST. The BODY ATTITUDE SHovLD ECHO he FACIAL ATTITUDE. ITS A. ONE, The EXPRESSION OF the BODY aud FACE IS MORE IMPORTANT THAN The: MOVEMENT. IP WE GET ‘he BODY x0 HEAD IN the RIGHT ATTITUDE WE CAN ALMOST GO WITHOUT The MOUTHS. “The MOUTH ACTION CAN GO ON LAST THEY CAN BE The LAST THING TO WORK ON. KEN HARRIS, SKID HE LEARNED the MOST ABOUT LIP SYNC WHEN HE HAD To ANIMATE A MARTIAN CHARACTER WHO HAD NO MOUTH. THIS MEANT HE HAD TO GET The HEAD ACCENTS RIGHT To MAKE IT CONVINCING, IN PLANNING We SHOULD MAKE SURE WE DONT HAVE 7OO MUCHGONG CN. How MANY POSES FOR THIS SENTENCE - FOR THIS THOUGHT? ACT (TOur ad BOIL. IT DOWN SOS SWVLE ma) KEEP Iv IMPLE, WE CAN ONLY PUT OVER ONE THING ATATINE. JUST AS WE CANONLY SAY ONE WORD ATATIME, WE CAN ONLY PROJECT ONE GESTURE ATA TIME. The WHOLE PORE SHOUD WORK TOME THATONE THING, Cte cre) ONE EVENING IN“he EARLY 705 ( WAS TALKING TO MILT KAHL ABOUT The SUPE MOUTH SHAPES HE ALWAYS GOT IN HIS ANIMATION. HE SAID, WATCH SINGERS FOR MOUTH SHAPES.’ | ASKED, "|S THERE ANY REAL SECRET To LIP SYNC?” He Livup. “You WANT the SeoRer? iLL-TELL YOu The SECRET! You KNOW THAT Jind HENSON WITH HIS FROG MUPPET? WELL, HES A GENIUS! HE UNDERSTANDS SOMETHING THAT PUPRETEERS NEVER DID BEFORE, HERE HES JUST GOT A SOCK OVER MIS HAND aud THOUGH HE CAN NEVER, MATCH The SOUND EXACTLY, HE DORS A Far BETTER JOR THAN MOST OF US ANIMATORS Wind ALL OUR TECHNICAL RESOURCES. YOU WATCH Witt HE'S DOING! Hi PROGRESSING The ACTON. HES GOING SOMEWHERE WITH THAT FROG WHEN HES TALKING. “Y LEARNED THIS BACK CN SONGOF te SOUTH ' WHEN | HAD “he FOX SAYING TO Te RABBIT; “IM GOING TA ROAST YUH, Ef0,E%. | HARDLY MOVED the MOUTH AT ALL. HE WAS SPEAKING THROUGH HIS TEETH WHEN HE PUSHED FORWARD TOWARDS “he RABEIT, HE FROGRESSED TOWARDS The PABBIT! | PROGRESSED IT AS HE SPOKE me) THAR The SECRET. GO. SOMEWHERE, ANYWHERE, AS YOu SPEAK.” WHEN (GOT BACK To ENGLAND | RUSHED INTO KEN HARRIS aad JUMPED UP 20d DOWN, Ie Gor the SECRET! The. SECRET OF LIP SYNC! MILT KAHLTOLD ME The SECRET!” KEN LOOKED UP QUIZZICALY. “he SECRET!” | BURBLED, “THE SECRET 1S fo PROGRESS flue ACTION AS You Spa!” HENS EVES ROLLED HEAVEN WARD." WHAT DO YOU THINK (VE BEEN TRYING TELL YA? ” WELL, The PENNY DROPPED (FINALLY) ANID | NEVER. LOOKED BACK. THATS IT: 314ee ACTING IN ‘Teer (4308 SOMEBODY ARKED LOUIS ARMSTRONG, “WHAT IS BING?” Louis ANSWERED, “MAN, IF YOU HAVE TO ASK, YOU'LL NEVER KNOW. ” But WE ALL KNOW ABOUT ACTING! We CO ITALL DAY. WEleE ACTING DIFFERENT PATS ALL The TIME. THERE ACE SEVERAL OF US IN HERE. DO You ACT “the SAME WAY WITH YouR WiFE/HUSBAVD/ LOWER AS WHEN A TRAFFIC