The Cellar Image of the Day

xoxoxoBruce Wednesday Apr 24 12:28 AM

April 24th, 2019: Bill Peet

When Bill Peet was a kid he always had a pad and pencil with him because he liked to draw.
He drew pictures of his friends, enemies, teachers, animals, trees, most any thing that couldn’t get away.
He discovered he was a good cartoonist, an exceptional cartoonist. Bill had only one problem, he didn’t play well with others.
Probably from spending so much time alone sketching and having complete control.

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He was hired in 1937, when he was 22, and worked first on Snow White and the Seven Dwarfs (1937) near the end of its production.
His work as an in-betweener (making up the frames between the key drawings, responsible for the rote chore of providing fill-in drawings to make animated characters like Donald Duck appear to move.) on the Donald Duck shorts was so tedious, he quit, screaming out of the studio, “No more lousy ducks!” Fortuitously, he came back the next day to pick up his jacket and found an envelope, informing him he had been promoted to the story department.

Despite his personality clashes with Disney, Mr. Peet rose through the ranks to contribute Olympian fantasy figures to the segment of ''Fantasia'' set to Beethoven's Sixth Symphony in 1940, and character sketches for the baby elephant star of ''Dumbo'' in 1941.

Ironically unsuited for the team-work involved in film animation, Peet was a highly independent artist. He was, in fact, the only storyman in Disney’s history to have created all the story boards for a feature film, a feat he pulled off not only for The Sword in the Stone, but 101 Dalmations as well.
To be clear, he was the ONLY man to write and animate a film ALONE at Disney, and he did it twice. He was that good.

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He wrote his first full-fledged screenplay for ''101 Dalmatians'' in 1961, when Disney asked him to adapt the British author Dodie Smith's children's classic, ''The 101 Dalmatians.'' It was Mr. Peet's suggestion to adapt T. H. White's ''Sword in the Stone'' two years later. Mr. Peet's ambivalent feelings toward Walt Disney can be seen in his characterization of Merlin the Magician, whom he said he patterned after his employer. The character was bad-tempered and argumentative, but a true wizard nonetheless. In his autobiography, Mr. Peet wrote that he even gave the drawing Disney's distinctive nose.

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In his autobiography published in 1989, Peet said he drew the evil Captain Hook in "Peter Pan" to resemble Disney.

In fairness to Disney, he would have still made the movies without Peet,
but Peet couldn't have made them without Walt.

link

Clodfobble Wednesday Apr 24 08:17 AM

Oh man, the Disney art department is (or at least was, in the hand-animation days) a brutal factory. My wildly-talented cousin (nationally recognized, blah blah blah) was offered a job there in his early 20s, and he was suitably excited until he was told that his position would be "blue." As in, he'd get to fill in all the blue parts of the drawings. Meanwhile, there were guys who were pissed off because they'd been there for years and were still coloring in neon-orange, or vomit-green, and here this young upstart had been given blue right out of the gate! He didn't take the job.

xoxoxoBruce Wednesday Apr 24 09:16 AM

I read somewhere that Pixar making a film like Toy Story where it's computer rendered, it would take banks and banks of computers 24 hours to render one minute of screen time. Imagine how much work that would be by hand.

glatt Wednesday Apr 24 01:16 PM

I read somewhere that The Simpsons farmed out the in-betweener work to China, at least in the early days. Maybe it's all computers now.

fargon Wednesday Apr 24 04:35 PM

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Originally Posted by glatt

I read somewhere that The Simpsons farmed out the in-betweener work to China, at least in the early days. Maybe it's all computers now.

I thought it was South Korea.

Flint Wednesday Apr 24 10:06 PM

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Originally Posted by Clodfobble

"Listen here, you blue-coloring SOB..."

ha ha ha !!

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