"Banjo was more than just a picture that eventually got sold to television...it was an attempt to put together all the mechanics that go into making a film." --Don Bluth

"It was learning all the things we couldn't learn at Disney. On BANJO we learned camera moves, how to shoot the camera, paint cels, everything...For four years, every night after work and every weekend...And it was worth it." --Dave Spafford

"I washed cels my first weekend, and then the next week graduated to paintng them!...It was a great deal of fun." --Will Finn

"I asked if I could join them. Don said 'yes, if you want to stay up late nights, have no weekends and work harder.' I said 'sure!'...We know a lot more now...If someone were to ask me, today, to spend a year in a garage, I'm not sure what I'd say." --Linda Miller

"It was really a training ground for me. I knew nothing about animation, but I went to the garage. Don, John and Gary said 'follow us,' and I began to learn. Later, when I was hired by Disney I found there I was totally on my own. If I had not been learning on BANJO on the weekends and evenings, I could never have gotten as far as I did in my career." --Vera Lanpher

"It was such a fledgling company...It was great to see everyone giving their best and trying everything. From cooking to painting to playing jazz, no job was too small." --Dave Molina

"It brought us all together and taught us what we were made of. I don't know if I have the where-for-all to do it again...It was one of the hardest projects with great physical and emotional demands ,but I'm glad I did it...But I never want to have to cook for so many people again!" --Lorna Pomeroy

"I got involved when I was working on PETE'S DRAGON at Disney because we'd all go over to Don's house on the weekends. His garage was full of desks and people...It was an amazing accomplishment to get so many people to rally around...An amazing achievement." --Heidi Guedel

"I started in November of 1979, near the end. It was a grueling task to get it done by the deadline, but the family atmosphere of the staff helped support everyone and we all worked those extra hours and put in that extra effort to get it done and still have the desired quality." --Dorse Lanpher

The story of BANJO is filled with the tales that Hollywood myths are made of. A part time project, done in a garage, that launches a new studio. There's young talent, the mystique of animation, personal sacrifice, and the daring to gamble with one's career. However, the true history of BANJO is one of modest origin.

"BANJO was an exercise," explains Don. "Animation is only a small part of making a film. After you turn your scene into the director, that's it. When you get into overseeing a film, there are many more problems to deal with."

Normally, an animator needn't worry aobut overseeing a film. His problems are getting the scene to the director. But in the early 1970's, Don was part of a group of animation talent being developed at the Walt Disney Studio.

"We met at Disney's," recalls Gary Goldman. "At that time, we kept getting told how someday the veteran animators (the Nine Old Men, as they were called in articles and books) would be stepping aside and we would be taking their place."

Early in 1972, the two animators were bicycling around the studio during a break when they stopped to discuss work. They both felt that to learn, in just a few years, what many of the Disney veterans had taken decades to accrue was an impossible task.

"Don was the one who suggested his garage," states Gary. "He had a concept that he thought we could work on in our spare time to speed up our learning process on animated film making. In November, we purchased a camera. Don already had a movieola." In 1973 the pair added an additional movieola, an editing table, and a new member of the team.

John Pomeroy joined the Disney studio early in 1973, exactly one year after Gary had joined. By August, he'd heard of the pair working outside to increase their training and ability.

"It was odd," reflects Gary, "that the three of us had so little in common. Our lifestyles and personalities are very different...but we share a strong love for the artform."

"It really began in 1975," John answers when asked about BANJO. "We had been working on another project, a poem entitled `The Piper,' but it wasn't coming together."

All three agreed "The Piper" was not a proper project to work on. Problems with telling the story properly, and seeing that the venture looked to be more in line with a full length feature, led to the decision for a different direction.

"We decided to pick a nice simple little film. One that could have a definite deadline," says Gary. "Of course our first deadline was Christmas of 1976! We didn't quite make it."

The simple story chosen was BANJO. It was based on a part of Don's past. While growing up on his farm in Utah, the family had a cat who lived in a woodpile near the house. Suddenly, one day, the cat was gone. They figured it had probably just gone to live elsewhere. However, several weeks later, it was back again. This time it stayed. Don, John and Gary concocted a tale of what happened to this small cat that "left home."

"BANJO was almost two productions," recalls John. "There was a whole recording session, story boards and story reels produced. It was about 30 minutes. The reels were full of activities in the city, but only consisted of about half of the boards. We had overshot the half hour mark."

In actuality, the story and sequences of BANJO were to go through a great many changes. From this first version several sequences and musical numbers were cut. Each new change meant new boards or songs, all done by Don.

