Ken Anderson
[About One Hundred and One Dalmatians]
Ken Anderson: The Xerox process was crude at first, but we got better towards the end. We could only work in black and white Xerox for One Hundred and One Dalmatians. We got better Xerox towards the end and I did the backgrounds in the same way. Now they can get tints and colors. Ronald Searle was a very good friend of mine and I was always enamored of his work. I have an original background painting of his. I very definitely went for his English style. I loved that soft color, muted greys, and tonal values. To get the authentic feeling of London and England, I had a little talk with Ronald Searle and his wife Kaye Webb and he helped me a lot in getting the Englishness in the film. I had corresponded with Searle and I was very impressed. They sent me photos of Regent’s Park and we discussed color. I have a letter from him somewhere. Ronald Searle even sent me a congratulatory telegram.
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Parent contents
- Parent entry
- 1 - Ferdinand Horvath - Letter to his cousin James Frank Henry Hegessy (Ferdinand Horvath)
- 2 - Izzy Klein (Izzy Klein)
- 3 - The Letters and Autobiography of Eduardo Solá Franco (Eduardo Solá Franco)
- 4 - The Letters of Campbell Grant (Campbell Grant)
- 5 - T. Hee (Frank Thomas, Ollie Johnston)
- 6 - Ken Anderson
- 7 - Bill Cottrell, Ken Anderson, and Herb Ryman (Jay Horan)
- 8 - Andrew B. Beard (Jim Korkis)
- 9 - Treb Heining (Jim Korkis)
- 10 - Harriet Burns (Michael Broggie)
- 11 - Valerie Edwards (Didier Ghez)
- 12 - Gary Goldman (Didier Ghez)
- 13 - Tad Stones (Didier Ghez)
