January 2016 – Animated Spirit

The Art of Marc Davis

MarcDavis_sketching

Marc Davis seen here doing drawings for Disneyland’s legendary theme park attraction, Pirates of the Caribbean.

“Animation had been done before, but stories were never told.” — Marc Davis

There are pioneers and then there are pioneers like Marc Davis. Not only was he one of the legendary ‘Nine Old Men’ from Walt Disney’s group of founding fathers, he was responsible for earmarking multiple aspects of the studio’s artistry, from character design and animation, to theme park imagineer responsible for the creation of some of Disneyland’s most beloved theme park attractions.

Davis-Maleficent

The stunning power, design and elegance of one of Disney’s greatest villains designed and animated by Marc Davis. From Walt Disney’s 1959 animated classic, Sleeping Beauty.

When I first began my career in animation, Marc Davis instantly became one of my favorites, especially when it came to his drawings. I was always intrigued by the amount of care and poignancy that existed in any work done by him. His artistry was elegant, thoughtful and just so darn beautiful. Davis often proclaimed openly that his friend and legendary animator Milt Kahl was the greatest of all the animators:

“If it wasn’t for Milt, the rest of us would look pretty good.” — Marc Davis

But according to Disney veteran animator Andreas Deja, Kahl was equally impressed by his colleague:

“Milt often raved about Marc’s incredible draughtsmanship and his artistry in general.”

Bambi&Thumper

Talk about charm! The most adorable Marc Davis sketches could warm the most steely of hearts. His drawings of Thumper and Bambi showcase the essence of the characters and speak to us even without sound or movement. It was sketches like this that convinced Walt Disney himself to remark, “we have to make him an animator.” He was promptly trained by Frank Thomas and Milt Kahl.

I revered Marc Davis’ artistry so much, that I went to see him in San Francisco’s East Bay, where he was giving a presentation. This was early in my career, and accompanied by my colleague Dice Tsutsumi (co-founder of Tonko House), we drove out to meet this ‘Nine Old Men’ member for the first time. Hearing him speak and seeing the ease with which he drew was both inspiring and frightening. We often found ourselves looking at each other with our jaws dropped in absolute awe.

Davis_Malificent

Rough animation drawing by Supervising Animator Marc Davis of Maleficent, the evil sorceress from Disney’s Sleeping Beauty.

4 Artists Paint 1 Tree

During his lecture, Davis presented a little seen short film, “4 Artists Paint 1 Tree.” Featuring artists Marc Davis, Eyvind Earle, Joshua Meador, Walt Peregoy, it was an intriguing glimpse of the how truly diverse and devoted animation artists are, and not just during studio hours. To see the film, go here.

Unfortunately, it turned out to be his last public showing, as he would pass away from illness, just a few short months later. As sad as that made me, I will never forget his presence. He embodied everything I hoped I could be as an artist; skilled, diverse, passionate, and completely devoted, but he also emanated something more — a presence of sincerity, kindness and gratitude — qualities that made him as remarkable as his work.

Tinkerbell

Another memorable and charming character created at the hands of Marc Davis. The list of characters he was responsible for both designing AND animating include: Aurora, Maleficent, Cinderella, Thumper, Tinkerbell, Cruella De Vil, and Alice (from Alice in Wonderland.)

During his presentation, he spoke openly about his view of the industry, and even more openly about his respect and love for his old boss, Walt Disney — a father-figure for whom he stayed loyal to for over four decades. I truly wonder if working artists today could ever have that kind of reverence for employers anymore mostly because bosses like Walt, who loved art and his artists as much as he did, are in short supply.

“Everybody here was studying constantly. We had models at the Studio and we’d go over and draw every night. We weren’t making much, because the Studio didn’t have much, but it was a perfect time of many things coming together into one orbit. Walt was the lodestone.” — Marc Davis

Davis described his experience working at the original Disney Studio as a place of true discovery and exploration — a place that cared for the craft and the artists who made it happen. It’s no wonder that the studio contains such a large archive of beautiful work from it’s past — work that will continue to stand the test of time. How many of today’s films do you think you’ll remember even 10 or 20 years from now?

CountryBearJamboree

Country Bear Jamboree, a development Walt Disney himself never got to see come to fruition in his life time. Walt would pass away just three weeks later after being shown Davis’ designs for the Disneyland attraction.