"I remember my first scene I animated," says John shaking his head slowly. "It was the first real animation done on the film. It was this montage sequence, which isn't really in the film now. We had meant for it to set up the character with BANJO getting into all sorts of mischief and calamaties. He has problems with bees, chickens, etc."

Around this time of decisions, Sparky Marcus, a young actor in commercials (one of over 30 professionals auditioned), was hired to do the voice of BANJO. Also by now, the group had grown from the initial three. Artists both at the Disney studio and outside of it had heard of this independent venture where gaining experience was the key desire. The crew continually shifted in size as people came and went.

"We never asked anyone to join us," announces Gary. "If they wanted to come over and help out, they were welcomed. It was that kind of desire to learn that we wanted more than just 'help.'"

Those who did come, did learn. The crew set about re-learning many of the lost secrets of animation. They discovered if they asked people at the studio how such and such an effect was done, they'd often respond they didn't know.

"We had to relearn a great deal. We also had to just learn the basics," states Don. "Contact shadows, transparent images, and sparkles were all things we wanted to do...but didn't know how. Often, when we asked how to do them, we still wouldn't know. The terminology would be 'greek' to us. We were told of split exposures, double exposures, etc. However, we did learn."

Along with the learning came experience. They learned about hiring talent, buying supplies, and working with the production world. Those who worked on the BANJO project also gained experience working on everything from the animation camera to mixing paints to fixing meals for the others.

1976 found the group signing Scatman Crothers to do the voice of Crazy Legs, the free spirit that assists BANJO in the city. It was also a time of some change. More songs were developed and the story was being finalized as BANJO IN THE WOODPILE.

"Suddenly it was a Christmas Special," confirms Gary. "We were looking more and more into the possibility of selling BANJO to TV. All the executives thought that if the show was tied to a holiday, it would have a better chance."

"We forced Christmas into it," adds Don. "And it didn't work." There was even an attempt to surround the show with live action footage of Sparky talking to Santa Claus, then segueing into the animation. The holiday is still apparent in the street decorations and Crazy's Santa Claus suit."

The contunual changes in storyine, though, were eventually going to have a detrimental effect on the film. "In BANJO, we don't have a real strong story," admits Don. "It's the best that we knew how to write at that time, though. Notice it has no villains. We thought it would be a cute story of a cat who runs away from home, has some adventures in the city and then decides home is the place to be. Since then, we've learned, and been told by many writers, that your story is only as strong as your villain."

Scatman recored his songs in 1977, a major step in the production for John. "I think one of the highlights was when we had that full orchestra (32 pieces). We had saved our money, cashed in our Disney stock options, etc. to pay for this. It cost around $13,000 and lasted three hours. It was a thrill for me, for it was our first real taste of outside production."

The training and learning were paying off. Not only on the BANJO project, but at the Studio. Several outside people trained on the project were hired by Disney. Others used their knowledge on current Disney projects. Don was able to add additional effects to the animation of PETE'S DRAGON because of his experience of doing them for BANJO.

"Don offered Ron Miller a chance to come see the project," recalls John. "However, he was reluctant. At that time they were not endorsing outside projects." In some ways, that tiny incident was the sign the group needed. If they wanted the freedom to do their own projects, they would not find it at Disney.

March of 1979 saw the registration of the BANJO featurette script. After years of work, the film was finally nearing completion. It was also at this time that Don, John and Gary felt that the atmosphere at Disney was not what they wanted to work in. Many of the BANJO crew remarked that often the best part of the day was the time spent in the garage at night. The Disney studio was benefiting from the skills learned by the artists, but the studio life seemed stifling compared to the atmosphere and spirit of the garage.

With financial backing to complete BANJO, and a feature, the trio resigned from the Disney studio on September 13, 1979. The following day they were followed by a large portion of the young Disney animation staff. No longer a spare-time project, the film now had a definite deadline, December 21, 1979.

"Those last months of BANJO were some of the most thrilling and trying I've ever spent," claims Gary. "It was amazing to say the least. The crew worked rotating shifts, often sleeping on the floor between artists and equipment in order to complete the film in a matter of weeks. Shooting and editing ran 24 hours a day as we pressed to meet the deadline, which was met.

November saw post production recording being done. A final print was shown theatrically at the historical Egyptian Theatre in Hollywood, and the Peppertree (in Northridge) during Christmas week for Academy Award consideration.

Work on their first feature, THE SECRET OF NIMH, was now underway. For the crew, BANJO was a thing of the past. (Oddly enough, there was a chance that BANJO would have become the first feature of the Studio. When discussions were first held with Aurora, it was mentioned that if they took BANJO and expanded it into a feature, they could save a great deal of time and money. After all, there was already 27 minutes of material finished. After some working, and the development of a feature storyline, which included a villain in the guise of a tough cat Rocko, they decided against it.)

