DVDizzy Forum

Posted: **Tue Nov 02, 2010 10:20 pm**

Disney Duster wrote:ONCE AGAIN I'm not gotten.

I was saying that Walt Disney would not make a feature film, a story, that's actually about technology, at least for his classics. He may make an educational or promotional film about it.

But he may have used CGI and other technology to help make films.

but that's the thing we're arguing with you about. How do YOU know that? How you know that's the truth?

still waiting for that pm

Posted: **Wed Nov 03, 2010 1:40 am**

Goliath wrote:
DisneyAnimation88 wrote:Hmm I see what you mean Goliath having read a bit more about Moore and Ferguson. Does the Illusion of Life give an insight into them like it did with Bill Tytla?
Yes, 'The Illusion of Life' has one chapter dedicated to Norm Ferguson & Ham Luske, and one about Fred Moore & Bill Tytla.

@ Rumpelstiltskin: I've always thought Barrier was much too hard on the Disney features made since... Cinderella, really. I've read his book and it seems like he dislikes every features made after Bambi (and he had lots of nit-picking to do at even classics like Pinocchio). He came down really hard on Cinderella and even Sleeping Beauty. I don't agree with the idea of a 'steady decline'. I think One Hundred and One Dalmatians was a great new experiment in animation, which differed day and night from the previous picture. The Jungle Book has some of Disney's strongest character animation, particularly in the scenes between Shere Khan and Kaa, and Baloo & Mowgli (e.g. when Baloo tries to tell Mowgli he has to go back to the humans' village).

I can see Barrier's point, though, since the recycled animation started already with The Sword in the Stone and intensified in The Jungle Book.

This "steady decline" coincides with Walt slowly becoming less invested in animation particularly. Though, calling it a decline is a bit dubious. Lady and the Tramp is among the artistically richest of the canon features. And Walt actually chose to scale back on his own house style from Sleeping Beauty in favor of allowing Tom Oreb's development art to survive in the final film.

It is ironic that Milt Kahl considers his work from The Sword and the Stone among his best, seeing as how all of the Nine Old Men's work were getting stiffer as the years went on, and that the film had a very scratchy feel to it. Even Ward Kimball's later work wasn't as smooth and bouncy as his work on Pinocchio or some 1941 Mickey Mouses.

Posted: **Fri Nov 05, 2010 3:19 pm**

Movies like Tangled, are supposed to have a fresh art style, so I get that, but movies like The Princess and the Frog which are supposed to look similar to movies Disney used to make, for some odd reason, don't ^^

DVDizzy Forum

Visual differences between the old classics and the newer fe