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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!