Sunday, October 28, 2007


Mark Mayerson has completed a long series of posts compiling animator identification on Disney's PINOCCHIO, along with framegrabs representing each scene. In this final entry he notes that at the end of the film when Pinoke transforms into a "real" boy it is somewhat jarring, (something similar happens at the end of BEAUTY & THE BEAST), because we are deprived of the physical model of the character we have grown to love. Both PINOCCHIO and BEAUTY are careful to wrap up the screen time because of this ticklish problem.

I never liked the "real boy" model for Pinoke myself, but I remember hearing that the animators had a hard time drawing him as human in a manner that would signify a dramatic change. About fifteen years ago I found and bought this rough drawing at a convention that seems to bear that out. This Pinoke is very appealing and retains the design of the "puppet" version, but perhaps too much. His hands in particular still have the doughy cartoon quality of Mickey or the Dwarfs and his face and hair seem little different. I could imagine it was done over several times before it was satisfactory enough to represent the change to a general audience. It must have been a tall order.


Jenny said...

Wow...what a beautiful drawing. Thanks for posting it. I wish that Pinoke had looked like this, but, oh, well.

Bruce said...

What I find amazing, is that the actuall animation paper hasn't aged at all. Otherwise, it's a very nice drawing from your personal collection, Will.


From an inspiring cartoonist/ artist


Michael J. Ruocco said...

You DO get an awkward feeling after seeing THE main character go through a drastic change like that. But for lil' Pinoke, you don't feel as bad. The main goal of the film is for him become a real boy, & he gets it.

This drawing is a beaut, Will! I agree with Jenny, I wish he looked that in the final film.

That's not a Kahl drawing, is it?

Will Finn said...

jenny-yet another case of what might have been...

bruce yes, the paper is in suprisingly good shape. whoever i bought it from took really good care of it. i have kept it sealed and out of sunlight as well.

michael--it could be a milt kahl drawing but it is hard to know. it's definitely a milt kahl scene and he tended to work "off-chart" alot, articulating action beyond the keys etc. it doesn't seem to be a key drawing though.

gemini82 said...

Was this a part of his thesis paper?

Pete Emslie said...

This interpretation looks more like what one would expect Pinocchio to look like after his transformation. The model they went with seems too naturalistic as well, when compared to the relative style of Geppetto. What a shame they didn't go with this design.

By the way, aside from what has been said already about the Beast/Prince, I felt the same way about the design of the human Cogsworth too. I remember seeing some rough sketches of a shorter, more comical fellow that seemed a better fit than the final version. Did you have a preference for one or the other of the two designs, Will?

Will Finn said...

gemini, i think his thesis wrapped up a while back but check the site to be sure.

pete, i confess i animated the human cogsworth and had to change the model because the rough design was too short to engage in the business that had been boarded for him and the human lumiere. i had a hard time picturing him as human after 15 months of drawing him as a clock, (which was i found much more enjoyable).

Bruce said...

To whom it may concern,

To Will Finn,

In case of interest, both of my sisters (when I was a tyke and when they were preteens) had forced me to watch Beauty and the Beast, Aladdin, etc. out of sheer punishment, due to my “questioning” taste of viewing classic cartoons ("The Bugs Bunny and Tweety show" & "The Ren and Stimpy Show” are such examples.)

Your characters (Iago, Cogsworth, etc) I loved as a kid, and they were the only thing that had saved me from hours of agonizing pain (I will stress that I didn’t like either films.)

I cannot stress how you were one of the people that changed my childhood, and brought me on the path towards the goal of joining the animation industry.

There were two films that had prompted me to love animation in the first place: Bob Clampett’s classic “Bug’s Bunny Get’s the Boid” at the age of two, and Walt Disney’s “Snow White and the Seven Dwarfs” at the age of 10.

(Maybe I should do a post on my blog for WHY I wanted to be an artist. What do you think, Will?)

I’m currently working on my portfolio, and sending it in, to apply for the animation program at Capilano College. I hope I’ll get in, so that I can work with the talent in Los Angeles, and maybe see one of my inspirations in the flesh.

Thank you for creating some of the liveliest characters, and helping me to set my goal in my life.

From an inspiring cartoonist, artist


Will Finn said...

hey Bruce thanks for your kind and generous words. Your interest in animation is something i think everybody on this page supports and identifies with. it is clearly something sincerely meaningful to you and that is great. also for me it is a very gratifying feeling to know that kids who grew up seeing some of the films i got to work on enjoyed what i and the other animators i worked with got to do... sounds like Chuck Jones, Friz Freleng and John K had big impacts on you too,,..

i'm not much of a teacher and i'm not currently involved in any training programs, but good luck with your portfolio submissions and best of fortune with your studies...! remember to be patient with yourself in your learning and to pace yourself realistically in your immediate goals and you should do fine.