Tag: animation tips

Film Analysis: A Jungle Book Sequence

Walt Disney’s 1967 film The Jungle Book feature three most unlikely companions in Baloo, Mowgli and Bagheera.

Disney’s 1967 animated classic remains to this day one of the most beloved of the 2D era of animated films. Despite its rather basic plot and unspectacular visuals (I’m talking about the budget-constrained sets and level of polish and not the level of artistry) it continues to charm animators and general audiences alike.

Baloo and King Louie sing “I wanna be like you.” Sparse on story, layouts, design and effects, The Jungle Book still shines with charming characters, great voice acting and wonderful songs.

The reason for its success is clearly the high level of character-based animation that, to this day, still stands without parallel in terms of acting, charm and personality displayed scene in and scene out throughout the film. Despite being a film with a paltry budget of only $4 million — which is well below that of comparable films that came before and after it — it was both successfully received by critics and at the box office grossing over $142 million which is nearly 35 times its cost of production, a nearly unfathomable today. (In contrast, the spectacular success of Disney’s 2013 hit Frozen, costing $150 million, grossed just over $1.2 billion, an 8-fold return.)

Screen grab from BoxOfficeMojo indicating tickets sold and inflation-adjusted box office totals shows Disney’s 1967 The Jungle Book sitting at 32nd of all-time,  just below Christopher Nolan’s 2008 live-action thriller, The Dark Knight and just above Sleeping Beauty, another Disney Classic (1959) that has also held its own over the years.

To me, this film is a testament to the work of Disney’s four key animation figures at the time, most notably Milt Kahl, Frank Thomas, Ollie Johnston and John Lounsbery as well as legendary story artists like Ken Anderson and Bill Peet. This was the industry’s best at their best.

Shere Khan and Kaa are two of the many colorful and memorable characters in Disney’s The Jungle Book.

As a tribute to these great artists and the film itself, I’m gonna be doing a 5 part breakdown of an extended sequence of the film and analyze in detail what I think are some of the many wonderful things about it — including but not limited to the screen choreography, body mechanics, posing, timing and acting — all of which make the performances so great.

Frank Thomas and Ollie Johnston’s The Illusion of Life features loads of wonderful animation drawings like this series of Baloo and many great lessons on how to animate. I still remember how it was near impossible to get a copy of this book when it was out of circulation. The underground market price hit as high as a half a term of my school tuition when I began my studies at Sheridan College. In my opinion, the book is mandatory education for any animator.

The sequence in discussion is where Baloo the Bear first encounters the man-cub Mowgli after he’s run away. It’s a sequence entirely animated by two animators, Frank Thomas and Ollie Johnston, the two best personality animators at Disney. The sequence contains 16 shots (scenes) in total and reveal everything that’s true and wonderful about the characters. In summary, it’s a sequence animated by two best friends at the studio of two best friends in the story. This kind of circumstance — and the magic that comes from it — is so rare that it’s unlikely to be repeated ever again.

The initial meeting between Baloo and Mowgli is not only a great character introduction but one that gives rise to one of the most charming duos in animated film history. This sequence of 16 shots will be broken up into 5 parts for detailed analysis.

Stay tuned for upcoming Part 1 of my analysis. It should be educational and inspiring for even the most established of animators.

Shot Analysis: True Romance

Directed by Tony Scott, True Romance (1993) features a playful script, fun characters and a multitude of excellent scenes and acting performances.

Much has been said about True Romance already, this being Quentin Tarantino’s first ever full Hollywood script and how it made the world aware of his exciting new talent at the time of its debut. As a film, it pays tribute to my favorite genre, the gangster flick, which has always held a place in my heart as perhaps the funnest, most daring and dramatic playground for exploring humanity. History, culture, politics and the dominion of family are all deeply embedded in the classic gangster movie. I could watch great gangster films all day (and have).

Patricia Arquette and Christian Slater play lovers Alabama and Clarence, the main stars (and heroes) of Tony Scott’s True Romance.

The scene we’re about to look at is the most famous scene in the movie, one featuring the incredible talents of two real heavyweights in the acting world, Christopher Walken and Dennis Hopper. In fact, the scene is so good, it almost overpowers the movie itself; the directing, writing, acting and music here all work in picture-perfect unison. It’s almost ironic — and no one talks about this — but here we have one of the greatest scenes in film history and it doesn’t feature any of the main actors, as both Walken and Hopper only play very short supporting roles in the story (I believe each of the two actors have only one other scene that precedes this one). I don’t believe that has ever happened before. The only comparable actor making such an impact in such limited screen time would have to be Orson Welles in Carol Reed’s The Third Man; although in that film, Welle’s character, Harry Lime, is the title character talked about by the main characters throughout the film.

Orson Welles plays Harry Lime in the 1949 noir classic, The Third Man, directed by Carol Reed. Welles delivered one of the most magnetic screen performances in film history despite being in the film for only 15 minutes.

Although, the popularity of this scene is magnified due to the nature of the “content” discussed, this should not be a reason for it to be dismissed by anyone, especially not by any artist trying to learn more about the craft of acting or film-making in general.

The following breakdown of the scene are simply moments and characterizations I personally found intriguing in terms of story and acting performance.

The Scene: (please be warned that the scene contains coarse language, racial slurs and graphic violence)

Quentin Tarantino’s True Romance script really shines here in this magnificent scene starring Christopher Walken and Dennis Hopper. That said, I doubt even Tarantino himself could have envisioned such a powerful result.

