Oh My Disney runs the story of the reunion of the Aladdin key crew. It wasn’t as big reunion as 11 years ago for the platinum DVD. Glenn Keane and Andreas Deja where among the few who didn’t attend the panel. But yeah they people who where there, directors Ron and John, animators Eric Goldberg and Mark Henn and voice actors Scott Weinger, Linda Larkin and Brad Kane had a good time seeing each other again. They mostly remercie the late Robin Williams and point out how much influence he had to the final film.
During the Aladdin The Making of a Classic, a panel held at this years D23 convention at Anaheim, California held Saturday August, 15th 2015. The directors, animators and voice actor recalled working with the late Robin Williams during the production of Aladdin.
There was also some more information about the upcoming Live Action Genie prequel and the announcement that a montage of Robin Williams ad libbing as Genie with storyboards will be on the Diamond Edition Blu-Ray that is hitting shelfs, in real life stores and webshops, October 13
As you might or might not known Aladdin was supposed to be a boy around the age of 11 or 12 but late during the production run the then head of the studio Jeffery Katzenberg told to the directors Ron Clements & John Musker and their production team among many other things to beef up the age of the lead character in-favor of making the romance between Aladdin and Princess Jasmine believable. But by then many scenes with Aladdin where already pretty far along in the animation process and since the deadline was approaching quickly and Jeffery didn’t want it to move forward the day became known about Disney animators as Black Friday. I believe it’s on the DVD documentary at then end animator Eric Goldberg said the redesigning the lead character came a few months later but that day did kickstart a complete rehaul of the movie. There are plenty of sketches of the young Aladdin in it’s early forms roaming the internet since the late 90’s.
They are from the Making of Book I earlier wrote about.
That’s why the younger version of Aladdin still can been seen in some of the shots during “A Friend Like Me”. In this Work In Progress version it’s clearly how far exactly the animation for Aladdin was done. The voice track and music is pretty much the same as in the final film but the visuals are a mix of storyboards and clean-up ready to be colored shots. Robin Williams is hilarious as always with marvelous animation by Eric Goldberg.
Eric doing a sketch of Genie.
Likely from his first scenes in the cave.
Animated News links to an AWN article where Tom Sito, animating since the late 70’s and worked on most Disney 90’s films, interviewed his collauge and friend Eric Goldberg, had his own commercial studio before joining Disney in the early 90’s.
In the interview Eric describes how he came onboard to Aladdin.
“In 1982, when we were in L.A. to do Ziggy’s Gift, Susan had introduced me to many of her Cal Arts compatriots, including Hendel Butoy, Darrell Van Citters and John Musker. John and I clicked, and continued a mutual admiration for several years after [Susan and I] had returned to London. In the summer of ’89, I attended an animation festival at the AFI in L.A. with my Pizazz commercials reel, and Disney honchos Charlie Fink (then head of development) and Bill Matthews (in charge of training and recruitment) were in the audience. They asked if they could show my reel at the studio and I said, “Sure.” For an entire year after that, Charlie phoned me, at least once a month, to ask, “Wanna jump ship yet?” Further enticements included the knowledge that John Musker and Ron Clements were embarking on Aladdin in the coming year. I was impressed with Who Framed Roger Rabbit and The Little Mermaid, and started to feel that if I didn’t make a move soon, I would miss the crest of the wave of Disney Animation’s newfound popularity in my home country. The turning point came one night as I was running for a train after a day of stress and meetings at Pizazz. Having just made it, I stood there with my heart beating so wildly it practically popped out of my chest. I decided then and there that I needed to remove stress from my life, and that maybe animating at Disney was my ticket. I distinctly remember your [Tom Sito’s] reaction was, “You’re coming to Disney to avoid stress???”
Spread over 4 pages the Disney themepark site Laughingplace.com introduces or should I say re-introduces it’s readers to the lead animators of the upcoming 2D The Princess and the Frog. People who actually don’t need introduction because their fame, sometimes gathered over three decades drawing legendary Disney characters, exceeds them. Who doesn’t remembers names like Eric Goldberg, Ruben Aquino, or Nik Ranieri? Laughingplace as their career highlights.