Special Report From Rhett Wickham: Honing the Range (Part One)
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RW
Talk to me a little bit more about the directors privilege and pleasure of being
able to cast the animators. You inherited some of the team but then you had a chance to
recast some, yes?
FINN
Well its complicated, because originally they had this idea that there were going to
be three lead cows and there were going to be three lead cow animators. I was originally
going to be one of them at one point because I was on the story crew at that time and I
was going to be grandfathered in to animation. And it was going to be Duncan
(Marjoribanks) me and Mark Henn.
SANFORD
Instead of having each supervisor animate a particular cow, they were going to have to
animate all the cows in whatever scene they were assigned. We thought this was a bad idea
for a number of reasons. When an animator is cast a specific character, he or she is able
to develop unique expressions and gestures that are particular to their character. If all
3 guys are animating all 3 cows all the time, there wouldn't be any opportunity for this
kind of thing to happen. The characters and the movie would suffer as a result.
FINN
I remember saying "I get the idea that youve got these characters on screen a
lot together, but I really think that because theyre all the same animal you really
want one person to supervise each character. And thats going to be a lot harder and
take up a lot more time, but you really want one lead animator per character."
We were moved in and so I wasnt going to be animating and so we got Chris Buck on Maggie, and Duncan on Mrs. Caloway, and Mark on Grace. Which was just something that turned out to be the right thing to do for all those characters.
RW
And where was Dale (Baer)?
FINN
He was on Alameda Slim. And in all cases these guys amazed us with how right they were for
those characters. Chris Buck is not only a brilliant animator, but also a great mentor and
a fine director. He really rolled with the punches through us on a lot of changes on that
character. (i.e. Maggie)
SANFORD
Right.
FINN
He also made the design of the character really specific and really unique. And you know a
lot of these characters, theyre not terribly detailed, they could go generic on you
very, very fast and thats was why it was very, very important to put distinct
animators on them.
Duncan felt like a natural for Mrs. Caloway because
RW
Because thats Duncan.
FINN
Yeah, hes from another realm.
RW
Alice had said that something she loves about Duncan is that hes always saying
Mrs. Caloway doesnt know that shes -
SANFORD
- oh yeah, doesnt know that shes a cow in an animated film. (Laughs)
FINN
Yeah, she takes it very seriously. Yeah, Duncan got that right away.
SANFORD
Its funny because Duncan
each animators great
Duncan surprised me
with the uniqueness of the acting with that character. Everybody did, but like there was
just the most specific facial expression on that character - to that character.
RW
Hes so wonderful with getting specific and complicated performances out of the most uncomplicated
and simple character designs. For instance Im always impressed by the fact that
Sebastian is almost nothing more than these conjoined dollops of
of pudding shapes
and he (meaning Duncan) makes that generic shape come to life so specifically, and so
amazingly well!
FINN
Well Duncans actually one of the first guys where you see a lot of him if you know
him in his characters. Hes one of the first guys of his generation of animators
that, him and Glenn (Keane) were really the first guys that were actually not..they
werent cribbing so much from other people they were actually doing their own stuff.
The were inventing their own ideas. Not to say that other people who emulated other
animators havent all done fine stuff - but for instance I was always emulating Ollie
when I started animating.
RW
And youve also admitted that you emulated Eric Larsons work, too.
FINN
Yeah, Eric Larson certainly was a great mentor and a really sensitive guy. I didnt
know Ollie, but Ollies stuff came to mind a lot. Glenn and Duncan really just did
themselves, and thats really inspiring and I think a lot of people got inspired by
that.
RW
And they continue to do that, and you see more and more of them in their work as they go
farther and farther along in their careers.
- END OF PART 1 -
TOMORROW: We continue our conversation with Will Finn and John Sanford tomorrow. The directors discuss other great animated performances in HOME ON THE RANGE, including the work of Mike Surrey (Clopin, Turk) and Mark Henn (Mulan, Jasmine) and the turning point in the production when major plot points shifted and Roseanne was cast. Part 2 of HONING THE RANGE on Friday.
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-- Rhett Wickham
All photographs copyright The Walt Disney Company, all rights reserved. Special thanks to
Michael Garcia.
Rhett Wickham is a frequent editorial contributor to LaughingPlace.com. Mr. Wickham is the Director of Creative Affairs for Squared Foot Productions, an independent feature film company in Los Angeles. Prior to moving to LA, Rhett worked as an actor and stage director in New York City following graduate studies at Tisch School of the Arts. He is a directing fellow with the Drama League of New York, and nearly a decade ago he founded AnimActing©® to teach and coach acting, character development and story analysis to animators, story artists and layout artists - work he continues both privately and through workshops in Los Angeles, New York and Orlando. He is most proud to have been honored in 2003 with the Nine Old Men Award from Laughing Place readers, "for reminding us why Disney Feature Animation is the heart and soul of Disney." He can be reached through
[email protected]The opinions expressed by our Rhett Wickham, and all of our columnists, do not necessarily represent the feelings of LaughingPlace.com or any of its employees or advertisers. All speculation and rumors about the future plans of the Walt Disney Company are just that - speculation and rumors - and should be treated as such.
--Posted March 25, 2004