tag:blogger.com,1999:blog-27501132.post115100922953018287..comments2023-12-31T01:23:39.943-05:00Comments on Mayerson on Animation: More on The Little WhirlwindMark Mayersonhttp://www.blogger.com/profile/00065971589878678848noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-27501132.post-1151102073571839532006-06-23T18:34:00.000-04:002006-06-23T18:34:00.000-04:00Hi, Mark - great analysis (again)!And Hi, Peter! H...Hi, Mark - great analysis (again)!<BR/><BR/>And Hi, Peter! Heard a lot about you, and have been admiring your website, and your caricatures on Didier Ghez' series Walt's People! Good to see you are taking part in the discussions. Look me up on <A HREF="http://afilmla.blogspot.com" REL="nofollow">my own blog</A> some day. (But keep coming back here, as I do!)Hans Perkhttps://www.blogger.com/profile/12707924880609997693noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-1151098383123516992006-06-23T17:33:00.000-04:002006-06-23T17:33:00.000-04:00Hi Peter. Now that I know more about Kelly's work...Hi Peter. Now that I know more about Kelly's work at Disney, I'm very glad that he left the studio. Had he not, it's very likely that he would have ended up an anonymous animator there. Within this cartoon, I can point to animators who were doing better work than Kelly and still didn't get high profile opportunities on future films.<BR/><BR/>There's no question, though, that Kelly really learned to draw while at Disney. If you are familiar with his comic book work before and after his stay at Disney, there's no comparison. Kelly definitely gained more from Disney than Disney gained from Kelly. And the audience definitely gained from Kelly going his own way and creating <B>Pogo</B>.<BR/><BR/>It goes to show that working at the top studio in the world was not necessarily the best choice for every artist.Mark Mayersonhttps://www.blogger.com/profile/00065971589878678848noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-1151078044494897352006-06-23T11:54:00.000-04:002006-06-23T11:54:00.000-04:00Hey Mark, thanks for all the wonderful material yo...Hey Mark, thanks for all the wonderful material you've been posting on "The Little Whirlwind". Aesthetically speaking, it is my alltime favourite Mickey cartoon - the design of the poses and their proportions being just so delightful and cartoony. <BR/><BR/>The credit for each scene is somewhat of a revelation to me, especially those attributed to Les Clark, notably the intro walk of Mickey and his pressing his nose up against the window, all of which I had always wrongly surmised had been done by Kimball. The Fred Moore scenes are classic in terms of strong posing, and I show that sequence in my class at Sheridan to show how descriptive and communicative well designed poses can be.<BR/><BR/>I knew that Walt Kelly had animated the scene of Mickey in the well bucket but had hoped that he'd done much more than just those short action scenes. It is interesting to note the pose of Mickey in image #41, where his hand position on his hat is pure Pogo! I sort of get the impression now that Kelly was not given much work of any substance to do at Disney, judging by his small contributions in both this and "The Nifty Nineties". No wonder he got frustrated and left for greener pastures.<BR/><BR/>By the way, I would also like to extend a "virtual handshake" and say hello to Hans Perk at this time. Hans, we may not have met in person but we know each other through Stacia. I enjoyed very much the DVD of your studio's sample reel that she passed along to me on her trip to Toronto last summer. Your work is great and I've always been a great admirer of Borge Ring's "Anna and Bella" too. Nice to make your acquaintance on this blog of Mark's!Anonymousnoreply@blogger.com