The Black Sheep F-It Friday

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F*** it Fridays

The Black Sheep brings you...

“Because you know you checked out on Wednesday...”

Friday, May 13th, 2011 ISSUE 19

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Government Welfare The government isn’t sure if that apple juice for the children or for your hourly malt-liquor addiction

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TOP 10: White People Problems: Awww, poor, privileged white people

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www.theblacksheeponline.com

A Modest Proposal

It’s about time society revamps it’s standards and lets us be more natural, comfortable beings.

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Ode to a Softball Player By day he’s a insurance agent. By night...he’s incredibly out of shape.

I Spent Eight Hours Today Making Sure a Female Character’s Breasts Looked Just Right

UNIVERSITY OF ILLINOIS Disney Pixar Animator Ricki wrote this

W

henever I tell people that I work at Disney’s Pixar Animation Studios, they immediately become bright-eyed and smile in awe. Apparently they think my office is in Cinderella’s Castle; I enjoy eighthour workdays of nonstop fun; and I go home at night covered in magical pixie dust. The final product of years of work is pretty neat, but in the meantime, animating a feature length Disney film is tedious at best. Today I spent eight hours on arguably the most difficult and important part of animating: shaping the female character’s breasts. Sure the voice actors, storyline, and faces of the characters are important to the production, but if those boobs are lopsided, too small, or too big the movie’s just not going to gel. Yesterday I had started on the breasts of this eighteen-year-old servant girl in India who somehow transcends the caste system to become a famous singer. I knew my game was off, but when I came into work this morning I was completely disgusted by yesterday’s effort. I mean, did I really think those boobs would suffice for the big closing duet “Curry Me Home” with her love interest Vishal? She may have made the transformation from servant to celebrity, but those knockers certainly didn’t. They were not nearly perky enough and had way too much cleavage. That’s the thing about Disney films, you need the breasts to be appealing but not over the top. The experts before me really paved the way for the work I’m able to do today. I can’t express enough gratitude for the Snow White, Sleeping Beauty, and Cinderella Disney-breast framework—big enough for the character’s sex to be clear, but small enough to look respectable in evening wear. I’ve been an employee at Disney since before computer animation and have seen advancements made over the years. I remember when Marty unveiled his sketch of Ursula in 1986. We thought he was nuts! No one had ever tried to put cans that big on a Disney character, villain or not. We were used to a rack like Cruella de Vil’s. That broad’s chest was flat as a pancake. But you know what? Those large droopy things barely contained by her octopus get-up really made the character. Oh man, Marty also drew up the shell bra supporting Ariel’s boobs, didn’t he? Christ, what a legend. I also remember when we first switched from hand-drawn to computer animation. One of the biggest questions was how are these boobs going to trans-

late? Will they even translate? If you would have seen some of the first mock ups of Bo Peep in Toy Story you may have said no! But we were diligent and got her looking mighty fine. With our computer technology now, the sky’s the limit. We can easily create a pair of breasts so realistic you could see a single bead of sweat stream down a woman’s elegant neck into a glistening, heaving cleavage. I swore I wouldn’t make that kind of animation. Not again. But the technology is there. I’ve built up quite the resume over the years. A while back I animated Ellie in Up. She was alive for what, the first five minutes of the film? I spent 90 hours on the evolution of her breasts from child, to adult, to elderly. It’s nuanced, but the evolution is there. It had to be there. When we first showed that growing old sequence to the production team, not a single person was moved emotionally. Then I made her breasts lose 20 percent firmness from her adult years to elderly years, showed it again, and there wasn’t a dry eye in the house. Maybe you guys don’t get it, but trust me it’s completely necessary to meticulously shape, dilate, and contract computer animated breasts for hours on end. I did it for Ratatouille. Creating breasts underneath a chef’s smock is a project I never want to tackle again. I also did it for The Incredibles. Violet was easy because Disney prefers it if you don’t put breasts on girls that age, and thank goodness so! Making those awkward teen breasts would be too much to handle. I couldn’t side step Mrs. Incredible, though. Keeping her boobs consistent between everyday clothes and her superhero costume was the test of my career. I watched Britney Spears’ video for “Oops!... I Did it Again” ninety-seven times to fully grasp the subtleties of how breasts behave in spandex. It’s still painful for me to watch The Incredibles, because all I see are imperfections. And how could I forget Tangled? That’s sort of my prized work. Rapunzel’s bosoms were small but perky and evenly spaced with just the right amount of cleavage. I hope I was able to make at least one awkward teenager check her out as if she were a real person before realizing, “Hey, she’s computer animated. I need to stop being creepy.” A lot of the movies Pixar does involve animating characters that aren’t sentient in reality: cars, clownfish, practically mute robots, bugs. You can’t put boobs on those things. I’ve tried. But who knows? Maybe some crazy bastard will find a way. For now, I have more than enough on my plate getting human melons to look just right.


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