{"id":26866,"date":"2016-07-29T00:01:18","date_gmt":"2016-07-29T07:01:18","guid":{"rendered":"http:\/\/cartoonresearch.com\/?p=26866"},"modified":"2016-07-29T07:27:23","modified_gmt":"2016-07-29T14:27:23","slug":"animation-anecdotes-273","status":"publish","type":"post","link":"https:\/\/cartoonresearch.com\/index.php\/animation-anecdotes-273\/","title":{"rendered":"Animation Anecdotes #273"},"content":{"rendered":"\"ron-john-aladdin\"\n

<\/p>\n

Aladdin Cameo.<\/strong> In the October 1, 1993 issue of Entertainment Weekly<\/em>, John Musker commented on the cameo in Disney\u2019s Aladdin<\/em> (1992) of him and co-director Ron Clements in the marketplace scene where Aladdin steals some bread: \u201cIf we were real actors, we would have had us fired.\u201d<\/p>\n

\n

\"iago-smaller\"A Laughing Matter.<\/strong> From the National Enquirer September 21, 1993: \u201cGilbert Gottfried, critically acclaimed for his role as Iago the parrot in Disney\u2019s Aladdin<\/em> (1992) co-stars with Carol Kane in the upcoming Aladdin<\/em> animated series but they can\u2019t do scenes together. Carol thinks Gottfried is one of the funniest people alive, and the feeling is mutual so they end up laughing so hard they can\u2019t deliver their lines! So the director kicks Gottfried out of the studio while Carol does her lines, then she leaves while he does his.\u201d<\/p>\n

\n

\"edith-ann\"Edith Ann and That\u2019s The Truth.<\/strong> From the January 16, 1994 edition of New York\u2019s Daily Messenger about the animated special Edith Ann: A Few Pieces of the Puzzle<\/em> (1993) done by Klasky Csupo. <\/p>\n

\u201cThe character was introduced twenty-five years ago on Rowan and Martin\u2019s Laugh-In<\/em> and originally the writers on the show didn\u2019t like her,\u201d said actress Lily Tomlin who created the character. \u201cThey thought she was too bratty.<\/p>\n

\u201cI love this character, the whole prospect of animation and creating another life for Edith. There\u2019s no other way Edith could live the way she could live in animation. I want to see her whole life opened up. We want it to be funny. We want it to be moving. Naturally, we want kids and adults to be entertained by it and get into Edith\u2019s life.<\/p>\n

\u201cOh, we definitely want to do a series. I mean what\u2019s the point of just doing specials?
\n“You know, when I look at myself in that chair, even though sometimes it was quite good and fun to watch, it was limited. It was first of all limited by my own physicality. With animation, you don’t have this big woman trying to be five or six years old, and you don’t have to create an environment that makes it look as though I am.<\/p>\n

“When we went to animation, we had the chance to really make her live. . . . I mean, I did what I could in the chair, but I couldn\u2019t interact with other people, except other people who would pretend to be children. I don’t think audiences embrace animation whole cloth. They’re very discriminating. <\/p>\n\"edith-ann-stills\"\n

<\/p>\n

\u201cThey like ‘The Simpsons<\/em>,’ but they don’t like ‘Fish Police<\/em>‘ . . . ‘Capital Critters<\/em>‘ . . . or ‘Family Dog<\/em>.’ The writing in ‘The Simpsons<\/em>‘ is wonderful. And because they respected their audience and made such an entertaining and sophisticated show . . . it opened things up. It became a hit show, so, as in all things, people say, ‘Well, gee, there’s an area that we could, you know, violate\u2019.\u201d<\/p>\n

Tomlin met her long time associate Jane Wagner when they were working on an Edith Ann record album. They continued to work on possible projects for the character for over a decade including a comic strip and a stop-motion film using puppet models. At one point it was going to be done by David Fine and Alison Snowden and animated in the United Kingdom at Aardman Animations.<\/p>\n

The special was followed by two other specials: Edith Ann: Homeless Go Home<\/em> (1994) and Edith Ann’s Christmas (Just Say No\u00ebl)<\/em> (1996)<\/p>\n