The Tarzan Chronicles

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MEDFORD, OREGON 97501
PAGE 1: Rough animation
of Tarzan by Supervising
Animator Glen Keane.
PAGES 2-3 AND THESE PAGES:

Visual development art
by Paul Felix.
PAGES 4-5: Tonal layout of

the tree house interior
by Denise Fuller.
403
ri My first thoughts about getting involved in animation came when
= my children and | used to watch the movies together. At first, my
= interest lay in the character voices. | never gave much thought to
CJ writing the music. It seemed out of my reach, such Neclnd
importance of music in all of the Disney films.
Then, out of the blue, a call came inviting me to write the songs —
for Tarzan. For a while I'd been wanting to write for films and this was
not only a golden opportunity, but it was with Disney whose Héritave
was unequaled. : :
The only reservation | had was my own ability to deliver what they
wanted. When you make an album of your own, other people's opinions,
with the odd exception, are outside your interest. You please yourself a “a
first. Here, though, was 5 committee of collaborators with only the
movie to serve. The story, the characters, the inevitable humorous
song, all these things were new to me. I have to admit it made me a bit
nervous. But the Disney team seemedto have the confidence in me
that I lacked, and for that I will always be grateful. The chance to push |
my particular envelope and discover things that |had previously felt
insecure about was exhilarating. | lee
Our very first meeting was at the Metropole Hotel in Geneva,
Switzerland. Although I really wanted to do it, I didn’t know if I was

capable of writing lyrics that push a story along the way they have to in
animated movies. It took a while for me to realize that they didn’t want
me to be Alan Menken or Elton John, they wanted me to be me. Which —
of course gave me the confidence to have a go. Ileft the first meeting
excited and a bit less apprehensive. |
The next meeting, and my first at Walt Disney Feature Animation in
Burbank, was very exciting and at first intimidating. I’m sure people will
find it strange that someone who has had a large degree
of success over
a long period of time would be nervous, but the Disney legacy is awe-
some. Everyone involved made me feel comfortable and encouraged
me to vocalize diy thoughts and ideas. Although the first time everyone “ABOUE AND OVERLERE: Tarzan in
ps the ; ; his jungle environment.
-looked over and said “...well Phil, what do you think?" Iwas hoping the _ production stills.
ground would open. This is their world and I'm just visiting. Of course
these were my thoughts, not theirs. Soon my insecurities started to van-
ish and I truly started toi this collaboration with such wonderfully
| talented people. rps Hh 3 7 an
4 ia Most ofthesongs written for riae came > from gut reactions ] bea
alterreading the treatment. They all developed out of improvisation
as “sessions once :knew where the songs 'were tobe placed and how they.
re “needed to feel emotionally. i Pei;& . 4 Be obeink see . 2 ae
\
ohh retrospect thelastfour yearsshave whizzed by. ] have‘surprised

ett fF myself, dal Ihope, surprised otherstoo. I'vemade some wonderful
ray e
biped bo he new friends and itthas been an ‘honor and a pleasure Belo to ole pay,
FH WT. what we allfeel iisa Disney classic. Something that will last éllifetime, 3
i Peers 3
ES te Tit and be watched andenjoyed by other fathers andtheir children, :
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ranging from silent versions (the 1918 film ri yethe Apes

starring Elmo Lincoln) to full-scale epics (e.g. Grete The
Legend of Tarzan, Lord of the Apes in 1984). PopPulte S most” +
renowned Tarzan was former swimming champ Johnny.
Weissmuller. He reigned as king of the jungle in a dozen Tarzan
features starting with MGM's Jarzan of the Apes1in,1932 ha cul-
minating with RKO’s Jarzan and the Mermaids in”
in 1949,How
would this version be different:fromthe rest? Disney nedea to
find a new and exciting approach for their Tarzan. : +.
To Disney's advantage, the medium of animation has no limiFl
tations other than the artist’s imagination and the ability to draw
what he or she has imagined. Through this incredible art form,
the Disney animators were able to create a. Jarzan unlike any
other—a character who moves with the. Speed and agility of the
animals around him, as Burroughs had deseribed in
i his books.
Their medium helped the artists to create a fresh. and inspired
approach for Tarzan’s locomotion through the jungle. It equally
afforded them the.ability to cradle memorable animal charac-
ters that interact and communicate with Tarzan in a way that
has not been explored up until now. ? y
The Disney version also chose a different thematic path
from previous adaptations of the source material. Arecurring
theme in this latest approach to Tarzan deals with the ques-
iePeg
tion, “what constitutes a family?” Is your family the «one you're
ies
Wes.
Bae born into or is it those who raise and nurture you?’
Tarzan finds
himself torn between “two worlds” and must decide for himself
where it is that he belongs. By s
The filmmakers set out to make ber” abhi that con-
ing
ir an,emotional
ature anddimension natusualy as reiated with the char-'
i Bin. 3 Sibiag
his’- vorld. He cares
one
acter. Hei isportrayed asbeing at.o
‘Sigg reals!
about hisenvironment and the iment that faRAbiA+

: Fs as tn
bonds
: ughts and feelings
ise the process and their diary entries
fog ovide some wonderful and intimate insights
E ie a Justas the aban. themes of Phil Collins’s songs serve to
pt B i lluminate the many ‘shades and emotions of Tarzan, so too
‘ “ es this book draw inspiration from his titles for its content
;
d structure. Each chapter
is inspired by one of the five songs
in the film and serves as alaunching point for exploring the key
Pponenis of the production. .
-Collins’s song “You' ILBe imMy- Heart” is a warm lullaby reas-
‘
~ suring baby Tarzan that he is loved. In the chapter bearing that
title, Directors Kevin Lima and Chris Buck discuss their strug-
--ABOUE: Visual development. 2 a

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i
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As Co-Director Kevin Lima was reading the novel Jarzan of
the Apes for the first time, an image jumped into his head.
It was that of two hands being held up against one another.
Crv\ GES That image, which he sketched in his journal, was to stay
CHAN
{LL MAKEce MAMANYNY T ORILY
LING SATISF AC
Deore SETT with him and become an important element of the film he
-—oO
—_ was about to make. A perfect symbol of the depth of feel-
—_—
Tn) ing that the lead characters have for one another, this
ABOVE: This piece of fortune cD
image of the two hands lent the film the same kind of
cookie wisdom occupies
page one of Co-Director emotional resonance that is found in all the best-loved Disney
Kevin Lima's journal.
animated features.
TOP: Kala bonds with baby “In approaching this project,” states Lima, “I was trying to
Tarzan. Production stills.
find a visual icon that would work on a basic level. I was look-
ing for something that would underscore Tarzan’s sense of being
alike, yet different from his ape family. The image of touching
hands was first conceived as an idea for how Tarzan realizes he
av
ABOVE AND RIGHT: Young
Tarzan discovers he is
different. Rough anima-
tion by Supervising
Animator John Ripa.
Kevin Lima’s Journal

ABOVE RIGHT: Kala attempts
to console Tarzan. July 23, 1998
Production still. When I read the book, certain
images revealed themselves and

I
am quite proud that one in parti
c-
and Jane are physically the same. He. couldn’t look at his own ular has stayed with us to the end:
face, but this would give him something that he could physically the hand-to Nand mete
look at. The icon of the two hands spread through the film and
Maracter’s internal journey
it became a metaphor for Tarzan’s search for identity. It first Talk
is cheap, but an image burns
appears when Kala lifts baby Tarzan into her arms, then again at into
the soul and this one burns
the age of five when he puts his hands up against Kala’s and
«
Strong. A baby’s hand inside a
sees that he is different.” gorilla’s led to a metaphor that
is at the soul of our Tarzan.

“What struck me most when reading the book,”
asserts Feature Animation President Thomas
Schumacher, “was that Burroughs had created the

perfect template for an animated film. The irony of it
is that we often look at literature and.wonder, ‘now
how can we animate that?’ Here is a book that cries
out to be animated. Yet we're the first filmmakers
to have ever taken Tarzan from page to screen and

presented the character as Burroughs intended. He
is at one with the animals; he talks to them. In other
film versions, this connection is marginalized with Tarzan riding ABOVE: Visual development
an elephant or having a chimpanzee on his shoulder. Now we ey a
have Tarzan speaking with them, living with them, learning from BELOW: Production still.
them. The combination of the ultimate animation concept and
this great story about who and what your family is, seemed like
a great idea. Frankly, our biggest deficit was that the title was so
familiar that almost everyone had a preconceived notion of it.
19
“What fascinated me about the novel,” Schumacher contin- ABOUE: Character develop-
ment art of Kala and young
ues, “was the central thematic notion of family and how your Tarzan by H.B. Lewis.
family is as much about what you create around you as it is

TOP: Visual development art
about the genetic family. This seemed particularly appropriate in of Kala and baby Tarzan by
Paul Felix.
today’s world where we have children who are in households
affected by divorce, death or adoption and yet they still create
20
Chris Buck’s Journal
August 12, 1996
I find Burroughs’ Tarzan intrigu-
ing in his intensity and intro-
spection, but am concerned that

beautiful families. Tarzan’s family is
he may come across as too grim
Kala, Kerchak, Terk, and this whole com-
for oF film. He’s kind of a
loner in the book, and it may

be munity. Even though it’s not the family he
get
difficult for the audience to was born into, it is the family that raised him and
behind his character. imparted solid values and attitudes about life.”
We can’t allow our Tarzan to
From the outset, Directors Chris Buck and Kevin Lima knew
become too grim. We need to emp] oy
that it was this notion of“family” that needed to be at the heart
the emotional side of this story.
The character relationships need

of their film—the film would ultimately succeed or fail based on
to be at the core of our film. the strength of its characters and their relationships to one
another. The characters had toe be.believable, entertaining and
sympathetic. The audience would:have to relate to Tarzan and
care about his plight. Creatively, the filmmakers knew that a film
set in the African jungle would provide
ample opportunity for adventure while the
colorful animal cast would lend itself
easily to humorous situations. What
they really wanted was to infuse
the story with the emotional
content and heartfelt
moments necessary to
involve the audience on a

whole other level.
TOP: Character develop-

ment art of Kala and her
baby by Peter de Séue.
LEFT: Development art

of Tarzan and Terk by
Paul Felix.
2
THESE PAGES: Tarzan battles Story development on Disney’s 7arzan began in earnest in
with Sabor. Visual develop-
ent ar bunlonnentae January 1995 with the hiring of screenwriter Tab Murphy
(Gorillas in the Mist, .
Disney’s The Hunchback

of Notre Dame). He was
attracted to the theme
of man-versus-nature
and felt the story had great potential. After meeting with the
directors to get their thoughts on the story, Murphy began writ-
ing a treatment.
“The big question mark from
the start,” recalls Murphy, “was
the ending. In the book, the
third act essentially takes place

outside the jungle. I was in
favor of Tarzan leaving and having him go to England. That's
how I wrote the first draft of the script.”
er
eS
Lima and Buck believed strongly that the film would lose
some of its magic if Tarzan were to leave the jungle. It meant
leaving behind all the wonderful animal characters that the
audience had spent the first two acts getting to know and care
about. Despite these misgivings, Murphy was given the creative
freedom to try and make it work. “Story development is a discov-
ery phase,” asserts Lima. “It’s some-
times a bumpy road. We decided

to let Tab try the third act his way,
because maybe there was some-
thing we weren't seeing as direc-
tors. Chris and I weren’t too keen
on having the story move back to
London because it shifted the focus to just Tarzan and Jane and
got away from what we thought was the central thematic con-
cept: what defines a family? After we read the first draft, we were
even more convinced that he shouldn't leave the jungle.”
n
TOP: Visual development “The traditional ‘Tarzan’ story, where he leaves the jungle
art by John Watkiss.
and goes to the city, is the quintessential fish-out-of-water
BELOW: Kala is trapped idea,” adds Schumacher. “It’s been done before and | didn’t
by Clayton's thugs.
Production still.
want to see us take this great handsome athletic guy and put
him in a suit and have him struggle to eat soup. What's the fun
in that? I'd rather see him teach Jane how to do something in
the jungle than have Jane teach him how to be genteel.”
The difference between the first and second drafts of the
screenplay was monumental. The key to refocusing the story
involved inventing a way to keep the third act exciting by
endangering the gorillas, and thereby raising the stakes.
Critical to this shift was redefining the role of the villain and
his motives.
24
THIS PAGE: Clayton’s thugs
capture the gorillas.
Production stills.
Walt Disney Studios President Peter Schneider explains,

“Strengthening the third act was a really tough nut to crack.
The problem seemed to center around the character of
Clayton. The story team had to create a better set up for him in
Act Two. Once we decided to play up his duplicity, everything
started to fall into place.” ”
3
Lima adds, “Whenever we were confronted with a situation
that didn't ring true, we talked a lot about how it related to
Chris Buck’s Journal things that went on in our lives. We would always try to find
June 5, 1998 ways to make the moments real. That’s very important to me, to
Establishing the tone for this film hook into something that’s specific to real life. I think ultimately
has been very tough. We struggle to Tarzan is his own villain. He causes the downfall of his family
yet_consistent.
keep Tarzan complex, himself. He gets pushed a bit by Clayton but ultimately he acts
It is difficu eto strike a balance
on his own. It’s not the classic hero’s journey where there's a
edy, between
between drama and com
strong external force that is playing against him. Tarzan’s con-
quiet emotional pauses and action-
flict is internal and we searched throughout the film to find
adventure Sequences.
ways to take his internal journey and make it external.”
THESE PAGES: Clayton

manipulates Tarzan into
leading him to the
gorillas. Storyboard art
by Mark Kennedy. Re
OPPOSITE BOTTOM:
Production still.
Clayton: If she only could have spent more time with the gorillas. She's so disappointed.
18.5-114.2A,,
ie
Clayton: Crushed, really. Clayton: Sorry, old boy.
26
ES.
Clayton: Say...
Clayton: . . . that's why she came, isn’t it? Tarzan: | will do it.
27
THESE PAGES: Dynamic staging adds to the sense of panic and rage Tarzan feels as a
February 11, 1997
result of being trapped on the ship by Clayton. Storyboard art by Glen Keane.
twice today for the
Screened the movie
new
working with the
crew. We’ve been
all the
past two weeks on It may sound relatively easy in hindsight, but finding the right -
writers for the
moved .
to make and have blend of story elements and the right tone for the characters was
changes we want
ry
of the current sto
beyond the stage an exhausting and time-consuming process. As the producer,
show
it’s SO hard to
reels. That’s why directors, and story team struggled to give the story the fresh-
pecial ly
sion to others-es
this existing ver
respond- ness, emotion and entertainment it needed, a team of animators
st group barely
our peers. The fir
ng, put I sat thr
ough the was anxiously awaiting their assignments. A screening of the
ed. It was grueli
and
couldn’t stand it story reels for the production team in early 1997 represented an
whole show. Kevin
er a
on. Sometimes aft emotional low point for the directors and underscored the pres-
walked out early
to yell
a Jaugh, | wanted
joke didn’t get sure, tension and frustrations they were experiencing.
hts
not. funny!” The lig
out, “We know it’s “With story,” asserts Producer Bonnie Arnold, “you have to
sequence
s big explosive
came on after thi
l, take baby’steps to your goal. It can be pretty discouraging. Part
ence. I had to yel
and there was sil
py ending-yet!” The
re of our dilemma has been trying to integrate humor and emotion.
“That’s it! No hap
e hiding
se and I felt lik In the beginning, it’s hard to know how it will all fit together.”
was polite applau
up and
ere. No one came In January 1997, the husband-and-wife writing team of Bob
under a rock somewn
.
just all filed out
said anything-they Tzudiker and Noni White were brought in to lend their exper-
and
ing went better
The second screen
the tise to further refining the script. The duo had previously
more favorably to
the group responded
ngs worked on the Disney animated features The Lion King and
We left Before thi
opening sequences. ca
the bar-
I’m waiting for
got too ugly. Now
s to ane
ns and criticism
rage of suggestio
d movie.
w we’ve got a goo
pouring an. 1 kno 28
can find it.
I just hope we
February 25, 1997

There have been some breakthr
oughs.
Bob and Noni seem to toss our
process
upside down and over, but I am
So glad
they’re here. They question every
decision we’ve made, every step we

Disney's The Hunchback of Notre Dame and had a reputation for
take and in doing so, I think
we make
being great collaborators as well as an integral part of the
better choices. As we discuss and they
Studio’s Feature Animation family. Dave Reynolds, a veteran write new scenes, I feel the pieces
comedy writer, also came in around the same time to add coming together. Hoo-Rah!
punch and definition to the characters and their dialogue. One of the biggest puzzle piece
s
they’ve helped us find is Tarza
“Bob and Noni came in at a time when we were hurting in n’s
anger. This may seem odd, but up until
the story room; we were wounded,” recalls Buck. “They not only
now Tarzan has lacked a distinct
voice
brought good story'sense to the process.but also managed to and finding his anger has added
dimen-
uplift us all emotionally. They would keep saying, ‘You know, this “Sion. Tthink itwill truly’ help us
is really going to be good. We've got something here.’
We really play situations that, at the
moment,
needed it at that point, because we were beginning to have a lot are flat and predictable.
Story is such an elusive monst

of self-doubt.” er,
At moments,it seems so incre
dibly
clear and within my grasp; at othe
r
times, intangible and distant.
29
Tzudiker recalls, “By the time we joined the production, the
script needed to find its focus. There would be brilliance in one
scene and not in the next. The difficulty working in such a col-
laborative medium is that holding to a central vision is near
impossible—it’s easy to forget where you're headed. We were
able to start fresh in a sense, which was scary for the filmmakers
who were already behind schedule. We spent several weeks
reworking the story with the directors, producer, and the story
team, came up with a new outline and then started writing.”
“T was initially hired on for six weeks of rewriting and punch-
up, states Reynolds. “A year and a half later, I finished. Either
they liked my work, or I was very bad at time management.”
Brian Pimental, who served as head of story for the film,
states, “The screenwriter/story team relationship is hopefully one

that encourages brainstorming, debating, and finally break-
throughs. The process is rarely smooth. You fight to get all these
different things onto the script page. And then when it’s time for
storyboarding, you find other problems that you hadn't seen
THESE PAGES: Production stills

and storyboard art of Tarzan
emerging victorious from the
fierce fight with Sabor.
Storyboard art by Jeff Snow.
30
before because you were just dealing with words and now
you're dealing with images as well. There are moments of dis-
ABOVE: Animation studies of agreement, but you need that. It’s sort of a ‘checks and bal-
young Tarzan by John Ripa.
ances’ to get the very best you can up on the screen.
“Communication is critical to the storyboarding process,”
Kevin Lima’s Journal continues Pimental, “and in the case of Jarzan we were able to
June 30, 1997
overcome some pretty tough challenges by talking things out in
with-
Some sequences are coming off
the story room with the directors and the writers.”
out a hitch while others are
White adds, “What we always hope will happen is that we write
.
requiring much more adaptation
to be something and give it to the storyboard artists, who will then
It’s interesting that we seem
having the most trouble in the

2nd respect what we've written and make it better. Everybody has to
half of the=2nd*Ac ause of be pulling in the same direction. We ended up with a Jarzan that
6"odd structure of the piece \(new is not necessarily what we would have written ourselves but it was
characters arriving in the 2nd Act)
a delight to discover things that we might not have done on our
we have to deliver a lot of expo
own. It shows the importance of collaboration.”
sition at untimely moments. We’ ve
s The writers were quick to realize the importance and rele-

boarded Tarzan going to the human
to learn more about them 2 times vance of the “family” theme. According to White, “In Tarzan’s
“so far. I know that that’s a rela- case, the apes are his family. It’s an extended notion of family
but
tively low number of reboards, and the ways in which we connect with each other in the world.
.
_we still haven’t nailed down the
Forme: the heart of this movie is the dignity of the apes and the
In
concept, the beats of the scene.
family structure they have.”
fact, we may have thrown the baby
out with the bathwater in our most
recent reconceive.
Arnold adds, “When Kala takes
Tarzan back to the tree house, she

is essentially telling him that he was
adopted. This is necessitated by him
encountering other humans and
recognizing that he is one of them.
THIS PAGE: Tarzan returns to We had to think about how it would feel to learn something 45
the tree house to learn

the truth about who he is. about ourselves that we didn’t know. And how difficult a deci-
a
Production stills. sion it would be for Kala to risk losing the son she had raised
*
since infancy. We even had some adoptive parents come in and

talk to our story team to explore these feelings.”
Tzudiker observes, “The film has a lot of feeling and emotion
because the filmmakers chose to focus on Tarzan’s transforma-

tion. His journey is universal. At first, he thinks he’s one thing,
an inadequate ape, and then he discovers that he’s actually
something else. He's not just this strange looking gorilla, but he
really is a different species.”
32
THIS PAGE: Tarzan decides to leave
the jungle and his gorilla family.
Storyboard art by Carole Holliday.
- Kala: Good-bye, Tarzan.

