Into which art happens
The Thief and the Cobbler: Recobbled Cut Mk4

  Alex Williams, who animated on The Thief and the Cobbler and is Richard Williams’ son, asked me to write up an interview for his blog.

  As usual I wrote something extremely long. I can’t seem to help myself there. I am a verbose man.

  So here it is.

Video Preview of the Mark 4 Recobbled Cut!

AW: What is the Recobbled Cut?

GG: The Thief and the Cobbler: Recobbled Cut (Mark 4) is an unofficial restoration of an incredible and otherwise-unfinished animated feature by Richard Williams, who won three Oscars for Who Framed Roger Rabbit and A Christmas Carol. We’ve tracked down and restored rare footage from all over the world and created new material to present the film in as complete and watchable a form as possible. Unfortunately with the film mostly complete, Dick was fired and replaced by someone who “completed” the film quickly, cheaply and poorly. So we’re working with occasionally-inferior footage, but doing our damndest to make sure that Dick’s original vision shines through.

AW: What made you want to take this project on?

GG: People who really know animation might know the sad story of The Thief and the Cobbler. It’s a complicated story and I apologize in advance if I misspeak, but here’s the story as I understand it. Your father spent over 23 years working on this one film, a visually lush Arabian Nights fantasy which he intended to be his masterpiece, and which contains some of the most complex animation ever attempted onscreen. He was never able to get full funding for the film until after Who Framed Roger Rabbit in 1989, so for two decades he’d just pick at it, inbetween working on some amazing animated commercials, and the Oscar-winning A Christmas Carol, and Raggedy Ann & Andy, and so on.

And his art style kept changing, becoming more complex. When he started in the 1960s, classic Disney-style animation had largely gone out of style, replaced by cheap and simple “modern design,” suitable for television. Richard Williams was a brilliant artist but he wanted to be a great animator, and this film was his way to learn. He hired some of the greatest old guard animators - Art Babbitt, Ken Harris, Grim Natwick, Emery Hawkins - very late in their lives, to pass on their knowledge to a new generation before it was lost forever. Richard’s studio helped train the great animators of the 80s and 90s, like Eric Goldberg and Andreas Deja, and helped make the Disney renaissance (Aladdin, The Lion King) possible. It’s a hugely influential film, even though it’s wound up as a footnote in history.

And it’s a work of genius, plain and simple. Richard Williams is a genius, with all that that implies. He was difficult to work for, and demanded perfection from his crew, but he was also an inspiration, and has become one of the great teachers, now. All these years later he’s become the great, legendary animator he could only pretend to be in the 70s, and has literally written the book on how to animate - The Animator’s Survival Kit, easily the best book ever written on the subject. But people haven’t seen the project he treasured more than any other. Because there wasn’t any good quality, complete version of it you could really watch.

AW: What is it about the original film that so inspires you?


GG: It haunted me, quite frankly. I’d never seen anything like it, and I still haven’t. I first heard about The Thief and the Cobbler when I was seven or eight years old and sleeping on Roger Rabbit bedsheets. I thought Who Framed Roger Rabbit was a nearly perfect film, and I still do. It was this huge technical achievement, to do Disney-style animation on live-action sets with a moving camera, and constantly shifting perspective, and make it believable. A hugely difficult project that Richard Williams executed perfectly. I read an interview with him in Comics Scene magazine where he talked about the project he was really interested in. For over two decades he’d been trying to make what he intended as the greatest animated film ever made. The audacity of that, the ambition of it, astounded me. And he wouldn’t share any art from it now, because he’d been ripped off before. Ironic, now. About seven years later, I saw in the theaters a preview for a terrible-looking Aladdin ripoff called Arabian Knight, with a K. Everything about it looked cheap and pathetic. When I got home, something clicked in my brain. This was by the Roger Rabbit guy. So this was his masterpiece, and something terrible happened to it somewhere along the way. Three years later I was on the internet - this was 1998 - and I found a website by Eddie Bowers, which talked about The Thief and the Cobbler. I finally knew the entire heartbreaking story.

