Craft note for animators a perspective on 21 century career

Craft Notes for Animators “The combination of addressing both storytelling and acting in the context of history is terrific, and very practical [ .] Overall I think this is the type of book that would be terrific for aspiring indie animators, and would even help Big Box Studios find the art in their piles of money.” Professor Ronald Sumner, Studio & Digital Arts, Liberty University If Disney’s Snow White and the Seven Dwarfs represented the animation industry’s infancy, Ed Hooks thinks that the current production line of big-budget features is its artistically awkward adolescence While a well-funded marketing machine can conceal structural flaws, uneven performances and superfluous characters, the importance of crafted storytelling will only grow in importance as animation becomes a broader, more accessible art form Craft Notes for Animators analyzes specific films – including Frozen and Inside Out – to explain the secrets of creating truthful stories and believable characters It is an essential primer for tomorrow’s industry leaders and animation artists Ed Hooks pioneered acting training specifically designed for animators After a successful 30-year career as an actor and acting teacher, Ed began working with animators in 1996 Since then, he has taught for most major international animation studios and schools, including Walt Disney Animation, Framestore, Ringling College of Art and Design, Bournemouth University, Communication University of China, DreamWorks, Valve Software, EA, Epic, Microsoft, Filmakademie Baden-Wurttemberg, Blizzard and Sony He has presented several times at SIGGRAPH and GDC and is on the Board of Advisors for FMX in Stuttgart, Germany Craft Notes for Animators A Perspective on a 21st Century Career Ed Hooks First published 2017 by Routledge Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2017 Ed Hooks The right of Ed Hooks to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 All rights reserved No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data Names: Hooks, Ed, author Title: Craft notes for animators : a perspective on a 21st century career / Ed Hooks Description: New York : Routledge, 2017 | Includes bibliographical references Identifiers: LCCN 2016023525 | ISBN 9781138854338 (hardback) | ISBN 9781138854345 (pbk.) | ISBN 9781315721163 (ebook) Subjects: LCSH: Animated films—History and criticism | Motion pictures—Plots, themes, etc Classification: LCC NC1765 H663 2017 | DDC 791.43/34—dc23 LC record available at https://lccn.loc.gov/2016023525 ISBN: 9781138854338 (hbk) ISBN: 9781138854345 (pbk) ISBN: 9781315721163 (ebk) Typeset in Stempel Garamond by Apex CoVantage, LLC For Cally “To get the full value of joy you must have someone to divide it with.” Mark Twain Contents Acknowledgments ix Introduction Part 1  Infancy Super-objectives and psychological visibility The DeMolays Walt the storyteller Disney, the pioneer Imagine a Walt Disney master class Why “Snow White”? A few major differences between the Grimm brothers’ Snow White and Disney’s movie The role of religion in Snow White and the Seven Dwarfs What Walt Disney understood about acting in 1934 versus what we understand today Empathy versus sympathy Overall analysis Walt Disney’s Snow White and the Seven Dwarfs analysis acting/performance 10 12 14 15 16 Part 2  Adolescence How did we get here? Survey Europe United Kingdom France Spain Germany Israel South America Mexico 47 49 55 56 57 58 58 60 60 60 61 19 21 22 27 28 29   vii India China Japan The Lego Movie (2014) acting/performance analysis Inside Out