nieworld.com

Teachers

Students

Families

Projects

Email NIE

Friday, June 15, 2001

Filmmakers real draw

By Jeff Farance | News-Journal Film Critic

DAYTONA BEACH — Squares invade circles.

That's the filmmakers artistic take on the images of Atlantis. Its certainly not any reference to the computer wonks who intermingle with the artists -- not to mention the artistes --to create this animated fantasy. It's a reference to the blocky bad guys vs. rounded members of the super civilization.

But three key people on the project acknowledged in a trio of exclusive interviews at Disney/MGM Animation Studios close cooperation among varied creative disciplines were central to its fruition.

"I've had more fun on this picture than in 30 years," said John Pomeroy, supervising animator for Milo, the lead character of Atlantis.

"We actually did a tiny bit of the animation here in Florida," noted producer Don Hahn, adding the fact that Atlantis has the highest ratio of computer-generated animation to the traditional hand-drawn variety.

But, according to one of the movies two directors, Kirk Wise, the rich heritage of pen-and-ink artists remains fully intact: "There's a bit of ham in every animator ... and thats important."

A teddy bear of a man with a silvering beard, Hahn is among the elite of Disney producers, particularly in terms of animation. He, Wise and Gary Trousdale (the other director) were the team who produced and directed both "Beauty and the Beast" and "The Hunchback of Notre Dame." Now celebrating his 25th year at Disney, Hahn also produced the blockbuster The Lion King.

While the legend of the lost continent of Atlantis extends back a millennium or so, the genesis of the animated version goes back just over four years to a meal in a Mexican restaurant in California.

That's when Hahn, Wise and Trousdale decided to use Jules Verne's "Journey to the Center of the Earth" as inspiration for an adventure involving the super civilization that disappeared without a trace.

The setting was to be 1914, a bit later than Verne's era because "it was such an optimistic time," Hahn said.

That led to some reflections by those involved, including Hahn's own musing, "Atlantis was a society that apparently had it all worked out. ... Why can't we?" Today, he said, Atlantis "seems like a missing link."

Looking back on his own link between the days of doldrums in Disney Animation when he began and the situation today, Hahn said, when he started, "The studio really hadn't been touched since Walt died. ... Today, we are living up to the legacy of quality and legacy of innovation" that is Disney.

Computerization won't change that in Hahn's opinion, as "I don't ever want our artists to lose the ability to draw."

Wise and Trousdale now are reworking their "Beauty and the Beast" for release as an IMAX super-screen film.

Asked what was the surprising element of his job as a director, Wise didn't hesitate in responding, "I think people would be amazed at how physical my job is. ... If they came by my office, they'd see me acting out scenes, sometimes even on videotape for the artists to use as a guide."

And, indeed, all three are prone to large gestures, even exaggerated facial expressions, with Wise squirming in his seat and Pomeroy repeatedly shifting positions in his chair as though unable to contain an excess of kinetic energy.

Silver-maned in his 50th year, Pomeroy has had more than his share of experience in the waxing and waning fortunes of animation.

He and the legendary animator Don Bluth co-founded the Don Bluth Animation Studio, which blossomed then shriveled. That's when Pomeroy returned to the Disney fold for "Atlantis."

"The pendulum has swung back" to the less-than-salad days, he said with a wry grin.

But his time in an independent studio helped the industry, he maintained: "We did more good for Disney from the outside than we could from inside."

Competition, he explained, revived the flagging fortunes of Disney's own animation program. That fueled the huge growth in animated features and, for a time, drew attention and many dollars to successful artists, But it's all cyclical and will bounce back again, he predicted.

Meanwhile, animators and directors and producers alike need to stay focused on the story, which is what this animator asserted is the strongest element of "Atlantis."

"The play's the thing," said Pomeroy.

Copyright © 2008 NIE WORLD (www.nieworld.com). All content copyrighted and may not be republished without permission. The News-Journal has no control over and is not responsible for content on other Web sites. Privacy Policy.