1. Hi, I'm Don Hahn, the producer
of Hunchback of Notre Dame.
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2. – And I'm Kirk Wise.
– And I'm Gary Trousdale.
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3. We're the directors of
The Hunchback of Notre Dame.
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4. And for the next 90 minutes, we're
gonna give you a little backstage tour
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5. of the making of
The Hunchback of Notre Dame
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6. with sordid details and possibly
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7. a challenging abdominal workout
along the way.
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8. Was that "assorted details"
or "sordid details"?
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9. – Sordid details, yeah.
– Sordid details. Very good.
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10. Well, this movie all starts out
with Victor Hugo in France
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11. and this opening sequence, which was
pretty challenging to put together.
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12. This is probably the longest single shot
in the film.
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13. We actually managed to make
our camera and computer department
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14. start coughing up blood
trying to composite this entire scene.
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15. We were told that
the computer could not crash
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16. because it could handle
so much information.
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17. And we crashed it twice,
and we're damn proud of it.
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18. We are really proud.
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19. It's probably 50 or 60 levels of artwork
you're looking at here
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20. as we're sailing through the city
towards Notre Dame.
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21. And we went to Notre Dame
several times.
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22. It's one of those funny movies
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23. where you can actually visit the place
where it takes place.
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24. Yeah, that was one of the things
that was unique about this film,
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25. was that we were able
to visit Notre Dame
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26. and spend a couple of weeks there
crawling all over the thing,
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27. and taking pictures
from every possible angle
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28. and taking rubbings
of the texture of the stone.
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29. And it was great.
It really gave us a sense of being there,
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30. and I think it made our rendition of
the cathedral a little more believable.
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31. This whole sequence
didn't start out as a song, did it?
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32. –No, it did not.
–This was a dance number.
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33. This whole sequence was
a long, boring talking introduction
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34. as to how Claude Frollo,
the most powerful man in Paris,
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35. would be hitched up with Quasimodo,
the misshapen bell ringer.
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36. Yeah, it was always really hard
for us to justify
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37. what is our villain of the story doing
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38. attached at the hip
to our hero of the story.
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39. And so, this prologue was devised
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40. to explain how the two of them
came together, their secret origin story.
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41. So we tried a couple of versions,
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42. just dramatically acted out
with dialogue,
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43. and it just didn't work.
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44. It was very dry, it was very talky
and it was very dull.
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45. And it was actually Stephen Schwartz
who looked at the material and said,
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46. –"Guys, I think..."
– He said, "I can help you here."
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47. Yeah, "l can musicalize this,
we can turn this into a song.
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48. "We can get much more information
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49. "in a much more interesting
and dramatic way
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50. "if we do it through song."
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51. So here comes the bad guy
for the first time.
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52. This is the bad guy.
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53. You can tell because of
his black horse, black hat, black cape...
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54. If you haven't guessed yet,
here's the villain.
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55. And voice from the tomb.
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56. to purge
the world of vice and sin
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57. His horse, by the way,
is named Snowball.
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58. Snowball, appropriately enough.
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59. This whole sequence was done
in our studio in Paris.
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60. And it was interesting, because
they seemed to have a real grasp,
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61. obviously, about the way
medieval Paris looked,
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62. because they walk out
their front door every day,
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63. – and they see it.
– And there it is.
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64. Every day, yeah.
They had the home court advantage.
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65. There's something interesting
about Frollo in this sequence,
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66. which is very subtle.
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67. This sequence takes place 20 years
before the actual story begins,
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68. and if you look
at Claude Frollo's features,
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69. and particularly, the color of his hair,
you'll notice he is 20 years younger.
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70. – He's about 15 years younger.
– Yeah.
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71. Well, we say "20 years" in the song.
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72. –Something like that.
–Somebody says "20 years."
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73. Yes, yes, it's 20 years.
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74. This whole sequence was boarded
by Paul and Gaëtan Brizzi,
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75. two Parisian brothers,
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76. who did a great job of the sense of
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77. this locomotive of a horse
bearing down on Quasimodo's mom.
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78. There was a lot of discussion
as to whether or not
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79. you should see Quasimodo's face
as a baby, and we opted not to see it,
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80. because we thought
it was more dramatic to reveal it later
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81. as he comes out of the shadows
and we see him for the first time.
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82. We thought it might be
unintentionally humorous
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83. to see this little Quasi–baby.
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84. Some great special effects here, too.
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85. Just the snow blowing off
the top of the well
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86. and some great computer generated
snowflakes flying through the scene.
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87. That scene with the well
was a good combination,
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88. 'cause there was
the hand–drawn effects
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89. of them blowing off the well, like
you said, but all the snow you see here
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90. is particle system snow
done in the computer.
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91. And even that blowing mist,
it's the same snowflakes re-exposed,
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92. but with a huge blur put on them,
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93. so that they follow the exact same path
that the snowflakes do.
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94. Something interesting
you'll see coming up here,
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95. is if you watch the statue of Mary,
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96. when the lightning flashes,
her eyes snap open.
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97. –So now, it's no longer our little secret.
–Yes, it chills Claude Frollo to the bone,
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98. but if you look closely,
you'll see it happen.
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99. We thought it was eerie and cool,
but no one noticed, but us.
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100. Okay, don't blink. Here it comes.
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101. –Here it comes.
– And there it is!
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102. – That was scary.
– It got me.
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103. This whole
musical opening number has...
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104. I think Alan and Stephen were really
inspired by the Latin Mass and...
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105. – Yeah, the Requiem Mass by...
– By Mozart.
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106. – Mozart, yes.
–I remember him.
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107. And so we played that
over an early boarded version
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108. that was basically
just a dialogue version,
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109. and we played
the Requiem Mass over it,
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110. and Stephen got really excited
and said, "Just a minute,"
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111. and he ran off and ran back with this.
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112. Beautifully done.
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113. Yeah, it's really one of
our favorite sequences in the movie.
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114. –"Give me 10 minutes, guys."
–I love this transition.
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115. This little cape coming in
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116. and you're back at the puppet show
all of a sudden.
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117. It was also decided at this point
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118. that we would make Clopin
the narrator of our story,
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119. which was very theatrical in nature,
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120. and I think really appealed
to Stephen Schwartz
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121. in a Pippin-esque kind of way,
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122. to have this performer-character
be the one who...
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123. –A little of that, a little of Cabaret.
– ... takes you through the story.
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124. Here's some big
computer generated bells
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125. put in
a traditionally painted background
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126. with beams of light coming through,
with light motes and dust in it,
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127. and the title comes on
and it's just a beautiful thing.
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128. This movie is a real hybrid
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129. of traditional elements
and computer graphics elements.
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130. There's fewer stand–alone
computer graphic sequences
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131. like there were in Beauty and the Beast
and more an integration of the two.
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132. This is the first time
we actually see Quasimodo.
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133. We've kept him in the shadows
all up unto this point,
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134. building him up
as this mysterious monster,
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135. and when he actually
turns his face into the light,
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136. we see that he has a kindly expression
and a gentle manner.
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137. And it was important
to establish this right away
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138. and get the audience
on Quasimodo's side.
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139. We'd sit in previews
when we were previewing the movie,
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140. and we always wait for that moment
when Quasimodo turns around
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141. and the audience would go...
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142. But the audience
had this expectation, too,
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143. of the hunchback of Notre Dame,
that it's gonna be a monster.
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144. Hollywood's treated Quasimodo as
a monster for the past 70, 80 years,
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145. and so this is our chance to show
the audience that he has a heart.
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146. He's not a bad guy.
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147. It's really a credit to James Baxter,
the supervising animator,
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148. to have brought that out
in Quasimodo's performance.
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149. Pretty much from frame one,
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150. you see past the misshapen exterior
and really see into his heart,
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151. so it was a really great job by James.
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152. Here comes our comic characters,
Victor, Hugo and Laverne.
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153. Yeah, these were inspired
by Victor Hugo, the author.
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154. In many passages in the original novel,
he implies that to Quasimodo,
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155. the gargoyles that are all over
the cathedral are actually alive.
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156. He has long conversations with them,
they appear to be speaking with him,
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157. it didn't seem like
a real big leap of faith
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158. for us to actually animate them and
give them voices and characters.
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159. One early idea for these guys
was that they were outcasts.
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160. We never really played that
in the story that much,
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161. but that they were
the stonemason's cast-offs.
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162. If you go
to Notre Dame Cathedral now,
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163. you won't find
these particular ones there.
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164. These are the ones
that the sculptor didn't do as well...
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165. They're for sale in the Disney store.
You can buy them there.
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166. One's got a chipped ear
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167. and the other's got a broken tooth
or something like that.
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168. This is Quasimodo's tabletop model
of Notre Dame and the city of Paris.
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169. This was an idea that
was developed by Burny Mattinson,
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170. one of our fine story artists.
And it was his idea
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171. that Quasimodo would fantasize
about the world outside,
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172. and his fantasies were expressed
through this hobby of making models
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173. and carving figurines of the people
in Paris, including one of himself.
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174. He could live vicariously through
this little wooden figure of himself,
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175. 'cause he can never go down himself,
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176. this is the only way he can
really experience what the city is like,
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177. is on his little tabletop city.
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178. The layout guys
did an amazing job here,
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179. trying to create
Quasimodo's loft apartment
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180. up in the bell tower of Notre Dame,
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181. 'cause there's not much up there when
you go traveling up into Notre Dame,
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182. but they wanted to make it
Quasimodo's world, his home.
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183. Yeah, Darek Gogol and Tom Shannon
really created the design for the place,
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184. and it's a wonderful multi–level loft
with wonderful statues and tapestries.
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185. Merchant of Venice here, folks,
William Shakespeare fans.
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186. It's the joke that only the grown-ups
would laugh at in the theaters.
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187. What?
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188. My master, Frollo.
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189. Yeah.
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190. This is a scene, we didn't do it
through the whole movie,
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191. but we put stains on the gargoyles
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192. to make them feel like they've been
out in the weather for a long time.
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193. Yeah, that was the job
of special effects,
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194. where they had a map
for each gargoyle from every angle,
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195. so that the stains
would appear consistently
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196. and wouldn't seem to crawl around
on the surface of the gargoyle.
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197. But like Don says,
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198. we couldn't put 'em on every scene
just because it took a long time.
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199. And after a while, you don't need it.
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200. Here's a fun thing coming up.
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201. When Frollo comes in, the art
direction changes pretty abruptly.
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202. – Watch the light, watch the light.
– Yeah.
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203. Frollo walks in the room and
literally, all the light is sucked out.
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204. He must have bumped the light switch
on the way up the stairs.
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205. It's as though that black cloak of his
just absorbs light like a black hole.
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206. That was a conscious decision by
Dave Goetz, our talented art director.
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207. Quasimodo's posture changes, too,
into a submissive character...
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208. Yeah, his whole personality.
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209. Instead of being almost normal, and
outgoing and friendly and articulate,
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210. he's really socially stunted now.
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211. Exactly, he becomes very shy
and very nervous around Frollo.
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212. My favorite thing here
is the way Frollo sets the table,
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213. or Quasimodo sets the table
with his cup and Frollo's cup,
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214. and the difference
between the silverware and things.
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215. You'll see the way
the actual cups reflect their characters.
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216. Frollo's cup being tall and angular
and made out of cold metal,
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217. and Quasimodo's being squat
and made of this humble wood.
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218. There's Tony Jay doing a spit-take,
which was not really Tony Jay,
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219. 'cause he didn't know
how to do a spit-take.
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220. He tried. He did a spit-take.
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221. Something they don't teach in the...
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222. –In the Royal Shakespeare Academy.
– Maybe he missed that day.
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223. – And they're taking the elevator down.
– And there's a rat.
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224. all mixed together
in a shallow, drunken stupor.
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225. – Try saying that three times fast.
–"Shallow drunken stupor."
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226. The height of Notre Dame
is really interesting here.
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227. Dave Goetz, our art director, was trying
to show the height of the cathedral
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228. in relationship
to the surrounding village.
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229. Yeah, he really exaggerated
the scale of the cathedral,
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230. it's much larger
than it actually is in real life,
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231. just to give you
the impression of the cathedral
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232. being God's embassy on Earth.
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233. No matter where you were in the city
or even the countryside,
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234. you could still see
this incredible landmark.
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235. If you'll notice in some of these scenes,
Frollo's hat is really large.
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236. It's like the size of a small lifeboat.
And this is because Kathy Zielinski,
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237. the very talented animator
who created Frollo,
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238. constructed the costume for herself
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239. in order to film herself and
get an idea of how the fabric moved,
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240. but the hat that she built
was really huge.
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241. So in later scenes, you'll see
that the hat is considerably smaller.
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242. I love that scene.
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243. There's some nice lighting happening
throughout this little section,
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244. the gobo lighting, we call it,
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245. the patterns of light that go
over the top of the characters
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246. to create a sense of space.
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247. You do not comprehend
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248. –Here it comes.
–Coming up right here,
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249. this is the first scene animated
of Quasimodo by James Baxter.
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250. This really went a long ways
towards proving to the studio
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251. that we could really create empathy
for this character.
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252. Tom's voice certainly
goes a ways towards it...
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253. –Yeah, he's terrific.
– Tom Hulce was absolutely amazing.
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254. He gave this wonderful,
heartfelt, sensitive,
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255. boyish, but sincere performance
to the character,
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256. and also had a great singing voice.
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257. You are good to me, Master.
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258. – I'm sorry.
– You are forgiven.
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259. Giant hat.
Note, "U.S. Navy" printed on the side.
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260. I love this mobile in that scene.
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261. Yeah, if you look closely
at that last shot, you can see
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262. –a beautiful animated mobile.
– Dust motes up in the air.
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263. These are the little details
that make Disney films great.
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264. Speaking of little details,
here comes Frollo.
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265. There's Frollo.
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266. He took the express elevator down and
there he is in the middle of the square.
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267. Now, a down-shot is coming up,
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268. when we go from the imaginary city
to the real city,
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269. and if you look closely
at that background painting,
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270. you'll see a satellite dish
in the lower left-hand corner.
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271. This guy was way ahead of his time.
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272. Here it comes, wait for it,
lower left-hand corner.
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273. –There it is.
– A little joke for us.
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274. And out there
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275. Living in the sun
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276. This is how Quasimodo builds up
those calluses on his hands.
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277. Sliding down fire poles.
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278. There's some great layout
in this sequence.
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279. It was a guy named Ed Ghertner
who was the head of our layout group,
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280. who was absolutely brilliant at creating
scale, and the mass of the cathedral
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281. and a sense of
the camera moving around.
