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Sep 19, 2011, 01:01 PM | |
Awesome Dan is right to say leave the mixes on, at least that what we do at the field. Of course, use the mixes in the manual as a guide and adjust according to your AMR. No worries at all as the AMR is a unique bipe that imho flies like a mono. Just enjoy your AMR, it's an awesome bipe
Sep 19, 2011, 01:26 PM | ||
Steve |
Sep 19, 2011, 01:49 PM | ||
Sep 19, 2011, 04:03 PM | ||
(rudder right, left aileron up. rudder left, right aileron up) and 7% rudder to elevator mix (on left and right rudder elevator moves up) |
Sep 19, 2011, 10:49 PM | ||
Joined Apr 2007
1,174 Posts
The old JR 10X had a specific mix for rudder to aileron/elevator for this purpose, and the manual explains that you want to tune it to get flat rudder turns in normal flight (as close as possible) and KE will be nearly perfect as well. Its aimed at getting the as close as possible to the perfect setup of each control surface not coupling with the other. Of course the caveat is that it is also a matter of personal preference. For some, they may enjoy the plane more without any mixes. Go with what works best for your own style of flying and have fun!! dead, the KE mix is the only one listed in the manual as being required. Any other mixes you add in are up to you to suit your own taste |
Sep 19, 2011, 11:45 PM | |
I'd like to add that no mix, no matter what can remove all coupling in all attitudes. Aerofundan is right, that it can make it as close to perfect as possible, but no more. You absolutely still have to "fly" the plane in a KE for this reason, but I find I get much more consistent results with the mix on, and active all the time. No need to switch it off anytime, as yaw coupling is always just yaw coupling.
On my radio, I am able to make point curves for the mix and have found that much more mix is required towards the limit of rudder travel. Point mixes help resolve this, but it is never perfect, because the "correct" amount of mix to hold a true line varies with more than just rudder position. Airspeed, yaw AOA, and throttle are always changing, so you almost always are making continuous adjustments to account for those things too. I think the PA suggested numbers are only just a guideline, and in my case were way off because I am not using the same radio as Shaun. They should be a good starting point for most though. I also found I needed quite a different setting for left KE as for right KE to get it flying how I want. sub |
Sep 20, 2011, 01:57 AM | ||
Now the next question to AMR flyers; Do the % mix values advised in the manual actually work for anyone? I ended up with % values wildly different from those in the manual. I've got: 2% opposite aileron 20% up elevator. On my AMR these setting allow knife edge to be flown without any elevator or aileron correction, over a reasonable speed range. With only 7% elevator mix constant back pressure would be required on the elevator to prevent tuck to belly. My CG is set so that inverted required no down, it's actually slightly forward (by maybe 2mm)of the advised 59.5mm 'sweet spot'. Mine climbs when inverted if I put the CG that far back, and needs even more up elevator for KE. My control throws are as per manual. I'll be the first to admit that I'm a novice when it comes to knife edge flight but I can tell if a plane is flying straight or not. One thing I do notice is that the amount of elevator mix depends heavily on your knife edge style; both how fast you do fly (faster needs less mix) and also on if you hold the wings truly vertical or just slightly off vertical in either direction (flying 'semi-inverted' needs less mix, semi-upright needs more). |
Sep 20, 2011, 02:39 AM | ||
Sep 20, 2011, 02:58 AM | ||
Another thing to consider is the speed at which you fly KE. One would think the slower you fly, the greater the effect of the mix is because of the amount of rudder required. I think the speed therefor has a big role to play in the figures you end up with. |
Sep 20, 2011, 06:44 AM | |
That's the other thing different with the AMR than my other planes. When I'm flying inverted, I actually need to pull back on the elevator a little for level flight. Every other plane I have is either hands off inverted or push the stick forward a little.
I didnt say up or down elevator because I'm talking inverted and trying to wrap my meager mind around up and down elevator during inverted flight can only lead to madness :P I definately can't do any fancy low inverted passes with the AMR until I break the habit of instinctively pushing forward on the stick a little while inverted. |
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03-30-2009, 07:23 PM | #8 (permalink) |
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cant read either? i said MY LOCAL SHOP. they have a website but their online store is a bit lacking. go to the snow section and it will blatently show that ALL of their snow stuff is 40% off. pitcrewskateboards.com
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03-30-2009, 07:40 PM | #10 (permalink) |
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wow i hate to see anyone try and rip people off. just lower your damn price. why not? do you need the money for crack or gay escorts or something?
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In my opinion, I am very much happy about my Samsung 16 inch laptop. My friend suggested me to bought this Samsung set , After 1 year I didn't find any problem from this laptop. My laptop's colour is black and very pretty to see. I am working about 7 hours per day with this set.. It is very user friendly..
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The PSB Imagine X1T is a sweet-sounding speaker and very easy to listen to, but it lacks the gravitas of other similarly sized and priced towers.
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Ron Paul's Top Secret Iowa Youth Camp
At a rented YMCA camp lodge outside the town of Boone in central Iowa, young Ron Paul volunteers are preparing for Tuesday's caucuses under a veil of secrecy. When I stopped by on Saturday, after driving down a winding gravel road surrounded by woods and farmland, the place appeared deserted, aside from a couple cars and a white van with a Ron Paul sign in the window. "At Y camp you don't have to make friends, they're given to you," a sign greeted me near the the Pioneer Hybrid Outdoor Education Center where the volunteers work.
In Ron Paul's case, those friends are hundreds of out-of-state college students who paid their own way to travel to Iowa in support of their libertarian hero. On Wednesday, the New York Times reported that once they arrive at the camp, the volunteers are "under strict orders" to "look, dress, shave, sound and behave in a way that will not jeopardize Mr. Paul's chances." That means no boozing, no visible tattoos, and no scraggy beards (although I did spot a guy with earrings). Or as one volunteer from Ithaca, New York, told the Times, "What would Ron Paul do?"
The volunteers have also been told "not to speak to journalists or make postings on social media sites about their activities in Iowa," the Times explained. That became immediately clear on Saturday, when I walked into a meeting room where about 20 volunteers prepared campaign flyers. "Are you with the media?" a young woman asked as someone turned off the music. I was ordered to leave the room, and after I was told that I could "absolutely not" take a flyer with me a woman shut the door to the lobby behind me. A young man watched me intently from behind a glass window as he called someone on his phone.
This paranoid atmosphere reflects the strict message discpline employed by the Paul campaign. That may be more important than ever now, since Paul has dropped to second place behind Romney in Iowa polls after facing a barrage of criticism over the racist newsletters published under his name in the '80s and '90s.
When the Times asked Jesse Benton, Ron Paul's national campaign chairman, about the camp, he said, "We're keeping our cards close to our vests." But in an email, campaign spokesman Gary Howard gave me a seemingly less cryptic explanation: "We're just making sure we keep things focused and limit distractions."
Whatever the case may be, Paul's youth operation in Boone is also reflective of the candidate's enormous popularity among college-aged voters—the same demographic that helped Barack Obama win the Iowa caucuses, and ultimately the presidency, in 2008. Their turnout will be crucial on Tuesday for Paul to have a shot at winning this year's Republican caucuses.
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Andrew Kennedy
Comedian Andrew Kennedy was born in Bogota, Colombia. His mother is a short Colombian woman, his father an absent minded (but very intelligent) Englishman. Comedian Andrew Kennedy spent most of his childhood moving around the world and by the time comedian Andrew Kennedy was thirteen had lived in seven countries, spanning three continents. Although the reason has never been fully disclosed, the Kennedy's were obviously "fleeing" in an apparent search for sanctuary (which they finally found in a very exclusive New England town).
Home Bio Stand-Up Schedule Family Bookings
One fun Kennedy family tradition was the ritual 'Cleansing' of personal items (or as it was more commonly referred to: 'Tag Sale of Tears') where all the most revered possessions (like GI Joe Action Figures, Tonka Trucks, Big Wheels and such...) would be sold at a profit, before moving to another country. This of course leading to deep-rooted abandonment issues (not from the Kennedy boys as much as their toys).
The Kennedy boys (of which there are three) couldn't look more different. It is apparent that the coupling of two people of such different ethnic backgrounds, can produce in fact...just about anything. So different are the boys that when you view a family portrait; it looks like 'people just Gathered...' This does not stop the deep-seeded affection which has blossomed through the years, nor has it prevented the Kennedy's from developing strong familial traditions during the course of re-settling.
