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Redefining the Line: The Making of 101 Dalmatians — Transcript

by Sterling Dudley · 5,350 words · 811 segments · language en · Watch on YouTube

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0:01[Music]
0:06somewhere in this village and we're
0:09going to find them now get going the
0:11only one Dalmatians is the most modern
0:13Disney animated movie ever made the one
0:16that has the most guts that says this is
0:19Art but it's entertainment at the same
0:21time the 101 Dalmatians was a huge
0:23influence on me I liked the look of it I
0:25like the story I like the characters
0:26there was something just very kind of
0:28fresh and novel what's he going to do
0:31dad
0:32[Music]
0:34one thing that sets the movie apart from
0:38a lot of movies in the Disney Canon is
0:40it's a contemporary Story made to play
0:43in that time period the cool thing about
0:45it is that it's contemporary to this day
0:48it's contemporary in a classical way 101
0:52Dalmatians was the first Disney animated
0:55that was more than
0:58a mystery there was suspense and was
1:01worried about whether these characters
1:02were going to come through awesome
1:05spotted I use if it's the last thing I
1:08do also we had the new technology the
1:10Xerox process was going to replace the
1:13old ink and paint so that was exciting
1:15so you see in 101 Dalmatians very mature
1:18animators doing probably some of the
1:19best work of their lives and yet you see
1:21Walt Disney I'm almost mourning the fact
1:23that he has to let go of this beautiful
1:24romantic style that he loved in favor of
1:27a simpler style that's representative of
1:28mid 20th century art it's not your usual
1:32children book illustration come to life
1:34it's Picasso coming into Disney still
1:37our hearts are touched and I'm very very
1:40lucky
1:43or something
1:44[Music]
1:52foreign
1:54[Music]
2:00Smith published her story the 101
2:02Dalmatians in 1956. the story was
2:05inspired by the fact that she herself
2:07had Dalmatian dogs the first of which
2:09was called Pongo and a friend of hers
2:12quite casually and not maliciously as
2:14Cruella Deville might have said that um
2:16yes those dogs would make rather a good
2:18coat and the story immediately caught
2:20and Walt Disney's imagination this was a
2:22time of great growth at the studio and
2:24Walt Disney was so involved in other
2:27things he had television the theme parks
2:29that animation got a little less of of
2:32Walt's time and so he put into effect
2:34this idea of taking a very strong story
2:37guy Bill Pete and basically having him
2:40leading this feature film now Bill Peak
2:43came to Disney in 1937 jobs were scarce
2:46and he heard that Disney was looking for
2:48artists so he came and he started
2:49working as an in-betweener which meant
2:52you were way down the line you assist
2:54with the final drawings of the
2:55characters it was the grunt work it was
2:57the Bottom Rung of the ladder really
2:59frustrated him to no end but Bill was
3:01really driven and knew he wanted to be a
3:03story person and when he got his chances
3:05like on Dumbo some amazing scenes in
3:08dumbo when the little elephants getting
3:10a bath and his mother is bathing him it
3:12was beautifully drawn no dialogue
3:14beautifully laid out by Bill Pete and
3:17then later you know his work is seen in
3:19pretty much every Disney movie and he
3:21became this very senior story person a
3:24lot of people don't even know what story
3:25men are because of the work that they do
3:28is never seen on the screen but before
3:30any animation is done it's all
3:32storyboarded it's kind of like a comic
3:34strip which tell the story sequentially
3:36from Cut to cut we did movies like um
3:39Lion King or Beauty and the Beast or
3:41Aladdin we had 15 people on the story
3:44crew Bill Pete did it by himself I had a
3:48chance to go to the archives and look at
3:51his story sketches and compare them one
3:54after the other and you follow these
3:57sketches and you go well I'll be this is
3:59impossible they didn't change a theme
4:00this is exactly the way Bill Pete had
4:04envisioned it he missed him oh Thunder's
4:07pretending
4:08I think Bill Pete was a master
4:11Storyteller and he structured this story
4:13to make it a story that is so focused so
4:16controlled so centered on these two dogs
4:18and their quest to get their puppies
4:19back that you follow the story with an
4:22effortlessness and I think they
4:24tightened it in a way that really works
4:26somewhat so in fact that Dodie Smith
4:29wrote to Bill Pete and said that he had
