The Neil Gaiman example later in this thread is absolutely evergreen because he's such a perfect case study for "terrible people can make very good and very progressive, empathetic pieces of art". The sooner we stop conflating someone's morality with their work the better.
the secret to being a private person is to overshare dumb shit so ppl think u are an open book but then not tell them any of the important details of ur life
Just one day after ending "The Late Show" on CBS, Stephen Colbert returned to TV — to host a public access show with rocker Jack White in Monroe, Michigan.
Appearances by Jeff Daniels, Eminem and Steve Buscemi.
Before TOOL, in 1987, Maynard James Keenan was in C.A.D. - Children of the Anachronistic Dynasty. Here they are playing ‘Burn About Out’, a proto, early version of TOOL’s ‘Sober’. The Grand Rapids GRTV Public Access crew were in for a preview treat that day!!
For one second of Tinker Bell's pixie dust, a Disney artist had to paint 24 separate sparkle pictures by hand. Each picture went on its own clear plastic sheet, and the sheets were stacked on top of the character drawings, one sheet for every frame of the movie. Disney had a whole department doing nothing but this, from 1937 to 1989.
Josh Meador ran that department for 30 years. He joined Disney in 1936 and stayed until he died in 1965. On his watch the team made the pixie dust in Peter Pan, the fairy dust in Sleeping Beauty, the bubbles in Cinderella, and the fire in Bambi. He was later called one of the five greatest effects animators in history. Almost nobody outside Disney knew his name.
Snow White in 1937 needed 750 artists working three years and about 2 million separate paintings to finish. The budget was $1.5 million, around $34 million today. Walt mortgaged his own house to help pay for it. Every single sparkle on every gem in the dwarfs' mine scene was painted by hand on the back of a clear plastic sheet, so the front would stay clean.
Those sparkles that turn Cinderella's rags into the blue ball gown came from a different artist, George Rowley. Walt later told animator Marc Davis that Cinderella's transformation was his favorite piece of animation the studio ever made.
Marc Davis was the man who drew Tinker Bell herself. Her glowing pixie dust trail came from the effects team next door. Character artists drew the people. The effects team handled everything else that moved on screen: fire, water, smoke, and sparkles.
The Little Mermaid in 1989 was the last Disney film made this way. Starting with The Rescuers Down Under the next year, every Disney sparkle has been digital, made in a computer. Every classic Disney sparkle you remember is a hand-painted relic from a 52-year department that no longer paints anything by hand.