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Rapunzel: Interview with illustrator David Gilson (aka Prince Kido!)

How you spent Gobelins in Paris Walt Disney Feature Animation?

Already he has spent some years in between! I spent two years at CFT Gobelins, I was 18-19 years. At that time the studio was required by Montreuil Brizzi brothers and they were about to produce films like DuckTales and Goofy and Max. For my part, I'm a fan of the classics as these characters. And most importantly, I did not feel ready. I was born with the gift of drawing. I liked Disney, of course, but there was not that. I wanted to touch a little bit of everything, including the comics. So at that time, Disney turned to us, the Gobelins, and some of us, at the end of their two or three years have passed and there ... but not me! I then started doing my first steps in the animation in France, at Saban. I made the design of secondary characters on the series Achilles heel. Meanwhile, the studios began to take Montreuil the importance and as soon as I knew they were working on The Hunchback of Notre Dame, I was interested. I started training with a view to joining the department put in net facilitation (Clean-up) because there was no department of visual development in France. I filed my case. At that time, they worked on Hercules. It took a while because they received a lot of files. From there he took a test-I have been lucky because I came across a test of Ariel, I knew at your fingertips! - Then shortly after I was told it was good!


was in April 1997. They were on pre-production of Tarzan. Glen Keane was there and they were testing animation. There were four newcomers and we spent several months in training. We were all affiliated to a person in the Department Clean-up, which gave us shots from various Disney characters to train. And later, in September-October, we had to go! I became a tweener. In fact, it is divided into mini-teams with a chief assistant who retrieves a plan and will do the poses key and distributes all drawings to be made between the different intervals and breakdowners (which poses keys and ranges to unify the animation). One of my first plans for clean-up I had was the infamous scene of Tarzan who surfs the trees. This is the scene that was used in all the trailers. We knew it was important because of the Deep Canvas process that was revolutionary at the time. It was a very long plane, while the studio has had little bits to make, and I have been the end.

and I stayed for almost two years at the studio, rubbing shoulders with great leaders, people I knew Gobelins and people who worked there for years, long before we will make Disney productions. It has worked on adult Tarzan and Sabor. I had a lot of scenes with Tarzan and Jane, a lot of big shots, lots of things quite subtle and very complicated because it does not let that trembles at the cinema. It was pretty hard sometimes, indeed, and we had to redo the plans several times.

That is only two years of my life, but I think it was one of the most important of my career already that this was one of my dreams -Work at least once in my life on a Disney feature film, but also because it was a great school. I learned a lot in a short time: by hanging out with artists, animators very talented, but also take courses in intensive English, model nude, anatomy, sculpture, etc.. There were also many external interventions of artists like cartoonists or artists from other animation studios. Besides the famous response of Glen Keane. A bit like the recent masterclass he gave recently in Paris for about Arludik of Rapunzel, he took his papers and pencils and told us how to draw Tarzan.

How was your meeting with Glen Keane?

In fact, I knew a bit before returning to Disney. I was at the Gobelins. The school has a tradition to make the trailers of the Annecy Festival and as it was my year, I proposed a project-Little Red Riding Hood which was incorporated and became an iconic movie trailers School! We went to the Festival, where Disney was represented, including Glen Keane. He had been spotted and my friends pushed me towards him because I was the only one to get by in English. But Glen was with his wife, Linda, and I dared not disturb him. Seeing my hesitation, we have lost sight and I got killed by my friends! However, at this time, Glen and his wife were just behind us and realized we were talking about them! So it was he who came to us, and we spontaneously gave appointment the next morning in the same place for breakfast. We're not back! The next day he was there and we talked about everything and nothing with him but especially his passion. And he has not changed since he is still as passionate! And so humble! ...

At the time he was researching Pocahontas, and as I have always been a big fan of Disney heroines, he drew me Pocahontas. It was my great memory, and it is always framed home. And when I arrived at Montreuil, he recognized me! I have many memories with him during production of Tarzan. It must be said that during the first months, we are over the moon! And after is the work, the daily ... "Hello Glen! "Hi David! "

I remember his daughter, Claire, who has made beautiful drawings for Rapunzel, headed at the time to study fashion design, and it was that in my portfolio, there was a drawing which was similar to the styling and Glen remembered ... He came to my office, almost embarrassed, wondering if it was possible to borrow this picture to show it to her daughter!

How did complete your experience in Montreuil studio?

should know at the time, Disney has just blown the budget by hiring thousands of new talent and investing in new equipment. The result was that in the end, they might go into the wall, and all those who were IDUs knew they had to leave the studio at the end of Tarzan, including me. It was not easy because it was at this time that he had put a big push. The three-four months, it was not uncommon to finish at 9-10 hours with cramps in the wrist and fingers. It was a bit sad when everyone had to say goodbye. I do not expect a career at Disney, but I would gladly have continued over two or three films. At the end, I was really intervals. I attended over the plans, what I liked and suited me more. Some of us were called back later to lend a hand and Kuzco Atlantis, but not me because I'm a little perfectionist, and not fast enough. You should know that, to work at Disney, it must be quality and speed. Moreover, at the end of production, we received a newsletter where we were rated on all sorts of criteria and disciplines relating to animation, but also the behavior and involvement.

So I left the studio in late January 1999, but as we had noticed that I was gifted to the design and character creation, I was advised to send my portfolio in a U.S. studio. I waited a while and then came back in my file saying that I had the level, but given that this was the crisis they did not hire foreigners. And even I was not sure if I wanted to go to work there. But meanwhile, I made my merry way to Magic! ...