33
Kala: He's only a child.
Kerchak: That's no excuse, Kala.
You can’t keep defending him.
Kala: But he'll learn. a

Kerchak: He will never learn! You can’t learn to be one of us!
THIS PAGE: Storyboard art by Carole

Holliday (TOP LEFT). Brian Pimental
(ABOVE). and Steve Anderson (BELOW).
LEFT: Cleanup animation of Kerchak

by Cleanup Character Lead Tracy
Lee. and of Kala by Cleanup
Character Lead June Fujimoto.
“One of the things we decided early on,” continues Arnold,

BELOW: Cleanup animation of young
“was the importance of the relationship between Tarzan and Kala. Tarzan by Cleanup Character Lead
Margie Daniels.
The close bond that they share is at the heart of our story. Showing
what happened in his childhood that would affect his whole life
was a significant piece of the story puzzle. What is it like as a
child, when you realize there’s something about you that’s differ-
ent from everybody else? When you're young, you don’t really
notice differences all that much, but at some point in your life, all
of sudden you become aware of them, and that’s what happens to
Tarzan. He becomes aware that he is different. His mother reas-

ee
S
sures him that things will be all right and he comes out of it with
the resolve that he’s going to be the best ape ever. This gives us
tremendous insight into the type of person he is and sets the stage
aa
ea
for the extraordinary survivor he is to become.”
Gradually, over the next few months, the story began to’
come together and morale improved tremendously. As the ani-
34
ABOVE: Tarzan confronts mators started to bring their characters to life, the directors and
Kerchak. Visual develop-
writing team drew new inspiration and the creativity seemed to
ment art by Paul Felix.
flow in all the various departments.
BELOW: Production still.
Pimental recalls, “When I was first approached about working
on this film, I was a bit hesitant. My initial reaction was that this
story had been done so many ways before. But then Kevin start-
ed telling me about the emotional side of the story. I liked the
whole idea of a mother raising
a baby that’s different from her
and trying to bring it back into
her family. | began thinking,
‘None of the other Tarzan
‘movies have ever really dealt

with the apes or how Tarzan
would interact with them.’ Only
in animation could you explore
the depth of this relationship
by having the apes talk.
3
Jane: It was amazing, Daddy!
175-10.5|)/'V
fi. a175-265 § 1118-2758

ce a rrr
Jane: And then he walks like this. Porter: Oh, | see! Like Aunt Isabel.
ABOVE: Jane describes Tarzan “We have a great voice cast on this film,” adds Pimental. “It
to her father. Storyboard
art by Steve Anderson.
has helped us move the story forward. For example, we had
been experimenting with the character of Jane and were having
difficulty finding out who she was. Once Minnie Driver was cast,
she added a tremendous spark and a quirky kind of personality
that we had hoped for, but never expected. Even when the dia-
logue was a little rough, she would find a way to make it work.
Similarly, Tony Goldwyn’s performance for Tarzan gave the char-
acter a vulnerable side and he became a real person. We began
to see his struggles, shortcomings and what he wants out of life.”
“Writing for Jane and Porter,” asserts Reynolds, “you had to
keep in mind that seeing the gorillas in the wild was their dream
and finding Tarzan was like discovering the missing link. Their
comedy was initially born out of their scientific approach to the
jungle. The obvious idea is that when Tarzan meets Jane and the
other humans, his life will never be: the same, when in reality it’s
the humans who are more profoundly affected by Tarzan.”

p
36
“I love the character of
Jane,” adds White. “She is
feisty, intelligent and femi-
nine. | think she’s quite
extraordinary and | love
having a woman like her in
the movie. Minnie’s perfor-
mance was showstopping
Jane: No, | can’t stay. I've got
my father, and . . . and she would embellish brilliantly.”
Lima observes, “From the very beginning of the story
process, | didn’t want this film to become a typical Disney
romance. | didn’t want the romance to start full-blown and have
the whole story focus shift to’coneentrate on that one aspect. It
became a real balancing act. In the first story pass, there was no
romance whatsoever; we left it out entirely. In the second pass,
Tarzan and Jane started to come to life, especially after their

first encounter in the treetops had been storyboarded. At this
point, there was no doubt that there had to be something. The
romance could no longer be left out. It demanded its share of
the story. But what we didn't
want was for Tarzan’s reason
for going with the humans
to be based strictly on his
feelings for Jane.”
THIS PAGE: Production stills.

storyboard art by Mark
Kennedy. and rough anima-
tion of Jane by Mark Koetsier
and of Tarzan by Glen Keane.
7
The story process also affected the film’s climax. According to
Greg Perley, the film’s editor, “Originally the film’s climax—Tarzan
battling Clayton on a fiery boat—worked wonderfully on its own.
But when the sequence was edited together, we realized that we
had somehow ‘lost’ the character of Tarzan in all the action.
“The vine fight was an idea Bob and Noni brought to the table.
We were reluctant at first, but by shifting the action to the trees,
the audience was placed in Tarzan’s world. Throughout the scene,
Clayton becomes more and more like the animals he’s hunted.”
THESE PAGES: Storyboard art
of the vine fight between
Tarzan and Clayton by
Frank Nissen.
39
13.9-76.1A
Sete C1 |
THESE PAGES: The “Trashin’ the One of the toughest scenes in the film to board was the intri-
Camp™ sequence required the
cate and elaborate gag-filled action that accompanies the “Trashin
?
efforts of every storyboard

artist on the film and some of the Camp” musical number. Pimental and his team had to visual-
the animators. Storyboard art
by Steve Anderson. Brian ize what kind of imagery would match the musical mayhem being
Pimental. Don Dougherty.
created by a band of Tarzan’s pals. Known throughout the depart-
Carole Holliday. Mark Kennedy.
Frank Nissen, Sergio Pablos. ment as the “doom assignment,” the team rose to the occasion and
Mike Surrey. and Mark Walton.
eventually came up with a wild assortment of humorous vignettes
to equal the fun and frenetic pace of Phil Collins’s scat tune as
delivered in high style by Rosie O’Donnell as Terk.
40
ab
ABOVE, RIGHT. OPPOSITE. AND
FOLDOUT: Storyboard art of
Kala finding baby Tarzan
by Brian Pimental.
BELOW: Layout research

for the tree house by
John Puglisi.
at
* % ~>
March 1998
We are in the final mon
ths of
active story work and
By March of 1998, the film Boe to
move towards completio
n. Getting
had finally hit its creative
ready for this latest
Screening, we
stride and the story have succeeded in turning this fil
m
had come around 180 degrees,
together as a The audience reacted

in al]
cohesive entity the right ways-not only
did we get
laughs, but more import
with all the right emotional antly, they
felt. The ink and pai
nt departmete
beats. It was time to screen the film
has labeled it a thr
ee-hanky suc-
once again for the crews in Burbank and Paris. The reaction this cess. Michael Eisner
stood up after
time was much different than the previous screening. the screening and pro
claimed his
An entry in Lima’s diary perhaps best expresses his philoso- Satisfaction.We were thrilled. lle
phy and approach towards the filmmaking experience: had turned a corner.
OF course, we
weren’t even close to
TRUST THE PROCESS being com-
pleted. There were still story
No matter how straight forward it may seem, it will be
issues: Clayton’s character
being
harder than you think. in the most need of ove
rhaul. The
Everyone at one time or another will think you're an idiot! hardest steps lie ahe
ad-pol ishing
You will continually ride the highs and lows what works and reworking
what’s
EXECUTION IS EVERYTHING broken.
I move forward with a

Buck concludes “Going in to this project; we were all think- greater
understanding of what
I’m creating
ing, This is going to be a great movie. Let’s have fun and play
and a renewed enthusias
m for what
up all the aspects of the animals and the jungle adventure.’ But could be ultimately
very rewarding.
in the end, along with all the excitement and laughter, the film
shaped up into something that is really touching audiences.
People are moved by the film and some
even end up with a tear in their
eye. One of the things I really THIS PAGE: Rough animation
love about the film is that it has of Tarzan and Kerchak by

Glen Keane.
altered the perception that
most people have of
‘Tarzan’ —it provides a more
emotional experience than most
would. ever have thought possible.”
ABOVE: Rough animation of ; x
Tarzan by Supervising
Animator Glen Keane.
From the project’s inception, the filmmakers wanted Tarzan

He could spring twenty feet across to be a dynamic and dimensional character who would
space at the dizzy heights of the captivate contemporary moviegoers. They wanted to avoid
forest top, and grasp with unerring
simply resurrecting the dated image of a primitive apeman
precision, and without apparent
who swings on vines and speaks in halting English—an
jar, a limb waving wildly in the
image that, through film and other media, has been
path of an approaching tornado.
He could drop Hobney, feet ata burned onto the American imagination. The creative team
stretch from limb to limb in rapid instead determined to uncover what laid at the heart of
Sulsaaoosipay
ueziel
descent to the ground, or he could Burroughs’ classic stories in order to uphold the spirit of
gain the utmost pinnacle of the
his vision.
loftiest tropical giant with the
As the film’s central character, Tarzan had to be sincere, sym-
ease and swiftness of a squirrel.
pathetic, and believable in order to carry the story and maintain
Edgar Rice Burroughs,
Tarzan of the Apes, 1912 audience interest. He had to possess the anatomy of a super ath-
lete, the movements and instincts of a jungle animal and an
emotional range that would allow for love, anger and intense
introspection.
49
ABOVE: The ~Disney-style™ $20
bill given to Glen Keane to
commemorate his 20+ years of
service with Feature Animation.
Caricature by T. Dan Hofstedt.
RIGHT: Character development art

by Chen-Yi Chang helped inform
the look of Disney's Tarzan.
BELOW: Character development

art of Tarzan by Jean Gillmore.
BELOW RIGHT: Glen Keane

animates his character.
Glen Keane’s Journal
May 4, 1997
Directors Kevin Lima and Chris Buck knew that it would take
Last Friday I received a fram
ed
a very gifted animator to handle the lead character's physical and drawing honoring my 20 years
at
emotional complexity. At the top of their wish list was Glen Disney (actually 23 but who’s
Keane, a 24-year Disney veteran and arguably the top counting!) It had a Disney-style
$20 bill with a caricature of me
animator in the field. Both directors had served
on the face of it. Dan Hofstedt
under Keane on previous projects and did
the ca its the
knew that his passion, dedication, and
est of me I’ve seen.
talent could transform Tarzan into the Various animators take pot
compelling character he needed to be. shots at me-the Tarzan theme seems
5 Between 1985-1995, Keane had to be a favorite. Zoltan’s of me as

a gorilla-like human is particular
worked back-to-back on seven major -
ly clever—although not necessarily
Disney animated features, supervising
Flattering.
2<_the animation of such favorite charac-
ters as Ariel, Beast, Aladdin, and Pocahontas.
After completing Pocahontas, he took a one-year sabbatical,

during which time he moved to Paris with his family in
order to pursue his personal artistic interest studying sculp-
ture and anatomy at the Ecole des Beaux Arts.
Keane met with the directors and Producer Bonnie
Arnold in London in June 1996 and committed to supervis-
50
Chris Buck's Journal]
February 25, 1997

Character development on Tarzan
has
been relatively smooth so far. Chen-
Yi Chang did some early work which
Was very graphic with nice, stron

g
shapes. We gave these to Glen and
he
took off from there. Glen's first
drawings were too realistic, but his

next Datch was much looser and more
caricatured.
ing Tarzan as an adult. He had only one request. Would they

consider letting him remain in France and work out of Disney’s
Animation Studio in Paris? Kevin Lima had worked closely with
that Studio during the production of A Goofy Movie and knew
many of the incredibly talented artists and animators who were
based there. Following Goofy, the Paris Studio went on to ani-
mate several key scenes for The Hunchback of Notre Dame and
‘ ABOVE: Using a brush pen for this
the Titan sequence for Hercules. a E
sketch helped Keane explore the
more fluid and animal aspects
of Tarzan’s design.
ABOVE LEFT: This early character

development drawing of
Tarzan by Keane Was deemed
too realistic.
re
ae
ABOVE LEFT: After much research.

‘and many revisions, Keane
finally hit upon the animal
> intensity the filmmakers wanted
for their Tarzan in this character
development drawing.
51
RIGHT: Character development
art of Tarzan by Glen Keane.
BELOW: Keane explored

placing his character in
awkward spaces to discover
how he should move.
With the blessings of Walt Disney

Studios President Peter Schneider and
Feature Animation President Thomas
Schumacher, the Paris Studio got the

assignment to work with Keane on the film’s main character.
at ; ; ; Glen Keane’s Journa]
Keane Officially began his assignment in September of that year. os
une 19, 1997
is s Z In those early weeks, he Tarzan’s hair is particularly diffi-
*
Ls oo
J
i 5
began designing the cult. I’m trying to find the balance
Hf character and trying to Petween a Tumy dreadiock design and
dynamic, twisti
get a handle on the per- "mg, curving hair,
I need to contain the
se
sonality. He envisioned
they don''t become too
formlesseore
Tarzan as having an ani- bland, yet avoid making the shapes so
mal magnetism with “interesting” as to become distracting
Oy intense eyes set in a
4
deep gorilla-like brow, a refined nose, a

narrow but muscular jaw, and a somewhat pointed LW ES sh
chin. As living in a jungle doesn't lend itself to
a perfect coif, Keane pictured Tarzan’s hair
as being naturally matted in the style of

Rastafarian dreadlocks.
RIGHT: Exploratory drawings

like this one helped Keane
to refine Tarzans design
and personality.
ABOVE: Discovering how Tarzan Keane drew inspiration from the original Burroughs
would move through his \ &
jungle environment was
crucial to defining his
book and his 15-year-old son. “When I agreed
to do the character, I knew that | didn’t
MW ¢
character. Development art

want to do something that had been
of Tarzan by Glen Keane:
done before,” notes Keane. “And then |
RIGHT: Keane's first drawing of
discovered that the book was really differ-
Tarzan that used “surfing” as the
inspiration for his movement. ent from any of the 7arzan films I had ever
seen. Around this same time, my son was
BELOW: According to Keane. this
later sketch of Tarzan “surfing™ into watching ‘extreme sports’ videos which
was the first in which both the
showed guys snowboarding off cliffs and |
character s design and anima-
tion elements came together. performing other amazing feats. He / i. | eo f a (
would also hang out with his friends
and rollerblade or skateboard—some kids even
attempted to skate down five flights of steps and to
jump up on the railings. Ibegan thinking, what
drives my son and his friends to be a daredevils?
What makes those guys in the videos risk their
lives?, They must really enjoy the adrenaline rush.
It occurred to me that moving through those trees
'* must be an adrenaline rush for Tarzan.”
With those thoughts percolating in his
mind, Keane anxiously began his first
test. Meanwhile,
back in Burbank, a
THIS PAGE: Tarzan surfs
breakthrough process called “Deep through the jungle. Rough
Canvas” was being developed by the et cele deut
Tarzan technical team that
X i would give him an unprecedented new
opportunity to try out his ideas.
Art Director Dan St. Pierre was looking for
a way to’add depth ahd dimension to the jungle back-
grounds. It involved a new.approach to layout and
: Glen Keane’s Journal
background painting that would allow a level of inte-
\ Summer 1996
gration between the two-dimensionally, drawn charac- Preliminary Thoughts on Tarzan
ters and the 3D environment unlike anything that had Surfing and Personal ity
been attempted before. Computer Graphits Supervisor Study animals that move through
trees
Eric Daniels and a team of software experts helped to turn
Work with Layout:
St. Pierre’s vision into reality. PSS
XY He moves lightly thru trees.
4 I was already playin the notion
ith the
i g with notio of Tarzan surfin 8 ek.
Sliding along ‘twisting branches, hop-
through the trees,asDeep Canvas was being developed,” recalls “\___pingsfrom one branch ‘to another Tike
ra Keane. “I had seen a test scene of Kala knock- a.skated arder hops over caps; _
ing down 3-D trees, and thoughtit was really Shootin the curl of waves.
: , vues Ph XX \
cool. I knew Phil Collins was doing the ysique: \ i.
Flexible, powSf eas
music and that he was a drum-
Unexpected Tarzan. Expect gymnast
mer, so it triggered the idea type-skillful, precise. Give them
of doing my test to the
animal-wild, reckless, unpredictable,
song ‘Wipe Out.’I “unnervingly edge. No fear. He is the
embodiment of this.
explained to Eric and
He ha ‘| . A 5
[layout artist]
5
Johan S to think instinctively.
Eyes that see, ears’ that hear. A
Klingler the move-
mind that comprehends. Tuned in to
ments I wanted to make
everything around him. As a blind man
is in touch with hypersensitivity,
so
Tarzan has developed these senses.
A stunning contradiction oF animal .

Skill, courage, cunning, and human
,
intelligence, spirit, and soul.
54
ABOUE: Keane’s first animation
test. Deep Canvas layout by
Johann Klingler.
and they rearranged trees and branches to accommodate

them. I would ask for a ‘shooting the curl’ branch and they
would create it.”
“We immediately responded to Glen’s concept of Tarzan
moving through the jungle in an ‘extreme sports’ style,” remem-
bers Lima. “Our one challenge for Glen was to avoid turning Tarzan
into a ‘surf dude.’”
55
THESE PAGES: The Tarzan anima-
tors created countless studies
in an effort to impart animal
gestures and movements to
their character. Sketches by
; i > | eel
Glen Keane drew inspiration
aes ie ”
from gazelles [TOP LEFT].
chameleons [TOP RIGHT] gorillas
[RIGHT]. orangutans [BELOW
riven “earns aaron
RIGHT]. and jungle cats [OPPOSITE
BELOW]. Zoltan Maros gained
January 28, 1997
insight from studying chim-
panzee movement [BELOW]. I want to assign the team (each
animator) to develop an idea
exploring the character and move-
ment of Tarzan. I want us to pre-

sent a panoply of ideas to the
directors, writers, and story
artists of how Tarzan moves and
acts-to open up their thinking as
to who Tarzan is and what makes
him unique.
1S a genius of adaptation,
of animals—gorilla and
panther.
56
SEG IY se33
In preparation for the assignment, Keane and his team of ani-

mators began analyzing animal movement. Each member of the
Tarzan unit was asked to pick a specific animal and transpose
the characteristics of its motion to Tarzan. Among the animals
selected were a panther, a leopard, a gorilla, a chimpanzee, a
gibbon, a snake, and a baboon. This exercise proved to be a very
useful and entertaining one for the Paris Studio.
In October 1996, Keane was ready to unveil his test animation
of Tarzan “surfing the trees.” Any concerns the directors had
were soon laid to rest. Keane delivered a magnificent piece of
animation. The test was so good in fact that it was used in the
film as the closing moment of the “Son of Man” sequence. Chris
Buck explains, “Glen’s first test was such a defining moment for
us. It was the first time that we saw Tarzan in motion. We knew
immediately that it was fresh. We thought, ‘This is a Tarzan that
no one has ever seen before.”
ABOVE: Tarzan development

sketch by Glen Keane.
TOP: Development animation

for the sequence in which
Tarzan imitates Clayton's
walk by Thierry Goulard.
OUERLEAF: The Deep Canvas

test married 3—D background
elements such as this tree
branch with Keane s anima-
tion of Tarzan “surfing the
jungle.~ Production still:
5?
February 23, 1997
s
_T’ye been working with Professor Thoma
Wienc from L’Ecole des Beaux Arts...
I did some pencil sketch designs
of Tarzan. He drew in a musculature

di~
using red prismacolor—looks incre
cheat-
ble. I’ve always said I’m just
my. I
ing in my comprehension of anato
because
guess I’m cheating pretty well Var PG ae ee
A. Se Sn
SN SETS)
ce wed rege
lature.
guide for laying in the muscu
These are the most imepi rar ior
anatomy drawings-perhaps because it is
and char-
the combination of technical Keane's initial impression was that the character would be
|
you to “see” ;
allows
tume was a loin clot h.
e
eanato ; hee simple to animate because his only cos
the mical illustration in a user
This proved to be a serious miscalculation. He quickly discov-
friendly” way.
ered that Tarzan was one of the toughest characters to draw
because he had the most complex costume of all—a functional
anatomy. Keane found it was necessary to alter the musculature
for each drawing according to Tarzan’s movements. This was to
be the first Disney character to credibly show muscles expand-
ing, contracting, and being stretched.
“It wasn’t just a matter of studying human anatomy,” says
Keane. “It was knowing how to transpose it into animal move-
ment. To be successful, Tarzan had to be
designed in such a way that he could ('
\ Wee ye) -
move like an animal. You had to be able i i ;
to feel the tension of his shoulder blades /
ushing up against his shoulder and the
THIS PAGE: Anatomy drawings Pp Rup as
of Tarzan by Glen Keane and flexibility of his bent knuckles as he’s c
Professor Thomas Wienc of
Bee sagas niet walking on them. His ankles and feet also
had to be extremely flexible.”

OPPOSITE: Production still. te
THIS PAGE: Rough animation of
Tarzan by Kristoff Vergne.
cleanup by Philippe Briones.
Cleanup animation of Jane
by Cleanup Character Lead
Juliet Duncan.
July 16, 1997
Bob and Noni have a roached
with a humor that

and enjoy
really lets us linger
their exchange. It could easily As Keane continued to experiment with Tarzan’s movements,
have become heavy. At the same
he also gained insight into the character's personality. “In the
in their
time they have implied
beginning, I was afraid that Tarzan was going to be a really dark
script moments of charged ten-
hand on
character because he moves like an animal, he kills a leopard,
sion-where he places his
know how he lives with these gorillas, he’s intense. I wanted to play up the
her lips, etc. I didn’t
humor side of him that was a daredevil, the side that loves life. The
far 1 could go with the
in a vari- words I use a lot to describe him are ‘fun’ and ‘driven’. There’s a
and tried pushing it
ety of directions. very childlike quality about him, especially in the scene where
he meets Jane for the first time.
62
SAL
WAS
ei \ooELSHEET
iar aoe
if. [ ens Ee ae
LEFT AND BELOW: These drawings

Were made in an effort to
work out how Tarzan would
use his hands and feet.
Adult Tarzan Model Sheets
by Glen Keane.
January 27, 1996

bike, busy
Heading to work on my
ng lecture.
thinking about my comi
off and
Ran into a truck, bounced
on the street
found myself kneeling
distracted
with a twisted bike. I’m
animators wea
worrying about the 20
got to make
be responsible for. I’ve
the work
sure they are challenged by
1 give them.
e you
Paris is not a city wher
can ride your bike and daydream. 11 . VPs ta es rere
ours alerte.
faut que 1’on soit touj
Glen Keane’s Jou
rnal]
In the old movies, Tarzan would make everyday human ges-

rs ae . J anuary 29, 1997
: : ih nh d Sood lecture today-kickort of
tures like waving hello with his hand,” observes Keane. “We had Tarzan for Paris animators—went
to find an animal way for him to
react to the humans. When he
wel. Lccould-see_in A yes
and Jane meet and she says his name for the first time, he does- they understood and were excited
n’t say ‘hey that’s great,’ he does this little monkey jump. Dave and challenged by the idea of ani:
ae : , , : * ‘Mating Ta é
Berthier’s animation gave the moment a great spark of life.We ‘ (an based upon discover-
' é . Tes of animal moveme
began analyzing all the other scenes to see if we could get that nt. “Showed a
ee mit siete clip of an old Tarzan film where he
same wonderful spark. If you draw him in a civilized pose in his is waving hand,
Saying “hello!”
loincloth, it's embarrassing. But as soon as you turn
uA
his shoul- Questionwhere did he é
rm
ders, hunch him in a little bit, twist his legs and put his arms by that? Our Tarzan must be true to the
ree : : . id ;
his sides, he feels animal and you accept’his near naked state. €a he has been raised by animals-a
gorilla family.
63
Gea Pages
a
on
oun ” e is Ue pesos
os
= Leni a FIM.cgiiiede
ox\wredov=
ina
a pee
TWN (ior
apelm aieee ee
baw,
ihe Se
a sound
@ Jo) | a
QAX OO Boaetet
RANGE vag’ AnDWAVE?
ABOVE: Glen Keane with four of the cing

samurai (from left to right): Bolhem
Bouchiba. Glen Keane, Stephane Saint Foi. Bic
Patrick Delage. and Yoshimichi Tamura. Bees
Glen Keane’s Journa|

THIS PAGE: Keane’s notes from the first lec-
January 13, 1997 tures he gave to his team of animators.
e Disney ani-
Recounted a story wher
s was telling
mation great Marc Davi
how to know when a

scene 1s) fin= By January 1997, the Paris Studio was completing its
know when a scene is fin-
ashed—“You sequences on Hercules and ready to begin working on Tarzan.
it’s erfect. ” The
ished when The responsibility of training an entire Studio to animate this
Pursuit of Perfecti on!
complicated character now fell on Keane’s shoulders.
schedule
This intense production
Keane soon found that the Paris Studio had some extraordi-
perfection.
erodes your desire for
t of other narily talented animators who were eager to share his vision and
It takes the encouragemen
artists to keep that fire

burning. passion for the character. He initially selected a core group of
five—affectionately dubbed the “cinq samurai’—to join him in
animating the first major scene. This scene would depict Jane
chased by a pack of baboons, rescued by a “wild man in a loin-
cloth,” and then offer the first dialogue between Tarzan and Jane.
In those formative stages of getting to know the character,
Le edse —U ANOrnes?
ae: rola Keane once again turned to Burroughs for guidance. In a semi-
ZA nar, the Tarzan team read and analyzed excerpts from the book
in French. In March, on the invitation of the author's grandson,

Danton Burroughs, Keane joined the Burbank-based team on a
field trip to the Edgar Rice Burroughs Estate in Tarzana,
California.
La
64
rnal
Glen Keane’s Jou
Center Trip
Burroughs Tarzan
ns
al 4)1lustratio
Seeing the origin
k
bilia brought bac LEFT: Tony Goldwyn gives
and other memora
voice to Tarzan.
I had as a young
so many feelings
ing
films and imagin
boy watching the
Another key component
gle as Tarzan.
living in a jun
Kevin why to the Tarzan character was
1 asked Chris and
vived
s story has sur what he would sound like.
they thought thi
such a
rs and remains After an extensive search
for so many yea
e down
It seems to com
popular story. and numerous auditions, actor Tony Goldwyn was chosen to
h
the world has wit
to a fascination
provide Tarzan’s voice. A versatile actor, appearing in the film
al.LmodernainMen.
a man stripped of
it was “instinct
” Ghost and the Home Box Office miniseries From Earth to the
€fon. Kevin felt
see a Moon, Goldwyn gave the filmmakers the right tone and blend of
netic pull; to
that was the mag
instinct alone. qualities they were looking for.
man survive on
vitable story—man
It seems an ine According to Keane, “Tony’s voice has real depth. There’s a
re is
the animals. The
surviving with lower register quality that has almost an animal sound to it. It
ry
heart of the sto
something at the
to works really well for the character. Tarzan doesn't have a lot of
classic. It had
that makes it 4
idea had to be
dialogue, so whatever he does'say becomes extremely important.
be written; the
ion is the only It has to have a visceral sense; a texture to it where the sound
explored. Animat
o
you to delve int almost has a feeling you can touch. When | listen to his voice, |
medium that allows
try
of Burroughs and
the imagination recognize it as a great blend for Tarzan.”
his vision.
to do justice to
Tarzan: It’s very nice.

