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The Qa Dfenep Feature Animation Department Newsletter 








MAY 17, 1999 - VOL. XI - ISSUE 20 EDITOR: EMPLOYEE SERVICES 8247 x2536 





The Big Sleep (1945) 


Humphrey Bogart is Phillip Marlowe... 


...1n Howard Hawks’s version of the famous novel by Raymond 
Chandler, adpated for the screen by Pulitzer Prize winner William 
Faulkner. 


Bogart and Lauren Bacall will be smoking up the Southside theater O5 
screen this Tuesday! The film is presented in a glorious 35mm black 
and white print, so don’t miss out on this classic detective film. 


Tuesday, May 18 
Southside Theater 7:00 p.m. 








| - a = G a 29 (2 g oe G S e 4AE ot" Oe E 
twilight.bark@disney.com 


©DISNEY 


Sone 


setetetete oseto 
-a sc 
wesssetete 
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z of questions about all the festivities. Here are a few answers to the questions CSdaj 
i a$ d most often. 


Screenings = [| _ *fatlre Animation 


: _ I heard the will be screenings on June 1, 2, and 3. 
| Which date will I get to see the movie? Di 


| Invitations to the screenings will be sent to you via interoffice mail by 
; | the end of this week. Your i invitation will indicate the night you re 


invited. If you have not received an invitation by Monday, May 24, 
: _ please call 8489 x3534. 


a Will I get to see the movie with my co-workers? 


= Yes! Individual productions and departments will be invited on the 


. same ngas 


retetete! 


| nent instead? 


Sorry, due to the capacity of the El Cap, switching nights is not 
possible. 










sneen, 
sanen 


dis Aieten, 
atete 


IIl be out of town for the screening, but my gardener would 
a really enjoy it. Can I give him my tickets? 
; i No, sorry, tickets are non-transferable. Please bring your ID. 


 CanI bring my children to the El Capitan screening? 
Each employee may bring one guest. It’s fine if you choose to bring a child. 


* However, there will be Family Screenings of Tarzan in our own theaters on June 26 & 27 for the 
whole family. 


annn nn TONGA 



























mee Where will it be? 
Chus o Tarzan Crew The location will be announced on your invitation. 
— {Doo arzan Trew 
I didn't works or sft? —- Party When will I get an invitation? 


Jois e Invitations to the Wrap Party will be sent to the 
Absolutely! l Al ome et Tarzan Crew via interoffice mail by the end of this week. If you have not 
Animati oo- a received an invitation by Monday, May 24, please call 8489 x3534. 
A friend of mine worked on Tarzan but was laid off. 

Will she be invited to the party? 

That's a policy question that it’s hard to answer without knowing the specific 
situation. Please have your friend call (818) 526-3534 if she hasn’t recieved an 
invitation in the U.S. mail by intend ais 24. 


for your wrap £ o 
m: on. aodan o 
May oe ae your =m 


for times and locations. 
9 
What is the wrap gift? 


— t But we've 
Cant tell m. really rely 


What do I wear? 








TWILIGHT BARK. 





MAY 17,1999 














Ten members of the Lilo and Stitch development team "There are so many 
recently packed their bags and headed for the islands of amazing flowers and varieties 
Hawaii to get better acquainted with the setting of the film. of plant-life that it looks like a 
Bob Stanton and Ric Sluiter recently sat down with the Rabbit postcard, and yet it’s real. Everything is 
Rabbit and recounted some of their experiences from the coated with life." 








research expedition. 
Ric was struck with the intensity and clarity of the colors 


During the six-day trip, the group visited the islands of found in Kauai. "There are so many unique colors and they are 
Oahu and Kauai, the latter providing the inspiration for Lilo’s all so clear and bright. At sunset the sand on the beach is a 
home. They spent a great deal of time drawing, painting, brilliant orange, the surf is a deep green and the lava rocks are 
taking pictures, exploring and absorbing the tropical jet black. The lighting changes constantly and everything is 
surroundings. "It’s a perfect place to design a film," said Bob. shrouded in shadows." Ric hopes to capture some of these 


elements on screen. 


But the trip wasn’t all work and no play. While they 
missed out or: catching any monster waves, our stalwart 
travelers did some deep sea fishing, snorkeling and attended a 
luau complete with roasted pig. Rumor has it that there is a 
video of David Steinberg doing the hula dance while wearing 
a grass skirt and two strategically placed coconuts, but that 
„has yet to surface. Ric was also bitten by the official Hawaii 
state fish, the humuhumunukunukuapua (pronounced 
humuhumunukunukuapua), but lived to tell the tale. 


