[..] Q. In features, as in shorts, cutting is a device to
step up tempo. In a nine-minute short, we want it faster and
faster. I believe that, if we cut our features a la newsreel
as we do our shorts, it is only admitting a weakness in the
way we plan and stage our scenes. If we use cutting to the extent
that we are justified in using it in shorts, we are apt to mis-use
Q. We are much more adept at cutting fast stuff. We can work
out montages and excitement much better than we can create our
slow spots. We are all afraid of slow mood scenes.
A. We can't cut slow action on the screen with out having
it meaty. It must be as interesting as fast action. Cutting
is only good when you don't notice it, except in a montage.
Cutting shouldn't be noticed, except in cutting from sequence
Shorts today are not being built at nearly as fast a tempo
as they were even three years ago.
Q. We are substituting personality ideas for slapstick. We
leave it to the artists to draw a character with charm. As they
acquire more perfection, they will be able to handle things
at an even slower tempo. Fast cutting has been done to relieve
embarrassment, in most cases. We must develop our story and
handling it so it will not be necessary.
A. The fact that Snow White was so successful was not due
to the story or to the medium. It was meaty. We were careful
not to have any slow spots. Think of the many times we cut;
that would not be done in a live action movie. They would hold
Q. When we start to entertain an audience for an hour's time,
we want to keep from tiring them. We want to give them a chance
to relax in the proper places. We must watch the color, so they
don't tire of the clash of color. We must do the same thing
with moods. We must earn, not how to pep up the fast spots,
but how to slow down the slow spots. If we are going to improve
our technique, we must do it more in the slow spots than in
the fast ones.
Q. We will reach a point in animation where we can't improve
much. Then we will have to improve our Story Department. For
that matter, there isn't anything we couldn't produce in this
studio right now, from a technical standpoint, if the fellows
know what to produce.
Q. That opinion will go through a lot of changes. A few years
ago we thought our technique was pretty good, too, [...]