An Animated Dissection: My Top 5 favorite animated characters, supervised by Glen Keane
Last week, I received some shocking news that made me realize how time had continued to move forward.
One of the Walt Disney Studio’s master animators, Glen Keane, officially announced his retirement. Much like Walt Disney became a fixture in the minds of many due to his appearances on the Disneyland television show, Glen became stuck in my mind as I saw him discuss the animation of Ariel, in a making-of special for The Little Mermaid.
But what really cemented him in my mind, was the interview he did for the making of Beauty and the Beast, as well as the information that was gleaned from him in the updated version of Bob Thomas’ The Art Of Animation, released in the fall of 1991. Needless to say, I was enthralled by Keane’s art style. So much so, that I began to emulate it. However, unlike most animators, Keane was a man of many lines…literally. But the amount of lines that he laid down on a piece of paper, could often convey something much more than just a simple, clean line. I was surprised how much this had wormed its way into my brain, when I showed someone some rough and clean drawings for some personal projects. “The rough drawings look better,” they said, “they have more personality.”
In recent years, I guess it has been hard to believe that the men who worked on the films when I was a kid have grown up as well (I remember being shocked seeing directors John Musker and Ron Clements with grey hair when doing interviews for Treasure Planet!). Much like time aged the former Nine Old Men of Disney’s animation division, the same has happened to the young men who were mentored and taught the principles to them.
With Glen’s exit from the hallowed halls of Disney’s Feature Animation division, I thought I’d list my Top 5 favorite animated characters that Glen had a hand in their creation and supervision. So, away we go!
As computers began to creep into the animation division at Walt Disney Feature Animation in the early 2000’s, a number of key animated items began to be relegated to cel-shaded computer models, and some animators began to shy away from the changes. However, Keane actually embraced the technology, and with Treasure Planet‘s concept of ‘Treasure Island in Space,’ chose to make the original John Silver’s missing hand and peg leg be cybernetic substitutions/attachments. While many tore Treasure Planet asunder, I have a soft spot for Keane’s work on Silver, an alien creature who is trapped at a crossroads in his life, but finds himself becoming an unofficial guardian to Jim Hawkins. In the audio commentary for Planet, Keane makes mention of a football coach who encouraged him after the loss of a football game, and pushed him on. When one hears that, it’s like those emotions definitely flowed into the character of Silver. As well, Keane brings a graceful and awe-inspiring fluidity to Silver’s movements, making his preparation of a meal almost as graceful as a ballet dancer, and his rolling around of the name ‘Billy Bones’ just as fascinating. The pronunciation scene shows some wonderful squash-and-stretch that reminded me of the awe some animators felt with former Disney Animator Milt Kahl’s work on Medusa in The Rescuers.
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When it comes to having a mouse version of Sherlock Holmes (aka Basil of Baker Street), a precision mind like that needs a nefarious criminal mind to thwart and torture his sub-conscious. Such a figure was the imposingly large Professor Ratigan. This was one of Keane’s first major gigs as a Supervising Animator for a main character, and after proving he could give a powerful performance out of a larger character (the bear during the climactic fight-scene in The Fox and the Hound), Ratigan moved Keane into the territory of an animal with intellect. Emotionally, Keane helped establish Ratigan as a character who appears to be sophisticated, but underneath, lurks an angry rat ready to bubble to the surface. Certainly, this comes into play in the climactic clock fight on Big Ben, where Ratigan goes through an almost Jekyll-and-Hyde like transformation as he confronts Basil. Some people I have talked with have even said that scene was terrifying. Of course, it’s also interesting to consider the voice of the rather slim Vincent Price coming from such a large character, but the work is done so well, that you soon stop thinking ‘Vincent Price,’ and just start thinking ‘that’s Ratigan.’
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In 1999, I just couldn’t contain my excitement at the prospect of seeing Tarzan. Once I saw the teaser poster showing him sketched in charcoal pencil, I knew I was going to be there on opening day. Keane’s artistry and love of the original Burroughs’ story really seemed to influence Tarzan’s design, and with the use of animation, Tarzan could be made to more ‘easily’ mimic the pose and movements of the apes he lived with. I still am fascinated by the hands and feet of Tarzan, just the way he curls his hands to look like an ape’s as he moves along the ground, and the way the toes on his feet splay out. Just like Keane would embrace the use of a computer/hand-drawn character hybrids with Silver a few years later, his work making Tarzan move through 3-dimensional backgrounds definitely captured many of our imaginations in the Summer of 1999.