acting/performance analysis Frozen acting/performance analysis 62 63 65 66 72 89 Part 3  Adulthood Story A need for adult-themed animation Directorial cross-fertilization Art versus commerce redux Video games Acting lessons for video game artists Cutscenes Ten acting commandments of video game animation Motion capture Virtual reality Narrative and the VR experience Video games in education Film Analysis Chico and Rita acting/performance analysis Waltz with Bashir directing/performance analysis 106 108 110 112 113 114 117 117 119 119 121 122 123 124 125 137 Bibliography Index 154 156 viii  Contents Acknowledgments I am fortunate to work with some of the most talented individuals in the animation industry  –  animators, studio executives, screenwriters and educators Every single one of them has informed and inspired me, often without their even being aware of it I  pick their brains and tap their deep reservoir of knowledge, and I am forever grateful to them In particular, I  would like to give an animated hug to Dan Sarto at Animation World Network; animator-teacher extraordinaire Paul Naas; my good friend Wang Lei at Communications University of China in Beijing; Karl Cohen in San Francisco; Juan Couto; Thomas J Beechum in Michigan; producer genius Max Howard; Stephen Joubert; Hurley Owen at Technicolor; Mike Belzer at Valve; my soul brother Tien Yang in Singapore; Mr. Paleontology himself, Stuart Sumida; and Amid Amidi, editor of Cartoon Brew And since I spend far more time online than I should, I am indebted to many hundreds of cyberfriends who have shown me their animations, storyboards and scripts The online community is generous and smart, and I would be lost without its support I would like to extend my thanks to a group of animators who contributed to two threads I  initiated on LinkedIn, “Why Are Animators Invisible?” and “Single Character; Multiple Animators.” Sean Wickett, Kelly Hallman, Maria Eugenia Gonzalez, Lukasz Shuskiewicz, James Roberts, Chay Hawes, Belén Marmaneu, Jay Maybruck, Kyle Wilson, Daniel Madzel, Thomas Lavery, Oliver Hunter, Mark Goodliff, Benjamin Arzt, and Bob Wolkers And, finally, a suitable name for the final entry in this book Without his cheerful support and wise guidance, there would be no book Sincere thanks to my editor at Routledge, Ben Piggott   ix Figure 3.17  We act on expectation, not anticipation There would be no way to anticipate a field full of majestic dead and dying horses © 2008, Ari Folman All rights reserved a speech No sound, just multiple identical images of Begin moving his mouth Silent words, meaningless words All of those many no-sound Begins create an existential dynamic in the audience Note that passersby on the sidewalk are blurred Only Ari is in focus The very rhythm of his internal clock has been adjusted by a mere six weeks of the Lebanon war He is out of sync with the civilian world around him, even with old friends 48:20–50:30: Ari meets again with Boaz Rein-Buskila Unlike n in their earlier meeting (3:11), the weather is pleasant, sunny This suggests progress on Ari’s part Notice also that Ari is drinking a shot now, not beer They share a car bomb joke: “Car bombs are a real blast.” This is the first laughter of any kind in Waltz with Bashir, and, significantly, it is gallows humor 50:31–52:07: Flashback: His 24-hour leave over, Ari returns to battle The Israeli soldiers have taken over an opulent villa (“fancy sinks, marble, gold fixtures”) on the outskirts of Beirut The first image we see is a soldier casually pilfering an expensive ceramic vase while, behind him, another soldier is lounging with his feet on