Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:21,122 --> 00:00:25,226
♪ ♪
2
00:00:25,259 --> 00:00:29,230
♪ ♪
3
00:00:29,263 --> 00:00:31,532
WE WERE ON A TV SHOW ONCE,
4
00:00:31,565 --> 00:00:35,069
AND WE WERE SUPPOSED
TO MAKE A BIG ENTRANCE
THROUGH SOME SLIDING DOORS.
5
00:00:35,103 --> 00:00:38,739
AND THEY HAD A HUGE STAGEHAND
BACK THERE WHO WAS GONNA OPEN
THE DOORS FOR US.
6
00:00:38,772 --> 00:00:42,576
THEY GOT US IN POSITION.
SOMEBODY SAID, "BREAK A LEG,"
YOU KNOW, AND WALKED AWAY.
7
00:00:42,610 --> 00:00:45,045
THIS BIG STAGEHAND
TURNS TO US AND SAYS,
8
00:00:45,079 --> 00:00:48,349
"SO YOU'RE THE GUYS
WHO KILLED BAMBI'S MOTHER."
9
00:00:48,382 --> 00:00:50,318
AND WE SHRANK AWAY.
10
00:00:51,552 --> 00:00:54,222
IT SEEMED LIKE YOU SELDOM
HEARD FRANK'S NAME...
11
00:00:54,255 --> 00:00:57,525
WITHOUT OLLIE'S ALONG WITH IT,
OR OLLIE'S WITHOUT FRANK'S NAME.
12
00:00:57,558 --> 00:00:59,393
IT WAS "FRANK AND OLLIE."
13
00:01:01,262 --> 00:01:07,468
♪ ♪
14
00:01:09,337 --> 00:01:12,773
THEY REALLY PIONEERED
THIS TYPE OF ANIMATION.
15
00:01:12,806 --> 00:01:16,544
THEY BROUGHT PERSONALITY
ANIMATION BEYOND, UH,
16
00:01:16,577 --> 00:01:18,512
EVEN WHERE WALT
THOUGHT IT COULD GO.
17
00:01:20,181 --> 00:01:23,617
OH!
SHE COULDN'T BE!
18
00:01:24,652 --> 00:01:27,755
OH!
SHE COULDN'T BE!
19
00:01:27,788 --> 00:01:30,958
I'VE NEVER GONE
ANY PLACE ON THIS EARTH...
20
00:01:30,991 --> 00:01:34,295
THAT THEY DIDN'T KNOW
AND COULD TALK ABOUT,
SPECIFICALLY,
21
00:01:34,328 --> 00:01:36,264
SCENES THAT
FRANK AND OLLIE DID.
22
00:01:36,297 --> 00:01:39,300
HOW'S THAT FOR TOUCHING,
I MEAN, BILLIONS OF PEOPLE?
23
00:01:39,333 --> 00:01:42,603
WHAT ARE THERE,
4h BILLION ON THE PLANET?
24
00:01:42,636 --> 00:01:47,608
I'D GUESS THAT HALF OF 'EM
KNOW SOME SCENE THAT FRANK
OR OLLIE DID.
25
00:01:58,819 --> 00:02:01,489
HEY.
GOOD MORNING.
26
00:02:01,522 --> 00:02:05,259
OH, HI.
BOY, YOU SURE GOT
A LOT OF TRASH.
27
00:02:05,293 --> 00:02:08,095
YEAH, A LOT
OF OLD MANUSCRIPTS
THEY DIDN'T LIKE.
28
00:02:08,128 --> 00:02:10,598
HUH. MUST'VE HAD
A BIG PARTY.
29
00:02:10,631 --> 00:02:12,766
NO.
YEAH.
30
00:02:12,800 --> 00:02:15,035
DON'T KNOW WHAT HAPPENED
THIS WEEK.
31
00:02:20,140 --> 00:02:25,112
♪ ♪
32
00:02:25,145 --> 00:02:38,792
♪ ♪
33
00:02:38,826 --> 00:02:52,005
♪ ♪
34
00:02:52,039 --> 00:02:56,577
♪ ♪
35
00:02:56,610 --> 00:03:10,224
♪ ♪
36
00:03:10,258 --> 00:03:24,272
♪ ♪
37
00:03:24,305 --> 00:03:27,308
♪ ♪
38
00:03:30,210 --> 00:03:32,179
WE FIRST MET AT STANFORD.
39
00:03:32,212 --> 00:03:34,582
WE WERE IN THE ART DEPARTMENT,
AS I RECALL.
40
00:03:34,615 --> 00:03:38,085
THEY DIDN'T HAVE MUCH OF
AN ART DEPARTMENT THERE REALLY.
41
00:03:38,118 --> 00:03:42,756
THE REASON WAS THAT
MRS. STANFORD WALKED IN
ON A CLASS BACK IN 1900,
42
00:03:42,790 --> 00:03:45,359
AND THERE WAS A NUDE MODEL,
AND SHE SAID, "AH!
43
00:03:45,393 --> 00:03:49,597
NEVER BE ANOTHER NUDE MODEL
OR A DRAPED MODEL
HERE AT STANFORD."
44
00:03:49,630 --> 00:03:52,366
SO, UH, WE HAD TO GO
ON UP THE PENINSULA.
45
00:03:52,400 --> 00:03:54,635
UP TO, UH, WHERE?
SAN MATEO?
SAN MATEO.
YEAH.
46
00:03:54,668 --> 00:03:57,405
- IN ORDER TO GET...
- TWO NIGHTS A WEEK.
47
00:03:57,438 --> 00:03:59,440
OUR LIFE DRAWING CLASS IN.
48
00:03:59,473 --> 00:04:02,643
THEN WE'D GET CREDIT
BACK DOWN AT STANFORD FOR IT.
49
00:04:02,676 --> 00:04:07,281
AND ON THE WAY BACK,
WHY, I'D TALK FRANK
INTO PLAYING THE PIANO...
50
00:04:07,315 --> 00:04:10,984
AT THIS LITTLE SPEAKEASY
UP ON THE HILL
ABOVE THE HIGHWAY.
51
00:04:11,018 --> 00:04:15,389
SO WE'D GO IN THERE, AND
THEY'D GIVE US FREE DRINKS
FOR HIM PLAYING THE PIANO.
52
00:04:15,423 --> 00:04:19,627
YEAH, BUT WE ALSO HAD TO LEAVE
ONE OF THE PAINTINGS
WE'D MADE THAT DAY...
53
00:04:19,660 --> 00:04:21,762
IN THE LANDSCAPE
PAINTING CLASS.
54
00:04:21,795 --> 00:04:24,332
OUR VAN GOGHS
OR OUR CEZANNES.
55
00:04:24,365 --> 00:04:27,768
WE FELT LIKE
WE WERE RIGHT IN...
WHATEVER WE HAPPENED TO BE.
56
00:04:27,801 --> 00:04:30,304
WITH THOSE TOP PAINTERS
OF THE DAY, YOU KNOW?
57
00:04:30,338 --> 00:04:34,241
SO WE'D GO OUT AND MAKE
A PAINTING, COME BACK IN
AND TRADE IT FOR DINNER.
58
00:04:34,274 --> 00:04:36,444
WE WERE ARTISTS.
59
00:04:40,481 --> 00:04:43,617
AFTER COLLEGE,
WE CAME DOWN TO LOS ANGELES...
60
00:04:43,651 --> 00:04:48,489
TO GO TO ART SCHOOL,
AND WE MOVED INTO
A BOARDINGHOUSE.
61
00:04:48,522 --> 00:04:51,692
YEAH, WHERE THIS
RETIRED UNDERTAKER LIVED.
62
00:04:51,725 --> 00:04:55,262
HIS WIFE WAS SO MAD
THAT SHE NOW HAD TO RUN
THIS BOARDINGHOUSE...
63
00:04:55,295 --> 00:04:57,297
THAT SHE WOULDN'T
EVEN SPEAK TO HIM.
64
00:04:57,331 --> 00:04:59,767
AND THEIR SON PRACTICED
HAVING FUNERALS...
65
00:04:59,800 --> 00:05:01,769
OUT IN THE BACKYARD
UNDER YOUR WINDOW.
66
00:05:01,802 --> 00:05:03,704
YEAH. HE CALLED 'EM
"GRASS FUNERALS."
67
00:05:16,049 --> 00:05:18,118
I'D ALWAYS LIKED CARTOONS,
68
00:05:18,151 --> 00:05:21,789
BUT I NEVER FOUND ANY THAT
I REALLY LAUGHED TOO HARD AT.
69
00:05:21,822 --> 00:05:24,458
THEN ONE NIGHT I WENT
TO SEE THIS THING...
70
00:05:24,492 --> 00:05:28,295
WHERE THE DOG GOT CAUGHT
IN THE FLYPAPER.
71
00:05:28,328 --> 00:05:30,464
AND IT WAS
JUST HILARIOUS TO ME.
72
00:05:30,498 --> 00:05:33,534
I ROLLED ON THE FLOOR,
AND SO DID EVERYBODY
WHO WAS WITH ME.
73
00:05:33,567 --> 00:05:38,071
AT THE TIME
I DIDN'T REALLY UNDERSTAND
WHY I THOUGHT IT WAS SO FUNNY.
74
00:05:38,105 --> 00:05:41,709
I JUST KNEW THAT THERE
WAS SOMETHING DIFFERENT
ABOUT THIS PICTURE...
75
00:05:41,742 --> 00:05:47,147
AND SOMETHING DIFFERENT ABOUT
THIS DOG THAT I'D NEVER SEEN
HAPPEN ON THE SCREEN BEFORE.
76
00:06:23,383 --> 00:06:25,453
AND I COULDN'T BELIEVE
THAT ANYBODY...
77
00:06:25,486 --> 00:06:28,756
COULD MAKE A DOG
LOOK LIKE HE WAS THINKING.
78
00:06:28,789 --> 00:06:33,561
THE WAY HE'D TRY TO FIGURE OUT,
AND HIS EYEBROWS WOULD GO DOWN
AND UP.
79
00:06:33,594 --> 00:06:35,563
IT WAS JUST UNBELIEVABLE.
80
00:06:37,598 --> 00:06:41,401
I'D NEVER THOUGHT OF GOING
INTO THE ANIMATION BUSINESS...
81
00:06:41,435 --> 00:06:44,605
BECAUSE ANIMATION
WAS NOT CONSIDERED A PROFESSION.
82
00:06:44,638 --> 00:06:46,607
YOU KNOW,
IT WAS SOMETHING THAT...
83
00:06:46,640 --> 00:06:50,744
NEWSPAPER CARTOONISTS
DID SOMEHOW.
84
00:06:50,778 --> 00:06:54,748
NOBODY WAS VERY INTERESTED
IN IT, AND THERE WEREN'T
ANY STUDIOS TO GO TO.
85
00:06:54,782 --> 00:06:56,950
♪ YOU'RE NOTHIN'
BUT A NOTHIN' ♪
86
00:06:56,984 --> 00:06:58,752
♪ A NOTHIN'
A NOTHIN' ♪
87
00:07:02,623 --> 00:07:04,592
♪ YOU'RE NOTHIN'
BUT A NOTHIN' ♪
88
00:07:04,625 --> 00:07:06,594
♪ A NOTHIN'
A NOTHIN' ♪
89
00:07:06,627 --> 00:07:08,596
THEN IN THE SPRING
OF 1934,
90
00:07:08,629 --> 00:07:13,266
I SAW THIS NEW MOVIE
FROM THE DISNEY STUDIOS
CALLED THE FLYING MOUSE,
91
00:07:13,300 --> 00:07:15,569
AND IT WAS
A WHOLE NEW DIMENSION TO ME...
92
00:07:15,603 --> 00:07:19,607
BECAUSE IT HAD THE FEELINGS,
THE EMOTIONS OF THE CHARACTERS,
93
00:07:19,640 --> 00:07:22,510
AND, UH, MORE PATHOS
IN THE STORY,
94
00:07:22,543 --> 00:07:25,312
AND, UH, IT REALLY GRABBED YA.
95
00:07:25,345 --> 00:07:27,414
♪ YOU'RE NOTHIN'
BUT A NOTHIN' ♪
96
00:07:27,447 --> 00:07:29,483
♪ A NOTHIN'
A NOTHIN' ♪ ♪
97
00:07:34,488 --> 00:07:36,524
WELL, I THOUGHT,
"GEE, THIS FLYING MOUSE,
98
00:07:36,557 --> 00:07:38,526
"IF THEY'RE GOING TO GO
THAT DIRECTION,
99
00:07:38,559 --> 00:07:40,594
THERE MIGHT BE SOMETHING THERE
THAT WOULD INTEREST ME."
100
00:07:40,628 --> 00:07:44,698
THE IDEA OF BRINGING
A CHARACTER TO LIFE
REALLY BEGAN TO FASCINATE ME.
101
00:07:46,534 --> 00:07:50,470
SO I TOOK THE TRYOUT
AT DISNEY'S AND GOT HIRED.
102
00:07:50,504 --> 00:07:54,041
17 DOLLARS A WEEK.
103
00:07:54,074 --> 00:07:57,110
BUT THIS WAS
THE DEPRESSION, '34.
104
00:07:57,144 --> 00:07:59,112
UH, WEREN'T MANY JOBS AROUND.
105
00:07:59,146 --> 00:08:02,315
AS A MATTER OF FACT,
THE ONLY JOBS THAT I HEARD OF...
106
00:08:02,349 --> 00:08:04,685
WERE WITH DISNEY'S
OR WITH THE W.P.A.
107
00:08:15,596 --> 00:08:19,066
I'VE ALWAYS USED
AN ELECTRIC RAZOR.
108
00:08:19,099 --> 00:08:22,603
FOR SOME REASON I SEEM TO GET
MY BEST IDEAS WHILE I'M SHAVING.
109
00:08:25,272 --> 00:08:29,376
I DON'T KNOW.
MAYBE IT'S BECAUSE ELECTRICAL
CURRENT'S SO CLOSE TO MY BRAIN.
110
00:08:30,578 --> 00:08:32,713
NAH.
111
00:08:32,746 --> 00:08:37,417
I REMEMBER ONE MORNING
I WAS LYING IN BED
IN OUR BOARDINGHOUSE.
112
00:08:37,450 --> 00:08:41,689
FRANK WAS SHAVING,
AND I WAS WAITING 'TIL
HE FINISHED WITH THE RAZOR.
113
00:08:41,722 --> 00:08:44,257
WE BOTH USED
THE SAME ONE.
114
00:08:44,291 --> 00:08:46,259
AND HE TURNS AROUND
AND HE SAYS,
115
00:08:46,293 --> 00:08:50,097
"OH, BY THE WAY, THEY WANT YOU
TO TAKE A TRYOUT AT DISNEY'S."
116
00:08:50,130 --> 00:08:52,165
AND I THOUGHT, "GEE WHIZ!
117
00:08:52,199 --> 00:08:56,169
"HERE I'M GOING TO ART SCHOOL,
AND MY DAD JUST PAID
MY TUITION.
118
00:08:56,203 --> 00:08:58,238
"OH, WELL, I'LL TRY IT.
119
00:08:58,271 --> 00:09:01,274
"I'LL GO OUT THERE AND SEE
IF I CAN'T MAKE SOME MONEY...
120
00:09:01,308 --> 00:09:03,577
AND PAY MY OWN WAY
AND GO BACK TO ART SCHOOL."
121
00:09:03,611 --> 00:09:06,580
SO I WENT OUT
AND TOOK THE TRYOUT.
122
00:09:06,614 --> 00:09:08,749
SOMEHOW I MADE IT.
123
00:09:08,782 --> 00:09:13,253
AFTER I'D BEEN THERE,
OH, SAY ANOTHER TWO WEEKS
AFTER THAT,
124
00:09:13,286 --> 00:09:17,224
I FOUND OUT
THIS IS THE ONLY PLACE
I WOULD EVER WANT TO BE.
125
00:09:21,795 --> 00:09:26,033
THERE WERE FOUR ANIMATORS
THAT STOOD OUT ABOVE
ALL THE REST OF THEM...
126
00:09:26,066 --> 00:09:28,368
AT THE TIME WE CAME.
127
00:09:28,401 --> 00:09:30,771
THERE WAS NORM FERGUSON,
WHO WE CALLED FERGY.
128
00:09:30,804 --> 00:09:36,476
THERE WAS HAM LUSKE,
AND THERE WAS FREDDY MOORE
AND BILL TYTLA.
129
00:09:36,509 --> 00:09:39,713
FERGY HAD A WAY
OF DRAWING THINGS...
130
00:09:39,747 --> 00:09:44,351
SO THAT YOU SAW THE OUTSIDE OF
WHAT THE CHARACTER WAS DOING...
STAGING THE ACTION.
131
00:09:46,419 --> 00:09:50,590
HAM DREW A WAY THAT
REVEALED WHAT THE CHARACTER
WAS THINKING ABOUT,
132
00:09:50,624 --> 00:09:52,492
WHAT HE WAS FEELING.
133
00:09:53,526 --> 00:09:56,463
HELLO, JUDGIE.
I'M JENNY WREN.
134
00:09:56,496 --> 00:09:59,633
I WANNA SEE JUSTICE DONE.
135
00:09:59,667 --> 00:10:04,471
THEN THERE WAS BILL TYTLA,
WHO HAD THIS TREMENDOUS
INNER FEELING.
136
00:10:04,504 --> 00:10:08,308
HE WAS ABLE TO GET INSIDE
OF EVERYTHING HE DID.
137
00:10:08,341 --> 00:10:10,778
YOU COULD JUST FEEL THIS AS YOU
OPENED THE DOOR TO HIS ROOM.
138
00:10:10,811 --> 00:10:12,746
YOU'D FEEL, "WHOOPS,
I DON'T BELONG IN HERE.
139
00:10:12,780 --> 00:10:15,215
THERE'S SOMETHING GOING ON
THAT'S VERY POWERFUL."
140
00:10:22,823 --> 00:10:27,127
BUT FREDDY, UH,
HE WAS REAL HAPPY.
141
00:10:27,160 --> 00:10:29,429
WE WAS BALANCED UP
ON HIS CHAIR HERE,
142
00:10:29,462 --> 00:10:34,334
AND HE HAD TO BE
WELL-BALANCED, LIKE A DIVER,
BEFORE HE COULD DRAW.
143
00:10:34,367 --> 00:10:36,536
THEN HE'D PULL DOWN
THE PIECES OF PAPER AND...
144
00:10:36,569 --> 00:10:39,106
♪ ♪ PULL DOWN ANOTHER,
AND VERY FAST.
145
00:10:39,139 --> 00:10:42,609
AND HE HAD THIS TREMENDOUS
APPEAL IN HIS DRAWINGS.
146
00:10:42,642 --> 00:10:47,214
HE COULDN'T MAKE A DRAWING
THAT DIDN'T HAVE EVERYTHING
IN THE RIGHT PLACE.
147
00:10:47,247 --> 00:10:49,616
IT MIGHT NOT BE DOING
THE RIGHT THING,
148
00:10:49,649 --> 00:10:52,652
BUT ALL HIS DRAWINGS
ALWAYS HAD THE ARM...
149
00:10:52,686 --> 00:10:56,156
SO ONE ARM RELATED
TO ANOTHER, SO THE HEAD
RELATED TO THE SHOULDER.
150
00:10:56,189 --> 00:10:59,159
EVERYTHING WAS IN
THE RIGHT PLACE.
151
00:11:12,605 --> 00:11:16,543
WELL, HUH, SO LONG.
152
00:11:16,576 --> 00:11:19,346
I'LL BE SEEIN' YA...
I HOPE.
153
00:11:23,516 --> 00:11:26,720
MY FIRST IMPRESSION OF WALT
WAS THAT HE WASN'T A BIG SHOT.
154
00:11:26,754 --> 00:11:30,490
HE WAS JUST WALKING
AROUND THE HALL LIKE
ANY OF THE FELLOWS.
155
00:11:30,523 --> 00:11:33,260
AND, UH, I DIDN'T KNOW
WHAT I HAD EXPECTED,
156
00:11:33,293 --> 00:11:36,730
BUT, UH, I LOOKED ON HIM
MORE AS A TEACHER...
157
00:11:36,764 --> 00:11:41,735
BECAUSE, REMEMBER,
I WANTED TO WORK ON CHARACTERS
THAT HAD PERSONALITY...
158
00:11:41,769 --> 00:11:47,274
WHO YOU COULD BRING TO LIFE
IN SITUATIONS THAT CALLED FOR
EMOTIONS AND FEELINGS,
159
00:11:47,307 --> 00:11:50,177
AND HE WAS THE MAN WHO WAS
LOOKING FOR THE SAME THING.
160
00:11:50,210 --> 00:11:53,246
SO THAT MADE
A REAL NICE RELATIONSHIP.
161
00:11:53,280 --> 00:11:57,951
AND THE GUY WAS INTO
EVERY PHASE OF THE THING.
162
00:11:57,985 --> 00:12:00,420
HE WOULD CRITICIZE
THE DRAWINGS.