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282. This whole cinematography
is a tribute to Ed.
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283. Yeah, this shot right here was based
on a Brenda Chapman storyboard,
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284. and it pretty much stayed intact,
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285. that concept of Quasimodo
silhouetted by the light
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286. and moving between the columns.
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287. A few years ago, the three of us
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288. made a movie called
Beauty and the Beast,
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289. and there's Belle
right down in the square there,
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290. walking by
on her way to the bookstore.
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291. On the left there, there's a couple of
guys holding a pig which is Pumbaa,
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292. and that's the magic carpet
from Aladdin
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293. with the guy over here on the right
over his arm.
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294. Being sold in the square.
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295. This is a buttress shot coming up,
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296. where Quasimodo
slides down this buttress.
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297. It's all
a computer generated background
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298. that slides around in perspective.
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299. You just like saying that, don't you?
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300. –I do.
– He just likes saying "buttress."
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301. But this is a combination of a computer
generated element, the buttress,
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302. hand–drawn effects, the water
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303. and a hand-painted background,
the city of Paris.
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304. There's a great camera flare
at the end of that scene, too,
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305. which doesn't happen, of course,
in animation.
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306. You have to actually draw the
camera flare to make it believable...
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307. We had to animate a lens flare.
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308. I love this shot.
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309. This is our combination
Singin' in the Rain-King Kong shot,
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310. as we referred to it as.
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311. Now the turning spire there
was done by hand.
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312. At the time, the computer department
was too busy.
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313. I think they were still working
on Pocahontas at the time,
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314. and they couldn't spare the time.
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315. This is all one shot here,
from the time Quasi slides off the spire.
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316. All the way
until we introduce Phoebus.
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317. – This is all one shot, not a single cut.
–Another Ed Ghertner extravaganza.
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318. And the birds flying through,
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319. highlights in the rose window,
smoke coming up from the chimneys.
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320. And the camera drops,
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321. the camera cranes down
like it would in a live–action film
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322. –to reveal the entrance of Phoebus.
– Here it goes.
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323. –Same shot.
– All in one shot.
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324. Still haven't cut.
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325. Isn't that something?
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326. Here is Captain Phoebus animated
by the very talented Russ Edmonds.
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327. With his AAA road map.
Copy !req
328. Russ also animated the horse.
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329. He animated the horse first
in Beauty and the Beast.
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330. He was the lead animator on Philippe,
so he is an expert on horses.
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331. We called Achilles here
"Philippe's dimwitted cousin."
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332. Here's the first time we see Esmeralda
in the show.
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333. Yeah, we wanted her reveal
to be something special,
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334. that there'd be a spark
between the two of them
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335. when they laid eyes on each other.
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336. –There it is.
– There's the spark.
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337. She's not bad–looking.
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338. Phoebus is a funny character.
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339. He's one of the few Disney handsome
leading men that has facial hair.
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340. I'd venture to say he's probably
the only hero we've done.
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341. Aside from the Beast, of course.
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342. Yeah, of course, who had
the market cornered on facial hair.
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343. You'd know a lot about stealing.
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344. Troublemaker, eh?
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345. This is the comedy team
of Corey Burton and Bill Fagerbakke
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346. as the two dimwitted guards.
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347. There's a guaranteed kid laugh
right here, coming up.
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348. Here it comes. Ready?
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349. Every preview
brought down the house.
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350. Yeah, it really did,
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351. and especially when we added the big
tuba raspberry sound there as well.
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352. Here's an interesting thing.
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353. Whenever we recorded Kevin Kline,
we gave him a big sword,
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354. and somehow it helped him
get into the character a little bit more,
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355. and even though
he never appeared on camera,
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356. he always recorded in the studio
holding this giant sword.
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357. Yeah, he was in the studio,
in front of the microphone,
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358. swinging this sword around.
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359. It actually screwed up a few takes,
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360. because he'd bonk it
into the microphone stand or...
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361. Cut the cable.
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362. But I think he just felt more knightly,
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363. feeling the weight of that sword
in his hands.
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364. It was Roy Conli that said,
"Guys, he's an actor, give him a prop."
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365. Here's Esmeralda in disguise
over here on the right,
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366. which lays some pipe
for later in the film,
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367. when she has to escape out
in the city streets
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368. in her little jolly disguise.
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369. Now, that joke, "Achilles, heel,"
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370. that came up in a recording session
with Kevin Kline.
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371. We didn't have a name for the horse,
Copy !req
372. and Kevin Kline
during the session said,
Copy !req
373. "Guys, what's his name?
The horse needs a name."
Copy !req
374. And we tossed around all kinds of
different ideas, until one of us...
Copy !req
375. –It was...
–I think it was Will.
Copy !req
376. Yeah, it was Will or me or Gary,
one of us said,
Copy !req
377. "How about Achilles?
That way, he can say, 'Achilles, heel."'
Copy !req
378. And we all cracked up in the booth,
and his name ended up Achilles.
Copy !req
379. Yes, sir.
Copy !req
380. I've always enjoyed
this shot here with the torturer
Copy !req
381. who clearly enjoys his work.
Copy !req
382. I think that was one of
Will Finn's favorite scenes also.
Copy !req
383. This little scene
had to get across the idea
Copy !req
384. of the confident captain
in from the battles
Copy !req
385. to do Frollo's bidding for him in town.
Copy !req
386. And this is the first time
that Phoebus realizes
Copy !req
387. that the job he's been hired to do
may not be entirely pleasant.
Copy !req
388. As pleasant as soldiering is, I'm sure,
but he sees here
Copy !req
389. that he's signed on with something
he hadn't quite counted on.
Copy !req
390. This little sequence
was to set up the dynamic
Copy !req
391. of the gypsies
being oppressed in Paris.
Copy !req
392. It was boarded by Jim Capobianco.
Copy !req
393. Jim created the device of Frollo
Copy !req
394. using ants to illustrate his point of view.
Copy !req
395. His disdain
and the dehumanization of the gypsies.
Copy !req
396. And it's actually very effective.
Copy !req
397. We always got a nice "eww"
from the audience
Copy !req
398. when he smashes them
with that big block.
Copy !req
399. Even when he lifts the block up
and they all go crawling around.
Copy !req
400. Right here.
Copy !req
401. It never failed.
Copy !req
402. It's a nice metaphor for the gypsies.
Copy !req
403. It also sets up the court of miracles.
Copy !req
404. Frollo's master plan
to find the court of miracles.
Copy !req
405. How very clever.
Copy !req
406. – Almost as if we'd planned it that way.
–True, true.
Copy !req
407. This leads us into probably
the biggest production number.
Copy !req
408. Not only of this film,
but perhaps in animated history.
Copy !req
409. We started it three years
before the movie came out,
Copy !req
410. and it was finished right up
until the day we had to finish the film.
Copy !req
411. And it's a song called Topsy Turvy.
Copy !req
412. It's a real tour de force,
Copy !req
413. not only for Alan and Stephen
who composed this epic, epic song,
Copy !req
414. that had to cram a ton of storytelling
into a relatively short period of time,
Copy !req
415. but it also shows off our CGI crowds,
Copy !req
416. which were a big
technical breakthrough for us.
Copy !req
417. A great group of people leaded by...
Leaded, lead, unlead... Fill her up.
Copy !req
418. Led by Kiran Joshi, who was the head
of our computer graphics area,
Copy !req
419. created these huge Ben-Hur crowds
in the streets of Paris,
Copy !req
420. and a lot of this confetti and
just the feeling of a huge crowd scene.
Copy !req
421. It's really only several...
About six different...
Copy !req
422. Half a dozen people.
Copy !req
423. Yeah, about half a dozen
computer generated models
Copy !req
424. with interchangeable hats and hair...
Copy !req
425. Masks, beards,
and then the color palette will change.
Copy !req
426. Right, and a variety
of different types of behaviors,
Copy !req
427. but the way they're dispersed
through a crowd scene,
Copy !req
428. it gives you the illusion
of this huge multitude.
Copy !req
429. They're also usually mixed in
with the hand–drawn crowd,
Copy !req
430. so your attention isn't right to
the computer generated people.
Copy !req
431. You're supposed to be looking at the
two-butted horse or the dancing girls.
Copy !req
432. We originally thought of
the CG characters in this sequence
Copy !req
433. to feel more like a moving wallpaper,
Copy !req
434. but they turned out so well
that we used them more often.
Copy !req
435. Here's a great little scene where we
introduce Quasimodo to Esmeralda
Copy !req
436. for the first time
in a tender little moment in her tent.
Copy !req
437. We wanted a little bit of an emotional
connection between the two of them
Copy !req
438. before the actual judging
of the Feast of Fools contest.
Copy !req
439. So that she had, as little as this is,
a little bit of a past with him
Copy !req
440. so that it wouldn't seem cruel
that she pulls him up on stage.
Copy !req
441. This is the Fellini band.
Copy !req
442. Exploding-headed clowns
based on a drawing by Gary.
Copy !req
443. Thank you very much.
Copy !req
444. And then we introduce
the villain again in his Frollo-mobile.
Copy !req
445. The Carriage of Justice, which we also
called the "Miscarriage of Justice."
Copy !req
446. The guy that really carries this song
Copy !req
447. is Paul Kandel,
who did the voice of Clopin.
Copy !req
448. – Man, is he great.
– An amazing actor and performer,
Copy !req
449. he was in the Broadway production
of Tommy, playing Uncle Ernie.
Copy !req
450. – That's where we picked him up from.
– Yeah.
Copy !req
451. Just an amazing vocalist.
Copy !req
452. Even Paul's actual physical being
influenced the look of the character.
Copy !req
453. If you look at the animation of Clopin,
you see a lot of Paul in there.
Copy !req
454. He often dressed in tights, too,
just on the streets.
Copy !req
455. – Just in general.
– Yeah.
Copy !req
456. This whole scene
of Esmeralda's dance
Copy !req
457. had to introduce her
as an attractive character,
Copy !req
458. but also had to make Frollo
bothered by her appearance.
Copy !req
459. Yeah, in an uncomfortable way.
Copy !req
460. Well, this sequence here is supposed
to affect all three of our leading men.
Copy !req
461. That's Quasimodo,
Phoebus and Frollo.
Copy !req
462. All three of them
have to be thunderstruck by her.
Copy !req
463. Yeah, they all fall for the girl
at the same time,
Copy !req
464. and so we knew Esmeralda was gonna
have to be something pretty special,
Copy !req
465. and this dance sequence
was going to be pretty amazing.
Copy !req
466. It was a great animator
named Anne Marie Bardwell
Copy !req
467. who animated this whole sequence,
Copy !req
468. really with very little
live–action reference...
Copy !req
469. Yeah, we shot
some live–action reference
Copy !req
470. of a dancer for that sequence,
but ultimately, threw it out
Copy !req
471. because Esmeralda had to do moves
Copy !req
472. and have a timing that
you couldn't duplicate in live-action.
Copy !req
473. This whole idea of crowning a
king of fools and the Festival of Fools
Copy !req
474. isn't just a Victor Hugo invention,
Copy !req
475. it actually was
an ancient medieval festival.
Copy !req
476. And we tried to recreate that
in the streets.
Copy !req
477. We always saw it as a combination
Copy !req
478. of Mardi Gras, the Super Bowl,
Woodstock and the...
Copy !req
479. –World Cup soccer.
–The Doo Dah Parade.
Copy !req
480. Put your foulest features on display
Copy !req
481. Be the king of topsy-turvy day
Copy !req
482. The fastest contest in the world.
Copy !req
483. We actually had to get
about 200 people on a soundstage
Copy !req
484. to record these
colossal crowd sounds...
Copy !req
485. Cheers and boos and gasps.
Copy !req
486. They had to be directed
like any other actor,
Copy !req
487. because they had to react
at very specific points
Copy !req
488. during this whole song sequence
to what was happening onscreen.
Copy !req
489. So we had to tell
a huge group of people,
Copy !req
490. "You have to be scared here,
you have to be shocked here,
Copy !req
491. "and now,
you have to start getting excited
Copy !req
492. "and it has to build here."
Copy !req
493. "Now, murmur to yourselves,
now cheer."
Copy !req
494. So that was
an interesting experience directing.
Copy !req
495. This scene here
is one of the biggest in Topsy Turvy,
Copy !req
496. a guy named Phil Young,
veteran animator...
Copy !req
497. He spent three months on this doing
Clopin, and Quasi and the crowds,
Copy !req
498. then that was combined
with CG crowds and CG confetti.
Copy !req
499. This is our first
CG crowd shot right there.
Copy !req
500. That's the one
that sold us on the process.
Copy !req
501. Kiran told us it would work
and we kind of believed him,
Copy !req
502. but it was that shot that really sold us.
Copy !req
503. And when you see shots like this,
we're just happy we did it.
Copy !req
504. Here's Bill Matthews, a beloved
animator around the studio here
Copy !req
505. jumping into that vat of beer.
Copy !req
506. And here's a scene
straight from Victor Hugo.
Copy !req
507. Watch the art direction here.
Copy !req
508. You'll see some
great dramatic light change
Copy !req
509. as the crowd starts to turn
against Quasimodo.
Copy !req
510. They lose the happy party colors,
they get a little duller here.
Copy !req
511. It's almost as though
a cloud went over the sun.
Copy !req
512. And then when Quasimodo
gets roped and tied,
Copy !req
513. everything goes red,
do not adjust your sets.
Copy !req
514. There it goes.
Copy !req
515. These are things
we can do in animation
Copy !req
516. that sometimes look
a little bit overdone in live action,
Copy !req
517. but for some reason, work.
Copy !req
518. I love that scene
of Quasimodo's perspective,
Copy !req
519. swinging around the audience
and people throwing things at him.
Copy !req
520. The Quasi–cam?
Copy !req
521. Some big choir
chanting over the top of it.
Copy !req
522. We actually assembled the greatest
choir you can possibly imagine.
Copy !req
523. All the best voices of Europe
assembled in one choir
Copy !req
524. that we recorded in London.
Copy !req
525. Part of that choir was a boys' choir
of about 15 little 12-year-old boys.
Copy !req
526. Eight to 12-year-old boys.
Copy !req
527. And we thought they'd show up
as this little cherubic group,
Copy !req
528. but they came in with their backpacks
and Walkmans...
Copy !req
529. Backwards baseball caps
and baggy shirts.
Copy !req
530. And then proceeded to sing
this really angelic little moment.
Copy !req
531. I'm sorry.
Copy !req
532. This wasn't supposed to happen.
Copy !req
533. This is a good showcase
for Demi Moore.