COP PULLS YOU OVER? OR WITH The BANK MANAGER? OR WITH Youle CHILDREN? Wie . YOUR BOSS % WITH CO-WORKERS 7 FRIEND? WITH YOUR SUBORDINATES? Your. ENEMIES? WE'RE ACTING ROLES ALL the TIME DEPENDANT ON the SITUATION WERE IN bed WE KNOW We TROT Our the PERSONALITY APPROPRIATE TO WHATS REQUIRED IN OUR S/TUATON. THERES: “The AUTHORITARIAN “The CHILD the StuDENT The RESPONSIBLE ADWT The LOVER The FRIEND The CLOWN “The EMPATHETIC, KINDLY PERSON The HUNTER The POWER- CRAZY MANIAC efe- the THING IS TO BE AWARE OF IT bud USE IT TO EXPRESS THINGS-TS DEVELOP ‘the ABILITY TO PROJECT IT THROUGH OUR DRAWINGS OR INVENTED IMAGES BY GETTING INTO The CHARACTER WE'RE DEPICTING, IN The SITUATION THEYRE IN, KNOWING WHAT IT IS THEY WANT ~ aud WHY THEY WANT IT ~ THATS ACTING. 315WE WANT 7 PUT SOMETHING OVER CLEARLY THROUGH A PARTICWWAR CHARACTER — CLEAR DEPICTIONS OF WHATS GOING ON WITH The CHARACTER DO ONE THING AT A TIME 24d BE CRYSTAL CLEAR. IP WE START WITH THAT, THEN WE CAN DEEPEN Our PERFORMANCE AS MUCH AS WE ARE CAPARLE OF, WE CERTAINLY ALL KNOW “the BASIC EMOTIONS. AND WE ALL KNOW ABouT FEAR GREE HUNGER COLD LUST VANITY LOVE and The NEED TO SLEEP. KNOWING THESE, ITS JUST ABOUT HOW DIFFERENT PEOPLE HANDLE THEM. So 178 Just A QUESTION OF WIDENING OUR RANGE TO ACCOMMODATE MORE ROLES = WHICH WE DO NATURAWY BY OBSERVATION 2d EXPERIENCE - HAVING 9ad DEVELOPING “fhe ABILITY To PROJECT IT INTO “he. CHARACTER Welk WORKING ON. MILT KAHL ALWAYS SAD, ‘| THINK You JUST DO IT: iF YOU HAVE A PROBLEM YOU HAVE TO PUT IT OVER. GOT TO HAVE A THOROUGH UNDERSTANDING OF WHAT YOU'RE AFTER. AND IF YoU KNOW WHAT YOURE AFTER - YOU_JUST KEEP APTER IT TILL You Geer it.” AND, © GIVE IT A LOT OF THOUGHT HOW YOU'RE GOING To Do The BEST OB OF PUTTING “The. PERFORMANCE ON The SCREEN ~ PUTTING OVER WHAT YOU HAVE TO Pur Over.” GOT To GET INSIDE the CHARACTER. WHAT DOES HE/SHE/iT WANT? AND EVEN WORE INTERESTING ~ WHY DOES “Ie CHARACTER WANT? WHAT AM | DOING aud WHY AM | BOING IT? “The PEOPLE WHO REALLY KNOW HOW TO ACT ALL SAY, You Dont ACT, YOU BECOME.” “The. MOVIE STAR, GENE HACKMAN. SAID SOMETHING LIKE, "WORK Like MAD AT NEVER BEING CAUGHT ACTING. ” le GOOD ACTORS DO A LOT OF RESEARCH SO the REALITY THEYRE DePICTING BECOMES THEIR REALITY. 