Il Était une Fois un Studio [Walt Disney - 2023]

Theguardian a écrit:: Je trouve l’affiche superbe!
Vous savez de quand (ou quel film) date cette représentation de Mickey et Minnie? Je n’arrive plus à situer.

À première vue j'ai pensé au court-métrage de Mickey "Le Tourbillon", mais pas sûr que ce soit ça au final, les vêtements ne sont pas tout à fait pareils...

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C'est L'Anniversaire de Mickey :
https://www.chroniquedisney.fr/cartoon-04-mickey/1942-anniversaire.htm

Le film est disponible sur Disney+ et vous y retrouverez le plan exact du tableau d'où ils sortent dans la bande-annonce. Smile

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Flounder69 a écrit:: réutilisant aussi des enregistrements pour les films les plus anciens (ce qui s'entend particulièrement pour Flora et Pimprenelle dans la bande-annonce)

Un parti pris respectueux qui n'a pas été fait dans la VF de la bande-annonce, où Flora et Pimprenelle ont été redoublées (et même pas par Evelyne Grandjean et Marie Martine qui les avaient doublés dans "Disney Princesses : Histoires Merveilleuses" et qui sont encore actives dans le doublage).

Personne ne veut être enfermé ici pour toujours.

Quand les cloches sonnent, les cloches questionnent dans les tours de Notre-Dame... L'homme est-il un monstre ou le monstre un homme ?

Le choix de reprendre ou non d'anciens enregistrements semble très aléatoire suivant les pays. Il y a sans doute de nombreuses raisons derrière ça, notamment des histoires de droits, de choix d'adaptations qui ne fonctionnent plus ici, ou même simplement une volonté d'avoir un doublage plus uniforme.
D'ailleurs, dans les doublages castillan et brésilien, qui réutilisent d'anciens enregistrements, on entend la musique et les bruitages du film d'origine. Et dans un pays aussi tatillon que la France avec ses doublages, je ne suis pas sûr que ce genre d'effets aurait été très apprécié.

Pour ce qui est des fées, Disney Princesses - Les Histoires Merveilleuses est bien trop anecdotique, et les voix étaient très différentes de celles de La Belle au Bois Dormant.
Je ne sais pas qui sont les comédiennes choisies pour Il était une fois un studio, mais je trouve qu'elles ont plutôt bien repris les personnages pour ce court passage.

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Vu le nombre de personnages, il se peut aussi tout simplement que certains comédiens de doublage n'aient pas été disponibles pour les séances d'enregistrement, comme ce fut le cas pour Pocahontas dans le doublage français de la scène inédite de la version longue qui a fait appel à une nouvelle comédienne car la précédente (je n'ai plus le nom en tête...) n'était pas disponible.

Perso ça ne me dérange pas tant que les nouvelles voix sont similaires aux voix originales.

Dernière édition par Dash le Lun 2 Oct 2023 - 10:12, édité 1 fois

SPOILER de la fameuse photo finale.
Vous pouvez la regarder en détail ici :
https://www.ebay.fr/itm/225794358886

(et l'acheter aussi mais ça c'est à vous de voir et puis c'est moins cher sur Vinted Laughing

)

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Disneyland Paris : déc. 1997/avr. 1998/juil. 1999/avr. 2005/aoû. 2005/oct. 2005/fév. 2006/avr. 2006 - Cast Member 2006-2011 - visites régulières jusqu'à aujourd'hui
Walt Disney World Resort : nov. 2008/mai 2011/fév.-mars 2018/sep. 2019/oct. 2022
Disneyland Resort : sep. 2009/mai 2013/nov. 2015/août 2019/déc. 2023
Tokyo Disney Resort : juin 2015/avr. 2016
Hong Kong Disneyland Resort : mars 2016
Shanghai Disney Resort : mai 2016 / juin 2016 / juil. 2016
Disney Cruise Line : mars 2018 (Disney Dream) / sep. 2019 (Disney Fantasy) / oct. 2022 (Disney Wish) / nov. 2023 (Disney Magic) / sep. 2024 (Disney Wonder)

MadEye, Flounder69, isanka, L'Oncle Walt et Brozen aiment ce message

Tu m'étonnes qu'ils aient annoncé 583 Personnages, si déjà on retrouve les 101 Dalmatiens Laughing

Cette lithographie est incroyable.

Je saurais t'aimer, j'en ai rêvé !
La Belle au Bois Dormant

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Pooh aime ce message

Je n'ai pas réussi à trouver Jim Hawkins.

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Mes comics!!! adreamisawishyourheartmakes - Il Était une Fois un Studio [Walt Disney - 2023] - Page 3 1538264478

Eclydia a écrit:: Je n'ai pas réussi à trouver Jim Hawkins.

Spoiler:

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Finalement Hans apparaît sur la photo finale ! Je pensais qu'il n'allait pas y être ^^

Dernière édition par Dash le Jeu 5 Oct 2023 - 23:43, édité 1 fois

Cela dit, il y a des personnages qui n'apparaissent pas sur la photo mais qui doivent être le film car le compte des 543 annoncés n'y est pas.
Clochette par exemple n'est pas sur la photo alors qu'elle est dans le film (cf. la bande-annonce). J'imagine qu'elle va probablement voler devant tout le monde, peut-être pour clôturer la scène façon fin de Qui Veut la Peau de Roger Rabbit.

