leaders are not exactly track pictures. They found all sorts of ways to enhance and exaggerate action, and there was a lot of giant lizards and pterosaurs which had to be completely hand drawn.
This process of rotoscoping was kind of an analog ancestral version of the digital motion capture methods used today Avatar and the new Planet of the apes . Director Ralph Bakshi had developed his technique of rotoscope American Pop, the film he directed and produced before Fire and Ice.
Bakshi oversaw the whole staging and blocking of scenes and worked closely with the actors on the set. Bakshi was fun to be around, we always razzing, cartoons, and talk about art. The building does not have a good intercom system, so it howled in the ventilation system: "COFFEE"
I was near a vent, so I yelled back, "NO COFFEE . " He replied, "go to work, SLAVES!"
Ralph invited me to the set during one of the days of shooting and I did some sketches cast and crew, but I can not seem to locate this sketchbook.
The media were planned by Maquettiste John Sparey and drawn in pencil by a background layout Tim Callahan (which appears to 4:37). Although most of my time was taken up with painting the origins, I sometimes contributed design work. We were puzzled by what the throne Nekron, the king of the ice should look like.
I went home and carved a wax pattern inspired by the Laocoon. Nekron seemed sort of a tortured man, so a picture of a gargoyle fight with a giant snake seemed to match. After using the reference model I put it in the back of my car and forgotten. On a hot day and half-melted in a pathetic piece
Tomorrow I will conclude
Other posts in this series:
Part 1: .. Fire and Ice - Rekindled
part 2: Fire and Ice - Frank Frazetta
part 3: Fire and Ice - Tom Kinkade
part 4: Fire and Ice - Ralph Bakshi
part 5: Living interior Paints
Wikipedia on rotoscoping
Wikipedia on Ralph Bakshi
Wikipedia on fire origin and ice.