Comedian Andrew Kennedy lives with his wife and two young sons in their Connecticut home. The house is about an hour from New York City (barring any nasty 'deer' incident) where comedian Andrew Kennedy currently performs weekly as a headliner at all the major clubs.
Comedian Andrew Kennedy just returned from touring in Holland (wonderful grasp of the english language there...the US should take note) and will appear in Theaters later this summer in a movie titled "Manhattan Comedy Night". comedian Andrew Kennedy is the headliner in this film which follows five New York comics through their performances in a New Jersey theater ( the comics are from New York, the theater is in Morristown, NJ...) comedian Andrew Kennedy can also can be seen on Comedy Central, BET, Univision and an assortment of independent films which will undoubtedly come back to haunt him.
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Whitey Board 7.5" x 7" Whiteboard
Introducing the card-size foldable whiteboard that expands to desk-size. Jotting down notes whether by yourself or with a group, has never been easier, or more portable. Each foldable whiteboard comes in a convenient, easy-to-carry note card size. It can then be unfolded to a variety of sizes. Never again be without a whiteboard wherever you are or whenever you need one. Once you're though, simply refold the board to its original size and place in a shirt or pants pocket, a purse or backpack for easy portability. Our foldable whiteboard gives a whole new meaning to taking notes.
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WhiteyBoard was born out the necessity to facilitate, create, and collaborate at a cost-effective rate. Developed by a college student Saachi Cywinski when the library got too crowded and he couldn't find a big whiteboard for his dorm that didn't break the bank. We've now made the numerous benefits of dry-erase more accessible and affordable than ever. What was in the past confined to conference rooms and lecture halls is now readily available to the everyday consumer. It's a modern solution that is super easy to install and delivers stunning dry-erase performance.Whitey Board 7.5" x 7" Whiteboard
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The Thief and the Cobbler
The Thief and the Cobbler | |
An unreleased poster made near the end of the film's production, before it was taken from Richard Williams.
Directed by | Richard Williams Los Angeles production: Fred Calvert |
Produced by | Richard Williams Imogen Sutton Gary Kurtz (mid-1980s) Los Angeles production: Fred Calvert Bette L. Smith |
Written by | Richard Williams Margaret French |
Starring | See voice cast |
Narrated by | Felix Aylmer (original version) |
Music by | Original version: David Burman Peter Shade David Cullen Released versions: Robert Folk |
Cinematography | John Leatherbarrow |
Edited by | Peter Bond |
company |
Distributed by | Majestic Films (Princess) Miramax Family Films (Arabian) Miramax Family Films/Lionsgate Home Entertainment (Arabian UK release) |
Release dates
Running time
91 minutes (Workprint) 80 minutes (Princess) 72 minutes (Arabian) |
Country | United Kingdom |
Language | English |
Budget | $28 million[1] |
Box office | $669,276[2] |
The Thief and the Cobbler is a British animated fantasy film directed, co-written and co-produced by Canadian animator Richard Williams. The film is famous for its animation and its long, troubled history: Williams worked for 28 years on the project. Beginning production in 1964, Williams intended The Thief and the Cobbler to be his masterpiece, and a milestone in the art of animation. Due to independent funding and its complex animation, The Thief and the Cobbler was in and out of production for over two decades. As several animators from the Golden Age of animation were involved, the development of the film also played a significant role in preserving the knowledge and skill of animation for the newer generation of animators.[3]
After his success as animation director on Who Framed Roger Rabbit, Williams signed a deal in 1988 to have Warner Bros. finance and distribute the film.[4] However, negotiations broke down when production went over budget and behind schedule and Williams was unable to complete the film on time. As Warner Bros. later pulled out, a completion bond company assumed control of The Thief and the Cobbler and had it finished by producer Fred Calvert without Williams's involvement, and in a very different, almost unrecognizable form. In the process, Calvert completely re-edited the film, removing many of Williams's scenes and adding songs and voice-overs that he felt would make it more marketable. The new animation produced under Calvert was not up to Williams's standards. Calvert's version was released only in Australia and South Africa in 1993 as The Princess and the Cobbler. This was further reedited with additional voice-overs by Miramax in the United States in 1995 as Arabian Knight.
Over the years, people and companies including The Walt Disney Company's Roy E. Disney, have discussed restoring the film as closely as possible to its original intended version, but none of these projects have come to pass. Video copies of an unfinished workprint made during Williams's involvement in the film often circulate within animation subcircles, and this workprint gives a good idea of Williams's original intent for the film.[5] In 2006, an unofficial restoration known as The Recobbled Cut was released on the internet, intending to create a high-quality edit of the film which would mirror Williams's original intent as closely as possible. Edited by independent filmmaker Garret Gilchrist, The Recobbled Cut was revised three times gaining the attention of animation fans and artists from the film.[6] In 2013, the Academy of Motion Picture Arts and Sciences archived Richard Williams' own 35mm workprint of the film and screened a digital transfer, billed as "A Moment In Time." Williams himself appeared to break his 20-year silence about the film by participating in Q&As after the screening. What survives of Williams's original vision for his unfinished film has given the film a legendary status among animation professionals and fans, who consider it a cult film and every bit the masterpiece it was intended to be. Williams himself acknowledged the film's rehabilitated reputation, thanks to fan projects like The Recobbled Cut and a 2012 documentary of the film's production, Persistence of Vision.[7]
With The Thief and the Cobbler being in production from 1964 until 1995, a total of 31 years, it surpasses the 20-year Guinness record[8] by Tiefland (1954), eventually having the longest production time for a motion picture of all time. Upon release, the film was the final appearances of Sir Anthony Quayle, who died in 1989, and Vincent Price, died in 1993.
- 1 Plot
- 2 Voice cast
- 3 Production history
- 3.1 Development and early production on Nasrudin (1964–1972)
- 3.2 Nasrudin becomes The Thief and the Cobbler
- 3.3 Prolonged production (1972–1986)
- 3.4 The Thief gains financial backing
- 3.5 Beginning on full production (1989–1992)
- 3.6 Richard Williams loses control of the film (1992)
- 3.7 Production under Fred Calvert (1992–1993)
- 4 Releases
- 5 Reception
- 6 See also
- 7 References
- 8 External links
The Thief and the Cobbler (1992 workprint)[edit]
The film opens with a narrator describing a prosperous city called the Golden City, ruled by the sleepy King Nod and protected by three golden balls atop its tallest minaret. According to a prophecy, the city would fall to a race of warlike, one-eyed monsters, known as "one-eyes", should the balls be removed, and could only be saved by "the simplest soul with the smallest and simplest of things". Living in the city are the good-hearted cobbler Tack, named for the ubiquitous pair of tacks held in his mouth, and a nameless, unsuccessful yet persistent thief. Both characters have no dialogue.
When the thief invades Tack's house, the two fight and stumble outside, causing Tack's tacks to fall onto the street. Zigzag, King Nod's Grand Vizier, steps on one of the tacks and orders Tack arrested while the thief escapes. Tack is brought before King Nod and his daughter, Princess Yum-Yum. Before Zigzag can convince Nod to have Tack executed, Yum-Yum saves Tack by breaking one of her shoes and ordering Tack to fix it. 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 notices the golden balls atop the minaret and decides to steal them. After breaking into the palace through a gutter, the thief 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 dungeon.
The next morning, Nod has a vision of the Golden City's destruction by the one-eyes. While Zigzag tries to convince Nod of the kingdom's security, the thief steals the balls after several failed attempts, only to lose them to Zigzag's minions. Tack escapes from his cell using his cobbling tools during the ensuing panic. Nod notices the balls' disappearance after being warned of the one-eyes by a soldier mortally wounded by them. Zigzag attempts to use the stolen balls to blackmail the king into letting him marry Yum-Yum. When Nod refuses, Zigzag defects to the one-eyes and gives them the balls instead.
