- With all the recent thought and posts on Bill Tytla, I couldn’t resist revisiting this artwork from the Harman-Ising short, The Hungry Wolf. So here it is.
We’ve seen that Tytla veered his animation style completely toward the “Method” and there is no doubt that he carried that with him even after he left the Disney studio. Unfortunately, he went to the lowest of the low and couldn’t survive any longer as an animator. He turned to direction and had to adapt his use of Stanislavsky to his directing technique.
Unfortunately, the “actors” he was given weren’t up to the task. Those “actors” were the least of the animation industry, those who had learned a lot of bad techniques, ways of cheating and a lack of a deep interest in bringing the souls of his characters to life.
I was surprised to learn that Tytla had worked at a studio that was a bit better than Terrytoons or Paramount right after he’d left the haven of Disney. John Canemaker loaned me a cache of drawings for a Hugh Harman film, The Hungry Wolf, made in 1940 at MGM. It’s not a very good film; the drawings are signed by Tytla, but they have no ladder indication for an Assistant to do the inbetweens. Most oddly, the wolves are shaded in by Tytla. Also take note of the table being animated into place. Are these animation drawings? Is it LayOut posing to give to someone else to animate? And greatest of all, what is Tytla doing at MGM?
Since this would have been completed in early 1942, I can only assume that it was during the strike at Disney that Tytla did some work for Harman in mid 1941. Most probably he was acting as an Animation Director and NOT animating the scene. He worked under Harman, who got credit for directing.
There’s no attempt at distorting or stressing the drawings in any way. I assume the character wasn’t designed by Tytla. It’s similar to a character design that was used in other Harman films.
Here are all the drawings given me by John.
The following is a QT of the entire scene with all the drawings included.
Since I didn’t have exposure sheets, I calculated everything on ones
(which seems to reflect the timing in the final film) and left however many drawings to the assistant and inbetweener.
Many thanks to John Canemaker for the loan of the drawings. It was great just touching them.