the furniture Obviously, the Israelis have zero respect for the Lebanese family that usually lives in this house Ari Folman has communicated that in less than 15 seconds To top off this illustration of disrespect, an Israeli officer, partially dressed and unshaven, is absentmindedly watching pornography in a villa bedroom 148  Part 52:20–55:49: Act of the movie begins here Word comes to the battlefield that Bashir Gemayel, the elected president of Lebanon, has been assassinated Immediately, Ari and his unit are sent into Beirut Notice that at 54:15 an Israeli soldier at the Beirut International Airport wraps a tefillin strap on his forearm This ritual generally accompanies morning prayers for Jews, and it cinematically helps establish the time of day for this sequence Freeze-frame on that image and look at how much information the director has put in a single shot See the men carrying a coffin on their shoulders? See the group of soldiers congregated in the background, awaiting instructions for their next move? Ari wanders alone through the deserted, recently looted air terminal How airport terminals make you feel? The director has chosen a setting that evokes emotion in all travelers 56:18–59:24: Ambush on a city street Ari’s unit is pinned down by sniper fire Smoke fills the air – hell on earth Bullets fly in all directions, and the screen is full of bedlam Then, when the shooting is at its most intense, TV correspondent Ron Ben-Yishai shows up with his cameraman to report on the battle The most interesting thing about this sequence is the fearlessness with which Ben-Yishai walks through the battlefield War desensitizes everybody after a while Bullets seem like mere spit balls – until they kill you Very surreal sequence, and you can turn the sound complete off while still getting the full impact of it Brilliant filmmaking Figure 3.18  The impact of Ron Ben-Yishai’s story is heightened by his speaking directly to us, through the camera The imaginary fourth wall of theatrical distance is eliminated, causing us to own the action © 2008, Ari Folman All rights reserved Adulthood  149 Figure 3.19  The titular “waltz” with Bashir We in the audience are brought onto the stage; we are part of the action © 2008, Ari Folman All rights reserved 59:25–1:00:58: Shmuel Frenkel, the martial arts instructor we met earlier, performs the surreal battlefield “Dance with Bashir,” from which the title of the film is taken Once again, you can turn the sound off and still get the full impact of this sequence Bullets flying from all directions, and Frankel spins and turns in the middle of it all, firing his weapon wildly in all directions It looks like a dance It is, in fact, utter insanity The staging of this sequence adds to the drama, with the camera continually moving, panning around as if on a dance floor At the conclusion, it tilts up toward a building-size poster of Bashir’s bullet-ridden face The camera stops The screen is filled with an extreme close-up of Bashir 1:00:59: It’s 2006, in Holland, a summer day Ari once again is in conversation again with Carmi Cna’an Carmi says that he knew all along that the Phalangists were murderers, that he saw them killing Palestinians and hacking up their bodies “It was like an LSD trip,” he says Note in particular the editing in this sequence The director cuts back and forth between this tranquil conversation in soothing sunlight and the bowels of hell that is the Beirut battlefield, complete with rats feeding on dead bodies Significantly, we in the audience are now seeing the slaughter for 150  Part ourselves Ari’s face is unseen, off-screen We