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Probably no Top 5 list of Keane characters would be complete without this fiery redhead. Ariel was Keane’s first major foray into doing a lead female character. Word was when someone asked Keane why he wanted to tackle a character like Ariel, he explained that he had to. Of course, one could almost look at Glen, a former football player in high school, and not realize that this man got into the mindset of a 16-year-old girl, and made her situation and emotions real to so many. But of course, that’s the beauty of animation: you become any character regardless of what you look like (animators are ‘actors with pencils,’ after all). The second half of Mermaid is also memorable, because Ariel becomes a silent character for much of that time, and it’s through little movements and gestures that we get some well-played emotional scenes. It also helps that her eyes are so large to help convey her emotions. Though when it comes to large-eyed heroines, one can definitely see Keane’s influence on Rapunzel all these years later, making her a lithe and effervescent personality too.
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Ever since the fall of 1991, The Beast has been my favorite Disney character. I always remember David Ogden Stiers in the making-0f special for the film Beauty and the Beast proposing an interesting conundrum regarding this creation: “How do you draw a monster, and make him lovable?” Keane got right to the heart of the matter with the Beast: a being both man and animal, yet stuck at an uncomfortable crossroads, where one of the last remaining vestiges of his humanity are his eyes. It was also the design of the Beast that I just fell in love with. While many earlier works of the fairy tale had used more common animal heads like those of a Mandrill, Keane’s final take consisted of a creature comprised of the parts of 7 different animals. This combination could have looked alien or foreign, but the final combination looks like it could most definitely exist in our world. From a wolf’s hind legs, to the body of a bear, and even the neck and head posture of a bison, alot of attention and detail was made, with Keane even diagramming the skeleton of the Beast and making copious notes for his animation crew to follow. It almost feels like the Beast owes a little thanks to Keane’s work on Professor Ratigan, as both of these characters are large and taper down to spindly legs, yet even at their size, they can emote with even the smallest of moments.
One of the scenes that Glen did was the Beast’s Transformation at the end of the film. While I was awe-inspired and left with goosebumps, it wasn’t until I saw Keane’s original rough animation drawings of the scene on the Beauty and the Beast special features DVD, did I feel that something got lost in the translation, when his rough line-art was cleaned to pristine clean-up animation. Below, I’ve included 7 stills from Glen’s rough pencil-animation of the Beast’s Transformation:
There’s so much incredible artistry packed into these scenes. Ordinarily, animators aren’t supposed to add shadow and light to their work, but Glen works in a league all his own, and as we can see above, it helps bring a depth to his work that makes it even better. In fact, let’s compare Glen’s rough art of the Prince’s reveal, with a shot from the completed film. I remember alot of people didn’t like the final design of the Prince in the film, but if he looked like the Prince in Keane’s rough pencil animation, would you give him a chance?
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Please bear in mind that this is only my top 5 list, and while I may have left off other characters Keane animated like Marahute the Golden Eagle, Aladdin, and Pocahontas, they still are incredibly inspiring pieces of work. In many interviews and sound bites, I’ve heard Keane get very, very enthused when he talks about what he’s done. On the DVD of Waking Sleeping Beauty, he discusses how he wanted Marahute the Golden Eagle’s flight to be so uplifting, that the audience feels like they’re flying right along with her and the little boy in the film named Cody. I remember seeing the film opening weekend and really being impressed by that scene, so Glen definitely did his job!
One of the key ingredients that Glen was taught by the remaining Nine Old Men of Disney Animation, was to ‘animate emotions.’ At first, Glen had no real clue what that meant (pressing harder on the paper doesn’t bring about better animation). But soon, he realized that if he went into a character or scene with the intensity of the emotions and a feeling inside of him, then it could work. This is true in the scene in Tarzan, where Tarzan touches Jane’s hand, and there’s a quiet moment shared between them. In an interview on the Tarzan DVD set, Keane said that for this moment, he held onto the memory of when his daughter was born, and the image of Tarzan looking at Jane, was how Keane felt when he saw his daughter for the first time.
Though I never did achieve my pre-teen dream of one day becoming a Disney Animator and being a part of Glen’s animation team, I often loved to keep reading up on what he was doing at Disney. For me, just hearing that some of my favorite animators were working on a project was enough to get me excited about it (one of the reasons why I was going to see Treasure Planet despite what any said about it).
