Boldface page numbers refer to figures
A
Aardman Animations 30, 39, 43, 54, 101, 186; for Nokia 76
abstract animated films 23
abstract animation 3
abstract films 13
acclimatization, time for 183
Achilles (1995) 68
acting 55, 98; blocking of 159–161; classes 182; method of 35–36; practical aspects of xvii; profession 168; scope for 58; style 21–22; talent 182; villain 173
Acting for Animation (Hooks) 43
action: impatience in 31; sheets 80; Stanislavski’s system 34–35; verbs 180
Action Comics 132
actors 178; in animated performance 167; animator as 66–69, 75, 167; becoming an xvi–xvii; contribution of 171; floundering 173; interviews with 176; mistakes 181; performance with animation 167; relations with 173; reputation of 168; schedules 176; training 183
actors, working with: in animated performance 167; cartoony, noncartoony voices 172; casting 169–171; feedback 181; line readings 180–181; live action and animation 182–184; motion capture 184–189; recording 176–177; rehearsal 172–176; talking to 178–179; verbs 180; workshops in 182
actual voice script 175
Adamson, Andrew 95
ad-libs, possibility of 177
adult audience 88
Adventures of Tintin, The (2012) 185
Aesop’s Fables 92
alchemy 168
Aleksandr 58
Alexeyev, Constantin Sergeyevich 29
Alice in Wonderland 79
alien language 175
Allison, Billy 188
Amadeus 127
Anchors Aweigh 27
Anderson, Wes 27
Animal Farm 52
animated characters, movement parameters of 72
animated cinema 27
animated conversations series 30
animated feature films xviii
animated films 162; animals in 92; feature of 130
Animated Minds 52
animated performances 83, 139; actor in 167
animatic: role of 148; transcription of 156
animation 48, 145; actors, working with 167; aspects of 50; bible 79–80; blocking of 159–161; boundaries of xx; characters 24, 83, 162; creative approaches to 1–4; documentary 52; drama 51–52; duration of feature 53; examples of 163; feature film 49–50; films and, live action 29; focus of 57–58; format of 83; Japanese see Japanese animation; large-scale 22; live action and 182–184; in Miyazaki’s films 39–40; naturalism and reality in 36–40; performance see performance in animation; personality 82; phrasing of 149, 160; practical aspects of xvii; principles of xiii–xiv, 84, 117, 133; production of 56, 150; recording sessions for 176; reflex reactions 131–135; for source of inspiration xix; studios 66–67; techniques 73–75, 74; timing 149–150; TV series 55–56; use of 24, 57; voices, subsection of 172
animation formats 64–65; budgets for 66
animation production 63; performance capture on 188
animators 83; as actors 66–69, 167; auteur 22; and background artists 153–154; becoming an xiv–xvi; bible 79; CG 77; character of 22, 80, 102; Disney 74 78; presenting vehemence of voice acting 102; professional 51; role of 63–64; scope for 161; skill of 23; understanding character’s motivation 104; working in stopframe animation 72
Animator’s Survival Kit, The 183
anticipation xiii, 117, 118, 121, 122, 123
Armstrong, Samuel 38
Asner, Edward 169
Aspects of the Novel (Forster) 96
Astley, Neville 16
audience 48–51, 57, 69; characters identification 89; demographic 48–49; empathy 87–89; engagement 89–91; for games 57; knowing 47–48; nature of 48; targeting 49–51; television 55; TV series 55–56
auteur animator 22
Avatar xix
Avery, Tex 21–22, 41, 42, 48, 64, 85, 90–91, 133
B
Back, Frederic 52
background artists 154; animator and 153–154; storyboard artist and 150
bad character, personality for 91
Ball, Lucille 27
bar charts, animation timeline 156–159; example of 157; representation of 156
Bare Necessities, The 19
Barth, John 91
Bart Simpson 55
Batchelor, Joy 52
bedtime stories for children 48
believability of characters 66–67
Ben and Holly’s Little Kingdom 16