For the public, thought, this was the beginning of BANJO. In February of 1980, the short aired on HBO (also for Academy consideration). As work on NIMH came near its conclusion, a slightly edited version of BANJO was seen on ABC, May 1st, 1982. (Don, John and Gary were en route to London for the recording of Jerry Goldsmith's score for NIMH.) With the airing of BANJO, some at the studio felt there might be some life left in the little orange wildcat. Several children's books were developed along with a second special ("Banjo Meets the King of the Goblins").

"These stories were written in an attempt to establish a character with a great deal of public appeal. We wanted to show that he was viable and could be featured in well written stories. I also suspect we did it to show we could write a good story for him," reflects Don.

While some felt he might make a good Studio symbol, others looked to him as a merchanising potential. It was at this time that the BANJO comic strip/panel was developed. However, neither the strong merchandise push, or establishment as oficial studio symbol came to be.

"He is the closest thing to a trademark we have," states John, "We'll try to keep his image alive, for he is a part of us."

Gary agrees. "We'll continue marketing him. We're now working on a storyteller album and hope to eventually make the special available for home video on cassette. It was our first step, and at that time, it was a giant step. But in comparison to what we're doing now, it seems like baby steps. It was still an enormous undertaking for three guys."

Don's evaluation is a bit more philosophical. "We needed to see if we had the strength to hold on through seven years of experiences in the garage. If we could get along and work together through it. If we could soar on to greater things.

"I think BANJO is a turned page in an ongoing assignment. I see it as a STEAMBOAT WILLIE to us. It represents a moment in time when we had to flap our wings."

LICENSING UP-DATE
In answer to the numerous inquiries from fans, collectors, and loyal supporters, we are proud to announce that since the release of DRAGON'S LAIR in July 1983, we have licensed with numerous companies that will have products available in the stores by early Fall.

ALADDIN INDUSTRIES, INC. is producing a beautifully colored lunchbox and thermos.

COLECO INDUSTRIES, INC. is preparing the home video computer like version of LAIR.

CREATIVE TEACHING PRESS, INC. will distribute a series of SCRATCH-N-SNIFF Stickers, all featuring actual artwork from the game.

FLEER CORPORATION, the makers of "Double Bubble" gum, has produced a special gum package. Each pack will feature three stickers, three "rub-off" game cards, and (of course) gum. Once again, the cards and stickers feature studio artwork from the game.

HALLMARK CARDS, INC. is releasing color stickers on a roll, magic motion stickers, party goods, and giftwrap.

LARAMI CORPORATION offers "Puffy" stickers, again featuring studio artwork.

MARVEL BOOKS has a line of children's color and activity books using original art from the studio.

MILTON BRADLEY COMPANY is announcing their boardgame featuring Dirk and Princess Daphne. The object of the game, naturally, is to save the Princess. The game has had a new board concept designed for it--you'll have to see it!

PLACO PRODUCTS COMPANY has a safe dart-board game featuring the LAIR characters.

RUBY-SPEARS ENTERPRISES, INC., producers of ALVIN AND THE CHIPMUNKS, MR. T, DONKEY KONG, and other Saturday morning favorites, has contracted with Magicom to produce a Saturday morning series based on DRAGON'S LAIR to air this fall on ABC. They will also be producing the SPACE ACE series for CBS (also on this fall).

UNION UNDERWEAR COMPANY, INC. has already released T-shirts featuring DRAGON'S LAIR which are available in department stores throughout the nation (on the West Coast-Montgomery Wards). They are also currently in production on SPACE ACE T-shirts.

The WORMSER COMPANY, a large distributor of children's sleepwear, wil soon be adding DRAGON'S LAIR to their line.

Be sure to watch your Exposure Sheet, as we will keep you informed as to the many other products that are in the works.

--Carolyn Morris
Assistant Director of Licensing

Is there a future for the animation industry...and who will support it? I say "industry" because animation will always survive. Repeats and revivals will keep old product alive, while students will continue to produce individual films. The question is, whether or not a money paying public will support mass production.

This question has been in discussion recently at several meetings and gatherings of animation critics, professionals, and students. Unlike many other entertainment genres, animation does not seem to have a true, enthusiastic following.

Now before I hear from each of you stating your full support of the Don Bluth Studio, let me clarify myself by saying "enthusiastic support of animation." There are healthy support groups for various factions/styles of animation, but not animation in general.

There are fans of Disney, Warner Brothers, MGM, Bakshi, etc., but these fans are often only interested in their specific favorite. They would rush to see a revival on their favorite film/director/studio, but not to see "just any" animation.

