With all the fuss that a prototype animated film deserves, Disney has released a significantly restored “Cinderella” with a sound shoe-store rich of extras. And to celebrate this DVD celebration, the studio created a teleconference so that members of the spectacular media could question questions of Ilene Woods, the acting and singing share of Cinderella, and producer Don Hahn (”The Little Mermaid,” “The Lion King,” “Beauty and the Beast”), who has emerged as an authority on the history of Disney exhilaration.
Asking the questions were Steven Bryan (Suburban Journals SL), Karen Dinkins (CBS Radio), DVD Talk, Jennifer Fickley (Disney’s Eyes and Ears), Shelly Gabert (FilmStew), Tim Lammers (Internet Broadcasting), Mike Mayo (Max & Mike on the Mo), Philip Morgan (Tampa Tribute), James Plath (DVD Town), Diana Sanger (Sanger Syndicate), Jennifer Vigorous (Family Tech Shell), and UltimateDisney.com.
Will studios ever restoring to custody-drawn liveliness? “Cinderella” was a gamble destined for Disney that paid incorrect.
Hahn It’s a great exempli gratia. The studio was in tremendous financial straits and hadn’t really made a visage in years, because of the war and a number of factors. And if you kind of acquire that ahead to today, of practice, the animation industry is colossal today, and a sprinkling studios are making films. Hand-exhausted verve, nonetheless, has a important come about certainly in my heart, and I think in the hearts of audiences too, and when you see these things and perceive they’re such a hand-done art form, I think you have the regardless admiration for hand-drawn animation as you do for any kind of artwork that is so human–when you indeed realize that people sat down and drew these things or painted these things, it has a special feeling to it that only hand-drawn energizing does. We’ve been through a five- to 10-year love-romance with computer graphics, and it is a quick-witted means through despite the artist, but I am sure that some day one day we’ll lay hold of requital and start seeing some beautiful paw-fatigued invigoration–expectedly from Disney–again.
What did Woods think after coming back to “Cinderella” all these years later?
Woods: Seeing it in its new form was breathtaking for me. It indeed was. It’s so beautiful. I mean, the color is regal, and it just took my breath away, it was so wonderful. I passable of omit, when I’m watching the silent picture, that I had anything to do with it–I really do–and yet it brings chasing so various beautiful memories of working with wonderful artists, and working with Walt, mostly. He came in every apart day we recorded. He came in at the purposeless of the epoch to check everything out. He rarely made changes, but once in a while when he did they were just major, beautiful changes. And he always had such an imagination going on. He could view pictures that we weren’t seeing. He was the only true visionary I in all cases worked with. It was wonderful, and people were interested in canny about him, mostly.”
Hahn in the same breath said he grew up revering the old convenient-exhausted pre-1950 Disney films, but had added they were a artefact of the times. Does a photograph like “Cinderella” still be aware dated?
Hahn: The great thing about dash is that it ages truly coolly. You can enjoy an animated film years later, like “Cinderella,” and I feel in a sense that it hasn’t really aged at all. You look at the tidings and the characters and the mice and the cat and this beautiful dame who wants to go to the ball, and it’s kind of a undying recital. Yes, there are things–some of the musical references, and some of the costumes and make-up and the way the characters may look–that may quotation the Fifties when the film was made, but that’s part of the colourfulness of it as well. I think that fairy-tale Fifties is a very nostalgic, wonderful everything for the audience, and there’s always a place also in behalf of “Cinderella,” it’s such a classic story” with a Fifties feel to it. “Part of that is Mary Blair, the stunning color stylist that worked with the Disney animators to create the colors and the look of the cloud, and of seminar Walt’s nine old men–his animators, Marc Davis and Eric Larson and the guys that animated the characters–were only just at the top of their game at that point. And since they hadn’t made a feature for a while, I think they were hungry (laughs) and they were insatiable to do something very, barest special, and “Cinderella” was the fruit.
Woods: I wanted to roughly that Marc was in the authority stall when we were recording, every single day. And even though I didn’t do the factual dancing put asunder give up in the filming of it for the artist, he would sit there every day and watch expressions and disburse a deliver movements. And my father, when he first commonplace the movie, said, “I knew I was watching an animated arbitrary up there, but it was appreciate looking at my daughter,” because of the facial expressions and hand movements from Marc having sat in the direction kiosk so many, many days.
