Michael's point about the golden age leaving our collective memories is valid, too. It leaves US, who knew and worked with the people and the material they left behind, to carry the torch for the amazing accomplishments they have witnessed and been part of during their lifetime. For me, many of the animators of the 30s who did not live past the 60s are as vivid in my imagination as the few I personally knew, because of the legacy they left on film. I see photos of them, read stories about them, and feel I got to know them a little - ever since my parents gave me Finch's Art of Walt Disney and since the first episodes of Funnyworld and Mindrot I borrowed of Børge.
Personally, I, too was disappointed by the seeming lack of interest.
I would like to have some kind of response, and not ONLY from the handfull of "regulars" like Mark, Mike, Amid, Thad, Keith and the spectre, but that did not happen. I do note about a hundred visitors a day, and many of them return visitors, which is the grounds for my above theory and part of the reason I decided to post the Pinocchio draft anyway. It also made me decide to post it slowly, as an underlying theme the following weeks, to remove my daily pressure in finding new material for a while. As things are, it will all be "up" March 16th. The thing I am MOST happy about is getting well-informed comments from knowledgable animation historians, pointing out my own errors of deduction or other non-obvious things, and in general helping to make sense of the films and their crew. But any sensible questions are welcome, and I can always filter out comments that are too smarmy (I did that once, I think).
And then there is another reason, maybe: drafts are not drawings.
A single drawing on a blog can arouse the masses and get tens or hundreds of comments. Drafts and documents do not do this for most people, since there is no "direct satisfaction": they have to think, remember and maybe even research what they themselves know.
It seems that the draft info put into Mark Mayerson's mosaics or presented on film as by Thad Komorowski and myself has a following - it generates many more comments - but then again, for many it will just be the first time they ever see the imagery.
I think my main disappointment was not about drafts, but about the Action Analysis Classes: here is SO much to learn, so much that can, after proper study, improve animators' abilities, but not many seem interested in learning or improving. And those who are interested do not believe that a 70 year old document can teach them anything, especially if this is from an old "2D" studio, and they are doing "3D" work, not realizing that the Theory Concerning the Presentation of Amusement1 is the same!
Even worse, not many people even READ anymore. An email longer than 5 lines is beyond comprehension. This is the saddest thing...
1[I was told that Frank and Ollie wanted to use that as subtitle for The Illusion of Life...]