week. My rst animated features were Dumbo
and 101 Dalmatians, both two of my all-timefavorites. When I was six, a toy came out onthe market called “Flip Shows”: perforatedsheets with the frames of a Huck Hound orPopeye cartoon printed on them, which you
could assemble into your own ipbooks. That
was it. From that point forward, no memo padin the house was safe. While other kids wereout playing baseball or going on dates, I was
As an author of this “text-book” on anima-tion, what are the qualities that you believean animator should have?
1. Patience!!!2. A well-developed sense of observationand ability to caricature.3. A desire and ability to entertain (and todevelop a sense of what is entertaining toan audience).4. The realization that, no matter how manyyears you have been a professional ani-mator, you never stop learning.5. Patience!!!
Why have you chosen to call this book acrash course?
“Crash Course” usually means a concen-trated period of instruction, where the amount of information is huge, and the instructiontime is very short. The book is everything Ihave managed to learn or invent for the last 30 years, all crammed between two covers.It is the book I wish I had when I was start-ing in the medium, full of common-sensetechniques and animation principles (and an
accompanying CD of animation movie les
that demonstrate those principles, so every-one can see how they actually work). It isalso called “Crash Course” because the front cover illustration shows a cartoon cat about to crash into a pile of animation equipment.
In what ways is your book different fromRichard Williams’s book? Is there some-thing different that readers can expect interms of techniques and style?
I have nothing but respect and admirationfor Richard Williams and his excellent book.Dick was my mentor, as well as the man whointroduced me to animation greats Ken Har-ris, Art Babbitt, and Tissa David, all of whom were exceedingly generous with their knowl-edge to a young punk like me. I think the maindifference between our books is that
Charac- ter Animation Crash Course!
, devotes the rst
half to conceiving characters and makingthem unique personalities. While there maybe some overlap in the technique section, Ihave also developed my own personal styleover the years, and my approach to techniqueis often different from Dick’s (frequently usefulalternate ways), and always intended to be inservice of a character’s performance. It also