163
00:12:00,453 --> 00:12:02,589
HE WOULD CRITICIZE
THE ACTING.
164
00:12:02,622 --> 00:12:07,360
HE'D CRITICIZE THE SIZES OF
THE DRAWINGS, THE PERSPECTIVE.
165
00:12:07,394 --> 00:12:12,365
AND HE HAD
THIS WONDERFUL KNACK OF KNOWING
WHAT WAS UNIVERSAL IN APPEAL,
166
00:12:12,399 --> 00:12:14,601
WHAT WAS UNIVERSAL
IN THE UNDERSTANDING...
167
00:12:14,634 --> 00:12:16,569
AND WHAT PEOPLE
WOULD LAUGH AT.
168
00:12:16,603 --> 00:12:20,307
AND HE'D GET YOU
ROLLING ON THE FLOOR
YOU'D BE LAUGHING SO HARD.
169
00:12:20,340 --> 00:12:24,611
I SOON REALIZED, "HERE'S THE GUY
THAT MAKES THIS STUDIO GO."
170
00:12:24,644 --> 00:12:28,782
AND, OF COURSE,
I'D HEARD ABOUT HIM FOR YEARS,
171
00:12:28,816 --> 00:12:32,319
BUT NEVER REALIZED THAT
HE WAS THAT IMPORTANT.
172
00:12:32,352 --> 00:12:35,722
RALPH WRIGHT HAD NEVER BEEN
IN A MEETING WITH WALT BEFORE,
173
00:12:35,755 --> 00:12:37,724
AND HE WAS APPREHENSIVE
ABOUT IT.
174
00:12:37,757 --> 00:12:42,095
HE HAD THESE DRAWINGS
OF PLUTO WAKING UP
IN THE MORNING,
175
00:12:42,129 --> 00:12:45,999
AND HE WAS CONCERNED
WHETHER WALT WOULD
LIKE IT OR NOT.
176
00:12:46,033 --> 00:12:50,437
AND HE WAS TRYING
TO TELL THE STORY,
AND HE LOOKED AT WALT...
177
00:12:50,470 --> 00:12:52,572
AND WALT WASN'T PAYING
ANY ATTENTION TO HIM.
178
00:12:52,605 --> 00:12:56,476
WALT WAS DOING
ALL THIS STUFF
LIKE FRANK'S DOING.
179
00:12:56,509 --> 00:12:58,678
AND, "GOD,"
RALPH THOUGHT.
180
00:12:58,711 --> 00:13:02,482
"MY GOD, I'M WORKING
FOR A SPASTIC.
181
00:13:02,515 --> 00:13:05,618
WHAT THE HELL IS HE DOING?
HE'S NOT PAYING
ANY ATTENTION TO MY STUFF."
182
00:13:05,652 --> 00:13:10,290
AND HERE HE WAS
ACTING OUT WHAT HE SAW
IN RALPH'S DRAWINGS.
183
00:13:10,323 --> 00:13:12,059
HE SAID,
"COULDN'T WE HAVE...
184
00:13:12,092 --> 00:13:16,129
"YOU KNOW HOW IT IS WHEN YOU
WAKE UP IN THE MORNING, YOU GOT
THIS BAD TASTE IN YOUR MOUTH?
185
00:13:16,163 --> 00:13:21,701
COULDN'T WE
HAVE PLUTO DO A LITTLE MORE
OF THAT TYPE OF THING?"
186
00:13:21,734 --> 00:13:26,006
RALPH THOUGHT HE WAS LIKE
ONE OF THESE BRITISH KINGS
THEY NEVER TALKED ABOUT.
187
00:13:28,508 --> 00:13:31,144
I'M A KIND OF A SENTIMENTAL GUY,
I GUESS.
188
00:13:31,178 --> 00:13:33,981
THE WAY I'VE SAVED THIS PENCIL
THAT FRED MOORE...
189
00:13:34,014 --> 00:13:38,218
DREW MICKEYS AND
SNOW WHITE DWARVES WITH...
190
00:13:38,251 --> 00:13:41,288
AND LAMPWICK AND PINOCCHIO.
191
00:13:41,321 --> 00:13:44,391
UM, I KEEP IT TAPED UP
TO MY WINDOW...
192
00:13:44,424 --> 00:13:47,660
TO REMIND ME OF HOW GREAT
THE GUY WAS...
193
00:13:47,694 --> 00:13:50,163
AND HOW MUCH HE MEANT TO ME.
194
00:13:50,197 --> 00:13:53,066
MORE BEAUTIFUL STUFF
CAME OUT OF THIS PENCIL.
195
00:13:53,100 --> 00:13:56,336
IT JUST FLOWED OUT LIKE...
LIKE LIQUID.
196
00:13:56,369 --> 00:13:58,671
BEAUTIFUL DRAWINGS
OF THE DWARVES...
197
00:13:58,705 --> 00:14:01,074
WHERE HE'D DRAW
THE CHEEKS ON THEM,
198
00:14:01,108 --> 00:14:06,313
WHERE IT WAS A SLIGHTLY
WIDER LINE AT THE BOTTOM
OF THE CHEEK OR ON THE NOSE.
199
00:14:06,346 --> 00:14:10,417
ANYWAY, THERE WAS A LOT
OF TALENT IN THIS PENCIL,
200
00:14:10,450 --> 00:14:13,753
AND I JUST DISCOVERED
THERE'S STILL A LITTLE BIT
OF LEAD LEFT IN IT.
201
00:14:13,786 --> 00:14:16,423
I MAY SAVE THAT
FOR SOMETHING SPECIAL.
202
00:14:16,456 --> 00:14:19,226
WELL, I'M MICKEY MOUSE.
203
00:14:19,259 --> 00:14:22,062
YA KNOW?
MICKEY MOUSE?
204
00:14:22,095 --> 00:14:25,498
I HOPE YOU'VE HEARD OF ME.
I HOPE.
205
00:14:25,532 --> 00:14:27,600
WELL, I'M, UH, MICKEY MOUSE.
206
00:14:27,634 --> 00:14:30,203
YA KNOW? MICKEY MOUSE?
207
00:14:30,237 --> 00:14:32,639
I HOPE YOU'VE HEARD OF ME.
I HOPE.
208
00:14:33,773 --> 00:14:36,276
WHEN I STARTED
AT THE STUDIO, UH,
209
00:14:36,309 --> 00:14:39,279
I'D HEAR PEOPLE TALKING ABOUT
THE IMPORTANCE OF PATHOS...
210
00:14:39,312 --> 00:14:42,082
IN, UH, COMEDY,
AND TALK ABOUT CHAPLIN.
211
00:14:42,115 --> 00:14:44,751
HE ALWAYS HAD
THIS PATHOS IN THERE.
212
00:14:44,784 --> 00:14:47,587
AND, UH, I'D SAY, "PATHOS?
WHAT DO THEY MEAN BY THAT?"
213
00:14:47,620 --> 00:14:50,390
PATHOS IS SOMETHING
THAT MAKES YOU FEEL DOWN...
214
00:14:50,423 --> 00:14:54,394
OR IT MAKES YOU CRY
MAYBE EVEN, YOU FEEL
SO STRONGLY ABOUT IT.
215
00:14:54,427 --> 00:14:57,530
I COULD NEVER SEE THAT
THAT WAS PART OF COMEDY.
216
00:14:57,564 --> 00:15:00,633
TO ME, COMEDY WAS,
"HAR HAR HAR HAR HAR."
WHAM! BANG!
217
00:15:00,667 --> 00:15:03,703
YOU KNOW,
ALL THIS SLAPSTICK STUFF.
218
00:15:03,736 --> 00:15:07,707
BUT GRADUALLY, UH, I DON'T KNOW
WHO AFFECTED ME,
219
00:15:07,740 --> 00:15:09,709
WHETHER IT WAS OLLIE
OR WHETHER IT WAS WALT...
220
00:15:09,742 --> 00:15:12,245
OR THE OTHER FELLOWS,
THE OTHER ANIMATORS
AT THE STUDIO,
221
00:15:12,279 --> 00:15:14,147
BUT GRADUALLY
THIS GREW ON ME.
222
00:15:29,162 --> 00:15:32,632
WHAT GREATER GAG COULD YOU
EVER HAVE THAN THAT ONE
IN CITY LIGHTS...
223
00:15:32,665 --> 00:15:35,268
WHERE HE'S SITTING THERE
CLOSE TO THE BLIND GIRL,
224
00:15:35,302 --> 00:15:38,738
AND SHE'S WASHING OUT THE CAN
THAT SHE'S HAD THE FLOWERS IN...
225
00:15:38,771 --> 00:15:42,775
AND SHE THROWS IT OUT AND
HITS HIM RIGHT IN THE FACE!
226
00:15:42,809 --> 00:15:45,612
AND TOOK HIM A LONG TIME
TO COME UP WITH THIS,
227
00:15:45,645 --> 00:15:48,181
BUT IF YOU WERE NOT FEELING
SORRY FOR HIM...
228
00:15:48,215 --> 00:15:50,583
AND SORRY FOR HER
FOR BEING BLIND,
229
00:15:50,617 --> 00:15:54,254
THE PATHOS IN THAT WHOLE MEETING
THERE WAS SO STRONG...
230
00:15:54,287 --> 00:15:56,489
THAT THIS GAG JUST HITS YA.
231
00:15:56,523 --> 00:16:00,393
AND IT'S STILL ONE OF THE
CLASSIC, GREATEST THINGS THAT'S
EVER BEEN DONE ON THE SCREEN.
232
00:16:28,321 --> 00:16:31,524
WELL, WHATEVER YOU DO,
DON'T STOP THIS.
233
00:16:32,592 --> 00:16:35,662
MM. THAT FEELS WONDERFUL.
234
00:16:43,503 --> 00:16:46,005
THANK YOU.
MM-HMM.
235
00:16:46,039 --> 00:16:50,243
♪ ♪
236
00:16:50,277 --> 00:16:53,380
♪ ♪
237
00:16:54,414 --> 00:16:56,349
WELL, JUST YESTERDAY MORNING...
238
00:16:56,383 --> 00:16:59,519
HE WAS GETTING DRESSED
TO COME DOWN HERE,
239
00:16:59,552 --> 00:17:04,224
TRYING TO PUT THIS BELT ON,
NOT WITH THE LOOP THROUGH
BUT THE LITTLE PIN...
240
00:17:04,257 --> 00:17:06,593
AND HE COULDN'T DO IT,
AND HIS FACE GOT REDDER...
241
00:17:06,626 --> 00:17:09,496
AND HE JUST GOT FURIOUS
AND THREW THE THING OFF.
242
00:17:09,529 --> 00:17:11,731
AND I SAID, "HONEY, YOU'RE
GONNA HAVE A HEART ATTACK."
243
00:17:11,764 --> 00:17:13,733
WELL, THEN HE LAUGHED
AT HIMSELF.
244
00:17:13,766 --> 00:17:17,370
BUT HE GETS...
OH, IT WAS JUST TERRIBLE.
245
00:17:17,404 --> 00:17:21,241
AND THEN HE LAUGHED,
GAVE ME A KISS AND
EVERYTHING WAS ALL RIGHT.
246
00:17:21,274 --> 00:17:23,276
BUT...
HE CAN GET...
247
00:17:24,477 --> 00:17:26,479
NOT OFTEN, BUT...
248
00:17:29,716 --> 00:17:33,953
SNOW WHITE
WAS A BIGGER DEPARTURE
THAN MOST PEOPLE REALIZE.
249
00:17:33,986 --> 00:17:37,690
WHEN WALT STARTED IT,
HE THOUGHT THAT, UH, YOU
JUST MAKE THE PICTURE LONGER.
250
00:17:37,724 --> 00:17:42,395
MAKE LIKE A BUNCH OF SHORTS
CONSTRUCTED TOGETHER,
SIX OR SEVEN OF THEM.
251
00:17:42,429 --> 00:17:45,598
IT DIDN'T WORK THAT WAY.
HE'D NEVER MADE
A FEATURE PICTURE BEFORE.
252
00:17:45,632 --> 00:17:47,600
HE HAD NO IDEA
WHAT THE PROBLEMS WOULD BE...
253
00:17:47,634 --> 00:17:51,771
IN PUTTING THE THING TOGETHER,
MAKE IT WORK AS A STORY.
254
00:17:51,804 --> 00:17:56,075
HE WROTE A LETTER TO A FELLOW
DURING THAT TIME AND SAID,
255
00:17:56,109 --> 00:18:00,046
"I GOT STORY PROBLEMS
DRAPED AROUND MY NECK
LIKE A BUNCH OF SPAGHETTI."
256
00:18:00,079 --> 00:18:02,081
THE SEVEN LITTLE DWARFS.
257
00:18:02,115 --> 00:18:05,051
BUT LET WALT DISNEY
TELL YOU ABOUT THEM HIMSELF.
258
00:18:05,084 --> 00:18:08,388
THE DWARFS' NAMES
FIT THEIR PERSONALITIES.
259
00:18:08,421 --> 00:18:13,226
THIS POMPOUS-LOOKING INDIVIDUAL
IS DOC, THE SELF-APPOINTED
LEADER OF THE GROUP.
260
00:18:13,260 --> 00:18:15,462
AND THIS LITTLE FELLOW
IS BASHFUL.
261
00:18:15,495 --> 00:18:17,564
HE'S SECRETLY IN LOVE
WITH SNOW WHITE.
262
00:18:17,597 --> 00:18:20,433
IT WAS CALLED
"DISNEY'S FOLLY"
AROUND TOWN.
263
00:18:20,467 --> 00:18:22,469
NOBODY THOUGHT
THAT IT WOULD GO OVER.
264
00:18:22,502 --> 00:18:25,104
AND ACTUALLY, THEY DID
RUN OUT OF MONEY.
265
00:18:25,138 --> 00:18:29,776
AND, UH, ROY SAYS, "WALT,
YOU GOTTA SHOW THIS PICTURE
TO THE BANK OF AMERICA...
266
00:18:29,809 --> 00:18:32,412
SO THEY'LL BRING US IN
SOME MORE MONEY."
267
00:18:32,445 --> 00:18:36,316
AND, UH, WALT SAID,
"NO, I CAN'T SHOW IT.
IT'S NOT IN SHAPE."
268
00:18:36,349 --> 00:18:38,318
ROY SAID,
"YOU GOT TO."
269
00:18:38,351 --> 00:18:42,289
SO THIS FELLOW CAME IN
AND LOOKED AT THE PICTURE.
DIDN'T SAY A WORD ABOUT IT.
270
00:18:42,322 --> 00:18:44,457
AND AS HE LEFT
TO GO BACK TO HIS CAR,
271
00:18:44,491 --> 00:18:48,261
WALT AND ROY CAME RUNNING ALONG
BEHIND HIM, YOU KNOW,
LIKE A COUPLE OF KIDS, AND SAID:
272
00:18:48,295 --> 00:18:50,297
"WELL, WHAT'D YOU THINK?"
273
00:18:50,330 --> 00:18:54,334
AND THE GUY SAID...
"AH," HE SAYS, "YOU CAN
HAVE ALL YOU WANT."
274
00:18:54,367 --> 00:18:56,403
"FINISH IT UP."
"IT WAS GREAT.
FINISH IT UP."
275
00:19:00,507 --> 00:19:04,344
I THINK THE FIRST DISNEY FILM
THAT I REMEMBER WAS SNOW WHITE.
276
00:19:04,377 --> 00:19:08,215
AND, UH, I WAS IMPRESSED
BY THE ACTION SEQUENCES,
277
00:19:08,248 --> 00:19:12,519
BUT I WAS ALSO...
I ALSO REMEMBER
THE POIGNANT SEQUENCES.
278
00:19:12,552 --> 00:19:14,554
UH, THE SADNESS OF IT.
279
00:19:14,587 --> 00:19:19,792
UH, THE DWARFS AROUND
SNOW WHITE'S BIER,
280
00:19:19,826 --> 00:19:22,295
AND, UH,
THAT THEY WERE CRYING.
281
00:19:22,329 --> 00:19:26,733
UM, AS A CHILD, UH,
YOU KNOW, IT WAS, UH...
282
00:19:26,766 --> 00:19:29,001
IT HAD A GREAT IMPACT
BECAUSE HERE WERE CHARACTERS...
283
00:19:29,035 --> 00:19:32,305
THAT HAD MADE ME LAUGH AND
FEEL GOOD THROUGHOUT THE FILM,
AND NOW THEY WERE...
284
00:19:32,339 --> 00:19:36,142
EXPERIENCING
AND EXPRESSING SORROW.
285
00:19:36,175 --> 00:19:38,211
OF COURSE, I DIDN'T
REALIZE IT AT THE TIME...
286
00:19:38,245 --> 00:19:41,681
THAT THIS WAS
AN IMPORTANT BREAKTHROUGH
IN PERSONALITY ANIMATION.
287
00:19:41,714 --> 00:19:45,585
AND FOR THE FIRST TIME
IN THE HISTORY OF FILM,
288
00:19:45,618 --> 00:19:49,689
MOVING DRAWINGS
HAD BECOME MOVING DRAWINGS.
289
00:19:49,722 --> 00:19:54,661
♪ ♪
290
00:19:54,694 --> 00:20:08,341
♪ ♪
291
00:20:08,375 --> 00:20:11,711
♪ ♪
292
00:20:30,630 --> 00:20:33,165
WHAT ARE YOU WEARING
ON THE PLANE?
293
00:20:35,602 --> 00:20:38,605
I DON'T HAVE ROOM TO TAKE
WHAT I WANNA WEAR ON THE PLANE.
294
00:20:38,638 --> 00:20:40,740
I'LL HAVE TO WEAR
SOMETHING ELSE.
295
00:20:40,773 --> 00:20:43,109
MY SUITCASE
IS ALREADY FULL.
296
00:20:43,142 --> 00:20:45,278
THEN THERE'S
NOTHING TO DO, HUH?
297
00:20:47,146 --> 00:20:49,749
HOW MANY SHOES
SHALL I TAKE?
298
00:20:49,782 --> 00:20:53,453
THREE.
THAT'S WHAT I GOT.
YOU'RE RIGHT.
299
00:20:53,486 --> 00:20:59,091
HERE'S ONE.
WORD WITH "MISS" OR "BEER."
300
00:20:59,125 --> 00:21:01,594
IS THIS "MYTH"
OR "MYTHS"?
301
00:21:01,628 --> 00:21:04,497
M-I-S-S.
OH, YEAH, "MISS."
302
00:21:04,531 --> 00:21:06,966
AND THE ANSWER
IS "NEAR."
303
00:21:09,502 --> 00:21:11,604
"NEAR MISS"
AND "NEAR BEER."
304
00:21:13,039 --> 00:21:16,108
IT'S LIKE YOU'RE NEAR.
305
00:21:16,142 --> 00:21:18,110
AND I KNEW...
I'M A NEAR MISS.
306
00:21:18,144 --> 00:21:21,180
I NEARLY GOT IT.
307
00:21:21,213 --> 00:21:23,182
PUZZLES. GOSH.
OKAY. BETTER LUCK...
308
00:21:23,215 --> 00:21:24,784
NEXT TIME.
YEAH.
309
00:21:24,817 --> 00:21:29,622
♪ ♪
310
00:21:29,656 --> 00:21:34,293
♪ ♪
311
00:21:34,327 --> 00:21:38,197
I THINK FRANK, UH,
IS ONE OF THE LEAST...
312
00:21:38,230 --> 00:21:42,134
UH, MERCURIAL ARTISTS
THAT I'VE EVER KNOWN.
313
00:21:43,470 --> 00:21:47,139
HE'S A... HE'S A VERY
EVEN-TEMPERED MAN.
314
00:21:47,173 --> 00:21:50,276
IT ISN'T THAT HE DOESN'T
FEEL THINGS DEEPLY,
315
00:21:50,309 --> 00:21:54,614
BUT HE HAS THE, UH,
SUNNY DISPOSITION...
316
00:21:54,647 --> 00:21:58,451
THAT SOMEHOW DOESN'T HAVE
THE FLIP SIDE OF BEING HIGH.
317
00:21:58,485 --> 00:22:02,321
HE'S NOT EQUALLY LOW,
WHICH HAPPENS TO MOST OF US.
318
00:22:03,490 --> 00:22:06,693
AND AS A RESULT, UH,
319
00:22:06,726 --> 00:22:11,130
I'VE LIVED WITH SOMEONE
WITH THIS RELENTLESS CURIOSITY,
320
00:22:11,163 --> 00:22:14,333
WHICH MAKES LIVING
LOTS OF FUN.
321
00:22:14,367 --> 00:22:18,505
AND, UH... AND HE'S ALWAYS
PLEASANT TO BE AROUND,
322
00:22:18,538 --> 00:22:20,607
WHICH IS MORE THAN
I CAN SAY FOR MYSELF.
323
00:22:23,410 --> 00:22:28,981
NEVER MIND ALL THAT!
GET TO THE PART
WHERE I LOSE MY TEMPER!