Nod sends Yum-Yum, her nurse, and Tack to ask help from a "mad, holy old witch" in the desert. They are secretly followed by the thief, who hears of treasures on the journey but fails in stealing any. In the desert, they discover a band of dimwitted brigands, led by Chief Roofless, whom Yum-Yum recruits as her bodyguards. The protagonists reach the hand-shaped tower where the witch lives, and, after the witch kills herself, learn that Tack is prophesied to save the Golden City. The witch also presents a riddle: "Attack, attack, attack! A tack, see? But it's what you do with what you've got!" before destroying the entire tower with a storm cloud.
The protagonists return to the Golden City to find the one-eyes' massive war machine approaching. Remembering the witch's riddle, Tack shoots a single tack into the enemy's midst, sparking a Goldberg-esque chain reaction to destroy the entire one-eye army and One-Eye himself is crushed by his slave girls for his using them as furniture. Zigzag tries to escape, but falls into a pit where he is consumed by alligators and his mistreated pet vulture, Phido, finishes him off by tearing off and swallowing his head. The thief, avoiding many deathtraps, steals the golden balls from the collapsing machine, only to have them taken from him by Tack. With peace restored and the prophecy fulfilled, the city celebrates as Tack and Yum-Yum marry. Tack speaks one line – "I love you." This was intended to be spoken by Sean Connery, although the line was never recorded and was instead spoken by a still as-of-yet unknown third party. The story ends with the thief stealing its reel of film and running away.
Changes made in The Princess and the Cobbler (1993, Majestic Films)[edit]
The version by Fred Calvert is considerably different from Williams's workprint. Four songs have been added – the film originally had none. Many scenes have been cut: These include the thief attempting to steal various objects along with evading capital punishment for it, and the subplot wherein Zigzag tries to feed Tack to Phido. Also removed are any references to the "bountiful maiden from Mombassa", whom Zigzag gives to King Nod as "a plaything" in the workprint. Tack, almost mute in the original, speaks many times in the film and narrates most scenes in past tense: The original had narration only in the beginning by a voice-over. Some subplots have been added; In one, Yum-Yum is tired of living a life of "regal splendor". In another subplot, the Nanny scolds Yum-Yum for liking a lowly cobbler. Also, there are several lines of alternate or removed dialogue.
Changes made in Arabian Knight (1995, Miramax)[edit]
The Miramax version includes all changes made in The Princess and the Cobbler. In addition, several previously mute characters are given voices, most notably the thief (as Tack explains in this version, the thief is "a man of few words, but many thoughts"). The film is also given an underlying message about the importance of self-confidence, as Tack begins the film as shy and passive, but is forced to assert himself and becomes braver as time goes on.
The Golden City is named as Baghdad. Most scenes featuring the One-eye's slave women have been removed, although he can still be seen sitting on them. The scene where the Mighty One-eye dies has been removed.
The ending is entirely recut. At the end, Tack becomes Prince and the first Arabian Knight. The song "It's So Amazing" has been removed. During the wedding, the thief attempts to steal the balls again. Tack ends the story by saying: "So next time you see a shooting star, be proud of who you really are. Do in your heart what you know is right, and you too shall become an Arabian Knight." Tack also mentions that the thief eventually was put in jail for years but becomes the Captain of the Guards and the king even allows him to steal one last thing which explains why he took the end sign as well as the entire film.
Changes made in The Thief and the Cobbler: The Recobbled Cut (2006, 2007, 2013)[edit]
Garrett Gilchrist's restorations mostly follow Richard Williams's workprint very closely, at least in their intent, using most of its original audio track and editing structure. In order to present a more complete film, Gilchrist added additional music (some from Fred Calvert's version) and sound effects, and also included finished footage that does not appear in a finished state in the workprint, whether taken from Calvert's versions or from other rare sources. Most of the story changes made by Fred Calvert and Miramax are not present, but it does include a few minor Calvert-only scenes or alterations, either as a side effect of using Calvert's footage for a major video source or because Gilchrist felt these scenes were useful to the storyline. For this reason, Gilchrist does not refer to his edit as a "Director's Cut."[12] The 2013 HD restoration is known as "The Recobbled Cut Mk 4," and took over two years to reconstruct. Some additional artwork and scenes were created for this presentation.
Voice cast[edit]
Character | Original version (The Thief and the Cobbler) |
Allied Filmmakers version (The Princess and the Cobbler) |
Miramax version (Arabian Knight) |
Zigzag the Grand Vizier | Vincent Price | Vincent Price | Vincent Price |
Tack the Cobbler | Unknown (Only one line)a | Steve Lively | Matthew Broderick (Speaking) Steve Lively (Singing, uncredited) |
Narrator | Felix Aylmer | Steve Lively | Matthew Broderick |
Princess Yum-Yum | Sara Crowe | Bobbi Page Sara Crowe (One line, uncredited)b |
Jennifer Beals (Speaking) Bobbi Page (Singing) |
The Thief | Unknown (Never speaks)c | Ed E. Carroll | Jonathan Winters |
King Nod | Anthony Quayle | Clive Revill Anthony Quayle (Speech scene, uncredited)d |
Clive Revill Anthony Quayle (Speech scene, uncredited)d |
Princess Yum-Yum's Nurse | Joan Sims (Unconfirmed) | Mona Marshall | Toni Collette |
Mad and Holy Old Witch | Joan Sims | Mona Marshall Joan Sims (Some lines)e |
Toni Collette |
Chief Roofless | Windsor Davies | Windsor Davies | Windsor Davies |
Mighty One-Eye | Chris Greener | Kevin Dorsey | Kevin Dorsey |
Phido the Vulture | Donald Pleasence | Donald Pleasence | Eric Bogosian |
Dying Soldier | Clinton Sundberg | Clinton Sundberg | Clinton Sundberg |
Goblet | Kenneth Williams | Kenneth Williams | Kenneth Williams |
Tickle | Kenneth Williams | Kenneth Williams | Kenneth Williams |
Gofer | Stanley Baxter | Stanley Baxter | Stanley Baxter |
Slap | Stanley Baxter | Stanley Baxter | Stanley Baxter |
Dwarf | George Melly | ||
Hoof | Eddie Byrne | Eddie Byrne | Eddie Byrne |
Hook | Thick Wilson | Thick Wilson | Thick Wilson |
Goolie | Frederick Shaw | Frederick Shaw | Frederick Shaw |
Maiden from Mombassa | Margaret French | ||
Laughing Brigand | Richard Williams (Uncredited) | Richard Williams (Uncredited) | Richard Williams (Uncredited) |
The 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 |
Joss Ackland (Uncredited) Peter Clayton Geoff Golden Derek Hinson Declan Mulholland Mike Nash Tony Scannell Dermot Walsh Ramsay Williams |
Singers for the Brigands | Randy Crenshaw Kevin Dorsey Roger Freeland Nick Jameson Bob Joyce Jon Joyce Kerry Katz Ted King Michael Lanning Raymond McLeod Rick Charles Nelson Scott Rummell |
Randy Crenshaw Kevin Dorsey Roger Freeland Nick Jameson Bob Joyce Jon Joyce Kerry Katz Ted King Michael Lanning Raymond McLeod Rick Charles Nelson Scott Rummell |
"Am I Feeling Love?" pop singers | Arnold McCuller Andrea Robinson |
Arnold McCuller Andrea Robinson |
Additional voices | Ed E. Carroll Steve Lively Mona Marshall Bobbi Page Donald Pleasence |
^a According to Richard Williams, Sean Connery was going to record Tack's one line, but never showed up at the studio, so the line was instead performed by a friend of his wife's.
^b While Yum-Yum's dialogue was mostly re-voiced by Bobbi Page for the Allied Filmmakers version, one line of Crowe's dialogue is retained when Yum-Yum throws her pear at Zigzag in disgust during the polo game.
^c In both of the 1992 workprints, the thief is heard making short 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 mostly re-dubbed by Revill in the re-edited versions of the film by Allied Filmmakers and Miramax, Quayle's uncredited voice can still be heard for an entire scene when King Nod gives a speech to his subjects.
^e Sims' voice for the Witch was mostly re-dubbed by Marshall, but a few lines spoken by Sims were retained when she first fully materializes and when she receives her chest of money all the way up to the part when she's in a basket lighting a match to the fumes.
Hilary Pritchard was initially cast as Yum-Yum and is listed in 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 Mombassa, but the workprint features co-writer Margaret French as the Maiden.
Catherine Schell would have played Princess Meemee, the sister of Princess Yum-Yum, and Thick Wilson played the enchanted ogre prince "Bubba." Both characters were dropped in 1989 at the request of Warner Bros.