i] 8, 1997
Oday is the day I ha
anx-
jously looking forward to Since
I
Started working with the Paris
5 crew-presenting
As the production gained momentum and the team made the animators and
their work to the directors.
daily advances in defining Tarzan’s character, Keane found his
Chris and Kevin are very
communication skills being put to the test.
sharp in their understanding
of
“In the beginning, Paris posed some huge challenges for animation and what communi cates
me,” recalls Keane. “That first year, because of the language bar- and what doesn’t. They are usua
l-
rier, | saw the Paris Studio as a mountain that I had to climb ly in syne in their impressions
and gut feelings, which makes

every day. At the end of each day, I would be so proud that I had jt
easier for the animators to
made it through speaking French. Some of the biggest events for work
under them.
me on this film were not necessarily things you see on the
It was particularly helpful
screen. Just going to work with a whole studio of people I'd for me to hear what their com-
never worked with before and putting myself in an uncomfort ments were so I could get a bet-
able and unusual situation caused me' to grow and stretch a ter picture of who Tarzan is
in
great deal not only as an artist, but as a human being.”

their head. I am left with the
impression that Tarzan really
Coordinating scenes with the other animators 6,000 miles
must, for the most part, take his
away in Burbank was another test of communication for Keane
movements and habit from gorillas.
and his crew. Scenes requiring interaction between Tarzan and Kevin would act out movements
Jane were especially challenging and took close coordination while making his comments.
with Ken Duncan, the supervising animator overseeing the lead

female character, Duncan explains, “It’s a bit of an odd experience.
66
Of course the energy and collaboration would be different if
Glen and I were down the hall from each other. If Tarzan is ani- THESE PAGES: Scenes in which
mated first in a scene, they send it to me and I assume the role Ameo and eue tert
: ; d were particularly challeng-
of Jane, making her react to him_as only she would. Despite the ing for the animators to pull
long distance between Glen and I, the animation of Tarzan and PO Ube ie greet
physical distance and time
Jane seems very natural up on the screen.” differanes:hetueen Paris
The animator assigned to the character with the motivating ene Eee aetna
; : : ’ j tion of Tarzan by Glen Keane
or dominating role in a particular scene would usually rough in and of Jane by ken Duncan.
both characters on the first pass. It would then go back to the
other animator for his input. A computer system called the
“scene machine” enabled the animator’s rough drawings to be\
sent electronically from Paris to Burbank and vice versa so that \
one team could work with the other quickly and efficiently. }
Taking into account the work being done on two continents,
production was practically around-the-clock.
July 16, 1997

for
Saw sequence 13.5 (Tarzan meets Jane
SFX
the first time) on video with music,
e. It
and new dialogue of Tony and Minni
worked! I had goosebumps. It was a moment
was
when I-had a hint that this picture
going to be something extraordinary.

s been
For Tarzan the question has alway
be fun
how he and Jane will relate. Will it
voic-
and will there be an energy? Do their
es complement or detract? Is there a spark
between the two?
In doing the storyboard for this
sequence, I’d been thinking about the depth

It’s a dream W,
of this moment for Tarzan. ork progressed on the first scene, but the entire production
his mother
reborn for him. As a child, with
soon hit a lull. The story was undergoing some major retooling
to why he
Kala, he searched for an answer as
needed strength
was so different. She explains that essen- and the relationships between the characters
tially in the things that count they are the ening. During this downtime, , Keane assisted in the storyboard
iio
rd-
as he psd icnce neo
so Tarzan ing process,
same (listen to our hearts beat)
| ‘
morale of his team from flagging. He enjoyed the added cre-
gorilla. the
focused on becoming a bona fide
of his as:
When he meets Jane, the dormant drive ative input that storyboarding provided and used the opportuni-
him-
search for identity is rebormhe finds
ty to gain an even deeper understanding of his character's moti-
self in her.
a “hand” in
These moments happen for us al1—usually vation. One highly emotional scene which he had
when we least expect them. Once checked boarding has Tarzan and Jane touching their hands together in
a mirror image. It was a moment he was particularly proud of
goals, abandoned desires and pursuits due to
- ;
impossible circumstances are reborn without and ane which had
ad specialial meaning to hi
our having to search for them, they are : wees
ed in our laps.
like a gift from nedVer 68
is is Jane for Tarzan.
THESE PAGES: Storyboard art by
Glen Keane.
level.“My inspiration for the hand sequence was the first time | OPPOSITE TOP LEFT: Keane
ketched his ideas f
held my daughter after she was born and the remarkable deep aaa ave eeneaa |
Tarzan and Janes first
connection I felt at recognizing myself in her,” notes Keane. Meeting in a taxi on his way
a 3 aoe to the Paris Studio.
That was the same emotion and sense of recognition I wanted
Tarzan to experience. In the first drawings, I had his hand QUERLEAF: Tarzan is over-
3 : : Kas whelmed by the realization
touching hers in an ordinary way. Then | thought, wouldn't it be :
that he and Jane are like
cool if his hand was still in that gorilla curled-up position and beings. Production still.
you see it flatten out as he touches hers. I came up with the
idea in a taxi and, it was one of those times, I couldn’t wait to
get to work and draw it.”
dhBsait ai
rf e;f)
| I
SAX
PN
SSS K——s
SS
cee
SS Qk i
Gs Seay:
SS SENN
ESE
WS
.
NGS
N7SWore
Bi
MICO BAA \\
AMY
1
CN <4
Lo.
=> N
INS :
BY,
JG 1)
69
August 1997
At first I thought I’d have Tarzan
flipping through a book with drawings
of a gorilla, men, cities, machines &

inventions, customs, scenes of civi-
lized life-but it felt so “smal|”
looking at a book-the song was much
bigger than that!
Then I saw an illustration of a

19th-century projector. Jane could
have slides and project images of
streets > people, machines , animals—

lifesize on the screen for Tarzan to
interact with.
I fell in love with the idea of
seeing Tarzan superimposed on a

London street or standing in front of
a gorilla whose image is mapped
across his frame.
TAA
ALN
hy
CLE S
0 —
|ae ; Mp
Ny
Wy yt
s, js!
ti A
RWaE
—N
LIES
I\
1
\
\\
Aare LAK
TMT LYWil
A
\
N
\
‘
THIS PAGE: Storyboard art from

the “Strangers Like Me~
sequence by Glen Keane. = FZ F-
—
Vf
am
ze(AZ
———
p
OPPOSITE: Production still. 18-14
=
?2
Keane also helped to storyboard the “Strangers Like Me”
sequence, a whimsical montage that depicts Tarzan learning
September 9, 1997
about the human world. Phil Collins’s music and lyrics proved Worked on “Strangers Like Me”
to be a great inspiration. “When you're storyboarding for a song sequence. The process is never easy—
particularly
like this, it’s a very liberating experience because Phil’s lyrics for this song-at first
the route was to teach Tarza
take the burden of continuity and free us up to play with the n to
speak-but it has evolved into Tarzan’s
images,” explains Keane. “On the one hand it was a lot of fun,
quest for knowledge.
but it was also hard because so much storytelling had to go into I went on my own quest—reading
this part of the film. Jane teaches Tarzan English and he learns books on Einstein’s Theory of
about the world outside the jungle. The idea to use a 19th-century Relativity-and books explaining
physics and great scientific
slide projector came from an old-time illustration and became discover-
ies as in astronomy.
the catalyst that sparked a whole bunch of ideas. It was a joyful
I am-in awe of the universe and
and fun way for him to learn.”
God’s perfect design clearly
displayed
“Glen’s storyboards on ‘Strangers’ are inspired,” says Amold. in its breadth and beauty. Tarza
n must
“In the book, Tarzan encounters other people in Africa as he is be in awe and wonder. Joy of disco
y-
growing up, therefore he’s more knowledgeable. In our story, ery. He must have an insatiable
thirst
to know. The audience should
Tarzan believes he is a gorilla until he meets Jane, Porter, and fee] the
same joy as Tarzan. They should enjoy
Clayton. Glen cleverly devised a way for Tarzan to learn about
watching him discover.
the world outside the jungle in a short amount of time.”
73
One of the project’s most significant turning points came in
early spring of 1998. According to Peter Schneider, “We saw a
work-in-progress screening of the film, and were amazed with
the progress that had been made. The story had taken a big
leap forward. There was emotion and humor—action and
romance. The characters, the animation, the music—it all
came together.”

March 13, 1998
EdgarRice Burroughs Ine.
This week, a sneak peek of Jarzan was
P.O. BOX 570277
presented in Burbank for about 1400 TARZANA, CALIFORNIA
91357
TELEPHONE: (818) 344-0181
of FAX: (818) 344-7109
people from the different divisions
March 16, 1998
the Studio and others from the outside
working on the film.
I saw the filmon Monday. I was

oo _munreneerd
alone in the theater with my tuna sand-
Glen Keane S.A.
ANIMATION (FRANCE)
WALT DISNEY FEATURE
it
wich and Pepsi. The film played and io
Stud 67
rue Robespierre — CAP 140
was magic. It was dramatic, exciting, 93100 Montreuil Cedex
FRANCE
emotional, fun and intriguing-you cane
Dear Glen:
nected with Tarzan from start to fin-
you again at the TARZAN
. It was a great pleasure seeing by
ish. ra Galfa s, Jim Sullo s and I were absolutely mesmerized
presentation. Sand
ging TAR ZAN to the anim ated screen. I laughed, I
I was particularly excited to see what you achieved in brin yed seeing
action scenes. I particularly enjo
cried and was thrilled by the and uppe r terra ces of the jungle. You
lower, middle
the closing shot-a scene I’ve been TARZAN racing through the . Ifm y Grandfather
the portrayal of TARZAN
have without a doubt mastered keen awar enes s of his creation.
you for your
waiting to see in the film for months were alive he would embrace
m to
e
Glen, we are indeed fortunate
to have you realizing your drea
now. Tarzan flying through the jungl ZAN.
on of Edgar Rice Burroughs’ TAR
she show the world a proper concepti
with Jane in his arms. This time,
and surf- Warmest personal regards.
is joyful, unafraid-swinging Ts Mecken
Thte Gir. Frost HoLerwo0o
Sincerely,
ing with him. A moving, powerful ballet
INC.
EDGAR RICE BURROUGHS,
Juncus Gant
Tie OAKDALE. AVFAIR AXD THE RiDEK
puta
_ Danton Burroughs
Secretary-Treasurer
by
own or perhaps is now carried along
Tie Scusrists Recour
Two-Gus Doak Fuses Sours
e DB “wi
Te Srraxce AovesTunss oF Me Dixwupen
Nicur or Tenor
Uxerx Mien asp O1iten ReLaties
angels-and instead of pushing it to a Maacia or nix Doonsn
&
conclusion, we are hanging on, privi- Cassasc Aid, CARs
“wan at Mupxient:
“44axk MURDER
Femeace Dave MURDER
Jeged to ride the wave. Like surfing, ve Lactersicir MEADER
Tim, Dank Lawn Meni Mixipoxa. 437711 Ean, oy
ONE Mice: Seams M.
Mone Fun! Monk Proru: Kiniro! Tae Eericiency Exrine
Wo Minorca Mic THOMAS? cas
‘Tue barrie: Door Brvono Timery AuTomocmanny oF Rican Hice Bynnag
we’ve paddled and kicked hard to get

“hv: Kyp Neem: Fone Foous Morin Thi: Gam, yom FAWIOSS:
Yaw, Duruvsrion Gast, Aieuns: Mut
*
Tuy, Avexcrn
Z
wave
into position and the crest of the
by
has caught us and we are borne along
e.
another momentum that is unstoppabl
14
Bolstered by the screenings that March in Los Angeles and ABOVE: Production still.
Paris, morale soared and a new sense of determination and

OPPOSITE: Perhaps the nicest
excitement took hold. Although there was still much to be compliment to come out of
that presentation was from
done to complete the film, it was suddenly clear that all the
the grandson of Edgar Rice
hard work was paying off. For those involved in the lengthy Burroughs. who was in
attendance that day. This
production process, it is sometimes easy to lose sight of the |
came in the form of a letter
big picture. But when all the elements come together, a certain addressed to Glen Keane.
magic happens.
6
esi PRPS
ee
With the addition of Tarzan to his impressive repertoire,
Keane has played a major role in creating yet another of Disney’s
most memorable characters and in helping to advance the art of
animation. The animator had some interesting observations
about his latest creation relative to another one of his progeny.
BELOW AND OPPOSITE:
Production stills. “I compare Tarzan with the Beast, in a way,” he said:"“Beast is

an animal on the outside with a man on the inside wanting to
ABOVE: Cleanup animation of
Tarzan by Cleanup Character
Lead Philippe Briones.
come out. Tarzan is a man on the outside
with an animal spirit. We see that in his movements and his

actions. Both have a journey, a discovery, and a transformation
at the end. I would say that Tarzan is by far the more difficult of
the two to animate. With Beast, if you draw him a little bit
wrong, it’s okay. But with Tarzan, if that muscle’s not where it’s
supposed to be, he looks deformed. It’s easy to draw him look-
ing like a caveman, which iswrong. Or an animal, which is also
wrong. He has to be this incredibly intelligent man who has
learned to’move like an animal.”
79
July 9, 1998
My mind was churning on the scene
s I’d
been seeing withethe animator
e thiSemorn-
ing-and it strutek me how rea]
Tarzan is
to me. He is not a drawing
or even an
animated character. He is a living per-
sonality with character trait
s, personal
habits and a body language all
his own.
I could almost see him before
me. He
is real yet invisible living in my imag-
ABOVE: Tarzan observes Janes
ination, which is a very real place
gloved hand. Production stills. to
inhabit.
I feel as though in animating

him we
In analyzing his approach to animation, Keane recalls some are trying to do him justice.
To try
invaluable advice given to him by Eric Larson, one of Disney’s With our skill and effort to descr
ibe to
legendary “nine old men” and a mentor to many of today’s top others who can’t see him; the way
he
moves, acts and thinks. I fee] as though
animation talents. “He would always tell me, ‘Make.a positive
IT could reach out and put my hands
statement and make it sincere. Never cheat the audience. They on
his shoulders and define him in
space.
will-never know what they could have seen; they will never know
Our greatest struggle is the tension
what you left out. But you'll know they didn’t have the experi- of our very real desire to anima
te him
ence that they could have and that you cheated them. What you as he truly is and the deadline
pressure
must always do is make sure you've studied, researched, and ani- to have it done as rapidly as possi
ble.
The greatest resource for animators
mated something from your heart. If you animate your scene is
inspiration. We need to guard our passion
with sincerity, you won’t have cheated them.
and animate inspired-as we started
2
the
film. We need to finish it by drawi
ng on
the study of gorillas and chimp
anzees for
our inspiration source.
ee
TOR
So
PRSS
Nhe
a7
ip
fin
Hy
5
ee
=» Miginn te a
a Sya
LEFT: Tarzan finds the
ideal vantage point
from which to observe
the “strangers” as
they make their way
through the jungle.
Character development
art by H.B. Lewis.
“Strangers Like Me” is the musical exploration of Tarzan’s

burning desire to know more about the fascinating
“strangers” that have entered his world. It’s a moment of
revelation for him as he realizes for the first time that he
is not a “hairless” gorilla, but rather a member of the
human family.
Chris Buck's Journal
Revelation and discovery are also part of the process
February 25, 1997
for the animators and voice talent who give life to the char-
Character design has been a tough
a €O acters in Tarzan—together they become the alter egos of
journey on this show. We've had
lot of very talented people doing the animated actors that appear on screen.
hundreds of designs-all in differ- The process of creating a Disney animated character typically
has
ent styles. The biggest problem begins at the drawing board with pencil and paper. Character
set
been not having one person to
concepts and designs come from a variety of sources including
for
the style (e.g. Gerald Scarfe
visual development artists, the directors and the supervising ani-
Hercules and Chen-Yi Chang for
mators. From there, a unique collaboration occurs between the
Mulan). That arise would determine
the broad character styling for filmmakers and the voice talent to magically bring the character
film, and another key artist would to life as they take on a spirit and personality all their own.
take those designs and make them “We struck it rich,” admits Lima, referring to the ease with
suitable for animation. We don't
which he and Buck were able to assemble a superb animation
have those exact artists filling
team. “We have a great crew on this film. In fact, it wasn’t until
those spots on this picture.
we began animation that some of the attitudes, expressions, and
Yet it is crucial that all the
characters look and feel like

they feelings that were difficult to put across on the script pages and
belong to the same universe. storyboards started.to come to life. We pushed the team to cre-
Ultimately they should appear as ate a sense of the internal life of these characters. They have
the
though they were all drawn by
worked very hard to achieve stellar, subtle performances.”
same artist.
ea
foe)
—
Ken Duncan was just finishing up his assignment on

cD . . . . . .
a Hercules as supervising animator for the character of

—t Megara when he was approached about overseeing
cr
animation for Jane. Intrigued by the challenge of cre-
cD
-—* ating a very different female lead, he signed on to
the project. Using design suggestions from Chris Buck
Glen Keane and Character Designer Buck Lewis for
a
“For me,” Duncan recalls, “Jane was really an

innocent character with a lot of energy and
a great sense of curiosity. Her mind is wide
open to learning about the world.
“At the beginning,” Duncan continues,
she has these fantasies about what Africa is

going to be like. But she soon finds that it’s
| : y a bit different from what she had imag-
| ined—there’s mud and dirt and rude
TYNGLE WEEE is HEARD. IN CAM
a baboons. And then Tarzan introduces her to all
the great things in the jungle. She learns to really love ABOUE: Character development
art of Jane. Porter. and
the environment, and she falls in love with Tarzan as a Clayton by H.B. Lewis.
result. He brings life to what is in her imagination.’

TOP AND LEFT: Character develop-
A particularly challenging scene for Duncan ment art of Jane by Super-
vising Animator Ken Duncan.
was the one that follows Jane's first meet-
ing with Tarzan, where she breathlessly RIGHT: Character development
art of Jane by Jean Gillmore.
describes the experience to her father and
Clayton. The dialogue was largely impro- OPPOSITE: Jane shows the baby
baboon his portrait.
vised by Actress Minnie Driver, chosen to Production still.
provide the voice of Jane. It was up to

Duncan to take her rambling discourse
and
create a visual performance with the same
energy, vitality and humor. At 73 feet of
film, it also ranks as one of the longest _
animated scenes on record.
83
“Her imagination is just totally
running wild as she tries to tell her
father all the things that she’s been
THIS PAGE: Stick figure”
A through,” says Duncan. “In the begin- development animation of
ning, I roughed it all out using basically stick Jane by Ken Duncan.
figures to get the whole emotion of the scene

and avoid getting bogged down in details. It
helps to break it down into individual little February 25, 1997
sections. The whole scene took about Jane has been really hard.
We don't
want her too realistic, yet she
seven weeks to animate.”
can't be too cartoony. We want her
Driver was to have a big influence on the look
appealing looking, yet not
generic.
and personality of the character. Duncan went
We want to give her a slight
over-
bite, but if we go just a litt
le
too far she looks dopey. The
heroes
AN RAs) : . :
‘| acteristics and quirky mannerisms into Jane. and heroines are always the hard
est
characters to do. Ken is working
“Minnie’s expressions are very broad,”
on her now. He's going to film
observes Duncan. “She would rN
some drawings and put Minnie's
extend her neck out anduse / voice to them just to see fe
her hands to gesture. We took they're matching up. Minnie
has
all of these elements and exagger- such a terrific voice that we
are
ated them. We made her less dainty and pushed to come up with a design
that does her justice.

played up her overthe-top attitude. Hopefully in
the end, we'll look at the final
Watching Minnie was a great inspiration. She puts
character in the film and say "Wha
t
4 alot of energy into her performance and is was the big deal? She looks
great!"
a wonderful improviser. She was also able to add
4 humor to lines in the script that didn’t come off quite as
oy _ funny on the printed page. It was a joy animating to
\ _ her brilliant performance.”
\ Minnie Driver recalls, “I knew how I wanted
7 Jane to be from the start. She was never going
to be a boring Victorian heroine. She had to be
something original. The directors really let me improvise and
create. Jane is not the sort of ‘damsel in distress’ that we’ve seen
in other 7arzan films. She’s very adventurous, funny, and clever
‘and I like those qualities in women.”
84
ABOVE AND LEFT: Cleanup
animation of Jane by
Cleanup Character Lead
Juliet Duncan.
LEFT: Jane startles upon

hearing Tarzan parrot back
her words. Production still.
(We
\ de
Jane: You do speak!
“Minnie has a real talent for improvisation,” notes Arnold. “The
combination of her voice and Ken’s animation is a home run. You
don’t come across that kind of performance very often.”

“It’s quite odd hearing your
voice come out of a character
LEFT: Kevin Lima and Actress
that doesn’t really look like Minnie Driver review Jane's
you,” remarks Driver. “Every gioleghe

once in a while I see little BELOW: Jane Supervising
sparks of myself in the way she BGAN eR UTE Be
narrows her eyes or the way
she sticks out her
tongue while she’s

drawing. It’s very weird but you get sucked in immedi-
ately. | don’t normally laugh at what I do, but I was.on
the floor laughing at Jane. Doing the voice of Jane has
been one of my all-time favorite jobs.” ”
85
P
February 25, 1997
Dave hit Porter as soon as
he did some experimental
animation. The initial

inspiration oa a drawing
from Haarald
We all loved the sketch
but knew the translation
into animation wasn't goin

g : ts ;
to be easy. Dave is now
just tweaking the design.
ABOVE: These early character

development sketches of
Porter by Haarald Sieperman
served as the initial inspira-
tion for the character.
Supervising the animation of Jane’s preoccupied papa,
RIGHT: Character development
Professor Porter, was Dave Burgess. Acclaimed actor Nigel -
art by Peter de Seve.
Hawthorne brought a tremendous sense of charm and
BELOW: A stout. stodgy
humor to the vocal performance.
Professor Porter as con-
ceived of by H.B. Lewis. Burgess, whose previous.
OPPOSITE: Jane's fun-loving

Disney credits include work
father is perhaps the on the Genie in Aladdin, the <->
quirkiest of the characters.
Production still. hyenas in The Lion King and
Jaylog
Sapawluoiy
“D
the Archdeacon in The
Hunchback of Notre Dame, had
to wait a long time for the story team to

nail down the role of his character. Porter
and Clayton were among the toughest characters to grasp.
There were long stretches where the supervising animators had
too much time to experiment. Even worse, there were a few
false starts where animation began on scenes only to be aban-

doned due to story changes. )
Despite the occasional frustrations, Burgess enjoyed
contributing to Porter’s design and supervising the animation.
February 25, 1997
Porter has been a challenge when
it comes to his head size and his
height. He may 100k fun and car-

ABOVE: Rough animation of
toony on his own, but he still
Porter by Supervising
has to do scenes with Jane (who Animator Dave Burgess.
is straighter), and he could 100k

ABOVE CENTER: Porter delights
too goony and weird talking to her
in Tarzan’s enthusiasm for
4# his head is too big,or if he learning while Clayton grows
is too short. increasingly impatient to find Haa

ess
the gorillas. Production still.