Click to enlarge

Can you Now tell us about your experience in the world of French animation?

I worked in various animation studios French either as a character designer on the creation of characters on projects being squarely on production. I would say that France is a country of some particular point of view, a bit messy. One project the green light thanks to a producer today, mostly the television, which was not the case a few years ago. So they have their say and may well require any change. It's a bit unfair to the artists in that these people know the targets and marketing, but not necessarily the best advisers in the artistic point of view. That said, from the moment the green light is given, all rushes. Bibles are carried graphic ... upstream Bibles literature, when in fact it should clearly define the history and the universe and develop visually from there. This is problematic because it encourages the production of people and afterwards, we must discard because we realize that there are problems and we are forced to stop production and recall more later. But as these are the entertainment, they are no longer available because they are moved elsewhere. It is a particular problem in France. The result is that by comparison, Japanese and American productions appear to be much better designed, with real stories and real emotions, while it is rare to be touched or taken by a French series, despite the multitude of talented writers and artists. That's why I decided to stop and start my own freelance because it is a medium which is very frustrating. To have made many developments Bibles graphics projects that never see the day, in the end it was just the feeling of being used for anything and when you really love drawing, it feels like to miss something and waste time.

One of your major projects was Magic!

I was chief of the characters, to lead a small team. Basically, the graphic was Arthur de Pins and as I was told that sometimes my style is closer to his, I was hired following the departure of a cartoonist who had abandoned. There was a lot of pressure because there was a young director, Charles Vaucelles, who was with Xilam for a while, which was the directorial debut and was pretty demanding. The designers have thus succeeded, including my team. But thanks to this requirement, I learned a lot, especially in terms of design, to be more concise or more graphic, and by necessity, I became chief of the characters. I created a lot of minor characters, main characters and refined, leading to another, I made the storyboard clean. Indeed, it was a very intense but very interesting in that it must immediately take the attitude and expression of character, and as the expression is one of my strengths, I enjoyed it not bad! I also worked on the designs of marketing. I loved this series, but in the end, I was worn out. In many studios, working conditions are often difficult. There is much conflict of ego and it is not easy to place. Imagine that it happens that some studios do not warn us when the series is broadcast! Over the years I've realized that this medium less suited me and now I have no desire to try my luck in the comics or artwork.

As Rapunzel , for which you have illustrated several books from the movie.

must say that I have very good friendships within the Disney studio, including Byron Howard, one of the directors of Rapunzel and Volt. We've known for some years. We have much the same approach to the design, the universe, humor, spontaneity and freshness, things that we take to heart. He's a very positive and lovely. We got along so well on an artistic level, and we realized it was the same on many other things in our lives. A friendship is born, a sincere friendship. So, I followed the adventure of Volt and I was able to get to know John Lasseter. I lived almost directly on his appointment Rapunzel, following his excellent work on Volt, which was a production that was also in danger before. Inevitably, as a fan of Disney heroines and especially Rapunzel, I waited for ten years, I could not believe it! Filmmaker Byron, it was amazing for me! And so I followed at the ready all the vagaries of the film. Imagine then my wanted to work for Disney, especially since I learned that some foreign artists such as Harald Sieperman (character designer on Tarzan, Brother Bear, or Enchanted) could be recruited by the visual department without leaving their country. But Byron said it was very difficult and in the meantime, Disney proceeded less and less like that. He therefore advised me to go more by the back door, namely, the illustration and merchandising. He put me in contact with Disney Consumer Products. Since the production was made somewhat in the emergency (two years instead of the usual four years) it was a bit complicated, but a year ago, I was contacted to participate in the novelization of the film. It made me do a test ... for a month! It was a little tricky because there were very few references, but at the same time, the next interesting thing is that some of my corrections were made by Glen Keane ...! Meanwhile, I also went to see the film production in Burbank in September last year, where I met Glen, who remembered me! He made two drawings of Rapunzel with a Tarzan surfing taking Rapunzel's hair ! It was great! It was the first time I came in true Disney studio and amazed that I discovered that Rapunzel would become a year later. Back, so I did this test and I was also contacted by the company Leapfrog, which publishes interactive books for children, which was preparing to write a book about Rapunzel. This was both very organized and very long. There are steps. It works, it makes the work, he passes by them, by Disney and it comes back and passes to the next step by including all the corrections. It begins with a line drawing (rough), we stop, they correct, then passes the drawing to the net, he goes, there is color and it starts again, and all this over several months. It was very interesting. Finally, there was a project with Disney Europe, based in London, on the childhood of Rapunzel, but unfortunately did not come into being for financial reasons since he had to make small interactive dolls in China and this has been a problem. Finally, there are two books from a complete set of books coming out around the movie, but I was delighted because it allowed me to go back to Disney and to make my small contribution modest in this film that I have so much to heart.

What were your references for these drawings?

I had everything, and even more! For example, I have everything that is in the tower, all the little details of decoration and furniture. It's incredible! I keep it all very carefully, but I signed many brothels privacy before I embark on this adventure! That said, for the characters, it was a little tricky because the production of books had to be done before the film, so it is a lot of errors in the books that came out. The characters are not the model, either in terms of clothing details, proportions of faces and eye colors. It should be understood that, given the time of production, the filmmakers have made changes regularly. I think the latest changes were made to figures in May-June. So that I did not have the characters in 3D before late April or early May, and they were frozen. Fortunately, Byron was able to explain and direct me. He said the details would still be changed, whether the shape of the mouth or the reasons for the dress, etc.. and full details on the story as scenes that were to be removed. So I was very lucky because I could refine my work better, even being ahead of Leapfrog!

