Tom and Tony Bancroft Q&A

Q&A Date: October 1, 2015, 12:00- 1:00 PM
Animators: Tom and Tony Bancroft
Studio: Formerly, Walt Disney Animation Studios
Tom’s Credits: The Rescuers Down Under, Beauty and the Beast, Aladdin, The Lion King, Pocahontas, Mulan, Tarzan, and more
Tony’s Credits:  The Rescuers Down Under, Beauty and the Beast, Aladdin, The Lion King, The Hunchback of Notre Dame, The Emperor’s New Groove, and more
Host: The Animator Letters Project
Participants: Fans of The Animator Letters Project

A special thanks to Tom and Tony for taking the time out of their busy schedule to answer questions asked by fans of The Animator Letters Project. Their answers offer unique insight into their career at Disney and encouragement to face many of the real challenges in the life of aspiring animators.

Two lucky Q&A participants will win a unique, original piece of artwork by either Tom or Tony Bancroft. The giveaway will be held at the end of the Q&A and I will announce the winner, so be sure to check back to see if you won! Tom said he will do a drawing by request for whoever wins, and Tony is giving away the Pumbaa drawing below, which he was supervising animator on.

Please write your questions for Tom and Tony in the comments section below before Thursday, October 1st at 12:00 pm for it to be included in the Q&A.

Comments 68

    1. savannmarie

      Tony here: It’s always hard to pick. For me, the top two are Mulan and Lion King. mulan because it was my first time directing and having three girls, I really connected to the story. Lion King because it was my first time supervising a character in animation (I did Pumbaa). And come on…It’s THE LION KING!:)

    2. Tom Bancroft

      Tom here: I can pick three that were really fun films and projects: Aladdin, The Lion King, and Mulan. In the end, my number one choice will always be Mulan because I got the chance to create who/what Mushu is, but especially because as you move up the Disney Animation ladder (which is why those films are in that order) you get better and better scenes to animate. I’ll never pick “Beauty and the Beast” as a favorite, even though I love the film, because I got really crappy (being blunt) scenes on that film 🙂 Crowds and crowds singing about killing the beast. Blah.

    1. savannmarie

      Tony here: I think the question should be WHY did we both become animators, right? Well, being twins, Tom and I always loved the same three things drawing, comics and girls (not alway in that order:) Animation came to us later in life when we made friends with a dude doing clay animation in college. We already drew comic strips but we fell in love with animation that day. That, and Tom just follows everything I do!

  1. Jackie Igafo-Te'o

    Do you think that hand-drawn animation will ever be truly revived on the big screen by any of the major studios? It seems that many people, including myself, prefer the personal touch and personality of a hand-drawn piece that is filled with blood, sweat and tears. Not to totally knock computer animation…some very beautiful work is being done there…but the feel is different. Do you know what I mean?

    1. savannmarie

      Tony here: Jackie, I totally know what you mean! Hey, I got into animation because I loved to draw, still do. I totally want to see 2D animation come back in a big way into feature animation. Do I think that will happen? Yes, I do. I keep hope alive. Do I think it will be Disney or a big studio like Disney that brings it back? No, I don’t. I think the future of 2D animation lies with the next generation of small studios and independent film makers. I hope to be in that mix when it happens!

      1. Jackie Igafo-Te'o

        Wonderful! If an artist like you can hold out hope for the return of 2D then so can I for sure. Thanks for brightening the days full of horrid news from around the world with lighthearted drawings and posts.

  2. Kellie Robinson

    Hi, Tom and Tony! I have a question about something that’s been bothering me for a long time…. How does one find the motivation to keep producing art when they are so hard on their work? I’m very, very judgmental of my art and always have a very difficult time pushing myself to be consistent in how often I draw. People say my work is good, but it’s hard for me to accept that because I just don’t see what they see. Others seem to be so motivated and constantly practice and push themselves, but I have the hardest time picking my feet off the ground and persevering. How do I not be such a procrastinator, push myself to draw, and actually see worth in what I do? Thanks, guys, and keep up the awesome work!!