7)
RIGHT: Cleanup animation of
Porter by Cleanup Character
Lead Tony Anselmo.
Porter: Look! Social grooming!
“He’s a comedic character, but there’s a
real warmth to Porter’s personality,” observes

the animator. “He and Jane really care about
ABOVE: Porter relishes the
moment the gorillas groom each other—there’s a strong bond between them. But at the same
Den ue si time, Porter's a blast to animate because he’s so lively. His mind
RIGHT: Dave Burgess present- works quickly and he's pretty kinetic. He’s like an eight-year-old
ed Nigel Hawthorne with ; 5
ewan soteh OF Bact boy in the body of a 75-year-old man.
studying his lines. With his spindly legs and big mustache, Porter is one of the
beige Rauin Lai broader characters in Tarzan’s spectrum of humans. Burgess
Nigel Hawthorne. and Dave added to the humor and quirkiness of the character by never
Burgess pose with Porter.
showing the mouth and lip-synching the movement of the mus-
tache to the dialogue instead.
For Hawthorne, who had ambitions
in his younger years of becoming a

Disney artist, this assignment was a
dream come true. The actor had previ-
ously voiced Filewdurr Flamm in the
1985 Disney animated feature The Black
Cauldron. Hawthorne notes, “When
: youre making a Disney animated film,

youre part of a team that is creating something original. The
directors set the stage and I let my imagination take over.”
ree) For the character of Clayton, Randy Haycock supervised
the animation with Brian Blessed booming in on vocals.
Oo Haycock had previously overseen the ani-
pe |
mation of baby and teenage Hercules
and worked primarily on heroic charac-
THIS PAGE: These early character

ters like Simba and Pocahontas. Inspired
= concepts of Clayton by Haarald by some of Haarald Sieperman’s prelimi-
Sieperman served as a great Aree : :
starting point for animation. nary sketches and the kind of debonair
and sophisticated safari leaders played by

OPPOSITE: Clayton fulfills the a
role of the duplicitous Clark Gable and other stars of the 30s
villain. Production still.
and 40s, the animator began developing
the character.
“Chris and Kevin told me that they

didn’t want Clayton to be an obvious
villain,” recalls Haycock. “They were ak
trying to find a personality that would make
him charming and keep the audience
guessing if he was a bad guy or not. He
went from being a very big, bombastic
character to being actually subtle for a
villain. He has a real duplicity about him.
To the other characters he’s charming and
polite, but when he turns aside to the
camera, he shows the audience what he’s
really thinking. Eventually his layers start to

strip away.
Chris Buck's Journal)
February 25, 1997

Randy has a challenge
with
:
Clayton in that the
design we
rae
like looks like a vil
lain,
yet we don't want to
give
away he's the villai
n until
the third act.
Clayton employs his cunning
charm to convince Tarzan to
lead the humans to the gorillas.
LEFT AND BELOW LEFT: Rough anima-

tion of Clayton by Supervising
Animator Randy-Haycock and of
Tarzan by David Berthier.
“There was a point when we were struggling to figure out

who Clayton was and how to make him charming and yet a
believable villain,” adds Haycock. “It all came back to Brian.
We'd start talking about what made Brian so charming to
us. There wasn’t anything villainous about him. It was a
certain quality and charisma he had. Clayton gets
his dimples, big teeth and great smile from Brian.”
Blessed, a real-life adventurer who has scaled
Mt. Everest and Mt. McKinley, had always want-

ed to do a voice for a Disney film. “The one
thing I have in common with Clayton,” says
Blessed, “is that I spend 50 percent of my life in
search of adventure.”
BELOW: Randy Haycock at

work animating Clayton.
through a woman's heart.

Clayton: There ar e no trails
92
F |
Clayton: Have we met?

ABOVE: Clayton's
despicable nature is finally
revealed when he traps
He adds, “Clayton has enjoyed a lifelong romance with
Tarzan and the others on himself. He adores himself. The line I love that sums up his
the ship. Production still.
character quite nicely is when he says, ‘That's when I knew |
RIGHT: Brian Blessed holds a
was born for Africa and
maquette of Clayton as he
poses with the animators. Africa was created for me.’
The character is a total
BELOW: Rough animation of
Clayton by Randy Haycock. egomaniac.”
Haycock concludes, “I'd
BELOW RIGHT: Cleanup animation
of Clayton by Cleanup never done a villain before
Character Lead
Randy Sanchez. Clayton. I had always done
work on the heroic charac-
ters. It was a long road to

find him, but I feel really at home with him actually. More so
than I expected. I think it’s about the subtleties in his charac-
ter. | enjoy that he has conflict and depth.”
Animating the film’s gorilla characters presented a whole
other set of challenges for the seasoned animation team.
To prepare for their assignment, the team attended lectures on
primates, made trips to zoos, and studied endless nature docu-
mentaries. And, just as the Disney artists studied animal anato-

my to prepare them for their work on Bambi, a group of the
ABOVE: Character development y Se i F
art ‘of Kerchak bu Rick Maki Tarzan animators got firsthand insights into gorilla musculature
and anatomy by witnessing the dissection of a recently
TOP: Character development art j A :
of Kerchak by Supervising deceased gorilla at a veterinarian college.
Anansten Banger Bruce Smith, a talented artist who had previously directed
BELOW: Visual development the animated feature Space Jam, supervised the animation of
de ce Kerchak, the respected leader of the group. He also designed
Opposite: Kerchak. guardian of and animated the baboon platoon, consisting of more than 75
the gorillas. Production still.
hand-drawn baboons that are featured in the big chase
sequence. Among these, Smith created
the baby baboon character who makes
off with Jane’s drawing, setting the
entire chaotic scene into motion.

In addition to the in-house lectures,
Smith and his team prepared for their

role by occasionally walking on their
94
LEFT: Cleanup animation of
Kerchak by Tracy Lee.
FAR LEFT: These rough anima-

tion drawings by Bruce Smith
demonstrate the subtlety of
Kerchak s emotional range.
hands to imitate and, thereby, internalize gorilla

locomotion. They even studied slow-motion
professional football footage to get a sense
of how Kerchak might react when he
jumps on an enemy or is in turn
attacked by the leopard, Sabor.
“Kerchak is probably the most real-
istic animal character in the film,”
explains Smith. “You have to

buy his agressiveness and
accept him as the
leader of the gorillas in order for the film
to work. When he walks, he has to feel
heavy. He has to have presence. When \

an he gets up and pounds his
\
gf
chest, that has to be threat-
Pec
(\— ening. There’s not much
‘\ room to exaggerate.”

Kerchak by Bruce Smith.
FAR RIGHT: Cleanup animation

of Kerchak by Tracy Lee.
Lance Henriksen of television’s
ABOVE: Production still.
Millenium and numerous films pro-
vided the perfect blend of force and RIGHT: Kerchak Supervising
Animator Bruce Smith.
restraint to the vocal performance
BELOW: Actor Lance Henriksen
of this character. “If you told me a
holds a maquette of Kerchak.
year ago that I'd be providing the voice for a gorilla character in
an animated film, | would be so amazed,” admits the actor. “I
stand in awe of Kerchak and his power. He is the dignified head

of a wonderful gorilla family. My biggest challenge has been
finding his energy and being true to his animal nature.”
“The hardest part about animating Kerchak is the restraint,”
adds Smith. “As an animator you really want to move him
around. But this character must move deliberately and with dig-
nity. You have to really feel what he is going through and be able
to show what he is thinking. Lance Henriksen provided us with
a great vocal performance and brought great presence with his
delivery. His facial mannerisms and the way he gesticulates with
his hands really inspired us.”
>
97
ABOVE AND RIGHT: Character
development art of
Kala by H.B. Lewis.
a Russ Edmonds, the animator in charge of Kala, was one
as of the first to join the production, and did a lot of

research into gorilla behavior and locomotion. “What we didn’t
want,’ observes Edmonds, “was for the character to look like a
person in a gorilla suit. We wanted her to look and move like a

real gorilla. She walks on her knuckles and she doesn't swing
from trees, because gorillas are too heavy to do that. They sit on
the ground and tend to move very slowly.
“One of the defining moments for me,” says Edmonds, “was
the realization that she should resemble an ape everywhere but
in her face, especially in her eyes—that’s
where she’s very human. If you watch
her eyes, you can see all the expres-
sions in her large brow. It’s the most
subtle animation I’ve ever done.
ABOVE AND RIGHT: Character
Because she doesn’t move a lot,
development art by
Peter de Séve. one of the big challenges is keep-
inom e ing her alive and making each
OPPOSITE: Tarzan’ s loving
gorilla mother. Kala. scene seem fresh and different.
Production still. : : : ae
Many of the scenes involve her simply breathing or sighing.
I've also tried to keep her very gorilla-like in her movements.
When she wipes the mud off young Tarzan’s face, she uses her
knuckles and’ the back of her hand.”
99
Kala: Now, forget what you see. What do you feel?
ABOVE: Kala tries to show
Tarzan that they are exactly
the same. Production still.
Reconciling the image of a 300-pound
RIGHT: Rough animation of
i eee gorilla with the mild voice of Glenn Close
and of Kala by Russ Edmonds. was another challenge for
BELOW: Cleanup animation Edmonds. “I had to ask

of young Tarzan by myself, ‘how do I make
Margie Daniels and of 5
Kalacbu lune Runnin: that voice come from
this character?’” he
was make sure all of her attitudes were very gentle.

When she speaks she’s very sincere and doesn’t move around
ew,/ Much. Glenn gave a great performance every time.
{ “ft
Close recalls, “When I first heard my voice com-
ing out of a gorilla, it was shocking. My initial
reaction was that my voice doesn’t do her jus-
tice. Kala is such a wonderful character
and the animation is so extraordinary. I
was fascinated to meet Russ and see
how he sits there and flips the drawings
back and forth in his hands.”
100
Kevin Lima's Journal]
June 30, 1997

“What’s lovely about Kala,” We recently spent a weeek record
ing
notes the actress, “is that she’s a back east.
| -
We were recording our
Kala,
V5 wie
Glenn Close.
strong mother figure and she’s I was actually
quite apprehensive abo
very important to the story. The ut the ses-
Sion. Here js an actress
that I]
twist here is that her child is an aberration, but she still protects
nave admired in all] of the choices
him and teaches him that his worth is on the inside. That’s a she has made in her
art
beautiful message for any child. I’m I can't help but won
der how
: F
also very happy to be in a movie sne felt about the recording
process and whether she felt

that shows animals and humans ulti- she
could bring any of
her training
mately having a good connection. or
Instincts to playing Kala. I'm
Every night my daughter prays for
sure in many ways j t's exactlyJ the
the endangered species. The fantasy same. Creating a character
in any
that animals bring into our chil- medium js creating a character
dren’s lives is very important. This Anyway,

our S€Ssion was
remarkable. Itae is ,
movie speaks to all of that. RSE
amazing to com-
EEST
T I I ahon,
municate with an actor
“Some of my friends have and hay ea
Single word adjust
a performance
pointed out that as Norma
completely. Having the ability
to
Desmond in the stage production listen is an incredible
gift
of Sunset Boulevard, | had a scene The work was inspiring
. The
Tit
in which I sang to an ape. Now | feel that I’ve come full circle actress is a joy. No more fear.
because I’m an ape singing to a human.”
ABOVE: Actress Glenn Close

records the voice of Kala.
TOP RIGHT: Kala Supervising

Animator Russ Edmonds.
RIGHT: Kala sings baby

Tarzanto sleep.
Production still.
101
fe 2)
foe)
=5
—<
se
eo While the supervision of adult Tarzan

c Was entrusted to Disney's reigning “old
— master” Glen Keane, the animation of
the character as an infant and a five-
aa year-old was handled by a relative
—t newcomer, Supervising Animator John
> Ripa. This was his first animation assign-
= = mentina leading role and he rose to the

occasion. Alex D. Linz got the assignment to voice the character.
In creating the baby Tarzan character, Ripa found all the
research he could have possibly wanted right in his own home.
A few months after he got the assignment, he became a father
for the first time. “I would just think of my own son when it
came to animating the baby,” recalls Ripa. “It gave me a better
understanding and allowed me to draw on what I knew. He
even looks a little bit like my son. Without the experience of
having a baby, this would have been a tough character to do.
There are so many subtleties and nuances to a baby’s movement
and the way they think and react. I really wanted the audience
to be able to identify with the character and perhaps be
reminded of their own children.”
ABOVE: The animator attempted

‘to incorporate the playful
quality of chimpanzee move-
ment into his designs of
young Tarzan.
TOP RIGHT: Early character

development art of young
Tarzan by Supervising
Animator John Ripa. ee
a
a
ee
A,
a
RIGHT: Ripa found the ideal

reference for animating baby
Tarzan in his newborn son.
OPPOSITE: Young Tarzan Looks

into the water with confusion
and disgust. as his reflection
stares back at him.
Production still.
Pes
RIGHT AND BELOW: Rough animation
of baby Tarzan by John Ripa.
FAR RIGHT: Supervising Animator

John Ripa works on young
Tarzan animation.
For the five-year-old Tarzan, Ripa

was able to learn a lot from Keane’s
designs and stunning test animation.

“T looked at everything that Glen did,”
says Ripa. “It was his idea for the hair
and the handling of the muscle shapes. I would look at how he
drew the shape of the leg and think how I could take
that and make it feel young. For the character's
movement, we studied young chimpanzees. They
have a very pure and childlike quality to them.
There’s an energy level, a playfulness, and a spirit
that seemed right for young Tarzan. Kevin had
told me about a young boy he met in Africa
who had grown up around chimps and that
became a starting point for our approach
and design process.”
ABOVE: Cleanup animation

of baby Tarzan by
Cleanup Character Lead
Margie Daniels.
LEFT: Kala rescues baby

Tarzan from Sabor.
Production still.
104
The vocal performance of
young Alex D. Linz (Home
Alone 3, One Fine Day) also
played an important role in

the animation of the character. Ripa notes, “He's got a
very interesting voice with a little rough edge to it and

y Sa4 : that gave me lots of ideas as far as the actin
g
was concerned. We didn’t want Tarzan to be

ABOUE AND RIGHT: Rough animation too soft. He had to be aggressive and able
eee ee iS cei to take charge of situations. I would
Animator John Ripa.
watch Alex at the recording sessions and
TOP: Young Tarzan gets in over
his head at Elephant Falls.
soak it all in. How he says things really
Production still. suggests a lot of expressions and between
ABOVE RIGHT: Actor Alex D. Linz takes he would explode and be jumping around fF
eecta reeCoNee and playing. He had a lot of energy to him and that
for young Tarzan.
was something we tried to capture for the character.
BELOW: Cleanup animation
“With each new scene, I would look at it and think, ‘How
of young Tarzan by
Margie Daniels. am I going to do this?’” recalls Ripa. “The whole thing was an
‘ oa wa incredible challenge. As an artist, you need to constantly
push yourself and try to achieve a quality
that you can be proud of. I look at the
incredible work of the animators
A_2\ around me and say, ‘I'd better get to
~'$ work.’ I'd rather be challenged than
bored and this film gave me a great
opportunity to grow in so many ways.”
105
aA
co
—t
= = Supervising Animator Mike Surrey, whose previous credits
include bringing life to the meerkat character Timon in The Lion
King, got the plum assignment of overseeing Terk, Tarzan’s wise-
cracking gorilla pal. The character was originally going to be a
swinging bachelor guy but as the story changed so did
the gender. With Rosie O’Donnell providing
the voice, the character became one of the
film’s most endearing and entertaining

ABOVE: Character development
scene-stealers. Inspired by an H.B. art of baby Terk by Rick Maki.
Lewis sketch, Surrey was able to incor- TOP AND LEFT: Character develop-
~ porate some of O’Donnell’s unique ment art by Supervising

Animator Mike Surrey.
characteristics into Terk’s final design.
BELOW: Early character develop-
While the story struggled to find its
ment art of Terk by H.B. Lewis.
way, the animator also got a chance
OPPOSITE: Production still.
to do some storyboarding, which
enabled him to play a larger role in
shaping the character.
“One of the things that the directors
really wanted was to have Terk stand out
from the other gorillas,” recalls Surrey.
“Eventually we came up with a design that had
Rosie's pouty cheeks and a mop of hair that was
suggestive of her own silhouette. All of the other
gorillas have kind of a crew-cut with short
cropped hair. We also made Terk a blue-gray
color, which is a bit darker than the other gorillas.
She has a small mouth and tends to talk out of
the side of it. One of the hardest things was find-
ing the right tone for the character. We wanted her
to be funny but not abrasive and insensitive.”
106
Surrey went on to design three versions
of Terk—as a baby, a five-year-old and an adult.
"Ee a The versatile O’Donnell provided voices for
ABOUE: Baby Terk encounters all the incarnations of the character. She
difficulty handling the new
arrival. Rough animation of
also gave the animation team lots of great
baby Terk by Mike Surrey and } ad-lib material to work with, including a brief singing
of baby Tarzan by John Ripa.
moment with an Elvis-like ending.
BELOW: Rough animation
“Tm always imitating my nieces and nephews and my
of young Terk by Dan Galieote.
own children,” says O’Donnell. “At one of the recording
BOTTOM: Cleanup animation of
young Terk by Brian McKim. y iv
sessions, I was telling someone a story that my five-year-
a
old niece had told me and I| was doing it in her voice.
BOTTOM RIGHT: The drama queen
makes her grand entrance. All of a sudden | hear a click over the PA system, ‘Rosie,
Production still.
that’s the voice we want for young Terk.
ob)
Terk: The fun has arrived!
108
ABOVE: Terk leads a band of
her friends in the musical
sequence. “Trashin’ the
Camp.” Production still.
ABOUE LEFT: Rough animation of

Terk by Mike Surrey.
LEFT: Mike Surrey pauses

for a photo.
O’Donnell was thrilled to be
asked to do the part, but she did BELOW: Rosie O'Donnell and Phil
Collins pull out all the stops
have one rather specific demand. creating the scat rhythm for
~“Trashin’ the Camp.
“I told them I have to have a
song,” she says. “I love the Disney Chris Buck & Kevin Lima
musical legacy and I really wanted to be a part of it. Working April 15, 1997
with Phil Collins on the “Trashin’ the Camp’ number was a lot of CB: We recorded Rosie today. Kevin
and I were both nervous, not knowing how
fun. After the first take, he said, ‘All right Rosie, it’s very nice but
she would react to the whole proce
dure.
it’s a bit under and we've got to get it in pocket.’ I said, ‘Okay,
KL: It couldn't have gone better.
sure’ but I didn’t have a clue what he meant. Where is the pocket?. Rosié€ was an absolute angel to work
I just kept saying ‘yes’ and with. Not only was she a complete pro-
doing it over and over again fessional, she brought something spe-
for about 45 takes.” cial to the characterthat spark that

has been eluding us.
As the mother of two
CB: She did some great improvs—
adopted children, O’Donnell
really brought the material to another
found the story of Tarzan to
dimension.
be a very relevant one. “My KL: We started slow and tried to
kids are my family. It has to do with heart-connection. A family €ncourage her to make the part
her own-
consists of those who nurture and love you.” basically by letting her®
+>
sible. It is in these places that most

of our characters come to life,
and
109 luckily, Rosie went to those places.
aA
ford
—|
cr
3 Controlling the animated antics of the neurotic elephant fe
—t Tantoy, both as a five-year-old and as an adult, was
Spanish-born Supervising Animator Sergio Pablos. ~_ - 4

Comedian Wayne Knight was cast to provide the
voice of adult Tantor.
ABOVE: Early character
development art of Taylor Dempsey, a
Tantor by Chris Ure.
. fouryear-old new-
RIGHT AND BELOW: Character comer, won the speak-
development of Tantor
by Supervising Animator ing part of the young elephant.
Sergio Pablos. “Elephants are basically
OPPOSITE: Production still. skin and bones,” says Pablos.
“The tendency is to animate them like a big
water balloon with legs, but we wanted Tantor to be more
anatomically believable. We wanted him to have weight and

texture and overlaps. The challenge from a design stand-
point was to make him funny and -
| expressive without losing the basic
characteristics of a real elephant.
110 f
“Tantor was a blast to animate,” adds Pablos. “From
the moment we meet the character and he asks ‘Is the

water sanitary?’ you know exactly what he’s all about. It
took us a long time to figure out how to integrate him
into the film. We knew early on who the character was, but
we had no clue what he was doing or what his relationship with

ABOVE: Cleanup animation of Tantor by
Terk was. It took a lot of work to get all the characters working flearnp Characteh Lead Tevrg Waentes
towards the same purpose. There was an evolution and Tantor
BELOW LEFT AND BOTTOM: Rough animation of
ended up having a real arc. He really does change and even Tantor by Sergio Pablos.
becomes a take-charge kind of guy in the finale.” d
BELOW: Tantor s neurotic nature is
revealed from the first moment he

appears on screen. Production still.
water's sanitary?
Tantor: Are you sure this
112
LEFT AND BELOW: Rough animation
of Tantor by Steve Wahl.
BELOW LEFT: Cleanup animation

of Tantor by Terry Wozniak.
ion!
and your emotional constipat
Tantor: I've ha dit with you
Knight describes his character as “a sensitive beast who

enjoys the peace and quiet of the jungle. Which there's not a lot
of. Tantor is uncomfortable much of
ABOVE: Supervising Animator
Sergio Pablos. hard at work
the time. He just wants things to be
on his character. cool for his friends, Terk and Tarzan.
“cy? s ”
ABOUE RIGHT: Tantor snaps into I'm pretty frenetic by nature,

action as he strongarms
says the actor. “I can see a lot of me
Terk into helping Tarzan. : :
Production still. in the facial expressions that he has.
Paneer Hae But I’m more interested in trying to
Wayne Knight. become him—I’m hoping to see him
on the screen, not.me. Kevin Lima remarked that I was born for
this medium. I think that’s because I’m just too much for human
existence++I should be animated.”
113
TOP AND RIGHT: Character develop-
ment art of Sabor by
Supervising Animator
Dominique Monfery.
BELOW: Character development

art of Sabor by
Haarald Sieperman.
OPPOSITE: Sabor. the ferocious YY?

: ES
leopard. Production still. wo
o For the character of the silent-but-deadly leopard Sabor, -
—st
Paris-based Supervising Animator Dominique Monfery
faced a whole different setof challenges. He had to put himself
in the mindset of a stealth jungle predate ahaa actions speak
considerably louder than words. Working with the various techni-
cal and effects experts, he also had to come up with a way of
animating between 70 to 100 individual spots for each frame in
which the leopard appears. Not since /0/ Dalmatians had a
Disney animator found himself in such a tough “spot.”
Monfery recalls, “In the beginning, we watched a lot of video
a footage of leopards and panthers to study the mobility and psy-
| chology of the character. We also spoke with a professor of ani-
mal anatomy and had a small cat skeleton on hand for refer-
ence. With a four legged-animal like this, you had to get familiar
with the mechanics of the walk and the way it stalks its prey.
The directors wanted Sabor to be frantic and obsessed.
Whenever she spots her prey, she basically has only one thing in
mind—attack and kill.”
114
THIS PAGE: Rough animation of
Sabor by Dominique Monfery.
ABOVE CENTER: Sabor attacks.

Production still.
=) cen
fo. WEF
fj5 © *
yw Pe A Bee : :
Hae a> (by ; Maintaining the visual consis-
{
\@ We
y We Aye 9, | tency a and authenticity y of Sabor’s
spots took a great deal of effort.
Monfery explains, “We worked
out a system where Sabor has

more spots when she is very
close to camera. When she is far away, we
were able to cheat a little and
Ee
use fewer spots. A blur effect oe

x as
is used when she is moving
swiftly through the jungle. a
at
A): “Ni
Drawing and coordinating
all the spots was absolutely
one of the hardest parts of
the assignment and very we
time consuming. In the end,
Sabor had three levels of

animation—body lines,
yee spots, and whiskers.”
Animating Sabor required close coordination
4
with Keane, Edmonds, and Smith—the trio of super-
visors responsible for Tarzan, Kala, and Kerchak.

