The Animated Man: A Life of Walt Disney by Michael Barrier

Author:Michael Barrier [Barrier, Michael]
Language: eng
Format: epub, mobi, pdf
Tags: Performing Arts, Film & Video, General
ISBN: 9780520256194
Google: zjeqFCPpE3gC
Amazon: 0520256190
Goodreads: 3276832
Publisher: University of California Press
Published: 2007-04-29T12:00:00+00:00

The rear-projection scene didn’t work because we couldn’t get the right color balance on the print out of Technicolor on time. . . . The technicalities of it kept putting this scene off, until we were right down to the very end of the live-action shooting. There was no more time on the schedule; the crew was going to be dismissed. The night before, we went down to the [Goldwyn] studio, where we were doing the live-action photography, and in their projection room, we saw the print that we got from Technicolor. It wouldn’t do. The cameraman, Gregg Toland, was going to go over to Technicolor to work with them to get a print that we could use the next day. I went home, and I didn’t sleep well, because I didn’t know just what we were going to do if that didn’t come out right. I slept with fingers and toes crossed, hoping we’d have a print we could use. I couldn’t think of a way out; I was cornered. . . .

The next day, we came down [to Goldwyn], and Perce Pearce was there—he was Walt’s associate producer—and Walt was there. When I saw Walt, I thought, “There’s trouble.” And there was; the word was that the print wouldn’t do. Walt called everybody on the set, and he had them all sit around in chairs, and he had coffee served, and he started talking. First of all, he turned to me and said, “Jack, the print won’t do. What plans do you have to work this out, now that the print won’t do?” I said, “Walt, I’ve thought about it, and thought about it, and I don’t know what to do.” He said, “Well, let’s all talk about it, let’s see what ideas anybody’s got.” He called on different people, and some of them had some sort of a notion of just making a scene cut. Of course, I could think of that, but it wasn’t going to accomplish the purpose, it wouldn’t have given a nice effect. I didn’t have to tell Walt you could cut from one scene to another.

Finally, after Walt had asked everybody else, Walt sat back, waited a while, and we all started to sweat. Then Walt said, “Would it be possible, Gregg, to arrange your lights in such a way that you could shine a light up on Jim’s face and it wouldn’t show on the background, and would it also be possible to have other lights that would light the set up, on signal? When I drop my hand, would it be possible for them to turn on all the other lights and douse that light, simultaneously, so that just in a flash the whole set would light up and you’d find him in this background?” Of course, we had a backdrop that we could use there, to replace the cartoon, because that was going to be used for other scenes in the sequence. Gregg said, “Sure that could work.” Walt said, “All right, when Jim sings ‘Zip,’ we’ll change the lights.

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