The widely bootlegged VHS workprint differs somewhat from the later May 13, 1992 workprint, screened by Richard Williams in 2013 and 2014 as "The Thief and the Cobbler: A Moment in Time," although they are similar overall.[13]
Production history[edit]
Development and early production on Nasrudin (1964–1972)[edit]
In 1964, Richard Williams, a Canadian animator living in the United Kingdom, was running an animation studio assigned to animate commercials and special sequences for live-action films. Williams illustrated a series of books by Idries Shah,[9] which collected the tales of Mulla Nasruddin.[1] Nasruddin was a philosophical yet "wise fool" of Near Eastern folklore. Williams began development work on a film based on the stories, with Shah and his family championing production.[1][14] Production took place at Richard Williams Productions in Soho Square, 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."[1]
Williams took on television and feature-film title projects in order to fund his project, and work on his film progressed slowly. Williams hired legendary Looney Tunes animator, Ken Harris, as a chief animator on the project,[14] which was then entitled The Amazing Nasrudin. Designer Roy Naisbitt was hired to design backgrounds for the film,[14] and promotional art showed intricate Indian and Persian designs.[1] In 1970, the project was re-titled The Majestic Fool. For the first time, a potential distributor for the independent film was mentioned: British Lion Film Corporation. The International Film Guide noted that the Williams Studio's staff had increased to forty people for the production of the feature.[1] Williams gained further attention when he and the studio produced a TV adaptation of A Christmas Carol for Chuck Jones, which won the studio an Academy 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 Price was hired to perform the voice of the villain, Anwar (later renamed "Zigzag"),[1] originally assigned to Kenneth Williams. Sir Anthony Quayle was cast as King Nod. Price was hired to make the villain more enjoyable for Williams, as he was a great fan of Vincent Price's work and ZigZag was based on two people Williams hated.[11]
Nasrudin becomes The Thief and the Cobbler[edit]
Idries Shah demanded 50% of the profits from the film, and Idries Shah's sister Amina Shah, who had done some of the translations for the Nasrudin book, claimed that she owned the stories.[9][15] By 1972, Williams and the studio had animated around three hours of footage for Nasrudin, according to composer Howard Blake. Blake insisted to Williams that while he thought the footage was excellent, he needed to structure the film and his footage into a three-act plot.[14] The Shah family had a bookkeeper that wasn't keeping track of the studio's accounting, so Williams felt that producer Omar Shah had been embezzling financing from the studio for his own purposes.[14] As a result, Williams had a falling-out with the Shah family. Paramount withdrew a deal that they'd been negotiating.[15] Williams was forced to abandon Nasrudin, as the Shah family took the rights of Williams' illustrations. However the Shah family allowed Williams to keep characters he designed for the books and the movie, including a thief character that was Williams' favorite.[14]
In a promotional booklet released in 1973, Williams made a public announcement about the status of his project:
Nasrudin was found to be too verbal and not suitable for animation, therefore Nasrudin as a character and the Nasrudin stories were dropped as a project. However, the many years work spent on painstaking research into the beauty of Oriental art has been retained. Loosely based on elements in the Arabian Nights stories, an entirely new and original film is now the main project of the Williams Studio. Therefore any publicity references to the old character of Nasrudin are now obsolete.[1]
Williams decided to write a new script and Howard Blake wrote a script called Tin Tack in 1973. Blake's treatment incorporated a clumsy cobbler named Tack and retained Williams' thief character from Nasrudin.[14] While the story's focus and tone was shifted and simplified, Williams' characters from Nasrudin, including a sleepy king and an evil vizier originally named Anwar, all moved over to Tin Tack. Many scenes that did not include Nasrudin himself were also retained.[1]
Throughout the 1970s, Williams would further re-write the script with Margaret French, his wife at the time.[14] While Williams would continue to simplify the dialogue, the script would not change structurally. The scene numbers of the drafts by Margaret French correspond to those during animation production in 1992.[16] Williams later began promising his new film as a "100 minute Panavision animated epic feature film with a hand-drawn cast of thousands."[1]
The characters were renamed at this point. In the Nasrudin years, Phido's original name was "Brutay", making Zigzag's last words "You, too, Phido?" a reference to the famous "Et tu, Brute?". Zigzag speaks mostly in rhyme throughout the entire film, while the other characters speak normally (the thief and Tack do not speak at all, except for one line for Tack at the very end). In an interview with John Canemaker in the February 1976 issue of Millimeter, Richard Williams stated that "The Thief is not following the Disney route." He went on to state that the film would be "the first animated film with a real plot that locks together like a detective story at the end," and that, with its two mute main characters, Thief was essentially "a silent movie with a lot of sound."[1] Silent comedies, like films from Charlie Chaplin and Harry Langdon, were already an inspiration on Nasrudin and carried over to the new film. Tack was modeled after said silent film stars.[14]
In Williams' script, the climax was even longer (and slightly different) than in the workprint or final films: After the collapse of the War Machine, Zigzag, at Mighty One-Eye's goading, conjures a larger-than-life Oriental dragon (which dwarfed even the War Machine), which is about to flatten Tack, who once again trusts on his tack to bring down the dragon, revealing it to be nothing more than an inflatable balloon (filled with acrid fumes, which permeates the atmosphere and makes everyone cough, even Mighty One-Eye; That can still be heard in the workprint). Zigzag is pursued by an enraged One-Eye just before meeting his own doom (the same one as in the workprint.) Although there were some production designs of the scene with the Oriental dragon, it was never made, as it was found to be too difficult to animate.[17]
Prolonged production (1972–1986)[edit]
In 1974, Richard Williams and the studio were looking for financing for the just-re-titled The Cobbler, The Thief, and the Grand Vizier. However a recession forced the studio to focus primarily on various TV commercial, TV special, and feature film title assignments. Leaving Williams' movie to be worked on as a side project.[14] Because Williams had no money to have a full team working on the film, and due to the film being a "giant epic", production dragged for decades.[10] Ken Harris was still the chief animator on the film, as he had been since Nasrudin, and Williams would assign him sequences while he was supervising production on commercials.[14] To save money, scenes were kept in pencil stage without putting it into colour, as advised by Dick Purdum: "Work on paper! Don't put it in colour. Don't spend on special effects. Don't do camera-work, tracing or painting... just do the rough drawings!"[18] Williams was planning to later finish these sequences when the financing would come in.
Upon seeing Disney's The Jungle Book,[3] Williams realised that he was not very skilled in animating and that he needed to actually learn the art, if he wanted to hold the audience's interest:
I was a graphic artist in animation … thought I was ever so clever, until one day I realized I didn't know a damned thing. I couldn't suspend disbelief for more than 15 to 20 minutes. I thought I had better go and study 'how you do it'. So we did … and it was a nasty shock to realize when you thought you were wonderful and were covered with awards, that you didn't know how to do it, at all.[18]
Williams hired veteran animators from the golden age of animation, such as Art Babbitt, Emery Hawkins and Grim Natwick to work in his studio in London and teach him and his staff:[11][19] Williams learned also from Milt Kahl, Frank Thomas, Ollie Johnston and Ken Anderson at Disney, to whom he made yearly visits.[20] Williams would later pass their knowledge to the new generation of animators.[3] Williams also allowed animators like Natwick and Babbitt to work on the studio assignments, such as the 1977 feature Raggedy Ann & Andy: A Musical Adventure.
As years passed, the project became more ambitious. Williams said that "the idea is to make the best animated film that has ever been made – there really is no reason why not."[10] Williams envisioned the film to feature very detailed and complex animation, the likes he thought no other studio would attempt to achieve.[4][5][9][14] Additionally, much of the film's animation would be photographed "on ones", meaning that the animation runs at full 24 frames per second, as opposed to the more common animation "on twos" in twelve frames per second.[4][9][15]
British illustrator Errol Le Cain created inspirational paintings and backgrounds, setting the style for the film.[21] During the decades that the film was being made, the characters were redesigned several times, and scenes were reanimated. The Mad Holy Old Witch was designed as a caricature of animator Grim Natwick,[22] by whom she was animated. After Natwick passed away, Williams would animate the Witch himself. Animation drawings of the Witch were later used in Williams's 2000 book The Animator's Survival Kit.