For the major fight and chase scenes, those charac-
ters were typically animated first in anticipation of
Sabor’s movements. The leopard was then drawn
interacting with their carefully choreographed
moves. Monfery’s first close-up—the opening
sequence in which Kala grabs Sabor’s neck to
keep her from attacking—was the toughest scene and required
ABOVE: Dominique Monfery
seventeen different versions before he arrived at the final one.
takes a break from his work.
“Tarzan is a big step for the Paris Studio,” notes Monfery.
TOP: Gag sketch of Sabor. i ao ARS :
ae ae It represents the first time that we had the opportunity to
ABOVE RIGHT: Cleanup anima- do not only the main character but one of the other key charac-
tion of Sabor by Cleanup :
Ga ucrethe (aka euler IIL ters as well. It has been a great experience for all of us on the
production’ team.”
117
ABOVE: Cleanup animation
of Kerchak by Tracy Lee
and of the baby gorilla by
June Fujimoto.
a\9
que Just as supervising animators lead a team of artists
oO assigned to their character to ensure that the characters
personality, emotion, and spirit is conveyed through each draw-
ing, it is the job of the cleanup department, particularly the
cleanup character leads, to uphold the consistency of those THIS PAGE: These rough and
cleanup animation drawings
characters. Their challenge is not only to convey the life that the of Kerchak demonstrate the
difficulty of keeping a char-
character animator has infused into the character, but also to
acter consistent. The
maintain the “look” of the character from scene to scene, from cleanup artists must take
rough drawings of a charac-
the perspective of anatomy, design, and proportion. As it is their ter. drawn by different
drawings that end up on screen, itis the cleanup artists who are artists in varying styles, and
put them “on model.”
charged with keeping the character animation congruous.
118
As head of the cleanup department for Tarzan, Marshall
Toomey had his work cut out for him. “This was one of the tough-
est films to do from our perspective because of the complexity of
the characters,” he notes. “This movie is so good, I don’t want to
lose anything. It’s our job to keep the acting in the final drawing
and not lose what the animator spent so much time acting out. It
is vital that the characters look like they have all been drawn by
the same hand. They need to feel as though they all belong to
the same world or we haven’t done our jebs properly.
“This was particularly challenging for the hairy animals,” he
continues. “Some animators like to draw the coat of hair and
others leave it to us. We came up with a formula on this film so
THIS PAGE: Layered together.
that the hair is suggested, but we don’t have to draw a ton of it iwse three Lenbls uf
for every frame of film. EOS aT)
lines. spots. and whiskers—
“Sabor presented her own difficulties for us. Not only is it make up Sabor. Cleanup
imation by Havier Villez.
tough to draw the anatomy of a cat but there are spots on a sep- ere a
arate level, whiskers on another, and a blur effect as well.
119
“Glen Keane is one of the roughest animators on the planet
and his stuff is beautiful; everything is right where it should be.
It looks like Michelangelo animated it. We have to take all his
Kg\S
Y
rough drawings and make sure nothing is shaking, no lines are

ANG XN
HAN
NY
I
jiggling, and the eyes aren’t bouncing all over his face. It’s XSUS A
SA
N A)
= a OS
"e&
SN
# a _ Wy
important for the lead cleanup key to get inside the head of the
animator so nothing is lost in the process. :
“There is no forgiveness with the human characters. Tarzan
Tarzan by Glen Keane.
has this magnificent physique and we had to make sure every cleanup by Philippe Briones.
muscle was in place. Jane had her own set of challenges with
BELOW: The cleanup character
so many clothes, with ruffles and bustles and things, not to leads for each character
create model sheets for
mention the umbrella and shoes with buttons.” their team to follw in final-
izing the lines that will
appear on screen. Cleanup
model sheet of Jane by
Juliet Duncan.
120
yo\aX3
In his song “Two Worlds,” Phil Collins creates a vivid picture
——* — of contrasting worlds—humans and animals—bonded by a
ya common thread. Similarly, the production of Disney's ani-
mated feature, Jarzan, brought together a variety of diverse
cr
=sS “worlds.” In the story, the civilized world meets the
Sed untamed frontiers of Africa as Jane, Porter, and Clayton
“— invade Tarzan’s “jungle paradise” and change his life forever.

== [na case of life imi-
Yt
Ga
o-_
tating art, the film-
€B makers who jour-
neyed to Africa during the
research phase of the pro-
ject were deeply affected by
the visual splendor and nat-
ural wonders they observed
there. The film’s overall artis-
tic vision, under the guidance of Art Director Dan St. Pierre,
was designed to draw the audience into this spectacular jungle

paradise. St. Pierre, working in concert with the directors and
the film’s other artistic supervisors, added shape and definition
to Tarzan’s world while an innovative and impressive new tech-
ABOUE RIGHT: Visual develop-
ment art by Bruce Zick. nique called Deep Canvas allowed the traditional 2-D animation
world to mesh with the dimensional realm of 3-D computer
BELOW: Visual development
art by Bryan Jowers. graphics as never before.
121
“Before we took our trip to Africa,” explains St. Pierre,
“our first impression was to give the film a naturalistic look.

Not realistic, but naturalistic. The Impenetrable Forest (in “THIS PAGE: Visual development
ike oe ely a place where
j was definit rt by Ian Gooding.
Ta aan aeae
indi Uganda) seemed like
Bwindi, it
Tarzan could live. I felt like 1 wanted to move there too. It was
such a cool place. Being there gave me the idea of creating ‘the
ultimate jungle’ and using an approach we called ‘heightened
naturalism.’
We needed the jungle to be beautiful at times and
: ; : Dan St. Pierre’s Jounal
aggressive at others. We increased the scale and the proportion
March 16, 1996
of things and created the design. Some plant shapes were This film has to make the audie nce
changed to be a little more elegant, so we feel like they’ve been somewhere
could decorate the forest and make a really outside their home; to take them
beautiful
: environment for the gorillas to live _ outside their city or town. They
é : should feel like they’
in. We also organized the jungle a bit more a eT
frica and had a vam eetill
chance to hang
than it is in real life for dramatic effect, and
out with gorillas for an hour and
tried to depict a world that was easy and a half. It will be a great thing
pleasing to look at.” . if we are able to tell them this
“For me,” states Kevin Lima, “Dan is the great story, immerse them in this
only artist who could have brought together
7
orld, and have them think, “Wow!
We ; “
d I really felt like I wa

so many seemingly untamed elements. His
could almost smell dace:
it.”
understanding of layout, desire to move the
camera in three dimensions, and need for
artistic perfection all make him an incredible

partner. There are few collaborators you click
with immediately—Dan is one of the few.”
122
Even before they set off on safari, the filmmakers had some
basic ideas of what their jungle environments should look like. In

the early stages of visual development, they brought in several
prominent artists to provide ideas and inspiration. Artist John
BELOW: Visual development ; ; 5
art by John Watkiss. Watkiss helped to influence the look of the film with his expressive
backgrounds and loose painting approach. Paul Felix did some
BOTTOM: Background painting
from Bambi 11942). impressive designs and brought a sense of fine detail to the film.
“John Watkiss got everyone excited about the possibilities for

Dan St. Pierre’s Journal
the film with his early paintings,” says St. Pierre. “His work cap-
May 7, 1996
tured a spontaneity and an overall impression of the
We
Ww are drawn to the impression-
jungle rather than a hyperdelineated and highly
ism used in Bambi, where you ate ek
i i detailed style. When you ar
really feel the richness of the
forest without actually having feels like there’s all this detail, but if
to ‘see ery“Blade of grass you look really closely, it’s just
Tyrus Wong really under-
shown. suggested and your mind fills
tood italized on this in ; :
ee in the blank 7 and interprets a
the design of Bambi. We should
lot more than is really shown. He
examine more of these ideas.
painted some really large pieces
and did lots of painting—generally on
large cardboard swatches—to inspire the
look of the jungle.
124
ABOVE: Visual development art by Paul Felix:
Doug Ball’s Journal

April 18, 1996
Paul’s drawings are our key “From Paul Felix’s
to providing an impression of
graphite drawings, we
Tarzan’s jungle, without
got a sense of light
overwhelming the viewer with
detail. We must translate his
and the way to depict
work into our backgrounds. masses of trees and

foliage in a simplified
way, adds St. Pierre.
RIGHT AND BELOW: Layout artist
Dave Dunnet helped the film- “He had a way of rendering that would allow light to spill over
makers to translate Felix’s
surfaces and describe form with just light and shadows. He
atmospheric style into lay-
out concept drawings. would smudge things and give them an elegance and beauty
that were very inspirational to us.”
Felix notes, “I tend to go for more
atmospheric, impressionistic-style draw-
ings. For this film, they wanted the

paintings to have a feeling of depth and
we were able to convey that through
color and evident brush strokes.”
125
ABOVE: Members of the Tarzan crew that made the trip to Africa included
(FROM LEFT TO RIGHT) David Stainton. Chris Buck. Brian Pimental. Kevin
Lima, Wendell Lubbe. Paul Felix. Dan St. Pierre. and Doug Ball.
The main safari got underway on March 12, 1996. Directors Chris Buck’s Journal
March 14, 1996
Buck and Lima, Creative Development
Vice President David
There’s no way to describe
the
ilm’s artistic
Stainton, and a small contingent of the film’s artisti supervisors
rvisor feeling of being nese ee ani.
(Doug Ball, Paul Felix, Brian Pimental, and Dan St. Pierre) mals. In the jeep you fee] ee:
arrived in Kenya, where they embarked on an ambitious two- tively safe, knowing you can race
week sightseeing excursion. They visited well-known reserves away if they charge,
and lodges such as “The Ark,” and explored Masai Mara. Head of ere seems to be a very gen-
(<4 ” ° Th
tle, intelligent .
Backgrounds Doug Ball personally shot over 5,000 photographs alia US
phants. The strangest feeling
is
as reference for the film. ; ;
that you’re watching dinosaurs—they
The group started out at Amboseli National Park, where they are so big and seemingly so unreal
observed elephants, zebras, giraffes, cape buffalo, ostriches,
baboons, wildebeest, warthogs, impala, hyenas and a hippo.
THIS PAGE: The Tarzan crew took many ref-

erence photographs of wildlife during
their trip to Amboseli National Park in
Kenya. This leopard (TOP RIGHT). baboon *
(ABOVE). and African red elephant (RIGHT)
all found their way into the film.
126
RIGHT: The crew also took exten-
sive photos of the surrounding
landscape to use as reference in
creating their backgrounds.
BELOW: Background art from the

baboon chase by Phil Phillipson.
BELOW CENTER: Kevin Lima found this

feather on the trip to Africa and
incorporated it into his journal.
ABOVE: Crew members take a

break in the shade.
LEFT: The crew's Masai

guides. James and Saruni.
study the Puff Adder.
March 13, 1996

Alan told us how Tim stepped on
a Puff Adder-one of the most

deadly poisonous snakes in East
Africa. It did not bite him, but

it was necessary to kill it and
Saruni accomplished this with an
impressively accurate spear throw
which passed squarely through
the snake’s head.

March 17, 1996
I think I have encountered one of the steals my hat. I sit down next to
great events of my life. In fact, I’m another chimp named Sophie and she
looks gently at me and moves
sure of it. closer.
I know it sounds odd but these
guys
had allowed me to share. I fee] the thinks he is her mom. Vince thinks
Joy I felt when I was a kid. The joy Sophie is his daughter and Oliver thinks
that’s been so hard to come by in my
she is his sister.
:
dult world. e
All of this is dandy and fits the
research we’re pretending to do on this
vacation of a lifetime. I’m mesmerized
by this little chimp boy, Oliver. We
As we climbed out of the landcruis- roughhouse with the chimps and with each
er, three young chimps Cameerunning to other. I love to play. Play is something
gr eter ce metals: I feel like I’m denied in my life. I
One of them climbs up on David and wraps have to play. All in all, this was one
its arms around his neck. I walked over of the great experiences of my life.
to pet it and it pushes away from him As I said goodbye to Oliver, I
and connects itself to me. I am filled Vince [the park manager] has a cried. I tried really hard to breathe
with so much joy I can barely contain five-year-old son named Oliver who has deeply and put on a grateful face. How
a
myself. I’m at a loss for expression. grown up with Sophie. When Oliver was can I ever forget my close friends that
born, Sophie was six months. Fate, i
was raised since infancy by Vince and

Thanks.
The chimps start climbing a tree. I
sit down in its shade. They come down
and want to play with me. For the next
two hours we tumble, we wrestle. Neka
One of the major highlights of the trip occurred when the ‘THIS PAGE: Director Kevin Lima
group visited the Sweetwater Chimp Sanctuary and met park plays with Oliver and Sophie
at the Sweetwater
Chimp
manager Vince Smith. Smith took them to his home, where they Sanctuary.
were introduced to a family of chimps that roamed freely on the
property. This experience was to have a profound effect on Lima
and the others and provide a great inspiration for the film.
128
THIS PAGE: These photographs of
gorillas Were taken by the film-
makers on their trip to the Bwindi
Impenetrable Forest.
Chris Buck’s Journal]
March 24, 1996

We had two trackers and an Engli
sh-
speaking guide take us up a well-
worn
path. We then cut into the jungl
e and
our trackers hacked away at the vines
and plants. Crushed vegetation, nests and

poop were the signs that we were
nearing
the gorilla camp. We removed
Our packs,
put down our walking sticks and
By March 24th the group had moved on to Uganda to took
only our cameras.
observe the mountain gorillas in their natural habitat. Since
When we first walked in, we had
a
gorillas were to play a large role in the story of Tarzan, this visit
great view of a young gorilla.
Then we
was much anticipated and very educational. noticed the mother behind her.
1 was
Among the other highlights of their trip, the group took a hot amazed at how comfortable they were
air balloon ride and visited magnificent waterfalls. The experi-

ence filled them with a sense of awe and wonder.
Taid down beside one
Seven months later, Tarzan Supervising Animator Glen Keane
of the females for awhile. Then he got
took a similar trip to Africa and had a chance to observe the
up in a threatening pose and stare
d at
gorillas for himself. He found that the us. We all crouched down and looke
d
experience gave him some valuable away SO as not to make eye
contact with
insights and an important new perspec- him. He then walked right past our
group, not more than eight feet from
tive on the direction the film was taking.
us. We could see that the whole
According to Keane, “Chris and group
was together.
Kevin kept talking about the theme of
Our hour was up too soon. The
‘family’ for this film. I wanted to go to gorillas were moving on and it was time
Africa myself and see what those gorillas were all about. for us to move on as well. It was a
“It was like a little paradise,” continues Keane. “I came away breathtaking experience-almost
like an
out-of-body
thinking ‘Wow! I can really understand why Tarzan. loves it here, experience. I just couldn’t
believe I was there. Seeing the goril-
and would decide to stay, This is really where he belongs. This is
las up close was awe-inspiring.
They
his home and his family.
mn >
are so large and powerful yet so gentle

and peaceful. I stil] can’t believe it
129 happened. A dream come true.
March 29, 1996
final leg of this

I’m approaching the
ends. An adven-
adventure. An adventure
of this
ture begins. In a way, the end
pistol shot that
trip is the starting
t lies ahead. The
announces the race tha
motion. Sequences
bal] 45 already in
All is a go. I’m not
are being written.
!
one to hesitate. So grab hold and fly
BOE By THEY “Two css

(we):
hs RIG
NOG (456 Biowbl
[WiriAL cons Wa
G ws
Qeor (3 OIE ord
CPRECAOING
aera We HA
S\G IMA CANE CONES Pls why Ln)Dse Tous

WS
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,
Dey pero Fgcenins 212 (E Aor
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iT \ookssO |
aT in 0 rk
Wy UKE aca ABOVE: Gorilla sketches from
Glen Keane’s Africa journal.
LEFT: These waterfalls Dan St.

Pierre sketched in his journal
while in Africa found their
way into the film.
BELOW: Young Tarzan takes a

daring leap at Elephant Falls.
Production still.
ven ae ee
NSEREze hopee
CSNsoe e
aLoco none Roto) |
Molmy UH 1oAmn |
November 6, 1996
TME
HUOT EP Or & CRATES
| S7QTv VEN re IN ATE? | After the gorilla trek, we
walked
\ Tew tc
THE a Inert Sau n>3 Sutra S - MY Gummer
RD 0 IK
through the “Impenetrable
4 pre Felortiinls Suw75 OW HR Werk $$ Oe. Forest”—the
Jag < ir SPL PdMtri= DT Worse Ur KOVUM classic jungle. It was everything I
e ek. —~ wey — GPni2zy 7 Coue
lgolapn Sow? always imagined a jungle
—jwSTAS LE Velaro? F case eee would be like
ery oe
ere eee DinNeTe WES Dey ase Sussh : on. as a kid. Towering trees
laced with
ce a5, Mirar & & Ge OH Fer Wwe Te Mims Wet DELS
Tme twisted vines crisscrossin
g the forest.
:og 55 Ve ane
pes ewe W/o WersDa@
= -
- He rou BSS BEcrt
Moss covered everything.
(blows Huge canopies
OPy WEWa Ree SuRuwer , Sp
bob - bes A027) Of leaves threw shadows over
phe ewe Swe ne the floor
Cust, nwgedMO ES TRUT that rippled with root
ines.
Ke Phirnts Anny
Vines! TaFZan’s freeway system.
Interestingly, the vines don’t just
hang down vertically from branches.
‘ al (Be They crisscross, attach, intertwine.
neud KE WE Sans
re
‘t. Sa {
IWSDOTLEES Tux 7 L987 RE pres

Qs ear SUW@FAirwY — AWW Ee.
SOQw Come uns by TE Care a

Vin Gran) Vian Gowe uM Sérleume FQ lar W
|
}
Reus DE tee ae TNE Gory Ey PaeP Dow,
Drag UL
Zé
Vere
el Ny
@ (
ABOVE: A page from Glen

Keanes Africa journal.
ABOVE RIGHT: Tarzan investi- ANY Loan

gates traces of the humans’ BOT AS We
presence in the bamboo WINES, HANEINer jvoS5 A Wo oF TANGtey)
thicket. Production still.
Be Thic AND PhM00, TS up
h And,
| b
NET sShpkis, Sup me. Go SITE Z| ONY
RIGHT: Kevin Lima sketched a 6 EXPWVEAD b Bupoo TH
| CLET ann
REAI
N By
bamboo thicket that the
team Came across on their OMS. bb TAT tue IN
Africa trip in his journal. NVIATA Y, t Meganean
OVERLEAF: Background art by
TANTS In) Me SotKs” BTS, Wikeg
yy
WHAT AN AMAZIN
WAS , SV2INaD G Worlyp He Phnbos nore
Thierry Fournier.
gg VANIALS, Letu
MOUND MAGIC. gs WHC ING.
Hts
back
We have now taken off,
Ho OU
KEOMD WE OLD we
ps Too ISthA 5 IN
to L.A. T
time to process this, trip. CUNPFI N 7 oeW?4
PE Obs. aye "
will never see Africa the
same
Ala cael yp 7
way-it’s even more incr
edible &
WINESON 2
beautiful than I imagined. a
oie SPAI
|20 |4e
ING A[S
| esORS ot =
131 les
Doug Ball’s Journal
now are
The backgrounds coming thru
. I think
very rich with color and light
ing the
we are getting closer to
feeling of th aracters protected 7 : :

For St. Pierre, the | trip to| Africa strengthened his desire to
e. We
within the canopy of the jungl
capture the depth, dimension, and drama of the jungle setting in
s being
need the contrast of the leave
illuminated by the light and all the his art direction for the film. After visiting the dense and exotic
effects of the reflected light. Impenetrable Forest, he was anxious to return to Burbank and
put these ideas to work.
ABOVE: Color key by Working in close harmony with the directors and the film's lay-
Joaquim Royo Morales.
out, background, computer graphics, effects, and scene planning
supervisors, St. Pierre set out to capture the feel and flavor of
Africa in a way that no other animated feature or live-action

Tarzan film had ever done before. Having served as layout super- —
visor on The Lion King, he knew what he
didn’t want it to look like. That film took
place largely in the flat open treeless savanna
region of Africa and its few tropical jungle
scenes were more fanciful or imaginary with
ABOVE AND RIGHT: Touches of

light..shadow. and accent
color help to support the
emotional arc of the film
and keep the characters
looking as though they are
at one with their environ-
ment. Production stills.
134
2
Sn
~d &
=>
~ a
a
wo —
fur
y Va C) ‘,
“ fi
E \ o*
N
Lp \
ABOVE: The use of light and
shadow in this scene creates a
safe haven for Kala.
July 22, 1998 RIGHT: Cleanup animation of Kala
las by June Fujimoto. effects

The idea of keeping the goril
animation by Masa Oshiro. e
submerged in foliage has been
somewhat difficult to execute.

Typically, animated charac-
,
ters play on a flat ground plane exaggerated colors. The jungle in 7arzan had to be natural and the
eliminating the need for interac-
characters had to be seamlessly integrated into their environments
tion with their environment.
in order for the story to succeed.
When we went to Africa, we
always
St. Pierre and the artistic team applied a wide variety of tra-
realized that we were
ee-deep in jungle We decided ditional methods and techniques to achieve their goal of mak-
that we needed to break some ani - ing the characters seem at one with their jungle setting.
mation rules to achieve this Shadows wrapping around the characters and moving across
effect. It is a difficult illu-
their faces suggest the canopy of plants and trees above. Having
sion to achieve.
the characters move in and out of beams and pools of light also
We often joke that our next
make the world a more realistic and believable place. Overlays
animated film will take place in
the desert or a supermarket

of plants covering the characters’ feet made it feel as if they
‘parking lot!!! were wading through the jungle and provided another way of
placing them’credibly in their natural environment.
135
ABOVE: Color key by Defining the look and
Thierry Fournier.
style of Zarzan required the
RIGHT: Tarzan inspects the trail efforts of an immense cre-
made by Clayton and his
machete. Production still. ative team. In the interest
of showing the contrasts between the animal and human world,
BELOW: Beams of light cut
through the jungle cover the team experimented with different approaches to lighting and
suggesting danger for the
color styling. St. Pierre explains, “In our movie, light equals dan-
scene in which Tarzan
confronts Kerchak. Workbook ger, and darkness or subdued light is safety. Where to humans
drawing by Olivier Adam
safety equals light, the gorilla habitat is under a canopy and to
them that is safety. During the course of the movie, whenever
danger threatens, like when Sabor the leopard shows up and
attacks the gorilla family, there’s strong light. When we first meet
Clayton, he is cutting down the bamboo forest and letting more.
light break in. So it’s two
kinds of worlds—the
cocoon-like shelter of the
gorilla habitat, and the
open sun-bleached world
of the humans.”
THIS PAGE: Light pierces through
Tarzans hiding place as Sabor
attacks. Production stills.
een
Dan St Pierre’s Journal
March 17, 1996
The forest is dense and green

t
with many exotic looking plan
forms. The red elephants were

beautiful to look at against the
There were Throughout the film, bright colors are used to accent and
lush green vegetation.
many scefies that Were almost. enhance key scenes. “With its jungle setting, the film could have
primordial with lots of,.exoiie easily been dominated by lots of greens,” says St. Pierre. “Instead,
plant life, trees, bushes, vines,
we injected a variety of colors wherever we could as a way to
s.
and quite a few flowering plant
support the emotional content of the story.”
Head of Backgrounds Doug Ball adds, “I found Africa to have a
much more subtle palette than I expected. The colors of the land-
scape were spectacular in the way
they would subtly shift from one
moment to the next.”
THESE PAGES: Hot color highlights

add drama to this scene in
which Kerchak confronts Kala
[ABOVE]. contrasting with the
cooler natural colors that
pervaded in the previous
scene in which she returns to
the jungle with baby Tarzan
[RIGHT]. Production stills.
Background art by Don Moore
[OPPOSITE ABOVE] and by Justin
Brandstater [OPPOSITE TOP].
TOP: Color key by

Sunny Apinchapong.
“As a means of visual storytelling,” continues St. Pierre, the
colors help to emphasize the emotions that the characters are
feeling. A lot of the film’s more intense moments take place at
sunset, for example. When Kala tries to convince Kerchak to let
her keep baby Tarzan, the scene takes place against a beautiful
orange red glow to help support the heat of the moment. Then it
cools off and we do a color transition out of that into night.
Another example is when Tarzan is being yelled at by Kerchak
for endangering the family. He runs off dejected and puts mud
on his face to make himself look like a gorilla. All that takes
place at night. It is very cool and very blue. It provides a striking
contrast to the orange and red scene that preceded it.
RIGHT: The colors turn a

brilliant red as Clayton's
men round up the gorillas.
Color key by Dan Cooper.
“Associate Art Director Dan Cooper color scripted the whole
film in thumbnail form,” adds St. Pierre. “Together we worked
out key color beats and significant color transitions between
sequences. The overall color palette of the film is what I began
calling ‘action adventure color.’ It's more like old book illustra-
tions and reminiscent of the work of Wyeth, Howard Pyle, and
William Bouguereau. We were also influenced by Rembrandt

and tried incorporating the use of a single light source with a
very warm light that goes soft around the edges so everything
falls off into darkness. You can see this in the romantic moment
in ‘Strangers Like Me’ when Tarzan is falling in love with Jane
with the light from the magic lantern as the primary source.”
THESE PAGES: Thumbnail color keys

from the “Strangers Like Me™
sequence in action adventure
color by Dan Cooper.
140
“We tried to find a common language for the painters—one
that Dan St. Pierre, Doug Ball, and myself would all feel strongly
about,” explains Cooper. “This common aesthetic could be com-

bined with real experiences and influences of the Africa trip.
“It was important to have a feeling of light and temperature
that was believeable. Dan and I would go back and forth trying
to find the right look. Our choices for each sequence are
reflected by the color script which is then interpreted by Doug
and several key painters such as Paris Head of Backgrounds
Joachim Royo Morales, Jennifer Ando, Sunny Apinchapong
Yang, among others. It is this combined effort that gives the
film it’s rich, luscious look.”
ABOUE AND RIGHT: Tarzan Surveys
the horizon. Production stills.
BELOW: Color key by