4:31in fact improved on her book which is
4:33quite a compliment when you think about
4:35it and he was able to put flesh on the
4:37bones of what was in that children's
4:38book and create the characters that we
4:40know today and the way the characters
4:42interact and I have a very Bell Pete
4:45sort of touch kind of modern sense
4:47ability to it it's one of the things
4:49that makes that movie very unique is is
4:51how contemporary it was that was the
4:53first time where here's a married couple
4:55that clearly is physical toward each
4:58other and there's a flirtation going on
5:01when you know he's pulling her around
5:03and going Cruella Cruella Deville you
5:07know I love that
5:08these are characters we hadn't seen in a
5:10Disney film before Cruella Deville
5:12Smoked Cigarettes the dogs watch
5:14television it was something very of the
5:16moment and I think that was a great
5:17departure not only story-wise but
5:19stylistically for Walt I mean we were
5:21all very excited about it and mainly
5:22because it was so different you know it
5:25was so different from what had been done
5:27at Disney before it really broke new
5:29ground
5:30for Disney's animation Department
5:35101 Dalmatians was groundbreaking it's
5:38really the first Disney animated feature
5:41that isn't really a musical in any way
5:42it's interesting that uh that Dalmatians
5:45has so few songs in it it's a real break
5:48with what had just come at the Disney
5:50Studio and it's ironic because Roger's
5:53vocation is songwriter you'd think that
5:55would be an excuse to have a lot of
5:56great Disney songs it just shows you how
6:00Walt Disney was never any kind of a
6:02slave to any formula even if it worked
6:04well before the songs in 101 Dalmatians
6:07they were written by Mel Levin and love
6:09the song Cruella Deville is the most
6:11memorable song from the movie Melvin
6:14actually wrote a song prior to this one
6:16for Cruella
6:17now every night I almost go insane
6:22I hear those witches chanting in my
6:25brain
6:27cruel cruel
6:29level devil devil Cruel Cruel Cruel a
6:34devil devil devil but driving to work
6:37one day he melts foot you know a blues
6:40Tempo it would really fit that character
6:42so he came up with that Melody line so
6:45he replaced his prior song himself
6:48you come to realize you've seen her kind
6:52of eyes watching you from underneath a
6:56rock
6:57the last song was a Dalmatian Plantation
7:00was was exchanged because Bill Pete
7:03wanted a different version of it Bill
7:05Pete wanted to end the movie with a song
7:08that emphasized Rhymes and so he asked
7:11Mel to replace the song he had written
7:13who with all of our remuneration
7:17our station seems truly Sublime
7:20at my occupation I'll find inspiration
7:24with no obligation to time so Dalmatian
7:29Plantation number one was replaced by
7:30Dalmatian Plantation number two
7:33[Music]
7:39Mel wrote canine Crunchies as an
7:42absolute spoof of current commercials on
7:45television taking it as far as he could
7:48to its silliness
7:54but there are not so many songs in 101
7:57Dalmatians but there there is a lot of
8:00musical feeling in the film and George
8:02brunson's core is very much a soundscape
8:06to which the film plays he really
8:08deserves a great respect he tells the
8:11story with his music starting with the
8:13opening credits when it says 101
8:15Dalmatians his score goes
8:18foreign
8:22of course later in the movie when
8:23Cruella shows up and starts to notice
8:26that all the Labradors in the scene
8:28might be Dalmatians he writes this
8:31incredibly suspenseful cue that Echoes
8:34the water drops coming off of the roof
8:36[Music]
8:44the first time Disney actually did a
8:46feature that was not set in the world of
8:49of classic or fairy tale so it's a
8:52contemporary score because it's a
8:54contemporary film it wasn't the
8:56traditional orchestral score it was a
8:59more Jazzy thing it was really clicking
9:02into the current sensibilities in many
9:05different ways which is quite different
9:07for a Disney film
9:09all right
9:18well for years Disney films had been
9:21Inked and painted by hand Sleeping
9:23Beauty
9:24was the end of an era in many ways and
9:27it was the last
9:28hand Inked hand-painted film now Disney
9:31Animation as most people know the the
9:34animators drawing pencil and then it
9:36went to the inking and painting
9:39department which meant you took an
9:40animator's drawing put cells over the
9:42top of the drawing clear plastic sheets
9:44and hand traced it with multiple colors
9:46so Aurora and Sleeping Beauty would have