“He laughed and chuckled … as long as you got something to show him — he was happy.” — Marc Davis on Walt Disney, several weeks before Walt’s passing.*

I think that the care that Walt Disney gave to his artists, flowed into his artists’ devotion to him and the craft at his studio. Marc Davis was a perfect example of that.

Perhaps one of the most realistic and difficult characters to draw or animate in Disney’s immense archive of animated characters, Aurora must’ve been a tremendous challenge to any animator. In the hands of Marc Davis, she’s animated with technical perfection, exhibiting only her innocence, grace and beauty – the essences of her character.

In 1947, Davis was asked by Disney great Don Graham to take over teaching his drawing class at Chouinard Art Institute. His teachings, and the drawings on the chalk boards, were unique and beautiful. According to Alice Estes,* a student of Davis’:

“He never repeated a single lecture… which was truly amazing! … He drew rapidly on a blackboard and nobody dared erase his sketches.”

Cruella

Concept sketches for Cruella De Vil, a character Marc Davis animated almost single-handed. The devotion to art, whether animation or painting, made Davis a modern day renaissance man.

When Walt Disney began to devote more of his time to the theme parks, he took Marc Davis with him. It was a gain for Disney in one hand but a loss in the other.

Pirates_Dogkey

Concept sketch of one of the most memorable set ups in Disneyland’s famous Pirates of the Caribbean by Marc Davis.

Imagineering-Disney_Marc-Davis_tiki-room

Another delightful series of sketches by Davis for another one of Walt Disney’s theme park attractions, the musical Tiki Room.

HauntedHouse

Marc Davis was brought over by Walt to help design numerous attractions throughout Disneyland including the famous Haunted House which was a favorite of mine when I was a kid.

Davis spent 43 years with the Walt Disney Company. A remarkable achievement anyway you look at it. And to the end of his days, he continued to create.

“You can never draw too well … I still draw everyday” — Marc Davis, 1980 in a letter to a fan.*

To date, I’m still inspired by his work and his words. And I do my best to abide by them. To conclude this tribute to Marc Davis, here’s a sequence of some of my favorites shots done by his magical hands:

Cruella De Vil, one of Disney’s best villains ever, animated with flair and bite by Marc Davis. Mixed in with controlled animation of Roger, Anita and Pongo by friend and colleague Milt Kahl, this sequence makes for beautiful animated magic that has contrast and personality. From Disney’s 1961 classic film, 101 Dalmations based on the children’s novel by Dodie Smith.

*Both quotes are from John Canemaker’s excellent book, Walt Disney’s Nine Old Men. Check it out here.

The Transcience of Joy and the Joy of Creation

frank_ollieillusion

Two of the greatest animators of all time, Frank Thomas and Ollie Johnston, peruse through their infamous animation book, The Illusion of Life. Few people ever seemed to enjoy their daily jobs and their careers as much as Frank and Ollie did.

“True happiness comes from the joy of deeds well done, the zest of creating things new.” — Antoine de Saint-Exupery

If the philosophers are right, happiness is a state of mind. You can’t plan for it and you can’t fully bring it back, even in positive memory. It has to be savored during its occurrence, during its moment in the sun. And there’s few joys as momentous and enjoyable as the act of creating something. Getting lost in the making of art is bliss.

The character team of Milt Kahl, Frank Thomas and John Lounsbery created real magic with King Louie, the self-proclaimed king of the jungle. Great art like this only happens when its creators are lost in the magic. From Walt Disney’s Jungle Book.

It’s far too easy to be pulled into the lure of fame or fortune, into that dreaded desire of feeling to be needed and respected – what philosopher Alan Watts calls “unsubstantial promises.” It’s dangerous to be caught up in a world of external rewards.

“The real secret to life — to be completely engaged with what you are doing in the here and now. And instead of calling it work, realize it is play.” — Alan Watts

One must move beyond the external circumstances that are beyond one’s control. Happiness, ultimately has to come from within and from the process of doing the work. Nothing’s as secure as that. Nothing’s as comforting.

Marcel Proust, writer of one of the most revered books of our time, In Search for Lost Time, discovered that art may be the single greatest thing that gives meaning to our lives. (Video courtesy of The school of Life)

I remember reading somewhere that the biggest separator from the immensely successful versus the not so successful, is the consistency of putting in the work and time to those parts of the craft or job that are typically the most “boring” — the stuff that nobody wants to do. This is so completely true, both in animation and nearly every other vocation.