All in all, the trip was a success and gave the development 
team many great ideas for the film. When asked to sum up his 
time in Hawaii, Ric said that Kauai "provided a treasure chest 
(Above) An inspired watercolor of Kauai, of amazing vistas, colors and ideas." Bob added, "Yeah, and 
by Art Director Ric Sluiter the sushi was really good too." 





GLAMOUR BEGINS AND ENDS ON AN ULTIMATE LIMO RIDE 


® te, ry 
edt Ee takes place in the glamorous world of the Big City and the Wild Life story and leadership team knows 
that glamour begins with a ride in an ultimate limo! Kitty and Red, two of our main characters, travel throughout Big City in an 


outrageous limousine and we felt it was important to simulate that experience. We boarded our forty foot stretch in front of Feature 
Animation Southside while the paparazzi crowded around. Well, really it was just a few folks from clean up crossing the street going 


for a late lunch. But it was glamorous! 





Inside the sleek glitz machine all fourteen of us were (ahem) comfortably seated and whisked away for a three hour tour. Director 
Howard Baker screamed, "Take us to Hollywood!" Our levelheaded driver, Rose, insisted, "You ain't seen nothing yet", and jettisoned us 
to the fabulous city of Riverside to the Ultimate Limo garage. Three bottles of sparkling cider later, we found ourselves in the midst of 


a very large collection of very large automobiles. These land whales were packed with extras like full bars, TVs, CD players, disco 
lighting, tinted windows, surround sound and a 


jacuzzi. All of them were upholstered in rich 
Corinthian leather. Piling out of the dream-on- 

_g Wheels under the glaring Burbank sky, Director Roger 
gs Gould observed, “Our trip has ended, but now there's 
= a little bit of glamour that will stay with us - 
always." 











PRS s SOROS 







TWILIGHT 





BARK- MAY 





17:1299 









Kingdom of the Sun z 
invites you to meet their 
new Head of Effects, 


Mauro Maressa 


auro Maressa is our resident Grand 
High Wizard of Effects on the new 
Kingdom. 


He studied at the New England School 
of Art and got his BFA majoring in 
sculpture from the University of 
Massachusetts, Amherst, where he also 
minored in printmaking and education. 
One of Mauro’s first jobs out of college 
was teaching art to first through fifth 
graders. He remembers telling them that 
they “didn’t have to stay inside the lines.” 
Instead of having them draw flowers or 
make clay ashtrays, he would have the 
children write their own stories. He taught 
them how to translate the written stories 
into Egyptian hieroglyphics, drawing the 
pictographs instead of writing words. 


Mauro first came to Disney as an 
animation trainee under Eric Larson in 


1978. Eric always told him, 


"Never think you know 
everything. As soon as you 
do, someone shows you a 
new way to do things." 


Next Mauro served a three-year stint as 
a character animator at Hanna Barbera, 
where he worked with Irv Spence, Hal 
Ambro, Don Williams, Ed Ardell and 
Volus Jones. Their projects ranged from 
Godzilla to The Flintstones to his first 
feature, Heidis Song. He freelanced on 
Heavy Metal and then on Fire and Ice 
where he got to work with one of his 
heroes, Frank Frazzeta. 


In 1982, Mauro returned to Disney to 
work on the EPCOT Energy Pavilion, 
"Meet the World" for Tokyo Disneyland, 
and The Black Cauldron. But he was soon 
lured away by live action and the 
burgeoning world of special effects. 






TWILIGHT 





BARK-MAY 


the new 


Next Mauro worked for nine years as 
an effects animator and later as supervisor 
of animation at Boss Films and Perpetual 
Motion on projects like Poltergeist 2, Big 
Trouble in Little China, Bill & Ted’s 
Excellent Adventure and Alien 3. He had a 
far-reaching learning curve that took him 
from shoots on the soundstage, to shooting 
on the downshooter, to creating traditional 
2D animation. He fondly remembers the 
"Hibachi" downshooter at Boss Films that 
could pitch, yaw, rotate 360 degrees, move 
North-South and had motion control 
capabilities. One of the most challenging 
projects they had on that camera was for a 
Total Cereal commercial. They had to fly 
the vitamin descriptions onto the box. In 
the pre-computer era, it took two weeks to 
plan and execute the move. On Batman 
Returns, he was able to use the 
"downshooter trickery" to fool his crew 
into thinking that he had actually gone out 
to shoot footage of the moon and clouds, 
when it was an image that he created 
completely in the downshooter. 