9:48this beautiful yellow line around her
9:50care and she'd have this fleshy line
9:52around her face and her lips would even
9:54be a separate ink color it was so
9:56difficult and then you you would watch
9:58these girls and they couldn't put their
10:01hand down on it because they would smear
10:02the ink and they would do these
10:05wonderful sweeps and cover it follow the
10:07line just so it was marvelous to watch
10:10them work they were really Exquisite at
10:13what they did
10:14and then it would be turned over and
10:16painted and that becomes the cell that
10:18you see on screen it's very laborious
10:20very time consuming and expensive
10:23following Sleeping Beauty the studio was
10:26in a real difficult situation Sleeping
10:28Beauty hadn't made very much money it
10:30had cost a fortune and Disney was
10:32desperately trying to cut back here's
10:34the studio that was built by animation
10:36and was maybe getting priced out of the
10:39animation business people were always
10:41saying to Walt forget about the
10:43animation you know you're in television
10:45now you're making live action movies
10:46you've got a theme park but Walt Disney
10:49had to make animated films because
10:51that's what he did but how to do it
10:53cheaper up iWorks was Walt's perhaps
10:56oldest friend he had been Walt's first
10:59business partner back in 1922 in Kansas
11:02City when Walt started laughograms and
11:06uh was the man who animated Mickey Mouse
11:09in plain crazy and gal nacho and
11:12Steamboat Willie
11:17he was also a mechanical genius the
11:21fireworks invented a lot of things which
11:23were of vast importance for the studio
11:26like the multiplane camera which gave
11:29depth to the films like the sodium
11:32screen process to be able to marry
11:35together the elements in live action and
11:37animation elements like you see for
11:39instance in Mary Poppins well my dad of
11:41I Works got to thinking about
11:44could we save some money and one of the
11:46things occurred to him is that the Xerox
11:49process which they were coming out with
11:52these little copiers on the market that
11:55maybe he could transfer an image onto a
11:58cell as opposed to a piece of paper so
12:00he went out and did some experimenting
12:03and it seemed to work fine so the Xerox
12:05process pretty simple operates like your
12:07average office copier except in those
12:09days the Xerox machine they used took up
12:11three rooms you have a lens and
12:14electrostatically charged plate and the
12:16lens would take a picture of the drawing
12:17and transfer it to that plate the plate
12:20would get dipped in toner and then the
12:21toner would be transferred to a clear
12:23cell we started using it sneakily in uh
12:27Sleeping Beauty and it was in the dragon
12:30sequence
12:33no sort of Truth
12:36flower that evil dye and good endure I
12:39wanted to do a test case to see how
12:41Xerox would work and how it would look
12:43on the screen so they tried it out on a
12:44short called Goliath too
12:48[Applause]
12:49[Music]
12:52Xerox didn't cut the quality of the
12:55animation they didn't do limited
12:57animation it's still a fully animated
12:59film the acting is still there it's
13:01still subtle yeah it worked fine so it
13:04gave it gave everybody confidence that
13:06hey we could do this wigs or ox
13:10I think it must have been
13:13awful at the time to be a an anchor at
13:18the Disney Studios when during summer
13:19because you were out of a job all of a
13:21sudden and I think it was the best
13:22incompete department that ever existed
13:25on this Earth
13:26and I cried when they closed it down
13:30I think we did lose something because
13:32the Xerox line lacked the subtlety of
13:35the ink line which was incredible but on
13:38the other hand it was the gaining of the
13:41quality of the animators drawings
13:44especially in the way it was done in
13:47this film you dare go up there you you
13:50make long legs so I guess one could
13:53debate those points back and forth you
13:55know was Xerox a step forward or a step
13:58backwards over the next 50 years the
14:01Xerox process didn't go away it became a
14:03very not only cost effective way to make
14:05animated films but also became more
14:07sophisticated you could begin to use
14:08color Xerox lines later and eventually
14:11it was you know supplanted with the
14:13computer which could use complete color
14:16lines which got back to the look of the
14:17original Inked movies so again
14:18Dalmatians becomes a real Crossroads of
14:21Technology meets art in a very very
