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The Thief and the Cobbler: Recobbled Director's Cut (Released) — Page 8
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The one piece of info I'm missing is the voice of the old woman. Any idea who voiced her?
"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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"We went to see the trailer as a crew when it was shown with Highlander 2. We all left after the trailer as H2 was awful."
"[The Mullah Nasrudin] book was always in the studio."
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It contains the Recobbled trailer (anamorphic) and the Arabian Knight trailer (4x3 nonanamorphic 16X9 widescreen, as it is on the Japanese DVD - I'll do an anamorphic one for the final).
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"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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I only included two Dorsey lines in my edit (one entire scene).
You shouldn't have closed the thread at SA. I am comfortable talking about this edit and all my edits, and I do not fear litigation.
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"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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Were you going to record the lines yourself? Heh, interesting. I'm a voice actor myself. I could probably do a passable One Eye if I was forced at gunpoint. Zigzag is more up my alley, but I could never do an exact Vincent Price.
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Originally posted by: ocpmovie
I actually have the original version of one of these lines, and CHOSE to use the Dorsey rendition. I wanted to use the Calvert sound mix for the entire scene.
Were you going to record the lines yourself? Heh, interesting. I'm a voice actor myself. I could probably do a passable One Eye if I was forced at gunpoint. Zigzag is more up my alley, but I could never do an exact Vincent Price.
I actually have the original version of one of these lines, and CHOSE to use the Dorsey rendition. I wanted to use the Calvert sound mix for the entire scene.
Were you going to record the lines yourself? Heh, interesting. I'm a voice actor myself. I could probably do a passable One Eye if I was forced at gunpoint. Zigzag is more up my alley, but I could never do an exact Vincent Price.
Oh, I was mainly looking to see if I could digitally "enhance" the workprint track. Come to think of it, it doesn't seem like there would be much to work from anyways. Although, you could probably get the Dorsey voice to work better if you lowered the pitch considerably.
"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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Personally, if they put out a restoration in the next few years, I wouldn't put any money on the PDI-Dreamworks film competing to win.
"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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"I was just listening to the commentary for the last episode on disc 1 of the Samurai Jack first season DVD, and Genndy Tartakovsky referenced the workprint version of TTatC. I was so surprised that I had to pause it and post it here ..."
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Items from this film seem to show up on ebay for cheap.
I have the soundtrack, bought it something like 7 years ago, it turns up in the Wherehouse a lot and was invaluable while putting together this edit, since I used Robert Folk's score in many places (often to remove voice work from the Princess and the Cobbler edit).
I think I'll buy that shirt and button. =)
Best letter of the week:
"I can't even explain how I feel about this. This is the most amazing thing I've ever seen, and I never thought it would ever happen. Thank you..."
=D
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A certain forum member here is also sending me some rare pencil test footage from the film - I don't know what it is, and I'm excited to see it.
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Japanese DVD art.
Animation drawings, probably by Ken Harris.
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Eric Goldberg: Gosh, where do I start? Where do I stop? Richard Williams was really my mentor, you know, in my formative years.
SC: And everyone’s because he wrote that wonderful book, THE ANIMATOR’S SURVIVAL KIT.
EG: Yeah, but this is way before. I first hooked up with him on Raggedy Ann and Andy in 1975. And I was an assistant animator on that film and started to learn some things. I’d always admired his movie title work and some of his short films like Love Me, Love Me, Love Me and it was clear that this was a guy who liked going back to the past in order to recapture a lot of the qualities of the classic animation. And to that end he would employ classic animators to work on Cobbler and the Thief amongst other projects so I got to work with Art Babbitt. I got to work with Ken Harris. I got to work with Emery Hawkins. And that was great. And of course Dick was terrific at articulating work. You know, he'd be able to break a wrist ninety-eight ways before it finally resolved into this pose! And so his work always looked tremendously fluid and he was always encouraging of people who were trying to achieve that look and feel of the classic stuff.
Ken Harris... I kind of learned, second generation, how to animate from Ken Harris because he was at Richard William's studio at the same time I was. Used to take him to lunch every Tuesday and he used to go, "Oh, I can't draw! I don't know what I'm doing! Dick does it all for me!" And he could turn out thirty feet a week when he was eighty! And it was all good! [laughing] So I would ask him, and he would give me that answer, so I went and asked Dick, "How does he do it?" And Dick could analyze it for me. Dick told me about how he uses the two poses and a skew break down drawing to give him automatic overlap so when you put in the in-betweens you get overlaps “for free.” So it's a masterly use of in-between charts with as little drawing as possible. Sure he'd go back and add bells and whistles where necessary but for the most part that's how he did it. You know, and he did it his whole life!
Tony White:
Dick Williams was the Canadian 'genius' who was solely responsible for the total transformation of British animation that has taken place since the early 70's. The Richard Williams' studio in Soho Square, London was 'the' premier studio in the world at the time and won more awards and accolades than all it's contemporary rivals put together. Although the studio never produced feature films during it's existence, there was no creative centre on earth to touch it for innovative work. (All inspired by the supreme skill of the animator who gave the studio it's name.) Richard Williams was not an easy man to work with but he was undoubtedly a genius. I studied under him for two years as an assistant and then for five years after that as a director/animator in my own right at the studio. Dick was obsessed with producing 'the feature film to outshine all feature films' (to 'out-Disney Disney!).....although circumstances and fate decreed that this was never to be with his own pet project, 'The Cobbler and the Thief' that he spend 26 years working on!. Nevertheless, awards and accolades abounded. He directed the Academy Award-winning TV Special 'A Christmas Carol' and also received an Academy Award for his direction of the animation in 'Who Framed Roger Rabbit'. I personally learnt more from Dick than any other animator alive and know of no-one who can match him for artist skill or creative fire. The Richard Williams studio of the 70's and 80's (known to some as 'The Monastery' as a result of it's single-minded commitment to artistic excellence) was the only place where the true potential and artistry of innovative, drawn animation was attempted. Disney was in severe decline at that time. (Well, until 'Toy Story' that is....thanks to Pixar!)