324
00:22:29,015 --> 00:22:31,718
...TEASING, TORMENTING
AND OTHERWISE ANNOYING
OUR BELOVED...
325
00:22:31,751 --> 00:22:36,355
NEVER MIND ALL THAT!
GET TO THE PART
WHERE I LOSE MY TEMPER!
326
00:22:36,389 --> 00:22:40,493
UH, FRANK AND OLLIE
ARE TWO OF THE GREATEST
CHARACTER ANIMATORS EVER...
327
00:22:40,527 --> 00:22:43,530
BECAUSE THEY'RE
TWO OF THE GREATEST
SCREEN ACTORS EVER.
328
00:22:43,563 --> 00:22:46,032
I MEAN, THEY HAVE SUCH A...
329
00:22:46,065 --> 00:22:49,001
THEY'RE LIKE A REPERTORY COMPANY
WITHIN THEMSELVES.
330
00:22:49,035 --> 00:22:51,738
UH, THEY'VE PLAYED
HEROES AND HEROINES,
331
00:22:51,771 --> 00:22:54,340
VILLAINS AND BUFFOONS.
332
00:22:54,373 --> 00:22:57,209
UH, THEY'VE EVEN PLAYED
INANIMATE OBJECTS.
333
00:22:57,243 --> 00:22:59,946
I DON'T THINK LAURENCE OLIVIER
EVER PLAYED A DOORKNOB.
334
00:23:01,414 --> 00:23:04,751
THE WORST THING ABOUT
STARTING A NEW SCENE...
335
00:23:04,784 --> 00:23:08,588
IS THAT YOU HAVE TO START
WITH A BLANK PIECE OF PAPER,
336
00:23:08,621 --> 00:23:12,291
AND THERE'S NOTHING ANYBODY ELSE
CAN DO TO HELP YOU.
337
00:23:12,324 --> 00:23:14,360
YOU HAVE TO
START IT YOURSELF.
338
00:23:14,393 --> 00:23:18,698
YOU CAN'T GO AND SAY,
"HEY, MAKE A DRAWING FOR ME
AND THEN I'LL WORK OVER THAT."
339
00:23:18,731 --> 00:23:23,235
NO. IT'S THE REVERSE. YOU HAVE
TO MAKE THAT DRAWING FIRST.
340
00:23:23,269 --> 00:23:26,105
IT'S NOT LIKE LIVE ACTION,
FOR INSTANCE,
341
00:23:26,138 --> 00:23:30,643
WHERE YOU HAVE,
OH, ROBERT REDFORD AND
MERYL STREEP OR SOMETHING.
342
00:23:30,677 --> 00:23:33,446
YOU'VE GOT SOMETHING
THAT'S A KNOWN QUANTITY.
343
00:23:33,480 --> 00:23:35,648
WE START WITH NOTHING.
344
00:23:43,790 --> 00:23:47,594
THAT'S A PRETTY GIRL. OH.
345
00:23:47,627 --> 00:23:52,431
SUCH PRETTY, SOFT HAIRS.
PRETTY HEAD.
346
00:23:52,465 --> 00:23:56,102
YOU'RE THE PRETTIEST DOG
ON FLINTRIDGE AVENUE.
DID YOU KNOW THAT?
347
00:23:58,170 --> 00:24:00,439
YEAH.
YEAH.
348
00:24:03,142 --> 00:24:06,178
SEE, YOU GOT
THIS LINE HERE, TEDDY.
349
00:24:06,212 --> 00:24:10,082
IT'S VERY UNUSUAL FOR A DOG.
IT'S A SMILE LINE,
LIKE PEOPLE HAVE.
350
00:24:10,116 --> 00:24:12,118
YOU KNOW THIS LINE
THAT COMES DOWN HERE?
351
00:24:12,151 --> 00:24:16,322
MAKES YOU LOOK LIKE YOU'RE
THINKING AND GIVES YOU
GOOD EXPRESSIONS.
352
00:24:16,355 --> 00:24:19,091
MOST DOGS DON'T HAVE THAT.
THAT MAKES YOU
A VERY SPECIAL TYPE DOG.
353
00:24:19,125 --> 00:24:21,561
MAKES YOU LOOK LIKE
YOU'RE INTELLIGENT.
354
00:24:23,229 --> 00:24:28,635
AND I DON'T THINK THAT'S REALLY
TOO TRUTHFUL A VIEW OF THINGS.
355
00:24:31,137 --> 00:24:33,205
OLLIE AND I HAVE
A DIFFERENT APPROACH...
356
00:24:33,239 --> 00:24:36,375
TO ACTUAL DRAWING...
ANIMATING.
357
00:24:36,408 --> 00:24:40,647
HE IS VERY INTUITIVE
AND HAS TO FEEL FROM THE INSIDE.
358
00:24:40,680 --> 00:24:43,215
HE HAD A SIGN UP ON HIS DESK
THAT SAID:
359
00:24:43,249 --> 00:24:47,620
"WHAT IS THE CHARACTER
THINKING AND WHY DOES
HE FEEL THAT WAY?"
360
00:24:47,654 --> 00:24:50,022
WHICH IS VERY PERCEPTIVE.
361
00:24:50,056 --> 00:24:52,158
YOU KNOW, IF YOU CAN
ANSWER THOSE TWO QUESTIONS,
362
00:24:52,191 --> 00:24:54,794
YOU'RE WAY DOWN THE ROAD TOWARDS
GETTING A SCENE OUT OF IT.
363
00:24:54,827 --> 00:24:56,796
FRANK IS VERY ANALYTICAL.
364
00:24:56,829 --> 00:25:00,232
HE FIGURES EVERYTHING OUT,
MAKES NOTES ABOUT EVERYTHING.
365
00:25:00,266 --> 00:25:03,035
I FINALLY LEARNED
TO DO THAT A LITTLE MYSELF.
366
00:25:03,069 --> 00:25:06,338
EVERYTHING. FIGURES IT
ALL OUT COMPLETELY.
367
00:25:06,372 --> 00:25:09,742
HE WENT TO MORE TROUBLE
IN PLANNING A SCENE...
368
00:25:09,776 --> 00:25:12,244
THAN ANYBODY
IN THE STUDIO EVER DID.
369
00:25:14,513 --> 00:25:16,749
WHEN I LOOKED AT
OLLIE'S DRAWINGS,
370
00:25:16,783 --> 00:25:21,654
OLLIE HAD THIS WAY
OF ALMOST KISSING THE PAPER
WITH HIS PENCIL.
371
00:25:21,688 --> 00:25:25,357
IT WAS JUST,
JUST SOFTLY BRUSHING IT...
372
00:25:25,391 --> 00:25:28,227
AND FINDING
THE SIMPLEST FORMS.
373
00:25:28,260 --> 00:25:30,763
HIS THINKING
SEEMED TO ALWAYS BE...
374
00:25:30,797 --> 00:25:34,601
IN ZEROING IN ON WHAT
IS THE SIMPLEST WAY...
375
00:25:34,634 --> 00:25:37,570
OF MAKING A STATEMENT
IN THIS DRAWING.
376
00:25:40,640 --> 00:25:45,177
HE DIDN'T SUBJECT SCENES
TO THE SAME, UH,
RIGOROUS ANALYSIS...
377
00:25:45,211 --> 00:25:47,246
THAT FRANK
SUBJECTED IT TO.
378
00:25:47,279 --> 00:25:52,018
HE ALWAYS HAD
A MUCH MORE GUT, ANIMAL WAY
OF DEALING WITH THINGS.
379
00:25:52,051 --> 00:25:54,353
HE COULD TAKE A SCENE...
380
00:25:54,386 --> 00:25:57,389
AND HE WOULD BE ABLE
TO FEEL IT STRONGLY
FROM THE VERY BEGINNING,
381
00:25:57,423 --> 00:26:00,693
AND I SUSPECT
HIS FIRST REACTIONS TO IT
WERE ALWAYS ACCURATE.
382
00:26:00,727 --> 00:26:03,095
FRANK'S WAY OF DRAWING,
383
00:26:03,129 --> 00:26:05,431
TO ME,
ALWAYS SEEMED TO HAVE...
384
00:26:05,464 --> 00:26:11,237
THERE WAS A THOUSAND LINES
TRYING TO FIND THE PERFECT WAY
OF SAYING WHAT HE WANTED TO SAY.
385
00:26:11,270 --> 00:26:14,040
AND HE WAS SEARCHING.
YOU COULD SEE IT
IN HIS DRAWING.
386
00:26:14,073 --> 00:26:18,611
IT WAS ALMOST LIKE
IT WAS AN INVISIBLE THING
HE WAS SCULPTING...
387
00:26:18,645 --> 00:26:21,080
WITH THE EDGE OF THE TINY
LITTLE TIP OF HIS PENCIL.
388
00:26:21,113 --> 00:26:23,549
A VERY THIN LINE,
NERVOUSLY SEARCHING...
389
00:26:23,582 --> 00:26:26,619
AND FINDING OUT THAT FORM
AND THAT EXPRESSION.
390
00:26:38,765 --> 00:26:41,734
ONCE YOU SEE THE FILM
OF YOUR DRAWINGS,
391
00:26:41,768 --> 00:26:43,736
THEN YOU'RE HOOKED
ON ANIMATION.
392
00:26:43,770 --> 00:26:47,674
NOTHING CAN TAKE THAT...
CAN GIVE YOU THE SAME FEELING.
393
00:26:47,707 --> 00:26:51,678
SCULPTURE, PAINTING, UH,
DRAWING, ETCHINGS... ANYTHING.
394
00:26:53,512 --> 00:26:56,115
NONE OF IT CAN GIVE YOU
THAT SAME FEELING OF LIFE...
395
00:26:56,148 --> 00:26:59,351
THAT YOU GET OUT OF SEEING
THIS DOGGONE LITTLE CHARACTER...
396
00:26:59,385 --> 00:27:02,121
WORKING AROUND
ON THE MOVIOLA...
397
00:27:02,154 --> 00:27:04,991
OR ON THE PROJECTION...
PROJECTED UP ON THE SCREEN.
398
00:27:05,024 --> 00:27:08,194
AND, UH, YOU FEEL LIKE...
399
00:27:08,227 --> 00:27:11,263
A PARENT WHO HAS JUST SENT
HIS KID AWAY TO SCHOOL.
400
00:27:11,297 --> 00:27:15,334
YOU DON'T REALLY OWN THIS GUY
UP ON THE SCREEN ANYMORE.
401
00:27:15,367 --> 00:27:18,370
YOU DID FOR AWHILE. YOU WERE
VERY CLOSE TO HIM FOR AWHILE.
402
00:27:18,404 --> 00:27:22,374
BUT NOW, ALL OF A SUDDEN,
HERE HE IS APPARENTLY MAKING
DECISIONS ON HIS OWN,
403
00:27:22,408 --> 00:27:24,610
DOING QUITE WELL
WITHOUT YOU, THANK YOU.
404
00:27:24,643 --> 00:27:28,380
I'LL TELL MY FATHER!
405
00:27:30,416 --> 00:27:33,019
JIMINY! OH, JIMINY!
406
00:27:35,187 --> 00:27:37,389
OH, JIMINY,
WHERE ARE YOU?
407
00:27:37,423 --> 00:27:40,459
JIMINY CRICKET!
408
00:27:46,432 --> 00:27:49,568
WE KNEW WE WERE DOING
A DIFFERENT KIND OF ANIMATION...
409
00:27:49,601 --> 00:27:51,971
THAN HAD EVER BEEN DONE BEFORE.
410
00:27:52,004 --> 00:27:56,075
SOME OF THE OLD-TIMERS
THAT WERE WORKING AT THE STUDIO
WOULD EVEN TELL US,
411
00:27:56,108 --> 00:27:59,078
"YOU KNOW, WHEN I WAS DOING IT,
IT WASN'T LIKE THIS.
412
00:27:59,111 --> 00:28:01,480
WE DIDN'T HAVE
THESE STORIES LIKE THIS."
413
00:28:01,513 --> 00:28:05,084
WE KNEW AFTER SNOW WHITE
THAT WE HAD SOMETHING...
414
00:28:05,117 --> 00:28:08,487
THAT WAS ENTIRELY DIFFERENT
THAN ANYBODY HAD EVER ATTEMPTED.
415
00:28:08,520 --> 00:28:11,590
I WAS GOING TO SCHOOL.
THEN I MET SOMEBODY.
416
00:28:11,623 --> 00:28:15,094
I WAS GOING TO SCHOOL.
THEN I MET SOMEBODY.
417
00:28:15,127 --> 00:28:18,097
PINOCCHIO, WHY DIDN'T YOU
GO TO SCHOOL?
418
00:28:18,130 --> 00:28:23,102
- SCHOOL? WELL, I, UM...
- GO AHEAD. TELL HER.
419
00:28:23,135 --> 00:28:26,072
I WAS GOING TO SCHOOL
'TIL I MET SOMEBODY.
420
00:28:26,105 --> 00:28:30,076
MET SOMEBODY?
YEAH.
TWO BIG MONSTERS.
421
00:28:30,109 --> 00:28:32,111
WITH BIG GREEN EYES.
422
00:28:34,080 --> 00:28:37,750
THIS WAS ONE
OF THE FIRST CASES,
UH, ONE ON PINOCCHIO,
423
00:28:37,784 --> 00:28:42,721
WHERE, UH, WE WERE
ACTUALLY ANIMATING...
RIGHT THROUGH A SEQUENCE.
424
00:28:42,755 --> 00:28:46,358
'CAUSE WE BOTH HAD
LONG NOSES TO DRAW ON HIM.
425
00:28:46,392 --> 00:28:48,360
WE HAD TO CHECK
WITH EACH OTHER.
426
00:28:48,394 --> 00:28:52,198
YOU GOT THE SHORTER NOSES.
YOU GOT HIM PLAYING IT
LIKE A FIFE OR SOMETHING.
427
00:28:52,231 --> 00:28:55,267
I HAD TO MAKE SURE
I HADN'T DRAWN IT TOO LONG
FOR THE NEXT SCENE.
428
00:28:55,301 --> 00:28:57,603
I HAD THIS NOSE
THAT'S WAY OUT HERE,
429
00:28:57,636 --> 00:28:59,605
AND EVERY PLACE
HE TURNED...
430
00:28:59,638 --> 00:29:03,109
THE NOSE WAS GOING WAY BEYOND
ANYTHING YOU COULD DRAW.
431
00:29:03,142 --> 00:29:05,411
AND WHERE WAS SIR JIMINY?
432
00:29:05,444 --> 00:29:09,281
OH. JIMINY? UH...
HEY! PSST!
LEAVE ME OUT OF THIS!
433
00:29:09,315 --> 00:29:11,550
THEY PUT HIM
IN A LITTLE SACK.
434
00:29:11,583 --> 00:29:15,221
NO!
YES!
435
00:29:15,254 --> 00:29:17,556
HOW DID YOU
ESCAPE?
I DIDN'T.
436
00:29:17,589 --> 00:29:20,592
THEY CHOPPED ME
INTO FIREWOOD!
437
00:29:22,628 --> 00:29:27,399
THERE WAS A FEELING THAT AS YOU
STARTED TO WORK ON A SCENE,
438
00:29:27,433 --> 00:29:30,236
THAT YOU'D SORT OF
ENCASE YOUR...
439
00:29:30,269 --> 00:29:34,440
YOU HAD A CONTACT WITH THE MAGIC
THAT WAS BEHIND THE DRAWING.
440
00:29:34,473 --> 00:29:37,743
NOT THE DRAWING ITSELF AS MUCH,
BUT THIS WHOLE FEELING OF...
441
00:29:37,776 --> 00:29:40,346
THIS IS A ROOM,
THIS IS A FOREST GLADE,
442
00:29:40,379 --> 00:29:42,648
THIS IS A ROCK,
THIS IS A CASTLE...
443
00:29:42,681 --> 00:29:44,750
WHATEVER IT IS
THAT YOU'RE DRAWING.
444
00:29:44,783 --> 00:29:48,120
HERE'S YOUR CHARACTER IN IT,
AND YOU HAD TO BE ABLE TO SEE
YOUR CHARACTER...
445
00:29:48,154 --> 00:29:51,290
WORKING IN THREE DIMENSIONS
GOING IN THERE...
446
00:29:51,323 --> 00:29:54,160
AND LIVING IN THERE, AND YOU
WANTED TO LIVE IN THERE.
447
00:29:54,193 --> 00:29:57,463
IF THE PHONE RANG, YOU...
IT WAS LIKE A REAL DREAM.
448
00:29:57,496 --> 00:30:01,600
IT'S HARD TO COME OUT
OF THIS CONCEPT TO PICK UP
THE PHONE AND THINK,
449
00:30:01,633 --> 00:30:05,204
"WHERE AM I?
WHAT'S GOING ON HERE TODAY?
HELLO? WHO'S THIS?"
450
00:30:05,237 --> 00:30:09,041
AHEM. COME TO...
AHEM. COME TO THINK OF IT,
451
00:30:09,075 --> 00:30:13,712
IF I WAS A PIRATE,
I-I-I WOULDN'T HIDE
ANYTHING BACK THERE.
452
00:30:13,745 --> 00:30:16,615
AHEM.
C-COME TO THINK OF IT,
453
00:30:16,648 --> 00:30:20,652
IF I WAS A PIRATE,
I WOU... I WOULDN'T HIDE
ANYTHING BACK THERE.
454
00:30:20,686 --> 00:30:22,989
ANOTHER HISS OUT OF YOU...
455
00:30:23,022 --> 00:30:27,159
UH, UH, UH, UH, HISS... AND YOU
ARE WALKI TO NOTTINGHAM.
456
00:30:27,193 --> 00:30:30,129
ONE MORE...
ONE MORE HISS OUT OF YOU...
457
00:30:30,162 --> 00:30:32,164
UH, UH, UH, UH, HISS...
458
00:30:32,198 --> 00:30:35,167
AND YOU ARE WALKING
TO NOTTINGHAM.
459
00:30:35,201 --> 00:30:39,471
YOU KNOW, MY BEST IDEAS
COME TO ME WHILE I'M WALKING.
460
00:30:39,505 --> 00:30:42,574
SOMETIMES I DON'T THINK
I CAN DO IT. I'M TOO TIRED.
461
00:30:42,608 --> 00:30:45,511
BUT ONCE I GET DOWN HERE
AND START WALKING,
462
00:30:45,544 --> 00:30:50,749
WHY, THE JUICES START FLOWING
AND THEN I REALLY FEEL MUCH
BETTER AND I'M GLAD I DID IT.
463
00:30:50,782 --> 00:30:54,353
AND I ALWAYS DID LIKE
TO DO ATHLETICS,
464
00:30:54,386 --> 00:30:57,389
AND I USED TO GET ALL KINDS
OF CARICATURES.
465
00:30:57,423 --> 00:31:00,192
EVERYTHING I DID,
SOMEBODY DREW A CARICATURE OF.
466
00:31:00,226 --> 00:31:04,530
♪ ♪
467
00:31:07,233 --> 00:31:11,170
YOU COULDN'T SAY ANYTHING
TO ANYBODY...
468
00:31:11,203 --> 00:31:13,572
WITHOUT GETTING
A CARICATURE MADE OF IT.
469
00:31:13,605 --> 00:31:17,543
IF YOU WERE TRYING TO BE
SERIOUS ABOUT SOMETHING
AND EXPRESS YOUR PHILOSOPHY,
470
00:31:17,576 --> 00:31:20,612
GEE, THEY'D DRAW YOU
LIKE LINCOLN
OR SOMEBODY LIKE THAT.
471
00:31:20,646 --> 00:31:22,348
YOU JUST NEVER KNEW
WHAT WAS GONNA COME OUT.
472
00:31:22,381 --> 00:31:26,585
YOU MADE ONE COMMENT, AND YOU'D
GET 50 DRAWINGS COMING UNDER
YOUR DOOR OR ONTO YOUR DESK.
473
00:31:26,618 --> 00:31:28,988
THEY'D SLIDE IN
UNDER THE DOOR.
474
00:31:50,509 --> 00:31:54,413
I WAS LOSING MY HAIR
AT ONE POINT,
REALLY?
475
00:31:54,446 --> 00:31:59,085
AND FRANK MADE A DRAWING OF ME
WITH ALL THE DIFFERENT WAYS
MY HAIR WOULD COME BACK.
476
00:31:59,118 --> 00:32:02,088
I WAS HAVING
HAIR TREATMENTS
OVER IN HOLLYWOOD.
477
00:32:02,121 --> 00:32:05,324
THERE WERE A BUNCH
OF NICE-LOOKING GIRLS
GIVING THESE TREATMENTS.
478
00:32:05,357 --> 00:32:10,096
EVERY TIME YOU'D COME IN,
THEY'D SAY, "OH! YOUR HAIR'S
REALLY COMING BACK GREAT."
479
00:32:10,129 --> 00:32:14,533
LOOK AT THIS FUZZ.
BEAT YOU DO DEATH, SCRUBBING
YOUR HEAD OR SOMETHING.