Berkeley, Busby 140
BFI’s IMAX in London 65
Bird, Brad 27, 32, 107, 125, 170
Blanc, Mel 78
blocking of animation and action 159–161
Bluth, Don 3
Body Beautiful 22
body language 74, 78, 105–112, 107; props 102
body movements 78
body sync 78
Bolt, Robert 132
Bonzo Dog Doo Da Band 126
boundaries of animation xx
Bradford Animation Festival 110
Brando, Marlon 35
Brechtian style 42
budgets for animation formats 66
Bugs Bunny xvii, 4, 23, 41, 62, 64, 78, 83, 96, 99, 136
Burroughs, Charles R. 167
C
camera: instructions 157; motion control 28; movements 8–10, 153; multi-plane 16; position 17; unreality of 182
capturing process of motion 184–189
Carrey’s, Jim 49
cartoon 91, 92; based animators 22; character, interacting with kids 167; laws of motion 4
cartoony voices 172
CG: animation 73–74, 76, 134; films 15; generated environments 162; robot 184
Character and Personality 24
character-based animation 24, 64, 83, 84, 162
character designs 5, 73–79, 74, 80, 183
character development 62, 78; budgets for 63–64, 66; formats 64–65; role of animators 63–64; viewing environment 65–66
character interaction 180; dynamics of 84–85; performance, making 112–115
characters 20–24, 107; aims of using 58; animal 92–93; animation of xiii–xiv; attachment of 176; bad, personalities for 91; basic needs of 96; behavior 102; believability of 66–67; of Beryl 22–23, 23; building, importance of 71–72; cartoon 91; comic 96; in computer games 57; contextualization of 61; development of 55; engagement 95–96; established idea of 171; flat 96, 98; format of 83; identification, audience 89; imagination 179; interpretation of 70; knowing 69–72; layouts of 155–156; motivation of see motivation of characters; for multiformats 64; nature of 61; objectives of 32–34, 183; opinion 174; parade 159, 160; performance 62, 167, 172; personalities of xiii, 69, 81–84, 87, 90; physicality of see physicality of characters; physical nature of 62; physique of 76; portraying of 168; progression, narratives 90; props and costumes of 99–104; reality of xiii; relationship with 82–84; round 97, 104; sheets 80; stereotyped 81; stillness of 131; storyboards involvement in 147; types of 80–81; understanding 88, 97–99; vocal characteristics of 78, 172
Charlie Says 52
Cheshire cat 79
children, classic films for 88–89
chimpanzee, recognizable animation for 186
cinematic options, exploring ideas and testing 143
Clark Kent 132
classic films for children 88–89
client approval, in presentation storyboard 145
close-up shots 9, 10, 64, 65, 152
Cockneys 182
cold environment 177
collaborative medium 176
color 145; in drama 10; stylings 183
Colvig, Pinto 85
comedy 43–45, 51; performance 135–137; purposes 135
comics: boring hero in 90; character 96
communication: non-verbal 105, 106, 109, 110
compelling story 61
composition, story 139
computer: games 57–58; graphics 182; technology development 56
contemporary audience 174
contextualization of characters 61
conventional setting, shots in 183
corporate video 57
costumes, props and 99–104, 100, 101, 103
cowboy 69, 77, 81; characterization of 61; movies 12, 179
Coyote 12, 22, 32, 34, 55, 83, 127–130
craft skills xv
creative approach to animation 1–4
creativity xv; developments in technology xix; restrictions on 27
Croft, Lara 57
cut-out animation 74
D
Daffy Duck xvii, 4, 19, 21, 22, 41–42, 62, 64, 69, 78, 83, 91–93, 96, 103, 136
Dark Matter 3
daunting business 178
Davies, Phil 16
DC Comics’ Superman 90
Dean, James 35
Depp, Johnny 169
design work 174
Despicable Me 136
de Vinci, Leonardo xv
de Wit, Michael Dudok 6, 7, 102
digital 2D animation 151, 153; development of 158; software 157
digital environments 182
digitally shrinking 183
digital video disc (DVD) 176