It provides the distance traveled since the first tests presented to the public, including the squirrel instead of Pascal.

Already at the outset, Pascal had to be blue, then turned green. They have been testing for it is not laced too visually because it is very small and that we had to identify it right away on the shoulder of Rapunzel with her hair and purple dress. Like a chameleon, it allowed them to pass it by different colors throughout the film, but without abusing it. Indeed, this is very pleasant Rapunzel is we did not omnipresent sidekick who spoils the story. It should be noted that initially, when Byron arrived at the controls, there were more than sidekick at all. But we started to convince many to give one. We passed by several animals, a raven, an owl, a ferret, a lot of things like that. Finally, Pascal has become his Jiminy qu'ne all of her friends and colleagues has a true chameleon named Pascal! That said, I liked the squirrel Rapunzel Unbraided. The idea was to have two teenagers of our changing world, one in Rapunzel, the other bastion. In fact, in the excerpt presented to the public, the girl is the girl and the squirrel is true Rapunzel transformed. As for the original version of Glen Keane, it was even darker and closer to the tale, and very visually inspired by Rembrandt. And to make these visual influences from painting by Rembrandt and other Fragonard, attempts have been made in developing the Deep Canvas of Tarzan, but this proved harder than expected I think. The result was very good on still images, but less conclusive in animation. Maybe in a few years on another film. And most importantly, Glen Keane has had health problems and had to leave his post as director. He was thrilled to no longer be a director, relieved. Moreover, from the perspective of the spirit of the film, the time has changed. Now quand on pense dessin-animé, on pense Age de Glace, pas quelque chose de sombre. A l’époque, y compris à l’intérieur du studio, on comparait beaucoup Rapunzel au Bossu de Notre-Dame. Je pense qu’avec le film final, le studio a vraiment trouvé le ton juste.

Il y a quelques années, j’ai eu de gros doutes sur ce film en apprenant qu’il allait être tourné en CGI car, comme beaucoup, je préfère l’animation 2D (même si, depuis Ratatouille, on a vu qu’on pouvait faire des choses intéressantes en animation par ordinateur), tout en l’attendant forward because I knew that Glen Keane was the head of this project. I knew he would lead a new heroine, and it was very long as he had not done. Rapunzel waiting foremost because I love the female characters at Disney. When The Little Mermaid was released in the cinema, I had 16-17 years, I was in college and I wanted to make comics and I went to the Goblins to do animation because Ariel has for me was the trigger. Today, I can see the film, scriptwriting and other mistakes, and yet I'm still far attached to the main character because it was the first time there was a Disney heroine who moved, which was expressive and had personality, which turned in volume, and who had beautiful hair, and I love hair! And then, even if the film turned me less, it was not serious, there was always a heroine. That's why I waited Rapunzel: because there was Glen Keane, I was sure it would be strong and more, which characterizes it, is his hair! Then there was Byron! And the result fully satisfied me. It recognizes the leg of Glen Keane, and hair are remarkably animated (which allows the CGI). The colors I like a lot (it is also passed from green to purple to her dress color as I particularly like).

Today it seems that the studio aims to explore other worlds, which is a good thing, but I'll always particularly attached to Rapunzel ...

A huge thank you to David for his kindness and his talent!

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INTERVIEWS WITH AN EMPIRE: two new books of Jeremiah Walnut!

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FANTASIA 2000 and WAKING SLEEPING BEAUTY ON VIDEO: Interview with director and producer Don Hahn

For Fantasia 2000 , how have you positioned relative to the vision of Walt?

As you know, the original idea Fantasia was to make a sort of concert, so that whenever you go see, it could be different . 20 years or 30 years later, Fantasia had to make known pieces and other news. In reality, war and other factors have changed the situation and this idea could actually see the day in the early 90s. I think the essence of Fantasia 2000 is the same: consider music and try to imagine how to interpret visually. Sometimes the result is abstract (sometimes it is abstract without narration, without having to create a story), and sometimes the music suggests a concrete story. That's what makes me say that Fantasia 2000 is like the original, since we try to play it both ways we too. Nudes have created sequences of abstract-based color schemes, shapes and lights, and others who told stories.

What the late 90's was the right time for a new Fantasia ?

All this has come the rise of video. At that time, people began to buy in bulk VCRs and VHS Fantasia . This is where Roy Disney decided to reinvest profits of those sales to create a new Fantasia . Roy was really the spearhead of this project. The other important element is that Fantasia 2000 was among several animated films. Facilitators working on The Little Mermaid , Beauty and the Beast and Aladdin had breaks between films, and it is during these breaks they could work on the film. After a year on a feature film was like a breath of fresh air for them to spend two or three months on Fantasia 2000, before re-attacking on a new project along.

Another important video output this year is the documentary Waking Sleeping Beauty that you have achieved. How is it that Disney starts to read her story this way?

