YA’LL WANNA SEE WHAT A “REAL FAN” LOOKS LIKE
CUZ THERE’S ONE STANDING IN THIS ROOM RIGHT NOW
WHO THE FUCK ARE YOU TO DEFINE WHAT A “REAL FAN” IS
WHAT MAKES ONE FAN MORE “REAL” THAN ANOTHER
MINE KEEPS ME QUITE COOL IN THE SUMMER MONTHS
He keeps her cool.
She blows him away.
some insight in to Milt Kahl’s animation process…
"The notes on the exposure sheet were to remind [the animator of points covered in his discussions with the director]. In a dialogue scene, you wouldn’t need anything like that; you’d do it through thumbnails. But there are scenes that don’t involve dialogue, where your timing is completely loose. Then, I will put notes on the exposure sheet. I’ll go through it with a stopwatch—especially if it’s a long scene—and time it overall, and then I’ll begin timing details. I’ll time it from one thing to another, all the way through. I’ll do it several times until I’ve got it pretty well down. Then I’ll put it on the sheet, because there’s no sense in doing it all over again. That was what the directors were doing even back in the shorts days. You can bet your hat that the notes on the exposure sheets for Norm Ferguson’s scenes, or Fred Moore’s scenes, were contributed to by both parties [the director and the animator]; the director was not a dictator. Sometimes you get people that you have to hand work out to, as a director, who really shouldn’t be doing it, but somebody has to do it. [The notations on an exposure sheet] would amount to instructions, because you’ve both talked them over, and you’ve decided that this is what you should do, and you’ll probably stick to the plan. It’s the way I do it myself; as I said at this seminar, I’ll do all my exploring in thumbnails, and kind of decide how I’m going to do it. By the time I get to actually animating a scene, I know how I’m going to do it. Any full-size drawing for that scene is a very specific thing that I’ve already decided on. I’ll stick to that plan, unless I get a big brainstorm"