The Breakdown:

In this opening shot, Worley (Dennis Hopper) is struck immediately upon entering the doorway. He will be struck again both midway during the scene and at the very end. The idea that violence is inevitable here is being sent loud and clear to both Worley and the audience, and because of his situation we empathize with this character almost immediately. His time on screen may be short but Worley will play the tragic character here in this story.

Next, we cut to the physical set up of this little cat and mouse game we are about to witness. In this section, the frankness of Walken’s character, Vincenzo Coccotti, is contrasted by Worley’s act of stupidity — a natural defense mechanism to parry way responsibility by pretending like he knows nothing — one that is seen right thru by Coccotti. The pronounced activity with the cigarette first, followed by his calm and direct expression of his intentions makes this character extremely frightening and real. He’s here for business. It’s an excellent use of the environment and props by Walken.

After hearing Coccotti confirm his greatest fears, Worley sits in a brief moment of realization. Look carefully and you’ll notice this beautiful moment of acting by Hopper, his eyes glancing to screen right momentarily, reflecting his awareness of the situation (i.e. he knows that he’s screwed). He sinks his head downwards. A deep breath and a series of fast blinks reveals the difficulty in accepting his current predicament and his concealed efforts to compose himself. The most compelling acting is often between the lines of dialogue where nothing is spoken.

This a nice moment by Walken, again using movement and props to give texture and rhythm to his acting.  After kindly offering Worley a cigarette, he gets up and takes off his coat signifying a character about to get down to work. His position is now physically higher and even more dominant over his adversary. The polite gesturing in his request for truth is balanced by his prepared position to act as needed. When Worley fails in his feeble attempt to fool someone higher up in the food chain, it is met with swift confirmation about who’s the boss here.

Here Walken’s character does a little exposition, reviewing the events of the story both for Worley and the audience, to make sure everything is absolutely crystal clear. He even has a little laugh at the expense of Worley’s son Clarence, for leaving his driver’s license at the scene of the crime (an important story point indicating the kind of stupidity and carelessness in the family genes which is later confirmed when we discover that his son also left his LA address on the fridge door). Writer Quentin Tarantino has sneakily introduced the element of humor here which will pair itself beautifully when Worley exacts the last laugh and punishing blow against Coccotti.

After another brave effort to stand up to his adversary and then having his palm sliced, Worley is left hopelessly digesting more of Coccotti’s demands and lecturing, this time with the counselor proudly informing him of his superiority and that it’s genetic. The small section showing Hopper tilting his head indicates he’s now tired of hearing more from Coccotti. It appears this is where Worely has decided what he’s gonna do despite the final threat of death, should he continue to be so uncooperative.

It’s obvious at this point that Worley knows for sure there is no hope, nor is there any point in delaying this any further. He agrees to be forthcoming by asking for that cigarette initially offered, a gesture that should confirm to Coccotti that this guy finally gets it and he’s gonna tell him everything. But Worley’s eyes reveal that he has not thrown in the towel — they are focused. Cocotti’s paused reaction before agreeing to give him that cigarette shows he’s not 100% convinced either, but he’s willing to let this play out. I really love the way Worley first asks for a match and then proceeds to pull out a lighter. It makes the scene feel so real and genuine — because that’s what real people do — acting instinctively and behaving according to habit. As the music slowly creeps into this transitional moment, we know we’re about to witness a change in the mood. We do, but it’s not what we nor Coccotti expects.

Trapped in a chair and surrounded by a handful of gangsters, the only weapon Worley’s got is his mind. You can see Coccotti lean back initially as Worley begins his tale and he’s uncertain where Worley is going with this. Then of course, comes the surprising first blow, one that not even someone as powerful as Vincenzo Coccotti can deflect.

What follows — the famous Moor/Sicilian fable portion of the scene — is really dynamite here. The dialogue is so fun and the actor’s expressions only magnify the playfulness of the scene. Thematically, here is where the tables are turned, Worley is now the storyteller, physical and animated as he gesticulates with his arms, cigarette in hand. Coccotti is now the passive listener, being toyed with by Worley who goes on and on with one insulting jab after another. Coccotti, aside from the odd smiles and glances backwards towards his posse, continues to sit mostly motionless as he’s stunned by the gall of this measly little foot soldier. Worley has caught Coccotti in unfamiliar territory and he’s got no prepared response to this except to laugh and reluctantly join in on the joke, even if it’s at his expense.

After begrudgingly laughing along with his adversary, Coccotti finally, and swiftly, acts out his anger in the most demonstrative fashion — issuing six bullets directly to the head of his victim. The inevitable ending doesn’t deny who the real victor is in this little game. The mouse may have been killed here — that was never in doubt — but the cat has been wounded in a battle that shouldn’t have been any contest. Coccotti’s very last words state as much as he wipes his hands and spits out his gum in frustration, emphatically closing out the scene.

Final Word:

Great lines and story are what give real meat for actors to hold on to and build from. Writing and story is first and foremost. Ideas matter. That said, its proven time and time again, that even though dialogued moments may be the most memorable ones of any movie, it’s the acting — the combination of verbal expression and the acting between the lines — that make them so convincing and powerful. Great actors, such as Christopher Walken and Dennis Hopper, clearly build their characters internally. But ultimately, that internal creation can only be communicated to the audience externally. How a character speaks and moves is everything; we can only comprehend what we see and hear. This is a lesson we, who are trying to deliver the best possible performances in film or animation, must continually be aware of.