Boxoffice-July.1997

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decorative" than the traditional Disney animated film, Musker notes. "But at the same time we're still trying to work in three dimensions, with the Disney illusion of moving in deep space." So that the creative team could absorb authentic location atmosphere, Musker and Clements took key department heads on a trip to Greece and Turkey in summer 1994. Shooting video footage and still photographs for reference, they discovered unexpected details they later incorporated into the film's visual texture. "All the sites were overrun with goats," Musker recalls with amusement "Throughout the film we sprinkled a more liberal dose of goats. That helped give it a life, a certain color." The noted British artist and political cartoonist Gerald Scarfe, whose distinctive style relies on bold caricature and finely filigreed calligraphy, also came on board the "Hercules" production, aiding with character designs. Scarfe, whose conceptual drawings flowed from England to Buifcank for three years, "was basically our graphic designer," Clements says, although Andy Gaskill served as art director. On "Aladdin," the filmmakers employed artist Al Hirschfeld in a similar capacity to Scarfe's on "Hercules." In both films, animation buffs also can detect the uncredited influence of the boldly stylized UFA cartoons that challenged Disney's hegemony in the 1950s. "Hercules" makes intermittent use of CGI techniques as well, for sequences involving morphing clouds and a thirtyheaded monster, the Hydra. ting-edge animation directors. Not only are they "well-known around Disney for being adventurous when it comes to technology," says their fellow "Hercules" producer Alice '-ith animation profits soaring over the past few years, the competition T T among Hollywood studios for animation artists and directors has become in- MOM & POP OUTFIT: Hera specializes in ambrosia batches, Zeus in ligtitning bolts. Dewey, "they are unique because they are writer/directors, so they have a very careful sense of what their movie is and have thought it through from the genesis. creasingly feverish. Keeping Musker and Clements on the lot has been a high priority for Disney. When animation honcho Jeffrey Katzenberg left as chairman of Walt Disney Studios in 1994 and became a partner with Steven Spielberg and David Geffen in DreamWorks SKG, Musker wrote a memo to his Disney colleagues declaring, "Well, guys, I think everybody's salary just went up." Musker and Clements held talks with DreamWorks and Warner Bros., but last year they decided to sign exclusive new agreements with Disney. 'There were long-term projects we wanted to do, and there are good people here," Musker explains. The newly competitive atmosphere is "good for artists, because it's not so monolithic. It helped us when we did 'The Little Mermaid" that Spielberg [and Don Bluth] had done 'An American Tail.'We talked to Jeff and said, 'We've got to do the storm at sea better. We've got to top them.'" The next project for Musker and Qements is another stylistic challenge, an aninwted sci-fi feature titled 'Treasure Planet" A futuristic version of 'Treasure Island," populated with robots and cyborgs, it is being planned for release in either the year 2000 or 200 1 . "It has to be at least one ofthose dates," Qements explaias, "because those are good graphic numbeni." Hi EARLYWORK: Musker and Clements ' The unusual blend of influences on Musker and Clements, and their willingness to experiment with diverse styles of animation, helps account for their status as Disney's most cut- T/ie Little Mermaid" swims back into ttieatres this Thanksgiving. "Because this is their fourth picture," Dewey continues, "they have a tremendous amount ofexperience, not only with animation but with each other." "Hercules. " Vaces by Tate Donovan, Janes Wix)ds, Rip Tom and Danny DeVito. Dimctedhy Jdim Musker cmd Ron CUimtUs. Written by Ron ClemeiUs & Mm Musker, Bol) Slum' & Don McEnery and Irene MecchL Pnxlmed by Alice Deyvey, John MuskeratuiRon ClenwiUs. A Buena Vfaw release. Anitiuited Oikhs wide June 27.
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