Home Again Home Again Jiggity Jig Gif Thief and the Cobbler

"Arabian Knight" redirects here. For the comic book graphic symbol named "Arabian Knight", see Arabian Knight (Marvel Comics).

Unfinished flick by Richard Williams

The Thief and the Cobbler
An unreleased poster fabricated almost the end of the film's production, earlier information technology was taken from Williams
Directed by	Richard Williams
Written past	Richard Williams Margaret French
Produced past	Richard Williams Imogen Sutton Fred Calvert
Starring	Vincent Toll Steve Lively (Calvert)/Matthew Broderick (Miramax) Sara Crowe (Workprint)/Bobbi Folio (Calvert)/Jennifer Beals (Miramax) Ed E. Carroll (Calvert)/Jonathan Winters (Miramax) Anthony Quayle (Workprint)/Clive Revill (Calvert and Miramax)
Cinematography	John Leatherbarrow
Edited by	Peter Bond
Music by	David Burman Peter Shade David Cullen Robert Folk
Production companies	Richard Williams Productions Centrolineal Filmmakers The Completion Bond Company
Distributed past	Miramax Films (Arabian Knight) Majestic Films (The Princess and the Cobbler)
Release dates	thirteen May 1992 (1992-05-13) (workprint) 23 September 1993 (1993-09-23) (The Princess and the Cobbler) 25 August 1995 (1995-08-25) (Arabian Knight)
Running fourth dimension	91 minutes (workprint) 80 minutes (The Princess and the Cobbler) 72 minutes (Arabian Knight) 92 minutes (A Moment in Time)[1]
Countries	United Kingdom United States Canada
Linguistic communication	English
Upkeep	$28 meg[2]
Box office	$669,276[3]

The Thief and the Cobbler is an unfinished blithe fantasy pic directed by Richard Williams.^[4] Originally conceived in the 1960s, the moving-picture show was in and out of production for nearly three decades due to contained funding and ambitiously complex animation. It was finally placed into full production in 1989, when Warner Bros. agreed to finance and distribute the flick.^[5] When production went over budget and barbarous backside schedule, it was heavily cutting and hastily re-edited by producer Fred Calvert without Williams' interest; it was somewhen released by Allied Filmmakers in 1993 under the title The Princess and the Cobbler . Two years later, Disney's Miramax Films released some other re-edit titled Arabian Knight .^[6] Both versions of the film performed poorly at the box office and received mixed reviews.

Over the years, various people and companies, including Roy E. Disney, take discussed restoring the motion-picture show to its original version. In 2013, the Academy of Movement Motion picture Arts and Sciences archived Williams' own 35 mm workprint; Williams himself best-selling the film'southward rehabilitated reputation, thanks to projects similar The Recobbled Cut , a pop fan edit by Garrett Gilchrist, and Persistence of Vision, a 2012 documentary past Kevin Schreck detailing the film's product.

With The Thief and the Cobbler existence in and out of production from 1964 until 1993, a total of 29 years, it surpasses the 20-year Guinness record^[7] previously held by Tiefland (1954), although films exist with productions longer nonetheless, such every bit The Other Side of the Wind (2018) at 48 years. It was as well the concluding film for several actors and artists, including animators Ken Harris (died 1982), Errol Le Cain (died Jan of 1989), Emery Hawkins (died June of 1989), Grim Natwick (died 1990), and Art Babbitt (died 1992), also every bit actors Felix Aylmer (died 1979), Eddie Byrne (died 1981), Clinton Sundberg (died 1987), Kenneth Williams (died 1988), Sir Anthony Quayle (died 1989), and Vincent Price (died 1993, a month after the film's initial release).

Plot [edit]

1992 workprint (unfinished) [edit]

The prosperous Golden City is ruled by the narcoleptic King Nod and protected by three Gilded Balls atop its tallest minaret. According to a prophecy, the city would fall to "devastation and decease" if the Balls are removed, and could only be saved by "the simplest soul with the smallest and simplest of things". Living in the urban center is a cobbler, Tack, and a nameless, unsuccessful yet persistent Thief, both mute.

When the Thief sneaks into Tack's firm, the two get stitched together and stumble outside, causing Tack's tacks to fall onto the street. Zigzag, King Nod'due south Thousand Vizier, who speaks in rhyme, steps on one of the tacks and orders Tack to be arrested while the Thief escapes. Tack is brought before Male monarch Nod and his daughter, Princess Yum-Yum. Earlier Zigzag can convince King Nod to accept Tack beheaded, Yum-Yum saves Tack by ordering him to set up a shoe she intentionally breaks. During repairs, Tack and Yum-Yum become increasingly attracted to each other, much to the jealousy of Zigzag, who plots to take over the kingdom by marrying the princess.

Meanwhile, the Thief, having noticed the Gilt Balls atop the minaret on the courtyard, breaks into the palace through a gutter. He steals the repaired shoe from Tack, prompting the cobbler to chase him through the palace. Upon retrieving the shoe, Tack bumps into Zigzag, who notices the shoe is fixed and imprisons Tack in a prison cell.

One-Eyes, a race of warlike, cycloptic monsters, programme to destroy the city, and take already slaughtered much of its frontier guard, all except for one mortally wounded soldier who escapes to warn the city; the adjacent morning, King Nod has a vision of them. While Zigzag tries to convince Nod of the kingdom's security, the Thief steals the Balls after several attempts, only to lose them to Zigzag'southward minions. Tack escapes from his cell using his cobbling tools during the ensuing panic. King Nod notices the Balls' disappearance when the soldier warns them of the invading I-Eyes. Zigzag attempts to utilize the stolen Balls to negotiate Yum-Yum'southward manus in union in exchange for returning the Balls, but when King Nod dismisses him, Zigzag defects to the One-Eyes and gives them the Balls instead.

Male monarch Nod sends Yum-Yum, her nurse, and Tack to ask help from a "mad and holy old Witch" in the desert. They are secretly followed by the Thief, who hears of a golden idol on the journey only fails in stealing information technology. In the desert, they observe a band of dimwitted brigands, led past Chief Roofless, whom Yum-Yum recruits as her bodyguards. They reach the hand-shaped tower where the witch lives, and acquire that Tack is prophesied to save the Gold City. The Witch also presents a riddle—"Attack, set on, Tack! A tack, encounter? But it's what you do with what you've got!"—before destroying the entire tower with a storm cloud.

Tack and the others return to the Gilt Urban center to notice the One-Eyes' massive military approaching. Tack shoots a single tack into the enemy's midst, sparking a Goldberg-esque concatenation reaction that destroys the entire One-Eye army. Zigzag tries to escape, but falls into a pit where he is eaten alive by alligators and his vulture, Phido. The Thief, avoiding death with almost every step, steals the Golden Assurance from the collapsing motorcar, only to come across Tack whilst escaping, and after a brief scuffle, he reluctantly gives up and leaves Tack with the Balls. With peace restored and the prophecy fulfilled, the city celebrates as Tack and Yum-Yum ally; Tack finally says "I love yous" in a very deep voice. The film ends with the Thief stealing the reel of motion picture and running abroad.