14:23clever way
14:28the Xerox where it worked well with the
14:31Dalmatians because they were black and
14:33white you just need a very easy outline
14:36of them you know there's correlation
14:38between the characters themselves being
14:41Dalmatians that are are black and white
14:43and then the very strong black lines of
14:46the Xerox process that was used to
14:48transfer the animators drawings onto
14:51cells
14:53the animators loved the process because
14:55rather than passing through the hands of
14:57other people to interpret their line
14:59drawings they were finally seeing what
15:02was on their drawing board put up on the
15:04screen well we were delighted protest it
15:09was a delight really for the animator at
15:11least we felt one time because it's the
15:14first time we ever saw our drawings
15:15directly onto the screen
15:18there was apparently an inner office
15:21memo that went around at Disney saying
15:23please make your drawings neat don't
15:25show your construction your roughs
15:27underneath there because whatever those
15:29drawings are going to go right onto the
15:31screen so the assistants had to go
15:33through and clean up the drawings and of
15:36course this must have been really
15:37nerve-wracking if you were working for
15:39someone really great you know Frank
15:40Thomas or Milt call who had done these
15:42amazing drawings and then you have to go
15:44with your own pencil
15:46and mess with it
15:49Mill call became militant about the
15:52people following them up reducing the
15:54rough lines Milt uh made them kind of
15:58stay away from that so in some milk call
16:00scenes you actually start to see
16:01glimpses of construction lines I've
16:04heard stories of milk call exploding
16:06because somebody changed his drawings
16:08and as time went on Milt was able to
16:10hold on more and more to his exact
16:13drawing several of the nine old men
16:15worked on 101 Dalmatians Wolfgang
16:17ryderman who later was to direct The
16:20Sword in the Stone and then the Jungle
16:22Book directed The Twilight bark one of
16:24the most magical scenes in the film
16:25humans have tried everything now it's up
16:27to us dogs the Twilight bark a sun
16:31Village
16:33one of the first dogs that picks up on
16:37the Twilight bark alert is this little
16:40Scottish terrier and it's jock from Lady
16:42and the and the first moment you
16:44see him it's the original cleaned up
16:46drawing which was then Inked and painted
16:48then he transitions into a little bit
16:51more of the rougher looser styling
16:54and we pass along and we see a pet shop
16:58and in the pet shop are bull and Peg
17:01from Lady and trip and just before the
17:04scene leaves lady comes in with a
17:06picture so it's really fun to look for
17:09woolly was famous for reusing footage he
17:12would reuse anything in fact everybody
17:14was aghast when he wound up using Snow
17:17White and the Seven Dwarfs in the dance
17:19sequence in Robin Hood and it was like
17:22oh my God you wouldn't it's not done
17:24extensively in this but but Willie was
17:26very proud of his knowledge of old
17:28Disney animation and how it might apply
17:31within the context of a new production
17:43the other animators that worked on 101
17:46Dalmatians were some very famous people
17:48Frank Thomas and Ali Johnson worked on
17:52the dogs Frank did an amazing scene
17:54where the little puppy is stillborned
18:04incredible subtle animation
18:07look Bongo
18:11there's a scene which uh Ollie Johnson
18:13often talked about which was where
18:15pedita hides from Cruella Deville under
18:18a stove in the kitchen and the whole
18:20scene is conducted with padita in the
18:22corner she can scarcely moves it's
18:24wonderful animation so it was very
18:26restrictive as far as action you
18:29couldn't move her head much or anything
18:31but in the end I think that was the best
18:33way to handle the sequence
18:35[Music]
18:36[Applause]
18:37[Music]
18:39what moves we did put on them I think
18:42paid off and particularly the little one
18:44at the end where he gives her that
18:46little kiss
18:49we've always felt that touching was very
18:52important in animation and taking these
18:55little pencil drawings and having them
18:57touch has a big impact on the audience
18:59if it's done right and we've called it
19:02Anita and Roger actually Anita had
19:06actually been done by somebody else and
19:08it was in the picture for a while and
19:10Walt looked at it and said we got to
19:12redesign her and who did they give it to
19:15melt of course
19:18Milt just got a design and he just sat