    1. savannmarie

      Tony here: Kellie, this is something I totally connect with. I would guess more then my brother Tom. It can be tremendously overwhelming to see all of the wonderful contemporary artists out there online and feel like “how do I even compete with all that?” The truth is that being hard on your work can be a curse and a blessing. If not thinking you’re stuff is good enough MOTIVATES you to keep trying to make it better then that can be a blessing. (Listen to our podcast with Sergio Pablos to hear him talk about thinking he is not worthy!) But if thinking your stuff is not good enough STOPS you from drawing more then it is a curse. The only thing I can say to you and it is the same thing I say to myself is: YOU NEED TO GET OUT OF YOUR HEAD AND GET OVER YOURSELF! I mean it, I tell myself that all the time. It helps. I try not to care about what others think and do it because I love it. That love for drawing is what will keep you going. Keep drawing every day! It’s Inktober, start now.

      1. Kellie Robinson

        Hey, Tony! Thank you so much for answering my question! It’s both comforting and sad to know that I’m not alone in dealing with thoughts of self-doubt and lack of motivation (because it sure ain’t fun to deal with), but you’re right in that I need to get out of my head and just DO and DRAW, DRAW, DRAW. Since sending in my question, I actually have been pushing myself to sketch daily. What you said about being hard on one’s work being both a blessing and a curse is so true, and both apply to me. Sometimes, I get mad that I’m not where I should be and am so inspired by others’ work that I draw because of it; ironically, the fact that I’m behind sometimes has the opposite affect. Heh. In any case, thank you SO MUCH for the kind and encouraging words. I’ll work harder to not be affected by negatives and to keep sketchin’ no matter what! (By the way, your Pumbaa drawing is beautiful!)

    1. savannmarie

      Tony here: Good question Joree’. I would have to say Pumbaa. I would like to think that it is the strong, good looking beef-cake Kronk but it’s totally the slow thinking, easy going, good natured, fat, flatuating pig Pumbaa. I loved “getting under his skin” when I was animating him. Bringing him to life with the inspiration and help of his amazing voice Ernie Sabella was truly one of the funniest experiences of my life. I really felt like I was having fun more then creating a character that would be forever in the Disney stable of famous characters. To me, he was just my buddy that I wanted to spend time with.

    2. Tom Bancroft

      Tom here: My reply is just as obvious, I guess: MUSHU. I was so involved with his development- more-so than any other character I had worked on- that there is a lot of me left on those stacks of animation paper. And in the film. I often tell people Mushu is mine and Eddie Murphy’s love child. No one ever laughs at that though.

  3. Patrick DaCosta

    Hi Tom and Tony Bancroft,

    How are you!? I hope you’re both very well. Becoming a professional artist is a very unconventional (and some might say, unrealistic) job ambition. The rate of success at such an ambition is so low, the rate of failure so high, and it’s a huge gamble on the stability of your life and future (like say, wanting to become an actor or professional athlete). My question for you is, when you decided you wanted to pursue art and animation professionally, did you ever have any doubts that you could be successful at such an endeavor? If so, how did you alleviate those doubts and fears of failure? Thanks so much for all the amazing work you have done, and continue to do!

    1. savannmarie

      Tony here: Hi Patrick, doing well. Good to hear from ya. Great question. I think it really helped Tom and I that there was two of us. I think if it was just me alone facing portfolio reviews at CalArts and Disney it would have been twice as tough. There was a comfort that came from a look at the other guy and a “you ready?” and a “yeah, let’s do this” that was a big support. When I was down on myself I could see Tom confident and hopefully visa versa. The other important element is that Tom and I were stupid enough not to have a plan B. We probably should have looking back now but we really only wanted to get into cartooning in some form. We put all of our focus into it and felt there was no surrender, no retreat. We were focused in one direction. I think that “stupidity” helped us more then anything.

  4. Nik Rajguru

    Love your positive energy guys! A question about working in a group – Do you ever get on each other’s nerves while working?! How do you resolve that? Just complain to mom?!! 😉 any interesting anecdotes to share about this?!

    1. savannmarie

      Tony here: Hey Nik! Tom and I both believe that being positive is what can help make you great. Well,maybe not great but t’s certainly what gets you out of bed in the morning, and that’s a start. As to your question, when you say group, do you mean Tom and I working together? If so, yeah, it can be hard working with a sibling because you know each other so well, its easy to hit each other buttons. We resolve that by living 2000 miles apart and not together, I suppose. Tom has his life and family and I have my own. We do realize as much as we are similar that we are individuals at the end of the day. Knowing that we have to learn to compromise. That’s an ongoing process of communication and understanding. But yeah, mom will step in if we need a tie breaker 🙂

    1. Tom Bancroft

      Tom here: I don’t know about energy, but I can say that a lot of my “drive” comes from getting older. I feel the clock ticking in my life like never before (I’m 48, but this started when I was around 40 to 45) and I have way too many projects I want to do and drawings I need to get out.