316“The FINE CHARACTER ACTOR, NED BEATTY SAID," SOME ACtoRS HYPNOTISE THEMSELVES INTO BECOMING the PACT — Bur A VERY SMALL GROUP OF ACTORS ACTUALLY HYPNOTISE The AUDIENCE. SO *the IDEA IS TO HYPNOTISE the AUDIENCE. FICK THOMAS. USES Yue WORD ‘CAPTIVATE! “YouRE TRYING 70 GRAB the AUDIENCES ATTENTION 2d HOLD IT HOLD IT WITH SOMETHING REAL THAT THEY CAN IDENTIFY WITH.” CONCLUSION: . WE TRY TO MAKE ITSO REAL, SUPER- REAL, THAT ITS COMPULSIVE VIEWING. WE EXPERIENCE the EMOTION md MAGNIFY The RESULT. IVE ALWAYS BEEN EMBARRASSED BY ANIMATORS HANGING AROUND the WATER COOLER TALKING ABOUT YHE ACTING? (1S WELL KNOWN THAT A LOT OF ARTISTS CAN TALK A TERRIFIC FIGHT, Bur WHEN YOU SEE THEIR DRAWINGS, ITS A DEAD GIVEAWAY OF WHAT THEY'RE REALLY LIKE. ANP HOW MUCH MORE SO WHEN THEIR. DRAWINGS ARE ACTUALLY MOVING AROUND, YOUCAN SEE 4 PERSONS STRENGTHS 0) WEAKNESSES RIGHT AWAY. [F WEIRE A COLD FISH, SUPERFICIAL PERSON OR EMOTIONAL WRECK , THERE IT'& FOR ALTO SEE. SO WE CAN ONLY EXPRESS OURSELVES AS BEST WE CAN WITH WHAT WE HAVE TO OFFER EMOTIONALLY od TECHNICALLY. A REALLY GOOD PROFESSIONAL SHOULD BE ARLE TO HANDLE A WIDE RANGE OF ACTING MATEUAL, WHATEVER, HIS/HER, ENOTIONAL STATE OF MIND. THERES THIS STORY ABOUT A SERIOUSLY DEPRESSED MAN IN GERMANY WHO WENT 10 SBE A PSYCHIATRIST: “The PSYCHIATRIST SAYS,“ YOUVE LOST YouR SENSE OF HyMOUR IN LIFE You NEED To HAVE A REALLY GCOD LAUGH. GOT2 Tue CIRCUS - THERES THIS GREAT CLOWN, GROCK, The FUNNIEST MAN YOUVE EVER SEEN.” ‘he ANSWER COMES BACK,“ 1 AM GROCK,” FRAIK THOMAS, A MASTER OF ANIMATING EMPATHY avd PATHCS, ALWAYS CRITICISED ME (ConsreuctiveLy) FOR SPENDING TCO MUCH TIME ON SPECTACULAR SURROUNDING ANIMATION 2ud NOT ENOUGH OF GOINS STRAIGHT FOR. tue EMOTIONAL CENTRE. PART OF the. REASON WAS THAT | FELT WE WERENT YET GOOD ENOUGH AT IT, £0 WE'D WORK ON the" WORLD” OF the PIECE 2nd LEAVE The “HAMLET” STUFF TILL LAST -BUT FRANKS CRITICISM IS VALID. 317ANIMATION WAS KIND OF IN The DOLDRUMS, WHEN WE STARTED MAKING ‘WHO FRAMED EOGER RABBIT! aud FRANK WROTE ME A WONDERFULLY ENCOURAGING LETTER, INCLUDING, "IF YoU BRING THIS OFF, You'LL BE A HERO.” | CARRIED FRANKS LETTER IN MY CHERT ROCKET THROUGHOUT “the 24 YEAS OF PRODUCTION PRESSURE 21d) WOULD PEREAD iT EVERY TIME THINGS GOT ROUGH. WHEN “he PICTURE CAME OUT oud WAS A HIT, NOTHING FROM FRANK. 2 MONTHE LATER 1S “Ihe BIGGEST PICTURE OF The YEAR, NOTHING FROM FRANK. 3 MONTHS LATER | RANG HIM UP “Al, FRANK, ns Dick” ne YEAH “al, FRANK, WELL, We MADE IT! ITS A HIT, reauk lite a Kir!” sonal 1 MEAN, WELL, We DIP The BEST WE COULD 2ud ITO A HUGE _Soeete! ENORMOUS ! vee VEAH, WELL, | KNOW, FRANK, iT COULD HAVE BFEN BETTER , BUT WE Peay WORKED HAD oad EVERYBODY LOVES IT!” + YEAH.” “we, ER, UM, | GUESS THAT YOU COULD SAY THAT WE RAISED AGINMICK “he LEVEL OF ANOVELTY, Bur mm A HIT!” YEAH.” “AW, Conte ON FRIVK, | KNOW YOU ALWAYS CRITICISE ME FOR NOT GRABBING The. AUDIENCE EMOTIONALLY — BUT Youve Gor To GIVE IT TOME, WHEN