Studios realize that to get animation moving ahead, the public must be clamoring for new product. Each studio is blowing its own horn to gain attention. Filmation has their new sydicated market with HE-MAN AND THE MASTERS OF THE UNIVERSE; Disney is promoting a "new image" of films for maturer audiences; Hanna-Barbera is introducing this country to European favorites like the Smurfs and Asterix; and we are highlighing the possibilities of the arcade market and classically animated feature films.

All of this hoop-la goes beyond the initial publicity for the studios. It's an attempt to make people interested in seeing new animation--to recognize animation as a genre to take seriously along the lines of science-fiction, western, fantasy, horror and drama. As long as animation professionals and buffs continue to be so specialized, the entire industry may collapse.

It's strange that those who cry for more animation don't see the parallel. If new animation does not sell, no one will pay for it to be done. A backer or studio does not judge a film on its quality, rather its profits.

I keep hearing animation folks say how they had "meant" to see a recent feature, but it had "disappeared" from the theatres. These are often the same ones who saw SUDDEN IMPACT, THE RETURN OF THE JEDI, and E.T. the first weekend...and multiple times after that. In today's box-office climate, a film that doesn't do well right away, will not be around long. (When was the last time you saw an animated feature stay in a theatre as long as a James Bond or George Lucas film?)

Part of being in love with an artform is the support for that artform. When you go to a movie, you are casting your vote to see more films like it. A film on a popular subject or with a big star or director will be around for a while. You'll be able to support that film next week. If you wait until "next week" to see an animated feature, you probably won't be able to see it. Once again, the word will go back to the studios that no one is really interested in seeing animation.

Are they right?

I am an immense fan of your animation, especially DRAGON'S LAIR. Your studio is the best animation company in the business.

However, DRAGON'S LAIR was supposed to have had a lot of animation cut out. These scenes are not in the machine at my local arcade, but I've heard about and seen a few of these "secret rooms" on TV. What can you tell me about these rooms?

--John Mathot
Holliston, Massachusetts

(You are correct, John, there are some "missing rooms" in the LAIR. After the game had been animated, the programmers set up the actual game play. Programming was done for what was felt to be the most exciting or fastest game play sequences. This eliminated several scenes of continuity, such as the opening where Dirk crosses the drawbridge into the castle.

Of course, SPACE ACE actually does have "secret rooms." These are the sequences that can only be reached on specific levels of the game. Only in the "Ace" mode will the player see all sequences. There's also the added fact that one can play the game as Dexter, never energizing until the final Ace/Borf battle, and see still different scenes.)

Greetings and salutations from the hinderlands. I have just received the first Exposure Sheet, and I want to compliment you on an excellent production. I espeically like the articles written by various members of DBP who might otherwise remain unknown to your many fans and supporters.

I did notice someting in the Exposure Sheet which has me worried. While there were several articles and comments on DRAGON'S LAIR and SPACE ACE, there was almost nothing on future specials or feature length productions such as BANJO and SECRET. I'm concerned that this intense concentration on animated shorts could interfere with the creation of future feature length movies. I feel that this would be regretable. While there may be more money in shorts, there is far more love in feature length productions.

Gregg Anderson, 2nd Lt.
Jacksonville, Arkansas

(Gregg, don't worry, we have not abandoned feature films. However, the amount of time and pre-planning a feature is quite large. Many of our projects under consideration are still too premature to mention. They are on the drawing board, though, for features are our main love. When full production begins, you can be sure it will be heavily covered here. Until then, hope you enjoy the retrospective on our past "lengthier" subjects.)

Dazzling! A feast for the eyes and ears! Yes, I've finally played SPACE ACE, and it is well worth waiting for. The energized options are quite an innovation. Under the Cadet skill level I have already discovered a path which enables me to reach the quarter-staff battle with Borf with three lives left to experiment in defeating him.

It's interesting to note that this game is more difficult than DRAGON'S LAIR in its use of numerous moves placed closer together, requiring a more rapid response. However, it has an aspect easier than LAIR in that it contains more "flashing light" clues for direction and action.

As well as the wide-ranging visuals, I am also very impressed by the dynamic, foot-tapping success of your music composer. I hope that you will individually credit this effort in a future issue of Exposure Sheet.

--Mike Price
San Diego, California

(Glad you're enjoying the game, Mike. The music in ACE is by Chris Stone, who also did musical bridges in LAIR. Gary talked a bit about him in last issue's Sweatbox Notes. The music has gotten quite popular with requests coming in for copies. If anyone out there would like to see a "soundtrack" to ACE released, let us know.)