are put into a first-person point of view 1:03:22: Flashback to repeat of Israeli soldiers coming ashore, rising naked from the surf, moving toward the city Cut to soldiers walking slowly through devastated city streets Ari Folman is one of the soldiers Note, at 1:03:51, women and children emerging from the camps, all of them with the same deathly expression on their faces, like so many haunted Kathe Kolswitz paintings 1:04:22: Ari tells Ori Sivan, his armchair psychologist friend, that he has reached a dead end He can find nobody who was physically with him during the massacre Ori encourages Ari to persist with his quest Learning the truth of what happened at the Sabra and Shatila refugee camps is the only thing that will free his mind He must press on 1:06:04: Ari interviews Dror Harazi, one of the Israeli soldiers who shot nighttime flares over the refugee camps He makes excuses: “They told us that the Christians  .  would enter the camp and we would give them cover Once they had purged the camps [of Palestinian terrorists], we would seize control.” Ari Folman’s contention in this film is that the Israelis were unwitting accomplices to the massacre at the Sabra and Shatila refugee camps Blood stains only the hands of the Christian Phalangists who did what they did in order to avenge Bashir’s assassination The Israelis, according to Ari, were interested only in peace All of the remaining sequences in the film support that interpretation of events, and I  not see a reason to go through them all with you By this time, you should realize that Ari Folman is a master storyteller with strong understanding of cinematic narrative Acting note: Perspective Every person is the protagonist in his or her own life A villain does not think of himself as a villain Even the worst of the worst of us is trying to survive in life Evil is often a factor of perspective Adulthood  151 Figure 3.20  Again, the audience is brought into the action, seeing events from a character’s point of view, forcing us to bear witness to the events that are being depicted © 2008, Ari Folman All rights reserved Acting note: The psychological gesture A psychological gesture is one that speaks of a deeper, emotional truth The woman in this image is holding her head together She is in such pain that she feels she could explode For further reading on the subject, see Michael Chekhov’s book, On the Technique of Acting Figure 3.21 © 2008, Ari Folman All rights reserved 152  Part Figure 3.22  This switch to documentary footage crash-forces the audience to adjust the “distance” at which the events of the film have been told It is not fiction © 2008, Ari Folman All rights reserved Notes 1  Interview, June 2014, http://datab.us/qmOaruloBUc#Interview%20with%20 Erik%20Erikson:%20June%201964%20Part%203 2  h ttp://blogs.indiewire.com/womenandhollywood/women-in-animationoffers-dismal-stats-on-current-state-of-affairs-proposes-paths-toward-progress20150619 3  Taylor Clar, “The Most Dangerous Game,” Atlantic, May 2012 4  The Hero with a Thousand Faces: The Collected Works of Joseph Campbell, 3rd ed (New World Library, 2008) Adulthood  153 Bibliography Allan, Robin, Walt Disney and Europe, Indiana University Press, 1999 Barrier, Michael, Hollywood Cartoons: American Animation in Its Golden Age, Oxford University Press, 1999 Boyd, Brian, On the Origin of Stories, Evolution, Cognition and Fiction, The Belknap Press of Harvard University Press, 2009 Brandon, Nathaniel, The Psychology of Romantic Love, Tarcher, 2008 Catmull, Ed and Wallace, Amy, Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration, Random House, 2014 