Hahn: He was remarkable.
Woods has an interesting story with reference to how she became Cinderella. Could she cut that?
Woods: I was actually doing a favor for two friends. The songwriters were in town to present songs to Walt for a movie–I didn’t know which one. And I had known them in New York when I had worked in wireless there as a youngster, and they came and asked me if I would record some songs suited for a flicks, and I went into a studio with them and we did “Bibbidi, Bobbidi Boo,” “A Day-dream is a Thirst Your Crux Makes,” and “So This is Love.” And I said goodbye to them, “Hope I greet you in Strange York, let’s have lunch together,” and went home. Two days later I received a christen saying Mr. Disney would like an audience with me (laughs) at Disney Studios, and I went over and he said, “I’ve listened to the songs, now we’ve met and we’ve talked, how would you like to be Cinderella?” And that’s positively the way I got the part. I didn’t even know they were auditioning, and by that quickly I understand–or I was told–that they had auditioned over 300 girls. Unessential to say, it was one of the biggest thrills of my life, and when I started working on the movie, and with Walt, I knew I would never meet anybody like him again.
Films feel favourably impressed by “Cinderella” really resonate with people, don’t they?
Hahn: Yeah, it’s a great thing prevalent animation and why I’ve always wanted to work in animation since I was a kid growing up with these movies. You comprehend, from the first organize I saw “Cinderella,” which was perhaps in the backseat of my parents’ station wagon at a hustle-in theater, backed-up (laughs), it does capture your heart. And that’s the solely opportunity to put it. Some movies drink a careful story, some have interesting characters or music, but when you look at a flicks equal to “Cinderella,” it grabs your heart. And I have to reveal later on when we made movies like “Beauty and the Beast,” we uncommonly stood on the shoulders of the guys and girls that came rather than us and made movies like “Cinderella” and “Snow White,” because giving away the whole show a fairy tale is not always easy. There’s a myriad of pitfalls, and people deceive something in their keep an eye on about what that fairy tale is. But certainly “Cinderella” is the master of them all.
What was Woods’ favorite song from the film?
Woods: I loved them all . . . but I think “A Dream is a Wish Your Heart Makes” may be my favorite. But because “Sing Lyric Nightingale” worked out so spectacularly with my doing harmony with myself, I loved the right-minded of that!
Could she talk more about hooking up with her songwriter friends?
Woods: Yes. When I was 15 I had had a show of my own in New York three nights a week, for the benefit of fifteen minutes, and I met a all of the songwriters because they would be a question of and present their music to myself and the conductor to be done on the air. So I met Jerry Livingston and Mac Davis there, and so when they came to California where I had moved and was working at that regulate to present their songs to Walt into a movie, they called me and asked me if I would go into a studio and neaten up some recordings in requital for them to present to Walt, and I did.
Was she nervous talking to Mr. Disney?
Woods: No, not really. I knew he was a wonderful child and I had admired him so much. “Snow White” was one of my favorite movies, and I admired him so much that I was looking forward to meet him. But I didn’t eat any awareness it was for the part of Cinderella (laughs).
Is she a romantic at heart and a believer of fairy tales, so that it wasn’t a stretch to project herself in the role? If not, then that’s another explanation, isn’t it?
Woods: (Laughs) Yes, I do believe dreams obtain true. I really do. And I think the making of “Cinderella” was a dream come true for me. It was honest taunt, it was enlightening, it was wonderful, and I loved all of the songs. Magic happened. I byword magic take place preceding me, upright in spite of, in the song “Sing Bell-like Nightingale,” that was Walt’s mental image to chirp harmony with myself, and it had not in any way been done on film at the one of these days, and he never took credit in place of it. To see his visions find was all that was consequential to him. He didn’t want a lot of panegyric, and he didn’t even want the publicity that he had been the from the start to do that. The fact that he had done it was sufficiently to satisfy him, and it was a spectacular scene when the soap bubbles came up and one say sang the second-part rapport, and the next air sang the third-for all practical purposes harmony and so on and so on, until we had five- or six-part harmony. And Walt turned around, when we first heard the playback, and he said, “You be versed, all these years I’ve been paying The Andrews Sisters three salaries when I could have had you appropriate for one.” So that was a magic time, when that happened, because I had not in any way heard one voice singing tunefulness with herself.
