[...] but look how it has improved since then.
Q. People used to remark how clever it was to make drawn
figures move about the screen. Those same people no longer consider
that clever, but are interested in whether or not the story
A. That is the end of the business that we must hit.
Q. Your story is what you are reaching out to the public
with. Your animation is merely a tool.
Q. The importance of story is proven by the fact that "Three Little Pigs"
was received so much better by the public than "Magician
Mickey" or "Through
the Mirror," which were much better in animation.
Q. The public has become accustomed to good animation. Now
we need good stories.
Q. It is better, in animation, not to shoot for the moon,
but to create characters we can do well.
Q. The subject matter defeats some pictures -- they are clever,
A. One must support the other -- the animator must keep up
with the story development.
Q. It is easy enough for the Story Department to say "We'll
use a prince," without considering whether the animator can
animate it or not.
A. The character of Snow White would have been much easier
for Ham if the Story Department had written into her some traits
of character hat he could get hold of, from a story point.
Q. If the animator is given something basically good, before
it is even animated, he can't miss.
A. It is the job of the Story Department and the Music Room
to see that the animator gets that.
Q. Lay a little more stress on improving the situations and
gags, and the animation will be forced to keep up with it. If
you have a good, definite piece of business to do, the drawing
just comes around to it.
Q. My firm belief is that drawing is the most essential thing
for the animators to improve. To refer to the scene in "Snow
White: of the dwarfs around the bier -- one of the reasons the
audience did not laugh at that was because of the marvelous
handling in the drawing of the characters. Another scene like
that was the one [...]