Coles, Robert (editor), The Erik Erikson Reader, W W Norton & Co., 2000 Collodi, Carlo, Pinocchio, the Tale of a Puppet, 1883, A Public Domain Book Corbett, David, The Art of Character, Creating Memorable Characters for Fiction, Film, and TV, Penguin Books, 2013 Deresiewicz, William, Excellent Sheep: The Miseducation of American Elite, Free Press, 2015 Ferri, Anthony J, Willing Suspension of Disbelief: Poetic Faith in Film, Lexington Books, 2007 Gammon, Roland, Faith Is a Star, E P Dutton, 1963 Geary, James, I Is an Other: The Secret Life of Metaphor and How It Shapes the Way We See the World, HarperCollins, 2011 Gottschall, Jonathan, The Storytelling Animal, How Stories Make Us Human, Houghton Mifflin Harcourt, 2012 Humphrey, Nicholas, Soul Dust: The Magic of Consciousness, Princeton University Press, 2011 Jackson, Kathy Merlock, Walt Disney Conversations, University Press of Mississippi, 2006 Jin Li, Cultural Foundations of Learning East and West, Cambridge University Press, 2012 Kasson, John F., The Little Girl Who Fought the Great Depression, Shirley Temple and 1930’s America, W.W.Norton & Co., 2014 Kirby, Ernest Theodore, Ur-Drama: The Origins of Theatre, New York University Press, 1975 Lanier, Jaron, You Are Not a Gadget, Borzoi Book Published by Alfred A Knopf, 2010 Laszlo, Janos, The Science of Stories: An Introduction to Narrative Psychology, Routledge, 2008 Lenburg, Jeff, The Great Cartoon Directors, Da Capo Press, 1993 154 Maclean, Fraser, Setting the Scene: The Art and Evolution of Animation Layout, Chronicle Books, 2011 Masters, Kim, The Keys to the Kingdom: The Rise of Michael Eisner and the Fall of Everybody Else, HarperCollins, 2000 McKee, Robert, Story, Substance, Structure, Style, and the Principles of Screenwriting, ReganBooks, an Imprint of HarperCollins, 1997 Pinsky, Mark I., The Gospel According to Disney, Faith, Trust, and Pixie Dust, Westminster John Knox Press, 2004 Pullman, Philip, Fairy Tales from the Brothers Grimm, Viking (Penguin Group), 2012 Ramachandran, V S., The Tell-Tale Brain: A  Neuroscientist’s Quest for What Makes Us Human, W.W Norton & Co., 2011 Ridley, Jasper, The Freemasons: A History of the World’s Most Powerful Secret Society, Arcade Publishing, 1999 Rorty, Amelie Oksenberg (editor), Essays on Aristotle’s Poetics, Princeton University Press, 1992 Schank, Roger C., Tell Me a Story: Narrative and Intelligence, Northwestern University Press, 1990 Sisson, Richard (editor), The American Midwest: An Interpretive Encyclopedia, Indiana University Press, 2007 Thomas, Frank and Johnston, Ollie, The Illusion of Life:, Disney Animation, Walt Disney Productions, 1981 Thomson, David, Why Acting Matters, Yale University Press, 2015 Timberg, Scott, Culture Crash: The Killing of the Creative Class, Yale University Press, 2015 Tolstoy, Leo, What Is Art? Penguin Classics, 1995 Weems, Scott, Ha!: The Science of When We Laugh and Why, Basic Books, A Member of the Perseus Books Group, 2014 Bibliography  155 Index Aardman 55, 57, 58 Abie’s Irish Rose (film) 24 acting: Anna (Frozen) in cold 95 – 6; art vs commerce redux 113 – 14; choices 135 – 6; commandments for video game animation 119; comparing 1934 and today 22 – 7; conflict 33, 34, 69, 80, 84 – 5, 97; doing 75, 78 – 9, 101; emotion 76, 101; empathy 146; gag reactions 96; hybrid brains 102; lessons for video game artists 117; objectives 81, 128 – 9; on expectation 82 – 3; perfect story 37; perspective 151 – 2; psychological gesture 132, 152; scene as negotiation 67; silliness 103; theory principles 75; wood animals 33 – 4 acting analysis: Chico and Rita 125 – 37; Frozen 89 – 104; Inside Out 72 – 