You do a character making a take: his head is solid. She recalled absorbing guidance from Moore at the studio in later years: “He taught me something about getting action in a solid head.
Verne Harding’s scenes in Giant Killer are reminiscent of former Disney animator/freelancer Fred Moore’s animation. Kline’s timing becomes sharper in later sequences, such as in scene 17’s dialogue, when Woody rings the bell, demanding service for a room. Les Kline’s animation improved in Lundy’s cartoons, shown in the brilliant posing of scene 6, when Woody utters the magic words to make the beanstalk grow, to no avail. Love also animates the later action inside of the castle, including Woody prying the giant’s jaws with a car jack and ejecting teeth (and gums) from his mouth. Scene 2, of Buck bringing Woody “a little closer” only to recoil at the woodpecker’s breath, is a great comic touch. Lang), who would make another appearance in Scrappy Birthday. In contrast, the Shamus Culhane documents demonstrate how he assigned intermittent blocks of scenes as a director.Įd Love handles the entire opening sequence with Woody and Buck Beaver (voiced by Harry E. Much like some of the MGM drafts shared on this page, this cartoon’s draft showed that Lundy dispensed large amounts of footage to each animator. Under Dick Lundy’s direction, the quality of animation flourished. The draft indicates the main titles were intended for United Artists’ release but this cartoon was the last Lantz cartoon released by Universal until his studio re-opened in 1950. By the end, Woody has the last laugh (wonderfully animated by Pat Matthews) as the giant caters to him as his bellhop at his newly established Castle Apartments.
Throughout the cartoon, Woody isn’t curious about the immense surroundings of the giant’s castle instead, he attempts to wake up the giant to further his pursuit of much-needed lodgings. Woody the Giant Killer’s version is just as arbitrary city slicker Buck Beaver overhears the discouraged woodpecker’s woes of finding a place to rent and offers him the magic beans. Walter Lantz previously used the story in a 1924 Dinky Doodle, The Giant Killer, in which the beanstalk grows from a flowerpot after co-star Weakheart buries an anthropomorphic bean into the soil. Many animation studios used this handy material - Disney, Warner Bros., Fleischer, Famous Studios, Ub Iwerks, Van Beuren and Terrytoons. The immortal tale Jack and the Beanstalk, like other familiar fables and fairy tales, has always been rife for a straightforward retelling or parody on-screen. Today, we look at one of Dick Lundy’s best Woody Woodpecker cartoons! The surviving original art for the title card
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