Whether you're an avid reader of books or an aficionado of Disney DVD / BluRay, you could not miss Jeff Kurtti. It is a famous Disney historian. He has authored over 20 books, mostly on the Disney animation and Imagineering, which have become references. He is also director and producer of some of the best bonuses that can be seen on Disney DVD.
He is the author of the highly anticipated book on the art of the princess and the frog, which reveals the very rich concept art and illustrations that inspired the animators of the film through the character design, storyboarding, color pastels and sketches of complex scenes, and behind the scenes stories and ideas of the film's creative team.
What interested you in writing the book "the art of the princess and the frog?
I'm a fan of Disney animation since my childhood, and I wrote in the past many books related to animation, and therefore when I was asked to write "art of the princess and the frog," I was very flattered and very excited at the same time!
You started to write about Imagineering and the Disney parks. What led you to animation (through documentaries and books)?
I actually started writing about subjects parks and Imagineering, Disney but my interest has always been broader culturally. Child, film and animation me much more accessible, and the research much easier. That is why my first search was on Disney's biography Studios and Walt, and the basics of animation. It was only later that I could expand my scope in the study of Disneyland and later Walt Disney World.
Since when have you been interested in a personal view in the movie "The Princess and the Frog"?
I think like most fans of Disney animation, my interest began when I heard that Ron and John were reminded of Walt Disney Animation Studios, so we had let him go for a while. I knew that such a change was not made without wanting to use their talent and their talent is surely going to emerge as a new interesting project.
At what stage in the creation of the film did you start working on the book?
I started in late 2008, about a year before the theatrical release.
How long have you worked on?
My friend Richard Sherman had responded to a similar question: when asked how long it takes him to write a song it says "all your life, more time to put it down on paper." I studied animation for decades and have written books and produced documentaries, there are a lot of preparation that is nothing compared to actually write the book. I spent several weeks interviewing more than thirty people from the production team, and then several more weeks to prepare the manuscript. Then there was a lengthy editorial process, because the manuscript has been revised and redesigned to fit into the whole book
How were the interviews with Disney artists?
In most cases, it was really a happy reunion with people I met, with whom I had worked or known before. The atmosphere was relaxed and friendly, and everyone was really enthusiastic and optimistic to return to Disney for a film drawn by hand.
Have you given carte blanche to choose the people with whom you meant?
The producer and the filmmakers have chosen the key members of the team for my interviews, their help and their views were essential, otherwise I sailed blindly, and worked much harder to know who had the good information and good production steps.
Can you tell me more details of your meetings with creators of the film?
I worked with most of these artists on previous projects, and it's always fascinating to sit and talk with them. To witness the dynamic between Ron and John is interesting, the way they share a conversation gives a good idea of how they work in teams, how to organize their thoughts together, and where they diverge to create the successful duo that 'they are now for many years and many projects.
I noticed that most people I talked, in addition to their artistic talent, spend much time studying and think about what they do, how they do, what it means. They do not just place of production sequences, but really go inside the technical process of the cultural and historical significance of what they do.
result is a pleasure to interview, and the depth of dialogue and information that we share and we'll go to the reader, is more than a simple interview question / answer, but gives an overall view of perception their art.
What is the atmosphere that you felt when you met the artists? You feel a special excitement about the movie?
There was really excitement and optimism as well as gratitude. Not only have the opportunity once again to make a film Disney hand-drawn, but also to work with a variety of talented people.
What kind of equipment you have access?
Virtually everything that has been generated for the film. In most cases, I let the decisions on the art of film creators and designers of books, because their added value was equivalent to mine for the final product. In the case of a book on the art of .. "In fact, the images are more important than the text. The text should be there to serve art and create the proper context for the reader.
The design of the book, Glen Nakasako Smog Design Inc.. Has really done a remarkable job, both in terms of organization of art or harmonious internal organization of the book itself.
At one point in the book, the supervisor of the story, Don Hall said that the table creation story had no text for the story should be told first visually. Can you tell me about the visual strength of the film?
Typically, the animation is a visual medium, the work on the history base is still a little early or simultaneous with the script and dialogue. This is one reason why the animation is really an art form internationally. Ideas are transmitted through shapes, colors of light stagings.
There are many ways to approach a "making of" and "art" of a movie. You have chosen to organize our travel geographically, New Orleans, Garden District and the Bayou. How did you come to this (brilliant) idea? Can you explain why and tell us a bit more?
In fact, the idea comes from the original publisher of the book, Sarah Malarkey, and it was a logical organizing principle because the locations are crucial to the story and the anchoring of the characters. Each location also provided a natural way to organize both character development and the process of the art of film.
Much has been said that "The Princess and the Frog" is a return to classic Disney. But I like the way Ian Gooding present it to the end of the book, saying he is trying to "reinvent the wheel". It is not just a rediscovery of traditions is really reinvent. What did you perceived by the artist, when you realize your book, which could explain this sentence?
Since the animation by hand has evolved into a method, in its most recent reincarnation in the mid 80s, there was a certain level of production processes that have been established. When Disney animation was stopped by hand, all the processes and everything possible to make the film at hand has been dismantled, including the drawing board leaders and paper drawing animation.