    2. Tony Bancroft (@pumbaaguy1)

      Tony here: Sleep and time with the family is my favorite refuels. I just finished a project yesterday but today I am starting a new one. Sometimes there is no rest. Just keep going. A nice cup of coffee gets me going in the morning though.

    1. Tom Bancroft

      Tom here: Without a doubt, it would be Mark Henn. He was my mentor for many years and before that I worked under him as his clean up assistant. He had a very Frank Thomas style of working rough, but very in toon with the characters’ personality. I’ve never seen anyone handle animation like it was nothing. Not on Mark’s level.

    2. Tony Bancroft (@pumbaaguy1)

      Tony here: I agree with Tom about Mark Henn. He is a true inspiration for me (especially in my first year at Disney) but also Will Finn. He was my mentor and supervising animator who I worked under on three films at Disney. Rescuers Down Under, Beauty and the Beast, and Aladdin. Will was a great animator who’s specialty was comedy characters. So I got to work on Frank the Frilled Neck Lizard, Cogsworth the clock, and Iago the parrot all under Will’s tutelage. He taught me so much about the importance of a funny drawing, timing, and contrast. His drawings were always aspirational to me too. If it wasn’t for him, I never would have gone on to lead Pumbaa and Kronk. Will Finn is the man!

  5. edmccray

    How do you feel animated features have changed from the 1990’s to 2015 (other than all of them being CGI…) The DISNEY animated fairy tales from the early 90’s have a VERY different feel from TANGLED, FROZEN, and PRINCESS & THE FROG. The same people are making them. Why don’t they feel that way?

    1. Tom Bancroft

      Tom here: Good question Ed. I would say that in a lot of ways, you can’t go back. The world keeps changing and what kids/families want today is not what they wanted in the past. I think Princess and the Frog is a good example in some ways: Out of your list, its the closest to the 90s princess Disney films and it didn’t preform as well as those modern classics. The audience has been too Shrek-ed out since then.

      1. edmccray

        Thank you. I WANTED to LOVE PRINCESS & THE FROG myself but it just didn’t have the same feel to even the hand drawn films from the late 90’s. I don’t know if it’s because the computer software used to color made it look to slick or what. It seemed to be missing something in my opinion.

    2. Tom Bancroft

      Tom here: Ed, it was missing some story stuff that was needed too. All the Disney films are bad at the beginning phases of storyboarding but MOST make a change for the better- often times right at the end. I didn’t work on P and the F but I’d say it and “Home on the Range” never made those turns at the end. Sometimes its just not avoidable.

  6. Ryan Campbell

    During or between projects, do you ever go through (or struggle with) creative dry spells? If so, how do you overcome those times and what do you refer to in order to spark inspiration and creativity?

    1. Tom Bancroft

      Tom here: I rarely get that “dry spell” or “creative block” feeling that you hear about. I approach drawing like a job so I just know I have to sit and draw something that day, like it or not. That’s not to say every drawing is on the same level- for sure- depending on my mood, if I’m “feeling it”, or how excited I am to draw that subject. The short answer is that I do like to get my confidence back by sketching a character I love as a warm up. In my case, my default, believe it or not is Wonder Woman. I draw her a bunch because she’s got a simple costume I can remember and I love comic characters- oh, and drawing girls. 🙂

    2. Tony Bancroft (@pumbaaguy1)

      Tony here: That’s a tough one Ryan. For me, the dry spell can be daunting. Unlike Tom, I do struggle with times of not feeling it. I just have to force myself to move forward. For me, i have to find something that I connect with, emotionally, about the project or drawing that pulls me in. It’s funny how I can usually find something to connect with too. That connection is usually the key to opening up my creative imagination and then I’m off to the races again!

  7. Jason Zucker

    Hi Tom and Tony. If you could bring Winsor Mccay back for one day and had the chance to show him one animated film, Disney or non, which one would you show, and why? Thanks for all you guys do!