On returning to Disney again in 1993, 
Mauro made a conscious decision to 
pursue effects animation. "It has more 
freedom than character animation. Design- 
wise, it gives you the chance to work on a 
wider-ranging palette, with more variety. 
Its always a new challenge." He says that 





17,1999 


The Grand High Wizar 





he finds inspiration in the work itself and 
in keeping conscious of everything that’s 
going on around him, especially natural 
phenomena like "raindrops in a puddle, the 
way dust flies off a kid running in the dirt, 
the way light reflects off water or chrome, 
or how the light changes when a storm 
approaches.” 


His crew on Kingdom is "one of the 
best crews he’s ever worked with," not 
only in terms of talent but also in the way 
they interact and collaborate with one 
another. They are very much like a family. 
Right now, the Effects team’s challenge is 
to make a rediscovery of "retro-effects" - 
using the contemporary tools that we have 
such as CAPS and 3D to get the retro look 
of classic Disney films like Peter Pan and 
Alice in Wonderland. "Our main goal is to 
accommodate the budget and the schedule 
without shortchanging the film. We as 
animators want to be able to identify the 
effects on the screen as the same as what 
was invisioned by the effects animator on 
his drawing board.” 


Mauro is looking forward to seeing his 
work on the big screen again, as we move 
ahead on the new Kingdom. 












N E Ww S . A N 


FORUM 


; aN Marge Randolph 
at 


Wednesday, May J 7 
12:00 to 1:00 -~ — 
Southside 13 00 


cna May a 
12:00 to 1:00- 
Northside 3010 
















an informal lunchtime talk session. ey j 
-= issues will be discussed, slong » with ao ; 


- Bring your lunch and join Marge Randolpl: for | 














LO, =" Tip of the Month: 


_- Here's an easy way to find out what their exact email address is: 


In QuickMail: 


1. Create a new QuickMail as usual. 


4. Click Send. 


which business unit or division the address belongs to. 


includes some part of the name you are looking for. 







. Greetings email users! 


So you're trying to locate someone outside of Feature Animation at another 
business unit to send them an email, but you're not sure if they include an 
initial in their email address or if it's Bill or William. 


2. From the Master address book, select "Query by Mail" at the top of the address list. 


3. In the Subject field, type the last name or part of the last name. So, if it's someone 
with the last name of Duck, type "Duck"(but don't include quotes). : 2a 


5. A minute or so later you'll receive a reply from Postmaster that includes a list of email 
addresses that match the criteria you gave: The actual email address you need to use | 
follows the line marked ‘Internet:'. Other information is provided with details about SR REA LAER A 


In unix mail, you can send mail to query.by.mail.mailhub @ disney.com with a subject that : 


For more information on QuickMail and examples of query.by.mail, go to 
http://fawww/mad and check the support resources area. 


TWILIGHT 











Dailies is for Feature Animation employees 
only & not for friends or family. 


DAILIES SCHEDULE 
every Monday 
Northside Southside 
Main Theater Theater 
11:00 a.m. 12:45 p.m. 
11:30 a.m. 1:15 p.m. 
12:05 p.m. 1:45 p.m. 
























17, 








BARK:MAY 





National Cartoonists Society Recognizes Chen-Yi of Mulan 
A Recap of the 1999 Reuben Awards 


The National Cartoonists 
Society (NCS) held their annual 
Reuben Awards on May 6-9 in 
San Antonio, Texas. The 53 year 
old NCS is an organization of 
professional cartoonists from all 
forms of media. The Reubens are 
named after Rube Goldberg, one 
of the founding members of the 
society. 