19:20there and he just did it and it was
19:22perfect I like to think that Anita was
19:25really based on me if you see pictures
19:28of me posing you will see Anita you know
19:32as you did a line and the natural way
19:34that you projected they really watched
19:37you do that and you could see it in the
19:39a character
19:40you're a magnificent darling I mean I
19:43know I keep on saying it's tea time
19:45Roger but it's that one line but when I
19:48do it I see the inclination of my head
19:50Roger dear tea time I see the way I do
19:54it in the movie straighter attractive
19:57heroine milk got that job a lot because
19:59they had to be drawn really really well
20:01but you could never exaggerate too much
20:03they had to be handled very straight
20:05I'll take mine
20:08you can do anything you want with
20:10animals
20:12because we're doing animals doing things
20:15that animals don't do for instance and
20:17facial expressions and dialogue
20:19everything and people aren't used to
20:20watching animals doing this so they're
20:23not critical but they're used to
20:25watching people that move around and
20:26talk and ever you know do everything and
20:29and become very very critical of them
20:31you know
20:33this was another scene that really
20:35grabbed my attention as a kid is another
20:37milk Coliseum it's just this full Arc
20:40that he does with the hands it's like a
20:42ballet almost you know fumbling with
20:45this pipe
20:47Danny Boy and then you have Corolla
20:49DeVille
20:50what a great character and everything
20:53about her just fires on all cylinders
20:55Mark Davis is genius
20:58at drawing Cruella Deville police
21:01[Music]
21:13well what she was doing wasn't very nice
21:16she herself was an entertaining
21:18character Anita is such a wit this also
21:22happens to be the last animation that I
21:25ever did on a Disney film Mark Davis of
21:28course was known for not only designing
21:31Cruella Deville but also single-handedly
21:34animated her throughout the film
21:37[Music]
21:39to everybody
21:43it's such a great combination of real
21:47knowledge in terms of human motion
21:50emotion animal Anatomy Locomotion these
21:54guys are really at the top of their game
21:55you know this crew this milk Carl Frank
21:58Ollie it's just so well crafted that the
22:02animators just kind of go crazy over it
22:03everything you see that faces the
22:06characters the way they were drawn it is
22:09so incredibly beautiful
22:12it's it's art it's truly art
22:16foreign
22:18[Music]
22:20[Applause]
22:23[Music]
22:32Works had this interesting idea that
22:35okay so I'm using a Xerox camera to
22:37translate pencil lines drawn on paper
22:39into Line work on cells why can't I have
22:42that camera look at a line that's drawn
22:45on the edge of a model so what they did
22:47was actually built a car out of
22:49cardboard and put black lines along all
22:52the edges and to make the wheels
22:54articulate they would take a long piece
22:56of cloth and tape little pieces of
22:59wooden doweling underneath it and then
23:01put the car on top of the cloth
23:03suspended from a kite string and then
23:05pull this long piece of fabric with all
23:07these pieces of wooden doweling
23:09underneath the wheels and they would
23:10shoot a take of that because they put
23:12the springs in there the thing would
23:14would have a this little
23:16rumbling and so forth those film clips
23:19then we're transferred directly to a
23:21Xerox plate they were painted and what
23:23you see on the screen in Cruella's car
23:25is that model zipping around and it's
23:27pretty darn cool
23:31[Music]
23:32idiots you know think of the digital
23:35Paradigm today the way we can you know
23:37study movement and study uh
23:39three-dimensional objects well we were
23:41doing that in a very crude way with
23:43these model cars but it worked you know
23:46and it worked very well you know I went
23:48back on it now and for the time it was a
23:50really neat idea there's a scene when
23:51Corel actually goes off the bridge into
23:53the Ravine towards the end of the movie
23:54and her car is struggling to get up to
23:57the side of the Hill
23:58it was done kind of the same way they
24:00had the model of the car and they
24:02covered this uh kind of model Hillside
24:05with sand shot it all in slow motion and
24:07the snow in this case the sand and the
24:10scene would start to slip back down the
24:12bank and that's what you see in the film
24:15so that process of shooting the live
24:17models with that black outline was
24:19something that was simply forged during
