Note: This article is taken virtually verbatim from the Press Kit.
The Second Age of Animation is here.
"The Secret of NIMH" an action fantasy in the classical style of animation, arrives this summer.
The film, set for release in July, 1982, will mark the first feature from Don Bluth Productions since he and 16 others left Walt Disney Studio more than two years ago.
"The Secret of NIMH," is the story of a widowed mouse who seeks the help of some mysterious rats to save her family, and features the vocal talents of Elizabeth Hartman as Mrs. Brisby, Dom DeLuise as Jeremy, an impetuous young crow who is searching for Miss Right but does everything wrong, and Peter Strauss as Justin, the captain of the guard of the rats, a group of intelligents who are trying to promote a secret plan.
Also topping the cast are Derek Jacobi, who does the voice characterization of Nicodemus, revered and venerable leader of the rats; John Carradine as the Great Owl, omnipotent and awesome adviser, and Hermione Baddeley as Auntie Shrew, Brisby's bothered neighbor and self-appointed keeper of the field.
In addition, Arthur Malet gives voice to Mr. Ages, a crotchety chemist mouse; Paul Shenar to the dastardly Jenner, the evil rat who tries to lead a revolution within the pack.
Production began in January, 1980, and will be completed in early June, 1982, with more than 6800 feet of film completed by 120 artists.
The film features many animation methods discarded or ignored by other studios as being too expensive. These include multiplane camera shots and multiple passes of the film through the camera to add depth and dimension to scenes; characters' shadows, reflections and other special effects animation scenes; the orchestration of color throughout the film to achieve emotional impact and, most importantly, an uncompromised story line.
"The Secret of NIMH" is produced by Don Bluth, Gary Goldman and John Pomeroy and directed by Bluth. It is based on the Newbery Award-winning book, "Mrs. Frisby and the Rats of NIMH" by Robert C. O'Brien, with a story adaptation by Bluth, Pomeroy, Will Finn and Goldman. Jerry Goldsmith composed and conducted the songs and score, with special lyrics by Paul Williams. Mel Griffin is production executive. Rich Irvine and James L. Stewart are executive producers.
CLASSICAL ANIMATION -- WHAT IT IS
Classical animation is full, rich, warm, colorful. The art is of high quality, the characters move fluidly and fully, in settings which are meticulous in detail, color and period of furniture, architecture and props. There are shadows and changes in lighting which occur from day to night, from sunshine to shade. When water splashes, the audience sees those splashes and sees through them. When water glistens, we see that too. When a gold necklace is put in a box, the sparkles of some of its links can be seen. Mood changes in a scene are reflected in the color of the backgrounds; when feeling runs high, colors tend to oranges or reds; when action calms down, blues and greens are used. There are more than 600 colors at work in "The Secret of NIMH," nearly 500 of which were developed by Don Bluth Studio. There will also be more than 1000 backgrounds.
In all movies, there are 24 frames of film projected onto the screen per second. In classical animation, there are 24 drawings of each animated character or special effect per second when the camera is moving, as in a dolly shot or a pan. In shots where the camera is stationary, there are 12 drawings per second, or one for every two frames of film. Many times the characters or effects are each done on separate plastic cels. In some shots in "The Secret of NIMH," there are 96 drawings in a single second of film. By the time the film is finished, including all the preliminary sketches, key poses and cleaned up art, there will be a million-and-a-half drawings done.
Special effects plays an important role in classical animation. 'Special effects' in animation is defined as anything that moves on screen that is not a character. Basically there are two types: natural phenomena, such as trees blowing in the wind and the sparkle of a gold chain; and supernatural phenomena, such as the hologram into which Nicodemus can forecast and even shape the future, the amulet and its pulsating glow, or the laser-like dust that burns Nicodemus's words into the parchment of the 'Great Book.'
Technology in camera work also adds up to the richness of classical animation. Hand-built cameras called multiplanes (Bluth has two), feature a camera about eight feet off the floor and pointed downward. On various levels, or planes, are placed the background, character and special effects cels needed for each scene. Bluth multiplanes are operated electronically, making their operation easier and less expensive than those of other studios. Multiple passes of the same film through the camera are also used extensively. In some scenes there are 12 'passes.' Both of these camera "tricks" add depth and dimension to scenes.
Classical animation stands out from the limited or flat animation found in Saturday morning cartoons, where many times only one part of a character moves in a scene, and from the computer animation or stylized "arty" types of animation employed in other animated feature films.