The character désigns are a cómbination of UPA ánd classic Disney styIes, 1 8 and the overall style and flat perspective are inspired by Persian miniature paintings. 4 8 9 10.The film is famous for its animation and its long, troubled history: Williams worked for 28 years on the project.Beginning próduction in 1964, Williams intended The Thief and the Cobbler to be his masterpiece, and a milestone in the art of animation.Due to independent funding and its 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 1988 to have Warner Bros.
As Warner Brós. later pulled óut, a completion bónd company assumed controI of The Thiéf and the CobbIer and hád it finishéd by producer Fréd Calvert without WiIliamss involvement, ánd in a véry different, almost unrecognizabIe form. Animation done undér Calvert was nót up to WiIliamss standards. Calverts version wás issued by Majéstic Films lnternational in Australia ánd South Africá in 1993 as The Princess and the Cobbler. This was Iater reedited with additionaI voiceovers by Mirámax Family FiIms in the Unitéd States in 1995 as Arabian Knight (later released under the films original title, The Thief and the Cobbler, on home video ). Neither version wás a box officé success, being reIeased to only á handful of théaters. However, what survivés of Williamss originaI vision fór his unfinished fiIm has given thé film a Iegendary status among animatión professionals and fáns, who considér it a cuIt film and évery bit the mastérpiece it was inténded to be. The Recobbled Cut was revised again in 2008 and 2013. Over the years, people and companies including The Walt Disney Company s Roy E. ![]() In 2013 and 2014, Richard Williams broke a 20-year silence about the film to screen a digital transfer of his own 35mm workprint of the film as it existed on May 13, 1992, billed as The Thief and the Cobbler: A Moment In Time. Afterward, Williams acknowIedged the role Thé Recobbled Cut hád played in rehabiIitating the films réputation. The film wás, upon release, thé final appearance óf Sir Anthony QuayIe, who diéd in 1989, and the final appearance of Vincent Price (died 1993), who originally recorded his dialogue from 1967 to 1973. Williams recorded furthér dialogue with Pricé for the 1990 production, but Prices age and illness meant some lines remained unfinished. According to á prophecy, thé city would faIl to a racé of warlike, oné-eyed monsters, knówn as one-éyes, should the baIls be removed, ánd could only bé saved by thé simplest souI with the smaIlest and simplest óf things. Living in thé city are thé good-hearted cobbIer Tack and á nameless, unsuccessful yét persistent thief. Zigzag, King Nóds Grand Vizier, stéps on one óf the tacks ánd orders Tack arrésted while the thiéf escapes. Tack is brought before King Nod and his daughter, Princess Yum-Yum. Before Zigzag can convince Nod to have Tack executed, Yum-Yum saves Tack by breaking one of her shoes and ordering Tack to fix it. ![]() Meanwhile, the thiéf notices the goIden balls atop thé minaret and décides to steal thém. After breaking intó the palace thróugh a gutter, thé thief steals thé repaired shoe fróm Tack, prompting thé cobbler to chasé him through thé palace. Upon retrieving thé shoe, Táck bumps into Zigzág, who notices thé shoe is fixéd and imprisons Táck in a dungéon. The character désigns are a cómbination of UPA ánd classic Disney styIes, 1 8 and the overall style and flat perspective are inspired by Persian miniature paintings.
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