On Friday, May 7, several 
inspiring seminars took place. The 
speakers included Jeff MacNelly 
(Shoe), Charles Schulz (Peanuts), 
war cartoonist Bill Mauldin, and a 
panel of female cartoonists, 
including Lynn Johnston (For 
Better or For Worse) who spoke 
on the topic of women in 
cartooning. One of the truly 
amazing things mentioned at 
is that Jeff 
MacNelly draws his comic strip 


these seminars 


on the 
Photoshop 
tablet. 


computer using 


graphics 


and a 


and Tony Bancroft 
s the Menace daily 
Hamilton 


(Below) Tom 
with Denni 
cartoonist, Marcus 


TWILIGHT 


BARK:-MAY 


by Chad Frye 


Saturday night was the big 
awards dinner. Awards were given 
for various categories in 
illustration, comic strips, greeting 
cards, and animation. While Will 
Eisner won for Cartoonist of the 
Year, we are happy to announce 
that Chen-Yi Chang won in the 
Feature Animation category for 
his beautiful work on Mulan (for 
which Mulan Tom Bancroft had 
also been nominated). Chen-Yi 
joins the ranks of our own Joe 
Grant and Nik Ranieri who have 
previously won this award. 





ITa??? 



























Next year the Reubens will be held in New York City. If 
you would like to find out more about the NCS and the 
Reubens, take a look at www.reuben.org or call Chip 

Beck at (703) 241-0804. 





X Display Dutes and Locations. 


Southside (lst Floor) 
and 


Northside sibs s Corridor) 





AB T . 
lend the Beast 
| Special A E 


-< For Full Tim Wat D Disney. Feature Animation 
' Employees only. ` 
e One cel per employee. 
e Make check or money order payable to The Walt 
Disney Company 


$ 


\\ » Fat FP, wnch ase 
Orden Fo 


e Payment must accompany order (sorry, cash not 
accepted) 

iio @ Send your A E anihi hir andes iomh may 

a maor p post natae; to. May 28. 


~ 







~ 
ve 


Send this form with your check to i AN @ Mail Code 7450. l 
Orders will be silane Gkal May 28, 1999 A receipt will be mailed within one week to each employee once their 


check is received. If you forward your check and do not recéive a.» 


(uiia ORDERS WILL NOT BE ACCEPTED) receipt, please contact Janien at 8247 x2532. 





Name: Á- Mail Code: 


Tie Line & Ert a ~Hame Poe 
Building’ Stadio: == I epia AA 
ef 
Cel Choice #1 - The Wardrobe - $275 SAE 
(Circle One:) pny a P pu 
#2 - Feather Duster, Mrs. Potts, Lumiere and Cogeworth - $340 ff ya 


#3 - Belle ef Beast - $245 eg A A 
#4 - Mrs. Potts ef Cogsworth - $300 iii ar 


Cel Purchase Agreement (Please sign and date to process order) f in sO 


The following agreement must be signed for your order to be processed. If you do not sign the agreeme ít your air c 


processed and your check will be returned to you. I understand that WALT DISNEY FEATURE ANI 


not be 


TION (the "Company") 





years from delivery; and any attempt to sell or transfer the cel during this five year period (or any 
hereof) will result in forfeiture of the cel. 


SIGNATURE DATE \ } 
DES S k an ow ial > oy =. . $ 
4 = ” i RS % ` A ie ti a, i a j ` on Š % 
E E $ 5 a ows = Pas : px DA ri : $$ Ei j eY 
‘ e ý -3 i s ^ Pd i 


and (3) I will not sell, donate, give away or otherwise transfer the cel (which will be numbered and stamped) for a period lof five 
gher violation of the terms 














eae oo RI. C an 








2 E 
w ’ "5 \ “Human Again iy Pa \ 









> E x 4 : 5 tate 
Bh RA A — 4 = aaa ann $ 
At Dy Per ` 4 ote f; li at i > 
A we ? y Nw, na = Nn Racer n ? _ % 3 WN 
be P matt ree ? K : ars oft A 
3 a y & à E K v Re x , 
mo r ` à $ ` x of, F y sA, age hi 
$ a Pa 7 l 2 or Ne. 2 ae pi 





TWILIGHT BARK.. 





W ÁA 


It’s a bit of a jungle out there for Phil Collins, but Disney loves his tuneful contributions to “Tarzan” 










excerpts from the Los Angeles Times, May 2, 1999 


shooting, but the atmosphere in the 

west London studio remains 
relaxed. [Phil] Collins, 48, dressed in 
dark Armani, sits in front of a blue 
screen, rigidly still, lip syncing his lyrics 
repeatedly as rotating lights whirl over 
his head, illuminating those thinning 
locks now worn in the style of a mini- 
Mohican. 