Jean-Paul Fernandez.
’ S Journal
Dan St Pierre
February 18, 1997

Color is also used to support the dramatic impact of the
1M clude
remember to
we need to
| of color beats that story. St. Pierre explains, “We wanted the audience to have a
repetitio
we
<cho similar emotional content in sense of progression of time during the course of the film, so
tarzan’ journey: tried to use light and color to depict this. Even at a story level,
Find a way to describe we would discuss how to give the film an overall
: balance of
Vinbo. What, is the best oe wee 7
Tarzan inin ,
light and dark by adjusting the time of day in which the scenes
usion
Tarzan’ s conf
way to depict were set. With regard to the color palette, we've got sunset col-
with Tight and color? anne
ors, evening colors and morning colors to help them fit within
the world we've created and to suggest a linear time frame.”
142
ABOVE AND ABOVE LEFT: Dan St. Pierre
worked with the directors to cre-
ate rules” for Tarzan’s world. For
the gorilla habitat. they employed
s-curves to provide a soft. safe.
natural environment as in these
color keys by Doug Ball [ABOVE] and
Jennifer Ando [ABOUE LEFT].
LEFT: The tree house is a blend of

the regular. ordered box shapes
of the man-made world and the
organic. elegant curves found in.
nature. It is there that Kala
discovers baby Tarzan caught
between two worlds. Tonal
layout by Denise Fuller.
St. Pierre says, “Throughout the cre-
ative process, we tried to weave a lot of
different color threads together to get a

beautiful fabric. In the end, there’s all
kinds of backstory that nobody will ever

ABOVE: Depending on the psycho-
see and all kinds of theories about color and light and what logical state of the characters.
angles might be pushed to
they mean that help to create our finished film. A main concern
support the story content. The
was that it feel like a real place—it has so much of its own logic sharp. agressive angles in this
background by Justin
and so many rules to it. It had to be a reality for us to believe it.
Brandstater. serve to heighten
Hopefully, some of that shows through so that the audience will the sense of danger of the
baboon chase.
be able to appreciate ae fact that we created this world with its
own integrity.”
ad
OVERLEAF: Production still of
Elephant Falls. Digital morph and
hand-drawn animation by Dan
Chaika and Brice Mallier.
143
the
RIGHT: Layout study for
Tar zan batt les
scene in which
Sabor by Cent Alantar.
wing
BELOW RIGHT: Layout dra
by Loic Rast out.
by
BELOW: Background art
Olivier Bes .
son
Another key element of the art direction of the film was a

revolutionary innovation that would unite the artistic and tech-
nical teams in an exciting new way. St. Pierre’s desire to create
living, breathing backgrounds predated his trip to Africa. As a
layout supervisor, he had been thinking for some time about
new ways to have two-dimensional characters move believably
through three-dimensional backgrounds. As he was finishing up
a one-year stint in France on The Hunchback of Notre Dame he
had the opportunity to discuss his theory with Walt Disney
Studios President Peter Schneider. They talked extensively about
the role of technology in animation and how artists could make
better use of these new tools.
146
Action CUR ES.
for TAC7TAN & SABOR.
by Head of Layout
ABOVE: This diagram
n charts the
Jean-Christophe Poulai
uence 9 where
course of action in Seq
Tarzan fights Sabor.
und an enormous
LEFT: Tarzan swings aro
Was executed
tree trunk. This scene
olu tio nar y Deep Canvas
using the rev
tio n stil l.
process. Produc
To prove that Deep Canvas
was indeed a viable
process. a series of tests
were undertaken to demon-
strate its full potential.
ABOVE: A Deep Canvas scene

is first conceptualized as a
pencil drawing. Layout
sketch by Art Director
Dan St. Pierre.
ABOVE RIGHT: A rough layout

drawing is then produced
incorporating 3-D wire-
frame models such as
St. Pierre recruited Eric Daniels, a well-regarded computer
tocks. trees. and vines.
graphics expert with a background in traditional animation, to
RIGHT: The rough models are
refined to include details help him make the 3-D jungle a reality. “Deep Canvas” was the
like moss and leaves.
name Eric gave to the technological process that made this
possible. Perfecting the process took the cooperation of many
departments including layout, background, computer graphics,
digital painting and scene planning. Associate Producer Chris
Chase became a champion of the cause and played a key role
in getting the filmmakers the support they needed to develop
I am astonished by the level of
to and implement this new approach. Chase asserts, “Anytime

support we have received in order
get the Deep Canvas/3-D Layout there’s a new process it’s questioned. But the Jarzan crew was
Process working. Chris Chase has wholly dedicated to making this innovation work.” Schneider
incredible instincts on where to says, “If you’re making a movie about a man who is immersed in
place our resour taff has
the jungle, who moves through the jungle, who has adopted the
ally risen to this challenge.
jungle as his home, you need something that allows you to show
Layout, Backgrounds, Effects, and Tom
that story point by having him move through it. Deep Canvas
Baker and his scene planners have
quality allowed us to do that. We weren’t interested in it as technology.
achieved the highest level of
in generating and polishing our 2-0 We weren't interested in it as a stunt. We were interested in how
and 3-D moves. And Gil Zimmerman has it could best be used as a storytelling tool.”
been there from the start as our Daniels notes, “In live-action, even the lowest-budget jungle
ive
trainer offering the best in creat
film offers a full, rich 3-D effect. They just put in a crane shot
and technical support to all departments
a find!
included in the 3-D world-what
148
Doug Ball]’s Journal
We just saw the firs
t DC [Deep
Canvas] test, and it was
incredible!
Yet, it isn’t as close
to the look
wherever they want and are able to use the camera in a more of the film as we hoped it would be
sar We need to bring + it
expressive way than you're ever allowed to in animation. Dan need to bring the painterly qual-
: ity of the tradition ; :
wanted to be able to move the camera freely in 3-D through a "ronal backgrounds to
the 3-D scenes,
painting of a jungle. It became a real puzzle for me anda
We’ve got tonkeep try
ce to
wonderful challenge that I really loved. Within four weeks of bringethe2-D
and 3-Dic
3-p i,
ose togeth-
being on the job,,I had written the document defining Deep er. This is our opportunity
PPUFLUNT TY to make
m
Canvas and then it took another eight months for my team to the backgrounds, and therefore
; bee Tarzan’s worl hat
figure out all the ramifications and work out the software. Zan’s world, a character within
a the film.
George Katanics and Tasso Lappas did an incredible job writing
the software and really made the whole thing possible.”
ABOVE: Working from the

cleanup layout. a hand-
rendered pencil drawing is
then created defining the
lighting and texture of
the 3-D elements. Drawing
by Dan St. Pierre.
ABOVE MIDDLE: A background

artist then digitally paints
the image. Background art
by Dave McCamley.
ABOVE RIGHT: Special 3-D

objects that define the
areas which will remain
in focus are added to
the scene. Rendering
by Eric Daniels.
MIDDLE AND BOTTOM RIGHT:
Finally. a high resolution

image is rendered.
149
8 TAS:
Ka
ULs JER2
Thinking in 3-D also posed some new challenges for the lay- ‘ | 1G
out department. Head of Layout Jean Christophe “a ¢ 7
Poulain, Paris-based |
Layout Supervisor
Olivier Adam, and
ABOVE: Rough layout of the their team of nearly 30

ship by Vincent Massy [LEFT]. artists would typically
cleanup layout by Bill
Hodman [RIGHT]. take the storyboard
ma sketches and create
THESE PAGES: This diagram by
Vincent Massy follows workbooks (the staging
Tarzans desperate attempt
to avoid capture by
of each scene, frame
Clayton and his thugs. by frame) adding
RIGHT AND OPPOSITE: detailed camera moves and camera angles. The layout team
Production stills.
would also determine Bn muchee would be seen in ~ ie
BELOW: Color key by Doug Ball.
Canvas required thatthese tradi-

tionally trained artists become
increasingly proficient with com-.
puters in order to create dimen-
sional objects (such as trees) for
\ “the pide painters to paint. Dad
%
& Poeitnn
Poulain note. his new/approach to camera movements Key)
| ea
challenged us to reevaluatea)
the way we create layouts. The com-
tes
Lp
puter proved to be’ a valuable new tool for the layout artists and
allowed them the freedom to experiment with-exciting new ....._-_---—__-» ===
ways of staging 2 scene
Ta. es oy el ad lee
er
MITE
MD
Page 3)
MN) Ae Fei
fa 47 23.0/009,00] Lo:
be : : me j 2703. | WEDESHOT (TARZAN’S POV)’ of
j 5 : 3 Pee o eevea eager, the boat. PAN LEFT AND
te BG: ‘anflore tied Scene
Ln cuLo: |Porter struggling with some tsa dase and 9
Jane: “TARZAN! = thugs.
vei
=
:
7
,
Hook-up
Ze PAV : _ iis
SHA Dow
y foexen FAPE Apin
Ft - o
ee |
ao
F VL GOAT
_ _ Micur: Workbook page-by .
5S
- i
___Vin€ent Massy.
For Effects Supervisor Peter Demund and his
team of 71 effects artists in Burbank, Paris, and
Florida, 7arzan represented many new and complex
challenges. In the film, effects appear in practically
every frame and help to “stitch” the characters into
ABOVE: Production still from their environment. Ranging from simple tone mattes (shadow
the baboon chase. Debris
effects by Allen Blyth.
elements that change with each movement) to a spectacular
waterfall that uses over 250 elements for each frame, the effects
BOTTOM: Sabor and Tarzan crash
through the jungle floor. team broke new ground and helped to make Tarzan’s world
Hand-drawn effects by
come convincingly alive. Among the other dramatic effects on
Etienne Aubert. Digital foliage
animation by Craig Hoffman. display in the film are a fierce lightning storm, shafts of light,
bubbles, fire, fog, crashing waves and moving vines.
152
LEFT: Production still of the
storm at sea. Lightning
effects by Marlon West.
Digital water animation by
Bill Konnersman. [INSET]:
Grid test for digital water.
According to Demund, “It was our job to animate anything in

ABOVE AND OPPOSITE: The play of
the film that was not a character. If Tarzan grabs on to a vine, our
light on Tarzan’s form helps
him blend with the artists animated that vine. We were also responsible for the inter-
atmosphere of the painted
play between light sources and the characters, which meant
background. Lighting
treatment by Phil Vigil. not only animating shafts of light but also the resulting shadow
BELOW: Young Tarzan is

elements. From an effects standpoint, this has been one of the
dragged underwater during hardest films we've ever done. Computers are playing an increas-
the elephant stampede.
Production still. Water ingly important role in creating effects, although the majority of
effects animation by
what we do is still drawn using pencil and paper. This is the first
Kathleen Quaife.
Disney animated film to use. ‘morphing’ techniques
for the water effects and it has been a terrific tool
for our artists. We never want the audience to be
thinking ‘Wow! Wasn’t that a great effect.’ If we do
our job right, the characters will be seamlessly
integrated into the scene and the effects will
support the action that is taking place on screen.”
153
THESE PAGES: Tarzan takes Jane on the
thrill-ride of her life as he rescues
her from the baboons. Digitally
painted deep canvas background
art by Greg Miller. Rough animation
of Tarzan by Glen Keane. and of
Jane by Ken Duncan. r)
Kevin Lima’s Diary
_ “The breakthrough for Deep Canvas,” concludes St. Pierre, “is
July 19, 1998
that we’ve got artists handling most of the process. That means
by the
I am constantly amazed
layout artists and scene planners have control over the movement
film. The
art direction on this
how the of the camera, background artists use computers to paint the
depth of thesjuagle,
camera supports the emo

tional arc backgrounds, and effects artists use them to move the 3-D objects
color
of the characters, the around. This is the first time so many artists have used computers
add up
script of the film, all and worked so closely together to create
t I’m sure
to a piece of art tha
the finished image.”
will be recognized.
In the end, the artistic team succeeded
in creating the “ultimate jungle’—a larger

than life environment based on the loca-
TOP: Tarzan moves tions they visited on their trip, extensive
effortlessly through the
jungle. Production still.
research and their own imaginations.
St. Pierre reflects, “I’m very proud of the fact that we were able
RIGHT: Art Director
Dan St. Pierre. to move the camera in a way that we’ve never been able to
before and were able to make a convincing world. It’s the biggest
accomplishment of my career and it required an enormous col-
laboration with a lot of artists to achieve something on this scale.
It took much labor and a lot of time to get it right, but we fortu-
nately had people who believed that it would-happen and we
somehow got over the hump.”
160
te
OS
Genel oe .
eae. ates es ue
et
tee y
Puig SoniPotey
“apt
~—
bi
is on od -
=
=a
(Ta)
—
=
=
ge With Terk on percussion, Tantor horning in on trumpet, and
So) a band of gorillas furnishing sundry sounds, the “Trashin’
= the Camp” musical sequence in Disney’s 7arzan is a riotous
ae jungle jam session. As written by the multitalented Phil
= Collins and sung in scat style by Rosie O’Donnell (as the
voice of Terk), this musical mayhem is representative of
the unique role that music plays in the film. It also underscores
TOP: Phil Collins swings in the beautiful harmony that often results from the chaos and
with some of his gorilla pals.
cacophony of the creative process. Collins proved to be an
ABOVE RIGHT: Phil Collins doing enthusiastic and inspired collaborator who helped give the film
what he does best.
a momentum and rhythm all its own. Like all.good partnerships,
his music led the creative team to explore new paths while the
film’s bold imagery and dynamic story elements helped Collins
to write what he considers to be some of the best songs of his
career.
161
THE PENINSULA
BEVERLY HILES
In addition to “Trashin’ the Camp,” Collins wrote four other

songs for Jarzan—“Two Worlds,” “You'll Be in My Heart,” “Son of
Man,” and “Strangers Like Me.” An animation fan since child-
hood, he has followed the medium’s resurgence in popularity,

yet he had never really given any serious thought to composing
music for an animated film. That changed in the summer of
1995 when Disney’s Executive Music Producer Chris Montan first
approached him on behalf of the filmmakers about writing
some songs for 7arzan. Collins's driving rhythms and percussion
ABOVE: Some of Phil Collins's

were seen as the perfect match for a film with an African setting.
preliminary notes for “The most remarkable aspect of Phil’s creative process,” states
“Son of Man.”
Montan, “is his inexhaustible focus on excellence. When you
BELOW: Young Tarzan struggles
combine that with his incredible musicality, it is not suprising
on his journey from boy to
man. Production still. that great music is the result.”
Shortly after that initial meeting, Collins began reading
Burroughs'’s 7arzan of the Apes, as well as an early treatment
182
Phil Collins’s Journal
First Meeting
The first meeting to discuss my writ-
ing the songs for Tarzan was with
Directors Kevin Lima & Chris Buck,
Tom Schumacher, Chris Montan, my
agent Hilary Shor and my manag
er Tony
Smith at the Metropole Hotel in
Geneva. I left both excited and a
little scared. Having never written
the music for a film, I wasn’t sure I
could deliver what they neede
d. And I
feared that constant rewriting would
el ods
clash with my “4
“other Job.” aL oP h
It was a
ABOUE: At the filmmakers’ request. Collins lent
aes Confort ‘when they assured ne
his own voice
i :
to four of the five ; Zarzan
songs in ees re OMe
that they didn’t want me to conform
to some..established mold. They just
wanted me to be me!
for the Disney animated version. He was exhilarated by the
5 Drees : Kevin was the more talkati f
story and made copious notes. Within two weeks, he had writ- pre akatine sor
i 2 ; Peery: the two directors. Chris, I felt, was
ten “loads and loads” of music based on his first impulses and fs
a little shy at first, though I’ve
impressions. Three of the songs written during this period—“Son come to realize that he knows exactly
of Man,” “Trashin’ the Camp,” and “Strangers Like Me’—ended up what he wants and is very funny
in the final film. Their vision of this project has been
Bonnie Arnold recalls, “Phil met with us at Feature Animation So focused and committed that every
: : session is an education f They
to discuss what we had written and to explore more song ideas. oS ARBEREGN Tore. They
have investigated every way of
Before our meeting was over, he was beating out a rhythm on aie
telling the story of their Tarzan,
the handrail that became part of “Two Worlds.’ He is an amazing sometimes ending in a dead end, but
collaborator—always there for us when we need him.” that has to be the case when dealing
Over the next three years that the film was in production, with animation. You can do anything,
Collins worked tirelessly to fine-tune the songs he had written So you try everything.
and tailor the lyrics to the needs of the story. Montan asserts,
“Phil is one of the world’s great songwriters. His melodic and
lyric expression strike a universal chord.” Despite his busy con-
cert schedule, Collins always found time to check in with the
filmmakers and fax his latest revisions. He also continued to
write and send demos of new songs he recorded at his home
studio in Switzerland. His demos were so good that in several
cases those vocals became the final tracks heard in the film.
“poh: Producer Bonnie

Arnold and Directors Kevin
e Lima and Chris Buck try
their hands at collaborat-
ing with the maestro.
163
LEFT: Storyboard art from the
“Two Worlds” sequence by
Paul and Gaétan Brizzi.
~ Phil Collins’s Journal
First Meeting at Disney

The first meeting at Disney head
quarters had me entering a storyboard
; room for the first time. I have to

admit that although everyone invol
ved
was willing me to feel comfortable
and
share my ideas, I was intimidated. It
made me anxious to presume that I
For the opening of Jarzan, Thomas Schumacher voiced a
would be able to contribute to their
desire to have Collins create a song that would serve as film’s process-a process that has resulted
anthem. Collins answered this directive with the song “Two Worlds” in so many wonderful films. But, a
which establishes the film’s profound emotional tone as it explores new opinion from someone on board is
the convergent paths of a human family and a family of gorillas. exactly what they wanted and so they
should! Slowly I realized this. It’s
The tribal beat of the song married wonderfully with the mood the
a true collaboration of many .talented
creative team wished to evoke as the humans encounter a forbid-
people.
4
ding new environment and the gorilla family grieves their loss.
This was my first meeting with
Finding a score composer who could capture the essence of Producer Bonnie Arnold. She was very
Collins’s songs and weave a seamless musical tapestry that open, calm, and friendly. She had my
would support the emotional and dramatic needs of the film confidence straight away and she is
the perfect mediator.

‘proved challenging for the filmmakers. They found the ideal col-
At the end of this meeting, when
laborator in Mark Mancina, a versatile composer/music produc-
safely out of the storyboard room
er who, among other things, had previously played a key cre- door, I mentioned to Kevin the “feel”
ative role in producing and arranging the songs for the film The that I imagined for the opening of
Lion King and produced all of the songs and music for the cur- the movie-a tribal 6/8 beat. He imme-
rent Tony Award-winning stage version of that film. diately responded. I went home and
wrote the “6/8 Intro” (which later
The dramatic and ambitious opening sequence built around
evolved into the film’s opening
the song, “Two Worlds” is among the composer's proudest musi-
song, “Two Worlds”). When Kevin and ~—<
cal accomplishments on 7arzan. Mancina says, “I love the open-
ing. The first eight minutes of this movie sets up the whole story
through music. The challenge for me was not only to come up This gave me tremendous confidence at
the end of that first get-together.
with the right arrangement for the song but to incorporate score
_ within it. This wasn’t a process where I would be given the songs
164
t believe in
Put your faith in what you mos
THIS PAGE: Tarzan and his human family
’s
find themselves shipwrecked on Africa
shores. Storyb oard art by Paul Felix. Two worlds, one family
Trust your heart
Let fate decide
To guide these lives We see
A paradise untouched by man

h love
Within this world blessed wit
A simple life, they live in peace
feet now
Softly tread the sand below your
Two worlds, one family
Trust your heart
Let fate decide
To guide these lives we see
165
the
Lert: Visual development art of
family
cabin built by Tarzan’ shuman
by Ian Gooding.
Wan-
BELOW: Kerchak and Kala’s son
from the nest. Story board
ders away
art by Carole Holliday.
Beneath the shelter of the trees

Only love can enter here
A simple life, they live in peace
Raise your head up

Lift high the load
you
Take strength from those that need
Build high the walls
Build strong the beams
A new life is waiting
ABOVE AND RIGHT: Sabor
hunts. Storyboard art by

Paul and Gaétan Brizzi
and production stills.
But danger’s no Stranger here
No words describe a mother’s

tears
No words can heal a broken hear
t
A dream is gone, but where there's
hope
Somewhere Something is calling for

you
Trust your heart
Let fate decide
Every moment now the bond grows

stronger
Trust your heart
ies. f ayes Let fate decide
TOP: Kerchak and Kala grieve and have to fit them into the score. The idea of score and song
the loss of their son. : :
Storyboard art by Paul Felix. arrangement came together as one entity, as Phil and 1 worked
in tandem to create what’s heard in the film.
ABOVE: Baby Tarzan’s crying . ; ‘ : Arey ;
fails Kala tothe ten Riise. Because of the unique role that music plays in this film, it
Production still. was very important to have a close working relationship
between the song and score composers,” adds Mancina.
“Working with Phil has been an incredible experience for me.

He is a consummate colleague.”
167
Lullaby
,
When I started work on the movie
by
I was given lots of drawings
ted
the Disney artists exploring their Collins quickly discovered that writing songs for an anima
impressions of the “feel” of the film is a different discipline than writing pop songs. He explains
story and its characters. Some “One of the big challenges is length. A song on a record can be
graphics were very touching. There anything from three to six minutes but when you're writing for
: :
was one of a baby hand holding
the an animated film you have to be more succinct. Two-and-a-half
huge finger of an ape. This was
a ; ;
or three minutes is th come back
e max. And lyrically you can’t
focus for me, Kala’s bonding with | :
and
chor us. Ther e has to be some kind of story move-
the baby made more moving by the repeat the
ic than
loss of her own cub. " ment. The lyrics themselves have to be much more specif
write
deivene Hemi aE 1S 5° if |were writing a song for myself. I’ve never before had to
one night at a neighbor’s house in a song in which a mother ape sings to a baby to stop him from
crying. In the end, it has to serve the m ovie. It can be the best
: P
dinner. While playing the p song in the world, but if i ;
the movie then it can’t
, but if it doesn ’t serve
wrote down the chords and melody , |
Pee ete gape 0b vould be used. It was a different place for me and, to be honest
n’t forget it! I did a quick loved it. It was still fun three years into the process.”
d
“demo” for ‘Chris Montan and playe
it over the phone. He said he

loved the chorus but felt the
The
verse wasn’t quite there yet.
advice and honesty were invalu-

Y
able. His comments were very Ssuc-
cinct and gave example to the
ego-
|. Ge a
|
burying that you need to do in a 7 oa ce
es ‘Ss eas
eZ we
had a
project like this. I felt I w
pe Ce
it, he didn’t, and he was right.
ae laa Cy o>
We arrived somewhere that we \
NYY
wouldn’t have been, and it was a Coy
cal
i bam
better place!
ABOVE: The Wrapping paper

% Very » pe
Collins used to compose
\ Ge C2 ra f +"
~You’Ll Be in My Heart.”
Meg 64 er zak
OPPOSITE: Character develop- ee aes gt
ment art of Kala and baby woo *
Tarzan by H.B. Lewis.
169
Come stop your crying,
tt will be all right.
Just take my hand,
Hold it tight.
und you.
| will protect you from all aro
animation
| will be here, ABOVE AND OPPOSITE: Rough
n Ripa.
of baby Tarzan by Joh
Don’t you cry.
y Tarzan to
Top: Kala soothes bab
So strong
For one so small, you seem sleep. Production stil
l.
you Safe and warm

My arms will hold you, keep
be broken.
This bond between us can’t
| will be here, i
Don’t you cry.
Rosie and Glenn Sessions
Bonnie and the team were adamant
that I
produce the sessions. I guess they felt
that I had the experience to do
So.
What they didn’t know was that to
pro-
duce your own albums or even those
for
your friends is relatively “static”
el free, but standing with your finge
r on
\\ the talkback button with Glenn Close
\\ and a crowded contro] room waiting for
\ your “pearls of wisdom” is a whole dif-
ferent can of nerves!
This insecurity probably existed

; on
t both sides. I think Glenn felt a little
Cause you'll be in my heart.
Yes, you'll be in my heart.
shy at first having a room full
of peo-
ple, all there to do their jobs.
So I
From this day on,
Now and forever more. applaud Glenn, the way she kept
on
doing take after take unti] we all felt
You'll be in my heart that we had it,

No matter what they s ay,
always.
You'll be here in my heart
Always.
ectors.
RicHT: Collins. the dir
Mus ic pines:
and Executive
(RIG HT) wor k with
Chris Montan
T) to mix and
Frank Wolf (LEF
ic for /ar zan.
record the mus
ies help
BELOW: These bush bab
ne _ magical
;
] .) or to create the sere
y ay environment that surrounds

SS Kala and baby Tarzan. Rosie, a dry but funny lady is also
\ ath: a drummer, so we talked “muso” talk for
ie
a while. I’d also been on her TV show,
so I felt I knew her a little. She
was
great, giving us vocal drum parts scat-
ting over the melody.
There is a lot of psychological
warfare when it comes to producing

an
artist. The coaching and caressing to
get a singer’s best work. I know from

being on the other side of the
glass
what I find intimidating or annoying.
We left New York with three maste
r
tracks and Glenn and Rosie committed
to have
eared another hurdle
171
Son of Man
for Tarzan came

Al] the songs written
Oh, the power to be strong
had when I read the
from gut reactions I
And the wisdom to be wise
loped out Ofeitits
treatment. They all deve
All these things will come to you in time
ions (as do all
tle improvisation sess
On this journey that you're making
read where the songs
songs really) having There'll he answers that you'll seek
how they needed to
were to be placed and And it’s you who'll climb the mountain
“Son of Man” was based
fee] emotionally. It's you who'll reach the peak
which I knew was 4
on a piano riff I had, Son of Man, look to the sky
in feel and tonal-
“celebration” of sorts Lift your spirit, set it free
Some day you'll walk tall with pride
s
ity. 1°11 always remember Chris Montan’
reaction to the first

demo. . . him Son of Man, a man in time you'll be
ida en route
walking down a street in Flor
with headphones,
to a Disney convention,
on his face, know-
a walkman, and a smile
1 received calls
ing we had something.
er to
from Michael Eisner and Tom Schumach
ce was
say, “Thank You.” My confiden
building now.
lyrics at this
There were no specific
of Man” in the cho-
stage except for “Son
noise! The fog lift-
rus. It was a joyous
y was being refined
ed one day as the stor
constantly unti1
(which happens almost.
aters!) and the
the movie is in the the
song over the mon-
idea came to use the
g from a boy of
tage of Tarzan growin
eventually ending
five, through ten and THESE PAGES: Tarzan gains mastery
worked beautifully of his jungle home.
as a young man. This
Production stills.
the lyrics. These
and I went off to write
ctively, remained
lyrics, written instin
ething
relatively unchanged, which is som
for!
I’m eternally grateful
Perhaps the most visually stunning and inventive sequence

of the film, “Son of Man” features Collins’s song of the same title
The sequence follows Tarzan from ages five to twenty as he |
becomes comfortable with his jungle environment. “In Jarzan
the songs provide insight into the character’s state of mind,” 7
ene Kevin Lima. “With ‘Son of Man,’ we show Tarzan ere
gaining agility and control of his world, which is for us all about
the journey from adolescence into adulthood.”
174
In learning you will teach
And in teaching you will learn
You'll find your place beside the ones you love
Oh and all the things you dreamed of
The visions that you saw
Well the time is drawing near now
It’s yours to claim it all
Son of Man, look to.the sky
Though there’s no one the
Lift your spirit, set it free
No one to take your’ hand re to guide you
Some day you'll walk tall with pride
But with faith and un
derstanding Son of Man, a man in time you'll be
You will journey from
hoy to man
Son of Man, look to the
sky Son of Man )
Lift your spirit, set it
free Son_of Man's, a man for all to see
ee you'll walk
tall with pride
Man, a man in time you
'll be
OVERLEAF: Production still.