Q: Do you have any information on the game CLIFF HANGER?

--Joe Bardi
Spring Hill, Florida

A: Yes, CLIFF HANGER is an animated laserdisc game featuring footage from two Japanese feature films. The films star Lupin III, called Cliff Hanger in the game, a popular TV cartoon character. Most of the footage comes from his second feature, THE CASTLE OF CAGLIOSTRA, released in 1979.

Q: I would like to know if you could send me some instructions or pointers to make me a better DRAGON'S LAIR player?

--Robert Grad
Alden, New York

A:There are no official instructions on how to win at LAIR. However, the November 1983 issue of JoyStik Magazine have details on several of the rooms, while the March 1984 issue of Video Games Magazine featured an article on game strategies.

Q: Would it be possible to come to your studio for a tour?

--Eric Pigors
Canyon Country, California

A: Unfortunately, we do not give tours of the Studio. We are in a period of growth at the current time, and are quite crowded. Also the large amount of secrecy we must work under, due to the highly competitive game market, makes it impossible.

Q: Will Exposure Sheet cover other studios?

--Carol Griffin
Scottsdale, Arizona

A: Though a lion's share of the issues will be devoted to developments and information about events here, we will be getting into a broader coverage of animation. A lot of that will come through our new "regular," Jerry Beck. His last article featured animation firsts, while this issue has a survey of animation styles. Of course, should you have a specific question on animation, drop us a line. We'll try to answer it.

"Classical" animation, the style used by the Don Bluth Studio, is one of the various "styles" of cel animation that have developed over the years. As a fan of music may enjoy jazz, rock, country/western or classical, and a dance enthusiast may prefer ballet, modern, tap or break dancing, animation devotees can also enjoy a variety in animated films.

This survey illustrates what I like to think are the most notable styles in the field of character animation.

These scenes from THE ARCTIC GIANT (Fleischer--1942), ALICE IN WONDERLAND (Walt Disney--1951), ANIMAL FARM (Halas & Batchelor--1953), and THE SECRET OF NIMH (Don Bluth--1982), exemplify this style--realistic backgrounds and rich detail on the characters. Classical animation is a team effort, produced by the studio system to create the maximum emotional response from the viewer. The "golden age" of classical animation was between 1939-1945, when it was a standard practice among all the Hollywood studios. Some of the other classical feature films include: All of the early Disney classics (1937-1955); and Fleichers' GULLIVER'S TRAVELS (1939), and MR. BUG GOES TO TOWN (aka HOPPITY GOES TO TOWN), (1941).

This primitive style, used by the Hollywood cartoon studios between 1928 and 1934, was inspired by the popularity of Mickey Mouse. Pictured is Piggy and his girlfriend from one of the earliest Warner Bros. cartoons. They typify the "look"--simple design based on circles, gloves on hands, large pie-cut eyes, and big smiles (to beat the depression-era blues).

All the Hollywood studios (including Disney) were influenced by United Productions of America, a small outfit with opposing views on classical animation. Their cartoons of the early 1950's, with characters like Mr. Magoo and Gerald McBoing Boing, used bold, abstract artwork in telling their short stories. The stylized design used full animation, but has proven to be effective only in short films. The UPA influence has been world-wide, most significantly to the Zagreb Studio in Yugoslavia. Zagreb, like UPA of the 50's, is a studio of cartoon production without a "house style". "The UPA style" could be best summed up as animated cartoons which are "personal" films, but produced by the studio system.

Not to be confused with the UPA style, television animation only adopted UPA's simple designs, and cut corners on every other aspect of the art. Limited movement and a lot of dialogue are the trademarks. The quality of the story (in adventure series) or gags (in the humor shows) are essential for popularity in this field.

The rotoscope is an animation technique for tracing live action film for animation purposes. It has been used since 1915, when Max Fleischer invented it. Ralph Bakshi's extensive use of rotoscope in LORD OF THE RINGS (1978), AMERICAN POP (1981) and FIRE & ICE (1983) has established its use as a style of animated filmmaking. Many TV commercials and independant films have used the rotoscope and some TV cartoons have adopted the technique to good effect--Filmation's TARZAN (1976), FLASH GORDON (1980) and HE-MAN (1983) break from their stiff model poses into fluid rotoscope action.

This "Japanese" style or look, is really the influence of cartoonist Osamu Tezuka (ASTRO BOY, KIMBA, etc), the father of Japan's comic book and animation industries. His style was influenced by the Disney and Fleischer cartoons he saw as a child in the 30's. The Japanese animation industry has turned out some wonderful full-length "classical" animation features, but are best known for their large volume of TV shows--which, though limted in movement, showcase excellent art and effects animation.