J'ai fait un travail de recensement (@Crystal m'a un peu aidé aussi), voici tous les personnages que j'ai repérés :
https://docs.google.com/spreadsheets/d/1tpwprr_2ui-CO_sSK3laBxIXqF2W0C0ppB1RgLUrlTQ/
J'en ai donc compté 512, il m'en manque 31.

Parmi les absents qui ont des chances d'être, selon moi, dans les 31 qui manquent à ma liste :

Spoiler:

Pooh, MadEye et Thumper aiment ce message

Toi et tes listes @Dash, une vraie légende. ^^

J'apprécie ma présence de personnages d'absolument tous les films du studio,

Spoiler:

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Nouvelle image! Very Happy

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Les adultes sont juste des enfants qui ont grandi.

MadEye, Flounder69, Princess Meg et Brozen aiment ce message

Avec deux personnages de plus qui ne sont pas sur la photo finale : le Sucrier et Lucille Krunklehorn.
Plus que 29 !

Disneyland Paris : déc. 1997/avr. 1998/juil. 1999/avr. 2005/aoû. 2005/oct. 2005/fév. 2006/avr. 2006 - Cast Member 2006-2011 - visites régulières jusqu'à aujourd'hui
Walt Disney World Resort : nov. 2008/mai 2011/fév.-mars 2018/sep. 2019/oct. 2022
Disneyland Resort : sep. 2009/mai 2013/nov. 2015/août 2019/déc. 2023
Tokyo Disney Resort : juin 2015/avr. 2016
Hong Kong Disneyland Resort : mars 2016
Shanghai Disney Resort : mai 2016 / juin 2016 / juil. 2016
Disney Cruise Line : mars 2018 (Disney Dream) / sep. 2019 (Disney Fantasy) / oct. 2022 (Disney Wish) / nov. 2023 (Disney Magic) / sep. 2024 (Disney Wonder)

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The Walt Disney Company a écrit:: How a Secret Passion Project Transformed into ‘Once Upon a Studio’

How do you meaningfully celebrate a century’s worth of beloved features and shorts? That question was top of mind in the fall of 2021, when Dan Abraham and Trent Correy would meet in a local Taco Bell parking lot to brainstorm ways to honor Walt Disney Animation Studios’ 100th anniversary. This was the definition of a passion project, as no one had assigned them such an ambitious project (or even knew they were working on it, for that matter). Over a span of eight months, the two would continue to meet in secret, anytime and anywhere they could, as they developed the all-new original short Once Upon a Studio.

“In 2019, Dan and I worked on an Olaf short called Once Upon a Snowman. We directed it together, and that was actually our first time meeting each other,” Correy recalls. “Dan comes from story and I come from animation, so it seemed like a really good fit. We had a genuinely great time making that short, and we came out on the other side thinking, ‘How do we work together again?’ As we went on different paths—I went off to work on the Zootopia+ series, and Dan went off to work on the Baymax! series—we started talking about how to recreate that experience. We started sharing ideas about what inspired us and what we’d like to do together. And then we realized very early on that the 100-year anniversary was upon us and that that our studio was making Wish—which, as a feature, celebrates the future of Disney—but there was nothing yet planned to look at the legacy characters and what inspired us to become animators. So, that’s kind of where this started.”

After months of ideating in their spare time, the collaborators pitched their concept to Jennifer Lee, Chief Creative Officer of Walt Disney Animation Studios. “She had no idea what it was,” Abraham says. “Because the pandemic was still going on, I tapped through all of our storyboards on Zoom and presented this idea to her. After I was done, she stood up and left the camera. Trent and I looked at each other like, ‘Oh, no… What is happening?’ When she came back, her glasses were on top of her head, and she wiped away a little tear. She said, ‘I don’t know how, but we have to figure out how to make this.’ Trent and I were just beside ourselves! We couldn’t believe it. It felt like such a long shot to work on something for that long—and on something that no one was asking for. It felt so amazing.”

Of course, now that they’d been greenlit, they had to fast-track the production process.

“There are hundreds of characters in this short, which includes hand-drawn elements, CG elements, and live-action plates,” Correy explains. “We knew we were swinging big, and we knew that the 100th year was getting closer—and we all know how long animation can take. If we wanted to do this thing, it would need to happen quickly. Thank goodness Jennifer Lee said yes to our pitch in that moment. We got started very quickly after that.”

Next, Clark Spencer, President of Walt Disney Animation Studios, announced plans for Once Upon a Studio internally during a year-end town hall meeting. Feeling inspired, both Yvett Merino and Bradford Simonsen pitched themselves—and each other—to produce the short. “Separately, Brad and I emailed Clark and said, ‘Hey, I need to work on this,'” Merino says. “I didn’t know then that Brad had basically written Clark the same email I did. By the end of January, we were working on the short and just starting to put everything together.”