Changes fabricated in subsequent versions [edit]

The Princess and the Cobbler (1993, Centrolineal Filmmakers) [edit]

The Allied Filmmakers cut is drastically different from the unfinished workprint. These changes include:

• 4 musical numbers have been added ("She Is More", "Am I Feeling Love?", "Bom Bom Bom Beem Bom", and "It'southward And then Amazing"); the flick originally had none.
• An entirely new score composed past Robert Folk replaces the i utilized in the workprint, with the exception of the Night on Bald Mount music when the Thief prepares to start flying.
• Many scenes accept been cut, primarily involving the Thief, most notably his attempted theft of an emerald and his subsequent evasion of capital penalty for it (though many of these scenes announced in the credits), and the subplot wherein Zigzag tries to feed Tack to Phido.
• The introduction of the One-Eyes is moved to the beginning of the film, subsequently it is stated that if the Gilded Balls were removed, then the metropolis would fall to doom and destruction.
• All of the mentions to the maiden from Mombasa, whom Zigzag gives to Male monarch Nod as a "plaything" in the workprint, were removed.
• Tack, nigh mute in the workprint, speaks several times and narrates most scenes in past tense; the workprint had narration merely in the showtime by a voiceover.
• Some subplots have been added; in one, Yum-Yum is tired of living a life of "regal splendor", and wishes to prove her worth to her male parent. Another subplot sees the nurse initially disliking Tack, and scolding Yum-Yum for harboring romantic feelings for him, simply warming to him later on.
• When Zigzag tells Rex Nod he will give him the Assurance as long every bit he lets him marry Princess Yum-Yum, in the workprint King Nod angrily tells him never and orders him to leave the palace, while in the Centrolineal Filmmakers version he laughs him off and says that he'll never marry her since he's a practitioner of the blackness arts rather than someone pure of heart.
• When the Mighty One-Eye sees the destruction of the military machine, he wails in a horrified phonation, "My automobile!" every bit his slave women find him and offset chanting "Throne!" at him, before picking him upwardly and throwing him into the devastation. In the workprint, he instead goes onto all fours and they all sit down on him.
• A scene during the climax is added where Zigzag pushes Tack out of his fashion and kidnaps Yum-Yum, who then throws his horse off balance. During his fight with the wizard, Tack then stitches Zigzag up and when the tied upward Zigzag tries to escape, he steps on another tack causing him to fall into the pit with the alligators.
• When the Thief escapes the war machine, he runs into the King's guards, but King Nod believes that the Thief found the Balls, and so the Thief reluctantly gives them to Tack and is hailed equally a hero alongside him. In the workprint, he ran into Tack, and simply gave up on trying to steal the Balls before storming off back into the destruction.

Arabian Knight (1995, Miramax) [edit]

The Miramax cut includes all changes made in the Centrolineal Filmmakers cut. In add-on, several other changes that were requested by then-CEO Harvey Weinstein were added.

• Several lesser-known actors are replaced by more notable actors in this version. Matthew Broderick replaced Steve Lively as Tack, Jennifer Beals replaced Bobbi Folio as Princess Yum-Yum (though their singing voices are notwithstanding kept), and Toni Collette replaced Mona Marshall as the Nurse and the Witch.
• In addition to the recasts, many previously mute characters are given voices including Phido (at present voiced past Eric Bogosian), the alligators, and virtually notably the Thief (at present voiced by Jonathan Winters), who narrates over all of his scenes in the class of an inner monologue, with much of his lines likewise including anachronistic pop culture references.
• The Gilded City is now sometimes referred to equally Baghdad.
• Most scenes featuring the Mighty Ane-Heart's slave women in detail have been removed, because Miramax viewed them every bit sex slaves, although he can still exist seen sitting on them due to it being office of an important scene.
• The sequence featuring the Witch has been about entirely removed for drug references.
• It is stated that the Witch is the Mighty I-Eye'due south twin sis, explaining why she starts off as an eye when she is introduced.
• About of the final boxing sequence, which had already been greatly shortened in the Allied cutting, is trimmed, most likely for time.
• Due to the removal of the slave women, One-Eye's death is cutting, though he tin be heard crying, "My automobile!" equally the war machine burns, whereupon he presumably burns with it.
• The ending musical number "It's And then Amazing" is cutting and instead moved to the end credits, while the number is replaced by a scene of the Thief trying to steal the Golden Balls, only for him to fly through the tower'southward window, which was included in the credits of the Calvert version.
• Some pieces of music are replaced, moved to dissimilar areas, or new pieces of music composed past Jack Maeby are added into some scenes.

The Recobbled Cut (2006, 2007, 2013) [edit]

Garrett Gilchrist's fan restorations mostly follow the workprint very closely, at least in their intent, using most of its original audio track and editing construction. In order to present a more complete film, Gilchrist added additional music (some from the released versions) and sound effects, and as well included finished footage that does not appear in a finished state in the workprint, whether taken from the released versions or from other rare sources. Almost of the story changes made past Fred Calvert and Miramax are not present, but it does include a few minor Calvert-only scenes or alterations, either every bit a side consequence of using Calvert's footage as replacements for unfinished scenes in the workprint or because Gilchrist felt these scenes were useful to the plot.^[eight] A pocket-size revision is in the works with further restoration and additional animation by Dennis Van Hout.^[9]

Cast [edit]

Character	Original version (The Thief and the Cobbler)	Fred Calvert versionf (The Princess and the Cobbler)	Miramax versionf (Arabian Knight)
Zigzag the Grand Vizier	Vincent Price
Tack the Cobbler	Unknown (Just ane line) a	Steve Lively	Matthew Broderick (Speaking) Steve Lively (Singing)
Narrator	Felix Aylmer	Unknown (Uncredited)	Matthew Broderick
Princess Yum-Yum	Sara Crowe	Bobbi Page Sara Crowe (I vocalisation) b	Jennifer Beals (Speaking) Bobbi Page (Singing)
The Thief	Unknown (Never speaks) c	Ed Eastward. Carroll	Jonathan Winters
Rex Nod	Anthony Quayle	Clive Revill Anthony Quayle (Oral communication scene, uncredited) d
Princess Yum-Yum's Nurse	Joan Sims	Mona Marshall Joan Sims (Some vocalisations, uncredited)	Toni Collette
Mad and Holy Erstwhile Witch	Joan Sims	Mona Marshall Joan Sims (Some lines) due east	Toni Collette
Chief Roofless	Windsor Davies
Mighty One-Centre	Christopher Greener	Kevin Dorsey
Phido the Vulture	Donald Pleasence		Eric Bogosian
Dying Soldier	Clinton Sundberg
Goblet	Kenneth Williams
Tickle
Gofer	Stanley Baxter
Slap
Dwarf	George Melly
Hoof	Eddie Byrne
Hook	Thick Wilson
Goolie	Frederick Shaw
Maiden from Mombasa	Margaret French
Laughing Brigand	Richard Williams (Uncredited)
Other Brigands	Joss Ackland Peter Clayton Derek Hinson Declan Mulholland Mike Nash Dermot Walsh Ramsay Williams	Joss Ackland (Uncredited) Peter Clayton Geoff Golden Derek Hinson Declan Mulholland Mike Nash Tony Scannell Dermot Walsh Ramsay Williams Rik Mayall (Uncredited)
Singers for the Brigands		Randy Crenshaw Kevin Dorsey Roger Freeland Nick Jameson Bob Joyce Jon Joyce Kerry Katz Ted Rex Michael Lanning Raymond McLeod Rick Charles Nelson Scott Rummell
"Am I Feeling Love?" pop singers		Arnold McCuller Andrea Robinson
Boosted Voices			Ed E. Carroll Steve Lively Mona Marshall Bobbi Page Donald Pleasence

Notes [edit]

^a According to Richard Williams, Sean Connery was set to record Tack's one line, only never showed upwardly at the studio, and then the line was instead performed by a friend of his married woman'due south. Withal, Connery's name remains credited in the end credits of the "Recobbled Cut" version.