One place I’d recommend to go, if you have an iPod or an MP3 player, is The Animation Podcast . Clay Kaytis works for Disney, and in the last 5 years, sat down with a number of people who worked there, and got them to tell a bit about their thought processes, and their climb up the animation ladder. Glen sat down for a 2-part interview, and you can also find interviews by the likes of Andreas Deja (Supervising Animator on King Triton, Gaston, and Scar), Eric Goldberg (Supervising Animator on The Genie), and Nik Ranieri (Supervising Animator on Lumiere, Rafiki, and Hades).
Well, I’ve rambled enough, but just in case Glen (or someone he knows) stumbles onto this page while Googling, let me just say thank you for your inspiration, and good luck on the next leg of your journey.
Book Review: The Complete Peanuts, 1983-1984
I remember when Fantagraphic Books first released The Complete Peanuts, 1950-1952. I was 24 years old, and remember thinking, “once they finish these releases, I’ll be 36 years old.” And here it is: I’m 32 years old, and with the release of The Complete Peanuts, 1983-1984, that means there’s only 4 more years to go.
The last couple volumes of The Complete Peanuts have been a little hard to wrap my brain around for two reasons:
1) Some of the strips in them I have seen over the years in non-ordered compilations.
2) Charlie Brown and the gang’s exploits have finally caught up to my time on this planet.
To me, the strips from the 1960’s and the 1970’s are those that alot of people usually consider the high-points of the Peanuts gang’s existence. One thing that becomes evident is Charles Schulz’s issues with drawing his comic strip. The line-work begins to waver a bit, and he even starts working in exaggerating expressions. Though Snoopy had some funny faces in the 70’s, his eyes in some situations get a bit cartoony in the 1980’s…so to speak.
However, what is notable are the backgrounds and natural scenarios that Schulz creates in several scenarios: from a tree covered in detailed leaves, to Snoopy leading some birds on a photo-taking hike to Los Lobos. The way the scenes are rendered, one has to wonder if Schulz took a hike there himself, and made little sketches of certain areas.
In the years 1983-1984, there seem to be myriad strips dealing with various characters telling jokes. Some are laughable, and others are just head-scratching (then again, some stuff that I think is funny leaves alot of people scratching their heads). One that was more an aside than a direct joke, is where Snoopy comes home from a New Year’s Party on January 1st, 1984. Charlie Brown assumes Snoopy over-indulged at the party, but Snoopy insists (through thought balloons) that he’s sick considering all the George Orwell jokes that are going to take place now that it’s 1984. I will admit, this one made me laugh out loud!
The years 1983-1984 also serve as a breeding ground of comic strips/ideas that would then go on to populate the animated realm of the Peanuts gang as well. One weekday strip of Snoopy dancing in aerobic gear ends with him thinking the name, “Flashbeagle.” This would spin off in the next few years into the musical-themed short of the same name. Out in the desert of Needles, CA, Snoopy’s brother Spike takes notice of a girl who drives by his abode in a red truck several times. This would later serve as the basis for a live-action/animated adventure in 1988 called It’s The Girl in The Red Truck, Charlie Brown (which starred Schulz’s daughter Jill, and was co-scripted by his son Monte).
Speaking of Spike, the focus shifts slightly in his favor, as we catch up on his correspondence with Snoopy, as well as a rescue mission Snoopy undertakes with a small ‘bird brigade’ to rescue him from a dangerous situation.
It does feel that through the course of the 80’s, some of the characters do mellow out a bit, notably Lucy. Her presence in the years in this compilation aren’t as notable as years gone past, though what she does and what happens to her on December 16th, 1984, was still quite surprising (I’m not telling what it is…it has to be seen to be believed).
When it comes to the female characters, it feels that Schulz has more fun working with Peppermint Patty and Marcie. Patty has some strips that lead into story arcs that last a couple weeks. She puts up with everything from getting caught in a 3-ring binder, to Marcie using her for classroom presentations when she falls asleep. Almost as a way to answer the viewer’s questions regarding Patty’s constant dozing off in class, Schulz sends her to a sleep disorder center to find out if she may really have narcolepsy.
Though I have told a little about some of the volume, don’t assume what I’ve said above has given away all the surprises. It would be a shame if I did that, and spoil the full discovery of how the Peanuts gang spent 2 years in the time of Reaganomics.
Each of Fantagraphics‘ volumes comes with a special introduction, and for this one, Leonard Maltin regales us with his past memories. Maltin tells that at one point, he wanted to be a cartoonist, and had even sent Schulz some correspondence…to which Schulz responded with encouragement, and a signed original comic panel! Though he ended up going into writing instead of cartooning, Maltin still has fond memories of the Peanuts gang.