Virtually everyone in the studio shared Abraham, Correy, Simonsen, and Merino’s passion for Once Upon a Studio, which brings together 543 characters from more than 85 feature-length and short films. Because the hand-drawn, CG, and live-action elements all need to interact, the producers assembled an expert team to support the short’s technical needs. According to Correy, “I didn’t anticipate that we would have so many people coming up to us, emailing us, texting us, or Slacking us to say, ‘I just need to be a part of this thing.'” Abraham adds, “We found out very quickly just how much these characters mean to the people in the building; characters like Ariel, Mulan, and Pinocchio feel like part of their families. Everyone came out of the woodwork, and it was joyous to see all that enthusiasm.”

Fans will get to see Once Upon a Studio when it makes its broadcast debut Sunday, October 15, as part of ABC’s Wonderful World of Disney: Disney’s 100th Anniversary Celebration!. With all-new hand-drawn and CG animation, Once Upon a Studio will celebrate 10 decades of storytelling, artistry, and technological achievements—all with a dash of Disney magic.

Thumper, Princess Meg, isanka, L'Oncle Walt et Brozen aiment ce message

J'ai versé une larme en lisant ce texte. Voilà, c'est dit.

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https://d23.com/meet-the-characters-of-disney-animations-once-upon-a-studio/

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The Walt Disney Company a écrit:: Celebrating the Artistry and Technology Behind Disney Animation’s ‘Once Upon a Studio’

The all-new original short Once Upon a Studio takes place at the end of the work day at Walt Disney Animation Studios in Burbank, California, just after the artists, technologists, and storytellers head home. Disney Legend Burny Mattinson—who worked at The Walt Disney Company for 70 years, longer than any other employee—is the last person to leave. When the coast is clear, Mickey Mouse and Minnie Mouse step out of a picture on the wall and ask their animated friends to take an official 100th anniversary portrait. Hand-drawn characters, such as Oswald the Lucky Rabbit and Merlin, intermingle with CG characters, such as Baymax and Rapunzel, as they comically scramble to assemble for the group photo.

If that sounds like an ambitious endeavor… that’s because it is.

Once Upon a Studio is the brainchild of directors Dan Abraham and Trent Correy, who developed the pitch in secret for eight months before presenting it to Disney Animation Chief Creative Officer Jennifer Lee in late 2021. From its inception, they knew the short would be technically complicated—but they always saw the reward in the risk. “Because we built the pitch for so long, the short hasn’t actually changed much,” Correy says. “We changed characters out and tightened up the pacing, but structurally, it’s basically the same as the pitch. We got Bradford Simonsen and Yvett Merino on board as producers very quickly, and Dan and I were lucky enough to be able to write, storyboard, and direct it. So, we jumped into editorial and started making it.”

Their first step was to turn the storyboard panels into a rough cut to assess what they had. “I have a visual effects and live-action background, so I started mapping the milestones of when to line up and hire a crew to shoot the plates; we wanted to start attacking that at the same time we were getting the boards up,” Simonsen says. “And then Yvett and I were chatting every day about this massive cast and how we were going to bring them all back.”

“That alone was another logistical challenge, because we had over 40 of the original voices come back,” Merino explains. “We did everything from recording in-person to recording over Zoom when people were out of out of the state or out of the country. It was such a testament to their experiences with Disney Animation, because the pitch was literally, ‘We’re doing a short to celebrate 100 years. We have a line for you. Would you like to be involved?’ Everyone we reached out to said yes, and they did so without knowing anything.”

Inherently, a project such as Once Upon a Studio requires a skilled team of animators. The directors looked no further than venerated veteran animator and director Eric Goldberg as head of hand-drawn animation. His team included a handful of hand-drawn experts, including Mark Henn and Randy Haycock, in addition to CG animators who had hand-drawn experience; five apprentices specializing in traditional animation; and five returning animation greats who had helped to create some of the Studio’s most beloved characters. Much to Goldberg’s delight, the directors insisted that the hand-drawn animation be done with paper and pencil as much as possible, and that the characters be faithful to their roots. In the end, an estimated 80 percent of the characters featured in the short are hand-drawn.

“This is absolutely the film that had to be made to celebrate the 100th anniversary of Disney and Disney Animation,” Goldberg says. “I think it absolutely fits the bill. I was so excited to work on it and to work with so many of my friends and colleagues. We really tried to honor the past and bring it up to date in the modern day. It’s just been marvelous.”

Andrew Feliciano, a 10-year Disney veteran, was head of CG animation. In all, more than 100 CG characters appear in Once Upon a Studio, hailing from such feature films as Frozen and Wreck-It Ralph and shorts such as Feast and Us Again. Asha, the star of Disney Animation’s upcoming feature film Wish, also makes an early debut in the short film.

“We had the benefit of having people who are able to do both CG and hand-drawn animation,” Feliciano says. “In the scene with Moana and Flounder, for example, Mario Furmanczyk animated both characters. He started by animating Moana, so he had a very clear place to put Flounder. Our shot planning team printed out every single frame for him to put it on paper. Then, he put paper on top of it and he would ‘drop’ Flounder right there.” According to Goldberg, it was especially important to pay attention to eyelines in scenes such as this. “You have to make sure Moana’s eyeline is looking where she is depositing Flounder,” he says. “Another example: Trent animated a penguin with the plate of spaghetti walking past the Mad Hatter. You need him to see it to say, ‘Oh, waiter!’ You really have to make sure that all that timing and eye direction is correct to make it all appear believable.”