Shoo Bee Doo
Dab Bee Dah
N'Doo Bee Doo
N’Dab Bee Dah Dah’n Doo Dah
Shoo Bee Doo

Dab Bee Dah
~~
_
N’Doo Bee Doo
N’Dab Bee Dah Dah’n Doo Dee Ya
nm
nalas
Ne
i.
ie
Dup—Duh Dow Dow Dow
wpe
Leu
Shoo Bee Doo
oe
ts aan
papery
Dab Bee Dah

il
N’Doo Bee Doo
Bup—Bup Ba—Doo
LErT: Terk leads her posse onda rowdy

by
rhythmic ramble. Rough animation
Mike Surrey.
Journa| Production stills

Phil Collins’s BELOW. OPPOSITE. AND OVERLEAF:
.
from the “Trashin’ the Camp” sequence
: A
Trashin’ the Camp

simple song, it was
Though this is 4 ;
n s d score for Jarzan
comp] icated piece
to
As far as the in: strumentatio of the song an
p robably y the most Colli Rags
icken or the egg” ollins and Mancina sh ared t desire : :
arrange. It has 4 “ch to be fait hful to the film’s
he ae instruments
situation, because the song was
linked
setting. 8 Mancina i of unusual musical
, an avid collector
als of the ape
so strongly to the visu
to incorporate many of the oddi-
from all over the world, was able
gang destroying, albeit bY BEENen = the film. A South American
ties from his personal collection into
the hunan camp, during a musical groove musical
nade up of sounds of breaking glascou s» guitar called a Charango is heard in the lullaby, The
wood, ripips , etc . Yet the vis uals ld-
theme for the leopard Sabor involved the use of an African bow-
i
like as a Bi
il the song was ike instrument known d a Bullroar, an
n’t be confirmed unt a Birembau an
each other for
arranged. We ci rcled Australian instrument that you swing over your head to produce
out how to
months, trying to figure
after demo was
rectify this. Demo
ble fig-
recorded, almost reaching dou
y variables, it
ures. There were SO man
Eventually, |
ng.
became mind boggli
er wizard/musician
worked with comput
com
e it was in the
Mark Mann, and onc
“ripe
e a “smash” or 4
puter we could mov
.
the directors wanted
to wherever we or
that a
Musically, it always seemed
ht, with
“New Orleans” fee] would be rig
se thing going on
a call and respon
and
aS they got more
between the apes
music.
they made their
more excited as
178
a drone-like sound. Collins had been listening to African music
Doo Bup She Doo... woooh!
since the late 60s and had even used big tribal rhythms for some
of the songs on his most-recent album, Dance to the Light. This
Ohhh...
seemed like a natural progression for him. Shoo Bee Doo
One song that presented some difficult and unique challenges Dab Bee Dah
N’Doo Bee Doo
was “Trashin’ the Camp.” Set in the human camp, this number finds
Terk, Tantor, and their gorilla pals on a musical romp where close
coordination was required between the visuals and the sounds. Shoo Bee Doo
For the recording sessions, Collins and company had to bring ina Dab Bee Dah
variety of objects to match the sound of those seen in the film. N’Doo Bee Doo
N’Dab Bee Dah Dah’n Doo Dee Ya
Collins recalls, “I actually did all the sound effects. I went
Wha Bah Bah—Dah—-Dah Wha Whah
around the studio bashing things with my hands and with the.
sticks. Everybody was looking at me like I was crazy. Eventually | Shoo Bee Doo
_ hit myself on the forehead with my fists and they said, ‘that’s it.’ Dab Bee Dah
N’Doo Bee Doo
We only did a couple of takes of it, but the next day, my head
was all red. At the next session, we sent some guys out to get Doo Bup She Doo... wooch!
some pots and pans for the drum duet when a couple of the Ba Doo Duh, Bup Ba Doo Duh
gorillas are challenging each other. It was great fun.”
Doo Bup She Doo... wooch, woaoh!
Doo Bup She Doo... woooh, woooh!
179 Doo Bup She Doo... wooch!
ABOVE AND OPPOSITE TOP: Production A final song, “Strangers Like Me,” explores the depth of
stills from the “Strangers
Like Me™ sequence.
Tarzan’s curiosity‘and emotions as he meets other humans for
the first time in his adult life and discovers a long-suppressed
OPPOSITE BOTTOM: Tarzan lies feeling of belonging. “In ‘Strangers Like Me,’” says Lima, “we
awake among his sleeping
decided it was going to be about discovery and what it is to be
gorilla family. Storyboard
art by Glen Keane. a man. The visuals show him gaining knowledge and learning
about the outside world.”
As a songwriter, Collins was able to stretch in new directions
with this assignment. “When I write on my own, the structure—
both chords and lyrics—tends to be quite simple. However, with
the songs for Jarzan, | pushed myself into a much more dramat-
ic area than I would normally go. This of course proved neces-
sary as the film when through so many emotional and dramatic
changes. I ended up having written the kind of songs I'd never
written before. Writing songs for this movie pushed me into dif-
ferent areas and caused me to do something better than ever. In
a way, | felt 'd grown up a bit as a writer.”
182
Whatever you do, I'll do it too
om
=
aS
oO
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cs
oN
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ics
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=
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So
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|
a
=
It all means someth ing
And yet noth ing to me
.
| can see there ’s so much to learn

It s all so close and yet so far
v
| see myself as people see me

Oh | just know there's someth ing
bigger out there
| wanna know, can you show me

|ike me
| wanna know about these strangers
Tell me more , please show me
Someth ing s fam iliar about these stra
ngers like me
WS
S(
A
\ AN
WS)}
/ N
N
C7? sv Dnsee, pe Sane ot fbi

ll toe
183
t she makes
Every gesture, every move tha
Makes me feel like never before
Why do | have
her
This growing need to be beside
w
Ooo, these emotions | never kne
-this place
Qf some other world far beyond
uds
Beyond the trees, above the clo
n
| see before me a new horizo
THESE PAGES: Tarzan takes Jane to
see the wonders of his world. | wanna know, can you show me
angers like me
Storyboard art by Glen Keane. | wanna know about these str
Tell me more, please show me
these strangers like me
Something's familiar about
my world
Come with me now to see
your dreams
Where there’s beauty beyond
l
Can you feel the things | fee
Right now, with you
Take my hand
know
There’s a world | need to
w me
| wanna know, can you sho
strangers like me
| wanna know about these
me
Tell me more, please show
these strangers like me
Something's familiar about
__. wanna know
|
Lp
V7
Me
A
‘3
ZA
Lay CLL
ABOVE: Tarzan attempts to Another turning point for Collins during the production was a
break free from Clayton's
trap. Production still. trip to the Paris Studio in 1997. At the suggestion of Bonnie
Arnold, he spent a day visiting with Glen Keane and the group of
dedicated artists working there. “I really thought that Glen and
Phil should meet,” states Arnold. “Having gotten to know the both
of them over the course of the production, I realized that they
were cut from the same cloth—brilliantly creative, but in different
mediums. | asked Phil if he would like to visit the Paris Studio,

and he jumped at the chance.”
“Glen would show me what he was doing and he had so
much energy,” recalls Collins. “I came to feel very close to him
and some of the others. He was describing one scene in which
Tarzan is on the ship trying to break out of the hold. He told me
he needed some kind of rhythm to help him animate the action.
I went back to my studio and wrote some things even though |
knew.they would probably not be in the movie. It was great to
work with the guy drawing the character and have him tell me
what he needs so that he could do his job. It was also pretty
amazing to think that this was the guy who had drawn so many
of the characters that were a part of my daughter's life and had
affected her so much. He's incredible. After the trip, we would
stay in touch with one another. Every time he sends me a fax,
he also does a drawing for me. I’ve got them all framed.
“I'm most proud of giving the filmmakers what they wanted
and hopefully more than what they wanted,” concludes Collins,
“and feeling like I’ve written better than Icould have done.
That’s a tremendous feeling of satisfaction. I've grown a lot
through this movie—we’ve all grown because of the experience.
You never get to that place where you've done it all. I’m con-
stantly having to push myself to arrive at something that does
the job. It’s a great feeling to be a part of a project that’s going to
last forever.”
eee
at ae e
e
LEFT: Head of Layout Jean-

Christophe Poulain. Phil
Collins. and Glen Keane at
the Walt Disney Feature
Animation Studio in Paris.
OVERLEAF: Tarzan prepares to

fight Sabor. Production still.
18?
Nome
IAN S. GOODING, JOE GRANT, BRIAN JOWERS, Animators Breakdown
H. B. (BUCK) LEWIS, RICK MAKI, HANK MAYO, TIM GEORGE, RICHARD HOPPE, OLIVIER ACKER, NICOLE DE BELLEFROID,
SERGIO PABLOS, TINA PRICE, MICHAEL STOCKER PHILIPPE MALKA, NICOLAS RUEDY,
JEFFREY RESOLME RANJO, NICOLAS QUERE
HAARALD SIEPERMAN, JOHN WATKISS, PORTER
Directed by ROWLAND B, WILSON ‘ _ Inbetweeners
KEVIN LIMA AND CHRIS BUCK Supervising Animator ........ DAVID BURGESS VALERIE BREAND, BERNARD DOURDENT,
PRINCIPAL LOCATION DESIGNS GRAHAM GALLAGHER, DAVID GILSON,
Produced by Animators CELINE PAPAZIAN, ALICE PICARD,
BONNIE ARNOLD PAUL FELIX, LOIC RASTOUT, DAVID DUNNET DAVID BLOCK, THERESA WISEMAN DIDIER POLI, FREDERIC VILQUIN
Based on the sto KERCHAK JANE

TARZAN OF THE APES LAYOUT
by Edgar Rice Burroughs Supervising Animator ....... BRUCE W. SMITH Lead Rein eos ccc ae ae JULIET DUNCAN
Journeymen
Screenplay by JAMES ALLES, JAMES BEIHOLD, FRED CRAIG, Animators Key Assistants
TAB MURPHY VINCENT MASSY DE LA CHESNERAYE, ROBB PRATT, MARC SMITH JANE TUCKER BONNET, WES CHUN,
and PIERRE FASSEL, RICHARD CARL LIVINGSTON, MERRY KANAWYER CLINGEN,
BOB TZUDIKER & NONI WHITE ANTONIO NAVARRO, SIMON O'LEARY, TANTOR SEAN GALLIMORE, RICHARD D. ROCHA,
JOHN PUGLISI, TOM SHANNON, ALLEN C. TAM, JACQUELINE SANCHEZ
Songs by SHERILAN WEINHART, TANYA T. WILSON Supervising Animator ........ SERGIO PABLOS
PHIL COLLINS Assistants
Layout Key Assistants Animators ~ TERESA EIDENBOCK, BERNADETTE MOLEY
Score Composed by CENT ALANTAR, MAX BRASLAVSKY, JAMES HULL, MIKE KUNKEL, JEAN MOREL,
MARK MANCINA DENISE BLAKELY FULLER, ROBERT CARDONE, STEVAN WAHL Breakdown
MAREC FRITZINGER, LAM HOANG, CHRISTENSON M. CASUGO, EDWARD B. GORAL,
Associate Producer JOHAN ANTON KLINGLER, APE FAMILY JEFFERY B. HARTER, CHUN YIN JOEY SO,
CHRISTOPHER CHASE DENISE LOUISE KLITSIE, MARK E. KOERNER, KATHLEEN THORSON
ARMAND SERRANO Supervising Animator .......... JAY JACKSON
Art Director Inbetweener
DANIEL ST. PIERRE Layout Assistants Animator FLORA SUNG SOOK PARK
LISSA JANE AINLEY, EDGAR CARLOS, CATHERINE POULAIN
Edited by THOMAS DEBITUS, JAMES AARON FINCH, YOUNG & BABY TARZAN
GREGORY PERLER MATTHIEU GOSSELIN, BRIAN KESINGER, BABOONS AND BABY BABOON
JULIO LEON, CHENG Z. ‘DIANE’ LU, ead NeVoor.< syacteertec eee MARGIE DANIELS
DAVID MARTIN, BIRGITTA ERJA POLLANEN, Supervising Animator ....... BRUCE W. SMITH
ARTISTIC SUPERVISORS DONALD REICH, CHUNG SUP YOON Key Assistants
CAPTAIN & THUGS JAMIE KEZLARIAN BOLIO,
Associate Art Director Blue Sketch | NATASHA DUKELSKI SELFRIDGE
DAN COOPER MADLYN ZUSMER O'NEILL, VALERIE BRAUN, Supervising Animator . . . .T. DANIEL HOFSTEDT
BILL DAVIS, EITHNE ERSOZ, NOEL C. JOHNSON, Assistants
Story MONICA ALBRACHT MARROQUIN FLYNT & MUNGO KEVIN M. GROW, RICK KOHLSCHMIDT
BRIAN PIMENTAL
Casting by Supervising Animator .......... CHRIS WAHL Breakdown
Layout RUTH LAMBERT and MARY HIDALGO NICKOLAS M. FRANGOS, CYNTHIA LANDEROS,
JEAN-CHRISTOPHE POULAIN SABOR CATHIE KARAS WILKE
Backgrounds VOICE CAST Supervising Animator . ..DOMINIQUE MONFERY KALA

