Gta San Andreas Gta V Animation Mod
Kenneth Calimlim
How different might your life be if you ended up with your childhood dream job? Disney Legend Andreas Deja does not have to wonder. He decided at age 10 that he wanted to be a Disney animator, and by age 20, he had achieved his dream. Join us for an interview with Deja as he discusses his decades-long career with The Walt Disney Studios animating many iconic characters including Gaston in Beauty and the Beast (1991), Jafar in Aladdin (1992), and the titular hero in the Greek mythology-inspired Hercules (1997).
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Andreas Deja first inquired about a job as a Disney animator at the age of ten. Born in Poland and raised in Germany, he remembers writing to The Walt Disney Studios immediately after seeing The Jungle Book (1967). "I'd never seen a Disney feature before," he recalls. "It was one of those key experiences because I just couldn't believe what I'd seen. All those drawings moving, thinking, and acting so real."
Working with Eric Larson, one of Disney's legendary "Nine Old Men," Deja completed several tests and went on to do early character design, costume research, and animation for The Black Cauldron (1985). His next assignment was on The Great Mouse Detective (1986), for which he animated Queen Moustoria and her robotic twin. Deja helped design many of the characters for Oliver & Company (1988) and did some animation before spending a year in London as a lead animator on Who Framed Roger Rabbit (1988), under the direction of Richard Williams.
On The Little Mermaid (1989), Deja oversaw the animation of Triton, a powerful figure requiring expert skills in draftsmanship and acting ability. For Disney's Academy Award-winning animated musical Beauty and the Beast (1991), he served as Supervising Animator for the first of several Disney villains, the very pompous and narrow-minded Gaston.
Deja continued to explore his darker side by designing and animating the evil vizier, Jafar, for Disney's animated musical hit, Aladdin (1992). He went on to supervise the animation of the power-hungry villain, Scar, in The Lion King (1994), which quickly earned a place as one of the industry's biggest films of all time.
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Where are you from and how did you get into the animation business?
I am from the Angouleme region in South West of France, one hour north of Bordeaux. I started at Continue reading
Where are you from and how did you get into the animation business?
I grew up mostly in Southern New Jersey and have spent a lot of time in Florida as well. When I was younger (about ages 4-5), my grandmother had a couple of flipbooks of things like ballroom dancers that I found. They were incredibly fascinating to me and I started to make my own flipbooks on sticky note pads. Every single one of Continue reading
What is your name and your current occupation?
Todd Hampson, Founder/CAO of Timbuktoons, LLC, a 2D animation and IP/concept development company.
What are some of the crazier jobs you had before getting into animation?
I grilled and/or burnt many steaks at a cafeteria style steakhouse in the 11th grade and delivered food to (and occasionally had food thrown at me by) elderly patients at a hospital during my first year of college. Good times.
How did you become interested in animation?
I watched movies such as Sleeping Beauty, Peter Pan, Sword in the Stone and all the other amazing disney features. But I also loved my saturday morning cartoons like Animaniacs, Freakazoid, Hey Arnold, AH! Real Monsters, and you get the gist of it. But it really hit me when I learned that I could Continue reading
What are some of the crazier jobs you had before getting into animation?
In high school I did weekend janitorial work at a Montessori school, and I was a lousy busboy at a Mexican restaurant, spilling trays and breaking lots of plates. I delivered pizza for a single night after my 2nd year at Cal Arts, (when thankfully an animation job came through.)
How did you become interested in animation?
When I was thirteen, my mother sent some of my drawings to the Disney studio. Don Duckwall, the aptly named animation department production manager, wrote back inviting us to visit the studio whenever we were in the area. We lived in Cupertino, in Northern California, and the following summer we vacationed in Southern California, and made part of our plans to visit the Disney studio in Burbank. I met Mr. Duckwall, as well as Ed Hansen, who would succeed him in the job, (and later become my boss.) I also met a number of animators, who inspired me to make my own animated films. My parents bought me a used 8 mm. camera, and my dad built a light box with a set of pegs, and I jumped right in and started experimenting.