Animators from both teams were in constant communication, all in service of the story. And, due to technological advancements, CG character models from Chicken Little to Tangled had to be rebuilt so they would work in the current pipeline.

Making hand-drawn and CG characters look congruous in the same scene was also tricky. “Depending on the needs of a particular scene, we were very, very flexible in terms of what should come first and whatever is going to work best for each particular shot,” Goldberg explains. “When the hand-drawn characters and CG characters interact, there’s a lot of back and forth and coordinating to do—especially if they make contact with something.”

That can be intricate enough for a scene with a handful of characters—let alone 543 of them! Abraham sketched the original idea for the group shot at the end of Once Upon a Studio, which features characters from more than 85 feature films and shorts. Correy then created a “heat map” to determine each character’s placement, Goldberg says. “They both had a huge hand in working out what that shot was going to look like,” he adds. As if the sheer volume of characters wasn’t enough, there were other technical aspects to consider. “The camera’s pulling back, but it’s also rising, so the perspective is actually changing on the groundline as you’re watching the shot reveal,” Goldberg says. “You have to place all of the characters on what we call ‘cards’ so that they are in the right perspective points throughout the entire three-dimensional camera move.”

In the end, all that coordination and dedication paid off—and fans will get to see it for themselves when Once Upon a Studio debuts Sunday, October 15, at 8 p.m. ET/PT as part of ABC’s The Wonderful World of Disney: Disney’s 100th Anniversary Celebration!. “I had a fabulous time working alongside the CG animators whom I’ve been working with for years,” Feliciano says, “and I loved getting to spend time and work very closely with the hand-drawn animators like Eric, Randy, and Mark, as well as the apprentices. It was a really fun experience. The animation reviews and dailies were so much fun, because you never quite knew what you were going to see; it was always going to be a mix of different things. Like, you have Stromboli shaking the vending machines so perfectly and it’s just hysterical and joyful. This short was such a great way to celebrate the 100-year anniversary of the Studio.”

The Walt Disney Company a écrit:: The Touching Story of How Richard Sherman Revisits Walt Disney’s Favorite Song in ‘Once Upon a Studio’

When Walt Disney Animation Studios’ new short Once Upon a Studio makes its broadcast debut Sunday, October 15, at 8 p.m. ET/PT as part of ABC’s The Wonderful World of Disney: Disney’s 100th Anniversary Celebration!, it will feature a newly recorded version of the classic Mary Poppins lullaby “Feed the Birds” by Academy Award-winning composer, songwriter, and Disney Legend Richard Sherman—who, at age 94 in 2022, returned to Walt Disney’s office to play piano for the new short.

“It’s hard to talk about without making ourselves cry,” director Dan Abraham says of Richard returning to the same place where he and his brother, the late Disney Legend Robert Sherman, would regularly perform the song for Walt on Friday afternoons. According to director Trent Correy, “Those sentimental moments can be really tough onscreen, and usually they need to get worked a lot. Dan and pitch me the idea, and then he went off to board it. We both knew ‘Feed the Birds’ would be an important part of this.”

Correy continues, “We watched it play for the first time and it brought tears to our eyes. A couple of days later, we bumped into our head of music, Matt Walker, and he asked us, ‘Why don’t you just get Richard Sherman to play it for your short?’ We said, ‘Is that possible?’ Matt said, ‘Oh, yeah!’ Matt followed that up by suggesting, ‘Why don’t we do it in Walt’s office where he originally played it for Walt?’ We said, ‘OK… but don’t lie to us, Matt! This is a very big deal for us.'”

Walker wasn’t the only one who had a hand in bringing Richard onboard. Howard Green, Legacy Communications Executive for Disney Animation, had mentioned earlier to producers Yvett Merino and Bradford Simonsen that he would be having a birthday lunch with Richard. “Howard asked, ‘Would you would you guys want to show him the short?'” Simonsen recalls. “That was when it was in storyboards. So, we all went over and showed him that. It was an amazing experience and he asked great questions. At the end of that, he asked, ‘When are you guys done? I want to see it.’ Trent said, ‘We’ll be done in a year. We’ll show it to you for your birthday next year!'”

Richard was touched by what he saw, and with Walker’s help, filmmakers set up a time to rerecord “Feed the Birds.” On a Friday afternoon in August 2022, the directors put on their sport coats and joined the producers in Walt’s office. “It looks exactly like how Walt left it, including with the piano the Sherman Brothers played for him back in the day,” Abraham explains. “And there was Richard Sherman! He sat down and played ‘A Spoonful of Sugar,’ and he was just going to town on this piano. Then, when he went into ‘Feed the Birds,’ it was just… I can’t even talk about it without getting chills. I will never, ever forget that day.”

Merino echoes that sentiment, saying, “It was a magical day. It truly was a ‘pinch-me’ moment, because he just came in and sat down at the piano and was so natural. He started playing ‘Supercalifragilisticexpialidocious.’ It was a very special day.” Credit goes to the Walt Disney Archives staff for “tuning the piano,” Simonsen adds.

