Nobody has ever made the dark feel as real as old Disney did.
In these films the night isn't an absence of light. It's a color, and someone mixed it by hand…
Disney had its own paint laboratory, built by a woman named Mary Weiser, the first of its kind in animation. Its job was to invent shades that did not exist yet. In the early thirties, when the studio was still making shorts, there were around eighty shades on the shelves. By the time they finished Snow White there were fifteen hundred.
Every one of them went on by hand, cel by cel, and each cel needed hours to dry before it could be photographed.
The Ink and Paint department was almost entirely women. According to the Walt Disney Family Museum, the paints were sometimes named after them, and to have a color carry your name was considered an honour.
So the dark of Bambi's forest, the lamplight in Geppetto's workshop, the blue at Cinderella's attic window: none of it is a filter or a setting or a dimmer turned down. Each is a specific colour that a specific person mixed in a jar, and some of those jars had her name on the label.
That is why these scenes still feel more alive than anything made since. We went from hands, to computers, to AI, and at every step there is a little less of the person left in it…
The author Joanna Maciejewska said it better than anyone: "I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes."
@nirav_maine I've been behind you 100%. Unfortunately your people didn't text me to remind me about Saturday. How many of your voters didn't get a reminder to come participate when we'd signed up! I'm an Independent. Troy Jackson does nothing for me.
@StuartHumphryes My dad was a weatherman in the U.S. Services in WWII. This could be him. Honestly, it made me tear up a bit. Thank you for posting this wonderful photo.
Allow me to transport you back 116 years to the Belle Époque era of Pre-WW1 France. This gorgeous colour photograph was taken in 1910 by the French art collector and early colour photographer Antonin Personnaz, using an colour glass-plate process commercially released 3 years previously in 1907.
It is such an evocative scene: lady leaving a gated house, clutching a potted plant! What story does the image evoke for you, I wonder? There's definitely a tale to be told...