DOUG BALL
(in alphabetical order). Animators Eeadikey ieee JUNE M. FUJIMOTO
Clean-Up ClaVtONe cineactute ae meaner BRIAN BLESSED MARC EOCHE DUVAL, JUANJO GUARNIDO,
MARSHALL LEE TOOMEY Kalai sirnntcoms braomicnsrn cents saerersin GLENN CLOSE ZOLTAN MAROS Key Assistants
Young Wanton .(.eer aes TAYLOR DEMPSEY KAREN A. HARDENBERGH, CELINDA S. KENNDEY
Visual Effects Vane’ Gas Ao ieee ster aeMINNIE DRIVER
PETER DE MUND TAIZ eensiperslek netomat TONY GOLDWYN ROUGH INBETWEENERS Assistants
Professor Porter ......... NIGEL HAWTHORNE DANIEL YOONTAEK LIM, MARY MEASURES.
Digital Production Netehakicn ise. aust Gece uae LANCE HENRIKSEN NOREEN BEASLEY, GEORGE BENAVIDES,
ERIC DANIELS MENCUGY ae nteoree see rece eect eeWAYNE KNIGHT CASEY COFFEY, NEAL STANLEY GOLDSTEIN, Breakdown
NOUTS Tarzan mecca nyiees os ALEX D. LINZ BENJAMIN GONZALEZ, NICOLAS KERAMIDAS, FRANK DIETZ, DIETZ TOSHIO ICHISHITA,
Production Manager SLOTK: SSH or aiarasiinks aerators ROSIE O'DONNELL GARY D. PAYNE, BOB PERSICHETTI, ALLISON RENNA
JEAN LUC FLORINDA CHRIS SONNENBURG, ALIK] THEOFILOPOULOS,
MICHAEL WU Inbetweener
Executive Music Producer CHARACTER ANIMATION KOMPIN KEMGUMNIRD
CHRIS MONTAN
TARZAN BACKGROUNDS ADULT & BABY TERK
Artistic Coordinator TRADITIONAL AND DEEP CANVAS
FRASER MACLEAN Supervising Animator .......... GLEN KEANE Readikeyyai.4a0 soebeanie DERRA ARMSTRONG
Supervising Digital Background Painter
Animators DAVID MCCAMLEY Key Assistant
PARIS UNIT ARTISTIC SUPERVISORS GEORGES ABOLIN, PIERRE ALARY, MARIA WILNELMINA ROSETTI
MARCO ALLARD, DAVID BERTHIER, Journeymen
RAVOUILEE comets se meine Mets OLIVIER ADAM BOLHEM BOUCHIBA, JENNIFER K. ANDO, OLIVIER BESSON, Assistants
Backgrounds ....... JOACHIM ROYO MORALES BORJA MONTORO CAVERO, PATRICK DELAGE, JUSTIN BRANDSTATER, HYE YOUNG COH, MARY JEAN REPCHUK, MARTY SCHWARTZ
Clean-Up .......: CHRISTOPHE CHARBONNEL ERIC DELBECQ, THIERRY GOULARD, DOMINICK R. DOMINGO, DEBBIE DU BOIS,
NiswalBtfeGtsy aro ecie uemrere aes ALLEN BLYTH ENIS TAHSIN OZGUR, STEPHANE SAINTE-FOI, SCOTT FASSETT, JEAN PAUL FERNANDEZ, Breakdown
TRAN-QUANG: THIEU JC, KRISTOFF VERGNE THIERRY FOURNIER, SUSAN HACKETT, CLIFF FREITAS
JASON HORLEY, DAVID JARVIS,
JANE MI KYUNG JOUNG-RAYNIS, WILLIAM LORENCZ, Inbetweener
"JERRY LOVELAND, SERGE MICHAELS JONG WON PARK
CAPS SUPERVISORS Supervising Animator . . .KEN STUART DUNCAN GREGORY C. MILLER,
PATRICIA MILLEREAU-GUILMARD, DON MOORE, YOUNG TERK
PCCNEWMANMING! wares se aan THOMAS BAKER Animators PATRICIA PALMER-PHILLIPSON, PIERRE PAVLOFF
Animation Check ........... BARBARA WILES JARED BECKSTRAND, DOUG BENNETT, PHILIP PHILLIPSON, THOMAS WOODINGTON, ead Key oe ema eaherent BRIAN B. MCKIM
Raves SiON Ge aie nm eNre JANET BRUCE ROBERT BRYAN, CAROLINE CRUIKSHANK, CHRISTOPHE VACHER, DAVID YORKE
2D Animation Processing ................+ MARK KOETSIER, DOUG KROHN Key Assistants
ob SRA Pena ron te ROBYN L, ROBERTS Background Assistants JUDITH BARNES, MARSHAW. J. PARK-YUM
€olor Models 2.63 ..5.0.0 KAREN COMELLA YOUNG & BABY TARZAN SUZANNE KYUNG BOUHOURS,
NATHAN HUGHES, GEORGES HUMPHRY Breakdown
Supervising Animator ............ JOHN RIPA RAUL AGUIRRE JR.
Compositifigiase ean JAMES “JR” RUSSELL Digital Retouch Painters
Digital Film\Print “7.22 -nae ees BRANDY HILL Animators CHRISTINE LAUBACH, NANCY OLIVET RAMIREZ, CLAYTON
Technical Coordinator ........... ANN TUCKER STEVEN PIERRE GORDON, JEFF JOHNSON, VALAPA SAUBHAYANA
YOSHIMICHI TAMURA Lead Keys
RANDY SANCHEZ, DAN TANAKA
STORY KALA CLEAN-UP ANIMATION
Key Assistants
STEPHEN ANDERSON, GAETAN BRIZZI, Supervising Animator ........ RUSS EDMONDS TARZAN. MIRIAM MCDONNELL,
PAUL BRIZZI, DON DOUGHERTY, ED GOMBERT, DOROTHEA BAKER PAUL, CARL PHILIP HALL
DON HALL, KEVIN L. HARKEY, Animators hier Mey ossMoaivinelere PHILLPPE BRIONES
RANDY HAYCOCK, CAROLE HOLLIDAY, MARIO J. MENJIVAR, Assistant
GLEN KEANE, MARK D. KENNEDY, ANDREAS WESSEL-THERHORN, Key Assistants a DAVID E. RECINOS
BURNY MATTINSON, FRANK NISSEN, DOUGG WILLIAMS SERGE BUSSONE, JAVIER ESPINOSA BANUELOS,
JOHN NORTON, JOHN RAMIREZ, JEFF SNOW, FLORENCE MONTCEAU, FAROUK CHERFI, Breakdown
MICHAEL SURREY, CHRISTOPHER J. URE, TERK PIERRE GIRAULT DENISE MEEHAN, JIM SNIDER,
MARK WALTON, STEVIE WERMERS, RONALD JOHN WESTLUND
KELLY WIGHTMAN Supervising Animator ...... MICHAEL SURREY Assistants
LAURENCE ADAM-BESSIERE, CLAIRE BOURDIN, Inbetweener
Additional Screenplay Material Animators GERARD BRADY, CHRISTINE CHATAL-POLI, MATTHEW R. HABER
DAVID REYNOLDS and JEFF STEPAKOFF ADAM DYKSTRA, DANNY GALIEOTE, JEROEN DEJONCKHEERE,
DAVID MOSES PIMENTEL, CHAD STEWART MARIA ANGELA ITURRIZA FREIRE, PORTER
JEROME GUILLAUD, PHILIPPE HOOGHE,
VISUAL DEVELOPMENT & CHARACTER DESIGN CLAYTON CHRISTINE LANDES-TIGANO, LUDOVIC LETRUN, Lead Keyiatane.. tench tienes TONY ANSELMO
JEAN-CHRISTOPHE LIE, NGUYEN DANG LONG,
CHEN-YI CHANG, GUY DEEL, PETER DE SEVE, Supervising Animator ...... RANDY HAYCOCK ANNE PELLERIN, PIERRE SEURIN, Breakdown
VANCE GERRY, JEAN GILLMORE, SYLVAINE TERRIOU AIDAN FLYNN, STEVEN K. THOMPSON
190
Ph)
KERCHAK LOOK DEVELOPMENT ANIMATION CHECK
TReACIGY, lotta eiercuace
site ache tieTRACY MARK LEE SUPEIVISONa cre ema DALE DRUMMOND Assistant Supervisors
KAREN S. PAAT, MAVIS SHAFER
Key Assistant Lighting Artists
ERIC PIGORS SEAN ECKOLS, CLUNIE HOLT, MIRA NIKOLIC Animation Checkers
JANETTE ADAMS, NICOLETTE BONNELL, MUSIC
Assistants Assistant Technical Directors JANETTE HULETT, DENISE M. MITCHELL,
BRIAN MAINOLFI, DOUG POST WILLIAM OTSUKA, RUTH RAMOS HELEN O’FLYNN, KATHLEEN O'MARA SEVTLIK, SEOre Produced by, . ae... MARK MANCINA
GARY G. SHAFER Score Orchestrations by ..... DAVID METZGER
Inbetweener VISUAL EFFECTS ANIMATION Score Conducted by .......... DON HARPER
MICHAEL LUDY 2D ANIMATION PROCESSING Songs Recorded and Mixed by .............
Supervising Animator, 3-D Effects ADS SC ET ere eee FRANK WOLF
YOUNG & ADULT TANTOR DAN CHAIKA Assistant Supervisor ........ KAREN N. CHINA Score Recorded and Mixed by .............
Digital Mark-Up ......... LYNNETE E. CULLEN See Oe ea rn eae STEVE KEMPSTER
MSA UINEVitis geke/a1)staievate
3cresipTERRY WOZNIAK Supervising Animator Paris Supervisor ..... SYLVIE BENNETE-FAUQUE Score Co-produced by . . .CHRISTOPHER WARD
MARK MEYER MusiciEditons. Stiaemcases ate:EARL GHAFFARI
Key Assistant 2D Animation Processors Assistant Music Editor ......... ROBBIE BOYD
SUE ADNOPOZ Visual Effects Animators DAVID BRADEN, JOANN BREUER, A ae a ee oC ie DANIEL GARBER
ETIENNE AUBERT, THIERRY CHAFFOIN, ROBERT LIZARDO, MICHAEL A. MCFERREN, Director, Music Production ....ANDREW PAGE
Assistants MARGARET CRAIG:-GHANG, RICHARD J. MCFERREN, STACIE K. REECE, Music Production Manager ................
BRIGITTE T. FRANZKA-FRITZ, JEFF DUTTON, COLBERT FENNELLY, DAVID J. ROWE Bebtiaeir a tien ne mnanee ee TOM MACDOUGALL
CHAN WOO JUNG JAMES MENEHUNE GOSS, CRAIG L. HOFFMAN, Music Production Coordinator .............
TOM HUSH, MICHAEL CHADWALLADER JONES, Bee See nset eth Score mendes DENICE LA ROCCA
- Breakdown CYNTHIA NEILL KNIZEK, DORSE A. LANPHER, COLOR STYLISTS Music Contractors....... SANDY DECRESCENT
JOCELYN KOOISTRA DAN LUND, BRICE MALLIER, rea hese nace eee REGGIE WILSON
DAVID JOSEPH MILDENBERGER, MASA OSHIRO, PENNY COULTER, MARIA GONZALEZ, Vocal Contractors ........... . ..BOBBI PAGE
Inbetweener ‘ MOULOUD OUSSID, KATHLEEN QUAIFE, BARBARA LYNN HAMANE, Sy Spe Seat ersini nee ee FONZI THORNTON
JAMES ANTHONY MARQUEZ ALLEN M. STOVALL, DAVID TIDGWELL, DEBBIE JORGENSBORG, HEIDI LIN LORING, Supervising Music Copyist .. ..BOOKER WHITE
PHILLIP VIGIL, MARLON WEST CELINE O’SULLIVAN, MARIE ST. CLAIR, Milsies Preparanommbya. tenner snc alsin tee.
FLYNT, MUNGO, & APE FAMILY SYLVIA I. SANCHEZ, JUDITH L. TOLLEY Beach oe aeeeroteJO ANN KANE MUSIC SERVICE
Effects Key Assistants
Lead Keys SEAN APPLEGATE, MARKO BARROWS, Character Sculptures
SUSAN LANTZ, GINNY PARMELE MATHILDE DANTON, PAINTING KENT MELTON,
ANGELA ANASTASIA DIAMOS, CHRISTOPHE CHARBONNEL, TONY CIPRIANO
____ Key Assistants MABEL L. GESNER, KO HASHIGUCHI, Color Model Mark-Up
JESUS CORTES, KRIS HELLER, SUSAN Y. SUGITA, DAVID M. KCENICH, JON WILLIAM LOPEZ, BILL ANDRES, SHERRIE CUZZORT,
PEGGY TONKONOGY MARY MULLEN, MARIA NEMETH, BETH ANN MCCOY-GEE, GRACE H. SHIRADO, PRODUCTION
JOSEPH CHRISTOPHER PEPE, CHRISTINE NG WONG
Assistants PETER FRANCIS PEPE, JR., STEVE STARR, Administrative Manager
CYNTHIA JILL FRENCH, ANNETTE MOREL AMANDA J. TALBOT, MICHAEL ANTHONY TOTH, Registration VICKI CASE
JOHN TUCKER, THOMAS WALSH, KARAN LEE-STORR, LEYLA C. AMARO-PELAEZ
Breakdown KAREL ZILLIACUS Production Accountant
HUGO SORIANO Assistant Supervisors, Paintin, JEFF RUGGELS
Effects Assistants RUSSELL BLANDINO, PHYLLIS ESTELLE FIELDS,
Inbetweeners VIRGINIE AUGUSTIN, THIERRY BELTRAMI, IRMA VELEZ Paris Production Accountant
JEFFW.HONG, KIMBERLY MORIKI ZAMLICH IVAN KASSABOV, DERRICK LEE MCKENZIE, DAMIEN HARNIST
GREGORY REGESTE, VAN SHIRVANIAN, Paint Mark-Up
BABOONS & MISCELLANEOUS CHARACTERS DENNIS SPICER, LORA M. SPRAN, ROBERTA LEE BORCHARDT, PATRICIA L. GOLD, Assistant Production Accountants
GRAHAM WOODS BARBARA NEWBY, BONNIE A. RAMSEY; FRANKW. KNITTEL, DEBBIE HAGMAN
ERG USS 6opp pe cere
eee eee LIEVE MIESSEN MYRIAN FERRON TELLO
Effects Breakdown Manager, Digital Production
Key Assistants JAY BAKER, ROBERT BLALOCK, Painters KIRK BODYFELT
RAY HARRIS, MICHAEL G. MCKINNEY EDUARDO BRIENO, DELPHINE BURATTI, JOYCE ALEXANDER, KIRK AXTELL II,
ALEXIS VENET, MELINDA WANG, PHYLLIS BIRD, JOEY CALDERON, Director of Production
Assistants NICOLE ALENE ZAMORA OFRA AFUTA CALDERON, JAMIE M. CASTON, DOROTHY MCKIM
DIANA COCO, JEANET HEERHAN BAE, CASEY CLAYTON, SYBIL ELAINE CUZZORT,
KENT HOLADAY Effects Inbetweeners FLORIDA D’AMBROSIO, Director of Production Accounting
ERNESTO BRIENO, ERIC GOSSELET, ROBERT EDWARD DETTLOFF NIKA DUNNE, BOB BACON
reakdown KRISTIN K. FONG LUKAVSKY, RON PENCE, MICHAEL FOLEY, PAULINO GARCIA,
MUNIR BHATT CAROLYN F GLIONA PHILIP PIGNOTTI, JEFFREY C. PLAMENIG, DEBBIE GREEN, STEVIE HIRSCH, DAVID KARP
ROBERT SMYTH, SEAN STRAIN, ANGELIKA R. KATZ, KUKHEE LEE, PRODUCTION COORDINATORS
CAPTAIN & THUGS DAWN M. WELLS DEBORAH JANE MOONEYHAM,
BRITT-MARIE VANDER NAGEL, Video Reference & Recording .............
MCA OVE atesSrcpalernic
sivecerchmantin enedGAIL FRANK KAREN LYNNE NUGENT, KENNETH O’MALLEY, ayistec so Prisca MON KATHY CAVAIOLA-HILL
ASSISTANT PRODUCTION MANAGERS BRUCE GORDON PHILLIPSON, Communications Coordinator . . . JULIET NEES
Key Assistant ROSALINDE PRAAMSMA, CARMEN SANDERSON, CARS ca ieee ae ee eineKIRSTEN A. BULMER
MICHAEL HAZY Story & Visual Development ...... DAVE OKEY HEIDI WOODWARD SHELLHORN,
EGIKOMAl Ge Pitges site to len Sn nese KARA LORD. EYDE SHEPPHERD, DON SHUMP. Production Assistants
Assistant LAVOUERA Mires ote cred PAUL S. D. LANUM FUMIKO ROCHE SOMMER, S. ANN SULLIVAN, BILL BARRY, OLIVIER BIZET,
LILLIAN AMANDA CHAPMAN Character Animation........... TONE THYNE ROXANNE M. TAYLOR, TAMI TERUSA, RODOLPHO S. CARDENAS,
Sweatbox ....... KARENNA MAZUR-ALDERTON CHRISTINA E. TOTH KARINE COHEN-SOLAL, JOE CROWLEY,
Breakdown Clean-Upys...4LESLEY ADDARIO BENTIVEGNA ANDREW EGIZIANO,
JIM BRUMMETT Visuialibtiects..: suSachetiit sete LEIF GREEN HELEN FERNANDEZ-MARTINEZ,
Backgrounds .......... JENNIFER L. HUGHES FINAL CHECK BERANGERE FRESARD, SILVIA GALLARDO,
SABOR Digital/Production .....:.0.0.-5 JASON HINTZ WENDELL LAWRENCE HARVEY,
Paris Layout and Backgrounds ..........:.. Assistant Supervisor CHRISTELLE KAM, ADAM KARPEL,
BEACIRCY ec steu ccqesve steed GONTRAN HOARAU Sch pam maee ne eee MICHAEL DE LA CRUZ TERI N. MCDONALD JENIFER JO KLOCKI, SEAN KRANKEL,
Paris Animation ........ ALEXANDRA SKINAZI GABRIEL JOSE LARA, RENATO LATTANZI,
Assistants Paris Clean-Up ............. ETIENNE LONGA Final Checkers MITCHELL LINDELL, JONATHAN MACKINTOSH,
MAROS GREGAN GIZELLA, Paris Visual Effects ...... FREDERIKA PEPPING LEA DAHLEN, MISOON KIM, SALLY-ANNE KING, SEAN MCANDREW, ALLYSON MITCHELL,
BENOIT MEURZEC, PHIRUM SOU, Scene Planning......... KATHERINE A. IRWIN CATHERINE MIRKOVICH-PETERSON KATHLEEN MIX, NINKA KATARINA MORTENSEN,
MARC TOSOLINI, XAVIER VILLEZ Animation Check .. .CATHY MCGOWAN LEAHY TINA M. PEDIGO, ROBERT STEPHAN STEMWELL,
Color Models... 0.2.5.2... HOLLY E. BRATTON JULIE VIELLEMARINGE, JUDY WOLF
FRO GUCHON Pia ec yasteneine slale aisBILL BLOOM COMPOSITING
DIGITAL PRODUCTION Manager, Disk Space and Retakes .......... Production Secretary 344.2... 2.0: JOY AARON
BOE sera han CRO ee oe ae: SHAWNE ZARUBICA Compositors Assistant to Producer ..... ELIZABETH RAMOS
SOFTWARE DEVELOPMENT Assistant Manager, Disk Space and Retakes . . . JASON LEONARD ROBERT BUSKE,
non cet noe ae BRENDA MCGIRL EARL SCOTT COFMAN, TIM GALES,
BGIVISOR rte sare crarsiton gatals TASSO-LAPPAS DOLORES POPE, MICHELLE SAMMARTINO
Senior Development Technical Director......
2 Se EXE EA One eeae GEORGE KATANICS FLORIDA UNIT SUPERVISORS
Technical Directors ....... PETER H. PALOMBI DIGITAL FILM PRINTING & OPTICALS
+ GIBLSUDLDER aN SISSON Cee Re ea ae MAYUR PATEL Cleanipy «ces... eekam seein PHILIP BOYD POST PRODUCTION
Visual Effects ........-.4 JOSEPH FE GILLAND Assistant Supervisor ......... TONY PORIAZIS
"1. 5. RESO co ao CHRISTINA C, LAU Re Cae Sete ree ecece, GARRETT WREN Post Production Supervisor ..... PATSY BOUGE
2.053 0 acho Sa aOR BERNARDO D. CEGUERRA Backgrounds i105 6eesti SEAN SULLIVAN Camera/Film Recordéy Operators Post Production Coordinators ..............
> Ovcla EEAETORE BURNS RPE IVA S. ITCHEVSKA Animation Check ...........- LAURIE SACKS JOHN D. AARDAL, JOHN DERDERIAN, eae tie ME ok. Soeerse hte ELEANOR LESH
2D Animation Processing ...............+. JENNIE KEPENEK MOUZIS CREE: ts ee aE ROBERT H. BAGLEY
MODEL DEVELOPMENT renege MERU weeine JAN BARLEY GUTOWSKI Post Production Administrator .............
SR eee HEATHER JANE MACDONALD-SMITH
UPENVISOK a sieareatacive ccna GIL ZIMMERMAN Post Production Engineer .................
SCENE PLANNING Quality:ControhSs.c.c aches: CHUCK WARREN Tee Mie? eae MICHAEL KENJI TOMIZAWA
- Technical Directors Camera Operations Coordinator ............ Re-recording Mixers.......... CHRIS JENKINS
NICK COLLIER, IAN J. COONY, Scene Planners abn Leone STEPHANIE L. CLIFFORD Berietnr ai kiana jccle ysis sk eS RON BARTLETT
BILL KONERSMAN, ANDREA LOSCH, S. J. BLEICK, CYNTHIA GOODE, Digital EFX and Reuse Librarian ............ Borate Sacagnyae erat eaeVauals Seve arora MARK SMITH
NICOLETTA MARCIALIS, KEVIN PAUL SHEEDY MARK HENLEY, RONALD J. JACKSON, By eye are ea VICKI L. CASPER Original Dialogue Mixer .......... DOC KANE
DAVE J. LINK, RAFAEL VICENTE Sound Design and Supervision by..........
Assitant Technical Director Bi eo Ee RT AT Se PER HALLBERG
CHRISTOPHER POPLIN Scene Planning & Effects Data Entry EDITORIAL First Assistant Sound Editor ... .KAREN BAKER
JAMAL M. DAVIS,
Assistant Modelers LAURA JAIME, SHERRI H. VILLARETE Associate Editor 2.55 6. G:0c08% TIM MERTENS
PAMELA J. CHOY, JOE WHYTE Animation Editor ............ JAMES MELTON These credits are not final.
First Assistant Editor ....... GINA GALLO PARIS
Assistant Editors .......... STEPHEN L. MEEK
191
I dedicate this book to the memory of my father, Herbert Green,
who taught me to love the written word and to reach for the stars.
Acknowledgments
“Two Worlds.~ “You'll Be in My
As an official chronicler of Walt Disney Feature Animation for more than two decades, | was thrilled to be
Heart.” “Son of Man.~ and asked to write the book about the making of Disney's 7arzan. For that, | am eternally grateful to Peter
“Trashin’ the Camp” ©1998: Schneider and Thomas Schumacher, who suggested me for the project and lent their insightful comments
“Strangers Like Me” ©1999 and support throughout. Thanks also to Roy E. Disney, the patron saint of Disney animation, who continues
The Walt Disney Music Company. to inspire and motivate us all with his passion and ambitions for the art form.
All rights reserved. Bonnie Arnold, the tireless and talented producer of Jarzan, will always be “in my heart.” Her wisdom,
Reprinted by permission. generosity, and genuine enthusiasm made this assignment a joy from start to finish. She is tops in her field
and a lovely person to boot. I'd also like to extend my sincerest thanks and appreciation to Directors Kevin
Music and lyrics by Phil Collins
Lima and Chris Buck for being so incredibly open, honest, and cooperative. Their vision and talent helped to
Original score by Mark Mancina
make this film as fresh and exciting as it is and their journals provided some amazing insights into that cre-
ative journey. The delightful Juliet Nees who lent a pinch of ingenuity and a dash of sanity, was an indispens-
TARZAN® Owned by Edgar Rice
able contributor to this project.
Burroughs. Inc.
It is no understatement to say that this book would not exist without the faith and guidance of Wendy
Used by Permission.
Lefkon, my patient and protective editor at Hyperion. She knew when to leave me alone, when to provide a
Copyright ©1999 Edgar Rice necessary nudge, and allowed me the creative freedom that I needed to survive this assignment and a
Burroughs. Inc. and demanding full-time job. Gratitude is also due to the wizards at Welcome Enterprises—particularly Sara
Disney Enterprises. Inc. Baysinger, Jon Glick, and Gregory Wakabayashi—who put their hearts, souls and considerable talents into
All rights reserved. No part of this conceptualizing, coordinating, and designing this book. Their dedication to quality and hardwork pushed
book may be used or reproduced in this volume beyond traditional boundaries and infused it with a fresh, offbeat aesthetic.
any manner whatsoever without I feel privileged and honored to know and work with Glen Keane, the supervising animator for the char-
written permission of the Publisher. acter of Tarzan. Not only is he one of the greatest artists to ever work in animation but he is an incredibly
wonderful person and a fantastic interview as well. To hear him talk about creating Tarzan and bringing the
ISBN 0-7868-6403-6
character to life on the screen is to be in the presence of a true master.
ISBN 0-?868-6588-1 (limited edition)
My thanks as well to all of the other supervising animators, department heads, writers, and voice talent
who gave so freely of their time and shared their experiences for this project. They include Doug Ball, Brian
For information. address:
Blessed, Dave Burgess, Glenn Close, Eric Daniels, Peter Demund, Minnie Driver, Ken Duncan, Russ Edmonds,
Hyperion
Paul Felix, Tony Goldwyn, Nigel Hawthorne, Randy Haycock, Lance Henriksen, Wayne Knight, Mark Mancina,
114 Fifth Avenue
Dominique Monfery, Tab Murphy, Rosie O’Donnell, Brian Pimental, Jean-Christophe Poulain, John Ripa, Dan
New York. New York 10011
St. Pierre, Haarald Sieperman, Bruce Smith, Mike Surrey, Marshall Toomey, Bob Tzudiker, and Noni White.
Produced by: Having an opportunity to interview and interact with the legendary Phil Collins has been a dream come
Welcome Enterprises. Inc. true. He went above and beyond the call to assist with this book. |am most appreciative for the access he
’ 588 Broadway provided to detailed notes'and faxes regarding his contribution to the film and for his foreword.
New York. New York 10012 During my tenure with the Studio, I have been lucky enough to count many of the great animation/film
scholars and authors as my friends and colleagues. I have learned a great deal from these special associations
Project Director: Sara Baysinger and I will always be indebted to Leonard Maltin, John Canemaker, John Culhane, Bob Thomas, Scott Eyman,
Art Director: Gregory Wakabayashi Stephen Rebello, J.B. Kaufman, and Russell Merritt. A very special thanks to my long-time friend, author and
Designer: Jon Glick
historian Charles Solomon, whose support, encouragement, and encyclopedic knowledge were invaluable.
Hyperion Editor: Wendy Lefkon
Thanks to my assistant Zelda Wong for humoring me (most of the time) and to the multitalented Kat
Hyperion Assistant Editor: Rich Thomas
Cressida for so ably transcribing most of the interviews.
Last and certainly not least, I thank my wife Amy who plays Jane to my Tarzan. I don’t know what I would
Printed and bound in Japan by
have done without her constant love and support, infinite patience, and occasional grief. |wouldn’t think of
Toppan Printing Co. Ltd.
writing acknowledgments without mentioning the other constants in my life: my mom, Ruth Blumenthal and
Ts eae 4) 5) be Be 19) 10
the best pal anyone could ever have, Dave Collier.
—H.E.G.
BOOKCASE: Sketch of Tarzan

The producers also wish to acknowledge the following people for their significant contributions to this book:
by Glen Keane.
Rich Thomas, David Lott, and Lori Cummings at Hyperion; Kevin Breen, Kara Corwin, Jeri Howard, and Jody
ENDPAPERS: Color key by - Silverman of Feature Animation Business & Legal Affairs; Susan Borgensen and Bryan Bradley of The Walt
Debbie Du Bois. Disney Music Company; Tim Lewis and Bobby Lee of Disney Publishing Creative Development; Ann Hansen
at the Animation Research Library; Erik C. Kay for providing many of the Jarzan crew photographs, Stacie .
Iverson, and Pam Waterman all with Feature Animation; John Hanley, Masanobu Ogata, and Yuzo Hasegawa
of Toppan Printing Co. Ltd.; and photographer Michael Stern who's always right on the money.
wr
hr )
The Tarzan
ae
<a )
The Tarzan Chronicles reveals, iinieee after vibrant p

the mystery behind the ma of Disney’s roaring jung!le
of the Tarzan Cl eative team—including musician Phil

Sous directors I y laa and Chris Buck, and legendary
linate the struggles, the triumphs, —
ie
at marked the four-year jjourney —
| Discover er dite oftenctackled
story of Taree’We
Meand fiowithey
ViLO@ Ces yictiany Jee
Glee rclxemcomcoa@its Ol cil the WE Lie questic
“WIiat Constitittes alfamil i d first
story ote
ards to at
vivid, personal recollé
delight readers in see
|
Howard E. Green is a key playemonDisney’s motion
picture publicity and marketingteams. He currently
; A Welcome Book
6/99
Printed in Japan
Copyright
© Disney Enterprises,
Inc
$50.00 (Canada $68.00)

ISBN O-?8b48-b4YO035-b
| | | | i
9"780786
0786"864034

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PAGES 2-3 AND THESE PAGES:

PAGES 4-5: Tonal layout of

Switzerland. Although I really wanted to do it, I didn’t know if I was

ohh retrospect thelastfour yearsshave whizzed by. ] have‘surprised

epeeett tote 4. gee

tera hy 63-4 vey f e 2 8 pe a ; rs : x aes

. Bim es the Salt : eet oe fea

ranging from silent versions (the 1918 film ri yethe Apes

about hisenvironment and the iment that faRAbiA+

--ABOUE: Visual development. 2 a

Kevin Lima’s Journal

images revealed themselves and

is at the soul of our Tarzan.

asserts Feature Animation President Thomas

Schumacher, “was that Burroughs had created the

how can we animate that?’ Here is a book that cries

out to be animated. Yet we're the first filmmakers

to have ever taken Tarzan from page to screen and

family is as much about what you create around you as it is

I find Burroughs’ Tarzan intrigu-

ing in his intensity and intro-

spection, but am concerned that

loner in the book, and it may

The character relationships need

involve the audience on a

TOP: Character develop-

LEFT: Development art

Disney’s The Hunchback

third act essentially takes place

times a bumpy road. We decided

Walt Disney Studios President Peter Schneider explains,

THESE PAGES: Clayton

Clayton: Crushed, really. Clayton: Sorry, old boy.

February 25, 1997

decision we’ve made, every step we

Story is such an elusive monst

states, “The screenwriter/story team relationship is hopefully one

THESE PAGES: Production stills

having the most trouble in the

s The writers were quick to realize the importance and rele-

out with the bathwater in our most

Tarzan back to the tree house, she

the tree house to learn

since infancy. We even had some adoptive parents come in and

because the filmmakers chose to focus on Tarzan’s transforma-

- Kala: Good-bye, Tarzan.

Kala: But he'll learn. a

THIS PAGE: Storyboard art by Carole

LEFT: Cleanup animation of Kerchak

“One of the things we decided early on,” continues Arnold,

Tarzan. He becomes aware that he is different. His mother reas-

‘movies have ever really dealt

fi. a175-265 § 1118-2758

the humans who are more profoundly affected by Tarzan.”

Tarzan and Jane started to come to life, especially after their

THIS PAGE: Production stills.

efforts of every storyboard