24:20those days of 101 Dalmatians it's a
24:22really clever idea it was an idea to
24:24save money in part but it's an
24:26incredible effect when you look at it
24:27those vehicles are so cool even to this
24:29day
24:31[Music]
24:36we also had a unit actually that did
24:38just the spots
24:42said uh only Disney would animate a
24:45movie called 101 Dalmatians with like
24:48six million spots he said at Warner
24:49Brothers we couldn't even do a movie
24:51with a dog named spot that had one spot
24:54so uh it was it was a pretty crazy idea
24:56to do out in one Dalmatian yeah you have
24:59all these statistics that the puppies
25:00had 32 spots and Bongo had 76 and pretty
25:04Dad I think 69 or something like that it
25:07adds a lot of work to do this so a crew
25:10had to go and actually draw all that and
25:14it was
25:15completely insane
25:18101 Dalmatians starts right off from the
25:21very beginning
25:23and plays with the idea of the spot
25:27let's face it if you're gonna stylize a
25:30dog what dog's more stylized than a
25:33Dalmatian
25:35I mean it's practically a 60s Magazine
25:38illustrator's version of a doll
25:40the open credits were very elaborate at
25:43those spots
25:45it was a great opening for a pitcher
25:50you'll find all these puns about spies
25:54the spots will be a smoke coming out of
25:57a passing trawler spots will become
26:00musical notes because it involves a
26:03songwriter and you know what is music
26:05but spots on a page
26:09it's this very Whimsical title sequence
26:12that automatically shows you the
26:14animators are in a playful mood
26:16and that you're gonna have a visually
26:19delightful film I just think it's one of
26:22the greatest things ever done
26:25[Applause]
26:28foreign
26:29[Music]
26:34process was designed somewhat to save
26:37money but for whatever reason and I
26:39don't actually know if it was planned or
26:42not I think this whole Xerox process was
26:44perfect for this story and this movie it
26:47sprung partially out of necessity but it
26:49made the it forced them to make a lot of
26:51really good choices and I give the
26:54Lion's Share that credit to Ken Anderson
26:56for that Ken Anderson was a design
26:58genius going all the way back to the
27:01city Symphonies he had his big
27:03breakthrough on Ferdinand the Bull he
27:06just had certain ideas of how they
27:07should be painted and it was a little
27:09bit more involved than some of the
27:11earlier Silly Symphonies and the overall
27:13art director said what is going to hit
27:15this we never had the colorful
27:17backgrounds like this but won't love
27:20those backgrounds hen Anderson in 101
27:22Dalmatians brought a whole different
27:24look very angular and Abstract so it's
27:30very modern in its look it was the first
27:33use of
27:34of a Xerox line and any kind of a
27:38feature picture and I personally love
27:39the idea of seeing an animation drawing
27:41in Xerox so then I tried to make it one
27:44world by doing the same thing with the
27:45backgrounds what Ken was looking for was
27:48a design that would bring the
27:50backgrounds and the animation together
27:52I've seen some of the backgrounds in
27:54there these wonderful layouts which are
27:56fairly uh what would you say
27:59traditionally drawn and a guy named
28:01Ernie nordley went over the backgrounds
28:04and made a you know perfect symmetrical
28:06things a little bit asymmetrical and and
28:09fattened some things up and gave it a
28:11little more of a caricatured quality
28:13it's a subtle effect his drawings were
28:15then xeroxed and placed over the
28:18background painting to bring it all
28:20together and make it all feel like it
28:23had the same graphic quality of the
28:25foreground characters
28:27Anita darling how are you miserable
28:30darling as usual perfectly wretched in
28:33one of the early shots of 100 run
28:35Dalmatians when Pongo is sitting on the
28:37window seat it was a little magazine
28:39there people may not know today what it
28:41means it was called Lilliput then it
28:43featured the work of all kinds of
28:44graphic artists of the 1950s and 60s
28:46it's not by chance that Lily puts in
28:48that scene because that is the style of
28:51this film I say now there's a fancy
28:54breed
28:55and Ken Anderson worked really closely
28:57with a guy named Walt Paraguay who's a
28:59really
29:00um opinionated strong uh fantastic
29:03artists Walt's fine art paintings are
29:07highly collectible and desirable out in
29:09the Art Market right now while Paraguay
29:11would put these blotches of color on
29:14that would Loosely represent a doorway