In 1978, a Saudi Arabian prince named Mohammed Feisal became interested in The Thief and agreed to fund a ten-minute test sequence, with the budget of $100,000. Williams chose the complex, penultimate sequence of the Thief in the War Machine for the test. The studio missed two deadlines, and the scene was completed in the end of 1979 for $250,000. Feisal, despite his impression with the finished scene,[15] backed out of the production because of missed deadlines and budgetary overruns.[9][14]
The Thief gains financial backing[edit]
In the 1980s, Williams put together a 20-minute sample reel of The Thief, which he showed to Milt Kahl, friend and one of Williams' animation mentors, at Skywalker Ranch in Marin County.[23] Star Wars producer Gary Kurtz even worked with Williams to attempt to get financing in the mid-1980s, Kurtz later left The Thief. In 1986, Williams met producer Jake Eberts, who began funding the production through his Allied Filmmakers company and eventually provided USD$10 million of the film's $28 million budget.[1][24] Allied's distribution and sales partner, Majestic Films, began promoting the film in industry trades, under the working title Once....
At this time, Eberts encouraged Williams to make changes to the script. A subplot involving the characters of Princess Mee-Mee, Yum-Yum's twin sister played by Catherine Schell, and the Prince Bubba, who had been turned into an ogre, and was played by Thick Wilson.[25] Both characters were deleted and some of Grim Natwick's animation of the Witch had to be discarded. Also deleted was Ken Harris' sequence of a Brigand dreaming of a Biblical temptress.[1]
Steven Spielberg saw the footage of The Thief and was impressed enough that he, with film director Robert Zemeckis, asked Williams to direct the animation of Who Framed Roger Rabbit.[4][9][15][17] Williams agreed in order to get financing for The Thief and the Cobbler and get it finally finished. Roger Rabbit was released in 1988, and became a blockbuster. Williams won two Oscars for his animation and contributions to the visual effects. Although Roger Rabbit ran over-budget before animation production began, the success of the film proved that Williams could work within a studio structure and turn out high-quality animation on time and within budget.[1] Disney and Spielberg told Williams that in return for doing Roger Rabbit, they would help distribute his film.[26] This plan did not come to pass. Disney began to put their attention more in its own feature animation, while Spielberg instead opened a rival feature animation studio in London.
Because of his success, Williams and Warner Bros. negotiated a funding and a distribution deal for The Thief and the Cobbler, which included a $25 million marketing budget.[14] Williams' current wife, Imogen Sutton, suggested him to finance The Thief with European backers, citing his appreciation of foreign films. Richard insisted he could produce the film with a major studio.[27] Williams and Warners signed a negative pickup deal in late 1988, and Williams also got some financial aid from Japanese investors.[9][15] Williams himself later stated, "In hindsight we should have just gone to Europe, take another five years, made it on our own, and then go to a distributor and get people who find it as a novelty."[28]
Beginning on full production (1989–1992)[edit]
With the new funding, the film finally got into full production in 1989. Williams scoured the art schools of Europe and Canada to find talented artists.[17] It was at this point, with almost all of the original animators either dead or having long since moved on to other projects, that full-scale production on the film began, mostly with a new, younger team of animators, including Richard Williams's own son Alexander Williams. In a 1988 interview with Jerry Beck, Williams stated that he had two and a half hours of pencil tests for Thief and that he had not storyboarded the film as he found such a method too controlling.[1] Vincent Price originally recorded his dialogue from 1967 to 1973. Williams recorded further dialogue with Price for the 1990 production, but Price's age and illness meant some lines remained unfinished.
Williams had before experimented with shots animated by hand to move in three dimensions with characters, including several shots in Roger Rabbit's opening sequence. With The Thief, Williams began planning several sequences to feature a greater use of this animation technique, including Tack and the Thief's palace chase – this was achieved all without computer-generated imagery. According to rumors, Williams approached The Thief with a live-action point of view coming off of Roger Rabbit. Williams was creating extra footage and extending sequences to trim down later and that he would have edited down the workprint he later assembled.[14][29]
Warner Bros. had also signed a deal with The Completion Bond Company to ensure the studio would be given a finished film, if not they would finish The Thief under their management.[14] Williams, dedicated but pressured, was taking his time to ensure sequences would look perfect. Animators were working overtime, sometimes sixty hours a week required, to get the film done. While Williams encouraged the best out of people, discipline was harsh and animators were frequently fired.[14] "He fired hundreds of people. There's a list as long as your arm of people fired by Dick. It was a regular event." cameraman John Leatherbarrow recalls, "There was one guy who got fired on the doorstep." Williams was just as hard on himself: "He was the first person in the morning and the last one out at night," recalls animator Roger Vizard.[17] Funders pressured Williams to make finished scenes of the main characters for a marketing trailer. The final designs were made for the characters at this time. The shot of Princess Yum-Yum in the trailer was traced from the live-action film Muqaddar Ka Sikander[30] – her design was slightly changed for the rest of the film, resulting her to be slightly "off-model" in the scene.[25] Movement 1 of the symphonic suite Scheherazade by Nikolai Rimsky-Korsakov was used in the trailer.
Richard Williams loses control of the film (1992)[edit]
The film was not finished by a 1991 deadline that Warner originally imposed upon Williams;[17] the film had approximately 10 to 15 minutes of screen time to complete, which at Williams's rate was estimated to take "a tight six months" or longer.[5][9][16] From Warner Bros.' perspective, the animation department at the studio had put their enthusiasm towards high-quality television animation but had little confidence towards backing feature animation. Warner Bros. had already released The Nutcracker Prince, a Canadian-produced animated feature, in 1990 to almost no promotion. Warner's head of animation Jean MacCurdy didn't know anything about animation, as she admitted to an artist that had worked for Williams while she was seeing footage of The Thief.[14] Another animator working in Warner Bros. salvaged almost 40 minutes of 35mm dailies footage from MacCurdy's trash.[31] Meanwhile, Walt Disney Feature Animation had begun work on Aladdin, a film which bore striking resemblances in story, style 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[32][33]
The Completion Bond Company asked television animation producer Fred Calvert to do a detailed analysis of the production status.[5] He had already traveled to Williams's London studio several times to check on the progress of the film, and his conclusion was that Williams was "woefully behind schedule and way over budget."[1] Williams did indeed have a script, according to Calvert, but "he wasn't following it faithfully." People from the Completion Bond Company, and Calvert, were visiting the studio more often towards the end. Williams was giving dailies of sequences that were finished or scrapped since the 1980's, hoping to give an indication of progress to Warner Bros..[14] Williams was asked to show the investors a rough copy of the film with the remaining scenes filled in with storyboards in order to establish the film's narrative.[9][17] Williams had avoided storyboards up to this point, but within two weeks he had done what the investors had asked.[17] Williams made a workprint which combined finished footage, pencil tests, and storyboards which covered the 10–15 minutes left to finish.[5] Animators found out that they had completed more than enough footage for an 85 minute feature, but they had yet to finish certain sequences involving the central story.[14]
In 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.[27] The studio lost confidence and backed out of the project. The Completion Bond Company seized control of the film, ousting Williams from the project.[9][17] Jake Eberts, who at this point was an executive producer, also abandoned the project.[5] Additionally, according to Richard Williams himself, the production had lost a source of funding when Japanese investors pulled out due to the recession following the Japanese asset price bubble.[34] Fans cite this decision as an example of a trend of animated films being tampered with by studio executives.[35]
Production under Fred Calvert (1992–1993)[edit]
Sue Shakespeare of Creative 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 liked Shakespeare's proposal, but her bid was rejected by Completion Bond in favor of a cheaper one by Fred Calvert.[36] Calvert was assigned by the Completion Bond Company to finish the film as cheaply and quickly as possible. Calvert, previously a producer of extremely low budget television animation, was not a fan of Williams or of the film. "I really didn't want to do 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 way to try and preserve something and at least get the thing on the screen and let it be seen."[24] However, animators who were working with Williams felt that Calvert had happily seen an opportunity and taken it.
