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Acting for Animators pdf free. Acting for Animators epub d0wnl0ad. Acting for Animators online. Acting for Animators epub vk. Acting for Animators mobi. Acting for Animators d0wnl0ad free of book in format. Is the sound that of footsteps in high heels? So far, there is no emotion going on. You're just trying to decide what is behind you. Your brain is operating faster than the fastest computer, so you're not really aware of what is happening on a thought-by-thought basis, but it is happening nonetheless Ultimately, you determine that the sounds behind you are footsteps of a human and they are getting closer and they sound heavy and insistent.

Ac th point, you begin te experience emotion. If you are a person that has ever had trouble with street crime, or ifsomeone you know was mugged, you will likely feel fear.

If, on the other hand, you have been raised in a country or region with very little street crime, like Singapore or China or maybe on a farm in America, then you may not feel fear at all.

You may be happy for the company. But for the sake of example, let's say you feel fear. The emotion will tend to cause you to do something about it. You might quicken your step, look behind you to see who it is, jump into a doorway, or maybe reach into your pocket for motion is what leads to the action, and the emotion is an auto. The matic value response based on thinking When your lover caresses you, you experience emotions based on your personal values, your experience with past lovers, the way you were raised, and the context of the moment.

And each person or character is unique. I might feel afraid of heights while you are thrilled at the prospe of us have certain traits in common. We all think, and we all experience emotions. Emotions come from hinking Walt had it right. Acting is reacting. Actin, is doing. Your car reacts when you hit the gas; your cat reacts when you step on its tail. You react when your cell phone rings or you get a neck massage. Acting is reacting Acting is also doing.

Acting is both doing and reacting. The reaction precedes the doing. The traffic light turns red, so what do you do about it? You stop the car. Take an aspirin, Wile E, Coyote reacts to the fact that Road Runner just foiled hiny again, and he immediately begins formulating a new plan of attack on the elusive bird Captain Hook reacts to the tick-tocking of the crocodile by running away.

Runuing away is doing something, Note also that each of the examples I'm giving have another component: emotion, First comes emotion, then comes action. First comes a stimulus, then comes action. If you want to show that a character is cold, you first have him react to the temperature—and then he does something about it, namely tries to keep warm, pethaps by rubbing his hands together and stamping his feet, How many times have you seen an animated character indicate cold with trembling and chattering teeth?

That's weak acting. A person who is cold will act to keep warm. The action is in response to the stimulus, Acting is reacting. Acting is doin 3. Your character needs to have an objective. Theatrical movement is purposeful and signifi ny time your character is on cant.

Regular ordinary movement lets it all hang out. A stage, you should be able to answer the question, What is he doing? Your character needs to be doing something percent of the time. This kind of doing does not mean he is scratching his nose or tying his shoes. Theatrical doing is an action in. This simple ule lies at the base of all acting theory. If your character swats a gnat or moves her lips while she is reading, that is doing something, but it is not in pursuit of a theatri- cal objective, Movenient may be subsidiary movement, shadows movenient, and there: fore not relevant to her primary objective—or it may be in pursuit of a theatrical objective.

When Pluto struggies to get the flypaper off his nose, he is playing an action get rid of the flypaper in pursuit of an objective freedom. Shoveling the snow and buying th» food are actions. These actions are in pursuit of an objective, namely impressing Georgia. Get it? The objective a character pursues informs the action. If you're trying to figure out what kind of action your character should be playing, or how he should be playing it, ask yourself what the character's objective is.

Acting is playing an ac. Getting to Las Vegas is his objective, When he climbs into the cockpit, he'll check the fuel gauge, the brakes, and the controls. His actions have a purpose toward his objective of flying to Las Vegas. Everything else is in support of that, His objective informs his actions. His actions speak of his objectives. If the weather forecast calls for thunderstorms along the flight route, a bystander watching him in the cockpit might notice that he seems nervous.

No one would know he is bound for Las Vegas, but they can tell by his energy whether he is just tidying the cockpit, oF if he is prepping the piane for a trip. If he has an objective, there will be purposefulness in his movement. And his feeling about his upcoming trip will also affect his body movement. When the Evil Qu en is mixing her terrible brew in SnowWhite, her objective is to commit murder. The act on she is playing—stirring the pot—is in pursuit of an objective. Take away the intent to kill, and you have a house hold cook.

