The Hunchback of Notre Dame (1996)

1. Hi, I'm Don Hahn, the producer of Hunchback of Notre Dame.

2. – And I'm Kirk Wise. – And I'm Gary Trousdale.

3. We're the directors of The Hunchback of Notre Dame.

4. And for the next 90 minutes, we're gonna give you a little backstage tour

5. of the making of The Hunchback of Notre Dame

6. with sordid details and possibly

7. a challenging abdominal workout along the way.

8. Was that "assorted details" or "sordid details"?

9. – Sordid details, yeah. – Sordid details. Very good.

10. Well, this movie all starts out with Victor Hugo in France

11. and this opening sequence, which was pretty challenging to put together.

12. This is probably the longest single shot in the film.

13. We actually managed to make our camera and computer department

14. start coughing up blood trying to composite this entire scene.

15. We were told that the computer could not crash

16. because it could handle so much information.

17. And we crashed it twice, and we're damn proud of it.

18. We are really proud.

19. It's probably 50 or 60 levels of artwork you're looking at here

20. as we're sailing through the city towards Notre Dame.

21. And we went to Notre Dame several times.

22. It's one of those funny movies

23. where you can actually visit the place where it takes place.

24. Yeah, that was one of the things that was unique about this film,

25. was that we were able to visit Notre Dame

26. and spend a couple of weeks there crawling all over the thing,

27. and taking pictures from every possible angle

28. and taking rubbings of the texture of the stone.

29. And it was great. It really gave us a sense of being there,

30. and I think it made our rendition of the cathedral a little more believable.

31. This whole sequence didn't start out as a song, did it?

32. –No, it did not. –This was a dance number.

33. This whole sequence was a long, boring talking introduction

34. as to how Claude Frollo, the most powerful man in Paris,

35. would be hitched up with Quasimodo, the misshapen bell ringer.

36. Yeah, it was always really hard for us to justify

37. what is our villain of the story doing

38. attached at the hip to our hero of the story.

39. And so, this prologue was devised

40. to explain how the two of them came together, their secret origin story.

41. So we tried a couple of versions,

42. just dramatically acted out with dialogue,

43. and it just didn't work.

44. It was very dry, it was very talky and it was very dull.

45. And it was actually Stephen Schwartz who looked at the material and said,

46. –"Guys, I think..." – He said, "I can help you here."

47. Yeah, "l can musicalize this, we can turn this into a song.

48. "We can get much more information

49. "in a much more interesting and dramatic way

50. "if we do it through song."

51. So here comes the bad guy for the first time.

52. This is the bad guy.

53. You can tell because of his black horse, black hat, black cape...

54. If you haven't guessed yet, here's the villain.

55. And voice from the tomb.

56. to purge the world of vice and sin

57. His horse, by the way, is named Snowball.

58. Snowball, appropriately enough.

59. This whole sequence was done in our studio in Paris.

60. And it was interesting, because they seemed to have a real grasp,

61. obviously, about the way medieval Paris looked,

62. because they walk out their front door every day,

63. – and they see it. – And there it is.

64. Every day, yeah. They had the home court advantage.

65. There's something interesting about Frollo in this sequence,

66. which is very subtle.

67. This sequence takes place 20 years before the actual story begins,

68. and if you look at Claude Frollo's features,

69. and particularly, the color of his hair, you'll notice he is 20 years younger.

70. – He's about 15 years younger. – Yeah.

71. Well, we say "20 years" in the song.

72. –Something like that. –Somebody says "20 years."

73. Yes, yes, it's 20 years.

74. This whole sequence was boarded by Paul and Gaëtan Brizzi,

75. two Parisian brothers,

76. who did a great job of the sense of

77. this locomotive of a horse bearing down on Quasimodo's mom.

78. There was a lot of discussion as to whether or not

79. you should see Quasimodo's face as a baby, and we opted not to see it,

80. because we thought it was more dramatic to reveal it later

81. as he comes out of the shadows and we see him for the first time.

82. We thought it might be unintentionally humorous

83. to see this little Quasi–baby.

84. Some great special effects here, too.

85. Just the snow blowing off the top of the well

86. and some great computer generated snowflakes flying through the scene.

87. That scene with the well was a good combination,

88. 'cause there was the hand–drawn effects

89. of them blowing off the well, like you said, but all the snow you see here

90. is particle system snow done in the computer.

91. And even that blowing mist, it's the same snowflakes re-exposed,

92. but with a huge blur put on them,

93. so that they follow the exact same path that the snowflakes do.

94. Something interesting you'll see coming up here,

95. is if you watch the statue of Mary,

96. when the lightning flashes, her eyes snap open.

97. –So now, it's no longer our little secret. –Yes, it chills Claude Frollo to the bone,

98. but if you look closely, you'll see it happen.

99. We thought it was eerie and cool, but no one noticed, but us.

100. Okay, don't blink. Here it comes.

101. –Here it comes. – And there it is!

102. – That was scary. – It got me.

103. This whole musical opening number has...

104. I think Alan and Stephen were really inspired by the Latin Mass and...

105. – Yeah, the Requiem Mass by... – By Mozart.

106. – Mozart, yes. –I remember him.

107. And so we played that over an early boarded version

108. that was basically just a dialogue version,

109. and we played the Requiem Mass over it,

110. and Stephen got really excited and said, "Just a minute,"

111. and he ran off and ran back with this.

112. Beautifully done.

113. Yeah, it's really one of our favorite sequences in the movie.

114. –"Give me 10 minutes, guys." –I love this transition.

115. This little cape coming in

116. and you're back at the puppet show all of a sudden.

117. It was also decided at this point

118. that we would make Clopin the narrator of our story,

119. which was very theatrical in nature,

120. and I think really appealed to Stephen Schwartz

121. in a Pippin-esque kind of way,

122. to have this performer-character be the one who...

123. –A little of that, a little of Cabaret. – ... takes you through the story.

124. Here's some big computer generated bells

125. put in a traditionally painted background

126. with beams of light coming through, with light motes and dust in it,

127. and the title comes on and it's just a beautiful thing.

128. This movie is a real hybrid

129. of traditional elements and computer graphics elements.

130. There's fewer stand–alone computer graphic sequences

131. like there were in Beauty and the Beast and more an integration of the two.

132. This is the first time we actually see Quasimodo.

133. We've kept him in the shadows all up unto this point,

134. building him up as this mysterious monster,

135. and when he actually turns his face into the light,

136. we see that he has a kindly expression and a gentle manner.

137. And it was important to establish this right away

138. and get the audience on Quasimodo's side.

139. We'd sit in previews when we were previewing the movie,

140. and we always wait for that moment when Quasimodo turns around

141. and the audience would go...

142. But the audience had this expectation, too,

143. of the hunchback of Notre Dame, that it's gonna be a monster.

144. Hollywood's treated Quasimodo as a monster for the past 70, 80 years,

145. and so this is our chance to show the audience that he has a heart.

146. He's not a bad guy.

147. It's really a credit to James Baxter, the supervising animator,

148. to have brought that out in Quasimodo's performance.

149. Pretty much from frame one,

150. you see past the misshapen exterior and really see into his heart,

151. so it was a really great job by James.

152. Here comes our comic characters, Victor, Hugo and Laverne.

153. Yeah, these were inspired by Victor Hugo, the author.

154. In many passages in the original novel, he implies that to Quasimodo,

155. the gargoyles that are all over the cathedral are actually alive.

156. He has long conversations with them, they appear to be speaking with him,

157. it didn't seem like a real big leap of faith

158. for us to actually animate them and give them voices and characters.

159. One early idea for these guys was that they were outcasts.

160. We never really played that in the story that much,

161. but that they were the stonemason's cast-offs.

162. If you go to Notre Dame Cathedral now,

163. you won't find these particular ones there.

164. These are the ones that the sculptor didn't do as well...

165. They're for sale in the Disney store. You can buy them there.

166. One's got a chipped ear

167. and the other's got a broken tooth or something like that.

168. This is Quasimodo's tabletop model of Notre Dame and the city of Paris.

169. This was an idea that was developed by Burny Mattinson,

170. one of our fine story artists. And it was his idea

171. that Quasimodo would fantasize about the world outside,

172. and his fantasies were expressed through this hobby of making models

173. and carving figurines of the people in Paris, including one of himself.

174. He could live vicariously through this little wooden figure of himself,

175. 'cause he can never go down himself,

176. this is the only way he can really experience what the city is like,

177. is on his little tabletop city.

178. The layout guys did an amazing job here,

179. trying to create Quasimodo's loft apartment

180. up in the bell tower of Notre Dame,

181. 'cause there's not much up there when you go traveling up into Notre Dame,

182. but they wanted to make it Quasimodo's world, his home.

183. Yeah, Darek Gogol and Tom Shannon really created the design for the place,

184. and it's a wonderful multi–level loft with wonderful statues and tapestries.

185. Merchant of Venice here, folks, William Shakespeare fans.

186. It's the joke that only the grown-ups would laugh at in the theaters.

187. What?

188. My master, Frollo.

189. Yeah.

190. This is a scene, we didn't do it through the whole movie,

191. but we put stains on the gargoyles

192. to make them feel like they've been out in the weather for a long time.

193. Yeah, that was the job of special effects,

194. where they had a map for each gargoyle from every angle,

195. so that the stains would appear consistently

196. and wouldn't seem to crawl around on the surface of the gargoyle.

197. But like Don says,

198. we couldn't put 'em on every scene just because it took a long time.

199. And after a while, you don't need it.

200. Here's a fun thing coming up.

201. When Frollo comes in, the art direction changes pretty abruptly.

202. – Watch the light, watch the light. – Yeah.

203. Frollo walks in the room and literally, all the light is sucked out.

204. He must have bumped the light switch on the way up the stairs.

205. It's as though that black cloak of his just absorbs light like a black hole.

206. That was a conscious decision by Dave Goetz, our talented art director.

207. Quasimodo's posture changes, too, into a submissive character...

208. Yeah, his whole personality.

209. Instead of being almost normal, and outgoing and friendly and articulate,

210. he's really socially stunted now.

211. Exactly, he becomes very shy and very nervous around Frollo.

212. My favorite thing here is the way Frollo sets the table,

213. or Quasimodo sets the table with his cup and Frollo's cup,

214. and the difference between the silverware and things.

215. You'll see the way the actual cups reflect their characters.

216. Frollo's cup being tall and angular and made out of cold metal,

217. and Quasimodo's being squat and made of this humble wood.

218. There's Tony Jay doing a spit-take, which was not really Tony Jay,

219. 'cause he didn't know how to do a spit-take.

220. He tried. He did a spit-take.

221. Something they don't teach in the...

222. –In the Royal Shakespeare Academy. – Maybe he missed that day.

223. – And they're taking the elevator down. – And there's a rat.

224. all mixed together in a shallow, drunken stupor.

225. – Try saying that three times fast. –"Shallow drunken stupor."

226. The height of Notre Dame is really interesting here.

227. Dave Goetz, our art director, was trying to show the height of the cathedral

228. in relationship to the surrounding village.

229. Yeah, he really exaggerated the scale of the cathedral,

230. it's much larger than it actually is in real life,

231. just to give you the impression of the cathedral

232. being God's embassy on Earth.

