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Published on April 13, 2013 By Frogboy In Everything Else

imageI’ve been doing a lot of reading on Walt Disney recently and he tale is both amazing and quintessential.  His professional life was a conflict between his desire to do amazing work with the challenges of running a business.

Early in his career, Disney was devoted to moving “cartooning” into being a serious art. His first true sound cartoon, the famous Steamboat Willy, required the invention of numerous new technologies in order to synchronize the sound with the animation.  It was Steamboat Willy that put Disney on the map as a leading animation shop. 

Disney’s dedication to quality regularly put his company on the verge of liquidation. For most of his life, he was in debt. Disney cared little about money other than as a means to further his goals.  When he became the first to use 3-color Technicolor, it resulted in the cost of his shorts being vastly higher than those of other studios and no one really knew whether people would care about true color cartoons.  It turned out they did.

Even as they struggled to pay the bills, Disney embarked on a wildly ambitious project – a feature length cartoon.  Snow White. One of the things I was really surprised to learn about is that no cartoon before or since (including Fantasia) had as much love and attention put into it as Snow White.  Every frame of that movie was scrutinized. Every line, every tiny piece of animation was meticulously gone over.  One has to go back and rewatch Snow White to truly appreciate the kind of attention given to that movie because it’s unlikely anyone will ever be able to equal it.

Disney would produce two more feature length cartoons that would have near that level of attention – Pinocchio and Fantasia.  Neither of those two movies were the success of Snow White and it nearly ruined them.  As a practical matter, a movie like Snow White wasn’t practical to make because it had to be a massive hit in order to justify the cost/risk and no one bats 100%.  Bear in mind, Pinocchio and Fantasia are considered classics today and nearly destroyed Disney. 

Disney would make one more movie that even attempted to approach the quality of Snow White – Bambi.  And like Pinocchio and Fantasia, it was initially considered a failure because it didn’t make enough money to justify its cost.  There were extenuating circumstances to be sure (the loss of foreign markets during the World War II period) but it proved that even if you made a great movie that normally would be considered a “hit” it wouldn’t be enough given the costs associated.  As a result, Disney never even attempted to make a movie that approached these.

imageIf one looks at other great Disney feature cartoons like Cinderella, Dumbo, Lady and the Tramp, etc. you will find that the different in animation quality is very different.  And that’s because Disney found, to his sorrow, that most people just didn’t care about ultimate quality in their animation. “Good enough” would suffice.

In fact, just look at 1-frame from Cinderella and compare it to a frame from Snow White and the difference is massive. But Cinderella was a hit nevertheless.

Deep down, most creative people dream of being able to forego concerns of cost and focus purely on ultimate quality even if it doesn’t make business sense.  Disney didn’t care about the money, he wanted to move the art form forward.  In the early days of his studio, he had total control over quality but after Bambi, he would never truly regain it. After that, investors, bankers, etc. would force Walt to find the point of diminishing returns on quality versus profitability. After that, Disney films would become “good enough”. 

Thankfully, technology has moved enough that animation is starting to approach the levels of Snow White again. But if you think we’re getting close, watch Snow White again and then compare it to say Lion King, Aladdin or some other modern Disney hit and you’ll see that even with the amazing technology we have today, we still can’t equal the love and care that translated into Snow White.


Comments (Page 2)
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on Apr 21, 2013

Frogboy
World War II and the economic realities of cost of animation vs. box office performance he never really put his heart into anything like he did those first 3 movies
 The big screen, GREAT artwork, the joy of going out and being with your friends and spending the day in a then air conditioned (when your house and few other places were) theater gave way to TV, sitting at home in your living room watching a snowy black and white picture. Most of us who grew up in the 50's didn't know what we were missing.  The Wonderful World Of Disney which did become The Wonderful World Of Color was indeed wonderful.

 Walt Disney, the Fleischer Brothers,  the Warner Brothers, Walter Lantz, Mr.Hannah and Mr.Barbera, thank you for your visions and your dreams.

And thanks for giving so much of it a voice, Mel Blanc.

on Apr 21, 2013

Wizard1956
Mr.Hannah and Mr.Barbera

ohh, that reminds me of my favorite TV show as a kid, Jonny Quest. About a year ago I was also doing some research on animation and came across this very well done documentary  (Jonny) QUEST: TV Most Ambitious Animated Series.
Very much worth a watch.

 

on Apr 22, 2013

Studio Ghibli is awesome. Best animation and stories I have seen yet.

I'm not sure why you say that.  It doesn't even have multiplane backgrounds.  It's certainly better than most modern animation but I wouldn't put it in the same league as Snow White, Fantasia or Pinocchio.

on Apr 22, 2013

An assistant to the Production Director prepares for filming the scene in which Ashitaka and Yakkuru follow the Tatari-gami down a cliffside.  He puts together the background painting (on paper), another background painting on a cel (called a "book cel"), and multiple painted cels of Ashitaka on Yakkuru and their shadows.  Ghibli has two enormous multiplane cameras in the basement of the studio building.  The cameras are called by their nicknames, Musashi and Yamato (the names of famous Japanese battleships from World War II).

Then the Director of the Photography Department, Atsushi OKUI, and his assistant, Tamao KOSHIRO, take over the work.  Firstly, Koshiro removes static electricity from the cels, in order to avoid any dust.  Next, he arranges each cel onto a computer-controlled moving device to create simultaneous movement for filming, which is called "contact multi-filming."

 

Cameraman Junji YABUTA films the scene (Cut 192).  The scene is composed of seven layers:

 

  • the background painting (on paper);
  • a book cel with a background painting of the scenery behind the road;
  • a book cel of bushes and grass behind the road;
  • a book cel of grass in front of the road;
  • a book cel of grass and bushes in front of the road;
  • a cel of Ashitaka and Yakkuru; and
  • a cel of Jiko-Bou.

http://www.nausicaa.net/miyazaki/mh/MakingOfMH/Part1.html

on Apr 22, 2013

Much of the really old Animation is still amazing when you consider each cell was hand drawn frame by frame.  I believe it came out to 20 frames per second.

Take a look at this Superman short from 1941.  The fluidity of movement is still amazing and IMO better than most modern Anime/Cartoons

 

on Apr 22, 2013

Some very interesting facts...Thanks for sharing it with us.

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