quinta-feira, 17 de fevereiro de 2011

Painting of Spots Huge Job in Producing Disney's "Dalmatians"


The painting of spots was one of the biggest creative factors facing some 150 artists during three years of working on Walt Disney's cartoon-feature comedy-romance, 101 Dalmatians.

In all, there are exactly 6,469,952 spots on the back of 101 heart-warming dogs and puppies as they appear in 113,760 frames of brilliant color by Technicolor.


Pongo, the cartoon canine lead, wears 72 spots while his love, Perdita, has 68 on her coat. The spots and all other color effects required 800 gallons of very special paint weighing nearly five tons, enough to dress the exteriors of 135 average homes.


Using a secret process, the studio has always mixed its own color in its own laboratories for all Disney cartoons. For 101 Dalmatians, 1,000 different shades were produced, 100 of them especially for that picture to achieve the subtlety and variety needed to handle the dogs and humans as they move through interiors and exteriors in summer and winter.

Producing the "white" for the dogs alone— Dalmatians are white under the spots— required enough very light gray paint to make this category the predominant one in the picture's broad spectrum. Pure white, of course, would have been too garish, too difficult to define, especially against snow.


From the 101 Dalmatians 1979 re-release press materials.

sábado, 5 de fevereiro de 2011

Treasures from ’20,000 Leagues Under the Sea’: never-before-seen Disney artwork

THE DISNEY ARCHIVES

I recently got a rare tour of the Disney archives (you’ll be reading a lot more about that visit very soon), and I can’t tell you how fascinating it was to see such a vast collection of artifacts and “lost” art. These costumes, props, animation cels, posters, documents, paintings, models, etc. are more than the ultimate cache of pop-culture collectibles — they chart the history of America’s most amazing entertainment success story.

We’re going to be digging a bit into that archive over the months to come to bring you glimpses into these treasures, and we start off with some compelling images that date back to “20,000 Leagues Under the Sea,” Disney’s landmark 1954 live-action film.

These are preproduction drawings from 1953 that show early visions of the famous battle against a giant squid that plays out atop Capt. Nemo’s Nautilus. These drawings have been meticulously preserved by the archive staff but never published in any form, anywhere, before now. 

20000 leagues art 3

These show the squid attack taking place against a dramatic sunset and indeed that’s how it was filmed — but Walt Disney watched the footage and felt it could be better. The entire sequence was refilmed, this time during a vicious rainstorm, a more frenetic setting. That’s the version that moviegoers saw when the film reached theaters in December 1954. 

20000 leagues art 1

“20,000 Leagues under the Sea” was just fifth live-action feature film from Disney (that’s not counting the nature films) and it tied with “White Christmas” as the top box-office draw of the year.

20000 leagues art 2

This final image below is a painting that is just amazing to see in person. It’s the original artwork for the cover of a record album that tied in to the “20,000 Leagues” re-release in 1963. The artist isn’t credited, unfortunately, and the archivists at Disney say if anyone has some insight into who did this great piece, he or she should leave it here in the comments section so the archivists can follow up and make their own records more complete.
 
20000 leagues

As I said before, there’s a lot more to come from the Disney archives, and if there are specific things you readers would like to see, let me know. Also, for you hard-core Disney fans, the archives are typically closed to the public but they are scheduled to be opened several times a year to members of D23, the official Disney fan club.

– Geoff Boucher

segunda-feira, 15 de novembro de 2010

Tim Burton's Vincent [1982] - Video, "Comic Book" & Narration



It's a 1982 stop-motion short film with 5 minutes in length and narrated by Vincent Price who tells the story of a young boy who pretends to be like Vincent Price and is obsessed with the tales of  Edgar Allan Poe. The film ends with Vincent quoting "The Raven" as he falls dead (or not?) to the floor.


Although this short was never released alone, it can be found  on The Nightmare Before Christmas Special Edition and Collector's Edition DVD as a bonus feature.

An early form of the character of Jack Skellington from The Nightmare Before Christmas  can be seen in the upper-left corner of the screen from 1:25-1:33 as well as in front of the embodiment of his deceased wife from 4:45-4:47 as seen bellow:
 Jack Skellington

Release Dates
Country       Date

USA           October 1982 (Chicago International Film Festival)
USA           October 1, 1982    
Spain          December 1, 1994    
Poland        October 8, 2001 (Warsaw Film Festival)
Finland       October 15, 2003 (DVD premiere)


A N D   W H A T   A B O U T   D I S N E Y ?