233. No matter where you were in the city or even the countryside,

234. you could still see this incredible landmark.

235. If you'll notice in some of these scenes, Frollo's hat is really large.

236. It's like the size of a small lifeboat. And this is because Kathy Zielinski,

237. the very talented animator who created Frollo,

238. constructed the costume for herself

239. in order to film herself and get an idea of how the fabric moved,

240. but the hat that she built was really huge.

241. So in later scenes, you'll see that the hat is considerably smaller.

242. I love that scene.

243. There's some nice lighting happening throughout this little section,

244. the gobo lighting, we call it,

245. the patterns of light that go over the top of the characters

246. to create a sense of space.

247. You do not comprehend

248. –Here it comes. –Coming up right here,

249. this is the first scene animated of Quasimodo by James Baxter.

250. This really went a long ways towards proving to the studio

251. that we could really create empathy for this character.

252. Tom's voice certainly goes a ways towards it...

253. –Yeah, he's terrific. – Tom Hulce was absolutely amazing.

254. He gave this wonderful, heartfelt, sensitive,

255. boyish, but sincere performance to the character,

256. and also had a great singing voice.

257. You are good to me, Master.

258. – I'm sorry. – You are forgiven.

259. Giant hat. Note, "U.S. Navy" printed on the side.

260. I love this mobile in that scene.

261. Yeah, if you look closely at that last shot, you can see

262. –a beautiful animated mobile. – Dust motes up in the air.

263. These are the little details that make Disney films great.

264. Speaking of little details, here comes Frollo.

265. There's Frollo.

266. He took the express elevator down and there he is in the middle of the square.

267. Now, a down-shot is coming up,

268. when we go from the imaginary city to the real city,

269. and if you look closely at that background painting,

270. you'll see a satellite dish in the lower left-hand corner.

271. This guy was way ahead of his time.

272. Here it comes, wait for it, lower left-hand corner.

273. –There it is. – A little joke for us.

274. And out there

275. Living in the sun

276. This is how Quasimodo builds up those calluses on his hands.

277. Sliding down fire poles.

278. There's some great layout in this sequence.

279. It was a guy named Ed Ghertner who was the head of our layout group,

280. who was absolutely brilliant at creating scale, and the mass of the cathedral

281. and a sense of the camera moving around.

282. This whole cinematography is a tribute to Ed.

283. Yeah, this shot right here was based on a Brenda Chapman storyboard,

284. and it pretty much stayed intact,

285. that concept of Quasimodo silhouetted by the light

286. and moving between the columns.

287. A few years ago, the three of us

288. made a movie called Beauty and the Beast,

289. and there's Belle right down in the square there,

290. walking by on her way to the bookstore.

291. On the left there, there's a couple of guys holding a pig which is Pumbaa,

292. and that's the magic carpet from Aladdin

293. with the guy over here on the right over his arm.

294. Being sold in the square.

295. This is a buttress shot coming up,

296. where Quasimodo slides down this buttress.

297. It's all a computer generated background

298. that slides around in perspective.

299. You just like saying that, don't you?

300. –I do. – He just likes saying "buttress."

301. But this is a combination of a computer generated element, the buttress,

302. hand–drawn effects, the water

303. and a hand-painted background, the city of Paris.

304. There's a great camera flare at the end of that scene, too,

305. which doesn't happen, of course, in animation.

306. You have to actually draw the camera flare to make it believable...

307. We had to animate a lens flare.

308. I love this shot.

309. This is our combination Singin' in the Rain-King Kong shot,

310. as we referred to it as.

311. Now the turning spire there was done by hand.

312. At the time, the computer department was too busy.

313. I think they were still working on Pocahontas at the time,

314. and they couldn't spare the time.

315. This is all one shot here, from the time Quasi slides off the spire.

316. All the way until we introduce Phoebus.

317. – This is all one shot, not a single cut. –Another Ed Ghertner extravaganza.

318. And the birds flying through,

319. highlights in the rose window, smoke coming up from the chimneys.

320. And the camera drops,

321. the camera cranes down like it would in a live–action film

322. –to reveal the entrance of Phoebus. – Here it goes.

323. –Same shot. – All in one shot.

324. Still haven't cut.

325. Isn't that something?

326. Here is Captain Phoebus animated by the very talented Russ Edmonds.

327. With his AAA road map.

328. Russ also animated the horse.

329. He animated the horse first in Beauty and the Beast.

330. He was the lead animator on Philippe, so he is an expert on horses.

331. We called Achilles here "Philippe's dimwitted cousin."

332. Here's the first time we see Esmeralda in the show.

333. Yeah, we wanted her reveal to be something special,

334. that there'd be a spark between the two of them

335. when they laid eyes on each other.

336. –There it is. – There's the spark.

337. She's not bad–looking.

338. Phoebus is a funny character.

339. He's one of the few Disney handsome leading men that has facial hair.

340. I'd venture to say he's probably the only hero we've done.

341. Aside from the Beast, of course.

342. Yeah, of course, who had the market cornered on facial hair.

343. You'd know a lot about stealing.

344. Troublemaker, eh?

345. This is the comedy team of Corey Burton and Bill Fagerbakke

346. as the two dimwitted guards.

347. There's a guaranteed kid laugh right here, coming up.

348. Here it comes. Ready?

349. Every preview brought down the house.

350. Yeah, it really did,

351. and especially when we added the big tuba raspberry sound there as well.

352. Here's an interesting thing.

353. Whenever we recorded Kevin Kline, we gave him a big sword,

354. and somehow it helped him get into the character a little bit more,

355. and even though he never appeared on camera,

356. he always recorded in the studio holding this giant sword.

357. Yeah, he was in the studio, in front of the microphone,

358. swinging this sword around.

359. It actually screwed up a few takes,

360. because he'd bonk it into the microphone stand or...

361. Cut the cable.

362. But I think he just felt more knightly,

363. feeling the weight of that sword in his hands.

364. It was Roy Conli that said, "Guys, he's an actor, give him a prop."

365. Here's Esmeralda in disguise over here on the right,

366. which lays some pipe for later in the film,

367. when she has to escape out in the city streets

368. in her little jolly disguise.

369. Now, that joke, "Achilles, heel,"

370. that came up in a recording session with Kevin Kline.

371. We didn't have a name for the horse,

372. and Kevin Kline during the session said,

373. "Guys, what's his name? The horse needs a name."

374. And we tossed around all kinds of different ideas, until one of us...

375. –It was... –I think it was Will.

376. Yeah, it was Will or me or Gary, one of us said,

377. "How about Achilles? That way, he can say, 'Achilles, heel."'

378. And we all cracked up in the booth, and his name ended up Achilles.

379. Yes, sir.

380. I've always enjoyed this shot here with the torturer

381. who clearly enjoys his work.

382. I think that was one of Will Finn's favorite scenes also.

383. This little scene had to get across the idea

384. of the confident captain in from the battles

385. to do Frollo's bidding for him in town.

386. And this is the first time that Phoebus realizes

387. that the job he's been hired to do may not be entirely pleasant.

388. As pleasant as soldiering is, I'm sure, but he sees here

389. that he's signed on with something he hadn't quite counted on.

390. This little sequence was to set up the dynamic

391. of the gypsies being oppressed in Paris.

392. It was boarded by Jim Capobianco.

393. Jim created the device of Frollo

394. using ants to illustrate his point of view.

395. His disdain and the dehumanization of the gypsies.

396. And it's actually very effective.

397. We always got a nice "eww" from the audience

398. when he smashes them with that big block.

399. Even when he lifts the block up and they all go crawling around.

400. Right here.

401. It never failed.

402. It's a nice metaphor for the gypsies.

403. It also sets up the court of miracles.

404. Frollo's master plan to find the court of miracles.

405. How very clever.

406. – Almost as if we'd planned it that way. –True, true.

407. This leads us into probably the biggest production number.

408. Not only of this film, but perhaps in animated history.

409. We started it three years before the movie came out,

410. and it was finished right up until the day we had to finish the film.

411. And it's a song called Topsy Turvy.

412. It's a real tour de force,

413. not only for Alan and Stephen who composed this epic, epic song,

414. that had to cram a ton of storytelling into a relatively short period of time,

415. but it also shows off our CGI crowds,

416. which were a big technical breakthrough for us.

417. A great group of people leaded by... Leaded, lead, unlead... Fill her up.

418. Led by Kiran Joshi, who was the head of our computer graphics area,

419. created these huge Ben-Hur crowds in the streets of Paris,

420. and a lot of this confetti and just the feeling of a huge crowd scene.

421. It's really only several... About six different...

422. Half a dozen people.

423. Yeah, about half a dozen computer generated models

424. with interchangeable hats and hair...

425. Masks, beards, and then the color palette will change.

426. Right, and a variety of different types of behaviors,

427. but the way they're dispersed through a crowd scene,

428. it gives you the illusion of this huge multitude.

429. They're also usually mixed in with the hand–drawn crowd,

430. so your attention isn't right to the computer generated people.

431. You're supposed to be looking at the two-butted horse or the dancing girls.

432. We originally thought of the CG characters in this sequence

433. to feel more like a moving wallpaper,

434. but they turned out so well that we used them more often.

435. Here's a great little scene where we introduce Quasimodo to Esmeralda

436. for the first time in a tender little moment in her tent.

437. We wanted a little bit of an emotional connection between the two of them

438. before the actual judging of the Feast of Fools contest.

439. So that she had, as little as this is, a little bit of a past with him

440. so that it wouldn't seem cruel that she pulls him up on stage.

441. This is the Fellini band.

442. Exploding-headed clowns based on a drawing by Gary.

443. Thank you very much.

444. And then we introduce the villain again in his Frollo-mobile.

445. The Carriage of Justice, which we also called the "Miscarriage of Justice."

446. The guy that really carries this song

447. is Paul Kandel, who did the voice of Clopin.

448. – Man, is he great. – An amazing actor and performer,

449. he was in the Broadway production of Tommy, playing Uncle Ernie.

450. – That's where we picked him up from. – Yeah.

451. Just an amazing vocalist.

452. Even Paul's actual physical being influenced the look of the character.

453. If you look at the animation of Clopin, you see a lot of Paul in there.

454. He often dressed in tights, too, just on the streets.

455. – Just in general. – Yeah.

456. This whole scene of Esmeralda's dance

457. had to introduce her as an attractive character,

458. but also had to make Frollo bothered by her appearance.

459. Yeah, in an uncomfortable way.

460. Well, this sequence here is supposed to affect all three of our leading men.

461. That's Quasimodo, Phoebus and Frollo.

462. All three of them have to be thunderstruck by her.

463. Yeah, they all fall for the girl at the same time,

464. and so we knew Esmeralda was gonna have to be something pretty special,

465. and this dance sequence was going to be pretty amazing.

466. It was a great animator named Anne Marie Bardwell

467. who animated this whole sequence,

468. really with very little live–action reference...

469. Yeah, we shot some live–action reference

470. of a dancer for that sequence, but ultimately, threw it out

471. because Esmeralda had to do moves

472. and have a timing that you couldn't duplicate in live-action.

473. This whole idea of crowning a king of fools and the Festival of Fools

474. isn't just a Victor Hugo invention,

475. it actually was an ancient medieval festival.