For Richard, getting involved with Once Upon a Studio represented a chance to celebrate 100 years of Walt Disney Animation Studios and Walt’s dream in a touching, magical way. “I think Walt had a very deep-rooted feeling about this song; he could understand what we were saying. It doesn’t take much to give love, to give kindness, to give thought to people,” Richard explains. “Giving a little something of yourself… it doesn’t take much to do that.”

Article et interviews des nouvelles recrues en animation 2D :

The Walt Disney Company a écrit:: Meet Two Disney Animation Apprentices Behind ‘Once Upon a Studio’

Walt Disney Animation Studios’ Once Upon a Studio is a tribute to the generations of fans who have loved the studio’s 100 years of characters and stories. Written and directed by Dan Abraham and Trent Correy, the short film finds a century’s worth of characters assembling for a group portrait. All of the animation in the short is new, and approximately 80 percent of the characters in the film are hand-drawn, with award-winning animator and director Eric Goldberg serving as the head of hand-drawn animation.

The hand-drawn animation team included revered veterans such as Randy Haycock, Mark Henn, Bert Klein, and Alex Kuperschmidt, among others. Five of Disney Animation’s most accomplished alumni—Ruben Aquino, Tony Bancroft, James Baxter, Will Finn, and Nik Ranieri—also did guest assignments for classic characters. In addition, a group of hand-drawn animation apprentices—chosen from over 2,000 applicants, representing the first new hand-drawn animator hires at Disney in over a decade—started as trainees in March 2022. After a four-month training program, the novices—Robert Cox, Courtney DiPaola, Ella Louise Khan, Tyler Pacana, and Austin Traylor—made their first major mark on the Studio.

“At Walt Disney Animation Studios, we truly consider it a privilege to be at the studio that started it all,” says Clark Spencer, President of Disney Animation. “And while daunting to think about how to celebrate 100 years of storytelling, Dan and Trent’s short, as well as our incredible upcoming feature film, Wish, celebrate this moment in time in such complimentary ways—by celebrating our legacy, our present, and our future.”

Who better to represent the future than the apprentices? And who better to teach them than the very people who first inspired them to become animators? Below, Goldberg, Pacana, and Traylor share their experiences of being part of the Once Upon a Studio magic.

Tyler and Austin, what inspired you to apply for a hand-drawn apprenticeship?

Austin Traylor: The first animated film I saw was The Lion King. At a certain point, after rewinding the VHS tape, I noticed there were behind-the-scenes features—and that’s when I learned that these characters were drawings! My mind was blown. I thought, ‘I’d love to do something like that.’ Years later, I studied animation, and I also worked in the theme parks for seven years. Through that process, I learned about the history of Disney and its characters, and just how important they are to people. That’s what inspired me to apply. This apprenticeship was like my final goal—really diving into the Disney legacy and story.

Tyler Pacana: The fact that this training program was being offered was mind-blowing. It seemed like a once in a lifetime opportunity, and I’d be kicking myself if I didn’t at least try. I was lucky enough to get in and to join all the other apprentices. We worked on one of the coolest projects I’ve ever encountered as a result.

How was it decided that the apprentices would contribute to Once Upon a Studio?

Eric Goldberg: When the apprentices came in, we decided to do their exercises on classic Disney characters—knowing full well in the back of our minds that Once Upon a Studio was looming! It was great training for them to be on this project. For example, Courtney animated a test with Merlin, and it was so good that I said, ‘Let’s have her do Merlin in the film!’ She did a fantastic job! Merlin feels like he came right out of The Sword and the Stone.

Traylor: During our training days, we were allowed to pick certain characters. Through our exercises, Eric picked up on our strengths and he noticed the characters we loved. During the production process, he would issue themes with most of the characters we were already comfortable working with, that really played off of our strengths. Tyler is amazing with moving camera shots and very technical, skillful animation; I just love his work. Ella was really great with the animal characters, and Courtney was amazing with the [Disney Legend] Milt Kahl-style characters like Merlin. It really helped us all shine and solidify us.

Pacana: Austin is also not mentioning himself as [Disney Legend] Fred Moore reincarnated! He very quickly became one of the go-to guys for Mickey and Minnie in the short, including in the first scene where they pop out of the picture frame. That was Austin.

Austin Traylor

Tyler, when you heard the apprentices were being given the opportunity to animate characters for this ambitious and expansive short film, what was your initial reaction?

Pacana: I tried not to think about it too hard, because if you do, it gets really daunting. Having the supervision and the support throughout the whole project made it a lot easier. Trent and Dan are amazing directors, and they’re very personable; you never feel nervous showing them work or getting feedback from them. And of course, it helped having Eric as our supervisor and getting advice from our other mentors, like Mark, Randy, and Bert, who are very experienced with this stuff. With them around, it was never as scary as you’d think.

Goldberg: Everybody really did a fantastic job. And one of the things that’s tough when you’re working on a short like this, is that normally when you’re working on a feature, you have ramp-up time; you’ve never drawn these characters before and you’ve never animated these characters before, so there’s a little bit of time for you to get comfortable. With a short film like this, where there are so many characters and the deadline is pretty tight, it would be like, “OK, you’re doing Gurgi. Bye!” And everybody had to hit the ground running.