It’s what’s often referred to as ‘the grind‘ — that which you have to do, not which you want to do. There aren’t many animators who look forward to spending days and nights re-doing work, cleaning curves, or fixing penetrations. Neither are there many chefs that enjoy meticulously prepping 50lbs of vegetables or athletes that dig riding miles on the stationary bike after the game. But it’s this part of the process — this seemingly endless labor that’s often viewed as both joyless and unproductive — that make a professional a professional. Pros do what needs to be done. It’s the kind of consistency of action that builds knowledge AND fortitude. It’s the ability to bear thru the uncomfortable that sets the top people apart from the rest.

BruceLee_FlagSitup

Bruce Lee doing his famous ‘dragon flag’ sit ups. Lee was only 5′ 8″ and 140 lbs, but hit like a 200lb heavyweight and throw punches as fast as 2/100th’s of a second (standard film shot at 24fps failed to capture his movement). He trained harder and more consistently than any martial artist in his time, throwing an average of 4000 punches and 1000 kicks each and every day. Not bad for a guy considered too small, too skinny and the wrong color.

Because this really hard and boring stuff, this thing that seems to bear no immediate fruit, and is so tedious and not so sexy, is what makes the work good, and in turn, makes you good. Making art is never boring because it’s never easy. Work that’s easy and without challenge isn’t worth doing.

It’s true – it IS the hard that makes it great. Tom Hanks and Geena Davis star in A League of Their Own, Penny Marshall’s 1992 film about life in America’s first All-American Girls Professional Baseball League.

And sometimes in order to have happiness, one must have unhappiness. People get the wrong idea that the “answer” is constant bliss or, at least, constant positivity. But that’s not sustainable nor ideal. Struggle is required for growth, as much as perseverance, as much as getting sufficient rest.

Diego Rivera Mural

I’ve always been blown away by the vast amount of work it takes to produce murals and the power that one feels looking at them. This huge mural, by Diego Rivera, depicts the history of his home country and sits at the Palacio Nacional de Mexico. Making significant art requires significant work.

This explains why so many of the most naturally talented individuals at the start, whether from the arts, music or sports, tend to create nothing and become much less than they could’ve. Most talent is unfortunately wasted. Giving up is always easiest thing to do. If you’re too used to early approval and easy success, subsequent set backs become too unbearable. The real challenge is always from within oneself. And, in the words of martial arts legend and Aikido founder, Morihei Ueshiba, we need to be reminded of that:

“Failure is the key to success; each mistake teaches us something.”

External failure forces one to reflect, inspect, inquire and ultimately, start over again. Settling into continued comfort is a dangerous thing. This is the most difficult challenge for the artist. It’s not the external stuff, not even your self-perceived notion that you might not have enough talent. I’ve seen professionals with both limited natural ability and education reach great heights. They made it by overcoming their fears and doubts, and just kept soldiering on. We have to keep challenging ourselves, and as artists, we must keep creating.

SteveBuscemi

Steve Buscemi plays Norther Winslow, a poet who lost both his drive and ability to write because life was just too darn comfortable in the town of Spectre. From Tim Burton’s 2003 magical fairy tale, Big Fish.

Of course, having balance is best. It’s required in our art and in our lives. Formulating a great mixture of trying new things — testing different styles, visiting strange places, and meeting new people — with the well-earned joys of leisure, full play and rest, is what makes an artist’s life spectacular. It’s why the creative and productive artist is disciplined, so as to ensure that balance exits. Although, it’s much easier to say than do, professionals don’t get too high with success or too low with failure. They just show up, and show up regularly.

“Seventy percent of success in life is showing up.” — Woody Allen

In other words, it’s okay not to enjoy the process all the time because you are, after all, human — our strengths and flaws make us who we are and allow us to grow. Sometimes those challenges (and how we respond to them) define us. Artists, like Chuck Close for instance, keep working no matter what.

American artist Chuck Close seen here painting in his wheelchair with paint brush taped to his hands. Despite becoming a quadriplegic as a result of sudden catastrophic spinal artery collapse in 1988, Close fought back to regain partial usage of his limbs and continues to be one of the most productive and successful artists living today.

So what keeps you creating? What stops you? Whatever you choose to do with your time, know that it all matters. You are the aggregate of all your choices. Personally, I don’t know what boring is because I always have the option to create something. And knowing that, makes me happy.

“I need the enchantment of creative work to help me forget life’s mean pettinesses” — Søren Kierkegaard