#12 Spring 1985

Introduction by Gary French-Powell: Some months ago I told John Halas I was compiling material for an article on Harold Whitaker, I asked him if he could help fill in some of the gaps I had left. To my surprise he produced an article of his own, which gives Harold the long overdue credit and … Read more

A good number of other memorable productions followed with Harold Whitaker’s contribution. Here are just a few. The extremely expressive “Keystone Cops” chase in “History of the Cinema”. The brilliant fluidity of the Matador and the comic short¬sighted bull in “The Insolent Matador” (in the Habatales series). The charming characterisation of Santa Clause in “Christmas … Read more

3. When it comes to timing I know very few who can match Whitaker’s instinct of how to use just the right amount of frames to get the best out of a gesture. His experience in how to minimise whatever mood is created with the right time structure is unique. Fortunately in the book “Timing … Read more

Since he started animating, naturally the styles and range of techniques have broadened considerably. No matter. He is able to adapt his skills on a wide range of styles as he proved when we animated the “Foo Foo” and “Habatales” series directly onto eel with chinagraphs – without touching paper or pencil. This was a … Read more

Richard and Elizabeth Horn have been in the animation business since the fifties and have seen a lot of changes in that time. Ken Clark chats to them about animation then and now. I first met Richard at the preliminary meetings called to discuss the formation of the Grasshopper Group in the early Fifties. For … Read more

CLARK: It’s an ill wind E.HORN: Actually, it blew some ‘good’ my way. I have been very happy at Biographic with Vera, Nancy Hanna and Keith Learner. CLARK: You were thinking of taking up residence in Canada on a permanent basis at one time. D.HORN: I’ve been to Canada three times now; the first time … Read more

By now the layouts were finished, Bill’s visits had become less frequent due to pressure of work in L.A. and so the onus was on Steve Melendez and me to get the thing through. Fortunately, we worked well together, and Steve’s energy rand versatility in handling the editing and work flow enabled me to cope … Read more

CLARK: Or an amusing character like Keehar in “Watership Down” would have done. D.HORN: Yes, you need a strong comic character. In “Deadeye” they all seemed to be the same ‘weight’. Schlammy comes over as the nearest thing to a ‘character’, all the rest are throwaways and all grotesquely drawn. Even so, you can make … Read more