We wanted to do, in fact, I wanted to do, because it seems that the 1990s were a very special time for the quality of the films we've produced so as Roger Rabbit , Beauty and the Beast or Aladdin , but also by the fact that the Disney culture was changing. It was an era of technological innovations, a time when we brought in new talent like Howard Ashman. It was a real creative explosion in the studio that nurtured all these films. That's what I wanted to tell that story. It was not so The Company will desire a personal to me and the film's producer, Peter Schneider. We really wanted to preserve this history because if you do not learn from the past, you are condemned to repeat it. Certainly, great things have been made at that time, but also things less glorious, and I thought it was worthwhile to talk to not repeat the same mistakes.

How do you explain that the essence of the company founded by Walt has always been the department's most threatened?

It has even been threatened, said to be closing in the 90s, but even then, I do not think the threat was serious. That said, remember it's not just entertainment. It is also show business. The films that we produce is expensive and must therefore make money. That is why they must be good. For a while we have not been very profitable films. Films like The Black Cauldron were disappointments both artistically and financially. This is not because an institution has always existed it must necessarily continue. Roy Disney himself said in Waking Sleeping Beauty : "If you want to make sure that things remain as they always have been, then you should fill a museum." Roy has always been very positive. It was he who brought new talent to the studio, artists like Howard Ashman and Alan Menken, revitalize you. Every art form has its ups and downs, be it music, rock'n roll, impressionism, all forms. The animation is no exception. This is the subject of Waking Sleeping Beauty. This is a group of people who wanted to get things done. Not save an art form, but creating a new version and revived this art form, still exists today.

So much so that movies like The Princess and the Frog , especially Rapunzel are great success. In your opinion, are not we at the dawn of a new golden age of animation?

Absolutely. We live in a wonderful era for animation. And even if you look more broadly beyond Disney with Pixar, Dreamworks and Blue Sky, the excitement generated at this time. There is even a category for an Oscar for that now, with 15 or 16 animated films produced by age and talent around the world as Miyazaki and others. I think we should take the time to step back and put things in perspective to tell, but I really feel that this is a golden age that we live. The animation has never much reported, and never has been so successful it has only to look Toy Story 3 to be convinced!

After Fantasia 2000, there was another project, entitled Fantasia 2006 around the world music, with sequences as One by One, or The Little Matchgirl, but never emerged as such. Do you think that, given the boom in the animation that we live, we can consider a third opus in Fantasia?

There is no question yet. But what is interesting about Pixar is that they wanted to produce short films to reveal new talents, and that is exactly what Fantasia a series of short films. There are no plans to make a new Fantasia, but this remains a possibility. What's great in Fantasia is his artistic freedom. Take the Carnival of the Animals with his watercolors, these flamingos ... and this yoyo! You could not necessarily do it in a feature film, but it may well push the artistic limits in a short and make it entertaining. It's like a short film by Pixar. They take a lot of creative risks and remain irresistible. So who knows if there will be another Fantasia ? This I do know is that his spirit is still there!

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TOY STORY 3 IN VIDEO: Interview with screenwriter Michael Arndt

Michael Arndt joined Pixar Animation Studios in 2005. In 2007 he won the OSAR Best Original Screenplay for his debut film, Little Miss Sunshine. Toy Story 3, from a story by John Lasseter, Andrew Stanton and Lee Unkrich is his first screenplay for Pixar.

Michael, can you tell us how you got your first contact with Pixar? Is it you who have requested them or who you sought?

They contacted me. In early 2005, Pixar was looking for a writer to work with Lee Unkrich on an idea he had done. One of the people of Pixar's development, Mary Coleman, fell on Little Miss Sunshine producer Ron Yerxa, the Sundance Film Festival and asked him if he knew good writers, and he recommended me. So I was hired at Pixar while LMS was still in post production. It is a tribute to Pixar for making trust a writer they did not know for one of their biggest films.

Have you been surprised by the success of Little Miss Sunshine?

I was extremely surprised to have been sold, to see this film made, having been chosen by a producer and that the public has followed. I've always seen as a scenario very modest and very personal, then go somewhere to see it was a huge surprise for me.

Were you a fan of animation before working for Pixar? What are your favorite animated films ?

I have always loved animation. I few courses in my animation film studies [NYU] and made some animated shorts, but I never thought having a chance to work in animation. It's hard to pick a favorite, but the animated film's most important to me is My Neighbors the Yamada Isao Takahata. See this movie in 2000 prompted me to sit down and write "Little Miss Sunshine after having rejected for years. So I have a special attachment to this film (especially the Japanese version).

What are the films that had the greatest impact on you during your life?
One of my favorite movies is Late Spring by Yasujiro Ozu. For me, it's great art film.

Did you feel any pressure in trying to deliver a good third movie for the Toy Story franchise?
I never felt as much pressure (and I think I would feel ever so much) in my life. There has never been a moment of panic or despair, but I did really, really not let anyone down, so the pressure was pretty unbearable during the four years of film making.

Have you placed limitations on the characters or the plot on which you worked?

To me, it was the most extraordinary thing in this work on Toy Story 3: there had no limits. Obviously, when working on a family film, we must aim at something that pleases everyone. But beyond these global considerations, we have never received any instructions or limitations whatsoever, except to "pass the film." I remember sitting in an office with Lee Unkrich, the director and Jason Katz, head of story. I looked around me and I told myself: "Should not there be an adult in the room? Should not there be a vice-president, a producer or manufacturer of toys with us to tell us what to do? "There was never. We were encouraged to give free rein to our imagination, and it shows in the film, I hope.

The creative process for an animated film is quite different from that for a film live. That you did not live to your vision every step of the creation of Toy Story 3 or have you been involved throughout the implementation?

