Prod. 2262 - Canine Caddy
It's been too long since we last saw the draft of a short film, therefor I here present the draft for Prod. 2262, Canine Caddy, in which Pluto caddies for Mickey but is distracted by a gopher.
Directed by Gerry Geronimi (who picked it up 7/20/40), assisted by Don Duckwall (who was at the studio still when I first contacted them in 1976, and had risen to Production Manager). Layout by Bruce Bushman. This draft dated 1/28/41. Released (during the infamous strike) on 5/30/41.
This draft is one of the most detailed ones I have seen so far, precisely outlining the effects animators and their effects. We find no Fred Moore or Ward Kimball on here, instead some folks we normally associate with other studios, like Ken Muse and Emery Hawkins, who had their beginnings in animation at the Disney studios. Like most of the other animators mentioned in this draft, both participated in the strike; at the time Muse's weekly salary was $67.50, Hawkins' $59.00.
Animation by Ken Muse, Morey Reden, Emery Hawkins, Charles Nichols, George Nicholas, Norm Tate, Volus Jones, Eric Gurney and Chic Otterstrom.
Effects by Jack Boyd, Jerome Brown, Andy Engman, Jack Huber, Brad Case, Reuben Timmins, Ed Aardal, Ed Parks, Fitzpatrick (again, see previously), (?) Kingman, George Rowley, Frank Onaitis, Jack Gayek and Paul Kossoff.
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This draft is one of the most detailed ones I have seen so far, precisely outlining the effects animators and their effects. We find no Fred Moore or Ward Kimball on here, instead some folks we normally associate with other studios, like Ken Muse and Emery Hawkins, who had their beginnings in animation at the Disney studios. Like most of the other animators mentioned in this draft, both participated in the strike; at the time Muse's weekly salary was $67.50, Hawkins' $59.00.
Animation by Ken Muse, Morey Reden, Emery Hawkins, Charles Nichols, George Nicholas, Norm Tate, Volus Jones, Eric Gurney and Chic Otterstrom.
Effects by Jack Boyd, Jerome Brown, Andy Engman, Jack Huber, Brad Case, Reuben Timmins, Ed Aardal, Ed Parks, Fitzpatrick (again, see previously), (?) Kingman, George Rowley, Frank Onaitis, Jack Gayek and Paul Kossoff.
Labels: Draft, Shorts, Shorts_RKO
posted by Hans Perk at 1:00 PM
6 Comments:
It's good to see what the effects animators did - we also see that on the draft for "A Gentleman's Gentleman", by the same unit from around the same time.
Although Moore didn't animate any scenes, he seems to have influenced Muse's scenes of Mickey near the beginning - notice the buck teeth, which seem to be a Moore trait. I guess he had a similar role as on "The Sorcerer's Apprentice".
Always fun to read up on a short cartoon! It's interesting to see just how many different people there are on so many different levels at Disney in the early 1940s.
It's a little bewildering to see 'NICHOLS' and 'NICHOLAS' inter-written around eachother like this.
Chuck Nicholds gives us one of his patented face contortions at Shot 48.
Do you have any drafts to Goofy cartoons? I was just wondering if you did.
Ed parks apparently helped Hank Porter create insignia designs for a short while, before he was drafted.
Ah yes, "Canine Caddy" is actually a childhood short I watched on a VHS tape. The animation is great (Ken Muse certainly does a good job, even though I heard a bit of controversial about his animation at Hanna-Barbera as his animation was described as "ugly", and his animation here certainly doesn't look ugly to me.
I like the Norm Tate scenes at the end with Pluto and the Gopher, and Pluto's tail wagging and the Gopher trying to escape.
This cartoon appeals to me because it's about golf, and I love golf. It's one of my favourite sports (along with badminton), and I just like the gags here.
I think that sooner or later I might make mosaics for this short, although that probably won't be a while because I'm expecting a break from mosaics after "Fantasia". Let's just wait and see...
Steven Hartley : this is an old post , but I think bears commenting on.
You wrote: "Ken Muse certainly does a good job, even though I heard a bit of controversial about his animation at Hanna-Barbera as his animation was described as "ugly"
I think that comes much, much later in his career (at Hanna Barbera , working on TV schlock cartoons) . I have heard it said by some who worked at H & B in the 1970's that Ken Muse had by that time a reputation as a very rough animator , leaving a lot of work for the assistants to fill in. I don't think that was at all the case during this earlier period in his career (the 1940's).
David: Bear in mind, my comment was an awful long time ago - back when my mouth was three seconds ahead of my brain!
When I see Ken Muse's H-B animation in the early 60s, personally I don't think it lives up to the standards of other animators there like Carlo Vinci...it somewhat lacks the appeal of his MGM animation, but it's passable. His MGM work, however, is without doubt his best stuff. I love how graceful his "squash and stretch" animation could be. From stories I've heard in recent years: Muse never stopped animating--even animated on the beach!
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