^b While Yum-Yum's dialogue was mostly re-voiced by Bobbi Page for the Allied Filmmakers version, ane line of Crowe's dialogue is retained when Yum-Yum throws her pear at Zigzag in cloy during the polo game.

^c In both of the 1992 workprints, the Thief is heard making brusque grunts/wheezes in a few scenes—though not as many as in the Allied Filmmakers version. It is unclear who provided these sounds, but it is known that Carroll did the additional ones for the Allied Filmmakers version.

^d Although Quayle's voice was generally re-dubbed by Revill in the re-edited versions of the film by Centrolineal Filmmakers and Miramax, Quayle's uncredited voice can nevertheless be heard for an entire scene when Rex Nod gives a spoken language to his subjects.

^due east Sims' vox for the Witch was mostly re-dubbed by Marshall, but a few lines spoken past Sims were retained when she outset fully materializes and when she receives her chest of money all the manner up to the part when she'due south in a basket lighting a friction match to the fumes.

^f Fred Calvert is credited on both of these versions.

Hilary Pritchard was initially cast as Yum-Yum and is listed in some of the original drafts of the script and a 1989 Cannes brochure. By the time of the 1992 workprints, she had been replaced by Sara Crowe.

Similarly, Miriam Margolyes was initially billed as the Maiden from Mombasa, but in the workprint, features co-writer Margaret French every bit the Maiden.

Co-ordinate to animator Michael Sporn, Paul Matthews was an African-American delivery person with a deep, night phonation whom Williams met in an elevator on the way to a rehearsal space during production on Raggedy Ann and Andy: A Musical Adventure. Matthews had not done any acting earlier, and then Williams had promptly cast him as the Mighty One-Center. Not long subsequently, notwithstanding, Williams, wanting to go in a different direction, replaced Matthews' phonation with "England's tallest human being" Christopher Greener (mistakenly credited as Christopher Greenham or Chris Greenham in several pamphlets promoting the picture) as the Mighty One-Centre.^{[fourteen] [15] [16]}

Catherine Schell and Thick Wilson (who was also the vocalism of Hook in this moving picture) were proposed as the voices Princess Mee-Mee, the sis of Princess Yum-Yum, and the enchanted ogre Prince Bubba, respectively, in an early draft of the picture show. Both characters were dropped in 1989 at the request of Warner Bros.

Many of the minor characters, such every bit Goblet, Gofer, Tickle, Slap, and the Dying Soldier all accept additional dialogue provided by currently unknown vox actors in the Miramax version.

Production history [edit]

Development and early product as Nasrudin (1964–1972) [edit]

In 1964, Richard Williams, a Canadian animator living in the United kingdom of great britain and northern ireland, was running an animation studio assigned to breathing commercials and special sequences for alive-activity films. Williams illustrated a series of books past Idries Shah,^[ten] which collected the tales of Mulla Nasruddin,^[two] a philosophical even so "wise fool" of Near Eastern sociology from the 13th century. Williams began development work on a flick based on the stories, with Shah and his family championing production.^{[two] [17]} Shah asked for 50% of the profits from the flick, and his sister, writer and folklorist Amina Shah, who had done some of the translations for the Nasrudin books, stated buying of the stories.^{[10] [18]} Production took identify at Richard Williams Productions in Soho Foursquare, London. An early reference to the project came in the 1968 International Film Guide, which noted that Williams was about to begin work on "the first of several films based on the stories featuring Mulla Nasruddin".^[2]

Williams took on tv and feature flick projects in gild to fund his project, and piece of work on his flick progressed slowly. Williams hired veteran Warner Bros. animator Ken Harris as a chief animator on the projection,^[17] which was then titled The Amazing Nasrudin. Roy Naisbitt was hired to pattern backgrounds for the motion picture,^[17] and promotional art showed intricate Indian and Persian designs.^{[2] [12]} In 1970, the project was re-titled The Majestic Fool. For the showtime time, a potential distributor for the independent film was mentioned–in this instance, British Lion Film Corporation. The International Film Guide noted that the Williams Studio'south staff had increased to forty people for production of the feature.^[two] Williams gained further attending when he and the studio produced a TV adaptation of A Christmas Carol for Chuck Jones, which won the studio an University Award for Best Animated Short Film.

Dialogue tracks for the film, now being referred to as just Nasrudin, were recorded at this time. Actor Vincent Toll was hired to perform the voice of the villain Anwar, later renamed "ZigZag",^[two] originally assigned to Kenneth Williams. Sir Anthony Quayle was cast every bit Male monarch Nod. Cost was hired to make the villain more enjoyable for Williams, as he was a smashing fan of Price'due south work and ZigZag was based on two people that Williams hated.^[19]

According to composer Howard Blake, Williams and the studio had animated around three hours of footage for Nasrudin by 1972. Blake insisted to Williams that while he thought the footage was excellent, he needed to structure the picture show and his footage into a three-act plot.^[17] The Shah family had a bookkeeper who was non keeping runway of the studio's bookkeeping, then Williams felt that producer Omar Shah had been embezzling financing from the studio for his own purposes.^[17] As a outcome, Williams was forced to abandon Nasrudin, every bit the Shah family took the rights of his illustrations, and Paramount Pictures withdrew a deal they had been negotiating.^[18] However, the Shah family immune Williams to keep characters he designed for the books and the movie, including a thief character that was Williams' favorite.^[17]

Prolonged production (1972–1978) [edit]

The motion picture went through many name changes before becoming The Thief and the Cobbler; other names included The Thief Who Never Gave Up ^[19] and One time....^[20] Older character designs as well as characters that were later removed from the film can be seen within the In one case... logo.

