ricky stone

10

The Sword in the Stone

103 in x of animated feature film history
Release: Dec. 25th, 1963
Country: USA
Director: Wolfgang Reitherman

“The Sword in the Stone is the 18th Disney animated feature film, and it the final animated film to be released before Walt Disney’s death. The songs in the film were written and composed by the Sherman Brothers, who later wrote music for other Disney films like Mary Poppins (1964), The Jungle Book (1967), The Aristocats (1970), and Bedknobs and Broomsticks (1971).

After years of warring, England can’t agree on a new ruler. A mysterious sword appears, which claims that whoever can pull the sword from its stone will become king. After no one can do it, the test is forgotten. Many years later, Arthur––a measly servant knave known as Wart––dreams of becoming a knight, but is barely certain he may act as squire to castle lord Sir Ector’s son Kay; then, the sorcerer Merlin and his grumpy, talking owl Archimedes invite themselves to the castle and move into its dilapidated north tower. Merlin, who can magically access the future, intends to give Wart a proper education. They transform themselves into animals, face dangerous situations, and battle the Mad Madam Mim. In the end, Arthur accidentally finds the forgotten sword in the stone and becomes king.

The film is based on the novel of the same name, which was first published in 1938 as a single novel. It was later republished in 1958 as the first book of T. H. White’s tetralogy The Once and Future King.

Walt Disney first obtained the film rights to The Sword in the Stone in 1939, and the initial storyboards were produced in 1949. When work on One Hundred and One Dalmatians was completed in 1960, two projects were in development, which were Chanticleer and The Sword in the Stone. The former was developed by Ken Anderson and Marc Davis who aimed to produce a feature animated film in a more contemporary setting. Both of them had visited the Disney archives, and decided to adapt the satirical tale into production upon glancing at earlier conceptions dating back to the 1940s. Anderson, Davis, Milt Kahl, and director Wolfgang Reitherman spent months preparing elaborate storyboards for Chanticleer. When the time came to approve one of the two projects, Walt replied to Anderson’s pitch with ‘Just one word—shit!’

Meanwhile, work on The Sword in the Stone were solely done by veteran story artist Bill Peet. After Disney had seen the 1960 Broadway production of Camelot, he approved the project to enter production. Peet recalled ‘how humiliated [the other team was] to accept defeat and give in to The Sword in the Stone…They never understood that I wasn’t trying to compete with them, just trying to do what I wanted to work. I was the midst of all this competition, and with Walt to please, too.’

This was the first Disney animated feature made under a single director. Previous features were directed by either three or four directors, or by a team of sequence directors under a supervising director. The man hired for the job was veteran animator Wolfgang Reitherman, who would direct all of the Disney features up until the 1980’s.

Although Disney never knew it, he himself was Bill Peet’s model for Merlin. Peet saw them both as argumentative, cantankerous, but playful and very intelligent. Peet also gave Merlin Walt’s nose. This was the second instance in which Walt unknowingly served as model for a wizard, the first being the wizard Yensid from the Sorcerer’s Apprentice in Fantasia (1940). 

For the voice of Merlin, director Wolfgang Reitherman estimated that seventy actors read for the part, but “none evidenced that note of eccentricity that we were seeking. We wanted Merlin to be eccentric but not hokey.” At the same time, Karl Swenson was initially cast for Archimedes, but the filmmakers decided to cast him instead as Merlin. Rickie Sorensen, who had voiced young Arthur, entered puberty during production, which forced the older Reitherman to cast his sons, Richard and Robert, to replace him.

The Sword in the Stone was a financial success at the box office and became the sixth highest-grossing film of 1963. However, it received mixed reviews from critics, who thought it had too much humor and a ‘thin narrative.’”

(source)
(source)

FIRST POSTED: 9/6/16

I am a (somewhat bad) Artist!

Remember a few hours ago when I said I was working on something?

WELL I’VE DONE IT

WOAH

PIXEL ART!


So, I saw asimlishpixel’s sprite edit of Bonnie, and I was like

“damn that’s cool”

and then I was like

“hey, you know what would also be cool?”

“Making pixel art for everyone”

And so many hours later (seriously, I started this at like 10am and it’s now almost 8pm (granted I did take quite a lot of breaks lmao)) it’s done! Everyone! Pixels!

You can probably see that some went better than others

BUT THAT’S NOT ALL

I don’t really like how I display how many students are remaining, so I’m gonna switch to using these li’l guys and like in the game how they’re coloured in pink/black when they’re dead and there’s like a little pixelated counter underneath (I’m specifically thinking of the second game, partly because that one’s cooler) so I’ll do that… Some day. Not today, I’ve done a lot today

Laid to Rest|Closed

@theregoesthebellhop

One Mississippi.

Slowly the petrification began with her toes. It slithered and writhed around her calves to her knees. Reached her spine with cold pinpricks sizzling across her nerves and numbing them until no trace of sensation remained save the slow, inexorable creep upwards of that frost feeling. When it reaches her chest, there’s a pairing of weight. Heavy like a promise that’s been broken. Her lashes fluttered for a moment and in the snapshot glimpses of her room she could clearly see it. A shadow, a human shaped silhouette emerging from the foot of the bed. It was idle in its unhurried glide, passing over her limbs until the umbral hand formed fingers at her throat. There was nothing she could do to stop the large, dark figure. No muscle would obey her desperate command. She could barely draw a breath, couldn’t urge her voice to cry out. That weight grew ponderous, smothering.

Two Mississippi.

Eons. Or seconds. Time being ephemeral it slipped through her fingertips, passed onto the floor with a steady sussurus only she could hear. Helplessness rose up from deep within her, a throwback to her past. This wasn’t the first time that the sensation and the shadow had come over her. It had been with Beth her entire life long. Andy could keep it at bay, had done so most of her childhood. Later, after he’d gone away and even after he’d died, the stuffed turtle with his dog-tag in it, that could save her too but now she couldn’t have said where the doll was. She wanted to cry. She wanted to scream. To leap away from the figure and it’s increasingly tighter grip on her. Terror squeezed her heart which beat so fast she thought it might explode in her chest and her eyes shimmered with tears that started to leak from the corners of her unblinking gaze.

Three Mississippi.

A hiss broke the silence of the room, something dusty and parched, the sound of sand scorched by burning suns in a sky no one could see. Whatever the breathless vocalization was, it came from Beth, lying still as stone beside Ricky and the night was filled with a sudden sensation that something wasn’t quite right. She’d never had her brother’s strengths, and had to rely on the emotions she could pass through her spiritual self to call out for him, the inarticulate plea of a mute thought.