    1. Tom Bancroft

      Tom here: Interesting question Jason. The first film that popped in my head that I know ol’ Winsor would like- is “The Thief and the Cobbler” by Richard Williams.(His original cut, not what was released once it was taken from him.) Winsor loved the trickory and magic of animation and did lots with perspective and other drawing principles, much like Richard Williams did. Only, Richard took it to a whole other (insane and cool) level that would make Winsor’s jaw drop because he would know how much work went into it. (Much like all of us the first time we saw some of those shots.)

    2. Tony Bancroft (@pumbaaguy1)

      Tony here: I agree with Tom’s answer about The Theif but also I would show him Finding Nemo. Not just because of the obvious “Nemo” in-joke:), but also because I think he would marvel at the new technology of CG animation. He would appreciate the character performance and the humor I believe. I know it’s one of my favorites anyway!

  8. Shoshaina Skylar Dawn

    Hey guys! I was just wondering how you guys keep motivated and on schedule for different projects you are working on? I find it very difficult when you have such a busy schedule to work with it and stay motivated at the same time, do you have any tips? Thank you guys!

    1. Tom Bancroft

      Tom here; Thanks Shoshaina, good question. Both Tony and I are independent (which basically means freelance) and while we both have (different) day jobs, we tend to have many other side projects we are involved in. I’m worse, I usually have 5 or more side projects at one time. Juggling them is often hard, but I have three motivations driving me: 1) money, if its a paid gig, 2) Deadlines, again, if its a paid gig or a charity project I’ve committed to and 3) Passion projects. The first two categories drive my schedule since those are “have to” projects where I’m getting paid and have deadlines to get things done on a schedule. But, the latter category or things I REALLY want to do and the motivation there is to just keep the ball rolling forward on those. Its less frustrating to just know that I moved the ball forward a tiny bit every day on those. I make sure I don’t place the bar too high on those, but make sure I make SOME progress constantly. That, and, I cheat and work on them even when I shouldn’t be!

    2. Tony Bancroft (@pumbaaguy1)

      Tony here: Since I remember doing a commission for you Shoshaina, then you probably know I have a difficult time getting things out on schedule:) Tom juggles more little projects then I do so his 2 cents maybe better then mine but for me, I try to keep my life as simple as possible. I try to not have more then two or three things going at the same time. That may not be possible all of the time but it helps me to manage things. For me, I need to really focus on whatever is in front of me or I don’t feel like I am doing right by the job. It’s one of the reasons I got more into directing and not being a freelance artist. I can start on a project and totally submerge into it and not have to do anything else. At least that’s how I like it.

  9. Lisandro Gutierrez

    Tom what was your reaction when you found out that Eddie Murphy was going to play one of your characters? Thanks!

    1. Tom Bancroft

      Tom here: It’s funny, Lisandro, but I don’t really remember. I do remember the whole staff being surprised and confused why they would cast a non-Chinese sounding voice (VERY, in this case) as one of the characters in the film. Early on, the cast was almost completely Chinese actors, but of course Mushu made some sense not being a Chinese actor since he was a fantasy creature. I was just more revealed that they steered away from the other two contenders for Mushu: Richard Dreyfus and Joe Pesci. That would have been a very different character. I actually did an animation test using some Joe Pesci voiced lines (from one of his other films), but it never saw the light of day because HE turned down the roll before it really went anywhere. Whew, bullet dodged!

      1. Lisandro Gutierrez

        Hahah Joe Pesci??? Was there a different design of Mushu for Joe? That would have been a whole different Mulan.

  10. Heather Worley

    First of all, Willie Downs you have been doing incredible work with the Animation Letters Project. It’s great to see encouraging/motivational letters from the greats in the industry. I’m a huge fan of the Bancroft Brothers and my heart soars for Animation to the highest heights. I think one of the biggest things I feel i’ve learned from The Bancroft Brothers, Aaron Blaise, Brad Bird and many others in the industry today is to put more “YOU” into whatever you are doing and tell great stories. I feel it allows you to show more vulnerability through your work. What characters/movies did you work on that you felt you’ve pulled your whole heart and soul into the most? Why? Any AHA moments in Animation where you felt this is what I’m meant to be doing?

    1. Willie Downs

      Thank you Heather, I am always so happy to hear people say they have been encouraged by the letters that make up The Animator Letters Project. So much wisdom in each and every one of them. Thanks for stopping by to leave a question for Tom and Tony!