29:17or Loosely represent a couch there's
29:20something very sophisticated about using
29:22the impression of a shape to be where
29:25your color is defined while it looks
29:28simpler it's actually very hard to do
29:30well and while paragoy had a real knack
29:35for that and I think Ken Anderson
29:37recognized that in Paraguay and let him
29:39go to town his personality was was so
29:42off the wall that he couldn't be be
29:45confined to painting very neat precise
29:50images and that's what came out in his
29:53work Ken Anderson said I was a guy that
29:56was going to do
29:57Style
29:58and Ken knew me and nobody tells me what
30:03to do
30:05if I want to wipe out a line I'd wipe
30:06out a line nobody controlled what the
30:08finished product because the backgrounds
30:10were mine and I think what Ken Anderson
30:12Walt paragoy gave us with Dalmatians
30:15really fit that story and I think it's a
30:18great looking film and then we find out
30:20much to our surprise that Walt was not
30:22all that pleased with it
30:24and poor Ken Anderson uh boy he's he
30:27really suffered for that film because I
30:30think having Walt being displeased with
30:32your work there's probably the worst
30:34thing that could happen to any Disney
30:35artist well I'm a huge fan of Ken
30:37Anderson she's been kind of my hero from
30:39the beginning of the time that I started
30:41to work in animation it's almost tragic
30:44that Walt Disney actually did not like
30:47the look of the film
30:49you got cloth ears I said you're not
30:53coming
30:54it's ironic because we see it as a
30:56masterpiece of art Direction I think
30:58Walt was a romantic I know he really
31:00loved the style of the Peter Pan's and
31:02the Cinderellas and the Snow Whites and
31:04pinocchios and I think Walt probably
31:06mourned the fact that he was losing this
31:09Lush beautiful tapestry kind of look to
31:12his films and Walt Disney
31:15and never quite forgave Ken until the
31:18very end of his life Walt came into the
31:20studio and I was so grateful and glad to
31:22see him I said Gee it's good to see you
31:24well he said Candace you're good to be
31:25here
31:26and then he looked at me and they
31:28penetrating me with the eyes and I knew
31:30that he was forgiving me
31:33for this this thing I had done on
31:36Dalmatians
31:38he didn't say anything but I know I was
31:40forgiven that as far as he was concerned
31:43that it wasn't so bad after all
31:46so it meant a lot to me and then I found
31:48out of course two weeks later he was
31:50gone
31:52audiences loved Dalmatians and critics
31:55loved Dalmatians they found it
31:58unpretentious and it got among some of
32:00the best reviews of any Disney feature
32:02since Dumbo
32:09we look at it now we wouldn't want it
32:11any other way it's the way it should be
32:14[Music]
32:17on Dalmatians it was enormously
32:19successful so in that sense I think it
32:21really kind of helped the medium through
32:23a kind of a difficult period
32:27there were some just very fresh about it
32:29that got people excited again sometimes
32:31you can take the medium for granted
32:33especially with the excellent work that
32:36was done film after film after film and
32:38then sometimes something new comes along
32:40and kind of reinvigorates things and I
32:43think 101 Dalmatians did that I love
32:45Dalmatians firstly I think it's
32:47wonderful I thought it was a great
32:49picture I really did
32:52Dalmatians seemed to be the right film
32:54at the right time and it just pushed the
32:56studio forward in a New Direction and it
32:58was it was great being there and it was
33:00great working on that film and it was
33:02great watching all of this you know
33:04happen you know right before you it was
33:06it was uh it was a great time
33:08part of my life and I didn't realize the
33:12degree of the magic that I was involved
33:15in at the time I made the movie I'm very
33:18very lucky to have that I feel like it
33:20is a legacy that I was part of something
33:23so wonderful
33:25101 Dalmatians remains you know even
33:27though it's 40 years later it still it
33:29remains as contemporary As It Ever Was
33:30it's one of the most casual and
33:32lighthearted of all the Disney movies
33:34and I think that's one of the things
33:35that makes it
33:37so entertaining decade after decade and
33:39for decades to come I'm sure my
33:41grandchildren will be watching this
33:43movie and the lighting in it the way I
33:45did when I was two and it was brand new
33:47so it's nice to know that it goes on and
33:50on

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