Walt Disney Studio
Bulletin No. 12
March 9, 1936
HOW TO CATCH, BUILD AND MAINTAIN
THE INTEREST OF SPECTATOR IN THE PICTURE
A resume of the examination in the
"Course Fundamentals of Cartoon Story and Expression"
First semester - Dr. Boris V. Morkovin
I. INTERESTING SUBJECT MATTER
1. Familiar subject with a
TORTOISE AND HARE.
The story of a race between the tortoise and hare is age old. Each character,
respectively, has become a symbol for a fairly clear cut type of individual.
They are stock characters which in our picture, were given new interpretations.
If they had been kept one-trait characters, "slow but sure" vs "speedy
but uncertain" they would not have been convincing. Each had to be given
individual touches that would make him a personality, founded on the
basic symbol. The handshaking episode was a small sequence that contributed
to the character of each in this manner. Modeling Max hare after the
then publicized Max Baer gave the story an added element of
LULLABY LAND was
a novel treatment of a familiar subject in an unfamiliar way. The unique
way of bringing to life inanimate objects such as, scissors, safety
pins, matches, etc., and the baby's natural curiosity, all had great
audience appeal. ([Homer] Brightman)
did not portray a worthwhile idea; theme and moral were very weak. There
was no novelty in the way of presenting it, and characters were unconvincing.
There was a lack of character build up and there was nothing timely
about it. (Kelling)
BROKEN DOLLS - lack
of comprehensive theme made this weak. (Miller)
2. Clearness vs Confusion
is a good example of clarity in presentation and development of the
idea. When the jungle kids mimic Elmer, dangling ropes and leaves in
imitation of his trunk, it is obvious to any spectator why he feels
as he does about his "long nose." Once this
thought has become clearly