Suggestions for costumes by Tom Oreb. for Sleeping Beauty.
1, Captain Hook has captured Tinker Bell and is trying to make her divulge the Peter's secret hiding place. Pretending friendship, he plays on her jealousy of i finally wins her over. She marks the spot on the map. jradi explored camera angles, staging, acting, character development, locale, \n these early sketches.
was the first one to put up a drawing with his heart in it. The artists who followed would be just as vulnerable, but he was the lead-off man. Even though there were attempts to soften the blows ("We're not criticizing you. it's just the idea we don't like!"), the fact remained that the sketch man had believed in the drawing when he made it. Because their contribution to the whole picture was so great, only artists who drew with a special appeal or a sensitive style were put in story sketch, and the very sensitivity that made them valuable was what made them so depressed when the story-board was changed. And it was always changed. That is the point of a storyboard.
Occasionally a story sketch man would become too personally involved in his work and let his ego blind him to the needs of the overall story. There was a time when one such harried artist could not stand the treatment his lovely drawings were receiving. As a particular favorite was being tentatively folded over, he cried out, "Walt, you can't do that! Not that one!!" Walt did not respond directly but carefully and deliberately ;
pulled (hat sketch and the next three clear off the board, tearing the corners where the pushpins had held them captive; then he released the tattered paper to let it flutter helplessly to the floor. He seemed to be engrossed in the picture itself and totally unaware of what he was doing to these "masterpieces," but the message to the sketch man was unmistakable. No dialogue is needed if pantomime can tell it all.
Webb Smith was a great storyman who drew in the old cartoon style and became not only one of the best gagmen but one of the most innovative pranksters. Once, he had been ridiculed by other storymen for a particular drawing of a chicken on one of his story-boards, and he felt that some form of retaliation was in order. Just minutes before his co-workers were to have an important meeting with Walt, Webb slipped into the room and pinned the chicken sketch right in the middle of a storyboard. The storyman usually tried to work up a fine pitch of enthusiasm as he told his story, hitting the boards with a pointer, talking fast, and laughing as spontaneously as he could in hopes of selling Walt the ideas being presented. Totally unprepared for a chicken in the middle of his story, he was deep into the action as he approached the interloper: "Donald comes roaring around the corner, see, and he slips on this crazy old rug here, and then he crashes into this lamp, and he's getting madder, and then this chicken comes and he — uh — he goes an' — he comes — he comes in here an' — well, anyway, Donald comes along here somewhere. ..." The mood had been broken.
Afterward the devastated storyman vowed revenge, but Webb had a way of protecting his own boards from intruders, so the sketch ended up on some totally innocent man's board just before his next meeting. From then on, year after year, the great apprehension of every storyman was that the famed chicken sketch would appear on his board in the final tense minutes before Walt came for a big meeting. The sketch became more crumpled and torn as it was grabbed violently time after time and thrown clear out of the room, but somehow it survived for years.
or Slecp-the left, on, story Rinaldi. vlist Don sing ani-ç.
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