476. And we tried to recreate that in the streets.

477. We always saw it as a combination

478. of Mardi Gras, the Super Bowl, Woodstock and the...

479. –World Cup soccer. –The Doo Dah Parade.

480. Put your foulest features on display

481. Be the king of topsy-turvy day

482. The fastest contest in the world.

483. We actually had to get about 200 people on a soundstage

484. to record these colossal crowd sounds...

485. Cheers and boos and gasps.

486. They had to be directed like any other actor,

487. because they had to react at very specific points

488. during this whole song sequence to what was happening onscreen.

489. So we had to tell a huge group of people,

490. "You have to be scared here, you have to be shocked here,

491. "and now, you have to start getting excited

492. "and it has to build here."

493. "Now, murmur to yourselves, now cheer."

494. So that was an interesting experience directing.

495. This scene here is one of the biggest in Topsy Turvy,

496. a guy named Phil Young, veteran animator...

497. He spent three months on this doing Clopin, and Quasi and the crowds,

498. then that was combined with CG crowds and CG confetti.

499. This is our first CG crowd shot right there.

500. That's the one that sold us on the process.

501. Kiran told us it would work and we kind of believed him,

502. but it was that shot that really sold us.

503. And when you see shots like this, we're just happy we did it.

504. Here's Bill Matthews, a beloved animator around the studio here

505. jumping into that vat of beer.

506. And here's a scene straight from Victor Hugo.

507. Watch the art direction here.

508. You'll see some great dramatic light change

509. as the crowd starts to turn against Quasimodo.

510. They lose the happy party colors, they get a little duller here.

511. It's almost as though a cloud went over the sun.

512. And then when Quasimodo gets roped and tied,

513. everything goes red, do not adjust your sets.

514. There it goes.

515. These are things we can do in animation

516. that sometimes look a little bit overdone in live action,

517. but for some reason, work.

518. I love that scene of Quasimodo's perspective,

519. swinging around the audience and people throwing things at him.

520. The Quasi–cam?

521. Some big choir chanting over the top of it.

522. We actually assembled the greatest choir you can possibly imagine.

523. All the best voices of Europe assembled in one choir

524. that we recorded in London.

525. Part of that choir was a boys' choir of about 15 little 12-year-old boys.

526. Eight to 12-year-old boys.

527. And we thought they'd show up as this little cherubic group,

528. but they came in with their backpacks and Walkmans...

529. Backwards baseball caps and baggy shirts.

530. And then proceeded to sing this really angelic little moment.

531. I'm sorry.

532. This wasn't supposed to happen.

533. This is a good showcase for Demi Moore.

534. We really wanted a heroine who would sound a little bit different

535. than the typical clear-voiced Disney heroine.

536. We wanted someone with a slightly rougher quality to her voice,

537. that sounded like she'd been around.

538. And Demi had all of those qualities,

539. plus a really nice tenderness and strength,

540. and I think that comes through really well in this whole sequence.

541. – Silence! – Justice!

542. Mark my words, gypsy. You will pay for this insolence.

543. It's also a little tribute to Tony Fucile who animated Esmeralda,

544. because he took the voice and took it to new places

545. and made her a terrific character.

546. This is one of my favorite Esmeralda scenes coming up here.

547. Demi liked this scene also. It allowed her to be overly hammy.

548. Witchcraft!

549. This sets us up for a whole sequence that we call "The Merry Chase."

550. It was storyboarded by Kevin Harkey,

551. who is an absolute master at comedy chase scenes.

552. Just an incredible, inventive comic mind.

553. And a darn good hog caller, too.

554. And here's where we really get an idea

555. of Esmeralda and Djali as this great little team,

556. and some terrific animation by Ron Husband

557. who animated Djali throughout the whole picture.

558. I love the sound effects in this sequence 'cause they're very cartoony.

559. You have all those guards backing up with car crashes and little...

560. Yeah, we got airplanes, World War II bombers,

561. bowling alley sound effects...

562. This old heretic is actually the voice of Gary Trousdale.

563. That's me.

564. –See, that's me, too. –That was you. Congratulations.

565. Just another great little sound effect coming up

566. when Esmeralda throws the hat.

567. –Tilt. – A little pinball thing happening.

568. We used to debate over what Phoebus should say...

569. – Ay caramba! – Ay caramba!

570. Another lighting change right here. Key lighting change.

571. Cloud goes over the sun.

572. And here in the soundtrack,

573. you hear this rumble of thunder as Frollo's anger builds.

574. Turn up those surround speakers, folks.

575. You notice that Frollo's horse and Phoebus' horse

576. don't like each other.

577. Yeah.

578. Those of you with the letterbox version of this movie

579. will see their expressions more clearly.

580. This we chose to play in pantomime.

581. Used to be a lot of dialogue here,

582. but we just eliminated all the dialogue except for this one line.

583. It worked out better that way.

584. Some fabulous animation of James Baxter coming up.

585. Quasimodo's walk of shame back to the cathedral.

586. Some more use of the computer generated crowds,

587. you see not only in this shot here,

588. but in the high shot when we cut up to the top angle here.

589. It's a really nice Alan Menken cue here as well.

590. He took Out There and re-orchestrated that in a minor key.

591. And it's very... It's like all of Quasimodo's dreams

592. are dashed at this point.

593. So, it's really effective.

594. Hey, remember him/her?

595. Now we see the inside of the cathedral for the first time, which...

596. We wanted it to be in real contrast to the wildness of the festival.

597. Just be this really serene place.

598. Have our London choir chanting over the top of this...

599. It literally is a sanctuary.

600. We didn't want to do a big scoring cue here.

601. We just wanted it to be peaceful and serene.

602. So we just went with this chanting.

603. – Watch out, behind you. – Until, of course, Phoebus shows up.

604. And wrecks everything.

605. Easy, easy. I just shaved this morning.

606. Oh, really?

607. Here we wanted to get some sort of verbal sparring between the two

608. to show that they were a match, both mentally and physically.

609. It was all our grand scheme

610. to make Phoebus and Esmeralda feel like a couple that belonged together.

611. Kind of a Tracy and Hepburn thing, you might say.

612. If Tracy and Hepburn fought with...

613. –With swords. – And candelabras.

614. I missed that movie.

615. You fight almost as well as a man.

616. Funny, I was going to say the same thing about you.

617. That's hitting a little below the belt, don't you think?

618. It's a guaranteed laugh coming up here when Djali hits him in the stomach,

619. every time we previewed it.

620. Right here.

621. That brought the house down.

622. One of the worst puns in human history.

623. Thank you, ladies and gentlemen.

624. Permit me.

625. It's an interesting thing here. It starts out

626. being a sacred environment with chanting and candlelight.

627. Then the effects animators, in a very subtle way,

628. begin to turn into a more romantic...

629. Yeah. The light becomes more diffused, the candles glow.

630. – Just by their placement. – Yeah.

631. How much light they kick out.

632. We burned the light out here through the windows

633. to give it a more romantic vibe.

634. Right before Frollo comes in and ruins everything.

635. We call this "Frollus interruptus."

636. Much better than Phoebus, anyway.

637. We always thought Phoebus was an odd name.

638. Good work, Captain.

639. Here, Frollo comes in with a gust of wind

640. that blows out some of the candles.

641. Claim "sanctuary."

642. – Say it! – You tricked me.

643. This is where we define the concept of sanctuary for the audience.

644. There's nothing I can do.

645. Then drag her outside and...

646. Frollo, you will not touch her! Don't worry.

647. Minister Frollo learned years ago...

648. Archdeacon by Dave Burgess.

649. –That's David Ogden Stiers. –David Ogden Stiers.

650. Yes. We first used him way back in Beauty and the Beast

651. as Cogsworth, the mantel clock.

652. And he's since then appeared in Pocahontas

653. and here in The Hunchback of Notre Dame.

654. That's right. This little scene was central to the story.

655. It was central to Victor Hugo.

656. And something we didn't want to leave out of the film,

657. which was the tension between Esmeralda and Frollo.

658. Because Frollo's secretly,

659. even though he's sworn to capture Esmeralda,

660. there's this part of him that wants her, in a romantic sense.

661. Or at least in a lustful sense.

662. Yeah. And that was always a real delicate balancing act for us,

663. because the acting had to get that across.

664. It's really hard in animation,

665. because you seldom have the actors in the same room.

666. You had Demi Moore.

667. We would find her in Florida or wherever she was filming.

668. We'd do Tony Jay in Los Angeles.

669. We'd do Kevin Kline in New York.

670. And to try to cut those together and make it sound like a performance

671. is a real tribute to Ellen Keneshea, who was our editor,

672. to try to make all those vocal performances

673. sound like they came out of the same room.

674. Don't worry, Djali.

675. You'll notice that Djali has an earring.

676. It matches Esmeralda's earring.

677. We thought that would visually make them a team.

678. They could only afford one set between the two of them.

679. This leads us into a part of the movie

680. where we actually had another song at one point.

681. The song that Esmeralda was going to sing here

682. is actually the first song that was written.

683. There was a second song written called Someday,

684. which was a bigger, a more anthemic kind of a feel.

685. It's the song that's played over the end credits.

686. But ultimately, we decided that this was a moment

687. where Esmeralda's supposed to be humble

688. and appeal to God to help her people.

689. And it...

690. A little more heartfelt. A little more personal.

691. It's something more personal, so we decided to go with this version.

692. And I think it was the right decision.

693. Part of the problem with doing a musical is

694. you find out that some of your actors don't sing.

695. Don't sing too well, anyway.

696. And in this case, we had to go searching for someone

697. to double Demi Moore as a singing voice.

698. – A stunt double. – A stunt double.

699. And we found the lovely Heidi Mollenhauer.

700. Yes. Heidi Mollenhauer is a great singer and performer,

701. and has this wonderful, slightly smoky quality to her voice

702. that is an excellent match for Demi Moore.

703. I think most people, not knowing

704. that two different actresses played the part, would never guess.

705. It flows into the song so easily.

706. Absolutely. We used to play it for people,

707. and they were sure it was Demi, but it's Heidi.

708. This is one of my favorite scenes in the show coming up.

709. All these candles coming in front of Esmeralda here.

710. It gives you a really nice sense of depth.

711. Great Disney moment here.

712. They don't find on earth

713. God help my people

714. We look to You still

715. This is an area where we had to go back and forth.

716. How are we going to bring Quasimodo into the song?

717. How are we gonna begin to attach him to Esmeralda?

718. How are we gonna involve him in the sequence?

719. –We were worried... –'Cause we kind of lose him for a while.

720. So we wanted... So, midway through,

721. we decided to make him a witness to watching this whole thing,

722. and in a way, this is where he really bonds with her.

723. We redid the bridge to this song about three or four times.

724. All the selfish parishioners coming in and praying

725. in contrast to Esmeralda, we worked on forever.

726. And this whole idea of a stained glass window

727. is a recent idea in the making of the film.

728. And there's even some fun little guild signs hidden in the window.

729. Down at the base of the window, if you look at the little square panels

730. that the guilds traditionally put in,

731. the sponsors of the window and the church,

732. you'll find the guild for the layout department,

733. the computer department, the animation department.

734. You'll notice this fresco at the back of Esmeralda

735. is actually something that you'll find in Notre Dame.

