Aladdin (1992 film): Difference between revisions

=== Design and animation ===

The design for most characters was based on the work of caricaturist [[Al Hirschfeld]],<ref name="diamond"/> which production designer [[Richard Vander Wende]] also considered appropriate to the theme, due to similarities to the flowing and swooping lines found in [[Arabic calligraphy]].<ref name="making">{{cite book|title=Disney's Aladdin The Making of an Animated Film|last=Culhane|first=John|date=August 15, 1993|publisher=Disney Editions|isbn=978-1-56282-757-1}}</ref> Jafar's design was not based on Hirschfeld's work because Jafar's supervising animator, [[Andreas Deja]], wanted the character to be contrasting.<ref>{{cite news|url=http://tech.mit.edu/V112/N64/aladdin.64a.html|title=Aladdin animator used subtlety to design strong villain|date=November 20, 1992|newspaper=[[The Tech (newspaper)|The Tech]]|access-date=May 28, 2009|archive-date=October 5, 2018|archive-url=https://web.archive.org/web/20181005013140/http://tech.mit.edu/V112/N64/aladdin.64a.html|url-status=live}}</ref> Each character was animated alone, with the animators consulting each other to make scenes with interrelating characters. Since Aladdin's animator [[Glen Keane]] was working in the California branch of [[Walt Disney Animation Studios|Walt Disney Feature Animation]], and Jasmine's animator [[Mark Henn]] was in the Florida one at [[Disney-MGM Studios]], they had to frequently phone, fax or send designs and discs to each other.<ref name=making/> The animators filmed monkeys at the [[San Francisco Zoo]] to study their movements for Abu's character.<ref name=popup/> Iago's supervising animator [[Will Finn]] tried to incorporate some aspects of Gottfried's appearance into Iago's design, especially his semi-closed eyes and the always-appearing teeth.<ref name=popup/> Some aspects of the Sultan were inspired by the [[Wizard of Oz (character)|Wizard of Oz]], to create a bumbling authority figure.<ref name=popup/> Andreas Deja, Jafar's supervising animator, tried to incorporate Jonathan Freeman's facial expressions and gesturing into the character.<ref name=diamond/> Animator [[Randy Cartwright]] described working on the Magic Carpet as challenging, since it is only a rectangular shape, that expresses itself through [[pantomime]]—"It's sort of like acting by [[origami]]".<ref name=making/> Cartwright kept folding a piece of cloth while animating to see how to position the Carpet.<ref name=making/> After the [[character animation]] was done, the carpet's surface design was applied digitally.<ref name=diamond/>