Directing Actors 180
directors 65, 174; concentration in scene 181; emotions and 173; first-time 168; script analysis 98; support and backing of 171
Disney studio 17, 27, 36, 38–39, 41, 84; principles of animation xiii–xiv, 117
Disney style 39
Disney, Walt 19, 27, 36, 37, 39, 40, 42
Docter, Pete 14
documentary, animation 52
Dorothy 99
Dot 76
Doughnut in Grannie’s Greenhouse, A 126
drama xix; animation 51–52; irony in 98
draughtsmanship in presentation boards 145
drawing: level of investment in 143; for thumbnail storyboards, standard of 145
Dreamworks animation studio 169
Driessen, Paul 163
Droopy 91
Duchamp, Marcel 126
Duke of Clarence 34
duration of feature animation 53
DVD see digital video disc
Dwarves 96
Dynaguy 33
dynamics: of character interaction 84–85; performance 162
E
economic climate 56
Eisenstein, Sergei 11
11 Second Club 102
Elles 125
emotional memory, Stanislavski’s system 30–31, 36
emotional state 33
emotions 148–149, 173; directors and 173; physique and 29
empathy 31, 44; identification and lack of 89; importance of 87–89; for villain 91–93
engagement: audience 89–91; character 95–96; empathy and 87
environment: digital 182; in story 11–18; viewing for character development 65–66
eponymous hero 183
esteem layers in hierarchy of needs 94, 96
Evans, Chris 183
explicit performance 21
expose sheets see dope sheets
Expressions of the Emotions in Man and Animals, The (Darwin) 108
eye contact 113
eyelines 183
eye watering technology xviii
F
facial expressions 88
family audience, preschool animation for 64
Fantastic Mr. Fox (2009) 27
fast cutting camera 11
Father and Daughter 6, 7, 9, 15, 102–103
feature films 62, 64; animation 49–50; format of 53, 53; motion capture in 188; real miracles of 68; viewing environment 66
Feet of Song 13
Field of Dreams 51
figurative animation 68
film language see montage
films: acting 35; feature see feature films; genre of 140; grasping of 177; Mosaic 52; public information 52; scene in 174; setting of 11–17; short form see short form film; sound within 18–20; structure 139
first-time directors 168
Flappy Hands 100
Flash 16
Fleischer Brothers 185
Fleisher, Max 27
Foghorn Leghorn 78
Folman, Ari 92
Fonda, Jane 35
format 53–58; of animated TV series 55–56; animation see animation formats; character development 64–65; corporate video 57; of feature film 53, 53; games 57–58; hand-held devices 56; Internet 56; short form film 54, 54
Forster, E. M. 96
4′33″(Four minutes, thirty three seconds) 126
Franklin, Aretha 126
Fred Flintstone 20
Fredricksen, Carl 169
Frodo 102
functional costume design 103
G
games animation: motion capture in 188; requirement 69
Garden of Eden 96
generic character 186
genre 27, 41; animated documentary 52; comedy 51; drama 51–52; of film 140
Gertie the Dinosaur 18
Gillett, Burt 36
Gingerbread Man 170
Giono, Jean 52
Girl Can’t Help It, The 27
Girls Night Out 22
Gold Digger’s of 1933 140
Goldwyn, Sam 104
GPS technology, storytelling using 56
graticule 152
Griffiths, D. W. 11
Gurney, James 92
H
Halas, John 52
Happy Feet 27
happy-go-lucky 6
Harry Potter and the Order of the Phoenix (2007) 186
Hedgehog in the Fog 84
Hemmingway, Earnest 52
hero acting 173
hero character 90; antagonist for 91
Hitchcock 102
Horwich, Steven 44
Hunchback of Notre Dame, The 159
I
Ice Age 102
imaginary stories 90
I Met the Walrus 43
implied character 21
In Captain America, The First Avenger 183
Incredibles, The xix, 32, 107, 170
individual storyboard panels 144
in-jokes 170
interaction, character see character interaction
interactive games 188
Internet 56
interpretation 172; approach to animation 3–4; of character 70; dramatic animated 51
interviews with actors 176
investigation, script 174
involuntary actions 135
irony in drama 98