736. It's called the Slaughter of the Innocents.

737. Most of the statues and frescoes

738. and things that she passes during this song

739. are really there in the cathedral.

740. We painstakingly reproduced it.

741. Paul and Gaëtan were really careful about this.

742. Including the rose window here,

743. which is the centerpiece of the cathedral.

744. And that beautiful long shot

745. which we retook about three or four times.

746. We used to have dust in the air and it never quite worked.

747. Yeah. We had animated dust particles in the air

748. and the scale was off.

749. For some reason, the individual particles

750. looked like they were the size of Esmeralda's head.

751. Like a nuclear accident.

752. Yeah, and it just really...

753. It looked nice here, though. They're just drifting...

754. Sort of drifting smoke, yeah.

755. It really gives a great feeling like there's incense in the place.

756. Bell ringer! What are you doing down here?

757. This whole sequence leads us into a moment

758. where we're trying to get Esmeralda and Quasimodo to bond a little bit,

759. where he takes her up to his bell tower, shows her his cool loft apartment.

760. This is actually a scene that we rewrote several times.

761. And the final version

762. was actually based on a suggestion by Demi Moore.

763. She felt that Esmeralda,

764. having grown up on the very crowded streets of Paris

765. with the gypsy caravan,

766. everybody kind of living on top of each other,

767. that when she first saw Quasimodo's loft...

768. The spacious loft.

769. The amount of space and light and the fact that he had it all to himself

770. would be really a wonderful thing for her.

771. That to her, that would be a wonderful way to live.

772. So, we thought just showing the contrast between the two

773. would be very interesting.

774. Here comes a wonderful little scene when Esmeralda crests the floor here

775. and sees the loft for the first time, right here.

776. Looks like a 3D model, but it's really not.

777. The floor is squeezed.

778. It's a two-dimensional painting that's squeezed and then un-squeezed

779. to make it look like the floor recedes away from her.

780. Some layout magic, again, by Ed Ghertner.

781. And then when you get up in the loft, Chris Jenkins and his effects guys

782. did some really nice work with the mobile

783. and the little shards of light moving around the room.

784. It really makes you feel a sense of space.

785. It's very magical. We wanted this to be

786. Quasimodo's life seen in a different way.

787. Seen, literally, in a different light.

788. Some more great Ron Husband animation on Djali.

789. Ron took a character that was really a minor character,

790. the goat, Djali,

791. and took it to a level

792. where the executives began to demand more Djali.

793. "More goat. We want more goat."

794. Every time the goat would come on, he was a star.

795. – Yeah. –So we had to keep...

796. We doubled his screen time.

797. Yeah. He was so charming and fun in every scene that he was in

798. that we eventually had to work him into more scenes.

799. And that's really a credit to Ron Husband.

800. This is a Victor Hugo scene, the idea of Quasimodo and his bells

801. and his relationship to his bells up in his tower.

802. Yeah. In fact, all the names he gave to the bells

803. are the names that they have in the original novel.

804. And here's Quasimodo showing her the best view in town.

805. Complete with English chorus.

806. I bet the king himself doesn't have a view like this.

807. Actually, the king does have a view like this.

808. He lives in the south tower.

809. Yeah. We don't want to shed light on that.

810. That was actually Will Finn, our head of story,

811. that was one of his contributions.

812. "I bet the king himself doesn't have a view like this."

813. He felt that, in a way, that Quasimodo doesn't understand he's...

814. What he has, right?

815. Yeah. He doesn't understand what he has right beneath him.

816. This prison that Quasimodo lives in actually has a silver lining to it.

817. You'll notice a really neat, subtle lighting change to this whole scene

818. where it goes from the sun setting,

819. and each scene progressively gets a little bit darker,

820. –a little bluer, the stars come out. – Few more stars peek out.

821. Yeah. It actually becomes night

822. over the course of this little palm reading scene.

823. And again, this scene was meant to show

824. the common thread that ran through both Quasimodo and Esmeralda.

825. The outcast notion of both of them.

826. She's a social outcast, a gypsy, who lives on the fringes of society.

827. And he's...

828. He's an outcast because of just his physical body,

829. because of his appearance. And in a way, they are the same.

830. That's what this scene is meant to convey.

831. Here's the biggest laugh in the show coming up here.

832. And Laverne says "truss," not "dress."

833. But it's funny either way.

834. The kids laugh when they hear "dress,"

835. and the adults laugh when they hear "truss." So...

836. I sure do, yeah.

837. We won't use a door.

838. – You mean, climb down? – Sure.

839. – You carry him. I carry you. – Okay.

840. This builds up to one of my favorite little action sequences in the film.

841. Yes. We called this "King Kong in reverse. "

842. There's some great layout work in here.

843. This is a secret scene here

844. on that balcony that's swinging back and forth down below the camera,

845. or halfway down the cathedral,

846. you'll find statues of Donald Duck and Goofy.

847. I love this scene. It's beautiful layout work,

848. beautiful background painting.

849. It's just where everything combines to be a beautiful scene.

850. We have a fun thrill ride sequence.

851. Jason Alexander did some play-by-play descriptions for this.

852. We had a gag one time where the gargoyles narrated...

853. Yeah. Like it was a bobsled run in the Winter Olympics.

854. Jason was going,

855. "Quasimodo certainly looks good today.

856. "Back in the Vatican Games of 1438."

857. It was...

858. Here comes another big, big laugh in the movie. Yeah.

859. Where the goat does that little...

860. That was the very talented Gary Trousdale again as the goat.

861. To the court of miracles. Leave this place.

862. Oh, no.

863. I'm never going back out there again. You saw what happened today.

864. Notice how he says the word, "Out there."

865. –I hadn't noticed that before. –It's a theme.

866. As though it were planned.

867. This was a scene that, again, was created by Will Finn,

868. our head of story.

869. The writing process is very collaborative in animation.

870. We not only had a team of writers, but our story people also contributed

871. a great deal of dialogue.

872. This whole idea of the amulet in visualizing

873. the location of the cathedral and the court of miracles

874. is an interesting idea.

875. – A kind of abstract map. – Yeah.

876. This is one of my favorite scenes,

877. Esmeralda appears to jump in the Seine, right here.

878. Not really.

879. Always did miss that sound effect, though.

880. We always added it whenever we'd screen it for ourselves.

881. I'm looking for the gypsy girl. Have you seen her?

882. – Whoa, whoa! Easy! – No soldiers! Sanctuary! Get out!

883. This is Quasimodo in his guard dog mode.

884. We wanted to have a scene where Quasimodo acted a little bit more

885. like the movie monster we all know and love.

886. Just for one instance, we got to see his scary side.

887. You see the potential. Yeah, he can be pretty fearsome.

888. And this comes into play later in the siege of the cathedral.

889. We really get to see him cut loose

890. and show how physically strong he is.

891. This foreshadows that.

892. It's played for a joke, but he's really strong.

893. He's holding up Phoebus and a full suit of armor with one hand.

894. He has the strength of 10 hunchbacks.

895. –It also connects... – Plus two, plus two.

896. It connects Quasimodo and Phoebus by the end of this scene.

897. They have a little... You know that they hit it off a little bit.

898. Just a little.

899. Used to be a joke here where

900. Hugo said, "Hey, hey, the hunch is back!"

901. "The power of the tower."

902. –But... Yeah. –It didn't seem like it fit.

903. – My girl? – Esmeralda.

904. This is one of my favorite Mary Wickes lines.

905. Mary was... She was such a trouper, and she was bringing out the...

906. Such a wealth of experience she had.

907. When she told us the story that her first job was in theater...

908. Was Margaret Hamilton's understudy on Broadway.

909. She went way back. Spanned several generations of showbiz history.

910. –Vaudevillian. –Great lady.

911. Interesting bit about this particular song.

912. We actually had Tom Hulce singing it in a higher key,

913. and we went back even after the animation was done

914. and had him sing it in a slightly lower key.

915. It didn't sound like Quasimodo. It was just too...

916. – Way up here. – Yeah. It's real high and sweet...

917. – Yeah. –Like a little...

918. A little too much of a choirboy vibe off of it,

919. and we decided that maybe we'd lower the key a little bit.

920. It was actually Chris Montan's suggestion.

921. It might sound a little more like the character.

922. We also put some jokes in here after we previewed it once or twice.

923. We found it could just use a little leavening here and there.

924. – Yes. – It was a beautiful sequence.

925. And Brenda Chapman had boarded this

926. and we all fell in love with it from the first storyboards.

927. But when we previewed it...

928. There was a bit of a twitch and squirm factor.

929. Kids were running around.

930. Yeah, that we needed to lessen.

931. So we decided to add a little bit of humor.

932. Humorous counterpoint with the gargoyles, particularly this bit here.

933. We hope Brenda forgives us.

934. Big laugh right there.

935. But I still think this is a beautiful sequence.

936. The music is gorgeous.

937. The art direction, Dave really outdid himself.

938. I like the blue light.

939. The backgrounds are beautiful. Lisa Keene and her group,

940. and, of course, the camera pan here is one big, long, continuous pull-back.

941. One long pan. That was actually our favorite Chinese restaurant.

942. – Yeah. –One Long Pan.

943. Delicious, love the egg rolls.

944. Here's a tricky little transition that we worked on for about six months.

945. And finally ended up with this.

946. –It took forever. –I know.

947. We had to match the speed of the clapper

948. to the speed of the swinging incense.

949. Which if you've tried at home, you know it's very difficult.

950. It's beautiful effects. Chris Jenkins and his effects.

951. Gorgeous incense up in the air.

952. –Stephen took an actual Mass for this. – Yeah.

953. He worked a real Mass into the song.

954. This is a real Latin Mass chanting.

955. But the Latin is 100% real.

956. – Authentic. – Authentic.

957. Authentic Latin for your viewing pleasure.

958. Leads us into a part of the movie

959. which is a personal favorite of all of ours, I think.

960. Yeah. This is the hell fire sequence which was fairly controversial...

961. Are we allowed to say hell fire?

962. But very important to the entire...

963. Very important in staying true to the spirit of Victor Hugo.

964. The torture that Frollo feels over being drawn to this gypsy woman,

965. even though it goes against his belief,

966. was dramatized so effectively by this great song by Alan and Stephen.

967. And I think some of the best animation possibly ever done by Kathy Zielinski,

968. who really took this whole sequence under her wing

969. and animated all of Frollo...

970. She really shepherded this through.

971. Yeah, it's a real showcase for Kathy.

972. The effects department really knocked themselves out, too.

973. Chris Jenkins took this scene himself.

974. He felt this was really important. Chris was our head of special effects.

975. And he and I went through every frame,

976. making sure that it was suitable for all ages.

977. Making sure that Esmeralda was fully-clothed,

978. even though she is portrayed as a fire spirit.

979. And this, Paul and Gaëtan Brizzi storyboarded this whole sequence

980. and it turns into Frollo's nightmare here.

981. "Mr. Frollo's Wild Ride" is what we called this.

982. We encouraged Paul and Gaëtan to go very far out

983. and make this a demented fantasy of Frollo's.

984. And they took us at our word.

985. They locked themselves in their office for two weeks,

986. and then they came back with this board that was in color.

987. – Yeah. – And presented it to us.

