But for now, I will stick to the time when I finished assisting the scene “Bild” for Brent Odell, where several elephants and war-machinery were lifted up.
I was preparing to assist on the next scene, when already a re-arranging of animators and assistants happened. No sooner had I settled in at “The Forum” at Camden street, that I packed my bags and moved to the legendary “138 Royal College street”. Dick had decided that I might as well go ahead and animate my first very own scene. This was – as it turned out – part of a master plan, where we young and hungry assistants soon became junior animators and the hours that we put in voluntarily would put pressure on the other animators too.
But right now, I was in heaven. I worked in the lair of the master himself, just one floor below and on my own scene. I happily met with Dick, and he presented me with a sketch for “Kettle”:
To the "uninitiated" (me) this looked like a case of “huh?” But as the image below shows, Roy Naisbitt clearly read Dick’s intentions and as usual created a beautiful layout.
Today, in times of computer animation and programs like “Massive”, known from Lord of the Rings, even the armies of the Mighty One-Eye would be laughably small. But in 1990, we only had the mighty “Xerox” and patience on our side. The “2.5-D perspective” of the artwork really was a benefit here, as it meant we (warmachine) animators could cheat perspectives in complicated scenes like these and with all the FX going on and the fast cutting, we could get away with placing and tracing many characters.
When hand-drawing a tray with 40 one-eyes that gets destroyed by a rocket, impaling many soldiers and throwing the others to the abyss over 75 drawings time just flies by..and before you know it, 3 weeks are over….