A Dreamer Walking

Joe Ranft: Part 2: A Dedicated Artist

Posted in Animation, Film and Filmaker Studies by Jacob on October 19, 2010

In part 1 of my Joe Ranft series I talked about Joe Ranft’s struggles, both in his personal life and as an artist; one of Joe’s greatest struggles being his hardships at drawing. This is not to say Joe was bad at drawing. No, he actually became a very good storyboard artist. He was able to communicate an idea in the simplest way possible. Many artists claimed Joe’s drawings were deceivingly simple; he created the impression that anyone could do it. However this was not the case. Joe was good because of his constant devotion as an artist. He made up for his inability to draw complex figures through his ability to express a clear image. Like most good storyboard artists Joe was able to simplify a drawing, only leaving the bare minimum needed to get the point across to the audience. Joe’s greatest strength was what most of his drawings represented so clearly. Joe was known for putting heart into his art, a talent that is rare even among the best of artists.

During his first years at CalArts Joe tried to make up for his weaknesses in draftsmanship by attempting to copy other students styles. T. Hee (a professor and mentor to Joe) kept pushing Joe to express himself through his drawings. T. Hee encouraged Joe along with the rest of his students to figure out their own unique ways of expressing themselves and their ideas. Joe began to run with T. Hee’s philosophy and created some very unique pieces of work as an animation student. He created a short called Good Humor, where a blob of ice cream comes to life and tries to persuade a human not to eat him. Joe tried very hard to think outside the box. He often hung out with the experimental animation students trying to use them and their unique ways of thinking to push him to think of story ideas so he could push the medium of animation and storytelling to whole new level.

Joe began to find inspiration, both in the art profession and in the world he lived in. The professors at CalArts claimed the greatest tool any artist could have is their own unique experiences in life. The professors tried to push their students to experience life outside their art form. Joe was encouraged by T. Hee to take different routes to work every day and to never get caught up in a formula either inside his personal life or animation. Joe also found inspiration from the storyboard artist Bill Peet. Peet was one of Disney’s greatest storyboard artist, working for Disney from the late 1930’s through the 1960’s. He had a magnificent energy in his drawings. They expressed the action perfectly and inspired great pieces of animation. Joe knew what kind of storyboard artist he wanted to be after seeing some of Bill’s storyboard work for the movie Song of the South ( 1946). Joe could see how the drawings created the world of the movie and were full of character personality. Animators often said about both Joe and Peet’s work that the illustrations lead themselves to animation. The staging and action were so clearly expressed the drawings made the animators job simpler in a way.

Unlike Bill Peet, who was known to be a solo storyboard artist, Joe was huge on teamwork. Joe loved bouncing ideas off others and strengthening story through the combined efforts of artists working together to chisel away the unneeded parts of a story until they created a perfect piece of art. The friendships Joe created in CalArts, with artists such as John Lasseter, Tim Burton, John Musker, and Ron Clemens benefited Joe tremendously later in his career. Joe helped storyboard films such as The Great Mouse Detective and The Little Mermaid, for John and Ron. He helped create and storyboard the masterpiece The Nightmare Before Christmas with Tim Burton. And Joe created a powerful friendship with John Lasseter and was asked by John to be head of story on his directorial debut Toy Story, for the up and coming animation studio Pixar. Because of the huge success of Toy Story and his great relationship with John Lasseter Joe never left Pixar. He became head of story for Pixar’s next movie A Bug’s Life and was a major contributor to every film Pixar created from that point until his death in 2005.

Many of Joe’s storyboards had a tendency of being so strong they stayed the same all the way through a films production. For Toy Story, a movie that went through several revisions, Joe boarded a sequence where a bunch of green toy army men go out to spy on a birthday party going on downstairs. This sequence is magical and was hardly changed through out the entire production. The army men sequence also established the whole idea to what everyone wanted the film to be about – where toys come to life and think their job is to observe human life without ever being caught moving.

Joe had a mind of a student through out his life. He was constantly working on his drawing and communication skills. Joe pushed himself to become a better storyboard artist in every way possible. He believed a storyboard artist needed to have a whole slew of abilities to do their job well. They needed to be good draftsmen. They needed to know how to use and move a camera and how to compose a shot. They needed to know the basics to animations, meaning the ability to do squash and stretch, how to stage action, an understanding of timing, etc. Joe was a student of the performance and he took several classes on acting. Joe wanted to create feeling in his drawings. He wanted to provoke emotions that made the audience feel affection for his characters and the animator want to animate his drawings. Joe talked about being most at home when he was trying figure out a character. This seemed to be the reason why he was a storyboard artist; to figure out these characters who are not real in reality but real in the artist’s and audiences’ minds.

I have learned a lot from Joe Ranft’s devotion toward his art form. His example brought out the best from those around him. Joe was a very humble man, he just wanted to create the best film possible. He had a servant’s heart. He helped many first time directors, including Pete Doctor (Director of Monsters Inc. and UP) and Andrew Stanton (Director of Finding Nemo and WALL-E), become the great artists they are today. It was not a vast amount of talent that made Joe a great artist it was his passion. A passion that only got stronger through struggle and hardships. And it was this passion for the great medium of animation he was able to spread to those around him.

(To Be Concluded…)

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