988. And they were very nervous when they presented it to us.

989. It was very silent afterwards.

990. Everyone was just like, "Wow," kind of blown away by the intensity of it.

991. And they said, "Have we gone too far?" And we said, "No."

992. "No, this is great. Hope we get it by the executives."

993. Fortunately, but everybody backed us up on this.

994. – Everybody loved it. – They understood

995. how thematically important it was.

996. And it was very much in the spirit of "Night on Bald Mountain" in Fantasia.

997. Just one of those great, dark and surreal Disney moments.

998. That was our argument. We had all these arguments all lined up.

999. If Michael Eisner and Roy Disney didn't like it,

1000. we'd say, "It's like Fantasia, it's like all these other things."

1001. Turned out we didn't have to use them.

1002. We didn't have to use them. They said, "Yeah, this is great."

1003. Dark fire

1004. This really turns into Fantasia for me at the end.

1005. Just singing and all the shadows appearing on the wall.

1006. And again, just great cooperation between all the departments.

1007. Great animation by Kathy.

1008. Great effects by the effects department.

1009. Based on an excellent storyboard and a terrific song.

1010. It's like all the elements coming together.

1011. All the shadow work and the ensuing specters and spirits

1012. flying around Frollo were done by Ed Coffey, who...

1013. He was somebody else who thought,

1014. "Was he taking it too far? Is this too much?"

1015. And we kept saying, "No, do more. Do more."

1016. He was more than happy to do more.

1017. That's a great shot here, the way the camera cranes up.

1018. And here's some more of our ham-fisted symbolism.

1019. Frollo falls down in the shape of a crucifix.

1020. This sets us up for a sequence

1021. that we must have boarded at least 10 times.

1022. Yeah. It was originally much longer.

1023. There was a lot more of the soldiers ransacking the city of Paris.

1024. But ultimately, we decided a little bit of this went a long way.

1025. Little more of cat-and–mouse

1026. between Esmeralda and the soldiers as well.

1027. She was featured more in this sequence.

1028. Twenty pieces of silver for the gypsy, Esmeralda.

1029. Take them away!

1030. We get a little sense of the London chorus

1031. and pipe organ playing over that sequence, too.

1032. We spent a whole day in London

1033. doing a recording session in a cathedral

1034. of a great old pipe organ

1035. to get that sense of Mass over the top of the score.

1036. Have you been harboring gypsies?

1037. Our home is always open to the weary traveler.

1038. One of Alan's nicer cues, too.

1039. I mean, he does the danger music really well.

1040. –He likes it, I think. –He likes it.

1041. I assure you, we know nothing of these gypsies.

1042. We worked really hard to get all these flames

1043. and the fire sequence coming up looking like fire.

1044. It's hard to do with artwork and animation,

1045. but there was a gentleman named Randy Fullmer

1046. who's a jack-of-all-trades kind of guy.

1047. We call him our artistic coordinator.

1048. And he takes the world of artwork

1049. and mingles it with the world of technology

1050. to get a lot of these effects up on the screen.

1051. So, a lot of this material that's coming up

1052. is a real tribute to Randy.

1053. In this shot here, we originally had a line of dialogue from Phoebus

1054. where he said, "l won't follow the orders of a madman."

1055. And we decided, based on Stephen Schwartz's suggestion,

1056. that the scene would be more powerful

1057. if we didn't realize exactly what action Phoebus was going to take

1058. until he doused the torch in the barrel.

1059. – Boy, that's a flammable house. –It is.

1060. This was the kerosene mill, apparently.

1061. It's a very dangerous occupation.

1062. –Goes up mighty fast. – Yeah.

1063. The sentence for insubordination is death.

1064. Such a pity. You threw away a promising career.

1065. Consider it my highest honor, sir.

1066. Esmeralda's quite a shot with this stone, I think.

1067. One hundred yards away, she's able to hit that horse

1068. in just the right place.

1069. Yeah.

1070. This was a sequence that was boarded a number of times, too, I believe.

1071. Yeah.

1072. We used to laugh at that "Don't hit my horse" line, too.

1073. But unfortunately, no one else did.

1074. You notice Phoebus is shot in the shoulder,

1075. but he grabs his chest.

1076. It's a common thing.

1077. Don't waste your arrows. Let the traitor rot in his watery grave.

1078. There was a little scene coming up, wasn't there, where Esmeralda

1079. had to actually dive under the water?

1080. Yeah. We had storyboarded this scene of Esmeralda diving under the water,

1081. removing Phoebus' heavy breastplate,

1082. which is what made him sink like a stone in the first place.

1083. But due to time constraints, we ended up cutting it.

1084. So, that all takes place right here.

1085. Now, okay...

1086. – Very quick. –Yeah, she's...

1087. We kind of infer.

1088. Here's another scene with all these levels of artwork.

1089. All the building levels that Ed Ghertner orchestrated,

1090. and all the levels of fire and smoke that Randy Fullmer worked in.

1091. It's actually only one level of smoke and one level of fire.

1092. And just by doing some distortion using the computer,

1093. we were able to make it look like it was rippling and flowing.

1094. In the background of this scene, you hear what we call our loop group,

1095. which is basically a bunch of people we'd get in around microphones

1096. to give us the...

1097. – The teeming hordes of Paris. – The teeming hordes of Paris.

1098. Even though you don't see them, you can kind of hear them.

1099. And this is a sequence where...

1100. Right before we recorded the final version of this sequence,

1101. Mary Wickes...

1102. Our actress for Laverne.

1103. Yeah, she passed away, very unfortunately,

1104. and we loved her a great deal.

1105. But we had a few more lines of dialogue for her.

1106. And we ended up bringing in an actress named Jane Withers,

1107. who's famous for the Comet cleanser commercials.

1108. Josephine, the plumber.

1109. Josephine, the lady plumber, to come in and double for Mary Wickes

1110. on a few of these lines here.

1111. She did such a good job that it's almost impossible to tell

1112. where Mary leaves off and Jane begins.

1113. There are some lines in the sequence where...

1114. Yeah, the sentence is divided between the two actresses.

1115. Jane was such a sweetheart about it, too.

1116. And she was honored to do it, she said.

1117. We always said you were the cute one.

1118. I thought I was the cute one.

1119. I think we gave Jason Alexander a mouthful of barbecue potato chips

1120. to deliver these lines.

1121. It's true.

1122. This next sequence is actually a real tour de force

1123. for Jason Alexander and Charles Kimbrough

1124. and Mary Wickes, who do a wonderful job

1125. performing these characters and singing them in this sequence.

1126. This is a sequence we really thought was important,

1127. because we needed to lighten... One, lighten the mood a little bit

1128. after all this Sturm und Drang

1129. that's happened in the last five minutes.

1130. And also build Quasimodo's hopes up.

1131. We're kind of setting him up for a fall.

1132. We've always operated under the assumption

1133. that the gargoyles were kind of figments of Quasimodo's imagination.

1134. They didn't really move around, or did they?

1135. Yeah. We like leaving a bit of a question mark,

1136. like Harvey the rabbit, or Calvin and Hobbes, that...

1137. They're inanimate when anybody else comes in the room.

1138. They don't talk to anybody else, except the goat.

1139. So that's where we crossed the line a little bit.

1140. We'd like to keep it a little...

1141. – Yeah, that's okay. – A little bit iffy.

1142. But this is where Quasimodo is really...

1143. He's really getting lost in this...

1144. – This fantasy. – Fantasy.

1145. We tried to make the backgrounds become more and more stylized

1146. over the course of this.

1147. Again, just to clue the audience in that this isn't really happening.

1148. –It's a dream. –It's happening in Quasimodo's mind.

1149. It's a dream. He's hoping that he does really have a chance with Esmeralda.

1150. And since the gargoyles are fantasy comedy characters,

1151. we felt we had license to be a little more broad here.

1152. Turning them into poker players and barbers and the whole deal.

1153. Want something new

1154. That's you.

1155. For sure

1156. That's always been kind of a Disney thing,

1157. that when you're dealing with magic characters,

1158. they can do things that the rest of the characters can't.

1159. Here comes one of my favorite rhymes by Mr. Stephen Schwartz.

1160. Not everyone would think to rhyme "Adonis" and "croissant is."

1161. – And I think that's brilliant. – Yeah.

1162. We set them off to write this comic song and they came in one day,

1163. I think they were a little nervous, actually,

1164. and they sat down in the music room upstairs with a piano

1165. and proceeded to play this, and we laughed ourselves silly.

1166. They played it on the piano. They played it on the piano.

1167. And yeah, we were just falling on the floor.

1168. Obligatory gargoyle–in–drag gag.

1169. You find that in most of the versions of Hunchback of Notre Dame.

1170. – Yeah. –Over the decades.

1171. I remember it from the original Hugo, yeah.

1172. For you-know-who

1173. It's amazing. Jason Alexander, who we all know from Seinfeld,

1174. is such a great singer.

1175. –He's terrific. – Yeah.

1176. –Who knew? –But so is Charles Kimbrough.

1177. He really belts it out.

1178. They all delivered great.

1179. I think it was one of the few times

1180. where we actually had the actors in the same room.

1181. Yeah, it's true.

1182. Charles and Jason were both in the same room.

1183. Yeah.

1184. Mary Wickes, however, we had a separate...

1185. This is one of the saddest scenes coming up here,

1186. when he goes back to reality here. It's really...

1187. Blink, comes on...

1188. Contrast that with the earlier shot

1189. of all the banners and flowers and pigeons,

1190. and you'll see that everything is just Quasimodo's decrepit old junk.

1191. We really wanted to show the contrast between his fantasy

1192. and what the reality was.

1193. This is Phoebus.

1194. "This is Phoebus.

1195. "He's my boyfriend. He wrecked his dad's car.

1196. "Can he stay in your apartment for a while?"

1197. That's kind of what the scene is.

1198. That's kind of what it is. I mean, we joked about that,

1199. but that's really what's going on.

1200. – The real life parallel. – It's heartbreaking.

1201. This guy's girl that he's madly in love with brings this guy to his house.

1202. – That happened to me once. – Yeah.

1203. This is some terrific animation of Russ Edmonds as Phoebus

1204. and Anne Marie Bardwell as Esmeralda.

1205. And some great vocal performances by Kevin Kline and Demi Moore.

1206. We toyed with having a song here for about five minutes one day,

1207. and it just didn't seem to fire off,

1208. because it put too much emphasis on the romance,

1209. and it was really a scene about Quasimodo's heartbreak.

1210. It was a really pretty romantic song.

1211. But the point of view is from the wrong character.

1212. We really wanted this scene to be seen through Quasimodo's eyes.

1213. Yeah, here it comes.

1214. – You can hear the glass tinkle. – Yeah.

1215. And for those of you who didn't know that Quasimodo's heart was breaking,

1216. – we provide a handy visual aid. – For the six-year-olds in the audience

1217. who may not understand what's going on here.

1218. The world's longest kiss going on in the background, too,

1219. but they are French, after all.

1220. That's a nice little emotional flashback, too.

1221. Quasi's hopes being dashed on the rocks of life.

1222. – Using the same words. –There it is.

1223. – Here we go. –Get it?

1224. Rip.

1225. Broken heart.

1226. I'll get it.

1227. – It's the goat. –Goat doorbell.

