![]() You begin to feel that you might be lingering too long in one place, or that in one particular instance the character should not be running so fast he should be slower. Q: When you get a scene, do you feel the “rhythm” of it - an upbeat passage, for example - and does it affect your timing?ĪB: You develop a sort of innate sense of timing. But I did many, many scenes in Pinocchio. ![]() ![]() That had to be pure animation.ĪB: That had to be pure invention. Q: There’s a scene where the cat goes up the back of Geppetto’s nightshirt and they both scramble. But my spacing, my timing, my drawing, my proportions, everything was completely different. It would be nice to put it in someplace.” And then I would do it. They supplied tracings of Geppetto - photostats, or whatever they were - but I never used them…I studied the photostats, and I would say, “Well, Geppetto had this sort of strange little movement. On Pinocchio, live-action was shot for Geppetto. So, you study live-action film, study his movements. There are very few Polar Bears in Southern California, but you would like to draw one. when studying animals that you don’t see very often. In those instances, it’s perfectly legitimate. You wouldn’t know how to hold the violin, how to use the bow, or anything like that. I think that live-action might be used, for example, if you were animating a violinist but were not a violinist yourself. You do not animate a copy of what you have been looking at. You animate your impression of what you saw. But then, put away the live action - and I mean, put it away. So I think that it would be legitimate to study a film of ballet to learn the steps. I don’t know an entrechat from a tour-en-l’air, or whatever. It’s all right if you use live-action as a source of information. The complete transcription appears here for the first time.īabbitt’s description of the acting process for his Snowdrift shortening commercial is on the soundtrack of an upcoming classic commercials compilation produced by Greg Ford.ĪRT BABBITT INTERVIEW FebruPart 2 © 1979, 2009 Nancy BeimanĪrt Babbitt: (Continues his answer to question about Disney stressing limited realism, the “plausible impossible,” where action could happen but really isn’t realistic, noting how far he would go) ![]() You can find Part 1 here.Įxcerpts appear in several chapters of my book “ Animated Performance” (2 nd edition, Bloomsbury Press/Fairchild Books, 2021). The following is Part 2 of Nancy Beiman’s 1979 interview with famed animator Art Babbitt. ![]()
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