Directing for animation: behind the scenes with animation greats

232 Pages·2013·7.39 MB·English

by  Bancroft

DIRECTING FOR ANIMATION
DIRECTING FOR ANIMATION
EVERYTHING YOU DIDN’T LEARN IN ART
SCHOOL
TONY BANCROFT
First published 2014
by Focal Press
70 Blanchard Road, Suite 402, Burlington, MA 01803
Simultaneously published in the UK
by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Focal Press is an imprint of the Taylor & Francis Group, an informa business
© 2014 Taylor & Francis
The right of Tony Bancroft to be identified as author of this work has been asserted by him in accordance with sections 77
and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Notices
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Library of Congress Cataloging in Publication Data
Directing for animation : everything you didn't learn in art school / Tony Bancroft. — 1 [edition].
pages cm.
ISBN 978-0-240-81802-3 (pbk.)
1. Animated films. 2. Motion pictures--Production and direction. I. Title.
NC1765.B35 2013
791.43′34—dc23
2012044472
ISBN: 9780240818023 (pbk)
ISBN: 9780240818030 (ebk)
Typeset in Utopia
By Keystroke, Station Road, Codsall, Wolverhampton
To my loving and supportive wife René – Thanks for supporting me through the missed
vacations, late nights and worked weekends in this life of animation. You signed up for this
journey not knowing that you would often be an “animation widow” and yet have given me
the gift of a wonderful life.
To my beautiful girls – You have been the animated characters that have inspired the
animated characters enjoyed all over the world. I love you my princesses.
Bound to Create
You are a creator.
Whatever your form of expression — photography, filmmaking, animation, games, audio,
media communication, web design, or theatre — you simply want to create without limitation.
Bound by nothing except your own creativity and determination.
Focal Press can help.
For over 75 years Focal has published books that support your creative goals. Our founder,
Andor Kraszna-Krausz, established Focal in 1938 so you could have access to leading-edge
expert knowledge, techniques, and tools that allow you to create without constraint. We strive
to create exceptional, engaging, and practical content that helps you master your passion.
Focal Press and you.
Bound to create.
We’d love to hear how we’ve helped you create. Share
your experience:
www.focalpress.com/boundtocreate
CONTENTS
Dedication
Acknowledgments
Foreword by Rob Minkoff
Introduction
Chapter 1: C.C.V. – Chief Creative Visionary
Interview with John Musker
Chapter 2: The Creative Process
Interview with Nick Park
Chapter 3: Story, Story, Story!
Interview with Dean DeBlois
Chapter 4: Teamwork
Interview with Jennifer Yuh Nelson
Chapter 5: Express Yourself!
Interview with Pete Docter
Chapter 6: Be Prepared
Interview with Eric Goldberg
Chapter 7: Budgets and Schedules
Interview with Chris Wedge
Chapter 8: You’re Only as Good as Your last Gig
Interview with Tim Miller
Index
ACKNOWLEDGMENTS
I would like to acknowledge the support of all my friends and family, without whom this
book would not exist:
To my brother Tom Bancroft, who threw down the gauntlet when he produced two books
before me! Thanks for your encouragement and inspiration. To my mother and father Cori
and Jim Crismon for their unconditional love and support. My sister, Cami Avery, my buddy
Ben Chambers and Tracey Miller-Zarneke who helped with editing suggestions and writing
help. My friend Eric Stirpe who came in at the eleventh hour to help edit down some massive
interview text for me. For the beautiful work by the guys at Creature Box who did the final
layout of the cover for this tome. I did not want to produce a book of just my opinions on
directing in the world of animation and so called upon a special group of friends and talent. A
very special thank you to all of the directors I interviewed for this book, Dean DeBlois, Pete
Docter, Eric Goldberg, Tim Miller, John Musker, Jennifer Yuh Nelson, Nick Park and
Chris Wedge. Last but not least, the folks at Focal Press who went on this journey with me,
believing that I would:
1. Get the talent I promised to contribute interviews and 2. Actually finish the book. I finally
did and they supported me the whole way. Thank you to my two editors; Anais Wheeler
who started this journey with me and the guy who made it real, David Bevans.
FOREWORD BY ROB MINKOFF
“But what I really want to do is direct.” A phrase you’re likely to hear in any Starbucks or
Coffee Bean & Tea Leaf within the greater Los Angeles area.
And why not? Directing movies is a pretty good gig.
Alfred Hitchcock, Billy Wilder and Steven Spielberg, to name a few, have had their
illustrious careers analyzed and profiled in dozens of books, but the directors of animated
features and their craft have escaped the spotlight, until now.
Sure, you’ve heard of Walt Disney, and maybe even Chuck Jones or John Lassetter, but the
vast majorities of animation directors work in the shadows and are relatively unknown to the
general public. But that is all beginning to change.
Over the last several decades, animated films have risen in popularity and importance in the
motion picture industry. On any given Monday, you’re likely to see an animated feature has
climbed to the top of the box office charts winning their opening weekend. And with that
popular acceptance, so has the public’s interest grown in how these films are made.
But directing for animation is often misunderstood. Not only by the fans who wait eagerly
for each new release, but the very men and women who work within the industry. In a live
action film we’re used to seeing the director shouting, “Action!” and “Cut!” But how do
animation directors ply their trade?
It’s safe to say that all filmmakers start from the same place, with an ambition to tell a
story. But it’s the combined efforts of legions of artists that form the bulwark of any filmed
entertainment. And this is nowhere truer than in animated films. Hundreds of creative
individuals work tirelessly to create each new animated entertainment. But how do all these
diverse artists join together to bring a unified vision to the screen?
Enter the Director
It’s his/her job to lead an army of artists to create a film one frame at a time. Every speck of
dust every beam of light is created for the screen. There are no happy accidents. But that’s
what makes the job so challenging and rewarding. And there is nothing quite as satisfying as
seeing your dreams become reality on the big screen.
So whether you’re a student wondering how to make the transition to gainful employment,
an animator or story artist already at work in the animation industry, or a fan who loves
sitting in the dark with a tub of popcorn hoping to get a glimpse behind the scenes to see the
wizards at work, this book is for you.
And if you have a story to tell and a yearning to see it realized in animation, then keep
dreaming and perhaps one day your dream will become the next great animated motion
picture.
Rob Minkoff
Director – The Lion King, Stuart Little, and Mr. Peabody and Sherman