Copy !req
534. We really wanted a heroine
who would sound a little bit different
Copy !req
535. than the typical
clear-voiced Disney heroine.
Copy !req
536. We wanted someone with
a slightly rougher quality to her voice,
Copy !req
537. that sounded like she'd been around.
Copy !req
538. And Demi had all of those qualities,
Copy !req
539. plus a really nice tenderness
and strength,
Copy !req
540. and I think that comes through
really well in this whole sequence.
Copy !req
541. – Silence!
– Justice!
Copy !req
542. Mark my words, gypsy.
You will pay for this insolence.
Copy !req
543. It's also a little tribute to Tony Fucile
who animated Esmeralda,
Copy !req
544. because he took the voice
and took it to new places
Copy !req
545. and made her a terrific character.
Copy !req
546. This is one of my favorite
Esmeralda scenes coming up here.
Copy !req
547. Demi liked this scene also.
It allowed her to be overly hammy.
Copy !req
548. Witchcraft!
Copy !req
549. This sets us up for a whole sequence
that we call "The Merry Chase."
Copy !req
550. It was storyboarded by Kevin Harkey,
Copy !req
551. who is an absolute master
at comedy chase scenes.
Copy !req
552. Just an incredible,
inventive comic mind.
Copy !req
553. And a darn good hog caller, too.
Copy !req
554. And here's where we really get an idea
Copy !req
555. of Esmeralda and Djali
as this great little team,
Copy !req
556. and some terrific animation
by Ron Husband
Copy !req
557. who animated Djali
throughout the whole picture.
Copy !req
558. I love the sound effects in this
sequence 'cause they're very cartoony.
Copy !req
559. You have all those guards backing up
with car crashes and little...
Copy !req
560. Yeah, we got airplanes,
World War II bombers,
Copy !req
561. bowling alley sound effects...
Copy !req
562. This old heretic is actually
the voice of Gary Trousdale.
Copy !req
563. That's me.
Copy !req
564. –See, that's me, too.
–That was you. Congratulations.
Copy !req
565. Just another great little
sound effect coming up
Copy !req
566. when Esmeralda throws the hat.
Copy !req
567. –Tilt.
– A little pinball thing happening.
Copy !req
568. We used to debate over
what Phoebus should say...
Copy !req
569. – Ay caramba!
– Ay caramba!
Copy !req
570. Another lighting change right here.
Key lighting change.
Copy !req
571. Cloud goes over the sun.
Copy !req
572. And here in the soundtrack,
Copy !req
573. you hear this rumble of thunder
as Frollo's anger builds.
Copy !req
574. Turn up those
surround speakers, folks.
Copy !req
575. You notice that Frollo's horse
and Phoebus' horse
Copy !req
576. don't like each other.
Copy !req
577. Yeah.
Copy !req
578. Those of you with the letterbox version
of this movie
Copy !req
579. will see their expressions more clearly.
Copy !req
580. This we chose to play in pantomime.
Copy !req
581. Used to be a lot of dialogue here,
Copy !req
582. but we just eliminated all the dialogue
except for this one line.
Copy !req
583. It worked out better that way.
Copy !req
584. Some fabulous animation
of James Baxter coming up.
Copy !req
585. Quasimodo's walk of shame
back to the cathedral.
Copy !req
586. Some more use
of the computer generated crowds,
Copy !req
587. you see not only in this shot here,
Copy !req
588. but in the high shot
when we cut up to the top angle here.
Copy !req
589. It's a really nice
Alan Menken cue here as well.
Copy !req
590. He took Out There
and re-orchestrated that in a minor key.
Copy !req
591. And it's very...
It's like all of Quasimodo's dreams
Copy !req
592. are dashed at this point.
Copy !req
593. So, it's really effective.
Copy !req
594. Hey, remember him/her?
Copy !req
595. Now we see the inside of the
cathedral for the first time, which...
Copy !req
596. We wanted it to be in real contrast
to the wildness of the festival.
Copy !req
597. Just be this really serene place.
Copy !req
598. Have our London choir
chanting over the top of this...
Copy !req
599. It literally is a sanctuary.
Copy !req
600. We didn't want to do
a big scoring cue here.
Copy !req
601. We just wanted it to be peaceful
and serene.
Copy !req
602. So we just went with this chanting.
Copy !req
603. – Watch out, behind you.
– Until, of course, Phoebus shows up.
Copy !req
604. And wrecks everything.
Copy !req
605. Easy, easy. I just shaved this morning.
Copy !req
606. Oh, really?
Copy !req
607. Here we wanted to get some sort of
verbal sparring between the two
Copy !req
608. to show that they were a match,
both mentally and physically.
Copy !req
609. It was all our grand scheme
Copy !req
610. to make Phoebus and Esmeralda feel
like a couple that belonged together.
Copy !req
611. Kind of a Tracy and Hepburn thing,
you might say.
Copy !req
612. If Tracy and Hepburn fought with...
Copy !req
613. –With swords.
– And candelabras.
Copy !req
614. I missed that movie.
Copy !req
615. You fight almost as well as a man.
Copy !req
616. Funny, I was going to say
the same thing about you.
Copy !req
617. That's hitting a little below the belt,
don't you think?
Copy !req
618. It's a guaranteed laugh coming up here
when Djali hits him in the stomach,
Copy !req
619. every time we previewed it.
Copy !req
620. Right here.
Copy !req
621. That brought the house down.
Copy !req
622. One of the worst puns
in human history.
Copy !req
623. Thank you, ladies and gentlemen.
Copy !req
624. Permit me.
Copy !req
625. It's an interesting thing here.
It starts out
Copy !req
626. being a sacred environment
with chanting and candlelight.
Copy !req
627. Then the effects animators,
in a very subtle way,
Copy !req
628. begin to turn into a more romantic...
Copy !req
629. Yeah. The light becomes
more diffused, the candles glow.
Copy !req
630. – Just by their placement.
– Yeah.
Copy !req
631. How much light they kick out.
Copy !req
632. We burned the light out
here through the windows
Copy !req
633. to give it a more romantic vibe.
Copy !req
634. Right before Frollo comes in
and ruins everything.
Copy !req
635. We call this "Frollus interruptus."
Copy !req
636. Much better than Phoebus, anyway.
Copy !req
637. We always thought Phoebus
was an odd name.
Copy !req
638. Good work, Captain.
Copy !req
639. Here, Frollo comes in
with a gust of wind
Copy !req
640. that blows out some of the candles.
Copy !req
641. Claim "sanctuary."
Copy !req
642. – Say it!
– You tricked me.
Copy !req
643. This is where we define the concept
of sanctuary for the audience.
Copy !req
644. There's nothing I can do.
Copy !req
645. Then drag her outside and...
Copy !req
646. Frollo, you will not touch her!
Don't worry.
Copy !req
647. Minister Frollo learned years ago...
Copy !req
648. Archdeacon by Dave Burgess.
Copy !req
649. –That's David Ogden Stiers.
–David Ogden Stiers.
Copy !req
650. Yes. We first used him way back
in Beauty and the Beast
Copy !req
651. as Cogsworth, the mantel clock.
Copy !req
652. And he's since then appeared in
Pocahontas
Copy !req
653. and here in
The Hunchback of Notre Dame.
Copy !req
654. That's right. This little scene
was central to the story.
Copy !req
655. It was central to Victor Hugo.
Copy !req
656. And something we didn't want to
leave out of the film,
Copy !req
657. which was the tension
between Esmeralda and Frollo.
Copy !req
658. Because Frollo's secretly,
Copy !req
659. even though he's sworn
to capture Esmeralda,
Copy !req
660. there's this part of him that wants her,
in a romantic sense.
Copy !req
661. Or at least in a lustful sense.
Copy !req
662. Yeah. And that was always
a real delicate balancing act for us,
Copy !req
663. because the acting
had to get that across.
Copy !req
664. It's really hard in animation,
Copy !req
665. because you seldom have
the actors in the same room.
Copy !req
666. You had Demi Moore.
Copy !req
667. We would find her in Florida
or wherever she was filming.
Copy !req
668. We'd do Tony Jay in Los Angeles.
Copy !req
669. We'd do Kevin Kline in New York.
Copy !req
670. And to try to cut those together
and make it sound like a performance
Copy !req
671. is a real tribute to Ellen Keneshea,
who was our editor,
Copy !req
672. to try to make
all those vocal performances
Copy !req
673. sound like they came out
of the same room.
Copy !req
674. Don't worry, Djali.
Copy !req
675. You'll notice that Djali has an earring.
Copy !req
676. It matches Esmeralda's earring.
Copy !req
677. We thought that would
visually make them a team.
Copy !req
678. They could only afford one set
between the two of them.
Copy !req
679. This leads us into a part of the movie
Copy !req
680. where we actually had another song
at one point.
Copy !req
681. The song that Esmeralda
was going to sing here
Copy !req
682. is actually the first song
that was written.
Copy !req
683. There was a second song written
called Someday,
Copy !req
684. which was a bigger,
a more anthemic kind of a feel.
Copy !req
685. It's the song
that's played over the end credits.
Copy !req
686. But ultimately, we decided
that this was a moment
Copy !req
687. where Esmeralda's
supposed to be humble
Copy !req
688. and appeal to God to help her people.
Copy !req
689. And it...
Copy !req
690. A little more heartfelt.
A little more personal.
Copy !req
691. It's something more personal,
so we decided to go with this version.
Copy !req
692. And I think it was the right decision.
Copy !req
693. Part of the problem
with doing a musical is
Copy !req
694. you find out that some of your actors
don't sing.
Copy !req
695. Don't sing too well, anyway.
Copy !req
696. And in this case, we had to go
searching for someone
Copy !req
697. to double Demi Moore
as a singing voice.
Copy !req
698. – A stunt double.
– A stunt double.
Copy !req
699. And we found the lovely
Heidi Mollenhauer.
Copy !req
700. Yes. Heidi Mollenhauer is a great
singer and performer,
Copy !req
701. and has this wonderful,
slightly smoky quality to her voice
Copy !req
702. that is an excellent match
for Demi Moore.
Copy !req
703. I think most people, not knowing
Copy !req
704. that two different actresses
played the part, would never guess.
Copy !req
705. It flows into the song so easily.
Copy !req
706. Absolutely. We used to play it
for people,
Copy !req
707. and they were sure it was Demi,
but it's Heidi.
Copy !req
708. This is one of my favorite scenes
in the show coming up.
Copy !req
709. All these candles coming
in front of Esmeralda here.
Copy !req
710. It gives you a really nice
sense of depth.
Copy !req
711. Great Disney moment here.
Copy !req
712. They don't find on earth
Copy !req
713. God help my people
Copy !req
714. We look to You still
Copy !req
715. This is an area where we had
to go back and forth.
Copy !req
716. How are we going to bring
Quasimodo into the song?
Copy !req
717. How are we gonna begin to attach him
to Esmeralda?
Copy !req
718. How are we gonna involve him
in the sequence?
Copy !req
719. –We were worried...
–'Cause we kind of lose him for a while.
Copy !req
720. So we wanted... So, midway through,
Copy !req
721. we decided to make him a witness
to watching this whole thing,
Copy !req
722. and in a way, this is where
he really bonds with her.
Copy !req
723. We redid the bridge to this song
about three or four times.
Copy !req
724. All the selfish parishioners
coming in and praying
Copy !req
725. in contrast to Esmeralda,
we worked on forever.
Copy !req
726. And this whole idea
of a stained glass window
Copy !req
727. is a recent idea
in the making of the film.
Copy !req
728. And there's even some fun little
guild signs hidden in the window.
Copy !req
729. Down at the base of the window,
if you look at the little square panels
Copy !req
730. that the guilds traditionally put in,
Copy !req
731. the sponsors of the window
and the church,
Copy !req
732. you'll find the guild for
the layout department,
Copy !req
733. the computer department,
the animation department.
Copy !req
734. You'll notice this fresco
at the back of Esmeralda
Copy !req
735. is actually something that you'll find
in Notre Dame.
Copy !req
736. It's called the
Slaughter of the Innocents.
Copy !req
737. Most of the statues and frescoes
Copy !req
738. and things that she passes
during this song
Copy !req
739. are really there in the cathedral.
Copy !req
740. We painstakingly reproduced it.
Copy !req
741. Paul and Gaëtan
were really careful about this.
Copy !req
742. Including the rose window here,
Copy !req
743. which is the centerpiece
of the cathedral.
Copy !req
744. And that beautiful long shot
Copy !req
745. which we retook
about three or four times.
Copy !req
746. We used to have dust in the air
and it never quite worked.
Copy !req
747. Yeah. We had animated
dust particles in the air
Copy !req
748. and the scale was off.
Copy !req
749. For some reason,
the individual particles
Copy !req
750. looked like they were the size
of Esmeralda's head.
Copy !req
751. Like a nuclear accident.
Copy !req
752. Yeah, and it just really...
Copy !req
753. It looked nice here, though.
They're just drifting...
Copy !req
754. Sort of drifting smoke, yeah.
Copy !req
755. It really gives a great feeling
like there's incense in the place.
Copy !req
756. Bell ringer!
What are you doing down here?
Copy !req
757. This whole sequence
leads us into a moment
Copy !req
758. where we're trying to get Esmeralda
and Quasimodo to bond a little bit,
Copy !req
759. where he takes her up to his bell tower,
shows her his cool loft apartment.
Copy !req
760. This is actually a scene
that we rewrote several times.
Copy !req
761. And the final version
Copy !req
762. was actually based on a suggestion
by Demi Moore.
Copy !req
763. She felt that Esmeralda,
Copy !req
764. having grown up on
the very crowded streets of Paris
Copy !req
765. with the gypsy caravan,
Copy !req
766. everybody kind of living
on top of each other,
Copy !req
767. that when she first saw
Quasimodo's loft...
Copy !req
768. The spacious loft.
Copy !req
769. The amount of space and light
and the fact that he had it all to himself
Copy !req
770. would be really a wonderful thing
for her.
Copy !req
771. That to her,
that would be a wonderful way to live.
Copy !req
772. So, we thought just showing
the contrast between the two
Copy !req
773. would be very interesting.
Copy !req
774. Here comes a wonderful little scene
when Esmeralda crests the floor here
Copy !req
775. and sees the loft for the first time,
right here.
Copy !req
776. Looks like a 3D model,
but it's really not.
Copy !req
777. The floor is squeezed.
Copy !req
778. It's a two-dimensional painting
that's squeezed and then un-squeezed
Copy !req
779. to make it look like
the floor recedes away from her.