Burton started his career as a concept artist on The Fox and the Hound (1981) and The Black Cauldron (1985) at Walt Disney Production's Animation Studio where he found Disney Executive Julie Hickson and Head of Creative Development Tom Wilhite.

Although it's not "Disney material", they felt he deserved to be given respect and gave Burton $60,000 to produce the poem Vincent which was originally planned to be a children's short story book .

After 2 months working on the project, Burton came with this black and white film that bring us to the German Expressionist style in vogue in the 1920s films!


I t ' s     T i m e     t o     P l a y

I made this .PDF file with print screens and added subtitles latter! Just wait the file to load or click the link below to download it! It's kinda like a Comic Book format!

After this, you can read the Vincent Price's narration and watch the movie!


V I N C E N T    P R I C E ' S    N A R R A T I O N

Vincent Malloy is seven years old
He’s always polite and does what he’s told
For a boy his age, he’s considerate and nice
But he wants to be just like Vincent Price

He doesn’t mind living with his sister, dog and cats
Though he’d rather share a home with spiders and bats
There he could reflect on the horrors he’s invented
And wander dark hallways, alone and tormented

Vincent is nice when his aunt comes to see him
But imagines dipping her in wax for his wax museum

He likes to experiment on his dog Abercrombie
In the hopes of creating a horrible zombie
So he and his horrible zombie dog
Could go searching for victims in the London fog

His thoughts, though, aren’t only of ghoulish crimes
He likes to paint and read to pass some of the times
While other kids read books like Go, Jane, Go!
Vincent’s favourite author is Edgar Allen Poe

One night, while reading a gruesome tale
He read a passage that made him turn pale

Such horrible news he could not survive
For his beautiful wife had been buried alive!
He dug out her grave to make sure she was dead
Unaware that her grave was his mother’s flower bed

His mother sent Vincent off to his room
He knew he’d been banished to the tower of doom
Where he was sentenced to spend the rest of his life
Alone with the portrait of his beautiful wife

While alone and insane encased in his tomb
Vincent’s mother burst suddenly into the room
She said: “If you want to, you can go out and play
It’s sunny outside, and a beautiful day”

Vincent tried to talk, but he just couldn’t speak
The years of isolation had made him quite weak
So he took out some paper and scrawled with a pen:
“I am possessed by this house, and can never leave it again”
His mother said: “You’re not possessed, and you’re not almost dead
These games that you play are all in your head
You’re not Vincent Price, you’re Vincent Malloy
You’re not tormented or insane, you’re just a young boy
You’re seven years old and you are my son
I want you to get outside and have some real fun.

”Her anger now spent, she walked out through the hall
And while Vincent backed slowly against the wall
The room started to swell, to shiver and creak
His horrid insanity had reached its peak

He saw Abercrombie, his zombie slave
And heard his wife call from beyond the grave
She spoke from her coffin and made ghoulish demands
While, through cracking walls, reached skeleton hands

Every horror in his life that had crept through his dreams
Swept his mad laughter to terrified screams!
To escape the madness, he reached for the door
But fell limp and lifeless down on the floor

His voice was soft and very slow
As he quoted The Raven from Edgar Allen Poe:

“and my soul from out that shadow
that lies floating on the floor
shall be lifted?
Nevermore…”





terça-feira, 2 de novembro de 2010

1932 Flowers and Trees

It was the first commercially released film to be produced in the full-color three-strip Technicolor process, after several years of two-color Technicolor films.*


Flowers and Trees was already in production as a black and white cartoon before Walt Disney saw Herbert Kalmus' three-strip Technicolor tests. Deciding that Flowers and Trees would make a perfect test for the process, he had the black and white footage scrapped, and had the short redone in color. The color Flowers and Trees was a commercial and critical success, winning the first Academy Award for Animated Short Subjects.


As a result of the success of Flowers and Trees, all future Silly Symphonies cartoons were produced in three-strip Technicolor, and the added novelty of color helped to boost the series' previously disappointing returns. Disney's other cartoon series, the Mickey Mouse shorts, were deemed successful enough not to need the extra boost of color, and therefore remained in black-and-white until 1935's The Band Concert.


Flowers and Trees Print Screens **

Disney's exclusive contract with Technicolor forced other animators such as Ub Iwerks and Max Fleischer to use Technicolor's inferior two-color process or a competing two-color system such as Cinecolor.


* Information from Wikipedia at: http://en.wikipedia.org/wiki/Flowers_and_Trees
** Flowers and Trees Print Screens by Marcio Disney