Did she identify with Cinderella in any way?
Woods: Yes, I judge devise I did. I think all girls identify with her in a certain way. She was kind of spunky. She accepted life as it was and went after things she wanted. I think she was a spirited girl, and I don’t think she needed the prince. She wanted to go to the ball, and that was it at the moment. The prince wanted her, not vice versa.
Did Hahn rework any of the scenes from “Cinderella,” either consciously or unconsciously, for one of his own automated productions?
Hahn: A reams of the Disney animated films are concerning transformations and close by characters that are either physically or emotionally transformed. Anecdote that comes to certain is in the garden when Cinderella runs gone away from and is weeping. All is lost, and the fairy godmother appears and transforms her with that beautiful ball gown, which was limerick of Walt Disney’s favorite animated scenes, I think, of all-age. And those kinds of moments certainly show up in later in movies like “Beauty and the Beast” and some of the fairy tales we’ve done. And the other point, too, is just that master-work romantic prince and princess dancing in the ballroom, and (laughs) we literally stole that for “Beauty and the Being.” It’s such an iconic thing, and it’s something that dominion be difficult to do in a live-action movie. In spirit you can stylize it, and it was done so attractively in “Cinderella” that we wanted to have that same emotion and that identical warm of music and emotion and that but kind of music in “Beauty and the Brute,” and so we unquestionably borrowed heavily from those emotions in “Cinderella” and “Snow White” and some of the Disney fairy tales.
If Ms. Woods has grandchildren, how did she let them recognize she was Cinderella?
Woods: Well, they’re very proud of me, of course, and that makes me feel 10-feet outrageous. They’ve seen the flick so many times, and they never seem to tire of it–which makes me very happy. But they’re proud of me, and that means everything in the delighted to me, because I out of children, and I love the certainty that after I’m lengthy gone, children are still going to be hearing my voice, and that’s the biggest thrill to come out of the personification of all.
Could she allotment what she’s been doing since “Cinderella”?
Woods: Well, I red the business I would authority 30-some years ago because I married a wonderful the human race and I raised two wonderful boys, and that was my vim. And I loved every minute of it. I was extraordinarily auspicious, granting, when Disney found me again and wanted me to go on tour for the salvation of the video, before. And so that was when I kind of came back to them. Before I did “Cinderella” and immediately after, I worked a lot in radio and telly. During the war I did many tons tours seeing that the servicemen and sang in Army camps and Army hospitals and Navy affairs, and I did a a barrel for soldiers and sailors during the war by performing an eye to them in hospitals and at their . . . . Isn’t that ridiculous? It really gets to me, because it was a in days of yore when I felt very important doing those things, because it meant the whole kit to me. But mostly my work has been in transmit and television many years ago, and (laughs) you purposes are too progeny to remember any of the things I did. But this was the only voiceover I ever did, and I certainly picked a real one, I think.
The DVD is a treasure. What does it mean to you to deceive it preserved like this?
Hahn: It may be an overused news to say it’s a ideal or a classic, but they really are. These are films–”Cinderella” in particular–that beget stood the assay of time. You can publish it in today and in reality relish in it with your kinfolk as much as any time. I think to look at “Cinderella” and the artistic coup, there’s a great puzzle in animation where you spend millions of dollars and engage hundreds of people and your goal is to deliver the audience not see the turn over of the artist. And it’s ironic, because they work so habit-forming to get the characters to be in the land of the living sensitive and to tease you imagine in the flesh and blood of the characters–whether it’s a stepmother or a mouse or a cat or whoever–and all that work is meant to be pellucid. It’s like a magician who doesn’t requirement you to see the trick. And I think that congenial of artistic rate is wonderful, and it’s a little moment of what a disc like this shows you: a only slightly peek behind the curtain so you can see some of the magician’s tricks. You can hear some of the stories and get a sense of what it must have been adulate to work on such an artistic achievement.
It’s attractive, because Walt had an ear quest of music. Ilene and I were talking briefly before the gather about what a great, pitch-perfect voice she has, because on the disc you can heed some of her radio performances and some of her television performances with Perry Como and that type of feature. And in an era where there were only endure performances and you couldn’t go in and do multi-track edits that you can do today, her pitch was so beautiful and so right-on it was a real testament–not only to Ilene, but to Walt and his artists–that they really appreciated and knew that it was something that was rare.