Copy !req
780. Some layout magic, again,
by Ed Ghertner.
Copy !req
781. And then when you get up in the loft,
Chris Jenkins and his effects guys
Copy !req
782. did some really nice work
with the mobile
Copy !req
783. and the little shards of light
moving around the room.
Copy !req
784. It really makes you feel
a sense of space.
Copy !req
785. It's very magical. We wanted this to be
Copy !req
786. Quasimodo's life
seen in a different way.
Copy !req
787. Seen, literally, in a different light.
Copy !req
788. Some more great Ron Husband
animation on Djali.
Copy !req
789. Ron took a character that was really
a minor character,
Copy !req
790. the goat, Djali,
Copy !req
791. and took it to a level
Copy !req
792. where the executives
began to demand more Djali.
Copy !req
793. "More goat. We want more goat."
Copy !req
794. Every time the goat would come on,
he was a star.
Copy !req
795. – Yeah.
–So we had to keep...
Copy !req
796. We doubled his screen time.
Copy !req
797. Yeah. He was so charming and fun
in every scene that he was in
Copy !req
798. that we eventually had to work him
into more scenes.
Copy !req
799. And that's really a credit
to Ron Husband.
Copy !req
800. This is a Victor Hugo scene,
the idea of Quasimodo and his bells
Copy !req
801. and his relationship to his bells
up in his tower.
Copy !req
802. Yeah. In fact, all the names
he gave to the bells
Copy !req
803. are the names that they have
in the original novel.
Copy !req
804. And here's Quasimodo showing her
the best view in town.
Copy !req
805. Complete with English chorus.
Copy !req
806. I bet the king himself
doesn't have a view like this.
Copy !req
807. Actually, the king does
have a view like this.
Copy !req
808. He lives in the south tower.
Copy !req
809. Yeah. We don't want to
shed light on that.
Copy !req
810. That was actually Will Finn,
our head of story,
Copy !req
811. that was one of his contributions.
Copy !req
812. "I bet the king himself
doesn't have a view like this."
Copy !req
813. He felt that, in a way, that Quasimodo
doesn't understand he's...
Copy !req
814. What he has, right?
Copy !req
815. Yeah. He doesn't understand
what he has right beneath him.
Copy !req
816. This prison that Quasimodo lives in
actually has a silver lining to it.
Copy !req
817. You'll notice a really neat, subtle
lighting change to this whole scene
Copy !req
818. where it goes from the sun setting,
Copy !req
819. and each scene progressively
gets a little bit darker,
Copy !req
820. –a little bluer, the stars come out.
– Few more stars peek out.
Copy !req
821. Yeah. It actually becomes night
Copy !req
822. over the course of this little
palm reading scene.
Copy !req
823. And again, this scene
was meant to show
Copy !req
824. the common thread that ran through
both Quasimodo and Esmeralda.
Copy !req
825. The outcast notion of both of them.
Copy !req
826. She's a social outcast, a gypsy,
who lives on the fringes of society.
Copy !req
827. And he's...
Copy !req
828. He's an outcast
because of just his physical body,
Copy !req
829. because of his appearance.
And in a way, they are the same.
Copy !req
830. That's what this scene
is meant to convey.
Copy !req
831. Here's the biggest laugh in the show
coming up here.
Copy !req
832. And Laverne says "truss," not "dress."
Copy !req
833. But it's funny either way.
Copy !req
834. The kids laugh when they hear "dress,"
Copy !req
835. and the adults laugh
when they hear "truss." So...
Copy !req
836. I sure do, yeah.
Copy !req
837. We won't use a door.
Copy !req
838. – You mean, climb down?
– Sure.
Copy !req
839. – You carry him. I carry you.
– Okay.
Copy !req
840. This builds up to one of my favorite
little action sequences in the film.
Copy !req
841. Yes. We called this
"King Kong in reverse. "
Copy !req
842. There's some great
layout work in here.
Copy !req
843. This is a secret scene here
Copy !req
844. on that balcony that's swinging
back and forth down below the camera,
Copy !req
845. or halfway down the cathedral,
Copy !req
846. you'll find statues of
Donald Duck and Goofy.
Copy !req
847. I love this scene.
It's beautiful layout work,
Copy !req
848. beautiful background painting.
Copy !req
849. It's just where everything combines
to be a beautiful scene.
Copy !req
850. We have a fun thrill ride sequence.
Copy !req
851. Jason Alexander did some
play-by-play descriptions for this.
Copy !req
852. We had a gag one time where
the gargoyles narrated...
Copy !req
853. Yeah. Like it was a bobsled run
in the Winter Olympics.
Copy !req
854. Jason was going,
Copy !req
855. "Quasimodo certainly
looks good today.
Copy !req
856. "Back in the Vatican Games of 1438."
Copy !req
857. It was...
Copy !req
858. Here comes another big, big laugh
in the movie. Yeah.
Copy !req
859. Where the goat does that little...
Copy !req
860. That was the very talented
Gary Trousdale again as the goat.
Copy !req
861. To the court of miracles.
Leave this place.
Copy !req
862. Oh, no.
Copy !req
863. I'm never going back out there again.
You saw what happened today.
Copy !req
864. Notice how he says the word,
"Out there."
Copy !req
865. –I hadn't noticed that before.
–It's a theme.
Copy !req
866. As though it were planned.
Copy !req
867. This was a scene that, again,
was created by Will Finn,
Copy !req
868. our head of story.
Copy !req
869. The writing process
is very collaborative in animation.
Copy !req
870. We not only had a team of writers,
but our story people also contributed
Copy !req
871. a great deal of dialogue.
Copy !req
872. This whole idea of
the amulet in visualizing
Copy !req
873. the location of the cathedral
and the court of miracles
Copy !req
874. is an interesting idea.
Copy !req
875. – A kind of abstract map.
– Yeah.
Copy !req
876. This is one of my favorite scenes,
Copy !req
877. Esmeralda appears to jump
in the Seine, right here.
Copy !req
878. Not really.
Copy !req
879. Always did miss
that sound effect, though.
Copy !req
880. We always added it
whenever we'd screen it for ourselves.
Copy !req
881. I'm looking for the gypsy girl.
Have you seen her?
Copy !req
882. – Whoa, whoa! Easy!
– No soldiers! Sanctuary! Get out!
Copy !req
883. This is Quasimodo in
his guard dog mode.
Copy !req
884. We wanted to have a scene where
Quasimodo acted a little bit more
Copy !req
885. like the movie monster
we all know and love.
Copy !req
886. Just for one instance,
we got to see his scary side.
Copy !req
887. You see the potential.
Yeah, he can be pretty fearsome.
Copy !req
888. And this comes into play later
in the siege of the cathedral.
Copy !req
889. We really get to see him cut loose
Copy !req
890. and show how physically strong he is.
Copy !req
891. This foreshadows that.
Copy !req
892. It's played for a joke,
but he's really strong.
Copy !req
893. He's holding up Phoebus
and a full suit of armor with one hand.
Copy !req
894. He has the strength of 10 hunchbacks.
Copy !req
895. –It also connects...
– Plus two, plus two.
Copy !req
896. It connects Quasimodo and Phoebus
by the end of this scene.
Copy !req
897. They have a little...
You know that they hit it off a little bit.
Copy !req
898. Just a little.
Copy !req
899. Used to be a joke here where
Copy !req
900. Hugo said, "Hey, hey,
the hunch is back!"
Copy !req
901. "The power of the tower."
Copy !req
902. –But... Yeah.
–It didn't seem like it fit.
Copy !req
903. – My girl?
– Esmeralda.
Copy !req
904. This is one of my favorite
Mary Wickes lines.
Copy !req
905. Mary was... She was such a trouper,
and she was bringing out the...
Copy !req
906. Such a wealth of experience she had.
Copy !req
907. When she told us the story
that her first job was in theater...
Copy !req
908. Was Margaret Hamilton's understudy
on Broadway.
Copy !req
909. She went way back. Spanned several
generations of showbiz history.
Copy !req
910. –Vaudevillian.
–Great lady.
Copy !req
911. Interesting bit
about this particular song.
Copy !req
912. We actually had Tom Hulce singing it
in a higher key,
Copy !req
913. and we went back
even after the animation was done
Copy !req
914. and had him sing it
in a slightly lower key.
Copy !req
915. It didn't sound like Quasimodo.
It was just too...
Copy !req
916. – Way up here.
– Yeah. It's real high and sweet...
Copy !req
917. – Yeah.
–Like a little...
Copy !req
918. A little too much of
a choirboy vibe off of it,
Copy !req
919. and we decided that maybe
we'd lower the key a little bit.
Copy !req
920. It was actually
Chris Montan's suggestion.
Copy !req
921. It might sound a little more
like the character.
Copy !req
922. We also put some jokes in here
after we previewed it once or twice.
Copy !req
923. We found it could just use
a little leavening here and there.
Copy !req
924. – Yes.
– It was a beautiful sequence.
Copy !req
925. And Brenda Chapman
had boarded this
Copy !req
926. and we all fell in love with it
from the first storyboards.
Copy !req
927. But when we previewed it...
Copy !req
928. There was a bit of
a twitch and squirm factor.
Copy !req
929. Kids were running around.
Copy !req
930. Yeah, that we needed to lessen.
Copy !req
931. So we decided to add
a little bit of humor.
Copy !req
932. Humorous counterpoint with
the gargoyles, particularly this bit here.
Copy !req
933. We hope Brenda forgives us.
Copy !req
934. Big laugh right there.
Copy !req
935. But I still think
this is a beautiful sequence.
Copy !req
936. The music is gorgeous.
Copy !req
937. The art direction,
Dave really outdid himself.
Copy !req
938. I like the blue light.
Copy !req
939. The backgrounds are beautiful.
Lisa Keene and her group,
Copy !req
940. and, of course, the camera pan here
is one big, long, continuous pull-back.
Copy !req
941. One long pan. That was actually
our favorite Chinese restaurant.
Copy !req
942. – Yeah.
–One Long Pan.
Copy !req
943. Delicious, love the egg rolls.
Copy !req
944. Here's a tricky little transition that
we worked on for about six months.
Copy !req
945. And finally ended up with this.
Copy !req
946. –It took forever.
–I know.
Copy !req
947. We had to match
the speed of the clapper
Copy !req
948. to the speed of the swinging incense.
Copy !req
949. Which if you've tried at home,
you know it's very difficult.
Copy !req
950. It's beautiful effects.
Chris Jenkins and his effects.
Copy !req
951. Gorgeous incense up in the air.
Copy !req
952. –Stephen took an actual Mass for this.
– Yeah.
Copy !req
953. He worked a real Mass into the song.
Copy !req
954. This is a real Latin Mass chanting.
Copy !req
955. But the Latin is 100% real.
Copy !req
956. – Authentic.
– Authentic.
Copy !req
957. Authentic Latin
for your viewing pleasure.
Copy !req
958. Leads us into a part of the movie
Copy !req
959. which is a personal favorite
of all of ours, I think.
Copy !req
960. Yeah. This is the hell fire sequence
which was fairly controversial...
Copy !req
961. Are we allowed to say hell fire?
Copy !req
962. But very important to the entire...
Copy !req
963. Very important in staying true
to the spirit of Victor Hugo.
Copy !req
964. The torture that Frollo feels
over being drawn to this gypsy woman,
Copy !req
965. even though it goes against his belief,
Copy !req
966. was dramatized so effectively by
this great song by Alan and Stephen.
Copy !req
967. And I think some of the best animation
possibly ever done by Kathy Zielinski,
Copy !req
968. who really took this whole sequence
under her wing
Copy !req
969. and animated all of Frollo...
Copy !req
970. She really shepherded this through.
Copy !req
971. Yeah, it's a real showcase for Kathy.
Copy !req
972. The effects department
really knocked themselves out, too.
Copy !req
973. Chris Jenkins took this scene himself.
Copy !req
974. He felt this was really important.
Chris was our head of special effects.
Copy !req
975. And he and I went through every frame,
Copy !req
976. making sure that it was
suitable for all ages.
Copy !req
977. Making sure that Esmeralda
was fully-clothed,
Copy !req
978. even though she is portrayed
as a fire spirit.
Copy !req
979. And this, Paul and Gaëtan Brizzi
storyboarded this whole sequence
Copy !req
980. and it turns into
Frollo's nightmare here.
Copy !req
981. "Mr. Frollo's Wild Ride"
is what we called this.
Copy !req
982. We encouraged Paul and Gaëtan
to go very far out
Copy !req
983. and make this
a demented fantasy of Frollo's.
Copy !req
984. And they took us at our word.
Copy !req
985. They locked themselves
in their office for two weeks,
Copy !req
986. and then they came back
with this board that was in color.
Copy !req
987. – Yeah.
– And presented it to us.
Copy !req
988. And they were very nervous
when they presented it to us.
Copy !req
989. It was very silent afterwards.
Copy !req
990. Everyone was just like, "Wow," kind of
blown away by the intensity of it.
Copy !req
991. And they said, "Have we gone too far?"
And we said, "No."
Copy !req
992. "No, this is great.
Hope we get it by the executives."
Copy !req
993. Fortunately, but everybody
backed us up on this.
Copy !req
994. – Everybody loved it.
– They understood
Copy !req
995. how thematically important it was.
Copy !req
996. And it was very much in the spirit of
"Night on Bald Mountain" in Fantasia.
Copy !req
997. Just one of those great,
dark and surreal Disney moments.
Copy !req
998. That was our argument. We had
all these arguments all lined up.
Copy !req
999. If Michael Eisner and Roy Disney
didn't like it,
Copy !req
1000. we'd say, "It's like Fantasia,
it's like all these other things."
Copy !req
1001. Turned out we didn't have to use them.
Copy !req
1002. We didn't have to use them.
They said, "Yeah, this is great."
Copy !req
1003. Dark fire
Copy !req
1004. This really turns into Fantasia for me
at the end.
Copy !req
1005. Just singing and all the shadows
appearing on the wall.
Copy !req
1006. And again, just great cooperation
between all the departments.
Copy !req
1007. Great animation by Kathy.
Copy !req
1008. Great effects
by the effects department.
Copy !req
1009. Based on an excellent storyboard
and a terrific song.
Copy !req
1010. It's like all the elements
coming together.
Copy !req
1011. All the shadow work and
the ensuing specters and spirits
Copy !req
1012. flying around Frollo
were done by Ed Coffey, who...
Copy !req
1013. He was somebody else who thought,
Copy !req
1014. "Was he taking it too far?
Is this too much?"
Copy !req
1015. And we kept saying,
"No, do more. Do more."