This is a wide-open category. A Chuck Jones cartoon is completely different from a Sally Cruikshank film. John Hubley's animated films can't be compared with Tex Avery's cartoons. Each filmmaker has a personal stamp uniquely right for their animated ideas. Cartoons from the National Film Board of Canada, the Zagreb Studio, and Independent animators around the world, would fit into this "style". These films reflect the personalities of their directors, and could encompass the other animation styles, or forge into original areas and new directions in the art.

Animated films are always heading in new directions--and the different styles should be savored. If you've only seen "classical" or "limited" animation, then you owe it to yourself to attend an animation festival (such as the annual International Tournee of Animation). Not every style may be to your "taste", but if given a chance, animation could be a "feast" for your eyes.

My page has been invaded! Yes...invaded by this myriad of machines, comtraptions and musical instruments. As you can see, we're off on new adventures in the Music Room.

What you see in the upper left corner of the page is a time machine, the principal model of our new arcade game, DRAGON'S LAIR II. The Time machine is a cantankerous old contraption, cracked and gray with age, who carries Dirk on his journeys through time.

By using models for certain props, we can greatly enhance the resulting animation. What we do is shoot the models with a motion picture and/or stop motion camera while moving or "animating" them by hand. Then, from the resulting film we develop the individual frames into photostats. A photostat is like an enlarged picture developed from the frame of film.

The photostats are then carefully cut out around the outside line of the prop and pasted onto animation paper in the exact position they occupied in the film. In this manner we now have a "photograph" of our model moving about on the animation paper...just like it would if it were drawn. The difference is that a boat, or musical instrument, cannot be drawn in perfect perspectives as it moves into varying positions without spending horrendous numbers of hours at the drawing board.

These days stats are everywhere and Missy is right in the middle of them. They bring with them a delightful chemical smell into the Music Room (it's the developing fluid you see). I thought it might be a blessing in disguise...chase Missy away again, but no such luck.

Oooops...I almost forgot! Remember how I told you in the last issue that Missy had run away? Well, something must have gone amiss in her worldly ventures because she came back home, baggage and all...and has reinstated herself on Mr. B's desk and in the sunny morning window.

Anyway, where was I?...Oh yes, once the photostats are pasted up in position the animators draw the characters riding on, jumping from, etc. the prop. The stat is then Xeroxed onto cels, just like the characters are, and is then painted in different colors.

From the pictures around me, you will notice that the models are painted white and then lined with black. This is so that our stats are clean in the white areas which will be painted later, and so that the lines that define the shape of the object show up clearly when filmed on motion picture film.

Don't get the wrong idea. Using models does not save us lots of time and energy...models are no shortcut. A tremendous amount of time is required in building the model, painting and lining it, not to mention the horrible number of hot, sweaty hours Mr. B and crew spend under the bright lights in front of the motion picture camera filming the models. What the models give us is beautiful, silky smooth, exciting action on the screen. Watching Dirk soar across the sky in his time machine is rewarding indeed.

Can you guess what models we used in Space Ace? That's right...Dexter's space ship, the Star Pac, and the jet powered Space Cycle.

Our tables and shelves in the Music Room are now covered with models and for awhile the Pirate Ship, which weighs in at 100 pounds and measures 55' long by 45' high, was moored right on my desk! And it more than covered my desk. Suddenly I had no work space and who do you suppose took command of the Ship?...You got it, Missy!..the Little Pirate.

The use of models has opened a new realm of excitement in our work. We'll never be hindered by where we take our characters in future games because we know we can build anything we want. The only restraint on our animation is the limits of our imagination!

Knowing that we can bring to life anything Mr. B dreams up is exciting indeed!

CARICATURE
A drawing which exaggerates a person's qualities or movements, thereby creating a ridiculous effect, is called a caricature. Such a creation is filled with insight and often helps us see ourselves.

yes, a good caricature is like a morror, a place to give pause and look inward. It promotes growth by pointing out human foibles. And--this is the best part--it is done in a spirit of fun so you hardly feel the prick of the needle.

Base your drawings on your observation of life; exaggerate what you see, or rather what you feel you see. To have your viewer double over with laughter or merely stare in awe will be your reward.

Formula drawing is a deadly concept: it is better to be instructed from nature. Even a character model sheet is conceived to formalize the body parts of a character..to help show relationships between the various parts: the head to the body, the length of the arms and legs. The animator would be well advised to take his inspiration from natural forms and not rely entirely on a model sheet.