480
00:32:17,503 --> 00:32:20,106
WALT WASN'T BOTHERED
BY ALL THESE JOKES...
481
00:32:20,139 --> 00:32:23,342
AND THINGS LIKE THAT...
WITH THE CARICATURES
THAT WENT ON...
482
00:32:23,375 --> 00:32:27,446
BECAUSE HE KNEW THAT
IT WAS SHARPENING OUR SKILLS
OF COMMUNICATION.
483
00:32:27,479 --> 00:32:32,018
NONE OF THESE GAGS
WOULD HAVE PAID OFF IF YOU
DIDN'T COMMUNICATE PROPERLY...
484
00:32:32,051 --> 00:32:36,688
SO THAT THE GUYS KNEW WHAT YOU
WERE DOING, WHO THE JOKE WAS ON
AND WHAT THE JOKE WAS.
485
00:32:41,393 --> 00:32:44,596
STRANGE COINCIDENCE
THAT I DIDN'T FIND OUT...
486
00:32:44,630 --> 00:32:48,267
UNTIL, ACTUALLY, A DOZEN
YEARS AGO OR SO, I GUESS,
487
00:32:48,300 --> 00:32:50,636
WAS THAT FRANK'S MOTHER...
488
00:32:50,669 --> 00:32:53,272
WAS BORN IN
TUSCOLA, ILLINOIS,
489
00:32:53,305 --> 00:32:55,707
THE SAME TOWN
THAT MY MOTHER WAS BORN IN.
490
00:32:55,741 --> 00:33:00,612
LITTLE DINKY PLACE NOT FAR
FROM CHAMPAIGN-URBANA.
491
00:33:00,646 --> 00:33:05,151
AND, UH, THAT WAS
AN UNBELIEVABLE COINCIDENCE
AMONG ALL THE OTHERS.
492
00:33:05,184 --> 00:33:09,288
THAT WE BOTH HAD EDUCATORS
FOR FATHERS.
493
00:33:09,321 --> 00:33:12,224
IT WAS REALLY... WEIRD.
494
00:33:12,258 --> 00:33:14,626
WE BOTH LIKED
THE SAME KIND OF BOOKS.
495
00:33:14,660 --> 00:33:19,365
WE GREW UP ON THE ROBIN HOOD,
IVANHOE, SCOTTISH CHIEFS.
496
00:33:19,398 --> 00:33:22,701
ALL THOSE GREAT, ROMANTIC
HISTORICAL NOVELS.
497
00:33:22,734 --> 00:33:24,670
I WAS ROBIN HOOD,
498
00:33:24,703 --> 00:33:28,174
AND I FORMED A BAND
AROUND ME OF GUYS.
499
00:33:28,207 --> 00:33:30,409
SOME OF THEM DIDN'T WANT
TO BE IN IT,
500
00:33:30,442 --> 00:33:33,145
BUT THEY DIDN'T KNOW ANYTHING
ELSE TO DO FOR THE SUMMER.
501
00:33:35,281 --> 00:33:38,684
AND WE LIVED OUT ON THE EDGE
OF TOWN IN FRESNO,
502
00:33:38,717 --> 00:33:41,253
AND THERE WEREN'T
ANY OTHER KIDS TO PLAY WITH,
503
00:33:41,287 --> 00:33:44,523
SO I NEVER HAD THE ADVANTAGE
OF BEING ROBIN HOOD...
504
00:33:44,556 --> 00:33:47,093
AND HAVING A WHOLE GANG
OF KIDS AROUND ME.
505
00:33:47,126 --> 00:33:50,362
SAY, "YOU BE WILL SCARLETT AND
YOU BE LITTLE JOHN" AND SO ON.
506
00:33:50,396 --> 00:33:53,299
SO I HAD TO DO ALL THAT
IN MY IMAGINATION.
507
00:33:55,301 --> 00:34:00,439
UH, HE RODE A MOTORCYCLE
FOR AWHILE. I NEVER DID.
I RODE A BICYCLE.
508
00:34:03,475 --> 00:34:06,545
I HAD A DOG. I DON'T REMEMBER
WHETHER HE HAD A DOG OR NOT.
509
00:34:17,223 --> 00:34:19,191
HI, HONEY.
HI.
510
00:34:19,225 --> 00:34:21,293
I'M ON MY WAY DOWN TO FRANK'S.
OKAY.
511
00:34:21,327 --> 00:34:24,062
WILL YOU BE HOME
FOR LUNCH?
OF COURSE.
512
00:34:34,240 --> 00:34:36,375
HI THERE, TEDDY.
YOU DIDN'T DISAPPOINT ME.
513
00:34:40,346 --> 00:34:43,282
HI. HI.
WHATCHA GOT?
514
00:34:47,085 --> 00:34:49,755
WE HAD SOME SPECIAL PROBLEMS
WITH BAMBI.
515
00:34:49,788 --> 00:34:52,090
WE'D HAD PROBLEMS
ALL THE WAY THROUGH...
516
00:34:52,124 --> 00:34:54,626
TRYING TO FIGURE OUT A WAY TO
MAKE DEER INTERESTING ENOUGH...
517
00:34:54,660 --> 00:34:56,628
THAT THEY COULD SUSTAIN
A WHOLE FEATURE.
518
00:34:56,662 --> 00:35:00,098
AFTER BAMBI'S BIRTH
AT THE START OF THE THING,
519
00:35:00,132 --> 00:35:04,069
BAMBI'S MOTHER TOOK HIM AROUND
TO INTRODUCE HIM TO ALL
THE PEOPLE IN THE NEIGHBORHOOD.
520
00:35:04,102 --> 00:35:06,172
DULL, DULL, DULL.
521
00:35:06,205 --> 00:35:10,008
NO MATTER WHAT YOU DID,
YOU COULDN'T PUT ANY LIFE
INTO THE THING.
522
00:35:10,041 --> 00:35:13,612
WELL, ONE DAY WHEN WE WERE
TRYING TO GET VOICES
FOR ALL THE LITTLE BUNNIES,
523
00:35:13,645 --> 00:35:18,617
"DID
THE YOUNG PRINCE FALL DOWN?"
524
00:35:18,650 --> 00:35:21,253
AND THE ANIMATORS SAID,
"THERE'S OUR VOICE!"
525
00:35:21,287 --> 00:35:24,690
AND THE CASTING DIRECTOR SAID,
"GET THAT KID OUTTA HERE.
HE CAN'T ACT."
526
00:35:24,723 --> 00:35:27,593
BUT WE BROUGHT HIM BACK,
AND HE COULD ACT...
527
00:35:27,626 --> 00:35:30,529
AND HAD
THIS WONDERFUL VOICE.
528
00:35:30,562 --> 00:35:32,764
SO HE WAS THE ONE
WHO TOOK BAMBI AROUND,
529
00:35:32,798 --> 00:35:35,434
AND ALL OF A SUDDEN, IT WAS
A WHOLE DIFFERENT PICTURE.
530
00:35:35,467 --> 00:35:38,437
IT WAS A PICTURE
ABOUT KIDS IN THE NEIGHBORHOOD.
531
00:35:38,470 --> 00:35:41,207
GOOD MORNING, YOUNG PRINCE.
532
00:35:41,240 --> 00:35:44,343
HELLO.
WHATCHA EATIN'?
533
00:35:44,376 --> 00:35:47,379
CLOVER.
CLOVER.
IT'S AWFULLY GOOD.
534
00:35:47,413 --> 00:35:49,381
IT'S DELICIOUS!
535
00:35:49,415 --> 00:35:51,983
WHY DON'T YA
TRY SOME?
536
00:35:54,653 --> 00:35:58,490
NO, NO!
NOT THAT GREEN STUFF.
537
00:35:58,524 --> 00:36:02,628
JUST EAT THE BLOSSOMS.
THAT'S THE GOOD STUFF.
538
00:36:02,661 --> 00:36:05,564
SEEMS LIKE THUMPER
WAS ALWAYS POPPING OFF,
539
00:36:05,597 --> 00:36:08,634
TRYING TO TELL HIS IDEAS.
540
00:36:08,667 --> 00:36:13,305
AND IN THAT PARTICULAR CASE
OF THE SECTION I DID...
541
00:36:13,339 --> 00:36:16,708
WHERE THUMPER SAYS,
"EATING GREENS
IS A SPECIAL TREAT,"
542
00:36:16,742 --> 00:36:19,010
HE HAD SAID TO BEGIN WITH,
TO BAMBI,
543
00:36:19,044 --> 00:36:21,580
"DON'T EAT THAT GREEN STUFF.
JUST EAT THE BLOSSOMS."
544
00:36:21,613 --> 00:36:25,317
- AND HIS MOTHER SAYS...
- "THUMPER, WHAT DID YOUR FATHER
TELL YOU THIS MORNING?"
545
00:36:25,351 --> 00:36:30,155
WE NEVER SAW THE FATHER, BUT YOU
KNEW THAT HE'D SAY, "NOW, SON,
I WANT YOU TO REMEMBER..."
546
00:36:30,188 --> 00:36:34,360
SO WHEN OLLIE GOT
THE SCENE OF "EATING GREENS
IS A SPECIAL TREAT.
547
00:36:34,393 --> 00:36:38,597
IT MAKES LONG,
BIG FEET, BIG EARS"...
548
00:36:38,630 --> 00:36:44,436
UH, HE REALIZED
THAT THUMPER HAD PROBABLY BEEN
HEARING THIS SAID AT HOME...
549
00:36:44,470 --> 00:36:47,673
OVER AND OVER AND OVER
AND WAS PRETTY BORED WITH IT.
550
00:36:47,706 --> 00:36:52,077
AND SO I HAD HIM JUST LOOKING
AT THE GROUND AFTER THAT.
551
00:36:52,110 --> 00:36:56,748
AND HE SAYS, "ABOUT WHAT?"
WITHOUT EVEN LOOKING UP.
552
00:36:56,782 --> 00:36:59,585
AND SHE SAYS, "YOU KNOW,
ABOUT EATING THE GREENS."
553
00:36:59,618 --> 00:37:02,220
"OH, THAT ONE."
554
00:37:02,254 --> 00:37:04,290
CLEARS HIS THROAT,
TURNS AROUND...
555
00:37:04,323 --> 00:37:08,260
AND STARTS IN RECITING
HIS "EATING GREENS
IS A SPECIAL TREAT."
556
00:37:08,294 --> 00:37:10,729
THUMPER?
557
00:37:10,762 --> 00:37:12,731
YES, MAMA.
558
00:37:12,764 --> 00:37:15,401
WHAT DID YOUR FATHER
TELL YOU?
559
00:37:15,434 --> 00:37:17,436
'BOUT WHAT?
560
00:37:17,469 --> 00:37:21,640
ABOUT EATING THE BLOSSOMS
AND LEAVING THE GREENS.
561
00:37:21,673 --> 00:37:24,443
OH, THAT ONE.
562
00:37:24,476 --> 00:37:29,548
AHEM! EATING GREENS
IS A SPECIAL TREAT.
563
00:37:29,581 --> 00:37:33,619
IT MAKES LONG EARS
AND GREAT BIG FEET.
564
00:37:35,253 --> 00:37:38,957
BUT IT SURE IS
AWFUL STUFF TO EAT.
565
00:37:40,292 --> 00:37:42,994
I MADE THAT LAST PART UP MYSELF.
566
00:37:48,300 --> 00:37:50,402
HIYA, BAMBI!
567
00:37:50,436 --> 00:37:53,271
WATCH WHAT I CAN DO!
568
00:37:56,508 --> 00:37:58,510
WHEE!
569
00:38:08,987 --> 00:38:12,458
COME ON!
IT'S ALL RIGHT. LOOK.
570
00:38:12,491 --> 00:38:16,127
THE WATER IS STIFF.
571
00:38:20,165 --> 00:38:22,300
YIPPEE!
572
00:38:31,477 --> 00:38:35,246
SOME FUN, HUH, BAMBI?
573
00:38:37,349 --> 00:38:41,353
I THINK YOU'D HAVE TO SAY THAT
THE BIGGEST LAUGH IN BAMBI...
574
00:38:41,387 --> 00:38:45,624
IS FRANK'S SECTION,
BAMBI AND THUMPER ON THE ICE.
575
00:38:45,657 --> 00:38:49,327
AND AT ONE TIME, THE DIRECTOR
AND THE STORY PEOPLE...
576
00:38:49,361 --> 00:38:53,699
WERE TALKING ABOUT CUTTING
THAT DOWN TO SOMETHING
MUCH LESS THAN THAT.
577
00:38:53,732 --> 00:38:57,403
WORD CAME DOWN TO ME,
AND I'D BEEN PREPARING
TO ANIMATE THAT, AND I SAID,
578
00:38:57,436 --> 00:38:59,405
"OH, GOLLY,
THEY CAN'T DO THAT!"
579
00:38:59,438 --> 00:39:05,076
SO I SAID, "CAN I HAVE
THREE DAYS TO TRY TO SHOW YOU
WHAT WILL HAPPEN IN THERE?"
580
00:39:05,110 --> 00:39:08,414
SO I MADE POSE TESTS
AND THINGS WHERE YOU JUST
MADE A FEW DRAWINGS...
581
00:39:08,447 --> 00:39:11,216
AND HELD THEM FOR A LONGER TIME,
BUT STILL GAVE THE FEELING...
582
00:39:11,249 --> 00:39:14,019
OF WHAT WOULD BE
IN THAT SEQUENCE.
583
00:39:14,052 --> 00:39:18,690
BECAUSE OF MY OWN DIFFICULTIES
WITH ICE-SKATING, I WAS VERY
SYMPATHETIC TO BAMBI.
584
00:39:18,724 --> 00:39:23,094
AND, UH, OF COURSE, THUMPER WAS
THE LITTLE SMART-ALECKY KIDS...
585
00:39:23,128 --> 00:39:27,633
THAT CAME SKATING AROUND ME,
YOU KNOW, BACKWARDS AND FORWARDS
AND THEN SWIRLING ALL AROUND.
586
00:39:29,234 --> 00:39:31,470
KINDA WOBBLY, AREN'T YA?
587
00:39:41,279 --> 00:39:43,281
AHEM!
588
00:39:53,124 --> 00:39:57,629
YA GOTTA
WATCH BOTH ENDS
AT THE SAME TIME.
589
00:40:02,400 --> 00:40:04,603
GUESS YOU BETTER
UNWIND IT.
590
00:40:30,662 --> 00:40:32,631
WOW!
591
00:40:35,501 --> 00:40:39,304
WE THINK THAT BAMBI WAS
WALT'S FAVORITE PICTURE.
592
00:40:39,337 --> 00:40:41,339
ALL OUR FEATURES
WERE DIFFERENT,
593
00:40:41,372 --> 00:40:43,475
BUT THIS ONE WAS
THE MOST DIFFERENT.
594
00:40:43,509 --> 00:40:45,611
THE DEATH
OF THE MOTHER.
595
00:40:45,644 --> 00:40:48,747
IT'S THE ONE PICTURE WHERE
SOMEBODY IS REALLY KILLED,
596
00:40:48,780 --> 00:40:53,284
AND THERE'S NO FAIRY DUST
OR LOVER'S KISS TO BRING HER
BACK TO LIFE.
597
00:40:53,318 --> 00:40:55,453
SHE'S DEAD, AND, UH,
598
00:40:55,487 --> 00:40:59,257
I THINK THAT'S THE BIG THING
THAT MADE THIS SO DIFFERENT.
599
00:40:59,290 --> 00:41:04,095
WELL, THE FACT
THAT YOU HAD ANIMALS TRYING
TO CARRY A WHOLE PICTURE.
600
00:41:04,129 --> 00:41:07,098
WE'D NEVER DONE THAT,
AND WALT WASN'T SURE
THAT WE COULD DO IT,
601
00:41:07,132 --> 00:41:10,268
AND A LOT OF US WEREN'T SURE
THAT WE COULD MAKE THE PICTURE.
602
00:41:10,301 --> 00:41:15,106
SEVEN YEARS OF WORK,
UP AND DOWN, UP AND DOWN,
FINALLY ENDED WITH THE WAR.
603
00:41:15,140 --> 00:41:18,143
WE JUST BARELY
GOT THE THING FINISHED
AFTER CUTTING IT ALL UP,
604
00:41:18,176 --> 00:41:20,546
BUT IT STILL HAD
THAT DIFFERENT SPARK TO IT.
605
00:41:20,579 --> 00:41:24,215
WE'LL TRY TO CATCH HER
BEFORE SHE GOES OUT TO LUNCH.
606
00:41:24,249 --> 00:41:26,552
OKAY. I'LL GO GET
THE OTHER PHONE.
607
00:41:29,087 --> 00:41:32,023
YOU CALL ME WHEN IT...
LET ME KNOW WHEN IT RINGS.
608
00:41:32,057 --> 00:41:34,059
ALL RIGHT.
609
00:41:36,094 --> 00:41:38,396
IT'S RINGING.
610
00:41:38,429 --> 00:41:41,567
THE IDEA
OF FRANK AND OLLIE...
611
00:41:41,600 --> 00:41:44,703
I MEAN, IT'S A TERM THAT IS
THROWN AROUND SO OFTEN...
612
00:41:44,736 --> 00:41:48,473
THAT I THINK THAT THERE
ARE THOSE WHO ARE THERE
WHO DON'T KNOW...
613
00:41:48,506 --> 00:41:51,142
FRANK AND OLLIE
IS NOT ONE PERSON.
614
00:41:51,176 --> 00:41:54,012
I MEAN, THEY ARE TWO
SEPARATE INDIVIDUALS.
615
00:41:54,045 --> 00:41:56,181
'CAUSE IT JUST FLOWS.
ONE... FRANK AND OLLIE.
616
00:41:56,214 --> 00:41:58,216
HELLO?
HELLO.
617
00:41:58,249 --> 00:42:00,619
FRANK AND OLLIE CALLING
FROM LOS ANGELES.
618
00:42:09,628 --> 00:42:11,730
AS FAR AS FRANK AND OLLIE GOES,
619
00:42:11,763 --> 00:42:15,100
THE MORE I FOUND OUT ABOUT
THEIR PAST HISTORY TOGETHER,
620
00:42:15,133 --> 00:42:17,202
IT BECOMES MORE
AND MORE EXTRAORDINARY.
621
00:42:17,235 --> 00:42:20,271
AND I GUESS IT'S KIND OF
AN ENIGMA TO ME...
622
00:42:20,305 --> 00:42:25,276
BECAUSE I'M NOT
THAT CLOSE TO SOMEBODY...
I MEAN TO A MALE FRIEND...
623
00:42:25,310 --> 00:42:27,278
AND IT'S AN ENIGMA TO ME.
624
00:42:27,312 --> 00:42:30,215
I CAN'T FIGURE OUT
WHAT IT IS THAT FUELS IT.
625
00:42:30,248 --> 00:42:32,217
WHAT IS IT THAT GIVES IT LIFE?
626
00:42:32,250 --> 00:42:36,287
UH, THAT'S THE MYSTERY
OF LOVE, I SUPPOSE.
627
00:42:36,321 --> 00:42:39,290
I MEAN, THERE'S NEVER ANY...
NEVER ANY EXPLANATION FOR IT.
628
00:42:43,094 --> 00:42:47,065
OH, THAT'S VILLAIN STUFF.
I DON'T WANT THAT.
629
00:42:47,098 --> 00:42:52,237
THIS IS TOO.
DONALD STUFF. YEAH!
THIS IS... NO, THAT'S NOT...
630
00:42:52,270 --> 00:42:54,305
GOTTA BE IN HERE.
631
00:42:58,509 --> 00:43:00,646
DOGGONE IT.
632
00:43:01,613 --> 00:43:03,615
THAT'S NOT WHAT I WANT.
633
00:43:10,622 --> 00:43:12,624
WHAT'D I DO WITH IT?
634
00:43:13,992 --> 00:43:15,761
MARIE?
WHAT?
635
00:43:15,794 --> 00:43:19,397
I CAN'T FIND
THAT DAMN DRAWING.
THAT'S PAR FOR THE COURSE.
636
00:43:19,430 --> 00:43:21,432
- YOU WANT ME TO HELP YOU?
- YES.
637
00:43:21,466 --> 00:43:23,334
ALL RIGHT.
JUST A MINUTE.
638
00:44:19,657 --> 00:44:22,560
SIEG HEIL!
SIEG HEIL!
639
00:44:34,505 --> 00:44:38,710
BECAUSE OF THE WAR,
PINOCCHIO HAD NOT MADE MONEY.
640
00:44:38,744 --> 00:44:40,746
DIDN'T EVEN PAY FOR ITSELF.
641
00:44:40,779 --> 00:44:45,250
FANTASIA DID NOT MAKE MONEY,
AND BAMB THE KING OF THEM ALL,
642
00:44:45,283 --> 00:44:47,252
FAILED TO MAKE MONEY.
