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The Thief and the Cobbler - Richard Williams Wiki"The Thief and the Cobbler" is an animated feature film, famous for its superb and unusual animation and its Recobbled Cut artwork by Garrett Gilchrist, based on work by Richard Williams Studio. The film was conceived by Canadian animator Richard Williams, who worked for nearly three decades on the project. Beginning production in 1. Williams intended The Thief and the Cobbler to be his masterpiece, and a milestone in the art of animation. Due to its independent funding and complex animation, The Thief and the Cobbler was in and out of production for over two decades, until Williams, buoyed by his success as animation director on Who Framed Roger Rabbit, signed a deal in 1. Warner Bros. finance and distribute the film. This deal fell through because of Warner Bros. This is the Miramax Trailer Version of 'The Thief and the Cobbler' when it was release on Home Video along with The Neverending Story III. The one with Matth. Plot. The plot summary follows the 1992 workprint version of the film. The film opens with a narrator describing a prosperous city called the Golden City, ruled by the sleepy King Nod and protected by three golden balls atop. Disney's Aladdin appearing as competition and Williams failing to complete the film on time. As Warner Bros. pulled out, The Completion Bond Company assumed control of The Thief and the Cobbler and had it finished by producer Fred Calvert without Williams. In the process, Calvert completely re- edited the film, removing many of Williams' scenes and adding songs and voiceovers, in order to make it more marketable. Two versions were released: One was issued in Australia and South Africa in 1. The Princess and the Cobbler" and the other in the United States in 1. Arabian Knight" (later released under the film's working original name, The Thief and the Cobbler, on home video). The Princess version was distributed by Majestic Films International and Arabian Knight by Miramax Family Films. Neither was a financial success nor met with a positive reception. However, the film's history and intent has given it significant cult status among animation professionals and fans. As many animators from the Golden Age of animation were involved, the development of the film also played a significant role in preserving the knowledge and skill of animation for the newer generation of animators. Poor- quality bootleg VHS tapes of Richard Williams' unfinished workprint circulated for years. Although there has been no official restoration of the film as intended, filmmaker Garrett Gilchrist completed an unofficial restoration in 2. The Thief and the Cobbler: Recobbled Cut. This is currently considered to be the definitive available version of the film. With The Thief and the Cobbler being in production from 1. Guinness record of Tiefland (1. The film was the final appearance of Vincent Price (d. Production history. Development and early production on Nasruddin (1. Richard Williams began development work on The Thief and the Cobbler in 1. Mulla Nasruddin, a "wise fool" of Near Eastern folklore. Williams had previously illustrated a series of books by Idries Shah, which collected the philosophical yet humorously wise tales of Nasrudin. Production took place at Richard Williams Productions in Soho Square, London. An early reference to the project came in the 1. International Film Guide, which noted that Williams was about to begin work on "the first of several films based on the stories featuring Mulla Nasruddin.". Like director Orson Welles before him, Williams took on television and feature- film title projects in order to fund his pet project, and work on his film progressed slowly. In 1. 96. 9, the Guide noted that animation legend Ken Harris was now working on the project, which was now entitled The Amazing Nasrudin. The illustrations from the film showed intricate Indian and Persian designs. In 1. 97. 0, the project was re- titled The Majestic Fool. For the first time, a potential distributor for the independent film was mentioned: British Lion Film Corporation. The International Film Guide noted that the Williams Studio's staff had increased to forty people for the production of the feature. Dialogue tracks for the film, now being referred to as Nasruddin!, were recorded at this time. Vincent Price was hired to perform the voice of the villain, Anwar (later re- named "Zigzag"), originally assigned to Kenneth Williams. Sir Anthony Quayle was cast as King Nod. Price was hired to make the villain more enjoyable for Williams, as he was a great fan of Vincent Price's work and Zig. Zag was based on "two people Williams hated.". Nasruddin becomes The Thief and the Cobbler. The film went through many name- changes before becoming The Thief and the Cobbler - other names included "The Cobbler and the Thief," The Thief Who Never Gave Up' and Once.. Idries Shah demanded 5. Idries Shah’s sister, who had done some of the fine translations for the Nasrudin book, claimed that she owned the stories. Williams also felt that Omar Shah was stealing from the film's budget for