IÈ mid afternoon on the final day of 


This, after all, is the drummer who 
preferred to be in two bands rather than 
one (Genesis and Brand 
X); to have a 
skyrocketing solo career 
at the same time as 
belonging to a touring 
super-group; a man 
who supposedly only 
had enough free time to 
read two books (both 
jazz biographies) in two 
decades; to be the only 
person to play in two 
sites, London and 
Philadelphia, during Live Aid; and- 
perhaps not unrelated to the above rota 
of endless ambition and application - 
the man who has two wives and two 
divorces already behind him. 


Meanwhile, as the British press has 
moved on to newer and juicier targets, 
after attacking Collins over his divorce 
from his second wife, Jill, he has been 
able to live out of the spotlight in 
Hermance near Geneva in Switzerland 
with his girlfriend, Orianne Cevey. 


Collins seems to have adjusted to his 
new position. 


“It’s quite possible that maybe I’ve had 
my 15 minutes of fame — well, I’ve had a 
couple of hours, not 15 minutes really,” 
he reasons. “I haven’t done badly. And 
I’m quite well-adjusted philosphically to 
that idea. I’m not craving the attention.” 










TWILIGHT 











BARK:MAY 


Collins speaks these words sincerely 
enough and talks engagingly about his 
contentment with Orianne and the 
pleasure he takes from having seen more 
of his three children in recent years, and 
yet it’s difficult to believe him entirely. 


Not least because as the Tarzan project 
nears completion after four years’ labor 
on his part, Collins senses that maybe he 
might have a hit on his hands. Lighting 
engineers walk around the studio 
whistling “You'll be in My Heart”’s (sic) 
undeniably catchy 
refrain. More tangibly, 
the single is picking up 
strong radio airplay. 


Tarzan boasts the 
latest innovation in 
animation, a technique 
the animators call 
“deep canvas.” 


Explains the film’s co- 
director, Kevin Lima: 
“We integrated three- 
and two-dimensional 
animation so the camera can move in 
this movie in much the way it does ina 
live-action movie, not just flat against 
the artwork but into and around the 
artwork.” It gives the ape man’s 
movements a startling kinetic credibility. 


dimensional 


Even if the film boasts the latest 
technical innovations, Collins is as 
aware as anyone of the importance of 
songs to a successful Disney film and 
also of the heritage of the Disney back 
catalog. 


“I know what those songs have meant 
to me in other films,” he recalls, “and the 
effect they've had on my kids, and I 
didn’t know if I’d be capable of the same 
thing.” 


When Collins confronts a challenge 
that takes him out of his depth, his 
typical response is redouble his efforts, 
and he admits he has “gone the extra 
yard” on Tarzan. 





Lia to ey 


Collins also had to adjust to the new 
demands of writing for an animated 
soundtrack. His involvement began 
with an initial meeting with executive 
music producer Chris Montan, directors 
Lima and Chris Buck, along with Tom 
Schumacher, Disney’s president of 
feature animation and the man largely 
responsible for bringing Collins aboard. 


To hear Schumacher tell it, “It was 
originally the idea of Chris Montan to 
get Phil involved, and I said, ‘Oh, these 
big famous guys, they make me so 
nervous because they’re really hard to 
get timewise.’ But it just wasn’t like that 
with Phil, and when Chris gave me 
Phil’s demo, I listened to it and I burst 
into tears and gave him a big kiss and 
said, “We have the right guy!’ ” 


Montan said he certainly was 
impressed by the amount of effort 
Collins put into his work. 


In a burst of rapid creativity, Collins 
wrote those first four [songs] over two 
weeks, but then realized that the hard 
work was really just the beginning. 


“The mixes, the endless mixes,” 
Collins says and laughs. 


There’s no hint of complaint in Collins’ 
words — he’s delighted to be presented 
with a new and difficult challenge. 
Certainly he seems enthused by both 
Disney and this new direction. He’s 
keen to emulate Tarzan composer Mark 
Mancina and make his next project a 
full-fledged soundtrack, while he is 
generous in his praise of all involved 
and dubs Schumacher a “genius.” 


From an executive standpoint, 
Schumacher explains, “When Phil got 
involved, he knew our commitment was 
profound. When you come in and see 
400 people working on a movie, it tells 
you someone cares about it. Plus there’s 
a sense of legacy about a movie like this. 
It will outlast all of us, and that’s a fun 
thing.” 