1228. – Here comes the bad guy. –Here comes Frollo.

1229. There's a terrific sequence coming up

1230. that also was storyboarded by Paul and Gaëtan Brizzi

1231. that we called "Frollo Dearest."

1232. It's where Frollo comes up to grill Quasimodo.

1233. He suspects something.

1234. And he's going to sweat Quasimodo out

1235. until he admits his involvement in Esmeralda's escape.

1236. There was a funny little bit here we had to cut out.

1237. When Laverne says, "Quick, we have to stash the stiff,"

1238. we had a whole series of gargoyles

1239. hiding Phoebus' unconscious body in funny ways.

1240. And we just ran out of time.

1241. We settled for a quick, swift kick in the butt.

1242. –Quick boot in the pants. – Yeah, which always goes over big.

1243. I brought a little treat.

1244. Again, terrific art direction here.

1245. Dave lit it with this great yellow candle light,

1246. and it even makes their skin look a little yellow-y.

1247. He was trying for a very eerie, uncomfortable feeling here.

1248. Alan Menken did the score in this, where it's a little bit of...

1249. The world is cruel

1250. Yeah, it's a slightly psychotic rendering of the opening song.

1251. Frollo's song.

1252. Here's the world's most dangerous grape!

1253. Careful. Don't touch it. No!

1254. I think you're hiding something.

1255. No, Master. I... There's no...

1256. Shawn Keller did the animation of Quasimodo.

1257. Yeah, he looks wonderfully guilty.

1258. Very satisfying kick to the head.

1259. Seeds.

1260. I like the tension, and when Frollo finally breaks,

1261. and starts clearing the table and yelling at Quasimodo, it's really effective.

1262. Yeah, there's a lot of suspense here,

1263. and then when Frollo finally loses it, a lot of impact.

1264. And all the tabletop dolls and things come in handy again,

1265. just as a metaphor for him cleaning house and dealing with Esmeralda.

1266. And if Frollo wasn't bad enough, he wrecks all of Quasimodo's toys.

1267. –Yeah, he is a baddie. – He's about as bad as they come.

1268. – Look at that. That's unforgivable. – What a jerk.

1269. Gypsies are not capable of real love!

1270. Think, boy. Think of your mother.

1271. That's a callback to the fact that Frollo

1272. has told Quasimodo all of his life that his mother abandoned him.

1273. I suppose this little moment where he scorches Esmeralda's doll

1274. is a little forecast of things to come.

1275. Yes, this is Frollo illustrating what his plans are.

1276. Frollo has a real obsession with fire.

1277. Fire is one of the symbols that goes hand-in-hand with Frollo.

1278. – It's the purifying fire. – It's the purifying flame.

1279. There's a great little glance coming up here,

1280. when Frollo turns around and walks down the stairs,

1281. kind of a knowing glance that he just set up Quasimodo.

1282. Frollo is the king of the knowing smirk.

1283. You'll notice that the score actually goes away for a little bit here,

1284. there's no background music.

1285. And we thought this was very effective,

1286. particularly after that huge, raging scene with Frollo,

1287. to have a little bit of silence in the background here,

1288. and also to give you a rest period

1289. before all the action heats up in the third act.

1290. I like how they grab the same shoulder here,

1291. it's a metaphor that they share each other's pain.

1292. They are brothers, in a way.

1293. You do what you think is right.

1294. We storyboarded this area a lot of times, too,

1295. just trying to find the right balance between the...

1296. Exactly what Quasimodo's emotions should be at this point.

1297. And John Ripa did a really great scene here,

1298. and a nice delivery from Tom Hulce

1299. to bring you this moment of Quasimodo's.

1300. – Tom Hulce did a fantastic job. – Yeah.

1301. I think he recorded this once, and we said, "That's it!"

1302. He nailed it. One Take Tom.

1303. I'm tired of trying to be something that I'm not.

1304. He said, "Do you want me to do that again?"No."

1305. This scene ends really sweetly, too, without a word,

1306. with Laverne just coming over with his cloak.

1307. "That is one crispy gypsy."

1308. That's a line Jason used to say at this point.

1309. And now he remembers Esmeralda while looking at his map.

1310. One of my favorite scenes, the whisper fight that comes up here,

1311. which oddly enough,

1312. we didn't record these two actors in the same room at the same time.

1313. We had Tom Hulce in California doing his half of the whisper fight,

1314. and then Kevin Kline in New York

1315. listened to a tape of Tom Hulce in his headphones and recorded his half.

1316. A lot of the improvs and timing and things that come from Kevin Kline

1317. are just off-the-cuff things that he did in the recording studio.

1318. They're all his own.

1319. Kevin Kline was so gifted at coming up with his own funny lines,

1320. we were only able to use a fraction of them here in the movie.

1321. Just turn on the mic and let him go.

1322. – This is it. – This is not it.

1323. That's some great animation by Russ Edmonds and Ralf Palmer

1324. in that whisper fight scene.

1325. This sets us up for a great part of the movie,

1326. the court of miracles and the whole lead–in to it.

1327. And the catacombs are inspired by,

1328. I think, one of the early field trips to Paris.

1329. Yeah, we actually went to the catacombs of Paris

1330. that are beneath the city,

1331. and it's several miles of tunnels that are festooned with skulls and bones.

1332. –There's a McDonald's down there. – A nice little coffee shop.

1333. But it's a great place. We wanted to work it into the story.

1334. Hidden jokes coming up.

1335. On the tombstones throughout this graveyard

1336. are the names of the layout department.

1337. And on the top of the sarcophagus here

1338. is a caricature of our head of layout.

1339. There he is.

1340. Ed Ghertner is the knight who's supposedly entombed here.

1341. And one of the coolest scenes in the movie here,

1342. which also resembles Gary's house at Halloween, is this scene right here.

1343. –I wish. – Yeah, it's really great.

1344. – If you go to Paris, you'll see this place. –That's a lot of heads.

1345. It's a little drier than this, but...

1346. What's that in the road, a head?

1347. There used to be a whole sequence here

1348. where the skeletons actually jumped down and fought them,

1349. there was a little action sequence here.

1350. The idea was the gypsies had rigged up marionettes made out of skeletons

1351. to scare people who got this far, who got this close to their lair.

1352. So we had a whole sword fight action sequence

1353. with these skeleton marionettes that we eventually cut.

1354. So, yeah, the hold–over you see now is gypsies dressed in skeleton suits.

1355. –Skeleton garb. –It's the survivor of that idea.

1356. –And here's Clopin in his new outfit. – His purple outfit.

1357. These are his street clothes, as opposed to his performing clothes.

1358. We shoot live–action actors from time to time

1359. just as models for inspiration for the animators.

1360. And I think Mike Surrey, the animator for Clopin,

1361. used a lot of live–action reference

1362. as inspiration for a lot of Clopin's performances here.

1363. This is also a scene where

1364. we had a cast of thousands to animate on the screen.

1365. And the pencil mileage with all the skeletons and the bones and things

1366. was pretty intense.

1367. Considering how many thousands there are,

1368. we actually got away by a judicious use of camera angles.

1369. You never see everybody onscreen at the same time.

1370. You see in the art direction here again,

1371. Dave Goetz and Lisa Keene, our head of background,

1372. wanted to make this a real colorful gypsy world,

1373. so it's lots of fabrics draped around.

1374. Little more organic and colorful.

1375. We wanted to contrast the coldness of this underground lair,

1376. we wanted to show that they turned it really bright and welcoming

1377. with all this color and tapestry.

1378. This is actually the third song written for this location.

1379. – That's right. – There were two other songs.

1380. There was a romance, two love songs, I guess, pretty early on.

1381. The first one was called In a Court of Miracles,

1382. which was basically Phoebus and Esmeralda.

1383. Yeah, and Quasimodo saw himself reflected in a chalice,

1384. and the chalice's curved surface distorted Quasimodo

1385. so that he appeared handsome in the chalice for one magic moment.

1386. And it was very nice, it was all very emotional.

1387. But again, the emphasis seemed to be on the wrong characters.

1388. It was all about the love story between Phoebus and Esmeralda.

1389. And ultimately, we realized that's not the story that we're telling.

1390. The second song was even more so.

1391. It was called As Long As There's a Moon,

1392. and it was also called The Gypsy Wedding Song.

1393. It involved Quasimodo more in the action,

1394. but still, it was a case of the spotlight shining on the wrong part of the stage.

1395. They're beautiful songs.

1396. They just didn't quite fit in with the story we were telling.

1397. There was a long, protracted scene in here

1398. where we used that idea of Quasimodo seeing his reflection in the chalice

1399. to point up his ugliness,

1400. and how he felt out of place with Phoebus and Esmeralda.

1401. And then the bad guys show up.

1402. Well, the jig is up.

1403. These Frollo scenes were actually animated by Ruben Aquino,

1404. who was our guest animator towards the end of the production from Florida.

1405. One of our Florida stars.

1406. Yeah, it was a real task to pull all the elements of the production together.

1407. And we had a great production team

1408. led by Phil Lofaro, our associate producer,

1409. Roy Conli, our co–producer in Paris,

1410. and Patty Hicks, our production manager,

1411. who had to pull together studios in Paris, Florida and Los Angeles,

1412. and recording sessions in London and New York...

1413. – And Seattle and Fort Lauderdale. – All over the globe.

1414. And you forget how much of an international movie these things can be

1415. by the time they're all done.

1416. – It's also their job to wrangle us. – To keep us on schedule.

1417. Without them, God knows, we would just wander around aimlessly.

1418. – And play video games. – Yeah, eat donuts into the night.

1419. Well, here comes a stretch of film

1420. that is absolutely, I think, our collective favorites,

1421. this whole climax of the movie.

1422. – That's what we told the press anyway. – Yeah.

1423. "What is your favorite film?" I always said this part.

1424. This sequence is our favorite.

1425. It's got amazing music,

1426. the Latin chanting that Stephen supplied us with.

1427. If you're actually a Latin buff and you translate it,

1428. it is actually thematically tied in to what's happening in the scene.

1429. The chorus is chanting about saving us from judgment and the time of trial.

1430. There used to be a long sequence, actually,

1431. that was cut before this whole scene,

1432. where Frollo approached Esmeralda in the dungeon the night before.

1433. It was very similar to the scene in the book

1434. where Frollo and Esmeralda speak in the dungeon

1435. and he confesses his love for her.

1436. But we decided to move that action right there on the stage

1437. where Esmeralda was going to be executed,

1438. just for expediency and for drama.

1439. To energize it a little bit more.

1440. We go up and we see Quasimodo at his lowest point in the film.

1441. – He's the defeated fighter on the ropes. – Kind of in the ropes at this point.

1442. His coaches have to make him rekindle his fighting spirit.

1443. He's given up at this point.

1444. They do the Burgess Meredith Rocky speech, "He's a wrecking machine."

1445. These chains aren't what's holding you back, Quasimodo.

1446. There's some very loaded lines here.

1447. "These chains aren't holding you back."

1448. And here comes my favorite line.

1449. We'll leave ya alone.

1450. After all, we're only made out of stone.

1451. We just thought maybe you were made of somethin' stronger.

1452. Kind of sums up the whole movie right there.

1453. – There we go. –That hurts to the core.