his own purposes. As a result, Williams had a falling- out with the Shah family in 1. Williams lost rights to the script. In a promotional booklet released in 1. Williams made an announcement about the status of his project. Nasruddin was found to be too verbal and not suitable for animation, therefore Nasruddin as a character and the Nasruddin stories were dropped as a project. However, the many years work spent on painstaking research into the beauty of Oriental art has been retained. Loosely based on elements in the Arabian Nights stories, an entirely new and original film entitled The Thief and The Cobbler is now the main project of the Williams Studio. Therefore any publicity references to the old character of Nasruddin are now obsolete.". The publicity release, however, failed to mention that almost all of the Nasruddin footage, characters and scenes that did not have Nasruddin himself were retained. While the story's focus and tone was shifted, several characters, including Anwar/Zigzag, were all carried over to the "new" film, which Williams was promising as a "1. Panavision animated epic feature film with a hand- drawn cast of thousands.". By 1. 97. 3, Williams had co- written a new script with his wife Margaret French. Nasruddin was replaced by a cobbler named Tack. The characters were renamed at this point. In the Nasruddin years, Phido's original name was "Brutay", making Zigzag's last words "You, too, Phido?" a reference to the famous "Et tu, Brute?". Zigzag speaks mostly in rhyme throughout the entire film, while the other characters speak normally (the thief and Tack do not speak at all, except for one line for Tack at the very end, voiced by Sean Connery). In an interview with John Canemaker in the Feb. Millimeter, Richard Williams stated that "The Thief is not following the Disney route." He went on to state that the film would be "the first animated film with a real plot that locks together like a detective story at the end," and that, with its two mute main characters, Thief was essentially "a silent movie with a lot of sound.". Prolonged production (1. Williams worked on the production as a side project in- between various television commercial, television special, and feature film title assignments, such as the 1. Raggedy Ann & Andy: A Musical Adventure. Because he had no money or time to have a full team working on the film, and due to the film being a "giant epic", and because this was a learning project, production dragged for decades. In order to save money, scenes were kept in pencil stage without putting it into colour, as advised by Dick Purdum: "Work on paper! Don’t put it in colour. Don’t spend on special effects. Don’t do camera- work, tracing or painting …. Upon seeing Disney's The Jungle Book (1. Richard Williams realised that he had nowhere near the skill in animation that he wanted to have, and that he needed to really learn the craft, if he wanted to hold the audience's interest. I was a graphic artist in animation … thought I was ever so clever, until one day I realized I didn’t know a damned thing. I couldn’t suspend disbelief for more than 1. I thought I had better go and study ‘how you do it’. So we did … and it was a nasty shock to realize when you thought you were wonderful and were covered with awards, that you didn’t know how to do it, at all.". Williams thus decided to get several veterans from the golden age of animation, such as Art Babbitt, Ken Harris, Emery Hawkins and Grim Natwick, to work on the film in his studio in London and teach him their knowledge and skill of animation. Williams learned also from Milt Kahl, Frank Thomas, Ollie Johnston and Ken Anderson at Disney, to whom he made yearly visits. Williams would later pass their knowledge to the new generation of animators. As years passed, the project became more ambitious. Williams said that "The idea is to make the best animated film that has ever been made - there really is no reason why not." The film features very detailed and complex animation, such as scenes where the entire picture is animated by hand to move in three dimensions: this was achieved without computer- generated imagery. Additionally, almost the whole film has been animated "on ones", meaning that the animation runs at full 2. Because Ken Harris was a very fast animator, and the film had no plot since the removal of the Nasruddin character and before the script rewrite, Williams had to invent several scenes for the Thief character (which was designed as a caricature of Williams) in order to keep Harris working. Another artist hired was illustrator Errol Le Cain, who did inspirational paintings and backgrounds, setting the style for the film. During the decades that the film was being made, the characters were redesigned several times, and scenes were reanimated. The Mad Holy Old Witch was designed as a caricature of animator Grim Natwick, by whom she was originally animated. Animation drawings of the Mad Holy Old Witch were later used in Richard Williams' 2. The Animator's Survival Kit, revised to change the character's design for legal reasons. 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