Prod. 2003 - Seq. 12 - Solid Gold, Too!
Here is the final installment of the draft of Prod. 2003, Pinocchio!
"It's done!" The entire draft of Pinocchio is now online.
In this last sequence directed by Ham Luske and laid out by Ken Andersen, we find Pinocchio by Milt Kahl and Ollie Johnston (and Bob Youngquist in sc. 14.2, I'd guess), Geppetto by Art Babbitt (his hands by Bill Shull), Jiminy Cricket by Don Towsley, Bernie Wolf and Ward Kimball, Figaro and Cleo by Eric Larson (and a Figaro by Lynn Karp).
Today, 67 years and 38 days after the premiere of this Multiplane Technicolor masterpiece, I want to thank all the artists who made this film possible. Having cost around $2,600,000 in 1940, it has to date grossed an estimated $84,300,000 domestically, which I would say makes it quite successful. Even better: it has entertained zillions worldwide through all those 67 years. It is doubtful that we will ever see the same amount of craftmanship on one film ever again. Let it be a lesson to us all.
Now I will sit back and enjoy Mark Mayerson's mosaics - and intelligent disection of the film... while trying to figure out, what to post next...
Has everybody seen Mike Barrier's posting of the draft to Who Killed Cock Robin? Begorrah, as one should say this St. Patrick's day...
I have something to read, too, as I received Mike's book "The Animated Man - a life of alt Disney" yesterday from Amazon!
"It's done!" The entire draft of Pinocchio is now online.
In this last sequence directed by Ham Luske and laid out by Ken Andersen, we find Pinocchio by Milt Kahl and Ollie Johnston (and Bob Youngquist in sc. 14.2, I'd guess), Geppetto by Art Babbitt (his hands by Bill Shull), Jiminy Cricket by Don Towsley, Bernie Wolf and Ward Kimball, Figaro and Cleo by Eric Larson (and a Figaro by Lynn Karp).
Today, 67 years and 38 days after the premiere of this Multiplane Technicolor masterpiece, I want to thank all the artists who made this film possible. Having cost around $2,600,000 in 1940, it has to date grossed an estimated $84,300,000 domestically, which I would say makes it quite successful. Even better: it has entertained zillions worldwide through all those 67 years. It is doubtful that we will ever see the same amount of craftmanship on one film ever again. Let it be a lesson to us all.
Now I will sit back and enjoy Mark Mayerson's mosaics - and intelligent disection of the film... while trying to figure out, what to post next...
 |  |  |  |
I have something to read, too, as I received Mike's book "The Animated Man - a life of alt Disney" yesterday from Amazon!
posted by Hans Perk at 10:00 AM
5 Comments:
This has all been really interesting... but I also notice that, not only do the drafts reflect the screen credits in not mentioning Shamus Culhane, but some people's contributions are mentioned in the screen credits but not in the drafts.
For example, Norm Ferguson is in the credits as a sequence director but the drafts don't credit him with any scenes. Same goes for art director Charles Philippi. Also the animator list in the opening credits list a Robert Martsch (surrounded by effects animators) whose name doesn't appear to be on the draft.
Well, again again, the drafts were working documents that not necessarily reflected the person responsible for the bulk of the work. They showed who to go to in case of questions. This could even be an assistant animator, or someone entirely different if the animator in question had left the studio at the time of preparation of the drafts.
The only real REAL way of crediting the artists is looking at the scene folders for every individual scene. At this time, the only way we can get close is through the drafts, which in my mind give a reasonable picture, at least for those who stayed at the studio until the release of the film. In case of Pinocchio, this would be most of the artists.
According to Alberto's page, Robert Best Martsch (1904-1978) worked at Disney's from ca. 1935 until 1939, so he would have left at the time of preparation of these drafts, which means he would have been replaced on the drafts by someone else in his department. They probably had shot the credits already at that time, or he might have been obliterated completely, too...
As to Charles Phillippi as art director - the draft does not name art directors. As to Fergie's credit, I do not know yet, how that fits in...
Thanks, the spectre, for your comments and insights!
thanks for the drafts hans
keep it up!
There are "layout men" credited on the draft, though, and most of them also appear as art directors in the on-screen credits, so I figured they meant the same thing.
Interesting that Martsch is in the onscreen credits but Culhane isn't... I guess Martsch must have left some time after Culhane did, if there was time to remove Culhane's name but not his. I wonder if Martsch worked on the Marionette Show (a "second final draft" scene with no Culhane/Tate) or possibly as one of the "about eight names" on the before-preview version of the long-nose sequence...
Because of the amount of animators on this film:
On my website, I've wrote a long list of the animators (all on screen credits and a few uncredited), and count the number of scenes they animated in this BIG picture! and to tell you it took me hours to do it!
Check it on: Blabbing on Arts and Culture! I'd like more support on my small website!
Post a Comment
<< Home