How he obsessed over this film and created some of the most complex animation of all time - this huge war machine filled with every piece of weaponry and machinery imaginable - and some of the most delightfully subtle. And beautiful cinematography and lighting effects; every in-camera trick in the book and a hundred which aren’t. But still no one would fund the thing until he won two Oscars for Roger Rabbit, and Warner Bros. decided to pick it up. He hired a new crew of mostly very young animators who he could train to animate in his own very unique style. People who hadn’t already learned those Disney habits. And up until the first half of 1992 they worked hard and worked fast, even considering what a perfectionist Dick was, and had finished most of the film. All those years of training and practice had led up to this moment, and Dick created something absolutely unique. It’s not a Disney film. It’s a film which was designed in the 60s, 70s, 80s, and 90s, and uses design trends from four decades, and ideas which are all its own. Some of the characters look like they came out of Yellow Submarine, or Dick Deadeye, but they move with perfect fluidity, whether it’s realistic or stylized. It’s a dream. As Richard said himself, “The whole thing is in the language of a dream.”

But the film had a reputation at this point, and so did Dick. He’d earned that reputation with his perfectionism, but people were saying he’d never finish it at the point where he was working furiously to finish it. Meanwhile Disney was making a movie called Aladdin which was, let’s say, suspiciously similar. Even before seeing it they knew they were screwed. He’d had a script all these years and knew exactly what the film was. Every scene was numbered, everything had been in place for a decade now. But he’d never actually storyboarded the thing out, and people were claiming he had no story. They say he storyboarded the whole thing in two weeks - hundreds of gorgeous drawings, which could easily be keyframes. And they cut the whole thing together as a workprint, which is what we still have now. The executives from Warner Bros. watched the 90 minute movie and saw some of the most lush, complex and spectacular animation ever attempted. And there was just silence. No one was impressed. They got up and walked out, and eventually they fired Dick and cut their losses.

While everyone was grabbing what they could and getting out of there, Dick was still at his desk animating a scene. The film had become a “reason for living.” He doesn’t talk about it to this day. I’m not sure he was even allowed to, legally, at the time.

The film was “finished” by some idiot who cut out half of it and turned the rest into a cheap saturday morning cartoon animated in Korea, called Princess and the Cobbler. You’ve never seen a film ruined so thoroughly. Then Disney bought it through Miramax, I think just to make sure no one would ever watch the thing. They made it even worse, adding Aladdin references and a voice track making fun of the film, but at that point it was a mercy killing. They called it Arabian Knight.

AW: What was the genesis of this project? Were you approached by others or was this your idea?


GG: A little of both. At his website back in the 90s, Eddie Bowers had edited the backscratcher scene to use some footage from Arabian Knight. So the idea was sort of there. I rented the Arabian Knight VHS and made a copy where I just muted the voices, when someone obnoxious was talking over this otherwise amazing animation. Eddie sent me The Princess and the Cobbler and Dick’s early-1992 workprint, and some documentaries, all on one SLP VHS tape. The quality was horrific. You couldn’t see anything. But I’d seen the other version; I knew what I was looking at. And it was absolutely haunting. Even if you could barely see the footage, the film just casts a spell. Because it’s one man’s vision. It’s not like anything else. So I tried to talk to my friends about how I’d just seen this incredible film. But I couldn’t show it to them. I’d watched three versions and filled in the blanks mentally. This film only existed in my head. I was a filmmaker by that point, and I cut together a version on SVHS, which wasn’t copyable due to Macrovision protection. Just so I could show one or two of my friends some version of the movie and not feel crazy. I called it the Recobbled Cut; maybe five people saw it in that form.

By 2006 I’d gone to USC Film School, written and directed a few features and edited them digitally. I mainly wanted to be a TV writer but couldn’t figure out how to get a job in the industry. One weekend when I was sick I decided to edit a little documentary called Deleted Magic, about how Star Wars was hard to film and could have been as bad as The Phantom Menace, but George Lucas and his team were smart and fixed the thing in the editing room. It was a big hit on the internet, I think a couple hundred thousand people watched it, via torrent or Youtube. It was a fan thing, a not for profit project. And I was posting at a forum which was trying to convince Lucasfilm to release the original Star Wars films in full quality on DVD, which they still haven’t, sadly. We were discussing which films people should do fanedits of. And I said, nobody else will have heard of this film, but someone should really do a restoration of The Thief and the Cobbler, because dear God. Then one of those amazing coincidences happened where you realize this must be fate. There was someone on those boards who everyone knew, who was putting out rare Star Wars stuff we hadn’t seen before. He messaged me saying, I was actually an assistant on The Thief and the Cobbler. I’m sending you some DVDs. Get started.