Woods: Rise, I loved live television in those days, because I made a boo-boo in the song, as you very likely heard, with Perry, and we made a lampoon thing not allowed of it. (Laughs) I was embarrassed when it happened, but I was on cloud nine it had happened after, because Perry made such a fun contrivance out of it. And of ambit Perry Como held my hand for the rest of the show (laughs), which was just lovely.
Hahn: (Laughs) You can’t beat that.
Could they talk about how “Cinderella” influeced other Disney films and other Disney princesses?
Hahn: Well, it’s certainly a movie we all grew up with and looked at a lot. It’s funny. We’re working on a silver screen right now called “Rapunzel,” and Glen Keane, one of our complete animators who animated the Beast in “Beauty and the Beast” and Tarzan and Ariel in “The Seldom Mermaid” . . . . There’s lone been six movies that have been Disney fairy tales with a character in the title–”Snow White,” “Cinderella,” “Sleeping Beauty”–so we obviously go back and look at those, and look at how those characters indicate their stories. They’re very precious stories, so we don’t want to around them up too much. And yet the key characters and the influences that a large screen in the mood for “Cinderella” has on us, they’re attractive profound. They’re not only smashing stories, which is noteworthy to us, but they’re important pieces of art. And the technic that those guys used, second to tremendous financial pressures at the time, is still incredibly lasting, and so that’s the kind of thing that can be quite inspiring to us when we’re making movies honourable now.
Woods: I love the fact that so many women will penetrate up to me and bruit about, “I had a Cinderella wedding,” or “Oh, I just love Cinderella, I boyfriend her spirit and I girl her so very much.” Other girls will come up to me and say, “I had my totality bedroom decorated in Cinderella colors,” and it only thrills me that the women, mostly, liking come up to me and say how much they loved the integrity.
Could Ms. Woods talk down laying down spokeswoman tracks? Were there other actors she could react to?
Woods: No, there were no other actors. I think I’m going to put on an act Don atone for this, because I’m not quite sure what you’re asking. We worked with discs in those days.
Hahn: Yeah, it’s not unusual to record actors and actresses alone, because then the animators and director can remarkably concentrate on that human being performance. It’s very rare, in factually, that we keep the wolf from the door two people on stage together antithesis each other, so it’s likely we record alone. Back then, the technique would be to run two pieces of fog. We ran a quantity of magnetic film that would capture the audio performance on tape, and we also ran what looked like a big LP album that had a needle on it. They as a matter of fact edit out the album live while you were running the take. And the one fitting I know this is that when I started in 1976, that machine was still in the studio in the very anyway room that Ilene recorded in. And then the director, or Walt Disney, could parody that disc, that LP album, into his office and play oust-the-needle and listen to manifold takes, different approaches, and remarkable cues of the recording session to select the ones that would finally go on the reel.
So Disney made the final selection?
Hahn: Yeah. There were three directors on the film, and they certainly would give birth to gone toe and worked with the talent and the animators to make a preliminary pick, but you can allow that Walt Disney was all over this veil. It was not only a comeback coat after the in contention years as a replacement for the studio, but it also represents something that Walt definitely loved, which was fairy tales and mirage. It was a very important moving picture, and I would be tried he’d be all over the voices recording.
Woods: You know, Don, when he came in the end of recording every day, the other three directors would be arguing it should be this mode, it should be that in work, I like it that way better, and Walt would come in and sit down and he would play the take. And he would scram a woman suggestion (laughs) and we would do it his way. And it would always be right. Often. It was so entertaining, because I said to him unified date, “You should come around c regard in at the beginning of the day, Mr. Disney, and you’d hold the studio a loads of money.”
Hahn: (Laughs) You know, he not in the least wanted to, and a allotment of times, I understand, he didn’t balance out want to look at the vote talent, because he fair-minded wanted to find out the participation. And so he would run across in consciously at the motivation of the day, because if you’re there all period your attention gets worn down, and you’ve heard a lot of the meeting. But if you prove to be c finish in novel at the cut off of the date you have a wiser instinct, and of course his instincts were amazing.
Woods: You’re right, because he not ever looked up when he was listening. He many times sat with his head in his hands, looking down.
Hahn: Interesting, intriguing.
The DVD includes a feature that shows mistaken starts. How often do Disney films end up going a unheard-of direction during casting?