Your character should play an action until something happens to make him play a diferent action. Your charac should be playing an action percent of the time, even if the scene is purely expository or connective. During one of my Acting for Animators classes in Germany, a student challenged this assertion. You're sitting in a class, learning about acting because it is going to make you a better animator. Maybe one day, you'll run your own animation studio in part duc to what you Fearn here.

They're not doing anything during that time. Good try, though. Actuully, the toys are working very hard to pretend they are lifeless. The premise of the movie is that the toys have a secret life They live! To continue with the Tyy Story example, Woody and Buzz may be squabbling over something, but, when a human enters the room, they pretend to be lifeless.

That is a good example of playing an action until something happens :o make you play a different one. Keep in mind that the thing that happens to cause your character to play a different action can be internal as well as external.

Yes, a human coming into the room moti- vates a new action for Woody and Buzz. But suppose Woody suddenly remembered where he left his hat? He would move from one action to another, based on an inter- nal stimulus, namely a memory. I's like when you suddenly remember that you left the stove on, just as you're pulling out of the driveway.

The thought will cause you to do something about it, namely to repark the car and zeturn to the kitchen to turn off the stove, You play an action until something happens to make you play a different one. To further clarify this concept, think of a bead necklace. One bead is next to another is next to another, and so on. String enough beads together and you have a necklace, and one bead over there with a big spage in right?

You can't have two beads over her between. Constantin Stanislavsky used this image when explaining the necessity to play actions. An amusing side note is that, in the United States, he was misunderstood.

Your char acter needs to be playing an action all the time. All action begins with movement. Breathing is movement. A heartbeat is movement. Movement may be imperceptible at first, but there is movement in every action. If you sit quietly and multiply 15 x 92, there is movement, if only in the shifting of your eyes as you calculate.

An impulse remains an impulse until it is acted upon. When it is acted upon, there is movement. Action without movement is impossible. Empathy is the magic key. Audiences empathize with emotion. For now, just remember this: The basic theatrical transaction is between the actor and the audience, and the glue that holds it all together is emotion.

Humans empathize with emotion, not with thinking nating in the first place. The goal The audience is why actors act and why you are ani of the animator is to expose emotion through the illusion of movement on screen.

What the character is doing on a moment-to-moment basis is vitally important, but the points of empathy with the audience involve emotion, how the character feds about what he is doing, Empathy is as essential to dynamic acting as oxygen is to water.

A scene is a negotiation. A theatrical scene requires an obstacle unless itis a pure con- nective or expository situation. In the early moments of The Iron Giant, Hogarth is rid. This is a connective scene, getting from one place to another. It doesn't have much couflict in it and that's okay. It sets up the next scene, exposes ambience, and contributes to exposition. The subsequent scene that takes place in the diner is chock full of negotiations and conflict In theatrical terms, the word obstacle 1s synonymous with conflict.

You can simplify the concept by thinking of a scene as a negotiation because negotiations inherently con- tain conflict. Nobody likes con- Mict. Actors, however, learn that conflict is their friend. There are three kinds of conflict: Your character can have conflict with himself, conflict with the other character in the scene, or conflict with the situation.

Put another way, the theatrical moment requires that your character try to overcome an obstacle of some kind. Television commercials, are a different matter. We'll get to that later I don't like the word conflict much, how- ever, because it sounds negative, like a fistfight in a bar, and conflict in acting is not nec- cssarily a negative thing, You ean be in confliet about whether to eat the chocolate cake or the apple pic, about whether to vacation in Aruba or Paris, Obstece is alittle better, but it still sounds like something a soldier climbs during basic training.

So, instead of those terms, I prefer to take my lead from playwright David Mamet, who refers to scenes as negotiations. A negotiation implies conflict, obstacles, opposing needs—but it suggests a search for a positive resolution. You can negotiate with the car salesman, or you can negotiate with yourself about whether to have a second piece of pie. It is always a good idea to ask yourself what is being negotiated in a scene. Even if we are playing the most naturalistic play, everything must be done significantly: The actor must have inside him the feeling of significance at all times.

The basic terms of the contract call for the actor to assume a leadership, high-status position, to take the audience on a journey, to tell a story. Suspending Disbelief and Animation The audience, for its part of the theatrical cortract, suspends its disbelief in the pre tend circumstances on stage. They know the living room walls are actually made out of canvas, that nobody is actually stabbing Julius Caesar, that the actor playing Romeo doesn't really die every night.