Cartoon actions are unlike the actions of real people or animals. They are caricatured, exaggerated movements based upon nature. A figure drawing can be viewed in more than one way. Instead of being blinded by the form itself, analyze the function of the form. Banjo the cat is frightened by lightning and runs to hide. His legs propell him to safety. Instead of thinking cat forms (formula drawing), think of the bone structure and the fear emotion which gives meaning to the run. The real anatomy of a cat's legs has limits. A knee can bend only certain ways, and only so far. Yet in the cartoon figure you can push these limits much further. By so doing, you exaggerate his (Banjo's) emotions.

STUDY OF LIVE ACTION FILM
Before you can caricature nature, it is necessary to study nature. An intensive study of live action film, viewing it at speed and anylyzing it frame by frame, is a must. This stop and go process of viewing will illuminate your understanding. Do this exercise at least 1/2 hour daily. The films you select for viewing are critical.

Chaplin shorts are good review on mime; nature films will show realistic animal movements. Study acting with special attention to body gesture and expression. Try to pin down the emotion or thought that Chaplin is acting out. Analyze the content as meticulously as the form. Once you understand the content, the headache of drawing that action will be greatly reduced.

Let me say it another way. Your animated scene will always seem sterile, lifeless and uninteresting until you can go into the brain of your character, read his thoughts and feel his emotions. Then and only then will your characters begin to take on a true personality. While you study live action film, keep in mind that an animator's job is to caricature action...not to imitate it. That is why you must know the content. Let your drawn forms grow out of analysis of the characters' thoughts. Exaggerate what you see.

I have a friend who on several occasions has been chased by street gangs with knives through the dark alleys of Los Angeles. When he draws a charcter on a scared run, he far surpasses my own attempts. Why?...He understands the content.

REFERENCE ACTION IN NATURE
It is the reference to nature that is convincing to an audience. An anchor, so to speak, to the real world we all live in. As a comic must have his "straight" man for the humor to shine through, so a caricatured action must have reference to the normal or real world.

Even when inanimate objects come to life: clocks, telephones, knives and forks, etc...a reference must be found.

One of the most asked questions from people when they learn that we are animators is: "How the heck do you get all those drawings to look alike?"

This, of course, brings up an opportunity to point the finger at a department called cleanup and the responsibility of the 'key' assistant animator.

After an animator has created the rough action of any given scene and has dealt with the myriad of problems, such as timing, weight, volume, negative and positive shapes, line of action, overlapping actions, anticipation, facial and body expression, staging, silhouette values, etc., etc., and that's just to name a few, the next step, after rough approval by the Director, is 'cleanup.'

A scene can be 'made' or 'destroyed' in cleanup. The cleanup artist, or 'key' assistant, must take the rough drawing and reduce the sketchy lines to a single qualified line to define the shapes which will eventually be painted.

The 'key' assistant must make decisions in design which will make the character be consistant to scenes created by several different animators. The artists work from 'model sheets' which constantly remind them of the overall look of the character and of the intricacies of facial, body and costume design. They are guides to show where the lines come together and where color areas meet. They must also concentrate on line quality to create a final product which is pleasing to the eye.

Key cleanup animation artist, Vera Lanpher, heads a staff of twelve (12) assistants. She orchestrates an enormous number of scenes through these artists by casting the scenes according to each of their talent levels, just as the director does when he casts the original scenes to the animators.

She must first 'key' a number of the drawing 'extremes' and parts of other subordinate drawings to give the artists a guide through the series of drawings that make up the action or scene. She must also direct and teach the other assistants all the rules and tips on good drawing and design. Providing them with the 'do's and don'ts' of good cleanup.

Vera worked on animated projects, PETE'S DRAGON, SMALL ONE, and THE FOX AND THE HOUND. Training on BANJO THE WOODPILE CAT, she also contributed to XANADU, supervised 20 assistants on THE SECRET OF NIMH, and is currently putting the finishing touches to our third video game, DRAGON'S LAIR II--TIME WARP.

Philo Barnhart is also a key assistant animator and works almost exclusively for John Pomeroy. Philo's background is animation. Both his mother and father have made thier careers in the animation field. They have worked with most of the studios here in Los Angeles, including Disney.

Philo joined Bluth Studios during THE SECRET OF NIMH and has contributed to DRAGON'S LAIR, SPACE ACE and is helping wrap-up TIME WARP.

The third key assistant is Terry Shakespeare. Terry is multitalented and contributes in many areas.

He joined us during THE SECRET OF NIMH working as a cleanup artist. He is also an avid model maker and writer. If you are familir with SPACE ACE note the space craft that Dexter flies. It is a live action miniature constructed by Terry. Terry contributed to all three games as a cleanup artist besides his model building and writing.