Where are you from and how did you get into the animation business?
I was born in Rotterdam, The Netherlands. When I was eleven, my family moved to the United Sates. During high school I met Chuck Jones at a talk he gave at a junior college. I wanted to show him one of my Continue reading
The famed animator, who brought to life iconic animated characters - villains and heroes - like Gaston, Jafar, Scar, Hercules, and Lilo, talks about his time at the studio as well as the challenge of directing his first film, a beautifully hand-drawn short that tells of a young girl who must save the tiger she has raised from a cub.
And over the last 10 years, he developed, co-wrote, directed, animated, and produced his own hand-drawn animated short film, Mushka, the emotional and exciting story of a young girl named Sarah and her unlikely friendship with a tiger cub.
DS: But looking back on the experience of being part of something that did go on to be so incredibly important and meaningful to people, to fans of filmmaking and animation, what was it like?
AD: Well, I really started with something that, in the end, didn't find an audience, which was the infamous The Black Cauldron (1985). Looking back, the inexperience shows in that film on all levels. Whether it's animation, directing, storytelling, or art direction, it's flawed. It's just flawed. Here we were, most of the kids coming from Cal Arts. I came from art school in Germany. And we were asked to continue on this thing called Disney animation. The old guys had just left, and of course, you can see the inexperience. It wasn't really working yet.
I worked briefly on Oliver & Company (1988), did some character designs and a handful of animated scenes. And then the opportunity came up to work with Richard Williams in London on Who Framed Roger Rabbit (1988). So, it was really going from one extreme to the other, looking back now, because that one certainly found an audience. It was groundbreaking. It was breathtaking. It was just a high-energy project. We knew we were doing something different over there in London, especially once we saw our pencil tests being sent to ILM, and they did all the compositing, the shadows, the color, all of that. Once we saw how well our animated characters were put into that live-action world, it was just breathtaking. We just couldn't believe what we saw. We knew it was going to be good, but that good for the whole film?
And it was because Dick Williams was just a stickler for perfection. It has to look right. It has to feel right. So, all these technical difficulties of when Roger is grabbing a live-action prop, be sure that that's locked on his hand. If you just mess up two frames and the hand slides up and down on a real glass of water, you ruin the illusion. So, we had to be absolutely perfect on that, and that's what he demanded, and that's what he got.
Then, of course, right after that was The Little Mermaid and all the others, each doing more box office than the previous one, and we didn't know where this was all going. Of course, it all really ended up with The Lion King being the top film.
I mean, Lilo is such an internalized character with all these issues she had. There was a profound sadness within her because her parents had died in a car accident. And now Nani is trying to be not only her sister but also her mother, and that's not going very well. And she also doesn't have any friends at school. So, there are a lot of things that this kid is processing.
But these are real things. Kids like that. Issues that exist in the real world. So, this whole movie was always this crazy combination of a science fiction film with a monster from outer space and a real broken family drama.
I started doing some drawings. My friend Michael worked on the screenplay. Then another friend of mine, Matthieu [Saghezchi], came in and helped me with storyboarding. It all happened simultaneously. So that was the process. But I didn't animate until we had the animatic, or the story reel, like we called it at Disney, more or less complete. You can run into the mistake of animating something that isn't solid and might have to be cut, and that's painful, and expensive. I learned that from Disney. So, let's get the story to a point where we are happy with it.
I wanted to do that too, and we did it for the whole film. So, the characters had black pencil outlines, but these are all animators' drawings, not assistant drawings. I also asked that of Natalie [Franscioni-Karp], who painted about 80% of all the backgrounds herself. I said, Give me something that looks like it's unfinished. Just don't over-render the forest and the train station and grandma's apartment. Just do it like it's a sketch. There's feeling in it and good color, of course, but don't overdo it. Just keep it loose." She got it right away, and it was a nice marriage between our drawings and her background style.
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