I have been involved throughout the three year duration of writing the screenplay for Toy Story 3. A Once it was finished, it took another year to make the film. I did never felt excluded from the process of creating the movie, then it's something that can often happen in live action movies.

Have you worked on the final script? At which point the other authors were they involved in the final version?

I worked on all versions of the script, and there were several dozen. It was truly a collaborative effort: Lee Unkrich has guided every step John Lasseter and Andrew Stanton kept us on track, and a team of artists we suggested ideas and gags.

Have you made a version of the script to a young audience before writing the final version?

We did a test screening of the film when he was almost finished (about nine months before its release), before a barrier land chosen for young children. I was afraid that the movie is a bit too dark for a family audience, but all children who have seen it really seemed to love, which we have not changed. It's always smart to try to see the film through the eyes of people of all ages, just to verify there are no missing facet.

Before knowing the film's success, do you have a moment of fear you do not conform to "standard Pixar?
Almost all the time it took to write the script (three years), I was afraid not to conform to "standard Pixar.

How many versions have you written before the final version?

At Pixar, we cut 20 or 25 scripts in separate sequences. One of them, called "Treasure Hunt" (when Woody is Boonie's room, and he plans to return home) was Written in just six or seven drafts. Most sequences are written in 20 to 30 drafts. The opening meeting, we learned "Adulthood," has requested 60 drafts.

You've said in other interviews that even comedies should tell a story, or have values and take a stand. What do you think are the values or positions you have defended in writing Toy Story 3?

One of the biggest challenges of Toy Story 3 was how the hero, Woody, would evolve progressively in history. In the first Toy Story, Woody had to learn to share with Buzz. In Toy Story 2, he has faced and accepted his own mortality. For Toy Story 3, what we realized is that Woody begins the story thinking that her love for Andy means it must always be there for him. Lotso as it does not differentiate the expression of love with a physical presence. Therefore it maintains that toys should definitely stay with Andy.

Only at the very end, when he saw Andy and his mother to say goodbye, Woody realizes that you can love someone and yet let him go. It is sometimes the best thing that may have to do if you love this person. It is a universal experience: We met many people in our lives (childhood friends, lovers at school, university professors, coworkers ...) which you can attach strongly for a period but we must leave to get ahead in life. Admit it and learn to accept it, it feels very mature for Woody, and I think it complements all aspects of the character we have known in all three films.

Do you have any rituals when you start writing a screenplay?

Yes: I begin each scenario in the most amount possible my confidence. It fades quickly, but it's my way to get to work on a script.

You take your time to complete a scenario, and this method seems to be paying. Scenarios on how you can work in parallel?

I can work in parallel on two scripts, but I prefer to do one at a time. For cons, I always five or six story ideas in my head every time, so sometimes it is jostling there. Some

animated films using humorous winks to pop culture ... Pixar seems to avoid this approach. What other methods are used by a movie like Toy Story 3 to be timeless?

One of the things I love about Pixar films, and what separates them from other animated movies is that most of the actors speak with their own voices. Nobody takes a vote "funny" on the pretext that the character is animated. Tom Hanks, for example, double Woody with his natural voice. We try to make the story and characters as real as possible, and use of natural voice actors has much to do. This assistance, we hope, the film has to be timeless.

Did you take part in decisions about the choice of dubbing the characters?

Like almost everything at Pixar, the cast is a team decision. So I had my say, with Darla Anderson, producer John Lasseter and the rest of the core. At the end, the director, in this case Lee, who has the last word. But it was very nice, as author, to take part in these discussions.

After working on the characters in Disney / Pixar in this project, do you have a favorite character?

I love Edna in The Incredibles, just because I love Brad Bird to hear his voice.

I do not remember ever seeing a bonus DVD if available on the art of writing a script. Was it fun for you to break the secrets of writing and search Pixar classics, including your own Toy Story 3?

Make the bonus DVD was more fun than writing the script. When everything goes well, there is nothing better or more fun than writing. But when it goes wrong, it can become a nightmare.

Can you tell us what you are going to work then, or is it top secret?
is top secret. Sorry.

Have you any advice to writers just starting to put them back on track?

Be patient. I wrote ten years before selling my first script. I know that the rule of 10,000 hours of Malcolm Gladwell is a bit cliche, but for me it is 100% accurate. I was actually taken in the 10 000 hours before meeting with success.

How much of your personal experiences influenced your writing? You

necessarily put a part of you in everything you write. This is not so much moments or experiences very specific, but rather memories of particular emotions, emotions that can be private or personal. But in my experience, the more you're sincere in those memories or the emotions, the more the public will respond positively. The best writing comes really from the deepest, most intimate part of you.

Do you want a career that balances the family side of Pixar and the more adult side of films like Little Miss Sunshine ?

I want to live my career whatsoever. Obviously, I want to remain part of the family Pixar, as they wish me well. But I also do a variety of live action movies.

Michael, before closing this virtual roundtable, have you one last thing to add about Toy Story 3?

I am immensely grateful for the opportunity to leave Pixar to take part in the project Toy Story 3, and I sincerely hope we have shown ourselves worthy of the legacy of the first two movies!

Thanks to Angeline for the translation!

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BEAUTY AND THE BEAST IN DIAMOND EDITION: Interview with the creator and host of the Beast Glen Keane

Beauty and the Beast is one of the oldest stories around. That is probably why a lot of different cultures can relate to it.

is a story that touches the heart every individual. And yet, when we began to think it was difficult to find the key to making an animated film Disney. It's one thing to have a fairy tale that you can read to a child before going to bed, but it is another to create a story that will captivate you during one thirty ET have a real dramatic and emotional impact.

