Michael Eisner – Analog Artist Digital World

I met John Mahoney way back in 1994. We were both interns at Disney Feature Animation, going through a six month training session. John always had a rebellious streak and the work he produced was inspired and only a loose interpretation of the projects. For instance, one assignment involved doing the inbetween drawings for an old Goofy animated scene. All the keys were supplied as xeroxes and we just had to add drawings to smooth out the action. It was mind numbing simple work. John created drawings under the animation camera making it seem like the drawings were spontaneously creating themselves.

We both ended up working at Disney but John made his way into the creative development department because of his uncompromising ways. I didn’t realize that he had been forced to work in the effects department, a position that he despised. He essentially began his own private sit down strike, allowing scenes to pile up on his desk. Rather than getting fired, he was given an office in creative development. A perk of the job was that he could order any art supplies he needed. If he wanted to do some watercolors, he could order a complete deluxe set. If he decided to use gouache the next day, the he would order a complete deluxe gouache set.

He did development work for the film “Kingdom in the Sun” which would later be called “The Emperors New Grove.” The film was being pitched to Michael Eisner, Aka Darth Vader. Don Hahn, the films producer gave an amazing in depth story pitch. Michael wasn’t impressed. He said the film felt like a National Geographic documentary and he said the film couldn’t be made. John had been throwing together a short two minute animation that sort of explained the Mayan Creation myths using spontaneous drawings and loose brushwork. Michael saw that short and the film was saved. It is a shame the final film became so watered down.

John is now deeply committed to using Z-Brush to create fanciful and dark imagery. His quirky sensibility affects every project he tackles. Although he is an amazing draftsman, he is drawn to sculpting which he feels is a more pure and convincing way to portray form. He collects immense loose leaf folders full of artist work that he is inspired by. When he works, he surrounds himself with these inspiring images. When discussing how to pick a color palette, he said he likes to look at how ancient civilizations have used color. These cultures developed their color sensitivities over many centuries so the colors have become established. I am amazed and inspired by his drawings done on location.

Each year, I have to see the animated shorts at the Florida Film Festival. This year Bill Plimpton had a display of artwork from around the world used in his Global Jam. He invited artists to each tackle a scene in their own style from his Academy Award winning film Guard Dog. The invitation went out via the Internet. Bill waited an hour, no response. He waited another hour with no response. He went home depressed. The next day he was told that too many artists responded causing the server to go down. The resulting film was hilarious being even quirkier with all the different looks. Bill said the film cost him $20 to produce with animators around the world volunteering their time.

Anyway, the Animated Shorts screening was sold out. The line stretched back as far as I could see. There was a chance I might not get in, but house manager, Brian Feldman, stepped in and made sure I got a ticket. I found a seat in the very first row. Brian joked and said I should sit on the stage and sketch the audience. I was tempted but really wanted to see some animation. I leaned back and let the screen filled up every inch of my glasses. Tales of Mere Existence by Lev Yilmaz is always in the lineup and is always funny. This year he talked aimlessly about how he had imagined relationships with women in the Ukraine via Facebook. There were a few artsy shorts with no apparent story. I always get annoyed at these aimless films.

My favorite film of the night was “The Fantastic Flying Books of Mr. Morris Lessmore“. Though it could use a shorter title, the film is magical. It basically stresses how books offer refuge bringing color and life into people’s lives. The main character was modeled after Buster Keaton. One of the co-directors daughter died, and his wife became paralyzed during production of the film. Moonbot the new studio that made the film is located in Louisiana, so when Hurricane Katrina hit, it ended up becoming a major part of the story. There is something very sad about seeing peoples books in among the rubble of destruction. Several of the story and visual development artists were originally from Orlando but unfortunately I didn’t know them. They asked if anyone in the audience worked at Disney Feature Animation. I started to raise my hand but stopped halfway up thinking “well, not anymore.” Seeing no hands he said, “Damn Michael Eisner.”