Note 21: See Lars Jakobsen, cited work, pp. 117-120, 118, 119, 120.
Anker Roepstorff had probably got the idea for "Ferd'nand on a fishing
trip" by watching the Disney cartoon Goofy and Wilbur (1939; "Goofy"
on a fishing trip ”). It is not clear who wrote the screenplay for
"Ferd'nand on bear hunting". - Under the heading "4500 Drawings
in Two Months," B.T. wrote in October 1944: "The first Danish cartoon
film is soon finished, and it plays for five minutes.". In addition, Mik is
interviewed in the article, which is illustrated with a portrait of Mik and of
a scene from "Ferd'nand" on a fishing trip". Nov. 11, 1944 the
film is mentioned and Mik interviewed about it in Berlingske Aftenavis. The
article is illustrated with a photo of Mik sitting at the light desk. (See
photo above).
Speaking of the production of "Ferd’nand on a fishing trip", I
remember that Helge Hau at the time lived in a studio apartment on Halls Allé
in Frederiksberg. Like myself, he also worked on the feature film
"Fyrtøjet", me as a permanent employee and Hau as a freelancer.
Therefore, he also occasionally worked for Mik, and in this case he made clean
and intermediate drawings on "Ferd'nand on a fishing trip", just as
he made his large studio available for the drawing and painting work that Mona
Irlind and Karen Bech did in Their spare time. Both young ladies were daily
employees at "Fyrtøjet". One morning in the autumn of 1944, when I
was visiting Hau's studio, he and the ladies mentioned had been working late
into the night because it was urgent to finish the Ferd’nand film. It was a
somewhat clumsy Hau who received me kindly, but who understandably did not
particularly want to talk. Walking towards a bed in the background, he
apologized, saying, "I'm sorry I have to go to bed! But look around.
That's probably something that might interest you! ” And I wonder if it was!
Everywhere in the studio, where there were drawing tables, shelves and vacant
surfaces, freshly painted cells lay to dry. Curious as I was and am, I
especially set out to study Mik’s key drawings, and to my surprise I noticed
that these were drawn with rather powerful lines printed on in the arches. But
it particularly struck me that Mik had not bothered to 'close' the lines, as we
usually did in the key drawings for "Fyrtøjet". The latter was done
for the sake of drawing and especially the coloring. At the time, I could not
really fathom that one can of course just as well 'close' the lines with the
help of coloring.