How is tangled animated

There is some stretching of the head. Forth Pose: He settles into the final resting position having now completed the action of turning around in response to his surprise. As this sequence demonstrates, Tangled does feature typical cartoon patterns of movement even if their application is very subtle.

This moment not only resolves her life long dream of seeing the lights but also shows a transition to her new dream; being with Flynn. When Rapunzel is apprehensive about seeing the lights rise into the sky, she asks Flynn what she is to do if they turn out to be everything she dreamed they would be.

To which Flynn responds by telling her she will get to find a new dream. The scene is pivotal to consolidating who Rapunzel was before meeting Flynn and who she will become in the later part of the film. The lantern scene begins with Rapunzel and Flynn in a boat placing flowers in the water. As she leans forward and looks into the water, Rapunzel sees the reflection of a single lantern floating up into the night sky.

She looks up at the sky and holds her pose for approximately 40 frames before the film cuts to a point of view shot revealing the single lantern floating in the sky. An impulsive movement follows this short pause as she pushes herself up and scrambles toward the front of the boat for a better view of the floating lantern.

There is a noticeable lack of cartoon motion such as squash and stretch as Rapunzel propels herself toward the front of the boat. Without taking her eyes off the floating lantern she almost falls onto the figurehead. At that moment nothing else has her attention while she clings to the boats figurehead.

In contrast to her frantic scurry toward the bow, she is now almost motionless, moving only to counter the motion of the boat floating in the water. She holds this position for approximately 60 frames, only moving to adjust the grip of her left hand and to move her head closer to the scrolled figurehead. After adjusting her position by moving from one side of the figurehead to the other, in 20 frames, Rapunzel holds almost perfectly still for another 20 frames before the shot cuts to another point of view shot.

We see the single lantern has drifted further into the sky while a large quantity of lanterns slowly floats up above the castle wall. Cutting back and forth between a close up of Rapunzel and the floating lanterns we see that Rapunzel is holding the same pose as the night sky fills with lights.

This pose and facial expression is a reference to an earlier shot in the film in which Rapunzel is a young child looking at the lanterns from her tower window. Rapunzel as a child sneaks a look at the floating lanterns. She dreams to one day see the lights. Rapunzel reflects on her childhood dream of seeing the floating lights.

This moment indicates that the floating lanterns have been a childhood comfort for Rapunzel in the way a child may find security in a cherished blanket or toy. She holds that position for as many as 35 frames before it cuts to a shot of Pascal. Returning again to a mid shot of Rapunzel we see she is gazing up at the lanterns in the same held pose. She holds this pose for approximately 60 frames with nothing more than some subtle eye movement and blinks.

The eyes and her blinking show her inner thought process as she realises she is still there with Flynn. She drops her right arm down and we see her expression change. Leading the action with her eyes, she turns to look at Flynn who has prepared two lanterns for them to release into the night sky.

The subdued motion, held pose and lack of cartoon style is significant in this scene as it demonstrates that cartoon patterns of movement have not been used. Rather the animators have focussed on creating motion that is authentic and therefore believable. The action is appropriate for this character at this moment as the lanterns have a deep emotional meaning for Rapunzel; they have been her link to the outside world while locked in a tower for 18 years.

There is also a familiarity in the performance because we have seen her gaze at the lights as a child. Had the animator chosen to have Rapunzel jump around with excitement as if she were at a fireworks display, that had no emotional connection to her, it would have resulted in a character action that was not authentic and therefore not believable. Tangled contains many strong story-telling poses that are often held completely still for several frames.

Yet in Tangled there are moments when characters are completely motionless, in the lantern scene for example, Rapunzel holds a static pose for almost 2 seconds. Other examples can be found throughout Tangled including an early shot that introduces Flynn Rider on top of the palace roof. This is the first time we see a clear shot of Flynn after he has made his way across the roof tops, the use of a hold gives the audience a chance to absorb the attitude of his pose.

In this shot, Flynn holds for approximately 30 frames yet remains plausibly alive despite the absence of motion. In fact there are multiple moments in which Flynn is completely still in this sequence. The shot below shows Flynn Rider in a close up with two fellow thieves behind him. Of note in this situation is that the absence of motion on Flynn allows our attention to be redirected to the background characters.

When the animator wants to shift our attention back to Flynn Rider the two characters in the background move only slightly while Flynn moves. Pose 1: Flynn holds this pose for 20 frames while the characters in the background move. Pose 2: Flynn moves into this pose and holds for another 20 frames while the background characters are moving.

