April 12, 2012
James Baxter - Notes on Acting for Animation

Performance
Animators are the ones that throw the switch; the ones who make an audience forget that they are animated characters.
The most important thing is to try and find the truth.  But you can’t do this by “method” animating.  You can’t be in the moment for the length of time it takes to complete a scene.  Actors do, while animators describe.
Best note of the day: You don’t have to do improv classes (Yeah!)
When you act out a scene, it’s important to remember that it is your body you are acting with, not your character’s.  Your character can do things your body can’t (and is probably better at them as well).
Bill Tytla was the first animator to take acting in animation seriously.
Real Acting
Stanislavsky was the one who focused actors more on their preparation rather than on acheiving results.  Method acting is the process of moving away from thinking about what you are going to do in a scene and instead, focusing more on what you need to do to prepare to make the scene honest and true.  In this way, you allow the spontaneous to happen.
Meisner believed it wasn’t enough to rely on a sense of memory - that your memories were inadequate for the task of acting.
Sandy Meisner’s famous quote that great acting is - “the ability to live truthfully under imaginary circumstances.”
Approaching a Scene
Many things to consider in your preparation for a scene:
• The context of the scene in the sequence
• How does a character move physically; what sets them apart from others in the same film?
• Best way to stage a scene.  Consider the correct angle to sell an emotion.  In CG, it’s easy to lose the point of a scene behind all the lighting and rendering.
• Be aware of the composition of a scene.
Staging
Referring to the Shere Khan/Kaa sequence in Jungle Book.
Milt has set it up so you only look at one thing at a time.  He crafted the scene so that when Shere Khan pops open his claws, everyone is looking there.  Nothing else is moving. (Waste of time to always be moving all the background characters).
Your eye reacts to movement, color and contrast.  Use those to direct your audience’s attention.
Fred Astaire is good at that - staging a dance so you look exactly at what he wants you to.
Posing
The life of a scene usually leads him from a very emotional point to a very technical one.  Emotional as he figures out the acting; technical as he makes it look good.
You need to block things out with enough juice to communicate your intentions to the director.
Example: The Pinocchio scene with the tail popping out to point out: clear line of action and a clean and natural balance and rhythm to the poses.
Don’t have a whole bunch of different attitudes within a scene.  Usually there is one or two major poses per scene.  Horton as an example of animation having too much to it.  Loved the scenes with JoJo because you could actually focus on what he was doing.
Remember the timing within a scene - make sure you have enough time to do the action that you want.  Don’t force something in there just because you think it looks cool.
James Baxter’s “perfect animator” exists somewhere between Milt Kahl, Frank Thomas, and Ward Kimball:
• Milt for pure draftsmanship, posing and technique.
• Frank for truthful acting.
• Ward for shear graphic ingenuity.
Ward Kimball is the one that constantly pulls James away Milt and reminds him that animation is not real; you can actually do whatever you want.
 
 
Analyzing Live Action
If you find yourself watching a greatly acted scene but not knowing exactly why it works think, how else could they have done it?  That helps you figure out what kind of preparation they had to go through and helps you to see the kinds of choices that had to be made.


Comparing the work of Frank Thomas to Milt Kahl
Frank Thomas always considered the “actor’s animator.”  While Milt used poses to communicate his intentions, often focusing on a single drawing, Frank used actions to communicate the intentions of his scenes.
Milt’s scenes tend to have very strong “tentpole” poses; what happens inbetween them is often the same motion (headshakes, hand gestures, etc.).
Frank was more concerned with the feeling and flow through a scene.  He made drawings that wouldn’t necessarily work on a model sheet, but in motion they feel right.
Showed a sequence with Madam Mim from The Sword in the Stone where she speaks to Wart on the table.  The “one little finger” and “ugly” scenes were Milt and they look very familiar (move like other characters).  Beautiful but reminiscent.  Frank’s scene is the one directly after where she walks by Wart looking down at him from the corner of her eye.  Milt would probably never have done this kind of acting, but it feels more truthful to the scene.
Showed sequences from Jungle Book comparing the different ways of approaching animation on Baloo.  The scene of Baloo screaming “Bagheera!” at the edge of the cliff was Milt’s.  Baloo gets up and starts punching the air.  Milt seems more considered with making awesome drawings that animate beautifully.  Seems to get carried away with the mouth shapes on “mangy monkey.”  Frank probably would’ve used that opportunity to have Baloo connect more with Bagheera. Example; the scene of Baloo waking up Mowgli - very different acting choices.

Frank Thomas
Frank Thomas
Frank Thomas
Milt Kahl
Source: FloobyNooby
I personally did a double take when I read the bit about you don’t have to do improv classes. C’mon, improv is so much fun!

April 2, 2012

A short film I made recently. A boy grows up having never left his home world. One day, a supernova forces him to confront the world beyond. Part immigration story, part natural disaster story.

March 25, 2012

The Pixar Story

March 24, 2012
Glen Keane’s Disney Resignation Letter

March 23, 2012

Dear Colleagues and Friends of the Walt Disney Animation Studio,

After long and thoughtful consideration, I have decided to leave Disney Animation.

I am convinced that animation really is the ultimate art form of our time with endless new territories to explore. I can’t resist it’s siren call to step out and discover them.

Disney has been my artistic home since September 9,1974. I owe so much to those great animators who mentored me—Eric Larson, Frank Thomas and Ollie Johnston—as well as to the many other wonderful people at Disney whom I have been fortunate to work with in the past nearly 38 years.

Over these four decades I have seen so many changes, but the one thing that remains the same is that we all do this because we love it.

I am humbled and deeply honored to have worked side by side so many artists, producers and directors during my career here at Disney, and I am tremendously proud of the films which together we have created. I will deeply miss working with you.

With my most sincere and heartfelt good wishes for your and Disney’s continued artistic growth and success,

Glen

March 23, 2012

A boy grows up having never left his home world. One day, a supernova forces him to confront the world beyond. The Boy and The Tree.

March 22, 2012
A shader test.

A shader test.

March 3, 2012
The Boy and The Tree is Going to NFFTY 2012!

I can’t begin to describe how excited I am, and yet. I know I can do a lot more and get a lot better. As I’ve been finding out recently, the answer to all my cinematic problems is Hitchcock. Always study Hitchcock and use more Hitchcock.

Thank you Hitchcock.

February 24, 2011
You have no idea how long it took me to get to this point…

You have no idea how long it took me to get to this point…

February 1, 2011
Tree Production: Character Heart

Tree Production: Character Heart

February 1, 2011
Tree Production: Current Still

Tree Production: Current Still

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