When searching for the book "Setting The Scene: The Art and Evolution of Layout Animation," you may find that it sells for $250 or more. That might seem a bit on the steep side, but it shouldn't be a surprise. This book has a flock of passionate devotees.
Why am I telling you this? Well, it's to set the scene (to borrow a phrase) for this newsletter on my podcast conversation with Fraser MacLean, the author of the book. Fraser is a passionate advocate for animation. He firmly believes in learning from the past while embracing the potential of new technology
Fraser has worked on movies like Who Framed Roger Rabbit and Disney's Tarzan. These two films showcase themes that are central to his philosophy; While Roger Rabbit takes inspiration from Film Noir and Tarzan draws on classic stories, both movies utilise modern technology to bring these worlds to life.
This dynamic between past and present came up frequently in our chat. Fraser refers to the 'living history' of our animating ancestors while tapping into what technology enables.
Below are my takeaways from our chat, but I encourage you to listen to the podcast. It's packed with insights:
- Cutting back on time spent on layout might seem like a bright idea, but it's a false economy that will come back to bite you. For Fraser, it's akin to a restaurant cutting back on food hygiene. It might not be sexy or exciting, but if you want something to go well in animation, you must focus on the less glamorous tasks.
- The greatest animated movies take inspiration from the past. Disney's Mulan is a perfect example, blending Kurosawa-inspired drama and epic scenes with vaudeville comedy.
- Disney asked animators applying for Snow White if they had vaudeville experience. Back in the days of Vaudeville theatre and music hall, a performance took place between the fire curtain and the footlights. Two comedians with contrasting personalities would entertain the audience with sketches while the scene shifters busily moved the sets for the upcoming dramatic representation. You can see the influence of these short interstitial sketches on animation, especially in the comedy scenes in Disney movies or the Road Runner, Bugs Bunny and Daffy Duck cartoons.
- Cast your net wide: animators in the forties and fifties would reference theatre, opera, dance, and art in their work. Too often, contemporary animation is what Chuck Jones would call 'illustrated radio.' It's movement, not animation. In many shows and movies, the script and dialogue are clever, but if you turn off the audio, you need to know what's happening. To Fraser, animation should tell a story through movement and visuals, even without sound.
- Fraser talked about how, too often, higher education in animation failed to prepare students for working in the industry and wasn't connecting to the past. 'Animation history is a living thing' that should empower students. Aspiring animators should master perspective, gesture, and camera lens principles. These form the foundation of animation and visual storytelling.
- Fraser points to cave paintings as the first example of sequential picture storytelling. It's survival information, and Fraser argues that animated storytelling continues this tradition. It's teaching life skills and isn't disposable.
Animation Director, Producer, Exec, Consultant, enthusiast.
1 年Good stuff Andrew W.! A superb, insightful conversation with Fraser MacLean. I have huge respect for the superb layout teams I've had the pleasure of working with, it's true that they don't get the 'glory' they deserve. I've a feeling that some of Fraser's comments about education might irk a few, but he has a point! In every other field, it's a very selective process and while I might be one of those he's talking about when he talks of 'ugly designs' I wholeheartedly agree with the assertion that you need read the rulebook before ripping it up. Oh, and there's no I in team! Animation is and always will be a team sport! It's great for the students of Mexico, but isn't it a shame that Fraser couldn't find a teaching role in the UK? Keep these Animated Conversations going. All the best, Tim Searle
Professor at Universidad LCI Veritas | Animation Production & Education | I help 300+ creative professionals succeed in the career of their choice.
1 年I loved the Animated Conversations episode with Fraser, Andrew! While I may appear biased—because Fraser is a good friend—I can objectively say this episode was packed with insightful takeaways. To add to the takeaway list in your article: ? Production efficiency and effectiveness between storyboard, layout, animation, and so forth depends on artists' understanding and comprehension of the pipeline and the steps that come after their part in it. (i.e. how what they do informs and affects what others do) ? Higher education is (also) failing Animation students because they are trained to be individualistic auteurs instead of part of a larger team with multiple roles collaborating. ? A lot of Animation Schools (and Universities, for that matter) have shifted focus away from excellence in favour of popularity and commercial gain. Animation students then suffer from unregulated programs designed without considering the Industry's needs. ? Even good Animation schools have too much of an emphasis on creative and technical skills, and we have hardly anybody training people how to be Producers, Production Coordinators or contract lawyers. The local and international industries suffer from these gaps.
Creative Director - Ani·Motion Maker - 2D Artist
1 年I have this book ??