The problem with this story was that essentially takes place at the table every night and the Beast asks Belle to marry him-which is really too little to make a movie.

Walt Disney himself has sought to make an adjustment, I think.

Absolutely, and I think that's why I mentioned that he dropped. There were other tales tale much more accessible and from which we could build a story much more easily. Joe Grant, who was the head of the story of Snow White was still alive when we started working on our version of Beauty and the Beast , knowing that he was involved with the old Walt. He told us about it: "This was a great frustration. We can not! "Many stories are interesting and set aside until the right time. And it turns out he could live long enough to see it out and become a reality!

Everything has started in 1987.

Yes.

And for the occasion, a unique team of facilitators has been established.

There was Andreas Deja, who oversaw Gaston, Dave Pruiksma, who hosted Mrs. Potts, Will End for Big Ben and Nick Ranieri for Light.

What did your study trip to France to prepare the film?

For me, being a Disney film, it's not just draw interesting characters. There is also a place. There is truth in the environment. I've never been to Europe before. I felt that I needed to visit the place where the story was written, and it was a sentiment shared by all artists in this production. So we traveled to France to visit the Loire Valley. Here you can find all sorts of castles built in a day of riding each other to allow the king to move from one to another in a short time. We, we were driving, so that we could visit several castles in one day! A castle

us particularly impressed and inspired. That of Chambord, built by Francis Pontbriant. You know, the truth, the strength of a decoration add real credibility to your drawings and the Beast's Castle, as we have imagined for the film, had a huge impact on us.

Let me just explain how I see things. When I was little, I do not draw to draw. I drew in order to enter an imaginary world. The paper was like a magic mirror that I could cross to find myself at once in the time of dinosaurs or anywhere I was dreaming.

That's why this castle was so important to become a place where I could make

How did you find the design of the Beast?

I bought a bison head naturalized in a taxidermist's shop near our studios in Glendale and I hung in my office to remind me how this character would be imposing.

I also researched to find different sources of inspiration. During the history of illustration of the tale, I have a tendency to simply take over the head of a wild animal and stick it on a human body, just as was done by Walter Crane, Edmund Dulac and Warwick Goble.

version of Arthur Rackham is also interesting because his horse almost looks like an alien.

The problem with the creation of such a figure is double. First, it requires taking things very seriously because it's a Disney cartoon character. Then you know that your design will become a final figure for generations. So that you do not rush not on your drawing board to draw any thing that goes through your head. And second, you sense not to create something, but to discover something that already existed before you start to draw. I have this feeling all the characters I animate, they existed before. It's like Michelangelo carving the stone to release the image it contained. Similarly, you get to a blank, but there's already a character in there. We must then find a connection with him. For me, it was important that the Beast does not give the impression an alien right out of Star Wars, as is that of Arthur Rackham. It's really a bizarre creature.

I personally have preferred to do a mixture of different real animals. Chris Andrew had imagined designs very creative, very imaginative, like Andreas Deja, but nothing really inspired me. During this same study tour in Europe, I went to London Zoo where I could especially see a mandrill named Boris. For a while, so I looked at the beast as a mandrill. But in the end, I opted for a mixture real animals. I immersed myself in animal magazines and glued pictures on every wall of my office. I am inspired by the strength of a gorilla or lion. Also from the boar. I borrowed buffalo sensation of weight, but also some sadness.

The Beast also has legs of wolves. When I started walking in the London Zoo, the wolf was the first animal that I drew because I remembered that, of all the illustrations of the story I had seen the beast was always human legs. His toes might vary a little, but it was still always the same. And I thought that wolf paws would raise this animal dimension. This was my first idea, as does give him a tail that participate in its expressiveness, a bit like a dog.

For the general appearance of the body of the beast, I love the power and the solid side of the bear and I started to draw with its four legs because it allowed me to take my distances from the classic look of the beast with just the animal's head, like a Halloween mask. I wanted it to be totally animal.

So where were my research after six months of work on the issue when one day, one of the leaders of my team, Bruce Johnson, came to me and said, "then where is the Beast ? "I told him I was not very safe and I started to draw. I told him: "I like the mass of the head of buffalo and I've drawn with all his weight. Then I said, "there is also the front of the gorilla" and I drew. "The snout of the boar ... the lion's mane ... the body of the bear ... legs of the wolf ... ". And as I drew the character was all alone. It was like I told you: there is a moment where the character who appears to you. I looked at my drawing and said, "it is Bruce, this is it! It's the Beast! "A true gift of Providence. I would tell you that this is the result of a specific job, but it really came like that!

However, in addition to being convincing, it would be attractive. This power of seduction that I ever spoke my masters Disney, Frank Thomas, Ollie Johnston and Eric Larson, "animation must express your sincerity and sympathy. "But how can an animal friendly Exactly how did you come?

Initially, I had to learn this lesson myself, that physical beauty is only skin deep, because I do not think Belle could fall in love with this beast. By drawing the Beast, I knew I had to send this animal nature. It was the easiest part. I had already led the Bears Fox and the Hound with all the ferocity that such a grizzly could emerge. So I used this experience to lead the Beast at the beginning.

