[...] beginning to pull upon his arms. Then as his knees break he
starts curling up. Finally he gets into a knotted position
and gets his maximum pull up in his arms.
In pulling up his arms he rolls his body over, which brings
his legs into position for the kick over at the very top. As
he comes up towards the bar he flips his body over, pulling
with his right arm and pushing with his left arm as he raises.
As he rolls over he straightens his legs and he gives a kick
at the very top. There is a great deal more kick in the right
leg than there is in the left. This carries him over the bar
and tends to roll him into a better position.
J. ROBERTS: The additional kick was to give his
legs additional lift.
The kick is the thing that brings him into the final arch over
the bar. From a caricature point of view this curve could be
even stronger. There are three curves in this action that
could be definitely dramatized if this vault were to be an-
imated - the start, where he gets into position to run; when
he connects with the pole there is a sway-backed feeling, an
exaggerated arch; and the exaggerated curve as he goes over
the bar. All of these points should be punched graphically
in order to bring out the most in the action. Of course there
is a change, too, of getting more bend in the pole on the
swing, and more of a flap in the pole in the run
... The higher he gets, the less form he can get
at the top; it's mostly arm pull. After he gets
the arm pull and gets his feet kicked up straight,
he just falls over. But at the lower heights
he can get into the jack-knife.
CULHANE: We almost always get it right on the
That brings up a very good point - that there is just one reason
why the rotoscope is used - and that because the men in the
Studio can't draw well enough. This business has grown fast, and
the necessities of the business have gotten ahead of the draft- [...]