Toy Review: Concept Boba Fett (The McQuarrie Series)
Last week, one of the artists who was most responsible for getting one of the world’s most influential films off the ground passed away. That man, was Ralph McQuarrie. When George Lucas was attempting to drum up enthusiasm about just what The Star Wars were, he turned to McQuarrie for concept art.
The plan worked: the art helped, Lucas got his film made, and over the course of the next 8 years, McQuarrie would continue to work in the Lucasfilm art department, coming up with costume, set, and character concepts. For the Empire Strikes Back, McQuarrie worked with Lucasfilm artist Joe Johnston, and through both of them, was born the evolution of a character whose scant dialogue and armor would keep people talking for over 30+ years: Boba Fett.
In 2007, in honor of the 30th Anniversary of Star Wars‘ inception, Hasbro released a special 14-figure series that brought Ralph McQuarrie’s conceptual art to life in the 3 3 /4″ action figure line. Release-wise, Fett was the first new McQuarrie sculpt for the line, and proved quite popular.
Originally intended as an offshoot of Stormtrooper Armor, Boba’s orginal color was white. Also, his jetpack does not appear to actually be a jetpack yet, with its appearance resembling something similar to what would eventually be put on the backs of the Snowtroopers in Empire Strikes Back (an air-flow/oxygen pack?).
Along with his more familiar helmet with its T-shaped viewing port, this figure also comes with an alternate helmet design. This helmet contains some contours that seem a bit like Darth Vader’s in the nose/cheeks/mouth area, with a slight influence by the Stormtrooper design. The wide visor concept would be dropped, but would be seen almost 25 years later in Revenge of the Sith. If you look at the visor design of Clonetrooper Commander Cody, one can see the influence. The commlinks where his mouth would be with this alternate head, almost make Fett look more ‘machine than man.’
To add to that thought, in his abdomen, Fett comes equipped with a flip-out weapon. I wasn’t able to find much regarding this concept, but it definitely adds to the mystique of Fett: was he also meant to be a man/machine hybrid similar to Darth Vader?
One of Boba Fett’s memorable symbols from the final armor, is a symbol of the Mandalorian tribe of warriors that he was once a part of. When it originally came to the concept images, this symbol was non-existent. Almost as a fan-made ‘cheat’ to the concept art, the guys at Hasbro decided to include a more streamlined Mandalorian symbol on the rear of Fett’s right shoulder. What makes this okay, is that in the original concept art by McQuarrie, you never saw what was back there. So, it’s ‘possible’ this symbol could have been there.
Of course, a Bounty Hunter needs a gun, and Fett has one, though not the big one we saw him lugging around in the films. This one fits in a holster almost like a side-arm that a gunslinger would have. The downside is that the holster is pretty big, in order to allow the gun to fit properly. It doesn’t really hinder the figure, but it’s 25% bigger than what is in the original concept art.
One concept that we saw Jango Fett unleash in Attack of the Clones that Boba never did, was an arm-mounted flame-thrower. A feature similar to this was used with one of Jango’s action figures, but Hasbro did the concept one better with this figure. The flame-jet is a removable plastic piece that can be fitted into a hole on the left-arm. Along with the yellow-to orange plastic, some dark paint helps add the illusion of a blooming fireball about to engulf some unlucky victim. Speaking of which, here’s one now:
Overall, the Boba Fett concept figure was definitely one of the best figures released in 2007. I will admit I never did become a huge fan of The Fett, but I still recall that even when Kenner released their Power of the Force 2 line in 1995, what was the very first of the newly-sculpted figures I bought? That’s right: Boba Fett. That figure heralded the rebirth of my figure collecting as I entered my mid-teens in the 1990’s.
In regards to the McQuarrie Series of figures, there were 13 figures released in 2007. In actuality, there is an unofficial McQuarrie release. You see, sometimes some of the crew at Lucasfilm would be included on film, and in Echo Base on the planet Hoth, there existed General McQuarrie (who appeared briefly in a cameo walking past camera).
Even though he didn’t come on a Concept Series cardback, I couldn’t bring myself to not have General McQuarrie included with my collection (or shown above, in the action-figure equivalent of carbon-freeze). However, even 6 years later, I find it hard to open the General, and the other figures in the Concept Series. Then again, we did free Boba from his prison.