Then in the middle, when it starts to change, that's where I saw him like a child who never learned to love. He thus passes from animal to human selfishness. Then comes the end, the most difficult scene to animate the whole movie, when the beast lets Belle go back home. He stands there watching the rose under his bell and he knows he will die. But he said nothing at Belle. It allows him to go find his father. Big Ben comes in and asks, "You have let her go. But why? "To which the beast responds:" I love him. " When animating these words, nothing I did seemed to connect this transformation, the truth takes him. At times like this, we just hope that the music and history will express all that is needed for anything you do not seem adequate.

You know, one of the most interesting aspects of the beast is to see this wild animal next to a girl like Belle. It makes you reflect on what is really human nature. He is selfish and immature, but it is also part of us all.

The biggest problem we encountered was therefore to find a way to make the audience believe that Belle can really fall in love with him, to make credible when they dance together. There were beautiful heal that moment when the arm of the beast, but it was not enough. There was still a long way from there to the sequence of the ball. That's when Howard Ashman, who brought to our history many decisive elements in the structure, arrived with the song "Something There while Beast offers its library to Belle. It is a time of such subtlety that we had missed: the true love does not arise simply because the Beast Belle saves wolves, but because he has noticed how much she loved to read and offered his library. From there, it's like a flower that blooms. And it's all about this song.

From the time it was written, we knew that the film would work. But it happened very late, during the last year of production. Until then, we were asking a lot questions.

is this song that has to consider this wonderful sequence dancing with the Beast Belle. James Baxter Belle for this animated sequence and to understand it, we got him and me to dance! A choreographer helped us learn the steps and when we have mastered, he began to draw Beauty and the Beast I loved his drawings!

Another magical moment is the final transformation of the Beast.

I waited to do this scene for the whole production! We arrived at the end and there was not much time. I just had a week to host this wonderful sequence that seemed to be that of my life at this time, Don Hahn came into my office and I told him of my frustration. I told him: "Don, I can not do that in one week. He saw the panic in my eyes and he said: "Glen, take as much time as you need. I will push back the release date. So I was reassured and I went to the Norton Simon Museum where the statue of the Burghers of Calais by Rodin. And while I turned around, I started drawing these characters, especially their backs, which I found particularly powerful. Then I began to imagine the sequence of transformation of the Beast by turning around this sculpture. I wanted the Beast turns into the air. I wanted to see her back to change, and focus the camera on his hands and feet, and finally his head. It is this experience that inspired me this sequence.

You know, for me, the animation is like the outline of a scultpure. J'ombre all my drawings. Facilitators often ask me why I do this because nobody sees these shadows in the final drawing, and in addition, it would take less time. But I think I do not draw well if I do not add them. It's all about light, shape and space. While the Beast turns, we see his face in shadow, then it enters the light. I directed this way and so delicate that something can happen, and this thing is the wind. For me, the wind is like the spirit of God that brings about this transformation in our lives. I always felt a strong connection to the Beast as a representation of my own life on the spiritual plane, as a transformation.

All this happens very quickly before our eyes, so much so that one wonders what that this scene was so extraordinary. But that's all that happened before in history, the fact that you just spent an hour and a half to build this time as you would expect this dimension that gives it unique. At this point, we really wanted to take our time, take time to see beautiful look in the eyes of Prince and recognize the man she loves.

Thank you so much for this lesson is animated along a life lesson!

I hope you discover the full amount of work needed for a movie like this. For me, there is a term of the Renaissance that evokes it beautifully, a term used by a man who sought to describe the art of Raphael's "sprezzatura. It means "the art behind the art itself."

That is the animation. An art form that hides behind a story by making you believe that all these characters are real.

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Taran AND THE MAGIC CAULDRON ON VIDEO: Interview with producer Joe Hale

How did you make the layout in script writing and production of The Black Cauldron e?

Initially, I started doing the mail in the studio. Then I made the animation. I participated in Man and the Moon and short films for television. I did a little of everything, including writing. Basically, I was a "layout man," but The Wonderful World of Disney and Walt Disney's Wonderful World of Color , I developed a passion for the combination of animation and equity for real. The kind of scenes where you see Walt Owl with Prof. Donald or Tic & Tac. So I started doing a sort of back and forth between animation and live action. As writer, I worked on films such as T he Watcher in the Woods. After this experience, I was given the choice between producing and writing. At that time, Rick Rich was already the director of the studio, a sort of apprentice director and I did not want to hinder it. So I stayed in the History Department. You know, at that time, there were many problems at the studio. The Nine Old Men as they were called, Frank & Ollie, Milt and others had left, while another group of talented animators Don Bluth had joined. We still had leaders fresh out of Cal Arts, talented but inexperienced, and everyone knew that I liked taking care of young. Ron Miller then called me and asked me to take the place of the producer of The Black Cauldron. I think some leaders had spoken to me about it, but I did not do that because Art Stevens, a good friend of mine, was already producing. This does not seem correct. Moreover, at that time, I'm more interested in cinema and live action instead I asked Ron the position of a second team. In the end, he told me that whatever my decision, Art would be replaced by someone. And that's how I became the producer of The Black Cauldron ,


What were the difficulties you encountered when writing the story? Imagine that
Chronicles of Prydain are five volumes! The studio had already spent 7 or 8 years before I came on this adaptation and found no solution. Many storyboards were made and broken one after another. For me, the most important thing was to give substance to all, and that's what I think I managed to do.