I'm ready to travel! Animation makes no effort at all to get the audience to suspend its disbe- lief. Instead, it asks the audience to play along in a more childlike way. Bugs Bunny and Wile E, Coyote are cartoon characters that defy the laws of physics, and there is never a chance that the viewer will think they are real. Donald Duck wears a suit of clothes.

The transaction between animator and audience is more similar to that between children when they play dress-up or tea-and-cake. A little girl who is clomping around in Mom's high heels enjoys the experience all the more because she knows these are Mom's shoes.

She has a disincentive to pretend otherwise. I believe! The audience relates to the characters on screen, but it commu- nicates with you, the animator. In the final analysis, the transaction involves humans communicating witl other humans, not humans communicating with drawn images. This brings us to the special challenges of photo-real animation.

With photo-real, we have a whole new set of aesthetic considerations. It was sold to the public as the ne plus ulta of photo-real. The audience was invited to be amazed at how lifelike was Dr. Aki Ross, the female lead. It seems to me that most producers of photo-real animation are climbing the moun- tain just because it is there.

Their goal is to create believably lifelike characters that can- not be distinguished from live action. The more that attention is drawn to the technology, the harder it will be for the viewer to enjoy the story. That was part of what went wrong with Final Fantasy. That, plus the fact that the movie had zero humor. In the short term, photo-real animation will be useful in video games, which have a different aesthetic standard altogether, and in the depiction of minor background characters in live-action films.

Ridley Scott populated the Roman Coliseum with photo-real extras in the movie Gladiator An animated background character in a film can be made to do stunts that are too dangerous or too expensive for live actors to attempt. Titanic had all those CG extras falling overboard, for instance.

They can be rendered just believably enough not to draw attention to the fact that they are animated because the focus is most often on the foreground characters. Stage Actors Versus Animators Redux Actors on stage have the benefit of spontaneous feedback from the audience, and they adjust their performance on a moment-to-moment basis accordingly. The experience of live acting is sort of like riding a wave.

The actor is on the surfboard; the audience is the current. That's what makes a theatrical event, But the animator is at a major disadvantage when he enters into this actor-audience contract because he does not receive the imme- diate feedback from his work that an actor on stage does.

Insteaa, he works alone, play- ing for the audience in his head, which becomes a surrogate for the intended audience. If you are animating a kid's TV show, you'll make a different kind of performance than you will if you are animating, say, a movie like Anz.

You do one kind of performance if you are playing for five- to eight-year-old kids and another if you are playing for adults, right? Audiences are not generic, and the audience in your head will take the form of whoever your intended audience is. Broadway actors learn early on that the gray-haired Wednesday matinee audience is a different animal from the more hip audience that shows up on Friday night. The performance varies with the audience. The audience is the cocreator of the show.

That, plus the fact that the movie had zero humor In the short term, photo-real animation will be useful in video games, which have a different aesthetic standard altogether, and in the depiction of minor background characters in live-action films. Ridley Scott populated the Roman Coliseum with photo-real extras in the movie Gladiator. An animated background character in a film can be made to do stunts that are too dangerous or too expensive for live actors to attempt.

Titanic hacl all those CG extras falling overboard, for instance. Stage Actors Versus Animators Redux Actors on stage have the benefit of spontaneous feedback from the audience! If you are animating a kid's TV show, you'll make a different kind of performance than you will if you are animating, say, a movie like Anz, You do one kind of performance if you are playing for five- to eight-year-old kids and another if you are playing for adults, right?

You get up there vicariously. Because your character acts, and you're the one pulling hus strings so to speak, you will experience that adrenaline rush at the first screening of your work. Your character, through you, needs to be thrilled by that same dimming of dhe house Confidence on stage manifests itself in a feeling of centeednes, certainty.

A good actor—or animator—accepts his position in the pulpit, and feels anchored. The feeling for acting involves knowing that you, through your character, belong on the stage, that you deserve to be there, that you have something worth- while to say to the audience.

It is not enough to merely animate a character, to make him move believably, He must be animated with theatrical intention, theatrical pur- pose. Bring in a fly swatter, and you start getting theatre. Theatrical Reality Versus Regular Reality The actor-audience contract also requires a certain kind of communication.