1454. For justice, for Paris,

1455. and for her own salvation...

1456. Great cue here. Man, it gives me goose bumps still.

1457. Yeah.

1458. There's a guy named Michael Starobin who orchestrated all this with Alan,

1459. and just a brilliant orchestration and made this whole sequence work.

1460. And here Quasimodo eats his spinach and comes out fighting.

1461. Somewhere between Samson and The Incredible Hulk.

1462. This is just the best animation moment, because you have everybody,

1463. background painters, art direction, special effects, musicians,

1464. everybody firing off on both barrels.

1465. Soon we have the computer department

1466. – showing themselves at full force. – Yeah.

1467. These upcoming shots, it's basically

1468. every trick we have in our entire arsenal,

1469. we're showing off at once here.

1470. It's the combined equivalent

1471. of putting the wildebeest stampede from Lion King

1472. into the ballroom in Beauty and the Beast.

1473. – And lighting it on fire. – And burning the whole thing down.

1474. And there it is for your enjoyment.

1475. Well, we've said it before, and we'll say it again.

1476. The entire film has been an elaborate prologue up to this point.

1477. This is the whole reason for making this film, is this sequence right here.

1478. And speaking of King Kong, James Baxter, the animator,

1479. actually stole one of King Kong's glances back to the crowd.

1480. His defiant glance.

1481. And the big goose bump moment of the whole movie.

1482. Man, I just love this.

1483. Like Gary said, this was the whole reason to make the movie for us.

1484. Cast of thousands down there. It's just beautiful.

1485. – Captain. – Sir?

1486. Seize the cathedral.

1487. Now this takes off into a scene that was a balancing act for the story guys,

1488. because it was a combination of a very dramatic siege of the cathedral scene,

1489. but it also had to be funny, 'cause you want to have fun action gags

1490. of the gargoyles pouring stuff down on the silly guards below.

1491. So now, Quasi drops this huge beam on Frollo's car, so to speak,

1492. and his hat goes flying off.

1493. – And we never see his hat again. –Thank God we got rid of that thing.

1494. Everybody was happy when that happened.

1495. Don't have to draw it anymore.

1496. There's a little speech coming up that Phoebus makes,

1497. and it used to be Clopin's speech.

1498. Yeah, we decided to give it to Phoebus instead of Clopin,

1499. because Phoebus needed to be more involved in the action

1500. and have a big "rally the troops" moment.

1501. It ends up with him saying, "Will we allow it?"

1502. And at that point, the gargoyles used to say, "What did he say?"

1503. And Laverne said, "l think he said someone stole his wallet."

1504. But we decided that was one too many hard-of-hearing gags.

1505. Also, the momentum was going so much, we did have a lot of gags here.

1506. It's hard to stop the fun.

1507. Yeah, we wanted to keep the pace quick.

1508. Hey, isn't that...

1509. – Feeble? – Doofus.

1510. Phoebus!

1511. Our story guys came up with endless gags

1512. for "what could happen here between gargoyles and guards?"

1513. This is Kirk's scene. Kirk animated that one.

1514. That guard being hit on the head with a brick, that was mine.

1515. Harder!

1516. This is a combination of computer generated crowds in the background

1517. and hand–animated material in the foreground.

1518. – And a reprise of our funny heretic guy. –Our favorite heretic.

1519. Dang it!

1520. This is Gary's scene right here.

1521. He animated the guards falling down into the water.

1522. To their watery death.

1523. – Beautifully done. – Their watery, funny death.

1524. James Fujii storyboarded this gag here with the delayed action catapult gag.

1525. The reverse catapult.

1526. When we previewed the movie, I used to love this part,

1527. 'cause I knew the big laughs were coming up.

1528. You had a surefire laugh right here with the guard...

1529. The reprise of the famous horse-sits-on-guard gag.

1530. The big, funny flatulent noise.

1531. Yeah, and possibly the biggest laugh of the movie.

1532. Our homage to Wizard of Oz.

1533. Both The Wizard of Oz and The Birds.

1534. This was devised by our story man, John Sanford.

1535. The effects work in here is second to none.

1536. Effects animator Marlon West

1537. did a lot of the molten lava here, along with Dorse Lanpher.

1538. And here you see a cinema first, the lava cam.

1539. And that sets you up for the big icon from the book, the movie.

1540. –There it is. –A zillion CGI crowds, lava,

1541. that's the definitive scene of The Hunchback of Notre Dame.

1542. The end. Thank you, folks.

1543. Wait, there's more.

1544. Here, we needed a scene for the archdeacon, more than anything.

1545. Yeah, to at least make an attempt to stop Frollo,

1546. otherwise, we thought it would seem a little ineffectual.

1547. He was absent for a long time.

1548. Didn't Frollo use to punch the archdeacon?

1549. Yeah, we thought that was a little much.

1550. Slam him up against the wall or something?

1551. He's punching the clergy.

1552. Come and see.

1553. – And here's that classic uh–oh. – Big uh-oh moment.

1554. This doesn't look good.

1555. We literally, at test screenings, we heard uh–ohs from kids.

1556. – Yeah, it was very sweet. – Yeah.

1557. This scene's really effective,

1558. some really nice animation by James Baxter and his crew.

1559. It shows you how acting is so tough in animation.

1560. And you don't realize here's somebody doing 24 drawings a second of film,

1561. and it's not moving around a lot, but it's a very sensitive little performance,

1562. not any dialogue,

1563. it's just a very solemn moment and it works like a million bucks.

1564. Here's that boys' choir again.

1565. The angelic reprise of the theme

1566. that's played when the two of them are up on the roof together,

1567. calls back that moment.

1568. This sequence was boarded by Brenda Chapman.

1569. It's a lovely moment.

1570. And then, of course, the bad guy walks in, and with him, he brings...

1571. His own scary red light.

1572. We could justify it story-wise by the fact that the fire was burning outside,

1573. so we were able to give the place a red, menacing glow.

1574. We wanted the audience to have

1575. one of those "watch out behind you" scenes.

1576. "Look out behind you" moment.

1577. Even though Quasimodo was hopeless here,

1578. didn't really care what was happening...

1579. But there's a great moment coming up

1580. when they're facing each other and fighting,

1581. and Quasimodo looks into Frollo's eyes

1582. and realizes that he's been lied to his whole life.

1583. Yeah, he sees the hate in Frollo's face and realizes that...

1584. And then he just eats his spinach and just nails Frollo here.

1585. Another animation guest star,

1586. Charlie Bonifacio, a very talented Canadian animator,

1587. who did a couple of these scenes here.

1588. Now this whole climactic battle on top of the parapets of Notre Dame

1589. was also a real international production.

1590. Real collaboration of storyboards again by Paul and Gaëtan Brizzi,

1591. backgrounds and layouts produced in Paris,

1592. and animation produced both in Paris and California.

1593. And Randy Fullmer, our artistic coordinator, did a cool thing,

1594. 'cause there's constantly smoke rising up from the square below.

1595. And it becomes more and more impressionistic as you go.

1596. The town square actually disappears after a while

1597. and turns into a hellish hotbed down there.

1598. Yeah, we were also trying to set up this whole metaphor

1599. of Frollo plunging into this fiery abyss below, kind of a hell–like fire below.

1600. A lot of people think some of these trefoil shapes on the cathedral

1601. are Mickey Mouse shapes, and they're really not.

1602. They're not, they're actually on the cathedral itself,

1603. they weren't meant to be little homages to Mickey Mouse.

1604. There is, in fact, photographic reference at your local library

1605. for you to check on this.

1606. The gargoyles that you see all over the cathedral during this sequence,

1607. those are the actual gargoyles on Notre Dame in their exact locations.

1608. We actually were very accurate at this point

1609. in our reproductions of the gargoyles.

1610. So that warthog one that people sometimes think is Pumbaa

1611. – is not Pumbaa, it's an actual gargoyle. – It's a warthog gargoyle.

1612. This series of reverses here, I think Kirk and Gary worked really hard

1613. to try to get a sense of increasing peril through here.

1614. I remember seeing on a scoring stage once,

1615. even with Alan trying to get the score to do the same thing,

1616. to indicate that rising levels of peril going up to this speech here.

1617. Here's Frollo's moment of extreme psychosis.

1618. And extreme pain, actually.

1619. – And there he goes. –Off he goes.

1620. Bye-bye, Frollo, thanks for playing.

1621. That's kind of our tribute to Dr. Strangelove there.

1622. – Major Kong riding the bomb. – Yeah.

1623. In a final twist, though, here goes Quasi.

1624. –He's dead, too. – Bye-bye, now.

1625. Well, you didn't expect that, did you?

1626. Last-minute save.

1627. And they're all friends now.

1628. And now the light changes.

1629. It's no longer red, it's getting a little purple.

1630. – It's dawn, actually. – They've been fighting all night.

1631. Yeah, it's been a long, rough night for all of them.

1632. There's sunrise out there now.

1633. It's funny in animation how art direction can really help manipulate

1634. the emotions of the moment in the time of day,

1635. and even the costumery and the way the scene looks helps you tell the story.

1636. This scene here originally was a payoff for a sequence that was cut out.

1637. We mentioned The Gypsy Wedding Song before.

1638. Originally, Quasimodo had to join their hands

1639. in the course of this Gypsy Wedding Song,

1640. but the song was interrupted, and there he joins his hands.

1641. But we decided to leave the hand-joining moment,

1642. 'cause it was still very emotional.

1643. – It's a bright new day. – Now it's morning.

1644. And pretty much, from the point that Quasimodo was caught by Phoebus

1645. to the end of the movie,

1646. there is not a single line of dialogue spoken.

1647. And I think that's a real tribute

1648. to the quality of the animation and just to the power of animation

1649. as being a visual medium.

1650. All of the rest of the story is told in pantomime.

1651. If you like, we can explain what's going on.

1652. But I think everyone gets the idea.

1653. This is about Quasimodo finally stepping out into the sun,

1654. into the light, literally, and being accepted.

1655. James even had his pupils dilate in the light.

1656. Yeah, that's a nice little touch.

1657. You can go back and take a look at that.

1658. There's our boys' choir again.

1659. This is a very tender moment,

1660. and these are tricky to pull off in animation without it seeming...

1661. Real schmaltzy or fake.

1662. I think James just did a great job here.

1663. And again, with the support of Alan's music,

1664. you get a really great warm feeling.

1665. This sets us up for a series of parting shots

1666. and almost curtain calls for the characters.

1667. Give you the satisfaction of getting to say goodbye

1668. to these characters that you spent the last 90 minutes with.

1669. Bye–bye, Clopin.

1670. Bye–bye, Quasimodo.

1671. – Bye-bye, gargoyles. –See you, gargoyles, you were fun.

1672. And even a little curtain call for the goat.

1673. Here's Mr. and Mrs. Phoebus.

1674. And their kid.

1675. That leads us into

1676. possibly the biggest pull-back shot in animation history here,

1677. a cast of thousands.

1678. Just when you think it's going to cut,

1679. no, it just keeps pulling back, further and further and further.