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Like, how much Williams finished from the 16x9 R3 Arabian Knight DVD, Calvert footage from the 16x9 DVD, the P&S "Princess", the workprint bootleg tape, etc?
I'd imagine you'd be able to get at least half of the film in high-quality DVD form. Although, since the Miramax version pretty much cut out the entire War Machine segment, you'd have to go with the P&S Princess tape and the workprint.
"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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You can see for yourself if you like - I can send you the rough version. Email me. Tygerbug at yahoo.com.
I had the pleasure of emailing today with Mr. Tony White, a master animator who wrote The Animator's Workbook. My parents gave me this book at a very young age - it may have been the first book on animation I ever had, even before I had the Preston Blair books (later combined into one book). The book is filled with beautiful illustrations, many of them from gobstoppingly gorgeous commercials White worked on at Richard Williams studio. White, of course, worked on The Thief and the Cobbler briefly, and trained with Art Babbit and Ken Harris, animating projects like the titles to The Pink Panther Strikes Back before starting his own studio. I recommend his book - interestingly it makes a very good companion to Richard Williams' own later masterpiece of a book, The Animator's Survival Kit. There are many similarities between the two.
Anyway, I took a chance and emailed him - I geeked out completely because of growing up on his book - and he was very nice - he now teaches animation up in Washington and tries to teach his studios about the "golden age" of experimental, realistic, beautiful animation that was going on in London back in the 70s and 80s, as a result of the Williams studio, and studios including White's own. He definitely wanted copies of anything I've been able to dig up on video.
I've sent him a copy of my rough cut of the film, and other things. It's an honor.
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By the way, does the Princess version keep any of the sound from the Williams version or is it identical to Miramax's soundtrack?
By the way, it looks like the IMDB is starting to correct their listing for the film! So far, they've added the workprint runtime (91 minutes), the CinemaScope process, and added "Richard Williams Productions" to the production company list. No restructure of the cast list, title, etc. yet. I added all the animators you listed. I'm crossing my fingers that they'll change the title! It looks like I might be wrong on CinemaScope, though... while the film clearly has a wide-angle distortion, Williams shot Raggedy Ann & Andy in Panavision. Perhaps it was just another unique thing he did with "Thief" by using a wide angle lens instead of a normal one?
I did add into the trivia that Zig-Zag has 6 fingers and how that was a subtle reference to him being a sorceror.
Also, I'm suspecting that some music may have been composed by Ralph Vaughan Williams. His Symphony No. 7 sounds a LOT like some of the workprint music, but I haven't found anything identical yet.
"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick
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It's similar to the Miramax version, because the Miramax version was made from it, but the Thief and Phido don't talk and the witch and war machine scenes are included, so you will hear more of the original sound I suppose. Donald Pleasance's voice as Phido and Joan Sims as the witch for example, and a lot of sound effects. I went to the "Princess" soundtrack fairly often in my edit. In all versions Tony Quayle can be heard as King Nod makes his speech to the peasants. And I think, although it's highly unlikely, that Hilary Pritchard can be heard as Yumyum screams "Tack" - I am almost certainly wrong on this but I like to believe it anyway.
Checking the IMDB page - lol, every time I load this page I see my own review of the film from years ago. "Tygerbug," from Monroe CT.
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Originally posted by: ocpmovie
Anyway, I took a chance and emailed him - I geeked out completely because of growing up on his book - and he was very nice - he now teaches animation up in Washington and tries to teach his studios about the "golden age" of experimental, realistic, beautiful animation that was going on in London back in the 70s and 80s, as a result of the Williams studio, and studios including White's own. He definitely wanted copies of anything I've been able to dig up on video.
I've sent him a copy of my rough cut of the film, and other things. It's an honor.
Anyway, I took a chance and emailed him - I geeked out completely because of growing up on his book - and he was very nice - he now teaches animation up in Washington and tries to teach his studios about the "golden age" of experimental, realistic, beautiful animation that was going on in London back in the 70s and 80s, as a result of the Williams studio, and studios including White's own. He definitely wanted copies of anything I've been able to dig up on video.
I've sent him a copy of my rough cut of the film, and other things. It's an honor.
Keep taking chances and e-mailing these various animators, especially the ones that go way back. Let them know what you're up to with William's flick. If you find addresses, send them copies of your finished edit. If they've been the in the business for a while, they'll quickly realize that you've found materials that are not available in the mainstream (i.e. the extra stuff of Calvert's that the one guy is sending you). Who knows what sort of opportunity might present itself to you if they're impressed by what you're doing, and your passion for it.
Plus it might make people realize that resurrecting this film is realistic.
BTW, are the Calvert rough cuts in the mail and on their way to you?
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I don't know many animators connected to the film - I've emailed the very few I've found ....
Some German guy expressed interest, said he had contact with Williams, and then yelled at me for infringing copyright.
Heh. It's been that kind of day.
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Seriously, if you're able to do this much without access to a single frame of film or a real budget, imagine what Disney could do.
"Listen here, there ain't nothing in this world that's perfect!"
- from The Bank Dick