Born in Fresno, California, Frank Thomas attended Stanford University, where he worked on campus humor magazine The Stanford Chaparral with Ollie Johnston. That, by the way, is the true throughline of Frank and Ollie, even more so than the documentation of their decades-long friendship. All the things we knew were successful, you couldn't really do. Johnston: But a lot of it was cut, too. This is a tough thing, to get a girl to turn, spin around, and then kneel—she squatted down—so she could open the suitcase. The scene where the Seven Dwarfs are crying for. That was the way he chose to do it, and I think it was probably a very wise decision. straight from us on the Animation Here, you [another animator] try it, to see what you get out of it." Thomas: We'll probably never find out now [what Kahl's role was in animating the Prince]. This is as much a documentary on the two animators (as mundane as some of their details may be) as it is about Disney.One of the most interesting things revealed by Frank and Ollie is how all the animators used to draw caricatures of each other to get their creative juices flowing (and to blow off steam).Again, a movie like this is only interesting if you enjoy the subject. Barrier: A few years ago, I saw Peter Pan (1953) again at the Library of Congress, not long after reading this, and what struck me was that the problem you pointed out, the conflict between story and direction over Hook's character, is still there in the finished film, and it's nothing that you could have resolved. We didn't know what it was. That's not a very friendly way to start a project together. Barrier: It must go back then quite a ways. Frank and Ollie is pleasant enough to watch with or without these bits of humane acting, but watching the two men go through – with genuine energy and emotion – some scenes in Disney history is itself a thrilling lesson in art. He was one of Walt Disney's team of animators known as the Nine Old Men. I think one of the reasons Walt stopped work on it, and then when he put it back into work, was because he'd found now a warm little boy character that could be an asset and hold his own with Shirley Temple, who was big at the time. I don't know how he could have done it otherwise. Did he say anything about the Prince in Snow White when you interviewed him? During the early days of the thing, it looked so exciting, the type of thing he was getting, the new type of colors, the pageantry, handling the relationship of the colors. How do you see this? works He does great stuff—it's funny stuff, it's solid stuff.". That was one of the worst duties we had. The film is interspersed with some of Frank and Ollie's most memorable pieces of Disney animation. If I get my hook on him!,' or whatever. We had a program at the time—somebody, Ben Sharpsteen, or maybe it was Don, gave out a problem: the Goof, running with a bucket of water, and throwing it out a window, and then turning and running out of the scene. Johnston: Who was directing that first stuff? This killed me; they'd never dress that way—for the personality. Johnston: You didn't work on any of the growing-up stuff. From The Virgin Suicides to On the Rocks, IMDb dives into the cinematic stylings of Oscar-winning director Sofia Coppola. Very little animation—just the sparkle on the dewdrops. written, and drawn by us personally. It’s not the roughest documentary you’ll watch, but considering that it’s a Disney title, it’s more uncomfortable than you might think.) Unless It’s that Frank Thomas and Ollie Johnston are celebrated here for their immense, distinctive talents as animators. He was just real mad about the whole experience. But I guess most of all I'm interested in animation, so "Frank and Ollie" is right up my alley, even though it could be argued that a movie like this (written, directed, and produced by Frank Thomas' son, Theodore) isn't really important or in any way art.First of all, this isn't really a Disney picture, despite the fact that Disney released it--there is not the same tone of self-congratulatory propaganda (i.e. I never felt comfortable with her. Thomas: No, because from there, it sort of lagged for a while, then they put Kimball on it, and Jack Kinney; I think Kimball first. I invite you to watch The Boys: The Sherman Brothers Story, in which we learn that Richard and Robert Sherman, brothers and immensely talented songwriters, didn’t exactly get along. They achieved so much beyond words in their time at Disney. A gentle raconteurlike look at two of Disney's Nine Old Men, Reviewed in the United Kingdom on August 16, 2018, Behind the scenes at Disney and at home with two wonderful storytellers (and animators ,of course), Reviewed in the United Kingdom on February 24, 2015. I didn 't know if this was a joke or an indication that you had done the voices. I was readmitted to the Archives three years later and made a thorough examination of all the surviving Bambi documents during several visits. He'd just get furious whenever the Prince was mentioned. In the draft, the two clowns you see in silhouette, before Dumbo gets drunk, are identified as "Ollie" and "Frank." The faces were designed realistically, and it had to be, for that treatment. There's a lot of talk about man, and showing him in various ways, and the charred forest. On the Photostats you could truck in and do all these different things for your cartoon, so-called handling, but your characters were all nailed to the floor. It was my move into being one of the top animators. Maybe so. 9/10. Barrier: By that time, was it typical for you not to have contact with Walt for weeks at a time? Barrier: Gillett, I heard, got fired in one of them; it must have been Brave Little Tailor. Were there problems, like story conflicts, that simply couldn't be resolved because he wasn't there? Thomas: Yeah, the big one at the end, the fight, and then when Hook fell in the water and the croc came up, and, as Woolie said, "Suddenly we have a croc that's 110 feet long," [as] Hook ran in and came running out with the alarm clock. And that would lead in to what Paul said. Barrier: I thought Jack Campbell was the one who did a lot of the Prince. He just didn't think that way. And [sucking sound] sucks all the vitality out of it. Thomas: He sure didn't feel he was. When did we give those lectures? Then you look at the story. There was nothing imaginative, no scenes that started inside you, because Walt had to find a cheaper way to make his picture. Remember? Nobody knew why. Then she comes down the other side"—you could tell from the way he said it that someone had told him—"it's easier for her, so she goes a little faster." It’s beyond duplication. Barrier: I know he did television animation. Obviously, nobody, Walt in particular, put his finger on it and said, "The character isn't hanging together as completely as it should.". So they would get Dave Hand and say, "Pick six guys out of animation." But Ham would immediately figure, "Here's the scene, I've got to figure out a way to use it. Directed by Theodore Thomas (Frank’s son), Frank and Ollie is intended to be a lighthearted look back at the lives of two best friends who were fortunate enough to be at the center of one of American popular culture’s most important creative flashpoints. Those two men were voiced by Frank and Ollie, animators who had inspired Bird and countless others with their methods, captured in the book The Illusion of Life. [Frank's original wording was more blunt: "he went so far overboard that they threw out all his footage and took him off the picture."] He sat up there with those poor animators—I know Frank Thomas nearly broke into tears up there one day because Walt was cutting out some of the stuff. Their name is legend. Johnston: We weren't really seeing him that often by the time we got on Sleeping Beauty (1959). He felt it was much stronger to suggest only, and let it come alive in the audience's imagination. The closest was the Grand Duke, he was more of a cartoon figure and he didn't have to work with her very much; the King didn't have to work with her.

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