Prod. 2082 (Sleeping Beauty) - Seq. 21.0 Girl Awakens and Ending
Directed by Gerry Geronimi, laid out by Tom Codrick and Ernie Nordli.
Animation by Milt Kahl (Prince, King Hubert), Marc Davis (Aurora, Queen), John Lounsbery (Kings) Jerry Hathcock, Ollie Johnston (Fairies), Bob Carlson (court crowd), Ken O'Brien (small Aurora and prince).
This sequence immediately starts with scenes by four of the "Old Men." Where they were lacking in the scenes before, here they are used in abundance.
Ken O'Brien was left with the unenviable task of being in charge of Aurora and Prince Phillip slowly descending the stairs - and waltzing in the last scene. The cleanups were blown down to a small size and inked. The re-registring of these alone must have been an awfully tedious task, of the kind where, when it is finally ok, nobody notices it, while the tiniest glitch can send a director through the roof. But he did it and therewith sends Sleeping Beauty off into the ages.
This FINAL draft of 7/1/58...
Tomorrow marks the latest reissue of the newly restored film, with a sold-out performance at the Academy in Hollywood (which I sadly cannot attend). Look forward to the upcoming Blu-Ray disc, folks, as you will get to see - and hear it as never before, mixed from the original four-track stereo masters originally recorded in Germany. You can now see it and know who animated what. Remember, you saw it here, first...
Finally, lets not forget that today is the 53rd birthday of Disneyland, and its landmark Sleeping Beauty's Castle, one of the most famous buildings in the world. Congratulations, Disneyland!
Animation by Milt Kahl (Prince, King Hubert), Marc Davis (Aurora, Queen), John Lounsbery (Kings) Jerry Hathcock, Ollie Johnston (Fairies), Bob Carlson (court crowd), Ken O'Brien (small Aurora and prince).
This sequence immediately starts with scenes by four of the "Old Men." Where they were lacking in the scenes before, here they are used in abundance.
Ken O'Brien was left with the unenviable task of being in charge of Aurora and Prince Phillip slowly descending the stairs - and waltzing in the last scene. The cleanups were blown down to a small size and inked. The re-registring of these alone must have been an awfully tedious task, of the kind where, when it is finally ok, nobody notices it, while the tiniest glitch can send a director through the roof. But he did it and therewith sends Sleeping Beauty off into the ages.
This FINAL draft of 7/1/58...
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Tomorrow marks the latest reissue of the newly restored film, with a sold-out performance at the Academy in Hollywood (which I sadly cannot attend). Look forward to the upcoming Blu-Ray disc, folks, as you will get to see - and hear it as never before, mixed from the original four-track stereo masters originally recorded in Germany. You can now see it and know who animated what. Remember, you saw it here, first...
Finally, lets not forget that today is the 53rd birthday of Disneyland, and its landmark Sleeping Beauty's Castle, one of the most famous buildings in the world. Congratulations, Disneyland!
Labels: Draft, SleepingBeauty
posted by Hans Perk at 7:00 AM
15 Comments:
Wow, what a draft! Once again, thanks a million for postin' these drafts, Hans. I've been lookin' forward to them every day!
Boy, you went through this set of drafts pretty quickly, all up in only a few weeks time. I must say, you have been quite dedicated to the task. You should be getting a medal for all the work you've done.
For the upteenth time, thank you very much, Hans! By the way, you wouldn't by any chance be goin' to San Diego next week for the Comic Con are you?
Hi Michael - thanks! Yes, I wanted to get the draft up before tomorrow, the reissue in El Cap. The fact that today is Disneyland's birthday also was in the back of my mind, especially since today it was announced that the Sleeping Beauty walk-through will be brought back in Disneyland's castle.
Won't be able to make it to ComicCon, sadly...
Thanks for commenting! I am still amazed at how few have noticed these pages are even up!
[Remember, you saw it here, first...]
This is why I come to your blog every day.
A big thank you, once again! You were posting faster than I could read the drafts. I'm really looking forward to the Blu-Ray. Have you been interviewed for the special features?
Hi Oswald - thanks! No, I am ONLY on the One Hundred and One Dalmatians DVD.
It was fun to be on the DVD, even though the interview took an hour and a half and went in depth with a lot of animators, they chose 15 seconds and a sound byte of there being six million and then some spots on the dogs in the film...
Hi Hans!
Again, thank you so much for those drafts, I'd been awaiting something like that (almost) my whole life.
Maybe the summer vacation had something to do with the lack of readership and comments? Anyway, what's left me most amazed these last few weeks is the number of negative or lukewarm comments the film has received on various blogs; while there is close competition from Pinocchio and Bambi, it IS Disney's masterpiece, and the oft-criticezed screenplay, to me, sems perfect (where fairy-tales are concerned).
