Milt thoughts

Listening to James Baxter on the animation podcast. Him and Clay were talking about key poses, and Milt Kahl. The discussion was about how when he was earlier to the game James would have charts timing all the different body parts at with their own unique timing, which was a nightmare for his cleanup crew. They talked about how they now dislike how it doesn't feel 'grounded' and it feels disjointed and not connected when they work like that. Then they talk about Milt Kahl's animations, and that he never had more than 2 charts going at a time (I think, I don't want to go and listen to it again right now), and he worked really solidly with Key Poses. If there was something fancy Milt wanted on a unique body part he would throw that in as a partial drawing. Then they said that Milt thought like a stopmo animator, he was always thinking about where things come from and where they're going. They mention how CG animator's try and hide the poses, so it doesn't feel mechanical (I think they're afraid of the piece looking like someone doing the robot, zzt..pose..zzzt...pose) , but they say you need the poses, that's what tells the story. So Milt style, knowing where things are coming and where they're going, you get both, you get solid poses that tell the story, and you get an organic flowing feeling between them so it doesn't feel like pose pause pose pause. Think you must need to put in overlaps and settles, don't just hit the golden but overshoot (different amounts with different body parts but not making the clean up crazy) and settle back in, working the pose.
Which all comes down to me needing to get it together and mess around with stopmo until I internalize the thinking. Reminds me of how a guitar player can add something to their playing if they think like a wind instrument, think in phrases with pauses to take a new breath to blow with again. Think simple and clear, you do the work, so the clean up artist has a straight forwards job