The VILLAINS GOING 1D KILL THE RABBIT BY DIPPING HIM IN the VAT OF ACETONE, ALLThe KIDS IN The AUDIENCE YELL "DON'T pO a! DON'T Do Ir! 7 (Cone Pause). wis THEY HAD. ” WELL, | KNOW WHAT FRANK MEANS. IN MY DEFENSE, | HAD 10 PUSH VeRY STRONGLY FOR SOME ANIMATION | DID AT “the FRONT OF ‘lhe OPENING CARTGON WHERE WE COULD AT LEAST SEE WHAT “he RABBIT LOOKED LIKE BEFORE HE STARTED SHOOTING AROUND LIKE A CROSS BETWEEN CHEWING GUM aud A FIREWORK. But THERE WAS A REAL OPPORTUNITY FOR. PATHOS THAT WE MISRED. THERE WAS A SHOT OF ROGER SITTING ON A GARBAGE CAN IN A BACK ALLEY CRYING ABOUT WHAT HE THOUGHT WAS HIS WIFES INFIDELITY. 318LIKE GROCK, 1 WANTED TO SHOW & COMPLETELY DIFFERENT SIDE OF The RABRITS PERSONALITY BEHIND HIS PROFESSIONAL MASK, | WANTED To ANIMATE IT MYSELF, BUT | HAD Too MUCH ELSE 10 DO. WE HAD A FINE LEAD ANIMATOR WHO WAS AT the TIME VERY LONELY oud | KNEW HE WAS The MAN FOR The JOB. A TOP EXECUTIVE COMES IN aud SAYS, "BY the WAY, DICK, SOondSO REALLY WANTS 0 PO THAT SCENE. | SAID, “OH NO, HES A SUPERB BROAD ANIMATOR and INVENTIVELY FUNNY, EXCELLENT, BUT 1 THINK HES WRONG FOR THIS SCENE. HES GOT A GREAT GIRLERIND, HE'S VERY UP ood NOT The. PERSON FOR THIS JOB. “BUT HE REALLY WANTS TO DO IT, DICK, HE® BEEN PHONING ME UP ABOUT IT.” “Bur HES WRONG - IT'LL BE OK- BUT IT WON'T HAVE THIS OTHER SIDE To IT The OTHER Guy SHOULD DO IT.” “BUT HE'S DYING To DO IT.” | LOSE The ARGUMENT. OUTVOTED. ITS WEONG, BUT the PICTURE FEELS LIKE A HIT aad ANYWAY | CANT AFFORD TO BE FIRED. OF COURSE The RESULT WAS JUST LIKE ALL The OTHER. MANIC. SCENES - ind. WE MISSED HAVING ANOTHER DIMENSION To the CHARACTER WHICH WOULD HATE GIVEN A MUCH STRONGER EMOTIONAL PULL WITH The AUDIENCE. WIN SOME, LOSE SOME. IN AN INTERVIEW IN 1972. AT The ZAGREB FILM FESTIVAL, FRANIK THOMAS TALKED ABOUT & MAN “WHO NEVER HAD TALENT FO, ENTERTAINMENT, HE WAS ONE OF the BEST ASSISTANTS WE EVER HAD. HE KNEW EVERYTHING YOU COULD TEACH ABOUT MOVEMENT, MOVING the CHARACTER. 22 WEIGHT pd DEPTH and BALANCE and ALL THERE THINGS. HE COULD DRAW THEM LIKE ANYTHING, BUT HE HAD A VERY WEAK SENSE OF ENTERTAINMENT aud HE HAD A VERY POOR CHOICE OF WHAT TO DO IN ANIMATION ~ SO HIS ANIMATION WAS ALWAYS FLAT. IT ALWAYS MOVED NICELY, BUT NOBODY WANTED To Look AriT: ” MILT KAL ALWAYS SAlb, YRS A MATTER OF PICKING the RIGHT THNG TPO ond MAKING UP YOUR. MIND ABOUT "THAT, AND THEN NOT LETTING ANY OTHER (DEAS INTERFERE wi IT. DON'T LET YOUR MAIN IDEA GET BURIED OR INTERFERED WITH BY SOMETHING ELSE.” CONCLUSION: WE THINK ABOUT IT iN The OVERALL, JUST AS (F WE WERE AN ACTOR DOING IT: HOW DO WE DO IT the BEST WAY To Pur The BUSINESS OVER Me BEST? BEFORE WE ANIMATE WE FIGURE CUT IN ADVANCE EXACILY WHAT WERE GONG % DO KNOW WHERE WERE GOING. IN PLANNING LOCK DOWN “The IMPORTANT POSES. 