Destino is a poetic take on love and time in which a dancer moves through bizarre settings and undergoes a series of transformations. It's told through shifting dream-like images, set to the music of Mexican ballad Destino, by Armando Dominguez.
This short is the result of a 1946 collaboration between Salvador Dali and Walt Disney. The idea began when the two artists met at a party in Hollywood and decided to make a short film together, with Dali spending eight months working with director John Hench at the Disney studio, painting, drawing and discussing how to add motion to his images. But in 1947 the studio ran into financial trouble and the unfinished project was shelved in the Disney vaults for the next 54 years.
In 1999, executive producer Roy Disney, director Dominique Monfery, producer Baker Bloodworth, and 95 year-old John Hench, finally finished the film. Monfrey began by reviewing a rough edit of the original artwork adapted from the song. He had good feeling about the song, which was also redone, and was heartened by the strong visual ideas conceived by Dali and John Hench. The first decision was to make the film the way it originally would have been done in 1946, choosing to rely mainly on traditional animated techniques.
One important fact is that there are 2D character animation but there aren't lines on the character: the volume of the character is revealed more by light and shadow than by color. In order to better match Dali, they decided to remove that dark line that usually outlines the character sheet.
The essential technique embraced was the cross-dissolve, part of the montage strategy that Dali intended to utilize in the animation, which Monfrey paired with classical movement and timing to bring clarity to the poetry.
This short is the result of a 1946 collaboration between Salvador Dali and Walt Disney. The idea began when the two artists met at a party in Hollywood and decided to make a short film together, with Dali spending eight months working with director John Hench at the Disney studio, painting, drawing and discussing how to add motion to his images. But in 1947 the studio ran into financial trouble and the unfinished project was shelved in the Disney vaults for the next 54 years.
In 1999, executive producer Roy Disney, director Dominique Monfery, producer Baker Bloodworth, and 95 year-old John Hench, finally finished the film. Monfrey began by reviewing a rough edit of the original artwork adapted from the song. He had good feeling about the song, which was also redone, and was heartened by the strong visual ideas conceived by Dali and John Hench. The first decision was to make the film the way it originally would have been done in 1946, choosing to rely mainly on traditional animated techniques.
One important fact is that there are 2D character animation but there aren't lines on the character: the volume of the character is revealed more by light and shadow than by color. In order to better match Dali, they decided to remove that dark line that usually outlines the character sheet.
The essential technique embraced was the cross-dissolve, part of the montage strategy that Dali intended to utilize in the animation, which Monfrey paired with classical movement and timing to bring clarity to the poetry.
No comments:
Post a Comment