    2. Tom Bancroft

      Tom here: Thanks for the kind words Heather, as always, you are the queen of positivity and warm wishes! I think I have many MINI “Aha” moments through my Disney career. The first ones started during Lion King. Animating Simba was the beginning of me feeling more confident in my animation, but also, finding my place as an actor with a pencil. There are a few scenes that I did that could have been more subtle (looking back) but over all, I was starting to understand how much to give (emotionally/acting) for each scene. Sometimes that’s one of the hardest parts of animating- what level of emotion/expression to hit for your character for that particular scene. That was an eye opener. Then, after having some more years under my belt animating, I got the chance to really get to know a character start to finish: Mushu. There’s nothing like shaping a character’s design and personality simultaneously throughout a production. At first I was very much trying to channel Eddie Murphy, but my “Aha” moments really came when I started putting me into his acting and movements and just relaxed to say, “How would I do this/say this?” That changed everything.

      1. Heather Worley

        Tom,Tony, and Willie, Thank you so much for your great answers on not just my post but all of our posts too. I truly mean all the kind words and warm wishes i send out to y’all. I really learned a lot from this question and answer session to better understand what to put into my own characters and creations.

  11. Tyler rich

    Hi guys! Big fan of all of your works. My question is; during the scene in mulan when mushu is feeding mulan in her tent. And mulans face is stuffed. Was that a nod to Mowgli’s face being stuffed from jungle book when king louie gives him 2 bananas? Every time I see that scene I always have Mowgli’s face pop into my head. Tom can you shed any light on this?

  12. Erica Bey

    Hi Tom and Tony Bancroft,

    Besides doing my own art I have recently started to dive into tutorials on different subjects to try improve my work and skill set. Would you say this is a good course of action to build upon skill sets so ultimately I can improve my portfolio before trying to apply for jobs in the field. Also do you guys plan on having another pro weekend?

    1. Tom Bancroft

      Tom here; Hey Erica. Yes, tutorials are a great way to learn new concepts and techniques. BUT- just like reading a great art book and learning what you can from it, the REAL learning comes from when you take those new concepts and try them yourself- pencil to paper! That’s why, at my online art instruction site, every single video based lesson starts with a pro lecturing on a given subject, doing demos on that subject, but ends with an assignment for you to take on those challenges yourself. For your second part of the question about “Proweekend”, its a good question. We were seriously worn out after the last Nashville Proweekend and are taking a break from those weekend live events for now. My partner were also feeling like we weren’t putting enough into the TBAPro site and creating the new lesson content there, so that’s where we are focusing right now. Some really exciting developments are coming soon at TBAPro!

  13. Tyler rich

    Hi guys, can you please tell me how you go about figuring out the timing in your animations. I’M finding it very hard to improve my sense of timing for my characters.

    1. Tom Bancroft

      Tom here; Timing is very tricky and ALMOST unteachable. I say that because its a bit of a “feeling” and a bit of a “in the eye of the beholder” kind of thing. Its practice and trying things that makes you gain that eye for it. And it is an EYE kind of thing. Because of Mushu’s quick actions and slower movements in a pose, I really got an eye for timing. Most of that just came from retiming actions over and over and in different ways. Mine and those of my other Mushu animators that I was supervising. You really need a good animation program (like DigiCel or TVPaint) where you can change the timing easily. It will make you try things on the cuff and often times, just changing a couple drawings to 1s instead of 2s gives an action that zip. I strongly believe in the power of 1 frame!

  14. abkaniki

    First I would like to say you guys are an inspiration.
    My question is just to find out how easy or difficult its been to adapting to new technology in your line of work. This is considering animation has evolved tremendously I’d say even more than feature films.

    1. Tom Bancroft

      Tom here: Thanks for that abkaniki and for a good question. I’d say that Tony and I have simultaneously adapted and not adapted to technology as times have changed. I say that because when the big change from most animated films being traditionally animated (about 10 or so years back) to most being CG animated, many of us artists needed to make a choice on where we wanted to focus or “reinvent” ourselves. For me, and Tony to a lesser degree, that meant staying with what we loved: Drawing. So, we are both fairly abreast of the software and equipment that goes along with drawing as part of the animation process. Photoshop, scanners, Cintiq’s, even social networking are extremely useful for a person that draws character designs, 2D animation occasionally, storyboarding, etc. We did NOT make the move (except to dip my toes into it on a short CG production at Veggietales) into the CG world where the TECH involved and the learning curve is massive. We have been careful to make sure that our careers have revolved around using our strong suits (primarily drawing or directing animation) rather than moving just with technology because that’s what people talk about. Its still all about the skillz.