Itchy and Scratchy 91
I Wan’Na Be Like You 19
J
Japanese animation, traditions of 49
Japanese puppet theatre 17
Jason and the Argonauts (1963) 72
Jenson, Vicky 95
Jesus Christ, Superstar 109
John Carter (2012), 186
Johnston, Joe 183
Johnston, Ollie 114
Jones, Chuck xvii, 12, 19, 22, 23, 41, 64, 83, 114, 127, 128, 133, 136
Jones, Terry 44
Judean society 173
Jumping 8
Jungle Book, The xvii, 19, 92, 93, 124, 124
K
Katzenberg, Jeffrey 5
Kennedy, Oscar 129
Kimball, Ward 78
King Kong (2005) 185
Kirk, Brian 129
Kricfalusi, John xiv, 91, 105, 133
Kryptonite 90
Kubrick, Stanley 171
L
Lady Eboshi 95
Ladykillers, The 136
Land Before Time, The 3
Landreth, Chris 52
language, body 74, 78, 105–112, 107; props 102
large panoramas 65
large-scale animation 22
Larkyn, Chris 52
Lawrence of Arabia 132
Lawrence, T. E. 132
layout artist 150, 155; responsibility of 152
layout drawings 151, 152; and field guides 155
layouts 150, 153, 154; of character 155–156; process of 155
Lean, David 132
lecture, delivering of 173
Lennon, John 43
Levitan, Jerry 43
Life of Brian 44
lighting in drama 10
Lion King, The 10
Lisa Simpson 55
listening, character interaction 113–114
Little Rural Riding Hood 85
live action 134, 150; and animation 182–184; work 176
live action films 9–10, 28, 41, 179; animation and 29; directors of 27; use of 36–37
local amateur dramatic societies 168, 182
location shooting 182
Looney Tune 93
Lord of the Rings, The 3, 102, 185, 188
Lost in Space (1998) 186
Louis XIV, court of 173
M
Mackendrick, Alexander 11
Maguffin 102
mannerisms 186
Man Who Planted Trees, The 52
Marey, Etienne Jules 184
Marge Simpson 55
Marvel Comics 90
Marvel Studios 183
Mary Poppins 182
Mask, The 49
Maslow’s hierarchy of needs 93–94, 94, 96
Max Beeza and the City in the Sky 13, 14
Maya 188
mechanics of scene composition and performance 142
media: creative exploration of 56; forms of 49, 57
meditative scenes 174
Medusa 72
Mendoza, Paul 110
mental geography concept 11, 15, 16
MGM cartoons 133
Michelangelo xv
Mickey Mousing 19
microphone 177, 179; dangling 182
Miller, George 27
Miracle Maker, The 108, 173, 181
mirroring, character interaction 112
mistakes, actors 181
Miyazaki, Hayao 39
mobile technology, development of 56
Mode, Edna 170
model: animation 99; sheets 80
Moe Simpson 55
Moliere 44
Monroe, Marilyn 35
Monsters Inc. 14
Mori, Masahiro 106
Mosaic films 52
motion capture 28, 182, 184; and capturing performance 185–186; studio, actors in 167; trick used in studio 188
motion control camera 28
motivation 173, 174; objectives and 183
motivation, characters 31–32, 93–95, 104, 174, 183; defining 93; wants and needs 95–97
Mount Doom 185
movements of body 78
Mowgli 124
Mr. Bug goes to Town 185
Mulan 17
multiformats, characters for 64
multi-plane camera 16
music 19
musician 167
Muybridge, Eadweard 184
Myers, Mike 170
My Neighbour Totoro 39
N
narrative-based animation 83
narratives 64, 98; character progression 90; tools 102; visualization of 141, 144
National Film School 14
natural performance style 176
Newitt, Jeff 35
Newman, Paul 35
Next 103
Nightmare Before Christmas, The 19, 20
Nine Old Men 84
Nokia, Aardman Animation for 76
noncartoony voices 172
non-verbal communication 105, 106, 109, 110
Norstein, Yuri 84
Northwest Hounded Police 91
O
obstacles 34
Oedipus 98
older children, preschool animation for 64
Old Man and the Sea, The 52
Old Testament prophets 173
Olivier, Laurence 169
one-off films 66
one-off short-form films 82
One of Those Days 164
On Land, at Sea and in the Air 163
online storytelling to audiences 48
organic feeling 177
Orwell, George 52
O’Toole, Peter 132
overlapping action 117
overlays 151
P
pacing 10, 148–149; of film 148, 149
panels: in presentation storyboard 145; of storyboard 151