643
00:44:47,285 --> 00:44:51,222
AND IT WAS A VERY SAD TIME,
TO ME, FOR WALT,
644
00:44:51,256 --> 00:44:53,424
AS WELL AS THE REST OF US,
645
00:44:53,458 --> 00:44:57,528
BECAUSE WALT WAS CUT OFF
AT THE HEIGHT OF HIS POWERS.
646
00:44:57,562 --> 00:44:59,564
HE WAS AT HIS MOST CREATIVE.
647
00:44:59,597 --> 00:45:02,367
THERE'S JUST NO TELLING
WHERE HE WOULD HAVE GONE...
648
00:45:02,400 --> 00:45:06,437
WITH THAT WONDERFUL
IMAGINATION THAT HE HAD...
649
00:45:06,471 --> 00:45:08,439
WHAT HE COULDN'T DO.
650
00:45:08,473 --> 00:45:11,409
EVERYTHING HE'D DONE
HAD BEEN A STEP FORWARD...
651
00:45:11,442 --> 00:45:13,678
AND MORE CREATIVE
AND MORE IMAGINATIVE.
652
00:45:13,711 --> 00:45:16,514
AND HERE, ALL OF A SUDDEN,
THAT'S BROUGHT TO AN END.
653
00:45:16,547 --> 00:45:20,585
WALT HAD BEEN VERY DISAPPOINTED
THAT FANTASIA DID NOT GO OVER...
654
00:45:20,618 --> 00:45:24,222
BECAUSE HE FELT THAT WAS
A NEW FRONTIER FOR ANIMATION.
655
00:45:24,255 --> 00:45:27,759
IT OPENED UP WHOLE NEW AREAS
THAT WE COULD PLAY WITH.
656
00:45:27,793 --> 00:45:30,128
BUT THE AUDIENCE
DIDN'T GO FOR THAT.
657
00:45:30,161 --> 00:45:32,130
HE LOST MONEY,
LOST MONEY.
658
00:45:32,163 --> 00:45:35,400
FINALLY HE REALIZED,
"WELL, THE AUDIENCE WANTS
ANOTHER SNOW WHITE.
659
00:45:35,433 --> 00:45:39,637
THEY WANT A GIRL
IN TROUBLE, BESET BY EVIL
AND SOMEBODY SAVES HER."
660
00:45:39,670 --> 00:45:41,606
SO HE MADE CINDERELLA.
661
00:45:41,639 --> 00:45:44,275
CINDERELLA MADE
AN EXTRA MILLION DOLLARS.
662
00:45:44,309 --> 00:45:47,112
ALICE IN WONDERLAND
LOST A MILLION DOLLARS.
663
00:45:47,145 --> 00:45:52,117
SO THE STUDIO REALLY WASN'T
IN THE BLACK UNTIL AFTER WE
GOT THE PARKS GOING...
664
00:45:52,150 --> 00:45:55,386
AND TV CAME IN AND ALL THESE
OTHER INTERESTS OF WALT'S...
665
00:45:55,420 --> 00:46:00,591
STARTED TO BRING IN MONEY FROM
SEVERAL DIFFERENT ENTERPRISES
AND NOT JUST THE PICTURES.
666
00:46:02,127 --> 00:46:04,595
WELL, IN THE MEANTIME,
HE'D BEEN GOING THIS WAY,
667
00:46:04,629 --> 00:46:08,299
AND WE STARTED GOING
THIS WAY, TRYING TO KEEP
THE PICTURES GOING...
668
00:46:08,333 --> 00:46:10,601
WITH LESS AND LESS HELP
FROM WALT.
669
00:46:10,635 --> 00:46:14,405
WE DECIDED THE BEST THING
FOR US TO DO WAS TO WORK ON
THE PERSONALITIES,
670
00:46:14,439 --> 00:46:17,475
THE ACTING, THE ENTERTAINMENT
AS BEST WE COULD...
671
00:46:17,508 --> 00:46:22,013
AND TRY TO COVER WHAT WALT
HAD GIVEN US BEFORE.
672
00:46:22,047 --> 00:46:26,284
HE WAS STILL AROUND, BUT HE
WASN'T EXERCISING THE CONTROL
OVER THE FILMS...
673
00:46:26,317 --> 00:46:28,253
THAT HE HAD ORIGINALLY.
674
00:46:28,286 --> 00:46:32,690
EVENTUALLY, UH, DISNEY
HAD A FAVORITE PHALANX
OF ANIMATORS...
675
00:46:32,723 --> 00:46:34,692
THAT HE CALLED
"THE NINE OLD MEN,"
676
00:46:34,725 --> 00:46:39,597
AND, UH, EACH OF THEM
HAD CERTAIN STRENGTHS...
677
00:46:39,630 --> 00:46:41,967
AND COMPLEMENTED THE OTHER.
678
00:46:42,000 --> 00:46:45,003
UH, SOME OF THEM WERE
WONDERFUL DRAFTSMEN.
679
00:46:45,036 --> 00:46:49,007
SOME WERE GOOD
WITH ZANY SEQUENCES
AND CHARACTERS.
680
00:46:49,040 --> 00:46:52,043
OTHERS WERE
FEMALE CHARACTER SPECIALISTS.
681
00:46:52,077 --> 00:46:57,315
FRANK AND OLLIE, OF COURSE,
WERE THE BEST WITH SINCERE,
EMOTIONAL ANIMATION.
682
00:47:00,185 --> 00:47:03,121
AND WHAT WALT SAW
WAS THAT FRANK AND OLLIE...
683
00:47:03,154 --> 00:47:08,126
WERE ABLE TO SUSPEND DISBELIEF
PICTURE AFTER PICTURE...
684
00:47:08,159 --> 00:47:10,461
AND GO INTO WHATEVER
THE CHARACTER WAS...
685
00:47:10,495 --> 00:47:15,333
AND SAY, "NO, NO, NO.
YOU DON'T UNDERSTAND.
IT'S A CHILD.
686
00:47:15,366 --> 00:47:18,203
IT'S A FATHER, A MOTHER,
A SON, A DAUGHTER."
687
00:47:18,236 --> 00:47:20,571
UH, THEY KEPT TELLING ME,
688
00:47:20,605 --> 00:47:23,408
"YOUR WORK
HAS TO BE SINCERE."
689
00:47:23,441 --> 00:47:27,578
AND... HOW DO YOU DRAW
SINCERE?
690
00:47:27,612 --> 00:47:30,148
I MEAN, DO YOU PRESS HARDER
ON THE PENCIL?
691
00:47:30,181 --> 00:47:32,750
EHHH! YOU KNOW, TO REALLY
GET TO THE HEART OF IT?
692
00:47:32,783 --> 00:47:38,256
IT'S ONLY IN RETROSPECT
THAT I REALIZE THE THINGS
THEY WERE TELLING US WERE...
693
00:47:38,289 --> 00:47:41,559
TRULY TRUE SECRETS
OF MAGIC, AS IT WERE.
694
00:47:41,592 --> 00:47:43,861
♪ ♪
695
00:47:48,133 --> 00:47:51,036
THIS IS FRANK THOMAS,
ONE OF OUR KEY ANIMATORS.
696
00:47:51,069 --> 00:47:54,072
HE'S MAKING THE DRAWINGS
THAT WILL ANIMATE PART OF
THE DIALOGUE SCENE...
697
00:47:54,105 --> 00:47:56,107
WE HAVE JUST HEARD
RECORDED.
698
00:47:58,709 --> 00:48:01,947
HE'S NOT JUST MAKING FACES
IN THE MIRROR FOR FUN.
699
00:48:01,980 --> 00:48:04,315
HE'S MOUTHING THE WORDS
AS HE HEARS THEM.
700
00:48:05,483 --> 00:48:07,518
THEN HE SKETCHES
THE POSITION OF HIS MOUTH...
701
00:48:07,552 --> 00:48:11,389
SO THAT THE CHARACTER
HE'S DRAWING WILL APPEAR
TO BE SAYING THE WORDS.
702
00:48:16,227 --> 00:48:18,696
WELL, LET'S SEE WHAT
WE'VE GOT HERE NOW.
703
00:48:18,729 --> 00:48:24,535
BY FLIPPING THESE DRAWINGS
AT THE SAME TIME AS WE PLAY THE
RECORD ON THE PLAYBACK MACHINE,
704
00:48:24,569 --> 00:48:27,772
WE GET A PRETTY FAIR IDEA
OF WHAT WE'RE GOING TO SEE
ON THE SCREEN.
705
00:48:27,805 --> 00:48:29,975
I'LL SHOW YA.
706
00:48:31,309 --> 00:48:33,478
UH, WHAT'S A BABY?
707
00:48:34,479 --> 00:48:36,314
UH, WHAT'S A BABY?
708
00:48:36,347 --> 00:48:39,250
WHEN I WAS FOUR YEARS OLD,
I SAW LADY AND THE TRAMP,
709
00:48:39,284 --> 00:48:42,220
AND...
MY RECOLLECTION OF IT...
710
00:48:42,253 --> 00:48:44,655
IS JUST KIND OF
A HODGEPODGE OF IMAGES,
711
00:48:44,689 --> 00:48:50,161
BUT ONE IMAGE OR SEQUENCE
THAT REALLY VIVIDLY
STANDS OUT IN MY MIND...
712
00:48:50,195 --> 00:48:53,598
IS THE SPAGHETTI SEQUENCE.
713
00:48:53,631 --> 00:48:56,601
IN THE HANDS
OF A LESSER ANIMATOR,
714
00:48:56,634 --> 00:48:58,603
IT WOULD HAVE BEEN
A HORRIBLE SCENE,
715
00:48:58,636 --> 00:49:03,074
BUT WHAT FRANK DID WAS
NOTHING SHORT OF MIRACULOUS.
716
00:49:03,108 --> 00:49:06,177
I LOVE THE LITTLE PERSONALITY
TOUCHES THAT HE GETS INTO IT.
717
00:49:06,211 --> 00:49:09,780
UM, UH, TRAMP,
BEING A DOG OF THE STREETS,
718
00:49:09,814 --> 00:49:12,450
IS NOT USED TO EATING
SUCH A WONDERFUL MEAL,
719
00:49:12,483 --> 00:49:16,587
AND SO HE EATS TWICE AS MUCH
AS LADY DOES IN THE SEQUENCE.
720
00:49:16,621 --> 00:49:20,258
AND LADY, WHO IS A PAMPERED
UPPER-MIDDLE-CLASS DOG...
721
00:49:20,291 --> 00:49:24,029
AND GETS HER, AT LEAST,
TWO SQUARE MEALS A DAY
PLUS SNACKS,
722
00:49:24,062 --> 00:49:29,667
IS MORE INTERESTED IN
THE IMPROVISATIONAL SERENADE
THAT'S BEING PERFORMED FOR THEM.
723
00:49:29,700 --> 00:49:34,205
UM, INADVERTENTLY, THEY CHEW ON
A SINGLE STRAND OF SPAGHETTI,
724
00:49:34,239 --> 00:49:38,076
AND THEN THEIR MUZZLES MEET
AND THEY KISS.
725
00:49:41,479 --> 00:49:43,614
IT'S A WONDERFUL MOMENT...
726
00:49:43,648 --> 00:49:48,119
BECAUSE, UH, FRANK HAS LADY
REACTING JUST AS SHE SHOULD,
727
00:49:48,153 --> 00:49:50,121
DEMURELY PULLING AWAY.
728
00:49:50,155 --> 00:49:53,524
AND THEN TRAMP...
THERE'S A WONDERFUL DRAWING
AT THE END OF THE SEQUENCE...
729
00:49:53,558 --> 00:49:57,162
IN WHICH HE NUZZLES OVER
A MEATBALL TO HER,
THE LAST ONE.
730
00:49:57,195 --> 00:49:59,197
IT'S HIS GIFT TO HER.
731
00:49:59,230 --> 00:50:03,634
AND I COULD SEE THAT
HE'S FALLING IN LOVE
WITH THIS DOG.
732
00:50:03,668 --> 00:50:09,006
HE'S, UH...
IT SEEMS HE'S REFLECTING ON
WHAT THE CHEF TOLD HIM EARLIER.
733
00:50:09,040 --> 00:50:11,476
HE SAYS, "THIS IS THE ONE
YOU SHOULD SETTLE DOWN WITH."
734
00:50:11,509 --> 00:50:13,478
YOU CAN SEE IT
IN THE DRAWINGS.
735
00:50:13,511 --> 00:50:16,247
YOU CAN SEE HE'S REALIZING
SHE'S WONDERFUL.
736
00:50:16,281 --> 00:50:18,483
♪ ♪ ...WITH YOUR LOVED ONE
737
00:50:18,516 --> 00:50:25,590
♪ YOU'LL FIND
ENCHANTMENT HERE ♪
738
00:50:25,623 --> 00:50:30,728
♪ THE NIGHT WILL WEAVE
ITS MAGIC SPELL ♪ ♪
739
00:50:30,761 --> 00:50:35,066
- ♪ WHEN THE ONE YOU LOVE...
- - DO YOU CONSIDER YOURSELF A ROMANTIC?
740
00:50:35,100 --> 00:50:37,602
YES. DON'T YOU?
741
00:50:37,635 --> 00:50:40,371
AREN'T WE ALL?
742
00:50:40,405 --> 00:50:43,074
YOU THINK OLLIE'S
A ROMANTIC TOO?
743
00:50:43,108 --> 00:50:45,510
OH, VERY MUCH SO.
744
00:50:45,543 --> 00:50:47,745
YEAH. YEAH, I'D...
745
00:50:47,778 --> 00:50:50,415
YOU'D HAVE TROUBLE DEFINING
WHAT A ROMANTIC IS,
746
00:50:50,448 --> 00:50:55,420
BUT I THINK IT HAS TO DO
A LOT, TO ME, WITH LIVING
WITH YOUR DREAMS,
747
00:50:55,453 --> 00:51:00,258
AND, UH, DREAMING
QUITE A BIT ABOUT, UH,
748
00:51:00,291 --> 00:51:02,427
OH, CONNECTIONS BETWEEN THINGS...
749
00:51:02,460 --> 00:51:06,131
THE TREES, THE SKY,
THE GRASSES, THE BIRDS,
THE ANIMALS...
750
00:51:06,164 --> 00:51:08,599
AND YOU BEING PART
OF THE WHOLE THING.
751
00:51:08,633 --> 00:51:13,238
UH, A REALIST WOULD HAVE TROUBLE
WITH SOME OF THOSE CONCEPTS,
752
00:51:13,271 --> 00:51:18,309
BUT IF YOU'RE GOING TO GO
INTO AN IMAGINARY FIELD
LIKE ANIMATION,
753
00:51:18,343 --> 00:51:21,479
UH, YOU'D BETTER COME EQUIPPED
WITH THAT KIND OF NONSENSE.
754
00:51:30,121 --> 00:51:32,089
♪ ♪
755
00:51:32,123 --> 00:51:34,325
RIGHT HERE.
756
00:51:34,359 --> 00:51:36,494
NOW LET'S SEE.
757
00:51:40,131 --> 00:51:42,133
PUT IT DOWN HERE.
758
00:51:44,702 --> 00:51:46,971
AND THIS ONE...
759
00:51:52,610 --> 00:51:55,746
IT WAS A WHOLE APPROACH
TOWARD LIFE, AND WALT
USED TO SAY,
760
00:51:55,780 --> 00:51:58,649
"OUR WORK IS
A CARICATURE OF LIFE."
761
00:51:58,683 --> 00:52:03,254
BUT THE LIFE THAT THEY
WERE CARICATURING, THEY FELT
IN VERY MUCH THE SAME WAY.
762
00:52:03,288 --> 00:52:07,592
YOU CAN SEE IT WHEN HE WAS
TELLING ME ABOUT THEM, AND I HAD
NEVER MET THEM AT THIS TIME.
763
00:52:07,625 --> 00:52:11,596
HE DESCRIBED OLLIE AS
"THE GUY WHO HAD THE TRAIN."
764
00:52:11,629 --> 00:52:14,465
AND, OF COURSE, IT WAS
OLLIE'S PASSION FOR TRAINS...
765
00:52:14,499 --> 00:52:16,767
THAT GOT WALT EXCITED
ABOUT TRAINS.
766
00:52:16,801 --> 00:52:20,171
MILLIONS OF PEOPLE
ENJOY VARIOUS HOBBIES,
767
00:52:20,205 --> 00:52:24,542
AND AMONG THE LARGEST
OF THESE GROUPS ARE THE
MODEL RAILROAD ENTHUSIASTS.
768
00:52:24,575 --> 00:52:27,212
IN THE UNITED STATES ALONE,
769
00:52:27,245 --> 00:52:32,450
THERE ARE ABOUT SIX MILLION
PEOPLE WHO BUILD AND OPERATE
THESE SCALE MODEL RAILROADS.
770
00:52:32,483 --> 00:52:36,221
AND HERE AT THE STUDIO,
THERE ARE SEVERAL OF US
WHO HAVEN'T ESCAPED THE BUG.
771
00:52:36,254 --> 00:52:40,024
ONE OF OUR KEY ANIMATORS,
OLLIE JOHNSTON,
772
00:52:40,057 --> 00:52:42,560
IS ONE OF THESE
BACKYARD HOBBYISTS.
773
00:52:42,593 --> 00:52:45,330
AFTER SITTING AT
THE DRAWING BOARD ALL DAY,
774
00:52:45,363 --> 00:52:48,999
OLLIE FINDS GREAT RELAXATION
ON WEEKENDS GATHERING
THE FELLOW HOBBYISTS...
775
00:52:49,033 --> 00:52:51,536
IN THE BACKYARD
OF HIS FLINTRIDGE HOME.
776
00:52:51,569 --> 00:52:56,407
OLLIE ESTIMATES THAT IT TOOK
OVER 4,000 HOURS TO BUILD
HIS MODEL STEAM ENGINE,
777
00:52:56,441 --> 00:52:59,076
PATTERNED AFTER
THE BALTIMORE AND OHIO.
778
00:53:02,179 --> 00:53:04,249
ALL ABOARD!
779
00:53:15,059 --> 00:53:18,763
WELL, I TELL YOU,
THE ONE THING THAT SAVED
MY LIFE... AND SAVED HIS...
780
00:53:18,796 --> 00:53:21,198
WAS HIS INTEREST IN TRAINS...
781
00:53:21,232 --> 00:53:27,071
BECAUSE YOU DON'T LEAVE
A JOB LIKE THAT AT 5:00 AND
CLOSE THE DOOR AND THAT'S IT.
782
00:53:27,104 --> 00:53:32,209
YOU BRING ALL THESE
THOUGHTS HOME WITH YOU.
YOU CAN'T TURN IT OFF.
783
00:53:43,388 --> 00:53:48,426
♪ ♪
784
00:53:48,459 --> 00:53:51,729
I ALWAYS LOVED TO HEAR
FRANK PLAY THE PIANO MYSELF,
785
00:53:51,762 --> 00:53:56,301
BUT I HAD NO IDEA IT WOULD HAVE
SUCH AN IMPACT ON MY WIFE.
786
00:53:56,334 --> 00:53:58,769
YOU KNOW, THE FIRST TIME
SHE EVER HEARD HIM PLAY,
787
00:53:58,803 --> 00:54:02,440
SHE WAS UP IN ABOUT TWO SECONDS
DOING THE CHARLESTON, YOU KNOW.
788
00:54:02,473 --> 00:54:04,409
SHE CAN'T RESIST IT.
789
00:54:04,442 --> 00:54:07,578
♪ ♪
790
00:54:13,751 --> 00:54:16,421
THAT'S ALL, FOLKS.
791
00:54:16,454 --> 00:54:19,156
AND THE SAME THING
WITH FRANK AND THE MUSIC.
792
00:54:19,189 --> 00:54:25,430
HE TOLD ME ABOUT FRANK AS
"THE MAN WHO PLAYS THE PIANO
IN THE FIREHOUSE FIVE + 2."
793
00:54:25,463 --> 00:54:30,000
BY DAY, THEY'RE ARTISTS, BUT
AT NIGHT, THEY BECOME THE MOST
FAMOUS NEW BAND IN THE COUNTRY.
794
00:54:30,034 --> 00:54:31,602
FIREHOUSE FIVE + 2.
795
00:54:31,636 --> 00:54:35,506
I'VE DANCED TO THEIR MUSIC
AT NIGHT, AND NOW I'M CURIOUS:
796
00:54:35,540 --> 00:54:38,476
CAN THE MAGIC MIRROR SHOW THEM
AT THEIR DAYTIME JOB?
797
00:54:38,509 --> 00:54:41,278
SURE. BUT, EDGAR, I'D LIKE
TO SAY THIS ABOUT THE BOYS:
798
00:54:41,312 --> 00:54:43,448
THEY NEVER LET THEIR MUSIC
INTERFERE WITH THEIR WORK.
799
00:54:43,481 --> 00:54:45,950
YOU WATCH.
800
00:54:45,983 --> 00:54:50,254
MIRROR, MIRROR, ON THE WALL,
SHOW THE HARDEST WORKERS
HERE OF ALL.
801
00:54:50,287 --> 00:54:52,289
YES, MASTER.