But then, who cares? The film is there, and its commercial value for the Disney Company prevents it from being forgotten: fine. The Platinum edition, as long as the film is not treated as a gadget in its own Blu-Ray, seems to be wonderful.
Hi Lionel - thanks! Yes, I have noticed the Sleeping Beauty-bashing tendencies on other blogs - most often by folks who would prefer short films. Sleeping Beauty IS something of an acquired taste. Like coffee or beer, you need to get the taste for it through exposure. Earle's designs are love-or-hate, and there are a few "why do they do that"'s in the storyline.
On the other hand, it is also the most lavish fairytale with some of the most controlled animation and doubtlessly the most beautiful inking of any animated film ever, period. Craft-wise, it was downhill rapidly from here. The 70mm film with its original 4-track score is an amazing piece of work, and deserves better attention than it has been given.
Maybe the bashers are secretly admiring the film? I remember, in third grade, boys who had feelings for girls used to bully them...
It's true that a lot of bloggers seem to be boys in their late teen or early twenties, with a love/hate feeling about most things, and nothing in-between. And it's probably more difficult to recognize Sleeping Beauty for what it is, when you've been brought up on comics, Star Wars or Shrek rather than fine arts.
Still, it's nice to outgrow third grade one day.
Just a note: the reissue is at the Academy, NOT in the El Cap where Wall-E currently is running. Sleeping Beauty is scheduled for the El Cap later this year!
It's true that a lot of bloggers seem to be boys in their late teen or early twenties, with a love/hate feeling about most things, and nothing in-between. And it's probably more difficult to recognize Sleeping Beauty for what it is, when you've been brought up on comics, Star Wars or Shrek rather than fine arts.
Still, it's nice to outgrow third grade one day.
Well, I'm in that group of people, both in age and who don't like SB. It's not because of what I grew up around (I hate Shrek and superhero comics, and I'm indifferent to Star Wars). I think SB fails compared to the earlier, superior Disney features, plain and simple. So do quite a few other people, and they're a lot older than 19.
BTW. In third grade I knew who Chuck Jones was, and all I wanted to do was find out all I could on why I liked the cartoons with his name on them more than any of the others. Obviously my taste was fairly 'evolved'.
what year was the animation completed in? and did Disney lay off some of it's animators before post-production began? well, i think animation for "Donald in Mathmagicland" was completed by the time "Sleeping Beauty" had entered post-production. however, i think the most of the staff was unhappy with it's results and decided to leave Disney to go to UPA in late 1958.
Christopher, the animation was scheduled to be finished early in 1958. I believe that the lay-offs must have coincided with this end of animation - which at the time was considered to possibly be the end of all animation at the Disney studio.
That said, your assertion that the artists quit to go to UPA seems to me to be backward reasoning. Why would those lucky enough to still have a job quit? On the other hand, I do have a resignation notice from Fred Kopietz from 1960 saying he needs to leave to get more money. I believe that this was countered by a raise at Disney, as he kept working there until 1973.
Eventually I am not really the right one to ask. Floyd Norman would know...
well, i see your assurance but i have an extra note that Ken O'Brien, Bob Carlson, Don Lusk, Phil Roman George Nicholas, Gary Mooney , Ken Hultgren, Harvey Toombs & most famous of them all,Hal Ambro had later on had worked on numerous tv shows, tv specials & films of the 60s, 70s, 80s & 90s. Ken O'Brien later worked on Peanuts films, Hanna Barbera shows and specials and later on, on He-Man. he sadly died on January 17,1990, Bob Carlson on the other hand went to UPA in the end of the decade and later be best known as the animator of Charlie Brown and Lucy in the Peanuts specials and did Fat Albert, Lassie & numerous other characters for Filmation. he later left the studio in 1975 or 1976 and worked with Peanuts specials and films many times during the 70s and 80s as well one time with Ralph Baskhi on Coonskin, he returned to Filmation several times to work on Flash Gordon and The Fat Albert Christmas Special and the unofficial sequel to Disney's Pinocchio, Pinocchio in the Emperor of The Night. he is still living and working at Bill Melendez Studios and Film Roman since the mid 90s and Phil Roman, George Nicholas and Hal Ambro later worked with Chuck Jones, Hanna Barbera and Peanuts specials and films. Harvey Toombs sadly died while working on Spider Man. Gary Mooney worked on Underdog and Jurassic Park and returned to Disney to work on Kronk's New Groove. and Ken Hultgren who later worked with UPA, Jack Kinney and Filmation.
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Christopher - I am not telling. Especially since I do not know when I will even have time! I am in the middle of editing our theatrical feature film nr. 16, and I am making 12 to 16 hour days on this. That's the animation business for you! Begging won't help. I do have some plans, but at this time I have nothing prepared.
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