Prod. 2063 - Cinderella (XIX) - Seq. 05.1 - Slipper Fitting (2)
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We start off this second installment of this sequence with Cindy by Les Clark, Lucifer most likely by Norm Ferguson (!) and mice by Woolie Reitherman and Marvin Woodward. Then a grouping of scenes with Lucifer, Gus and Jaq by Ward Kimball and Cliff Nordberg, interspersed with birds by Don Lusk, while Bruno and the Horse are animated by John Lounsbery.
Dissolve over 32 frames to Stepsisters by Ollie Johnston, Stepmother by Harvey Toombs, the Duke by Hal King with close-ups of the slipper by Ed Aardal. Milt Kahl takes over on the Duke, Ollie Johnston takes the lackey again, Norm Ferguson animates Bruno and the horse. Stepmother by Frank Thomas, and more mice by Woolie Reitherman and one more scene with them by Marvin Woodward. Slipper dissolves into George Rowley's wedding bells...
For those of you who wondered how we knew of Woolie's involvement in the mice's part in this finale, we remember that Frank and Ollie have this sequence on a double page spread in The Illusion of Life.
As to the horse - a few years ago I sang the song "Horse Sense" that was written for him and Bruno but not used in the movie. If that interests you, check out the books on Disney's Lost Chords written by the eminent Russell Schroeder!
[For early readers: excuse my forgetting page 128!]
Labels: Cinderella, Draft
posted by Hans Perk at 9:00 AM
3 Comments:
Good to see Ward and Nord back together again. Judging by the varying number of characters onscreen through the scenes, I suspect Ward was doing roughs for Cliff on some of them.
For the longest time I thought Ed Aardal could have animated shot 106.1, but it is not the case at all. Hal King's sudden plethora of Duke shots is suprising as well, especially shot 153.2, which reminds me of Fred Moore's work.
Zartok: I guess Cliff was "co-animating" with Ward on the mice and Lucifer, and with Louns on Bruno and the Horse.
Interesting about the lost song for Bruno and (I take it) the Horse. I suspected that they originally had more material than they do now. Bruno gets a proper introduction, then the Horse (Major?) gets a "blink-and-you'll-miss-it" appearance when Cindy is feeding the barnyard animals, then, during the Godmother sequence they both appear as a kind of double-act as if they've been as prominent as the mice throughout the film. Then, of course, Bruno (and to a smaller extent the Horse) has an active role in the finale.
Bruno ends up being something of a "Chekhov's Gun" (If it's hanging on the wall in Act One...)
Sorry that I couldn't post last week since I was at my Duke of Edinburgh camping trip and yes - I was far away from "computers and blogging".
I always thought that Wolfgang Reitherman worked around Lucifer somewhere - and I've debated that - but debates lost, and case closed. Ward Kimball and Cliff Nordberg did those scenes and wonderfully.
Ollie Johnston does some good animation of the step-sisters and the Lackey, and somehow Ollie's assignments in the early 1950's feel like he does these type of characters - silly looking and short (King of Hearts, Lackey, Mr. Smee).
Norm Ferguson returns again animating Bruno chasing Lucifer, and it's typical of Nord to be assigned on Lucifer falling from the tower.
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