It is from the moment in the film when John thinks he's won, but hasn't, and Polly inspires him to keep on going. I was searching for a visual way to get that idea across, and this idea of passion popped into my head and I scrawled it down on paper. And as much as I liked the drawing , it didn't fit in the rhythm of the story. In the end, it worked better for her to pick up his hammer and start the song reprise.
There is a lot wrong with the drawing:
• Polly is too large (even though he's on his knees, her head is huge!)
• The Hammer handle is bent (oops)
• John's left shoulder looks dislocated (I was attempting foreshortening)
• What's going on with the fold in her kerchief?
However, I like the drawing. It's one of the rare ones where I felt I captured the energy I was going for. I like the angle of their bodies, creating a visual tension. I like the tilt of Polly's head and the slight rise of her right shoulder as she pulls John's face closer. I even like the way I attempted to make John's shoulders relax and fall back.
But what I like most of all is what it teaches me about drawing. Sometimes the energy and dynamic of a composition can override the technical perfection of the drawing. The emotion exhibited here overshadowed my shortcomings.
Of course, it would've been better to have both, but given the choice, I would rather create an emotionally powerful piece than a technically perfect one.
Of course in the world of an animated film production, a story drawing can be left like this. The visual perfection will be added later in layout & animation. The hope is that the artists who follow up with your scenes will keep (and hopefully enhance) the emotion that created the moment.