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  • - Hi, I'm Jess.

  • - Hey, I'm Austin.

  • - Hi, I'm Floyd Norman,

  • veteran Disney artist and storyteller.

  • I worked on great films like "Sleeping Beauty,"

  • "101 Dalmatians," "Sword in the Stone,"

  • and Walt's final film, "The Jungle Book."

  • And that ties into our task today because

  • from Walt Disney's "The Jungle Book," we are going to

  • be drawing little Mowgli and Kaa the Python.

  • - Oh, man. That's gonna be cool.

  • (laughing)

  • - I'm scared.

  • (laughing)

  • - Floyd, speaking of what we're drawing today

  • do you have like a favorite sequence

  • from the jungle book that you worked on?

  • - Oh, yeah, yeah.

  • I would say hands down my favorite sequence,

  • because, I guess because I was so involved in it,

  • was the wonderful...

  • the second meeting of Mowgli and Kaa.

  • Walt wanted a song and Robert and Richard Sherman

  • wrote a song called, "Trust In Me."

  • That we took that song and Vance and I,

  • my partner, Vance Gerry, re-storyboarded the sequence.

  • We had already made one pass, but once we had a song,

  • at the suggestion of Walt Disney, we reboarded the sequence

  • and it's Mowgli as he sort of wanders around, half-dazed,

  • half-asleep and the coils of the snake

  • and beautifully animated by Frank Thomas.

  • I have to add that Frank, one of the nine old men,

  • did just a masterful job of bringing my drawings to life

  • on screen and just making that sequence sparkle.

  • Yeah, I've got a question for you guys

  • because you're younger.

  • And just coming into this amazing business.

  • Did you guys animate on paper?

  • Did you do traditional hand-drawn animation?

  • - Less for full animation and more for design for animation.

  • But in college, that's how we learned to animate

  • was traditionally.

  • - Yeah. Yeah.

  • The basics, the basics.

  • The bouncing ball.

  • Squash and stretch.

  • You got a sense of weight and volume.

  • These traditional animation principles still come in handy.

  • Even after you make the move to digital.

  • It's good to come from that.

  • You know, that basic solid foundation

  • - Like what's the secret to drawing

  • a good Mowgli and Kaa, Mr. Floyd?

  • - Well, you know, Mowgli and Kaa the Python were animated

  • by the top Disney animators.

  • And Milt Kahl in particular,

  • we would get Milt Kahl's drawings, his sketches

  • his rough sketches, not all his final sketches,

  • but his very rough drawings.

  • And we would study his technique.

  • That's how you got to be better.

  • That's how you became a better artist.

  • You saw the best work and you emulated that.

  • So how do you do a good Mowgli drawing?

  • How do you do a good drawing of Kaa the snake?

  • Study the work of those who are better than you are.

  • - Yeah. I draw with crayola.

  • So I'm just like sitting here.

  • - Doesn't matter.

  • - It's just like, "Oh, okay."

  • - You could still make a good drawing with a crayon.

  • Hey, Jess, Austin, how are your drawings coming?

  • (laughing)

  • - I think it's actually looking okay.

  • - How's your drawing coming, Floyd?

  • - My only challenge is to, as I often tell my students,

  • I try to draw him on model.

  • Because when a Disney character is drawn off-model,

  • oh boy, that's regarded as a sin.

  • (laughing) - Fear.

  • - You know, I started out in the 1950s.

  • By the time I got to the early seventies

  • and I was animating on a Disney feature film.

  • I was beginning to feel like maybe I know

  • a little bit about animation now.

  • And I was animating Robin Hood, and this was in Iran.

  • Yeah. The early seventies we were doing Robin Hood.

  • And I was animating the fox and it was fun.

  • I was enjoying myself and I was having a great time.

  • But, you know, it takes a while

  • to build that kind of confidence.

  • And you have to do a lot of bad stuff

  • before you can start to do a lot of good stuff.

  • - Would you say that was your favorite film?

  • - Actually, it was one of the films

  • that I liked the least at Disney.

  • (laughing)

  • Well, because of Walt Disney owned the studio

  • and probably it was his studio.

  • He could walk into your room at any moment unannounced.

  • And Walt would do that.

  • People don't, you know, big bosses

  • and executives don't do that today.

  • They usually, you know, when they're coming in

  • there's been announcements and preparations.

  • But Walt Disney could simply one day just wander

  • into your office and you look around

  • and there's the boss standing in your office.

  • - Oh my goodness.

  • - So you feel like, what you wanna do is just

  • fall off your chair and hide under your desk.

  • - But you can't.

  • - You can't.

  • Can't do that.

  • He's already seen you.

  • But that's okay.

  • He was a good guy.

  • I don't mean to say this, that Walt could be intimidating,

  • but he wasn't a bad guy.

  • You know, he was, he didn't treat people poorly.

  • He was very generous, very gracious.

  • And I never had any problems with the boss.

  • - Wow, that's awesome.

  • - Hey guys, how are you finishing your drawings?

  • - I'm making it up.

  • (laughing)

  • I'm just like,

  • "Hey, so I should probably draw a background."

  • Oh wait. I don't know how to draw those.

  • Anyway, time to make it up."

  • So like I'm drawing some...

  • I think what are leaves-

  • - Okay.

  • - and trees and bushes, and it's fine.

  • - Okay.

  • You don't necessarily have to draw a background.

  • I mean, you can just sometimes just throw

  • in a splash of color.

  • - Yeah, it's really not much of a background.

  • I say background to be nice to myself.

  • It's really just like blotches of color.

  • And I'm like, yeah, this is fine.

  • I don't know what I'm-

  • - Nothing wrong with a good blotch.

  • (laughing)

  • - We'll see.

  • You can be the judge of that.

  • - [Austin] Oh wow. - [Jess] Oh, so cute.

  • - [Austin] Oh my God.

  • - [Floyd] Wow.

  • - These are so cute.

  • - Geez.

  • Floyd, yours is so cute.

  • And you give it like a little blush.

  • - There's like no comparison.

  • It's just, it's a hundred percent.

  • It's a hundred percent Mowgli.

  • - The Mowgli up in the tree at night.

  • It's really interesting.

  • But even though that was one of the...

  • Some of the first stuff animated on "The Jungle Book"

  • was that sequence of Mowgli up in the tree at night

  • and Kaa, you know, sneaking around.

  • And then this is nice with the jungle background and Kaa.

  • Really nice.

  • - I love your poses, Austin.

  • It's so cute.

  • - I am very impressed.

  • These are really nice.

  • - Wow. Thank you.

  • - Yeah, you guys, you put me to shame.

  • - Oh, no.

  • - Don't say that.

  • (laughing)

  • - I'm gonna go scream.

  • - I've been upstaged by the kids.

  • (laughing)

  • - A hundred percent inspired by the master, so...

  • - Hey, I will give you the Walt Disney compliment, you know.

  • And Walt was not lavish handing out compliments.

  • But he...

  • if he liked what you did

  • he would say two words:

  • "That'll work."

  • - Oh.

  • - And that was high praise from Walt Disney.

  • "That'll work."

  • - I'm having a crisis...

  • I think I'm having a crisis right now.

  • (laughing)

  • - Austin just fangirling over here.

  • - I am. It's a lot.

  • I'm trying to keep it together.

  • I'm just like, "No, it's okay, like, be cool."

  • And I'm like losing it.

  • - To check out these drawings and more just like them.

  • Check us out on Instagram @drawoffshow.

  • (cheerful music)

- Hi, I'm Jess.

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Young Animators Vs. Disney Legend (Feat. Floyd Norman) • Draw Off

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    林宜悉 posted on 2021/03/29
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