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!
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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