Prod. 2179 - Jungle Book (I) - Seq. 930 - Main Titles and Credits
Happy April Fool's Day - though this is no joke: it's time for a new draft: Prod. 2179, Jungle Book.
Here is the index stuck to the inside of my original draft:
Now - I must admit that I did not feel like taking apart my original - remove staples etc. So I scanned copies that I have had for years, and that have the same info as my original that came from the BG Morgue. Of course there is a big difference in quality of the image - see the center image below - but since the info is the same, I hope you are ok with that. You better be: this is what you get.
Directed by Woolie Reitherman (in room 2C-2), assisted by Danny Alguire (next door in 2C-3), laid out by Tom Codrick, this FINAL draft typed by Lorraine Thilman (also in 2C-3) on 9/19/67. It seems that Tom Codrick left the studio before the end of Jungle Book - he died in March 1969, 67 years old.
These are the opening titles, so the first two scenes are title cards on regular 6½ Field camera. Note the Buena Vista card does not have a scene number. Then the live action shot of the book, followed by five scenes of reused backgrounds, one on regular 6½ Field, the rest on the Multiplane stand that could shoot 10 Field scenes. The last three scenes even mention that the Multiplane uses two glasses, so two separate overlay levels on top of the background to give an illusion of depth.
For good measure, I reiterate: "Animation drafts were never meant to be historical documents. They were meant as go-to documents, showing the responsible artist for a certain scene, who might be able to help in case there would be any need for this further on in the production line. Therefore we often see e.g. that animators who left have been replaced by others, often their assistants, in later versions of a draft. Also for this reason it is most often the actual animator, not the supervising animator, who is mentioned. The drafts may also be directly inaccurate - showing early assignments where the animator actually changed when the scene was finally handed out. Keeping all this in mind, though, the drafts can give us some sort of hands-on insight into the inner workings of the production of some of the most iconic motion pictures of all time."
A quick note: I am sorry if you have been redirected to ad sites earlier - I used SiteMeter on the page, and I find that since last year they have been inserting advertising links into the page's code! So no more SiteMeter for me!
Here is the index stuck to the inside of my original draft:
 |
Now - I must admit that I did not feel like taking apart my original - remove staples etc. So I scanned copies that I have had for years, and that have the same info as my original that came from the BG Morgue. Of course there is a big difference in quality of the image - see the center image below - but since the info is the same, I hope you are ok with that. You better be: this is what you get.
 |  |  |
These are the opening titles, so the first two scenes are title cards on regular 6½ Field camera. Note the Buena Vista card does not have a scene number. Then the live action shot of the book, followed by five scenes of reused backgrounds, one on regular 6½ Field, the rest on the Multiplane stand that could shoot 10 Field scenes. The last three scenes even mention that the Multiplane uses two glasses, so two separate overlay levels on top of the background to give an illusion of depth.
For good measure, I reiterate: "Animation drafts were never meant to be historical documents. They were meant as go-to documents, showing the responsible artist for a certain scene, who might be able to help in case there would be any need for this further on in the production line. Therefore we often see e.g. that animators who left have been replaced by others, often their assistants, in later versions of a draft. Also for this reason it is most often the actual animator, not the supervising animator, who is mentioned. The drafts may also be directly inaccurate - showing early assignments where the animator actually changed when the scene was finally handed out. Keeping all this in mind, though, the drafts can give us some sort of hands-on insight into the inner workings of the production of some of the most iconic motion pictures of all time."
A quick note: I am sorry if you have been redirected to ad sites earlier - I used SiteMeter on the page, and I find that since last year they have been inserting advertising links into the page's code! So no more SiteMeter for me!
Labels: Draft, JungleBook
posted by Hans Perk at 6:00 AM
2 Comments:
Welcome back, Hans!
I enjoy JUNGLE BOOK, and its a favourite for a lot of friends of mine. Scenes by Milt, Frank & Ollie are generally well-known by every animation fan, and its probably some of the best animation they ever did.
In my opinion, after the film, there hasn't been an animated feature that could top it - I'll admit I'm not a fan of the films made after Disney's death, especially into the Eisner-Katzenberg era (though I do like THE GREAT MOUSE DETECTIVE and RESCUERS DOWN UNDER).
Looking forward to viewing the draft!
w00t! It's about time! ;) But on April 1, wouldn't it more appropriate to post a draft from the non-existent Ignatiev family?
No animation in this opening sequence, so let's talk about the other talents behind the film. This is the first Disney feature to credit the voice actors up front, identifying them with the characters they voice, and associating character with actor in the general audience's mind to a much greater extent than before.
Judging by the size of his name in the credits, it looks like Don Griffith was the head of layout, or art supervisor, or what-you-will - giving the film a more realistic and less stylized look than Ken Anderson gave the previous few films.
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