Hahn: All the regulate. I think on people feel, Oh, it’s Disney Studios and they be compelled have this wonderful gift for putting things down thoroughly on a piece of paper, and it’s justifiable not upright (laughs). I call to mind a consider we work at it harder than anybody, and there’s a loads of failures along the started. What’s interesting about the “Cinderella” disc is you can associate with some of those–some song moments or story ideas that didn’t repay it to the screen–and there’s a lot of songs that were written, all of which are on the disc that not in any way made it into the movie. That was certainly the come what may with “Beauty and the Monster.” Howard Ashman, Alan Mencken wrote some songs that didn’t make it to the room divider. “Aladdin” probably had five songs that not till hell freezes over made it to the screen, and Aladdin had a coddle and a predominantly other subplot that in no way made it. I think say of the to question of pep and part of the legacy of Walt Disney is he at no time settled. He never settled championing an idea that wasn’t unequivocally right or didn’t quite connect. He would always push to get the best possible liquid, and off that meant throwing things overboard, and sometimes that meant not using songs even yet they were considerable. And so that is kind of a legacy, if not a tradition at the Disney studios, of having songs and moments and sequences that didn’t quite make it into the flicks.
And we can see clue of that in Disney films thus far?
Hahn: Unreservedly. Literally every single. “The Lion King” . . . “Mary Poppins” had dozens of songs that the Sherman brothers wrote that didn’t make it into the movie, and a couple of them even made it into “Bedknobs and Broomsticks” a few years later, so you get that as part of the process. And I think that’s something that’s very Disney, and makes the movies as good as they are.
How much time did Ms. Woods spend recording the agent of Cinderella. Did it abduct as long as it does to relate voices today?
Woods: Oh, it took a lot longer. I worked off and on on the silver screen object of two and a half years, so they make movies much faster today. But we pooped a lot of occasion working on “Cinderella.”
What are some of the challenges bringing a classic film to DVD?
Hahn: I think we wanted to do justice to the original movie, so that the blue ribbon challenge was to go endorse to the film itself and cleanly it up and make it as unequalled as we could, and then the other challenge is we want to make sure-fire that once you recommend b suggest the DVD in your entertainer at home that you get not only the motion picture, but you get all the spacious dead letter and back tale to it all in the most interesting way possible. We have producers and people at the studio who as a matter of fact go into depth and try to allot things in our archives–sketches and drawings and songs and stories–that probably partake of never seen the light of era since the movie at was made, and to find old interviews with some of the animators like Open Thomas and Eric Larson and Woolie Reitherman that worked on the movie and try to have an impact them on the screen. So when you support the movie, you also get the back fairy tale and get to hear the voices and the accounts of really some of the amazing artists to work on it. Some of the most dazzling artists of the 20th century were animators, I believe, and I in actuality desire appreciate you get to show their most appropriate put together in “Cinderella.”
Mr. Hahn and Glen Keane and John Musker are the torchbearers from the nine old men. Are they working with a new group of animators in order to pass on the traditions?
Hahn: Yeah, you’d be surprised. Animation is animated and coolly, and you can envision it not only in the ardour industry, but you see it in live-action movies–whether it be “Lord of the Rings,” or “Star Wars,” or “King Kong”–there’s so much animation in movies conditions. Or great movies like “Corpse Bride” that just came out last week. So there’s a really big swell in the animation business now, and I think part of what I necessitate to do and certainly Glen and John and Andreas and a lot of the people you mentioned and you actually keep company with on the “Cinderella” disc is to amiable of share some of our influences and point back to these men and women who created “Cinderella.” We were fortunate to clothed really remarkable films care of our belt in our generation, but you must be convinced of in every way that we learned that from Walt Disney’s generation.
One of my at the start jobs at the studio was working with Eric Larson, who was bromide of the premiere danseuse animators on Cinderella’s character, and, with Woolie Reitherman, who animated that great series of the mice unrevealed the key up that tall, overblown stairway up to Cinderella’s dwell until Lucifer the cat puts the bowl on cap of itâ€"and I was Woolie’s assistant supervisor. And I felt like, Oh my tutelary, I’m equitable this kid incorrect of school and I enjoy this luck to work with these really great guys, and they certainly taught me a lot hither animation and the passion repayment for the art of excitement, and that’s something we definitely hanker after to pass on, and are trying to pass on. That’s why discs like “Beauty and the Beast” become not one entertainment, but also a great boning up for people interested in dash.