Tyler Pacana

What are some of the Once Upon a Studio characters the apprentices animated?

Pacana: I feel really lucky, because one of my favorite Disney films is Robin Hood, and I got to do the core scene where Robin Hood comes out of the picture and grabs Scrooge McDuck’s money. I also got to do this really fun tracking shot with Elliott from Pete’s Dragon and Cody from The Rescuers Down Under. That was a great way to explore films I wasn’t as familiar with and get into those characters. And then some characters were just simply really fun to draw, like Sebastian from The Little Mermaid and Cri-Kee from Mulan.

Goldberg: To the apprentices’ credit, we didn’t have to hold their hands. They did all the legwork by going back to the original films, pulling models, and basically making sure that their drawings and their animation felt just like the originals. They really did a bang up job.

What was the best advice the animators imparted during your apprenticeship?

Traylor: “Show early. Show often.” That’s something they instilled in us from the very beginning. If they can give us their input as soon as possible, it sets us up for success. That was the main goal. And everyone was so gracious with their time. You could go up to any one of them at any time and they would be willing to help you out with anything. I’m a perfectionist, but Eric was always very patient and willing to share his knowledge with me.

Goldberg: It’s great that so many young people want to continue doing this. We were lucky enough to be mentored by some of our heroes, and hopefully, we can pay it forward to younger people coming in the Studio who want to learn this stuff and really perfect it. It’s a great feeling when you see them succeed, when you see them doing such a great job on these characters that they have never drawn or animated before. It’s really heartwarming.

What surprised you most during your apprenticeship?

Pacana: I was surprised at just how involved the pipeline is! We worked really closely with Brandon Bloch, who carried this film. He was the head of scene planning; every single shot went through his hands to make sure that it was coherent and how the directors envisioned it. He was great to turn to when we were confused about how to make things work better for the artists downstream. That was really invaluable for navigating a technically complex short as were acclimating to the Disney Animation pipeline altogether. Having that hands-on experience made it more comfortable whenever we’d dive into things as green apprentices.

Tyler and Austin, you’re both full-time animators at Disney Animation now. How did your experiences as apprentices working on Once Upon a Studio set you up for success?

Traylor: It’s crazy. I feel like I’m still learning, you know? And that’s what’s so wonderful about this place. There’s so much camaraderie. Even with us being full-time animators, our mentors’ doors are still open. We can still go and seek mentorship. For example, we still do weekly masterclasses with Randy on animation and acting. I’m still on a journey to be the best that I can be, and I’m just so happy that I’m with people who are going to support me.

Pacana: Once Upon a Studio was really great, because when you’re there from the beginning to the end, you do impromptu networking. We met people from Effects, from the CG team, from Lighting; we were even around when they were doing Stereo stuff. It ran the gamut of the Studio, and it allowed us to meet so many different people. It was great that Once Upon a Studio had that reach. We know a lot more people around us, we know what they do, and we appreciate all that goes into the things we don’t necessarily touch directly.

What do you want people to know about the hand-drawn apprenticeship program?

Traylor: It brings to light that hand-drawn animation is still being done at the Studio, because many people outside of these walls are unaware of that. It’s really inspiring to go online and see people chatting about Once Upon a Studio, saying, “Maybe someday I could pursue traditional hand-drawn animation at Disney.” That’s really exciting, and it was nice to see the rest of the world get excited that Disney continues to embrace classic animation.

Pacana: My hope is that Once Upon a Studio will garner more excitement for hand-drawn and mixed medium pieces. This is a really cool example of what can be done, and it’s something that’s maybe more ambitious than people might think we could do. I hope that Once Upon a Studio leads to more projects like it and it becomes a self-perpetuating thing.

Dash, MadEye et L'Oncle Walt aiment ce message

Hommage à Burny Mattinson, qui a été employé de la Walt Disney Company pendant 70 ans :

adreamisawishyourheartmakes - Il Était une Fois un Studio [Walt Disney - 2023] - Page 3 Imag1321

The Walt Disney Company a écrit:: Honoring Disney Legend Burny Mattinson’s Legacy in Disney Animation’s ‘Once Upon a Studio’

The all-new original short film Once Upon a Studio begins with the artists, storytellers, and technologists at Walt Disney Animation Studios in Burbank, California, heading home for the day—and Disney Legend Burny Mattinson, The Walt Disney Company’s longest-serving employee of 70 years, is the last person to walk out the door. When the coast is finally clear, Mickey Mouse and Minnie Mouse step out of a picture on the wall and put out a call for hundreds of characters to assemble for an official 100th anniversary Studio portrait—setting into motion a magical tribute to 100 years of characters, stories, and Disney magic.

Clark Spencer, President of Disney Animation, says Mattinson was the perfect person to make such a cameo in Once Upon a Studio given his depth of experience and his continued influence. “For 70 years, Burny was such an important part of this studio. His career spans everything from working in the mailroom to being an animator and story artist to directing feature films to being the best mentor anyone could ever ask for. His smile lit up the Studio, and the joy he brought to every room was infectious. Simply stated, his influence on the people and the films of Disney Animation was extraordinary,” Spencer says. “For those of us who had the honor to work with him, he inspired us to truly be the best that we could be.”

