30 years later (on October 2015)

an event I never gone to

on October of 2015, The Black Cauldron had a showing at the El Captain Theatre

you can read the article here:
https://www.laughingplace.com/w/articles/2015/10/31/the-black-cauldron-at-the-el-capitan-theatre/

                 Don Hann producer of The Lion King (1994) and  Beauty and the Beast (1991) promoting  the El Captain Theatre The Black Cauldron screening event.

                                 "The Way It Was Meant To Be Seen" on the big screen
                       
          the  July 1985 Theatrical cut,  not the 1984 work in progress cut.  please don't be disappointed

             
                                               

          footage from the panal discussion, (only the end part of it, with the alternate fairfolk scene.)    

Technirama widescreen and The Layout Man's Picture

                 short video essay by the Geroge Eastman House on the Topic of Technirama


Excerpt from Animated View's interview with Black Cauldron Producer Joe Hale:
http://animatedviews.com/2010/the-black-cauldron-producer-joe-hale-talks-munchings-and-crunchings/

AV: The film was shot in 70mm. Was that a tricky part of producing the movie?

JH: Actually, that part was not that difficult because we’ve been doing films in CinemaScope. It was a just matter of having a lot more animation and bigger backgrounds. So, it was probably a bigger problem for animation than it was for layout.

AV: Layout is somehow one of the most obscure parts of the animation process. Can you tell me about that not-so-well-known art?

JH: Basically, there were a lot of very talented animators. There were the Nine Old Men, and other animators that were talented as well. So, there was – God, I don’t know – thirty animators working at the time and I figured that I didn’t want to be an animator.

So, I got to my boss, Andy Engman, about getting into Layout. What the Layout man does is: he takes the storyboard and breaks it down into individual scenes. And then you draw, you “lay out” that scene and you make drawings of the characters. You work very closely with the director and you have a lot of input.

On Cauldron, being a Layout man, I was heavy on layout. Cauldron is really a layout man picture. What I wanted to do was show the audience the world that they’re placed in. So, I wanted a lot of long shots.

The way we approached layout in those days, like in the pictures that Walt was involved in, was we approached each scene as if they were a painting that you could frame and hang on a wall. We made each scene very attractive. The layout man is like an art director. He’s certainly like an assistant director combined with art directing.

Somewhere along the line, they started to call it Layout, but most people never knew what layout really meant. The Layout men are the unsung heroes of animation because nobody knows what we do. When you look a scene on the screen after it’s painted, the people say “oh, what a beautiful painting!”. The background men pretty much get the credits for it. But basically, it was all designed by a layout man with just a pencil, a black and white drawing that the animator and the background man could follow.