Figure Sculpting with Ron 
Pekar! 
sponsored by Artist Development 










Who: This class will be ave 
production artist=>~ 
ZA 





When: 


Where: Southside 
Multipurpose Room (L600) 


All supplies will be provided 
No food will be served. 


Tom Sito’s 


an Evening with... 


a 39 r. Jack Zander 


Join host Tom Sito and spend an evening with Jack Zander, who has been in the business 
since the early 1930’s and was one of the best Tom and Jerry animators at MGM. 


3 4 Only $5 in advance or $7 at the door for this rare opportunity to meet and converse with 
coe an animator who's worked with them all. For more information, please call (818) 842-8330. 


A 
TWILIGHT BARK-MAY 17.1999 a 








(Left) Lella Smith greets Marty 
Prager and all the guests at the 
terrific ARL Open House. 
Thanks to all the ARL staff and 
volunteers who made it a special 
evening! 















(Left) Some things 
never change! Gil 
Green is ready to 
greet visitors at his 
beautiful new desk 











eel Dileley 














Diana Coco reminisced about the days when 
what is now the new ARL was the old 1420 Flower... 

“This building used to be so industrial and uninspiring, though we made great 
movies here. It's an amazing transformation. It's encouraging to see that the great legacy of art is 
being taken care of. The dedication of our Company to conserve this is very satisfying. Having the access to the 
art makes me feel like great artists of the past like Freddie Moore are still here and contributing to our work.” 





ARL Operating hours: 
Monday - Friday 9:00 a.m. - 6:00 p.m. 


The ARL is open to all Disney employees, free of charge. 
Reservations are not required, however they dre 
recommended to ensure that a researcher will be 
available to assist you. Call (919) 544-4100 to schedule an 


appointment, or for wore information. 









TWILIGHT BARK:MAY 





17 ,t 39 









L etti ce and Lovage! 
at 8:00 p.m.and Sundays at 2:30 p.m. 







, de a The Twilight Bark has two patras of tickets to give away. 
Feature Animation’s own Staci e Twilight Bark hay two pairs of o gwe away 


assistant to Dorothy McKim an 
has produced a revival of Peter Sh 
Lovage now piaying through Jun 
extension through June Na at t the 


Enter the contest below to win a pair for yourself! 
















Lettuce and Lo Vac 

















Contest Entry Form ¢ ¿> 
Holes FREE Tickets / 





his Actor’s Co-op productio 


Name: 





"Critic s Pick" in L.A. — a4 
— Tie Line & Ext: ———— Mail Code: 
aye Io: : | - Building and office location: 
FOSSICY HIRAI | Name another play written by Peter Shaffer: 
1760 No. Gower St. Hollywoi 


business kavat 


Fifty vendors 5 plus ; several Disney business unit 

Raffle technologies and resources that can help make y 
prizes? cost-effective, efficient, and productive. _ 
Hourly vendor demos and other hi 
sessions will be offered. k 2 


cappuccin® 
gar! 
TWILI i in K - 





MAY 17,1999 





F E AT U R E À N | M AT | O N To apply for a position with the Feature Animation California 


and Florida Studios, please submit a current resume and a 
Ç A R E E R O p p O R T U N T i E S cover letter stating the position(s) in which you are interested 
with a completed JOBS Application to the Human Resources 

SSeS ee contacts listed below. Questions regarding transfer policies 


and procedures can be directed to your JOBS Program 
CA LI FO R N | A Aaministrator. 





DIGITAL PRODUCTION (contact Pamela Focht) Where to Find a JOBS Application Form: 
e Model Dev Tech Lead (all productions) e Southside - First Floor near the ATM 

e Northside - First Floor near the ATM 
OVERHEAD/PRODUCTION i Saeta k ima! ; ee era #5198 
MANAGEMENT cia : 
(contact Gina Aarniokoski) Send Resume,Cover Letter and JOBS Application To: 
e Secretary to the Director of Recruitment Via Inter-Office Mail: 
e Twilight Bark Editor e For California positions: Christy Bundy, mail code 7454 
e Production Dept. Secretary, Treasure Planet e For Florida positions: Jo Wentworth @ 

Florida Feature Animation Building 
FLORIDA Please submit your resume (without the use of special fonts, 


bold or italics) on plain white paper. Please note on your 
cover letter or fax cover sheet, “RE: Bark/Rabbit 


e Render I/O, Technologies 


write “Twilight Bark” in the Job Number field. 