These three talented artists demonstrate constant dedication to the art form and goals of this Studio.

Dirk the Daring has crash-landed outside a massive, stone castle in the clouds. Here he is pursued by the castle gatekeeper and his minions as the bold knight struggles up a series of vines and clouds before finally scaling the wall and entering the inner castle. This dramatic little escapade constitutes about ten seconds of an early episode in DRAGON'S LAIR II, our third and forthcoming laser-arcade game. My own personal contribution to this action consists of about three feet of rough character animation, (less than two seconds worth of screen time). This is just one of the many reasons why I always wince when someone asks me: "...And what part do you do...?"

A friend of mine from back east dropped by the studio recently on a visit. I thought I'd give him a tour around through each different department to explain how each phase of production is accomplished. I decided to start with my own desk, in an office which I share with animators Linda Miller and Chris Wahl. "Which one of you draws Dirk?" my friend asked innocently. "I do," the three of us all answered at once. I tried to explain that since it's necessary for Dirk to appear in almost every scene, each of the some two-dozen animators winds up drawing him. Hoping my explanation had made some sort of sense, we moved on to the Clean-up department, where Vera Lanpher was putting the finishing touches on a scene of Dirk's ferocious Mother-in-Law. "I like her helmet action," my friend told Vera, "it's a nice touch." Vera was quick to point out that the helmet wasn't her "touch," as it had been originally animated by Dan Kuenster, from a character layout done from Don's storyboard sketch, from which John has designed the model sheet. I went on to add that at least six other animators got to work on the Mother-in-Law, not including their assistants.

By the time we had gotten to the camera department, my friend had stopped asking questions altogether, and had simply taken to shaking his head in confusion. I was beginning to get the impression that a visit to a biochemical engineering laboratory might be a more lighthearted excursion, but with only one more department left to visit, I decided to plunge ahead.

"The Editing department is the last stop before the arcades," I announced as we entered Jeff Patch's office. Jeff explained that, among other things, the Editing department is where the sound track is added, so you can hear Dirk's voice. "How many guys do the voice?" wondered my friend uncertainly. I let that one go and switched off the lights as Jeff snapped on the moviola. We watched in relative silence as the finished reel of the prehistoric sequence unspooled. As Dirk dodged the evil Wizard through a primordial swamp, my friend looked like he was finally beginning to understand how it all comes together. The reel clattered to an end and the lights came back on. My friend looked impressed.

"Now what part did you work on?" he asked carefully. I told him that I did the segment toward the finish where a huge dinosaur rises from the mud, threatening to devour Dirk. "Oh, that was spectacular," he said, "all that bubbling mud..." I had to remind him that effects animators had done all the mud. "Yes, but all the colors..." This time I had to transfer credit to the background painters, not to mention the Ink-and-Paint department, (which I mentioned anyway). His admiration for the setting, I reminded him, should go to the layout artists, and the sound and music to post-dubbing. "But it was your idea, right?" he questioned, whereupon I had to admit that the whole idea originated in Don's head to begin with. "Then what part did you do?" he asked in exasperation. Just Dirk and the dinosaur, that's all. "Well, to be honest," my friend mumbled, "with all the other stuff going on, I didn't really notice the characters..."

From now on, I'm taking visitors to the zoo. And maybe leaving them there.

Posters! Contests! Buttons! Newspaper Articles and Ads! Special Premieres!

Is it the opening of some new major motion picture? No, it's SPACE ACE!

With the release of ACE throughout the country, the Don Bluth Studio (in association with Magicom) is turning the arcade industry into the entertainment industry. Arcade owners have received a special packet of information to make the arrival of ACE one of the biggest events in town.

There's articles on the game and gamemakers in a special publicity section. The promotions section is loaded with contests, games, and new ideas to attract attention to ther newest game. There's even a section with advertisements for local papers. All of this is to make sure everyone knows where they can find ACE.

Since the introduction of DRAGON'S LAIR, The Studio has been working with arcade owners to make sure that they get the support they need. With ACE, those discussions have produced a bold first step in the "selling" of a videogame. (They even have a chance to order special merchandise tied to the game and its characters for sale to customers or for prizes in contests.)

Of course, the key to the success of any game is still the game. The reports at this point, indicate ACE is on its way to topping DRAGON'S LAIR. Arcades report lines and long waits to take control of Dexter/Ace and save the earth. Faster pace, spectacular sound, and Classical animation are some of the reasons.

However, never to be content with the current fare, the Don Bluth Studio is hard at work to bring more innovations to the area of videogames, next with DRAGON'S LAIR II: TIME WARP (to be released late next summer) and followed by...