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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



setetetete oseto -a sc wesssetete Possesso




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


| 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?


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."


® 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."





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.



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


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


; 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.


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.



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


and a

and Tony Bancroft s the Menace daily Hamilton

(Below) Tom with Denni cartoonist, Marcus



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.


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

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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



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.

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.”



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.


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


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.


(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.


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


"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.


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


BARK-MAY 17,1999


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


_ 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



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

ARL Open House


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.


Disney CLOSED o

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

Business Technology Showcase see page 11


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.


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