In 1973, Williams commissioned a new script from Howard Blake, who wrote a treatment called Tin can Tack that incorporated a graphic symbol fabricated by Margaret French and Dick.^[21] who is a impuissant cobbler named Tack and retained Williams' thief character from Nasrudin.^[17] The script would afterwards be scrapped, but the character of Tack would be incorporated in another script written past French,^[22] which would use characters from Nasrudin, including a sleepy king, a thief and an evil vizier originally named Anwar. Many scenes that did non include Nasrudin himself were as well retained.^[2] Throughout the 1970s, Williams would further rewrite the script with Margaret French, his wife at the fourth dimension.^[17]

Williams later began promising his new moving picture every bit a "100-minute Panavision blithe ballsy characteristic film with a hand-fatigued cast of thousands."^[2] The characters were renamed at this betoken. Zigzag speaks by and large in rhyme throughout the entire film, while the other characters—with the exceptions of the Thief and Tack, who are mute—speak normally. Williams stated that he did not intend to follow "the Disney route" with his picture show, stating that it would be "the first animated picture show with a real plot that locks together like a detective story at the end." He besides said that with its two mute primary characters, it was essentially "a silent moving-picture show with a lot of sound."^[two] Silent comedies, similar films from Charlie Chaplin and Harry Langdon, were already an inspiration on Nasrudin and carried over to the new moving picture. Tack was modeled after said silent moving-picture show stars.^[17]

British illustrator Errol Le Cain created inspirational paintings and backgrounds, setting the style for the film.^[xi] During the decades that the film was existence made, the characters were redesigned several times and scenes were reanimated. Test animation of Princess Yum-Yum, as featured in the released versions, was traced from the alive-activeness film Muqaddar Ka Sikandar,^[23] with her design slightly inverse after on in production.^[24] In Williams' early drafts, the climax included a concluding boxing with Zigzag after the plummet of the War Machine, where he conjures a larger-than-life Chinese dragon, only for Tack to reveal information technology to be nothing more than an inflatable balloon. Although there were some production designs of said scene, it was never made since it was found to be too hard to breathing.^[half-dozen]

In 1974, a recession forced the studio to focus primarily on various TV commercial, special and characteristic moving-picture show title assignments, leaving Williams' film to be worked on as a side projection.^[17] Since Williams had no money to accept a full team working on the film, which was a "behemothic epic", product dragged for decades.^[20] Ken Harris was still master animator on the motion-picture show, as he had been since Nasrudin, and Williams would assign him sequences while he was supervising product on commercials.^[17] To save money, scenes were kept in pencil stage without colour, as advised by Richard Purdum: "Work on paper! Don't put it in color. Don't spend on special effects. Don't practice camera-piece of work, tracing or painting... but practise the rough drawings!"^[25] Williams was planning to later on finish these sequences when the financing would come up in.

Williams was learning the art of blitheness himself during the production of his film; his animation during the 1960s typically featured stylized designs in the vein of UPA animated shorts. Williams hired veteran animators from the gilded age of animation, such every bit Art Babbitt, Emery Hawkins and Grim Natwick, to work at his studio in London and aid teach him and his staff.^{[19] [26]} Williams learned also from Milt Kahl, Frank Thomas, Ollie Johnston, and Ken Anderson at Disney, to whom he made yearly visits^[27] and would later pass their knowledge to the new generation of animators.^{[17] [28]} Williams besides allowed animators like Natwick and Babbitt to work on the studio assignments, such as the 1977 feature Raggedy Ann & Andy: A Musical Risk. The Mad Holy Old Witch was designed as a caricature of animator Grim Natwick,^[29] by whom she was animated. Later Natwick died, Williams would animate the Witch himself.

Every bit years passed, the project became more ambitious. Williams said that his idea was "to make the best blithe film that has ever been made—in that location really is no reason why not."^[20] He too envisioned the film to feature very detailed and circuitous blitheness, the likes he thought no other studio would try to achieve.^{[5] [12] [10] [17]} Additionally, much of the film's animation would be photographed "on ones", meaning that the animation would run at full 24 frames per second as opposed to the more than common blitheness "on twos", in twelve frames per second.^{[5] [10] [eighteen]}

Gaining financial backing (1978–1988) [edit]

In 1978, Saudi Arabian prince Mohammed bin Faisal Al Saud became interested in The Thief, and agreed to fund a x-minute exam sequence with a upkeep of $100,000. Williams chose the complex, penultimate sequence of the Thief in the War machine for the examination. The studio missed two deadlines, and the scene was completed in late 1979 for $250,000. Despite his positive impression of the finished scene,^[18] Faisal backed out of the production considering of missed deadlines and budgetary overruns.^{[10] [17]}

In the 1980s, Williams put together a 20-minute sample reel of The Thief, which he showed to Milt Kahl, a friend and 1 of his animation mentors, at Skywalker Ranch in Marin Canton.^[30] Star Wars producer Gary Kurtz briefly worked with Williams to attempt to get financing in the mid-1980s. In 1986, Williams met producer Jake Eberts, who began funding the production through his Allied Filmmakers visitor and eventually provided US$10 million of the moving picture's $28 million budget.^{[ii] [31]} Allied's distribution and sales partner Majestic Films began promoting the film in manufacture trades under the working title Once.... At this fourth dimension, Eberts encouraged Williams to make changes to the script. A subplot involving the characters of Princess Mee-Mee, Yum-Yum's identical twin sister voiced by Catherine Schell, and the Prince Bubba, who had been turned into an ogre and was voiced by Thick Wilson,^[24] was deleted, and some of Grim Natwick's animation of the Witch had to be discarded. Also deleted was Ken Harris's sequence of a Bandit dreaming of a Biblical temptress.^[2]

Steven Spielberg saw the footage of The Thief and was impressed enough that he and Robert Zemeckis asked Williams to direct the animation of Zemeckis' film Who Framed Roger Rabbit.^{[5] [vi] [ten] [18]} Williams agreed in social club to get financing for The Thief and the Cobbler and get information technology finally finished. Roger Rabbit was released by Disney (under their Touchstone Pictures banner) in 1988, and became a blockbuster hit. Williams won ii Oscars for his animation and contributions to the visual furnishings. Although Roger Rabbit ran over budget before blitheness production began, the success of the motion picture proved that Williams could work within a studio construction and turn out high-quality blitheness on time and within budget.^[two] Disney and Spielberg told Williams that in return for doing Roger Rabbit, they would help distribute his movie.^[32] This plan did not come to pass. Disney began to put their attention more in their own feature blitheness, while Spielberg instead opened a rival characteristic animation studio in London.

Following his success, Williams and Warner Bros. negotiated a funding and a distribution deal for The Thief and the Cobbler, which included a U.s.$25 meg marketing budget.^[17] Williams' current wife Imogen Sutton suggested him to finance Thief with European backers, citing his appreciation of foreign films. Richard insisted he could produce the film with a major studio.^[33] Williams and Warner Bros. signed a negative pickup deal in tardily 1988, and Williams also received financial assist from Japanese investors.^{[10] [18]} He later stated, "In hindsight we should have only gone to Europe, accept some other five years, made it on our own, and then become to a distributor and go people who detect it equally a novelty."^[34]

Production under Warner Bros. (1989–1992) [edit]

This uncolourised scene is one of many that were animated by hand to move in three dimensions without CGI. The scene exists only in Williams' original, unfinished version, and was cutting forth with many others in the two released versions.

With the new funding, the film finally went into total product in 1989. Williams scoured art schools in Europe and Canada to find talented artists.^[half-dozen] At this betoken, with nearly all of the original animators either deceased or having long since moved on to other projects, production began mostly with a new, younger team of animators, including Richard's own son Alexander Williams. In a 1988 interview with Jerry Beck, Williams stated that he had 2 and a half hours of pencil tests for Thief.^[ii] Vincent Price had originally recorded his dialogue from 1967 to 1973. Williams recorded further dialogue with Toll for the 1990 production, but Price'south old age and disease meant that some lines remained unfinished.

