_________________________________
_________________________________
MARY COSTA: I don't think we realized,
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JOHN CANEMAKER: I think it's the
end of an era. I think it's the end
_________________________________
CHARLES SOLOMON:
Walt told the artists that he wanted
_________________________________
WALT PEREGOY:
It didn't look like Snow White
_________________________________
RUSSELL SCHROEDER:
When Sleeping Beauty came out,
_________________________________
FINN: And so the studio
started diversifying.
_________________________________
FINN: Sleeping Beauty is one
of those problematic stories.
_________________________________
FINN: Snow White makes a lot
more aggressive attempts
_________________________________
FINN: It seems to be something
Walt consciously wanted
_________________________________
GIAIMO: It's interesting in
Sleeping Beauty
_________________________________
MICHAEL BARRIER: Earlier films,
you can tell from story meetings
_________________________________
JEFF LENBURG: He did admit
that doing Sleeping Beauty
_________________________________
PETE DOCTER: He was
obviously really searching for,
_________________________________
CANEMAKER: So he thought design,
_________________________________
FINN: You know, a lot had happened
since Snow White.
_________________________________
DEJA: Meaning going beyond
the usual painting,
_________________________________
FLOYD NORMAN:
Every frame in Sleeping Beauty,
_________________________________
JOHN CULHANE: And he saw
the Unicorn Tapestries.
_________________________________
BARRIER: And John Hench,
he made some sketches
_________________________________
SIBLEY: And he loved her
work for films like
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TIMOTHY LENNON: That style was
rooted in an international Gothic,
_________________________________
EARLE: I first started with
the old medieval artists,
_________________________________
LENNON: One of the principal
books that Earle cites
_________________________________
EARLE: I've always been
influenced by pre-Renaissance,
_________________________________
SOLOMON: Sleeping Beauty is
curiously a film that is Gothic,
_________________________________
DEJA: Well, it takes the
ideas and the colors
_________________________________
MICHAEL SPORN: About 1950 was
the height of a studio called UPA,
_________________________________
DISNEY: There were always these
guys that wanted to do
_________________________________
BARRIER: It's a Cinemascope cartoon
in a very modern design style
_________________________________
SPORN: Sleeping Beauty, to me,
was an outgrowth of this.
_________________________________
GIAIMO: And since Eyvind Earle
had created this beautiful
_________________________________
NORMAN: The styling of
Sleeping Beauty became an issue,
_________________________________
GIAIMO: The animators were always
a very protected species at Disney,
_________________________________
JOHNSTON: But sometimes
his colors didn't work
_________________________________
CANEMAKER:
They did rebel at one point.
_________________________________
CANEMAKER: I think Eyvind Earle
won on the big points.
_________________________________
SIBLEY: The animators
got their way, too.
_________________________________
DEJA: Those are the broadest
characters out of all the humans,
_________________________________
JOHNSTON: So we started figuring
how we could develop them
_________________________________
FRANK THOMAS: She was an
officer in a ladies club,
_________________________________
THOMAS: And she was so sweet
and so affectionate,
_________________________________
BURNY MATTINSON:
Everybody was working to try
_________________________________
DON BLUTH: John Lounsbery
was my mentor.
_________________________________
CANEMAKER: John Lounsbery
was a wonderful draftsman
_________________________________
CANEMAKER: And this was his chance
to do that in this particular scene.
_________________________________
FINN: John simply does a
classic star turn
_________________________________
CULHANE: Yeah, they've got
some broad things,
_________________________________
FINN: This movie, probably more
so than any other Disney movie,
_________________________________
DEJA: I would say stylistically,
in terms of character animation,
_________________________________
GIAIMO: It's interesting
that Eyvind Earle
_________________________________
FINN: You know, having to balance
characters that contrasting
_________________________________
CANEMAKER: When he later
did Cruella De Vil,
_________________________________
-Anita, darling!
-ANITA: How are you?
_________________________________
SPORN: Whereas, Maleficent,
she just gave speeches.
_________________________________
MARC DAVIS: It's very difficult
to do a character
_________________________________
MATTINSON:
It was a story element for her
_________________________________
DISNEY: I remember them
borrowing film from us.
_________________________________
DOCTER: The horse is a great example
_________________________________
GIAIMO: Sometimes, when
you're directing a sequence,
_________________________________
SPORN: There are really good
choice voices in this film.
_________________________________
DEJA: Mary Costa is like the perfect
fairy-tale voice, very clean.
_________________________________
COSTA: And he said, "I want you
to drop all of the colors
_________________________________
COSTA: We all had a schoolgirl
crush on Bill Shirley.
_________________________________
MATTINSON: Very beautiful lady.
_________________________________
SOLOMON: Alice Davis, who had
a degree in fashion design,
_________________________________
DAVIS: The costume they wanted
when she was in the forest,
_________________________________
LENBURG: If you ever saw an
actual still photo of Eleanor Audley,
_________________________________
GIAIMO: Eleanor Audley was a vocal
artist who had a Disney past.
_________________________________
BLUTH: Eleanor, for me, is the
most interesting of the characters
_________________________________
JOHNSTON: Fauna is Barbara Jo Allen,
_________________________________
SOLOMON: What you look for
in a voice for animation
_________________________________
SCHROEDER: Walt Disney wanted
this film to stand out from his other films.
_________________________________
SCHROEDER: Sammy Fain and
Jack Lawrence had written
_________________________________
SCHROEDER: ...where proud
fathers in today's world
_________________________________
COSTA: I think the choice was perfect.
_________________________________
BLUTH: And I think with
the Tchaikovsky music,
_________________________________
SIBLEY: It's as though
Tchaikovsky had been
_________________________________
BAXTER: Walt said, "There's a new
process called Technirama,
_________________________________
RALPH EGGLESTON: Because of that,
_________________________________
BAXTER: Well,
since Mickey Mouse began,
_________________________________
EGGLESTON: That's an
amazing amount of work.
_________________________________
FINN: It's interesting to see
the actual paper drawings,
_________________________________
SPORN: And this meticulous
inking in colors
_________________________________
DISNEY: Certainly, the artifacts
that came from that movie
_________________________________
NORMAN: Every cell in that
film was a masterpiece.
_________________________________
BAXTER: Sleeping Beauty,
it's like going to the symphony.
_________________________________
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