Roger Rabbit Turns 20
Twenty years ago, Who Framed Roger Rabbit revitalized the animation industry as a bold experiment, looking back as well as forward, as it turned out. AWN marks the historic occasion by reminiscing with Richard Williams, Don Hahn, Tom Sito, James Baxter and Ken Ralston.
November 30, 2008
By Andrew Farago and Bill Desowitz
Happy 20th Anniversary to Who Framed Roger Rabbit.
Has it really been 20 years since the release of Who Framed Roger Rabbit? Twenty years since the given-up-for-dead feature animation industry stood up and said, "Plplplllease, you gotta give me another chance! Come on, Raoul!"? Twenty years since Andrew Farago made his parents, older brothers and any available adult with a drivers' license chauffeur him to the next town for multiple viewings of his new favorite film. Not to mention 19 years since he rushed out to see Honey, I Shrunk the Kids as soon as it hit the local theater based solely on the inclusion of seven new minutes of Roger Rabbit animation? (OK... and the comic stylings of Rick Moranis.)
So, in commemoration of the 20th anniversary of Who Framed Roger Rabbit, Farago interviews three key members of the animation department: Associate Producer Don Hahn and animators Tom Sito and James Baxter, while AWN Senior Editor Bill Desowitz speaks with Animation Director Richard Williams and Visual Effects Supervisor Ken Ralston.
full article at:Don Hahn
Andrew Farago: How did you first become involved with the production of Who Framed Roger Rabbit? What convinced you to take on the project?
Don Hahn: I had just finished work on The Great Mouse Detective as production manager and Peter Schneiderwas called to take a meeting at Amblin to discuss the animation on Roger Rabbit. Peter was new to the department so he asked that I start going with him to talk to Bob Z[Robert Zemeckis] and the producers about the project. After that I was pulled in slowly to start to manage tests, then to go to London to work with Dick (Richard) Williams and his studio and eventually to live in London for almost two years to oversee the animation as associate producer.
AF: Can you describe your role in the production of the film?
DH: I produced the animation. There were three major elements of the production: the live-action shoot, the animation and the magic that ILM did at the end to combine it all together. The studio in London was a combination of key players from Dick Williams' studio, four key animators from Burbank and a team of gypsy animators that we hired from around the world to come to London to work. I hired Max Howard, who was a brilliant manager, and together we built a studio around Richard and the crew to deliver the film.
Animation World Magazine