When does Randy Newman he took part in the project? John Musker; Very early in the process. We suggested working with Randy because of his knowledge of America and New Orleans. John Lasseter loved the idea. The script was not written but we showed some visual Randy, he talked about the story and explained how we planned the music in this movie.
At what point was it important for you to have great songs that catch people's minds in this film?
John Musker; We love musicals, and we find that the songs are a perfect way to show the characters' emotions, while being funny for the audience. Music is an important part of New Orleans, it is part of the structure of the city. It was therefore natural to use it. We attended the annual Jazz Festival when we were on a field trip there, and we wanted to use the different styles of music we've heard, gospel, Dixieland, Swing, Zydeco, etc.. Randy Newman spent his childhood in New Orleans, and it was therefore the ideal person to give life to it.
Jazz plays an important role in the film, which makes sense since the story takes place in a place that is the birthplace of this music. What do you think of cartoons from other studios, such as the recent Dragons, where the characters do not sing one song, and yet are very successful in theaters?
Ron Clements I loved dragons, and I do not think a cartoon song needs to be a good movie. But working with music is great, and I think the song and animation are well combined.
You worked on several other films together. Is it difficult to direct a movie together?
John Musker; It helped us, Ron and I have written the script together. So, we had the opportunity to actually be on the same wavelength, and make sure that we would tell the same story. We each have our strengths that we trying to share. Ron is moving towards the structure, and is endowed with emotions. I tend more towards the comical and action.
What has been your greatest experience while working on The Princess and the Frog, and what was the most complicated in the creation of the film?
John Musker; Our trips to New Orleans was memorable as the encounter with extraordinary people like Coleen Salley, a bubbly woman in her seventies, a storyteller who inspired the character of Mama Odie. We also met with Leah Chase, a great lady who runs Dooky Chase restaurant with her husband. I think she has in 80 years it still works, and she started as a waitress. It is great mixture of sympathy, kindness and determination. It was partly influenced our approach to the character of Tiana. We also recorded Dr. John there, and went around on a float at Mardi Gras. The biggest obstacle we encountered was when my partner Ron Clements was told he would have to undergo open heart surgery for a problem of arteries. He did very well recovered, but back then we did not know if he was going to have sequels.
Like in Miyazaki's films, it seems that food has a very important place in your movies: The crab soup, stew, gumbo Tiana and her father. Is this a way for the cartoon to engage all the senses, in addition to beautiful pictures and beautiful music? Have you tasted the specialties in your study tour?
Ron Clements Not always. In fact, we avoided the seafood when we were working on The Little Mermaid. But one of the big advantages of having worked on The Princess and the Frog has been spending some time in New Orleans and enjoy the best food I've ever have ever tasted. In this town, people are passionate about music and cuisine, and so we wanted these two aspects have an important role in the film.
The restaurant scene has a distinct style of animation, what was the purpose behind this?
John Musker; is because it is his fantasy, and it was an opportunity for us to use a style very different from the rest of the film. Sue Nichols Maciorowski, an extraordinary artist, drew our attention to the work of Aaron Douglas. It was an African-American participated in the rebirth of Harlem and it has produced extraordinary designs in Art Deco style. We thought his dream illustrate in this style, and make it the starting point of creating his restaurant would be something visually exciting. And at the climax of the film, when Tiana Facilier offers his dream, we were able to reuse these images by giving them a little dimension to attract even more.
You seem passionate about comics. What do you think of recent adaptations on the big screen, like 300, the world of Marvel superheroes or the Batman saga?
Ron Clements, John Musker and I are both big fans of comics, especially DC and Marvel in the 60s, the era of our childhood. I loved the Richard Donner Superman, the first two Spider-Man by Sam Raimi, and more. I was blown away by the recent "Dark Knight" Christopher Nolan, I think it has reached an excellent level. I liked 300, and I am a big fan of Watchmen. Among our films, the one that comes closest to a comic, it would be Hercules, which was conceived as the first super-hero.
Y-Will there other films in the future using these traditional techniques?
John Musker; Studios are currently working on another animated feature by hand. It is the further adventures of Winnie the Pooh. We do not personally work on this project. But we hope to work on a new traditionally animated feature. We are currently in the early stages but we hope it will continue.
Have you an opinion on the upcoming Disney film, Rapunzel?
John Musker; It will be spectacular. It will include songs by Alan Menken and Glenn Slater. Glen Keane (executive producer) strives to push the boundaries of special effects to make them more flexible and give greater expression to the characters. You'll love it.
Can you tell us about your next project?
John Musker; "It's ongoing," as they say. We are exploring several ideas, all considered in traditional animation.
You went from beginners to the highest levels of the hierarchy at Disney. What does this inspire you?
John Musker; These 33 years have been great. The animation has started to attract me 37 years ago when I heard the general manager Chuck Jones Warner Brothers talk about animation as a discipline in which you had always something to learn, whatever your age. I liked this idea, and he was right. I always feel like I have much to learn.
Ron Clements I'm at Disney for 36 years and those years have gone by so fast. Before that, I was already a huge fan Disney, and I dreamed of working for the studios since the age of 9 when I saw Pinocchio. When I started, I worked as an apprentice under the wing of Frank Thomas, one of the legendary "nine old men". Since then I have seen many changes to the studios as in my own career. But originally, I was inspired by the obvious passion, creativity and artistic integrity that Walt put it in his films. He was very involved and wanted his films to be of impeccable quality. I kept this idea in me, and I always wanted to do the same. I feel very lucky to work at Disney. It has always been a dream come true.
On a personal note, this is what being part of the childhood of so many people through your movies?
John Musker; It's fun for us, for example, to encounter girls who call Ariel or Jasmine. When we did the promotion of The Princess and the Frog, many people, boys and girls told us how much they loved The Little Mermaid, and how this film was part of their childhood. The breakthrough tapes and DVDs has led to the opportunity to see and review these movies at their leisure, and loving children repeat their experiments, these films have been seen an uncountable number of times. I consider myself very lucky to have worked on something that lasts so long, and which I hope will still find a large audience. The extraordinary music of these films played a large role in their longevity, and Howard Ashman, if he were still alive, would surely be delighted that his work made an impression on many people.
You have created extraordinary characters and adored by the public. One of you there a favorite?
Ron Clements It's hard to choose. It's like choosing your favorite child. But I always had a special attraction to Sebastian the crab from The Little Mermaid. And likewise for the firefly Ray of The Princess and the Frog.
You've talked about children who watch movies over and over Disney. Is-that sometimes you get to do more able to watch your movies?
John Musker; I'm not used to love watching our movies after their release. We see them during production so that we dream at night. I still think errors or things that I wanted changed. If I think too that could make me even crazier than I already am.
You say you dream of your movies. That must be sweet dreams!
John Musker; And it also gives a cold sweat.
After a lifetime pass to animate, you are able to enter a room without identifying the object that would more apt to take life and start singing?
John Musker; We try not to get overwhelmed by the world around us, but I always carry a sketchbook, and sometimes people end up in our movies without knowing it. Oh, the coffee there! ...
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