panoramic shot 65
parallel world stories 90
Paramount Pictures 183
part time acting classes 182
pencil, performance in 168
perfection of character 90
Perfect Storm, The 2
performance-based animation, character development in 62
performance capture: implications on animation production 188; sequence, creating 186
performance, making: body language 105–112; character interaction 112–115; comedy 135–136; components of 105; effort 115–125; reflex and physical reactions 131–135; silence 125–131
performance, principles of: character understanding 97–99; empathy see empathy; engagement see engagement; motivation 93–97; props and costumes 99–104
performances: consistency in 183; dynamic 162; in pencil 168; physicality of 179; practical aspects of xvii; spontaneity of 172; technical 177
performances in animation xviii, 55, 83; brand of 48; practical aspects of 47; scope for 58; types of 27–45
personality 23, 61, 84, 167; animation 82; for bad character, depth of 91–92; character 69, 81–84; development of 82
perspective, rules of 182
Peter Parker 90
Petersen, Wolfgang 2
Petrov, Aleksandr 52
phrasing 149; of animation 160
physicality of characters 137; animation bible 79–80; character design 73–79; overview 72–73
physique of character 76
Pirates, The 35
Pixar animation studio 169
planning for scene composition 141–142
playable direction 179
Playful Pluto 36
plot changing 174
Plympton, Bill 164
point of view (POV) 164
Popeye, pipe and clothing 103
postproduction 183
Potter, Dennis 109
practical approach 1
practical aspects of animation xvii
preparation 176; and rehearse 177
preproduction materials 174
preschool animation 64
presentation storyboards 144–145, 146
Price, Vincent 20
Prince Cinders 170
Princess Mononoke 95
principles, animation xiii–xiv
production funds, secure 145
production storyboards 145–146
professional animator 51
props and costumes 99–104, 100, 101, 103
Protect and Survive 52
proto-animation techniques 167
PS3, game console 188
public information films 52
Purves, Barry 17, 17, 52, 68, 69, 75, 103
Q
Quinn, Joanna 22, 23, 42, 125, 180
R
Raising Arizona’ 136
rapid prototyping technology 189
Raskin, Josh 43
Ratatouille 110
realistic characters, in animation 36–40
reality, of animation characters xiii
recording studio: performance in 172; pressure in 178; time in 172
Red’s Dream 23
rehearsing action for performance 164–165
Reiniger, Lotte 74
Reitherman, Wolfgang 124
relationship, with characters 82–84
Renaissance 182
Ren and Stimpy xvii, 21, 49, 105, 133
replication, of naturalistic actions 2
representational animation 2–3
rhythm: of film 177; and isolation 176
Richardson, Ralph 127
Rise of the Planet of the Apes 185
RMS Lusitania, by torpedo 52
Roadrunner cartoon 7, 12, 22, 32, 34, 41, 55, 64, 83, 127–130
Rogers, Steve 183
rotoscoping 185
Russell, Erica 13
Ryan 52
Rybczynski, Zbigniev 163
S
Samourai movies 17
Saunders, Jennifer 170
scene: in animated movies 38; criteria for 39; dynamics 161–164; elements 140; objectives in 32–34, 33, 35; painting 99; performance in 33; verbal description 174
scene composition: planning 141–142; processes of 155; storyboards 142–147
science-fictional element 173
Scorsese, Martin 171
Scrat 102
scratch track, animatic with 172
screen format 18
screen size, on animation 64
screen space 11–18, 161–164; divisions of 152
script 4; analysis of 31–32; investigation of 174; person reality in 174; working with an existing 5–6; writing your own 6–7
secondary action, in animation 117, 119, 132, 135, 160
self-penned script 6
sense ix; of character 36; of 3D 16; of hearing and visual clues 6; history of performance 45; of life 36; of pain 131; reality of character 116; of space 15, 183
Sherlock Holmes 122
Shoe People, The 146