So in addition to rediscover the traditions, the filmmakers were given the responsibility restore all production procedures, and for many people the luxury to comply with what existed, became cumbersome and less able to adapt to rapid changes and amendments at short notice.
artists who worked on "The Princess and the Frog" drew some of their inspiration from the film "Lady and the Tramp," the latest animated film from Walt Disney who wanted to be realistic, before the films more stylized as The Sleeping Beauty and 101 Dalmatians. So the end of an era "Lady and the Tramp" has helped bring forth a new era (and fortunately, a new golden age of animation hand). It's fun, is not it?
The biggest advantage that Disney has at the animation is the institutional commitment to the medium and the ability to draw nearly a century, this type of support, purchasing methodology, technique and inspiration. Each new project is a step above it, whether through technology or by the memory of an artist who has seen a Disney movie as a child.
Each chapter of your book is presented with words from songs by Randy Newman. In the same spirit, the last chapters of your book are entitled "Coda," which is also a musical term. Can you tell me about the idea of having such a coda, which is very unusual compared to other books "The Art of .." published by Chronicle Books?
It seemed that there was a need to go beyond the structure of the "art" and tackle the skills of production, because this film is a kind of resurrection a place for film makers to express what they could do with their art, and to present some evidence that emotions and almost all have mentioned.
What was the best time in creating this book?
Personally, for me, the best time or best moments were the idea of returning to Disney Animation, and being there to talk with Ron and John, Eric Goldberg, Mike Surrey, Mark Henn, Andreas Deja, so that few years ago, I thought I'd never again with them.
What are the best times you had during the interview?
In most cases, the people I interviewed are so turned to their art in a comprehensive manner (form, history ..) that we went away from the paths of production and, at the end we discussed films and artists he are tens of years or our previous work together on productions past.
Can you tell me about your future projects, whether in video or in writing?
I just finished a very good job, perhaps the pinnacle of what I did, I was the original creative director and consultant content, and media producer for the show at the Walt Disney Family Museum in San Francisco. The girl and the little son of Walt Disney wonder for such a project, and spent five years to tell me the life of Walt Disney in a way that speaks to all generations, was simply awesome.
I now work on some big projects for my friends from the Disney Cruise Line and their spectacular new ship, the Disney Dreams which will be inaugurated in January 2011, and I also do a book on the ship for Disney Editions.
Finally, now I am working on the "art of Rapunzel" for Chronicle Books, due out at the same time as the new Disney animated film in December.
With thanks to Jeff Kurtti and April Whitney Chronicle Books. Thank you to Carol for the translation!
He is the author of the highly anticipated book on the art of the princess and the frog, which reveals the very rich concept art and illustrations that inspired the animators of the film through the character design, storyboarding, color pastels and sketches of complex scenes, and behind the scenes stories and ideas of the film's creative team.
What interested you in writing the book "the art of the princess and the frog?
I'm a fan of Disney animation since my childhood, and I wrote in the past many books related to animation, and therefore when I was asked to write "art of the princess and the frog," I was very flattered and very excited at the same time!
You started to write about Imagineering and the Disney parks. What led you to animation (through documentaries and books)?
I actually started writing about subjects parks and Imagineering, Disney but my interest has always been broader culturally. Child, film and animation me much more accessible, and the research much easier. That is why my first search was on Disney's biography Studios and Walt, and the basics of animation. It was only later that I could expand my scope in the study of Disneyland and later Walt Disney World.
Since when have you been interested in a personal view in the movie "The Princess and the Frog"?
I think like most fans of Disney animation, my interest began when I heard that Ron and John were reminded of Walt Disney Animation Studios, so we had let him go for a while. I knew that such a change was not made without wanting to use their talent and their talent is surely going to emerge as a new interesting project.
At what stage in the creation of the film did you start working on the book?
I started in late 2008, about a year before the theatrical release.
How long have you worked on?
My friend Richard Sherman had responded to a similar question: when asked how long it takes him to write a song it says "all your life, more time to put it down on paper." I studied animation for decades and have written books and produced documentaries, there are a lot of preparation that is nothing compared to actually write the book. I spent several weeks interviewing more than thirty people from the production team, and then several more weeks to prepare the manuscript. Then there was a lengthy editorial process, because the manuscript has been revised and redesigned to fit into the whole book
How were the interviews with Disney artists?
In most cases, it was really a happy reunion with people I met, with whom I had worked or known before. The atmosphere was relaxed and friendly, and everyone was really enthusiastic and optimistic to return to Disney for a film drawn by hand.
Have you given carte blanche to choose the people with whom you meant?
The producer and the filmmakers have chosen the key members of the team for my interviews, their help and their views were essential, otherwise I sailed blindly, and worked much harder to know who had the good information and good production steps.
Can you tell me more details of your meetings with creators of the film? I worked with most of these artists on previous projects, and it's always fascinating to sit and talk with them. To witness the dynamic between Ron and John is interesting, the way they share a conversation gives a good idea of how they work in teams, how to organize their thoughts together, and where they diverge to create the successful duo that 'they are now for many years and many projects.
