Like much of my music, the piece doesn’t wear its strangeness on the surface. On the surface are the normal elements of music: melody, harmony, meter, even a slight retro pop sensibility. ...Its surface naivete is a carefully calculated construction. It is almost cartoon-like, and I’ve always admired cartoons (in fact, at age twelve before I became a composer I wanted to be a cartoonist) for their clean, hard lines, their indifference to realism, their personality-expressing, deliberately pixelated approximation of reality. The strange part...is backgrounded, and is so modestly finessed that a casual listener might not even notice it. ...In its notes, it’s a piece that could have been written seventy years ago – if the preceding two centuries had been very different.
From Frank Thomas and Ollie Johnston, Disney Animation: The Illusion of Life, p.69
The constant battle is to find the elements that will look best in this medium and still allow the strongest communication of the idea presented. A drawing must be made in line, duplicated on cels, painted in flat colors, photographed over a background, and projected onto a giant screen. Tiny, sensitive lines on the drawings are now enlarged until they are more than a foot wide, and very, very black. In the mid-thirties, we wished for shading, for textures, for areas with no outlines, but they were not practical. We had to find other ways of putting over the points in the scenes, and in so doing developed character animation into a communicative art that astounded the world. But at the time there was neither glory nor pride in our efforts, only the nagging limitations. As we passed each other in the hall, we shook our heads and shared the thought, "It's a crude medium."
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