Editor Harry Keramidas was hired to look at Williams's film and cut it down, over a period of about three weeks.[37] Fred Calvert's changes to the film were much more extreme. His version would be called The Princess and the Cobbler, adding songs, rewriting all the dialogue, and omitting vast amounts of footage already animated by Williams. Calvert didn't like that he was cutting a large amount of beautiful animation, but was doing so to better pace the film he thought. Calvert said he saw 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."[1] Some of the scenes of the Thief that were cut by Calvert were included as part of Calvert's end credits, including a sequence with the Thief on springs already cut by Williams.
Steve Lively recorded a voice for the previously mute character of Tack, and several other characters that already had vocal tracks prepared for them were re-voiced. Four songs were added: "She Is More", "Am I Feeling Love", "Bom Bom Bom Beem Bom (The Brigand Song)" and "It's So Amazing". Adult content and innuendo was also toned down: In the scene where the dying messenger warns the king, the spike (from the flagpole) sticking out of his chest was removed. References to The King's sexual interest in a Maiden from Mombassa were also removed.
It took Calvert 18 months to finish the film.[17] The new scenes were produced on a very low budget, with the animation being produced by freelance animators in Los Angeles and former Williams animators working with Neil Boyle at Premier Films in London. Sullivan Bluth Studios and Kroyer Films animated two of the song sequences.[17][1] The ink and paint work was subcontracted to Wang Film Productions in Taiwan and outsourced to Hungary, Thailand, and Korea.[38] The end results have been widely seen as "obviously and pitifully inferior" in quality to Williams's original scenes and did not reflect Williams' vision.[4][5][39]
After the movie was completed, Allied Filmmakers, along with Majestic Films, reacquired the distribution rights from the Completion Bond Company. Calvert's version of the film was distributed in Australia and South Africa as The Princess and the Cobbler.
In December 1994, Miramax Films, then a subsidiary of Disney and had already released Aladdin first, bought the rights in North America. Until Miramax agreed to distribute the film, it was refused by many other American distributors. "It was a very difficult film to market, it had such a reputation," Calvert recalls. "I don't think that they were looking at it objectively."[17] Originally planning to release the Princess and the Cobbler version, Harvey Weinstein decided to recut the film even further[40] and released their version entitled Arabian Knight. This version featured newly written dialogue by Eric Gilliland, Michael Hitchcock, and Gary Glasberg, and a celebrity voice cast that was added months before the film's release.
The new dialogue featured various references to Disney and Aladdin (for example; Tack narrates, "Who needs a Genie when you've got a tack?"), almost making this film look like a cheap imitation. The new voice cast included Matthew Broderick as Tack and Jennifer Beals as Yum-Yum. Jonathan Winters was also cast as the thoughts of the Thief, while before the Thief was mute in Calvert's version. The Old Witch sequence was almost entirely removed, as was most of the climactic battle sequence which served as the film's centerpiece.
Jake Eberts found that "It was significantly enhanced and changed by Miramax after they stepped in and acquired the domestic -distribution- rights." His comments on record, claiming that these altered versions were superior to Williams's version, indicate that Eberts had also lost confidence in Williams when The Completion Bond Company seized the film.[5][24] Arabian Knight was quietly released by Miramax on 25 August 1995. It opened on 510 screens,[1] and grossed US$319,723[17][24] (on an estimated budget of $24 million) during its theatrical run.
Home media[edit]
The Miramax version of the film was to be released on VHS in December 1995, months after its theatrical release. But it was eventually released on February 18, 1997, re-titled as The Thief and the Cobbler.[5] A widescreen laserdisc was also released. The first time that the Miramax version of the film appeared on DVD was in Canada in 2001 as a giveaway promotion in packages of Kellogg's cereal. This pan and scan DVD was released through Alliance Atlantis, which distributes many of Miramax's films in Canada. It came in a paper sleeve and had no special features, other than the choice of English or French language tracks.[41] The Miramax version was first released commercially on DVD, in Japan only, in 2002. Released by the Daiichi Kosho Company, this release used a widescreen copy of Miramax's Arabian Knight version contained English and Japanese language tracks.
The "Princess and the Cobbler" edit was released on a pan and scan DVD in Australia in 2003 by Magna Pacific, according to some sites; however, it is severely cropped, and there are no additional features on the DVD.
A commercially-released North American DVD of the Miramax version was released on March 8, 2005, in pan-and-scan format. This DVD was re-released by The Weinstein Company on 21 November 2006. Although the information supplied to retailers such as Amazon.com by retail distribution companies said that it would be a widescreen "collector's edition", this DVD was in fact the old 2005 pan-and-scan DVD in fancy packaging. The 2006 DVD has been found by most reviewers to be unsatisfactory, with the image quality being compared to "a VHS/Beta tape rather than a DVD... and one that's seen better days".[42][43] The Digital Bits gave it an award for being the worst standard-edition DVD of 2006.[44] Although the second DVD of the Miramax version of this film was the same DVD as the first one; this DVD featured trailers and promos for Weinstein Company-produced family films, including Hoodwinked and Arthur and the Invisibles.
The Miramax version was re-released on DVD on 3 May 2011 by Echo Bridge Home Entertainment, an independent DVD distributor who made a deal to release 251 titles from the Miramax library until the deal expired in 2014.[45] This version was also released on DVD in the United Kingdom on 13 February 2012.[46] The film had previously never been released in any form there,[47] where the majority of the production took place. In 2014, Lionsgate, who acquired the 251 Miramax titles from Echo Bridge, planned to re-release the film on DVD once again on October of that year, but thus far this release has not happened.[48]
The Miramax version of the film was a commercial failure.[40] Film website Rotten Tomatoes, which compiles reviews from a wide range of critics, gave the film a score of 40%.[49] Carn James of New York Times criticised the songs sung by the princess, calling the lyrics "horrible" and the melodies "forgettable", though he did praise Williams's animation as "among the most glorious and lively ever created".[33] Animation historian Jerry Beck felt that the added voiceovers of Jonathan Winters and Matthew Broderick were unnecessary and unfunny, and that Fred Calvert's new footage didn't meet the standards of the original Williams scenes.[40] However, in 2003, the Online Film Critics Society ranked the film as the 81st greatest animated film of all time. In addition, the film won the 1995 Academy of Family Films Award.[50]
Alex Williams, son of the original director, criticized changes made by Calvert and Miramax, called the finished film "more or less unwatchable" and found it "hard to find the spirit of the film as it was originally conceived".[5] For years, Richard Williams was devastated by the film's production and had never publicly discussed it since then.[51] In 2010, he did speak about The Thief and the Cobbler in an interview about his silent animated short, Circus Drawings, a project he shelved in the 1960s before he started work on the film.[52][53] Three years later, he later participated in Q&As for screenings of his 1992 workprint at the Samuel Goldwyn Theater on December 10, 2013[54] and at the BFI Southbank in London on June 1, 2014.[29] Williams also said he has never seen the Calvert and Miramax versions of the film, saying "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 then I should take a look." [55]
The Secret of Kells and Song of the Sea, two Irish-animated films that based its style on traditional native art, had The Thief and the Cobbler cited as one of their main inspirations. Tomm Moore, the director of both films, said "Some friends in college and I were inspired by Richard Williams's unfinished masterpiece The Thief and the Cobbler and the Disney movie Mulan, which took indigenous traditional art as the starting point for a beautiful style of 2D animation. I felt that something similar could be done with Irish art."[56]
Restoration attempts[edit]
Richard Williams' workprint was bootlegged, after Calvert's versions were released, and copies for years have been shared among animation fans and professionals.[5][17][40] The problem in creating a high-quality restoration is that after the Completion Bond Company had finished the film, many scenes by Williams that were removed disappeared – many of these had fallen into the hands of private parties.[38] Before losing control of the film, Williams had originally kept all artwork safe in a fireproof basement.[10] Additionally, there are legal problems with Miramax.[38]
At the 2000 Annecy Festival, Williams showed Walt Disney Feature Animation head Roy E. Disney his workprint of The Thief, which Disney liked. With Williams' support,[40] Roy Disney began a project to restore The Thief and the Cobbler.[38] He sought out original pencil tests and completed footage. Roy Disney left the Walt Disney Company in November 2003, and the project was put on hold.[40] Disney film producer Don Hahn was later made the project supervisor of the restoration. Since Roy's death in 2009, the project was once again put on hold.
