<P> The former trend in Disney 's hand - drawn features where the characters and cinematography were influenced by a CGI - look has been abandoned . Andreas Deja , a veteran Disney animator who supervised the character of Mama Odie , says `` I always thought that maybe we should distinguish ourselves to go back to what 2D is good at , which is focusing on what the line can do rather than volume , which is a CG kind of thing . So we are doing less extravagant Treasure Planet kind of treatments . You have to create a world but ( we 're doing it more simply ) . What we 're trying to do with Princess and the Frog is hook up with things that the old guys did earlier . It 's not going to be graphic ... '' . Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s : `` All those things that were non-graphic , which means go easy on the straight lines and have one volume flow into the other -- an organic feel to the drawing . '' Lasseter also felt that traditional animation created more character believability . For example , with Louis the alligator , created by Eric Goldberg , Lasseter said : `` It 's the believability of this large character being able to move around quite like that . '' Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement . The character design tried to create beautiful drawings through subtle shapes , particularly for most characters being human . For the frog versions of Tiana and Naveen , while the animators started with realistic designs , they eventually went for cutesy characters `` removing all that is unappealing in frogs '' , similar to Pinocchio 's Jiminy Cricket . </P>
<P> The former trend in Disney 's hand - drawn features where the characters and cinematography were influenced by a CGI - look has been abandoned . Andreas Deja , a veteran Disney animator who supervised the character of Mama Odie , says `` I always thought that maybe we should distinguish ourselves to go back to what 2D is good at , which is focusing on what the line can do rather than volume , which is a CG kind of thing . So we are doing less extravagant Treasure Planet kind of treatments . You have to create a world but ( we 're doing it more simply ) . What we 're trying to do with Princess and the Frog is hook up with things that the old guys did earlier . It 's not going to be graphic ... '' . Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s : `` All those things that were non-graphic , which means go easy on the straight lines and have one volume flow into the other -- an organic feel to the drawing . '' Lasseter also felt that traditional animation created more character believability . For example , with Louis the alligator , created by Eric Goldberg , Lasseter said : `` It 's the believability of this large character being able to move around quite like that . '' Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement . The character design tried to create beautiful drawings through subtle shapes , particularly for most characters being human . For the frog versions of Tiana and Naveen , while the animators started with realistic designs , they eventually went for cutesy characters `` removing all that is unappealing in frogs '' , similar to Pinocchio 's Jiminy Cricket . </P>
what is the name of the alligator in princess and the frog
what is the name of the alligator in princess and the frog
Louis
Louis