802
00:54:56,627 --> 00:54:59,597
♪ ♪
803
00:54:59,630 --> 00:55:03,368
MONTY. HEY, MONTY.
SEE IF WALT'S AROUND.
804
00:55:09,507 --> 00:55:11,509
ALL CLEAR.
805
00:55:12,643 --> 00:55:15,145
♪ ♪
806
00:55:16,814 --> 00:55:24,989
♪ ♪
807
00:55:25,022 --> 00:55:27,725
♪ ♪
808
00:55:27,758 --> 00:55:32,997
♪ ♪
809
00:55:33,030 --> 00:55:36,333
♪ ♪
810
00:55:36,367 --> 00:55:49,079
♪ ♪
811
00:55:49,113 --> 00:55:53,183
♪ ♪
812
00:55:53,217 --> 00:56:02,226
♪ ♪
813
00:56:02,259 --> 00:56:06,731
HE'S A HAM. THAT'S WHY
HE'S A GOOD ANIMATOR.
814
00:56:06,764 --> 00:56:11,569
THAT'S WHY HIS PLAYING
WITH THE FIREHOUSE FIVE
WAS SO IMPORTANT,
815
00:56:11,602 --> 00:56:13,571
BECAUSE IT WAS
AN EGO BOOSTER.
816
00:56:13,604 --> 00:56:18,576
IT GAVE HIM THE RELEASE
THAT HE NEEDED...
817
00:56:18,609 --> 00:56:23,080
TO PUT UP WITH THE FRUSTRATION
THAT HE HAD TO KEEP BOTTLED UP
DURING THE WEEK.
818
00:56:24,248 --> 00:56:26,216
OH, I DON'T THINK
THERE WAS A DAY WENT BY...
819
00:56:26,250 --> 00:56:29,253
THAT I DIDN'T FIGURE I WAS
IN THE WRONG PROFESSION...
820
00:56:29,286 --> 00:56:32,289
AND THAT I SHOULD
GET OUT OF ANIMATION.
821
00:56:32,322 --> 00:56:35,526
I'D GET SO MAD AT
SOMETHING THAT WAS GOING ON.
822
00:56:35,560 --> 00:56:39,564
PART OF THE TIME,
IT WAS MY OWN INABILITY
TO DRAW WHAT I WANTED,
823
00:56:39,597 --> 00:56:41,599
WHICH ALL OF US HAD.
824
00:56:41,632 --> 00:56:45,102
I GUESS EVERY ARTIST
HAS THAT KIND OF PROBLEM.
825
00:56:45,135 --> 00:56:48,305
YES, AND IN MY BOOK,
THAT'S BAD!
826
00:56:58,749 --> 00:57:00,985
WELL, WHO'S THAT?
827
00:57:01,018 --> 00:57:03,754
THANKS FOR BARKING.
YOU'RE SO FIERCE.
THEY BEEN WAITIN' FOR YOU.
828
00:57:03,788 --> 00:57:06,256
YOU'RE SO FIERCE.
THEY COULDN'T WAIT
'TIL YOU GOT HERE.
829
00:57:07,625 --> 00:57:11,128
ONE OF THE MOST IMPORTANT PARTS
OF ANIMATION IS OBSERVING...
830
00:57:11,161 --> 00:57:15,766
SEEING THINGS AROUND YOU,
SEE WHAT PEOPLE DO AND LEARN THE
LITTLE TRAITS THAT THEY HAVE,
831
00:57:15,800 --> 00:57:19,103
THE WAY THEY LOOK,
THE TIMING ON THEM.
832
00:57:19,136 --> 00:57:21,105
YOU HAVE TO OBSERVE
ALL OF THOSE THINGS.
833
00:57:21,138 --> 00:57:24,575
YEAH, MY SON...
I KEPT WATCHING HIM
WHEN HE WAS A KID,
834
00:57:24,609 --> 00:57:28,078
SUCKING HIS THUMB AND
HOLDING ONTO HIS EAR
WHILE HE DID IT,
835
00:57:28,112 --> 00:57:30,080
AND I USED THAT
ON PRINCE JOHN.
836
00:57:30,114 --> 00:57:32,282
DEAR MOTHER.
837
00:57:32,316 --> 00:57:36,687
♪ ♪ MOTHER ALWAYS DID
LIKE RICHARD BEST.
838
00:57:39,223 --> 00:57:41,592
WHICH EAR DID HE HOLD?
I CAN'T REMEMBER.
839
00:57:41,626 --> 00:57:44,461
HE... MY SON WOULD GO
FROM EAR TO EAR THIS WAY.
840
00:57:44,495 --> 00:57:48,766
PRINCE JOHN'S ARMS
WEREN'T LONG ENOUGH
TO REACH AROUND TO DO THAT.
841
00:57:48,799 --> 00:57:53,604
YOU DID IT ON...
ONE OF MY BOYS HAD A WAY WHEN HE
WAS SLEEPING AND HE WAS NERVOUS,
842
00:57:53,638 --> 00:57:57,675
HE'D RUB HIS FEET TOGETHER
THIS WAY AS IF THERE WAS
SOME TENSION IN THERE.
843
00:57:57,708 --> 00:58:03,213
I USED THAT ON PRINCE JOHN
WHILE ROBIN HOOD WAS
STEALING THE GOLD.
844
00:58:11,656 --> 00:58:14,324
THEY WERE ROOMING THERE
IN THE SAME ROOMING HOUSE...
845
00:58:14,358 --> 00:58:16,727
AND THEN EVENTUALLY
HAD AN APARTMENT TOGETHER,
846
00:58:16,761 --> 00:58:19,329
AND THEN, WHEN
OLLIE AND MARIE MARRIED,
847
00:58:19,363 --> 00:58:22,332
FRANK MOVED ACROSS THE HALL
TO A BACHELOR'S APARTMENT.
848
00:58:22,366 --> 00:58:25,302
AND I GUESS IT WAS ABOUT
THREE YEARS LATER...
849
00:58:25,335 --> 00:58:29,974
THAT HE FINALLY TALKED
JEANETTE, HIS WIFE,
INTO GETTING MARRIED.
850
00:58:30,007 --> 00:58:32,743
SO NEXT THING I KNEW,
MARIE WAS HOUSE-HUNTING WITH ME,
851
00:58:32,777 --> 00:58:36,647
AND WE FOUND A DUPLEX,
WHICH WE BOUGHT.
852
00:58:36,681 --> 00:58:40,384
BEFORE THAT, EVEN,
OLLIE AND MARIE AND FRANK...
853
00:58:40,417 --> 00:58:42,419
HAD BOUGHT THE PROPERTY
IN FLINTRIDGE.
854
00:58:42,452 --> 00:58:47,224
AND SO WE WERE BOTH
PLANNING HOUSES
AT THE SAME TIME.
855
00:58:47,257 --> 00:58:52,229
I THINK WE, UH,
MOVED IN A LITTLE BEFORE
FRANK AND JEANNETTE DID.
856
00:58:52,262 --> 00:58:55,232
OUR HOUSE WAS FINISHED
A LITTLE SOONER.
857
00:58:55,265 --> 00:58:57,234
I WAS PREGNANT.
858
00:58:57,267 --> 00:59:02,039
THAT AUGUST, WE BOTH HAD BABIES
WITHIN A WEEK OF EACH OTHER...
859
00:59:02,072 --> 00:59:04,441
OUR FIRST SONS.
860
00:59:04,474 --> 00:59:08,412
WE HAD RICK
ON THE 1st OF AUGUST,
861
00:59:08,445 --> 00:59:13,450
AND SIX DAYS LATER,
THEY HAD THEIR SON, GREGG.
862
00:59:13,483 --> 00:59:17,588
OLLIE AND FRANK CONTINUED
TO DRIVE TO WORK
AND BACK TO WORK...
863
00:59:17,622 --> 00:59:19,590
AND DRIVE TO WORK
AND BACK TO WORK.
864
00:59:19,624 --> 00:59:22,459
THIS WENT ON...
AND ON.
865
00:59:25,329 --> 00:59:29,099
YEAH, THIS ONE HERE,
I FEEL...
866
00:59:29,133 --> 00:59:32,136
I DON'T KNOW HOW YOU FEEL,
BUB, BUT I FEEL
IT OUGHT TO BE USED...
867
00:59:32,169 --> 00:59:35,105
EVEN THOUGH
WE'VE ALREADY GOT
A COLOR ONE OF IT.
868
00:59:35,139 --> 00:59:38,275
OH, THIS IS OF CHERNABOG
FROM FANTASIA.
869
00:59:38,308 --> 00:59:41,545
DON'T DECIDE
ANYTHING YET.
870
00:59:41,578 --> 00:59:44,281
I FEEL LIKE THIS ONE...
871
00:59:44,314 --> 00:59:47,317
NOT JUST BECAUSE
IT'S A BIGGER TRANSPARENCY...
872
00:59:47,351 --> 00:59:51,188
BUT I FEEL LIKE IT SHOWS THE GUY
UP ON THE MOUNTAIN BETTER.
873
00:59:53,090 --> 00:59:56,727
YEAH.
THERE'S ANOTHER ONE HERE
THAT HAS TO BE CONSIDERED TOO.
874
00:59:56,761 --> 00:59:59,263
A GOOD
FOLD-OUT THING.
YEAH.
875
00:59:59,296 --> 01:00:02,099
IT WOULD MAKE
A GREAT FOLD-OUT.
876
01:00:02,132 --> 01:00:05,302
I'D BUY THAT.
WONDER IF THEY WILL.
877
01:00:06,637 --> 01:00:08,605
I WAS IN
A REGULAR CAR POOL,
878
01:00:08,639 --> 01:00:12,242
BUT WHEN WE HAD A DATE,
I'D RIDE HOME WITH
FRANK AND OLLIE.
879
01:00:12,276 --> 01:00:16,613
AND THEY DID LET ME SIT
IN THE MIDDLE. THEY DIDN'T
PUSH ME TO THE BACKSEAT.
880
01:00:16,647 --> 01:00:20,417
BUT I SOON FOUND OUT
THAT I WASN'T TO TALK...
881
01:00:20,450 --> 01:00:22,419
UNTIL WE GOT
TO A CERTAIN STREET.
882
01:00:22,452 --> 01:00:26,657
I'VE FORGOTTEN THE NAME
OF THE STREET NOW.
IT'S BEEN 50 YEARS.
883
01:00:26,691 --> 01:00:30,194
FRANK AND I STARTED
RIDING TOGETHER
BACK IN ART SCHOOL,
884
01:00:30,227 --> 01:00:34,765
AND THAT CONTINUED ON
AFTER WE BOTH GOT INTO DISNEY'S,
885
01:00:34,799 --> 01:00:38,302
SO OVER THE YEARS,
WE HAD A LOT OF TIME
TO TALK TO EACH OTHER.
886
01:00:38,335 --> 01:00:41,972
AND WE LEARNED HOW
EACH OF US THOUGHT...
887
01:00:42,006 --> 01:00:44,274
AND HOW WE APPROACHED
OUR PROBLEMS...
888
01:00:44,308 --> 01:00:47,778
AND WHAT WE'RE WEAK IN
OR STRONG IN.
889
01:00:47,812 --> 01:00:50,280
WHERE OTHER FELLOWS
WOULD STOP AT 5:00...
890
01:00:50,314 --> 01:00:53,183
AND JUST GO HOME
AND DO SOMETHING ELSE,
891
01:00:53,217 --> 01:00:57,387
WE STILL HAD 20 MINUTES
TO A HALF HOUR TO 45 MINUTES
AT ONE TIME...
892
01:00:57,421 --> 01:01:01,058
TO TALK ABOUT THE PICTURE
AND WHAT WAS WRONG WITH IT
AND WHAT IT NEEDED...
893
01:01:01,091 --> 01:01:03,127
AND THE SCENES
THAT WE HAD COMING UP.
894
01:01:03,160 --> 01:01:08,032
SO IN THE MORNING,
YOU'D START OUT WITH ALL THESE
HOT IDEAS, TALK THEM OVER.
895
01:01:08,065 --> 01:01:12,569
COMING HOME, YOU'D BE TALKING
ABOUT, "GEE, I DON'T KNOW.
THIS SURE DIDN'T WORK OUT WELL."
896
01:01:12,602 --> 01:01:17,141
WHEN YOU GOT TO WORK THE NEXT
MORNING, YOU HAD A PRETTY CLEAR
IDEA WHAT YOU WANTED TO DO.
897
01:01:17,174 --> 01:01:20,177
SO I'D MAKE A LOT OF LITTLE
THUMBNAILS... YOU KNOW,
LITTLE BITTY DRAWINGS...
898
01:01:20,210 --> 01:01:25,082
WORKING OUT THE CONTINUITY AND
THE EXPRESSIONS AND THE THINGS
I THOUGHT YOU'D GET ON THERE.
899
01:01:25,115 --> 01:01:28,052
I'D TAKE THEM INTO OLLIE
AND SAY, "IS THIS WHAT
YOU EXPECTED TO SEE?
900
01:01:28,085 --> 01:01:30,254
IS THIS WHAT
WE TALKED ABOUT?"
901
01:01:30,287 --> 01:01:33,357
HE'D SAY, "WELL, YEAH, UH...
WEREN'T YOU GOING TO DO
SOMETHING HERE?
902
01:01:33,390 --> 01:01:36,226
I THOUGHT YOU SAID
YOU WERE GOING TO DO
SOMETHING WITH THE ARM."
903
01:01:36,260 --> 01:01:38,362
"OH, YEAH, YEAH, YEAH."
"AND THEN DOWN HERE..."
904
01:01:38,395 --> 01:01:40,998
"YEAH, I KNOW, I KNOW."
I'D TRY TO GET IT AWAY FROM HIM.
905
01:01:41,031 --> 01:01:43,400
HE'D SAY, "NO, NO,
YOU GOTTA DO THIS."
906
01:01:43,433 --> 01:01:46,536
HE'D CALL OUT
THE CHANGES HE SAW. THEN
I'D TAKE IT BACK TO THE ROOM...
907
01:01:46,570 --> 01:01:49,073
AND I'D WORK ON MY SCENE
ON THAT BASIS.
908
01:01:49,106 --> 01:01:51,541
SO I'D TAKE A DRAWING
IN TO HIM,
909
01:01:51,575 --> 01:01:54,411
AND HE'D MAKE SOME
LITTLE SCRIBBLES OVER IT.
910
01:01:54,444 --> 01:01:57,114
HE WOULDN'T TRY TO MAKE
A REAL FANCY DRAWING.
911
01:01:57,147 --> 01:02:00,717
HE'D JUST POINT OUT
WHAT HE THOUGHT
MAYBE I WAS MISSING...
912
01:02:00,751 --> 01:02:05,689
OR MAYBE HE'D POINT OUT
WHAT HE LIKED ABOUT MY DRAWING,
WHICH I DIDN'T SEE.
913
01:02:05,722 --> 01:02:09,059
AND IN THE END, I'D END UP
WITH A MUCH BETTER DRAWING.
914
01:02:09,093 --> 01:02:11,061
I COULDN'T HAVE DONE IT
BY MYSELF.
915
01:02:13,397 --> 01:02:17,734
ONE GOOD TURN DESERVES ANOTHER.
WHAT CAN I DO FOR YOU?
916
01:02:17,768 --> 01:02:21,238
WELL, I'M LOOKING FOR
A WHITE RABBIT, SO, UM,
IF YOU DON'T MIND...
917
01:02:21,271 --> 01:02:23,240
EH? OH!
918
01:02:23,273 --> 01:02:25,609
THERE HE IS!
I SIMPLY MUST GET THROUGH!
919
01:02:25,642 --> 01:02:29,113
SORRY. YOU'RE MUCH TOO BIG.
SIMPLY IMPASSABLE.
920
01:02:29,146 --> 01:02:34,051
- YOU MEAN IMPOSSIBLE.
- NO, IMPASSABLE.
NOTHING'S IMPOSSIBLE.
921
01:02:34,084 --> 01:02:37,287
WE WORKED TOGETHER
ON ALICE IN WONDERLAN TOO.
922
01:02:37,321 --> 01:02:40,257
I HAD THE DOORKNOB.
I HAD ALICE.
923
01:02:40,290 --> 01:02:43,227
YEAH, LUCKY YOU.
YEAH.
TOUGH ONE.
924
01:02:43,260 --> 01:02:46,730
WE HAD THE TWO CHARACTERS
PLAYING AGAINST EACH OTHER,
925
01:02:46,763 --> 01:02:49,466
AND WE RAN INTO
AN INTERESTING PROBLEM...
926
01:02:49,499 --> 01:02:52,269
BECAUSE I NEEDED
CERTAIN LINES OF DIALOGUE...
927
01:02:52,302 --> 01:02:55,639
WHERE I COULD GET
THE DOORKNOB TO WORK PROPERLY.
928
01:02:55,672 --> 01:02:58,508
YOU KNOW, WORKING HIS MOUTH.
HE ALWAYS WANTED THE STUFF...
929
01:02:58,542 --> 01:03:03,247
I WANTED THE STUFF WHERE I COULD
HAVE ALICE NOT SAYING ANYTHING.
IT WOULD BE MUCH SIMPLER.
930
01:03:03,280 --> 01:03:07,517
I DIDN'T WANT THOSE LINES.
HE HAD TO ANIMATE...
931
01:03:07,551 --> 01:03:11,421
THERE'S NOTHING WORSE THAN
HAVING A DOORKNOB WHEN HE
DOESN'T HAVE ANYTHING TO DO.
932
01:03:11,455 --> 01:03:14,591
BUT LOOK!
I'M JUST THE RIGHT SIZE!
933
01:03:14,624 --> 01:03:16,593
OH. NO USE.
934
01:03:16,626 --> 01:03:21,098
I FORGOT TO TELL YOU.
I'M LOCKED!
935
01:03:21,131 --> 01:03:26,270
- OH, NO!
- BUT OF COURSE,
YOU'VE GOT THE KEY, SO...
936
01:03:26,303 --> 01:03:30,240
- WHAT KEY?
- NOW DON'T TELL ME
YOU'VE LEFT IT UP THERE.
937
01:03:33,177 --> 01:03:36,680
I FORGOT TO TELL YOU.
I'M LOCKED.
OH, NO!
938
01:03:36,713 --> 01:03:40,784
OH, NO!
939
01:03:40,817 --> 01:03:43,620
YOU KNOW, WHEN WALT
WAS LOOKING AT THIS STUFF,
940
01:03:43,653 --> 01:03:46,523
HE SAID, "DID YOU DO
ALL THESE ALICES?"
941
01:03:46,556 --> 01:03:50,961
AND I SAID, "YEAH."
HE SAYS, "WE'LL HAVE TO PUT YOU
ON WENDY IN PETER PAN."
942
01:03:50,995 --> 01:03:55,365
I SAID TO WALT,
"THAT'LL KILL HIM."
SO HE PUT ME ON MR. SMEE.
943
01:03:55,399 --> 01:04:00,170
EVEN THERE, WE HAD ARGUMENTS
ABOUT WHICH CHARACTER WAS
GONNA GET THE LINES HE WANTS.
944
01:04:00,204 --> 01:04:04,408
I HAD CAPTAIN HOOK,
AND IT WAS VERY IMPORTANT
THAT HE HAVE CERTAIN LINES...
945
01:04:04,441 --> 01:04:09,413
WHERE HE COULD GESTURE
AND BE THE GRAND FELLOW
THAT HE THOUGHT HE WAS.
946
01:04:09,446 --> 01:04:14,952
LOTS OF TIMES I WANTED
THAT PART ON MR. SMEE SO
I COULD SHOW HIM REACTING.
947
01:04:18,788 --> 01:04:23,093
I HAD A SCENE WITH CAPTAIN HOOK
PLAYING THE PIANO IN PETER PAN.
948
01:04:23,127 --> 01:04:26,330
AND I WONDERED,
"HOW CAN HE PLAY THE PIANO
WITH A HOOK?"
949
01:04:26,363 --> 01:04:30,567
SO I ASKED OLLIE WALLACE,
WHO IS A VERY GOOD
PIANIST AND ORGANIST.
950
01:04:30,600 --> 01:04:34,204
HAD A GREAT SENSE OF HUMOR.
AND I SAID, "OLLIE,
WHAT CAN WE DO HERE?
951
01:04:34,238 --> 01:04:36,573
"CAN YOU... SOMETHIN' HE
COULD DO WITH THE HOOK?
952
01:04:36,606 --> 01:04:39,176
HE COULD SORT OF RATTLE IT HERE
BETWEEN A COUPLE OF NOTES?"
953
01:04:39,209 --> 01:04:41,946
♪ ♪
954
01:04:41,979 --> 01:04:46,550
♪ DE-DA DE-DAY-DA
DE-DAY-DA ♪ ♪
955
01:04:46,583 --> 01:04:49,519
HE COULDN'T DO THAT,
BUT HE COULD DO A THING
WHERE HE GOES:
956
01:04:49,553 --> 01:04:52,256
♪ RRUMP, DERUMP
DERUMP, DERUMP, BING ♪ ♪
957
01:04:52,289 --> 01:04:54,591
♪ ♪
958
01:04:54,624 --> 01:04:58,028
SOMEHOW THEY'RE ABLE
TO USE THEIR IMAGINATIONS...