Theatrical reality is not the same thing as regular reality. Regular reality is what you get at the cor- ner grocery store, The theatrical moment—whether on stage or screen, live-action oF animated—is interpretative: condensed in time and space, designed for maximum impact on the audience. Regular reality is about letting it all hang out; theatrical reality is about letting some of it hang out.

Flowers in the garden are lovely, but they aren't art. A pair of old shoes is just a pair of old shoes, but, by the time Van Gogh gets through with his pair of old Shoes, we have art. What he meant by that is that acting should be a reflec: tion of reality, not reality itself. In order to reflect reality, however, you first have to be acutely aware of it, Hang a camera around your neck; go for a walk through the city streets, and you'll see photographs everywhere you look.

Actors have to be like that, but without the camera. Instead of phorographs, we are continually taking mental pic tures of human behavior. It can be embarrassing for the nonactor companion of an.

We watch as he, under the cover of a quiet laugh, reaches across the fable and places his hand gently on hers. That's reality. The spaghetti-eating scene in Ledy and the Tamp is an artist's reflec- tion of the reality of lovers at a table. You can use this!

You never know when you can use your memory of, say, the way a particular street person is digging in a trash can, Watch how he retrieves that partially empty raspberry jam jar, checks the label, and evidently decides that he prefers grape or orange marmalade and returns it to the trash. The old guy was rummaging in a trash can situated at 72nd and Broadway in New York City, and one day I'll use it. Stick your tongue out, at a baby, and she'll stick hers out at you. Boys learn how to shave by watching Dad; we all learn the alphabet and arithmetic through a process of imitation, Next time you see 4 person who is involved in a conversation fold his arms across his chest, notice whether the person he is talking to also does that.

Most times, he or she will. We imitate one another a lot. A drawing or an image on celluloid is a rep- nce pleasure in the very act of identifying it resentation! We humans expe as such, Whe: the drawing or image on screen noves and talks, seemingly expressing emotion, we delight in the recognition of our own feelings. Can you have one without the other?

Walt Disney was obsessive about personality. Many legendary animators, in fact, refer to the necessity for characters to have colorful personalities—as if personality is something that exists in limbo. That is the key, the drum, the fife. Forget the plot. Can yon remember, or care to remember, the plot of any great comedy? Woody Allen? The Marx Brothers? It has a marvelous story. Personality may be the key to something, but what is personality?

Is it personality if you create a character with a paunch on his belly and one squinty eye? Is character design enough? How does one create personality in a character? Can it be divorced from story?

We all understand that Mickey Mouse has a frisky and delightful personality, but what does that mean precisely? The Charac'-r Personality and action are not mutually exclusive. Action defines a character. Emotions are automatic value responses, and the way a particular character responds emotionally creates the impression of personality Could you have a dead character with personality? No, of course not.

No personality there except in the memory of people who recall him from the movies. A thought by itself is just a thought. It's not even a smile. When you animate a character, you are expressing its thoughts and emotions through the illusion of move- ment and theatrical action. The movement can be as slight as the tightening of a gaze Clint Eastwood has made a career of this, in fact or a Mona Lisa sinile, but there must be movement if the character's thoughts are to mean anything to an audience.

And the way the character's thoughts are expressed amount to its personality. Donald Duck is a cute character, but if he doesn't do some- thing, then he has no personality.

Emotions are automatic value responses, and the way a particular character responds emotionally creates the impression of personality. Could you have a dead character with personality? Roy Rogers horse, Trigger, had a marvelous personality when he was galloping around in those old Republic westerns, but today he stands stuffed in a museum. I's not even a smile. A tendency to blush is a personality trait, but it not relevant unless the character moves.

Aristotle wrote in the Poetics that actions are performed by persons who must have qualities of character and mind. It is through action that men succeed or fail. We act to live, and we live to act. Walt Disney had the right idea, but Aristotle better understood the process. If you really want to understand acting, study the dynamics of actions first, then the connections between thinking, emotion, and physical action, Personality in animation began with Disney's Thre Little Pigs and really came into its, own with the seven dwarfs in Snow White.

True, Winscr McCay's Gertie the Dinosaur had a personality of sorts, but it was primitive compared to the three little pigs. In some pictures he hys a touch of Fred Astaire; in others of Charlie Chaplin, and some of Douglas Fairbanks, but in all of these there should be some of the young boy: That's all, folks.

That's the total character analysis of Mickey Mouse. Fred Moore was, of course, one of the giants of animation, a certified pioneer, and his analysis of Mickey was sufficient for his day.

