Author: James Chiang

Shot Analysis: 101 Dalmations

Set along a bay window facing the city streets, the story begins with a dog whose sleepy days of the same old routine trigger the start of something new into the lives of owner and pet. From the Walt Disney classic, 101 Dalmations.

This week we take a look at another amazing shot done by Milt Kahl — a master who was truly at his prime here.

The shot in its entirety is simple, clear and highly definitive in its effective portrayal of a character and his state of mind. Scenes like this are rare today — they set the mood and personality of not only the character but the film itself. This scene, which occurs right at the beginning of the film, instantly establishes the charm of its characters in a story that elects an interesting take on who’s the pet and who’s the owner.

Hold #1 (Establishing shot)

Sequence #1 (Small Initial Action)

Hold #2 (First Pause)

Sequence #2 (First Major Action)

Hold #3 (Second Pause)

Sequence #3 (Second Major Action)

Hold #4 (Final Pause)

Sequence #4 (Final Concluding Action)

Hold #5 (Final Position)

It can be seen clearly that the entire shot is set up beautifully in “sections” — physical actions bookmarked between “holds” that define the mood or moment. All good animation that tells a story has this kind of breakdown (the exception being a reaction shot or a quick action cut).As always, the work of Milt Kahl displays all the weight, timing, spacing and arcs that define excellence in animation movement. The poses are visually distinctive yet appropriately define the character (in this case a dog) and his psychology. Note carefully my annotations on the changing head angles, the eye direction, and the forces of push and pull of the legs and body. They are evidence of deep knowledge and careful, thoughtful planning. All of it works perfectly with the voice over narrative and helps make this film one of the best Disney has ever produced.

Skill

One of the greatest character designers in the world, Peter de Seve’s artistry is filled with imagination and whimsy. He’s one of the most formidable talents I’ve ever worked with.

“There is no pleasure in this world without skill.” — Alan Watts, Philosopher

Skill is the foundation by which we bridge our understanding of things. Without it, there is no way of comprehending our craft and therefore no way of achieving clarity or expressing our vision at its fullest creative potential.

“An artistic work is not an intellectual riddle seeking an interpretation or explanation. It is a complex of images — experiences and emotions which enters directly our consciousness.” — Yuhani Pallasmaa, Architect

One of my favourite buildings in the world, Frank Lloyd Wright’s Guggenheim Museum is a tour de force of architecture — creative, expressive and fundamentally brilliant.

Skill doesn’t just sit in the technical domain but also the artistic and creative domains. Each layer, each process of creation requires skill, and hence requires development. How do we build skill? We build it like how we build anything else — through education, organization, and discipline.

Let’s redefine those 3 dimensions as it pertains to being an artist:

  1. Education — the acquisition of knowledge, an environment for experimentation and feedback, and time for such knowledge to develop into understanding and real abilities.
  2. Organization — clear decision-making, order in terms of approach to the work (or workflow), and a schedule for development.
  3. Discipline — a devotion to a creative mindset and commitment to rigorous practices required for growth and excellence.

Do such things sound too hard? Well, nothing worth doing is ever easy.

“Behind every beautiful thing there’s been some kind of pain.” — Bob Dylan (lyrics from ‘It’s Not Dark Yet’)

Contrary to popular thinking, making art is one of the hardest, most courageous things one can do. That’s why I always stress the need to build strong rituals and for being prepared, for I know of very few truths other than the truth that our habitual behaviours mold us and that preparation gives us greater clarity and raises the probability of success. Good practices are one of the keys to fulfillment.

What a magnificent artist Egon Schiele was. A master of design, using only line and a few touches of colour, he expresses everything he needs to say.

Drawing is one such practice. An artist who doesn’t draw is like a musician who doesn’t play any musical instruments or can’t sing or read music. To ignore drawing hinders visual creation because “making marks” teaches us so much in terms of design, composition, and being able to layout tangibly a visual game plan that’s formed from our minds. It’s the seed of imagination. Physical practice engages the mind via the hands. It teaches us to see.

“The hands want to see, the eyes want to caress.” — J.W. von Goethe, Writer

Seeing is so huge. The lack of an artist’s ability to see holds him back. It’s a skill that needs constant development. When an artist draws, he caresses his eyes along and around the surface of the objects. He feels the weight, textural form and inner substance of the thing. The mental-visual filtering of the experience becomes existential knowledge and a connection between subject and artist is formed. This builds a base which then rises towards understanding, with knowledge becoming more than just mere information.

“A Bigger Splash” is one of my favourite paintings ever. I just love the way David Hockney sees.

But seeing too, requires constant practice. All skills do. As we grow as artists, the base — which is our visual and intellectual skillset — must grow stronger and more expansive in order to support the rising complexity that our art demands. The most common mistake of beginners is that they ignore or forget their foundation when they begin to take on new or more complex challenges. This lowers their capability to learn new skills and express their ideas. What follows then is overwhelming frustration because the demonstrative failure is as painful as it was inevitable.

The strongest artists — masters of their craft — spend countless hours building their fundamentals skills. Patience is important. Like the star athlete who has developed over many years a strong, fast and flexible body that allows his talents to shine above all others, an advanced artist carries with him an excellent understanding of the technical and graphical aspects of his craft. For animators, that means powerful and expressive command of body mechanics and design principles. When such individuals execute their art, their skills become second nature and they’re free to focus primarily on the expression of their ideas, their foundational tools mere weapons in their arsenal in the battle for creative victory. Skill isn’t everything, but it’s always a required element for creativity to take flight.

What separates a master from other artists? Many things for sure, but skill is a large reason why Milt Kahl, even when doing mere tests, puts out work that shines far above his peers.

“Every artist was first an amateur.” ― Ralph Waldo Emerson, Philosopher