89; The Lego Movie 66 – 72; Walt Disney’s Snow White and the Seven Dwarfs 29 – 45; Waltz with Bashir 137 – 53 Acting: The First Six Lessons (Boleslavsky) 23 Alger, Horatio 19 Alice’s Adventures in Wonderland (Carroll) 106 Allan, Robin 16 Andersen, Hans Christian 17 Anima Estudios 61 – 2 Animals United (film) 52, 60 animation: art vs commerce redux 113 – 14; directorial cross-fertilization 112 – 13; need for adult-themed 110 – 12; story 108 – 10; video games 114 – 16; see also video games 156 animation industry: China 63 – 5; Europe 56 – 7; France 58; Germany 60; India 62 – 3; Israel 60; Japan 65; Mexico 61 – 2; South America 60 – 1; Spain 58 – 9; United Kingdom 57 – 8 animators: Disney’s Nine Old Men 2, 26, 27, 107 Anomalisa (film) 3, 106 Apocalypse Now (film) 138, 146 Apostle, The (film) 60 Aristotle 23 Arnaiz, Ricardo 62 Arnold, Bonnie 107, 110 – 11 Arthur Christmas (film) 57 – 8 Astaire, Fred 18 Autobots, The (film) 65 Battle, Robert 113 Begin, Menachem 147 – 8 Ben-Yishai, Ron 149 Between (game) 116 Big Hero (film) 53, 56, 123 Bird, Brad 2, 112, 125 Birth of a Nation (Griffith) 14 blackball exclusion method 11 Blanchett, Cate 113 Blow, Jon 115, 116 Blue Sky 54, 55 Boleslavsky, Richard 23 Book of Life (film) 62 Bounds, Lillian Marie Bournemouth University 50 Boxel Studio 62 Boy and the World, The (film) 61 Braid (game) 115 Brandon, Nathaniel Brave (film) 107 Breen, Joseph 18 Bresson, Robert Buck, Chris 89 Bullock, Sandra 123 California Institute of the Arts 2, 50, 107 Call of Duty: Black Ops (game) 116 Campanella, Juan Jose 60 Campbell, Joseph 139, 143 Capone, Al 18 Capture the Flag (film) 59 Carroll, Lewis 106 Cars (film) 50, 65 Cars (film) 65 cartoon characters: Betty Boop 18, 19, 30; Mickey Mouse 15; Pluto 26 – 7 Cartoon Network 108 Cartoon Saloon 57 Caselotti, Adriana 19 Catmull, Ed 50, 73 Chaplin, Charlie 22 – 3, 25, 27 – 8, 61 Chapman, Brenda 107 Chen, Jenova 116 Chico and Rita (film) 57, 107, 111; acting/performance analysis 125 – 37 China: animation industry in 63 – 5 Cinderella 17, 28 Clark, Marguerite 16 Clinton, Bill 8, 10 Coats, Emma 74 computer graphics 2: virtual reality 121 – 2 Congregational Church 12, 22 Congress, The (film) 60 Coppola, Francis Ford Coraline (film) 54 Cowell, Cressida 111 Cristiani, Quirino 60 crowdfunding 106 Cruise, Tom 122 Cuaron, Alfonso cutscenes: video games 117 – 19 da Vinci, Leonardo 13, 19 Debs, Eugene Del Carmen, Ronnie 72 DeMille, Cecil B 14 Demolay, Jacque 11, 12 Demolays 10 – 12, 22, 39; Order of 12, 39 De Niro, Robert 24 Despicable Me (film) 55, 58 directing analysis: audience perspective 141; dialogue 141 – 2; flashback 97, 127, 139, 142 – 4, 146 – 8, 151; Waltz with Bashir 137 – 53; working with limitations 140 Disney, Elias 6 – 7, Disney, Flora Disney, Roy 6, 7, 14 Disney, Walt 2, 6, 109, 125; business success 18 – 19; as pioneer 14 – 15; Snow White and the Seven Dwarfs 3, 5 – 6, 14; as storyteller 12 – 13; understanding of acting 22 – 7 Disney Animation Studio 7, 14 Disney Brothers Studio Disney Company 5, 48 – 50, 53 Docter, Pete 72, 73, 76, 87 DreamWorks 2, 14, 49, 52, 56, 107, 114; How to Train Your Dragons and 110 – 11; Kung Fu Panda 64, 108; Oriental DreamWorks Animation Studio 51, 53, 54, 64, 108 Dudok de Wit, Michael 56 Dumbo (film) 112 education: video games in 123 – 5 Eisenstein, Sergei El Americano: The Movie (film) 62 emotion: Chico and Rita 127 – 8; empathy vs sympathy 27 – 8 empathy: acting 146; in audience 25; cutscenes in video game 118; sympathy vs 27 – 8 Emperor Jones, The (film) 24 Erikson, Erik 5, 47, 106 INDEX  157 Ernest & Celestine (film) 107 Estudio Mariscal 126 Europe: animation industry in 