The hand movement re-directs our attention back to the two in the background. In this case, the held pose functions as a way of influencing where our attention is focussed. There are several concepts that support the use of holds in Tangled. The concept of a moving hold is relatively simple to grasp. Thomas and Johnston, explain a moving hold as simply two drawings that maintain all the elements of the pose but with one more extreme than the other.

Moving holds are not the only hold used throughout Tangled. As already identified there are times at which the hold is literally a held pose absent of any motion.

When pure holds are used, it is the pose design that maintains the illusion of life. Tangled shows us that a well posed character can communicate story, attitude, and emotion even without movement. This indicates that pose design is possibly the most important element of character animation. Early Disney animator, Ham Luske, believed that animation was only as good as the poses and that timing, overlapping action and follow through were not enough to create good animation.

The use of tilt and twist are relatively obvious throughout the character pose. The head, shoulders and hips are titled on a single plane to create a pose based on the principles of contrapposto.

He opens his satchel to look at the crown he just got away with Rapunzel has never seen anyone other than Gothel before, and at first, she's convinced he's one of the monsters her mother said lived outside the tower.

Once she realizes that he's just another person, she hides him inside her wardrobe, with some difficulty. After finally getting him stuffed inside, she finds his satchel with the lost princess' crown, although she has never seen a crown before and doesn't know what it is.

She tries to wear it in a few different ways before setting it on her head, just as she hears Gothel calling to her from outside. She hides the crown and satchel and brings Gothel up the tower. Rapunzel plans on showing Flynn to Gothel as proof that she's not helpless and should be allowed outside, but she starts out by mentioning their conversation from earlier, and Gothel flips out and screams at her that she is never leaving the tower, ever.

Rapunzel realizes there's no way Gothel will ever let her leave, so she tells her instead that she changed her mind about what she wants for her birthday and asks for paint made from white shells. Gothel really doesn't want to give her that because the shells are three days' travel away, but she thinks it will keep Rapunzel from asking to leave, so she agrees.

Once Gothel has set out, Rapunzel takes Flynn still unconscious out of the wardrobe and uses her hair to tie him to a chair. Pascal wakes him up by sticking his tongue in his ear, and Flynn, not seeing Rapunzel at first, immediately freaks out. However, when she steps into view, he realizes that she's beautiful and starts hitting on her, much to her confusion. She assumes he's there to kidnap her and steal her hair, but he has no idea what she's talking about.

In exchange, she promises to give him back the crown and let him leave and says that she never, ever, EVER breaks her promises. Flynn doesn't know why the lanterns are so important to her, but it's the only way to get the crown back, so he agrees.

Flynn gets down the tower wall the same way he got up and calls for Rapunzel to come down. Rapunzel, taking her frying pan for protection, uses her hooks and pulleys to lower herself down on her hair, though she begins to have doubts once she's actually outside.

She alternates between running around and screaming for joy and wallowing in crushing despair and guilt for betraying her mother. Flynn is exasperated but tries to encourage her guilt, thinking that he can get her to give up and go back to the tower, and he can get away without having to take her to see the lanterns. He suddenly has an idea and says he'll take her to lunch and drags her out of the clearing. Elsewhere, Gothel hasn't gotten very far before she runs into Maximus, still searching for Flynn.

She recognizes him as a horse from the palace but without a rider. Suddenly suspicious, she runs back home and calls for Rapunzel, with no answer. She digs out the bricked-up door and runs up to discover that Rapunzel is gone.

In a rage, she also discovers the crown Rapunzel had hidden, along with the wanted poster that Flynn had taken earlier. She assumes that Flynn has kidnapped Rapunzel, so she grabs a knife and sets out after them. Flynn lies and tells her that this is considered a five-star establishment in the real world, trying to scare her into going back to her tower, but Flynn is recognized from his wanted posters before they can leave.

One of the thugs is sent to fetch the guards while the rest of them leap on Flynn and fight over who should get the reward money. They look like they're going to tear him apart when Rapunzel hits the hook-handed one in the face and demands that they let him go because she needs him to fulfill her dream of seeing the lanterns.

She implores them to find their humanity and asks if they've ever had a dream. This kicks off the song, "I've Got a Dream" amidst the entire pub, where we find out that although the thugs are a cruel and bloodthirsty bunch, they also dream of true love, enjoy sewing and baking, and making tiny ceramic unicorns. One of them does miming in his spare time. Flynn is forced to join in and sings that his dream is to retire with tons of money on a sunny island somewhere with no one else around. Rapunzel gets excited and joins in too, singing about how happy she is that she left her tower and how she never wants to go back.

