Jon Favreau’s dark reboot screens like a terrorized tale drained of humor, compared to Wolfgang Reitherman’s amiable 1967 feature.
Steve Hulett recounts his experiences working on “Oliver & Company” and the unexpected tragedy that happened during its production.
Though the work that animators create is often exhilarating, the actual process of animating, which involves sitting at a desk for hours …
Don Bluth smiled at me. “I wouldn’t worry about being laid off from Disney’s, Steve. Nobody gets laid off around here. When somebody messes up, the studio just sends them to WED.”
My wrestling match with Ken Anderson now over, I returned once more to Wolfgang “Woolie” Reitherman and Larry Clemmons, working on the story end of “The Fox and the Hound.”
I was back in Don Duckwall’s office, exchanging insincere smiles with him. I had been on “The Fox and the Hound” with Larry, Woolie, and everybody else for half a year. But now Don wanted me to go on another assignment.
Larry had me writing sequence scripts for “The Fox and the Hound,” which turned out to be my assignment for the next six months. Part of the package was attending Woolie Reitherman’s marathon story sessions, which often left me drained and dazed. There were also Woolie’s marathon take-selection meetings, which left me drained and bewildered.
Disney’s head animation writer in 1977 was cartoon veteran Larry Clemmons, who had first been hired at the studio in 1930. At the time of his hiring, he was a Yale graduate with a degree in architecture, but an Ivy League education was of little value in 1930 when the economy was collapsing…and few buildings were being erected.
He was one very lucky artist.
The pet project of UP director and flipbook aficionado Pete Docter: a packaged boxed-set of nine flipbooks.
Swiss animator Oswald Iten has written an enlightening analysis of the different approaches to narrative and characterization used by the …