Walt Disney Studio Bulletin No. 12 : How to Catch, Build and Maintain the Interest of Spectator in the Picture

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From the collection of Hans Perk at A. Film L.A. and reprinted here with his permission.

MICKEY'S POLO contains some some the screwiest logic to be found among our recent pictures. Yet it is interesting, convincing and highly amusing. The Duck's tunneling under the ground in his frenzied flight would be a forced gag, except for the fact that he has plenty of motivation for behaving in such a manner. The spectator at the moment is willing to grant that the act is reasonable, because he feels for the duck who has tried every other avenue of escape from his reckless pursuers. This is an example of a kinesthetic gag -- one that reaches us through the tingling nerve ends of our nervous system. The spectator can almost feel the polo mallets beating about his hand and back and whizzing by his ears. (Algar)

FIRE BRIGADE, a scene lacking in reason and motivation was the one where Goof stretches himself into a battering ram to break down the door into Clarabelle's room. The gag became forced because it was too obviously chosen for the novelty of its method and not for the soundness of its motivation. (Algar)

ELMER ELEPHANT. Durant actions on pelican out of place - Several years ago this action was timely, but now it is outworn and not in line with the rest of the story. (Thomas)

9. Growing suspense or quicker or more spectacular actions, toward the climax.

MOVING DAY repeats a suspense situation much the same as that in SERVICE STATION, in which Mickey, the Duck and Goof work frantically against time to escape the menacing Pete. SERVICE STATION hinges on the one situation, "ten minutes or else-". In MOVING DAY, the ever-present threat of the Sheriff is the theme. Donald's difficulties with the plumber's friend and the goldfish bowl lend comic relief to a situation that builds nicely in suspense. (Algar)

In MUSIC LAND the climax (battle scene) was arrived at too soon and the long drawn out solution gave us a strong anticlimax which left the audience cold. Had the tempo been restrained and then brought to a peak at the proper climax (the saving of the little boy and girl) the picture would have had more punch. (Penner)

10. Importance of sympathy with the character.

THE THREE BLIND MOUSKETEERS, in the scene where the cat is searching for the mouse under the shells, those manipulations of the shells are designed to exasperate the cat, at the same time giving this situation a feeling of suspense and sympathy for the mouse, who is under one of the bowls. This is where the specta-