Taran and the Magic Cauldron was shot in 70mm. Has it made things more difficult?
It was not so complicated because we had already made films in Cinemascope. The real problem is that it requires a lot more animation and decors much larger. I would say that it was a bigger problem for the animation to the layout.

Little is known about the importance of layout in the animation process. Can you elaborate?
Disney has always had excellent facilitators. There was the Nine Old Men and others. Which was about thirty artists. I do not want not be host. So I asked my boss, Andy Engman, to be posted to Layout. The man takes the storyboard layout and segmented into individual scenes. Then you draw the scene completely, setting and characters. In this, you work very closely with the director and you have a lot of influence on the film. on The Black Cauldron e, since I was a layout man, I brought a lot of attention to this aspect. It is a film about the layout! I really wanted the public to have the sensation of the world he enters at the beginning of the film. We discussed the layout in this film in the same way as when Walt was there: he was considering painting every scene as we could extract the film and frame, so we made sure that each scene is appealing. Layout man is like a director. It is a kind of assistant director of an art director doubled. Layout you see in the credits of cartoons, but nobody really knows what it is. Layout the men are unsung heroes of animation because nobody knows what we do! When watching a colorized scene on the screen, you say: "It was a beautiful painting!" The win virtually all designers honors, but the design is really Layout by men, with just a pencil, to render black and white to be followed, then the host and the designer ....

should the graphic style of The Black Cauldron in large part to Mike Hodgson.
Mike had a lot of talent. I liked his approach to film and design. He worked with Don Griffith [ below ]. The film's style is a mixture of both. I wanted The Black Cauldron is both different, but at the same time typical of Disney.


By cons, you count an artist to say the least unusual in your team, in the person of Tim Burton!
(laughs) He had a large office next to mine, and there he was all these weird drawings. At the time, it was not possible to translate them into animated graphics as they were. That said, he still had much influence on the film, even if not on a particular style. He was gifted with a vivid imagination!

The Black Cauldron was produced jointly under the leadership of Roy E. Disney and Jeffrey Katzenberg, How this was happening between the two men? I knew Roy for quite some time. When he returned to the studio, I worked closely with him much more than Katzenberg. Roy wanted to direct the animation studio, Katzenberg and well, and neither wanted to cut back on his power. So there was tension between the two men and I found myself in the middle. For my part, I was on the side of Roy because he had grown up with Walt and had bathed all his life in animation. So I rather believe in him long term.

Disney will soon publish the edition of Diamond Beauty and the stupid and I know you worked on the very first version of this film. What memories?
I was assigned to Beauty and the Beast with David Jonas, one of the most brilliant men of the world story and the story man and designer veteran Al Wilson. We made some storyboards together on this film and participated in two preparatory meetings, but Eisner did not want another fairy tale. He wanted something more current, in vogue, with Cindy Lauper and Billy Joel ... He wanted a story for which he could use popular culture. That said, I love Beauty and the Beast , I think it's the best movie Disney has happened since I left!

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I wanted to tell you ... I stop.

There are two and a half that I started this blog ... Yeah, that's exactly two and a half today. Thirty months says so!

I can not tell you if it is long or if it's short, but the fact is that during all this time JVVD was my main focus. In the morning when I opened one eye, the first thing that came to mind was how I was going to be able to formulate what I have to say ... And in the evening I went to bed thinking about the comments you've left.

Together we talked to just about everything and anything. Policy course, but also music, the environment ... Finally, you simply browse the list of labels for you to realize that during all that time we have more or less identified all the major themes of society that we might well come to mind. We remake the world, put our small stones to the edifice of our ideals, our desires, our utopia ... And hell, it was good.

Oh sure all was not necessarily good all the time, far from it, but overall I feel that I am not so pretty well. It allowed me to hone my writing skills, to order my thoughts, relieve my anger ... Anyway I've enjoyed it and that's what counts.

But all things must end they say, and now this energy that I spent happily swinging my words to you, I need to channel it to something else. You know by now (at least most of you frequent), I go for six months a huge project that will take me in a round-the-world race. A slightly crazy idea to some, but I do not care. For me it's a dream come true, and that dream and as it progresses more and more demands on my attention.

My whole person tends towards this goal ... At a point where even the vile crap that this government is guilty not only arouses in me the disgust, weariness ... even want to yell, I have something else to do.

So rather than leave their collapse pages, officially ceasing mains. It is cleaner as a process ... And then it lets move on without air currents in the back.

I will not delete this blog, so it will remain forever in the ether of the web. Why? Well because I am not ashamed of what I wrote, and even some articles I think even feel proud. People come by chance, I suppose, and can glean what they want, the good and the bad, it's a gift.

Furthermore, if among all my friends want to continue some to use the comments to discuss them, I see no problem.

And at the same time I have a little purging the lists of blogs on the sidelines and I left only the ones I've stayed subscriber ... Because, not being things by halves, I also unsubscribed from some three dozen political blogs ... I kept only the best, then those who are dear to me, and I will do well when I am the opposite.

are my friends, the thing is done. I chew this text for several days already, and I confess it was not easy to write. It's hard to stop something which also held a prominent place in my life ... But I abandon without regret JVVD no.

But you, my readers, I will not abandon you. And I invite you to embark with me on the Cripple ... Finally, those who want obviously. You see, we're going to hit around the world, sailing across the oceans, see the most beautiful sunrises that are, meet some great people, incredible adventures ... In short, otherwise you will get rich.

So for those who want it here it happens, and for others, and much as we say: Good luck!