Williams had experimented with shots with characters animated by hand to move in three dimensions, including several shots in Roger Rabbit's opening sequence. With Thief, Williams began planning several sequences to feature a greater use of this technique, including Tack and the Thief'due south palace hunt, which was accomplished without calculator-generated imagery. According to rumours, Williams approached The Thief with a alive-action point of view, coming off of Roger Rabbit. He was creating extra footage and extending sequences to trim downward later, and would have edited down the workprint he afterwards assembled.^{[17] [35]}

Warner Bros. had signed a deal with the Completion Bond Company to ensure that the studio would be given a finished film, otherwise they would finish The Thief nether their management.^[17] Dedicated merely pressured, Williams was taking his time to ensure sequences would await perfect. Animators were working overtime, sometimes with sixty hours a week required, to go the film done. While Williams encouraged the best out of people, discipline was harsh and animators were oftentimes fired.^[17] Cameraman John Leatherbarrow recalled, "He fired hundreds of people. There's a list as long as your arm of people fired past Dick. Information technology was a regular event. [...] At that place was one guy who got fired on the doorstep." Williams was just as hard on himself, with animator Roger Vizard stating, "He was the starting time person in the morning and the last one out at dark."^[6] Funders pressured Williams to brand finished scenes of the main characters for a marketing trailer. The final designs were made for the characters at this time.

The film was not finished by a 1991 borderline that Warner Bros. originally imposed upon Williams,^[6] and had approximately 10 to 15 minutes of screen time to complete, which, at Williams' rate, was estimated to take "a tight six months" or longer.^{[12] [10]} The animation department at Warner Bros. had put their enthusiasm towards high-quality tv blitheness, but had petty confidence towards bankroll feature animation. The studio had already released The Nutcracker Prince, a Canadian-produced animated feature, in 1990 to almost no promotion. Jean MacCurdy, Warner Bros.' then-head of animation, did not know anything most blitheness, every bit she admitted to an creative person who had worked for Williams while she was seeing footage of The Thief.^[17] Another animator salvaged almost 40 minutes of 35 mm dailies footage from MacCurdy'due south trash.^[36] Meanwhile, Walt Disney Feature Animation had begun work on Aladdin, a film that bore striking resemblances in story, mode and character to The Thief and the Cobbler; for example, the character Zigzag from Thief shares many physical characteristics with both Aladdin 's villain Jafar, and its Genie, as animated by Williams Studio alumnus Andreas Deja and Eric Goldberg.^{[37] [38]}

The Completion Bail Visitor asked goggle box animation producer Fred Calvert to do a detailed analysis of the production status.^[12] Calvert traveled to Williams' London studio several times to check on progress of the film, and concluded that Williams was "woefully backside schedule and way over upkeep."^[2] Williams had a script, but "he wasn't following it faithfully." According to Garrett Gilchrist, yet, this anecdote is simulated,^[22] as Calvert and people from the Completion Bond Company were visiting the studio more than ofttimes towards the end of product. Williams was giving dailies of sequences that were finished or scrapped since the 1980s, hoping to give an indication of progress to Warner Bros.^[17] He was asked to testify the investors a rough copy of the flick with the remaining scenes filled in with storyboards in lodge to found the film's narrative.^{[6] [10]} He made a workprint which combined finished footage, pencil tests, storyboards, and movements from the symphonic suite Scheherazade to cover the 10–xv minutes left to cease.^[12] Animators found out that they had completed more enough footage for an 85-minute feature, only they had yet to finish certain vital sequences involving the fundamental story.^[17]

On xiii May 1992, this rough version of the film was shown to Warner Bros., and was not well-received. During the screening, the penultimate reel of the film was missing, which did not help matters.^[33] The studio lost confidence and backed out of production entirely, and the Completion Bond Company seized control of the film, ousting Williams from the projection.^{[vi] [10]} Jake Eberts, and then an executive producer, also abandoned the project.^[12] Additionally, Williams said that the production had lost a source of funding when Japanese investors pulled out due to the recession following the Japanese asset price bubble.^[39] Fans take cited this decision equally an case of a trend of animated films being tampered with by studio executives.^[40]

Production under Fred Calvert (1992–1993) [edit]

Sue Shakespeare of Artistic Capers Entertainment had previously offered to solve story problems with Richard Williams, suggested to bring in Terry Gilliam to consult, and proposed to allow Williams to finish the film under her supervision. Williams reportedly agreed to Shakespeare'southward proposal, just her bid was ultimately rejected past the Completion Bond Visitor in favor of a cheaper ane by Fred Calvert,^[41] whom the visitor had assigned to end the movie as cheaply and quickly every bit possible. "I really didn't want to exercise it," Calvert said, "but if I didn't do it, it would have been given off to the lowest bidder. I took it as a mode to attempt and preserve something and at to the lowest degree go the thing on the screen and let it be seen."^[31]

It took Calvert eighteen months to finish the pic,^[vi] which was turned into a Disney-type musical.^{[42] [43] [44]} The new scenes were photographed "on twos" rather than "on ones", with the animation being produced by freelance animators in Los Angeles and erstwhile Williams animators working with Neil Boyle at Premier Films in London. Sullivan Bluth Studios, the Dublin-based studio headed by former Disney animator Don Bluth, animated the first song sequence "She Is More", and Kroyer Films produced the second number "Am I Feeling Love?".^{[2] [6]} The animation was subcontracted to Wang Moving-picture show Productions in Taiwan and its sectionalization Thai Wang Film Productions in Thailand, too every bit Pacific Rim Animation in China and Varga Studio in Hungary.

Approximately eighteen minutes of completed animation were cut by Calvert due to the repetitive nature of the scenes.^[2] Calvert said, "We hated to run into all this beautiful animation hit the cutting room floor, but that was the merely manner nosotros could brand a story out of it. He [Williams] was kind of Rube Goldberg-ing his way through. I don't think he was able to step back and look at the whole thing as a story. He's an incredible animator, though. Incredible. One of the biggest issues we had was trying our desperate all-time, where we had brand new footage, to come up up to the level of quality that he had set."^[2]

Releases [edit]

Later the pic was completed, Centrolineal Filmmakers, along with Regal Films, reacquired the distribution rights from the Completion Bail Visitor. Calvert'due south version of the moving picture was distributed in South Africa and in Commonwealth of australia as The Princess and the Cobbler on 23 September 1993.

In Dec 1994, Miramax Films, then a subsidiary of Disney (which had already released Aladdin first), bought the North American rights to the picture, which had already been rejected by several other American distributors. Calvert recalls, "It was a very difficult film to market, it had such a reputation, that I don't think they were looking at it considerately."^[6] Originally planning to release the Princess and the Cobbler version, and then-Miramax president Harvey Weinstein decided to recut the motion-picture show even farther^[43] and released their version entitled Arabian Knight. This version featured newly written dialogue by Eric Gilliland, Michael Hitchcock and Gary Glasberg, with a glory voice cast that was added months before the film'due south release.