1680. Ed Ghertner, Randy Fullmer.

1681. We blame you for this shot.

1682. Even a little final homage to Mary Wickes and the pigeons there.

1683. Through the clouds, just the way we began.

1684. It's kind of a bookend thing.

1685. And a classic Disney happy ending to The Hunchback of Notre Dame.

1686. Well, there it is, The Hunchback of Notre Dame.

1687. And I don't know about you, but I am ready for the showers.

1688. The process of making an animated film is pretty amazing,

1689. 'cause you have 600 people over four years,

1690. in this case, spread out over a couple of continents,

1691. and it's a really, really collaborative thing.

1692. I think the idea for this film

1693. started three or four years before it was released.

1694. A guy named David Stainton,

1695. who was one of our very talented development executives at the studio.

1696. Yeah, he was the first one to propose doing an adaptation

1697. of The Hunchback of Notre Dame in animation.

1698. And he brought on a writer named Tab Murphy

1699. who developed a treatment for the story.

1700. And when you think about it,

1701. we've done a lot of animation based on children's literature,

1702. like Bambi or Jungle Book,

1703. but we've never done a film

1704. based on a widely-read, widely-accepted piece of literature,

1705. like Victor Hugo's Hunchback of Notre Dame.

1706. – Which you'd call adult literature. – Yeah.

1707. But on further analysis, Gary and I

1708. realized that there were aspects of the story

1709. that were so archetypal, if you will,

1710. that it read almost like a fairytale.

1711. When you strip the story down to its bare bones,

1712. you've got a monster who lives in a tower...

1713. Locked in a tower by his evil stepfather.

1714. A beautiful dancer and a knight on a horse.

1715. Just great fairytale elements that come together.

1716. One of the funny things about making the movie was, we were so worried

1717. about the French reaction to taking a classic piece of French literature,

1718. it turns out to be this huge hit in France,

1719. it was the number one movie of the year.

1720. It was a giant movie in Paris.

1721. They went nuts for it, and that was actually very gratifying.

1722. There was some nervousness on our part.

1723. Walt Disney is running roughshod over a French national treasure.

1724. But Disney's doing their Disney thing, and they loved it.

1725. And part of it was the ability to work with a bunch of Parisian artists

1726. who not only were familiar with the literature,

1727. but they walked out their front door every day and there was Notre Dame,

1728. and they were able to study it,

1729. and at least help us understand the cultural concerns and the architecture,

1730. and all the things that went into the making of the movie.

1731. The process of hatching a movie, too, depends on a lot of people upfront.

1732. The writing staff passes the baton to the story crew.

1733. We had a really great story crew on this film.

1734. Yeah, we had a terrific group of writers.

1735. Bob Tzudiker and Noni White and Irene Mecchi,

1736. and Jonathan Roberts who wrote a little bit on Lion King,

1737. were some of the people that came in,

1738. and just around the table with the directors and the story staff,

1739. helped to knock ideas around,

1740. and that collaboration breathes a lot of what you saw on the screen here.

1741. The animators were also always stars of the show.

1742. Yeah. It can't be said enough.

1743. The animators are our actors and take their characters just as seriously,

1744. and put as much passion and thought into their drawn performance

1745. as any actor on film or stage would.

1746. Here's a group of people we didn't talk about too much,

1747. the cleanup artists who take the animators' performances,

1748. which are often drawn very sketchily and rough on a piece of paper.

1749. It's their job to make these rough, inconsistent drawings

1750. from 30 to 60 different people all look like they came out of the same hand.

1751. And it's important. It all helps the believability of the story,

1752. because you don't want the audience, at any point during the story,

1753. to be made aware of the fact that they're watching drawings.

1754. You just want them to believe that they're watching characters,

1755. and that they become emotionally involved with these characters.

1756. And it's important to create a feeling of consistency throughout visually,

1757. so that suddenly, you don't see six different Quasimodos in the movie,

1758. because I think that would give away the illusion.

1759. It is ironic, though, that the best compliment that we've received

1760. is when people forgot that it was animation.

1761. We work for three years, for seven days a week, 26 hours a day,

1762. making an animated feature, and the best compliment we can get

1763. is that people were so wrapped up in the characters and the story

1764. that they forgot that it was animated.

1765. One of the stars of the show for me, too, is really Dave Goetz.

1766. We've talked about him a lot through the commentary on the movie,

1767. but when you think about all the thought he put into

1768. using light and contrast to underline the contrast of the story...

1769. That was something that he was really key in

1770. and felt was crucial to the film,

1771. was echoing Hugo's themes of light and shadow,

1772. and of contrasts between good and evil and differences in society.

1773. By exploring that idea through light and through color,

1774. he really put something special on the screen.

1775. And Alan and Stephen, too. Alan Menken and Stephen Schwartz.

1776. The ability to tell a story in the context of a song

1777. is a gift that not too many songwriters have.

1778. And I think we were lucky in the end

1779. to have Alan and Stephen as our collaborators there.

1780. Absolutely. And at least for our money,

1781. I think this is some of Alan's finest, most daring and boldest work

1782. that he's done for us yet.

1783. And I really don't think we can praise him enough for that.

1784. It's certainly my favorite work he's ever done.

1785. So as we come to a close here,

1786. we just tip our hat to the hundreds and hundreds of people

1787. that worked together to make these movies.

1788. It's really a work of art, a great American art form.

1789. I wish we could take the time

1790. to thank each and every one of them individually, but...

1791. – We can, can't we? – We'll just ask you to

1792. roll the credits about six more times and read every name carefully,

1793. because they deserve it, they all contributed.

1794. See you, gargoyles, you were fun.

1795. And even a little curtain call for the goat.

1796. Here's Mr. and Mrs. Phoebus.

1797. And their kid. (LAUGHS)

1798. That leads us into

1799. possibly the biggest pull-back shot in animation history here,

1800. a cast of thousands.

1801. Just when you think it's going to cut,

1802. no, it just keeps pulling back, further and further and further.

1803. Ed Ghertner, Randy Fullmer.

1804. We blame you for this shot.

1805. Even a little final homage to Mary Wickes and the pigeons there.

1806. Through the clouds, just the way we began.

1807. It's kind of a bookend thing.

1808. And a classic Disney happy ending

1809. to The Hunchback of Notre Dame.

1810. Well, there it is, The Hunchback of Notre Dame.

1811. And I don't know about you, but I am ready for the showers.

1812. The process of making an animated film is pretty amazing,

1813. 'cause you have 600 people over four years,

1814. in this case, spread out over a couple of continents,

1815. and it's a really, really collaborative thing.

1816. I think the idea for this film

1817. started three or four years before it was released.

1818. A guy named David Stainton,

1819. who was one of our very talented development executives at the studio.

1820. Yeah, he was the first one to propose doing an adaptation

1821. of The Hunchback of Notre Dame in animation.

1822. And he brought on a writer named Tab Murphy

1823. who developed a treatment for the story.

1824. And when you think about it,

1825. we've done a lot of animation based on children's literature,

1826. like Bambi or Jungle Book,

1827. but we've never done a film

1828. based on a widely-read, widely-accepted piece of literature,

1829. like Victor Hugo's Hunchback of Notre Dame.

1830. Which you'd call adult literature.

1831. Yeah.

1832. But on further analysis, Gary and I

1833. realized that there were aspects of the story

1834. that were so archetypal, if you will,

1835. that it read almost like a fairytale.

1836. When you strip the story down to its bare bones,

1837. you've got a monster who lives in a tower…

1838. Locked in a tower by his evil stepfather.

1839. A beautiful dancer and a knight on a horse.

1840. Just great fairytale elements that come together.

1841. One of the funny things about making the movie was,

1842. we were so worried

1843. about the French reaction to taking a classic piece of French literature,

1844. it turns out to be this huge hit in France,

1845. it was the number one movie of the year.

1846. It was a giant movie in Paris.

1847. They went nuts for it, and that was actually very gratifying.

1848. There was some nervousness on our part.

1849. Walt Disney is running roughshod over a French national treasure.

1850. But Disney's doing their Disney thing, and they loved it.

1851. And part of it was the ability to work with a bunch of Parisian artists

1852. who not only were familiar with the literature,

1853. but they walked out their front door every day and there was Notre Dame,

1854. and they were able to study it,

1855. and at least help us understand the cultural concerns and the architecture,

1856. and all the things that went Into the making of the movie.

1857. The process of hatching a movie, too, depends on a lot of people upfront.

1858. The writing staff passes the baton to the story crew.

1859. We had a really great story crew on this film.

1860. Yeah, we had a terrific group of writers.

1861. Bob Tzudiker and Noni White and Irene Mecchi,

1862. and Jonathan Roberts who wrote a little bit on Lion King,

1863. were some of the people that came in,

1864. and just around the table with the directors and the story staff,

1865. helped to knock Ideas around,

1866. and that collaboration breathes a lot of what you saw on the screen here.

1867. The animators were also always stars of the show.

1868. Yeah. It can't be said enough.

1869. The animators are our actors and take their characters just as seriously,

1870. and put as much passion and thought into their drawn performance

1871. as any actor on film or stage would.

1872. Here's a group of people we didn't talk about too much,

1873. the cleanup artists who take the animators' performances,

1874. which are often drawn very sketchily and rough on a piece of paper.

1875. It's their job to make these rough, inconsistent drawings

1876. from 30 to 60 different people all look like they came out of the same hand.

1877. And it's important. It all helps the believability of the story,

1878. because you don't want the audience, at any point during the story,

1879. to be made aware of the fact that they're watching drawings.

1880. You just want them to believe that they're watching characters,

1881. and that they become emotionally involved with these characters.

1882. And it's important to create a feeling of consistency throughout visually,

1883. so that suddenly, you don't see six different Quasimodos in the movie,

1884. because I think that would give away the illusion.

1885. It is ironic, though,

1886. that the best compliment that we've received

1887. is when people forgot that it was animation.

1888. We work for three years, for seven days a week, 26 hours a day,

1889. making an animated feature, and the best compliment we can get

1890. is that people were so wrapped up in the characters and the story

1891. that they forgot that it was animated.

1892. One of the stars of the show for me, too, is really Dave Goetz.

1893. We've talked about him a lot through the commentary on the movie,

1894. but when you think about all the thought he put into

1895. using light and contrast to underline the contrast of the story…

1896. That was something that he was really key in

1897. and felt was crucial to the film,

1898. was echoing Hugo's themes of light and shadow,

1899. and of contrasts between good and evil and differences in society.

1900. By exploring that idea through light and through color,

1901. he really put something special on the screen.

1902. And Alan and Stephen, too. Alan Menken and Stephen Schwartz.

1903. The ability to tell a story in the context of a song

1904. is a gift that not too many songwriters have.

1905. And I think we were lucky in the end

1906. to have Alan and Stephen as our collaborators there.

1907. Absolutely. And at least for our money,

1908. I think this is some of Alan's finest, most daring and boldest work

1909. that he's done for us yet.

1910. And I really don't think we can praise him enough for that.

1911. It's certainly my favorite work he's ever done.

1912. So as we come to a close here,

1913. we just tip our hat to the hundreds and hundreds of people

1914. that worked together to make these movies.

1915. It's really a work of art, a great American art form.

1916. I wish we could take the time

1917. to thank each and every one of them individually, but…

1918. We can, can't we? We'll just ask you to

1919. roll the credits about six more times and read every name carefully,

1920. (CHUCKLES) because they deserve it, they all contributed.