So I did.

My goal was the same as before, to combine the three versions into the version that was in my head, so that I could show maybe five people this movie that didn’t otherwise exist. I was editing it for myself. I figured no one else would be interested. But I needed to do it, to make the film more complete.

Now, people in the animation industry had heard of this film but no one at this site had. Not this generation. None of my friends. And yet something funny happened. I edited a trailer together and people got interested, very interested. The artistry of the film, and the sad story behind it, captivated people.

In January 2006 I edited a new Recobbled Cut. I mainly used a widescreen Japanese DVD of Arabian Knight and that same old terrible workprint Eddie Bowers had given me on SLP VHS. I never released that version, because people started coming out of the woodwork and giving me stuff … animators who had worked on the film, and some who hadn’t. I probably redid the edit about six times because people sent me some very rare footage and a better copy of the workprint, then a copy better than that, which was still pretty terrible. I released the final Recobbled Cut Mark 1 in April 2006 or so.

But the best part was hearing people’s stories. All these talented artists and very nice people - Andreas Wessel-Therhorn, Holger Leihe, Tony White, Eric Goldberg, Greg Duffell, Tom Sito, Douglas Kirk, Beth Hannan, Steve Evangelatos, Margaret French Williams and so on.

I visited you, Alex, at your home, and seeing Dick’s work, and your grandmother’s work, on the wall, I was really overwhelmed by the sense of history. I remember I showed you a bit of my edit of the film, and your eyes lit up. You said, “You know, if we could really do this …”

One way or another, this film is Richard Williams’ legacy, and it’s been my goal to see it treated with respect.

Everyone was extremely helpful and I suddenly realized I was curating a massive archive of documentaries, pencil tests, video clips, articles, interviews, and artwork dedicated to the work of Richard Williams. I restored this material and released it to the internet in any way I could. Patrick McCart started a Youtube channel called thethiefarchive and I’m still running it today.

I was considering making a documentary and writing a book about the film, but never quite found the time inbetween my own artistic projects. Recently Kevin Schreck made a film called Persistence of Vision which tells the story very well.

But the chief focus was always The Thief. Trying to find better quality material and preserve this film and its legacy. People who had seen the Arabian Knight version, or even a really low-quality VHS workprint of Dick’s workprint, hadn’t really seen the film. I wanted to take all those terrible quality VHS tapes and quietly replace them with a beautiful restored DVD. I wanted to make sure that people respected this film and its place in animation history. I wanted people to forget the cheaply made “Aladdin Ripoff” Arabian Knight, and that fuzzy, unwatchable VHS workprint, and remember the film the way Dick Williams would want it, until it became popular and beloved enough that someone would have to officially release it on DVD in some form.

That’s not to say that The Recobbled Cut, in any form, is Dick Williams’ intended version of the film. It’s not. Some idiot called Fred Calvert took over as director back in 1992. Some of the footage he produced is taken from Richard Williams’ pencils and looks pretty close to what Richard would have produced. But a lot of the footage looks like something you might produce in the toilet after a bad meal. It’s very much a gradual, sliding scale from nearly-Williams to nearly-unwatchable.

I don’t know if Richard has seen my Recobbled Cut, but if he has, some of the footage I’ve used probably offends him. It probably makes him angry. Even though my edit is intended as a tribute to his genius.

Unfortunately I can’t change history. This is something that happened, and unless someone gave Dick Williams five million dollars to actually animate the remaining footage as intended, and if he were even still up for that, we have to work with what we have. In some cases I was altering and reanimating bits of Calvert footage myself, so that Tack wouldn’t speak, as he does in that version.

But I remembered that night when I watched three versions of the film in a row and filled in the blanks myself, in my mind. With the Recobbled Cut I assume that my viewers are smart and can fill in the blanks. I assume I don’t need to hold their hands and tell them, this is good footage, this is bad footage. I include whatever footage tells the story best, even if the picture quality or animation quality is a bit impaired, so that they can fill in the blanks and have the perfect version of The Thief and the Cobbler in their own heads.

This seems to have worked rather astonishingly well. The edit I thought five people would watch has become something of a cult phenomenon. It’s been picked up by Cracked and the Nostalgia Critic, Cartoon Brew and the Mythbusters website Tested, and so on. As of this writing, the war machine sequence in particular has been viewed 685,522 times on Youtube. So yes, that’s more than five people.