Does he have any notice on the side of young people wanting a career in animation?
Hahn: Perchance two things. Anybody would be versatility. Drawing is always going to be the most weighty thing, but also learn your computer graphics and other tools. Computers don’t do anything. They’re dumb machines on a disk. An artist absolutely moves them approximately and makes things with them, so the versatility of using a pencil or paintbrush or a computer is genuinely notable. And secondly, I would encourage people to bring their life experiences to their create. A lot of times students copy other people’s cartoons. They don’t really bring their subsistence experiences in. When you look at Eric Larson or Marc Davis or John Lounsbery or some of these animators that worked on “Cinderella,” they were architects, and Woolie was a fighter aviator in the war, and Direct [Thomas] played piano, and Ollie [Johnston] had a locomotive in his backyard, and they had these bigger-than-energy interests. And they brought all that into the studio every day, and that’s what made the large screen so alive and so real, and that’s something that’s actually important for somebody starting out.
A new generation may be seeing “Cinderella suitable the first metre. How does Ms. Woods think generations have in the offing perceived the layer?
Woods: I meditate on it’s always along the same band. I think children, particularly, they believe what they saw. They believe in Cinderella. They believe in the little characters. And the questions they ask me are funny. And they’re looking at an older person, talking to me breed I’m still Cinderella to them. It’s the biggest thrill in the the world at large. They ask me about Bruno and they take to task me how much they shrink from Lucifer, and I’ve heard these stories so many times, and I still sit in wonder at these little faces looking at me that I’m Cinderella and that I’m going to answer the question in place of them.
What’s most amazing is that animators can staunchly turn out such a attribute product.
Hahn: It’s interesting because it’s a medium of caricatures, so you’re not dealing with reality, you’re dealing with a take off of reality. In the same movie, for example, you can have a role like Cinderella which is the excellent princess, but you can also have Lucifer and the mice, which are unquestionably cartoony characters, and they kind of coexist. And I always feel that in innervation you can go somewhere emotionally that dialect mayhap you can’t in persevere-action. It sway climate a little Saccharine or sweet in live-action, whereas in dynamism there’s a openness to it that is warm of germane to the profession-protocol. Eric Larson used to bid the confidential matter of Disney animation was all in the word “sincerity.” (Laughs) It reminds me of the aged Groucho Marx cite: If you can fake that, you’ve got it made. It’s really about getting the seriousness in the movie and irritating to make it meretricious and real and understandable to the audience. And because it’s a medium of mock you can do that in broader strokes. You can possess an evil stepmother, and a considerable prince, and they’re more underlying colors–broader passionate strokes.
I think the other inviting clothes is that the animators do go to great lengths to caricature like Ilene in the recording cubicle and draw her gestures, and those even make it into characters like the cat. Or I always think of Mrs. Potts, the teapot in “Beauty and the Savage.” It’s Angela Lansbury’s voice, but she was justified a hopping head, if you value prevalent it. She had no arms or legs. It was just a face, and she had a teapot spout for a nose. I’ve had people descend upon up to me and say, “Oh, that was certainly Angela Lansbury.” Well, it wasn’t, but the gifts to pasquinade that voice, or in the case of the characters in “Cinderella,” to cartoon those voices into a footman, coachman, a horse and a dog–whatever–is really the secret behind animation, and the superior animators know how to do that in actuality well.
Could he argue the split in Disney over computers versus hand-drawn animation?
Hahn: Solid. I think in the arts in customary, and certainly in vivacity, the rule is you can scorn any tool you need to usage to describe an effect on the screen. So in the occasion of “Cinderella,” they did shoot a lot of live-action to aide get that movie to life. But the truth is, we direct a portion of it on “Beauty and the Brute,” and we shot a ton of it on “Pocahontas,” and we shot a great deal b much of it on “Atlantis,” and Walt Disney shot live-function for “Snow White.” Most of the reason for doing that is plausibility. You poverty the audience to completely swear by that the character of Cinderella, in particular, is flesh and blood, so you want to really seize the change of attitude. It also helps the animators reading things like core and the skirt spinning around and the way the costume works, and helps them sketch and complete that.
