When We Were Making Robin Hood
온라인홀덤 순위 hardly a visit I planned but early in 1971 I decided to stop in at the Walt Disney Studio in Burbank.
I hadn't thought much about Disney since my brief stint on "Bednobs and Broomsticks."
However, returning to Disney was a good deal like visiting a university you had once attended.
And, like a university campus little had change since my last visit. My old boss, Andy Engman was nearing retirement but he still occupied his first floor office ajacent to B-Wing.
Andy seemed pleased to see me and was eager to share what was going on at seventies Disney.
The new animated feature film, Robin Hood had been greenlit for production and a number of animators were beginning to explore the characters.
Characters have a habit of evolving over the course of the production these early versions of Robin Hood and Little John still had a long way to go.
Eventually, they would go to Milt Kahl for his thoughts and revisions.
I wandered into D-Wing where I once had my office back in the sixties before moving into story.
In those days, directing animators, Frank Thomas and Ollie Johnston were still hard at work at the drawing board.
The two Disney masters were having such a great time exploring the character of Prince John and Sir Hiss they couldn't wait to show me what they were doing.
Animation was still in my blood and I couldn't help but consider returning to Disney's animation department to work on these wonderful characters.
Of course, one might ask why I wanted to return to animation after already having a successful stint in Walt's story department.
Well, I still loved animation and at the time it still seemed more attractive than story.
Some might have considered me a little nuts for thinking like that.
Nearly a year later I did return to the animation department of the Studios and moved in an office near the rear of B-wing.
Oddly enough, the very wing where I began my animation career over a decade earlier. I shared the office with a nice bearded young man named, Terry.
Johnny Bond still picked up the time cards on Friday afternoons and it would appear that nothing at Disney had changed since my absence.
However, I would soon find out how wrong I was.
Not long after my return to the Walt Disney Studio, Walt's older brother, Roy O.
Disney suddenly passed away. And, with the passing of Roy, things would never be the same.
I'll tell you why in another post.
Television Commercials
While we're on the subject of animated television commercials take a look at this painted cel from.
A cream cheese animated spot we did back in the seventies.
The stack of painted cels ended up in the studio dumpster once photographed and approved.
fished this loan cel out of the dumpster just so I would never forget how much time energy went into producing this television spot.
There were no short cuts in the old days.
There was little time to bask in the glory of one's accomplishments.
Something completely different with a whole new set of technical and artistic challenges.
That was the world of cartoon animation I fondly remember. Days I doubt we'll ever see again.
characteristics of effective television commercials
1.Attention-Grabbing : TV commercials interrupt regular programming, they need to grab viewers' attention quickly.
Achieved through visuals, sound, humor, or dramatic storytelling.
2.Clear Message : Ensuring that the audience understands what is being advertised the message usually highlights the unique selling proposition of the product or service.
3.Emotional Appeal : Many successful TV commercials evoke emotions, whether it's humor, nostalgia, or empathy.
This helps create a connection between the brand and the audience.
4.Brand Visibility : Product name is prominently featured throughout the ad is crucial for recognition.
The brand logo, slogan, or even a jingle helps reinforce this.
5.Call to Action : A strong CTA encourages viewers to take the next step, whether it's visiting a website, calling a number, or purchasing a product.
6.Target Audience : designed with a specific audience content of the ad are chosen based on the demographic characteristics of the target market.
Story Room by Floyd Norman
Disney was evolving in the seventies.
Nearly a decade had passed since the Old Maestro ruled his magic kingdom the Mouse House was trying to make it big in Hollywood's brave new world.
Bill Walshcame up with a very funny concept about a black coach who travels to Africa in search of a superior athlete.
Of course there’s a punch line to this joke.
The African athlete happens to be white. (Rim shot, please)
You've probably already guessed the title of the film, right “The World's Greatest Athlete.” Okay, not necessarily a bad idea.
Some actually thought this was a very funny movie, although I found this Disney comedy barely funny.
Not that they didn't try. The movie makers did their best with a serviceable screenplay.
The film did boast an impressive cast, including Jean-Michael Vincent as the star athlete.
Rounded out by Dayle Haddon as the love interest, veterans, Roscoe Lee Brown, Billy De Wolf, Clarence Muse provided good support.
Finally, sportscasters, Howard Cosell and Frank Gifford also make an appearance in the movie.
This was the seventies, and Disney was still trying to find its way in a rapidly changing Hollywood.
Not something the average person would even notice.
but being a person of color I was keenly aware of the significant change in attitude.
Like American television of the fifties and sixties, ethnic types were pretty much invisible in media.
This led to some good nature ribbing on occasion.
While visiting the jungle set on stage three one afternoon.
I saw comic Tim Conway playing a scene with a group of spear wielding African natives who had taken him captive.
I joked to all who could hear that Disney had come a long way since, "Song of the South."
It's a shame, but it seems we had more laughs on the set than in the movie.
Those who remember the film might recall that Jean.
Michael Vincent's character had a pet tiger that he brought with him from Africa.
I know there are no tigers in Africa, I guess the scriptwriters somehow found a way around that little problem.
There were a number of scenes where Tim Conway.
Had to interact with this ferocious beast and he wasn't always comfortable doing so.
Even though the trained tiger was a pussy cat at heart there was no mistaking the fact that this was one huge kitty.
Though well trained, the large cat sometimes really got into performing, or maybe he just wanted to play with Mr. Conway.
After the director called, cut! The large cat had so enjoyed his aa홀덤 romp with Mr. Conway he wanted the play to continue.
Having had enough of the big cat.
Tim Conway headed off the set with the happy tiger hot on his heels.
As the hapless actor came running toward me he was yelling some very colorful language.
Another very amusing bit that never ended up in the movie was a scene with veteran character.
Muse and Roscoe Lee Browne who played the Witch Doctor.
John Amos and Tim Conway find themselves in a secret cave guarded by several foreboding African warriors.
Conway's character was suppose to come rushing up to the Witch Doctor.
With an urgent message as the spear wielding natives glower menacingly at him.
Each time the director called.
"Action" Conway would run pass the guards make a funny comment that would invariably send the "scary savages" into fits of laughter.
He continued to ad lib sending the cast and the crew into hysterics. As I said, the making of the movie was a lot funnier than the film itself.
Eventually, the coach arrives back in civilization with his "African" star and pet tiger.
The action moved to the university set on.
Disney’s stage 2 where college professors match wits with the witch doctor who was more of a Rhodes scholar than a jungle primitive.
Sadly, the scenes that seemed so funny on the story boards fell flat once they went before the camera.
Although I did enjoy my visit to the stage to watch sportscaster.
Howard Cosell do a very funny impression of himself.
Movies that weren't all that bad - but sadly not all that good either.