319AT BABRITT SAID THAT the GREAT BILL TYTLA (RENOWNED FOR The EMOTIONAL POWER. Oud HEARTFELT PASSION INHIS WORK) SPENT DAYS WORKING ON TIN'Y THUMENAIS. HE HAD EVERYTHING ALL WORKED OUT IN MINIATURE BEFOEE ANIMATING, (AND the END RESULT Still CAME OUT JUST AS QUICKLY AS OTHER. ANIMATORS, ORS.) GRIM NATHICK MSO TOLD ME," TYILA WAS AVERY, VERY CAREFUL PLANNER.” CHANGE OF E OF EXPRESSION / WAS VERY TAKEN WITH WHAT DISNEY MACTER ANIMATOR/ TEACHER ERIC. LARSON HAS To SAY IN FRANIK THOMAS tad OLLIE JOHNSTONS "THE ILLUSION OF LiFEY HE SAID IN The BARLY MICKEY MOUSE SHORTS THEY DISCOVERED THIS PRINCIPLE = IF YOU WERE LOOKING AT & PORTRAIT AND - “THE SUBJECT GRADUALLY LOWERED HiS BROWS INTO A FROWN - PAUSED- AND THEN LIFTED ONE BROW AD GLANCED “TO THE SIDE, YOu (MMEDIATELY WOULD SENSE A CHANGE FROM ONE THOUGT TO ANOTHER. SOMETHING VERY IMPORTANT HAPPENED! THROUGH K CHANGE OF EXPRESSION ‘the THOUGHT PROCESS WAS SHOWN.” | THOUGHT, OK, Let® JUST SKETCH THIS OUT IN MS SIMPLERT FORM 24d SE WHAT ITLOOK® LIKE - “GRADUALLY LOWERS PAUSES THEN AND GLANces BROWS WIDAPROMM- ——_LIETS ONE BROW To THE SIDE.” GREAT. HES THINKING! THEN | WONDERED - IS THERE AVY WAY To STRENGTHEN THS FURTHERP OO OK LS HAVE The ENEPRONS B WP IWAN ANTICIPATIEN BEFORE GONG DOWN. 320THAT WORKS. CAN WE STRENGTHEN IT Fume STIL? WHY DONT We ANTICIPATE Tht. EAISED EYEBROW BY LOWERING IT FURTHER? GO DOWN BErORE IT GOR UP “THAT WORKS Too. ANYTHING ELSE WE CAN DO? A SLOW BLINK ENROUTE , MIGHT HELP r= MAYBE WEVE OVERANIMATED IT BY NOW oud MAYBE ITS.A BIT CORNY - BUT IT-SHOWS WHAT WE CAN PO BY LOOKING FOR EXTRA POSITIONS - MORE CHANGE - MORE BANG FORT BUCK, LOOK FOR the CONTRAST MULT KAHL ALWAYS SAID DONT CHANGE “he EXPRESSION DURING A BROAD MOVE. HE'D USE THIS EXAMPLE: SAY WE HAVE A PERSON READING A BOOK- wi \ 8 HE HEARS A NOISE 321For A StaeT WED NEED SOMETHING TO CHANGE FEOMN -SOMETHING OPPOSE - SOMETHING THATS A LOT DIFFERENT FROM WHAT WERE GOING TO CHANGE TO. Lett LIFT the BOOK UP md PUSH TEtt DOWN DEEPER INTO IT> - GIVE Hilt A COMPLACENT OR AMUSED ‘ EXPRESSION —~ THEN WEl VE Gor A BIGGER CHANGE - % A STRONGER. CHANGE. a ye p & BUC WE PONT WANT 1 CHANGE HIS EXPRESSION DURING he MOVE WHERE WE car SHE IT SO We INSERT A PORITION WHERE WE SEE The CHANGE BEFORE Tue MOVE. ain \ NX 4 | HAVE HINNOVE B40 CHANGE the EXPRESSION AT fhe END OF HIS MOVE WHERE WE CW SEE IT. 71 is Sg _ “The IOEA (STO Pur the CHANGE WHERE YOU CAN SFE IT- NOT DURING the BEOND MOVE - UNLESS the MOVE (S Quite SLOW ~ THEN We COULD READ IT. AGAN, the MIND IS the PILOT. WE THINK OF THINGS. BEFORE the BODY DORS THEM. THERES. ALWAYS A SPLIT SECOND OF “THINKING TE” BEFORE The CHARACTER DOES the ACTION. 