56 – 7 Falkenstein, Jun 108 Ferraras, Ignacio 59 Film Sense (Eisenstein) Films in My Life, The (Truffaut) flashbacks: directing 97, 127, 139, 142 – 4, 146 – 8, 151 Fleisher, Max 18 Flowers and Trees (film) 15 Folman, Ari 3, 60, 137 – 53 France: animation industry in 58 Franklin, Benjamin 10 Front Page, The (film) 24 Frozen (film) 47, 113; acting/performance analysis of 89 – 104; box office revenues of 47; marketing for 53; song 47, 89, 95; theme of 47 – 8 Gabler, Neal Gato, Enrique 59 Gemayel, Bashir 138, 149 George Lucas’s Industrial Light and Magic 48 Germany: animation industry in 60 Gnomeo and Juliet (film) 57 – 8 Gobelins School of the Image 50 Goerner, Karl August 16 Good Dinosaur, The (film) 50 Goodman, Yoni 137 Graham, Don 15 – 16, 26, 109 Grapes of Wrath, The (Steinbeck) 17 – 18 Gravity (film) 123 Great Depression 15, 17, 33 Griffith, D. W 14, 122 Gutierrez, Jorge R 62 Hamlet (Shakespeare) 23 Hancock, John 10 Hanks, Tom 113 Hansel and Gretel (Grimm) 17 Hayes, Will 18 158  INDEX Hitler, Adolf 18 Holiday (film) 24 Holy Cow! Animation 126 Hopkins, Anthony 113 Horton Hears a Who (film) 54 How to Train Your Dragon (film) 110 – 11 How to Train Your Dragon (film) 110 – 11 Humble, Rod 116 hybrid brains 102 Ice Age (film) 55 Ice Queen, The (Andersen) 90 Iger, Bob 48, 49 Illumination Entertainment 55 Illusion of Life: Disney Animation, The (Thomas and Johnston) 26, 32 I Lost It at the Movies (Kael) The Incredibles (film) 2, 112 India: animation industry in 62 – 3 Industrial Light and Magic, George Lucas 48 Inside a Star-filled Sky (game) 116 Inside Out (film) 50, 56, 114; acting/ performance analysis of 72 – 89 In the Blink of an Eye: A Perspective on Film Editing (Murch) Ireland: animation industry in 57 Iron Giant, The (film) 2, 112 Isbert, Pepe 59 Israel: animation industry in 60 Japan: animation industry in 65 Jetmedia 126 John, Elton 57, 58 Johns, Jasper 113 Johnson, Duke 106 Johnston, Ollie 26, 32 Jones, Chuck 125 Justin and the Knights of Valor (film) 59 Kael, Pauline Kandor Graphics 59 Katzenberg, Jeffrey 49, 53 – 4, 64, 111 Kaufman, Charlie 3, 106 Kecskemét Film 126 Koons, Jeff 113 Krishna, P Rama 63 Kung Fu Panda (film) 54, 64 – 5 Kung Fu Panda (film) 64, 108 Kung Fu Panda (film) 64 Laika 54, 55 Lasseter, John 49 – 50, 51, 107, 111, 112 Lee, Jennifer 89 Legend of the Rabbit, The (film) 64 Lego Movie, The (film) 56; acting/performance analysis of 66 – 72 “Let It Go” (song) 47, 89, 95 Lewinsky, Monica Light Chaser Animation 51 Lightstar Studios 126 Lion King (film) 49 Little Door Gods (film) 52 Lorax, The (film) 58 Lord, Phil 66 McGonigal, Jane 116 Madagascar (film) 113 Magic Light Pictures 126 Magos y Gigantes (Wizards and Giants) (film) 61 Mariscal, Javier 125 Marvel Comics 48 Massively Multiplayer Online Role-playing Game (MMORPG) 116 Math Blaster (game) 124 Meledandri, Chris 55, 58 Mexico: animation studio in 61 – 2 Mickey Mouse Club 15 Miller, Christopher 66 Minions (film) 55 Miyazaki, Hayao 3, 55, 65, 74, 88 Monkey King: Hero Is Back, The (film) 64 Monster’s Inc (film) 112 Monsters University (film) 48 Moore, Tomm 55, 57 Motional Picture Production Code (MPPDA) 18 motion capture: video games 119 – 21 Murch, Walter Naas, Paul 113 – 14 Natwick, Grim 19, 30 Nelson, Jennifer Yuh 108 Newman, David 52 Nine Old Men: Disney’s animators 2, 26, 27, 107 Notes on Cinematography (Bresson) Olmos, Edward James 62 Osborne, Mark 58 Paramount Studios 55, 58 – 9, 112 Passage (game) 116 performance analysis: Chico and Rita 125 – 37; Frozen 89 – 104; Inside Out 72 – 89; The Lego Movie 66 – 72; Walt Disney’s Snow White and the Seven Dwarfs 29 – 45; Waltz with Bashir 137 – 53 