Copy !req
1016. He was more than happy to do more.
Copy !req
1017. That's a great shot here,
the way the camera cranes up.
Copy !req
1018. And here's some more of
our ham-fisted symbolism.
Copy !req
1019. Frollo falls down
in the shape of a crucifix.
Copy !req
1020. This sets us up for a sequence
Copy !req
1021. that we must have boarded
at least 10 times.
Copy !req
1022. Yeah. It was originally much longer.
Copy !req
1023. There was a lot more of the soldiers
ransacking the city of Paris.
Copy !req
1024. But ultimately, we decided
a little bit of this went a long way.
Copy !req
1025. Little more of cat-and–mouse
Copy !req
1026. between Esmeralda
and the soldiers as well.
Copy !req
1027. She was featured more
in this sequence.
Copy !req
1028. Twenty pieces of silver
for the gypsy, Esmeralda.
Copy !req
1029. Take them away!
Copy !req
1030. We get a little sense
of the London chorus
Copy !req
1031. and pipe organ
playing over that sequence, too.
Copy !req
1032. We spent a whole day in London
Copy !req
1033. doing a recording session
in a cathedral
Copy !req
1034. of a great old pipe organ
Copy !req
1035. to get that sense of Mass
over the top of the score.
Copy !req
1036. Have you been harboring gypsies?
Copy !req
1037. Our home is always open
to the weary traveler.
Copy !req
1038. One of Alan's nicer cues, too.
Copy !req
1039. I mean, he does the danger music
really well.
Copy !req
1040. –He likes it, I think.
–He likes it.
Copy !req
1041. I assure you,
we know nothing of these gypsies.
Copy !req
1042. We worked really hard
to get all these flames
Copy !req
1043. and the fire sequence coming up
looking like fire.
Copy !req
1044. It's hard to do
with artwork and animation,
Copy !req
1045. but there was a gentleman
named Randy Fullmer
Copy !req
1046. who's a jack-of-all-trades kind of guy.
Copy !req
1047. We call him our artistic coordinator.
Copy !req
1048. And he takes the world of artwork
Copy !req
1049. and mingles it with
the world of technology
Copy !req
1050. to get a lot of these effects
up on the screen.
Copy !req
1051. So, a lot of this material
that's coming up
Copy !req
1052. is a real tribute to Randy.
Copy !req
1053. In this shot here, we originally
had a line of dialogue from Phoebus
Copy !req
1054. where he said, "l won't follow
the orders of a madman."
Copy !req
1055. And we decided, based on
Stephen Schwartz's suggestion,
Copy !req
1056. that the scene would be more powerful
Copy !req
1057. if we didn't realize exactly what action
Phoebus was going to take
Copy !req
1058. until he doused the torch in the barrel.
Copy !req
1059. – Boy, that's a flammable house.
–It is.
Copy !req
1060. This was the kerosene mill, apparently.
Copy !req
1061. It's a very dangerous occupation.
Copy !req
1062. –Goes up mighty fast.
– Yeah.
Copy !req
1063. The sentence
for insubordination is death.
Copy !req
1064. Such a pity.
You threw away a promising career.
Copy !req
1065. Consider it my highest honor, sir.
Copy !req
1066. Esmeralda's quite a shot
with this stone, I think.
Copy !req
1067. One hundred yards away,
she's able to hit that horse
Copy !req
1068. in just the right place.
Copy !req
1069. Yeah.
Copy !req
1070. This was a sequence that was boarded
a number of times, too, I believe.
Copy !req
1071. Yeah.
Copy !req
1072. We used to laugh at that
"Don't hit my horse" line, too.
Copy !req
1073. But unfortunately, no one else did.
Copy !req
1074. You notice Phoebus
is shot in the shoulder,
Copy !req
1075. but he grabs his chest.
Copy !req
1076. It's a common thing.
Copy !req
1077. Don't waste your arrows.
Let the traitor rot in his watery grave.
Copy !req
1078. There was a little scene coming up,
wasn't there, where Esmeralda
Copy !req
1079. had to actually dive under the water?
Copy !req
1080. Yeah. We had storyboarded this scene
of Esmeralda diving under the water,
Copy !req
1081. removing Phoebus' heavy breastplate,
Copy !req
1082. which is what made him sink
like a stone in the first place.
Copy !req
1083. But due to time constraints,
we ended up cutting it.
Copy !req
1084. So, that all takes place right here.
Copy !req
1085. Now, okay...
Copy !req
1086. – Very quick.
–Yeah, she's...
Copy !req
1087. We kind of infer.
Copy !req
1088. Here's another scene
with all these levels of artwork.
Copy !req
1089. All the building levels that
Ed Ghertner orchestrated,
Copy !req
1090. and all the levels of fire and smoke
that Randy Fullmer worked in.
Copy !req
1091. It's actually only one level of smoke
and one level of fire.
Copy !req
1092. And just by doing some distortion
using the computer,
Copy !req
1093. we were able to make it look like
it was rippling and flowing.
Copy !req
1094. In the background of this scene,
you hear what we call our loop group,
Copy !req
1095. which is basically a bunch of people
we'd get in around microphones
Copy !req
1096. to give us the...
Copy !req
1097. – The teeming hordes of Paris.
– The teeming hordes of Paris.
Copy !req
1098. Even though you don't see them,
you can kind of hear them.
Copy !req
1099. And this is a sequence where...
Copy !req
1100. Right before we recorded
the final version of this sequence,
Copy !req
1101. Mary Wickes...
Copy !req
1102. Our actress for Laverne.
Copy !req
1103. Yeah, she passed away,
very unfortunately,
Copy !req
1104. and we loved her a great deal.
Copy !req
1105. But we had a few more lines
of dialogue for her.
Copy !req
1106. And we ended up bringing in
an actress named Jane Withers,
Copy !req
1107. who's famous for
the Comet cleanser commercials.
Copy !req
1108. Josephine, the plumber.
Copy !req
1109. Josephine, the lady plumber,
to come in and double for Mary Wickes
Copy !req
1110. on a few of these lines here.
Copy !req
1111. She did such a good job
that it's almost impossible to tell
Copy !req
1112. where Mary leaves off
and Jane begins.
Copy !req
1113. There are some lines
in the sequence where...
Copy !req
1114. Yeah, the sentence is divided
between the two actresses.
Copy !req
1115. Jane was such a sweetheart
about it, too.
Copy !req
1116. And she was honored to do it, she said.
Copy !req
1117. We always said you were the cute one.
Copy !req
1118. I thought I was the cute one.
Copy !req
1119. I think we gave Jason Alexander
a mouthful of barbecue potato chips
Copy !req
1120. to deliver these lines.
Copy !req
1121. It's true.
Copy !req
1122. This next sequence is actually
a real tour de force
Copy !req
1123. for Jason Alexander
and Charles Kimbrough
Copy !req
1124. and Mary Wickes,
who do a wonderful job
Copy !req
1125. performing these characters
and singing them in this sequence.
Copy !req
1126. This is a sequence
we really thought was important,
Copy !req
1127. because we needed to lighten...
One, lighten the mood a little bit
Copy !req
1128. after all this Sturm und Drang
Copy !req
1129. that's happened
in the last five minutes.
Copy !req
1130. And also build Quasimodo's hopes up.
Copy !req
1131. We're kind of setting him up for a fall.
Copy !req
1132. We've always operated
under the assumption
Copy !req
1133. that the gargoyles were kind of
figments of Quasimodo's imagination.
Copy !req
1134. They didn't really move around,
or did they?
Copy !req
1135. Yeah. We like leaving a bit
of a question mark,
Copy !req
1136. like Harvey the rabbit,
or Calvin and Hobbes, that...
Copy !req
1137. They're inanimate when anybody else
comes in the room.
Copy !req
1138. They don't talk to anybody else,
except the goat.
Copy !req
1139. So that's where we crossed the line
a little bit.
Copy !req
1140. We'd like to keep it a little...
Copy !req
1141. – Yeah, that's okay.
– A little bit iffy.
Copy !req
1142. But this is where Quasimodo is really...
Copy !req
1143. He's really getting lost in this...
Copy !req
1144. – This fantasy.
– Fantasy.
Copy !req
1145. We tried to make the backgrounds
become more and more stylized
Copy !req
1146. over the course of this.
Copy !req
1147. Again, just to clue the audience in
that this isn't really happening.
Copy !req
1148. –It's a dream.
–It's happening in Quasimodo's mind.
Copy !req
1149. It's a dream. He's hoping that he does
really have a chance with Esmeralda.
Copy !req
1150. And since the gargoyles are
fantasy comedy characters,
Copy !req
1151. we felt we had license to be
a little more broad here.
Copy !req
1152. Turning them into poker players
and barbers and the whole deal.
Copy !req
1153. Want something new
Copy !req
1154. That's you.
Copy !req
1155. For sure
Copy !req
1156. That's always been
kind of a Disney thing,
Copy !req
1157. that when you're dealing
with magic characters,
Copy !req
1158. they can do things that the rest
of the characters can't.
Copy !req
1159. Here comes one of my favorite rhymes
by Mr. Stephen Schwartz.
Copy !req
1160. Not everyone would think to rhyme
"Adonis" and "croissant is."
Copy !req
1161. – And I think that's brilliant.
– Yeah.
Copy !req
1162. We set them off to write this
comic song and they came in one day,
Copy !req
1163. I think they were
a little nervous, actually,
Copy !req
1164. and they sat down in the music room
upstairs with a piano
Copy !req
1165. and proceeded to play this,
and we laughed ourselves silly.
Copy !req
1166. They played it on the piano.
They played it on the piano.
Copy !req
1167. And yeah, we were
just falling on the floor.
Copy !req
1168. Obligatory gargoyle–in–drag gag.
Copy !req
1169. You find that in most of the versions
of Hunchback of Notre Dame.
Copy !req
1170. – Yeah.
–Over the decades.
Copy !req
1171. I remember it from
the original Hugo, yeah.
Copy !req
1172. For you-know-who
Copy !req
1173. It's amazing. Jason Alexander,
who we all know from Seinfeld,
Copy !req
1174. is such a great singer.
Copy !req
1175. –He's terrific.
– Yeah.
Copy !req
1176. –Who knew?
–But so is Charles Kimbrough.
Copy !req
1177. He really belts it out.
Copy !req
1178. They all delivered great.
Copy !req
1179. I think it was one of the few times
Copy !req
1180. where we actually had the actors
in the same room.
Copy !req
1181. Yeah, it's true.
Copy !req
1182. Charles and Jason
were both in the same room.
Copy !req
1183. Yeah.
Copy !req
1184. Mary Wickes, however,
we had a separate...
Copy !req
1185. This is one of the saddest scenes
coming up here,
Copy !req
1186. when he goes back to reality here.
It's really...
Copy !req
1187. Blink, comes on...
Copy !req
1188. Contrast that with the earlier shot
Copy !req
1189. of all the banners and flowers
and pigeons,
Copy !req
1190. and you'll see that everything is just
Quasimodo's decrepit old junk.
Copy !req
1191. We really wanted to show
the contrast between his fantasy
Copy !req
1192. and what the reality was.
Copy !req
1193. This is Phoebus.
Copy !req
1194. "This is Phoebus.
Copy !req
1195. "He's my boyfriend.
He wrecked his dad's car.
Copy !req
1196. "Can he stay in your apartment
for a while?"
Copy !req
1197. That's kind of what the scene is.
Copy !req
1198. That's kind of what it is.
I mean, we joked about that,
Copy !req
1199. but that's really what's going on.
Copy !req
1200. – The real life parallel.
– It's heartbreaking.
Copy !req
1201. This guy's girl that he's madly in love
with brings this guy to his house.
Copy !req
1202. – That happened to me once.
– Yeah.
Copy !req
1203. This is some terrific animation
of Russ Edmonds as Phoebus
Copy !req
1204. and Anne Marie Bardwell
as Esmeralda.
Copy !req
1205. And some great vocal performances
by Kevin Kline and Demi Moore.
Copy !req
1206. We toyed with having a song here
for about five minutes one day,
Copy !req
1207. and it just didn't seem to fire off,
Copy !req
1208. because it put too much emphasis
on the romance,
Copy !req
1209. and it was really a scene
about Quasimodo's heartbreak.
Copy !req
1210. It was a really pretty romantic song.
Copy !req
1211. But the point of view
is from the wrong character.
Copy !req
1212. We really wanted this scene
to be seen through Quasimodo's eyes.
Copy !req
1213. Yeah, here it comes.
Copy !req
1214. – You can hear the glass tinkle.
– Yeah.
Copy !req
1215. And for those of you who didn't know
that Quasimodo's heart was breaking,
Copy !req
1216. – we provide a handy visual aid.
– For the six-year-olds in the audience
Copy !req
1217. who may not understand
what's going on here.
Copy !req
1218. The world's longest kiss
going on in the background, too,
Copy !req
1219. but they are French, after all.
Copy !req
1220. That's a nice little
emotional flashback, too.
Copy !req
1221. Quasi's hopes being dashed
on the rocks of life.
Copy !req
1222. – Using the same words.
–There it is.
Copy !req
1223. – Here we go.
–Get it?
Copy !req
1224. Rip.
Copy !req
1225. Broken heart.
Copy !req
1226. I'll get it.
Copy !req
1227. – It's the goat.
–Goat doorbell.
Copy !req
1228. – Here comes the bad guy.
–Here comes Frollo.
Copy !req
1229. There's a terrific sequence coming up
Copy !req
1230. that also was storyboarded
by Paul and Gaëtan Brizzi
Copy !req
1231. that we called "Frollo Dearest."
Copy !req
1232. It's where Frollo comes up
to grill Quasimodo.
Copy !req
1233. He suspects something.
Copy !req
1234. And he's going to
sweat Quasimodo out
Copy !req
1235. until he admits his involvement
in Esmeralda's escape.
Copy !req
1236. There was a funny little bit here
we had to cut out.
Copy !req
1237. When Laverne says,
"Quick, we have to stash the stiff,"
Copy !req
1238. we had a whole series of gargoyles
Copy !req
1239. hiding Phoebus' unconscious body
in funny ways.
Copy !req
1240. And we just ran out of time.
Copy !req
1241. We settled for a quick,
swift kick in the butt.
Copy !req
1242. –Quick boot in the pants.
– Yeah, which always goes over big.
Copy !req
1243. I brought a little treat.
Copy !req
1244. Again, terrific art direction here.
Copy !req
1245. Dave lit it with
this great yellow candle light,
Copy !req
1246. and it even makes their skin
look a little yellow-y.