322CAN ACTING POINT A BAD ACTOR WILL POINT At The SAME TIME AS SAYING — “There He Gost! — Thee 7 eran BUT WE CAN TAKE IT Our OF “the REALM OF the, CLICHE SIMPLY BY POINTING FIRST 2u) THEN SAVING IT: = OR, SAY IT FIRST THEN POINT- “THERE HE GOES! ~~ Wd INCIDENTALLY, WITH POINTING - 178 A GOOD IDEA TD L#AD WITH the WRIST - k ‘eo = ond HAVE the HANIP aud FINGERS Come uP LAST. AND ~A VERY AUINOR TH ING — IN A FAST MOVEMENT IF WERE GOING FROMCAY DULD INSERT | FRAME @) VES tases NTH WRONG eo ® Teo FIST OSE De Peel Tac GNABS 323BODY LANGUAGE We BRILLANT DISNEY AT piRecToe/ DESIGNER, KEN ANDERSON SAID, "PANO MIME [She BASIC ART OF ANIKATION BOOY LANGUAGE (8 the ROOT 24) FORTUNATELY (TI UNIVERSAL.” | WAS WITH KEN IN TEHRAN JUST BEFORE The- REVOLUTION oud / HAD A NASTY SHOCK 90 A BIG LESSON WHEN THEY PAN My 1 HEUR-OSCAR-WINNIKG “A CHRISMAS CAROL” FOR AN IRANIAN AUDIENCE. WE HAD TRIED To HAVE AS MUCH BODE LANGUAGE IN The FILM AS WE COvLD BUT We STILL WERE LEPT WiTH DICKENS’ LITERATE STORY. OF COURSE The AUDIENOE DIDNT UNDERRTNID A WORD. A CHUCK JONES CARIOON Cie ON APTER wd BLEW US Oltt OF Te WATER. SO FOR.US, We SHOULD KEEP INORDS 70 A BARE MINIMUM Dud MAKE EVERYTHING 48 CLEAR AS WE CAN THEOUGH PANTOMIME, WESHOULD FEEL We HAVE ONLY The BOLY To Tels Tie STORY. ifs 4 GREAT IDEA To STUDY SILENT MOVIES. ALTHOUGH MUCH OF The ACTING 1S LAICHASLY HAMMY Oud CORNY ITS ALL VERY CLEAR. ALMCSr A LOST ART, Atl ACTOR. HAS To BE SPONTANEOUS To A DEGREE - Bur (TS NOT SPONTANEOUS FOR US- iS ANYTHING BUT. WE CAVSIT DOWN aud GIVE ITA LOT OF THOUGHT. WE CAN TRY THINER, TEST THEM uo MAKE CHANGES, WE'VE GOT the Boy CONTROL (1d WERE NOT HMITED BY PHYSICAL DEXTERITY, OR GRAVITY, OB AGE, OR RACE, OR SEX. AGAIN, WE CAN INVENT WHAT DONT EXIST IN REALITY oud STILL MAKE (7 APPEAR: BELIEVABLE, SYMMETRY OB TWINNING” | FEEL THAT SYMMETRY HAS GOTTEN A BAD PRESS BECAUSE OF BAD ANIMATION ACTING. PEOPLE SAY “AVOID TWINNING ’— WHERE BOTH ARMS ad HAUDS ARE DOING ‘the SAME THING. eee Bn £ BUT JUST WATCH ANY POLITICAN, PEEAGHER OR LEADER OF WHATEVER, OR EXPERT ON TELEYISION, WHEN THEY'RE LAYING DOWN ‘he LAW THEIR ARMS 2ud HANDS WILL TWIN: SYMMETRICALLY. HeRES The BROAD PATTERN - eo “we Nex ~ Happmiess Ae sonurse — Sucoats sbi, setaonue, TO Vore FORME ENLGATEN MET Riesiip nowy — Guokos Hanon SPER ABUNDANCE BALANCED LIVING et. 324