In 2006, a filmmaker, artist, and fan of Williams's work named Garrett Gilchrist created a non-profit fan restoration of William's workprint, named The Thief and the Cobbler: The Recobbled Cut. It was done in as high quality as possible by combining available sources at the time, such as a heavily compressed file of Williams's workprint and better-quality footage from the Japanese DVD of Arabian Knight. This edit was much supported by numerous people who had worked on the film (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 "make it feel more like a finished film", like adding more music and replacing storyboards with some of Fred Calvert's animation.[39] 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 complex independent restoration of a film ever undertaken. This edit gained positive reviews on the Internet. Twitch Film called it "the best and most important 'fan edit' ever made".[51]
The Recobbled Cut has been revised three times in 2006, 2008, and 2013. Each version incorporated further higher-quality materials donated by animators from the film, including two rare workprints from the Fred Calvert production that contained footage not available in the released versions. The "Mark 3" version released in 2008 incorporated 21 minutes from a 49-minute reel of rare 35mm film. Garret's last version, "Mark 4", was released in September 2013 and edited in HD. "Mark 4" features about 30 minutes of the film in full HD quality, restored from raw 35mm footage which Garret edited frame by frame. Artists were also commissioned to contribute new artwork and material.[12][57][58] Gilchrist's YouTube account, "TheThiefArchive", now serves as an unofficial video archive of Richard Williams' films, titles, commercials, and interviews, including footage from the Nasrudin production. Williams said that while he hasn't seen Garrett Gilchrist's Recobbled Cut, acknowledged the role that the fan edits had played in rehabilitating the film's reputation.[59]
Academy preservation[edit]
On October 2013, Williams announced that his workprint of the film, subtitled "A Moment in Time", would be screened on December 10, 2013 in Los Angeles.[60] Williams stated that his workprint, from May 13, 1992, is now archived and digitally duplicated by the Academy of Motion Picture Arts and Sciences. "The Academy has it, it's in a "golden box" now and it's safe," Williams said.[28] The workprint, along with a selection of Art Babbitt's animation from the film, have been placed in an archive collection named "The Art Babbitt Collection".[61] A collection of artwork from The Thief is also stored in Disney's "Animation Research Library" in the Feature Animation building.
The workprint was screened at the Academy's Samuel Goldwyn Theater, on December 10th 2013, with Williams in attendance.[62] Also attending the screening were other notable animation artists, even crew from Disney's Aladdin attended the screening, including Eric Goldberg and composer Alan Menken.[63] After the screening Williams discussed the origins of the film and its production history.[64] On June 1, 2014, "A Moment in Time" was screened in London, with many of the original crew present.[29]
Persistence of Vision is a documentary by Kevin Schreck, about Richard Williams and the production of The Thief and the Cobbler, which the film calls "the greatest animated film never made." Because 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 film's lengthy production. 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 premiering in 2012 at the Vancouver International Film Festival, it has received many awards at festivals and has gotten a very positive critical reception. Williams was given a copy of the film, but he said doesn't plan on watching it.[65]
See also[edit]
Other animated movies with long production histories[edit]
- The Overcoat, an upcoming Russian animated film, in production since 1981
- Le Roi et l'oiseau, a French animated film, produced in two parts (1948–52, 1967–80), initially released in recut form, eventually finished as per director's wishes
- ^ a b c d e f g h i j k l m n o p q r s Dobbs, Mike (1996). "An Arabian Knight-mare". Animato! (35).
- ^ Arabian Knight (The Thief and the Cobbler) at Box Office Mojo
- ^ a b c Wolters, Johannes (13 January 2009). "Getting Animated About Williams's Masterclass". Animation World Network. Retrieved 21 November 2009.
- ^ a b c d e f Briney, Daniel. 21 August 2001. "The Thief and the Cobbler: How the Best Was Lost, 1968–1995" at CultureCartel. Retrieved 12 November 2006.
- ^ a b c d e f g h i j k l Williams, Alex (March 1997). "The Thief And The Cobbler". Animation World Magazine. Retrieved 9 May 2009.
- ^ http://orangecow.org/board/viewtopic.php?f=4&t=3&sid=f9084a89fe6546f7af2e0126b5ede41e
- ^ http://flipanimation.blogspot.co.uk/2014/06/pete-western-reports-on-moment-in-time.html
- ^ Robertson, Patrick. Das neue Guinness Buch Film. Frankfurt (1993), p 122, cited by J. Trimborn, p 204
- ^ a b c d e f g h i j k l Summer, Edward (1996). "The Animator Who Never Gave Up – The Unmaking of a Masterpiece.". Films In Review.
- ^ a b c d e Tom Gutteridge (director) (1988). I Drew Roger Rabbit (TV featurette).
- ^ a b c d Richard Williams and The Thief Who Never Gave Up (TV documentary). United Kingdom: Thames Television. 1982.
- ^ a b "Thieves, Cobblers, and Fan Edits: The 50-Year Odyssey of an Animated Masterpiece". Tested. 29 June 2012. Retrieved 29 September 2012.
- ^ http://orangecow.org/board/viewtopic.php?f=4&t=3&start=960#p2990
- ^ a b c d e f g h i j k l m n o p q r s t Persistence of Vision (film documentary (and DVD bonus features)). USA/UK. 2012.
- ^ a b c d e f Grant, John (2006). Animated Movies Facts, Figures & Fun. pp. 47–49. ISBN 1-904332-52-8.
- ^ a b http://orangecow.org/board/viewtopic.php?f=4&t=3&p=4787&hilit=scene+numbers#p4787
- ^ a b c d e f g h i j k l m Lurio, Eric. "Arabian Knightmare". Retrieved 9 April 2009.
- ^ a b Clark, Ken (1984). "Animated Comment – Ken Clark chats with Richard Williams". Animator magazine (11).
- ^ "The Los Angeles Times". The Los Angeles Times. 20 May 1992.
- ^ Cohen, Karl (15 February 2002). "The Animator's Survival Kit: The Most Valuable How To Animate Book You Will Ever Want To Own". Animation World Network. Retrieved 22 November 2010.
- ^ Leihe, Holger (12 December 2007). "Cobbler and Errol". THE THIEF. self-published. Retrieved 20 August 2009.
- ^ Leihe, Holger (18 January 2008). "Witch". THE THIEF. self-published. Retrieved 20 August 2009.
- ^ "Richard Williams discusses Milt Kahl". AMPASAcademy. June 9, 2010. Retrieved December 21, 2014.
- ^ a b c d Welkos, Robert W. (30 August 1995). "How This 'Thief' Became a 'Knight'". The Los Angeles Times. Retrieved 25 May 2010.
- ^ a b Leihe, Holger (14 February 2008). "Throne Room, Part 1". THE THIEF. self-published. Retrieved 20 August 2009.
- ^ James B. Stewart (2005). DisneyWar. New York City: Simon & Schuster. p. 87. ISBN 0-684-80993-1.
- ^ a b "Richard Williams BFI The Thief and the Cobbler: A Moment in Time Part One" Dec. 10th". BFI Southbank. June 12, 2014. Retrieved December 13, 2014.
- ^ a b "Richard Williams BFI The Thief and the Cobbler: A Moment in Time Part Two" Dec. 10th". BFI Southbank. June 12, 2014. Retrieved December 13, 2014.
- ^ a b c "UK screening of 'The Thief & the Cobbler: A Moment In Time'". 1 June 2014.
- ^ Leihe, Holger (14 February 2008). "Muqaddar Ka Sikander". THE THIEF. self-published. Retrieved 20 August 2009.
- ^ http://flipanimation.blogspot.ca/2012/12/the-recobbled-cut-part-2.html
- ^ "The Thief and the Cobbler review". DVD snapshot.
- ^ a b James, Caryn (26 August 1995). "The Thief and the Cobbler NY Times review". The New York Times.
- ^ Williams, Richard (2 November 2008). ASIFA-San Francisco benefit appearance, Balboa Theater, San Francisco, California.
- ^ Fenlon, Wesley. "Thieves, Cobblers, and Fan Edits: The 50-Year Odyssey of an Animated Masterpiece". Tested. Retrieved 18 October 2013.
- ^ "Letters to the Editor". ANimation World Magazine. April 1997.