  15. Tyler rich

    Hi again guys, my new question is probably one a lot of young artists like myself are stressing about. And it’s that leap of faith. Whether it be moving to a studio area or accepting/applying to school. Or even taking a break from your job to chase after your dream. Do you guys have any advice? Did you have these moments?

    1. Tom Bancroft

      Tom here: Good question Tyler. Unfortunelty, I can give you some “words of wisdom” on this subject but it means nothing because I don’t know your situation (or anyone else reading this). This is a HUGE question and one that only you can answer. Its based LARGELY on there things: 1) your financial situation (do you have a family, a mortgage, lots of debt, a car loan, a house/apartment, etc.) 2) you ABILITY (this is probably number one), and 3) your level of love for Change and Risk. Tony and I have always been risk takers to some degree. If someone said, here’s a job you’ve never done, but its what you WANT to do, come and move across the globe and do it- we often did. There are all of the above that have to align with that, but we always had a strong belief in ourselves and a faith in God that has lead us. Not everyone has that, much less the three things above. I’m LESS of a risk-taker now because of my challenges with #1 (family responsibilities/mortgage/etc.) and that’s natural. All that said, I do suggest taking risks while you are young and you CAN. Later on, some of those doors close and they are very hard to open again.

  16. igafoteo

    If you could make a new animated film and the options were wide open and funding was unlimited, what methods would you use and which story would you choose?

    1. Tom Bancroft

      Tom here: This is a fun one igafoteo, thank you. Both Tony and I each have a feature film we want to make. We haven’t spoken about them publicly for obvious reasons but each is near and dear to our hearts. After that, there are probably two or three more- each- we’d like to make. My first feature is currently a live action/ traditional animation film, believe it or not. The next one I am developing is a live action film. Tony’s film is a CG feature film. We are all over the board because we just love films and try and find the best format for them. All that said, I’d love to do a fully traditionally animated feature film. The sensible side of me just knows getting funding for that is near- impossible these days.

  17. Tyler rich

    If you guys only had one animated film that you could show to someone that would perfectly sum up everything that animation is and can be. What would that movie be?

    1. Tony Bancroft (@pumbaaguy1)

      Tony here: Wow, that’s a toughie! I would have to say The Lion King. I know I’m prejudice having worked on it, but I think that film works as great story telling, great art and wonderful entertainment. Plus the added bonus that animation does so well, it touches you forever.

  18. Tyler rich

    Hello once again guys. My new question is when you guys were at Disney did people comment about the two of you being the next Frank and Ollie? Because of how close they worked together and in their personal lives as well. Since you guys are twins did people think you two would be able to work off each other like Frank and Ollie?

  19. Tyler rich

    As an artist trying to get better at draftsmanship. Would you guys focus on a certain feature of the body/ drawing to improve on for a while. Or is it better to say every day you focus on a new part and than keep that cycle going so you can slowly build up your skills in all the areas? Or lets say focus on eyes and once you’re comfortable with that you move on to try and better another part.

  20. Willie Downs

    This concludes the Bancroft brother Q&A. I want to thank Tom and Tony Bancroft for taking the time to answer questions for all of us here on The Animator Letters Project website. It was an honor to learn from your experiences in the animation industry.

    The winner of Tony’s Pumbaa drawing is Kellie Robinson! Congratulations Kelli!!

    The winner of Tom’s drawing is Tyler Rich! Congratulations Tyler!!

    To stay up to date with what projects the Bancroft brothers are working on, “like” their Facebook page, “The Bancroft Brothers”.

    1. Tom Bancroft

      Tom here: Thank you Willie, for inviting us to talk with all these fine animation artists/lovers. And for all you do also, to promote the love of animation! This was fun and I’m sorry we couldn’t completely hit all of them, but we did most of them. For “my” artwork winner, Tyler Rich, please send me a message via the Bancroft Brothers Facebook page of which character you’d like me to draw for you (it can me animation, comics, but I’d prefer not an original character of your own) and give me you address to send it to. Thank you all for participating! – Tom B.

  21. Tony Bancroft (@pumbaaguy1)

    Tony here: Thank you, Willie, for having us her today to answer these great questions. And thank you to all of you fans and folks that asked the questions. If you are an artist, keep on working at it! If you are a fan, then keep on watching our movies!! Thanks!

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