london

15 10 2008

september 1991 I joined AMBLIMATION in london to work on ANDREW LLOYD WEBBER’S animated musical adaptation ‘CATS’. the studio was part of STEVEN SPIELBERG’S AMBLIN and had produced FIEVEL GOES WEST. when I came in, the animated feature film WE’RE BACK was in full production. most of the animators were from france, but in general it was talent from all over europe, a few from L.A. incredible artists, you can still check today – a good part of DREAMWORKS is the former amblimation studio.
it was a very creative time, being in one of my favorite cities – london, and having a chance to meet spielberg, lloyd webber and the CATS stage designer JOHN NAPIER. unfortunately things did not go too well with the story. the project was stopped after 6 months work and I started the designs on four planned feature films, RUDYARD KIPLING’S ‘JUST SO STORIES’, another musical CARNIVAL, a wild west story CRAZY DOG and an alaskan dog story – codenamed SNOWBALLS, what became BALTO.
it was quite a challenge to work simultaneously on these very different ideas. the just so stories were interesting visually, because it was india. but the stories were incredibly boring. carnival was a bit too realistic and I did not care that much about the wild west idea, but the snow adventure got me hooked. the story was promising too. and after several presentations steven spielberg choose that story as the next production. his only problem was the snow. the audience will feel cold and will not develop sympathies for the characters, he warned us. too much snow! so we decided to make the snow as colorful and different as possible. not just white and blues. another challenge was, we decided to paint all the BG’s in oil! the first time in animation history since BAMBI in the forties. it was the only way to paint convincing bigger snow areas. later we found painfully out, that oil painting is not the best technique for animation, we had major problems with the shiny surface and with the colors themselves under the camera. so we switched and did a lot of BG’s in gouache as well. especially a lot of the wood textured interiors.
the background painters were very good, some of the best I ever worked with and the BG’s looked terrific. another reason for that was the layout department with some top talent. and – the director, SIMON WELLS, who rough-thumbnailed the whole story in tiny sketches himself. the whole film was truly his vision, he came up with the most amazing shots.
I have a lot of artwork from that time and will post some of it. here first one of my very first designs for CATS, all painted with white correction fluid on black cardboard, then feltpen color on a xerox. the second pan BG is painted in oil by the art director/head of BG – COLIN STIMPSON.

© AMBLIN/universal pictures

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6 responses

15 10 2008
Roland

Interesting post. Like the process behind the first image and the soft colour on Stimpsons BG

15 10 2008
Michael Sporn

I just saw the film again this last weekend (it happened to be on television.) I’ve been a fan of the film since I first saw it in the theater on its release. There’s quite a bit of fine work there. I look forward to any art you have and any stories as well.

15 10 2008
Matthew Long

That Cats piece is very nice, interesting process as well. I’ve only gotten to see a few visual development pieces from the film but what I saw looked great. When I was in school I ran across roughly 150 photocopies of character designs and thumbnail motion studies for the film that were donated but no credit was given to the artist. Do you happen to know who the lead was for character design?

from hans
most of the characters were designed by CARLOS GRANGEL, who later worked on
most dreamworks features. he was the character designer for tim burton’s
CORPSE BRIDE as well

16 10 2008
Andrei

Very interesting post!:o)

16 10 2008
Nancy Beiman

Balto is, in my mind, the best Amblimation feature. it had a strong story and likable characters.
I also liked the art direction.

16 10 2008
Rawls

I loved Balto. Beautiful movie.

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