Indeed, he was one of the first to point out that cartoon characters could be made to think. East or west? Audience expectations are higher than they used to be when it comes to a and an in-depth character analysis is essential whether you are animating a preexisting mation, character or creating a character of your own. Compare Glen Keane's extensive analy- sis of Ariel The Little Mermaid , to Fred Moore's brief description of Mickey if you want to see firsthand what is happening to animation.

Keane, who surely is one of our finest contemporary animators, goes into great depth when describing Ariel. He explains that she is the quirkiest of seven daughters, is sixteen years old, is naive, innocent, and is, able to be hurt deeply. He gets into her relationship with her father as well as her rela- tionship with Ursula.

You can't just sav a character is cute and cuddly and has a great personality, espe- cially if you expect it to carry a lead role in a feature film or television series.

And you'll be surprised how character elements that may never be mentioned or used. For example, the storyline of your script may indlude no reference to romance, may in fact include no romantic scenes at all, but it is still a good idea for you to know: precisely how the characters procreate here I'm presuming nonhuman characters. If evolutionary theory is correct, and if a species acts to propagate itself, then all character activity—even if it is not explicitly about mak- ing the beast with wo backs—will serve that ultimate objective.

In other words, even though you may lay out a very complex and complete character analysis and description, that does not mean you have to make all of those character traits visible. Let's create a couple of characters together—one human and one nonhuman. Think of a character analysis as a biography. Physical health? Sexual orientation? Sense of humor? Inner rhythin? Psychology introvert, extrovert, etc. Goals and dreams? She is the first child of Gianna and Sergio, and she has a younger brother, Osvaldo, who still lives at home.

Jasmine is extremely bright and wants to do everything in life. Sometimes she aspires to be an attorney, other times she wants to be an economist, but, when she is allowing her dreams to take over, what she really, in her heart wants, is to be an archaeologist.

Her hobby is history, and she enjoys nothing more than volunteering on historical excavations. Most recently, she partici- pated in a dig in Sicily. Her boyfriend, Paulo, transferred from the university in Siena to one in London at the end of the last school year, which has resulted in very high telephone charges for her parents, who live in Rome, a four-hour drive south of Siena.

She is multilingual, speaking Italian, French, and English. She projects an outward air of calm and humor, which disguises inner restlessness and a melancholy, poetic streak.

Normal humans walk, snakes slink, Superman flies Age? Life span? Physical handicaps? Lost a leg? Hard of hearing? How does he procreate? Relationship to other characters in story?

Source of income? Ferd-Ferd is roughly two hundred human years old but is just a youngster in Sklar time. He's two-and-a-half feet tall when he stands straight up, but of course that is an unnatural posture for him, angling forward as he does. Anyway, when he stands straight up, it causes his receptor eye to dangle uncomfortably. He is bald as are all Sklartons and his soft outer shell is still an adolescent, healthy and dangerously visi- ble translucent green.

Already he is worrying about the upcoming journey, but there is no turning back. Until the dreadful day of departure, Ferd-Ferd will spend his time culating life-sustaining Sklar mold back in the rear chamber of the enclave.

Eighty percent of what is happening to a character is under the surface, tied up:in context, character back- ground, and given circumstances. For example, a man walks into an office, having been summoned by his boss. He brings with him the circumstances of his life, right?

Maybe his wife told him just this morning that she is pregnant, or maybe he has been leaving work early for months and is fearful that the boss has finally found out about it Maybe: he has a bunion on his foot, or a headache. All of these things affect what goes on as he enters the office. No matter how much you love, your character loves more. Primal Analysis Bugs is simply, and only, trying to remain alive in a world of predators. Therefore, when I'm holding that mirror up to nature, I tend to view human behavior as a humongous mating dance, one that is not always graceful.

It can be very empowering when an actor finds a strong primal stream for his character. It can some- times open up a scene or story in unforeseen ways, and it will often explain a charac- ter's baffling behavior. At minimum, it can put you in touch with what the character needs rather than what he wants.

She struggles throughout the play to appear and behave younger than she is, relying frequently on special effects, the soft flattering light cast by paper lanterns.

She tries unsuecessfully—and with increas- ing desperation—to get local bachelor Mitch to propose to her, but her sexual energy is directed toward Stanley, her sister's husband. We're not talking about teenage passion here, kids tumbling around in the backseat of the Chevy, but something considerably deeper and more complex. Blanche, increasingly unanchored as the story progresses, longs for Stanley's strength, his certainty.

