We should treat them tenderly and with consideration, and have the caskets ready. They live in the past, not in the present or the future. If you drive a modern car in front of a Colonial house, you insult either the car of the house every time you do it. There is no reason you boys can’t do that. The whole thing is design-instinctive design, which is perfect design. “In this film you must have seen perfect correlation between music and design. I can’t believe he would imagine that you seriously are doing your best when you are merely extra-illustrating pictorial music. He’s got some Russian blood in him himself. “You shouldn’t take Clair de Lune and these things which are not good music anyway. Haven’t you got some guys to write the music? Even though it is crude and simple, it would be good. “I was regretting that you take picture music and illustrate it rather than doing something with music-having the two things made one. The music was abstract, just as it was abstract drawing-the whole theme was an abstract thing. I think you should have the type of music that was in the Russian cartoon. Stokowski is coming in here with this type of music, which is picture music, to have you extra-illustrate the music. He happened in on it with this peculiar gift of his, which I think is precious. I think that he happened to stumble upon the future development of the cinema. Here are some excerpts from Wright’s observations, in particular about the approach to Fantasia: Wright who was very pro-Russian had visited Russia the previous year and obtained a copy of the cartoon. Wright brought along a copy of the 1934 Russian animated film, The Tale of Czar Durandai directed by Ivan Ivanov-Vano (with a music score by Dmitri Shostakovich) to help inspire Disney’s artists to think a little differently about combining music and animation in a more abstract approach. Hee and Otto Englander, animator Bill Tytla, and John Hubley. Among those in attendance were musician Leigh Harline, storymen T. in Projection Room IV, famed architect Frank Lloyd Wright visited the Disney Studios to talk to several Disney artists. Walt was really imbuing all of us with something that made us feel we were part of a movement that could be considered a Renaissance in the animated cartoon business.” “He even had Frank Lloyd Wright to the studio to talk about inspiration and art. Wells, who lectured on story development, and Alexander Woollcott, who was a great short story writer,” Disney artist Mel Shaw remembered.
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