Unfortunately, she sings this line right as Mother Gothel looks in the window. Gothel is furious, but before she can do anything, the thug who went to get the guards returns. The guards are right behind him, with the Stabbington twins in chains. Now that they've bonded, Hook-Handed Thug decides to help them escape, and he opens a secret tunnel in the bar floor for Rapunzel and Flynn to flee through. Although they seem to escape without a problem, Maximus enters the pub and tracks Flynn's scent to the secret tunnel.

While outside, the guards give chase, and Gothel threatens one of the pub thugs with her knife to tell her where the tunnel lets out. The Stabbington twins also give chase, having escaped their chains. The tunnel leads to a dam, where Rapunzel and Flynn appear to be cornered until Rapunzel uses her hair to swing across to a ledge. She leaves Flynn her frying pan, and he uses it to fend off the guards and swordfight with Maximus while declaring that this is the strangest thing he has ever done and it is a pretty strange scene.

Rapunzel lassoes him with her hair and pulls him off as Maximus kicks against a beam, breaking the dam and causing a huge flood of water to come crashing down on everyone. Rapunzel and Flynn try to outrun the wave and hide in a small cave, which a falling rock blocks the entrance to.

The water slowly fills up the cave as they realize it's a dead-end and there's no escape. They try to pull at the rocks to no avail, and Flynn only manages to cut his hand. They both try to look for an escape under the rapidly-rising water, but there's no light in the cave, and they can barely see each other above it. As they think they're about to die, Rapunzel cries and apologizes to Flynn for dragging him into this, and Flynn admits that his real name is Eugene Fitzherbert because he thought someone should know before he died.

Rapunzel tries to make him feel better by admitting that she has magic hair that glows, only to realize that they can use her hair to search for escape in the dark water. She sings the magic song just as their air pocket disappears, and they end up underwater, where Rapunzel's hair illuminates the cave. They quickly dig their way through and are just about to run out of air when they break through to the outside, landing in a river.

They drag themselves up onto the bank, where Flynn proceeds to really flip out about Rapunzel's hair being magic. Meanwhile, Gothel is waiting at the tunnel exit for them, but instead of Rapunzel and Eugene, she gets the Stabbington twins. She gives them the princess's crown but tells them that she could give them something worth one thousand crowns and that they can take revenge on Eugene while they're at it.

Back with the other two, Eugene is still shocked about Rapunzel's hair, so she tells him that's not all it can do and, after making him promise not to freak out, wraps her hair around his injured hand and sings the healing song. Eugene tries very hard not to freak out but is still weirded out when his injury completely disappears. Rapunzel explains to him that Gothel told her that people tried to cut off her hair and steal its magic when she was young.

Gothel told her the reason she locked her away from the outside world was to protect her from the people who wanted to steal her hair. He leaves to get firewood Rapunzel tells her she wants to stay with Eugene because she likes him and thinks he likes her too.

Gothel gets angry and tells her that she's invented the whole romance and that there's no way Eugene could possibly like her. She gives her the satchel with the crown in it and tells her that's the only thing he wants and that the minute he gets a chance to take it, he'll leave her behind.

Rapunzel says she will give back to him right then to prove that he won't, and Gothel leaves just as Eugene returns with firewood. Rapunzel starts to give him the satchel but begins to doubt herself at the last minute and hides it from him.

The next morning, the two of them wake up to find a dripping-wet Maximus standing over them. Maximus attacks Eugene, but Rapunzel manages to calm him down and begs Maximus to leave him alone for just one day, so he can take her to see the floating lanterns. Maximus is charmed by her, and when she mentions that it's her birthday, he gives in, although he doesn't like it, and continues to torment Eugene when she isn't looking. They all head out to the island city the palace is in, where Rapunzel gets her first taste of being in a crowd; she keeps bumping into people, and Eugene has to convince some little girls to do Rapunzel's hair up in a braid, so she can move around without people stepping on it.

Once that's over with, they go around the city, waiting for night to fall. Rapunzel has the time of her life, dancing around and drawing on the street in chalk. As a memento, Eugene buys her a little purple flag with the royal crest on it. The biggest feature-to-television-series conversion was the syndicated Aladdin TV series, which ran for 86 episodes and included three additional movies.

This new series will feature Mandy Moore and Zachary Levi reprising their roles of Rapunzel and Flynn Rider nee Eugene from the movie and showcase new songs from Academy Award-winning composer Alan Menken and lyricist Glenn Slater, who were responsible for all of those catchy tunes in the original film.

Clare Keane, daughter of Disney Legend Glen Keane who at one point was the director on a very different version of the film and who later served as an animation supervisor , consulted on the film. This is roughly the equivalent of snagging Robin Williams for the Aladdin television series. In terms of timing, the series takes place in between the events of the feature film and the start of the utterly charming short film Tangled Ever After.