The world of animation is full of good examples of primal motivation. The first time we meet the Iron Giant he is trying to find some metal to eat. In classical drama, Anthony literally went to war because of his lust for Cleopatra Anthony and Cleopatra , and Romeo ultimately gave his life for love in Romeo and Julie. When Medea Melea by Euripides , bent on revenge against her husband, Jason, mur- ders her own children as an act of revenge, her crime is almost a dictionary definition of primal motivation.

Though she never says it out loud, the Medea principle is that, if you killa man, you kill him once. Medea's man abandoned her, and so she struck back by killing his children. It is no mystery why this story of a woman scorned con- tinues to shock audiences two thousand years after Euripides wrote it.

When her magic mirror informs her that she is not the fairest in the land, she obsesses on the demise of lovely, fertile Snow White. I's never made clear who the Queen and Snow White are competing for, panwise—neither in the Grimm's fairy tale nor the Disney movic—but the possibili- ties are intriguing and perhaps disturbing, given that the Queen is Snow White's step- mother. The most important point, in my view, is that their competition is primal. She's not a serial Killer.

The object of her fury is very specific, a young, lovely, child-bearing-age woman. Again, it's primal Cruella De Vil has a similar problem with her vanity. Wny does she lust for a puppy- skin coat? Surely, it must be because she believes that weazing one will make her more attractive. Even though she is married, a puppy-skin coat will perhaps bring her more attention. The actor's job is to make sense of the character.

I's not enough to write off Cruella as an oddball. There must be a reason for a character's behavior, something that drives him, and the more specific the better. They are both being pushed along in life, fighting against age, danc- ing the mating dance, almost like salmon swimming upstream. Neither of them can help themselves.

The justificatio 1 for a primal analysis is closely related to the mechanisms of empa- thy: It is not an oj tional matter that we propagate onrselves.

We're wired that way by nature. It is a driving, motivating force behind virtually all human behavior.

And, since it is true that humans will respond emotionally to the emotions of other humans, you as an animator are digging in a very rich vein when you find the primal motivation. What that means is that we are hard-wired to feel good about things that are good for propagating ous species, like sex. We like sex because it is good for us. And we are hard-wired not to like things that are bad for us, like infanticide and incest Observe that the idea of infanticide—a parent killing his or her own child—causes you to feel more disgusted than the idea of a serial killer.

Remember the Susan Smith, child- drowning incident in North Carolina in the early s? She strapped her two young sons into their carseats and pushed the car into a lake.

The case created a firestorm of press coverage. I always saw Susan Smith as a Medea figure even though she was por- trayed in the press in a different light. The public wanted to string her up for having killed her two children. Internet chat rooms and letters to the editor sections of news- papers were buzzing with calls for her slow torture, preferably by water. Now, compare the public's reaction to another highly publicized criminal, Jeffrey Dahmer.

Here was a serial killer that liked to dismember his victims and eat them, Dahmer was the topic of jokes on late-night talk shows, but you never heard a single joke about Susan Smith. Because infanticide is an evolutionary no-no. It's bad for our species. Mothers are not supposed to kill their own children, and the public simply does not find it funny. Nature wires mothers to nurture and care for their children, and, when this goes awry, it is extremely disturbing to most of us.

But Dahmer was just a garden variety, sociopathic murderer in the vein of Hannibal Lecter in Silence of the Lambs. All humans act to survive. The first thing we do when we are born is try to live, and the last thing we do before we die is try to live, And we have to propagate ourselves if wwe are going to continue living for another generation. It is this shared survival mech- anism that is at the heart of the empathic response.

Everyone has heard of Method acting. Developments in modern drama and new stagecraft led Modern acting strategies. Action Analysis for Animators. Action Analysis is one of the fundamental princples of animation that underpins all types of animation: 2d, 3d, computer animation, stop motion, etc. This is a fundamental skill that all animators need to create polished, believable animation. An example of Action Analysis would be Shrek's swagger in the film, Shrek.

Acting and Character Animation. Animation has a lot to do with acting. That is, character animation, not the standardized, mechanical process of animation. Acting and animation are highly creative processes. This book is divided into two parts: From film history we learn about the importance of actors and the variety of acting that goes.