AW: Your latest version is the “Recobbled Cut” Mark 4. Why now and what makes this one different from previous “Recobbled Cuts”?


GG: Back in 2006-7, I revised the film a bunch of times. Calvert’s version of the movie, The Princess and the Cobbler, we didn’t have that in widescreen. Someone found us a timecoded VHS tape and I revised those scenes for the Mark 2. In 2007, we heard from an animator who had rescued 49 minutes of 35mm film from Jean MacCurdy’s trash at Warner Bros. It was all early Thief and the Cobbler stuff, the scenes he showed to impress them and get the job making the film. 21 minutes of it is in the edit. It’s mostly Thief material, most of his adventures, including everything inside the War Machine. That worked out amazingly well since The Thief footage was heavily cut by Calvert, throughout the film, and it plugged a lot of gaps. The Old Witch too, and some of Zigzag and everyone else. We raised some money with the help of Patrick McCart and everyone on our forums, and transferred all that to video along with Raggedy Ann & Andy: A Musical Adventure, a 1977 movie Dick mostly directed which isn’t on DVD, and also The Little Island, Dick’s first animated movie from 1958, which is wonderful. We’d never seen it before then. And I redid and improved a lot of other stuff and that became the Recobbled Cut Mark 3.

Our copies of the workprint had always been pretty terrible. The copy used for the previous Recobbled Cuts was posted anonymously as an AVI via the file sharing protocol Emule. It’s heavily compressed and blocky, making the pencil tests nearly unwatchable, much of the film’s audio is missing or damaged, and for literally half the film, two frames are smudged together as one, making the visuals a muddy mess.

It was clearly taken from a high quality PAL VHS tape, and if we only had a VHS tape like that we could get all the original frames back and finally have a fully-watchable copy of the workprint, and therefore the film.

A few years passed, and Kevin Schreck was making his documentary. I spoke to an animator named Simon Maddocks, who had animated two complex shots for the film. One of an enormous iron killing soldiers in the War Machine, and one shot that had always fascinated me - the entire Golden City turning around as the camera swoops in through it and up to the three Golden Balls that define the story. Amazingly complex animation which was technically never quite finished in color, and doesn’t appear in the Calvert versions.

Simon had pencil tests of this material, which show his amazing work in greater clarity than ever before. He had pencil and color tests of footage we hadn’t even seen before, and certainly in greater quality. He had deleted scenes of the Brigands.

And he had the entire workprint on PAL VHS in very good quality. The difference was astonishing, and exactly what we’d been looking for all these years.

I met a German video restorationist named Christoph Nass at the Doom9 video forums and he began filtering and restoring the clean VHS workprint to get the most quality possible out of it. He then got to work on all the other footage, and by now he’s worked for a year on it.

Meanwhile, 14 minutes of 35mm footage turned up - two reels on Ebay, and a German trailer. It happened that the reels were bought by film restorationist Peter C. in the UK, who paid to transfer them to 1080p HD quality himself. He also transferred a 16mm print of Richard’s Oscar-winning A Christmas Carol.

The trailer was acquired by Helge Bernhardt in Germany, who used his own home-made scanner to scan the trailer at 5k.

Suddenly we had our first HD footage from The Thief and the Cobbler.

I also realized that there were shots I’d left out of the Mark 3 Recobbled Cut, and scenes I could have edited more clearly. It took me all these years to really understand the opening sequence and what was needed! I asked original animator Andreas Wessel-Therhorn to come back and draw new material of the “hands” for the opening.

AW: How large of an undertaking has it been?

GG: Pretty large. It was very clear to me that this restoration would have to be much more ambitious than the previous ones. I would remove dirt and splices by hand throughout the entire film. I would make all transitions from VHS to DVD quality seamless, by carefully warping and color correcting all the footage to match, and very carefully recreating lost frames in Photoshop. We would create new artwork, new elements, to restore shots and tell the story more clearly in the way it was meant to be told. I would follow Dick’s workprint even more closely. The storyboards are dirt-free now, and the pencil tests perfectly clear.

One night, I was very carefully removing splices, dirt, film breaks and damage from the 35mm footage we’d transferred back in 2007. I cleaned up 96 frames that night. I’ve thrown all that out now, because I’ve realized just how bad that 35mm transfer really was. It’s cropped at the top and bottom, it’s overly blue, it’s missing highlight detail, it’s compressed and full of ghosting … it’s terrible.