Copy !req
1247. He was trying for a very eerie,
uncomfortable feeling here.
Copy !req
1248. Alan Menken did the score in this,
where it's a little bit of...
Copy !req
1249. The world is cruel
Copy !req
1250. Yeah, it's a slightly psychotic rendering
of the opening song.
Copy !req
1251. Frollo's song.
Copy !req
1252. Here's the world's
most dangerous grape!
Copy !req
1253. Careful. Don't touch it. No!
Copy !req
1254. I think you're hiding something.
Copy !req
1255. No, Master. I... There's no...
Copy !req
1256. Shawn Keller did the
animation of Quasimodo.
Copy !req
1257. Yeah, he looks wonderfully guilty.
Copy !req
1258. Very satisfying kick to the head.
Copy !req
1259. Seeds.
Copy !req
1260. I like the tension,
and when Frollo finally breaks,
Copy !req
1261. and starts clearing the table and yelling
at Quasimodo, it's really effective.
Copy !req
1262. Yeah, there's a lot of suspense here,
Copy !req
1263. and then when Frollo finally loses it,
a lot of impact.
Copy !req
1264. And all the tabletop dolls and things
come in handy again,
Copy !req
1265. just as a metaphor for him cleaning
house and dealing with Esmeralda.
Copy !req
1266. And if Frollo wasn't bad enough,
he wrecks all of Quasimodo's toys.
Copy !req
1267. –Yeah, he is a baddie.
– He's about as bad as they come.
Copy !req
1268. – Look at that. That's unforgivable.
– What a jerk.
Copy !req
1269. Gypsies are not capable of real love!
Copy !req
1270. Think, boy. Think of your mother.
Copy !req
1271. That's a callback to the fact that Frollo
Copy !req
1272. has told Quasimodo all of his life
that his mother abandoned him.
Copy !req
1273. I suppose this little moment
where he scorches Esmeralda's doll
Copy !req
1274. is a little forecast of things to come.
Copy !req
1275. Yes, this is Frollo
illustrating what his plans are.
Copy !req
1276. Frollo has a real obsession with fire.
Copy !req
1277. Fire is one of the symbols
that goes hand-in-hand with Frollo.
Copy !req
1278. – It's the purifying fire.
– It's the purifying flame.
Copy !req
1279. There's a great little glance
coming up here,
Copy !req
1280. when Frollo turns around
and walks down the stairs,
Copy !req
1281. kind of a knowing glance
that he just set up Quasimodo.
Copy !req
1282. Frollo is the king of the knowing smirk.
Copy !req
1283. You'll notice that the score
actually goes away for a little bit here,
Copy !req
1284. there's no background music.
Copy !req
1285. And we thought this was very effective,
Copy !req
1286. particularly after that
huge, raging scene with Frollo,
Copy !req
1287. to have a little bit of silence
in the background here,
Copy !req
1288. and also to give you a rest period
Copy !req
1289. before all the action
heats up in the third act.
Copy !req
1290. I like how they grab
the same shoulder here,
Copy !req
1291. it's a metaphor
that they share each other's pain.
Copy !req
1292. They are brothers, in a way.
Copy !req
1293. You do what you think is right.
Copy !req
1294. We storyboarded this area
a lot of times, too,
Copy !req
1295. just trying to find
the right balance between the...
Copy !req
1296. Exactly what Quasimodo's emotions
should be at this point.
Copy !req
1297. And John Ripa
did a really great scene here,
Copy !req
1298. and a nice delivery from Tom Hulce
Copy !req
1299. to bring you this moment
of Quasimodo's.
Copy !req
1300. – Tom Hulce did a fantastic job.
– Yeah.
Copy !req
1301. I think he recorded this once,
and we said, "That's it!"
Copy !req
1302. He nailed it. One Take Tom.
Copy !req
1303. I'm tired of trying to be
something that I'm not.
Copy !req
1304. He said, "Do you want me
to do that again?"No."
Copy !req
1305. This scene ends really sweetly, too,
without a word,
Copy !req
1306. with Laverne just
coming over with his cloak.
Copy !req
1307. "That is one crispy gypsy."
Copy !req
1308. That's a line
Jason used to say at this point.
Copy !req
1309. And now he remembers Esmeralda
while looking at his map.
Copy !req
1310. One of my favorite scenes,
the whisper fight that comes up here,
Copy !req
1311. which oddly enough,
Copy !req
1312. we didn't record these two actors
in the same room at the same time.
Copy !req
1313. We had Tom Hulce in California
doing his half of the whisper fight,
Copy !req
1314. and then Kevin Kline in New York
Copy !req
1315. listened to a tape of Tom Hulce in his
headphones and recorded his half.
Copy !req
1316. A lot of the improvs and timing
and things that come from Kevin Kline
Copy !req
1317. are just off-the-cuff things
that he did in the recording studio.
Copy !req
1318. They're all his own.
Copy !req
1319. Kevin Kline was so gifted
at coming up with his own funny lines,
Copy !req
1320. we were only able to use
a fraction of them here in the movie.
Copy !req
1321. Just turn on the mic and let him go.
Copy !req
1322. – This is it.
– This is not it.
Copy !req
1323. That's some great animation
by Russ Edmonds and Ralf Palmer
Copy !req
1324. in that whisper fight scene.
Copy !req
1325. This sets us up
for a great part of the movie,
Copy !req
1326. the court of miracles
and the whole lead–in to it.
Copy !req
1327. And the catacombs are inspired by,
Copy !req
1328. I think, one of the early
field trips to Paris.
Copy !req
1329. Yeah, we actually went to
the catacombs of Paris
Copy !req
1330. that are beneath the city,
Copy !req
1331. and it's several miles of tunnels that
are festooned with skulls and bones.
Copy !req
1332. –There's a McDonald's down there.
– A nice little coffee shop.
Copy !req
1333. But it's a great place.
We wanted to work it into the story.
Copy !req
1334. Hidden jokes coming up.
Copy !req
1335. On the tombstones
throughout this graveyard
Copy !req
1336. are the names
of the layout department.
Copy !req
1337. And on the top of
the sarcophagus here
Copy !req
1338. is a caricature of our head of layout.
Copy !req
1339. There he is.
Copy !req
1340. Ed Ghertner is the knight
who's supposedly entombed here.
Copy !req
1341. And one of the coolest scenes
in the movie here,
Copy !req
1342. which also resembles Gary's house
at Halloween, is this scene right here.
Copy !req
1343. –I wish.
– Yeah, it's really great.
Copy !req
1344. – If you go to Paris, you'll see this place.
–That's a lot of heads.
Copy !req
1345. It's a little drier than this, but...
Copy !req
1346. What's that in the road, a head?
Copy !req
1347. There used to be
a whole sequence here
Copy !req
1348. where the skeletons actually
jumped down and fought them,
Copy !req
1349. there was a little action sequence here.
Copy !req
1350. The idea was the gypsies had rigged
up marionettes made out of skeletons
Copy !req
1351. to scare people who got this far,
who got this close to their lair.
Copy !req
1352. So we had a whole
sword fight action sequence
Copy !req
1353. with these skeleton marionettes
that we eventually cut.
Copy !req
1354. So, yeah, the hold–over you see now
is gypsies dressed in skeleton suits.
Copy !req
1355. –Skeleton garb.
–It's the survivor of that idea.
Copy !req
1356. –And here's Clopin in his new outfit.
– His purple outfit.
Copy !req
1357. These are his street clothes,
as opposed to his performing clothes.
Copy !req
1358. We shoot live–action actors
from time to time
Copy !req
1359. just as models
for inspiration for the animators.
Copy !req
1360. And I think Mike Surrey,
the animator for Clopin,
Copy !req
1361. used a lot of live–action reference
Copy !req
1362. as inspiration for a lot of
Clopin's performances here.
Copy !req
1363. This is also a scene where
Copy !req
1364. we had a cast of thousands
to animate on the screen.
Copy !req
1365. And the pencil mileage with all
the skeletons and the bones and things
Copy !req
1366. was pretty intense.
Copy !req
1367. Considering how many
thousands there are,
Copy !req
1368. we actually got away by
a judicious use of camera angles.
Copy !req
1369. You never see everybody
onscreen at the same time.
Copy !req
1370. You see in the art direction here again,
Copy !req
1371. Dave Goetz and Lisa Keene,
our head of background,
Copy !req
1372. wanted to make this
a real colorful gypsy world,
Copy !req
1373. so it's lots of fabrics draped around.
Copy !req
1374. Little more organic and colorful.
Copy !req
1375. We wanted to contrast
the coldness of this underground lair,
Copy !req
1376. we wanted to show that they turned it
really bright and welcoming
Copy !req
1377. with all this color and tapestry.
Copy !req
1378. This is actually the third song
written for this location.
Copy !req
1379. – That's right.
– There were two other songs.
Copy !req
1380. There was a romance, two love songs,
I guess, pretty early on.
Copy !req
1381. The first one was called
In a Court of Miracles,
Copy !req
1382. which was basically
Phoebus and Esmeralda.
Copy !req
1383. Yeah, and Quasimodo
saw himself reflected in a chalice,
Copy !req
1384. and the chalice's curved surface
distorted Quasimodo
Copy !req
1385. so that he appeared handsome
in the chalice for one magic moment.
Copy !req
1386. And it was very nice,
it was all very emotional.
Copy !req
1387. But again, the emphasis
seemed to be on the wrong characters.
Copy !req
1388. It was all about the love story
between Phoebus and Esmeralda.
Copy !req
1389. And ultimately, we realized
that's not the story that we're telling.
Copy !req
1390. The second song was even more so.
Copy !req
1391. It was called
As Long As There's a Moon,
Copy !req
1392. and it was also called
The Gypsy Wedding Song.
Copy !req
1393. It involved Quasimodo
more in the action,
Copy !req
1394. but still, it was a case of the spotlight
shining on the wrong part of the stage.
Copy !req
1395. They're beautiful songs.
Copy !req
1396. They just didn't quite fit in
with the story we were telling.
Copy !req
1397. There was a long,
protracted scene in here
Copy !req
1398. where we used that idea of Quasimodo
seeing his reflection in the chalice
Copy !req
1399. to point up his ugliness,
Copy !req
1400. and how he felt out of place
with Phoebus and Esmeralda.
Copy !req
1401. And then the bad guys show up.
Copy !req
1402. Well, the jig is up.
Copy !req
1403. These Frollo scenes were actually
animated by Ruben Aquino,
Copy !req
1404. who was our guest animator towards
the end of the production from Florida.
Copy !req
1405. One of our Florida stars.
Copy !req
1406. Yeah, it was a real task to pull all the
elements of the production together.
Copy !req
1407. And we had a great production team
Copy !req
1408. led by Phil Lofaro,
our associate producer,
Copy !req
1409. Roy Conli, our co–producer in Paris,
Copy !req
1410. and Patty Hicks,
our production manager,
Copy !req
1411. who had to pull together studios
in Paris, Florida and Los Angeles,
Copy !req
1412. and recording sessions
in London and New York...
Copy !req
1413. – And Seattle and Fort Lauderdale.
– All over the globe.
Copy !req
1414. And you forget how much of an
international movie these things can be
Copy !req
1415. by the time they're all done.
Copy !req
1416. – It's also their job to wrangle us.
– To keep us on schedule.
Copy !req
1417. Without them, God knows, we would
just wander around aimlessly.
Copy !req
1418. – And play video games.
– Yeah, eat donuts into the night.
Copy !req
1419. Well, here comes a stretch of film
Copy !req
1420. that is absolutely, I think,
our collective favorites,
Copy !req
1421. this whole climax of the movie.
Copy !req
1422. – That's what we told the press anyway.
– Yeah.
Copy !req
1423. "What is your favorite film?"
I always said this part.
Copy !req
1424. This sequence is our favorite.
Copy !req
1425. It's got amazing music,
Copy !req
1426. the Latin chanting
that Stephen supplied us with.
Copy !req
1427. If you're actually a Latin buff
and you translate it,
Copy !req
1428. it is actually thematically tied in
to what's happening in the scene.
Copy !req
1429. The chorus is chanting about saving us
from judgment and the time of trial.
Copy !req
1430. There used to be
a long sequence, actually,
Copy !req
1431. that was cut before this whole scene,
Copy !req
1432. where Frollo approached Esmeralda
in the dungeon the night before.
Copy !req
1433. It was very similar to
the scene in the book
Copy !req
1434. where Frollo and Esmeralda
speak in the dungeon
Copy !req
1435. and he confesses his love for her.
Copy !req
1436. But we decided to move that action
right there on the stage
Copy !req
1437. where Esmeralda
was going to be executed,
Copy !req
1438. just for expediency and for drama.
Copy !req
1439. To energize it a little bit more.
Copy !req
1440. We go up and we see Quasimodo
at his lowest point in the film.
Copy !req
1441. – He's the defeated fighter on the ropes.
– Kind of in the ropes at this point.
Copy !req
1442. His coaches have to make him
rekindle his fighting spirit.
Copy !req
1443. He's given up at this point.
Copy !req
1444. They do the Burgess Meredith Rocky
speech, "He's a wrecking machine."
Copy !req
1445. These chains aren't what's
holding you back, Quasimodo.
Copy !req
1446. There's some very loaded lines here.
Copy !req
1447. "These chains
aren't holding you back."
Copy !req
1448. And here comes my favorite line.
Copy !req
1449. We'll leave ya alone.
Copy !req
1450. After all, we're only made out of stone.
Copy !req
1451. We just thought maybe
you were made of somethin' stronger.
Copy !req
1452. Kind of sums up
the whole movie right there.
Copy !req
1453. – There we go.
–That hurts to the core.
Copy !req
1454. For justice, for Paris,
Copy !req
1455. and for her own salvation...
Copy !req
1456. Great cue here.
Man, it gives me goose bumps still.
Copy !req
1457. Yeah.
Copy !req
1458. There's a guy named Michael Starobin
who orchestrated all this with Alan,
Copy !req
1459. and just a brilliant orchestration
and made this whole sequence work.
Copy !req
1460. And here Quasimodo eats his spinach
and comes out fighting.
Copy !req
1461. Somewhere between Samson
and The Incredible Hulk.
Copy !req
1462. This is just the best animation moment,
because you have everybody,
Copy !req
1463. background painters, art direction,
special effects, musicians,
Copy !req
1464. everybody firing off on both barrels.
Copy !req
1465. Soon we have
the computer department
Copy !req
1466. – showing themselves at full force.
– Yeah.
