![]() The lines of action of the bodies now spring almost straight and upwards towards the screen, while elements of the arms, hands and jaws reflect drag (yellow), giving them weight and interest. In the action/expression phase, you can see that Kahl has taken advantage of the elasticity of animal anatomy to demonstrate extreme force and expression. Compression occurs between the heads and shoulders, while areas like the hands, sweater, hair (red) and Pongo’s ears reveal shapes that contrast from their previous positions, either dragging, or expanding. The lines of action (depicted in blue) reverse. ![]() In the first bit of significant action (anticipation), you see a strong coil-like build up of the bodies in nearly simultaneous action. There is physical contact in the hands which pat Pongo’s head, as well as social-emotional contact created by the direct eye-to-eye connection. The line along Roger’s legs, back and arm, along with Pongo’s elongated neck, create a continuous line of travel for the viewer’s eyes. A geometrically perfect triangle tells you exactly where to look. The initial setup is simple, clear and nicely balanced. Let’s break down some of the key areas of the animation choreography: The scene is short (more than half the shot is a series of small movements and holds) but loaded with personality, contrast and beauty. It’s a clip that describes Roger and his dog Pongo anxiously awaiting the birth of puppies, like expectant fathers. ![]() It’s a landmark film amongst Walt Disney’s bounty of animated productions.īut today, we’ll focus specifically on one scene from the movie animated by the magnificent Milt Kahl. The designs are unique and timeless, and within its 103 minutes of run time lie some of the most original and appealing scenes in animation history. Both the story and animation are a charm. One of them is Walt Disney’s 1961 classic, 101 Dalmations. But I do have a special list of animated films that rank amongst the most magical. “I dream my painting and I paint my dream.” – Vincent Van GoghĪnimated films don’t carry nearly that kind of complexity, grandeur or critical acclaim. I learn something new each time, and find myself in awe of the artistic mastery on display. I never seem to get enough of those films because they are so epically crafted, rich in human emotion, and nearly flawless. In live action, they include films like The Godfather, Lawrence of Arabia, 2001: A Space Odyssey, and Akira Kurasawa’s Ran. There are certain films I watch periodically for knowledge, growth and inspiration.
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