short form film 51, 54, 54, 82
shot 152; choice of 64; panels of 147; preparation of 150–156
Shyamalan, M. Night 14
Sidney, George 27
Signs 14
Silverman, David 14
Simba 10
Simpson, The 91
simulation animation 2
Sinking of the Lusitania 52
SketchUp tool 15
skills, animation xv
slow scenes 174
Smeagol 185
Smith, Patrick 102
Snow White 91, 92; Wicked Queen from 94–96
Snow White and the Seven Dwarfs 36, 37
Social layers, in hierarchy of needs 94, 96
Solid Drawing 117
Son of Man 109
sounds 18–20; repetition of 175
speech bubbles 19
Spiderman 90
Spielberg, Steven 27
squash and stretch 117
staging xiii, 15, 17, 117, 150, 155
standard of draughtsmanship, in presentation boards 145
standard of visuals, in presentation storyboard 145
stand-up comedian 170
Stanislavski see Alexeyev, Constantin Sergeyevich
Stanislavski’s system: actions 34–35; emotional memory 30–31; Method acting 35–36; motivation 32; objectives of 32–34; obstacles 34; script analysis 31–32; study of 29–30; tools or methods 34
stereotyped character 81
Stetson hats 77
stillness 127–128; moment of 130, 131
stilted performance 179
stopframe animation 72, 73, 75, 75, 77
stories: compelling 61; composition 139; description of 47; imaginary 90; visualization of 140, 140; of Wild West 61; Willow Pattern 17
storyboards 142–147, 143, 174, 180, 183; artists 5; panels of 151; presentation of 144–145, 146; production see production storyboards; working in 145–147, 147
Story of Elzeard Bouffier, The 52
storytelling 61; ancient tradition 92; aspects of 47; for audiences 48; different kinds of 47; nature of 47, 149; using GPS technology 56
Stromboli 82
style 11; acting 21–22, 44; animation 22, 127; of Baker, Mark 12; Brechtian 42; Disney 39; graphic, of film 43, 49
subsection, animation voices of 172
Superman 91
super serum 183
sympathetic action 132
sympathy 87
T
Talos 72
Tango 163
Tashlin, Frank 27
Taylor, Richard 52
techniques, animation xv
technology, developments in xix
Terry, Paul 27
tertiary animation 160
Tezuka, Osamu 8
3D animation 74
3D characters 76
3D environments 76
3D filmmaking 162
3D films xix
3D print technology 189
thumbnail storyboards 143–145, 144
time: for acclimatization 183; frame 8, 53, 58, 62, 65; in recording studio 172
timing 117, 119, 126, 127; categories of 148–150
TinTin 27
Titanic 28
To Beep or not to Beep 128
Tomb Raider 57
Tom Mouse 182
Tony the Tiger 92
torpedo, RMS Lusitania by 52
traditional actors 69
traditional dope sheet 157, 158
traditional graphic techniques 141
TV commercial: duration of 58; time constraints of 65
TV productions, motion capture implemented in 188
TV series 55–56, 62, 64; scope for animated performance 66
2D animation 80; digital 151, 153, 158
2D approach 16
2D classical animation 73, 76, 160
2D design 76
2D films 15
2D studios xiii
U
underlays 152
Unkrich, Lee 14
unsympathetic edit 10
V
vaudevillian tradition 18
verbal description, scenes 174
verbs 180
Vertov, Dziga 11
villain: acting 173; empathy for 91–93
virtual reality simulators, advent of 162
visual effects 28
visualization: of idea, checking validity 145; of narrative 141, 144; of story 140, 140
voice: actors 172; characters 78; director 178, 181; performance 20; recording 181
W
WALL-E 110
Walley, Clive 3
Walt Disney 36, 37, 88, 91, 167; Jungle Book 92; Pinocchio 99
Waltz with Bashir 92
War Story 101
Washington, Joan 181
watertight script 174
Welles, Orson 169
Weston, Judith 180
What’s Opera Doc? 115
Who Framed Roger Rabbit 27, 28, 183
Who Killed Who? 41
Wii, game console 188
Wild West, stories of 61
Williams, Richard 183
Willow Pattern story 17
Winston, Ray 129
working storyboards 145–147, 147
writer: dialogues 100; scripts 93, 97; stories 90
X
Xbox 360, game console 188
Z
Zoom at the Top 127