Copy !req
1467. These upcoming shots, it's basically
Copy !req
1468. every trick we have
in our entire arsenal,
Copy !req
1469. we're showing off at once here.
Copy !req
1470. It's the combined equivalent
Copy !req
1471. of putting the wildebeest stampede
from Lion King
Copy !req
1472. into the ballroom in
Beauty and the Beast.
Copy !req
1473. – And lighting it on fire.
– And burning the whole thing down.
Copy !req
1474. And there it is for your enjoyment.
Copy !req
1475. Well, we've said it before,
and we'll say it again.
Copy !req
1476. The entire film has been
an elaborate prologue up to this point.
Copy !req
1477. This is the whole reason for making
this film, is this sequence right here.
Copy !req
1478. And speaking of King Kong,
James Baxter, the animator,
Copy !req
1479. actually stole one of King Kong's
glances back to the crowd.
Copy !req
1480. His defiant glance.
Copy !req
1481. And the big goose bump moment
of the whole movie.
Copy !req
1482. Man, I just love this.
Copy !req
1483. Like Gary said, this was the whole
reason to make the movie for us.
Copy !req
1484. Cast of thousands down there.
It's just beautiful.
Copy !req
1485. – Captain.
– Sir?
Copy !req
1486. Seize the cathedral.
Copy !req
1487. Now this takes off into a scene that
was a balancing act for the story guys,
Copy !req
1488. because it was a combination of a very
dramatic siege of the cathedral scene,
Copy !req
1489. but it also had to be funny, 'cause
you want to have fun action gags
Copy !req
1490. of the gargoyles pouring stuff
down on the silly guards below.
Copy !req
1491. So now, Quasi drops this huge beam
on Frollo's car, so to speak,
Copy !req
1492. and his hat goes flying off.
Copy !req
1493. – And we never see his hat again.
–Thank God we got rid of that thing.
Copy !req
1494. Everybody was happy
when that happened.
Copy !req
1495. Don't have to draw it anymore.
Copy !req
1496. There's a little speech coming up
that Phoebus makes,
Copy !req
1497. and it used to be Clopin's speech.
Copy !req
1498. Yeah, we decided to give it to Phoebus
instead of Clopin,
Copy !req
1499. because Phoebus needed to be
more involved in the action
Copy !req
1500. and have a big
"rally the troops" moment.
Copy !req
1501. It ends up with him saying,
"Will we allow it?"
Copy !req
1502. And at that point, the gargoyles
used to say, "What did he say?"
Copy !req
1503. And Laverne said, "l think
he said someone stole his wallet."
Copy !req
1504. But we decided that was
one too many hard-of-hearing gags.
Copy !req
1505. Also, the momentum was going so
much, we did have a lot of gags here.
Copy !req
1506. It's hard to stop the fun.
Copy !req
1507. Yeah, we wanted to
keep the pace quick.
Copy !req
1508. Hey, isn't that...
Copy !req
1509. – Feeble?
– Doofus.
Copy !req
1510. Phoebus!
Copy !req
1511. Our story guys
came up with endless gags
Copy !req
1512. for "what could happen here
between gargoyles and guards?"
Copy !req
1513. This is Kirk's scene.
Kirk animated that one.
Copy !req
1514. That guard being hit on the head
with a brick, that was mine.
Copy !req
1515. Harder!
Copy !req
1516. This is a combination of computer
generated crowds in the background
Copy !req
1517. and hand–animated material
in the foreground.
Copy !req
1518. – And a reprise of our funny heretic guy.
–Our favorite heretic.
Copy !req
1519. Dang it!
Copy !req
1520. This is Gary's scene right here.
Copy !req
1521. He animated the guards
falling down into the water.
Copy !req
1522. To their watery death.
Copy !req
1523. – Beautifully done.
– Their watery, funny death.
Copy !req
1524. James Fujii storyboarded this gag here
with the delayed action catapult gag.
Copy !req
1525. The reverse catapult.
Copy !req
1526. When we previewed the movie,
I used to love this part,
Copy !req
1527. 'cause I knew
the big laughs were coming up.
Copy !req
1528. You had a surefire laugh
right here with the guard...
Copy !req
1529. The reprise of the famous
horse-sits-on-guard gag.
Copy !req
1530. The big, funny flatulent noise.
Copy !req
1531. Yeah, and possibly
the biggest laugh of the movie.
Copy !req
1532. Our homage to Wizard of Oz.
Copy !req
1533. Both The Wizard of Oz and The Birds.
Copy !req
1534. This was devised by our story man,
John Sanford.
Copy !req
1535. The effects work in here
is second to none.
Copy !req
1536. Effects animator Marlon West
Copy !req
1537. did a lot of the molten lava here,
along with Dorse Lanpher.
Copy !req
1538. And here you see a cinema first,
the lava cam.
Copy !req
1539. And that sets you up for the big icon
from the book, the movie.
Copy !req
1540. –There it is.
–A zillion CGI crowds, lava,
Copy !req
1541. that's the definitive scene of
The Hunchback of Notre Dame.
Copy !req
1542. The end. Thank you, folks.
Copy !req
1543. Wait, there's more.
Copy !req
1544. Here, we needed a scene for
the archdeacon, more than anything.
Copy !req
1545. Yeah, to at least
make an attempt to stop Frollo,
Copy !req
1546. otherwise, we thought
it would seem a little ineffectual.
Copy !req
1547. He was absent for a long time.
Copy !req
1548. Didn't Frollo use to
punch the archdeacon?
Copy !req
1549. Yeah, we thought
that was a little much.
Copy !req
1550. Slam him up against the wall
or something?
Copy !req
1551. He's punching the clergy.
Copy !req
1552. Come and see.
Copy !req
1553. – And here's that classic uh–oh.
– Big uh-oh moment.
Copy !req
1554. This doesn't look good.
Copy !req
1555. We literally, at test screenings,
we heard uh–ohs from kids.
Copy !req
1556. – Yeah, it was very sweet.
– Yeah.
Copy !req
1557. This scene's really effective,
Copy !req
1558. some really nice animation
by James Baxter and his crew.
Copy !req
1559. It shows you how acting
is so tough in animation.
Copy !req
1560. And you don't realize here's somebody
doing 24 drawings a second of film,
Copy !req
1561. and it's not moving around a lot, but
it's a very sensitive little performance,
Copy !req
1562. not any dialogue,
Copy !req
1563. it's just a very solemn moment
and it works like a million bucks.
Copy !req
1564. Here's that boys' choir again.
Copy !req
1565. The angelic reprise of the theme
Copy !req
1566. that's played when the two of them
are up on the roof together,
Copy !req
1567. calls back that moment.
Copy !req
1568. This sequence was boarded
by Brenda Chapman.
Copy !req
1569. It's a lovely moment.
Copy !req
1570. And then, of course, the bad guy
walks in, and with him, he brings...
Copy !req
1571. His own scary red light.
Copy !req
1572. We could justify it story-wise by the
fact that the fire was burning outside,
Copy !req
1573. so we were able to give the place
a red, menacing glow.
Copy !req
1574. We wanted the audience to have
Copy !req
1575. one of those
"watch out behind you" scenes.
Copy !req
1576. "Look out behind you" moment.
Copy !req
1577. Even though Quasimodo
was hopeless here,
Copy !req
1578. didn't really care
what was happening...
Copy !req
1579. But there's a great moment coming up
Copy !req
1580. when they're
facing each other and fighting,
Copy !req
1581. and Quasimodo looks into Frollo's eyes
Copy !req
1582. and realizes that
he's been lied to his whole life.
Copy !req
1583. Yeah, he sees the hate
in Frollo's face and realizes that...
Copy !req
1584. And then he just eats his spinach
and just nails Frollo here.
Copy !req
1585. Another animation guest star,
Copy !req
1586. Charlie Bonifacio,
a very talented Canadian animator,
Copy !req
1587. who did a couple of these scenes here.
Copy !req
1588. Now this whole climactic battle
on top of the parapets of Notre Dame
Copy !req
1589. was also a real
international production.
Copy !req
1590. Real collaboration of storyboards
again by Paul and Gaëtan Brizzi,
Copy !req
1591. backgrounds and layouts
produced in Paris,
Copy !req
1592. and animation produced
both in Paris and California.
Copy !req
1593. And Randy Fullmer, our artistic
coordinator, did a cool thing,
Copy !req
1594. 'cause there's constantly smoke
rising up from the square below.
Copy !req
1595. And it becomes more and more
impressionistic as you go.
Copy !req
1596. The town square
actually disappears after a while
Copy !req
1597. and turns into
a hellish hotbed down there.
Copy !req
1598. Yeah, we were also trying to
set up this whole metaphor
Copy !req
1599. of Frollo plunging into this fiery abyss
below, kind of a hell–like fire below.
Copy !req
1600. A lot of people think some of these
trefoil shapes on the cathedral
Copy !req
1601. are Mickey Mouse shapes,
and they're really not.
Copy !req
1602. They're not,
they're actually on the cathedral itself,
Copy !req
1603. they weren't meant to be
little homages to Mickey Mouse.
Copy !req
1604. There is, in fact, photographic
reference at your local library
Copy !req
1605. for you to check on this.
Copy !req
1606. The gargoyles that you see all over
the cathedral during this sequence,
Copy !req
1607. those are the actual gargoyles
on Notre Dame in their exact locations.
Copy !req
1608. We actually were
very accurate at this point
Copy !req
1609. in our reproductions of the gargoyles.
Copy !req
1610. So that warthog one that people
sometimes think is Pumbaa
Copy !req
1611. – is not Pumbaa, it's an actual gargoyle.
– It's a warthog gargoyle.
Copy !req
1612. This series of reverses here, I think
Kirk and Gary worked really hard
Copy !req
1613. to try to get a sense of
increasing peril through here.
Copy !req
1614. I remember seeing
on a scoring stage once,
Copy !req
1615. even with Alan trying to get the score
to do the same thing,
Copy !req
1616. to indicate that rising levels of peril
going up to this speech here.
Copy !req
1617. Here's Frollo's
moment of extreme psychosis.
Copy !req
1618. And extreme pain, actually.
Copy !req
1619. – And there he goes.
–Off he goes.
Copy !req
1620. Bye-bye, Frollo, thanks for playing.
Copy !req
1621. That's kind of our tribute
to Dr. Strangelove there.
Copy !req
1622. – Major Kong riding the bomb.
– Yeah.
Copy !req
1623. In a final twist, though,
here goes Quasi.
Copy !req
1624. –He's dead, too.
– Bye-bye, now.
Copy !req
1625. Well, you didn't expect that, did you?
Copy !req
1626. Last-minute save.
Copy !req
1627. And they're all friends now.
Copy !req
1628. And now the light changes.
Copy !req
1629. It's no longer red,
it's getting a little purple.
Copy !req
1630. – It's dawn, actually.
– They've been fighting all night.
Copy !req
1631. Yeah, it's been a long,
rough night for all of them.
Copy !req
1632. There's sunrise out there now.
Copy !req
1633. It's funny in animation how art direction
can really help manipulate
Copy !req
1634. the emotions
of the moment in the time of day,
Copy !req
1635. and even the costumery and the way
the scene looks helps you tell the story.
Copy !req
1636. This scene here originally was a payoff
for a sequence that was cut out.
Copy !req
1637. We mentioned
The Gypsy Wedding Song before.
Copy !req
1638. Originally, Quasimodo
had to join their hands
Copy !req
1639. in the course of this
Gypsy Wedding Song,
Copy !req
1640. but the song was interrupted,
and there he joins his hands.
Copy !req
1641. But we decided to leave
the hand-joining moment,
Copy !req
1642. 'cause it was still very emotional.
Copy !req
1643. – It's a bright new day.
– Now it's morning.
Copy !req
1644. And pretty much, from the point that
Quasimodo was caught by Phoebus
Copy !req
1645. to the end of the movie,
Copy !req
1646. there is not a single line
of dialogue spoken.
Copy !req
1647. And I think that's a real tribute
Copy !req
1648. to the quality of the animation
and just to the power of animation
Copy !req
1649. as being a visual medium.
Copy !req
1650. All of the rest of the story
is told in pantomime.
Copy !req
1651. If you like,
we can explain what's going on.
Copy !req
1652. But I think everyone gets the idea.
Copy !req
1653. This is about Quasimodo
finally stepping out into the sun,
Copy !req
1654. into the light, literally,
and being accepted.
Copy !req
1655. James even had his pupils
dilate in the light.
Copy !req
1656. Yeah, that's a nice little touch.
Copy !req
1657. You can go back
and take a look at that.
Copy !req
1658. There's our boys' choir again.
Copy !req
1659. This is a very tender moment,
Copy !req
1660. and these are tricky to pull off
in animation without it seeming...
Copy !req
1661. Real schmaltzy or fake.
Copy !req
1662. I think James just did a great job here.
Copy !req
1663. And again,
with the support of Alan's music,
Copy !req
1664. you get a really great warm feeling.
Copy !req
1665. This sets us up
for a series of parting shots
Copy !req
1666. and almost curtain calls
for the characters.
Copy !req
1667. Give you the satisfaction
of getting to say goodbye
Copy !req
1668. to these characters
that you spent the last 90 minutes with.
Copy !req
1669. Bye–bye, Clopin.
Copy !req
1670. Bye–bye, Quasimodo.
Copy !req
1671. – Bye-bye, gargoyles.
–See you, gargoyles, you were fun.
Copy !req
1672. And even a little curtain call
for the goat.
Copy !req
1673. Here's Mr. and Mrs. Phoebus.
Copy !req
1674. And their kid.
Copy !req
1675. That leads us into
Copy !req
1676. possibly the biggest pull-back shot
in animation history here,
Copy !req
1677. a cast of thousands.
Copy !req
1678. Just when you think it's going to cut,
Copy !req
1679. no, it just keeps pulling back,
further and further and further.
Copy !req
1680. Ed Ghertner, Randy Fullmer.
Copy !req
1681. We blame you for this shot.
Copy !req
1682. Even a little final homage to
Mary Wickes and the pigeons there.
Copy !req
1683. Through the clouds,
just the way we began.
Copy !req
1684. It's kind of a bookend thing.
Copy !req
1685. And a classic Disney happy ending to
The Hunchback of Notre Dame.
Copy !req
1686. Well, there it is,
The Hunchback of Notre Dame.
Copy !req
1687. And I don't know about you,
but I am ready for the showers.
Copy !req
1688. The process of making
an animated film is pretty amazing,
Copy !req
1689. 'cause you have
600 people over four years,
Copy !req
1690. in this case,
spread out over a couple of continents,
Copy !req
1691. and it's a really,
really collaborative thing.