I decided if we were going to work for months removing splices and damage from this 35mm material that we should do it on a full HD transfer or better, something that could be shown on the big screen. Something that’s futureproof. Something that does this film justice, and is ready for Blu-Ray, private big screen screenings, and - dare I say it - any official release that might happen in the future.

So, just like in 2007, I asked my forum to donate. Marcus B and Christoph Nass (our filtering restorationist), Mat Fitzpatrick, Sam Sleiman, Richard Hayes and twenty others all donated. So we’re getting the footage transferred again. Hopefully at 5k. I’ve already mailed off the money.

There will be about 30 minutes of HD footage in this cut, much more if you count deleted scenes. We’re going to clean it up, remove splices and damage. You’ll finally be able to see scenes like the War Machine in the full big-screen quality that Richard Williams intended.

AW: What software are you using to put it all together?


GG: I’m a Mac loyalist. I’m also a frustrated artist and filmmaker who never knew how to find work “out there,” so I’m usually pretty poor. I had the same computer, a silver Mac G4, from 2003 until recently. Now I’m using a Mac built from PC parts by a friend. Finally having a modern computer has been a great relief and has allowed me to really spread my wings on this edit and do it justice.

The editing is being done in Final Cut Pro 7. The previous cuts used Final Cut Pro 4. Artwork and frame restoration is being done in Photoshop CS6. More unusual work is being done in AfterEffects CS6. I’ve used a hundred different points to warp the workprint footage until it matches the DVD footage exactly. Now I can transition seamlessly from one source to the other.

I’m using Magic Bullet Denoiser and the CHV Repair Collection for dirt removal, which the forum bought for me. I also use MPEG Streamclip, Audacity, Compressor, and ffmpeg.

AW: How difficult has it been to re-assemble all the missing elements?


GG: Pretty difficult. We have a VHS tape that Fred Calvert put together when he was starting work on ruining the film. It has a bunch of shots we don’t see anywhere else, but they’re extremely low quality. In many cases I’ve gone through very carefully frame by frame using Photoshop, just to get it to the point where you can even sort of see what’s going on.

Also, pulling shots from animators’ pencil test videos is very difficult, because those are shot on video and tend to be extremely low quality when you start working with them.

Some shots are taken from a VHS color test reel shot on video. Since these are just tests, they don’t match the beautiful cinematography of the finished film and are often missing elements. In a bunch of cases, there is scotch tape over the background, and it takes a lot of work to remove that tape, using difference mattes and Photoshop trickery.

It’s very difficult and time consuming to color correct these very different sources so that they even start to match. Results are never perfect. They also have to be warped and reshaped to match.

I’ve done little bits of animation in AfterEffects - like putting a backscratcher into The Thief’s hands, when Calvert had shot the footage without one. I’ve added back lightning to a shot of the King ordering his soldiers around, when it was missing in our best copy. Lots of shots require new things added to them. I rotoscoped a spike sticking out of a Dying Soldier’s chest that Calvert had removed, frame by frame. I think we’re going to be adding back some bananas that Nanny is carrying. Or closing Tack’s mouth, or YumYum’s, or Nanny, so they’re not talking when they shouldn’t. Little things like that, that require some sort of minor new animation just so the story makes sense again.

AW: Are there missing parts you would still like to get hold of?


GG: Most definitely. We’re still working from poor quality VHS and DVD sources for the most part, and that Arabian Knight DVD has blown-out highlights and leaves a lot to be desired. An actual 35mm print of either Arabian Knight or The Princess and the Cobbler would be invaluable, as would a copy of Richard Williams’ 35mm workprint from 1992.

But even that workprint is incomplete. Richard Williams completed a lot more footage in color than we get to actually see in that workprint, or Calvert’s versions. We often have poor quality copies of shots, or incomplete copies, or no copies at all.

The Recobbled Cut is a case of making the most of the footage we have, which varies quite wildly in quality - from nearly unwatchable VHS to very good VHS to pretty bad DVD to very good big-screen quality, now.