But it’s only a tool. It’s the research that goes into the performance. So whether it’s live-action, or whether it’s a computer, or whether it’s pencil and paintbrush, they’re all tools for the animator. And we have great animators now who application computers to produce their craft, and they are as proficient and as great as some of the animators from Walt Disney’s stage, but it all goes back to are they stupendous actors, can they move you with their drawings or with their images on the screen. There’s a great primitive saying, “Great animators don’t just move drawings. They lead people.” Meaning their operation is to move you emotionally, and not honest move the character around the divide.
It’s no different categorically than a word processor. You from people who indite their creative on legal pads, and the book quieten comes inaccurate as well as if they’d written it on a G-5 or something. It’s in reality your comfort knock down in how you express yourself. Some people paint in watercolors, some in oils. It doesn’t theme. It’s what your form of airing is. That’s why I can absolutely appreciate a flicks like “Corpse Bride” that’s all puppet invigoration, or there’s a Nick Park movie coming out that’s all clay ardour. Yield-drawn animation, computer graphics, they’re all forms of expression, and certainly when you look at “Cinderella” it’s got to be at the apex of traditional agency-drawn spiritedness, in terms of the tools that those guys used to make that talkie.
Does he definitely believe the studio will return to manual labourer-haggard animation?
Hahn: Yeah, I even-handedly do. In fact, I’m working on one right now.
What sets “Cinderella” distinctly from other fairy tales that Disney has brought to the great screen?
Hahn: Well, there were only so multifarious definitely classic fairy tale stories–certainly Snow White, Sleeping Asset, Dream and the Being. I cogitate on benefit of some reason, each appreciates that little fellow fib of Cinderella. Snow White wasn’t methodically an underdog. Belle wasn’t an underdog, she was bookish and she fell in love with the brute through a in the final analysis unusual circumstance. But Cinderella was at the end of the day kept down and kept in a vault and kept on her hands and knees scrubbing the floor. And I think as an audience, we really communicate with to that, because we’ve all been in that village–we’ve all been in a place where we saw no way out, and no possibility that our dreams would come true. In event, there’s a whole portion on the disc of Cinderella stories–whether it’s sports teams, Lance Armstrong, or whoever–characters who’ve had these great Cinderella stories in their lives, and I think that’s why it is really solitary of the greatest fairy tale stories, and why it’s existed so long.
Woods: I think that I be dressed to fitting you on individual hang-up, even if. Cinderella never lost her spirit, and she in any case knew, I judge, occult down backwards–this is the less I played her–that there was everlastingly a unpremeditated. There was always something wonderful that was effective to happen. That’s what kept her spirit up . . . .
Hahn: Yeah, fresh point.
Woods: And I think that’s what the young women loved about her so much. In the exterior of all that tragedy, she was a auspicious, spirited frail (laughs).
Ms. Woods got nervous when she was talking about the war. Entertainment gives people an escape from their troubles. Did that ascendancy how she played Cinderella?
Woods: That’s a thug individual to comeback. I contrive you take things from living. I had a very sour innate, and I weigh at times there was a comparison. I lived most of my innocent life her way, and actually I was interested in being a schoolteacher. I was not interested in going into show task. But I’m most happy because of all the wonderful things I did. I sang for President Roosevelt at his Hyde Woodland home, I sang on account of President Truman at the White House because of the enlarge on a excite I had done in the direction of the soldiers and sailors during the battling. I had a wonderful life in the business, but it was not difficult for me to leave it when I was married and had my two boys, because that was a surely happy for the nonce at once of my exuberance. And I had had a wonderful career. I started at 15 years old in New York with my own show three nights a week on ABC, and so I had been in the business in compensation a long convenience life. I was ready to leave it, I dream.
And she taught school in the Florida Keys? What group?
Woods: Third grade. (Laughs) And I learned with them. It was a wonderful time. I was only down there for two years, and then I came back to do The Arthur Godfrey Show on radio. It was a wonderful two years. My imagine had for all come true in that tract.
At the last moment, what was Ms. Woods favorite part of “Cinderella”?
Woods: Oh, I think perchance like Mr. Disney. His favorite go away of all the movies he had even done was Cinderella getting her dress. And I cogitate on that was my favorite action too, because it was a jubilant time. Cinderella had for all come owing to all of her troubles, and she was usual to the ball in a beautiful gown. And I conceive of that was the happiest time in the movie, and I evaluate that disturbance would be my favorite.
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