![]() Here is a fascinating bit of film history: a photo essay, from a 1946 issue of Popular Science, about the process used to make this very film. ![]() ![]() Modern audiences are most familiar with replacement animation from the films The Nightmare before Christmas and the works of Aardman Studios, makers of the delightful Wallace & Gromit films (notably the truly brilliant Wallace & Gromit in the Curse of the Were-Rabbit), and Chicken Run. Lao (1964 ), an oddball movie that gives the great Tony Randall (whom I interviewed once, not a year before he died) a chance to ham it up under layers of crazy make-up. As indicated in the link just above, replacement animation is most strongly associated with George Pal, best known for his “Puppetoon” films, but most beloved by me for 7 Faces of Dr. The heads would fit into the character’s body using some variation of a ball-and-socket joint, and would be swapped out as often as necessary, frame-by-frame, to convey changes in facial expression and/or lip movement. The Lady Said No was made using a labor-intensive stop-motion process called “ replacement animation,” whereby, for instance, animators would craft, for a single character, multiple heads, each with a different facial expression or lip-position. I cannot account for the flickering between color and black and white. It is not the highest-quality version of this film, but, then, we’re fortunate that it survives at all. The comments, I assure you, were no great loss, but I have nevertheless and perhaps ill-advisedly used them as the basis for my notes below on The Lady Said No, which you can watch below, via YouTube.
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