Copy !req
1692. I think the idea for this film
Copy !req
1693. started three or four years
before it was released.
Copy !req
1694. A guy named David Stainton,
Copy !req
1695. who was one of our very talented
development executives at the studio.
Copy !req
1696. Yeah, he was the first one
to propose doing an adaptation
Copy !req
1697. of The Hunchback of Notre Dame
in animation.
Copy !req
1698. And he brought on a writer
named Tab Murphy
Copy !req
1699. who developed
a treatment for the story.
Copy !req
1700. And when you think about it,
Copy !req
1701. we've done a lot of animation
based on children's literature,
Copy !req
1702. like Bambi or Jungle Book,
Copy !req
1703. but we've never done a film
Copy !req
1704. based on a widely-read,
widely-accepted piece of literature,
Copy !req
1705. like Victor Hugo's
Hunchback of Notre Dame.
Copy !req
1706. – Which you'd call adult literature.
– Yeah.
Copy !req
1707. But on further analysis, Gary and I
Copy !req
1708. realized that there were
aspects of the story
Copy !req
1709. that were so archetypal, if you will,
Copy !req
1710. that it read almost like a fairytale.
Copy !req
1711. When you strip the story
down to its bare bones,
Copy !req
1712. you've got a monster
who lives in a tower...
Copy !req
1713. Locked in a tower
by his evil stepfather.
Copy !req
1714. A beautiful dancer
and a knight on a horse.
Copy !req
1715. Just great fairytale elements
that come together.
Copy !req
1716. One of the funny things about making
the movie was, we were so worried
Copy !req
1717. about the French reaction to taking
a classic piece of French literature,
Copy !req
1718. it turns out to be
this huge hit in France,
Copy !req
1719. it was the number one
movie of the year.
Copy !req
1720. It was a giant movie in Paris.
Copy !req
1721. They went nuts for it,
and that was actually very gratifying.
Copy !req
1722. There was some
nervousness on our part.
Copy !req
1723. Walt Disney is running roughshod
over a French national treasure.
Copy !req
1724. But Disney's doing their Disney thing,
and they loved it.
Copy !req
1725. And part of it was the ability
to work with a bunch of Parisian artists
Copy !req
1726. who not only
were familiar with the literature,
Copy !req
1727. but they walked out their front door
every day and there was Notre Dame,
Copy !req
1728. and they were able to study it,
Copy !req
1729. and at least help us understand the
cultural concerns and the architecture,
Copy !req
1730. and all the things
that went into the making of the movie.
Copy !req
1731. The process of hatching a movie, too,
depends on a lot of people upfront.
Copy !req
1732. The writing staff passes the baton
to the story crew.
Copy !req
1733. We had a really great story crew
on this film.
Copy !req
1734. Yeah, we had a terrific group of writers.
Copy !req
1735. Bob Tzudiker and Noni White
and Irene Mecchi,
Copy !req
1736. and Jonathan Roberts
who wrote a little bit on Lion King,
Copy !req
1737. were some of the people that came in,
Copy !req
1738. and just around the table
with the directors and the story staff,
Copy !req
1739. helped to knock ideas around,
Copy !req
1740. and that collaboration breathes a lot
of what you saw on the screen here.
Copy !req
1741. The animators were also
always stars of the show.
Copy !req
1742. Yeah. It can't be said enough.
Copy !req
1743. The animators are our actors and
take their characters just as seriously,
Copy !req
1744. and put as much passion and
thought into their drawn performance
Copy !req
1745. as any actor on film or stage would.
Copy !req
1746. Here's a group of people
we didn't talk about too much,
Copy !req
1747. the cleanup artists who take
the animators' performances,
Copy !req
1748. which are often drawn very sketchily
and rough on a piece of paper.
Copy !req
1749. It's their job to make these rough,
inconsistent drawings
Copy !req
1750. from 30 to 60 different people all look
like they came out of the same hand.
Copy !req
1751. And it's important.
It all helps the believability of the story,
Copy !req
1752. because you don't want the audience,
at any point during the story,
Copy !req
1753. to be made aware of the fact
that they're watching drawings.
Copy !req
1754. You just want them to believe
that they're watching characters,
Copy !req
1755. and that they become emotionally
involved with these characters.
Copy !req
1756. And it's important to create a feeling
of consistency throughout visually,
Copy !req
1757. so that suddenly, you don't see
six different Quasimodos in the movie,
Copy !req
1758. because I think
that would give away the illusion.
Copy !req
1759. It is ironic, though, that the
best compliment that we've received
Copy !req
1760. is when people forgot
that it was animation.
Copy !req
1761. We work for three years,
for seven days a week, 26 hours a day,
Copy !req
1762. making an animated feature,
and the best compliment we can get
Copy !req
1763. is that people were so wrapped up
in the characters and the story
Copy !req
1764. that they forgot that it was animated.
Copy !req
1765. One of the stars of the show for me,
too, is really Dave Goetz.
Copy !req
1766. We've talked about him a lot
through the commentary on the movie,
Copy !req
1767. but when you think about
all the thought he put into
Copy !req
1768. using light and contrast to
underline the contrast of the story...
Copy !req
1769. That was something
that he was really key in
Copy !req
1770. and felt was crucial to the film,
Copy !req
1771. was echoing Hugo's themes
of light and shadow,
Copy !req
1772. and of contrasts between good and evil
and differences in society.
Copy !req
1773. By exploring that idea
through light and through color,
Copy !req
1774. he really put something special
on the screen.
Copy !req
1775. And Alan and Stephen, too.
Alan Menken and Stephen Schwartz.
Copy !req
1776. The ability to tell a story
in the context of a song
Copy !req
1777. is a gift that not too many
songwriters have.
Copy !req
1778. And I think we were lucky in the end
Copy !req
1779. to have Alan and Stephen
as our collaborators there.
Copy !req
1780. Absolutely. And at least for our money,
Copy !req
1781. I think this is some of Alan's finest,
most daring and boldest work
Copy !req
1782. that he's done for us yet.
Copy !req
1783. And I really don't think
we can praise him enough for that.
Copy !req
1784. It's certainly my favorite work
he's ever done.
Copy !req
1785. So as we come to a close here,
Copy !req
1786. we just tip our hat to
the hundreds and hundreds of people
Copy !req
1787. that worked together
to make these movies.
Copy !req
1788. It's really a work of art,
a great American art form.
Copy !req
1789. I wish we could take the time
Copy !req
1790. to thank each and every one of them
individually, but...
Copy !req
1791. – We can, can't we?
– We'll just ask you to
Copy !req
1792. roll the credits about six more times
and read every name carefully,
Copy !req
1793. because they deserve it,
they all contributed.
Copy !req
1794. See you, gargoyles,
you were fun.
Copy !req
1795. And even a little curtain call
for the goat.
Copy !req
1796. Here's Mr. and Mrs. Phoebus.
Copy !req
1797. And their kid.
Copy !req
1798. That leads us into
Copy !req
1799. possibly the biggest pull-back shot
in animation history here,
Copy !req
1800. a cast of thousands.
Copy !req
1801. Just when you think
it's going to cut,
Copy !req
1802. no, it just keeps pulling back,
further and further and further.
Copy !req
1803. Ed Ghertner,
Randy Fullmer.
Copy !req
1804. We blame you for this shot.
Copy !req
1805. Even a little final homage to
Mary Wickes and the pigeons there.
Copy !req
1806. Through the clouds,
just the way we began.
Copy !req
1807. It's kind of a bookend thing.
Copy !req
1808. And a classic
Disney happy ending
Copy !req
1809. to The Hunchback of Notre Dame.
Copy !req
1810. Well, there it is,
The Hunchback of Notre Dame.
Copy !req
1811. And I don't know about you,
but I am ready for the showers.
Copy !req
1812. The process of making
an animated film is pretty amazing,
Copy !req
1813. 'cause you have
600 people over four years,
Copy !req
1814. in this case,
spread out over a couple of continents,
Copy !req
1815. and it's a really,
really collaborative thing.
Copy !req
1816. I think the idea for this film
Copy !req
1817. started three or four years
before it was released.
Copy !req
1818. A guy named David Stainton,
Copy !req
1819. who was one of our very talented
development executives at the studio.
Copy !req
1820. Yeah, he was the first one
to propose doing an adaptation
Copy !req
1821. of The Hunchback of Notre Dame
in animation.
Copy !req
1822. And he brought on a writer
named Tab Murphy
Copy !req
1823. who developed
a treatment for the story.
Copy !req
1824. And when you think about it,
Copy !req
1825. we've done a lot of animation
based on children's literature,
Copy !req
1826. like Bambi or Jungle Book,
Copy !req
1827. but we've never done a film
Copy !req
1828. based on a widely-read,
widely-accepted piece of literature,
Copy !req
1829. like Victor Hugo's
Hunchback of Notre Dame.
Copy !req
1830. Which you'd call adult literature.
Copy !req
1831. Yeah.
Copy !req
1832. But on further analysis, Gary and I
Copy !req
1833. realized that there were
aspects of the story
Copy !req
1834. that were so archetypal, if you will,
Copy !req
1835. that it read almost like a fairytale.
Copy !req
1836. When you strip the story
down to its bare bones,
Copy !req
1837. you've got a monster
who lives in a tower…
Copy !req
1838. Locked in a tower
by his evil stepfather.
Copy !req
1839. A beautiful dancer
and a knight on a horse.
Copy !req
1840. Just great fairytale elements
that come together.
Copy !req
1841. One of the funny things
about making the movie was,
Copy !req
1842. we were so worried
Copy !req
1843. about the French reaction to taking
a classic piece of French literature,
Copy !req
1844. it turns out to be
this huge hit in France,
Copy !req
1845. it was the number one
movie of the year.
Copy !req
1846. It was a giant movie in Paris.
Copy !req
1847. They went nuts for it,
and that was actually very gratifying.
Copy !req
1848. There was some
nervousness on our part.
Copy !req
1849. Walt Disney is running roughshod
over a French national treasure.
Copy !req
1850. But Disney's doing their Disney thing,
and they loved it.
Copy !req
1851. And part of it was the ability
to work with a bunch of Parisian artists
Copy !req
1852. who not only
were familiar with the literature,
Copy !req
1853. but they walked out their front door
every day and there was Notre Dame,
Copy !req
1854. and they were able to study it,
Copy !req
1855. and at least help us understand the
cultural concerns and the architecture,
Copy !req
1856. and all the things
that went Into the making of the movie.
Copy !req
1857. The process of hatching a movie, too,
depends on a lot of people upfront.
Copy !req
1858. The writing staff passes the baton
to the story crew.
Copy !req
1859. We had a really great story crew
on this film.
Copy !req
1860. Yeah, we had
a terrific group of writers.
Copy !req
1861. Bob Tzudiker and Noni White
and Irene Mecchi,
Copy !req
1862. and Jonathan Roberts
who wrote a little bit on Lion King,
Copy !req
1863. were some of the people that came in,
Copy !req
1864. and just around the table
with the directors and the story staff,
Copy !req
1865. helped to knock Ideas around,
Copy !req
1866. and that collaboration breathes a lot
of what you saw on the screen here.
Copy !req
1867. The animators were also
always stars of the show.
Copy !req
1868. Yeah. It can't be said enough.
Copy !req
1869. The animators are our actors and
take their characters just as seriously,
Copy !req
1870. and put as much passion and
thought into their drawn performance
Copy !req
1871. as any actor on film or stage would.
Copy !req
1872. Here's a group of people
we didn't talk about too much,
Copy !req
1873. the cleanup artists who take
the animators' performances,
Copy !req
1874. which are often drawn very sketchily
and rough on a piece of paper.
Copy !req
1875. It's their job to make
these rough, inconsistent drawings
Copy !req
1876. from 30 to 60 different people all look
like they came out of the same hand.
Copy !req
1877. And it's important.
It all helps the believability of the story,
Copy !req
1878. because you don't want the audience,
at any point during the story,
Copy !req
1879. to be made aware of the fact
that they're watching drawings.
Copy !req
1880. You just want them to believe
that they're watching characters,
Copy !req
1881. and that they become emotionally
involved with these characters.
Copy !req
1882. And it's important to create a feeling
of consistency throughout visually,
Copy !req
1883. so that suddenly, you don't see
six different Quasimodos in the movie,
Copy !req
1884. because I think
that would give away the illusion.
Copy !req
1885. It is ironic, though,
Copy !req
1886. that the best compliment
that we've received
Copy !req
1887. is when people forgot
that it was animation.
Copy !req
1888. We work for three years,
for seven days a week, 26 hours a day,
Copy !req
1889. making an animated feature,
and the best compliment we can get
Copy !req
1890. is that people were so wrapped up
in the characters and the story
Copy !req
1891. that they forgot that it was animated.
Copy !req
1892. One of the stars of the show
for me, too, is really Dave Goetz.
Copy !req
1893. We've talked about him a lot
through the commentary on the movie,
Copy !req
1894. but when you think about
all the thought he put into
Copy !req
1895. using light and contrast to
underline the contrast of the story…
Copy !req
1896. That was something
that he was really key in
Copy !req
1897. and felt was crucial to the film,
Copy !req
1898. was echoing Hugo's themes
of light and shadow,
Copy !req
1899. and of contrasts between good and evil
and differences in society.
Copy !req
1900. By exploring that idea
through light and through color,
Copy !req
1901. he really put something special
on the screen.
Copy !req
1902. And Alan and Stephen, too.
Alan Menken and Stephen Schwartz.
Copy !req
1903. The ability to tell a story
in the context of a song
Copy !req
1904. is a gift that not too many
songwriters have.
Copy !req
1905. And I think we were lucky in the end
Copy !req
1906. to have Alan and Stephen
as our collaborators there.
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1907. Absolutely.
And at least for our money,
Copy !req
1908. I think this is some of Alan's finest,
most daring and boldest work
Copy !req
1909. that he's done for us yet.
Copy !req
1910. And I really don't think
we can praise him enough for that.
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1911. It's certainly
my favorite work he's ever done.
Copy !req
1912. So as we come to a close here,
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1913. we just tip our hat to
the hundreds and hundreds of people
Copy !req
1914. that worked together
to make these movies.
Copy !req
1915. It's really a work of art,
a great American art form.
Copy !req
1916. I wish we could take the time
Copy !req
1917. to thank each and every one of them
individually, but…
Copy !req
1918. We can, can't we?
We'll just ask you to
Copy !req
1919. roll the credits about six more times
and read every name carefully,
Copy !req
1920. because they deserve it,
they all contributed.
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