Jake Eberts found that "It was significantly enhanced and changed by Miramax afterwards they stepped in and caused the domestic distribution rights." His comments on tape, claiming that these altered versions were superior to Williams' version, indicated that Eberts had also lost confidence in Williams when the Completion Bond Company seized the film.^{[12] [31]} Arabian Knight was quietly released by Miramax on 25 August 1995. Information technology opened on 510 screens,^[2] and grossed Us$319,723^{[6] [31]} (on an estimated budget of $24 1000000) during its theatrical run.

Home media [edit]

The Allied Filmmakers version of the motion picture was released on VHS in Australia by Columbia TriStar Home Video in 1994.

The Miramax version was gear up to be released by Miramax Home Entertainment on VHS in December 1995, 5 months later its theatrical release. However, it was eventually released on xviii Feb 1997, nether its original title The Thief and the Cobbler.^[12] A widescreen LaserDisc was also released. The Miramax version of the motion picture appeared on a DVD as a giveaway promotion in packages of Froot Loops cereal;^[17] its first DVD release. In 2001, this pan and scan DVD was released through Canadian studio Alliance Atlantis, which, at the time, distributed many of Miramax's films in Canada. Information technology came in a paper sleeve and had no special features, other than the selection of English language or French-language tracks. The Miramax version was first released on DVD in Japan past the Daiichi Kosho Company in 2002, using a widescreen copy of Miramax's Arabian Knight version with English language and Japanese-language tracks. The Allied Filmmakers version was released on a pan and scan DVD in Australia in 2003 by Magna Pacific. However, it is severely cropped, and at that place are no boosted features on the DVD.

A commercially released North American DVD of the Miramax version was released by Miramax Family on eight March 2005. This was basically the same every bit the Froot Loops cereal DVD, albeit with a new carte du jour design and the addition of trailers for My Scene Goes Hollywood: The Movie and Pokémon: Destiny Deoxys. This DVD was re-released by The Weinstein Company Home Amusement on 21 November 2006. Although the information supplied to online retailers said that it would be a new special edition, it was in fact simply a reissue of Miramax's earlier DVD with revised packaging. The 2006 DVD was found past nearly reviewers to be unsatisfactory, with the but extra features being trailers for other Weinstein Company family films.^{[45] [46]} The Digital Bits listed it every bit the worst standard-edition DVD of 2006.^[47] The Miramax/Weinstein DVD was re-issued again on 3 May 2011 by Echo Bridge Home Entertainment, an independent DVD benefactor who made a deal to release 251 titles from the Miramax library until the bargain expired in 2014.^[48] These releases are now out of print as farther scheduling of the Region 1 release has yet to commence as of 2022.^{[ citation needed ]}

Lionsgate released the Miramax version on DVD in the United Kingdom on 13 Feb 2012.^[49] The film had previously never been released in whatever form there,^[50] ironically where the majority of the product took place.

Music [edit]

During production nether Allied Filmmakers, iv musical numbers were added: "It's And so Astonishing", "Am I Feeling Dearest", "She Is More than", and "Bom Bom Bom Beem Bom". Note that these songs are just present in both the Princess and the Cobbler version of the flick and the Arabian Knight version of the movie.

All lyrics are written past Norman Gimbel; all music is composed past Robert Folk.

No.	Title	Performer(s)	Length
one.	"It's So Astonishing"	Bobbi Folio & Steve Lively
2.	"Am I Feeling Beloved"	Bobbi Folio & Steve Lively
3.	"She Is More"	Bobbi Folio
4.	"Bom Bom Bom Beem Bom (We're What Happens When You Don't End School)"	The Brigands

Reception [edit]

The Miramax version of the film was a commercial failure and received mixed reviews.^[43] Rotten Tomatoes gives the motion-picture show a score of 50% based on 8 reviews.^[51] Caryn James of The New York Times criticised the songs sung by the princess, calling the lyrics "horrible" and the melodies "forgettable", although he did praise Williams' blitheness equally "among the most glorious and lively e'er created".^[38] Animation historian Jerry Brook felt that the added voiceovers of Jonathan Winters and Matthew Broderick were unnecessary and unfunny, and that Fred Calvert'due south new footage didn't encounter the standards of Williams' original scenes.^[43] The Miramax version has been said to resemble a rip-off of Aladdin.^{[38] [44] [52]} Notwithstanding, in 2003, the Online Film Critics Society named the film the 81st greatest animated flick of all fourth dimension. In improver, the motion picture won the 1995 Academy of Family unit Films Award.^[53]

Alex Williams, the son of the original director who also worked on the film before information technology was re-edited, criticised changes fabricated by Calvert and Miramax, chosen the finished film "more than or less unwatchable" and found it "difficult to observe the spirit of the film every bit it was originally conceived".^[12] For years, Richard Williams was devastated by the film's production and had never publicly discussed information technology since then.^[54] In 2010, however, he discussed the flick during an interview about his silent blithe short Circus Drawings, a project he shelved in the 1960s earlier he started piece of work on The Thief.^{[55] [56]} He later participated in Q&As for screenings of his 1992 workprint at the Samuel Goldwyn Theater on ten December 2013^[57] and at the BFI Southbank in London on i June 2014.^[35] Williams also said he has never seen the Calvert and Miramax versions of the picture, maxim, "I'm not interested, but my son, who is also an animator, did tell me that if I ever want to jump off a bridge and so I should take a look."^[58]

Influence [edit]

The Secret of Kells, Song of the Bounding main and Wolfwalkers, three Irish animated films that based their mode on traditional native fine art, had The Thief and the Cobbler cited as one of their primary inspirations. Tomm Moore, the managing director of all 3 films, said, "Some friends in college and I were inspired by Richard Williams's unfinished masterpiece The Thief and the Cobbler and the Disney flick Mulan, which took indigenous traditional fine art as the starting point for a beautiful manner of second animation. I felt that something similar could be washed with Irish art."^[59]

Restoration attempts [edit]

Richard Williams' workprint was bootlegged after Calvert'southward versions were released, and copies have been shared among animation fans and professionals for years.^{[half-dozen] [12] [43]} The trouble in creating a loftier-quality restoration is that afterward the Completion Bond Company had finished the film, many scenes past Williams that were removed disappeared—many of these had fallen into the hands of private parties.^[42] Earlier losing command of the film, Williams had originally kept all artwork rubber in a fireproof basement.^[xx] Additionally, there are legal problems with Miramax.^[42]

At the 2000 Annecy Festival, Williams showed Walt Disney Feature Animation head Roy E. Disney his workprint of The Thief, which Roy liked. With Williams' support,^[43] Roy Disney began a projection to restore The Thief and the Cobbler,^[42] seeking original pencil tests and completed footage. However, due to the lackluster reception of virtually paw-drawn blithe films released during the early 2000s, likewise every bit his tough human relationship with then-Disney CEO Michael Eisner, Roy left the Walt Disney Company in November 2003, and the project was put on hold.^[43] Disney film producer Don Hahn was later made the projection supervisor of the restoration. However, after Roy's death in 2009, the project was in one case again put on concur.

