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Then, the top-of-the-line modeler at the time was made by Alias out of Canada. I’d been using that already since 1988, and I said, ‘Well, we’re going to use that because it’s about as tried-and-true as you can get in a renderer,’ because a lot of people have been banging on it, and making it work. Renderman had been around-it was created by Pixar before Pixar made any full-length movies. Jim Hillin: Well, it’s not that different from today, frankly. What were some of the techniques or tools that were being used to actually produce the cg model of the ballroom? So, as long as we could make our ballroom in cg look like their ballroom in a still frame, then the next thing was we just had to move the camera and we were off to the races. Jim Hillin: We then had something to copy.
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And of course he calls me at one point and goes, ‘Do I really have to paint all these windows in the back?’ And I said, ‘No, this is fine, this is fine.’ So I had to think, how do we make this ballroom scene look like something Disney would make? I went to the head of the background department and I said, ‘If you were going to paint the ballroom what would it look like?’ And it took him about two weeks and he painted this big painting of what the ballroom would look like inside. And I said to them, ‘I’d like to see any film with any moving backgrounds that Disney has ever made.’ And the only thing they had was the multi-plane stuff that had been done for Bambi, and some multi-plane work that had been done for Sleeping Beauty for the introductory sequences. And they have these people who are like librarians there. I went to this warehouse called the ‘Morgue’ where they keep everything Disney has ever made. Plus, Disney had never really done a moving background in any of their films.
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So we had to set up a whole software pipeline for getting this done. Disney had only been using it to print out wireframes and not really render anything. Jim Hillin: We had five people doing computer graphics at the time, and really back then – 25 years ago – the computers we were using were probably about a tenth of what your phone can do nowadays.
It was still pretty early on in computer graphics in films, so did you know this was something that could be solved? I think the whole budget for the original film was something like $20 million or thereabouts. I can get one done – the ballroom – for sure, but as far as getting the second one done I’m not sure.’ You also have to keep in mind I didn’t have a huge kind of budget. So I said to them, ‘Well, I don’t know if I can guarantee two cg things.
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Now, there had been another group, another producer and director, on the film already and we only had about nine months left by the time I was hired to finish the movie.
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They said, ‘We have this big fight scene at the end of the movie where the Beast is fighting the main villain on the roof,’ and they wanted me to do the rain and the roof for some dynamic shots there. Jim Hillin: They said, ‘Well, we have this big ballroom sequence we want to do the ballroom in cg.’ And I said, ‘Okay, so it’s basically just one room.’ They said, ‘Yeah, and we’re going to be moving a camera around inside of it.’ But then they said there was also this other sequence. So what was the problem that needed to be solved for the ballroom sequence, as presented to you? I think the thing that really clinched it for them was-and it was a criticism I’ve heard of cg departments everywhere-they said, ‘Our problem is that whenever we send things over to the cg folks, they say they can do anything and they take on the job and they return something, but we never really understand when it’s coming back.’ I basically said, ‘So, what you’re telling me is that the group that you have doesn’t quite understand what they’re capable of?’ I knew that this was going to be about scheduling time and tasks and I thought I could handle all that because I’d been doing it for a while. I went over to Disney and had an interview. Well, we tried to have that while I was on a plane to Boston, but we couldn’t hear each other over the sound of the engines. Beauty and the Beast producer Don Hahn got a hold of my name and had his office call me up, and asked if we could have a phone conversation. Jim Hillin: I had just finished work on Jetsons: The Movie for Hanna-Barbera around 1988. Cartoon Brew: How did you come to work on the ballroom sequence for Beauty and the Beast?