Mattinson filmed his opening sequence in August 2022, six months before he passed away at age 87. Fortunately, he had the opportunity to attend a screening of Once Upon a Studio before his passing, where he shared his gratitude for being included in such a special short. “Oh, he loved it,” says Dan Abraham, who wrote and directed Once Upon a Studio with Trent Correy. “When I storyboarded this, in the very first frame, I drew, ‘Burny Mattinson walks out of the door with a young intern.’ And that was all about handing the baton on to the next generation. He was in the storyboards for months and months before Burny even knew he was in them. When Once Upon a Studio was greenlit, we went to Burny and asked him, ‘How would you feel about being part of this?’ And he was really, really into it! I don’t think he had done any on-camera work up until that point. But Burny is an animator and a story artist, so he’s an actor with a pencil; he has been his entire life. When he delivers his line—”If these walls could talk…”—there is a sparkle in his eye. It is just undeniable the things that Burny has seen in his 70 years at the company: Walt Disney, the death of Walt Disney, the emergence of computer animation, all the different people who were in charge throughout the decades. And he just rolled with it all.”

Mattinson began his Disney career in 1953 and was still making contributions to new animation projects up until his passing; his last released feature film was Strange World (2022). He was a mentor, a friend, and an inspiration to several generations of Disney animators. With Abraham and Correy committed to incorporate him in the opening scene, producers Bradford Simonsen and Yvett Merino contacted Mattinson to gauge his interest.

It wasn’t a hard sell.

“At some point we were like, ‘We better ask Burny,'” Merino recalls with a laugh. “We had a great call with him where we pitched the short and said we would love for him to be a part of it. Of course, he said yes and that he was so honored and humbled that we’d thought of him. But it’s Burny Mattinson! Who else would we want to represent the Studio other than him?”

Indeed. Mattinson started his career at Disney as an assistant to Disney Legends Marc Davis and Eric Larson, working on classic films like Lady and the Tramp (1955), Sleeping Beauty (1959), One Hundred and One Dalmatians (1961), and The Jungle Book (1967). He became a full-fledged animator with Robin Hood (1973) and went on to further acclaim as a story artist, director, and producer. He directed the holiday film Mickey’s Christmas Carol (1983) and served as a producer on The Great Mouse Detective (1986)—the latter of which, according to animator/director Eric Goldberg, saved the Studio from being shut down.

“When they were pitching The Great Mouse Detective—which at time it was called Basil of Baker Street—[then-head of Disney Animation] Roy Disney called up Burny and said, ‘Make this pitch good, OK? They have really a lot riding on it.’ When they pitched the boards, the executives weren’t really paying attention. Burny said, ‘Well, I have one more thing to show you…’ He had made a story reel of one of the sequences he’d boarded; it’s the barroom sequence in The Great Mouse Detective where they’re trying to get ahold of Ratigan. This was the executives’ first time with any involvement in Animation, and they realized, ‘This is our entry point. This is how we can work with Animation.’ With a story reel, you can change things, you can alter things, you can edit things. So, Burny showed that story reel and they greenlit the project. What Burny didn’t know—and what Roy told him afterwards—was that they were prepared to actually shut down Animation and asset strip the library. Years later, I said, ‘ Burny! You saved Disney Animation!’ And he went, ‘Yeah, I guess I did.’ He was a humble as pie guy! We absolutely would not be here without Burny.”

As the Studio’s story guru, Mattinson contributed to many films and shorts over the next 35 years, including a role as head of story on Winnie the Pooh (2011). Disney Legends Woolie Reitherman and Frank Thomas “had convinced him to go into story after they saw his thumbnails,” Goldberg recalls. “From that point forward, he was a premiere story artist.” At the time of his passing, Mattinson was working with the Academy Award-winning director of Big Hero 6, Don Hall, and others on a new project. Mattinson was a beloved and legendary figure who loved working with young filmmakers and sharing all that he had learned during his unprecedented tenure at Disney. “Burny was a good friend,” Goldberg adds. “The thing that Burny represents for me is the entire gamut of the studio, because he did practically everything—and he did all of it well!”

The credits for Once Upon a Studio end with a dedication that reads, “For our Pal Burny and his 70 years of legendary storytelling at Disney Animation”—a fitting coda for someone who had poured so much of himself into making the Studio what it is today. “Burny’s first film as an artist was Lady and the Tramp and he was still making an impact at Disney Animation all the way up to Once Upon a Studio,” Spencer says. “And what I think the short captures so beautifully is all the incredible work thousands of people brought over the decades to create the stories and characters that define Disney Animation—including Burny.”

Once Upon a Studio will debut as part of ABC’s The Wonderful World of Disney: Disney’s 100th Anniversary Celebration! programming block on Sunday, October 15, at 8 p.m. ET/PT.

L'Oncle Walt aime ce message

Chronique Disney Âge : 30 Messages : 184 Inscription : 31/10/2022

J'ai ri, versé ma larme, souri au génie des situations, regretté d'avoir vu le teaser qui en montrait déjà trop.