959
01:04:58,062 --> 01:05:01,098
TO FIT INTO ALL SORTS
OF RELATIONSHIPS.
960
01:05:01,131 --> 01:05:04,401
AND THE INCREDIBLE THING IS,
YOU THEN HAVE...
961
01:05:04,434 --> 01:05:06,436
MORE OF A FEELING OF REALITY...
962
01:05:06,470 --> 01:05:10,107
BECAUSE IT ISN'T JUST
A GOOD CARTOON CHARACTER.
963
01:05:10,140 --> 01:05:14,644
IT'S A GROUP OF PEOPLE
THINKING AND FEELING AND
BOUNCING OFF OF EACH OTHER.
964
01:05:14,678 --> 01:05:20,250
♪ ♪
965
01:05:20,284 --> 01:05:23,420
YES, MISS BELL.
CAPTAIN HOOK ADMITS DEFEAT.
966
01:05:25,622 --> 01:05:30,260
TOMORROW I LEAVE THE ISLAND,
NEVER TO RETURN.
967
01:05:30,294 --> 01:05:32,462
I'M GLAD TO HEAR THAT,
CAP'N.
968
01:05:32,496 --> 01:05:35,565
I'LL TELL THE CREW AND...
969
01:05:35,599 --> 01:05:38,602
♪ ♪
970
01:05:38,635 --> 01:05:41,338
AND THAT'S WHY
I ASKED YOU OVER, ME DEAR:
971
01:05:41,371 --> 01:05:44,341
TO TELL PETER
I BEAR HIM NO ILL WILL.
972
01:05:44,374 --> 01:05:47,044
♪ ♪
973
01:05:51,148 --> 01:05:54,418
ONE OF MY FAVORITE SEQUENCES
THAT FRANK ANIMATED...
974
01:05:54,451 --> 01:05:56,953
WAS THE SQUIRREL SEQUENCE FROM
SWORD AND THE STONE.
975
01:05:56,987 --> 01:06:02,092
MERLIN AND WART ARE
TEMPORARILY SQUIRRELS AND
TRAVELING THROUGH THE WOODS,
976
01:06:02,126 --> 01:06:06,263
AND A YOUNG GIRL SQUIRREL
HAPPENS TO FALL IN LOVE
WITH ARTHUR.
977
01:06:06,296 --> 01:06:10,100
LOOK, I'M NOT A BOY.
I MEAN...
978
01:06:10,134 --> 01:06:12,636
- I'M NOT A SQUIRREL.
- I'M A BOY.
979
01:06:12,669 --> 01:06:15,072
A HUMAN BOY,
NOT A... NOT A REAL SQ...
980
01:06:17,241 --> 01:06:20,310
OH... LEAVE ME ALONE!
981
01:06:20,344 --> 01:06:22,179
SHOO-WOO!
982
01:06:22,212 --> 01:06:27,017
IT'S SUCH A VIVID DESCRIPTION
OF FALLING IN LOVE.
983
01:06:27,051 --> 01:06:29,353
BUT A VERY POIGNANT
KIND OF LOVE...
984
01:06:29,386 --> 01:06:33,390
THE KIND OF LOVE WHERE YOU FALL
MADLY IN LOVE WITH SOMEBODY...
985
01:06:33,423 --> 01:06:37,727
AND THEN AFTER YOU'RE IN LOVE,
YOU DISCOVER THEY'RE NOTHING
LIKE YOU THOUGHT THEY WERE.
986
01:06:37,761 --> 01:06:40,464
IN THIS CASE, LITERALLY,
A DIFFERENT SPECIES.
987
01:06:40,497 --> 01:06:44,468
AND, UH, WE'VE ALL HAD
RELATIONSHIPS LIKE THAT,
HAVEN'T WE?
988
01:06:44,501 --> 01:06:46,636
MERLIN!
OH.
989
01:06:46,670 --> 01:06:49,206
SO HERE WE ARE.
990
01:06:49,239 --> 01:06:52,276
QUICK, MERLIN,
THE MAGIC.
SNICK, SNACK, SNORUM!
991
01:06:55,279 --> 01:06:57,414
THERE. NOW YOU SEE?
992
01:06:57,447 --> 01:06:59,983
I'M NOT A SQUIRREL.
I'M A BOY.
993
01:07:02,119 --> 01:07:04,721
I TRIED TO TELL YOU.
I-I'M A BOY.
994
01:07:04,754 --> 01:07:08,592
A HUMAN BOY.
995
01:07:08,625 --> 01:07:11,595
OH. IF YOU COULD
ONLY UNDERSTAND.
996
01:07:21,271 --> 01:07:23,740
YOU KNOW, LAD,
997
01:07:23,773 --> 01:07:27,077
THAT LOVE BUSINESS
IS A POWERFUL THING.
998
01:07:30,447 --> 01:07:33,049
GREATER THAN GRAVITY?
999
01:07:33,083 --> 01:07:35,585
WELL, YES, BOY,
IN ITS WAY.
1000
01:07:35,619 --> 01:07:38,255
I'D, UH...
YES, I'D SAY...
1001
01:07:38,288 --> 01:07:41,358
IT'S THE GREATEST
FORCE ON EARTH.
1002
01:07:54,471 --> 01:07:56,440
LET'S NOT BE SILLY.
1003
01:07:56,473 --> 01:07:59,443
TOO LATE.
1004
01:08:04,348 --> 01:08:08,084
OF ALL THE GREAT
LAUGHING SCENES
IN DISNEY ANIMATION,
1005
01:08:08,118 --> 01:08:11,421
I THINK MY FAVORITE
IS OLLIE JOHNSTON'S IN
THE SWORD AND THE STONE...
1006
01:08:11,455 --> 01:08:15,225
WHEN YOU HAVE ARCHIMEDES
LAUGHING SO HARD AT
MERLIN'S IDEA...
1007
01:08:15,259 --> 01:08:17,227
THAT MAN SOMEDAY
IS GONNA FLY...
1008
01:08:17,261 --> 01:08:19,229
THAT HE CAN'T GET HIS BREATH.
1009
01:08:19,263 --> 01:08:22,065
THERE SHE GOES.
1010
01:08:22,098 --> 01:08:25,635
NO, NO, NO!
1011
01:08:25,669 --> 01:08:28,638
HO, HO, HO!
MAN'LL FLY, ALL RIGHT.
1012
01:08:28,672 --> 01:08:31,308
HO, HO, HO, HO!
JUST LIKE A ROCK.
1013
01:08:34,344 --> 01:08:38,482
IT WOULD HAVE WORKED
IF-IF-IF-IF IT WEREN'T FOR
THIS INFERNAL BEARD.
1014
01:08:48,625 --> 01:08:52,262
I NEVER...
1015
01:08:52,296 --> 01:08:55,365
NEVER IN MY WHOL...
1016
01:09:00,370 --> 01:09:04,608
YOU KNOW, AN ANIMATED CHARACTER
NEVER DOES ANYTHING ON ITS OWN.
1017
01:09:04,641 --> 01:09:09,546
IF IT MAKES TOO BIG A MOVE
SOMEWHERE, IT'S YOUR FAULT,
NOT THE CHARACTER'S FAULT.
1018
01:09:09,579 --> 01:09:12,782
AND THAT'S TRUE.
YOU HAVE TO BE VERY CAREFUL...
1019
01:09:12,816 --> 01:09:15,619
BECAUSE SOMETIMES YOU THINK
YOU WANT TO DO SOMETHING...
1020
01:09:15,652 --> 01:09:19,323
HAVE A HAND DO SOMETHING
OR MOVE THEIR HEAD
IN A CERTAIN WAY.
1021
01:09:19,356 --> 01:09:22,192
SOMETIMES IT'S BETTER
TO SEE THE EXPRESSION...
1022
01:09:22,226 --> 01:09:25,729
OR LINGER ON THE BODY ATTITUDE
OR SOMETHING THAT'S...
1023
01:09:25,762 --> 01:09:29,065
WHETHER IT'S SAD OR
WHETHER IT'S HAPPY...
WHATEVER IT IS...
1024
01:09:29,098 --> 01:09:33,503
SO THAT YOU COMMUNICATE THAT
WITHOUT COMPLICATING IT.
1025
01:09:38,608 --> 01:09:41,411
UH, PENNY...
A SCENE THAT OLLIE DID...
1026
01:09:41,445 --> 01:09:44,080
PENNY'S SITTING ON THE BED
IN THE ORPHANAGE,
1027
01:09:44,113 --> 01:09:49,085
AND SHE SAYS SOMETHING LIKE,
"WELL, THEY HAD ADOPTION DAY
AT THE ORPHANAGE,
1028
01:09:49,118 --> 01:09:52,689
"AND A MAN AND A WOMAN
CAME AND LOOKED AT ME,
1029
01:09:52,722 --> 01:09:57,594
"BUT THEY CHOOSED THE LITTLE
REDHEADED GIRL INSTEAD...
1030
01:09:57,627 --> 01:10:00,930
BECAUSE SHE WAS PRETTIER."
1031
01:10:00,964 --> 01:10:04,534
THAT WASN'T A CHILD
THAT WAS PLAYING THAT SCENE.
IT WAS A DRAWING.
1032
01:10:04,568 --> 01:10:07,003
SHE LOOKED AWFUL SAD...
1033
01:10:07,036 --> 01:10:09,072
AND SO I ASKED HER:
1034
01:10:09,105 --> 01:10:11,441
WHAT'S WRONG,
PENNY, HONEY?
1035
01:10:11,475 --> 01:10:13,443
NOTHING.
1036
01:10:13,477 --> 01:10:16,613
OH, COME ON NOW.
COME ON. NO SECRETS.
1037
01:10:16,646 --> 01:10:19,516
YOU TELL OLD RUFUS, HUH?
1038
01:10:19,549 --> 01:10:23,753
WELL, IT WAS
ADOPTION DAY
AT THE ORPHANAGE.
1039
01:10:23,787 --> 01:10:26,356
WHAT... WHAT HAPPENED?
1040
01:10:26,390 --> 01:10:29,559
A MAN AND A LADY CAME
AND LOOKED AT ME,
1041
01:10:29,593 --> 01:10:33,129
BUT THEY CHOOSED
THE LITTLE REDHEADED GIRL.
1042
01:10:33,162 --> 01:10:37,301
SHE WAS PRETTIER
THAN ME.
OH!
1043
01:10:37,334 --> 01:10:42,205
SHE COULDN'T BE!
YOU... NOW, YOU LISTEN
TO ME, DARLIN'.
1044
01:10:42,238 --> 01:10:45,241
YOU'RE SOMETHING EXTRA SPECIAL.
1045
01:10:45,275 --> 01:10:47,311
NO, I'M NOT.
WHY, SOMEDAY...
1046
01:10:47,344 --> 01:10:50,480
A MAMA AND A PAPA WILL
COME TO THE ORPHANAGE...
1047
01:10:50,514 --> 01:10:54,618
A-LOOKIN' FOR
A PRETTY LITTLE GIRL
JUST LIKE YOU.
1048
01:10:54,651 --> 01:10:56,152
HONEST?
1049
01:10:59,689 --> 01:11:03,092
HAVE TO RUN CAPTIONS.
THIS SHOULD BE AT...
1050
01:11:03,126 --> 01:11:06,996
WE HAVE WALT'S ACTUAL WORDS
FROM THE STORY MEETING NOTES.
1051
01:11:07,030 --> 01:11:10,266
DO THEY SAY ENOUGH
OR SHOULD WE ADD SOMETHIN'?
1052
01:11:10,300 --> 01:11:13,337
MMM, I'D HAVE TO SEE IT...
1053
01:11:13,370 --> 01:11:16,473
WITH THE DRAWING?
YEAH, I'D HAVE TO SEE IT
WITH THE DRAWINGS,
1054
01:11:16,506 --> 01:11:20,009
BUT WE GOT
A WHOLE SERIES THERE
THAT ARE REALLY GOOD...
1055
01:11:20,043 --> 01:11:24,080
WHERE HE FIRST STARTS
CHANGING AND PINOCCHIO
STARTS LAUGHING AT HIM...
1056
01:11:24,113 --> 01:11:27,317
AND THEN HE GOES OVER
AND GRABS HOLD OF PINOCCHIO.
1057
01:11:34,624 --> 01:11:37,193
I THINK THE REASON THAT
OLLIE AND I HAVE GOTTEN ALONG...
1058
01:11:37,226 --> 01:11:40,196
AS WELL AS WE HAVE
OVER THE YEARS...
1059
01:11:40,229 --> 01:11:42,699
IS BECAUSE
WE SPEAK THE SAME LANGUAGE,
1060
01:11:42,732 --> 01:11:47,437
AND FOR MANY YEARS, WE SPOKE
THE SAME LANGUAGE AS WALT.
1061
01:11:47,471 --> 01:11:51,608
THERE'S A TRUTH
AND AN HONESTY THERE...
1062
01:11:51,641 --> 01:11:55,445
THAT YOU DON'T ALWAYS FIND
IN FAIRLY CLOSE FRIENDS.
1063
01:11:55,479 --> 01:11:59,649
SOMEBODY ALWAYS WANTS TO DO
A LITTLE ONE-UPMANSHIP
OR SOMETHING LIKE THAT.
1064
01:11:59,683 --> 01:12:02,218
BUT THERE'S NEVER
ANY OF THAT WITH US.
1065
01:12:02,251 --> 01:12:06,623
IT ISN'T THE TYPE OF THING YOU
GO AROUND THINKING, "GEE, I GOT
A GOOD FRIEND," OR SOMETHING.
1066
01:12:06,656 --> 01:12:09,058
I GOT TO THINKING ABOUT IT,
AND, BY GOLLY,
1067
01:12:09,092 --> 01:12:12,195
WE HAD A WAY
OF WORKING TOGETHER...
1068
01:12:12,228 --> 01:12:14,698
THAT REALLY BENEFITED
BOTH OF US.
1069
01:12:14,731 --> 01:12:20,570
WE EACH LIFTED THE OTHER UP
TO SOMETHING HE COULDN'T DO
BY HIMSELF.
1070
01:12:20,604 --> 01:12:24,408
NOT THAT
THEY DON'T DISAGREE.
1071
01:12:24,441 --> 01:12:28,645
THEY DO. BUT THEY
HAVE A WAY OF SAYING,
1072
01:12:28,678 --> 01:12:31,381
"WELL, UH, OLLIE,
1073
01:12:31,415 --> 01:12:35,084
"I DON'T THINK
THAT WOULD WORK.
1074
01:12:35,118 --> 01:12:37,086
I'M NOT SURE THAT'S..."
1075
01:12:37,120 --> 01:12:40,056
"OH." AND OLLIE
WOULD LISTEN, AND
THEY'D TALK IT OUT.
1076
01:12:40,089 --> 01:12:44,661
THEY MAY NOT HAVE ARRIVED
AT FRANK'S SOLUTION, BUT THEY'VE
COME SOMEWHERE IN BETWEEN.
1077
01:12:44,694 --> 01:12:49,232
I'VE BEEN AMAZED AT
THE WAY THEY... THEY
NEVER LOSE THEIR TEMPER.
1078
01:12:55,439 --> 01:12:58,341
♪ LOOK FOR THE
BARE NECESSITIES ♪
1079
01:12:58,374 --> 01:13:01,244
♪ THE SIMPLE BARE NECESSITIES
1080
01:13:01,277 --> 01:13:04,113
♪ FORGET ABOUT YOUR WORRIES
AND YOUR STRIFE ♪
1081
01:13:05,248 --> 01:13:08,384
♪ I MEAN THE BARE NECESSITIES
1082
01:13:08,418 --> 01:13:10,253
♪ ARE MOTHER NATURE'S RECIPES
1083
01:13:10,286 --> 01:13:14,558
♪ THAT BRING THE BARE
NECESSITIES OF LIFE ♪ ♪
1084
01:13:14,591 --> 01:13:19,395
JUNGLE BOOK, UH, OF COURSE,
WAS A VERY IMPORTANT
AND PIVOTAL PICTURE,
1085
01:13:19,429 --> 01:13:23,366
NOT JUST IN THE CAREERS
OF FRANK AND OLLIE
BUT, I THINK,
1086
01:13:23,399 --> 01:13:27,604
FOR THE HISTORY AND FUTURE
OF DISNEY ANIMATION.
1087
01:13:27,637 --> 01:13:30,073
WALT DISNEY DIED
DURING THE MAKING OF IT,
1088
01:13:30,106 --> 01:13:32,942
SO THE NINE OLD MEN
WERE ON THEIR OWN,
1089
01:13:32,976 --> 01:13:36,245
AND, UH, HAD THAT FILM FAILED,
1090
01:13:36,279 --> 01:13:41,084
I THINK THAT DISNEY ANIMATION
MIGHT VERY WELL HAVE GONE
DOWN THE TUBES.
1091
01:13:41,117 --> 01:13:43,453
IT'S ALSO IMPRESSIVE TO ME
THAT FRANK AND OLLIE...
1092
01:13:43,487 --> 01:13:46,590
ANIMATED MORE THAN
HALF OF THE PICTURE THEMSELVES.
1093
01:13:46,623 --> 01:13:51,595
PRACTICALLY ALL OF
THE SCENES AND SEQUENCES
OF BALOO AND MOWGLI...
1094
01:13:51,628 --> 01:13:57,467
THAT WONDERFUL RELATIONSHIP
THAT DEVELOPS AND CHANGES
THROUGHOUT THE PICTURE...
1095
01:13:57,501 --> 01:13:59,469
WAS FRANK AND OLLIE'S WORK.
1096
01:14:14,383 --> 01:14:17,153
FRANK AND I HAD THESE
TWO BACK-TO-BACK SEQUENCES...
1097
01:14:17,186 --> 01:14:19,689
THAT WERE REALLY IMPORTANT
TO THE PICTURE.
1098
01:14:19,723 --> 01:14:22,492
WITHOUT THESE
COMING OFF PROPERLY,
1099
01:14:22,526 --> 01:14:26,429
ALL THIS CHARACTER WORK
WE HAD DONE WOULDN'T PAY OFF.
1100
01:14:26,462 --> 01:14:31,100
THE SECTION THAT I HAD
CERTAINLY TESTED ME,
1101
01:14:31,134 --> 01:14:37,006
AND I THINK IT TESTED OUR
FRIENDSHIP BECAUSE I HAD TO
RELY SO MUCH ON FRANK FOR HELP,
1102
01:14:37,040 --> 01:14:40,376
AND I THINK
HE RELIED ON ME
IN HIS SEQUENCE.
1103
01:14:40,409 --> 01:14:43,780
AND IT WAS TERRIBLY
IMPORTANT THAT WE
MAKE THESE COME OFF.
1104
01:14:43,813 --> 01:14:47,116
THIS WAS THE TYPE OF THING
WALT TALKED ABOUT
WHEN HE SAID:
1105
01:14:47,150 --> 01:14:51,120
"YOU GUYS GET
THAT PERSONALITY. I'LL
TAKE CARE OF THE STORY."
1106
01:14:51,154 --> 01:14:54,290
YEAH, BUT THIS IS
A TOUGH PART OF THE STORY
BECAUSE, UH,
1107
01:14:54,323 --> 01:14:59,963
THE STORY WOULDN'T HOLD UP
WITHOUT THESE TWO SEQUENCES
IN THEM.
1108
01:14:59,996 --> 01:15:03,299
IT WAS TESTING THE FRIENDSHIP
OF BALOO AND MOWGLI,
1109
01:15:03,332 --> 01:15:06,736
AND IT WAS ALSO TESTING
OUR ABILITIES AS ANIMATORS.
1110
01:15:06,770 --> 01:15:10,306
THAT'S RIGHT, AND ALSO,
THE TOUGH THING WAS THAT...
1111
01:15:10,339 --> 01:15:12,576
BALOO WAS PUT ON THE SPOT
IN THIS.
1112
01:15:12,609 --> 01:15:17,246
BAGHEERA TELLS HIM HE
HAS TO TAKE THE KID BACK
TO THE MAN-VILLAGE.
1113
01:15:17,280 --> 01:15:20,717
AND HE SAYS, "WHY ME?"
BALOO HAD NEVER DONE
ANYTHING LIKE THIS BEFORE.
1114
01:15:20,750 --> 01:15:23,419
HE WAS
THE PHYSICAL TYPE.
1115
01:15:23,452 --> 01:15:29,192
HE DIDN'T UNDERSTAND HOW TO DO
ANYTHING WHERE YOU HAD TO FIGURE
OUT A PROBLEM IN YOUR MIND.
1116
01:15:29,225 --> 01:15:32,428
IT WAS ALL COMPLETELY
IMPOSSIBLE TO HIM.
1117
01:15:32,461 --> 01:15:35,264
AND MOST OF MY SEQUENCE...