I’m not sure what exactly still exists from the film. When Richard was fired from the film, the Completion Bond Company took everything away, at least that they were aware of, and the animation houses in Korea tended to throw everything away as shots were “completed.” Richard himself had never been a packrat and threw out older material all the time. I am not sure if he managed to keep or acquire a full 35mm copy of the film at any point. Princess and the Cobbler and Arabian Knight were not released in theaters in any serious way, so prints will be extremely scarce. When Miramax bought the film, apparently - according to Alex, anyway - all the elements and artwork they intended to keep were stored in the Disney archives - a “bunker in Burbank.”

The Thief and the Cobbler started life as an entirely different film called Nasrudin, or The Majestic Fool, most of which is probably lost now, although who knows? Certainly we’ve found deleted scenes from earlier incarnations of the Thief film on these various 35mm reels and VHS tapes.

It would take an official release to look into Disney’s archive and see what they have, or see what anyone else has. The fact is that this is old material, some of it dating back decades, and it needs to be preserved before it’s faded into obsolescence.

In the meantime, we have managed to track down 30+ minutes of 35mm footage. Add that to a 35mm print of any full version of the movie and you really have something.

AW: Do you have any hopes of a theatrical release?


GG: Well, that’s the question. I’ve kept my hopes up for any sort of release. We haven’t even had a widescreen DVD release of the terrible versions of the film, outside Japan. The Weinstein Company has put out a DVD that is cropped, oversaturated, and Aladdin-themed, and which I suspect is bad on purpose.

Someone needs to buy back the rights, which are a bit murky right now after the dissolution of Miramax. That someone might be Richard Williams himself, if the companies in question would let him have the film, and if he’d be still be interested and able to revisit that dark chapter in his stellar career. Either that or a big fan with money.

While I can’t know the mind of anyone there, and am basing this on almost no information, I suppose it depends on what sort of mood you catch the Weinstein Company in, or Disney or whoever you’re dealing with. The people who were running Disney then are not running it now, and there are certainly people there who’d like to see this film released properly, just as I’m sure there are those who’d like to see it buried forever (and will probably speak louder when that time comes). I can imagine them raising the price if someone tries to buy it, even though any profits from this film have been almost nonexistent over the years.

So much bad blood was spilled back in 1992 and afterward, and many of those scars are permanent. I can’t speak for Richard or anyone on this one. I would love to meet Richard someday though, just to shake his hand.

You could also argue that this is not a famous film, and a rerelease, such as a Blu-Ray workprint or Recobbled Cut, has no guarantee of making any money at all.

But I think the Recobbled Cut has proven that there is a significant fanbase out there, and that the public in general, if they hear about and see a glimpse of this film as intended, will be impressed by its scope and epic nature, and a great many people will fall for its artistry, and the sad story behind it, just as so many have before.

We know this film is good, and that there’s a real story behind it. We know that it affects people. This is the sort of film that goes viral on the internet, and succeeds in this decade. It has all the makings of a huge cult success. In a way, the time has finally come for this film, and there is certainly money to be made if the rights can end up in the hands of anyone who cares about it.

For my part, I’ve edited a Recobbled Cut which has helped to rehabilitate the film’s reputation and introduce it to a younger generation. Even if I’d only shown it to five people as I intended, it’s a version which is watchable and gets the idea across, and is easy to pass around. Now, I’m restoring some 35mm material in full HD and doing other work that will be useable in any official, even theatrical, release, should it occur. I’m doing what I can.

AW: How can fans get hold of the Recobbled Cut?

GG: You can subscribe to our Youtube channel, youtube.com/thethiefarchive. There you can watch the Mark 3 Recobbled Cut, the Williams Studio’s commercials, A Christmas Carol, Raggedy Ann & Andy, documentaries about Richard’s work, and hundreds of other wonderful things not available on DVD. You can also see some preview clips from the Mark 4 Recobbled Cut.

DVDs of the Mark 3 Recobbled Cut have leaked to the internet and seem to be available lots of places via torrent. I personally gave out hundreds of free copies at the time, so they’re out there. Sometimes people just contact me.

We discuss the film at orangecow.org/board and on Facebook in the Recobbled Cut group, and every weekend, as I’m working on the Mark 4 edit, I try to stream what I’m doing to the internet via livestream.com/orangecoworglivestream . I’m amazed anyone enjoys watching me edit. I’d assume it’s extremely boring. But I’m told some people find it fun and educational, even inspiring … which is kind of strange. But Richard Williams always inspired me, all my life. I’m glad that this film can keep on doing that, 20 years later.

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