Re: RICHARD WILLIAMS QUESTION

In article <5kpn42$a6...@vixen.cso.uiuc.edu>, mag...@prairienet.org (Mary A. Giordano) wrote:
>Knut Sjurseth (knu...@pop.stud.ntnu.no) wrote:
>: 
>: Do you know any other contributions Williams has done to the wonderful 
>: world of animation? Apart from "The Theif And The Cobbler", serving as 
>: animation director on "Who Framed Roger Rabbit" and his work in this 
>: film you called "The Charge of the Light Brigade"? Is there a complete 
>: list of Richard Williams work available anywhere?

>Williams' work has not been well-documented here, primarily because he
>spent most of his career based in his London studio.  His studio produced
>hundreds of animated commercials, most of which haven't been seen by too
>many in the U.S.  During the 60s and 70s, his studio also worked on animated 
>title sequences for features like Casino Royale, A Funny Thing Happened on
>the Way to the Forum, and two for the Peter Sellers' Pink Panther series.  
>Despite receiving acclaim for this work, Williams looked upon it as 
>mostly as a means of bringing in revenue and funneling money back into
>his project The Thief and the Cobbler, since his main ambition was to be a
>director.  He went on to produce the animated Christmas Carol for TV and
>direct the feature Raggedy Ann & Andy:  A Musical Adventure, a film
>plagued by production problems (many of which were visible on the screen),
>but nonetheless featured some great moments of animation by Williams and
>some of the legendary animators that also worked on Thief.
>
>It will probably be debated for a long time to come whether or not 
>Williams ever possessed directing talent, but his work as an animator is
>extensive and undisputed.  His work is proof that great animation is not
>always found in the most obvious of places, and worth seeking out.  

I know this must have been explained earlier in this newsgroup, but *why* did 
it take Richard Williams more than _two decades_  to make The Theif And The 
Cobbler? I know why and how it ended (the Compilation Bond getting impatient 
etc.), but what made Williams use so many years on it *before* that nasty 
episode occured? Was in "only" to make an elaborate animated feature? Or had 
it something to do with the size of the staff he was working with? Was there 
something unusual about the way The Theif And The Cobbler was produced 
compared to your average animated feature? Or did *budget* have anything to do 
with it? 


And was the film in nonstop production during those two decades?

-Knut-
       

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Knut Sjurseth
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