Pinocchio (film) 6, 102, 112 Pirates! Band of Misfits, The (film) 57 – 8 Pixar 2 – 3, 14, 50 – 3, 55 – 7, 65, 114, 124: Brave 107; Inside Out analysis 72 – 89; Toy Story 49 – 51, 71, 112; Up 102, 111 – 12 Pixar Animation Studio 48, 72 Playful Pluto (cartoon) 26, 30 Poetics (Aristotle) 23 psychological gesture 132, 152 Pullman, Philip 17 Rapunzel (Grimm) 17 Rasulo, Jay 48 Ratatouille (film) 112 Red Crab, The (film) 55 religion 110; role in Snow White and the Seven Dwarfs 21 – 2 Ringling School 50 INDEX  159 Rise of the Guardians (film) 54 Rohrer, Jason 116 Roosevelt, Franklin D 18 Studio Ghibli 3, 55 – 6, 65 Sugar, Rebecca 108 sympathy: empathy vs 27 – 8 Scorsese, Martin 111 Secret of Kells, The (film) 55, 57 Shakespeare, William 23 shaman/shamanism 109 – 10 Sharon, Ariel 138 – 9, 147 Shaun the Sheep the Movie (film) 58, 107 Shrek (film) 54 Smith, Webb 26, 27 Snow Queen, The (Andersen) 17, 99 Snow White and the Seven Dwarfs (film) 3, 5 – 6, 14, 99, 107, 124 – 5; analysis of acting/performance 29 – 45; differences from Grimm brothers tale 19 – 21; empathy vs sympathy 27 – 8; perfect story 37; production for 28 – 9; role of religion in 21 – 2; selection of 16 – 19; storytelling of 89 Snow White and the Seven Dwarfs (Grimm) 9, 12, 99; differences from Disney’s movie 19 – 21 Song of the Sea (film) 55, 57 Soria, Mireille 107 South America: animation industry in 60 – 1 Spain: animation industry in 58 – 9 Spielberg, Steven 112 Spirited Away (film) 65, 74, 88 Sponge Bob Movie (film) 55 Squaw Man, The (film) 14 Stanislavsky, Constantin 8, 23, 27, 109 Stanton, Andrew 112 Steamboat Willy (film) 15 Steinbeck, John 17 Steven Universe (TV series) 108 storytelling: Disney 5 – 6; narrative and virtual reality 122 – 3; story for 108 – 10; Walt Disney as storyteller 12 – 13 Tad Jones: The Hero Returns (film) 59 Tangled (film) 52 Teach with Portals (game) 124 Thomas, Frank 26, 32 Three Little Pigs, The (cartoon) 15 Tigger Movie, The (film) 108 Titan A.E (film) 55 Tolstoy, Leo 9, 115 Top Cat: The Movie (film) 62 Toy Story (film) 49 – 51, 71, 112 Trueba, Fernando 125, 126 Truffaut, Francois Twomey, Nora 57 Tytla, Bill 23 160  INDEX Underdogs (film) 60 – 1 United Kingdom: animation industry in 57 – 8 Up (film) 102, 111, 112, 113 Uproar in Heaven (film) 63 Valve 121, 124 Verbinski, Gore 112 video games 114 – 16; acting commandments for 119; acting lessons for artists 117; cutscenes 117 – 19; in education 123 – 5; motion capture in 119 – 21; narrative and VR experience 122 – 3; virtual reality (VR) 121 – 2, 124; computer graphics 121 – 2; narrative in storytelling 122 – 3 Wallace & Gromit (film) 58 Walt Disney Animation 89 Walt Disney World 14 Waltz with Bashir (film) 3, 60, 111; directing/performance analysis 137 – 53 Wang, Gary 51 – 2 Warner Brothers 50, 55, 66, 67, 69, 70, 71, 72 Washington, George 10 Wayne, John 10 What Is Art? (Tolstoy) 9, 115 Witness, The (game) 115 World of Warcraft (game) 116 Wright, Robin 60 Wright, Will 116 Xi Xinping 63 Yrigoyen, Hipolito 60 Zemeckis, Robert 112 INDEX  161 ... who share my passion for animation as an art form The time is ripe for change Hollywood has gone as far as it is going to go creatively and has become a massive merchandising machine Animation is... was a revolutionary advance for cartoons and famously came to be known among Disney animators as “the illusion of life.” But emotion, which can be defined as an automatic value response, is only... training consisted – and often still does – of mastering animation software such as Maya Consequently, the schools have graduated a generation of “animation technicians” rather than “animation artists.”