I noticed that most people I talked, in addition to their artistic talent, spend much time studying and think about what they do, how they do, what it means. They do not just place of production sequences, but really go inside the technical process of the cultural and historical significance of what they do.
result is a pleasure to interview, and the depth of dialogue and information that we share and we'll go to the reader, is more than a simple interview question / answer, but gives an overall view of perception their art.
What is the atmosphere that you felt when you met the artists? You feel a special excitement about the movie?
There was really excitement and optimism as well as gratitude. Not only have the opportunity once again to make a film Disney hand-drawn, but also to work with a variety of talented people.
What kind of equipment you have access?
Virtually everything that has been generated for the film. In most cases, I let the decisions on the art of film creators and designers of books, because their added value was equivalent to mine for the final product. In the case of a book on the art of .. "In fact, the images are more important than the text. The text should be there to serve art and create the proper context for the reader.
The design of the book, Glen Nakasako Smog Design Inc.. Has really done a remarkable job, both in terms of organization of art or harmonious internal organization of the book itself.
At one point in the book, the supervisor of the story, Don Hall said that the table creation story had no text for the story should be told first visually. Can you tell me about the visual strength of the film? Typically, the animation is a visual medium, the work on the history base is still a little early or simultaneous with the script and dialogue. This is one reason why the animation is really an art form internationally. Ideas are transmitted through shapes, colors of light stagings.
There are many ways to approach a "making of" and "art" of a movie. You have chosen to organize our travel geographically, New Orleans, Garden District and the Bayou. How did you come to this (brilliant) idea? Can you explain why and tell us a bit more? In fact, the idea comes from the original publisher of the book, Sarah Malarkey, and it was a logical organizing principle because the locations are crucial to the story and the anchoring of the characters. Each location also provided a natural way to organize both character development and the process of the art of film.
Much has been said that "The Princess and the Frog" is a return to classic Disney. But I like the way Ian Gooding present it to the end of the book, saying he is trying to "reinvent the wheel". It is not just a rediscovery of traditions is really reinvent. What did you perceived by the artist, when you realize your book, which could explain this sentence?
Since the animation by hand has evolved into a method, in its most recent reincarnation in the mid 80s, there was a certain level of production processes that have been established. When Disney animation was stopped by hand, all the processes and everything possible to make the film at hand has been dismantled, including the drawing board leaders and paper drawing animation.
So in addition to rediscover the traditions, the filmmakers were given the responsibility restore all production procedures, and for many people the luxury to comply with what existed, became cumbersome and less able to adapt to rapid changes and amendments at short notice.
artists who worked on "The Princess and the Frog" drew some of their inspiration from the film "Lady and the Tramp," the latest animated film from Walt Disney who wanted to be realistic, before the films more stylized as The Sleeping Beauty and 101 Dalmatians. So the end of an era "Lady and the Tramp" has helped bring forth a new era (and fortunately, a new golden age of animation hand). It's fun, is not it?
The biggest advantage that Disney has at the animation is the institutional commitment to the medium and the ability to draw nearly a century, this type of support, purchasing methodology, technique and inspiration. Each new project is a step above it, whether through technology or by the memory of an artist who has seen a Disney movie as a child.
Each chapter of your book is presented with words from songs by Randy Newman. In the same spirit, the last chapters of your book are entitled "Coda," which is also a musical term. Can you tell me about the idea of having such a coda, which is very unusual compared to other books "The Art of .." published by Chronicle Books? It seemed that there was a need to go beyond the structure of the "art" and tackle the skills of production, because this film is a kind of resurrection a place for film makers to express what they could do with their art, and to present some evidence that emotions and almost all have mentioned.
What was the best time in creating this book?
Personally, for me, the best time or best moments were the idea of returning to Disney Animation, and being there to talk with Ron and John, Eric Goldberg, Mike Surrey, Mark Henn, Andreas Deja, so that few years ago, I thought I'd never again with them.
What are the best times you had during the interview?
In most cases, the people I interviewed are so turned to their art in a comprehensive manner (form, history ..) that we went away from the paths of production and, at the end we discussed films and artists he are tens of years or our previous work together on productions past.
Can you tell me about your future projects, whether in video or in writing?
I just finished a very good job, perhaps the pinnacle of what I did, I was the original creative director and consultant content, and media producer for the show at the Walt Disney Family Museum in San Francisco. The girl and the little son of Walt Disney wonder for such a project, and spent five years to tell me the life of Walt Disney in a way that speaks to all generations, was simply awesome.
I now work on some big projects for my friends from the Disney Cruise Line and their spectacular new ship, the Disney Dreams which will be inaugurated in January 2011, and I also do a book on the ship for Disney Editions.
Finally, now I am working on the "art of Rapunzel" for Chronicle Books, due out at the same time as the new Disney animated film in December.
With thanks to Jeff Kurtti and April Whitney Chronicle Books. Thank you to Carol for the translation!
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