- ^ http://orangecow.org/board/viewtopic.php?f=4&t=3&p=1353&hilit=keramidas#p1353
- ^ a b c d DeMott, Rick (18 August 2000). "Disney To Restore The Thief And The Cobbler To Original Version". Animation World Network. Retrieved 21 November 2009.
- ^ a b "Thief and the Cobbler: The Recobbled Cut". Cartoon Brew. 24 June 2006. Retrieved 9 May 2009.
- ^ a b c d e f Beck, Jerry (2005). "Arabian Knight". The Animated Movie Guide. Chicago Review Press. pp. 23–24. ISBN 1-55652-591-5.
- ^ Garrett Gilchrist (2006). About this film (DVD). self-published.
- ^ DVDFILE.com
- ^ Moriarty's DVD Blog! A Word About That New THIEF & THE COBBLER Disc – Ain't It Cool News: The best in movie, TV, DVD, and comic book news
- ^ King Bitsy: Other DVD Awards for 2006
- ^ Alex Ben Block (17 February 2011). "Echo Bridge to Distribute Miramax Titles on DVD, Blu-Ray". The Hollywood Reporter.
- ^ "The Thief And The Cobbler". Amazon.co.uk. Retrieved 2 June 2012.
- ^ Anthony Nield (7 February 2012). "The Thief and the Cobbler". The Digital Fix. Retrieved 4 June 2012.
- ^ http://www.amazon.com/exec/obidos/ASIN/B00LVZK0MQ/
- ^ "Tomatometer for The Thief and the Cobbler". Rotten Tomatoes. Retrieved 9 January 2007.
- ^ "Top 100 Animated Features of All Time". Online Film Critics Society. Retrieved 9 January 2007.
- ^ a b Brown, Todd (4 June 2006). "Richard Williams' Lost Life's Work Restored By One Obsessive Fan ...". Twitch. Retrieved 11 May 2009.
- ^ "onehugeeye » Richard Williams". Retrieved 11 March 2011.
- ^ Deneroff, Harvey (20 October 2010). "Richard Williams' Circus Drawings' Silent Premiere". Retrieved 11 March 2011.
- ^ http://www.oscars.org/events-exhibitions/events/2013/12/the-thief-and-the-cobbler.html
- ^ http://www.theguardian.com/film/2013/apr/19/richard-williams-master-animation
- ^ Cohen, Karl (16 March 2010). "The Secret of Kells – What is this Remarkable Animated Feature?". Animation World Network.
- ^ Gilchrist, Garrett (28 November 2012). "The Thief and the Cobbler: Recobbled Cut Mk4". Into which art happens. Retrieved 28 November 2012.
- ^ http://orangecow.org/board/viewtopic.php?f=4&t=3
- ^ http://flipanimation.blogspot.co.uk/2014/06/pete-western-reports-on-moment-in-time.html#more
- ^ Beck, Jerry (November 19, 2013). "Richard Williams to Screen his Director's Cut of "The Thief and the Cobbler" Dec. 10th". Animation Scoop. Retrieved November 22, 2013.
- ^ Academy Film Archive: Art Babbitt Collection
- ^ Academy Film Page: The Thief and the Cobbler
- ^ http://orangecow.org/board/viewtopic.php?t=3&p=2990
- ^ The First Public Screening of Richard Williams's original version of "The Thief and the Cobbler"
- ^ "Kevin Schreck, Director of "Persistence of Vision" about "The Thief and The Cobbler"" (Video). YouTube. Retrieved January 12, 2015.
External links[edit]
Wikiquote has quotations related to: The Thief and the Cobbler |
- The Princess and the Cobbler at the Internet Movie Database
- 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 Page – A website about Richard Williams's The Thief and the Cobbler with articles, clips from the workprint, pictures, and the history of the film.
- The Thief Blog – A blog where people who worked on the film recount their memories of the film's production.
- 1993 films
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- 1995 films
- 1993 animated films
- 1995 animated films
- 1990s fantasy films
- British films
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- Films directed by Richard Williams
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- Baghdad in fiction
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- Fictional professional thieves
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Multiplayer Unlocks
Battlefield 4's Online Multiplayer allows each player to unlock a number of Weapons, Gadgets, Field Upgrades, and Vehicle Upgrades. Each set of items are unlocked using a different method, but almost all of them revolve around the overall Multiplayer score.
All experience points earned in Multiplayer goes to a player's Rank. Rank mainly represents a player's dedication to BF4's Multiplayer, but Battlepacks and Assignments are also unlocked with the Rank.
See each page below for a list of unlocks in Battlefield 4's Multiplayer.
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Before Need for Speed officially burns internet rubber, PC gamers in Asia will get an early taste of what it feels like to slip behind the wheel of Need for Speed: World Online. The recently announced free-to-play online experiment will begin testing in Taiwan and Hong Kong in March, well ahead of ...
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It seems EA's long-idling racing franchise isn't destined for the scrap heap at all, as the publisher has unveiled three new Need for Speed titles across several platforms. In an interview with Gamespot, EA's veep of marketing, Kevin Munro, insists that "the new brand strategy around three specific...
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In reference to Linda's Lines, recommending tomato juice to kill skunk smell:
Heloise says to forget the tomato juice and use or mix one quart bottle of peroxide, one-fourth cup of baking soda and a few drops or tablespoon of dishwashing detergent and wash items with the mix.
It sure works for my husband. He tried it on our dog.
Smell begone.
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This is quite distressing and your granddaughter is not acting normally for her age. Has she witnessed any violence, either on TV, movies or domestic violence among any family members? Has she been treated violently? She has somehow learned that it is OK to hit and kick other kids. I am also quite concerned about her treatment of animals. Children of this age often act out violent actions which they have seen or have experienced.
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Roots 'N All reflects the contemporary roots music scene worldwide. The show features local and overseas musicians from genres as diverse as Blues, Folk, Jazz, Country, Soul, Reggae and World.
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TCF National Bank Announces Resolution Of Regulatory Order Regarding BSA Matters
TCF National Bank ("TCF Bank"), the principal subsidiary of TCF Financial Corporation ("TCF") (NYSE: TCB), today announced that the Office of the Comptroller of the Currency ("OCC") has lifted the regulatory order related to previously disclosed deficiencies in its Bank Secrecy Act ("BSA") compliance program. TCF Bank has made comprehensive changes to its BSA compliance program and has satisfied the legal and regulatory requirements of the order. TCF Bank is committed to continuously reviewing its BSA compliance processes and working with the OCC to ensure a safe banking environment for our customers.
"We are pleased to resolve the OCC's concerns and appreciate their guidance in strengthening our BSA compliance program," said William A. Cooper, TCF Chairman and Chief Executive Officer. "TCF has made significant investments to create a best-in-class BSA program and we now have improved systems, training and processes to detect and report potential financial crimes. We will continue to work with law enforcement to protect the public interest and partner with the OCC to enhance the safety and security of the banking system."
About TCF Financial CorporationTCF is a Wayzata, Minnesota-based national bank holding company with $18.4 billion in total assets at September 30, 2013. The company has nearly 430 branches in Minnesota, Illinois, Michigan, Colorado, Wisconsin, Indiana, Arizona and South Dakota, providing retail and commercial banking services. TCF, through its subsidiaries, also conducts commercial leasing and equipment finance business in all 50 states, commercial inventory finance business in the U.S. and Canada, and indirect auto finance business in 40 states. For more information about TCF, please visit http://ir.tcfbank.com.
Safe Harbor for Forward-Looking InformationThis press release may contain projections and other "forward-looking" statements within the meaning of the safe harbor provisions of the Private Securities Litigation Reform Act of 1995. Forward-looking statements deal with future results, plans or performance. We caution you that such statements are predictions and that actual events or results may differ materially. TCF's expected financial results or other plans are subject to a number of risks and uncertainties. Please see the forward-looking statement disclosure contained in TCF's 2013 third quarter Form 10-Q for more information about risks and uncertainties. Forward-looking statements speak only as of the date made and TCF undertakes no duty to update the information.
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Annamae Fma Mitchell-Jackson
- Surprise Myself Feat. K Nacole
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- 02Track Number Two
- 03Third Song
- 04Composition #Four
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Keiana, otherwise known as K Nacole, has been singing her whole life. She grew up in Columbus Ohio listening to the Blues. B.B King and James Lattimore taught her how deep and transcending music can be. Also traditional Gospel taught her the better side of things...