In 2006, Garrett Gilchrist, a filmmaker, artist and fan of Williams' work, created a not-profit fan restoration of Williams' workprint, titled The Thief and the Cobbler: The Recobbled Cut. Information technology was done in every bit high quality as possible by combining bachelor sources at the time, including a heavily compressed file of Williams' workprint and the American DVD release of Arabian Knight, which would later on be replaced with higher quality footage from the Japanese DVD release. This edit was much supported past numerous people who had worked on the pic (with the exception of Richard Williams himself), including Roy Naisbitt, Alex Williams, Andreas Wessel-Therhorn, Tony White, Holger Leihe, Simon Maddocks, Neil Boyle, and Steve Evangelatos, many of whom lent rare material for the project. Some minor changes were made to "brand it feel more than like a finished moving-picture show", similar adding more music and replacing some bits of audio and storyboards with those from the Princess and the Cobbler version of the film.^[60] Certain scenes, like the wedding ending, had to be redrawn frame by frame by Gilchrist due to flaws in the footage. Gilchrist described this as the most circuitous independent restoration of a film ever undertaken. This edit gained positive reviews on the Net. Twitch Film called it "the best and most important 'fan edit' ever fabricated".^[54]

The Recobbled Cutting has been revised 3 times in 2006, 2008, and 2013. Each version incorporated further higher-quality materials donated by animators from the motion picture, including 2 rare workprints from the Fred Calvert product that contained footage non bachelor in the released versions. The "Mark 3" version released in 2008 incorporated 21 minutes from a 49-minute reel of rare 35 mm film. Gilchrist's latest version, "Mark 4", was released in September 2013 and edited in Hd. "Mark iv" features about 30 minutes of the film in full Hard disk quality, restored from raw 35 mm footage which Gilchrist edited frame by frame. Artists were also commissioned to contribute new artwork and fabric.^[8] Gilchrist'south YouTube account, "TheThiefArchive", at present serves equally an unofficial video archive of Richard Williams' films, titles, commercials, and interviews, including footage from the Nasrudin production. Williams said that while he never saw Gilchrist's Recobbled Cut, he acknowledged the role that the fan edits had played in rehabilitating the film's reputation.^[61]

Academy preservation [edit]

Williams stated that his unfinished version, from 13 May 1992, is at present archived and digitally duplicated by the Academy of Motility Pic Arts and Sciences. "The Academy has it, it's in a 'golden box' now and information technology's prophylactic," Williams said.^[34] The unfinished version, forth with a pick of Fine art Babbitt's animation from the motion picture, has been placed in an archive collection named "The Art Babbitt Collection".^[62] A drove of artwork from The Thief is as well stored in Disney'due south "Blitheness Research Library" in the Feature Animation building.

The unfinished version was screened at the Academy'south Samuel Goldwyn Theater under the title The Thief and the Cobbler: A Moment in Fourth dimension, on 10 Dec 2013, with Williams in attendance.^{[63] [64]} As well attending the screening were other notable filmmakers, animators, composers, critics, actors, and directors like Eric Goldberg, Chris Wedge, June Foray, Alan Menken, David Silverman, Phil Roman, Art Leonardi, Tom Sito, Mark Kausler, John Musker, Ron Clements, Theodore Thomas, Charles Solomon, Bob Kurtz, Martha Sigall, Kevin Kurytnik, Ballad Beecher, Jerry Beck, Yvette Kaplan, Carl Bell, Andreas Wessel-Therhorn, Kevin Schreck, and Garrett Gilchrist. After the screening Williams discussed the origins of the pic and its production history.^[57] On i June 2014, "A Moment in Time" was screened in London nether the British Pic Institute, with many of the original crew present.^[35] On 25 November 2018, during some other screening in London, Williams suggested the possibility of a Blu-ray release with the BFI. Williams said the European rights to The Thief were still bachelor in order to release it, but the Northward American rights he felt were currently also complicated to also release the Blu-ray there.^[65] Williams died before long after on 17 Baronial 2022 at the historic period of 86, without always seeing a finished version of The Thief and the Cobbler as he had originally envisioned.^[66]

Documentary [edit]

Persistence of Vision is a documentary by Kevin Schreck, virtually Richard Williams and the production of The Thief and the Cobbler, which the film calls "the greatest animated motion-picture show never made". Considering Williams did not participate in the documentary, it is instead a documentary from the perspective of animators and artists who had worked with Richard Williams and his studio during the movie's lengthy product. Williams is featured in the documentary, through archival interviews. Garrett Gilchrist and Helge Bernhardt of the Recobbled Cut and Richard Williams Archive provided rare materials to Schreck for his production, which was funded via Kickstarter.

First premiered in 2012 at the Vancouver International Picture show Festival, it has received many awards at festivals and received very positive critical reception. Williams was given a re-create of the film before he passed away, but said he "doesn't programme on watching information technology".^[67]

See too [edit]

• Lists of blithe characteristic films
• History of British animation
• Re-edited picture show
• List of films with longest product time

Other animated films with long product histories [edit]

• The Overcoat, an unfinished Russian blithe moving picture, in production since 1981
• The King and the Mockingbird, a French animated film, produced in ii parts (1948–52, 1967–80), initially released in recut course, eventually finished equally per director's wishes
• The Tragedy of Man, a Hungarian blithe film, produced in 1988 and premiered in 2011

References [edit]