Trop court, trop drôle, trop émouvant.

Je l'ai déjà vu deux fois, une fois en VO, une fois en VF (et repassé la scène finale avec tous les persos déjà pas mal de fois ^^)

Quelques impressions en vrac (attention y aura du spoil) :

- Ravi qu'ils aient gardé les voix originales pour Ursula (Pat Carroll et Micheline Dax) car elles sont indissociables de ce personnage. Sa courte interaction avec Splat qui a un crush sur elle était hilarante.

- Ravi que les animations des persos soient bonnes dans l'ensemble (à part quelques ratés comme Hadès).

- J'ai ri à la blague sur Flash qui demande à Donald de retenir l'ascenseur.

- Ravi aussi de voir des tas de personnages interagir ensemble. La scène de fin où littéralement les 500 et plus personnages chantent la chanson, le nombre de temps qu'ils ont dû passer pour animer ces quelques secondes !!! Impressionnant.
Le short est certes court mais le travail réalisé (et avec une deadline in-décalable, en plus !) est superbe !

- J'ai aimé le passage où le Prince Henri perd sa chaussure qui se fait ensuite choper par Max. ^^

- J'ai trouvé cocasse que la Fée Bleue chante également "Quald on Prie la Bonne Étoile et la Fée Bleue".

- Très touchant la musique "Deux pences" de Mary Poppins au moment où Mickey remercie Walt Disney.

- J'ai remarqué qu'ils ont réutilisé quelques scènes d'animation déjà existantes lors de la réunion de tous les personnages pour prendre la photo, notamment Mégara qui marche (oui, c'est sur elle que mon regard s'est porté en premier, ça vous étonne ?

)

- Petite question, qui est l'elfe vêtu de jaune qui passe devant Timon et Pumbaa ? Je ne l'ai pas reconnu...

- J'ai aimé voir Médusa chanter à la fin avec les autres. C'est celle qui semble le plus s'enjailler à la fin en levant les bras, je suppose qu'elle était contente d'avoir enfin une nouvelle apparition après tant d'années passées dans l'ombre ! ^^

Bref ce fut une incroyable expérience de découvrir ce short, que je visionner actuellement en espagnol en écrivant ces lignes.
Je le reverrai ensuite dans toutes les autres langues pour profiter de l'expérience de toutes les manières possibles.
Puis j'utiliserai très certainement certaines de ces animations pour réaliser ma propre vidéo d'hommage à Disney !
Je suis euphorique par cette journée d'anniversaire haha, je suis fier d'avoir fait partie des personnes qui ont rêvé, ri, pleuré avec Disney toutes ces années, et participé à ce voyage qui dure depuis 100 ans maintenant. ^^

isanka, L'Oncle Walt et Simorgh aiment ce message

Magnifique court-métrage ! Je suis vraiment reconnaissant à Trent Correy et Dan Abraham pour avoir eu cette belle idée, simple mais tellement efficace. Le parfait hommage pour les 100 ans !

Surtout que, si le concept est simple, c'était un sacré défi technique ! Mêler autant de personnages 2D et 3D, dans un environnement réel et avec des mouvements de caméra parfois complexes n'était pas chose aisé.

Et quel plaisir de retrouver tous ces personnages et de les voir interagir ! Je trouve la répartition entre anciens et nouveaux vraiment bonne et équilibrée, avec des trouvailles très pertinentes pour leurs apparitions ! Beaucoup de personnages Disney et de clins d'œil à leurs films, mais aussi de références aux artistes, et il faudra plusieurs visionnages pour toutes les repérer.

La VO est particulièrement émouvante, avec la présence de toutes ces voix originales.
La version française est également très qualitative ! Beaucoup de voix sont de retours, ou sont du moins les remplacements habituels pour les personnages (comme par exemple Aurélie Konaté dans le rôle de Tiana). Mais il y a également quelques réutilisations d'enregistrements, pour Ursula et Jiminy Cricket.

On pourra regretter une animation 2D inégale, certains passages sont particulièrement beaux et d'autres plus approximatifs avec des personnages off-model. Mais rien qui ne parvient à entacher le plaisir éprouvé face à Il Était une Fois un Studio.

Clairement un court-métrage à ne pas manquer !

MadEye, Princess Meg, Rwo, L'Oncle Walt et Simorgh aiment ce message

Âge : 42 Messages : 1568 Inscription : 19/05/2022

Un court-métrage assez exceptionnel. Peut-être la plus belle chose pour célébrer les 100 ans.

Ca paraît forcément (trop) court mais c'est amplifié par un enchaînement de séquences assez remarquable. Voir autant de personnages interagir entre eux de façon si naturelle, c'est magique. Il y a bien 2-3 personnages qui m'ont paru moins bien réalisé (Blanche-Neige) mais c'est au sein d'un ensemble qui fait sens et qui fonctionne totalement. La majorité des personnages est plutôt réussi, voir très réussi comme Merlin ou Peter Pan dans un merveilleux petit plan séquence. La cohabitation entre personnages 2D et 3D est également une réussite.

Chapeau.

A voir absolument.

Princess Meg, isanka et Parkatm aiment ce message

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