Questions Regarding the JOBS Program: 

e California: Christy Bundy at tie line 8247 x2528 
(christy.bundy@disney.com) 

e Florida: Jo Wentworth at tie line 8264 x3178 
(jo.wentworth@disney.com) 














Other Company-Wide Career Opportunities: 

View other positions available within Disney Business Units 
and Affiliated Companies at: 
http:/www.disney.com/DisneyCareers/index.htm!l or Career 
Mosaic on the World Wide Web. 





ieee B ARK 


is an internal weekly newsletter for the entire 
California Feature Animation division of The Walt 
Disney Company. The name comes from 
101 Dalmatians and references the film's “Twilight 
Bark” used to spread a message throughout the city. 


HOW TO REACH THE TWILIGHT BARK: 

If you have news, ideas or suggestions you'd like to 
share, please address them to The Twilight Bark 
Editor, at mail code 7410. 




















Twilight Bark 
Walt Disney Feature Animation 
500 S. Buena Vista St. 


Burbank, CA 91521-7410 





Tie Line 8247 x2538 ° (818) 558-2538 
Fax (818) 558-2540 


Quickmail: Bark, Twilight 
e-mail: twilight.bark @ disney.com 








TWILIGHT 





BARK-MAY 17,1999 



















17 MONDAY H TUESDAY - 


Life Drawing Class ninst structed Clothed Uninstructed Clothed 

Steve Huston «5-6 200 Figure Drawing Lab Figure Drawing Lab 

Southside » RSVP 2008 wate? 1 9 p.m. * Northside 42-2:00 p.m. + Southside 
RSVP > 8489 x4119 RSVP 8228 x8 162 





Life Drawing Class 
Jeanine Breaker * 12-2:00 p.m. 
Southside + RSVP 8228 x8162 














2 
19 WEDNESDAY THURSDAY 


_ Life Drawing Class 
-Jeanine Breaker « 12-2:00 p.m. 
Northside + RSVP 8489 x4119 


Ain Evening with 
Jack Zander 


see page 9 





¥ 
AS ean A 


21 FRIDAY 


DA 














Life Drawing Class 
Glenn Vilppu * 5-7:00 p.m. 
Southside * RSVP 8228 x8162 


ARL Open House 


28 FRIDAY 


Performance Gesture Class Uninstructed Clothed Uninstructed Clothed 
Bob Kato « $2-2-00 o.m. Figure Drawing Lab Figure Drawing Lab — LAST DAY TQ ORDER 
Southside « RSV: 8228 x8162 12-2:00 p.m. Ħ Northside Beauty and the Beget 


RSVP 8489 x4119 


Life — Class 
Steve H 30 DM. 
PPEP : RSVP 8228 x8 162 


Life Drawing Class 
Jeanine Breaker * 12-2:00 p.m. 
Southside e RSVP 8228 x8162 


-42-2:00 pm. + Southside — es 
RSVP 8228 xB162. : 


Life Drawing Class — 
Jeanine Breaker * 12-2:00 p.m. Glenn Vilppu ° 5-7:00 p.m. 
Northside + RSVP 8489 x41 19 





“Human Again" Cels? 
-Life Drawing Class Rea 


Southside e RSVP 8228 x8162 


Talk Sessions with Marge Randolph 


Southside 1300 
12:00 - 1:00 p.m. 


7:00 Southside 


save the date - upcoming events 


Lunchtime Event 
MOVIE 


NIGHT 
Election 


has changed to 


Fri, June 4 


at the Studio Lot ( 


Monday, 
May 24 


7:00 p.m. 


TWILIGHT 


Disney 
CLOSED 
o 


Northside 3010 
12:00 - 1:00 p.m. 


Business Technology Showcase 
see page 11 


CLASS IS IN SESSION 


Where’s Walt Stanchfield? 

Due to personal matters, Walt Stanchfield’s 
gesture-drawing classes at Feature Animation 
are postponed until further notice. Artist 


. Development will issue Stanchfield’s drawing 


notes upon his return. 


Karl Gnass 
Karl will be on vacation for two weeks. His 


Thursday noontime classes at Southside will 
be cancelled on May 20 and 27. 





BARK-MAY 17. 


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