1118
01:15:35,298 --> 01:15:38,234
WENT ON WITH JUST TALKING,
NO REAL MOVEMENT.
1119
01:15:38,267 --> 01:15:41,170
THEY'RE JUST STANDING...
BAGHEERA AND BALOO...
TALKING.
1120
01:15:41,204 --> 01:15:44,207
WELL... WELL, WHAT
ARE WE GONNA DO?
1121
01:15:44,240 --> 01:15:46,209
WE'LL DO WHAT'S BEST
FOR THE BOY.
1122
01:15:46,242 --> 01:15:50,013
YOU BETTER BELIEVE IT.
YOU NAME IT AND I'LL DO IT.
GOOD.
1123
01:15:50,046 --> 01:15:52,582
THEN MAKE MOWGLI GO
TO THE MAN-VILLAGE.
1124
01:15:52,616 --> 01:15:57,120
ARE YOU OUT OF YOUR MIND?
I PROMISED HIM HE COULD STAY
HERE IN THE JUNGLE WITH ME.
1125
01:15:57,153 --> 01:16:02,125
THAT'S JUST THE POINT.
AS LONG AS HE REMAINS WITH YOU,
HE'S IN DANGER.
1126
01:16:02,158 --> 01:16:04,694
SO IT'S
UP TO YOU.
WHY ME?
1127
01:16:04,728 --> 01:16:07,396
B-BECAUSE HE WON'T
LISTEN TO ME.
1128
01:16:08,464 --> 01:16:11,100
BUT I LOVE THAT KID.
1129
01:16:11,134 --> 01:16:13,737
I LOVE HIM
LIKE HE WAS MY OWN CUB.
1130
01:16:13,770 --> 01:16:16,740
THEN THINK OF WHAT'S
BEST FOR MOWGLI
AND NOT YOURSELF!
1131
01:16:16,773 --> 01:16:20,744
BUT... WELL, CAN'T...
WELL, CAN'T I WAIT
UNTIL MORNING?
1132
01:16:20,777 --> 01:16:22,946
IT'S MORNING NOW.
1133
01:16:25,514 --> 01:16:27,951
GO ON, BALOO.
1134
01:16:33,122 --> 01:16:35,124
UH...
1135
01:16:42,632 --> 01:16:47,070
AND NOW THE SITUATION CHANGES
WHEN THE BEAR HAS TO TALK
TO THE BOY...
1136
01:16:47,103 --> 01:16:50,473
AND TELL HIM THAT THEY'RE GONNA
GO BACK TO THE MAN-VILLAGE.
1137
01:16:50,506 --> 01:16:54,277
HE KNOWS THIS IS GONNA BE
A TERRIBLE BETRAYAL ON HIS PART.
1138
01:16:54,310 --> 01:16:57,947
HE DOESN'T KNOW HOW TO TELL
THE BOY. HE DOESN'T KNOW
WHAT HE'S GONNA SAY TO HIM...
1139
01:16:57,981 --> 01:17:00,750
'CAUSE THEY BUILT EVERYTHING
ON THEIR TRUST
AND THEIR FRIENDSHIP.
1140
01:17:00,784 --> 01:17:05,188
AND MOWGLI'S SO HAPPY
AT THE IDEA OF HAVING THIS
WONDERFUL DAY WITH BALOO.
1141
01:17:05,221 --> 01:17:09,092
HE'S RUNNING ALL AROUND,
PULLING BALOO'S HAND,
1142
01:17:09,125 --> 01:17:12,962
KICKING HIM IN THE PANTS,
CLIMBING UP ON THINGS,
CHASING BUTTERFLIES.
1143
01:17:12,996 --> 01:17:15,331
HE'S JUST IN ECSTASY.
1144
01:17:15,364 --> 01:17:18,301
THIS IS REALLY
THE PAYOFF SEQUENCE
RIGHT HERE.
1145
01:17:18,334 --> 01:17:21,004
THIS IS... BECAUSE
THE BETRAYAL COMES HERE.
1146
01:17:21,037 --> 01:17:26,109
YOU HAD TO FEEL AND
UNDERSTAND WHAT BALOO
WAS SAYING AND FEELING.
1147
01:17:26,142 --> 01:17:29,278
YEAH, WE HAD TO DO
AN AWFUL LOT OF WORK TOGETHER...
1148
01:17:29,312 --> 01:17:33,349
TRYING TO WORK OUT
HOW THE BEAR WOULD ACT,
WHAT GESTURES HE WOULD USE,
1149
01:17:33,382 --> 01:17:36,219
WHAT TYPE OF ACTING,
WHAT EXPRESSIONS HE WOULD USE.
1150
01:17:36,252 --> 01:17:40,456
HOW'S HE GOING TO PLAY THIS?
AND HOW'S THE BOY
GOING TO PLAY IT TOO?
1151
01:17:40,489 --> 01:17:43,727
FIRST WE THOUGHT OF THINGS LIKE
A HAND ON THE FACE...
1152
01:17:43,760 --> 01:17:46,195
YOU KNOW, RUBBING THE CHIN.
1153
01:17:46,229 --> 01:17:49,398
"GEE, WHAT CAN I SAY
TO THIS GUY?"
1154
01:17:49,432 --> 01:17:51,367
OR...
THINGS LIKE THAT.
1155
01:17:51,400 --> 01:17:54,570
WALLACE BEERY USED TO DO THAT,
AND IT WAS PRETTY EFFECTIVE.
1156
01:17:54,603 --> 01:17:59,075
OLLIE SUGGESTED THAT
THE HAND SHOULD BE BACK HERE,
RUBBING THE BACK OF HIS NECK.
1157
01:17:59,108 --> 01:18:02,245
WE'D ALREADY USED THIS
RUBBING-THE-ARM THING.
1158
01:18:02,278 --> 01:18:06,582
HOW ABOUT... POUNDING?
THAT'S PRETTY GOOD.
1159
01:18:06,615 --> 01:18:10,353
I DON'T KNOW. THE BEST, THOUGH,
THE ONE THAT COMMUNICATED
THE BEST TO THE AUDIENCE, TO ME,
1160
01:18:10,386 --> 01:18:14,657
WAS ONE THAT STARTED HERE
AND THEN PULLED OFF
AND CAME AROUND TO THE FACE...
1161
01:18:14,690 --> 01:18:18,227
BUT DIDN'T STAY ON THE FACE;
IT CAME DOWN HERE TO THE CHEST.
1162
01:18:18,261 --> 01:18:23,366
I KNEW A GUY IN THE ARMY WHO
USED TO SCRATCH HIS CHEST ALL
THE TIME WHEN HE WAS THINKING.
1163
01:18:23,399 --> 01:18:26,102
THIS WAY. AND I...
"OH, MAYBE THAT'S
THE BEST THING TO DO."
1164
01:18:27,603 --> 01:18:30,406
WHERE WE GOIN',
BALOO?
WELL, UH,
1165
01:18:30,439 --> 01:18:33,009
IT'S, UH, UM...
1166
01:18:33,042 --> 01:18:35,011
WELL, IT'S SORT OF
NEW AND, UH...
1167
01:18:35,044 --> 01:18:37,947
OH, I DON'T CARE,
AS LONG AS I'M WITH YOU.
1168
01:18:39,315 --> 01:18:42,418
MOWGLI, UH,
LOOK, BUDDY, UH,
1169
01:18:42,451 --> 01:18:44,420
THERE'S SOMETHIN'
I GOTTA TELL YA.
1170
01:18:44,453 --> 01:18:46,756
TELL ME WHAT, BALOO?
1171
01:18:46,790 --> 01:18:49,592
GEE WHIZ.
1172
01:18:49,625 --> 01:18:52,962
NOW HOW DID OLD BAGGIE PUT IT?
1173
01:18:52,996 --> 01:18:55,965
UM, UH, MOWGLI?
1174
01:18:55,999 --> 01:18:59,468
HA! YOU WOULDN'T MARRY
A PANTHER, WOULD YOU?
1175
01:18:59,502 --> 01:19:04,207
GEE, I DON'T EVEN KNOW
WHAT YOU'RE TALKIN' ABOUT.
1176
01:19:04,240 --> 01:19:07,576
MOWGLI, DON'T YOU REALIZE
THAT YOU'RE A HUMAN?
1177
01:19:07,610 --> 01:19:10,713
I'M NOT ANYMORE, BALOO.
I'M A BEAR, LIKE YOU.
1178
01:19:10,746 --> 01:19:13,749
LITTLE BUDDY, LOOK.
LISTEN TO ME.
COME ON, BALOO!
1179
01:19:13,783 --> 01:19:17,086
NOW, MOWGLI, STOP IT NOW.
NOW HOLD STILL.
1180
01:19:17,120 --> 01:19:19,588
I WANNA TELL YOU SOMETHING.
NOW LISTEN TO ME!
1181
01:19:19,622 --> 01:19:22,425
WHAT'S THE MATTER,
OLD PAPA BEAR?
1182
01:19:22,458 --> 01:19:26,162
LOOK, MOWGLI, I BEEN TRYIN'
TO TELL YOU. I BEEN TRYIN'
ALL MORNING TO TELL YOU.
1183
01:19:26,195 --> 01:19:29,598
I'VE GOT TO TAKE YOU
BACK TO THE MAN-VILLAGE.
1184
01:19:29,632 --> 01:19:32,768
- THE MAN-VILLAGE!
- NOW LOOK, KID.
I CAN EXPLAIN...
1185
01:19:32,802 --> 01:19:36,472
- BUT YOU SAID WE WERE PARTNERS.
- NOW BELIEVE ME, KID, I...
1186
01:19:36,505 --> 01:19:39,775
- YOU'RE JUST LIKE OLD BAGHEERA.
- NOW JUST A MINUTE!
1187
01:19:39,809 --> 01:19:41,377
THAT'S GOIN' TOO FAR!
1188
01:19:41,410 --> 01:19:46,515
THERE'S ALWAYS A PROBLEM.
NOW HOW WE GONNA GET THE
BOY BACK INTO THE MAN-VILLAGE...
1189
01:19:46,549 --> 01:19:50,686
WITHOUT BALOO AND BAGHEERA
PUSHING HIM IN?
1190
01:19:50,719 --> 01:19:53,589
WELL, WALT HAD AN IDEA
TO ADD A GIRL...
1191
01:19:53,622 --> 01:19:57,961
THAT CAME OUT OF
THE MAN-VILLAGE, A LITTLE
GIRL ABOUT MOWGLI'S AGE.
1192
01:19:57,994 --> 01:20:00,496
AND MOWGLI'S NEVER SEEN
A GIRL LIKE THIS BEFORE.
1193
01:20:00,529 --> 01:20:03,099
HE SAYS, "WAIT A MINUTE.
I WANT A BETTER LOOK."
1194
01:20:03,132 --> 01:20:07,103
FORGET ABOUT THOSE.
THEY AIN'T NOTHIN' BUT TROUBLE.
1195
01:20:07,136 --> 01:20:10,439
JUST A MINUTE.
I'VE NEVER SEEN ONE BEFORE.
1196
01:20:10,473 --> 01:20:14,978
I THOUGHT THAT WAS
A TERRIBLE IDEA WHEN
I FIRST HEARD IT.
1197
01:20:15,011 --> 01:20:18,781
HERE'S THIS
TACKED-ON ENDING.
WHAT CAN YOU DO WITH IT?
1198
01:20:18,814 --> 01:20:22,051
THAT'S WHY WE GAVE IT
TO YOU TO ANIMATE.
I KNOW, I KNOW.
1199
01:20:22,085 --> 01:20:25,388
AND I WRESTLED
WITH IT, AND THE MORE
I WRESTLED WITH IT,
1200
01:20:25,421 --> 01:20:27,456
THE BETTER I LIKED IT.
1201
01:20:27,490 --> 01:20:31,560
AND SO FINALLY,
I MANAGED TO HELP
THIS LITTLE GIRL...
1202
01:20:31,594 --> 01:20:36,933
KIND OF INNOCENTLY SEDUCE
MOWGLI GOING BACK INTO
THE MAN-VILLAGE.
1203
01:20:39,668 --> 01:20:43,172
I WOULD HAVE SAID
"LURE" HIM.
1204
01:20:57,786 --> 01:21:01,090
♪ ♪
1205
01:21:05,061 --> 01:21:08,131
♪ ♪
1206
01:21:16,739 --> 01:21:21,077
MOWGLI. COME BACK.
COME BACK!
1207
01:21:21,110 --> 01:21:23,446
GO ON! GO ON!
1208
01:21:47,336 --> 01:21:50,573
AS IT TURNED OUT,
THAT MEETING WE HAD
ON OLLIE'S LITTLE GIRL...
1209
01:21:50,606 --> 01:21:53,376
WAS THE LAST MEETING
WE EVER HAD WITH WALT.
1210
01:21:53,409 --> 01:21:55,544
WE DIDN'T KNOW
HOW ILL HE WAS.
1211
01:21:55,578 --> 01:21:58,314
TWO MONTHS LATER
HE WAS GONE,
1212
01:21:58,347 --> 01:22:01,150
AND HE NEVER DID GET
TO SEE THE FINAL PICTURE.
1213
01:22:01,184 --> 01:22:04,053
WHEN WALT DIED,
1214
01:22:04,087 --> 01:22:08,424
IT LEFT A BIG HOLE
IN ALL OF OUR LIVES.
1215
01:22:08,457 --> 01:22:10,726
UH,
1216
01:22:10,759 --> 01:22:13,462
HE WAS A FRIEND...
A CLOSE FRIEND IN MANY WAYS,
1217
01:22:13,496 --> 01:22:18,101
AND YET HE ALWAYS
DISTANCED HIMSELF
FROM EVERYBODY ELSE.
1218
01:22:18,134 --> 01:22:20,503
HE WAS A GENIUS.
HE LIVED HIS WHOLE LIFE...
1219
01:22:20,536 --> 01:22:24,573
IN HIS OWN MIND,
IN HIS OWN HEART.
1220
01:22:24,607 --> 01:22:29,245
BUT HE COULDN'T HELP BUT AFFECT
ALL THE REST OF US VERY DEEPLY.
1221
01:22:29,278 --> 01:22:32,248
AND EVEN THOUGH HE'D NOT
BEEN WORKING WITH US CLOSELY...
1222
01:22:32,281 --> 01:22:35,518
FOR, OH, FIVE, SIX, SEVEN YEARS,
1223
01:22:35,551 --> 01:22:38,687
IT WAS STILL
A DEVASTATING MOMENT,
1224
01:22:38,721 --> 01:22:43,092
AND, UH, THE WHOLE WORLD CHANGED
AS FAR AS WE WERE CONCERNED.
1225
01:22:43,126 --> 01:22:46,195
WE KEPT THINKING BACK
OVER THOSE DAYS WHEN
YOU'D WORK SO HARD...
1226
01:22:46,229 --> 01:22:48,431
ALL OF US, WALT INCLUDED...
1227
01:22:48,464 --> 01:22:50,466
TRYING TO CAPTURE
SOMETHING RARE,
1228
01:22:50,499 --> 01:22:56,205
SOMETHING NEW,
SOMETHING UNIQUE IN
THE ENTERTAINMENT BUSINESS.
1229
01:22:56,239 --> 01:23:01,777
ISN'T IT TERRIBLE TO THINK
THAT IF JUNGLE BOOK HAD NOT
BEEN A SUCCESS,
1230
01:23:01,810 --> 01:23:04,713
THERE WOULD BE NO MORE
DISNEY ANIMATION?
1231
01:23:04,747 --> 01:23:07,516
EXECUTIVES WERE TALKING
ABOUT PHASING IT OUT.
1232
01:23:07,550 --> 01:23:11,720
"COSTS TOO MUCH MONEY.
ANYWAY, THERE'S NOBODY
TO TAKE OVER.
1233
01:23:11,754 --> 01:23:14,490
YOU'D HAVE TO REBUILD
THE WHOLE TEAM."
1234
01:23:14,523 --> 01:23:17,726
AND THEN PEOPLE WENT INTO
THE THEATERS TO SEE JUNGLE BOOK.
1235
01:23:17,760 --> 01:23:22,998
THEY LOOKED UP ON THE SCREEN,
AND THEY SAW A BEAR NAMED BALOO
AND A BOY NAMED MOWGLI,
1236
01:23:23,032 --> 01:23:27,336
AND THEY CAME TO LIFE,
CROWDS FLOCKED IN,
1237
01:23:27,370 --> 01:23:30,239
AND THE WHOLE CYCLE
STARTED OVER AGAIN.
1238
01:23:30,273 --> 01:23:33,376
♪ LOOK FOR THE
BARE NECESSITIES ♪
OOH!
1239
01:23:33,409 --> 01:23:36,079
♪ THE SIMPLE
BARE NECESSITIES ♪
1240
01:23:36,112 --> 01:23:39,215
♪ FORGET ABOUT
YOUR WORRIES
AND YOUR STRIFE ♪
1241
01:23:40,249 --> 01:23:43,018
♪ I MEAN THE BARE NECESSITIES
1242
01:23:43,052 --> 01:23:45,221
♪ ARE MOTHER NATURE'S RECIPES
1243
01:23:45,254 --> 01:23:48,224
♪ THAT BRING THE BARE
NECESSITIES OF LIFE ♪ ♪
1244
01:23:49,458 --> 01:23:53,562
THE UNIQUE FRIENDSHIP
THAT FRANK AND OLLIE HAD...
1245
01:23:53,596 --> 01:23:55,264
THERE'LL NEVER BE
ANOTHER LIKE THAT.
1246
01:23:55,298 --> 01:24:00,736
THAT WAS UNIQUE. THE ART THAT
THEY CAME OUT WITH WAS UNIQUE
AND WILL NEVER BE REPEATED.
1247
01:24:00,769 --> 01:24:06,041
I DON'T THINK WE'LL EVER SEE
FINER PERSONALITY ANIMATION...
1248
01:24:06,075 --> 01:24:08,043
THAN WAS DONE
BY FRANK AND OLLIE.
1249
01:24:08,077 --> 01:24:12,681
BUT I THINK IT'S NOT
A CLOSED DOOR. I THINK IT'S
AN OPEN DOOR TO THE FUTURE.
1250
01:24:12,715 --> 01:24:16,119
THERE'S A VERSE THAT MEANS
A LOT TO ME IN PROVERBS.
1251
01:24:16,152 --> 01:24:20,356
IT SAYS, "AS IRON SHARPENS IRON,
SO ONE MAN SHARPENS ANOTHER."
1252
01:24:20,389 --> 01:24:25,094
AND THROUGH THIS PROCESS
OF THEM CONSTANTLY WORKING
WITH ONE ANOTHER,
1253
01:24:25,128 --> 01:24:29,598
CONSTANTLY RUBBING AGAINST ONE
ANOTHER THROUGH THE DIFFERENT
FILMS THAT THEY'D WORK ON,
1254
01:24:29,632 --> 01:24:31,600
DIFFERENT PROBLEMS,
1255
01:24:31,634 --> 01:24:35,070
I COULD STILL SEE
THAT THAT WAS A PROCESS...
1256
01:24:35,104 --> 01:24:38,407
THAT WAS STILL GOING ON
WHEN I WAS THERE WITH THEM.
1257
01:24:38,441 --> 01:24:42,411
WHEN I FIRST GOT THERE, THEY
WERE STILL ARGUING ABOUT THE WAY
THEY WOULD SEE SOMETHING.
1258
01:24:42,445 --> 01:24:44,747
THEY WERE WORKING ON IT.
YOU COULD SEE THEM
IN THE HALLWAY.
1259
01:24:44,780 --> 01:24:49,585
THEY WERE CONSTANTLY
RUBBING THESE IDEAS ACROSS
ONE ANOTHER'S SURFACE...
1260
01:24:49,618 --> 01:24:53,456
'CAUSE THEY KNEW THAT THAT WAS
AS A TEAM OF PEOPLE.
1261
01:24:53,489 --> 01:24:57,460
...SHOTS OF CRUELLA
AND THE BADUNS.
1262
01:24:57,493 --> 01:25:02,231
THERE WAS KEN ANDERSON'S
GOOD EXPERIMENTAL DRAWINGS.
OH, YEAH.
1263
01:25:02,265 --> 01:25:04,233
THOSE ARE GREAT.
WE'LL XEROX THE...
1264
01:25:04,267 --> 01:25:06,269
HOLD ON A MINUTE.
I'LL CHANGE THE SPRINKLER HERE.
1265
01:25:08,804 --> 01:25:11,274
♪ ♪
1266
01:25:11,307 --> 01:25:14,643
THERE. YOU GOT IT.
DON'T TRIP OVER IT.
1267
01:25:14,677 --> 01:25:16,679
I WON'T.
1268
01:25:18,781 --> 01:25:33,496
♪ ♪
1269
01:26:43,699 --> 01:26:46,702
♪ ♪
1270
01:27:38,687 --> 01:27:41,089
THAT WAS REALLY FUNNY.
1271
01:27:41,123 --> 01:27:46,194
♪ ♪
109062
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.