some great stuff in the williams book...some excerpts...
Ken Harris thought in feet, probably because he was so footage
conscious - having to produce thirty feet of animation a week. He'd
tap his upside-down pencil exactly every two thirds of a second as
we'd act things out.
Chuck Jones said the Roadrunner films had a musical tempo built into them. He'd time the
whole film out, hitting things on a set beat so they had a musical, rhythmic integrity already
built in . Then the musician could hit the beat, ignore it or run the music against it.
Chuck told me that they used to have exposure sheets with a coloured line printed right across
the page for every sixteen frames and another one marking every twelve frames . He called them
'16 sheets' or '12 sheets' I guess '8 sheets' would be the normal sheets .
That kind of tightly synchronized musical timing is rare today. They call it 'Mickey Mousing'
where you accent everything- it's a derogatory term nowadays and considered corny. But it can
be extremely effective.
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