1. ^ Kenny, Glenn (21 September 2016). "Review: A Rough Cut of 'The Thief and the Cobbler' Makes It to MoMA". The New York Times . Retrieved eleven January 2021. "The Thief and the Cobbler: A Moment in Time" is non rated. Running time: 1 hour 32 minutes.
2. ^ ^{a b c d e f g h i j k fifty 1000 n o p q r s} Dobbs, Mike (1996). "An Arabian Knight-mare". Animato!. No. 35.
3. ^ Arabian Knight (The Thief and the Cobbler) at Box Office Mojo
4. ^ Lenburg, Jeff (1999). The Encyclopedia of Animated Cartoons. Checkmark Books. p. 165. ISBN0-8160-3831-7 . Retrieved vi June 2020.
5. ^ ^{a b c d eastward} Briney, Daniel (21 August 2001). "The Thief and the Cobbler: How the Best Was Lost, 1968–1995". CultureCartel. Archived from the original on 3 April 2012. Retrieved 12 November 2006.
6. ^ ^{a b c d e f g h i j k fifty thousand} Lurio, Eric. "Arabian Knightmare". Retrieved nine Apr 2009.
7. ^ Robertson, Patrick (1993). Das neue Guinness Buch Film. Frankfurt. p. 122. , cited by Trimborn (Trimborn, J. (2002). Leni Riefenstahl – A Life . New York: Faber and Faber. p. 204. ISBN978-0-374-18493-iii. ).
8. ^ ^{a b} "Thieves, Cobblers, and Fan Edits: The fifty-Year Odyssey of an Animated Masterpiece". Tested. 29 June 2012. Archived from the original on 17 July 2020. Retrieved 29 September 2012.
9. ^ "The Thief and the Cobbler: Recobbled Cut Marking 4 - Page 197 - OrangeCow.org". orangecow.org . Retrieved sixteen Feb 2022.
10. ^ ^{a b c d e f g h i j k} Summer, Edward (1996). "The Animator Who Never Gave Up – The Unmaking of a Masterpiece". Films In Review.
11. ^ ^{a b} Leihe, Holger (12 December 2007). "Cobbler and Errol". THE THIEF. cocky-published. Retrieved 20 August 2009.
12. ^ ^{a b c d e f yard h i j k} Williams, Alex (March 1997). "The Thief And The Cobbler". Blitheness World Magazine. Retrieved 9 May 2009.
13. ^ Maddocks, Simon (twenty Nov 2011). "Into the Urban center". THE THIEF. self-published. Retrieved 14 May 2019.
14. ^ Holger (13 Dec 2007). "THE THIEF: Roy Naisbitt, John Leatherbarrow and Paul Dilworth (new update from Paul)".
15. ^ "The high-gloss folder". thethief1.blogspot.co.uk. vi July 2008.
16. ^ "PN'southward – Google Drive". drive.google.com.
17. ^ ^{a b c d e f thousand h i j k l m northward o p q r s t u v} Schreck, Kevin (Managing director) (2012). Persistence of Vision (film documentary (and DVD bonus features)). United states of america/Uk.
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24. ^ ^{a b} Leihe, Holger (14 February 2008). "Throne Room, Part 1". THE THIEF. self-published. Retrieved xx August 2009.
25. ^ Clark, Ken (1984). "Animated Comment – Ken Clark chats with Richard Williams". Animator Magazine (11).
26. ^ "The Los Angeles Times". The Los Angeles Times. 20 May 1992. Archived from the original on i September 2009.
27. ^ Cohen, Karl (15 Feb 2002). "The Animator's Survival Kit: The Most Valuable How To Animate Book You Will Ever Want To Own". Blitheness World Network . Retrieved 22 November 2010.
28. ^ Wolters, Johannes (13 January 2009). "Getting Animated Virtually Williams'due south Masterclass". Animation World Network . Retrieved 21 November 2009.
29. ^ Leihe, Holger (18 January 2008). "Witch". THE THIEF. self-published. Retrieved 20 Baronial 2009.
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31. ^ ^{a b c d} Welkos, Robert W. (thirty August 1995). "How This 'Thief' Became a 'Knight'". The Los Angeles Times . Retrieved 25 May 2010.
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39. ^ Williams, Richard (2 November 2008). ASIFA-San Francisco do good appearance, Balboa Theater, San Francisco, California.
40. ^ Fenlon, Wesley. "Thieves, Cobblers, and Fan Edits: The l-Year Odyssey of an Blithe Masterpiece". Tested. Retrieved 18 Oct 2013.
41. ^ "Messages to the Editor". ANimation Earth Magazine. April 1997.
42. ^ ^{a b c d} DeMott, Rick (eighteen August 2000). "Disney To Restore The Thief And The Cobbler To Original Version". Animation World Network . Retrieved 21 November 2009.
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44. ^ ^{a b} McCracken, Harry (1995). "The Theft of the Thief". FPS Magazine.
45. ^ "Coming Shortly To DVD – Find Out DVD Release Dates!". ComingSoon.cyberspace. Archived from the original on 10 July 2011.
46. ^ Moriarty (eleven November 2006). "Moriarty'south DVD Blog! A Word About That New THIEF & THE COBBLER Disc". Aint It Cool News.
47. ^ "Male monarch Bitsy: Other DVD Awards for 2006". Archived from the original on eleven March 2009.
48. ^ Alex Ben Block (17 Feb 2011). "Echo Span to Distribute Miramax Titles on DVD, Blu-Ray". The Hollywood Reporter.
49. ^ "The Thief And The Cobbler". Amazon.co.great britain. Retrieved 2 June 2012.
50. ^ Anthony Nield (7 February 2012). "The Thief and the Cobbler". The Digital Fix. Retrieved iv June 2012.
51. ^ "Tomatometer for The Thief and the Cobbler". Rotten Tomatoes. Retrieved 9 January 2007.
52. ^ "The All-time Blithe Movie You've Never Heard Of". TV Guide. 28 November 2006. Archived from the original on ane March 2014. Retrieved 21 November 2009.
53. ^ "Peak 100 Blithe Features of All Time". Online Pic Critics Society. Archived from the original on 27 August 2012. Retrieved 9 January 2007.
54. ^ ^{a b} Chocolate-brown, Todd (4 June 2006). "Richard Williams' Lost Life'south Work Restored Past One Obsessive Fan ..." Twitch. Retrieved eleven May 2009.
55. ^ "onehugeeye » Richard Williams". Retrieved 11 March 2011.
56. ^ Deneroff, Harvey (20 October 2010). "Richard Williams' Circus Drawings' Silent Premiere". Retrieved eleven March 2011.
57. ^ ^{a b} "The First Public Screening of Richard Williams's original version of "The Thief and the Cobbler"".
58. ^ Nicholas Wroe (19 Apr 2013). "Richard Williams: the master animator". the Guardian.
59. ^ Cohen, Karl (16 March 2010). "The Hole-and-corner of Kells – What is this Remarkable Blithe Feature?". Animation World Network. Archived from the original on 16 October 2012.
60. ^ "Thief and the Cobbler: The Recobbled Cut". Cartoon Brew. 24 June 2006. Retrieved 9 May 2009.
61. ^ "FLIP: Pete Western reports on "A Moment in Time" at BFI – the first ever public screening of "The Thief and the Cobbler" in the UK". flipanimation.blogspot.co.uk. nine June 2014.
62. ^ "Fine art Babbitt Collection". Oscars.org – Academy of Motility Picture Arts and Sciences. 20 Dec 2014.
63. ^ Brook, Jerry (19 November 2013). "Richard Williams to Screen his Director's Cut of "The Thief and the Cobbler" December. tenth". Blitheness Scoop. Retrieved 22 November 2013.
64. ^ "The Thief and the Cobbler". Oscars.org – Academy of Motion Picture Arts and Sciences. iii September 2014.
65. ^ Lee, Lucy (twenty December 2018). "The Thief and the Cobbler – the greatest moving-picture show never fabricated?". Just Make Animation. Retrieved 17 August 2019.
66. ^ "Roger Rabbit animator Richard Williams dies at 86". BBC News. 17 Baronial 2019. Retrieved 17 August 2019.
67. ^ "Kevin Schreck, Managing director of "Persistence of Vision" nigh "The Thief and The Cobbler"" (Video). YouTube. Retrieved 12 January 2015.

External links [edit]

• The Princess and the Cobbler at IMDb
• Arabian Knight (The Thief and the Cobbler) at Box Office Mojo
• The Thief and the Cobbler at Rotten Tomatoes
• Eddie Bowers' The Thief and the Cobbler folio – a website nigh Richard Williams' The Thief and the Cobbler with articles, clips from the workprint, pictures, and the history of the motion-picture show
• The Thief Web log – a blog where people who worked on the moving picture recount their memories of the film'due south production

danielplinted.blogspot.com

Source: https://en.wikipedia.org/wiki/The_Thief_and_the_Cobbler

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