Latest / Verbal Diorama / An American Tail

Transcript

An American Tail · Verbal Diorama

• 2:33
  Hi
• 2:33
  everyone,
• 2:34
  I'm
• 2:34
  Em
• 2:34
  and
• 2:34
  welcome
• 2:35
  to
• 2:35
  Verbal
• 2:35
  Diorama,
• 2:36
  episode
• 2:36
  332,
• 2:38
  An
• 2:38
  American
• 2:39
  Tail.
• 2:40
  This
• 2:40
  is
• 2:40
  the
• 2:40
  podcast
• 2:40
  that's
• 2:41
  all
• 2:41
  about
• 2:41
  the
• 2:41
  history
• 2:41
  and
• 2:41
  legacy
• 2:42
  of
• 2:42
  movies
• 2:42
  you
• 2:42
  know
• 2:43
  and
• 2:43
  movies
• 2:43
  you
• 2:43
  don't
• 2:44
  that
• 2:44
  can
• 2:45
  tell
• 2:45
  you
• 2:45
  for
• 2:45
  a
• 2:45
  fact
• 2:46
  there
• 2:46
  are
• 2:47
  no
• 2:47
  cats
• 2:47
  at
• 2:48
  Verbal
• 2:48
  Diorama
• 2:49
  hq.
• 2:49
  None.
• 2:51
  Not
• 2:51
  one
• 2:51
  cat,
• 2:52
  not
• 2:52
  two
• 2:52
  cats.
• 2:53
  No
• 2:53
  cats.
• 2:54
  There
• 2:54
  are
• 2:54
  no
• 2:54
  cats.
• 2:55
  Cats
• 2:55
  don't
• 2:56
  exist
• 2:56
  here.
• 2:57
  I
• 2:57
  can
• 2:57
  promise
• 2:57
  you
• 2:58
  there
• 2:58
  are
• 2:58
  no
• 2:58
  caps.
• 3:00
  Welcome
• 3:00
  to
• 3:01
  Verbal
• 3:01
  Diorama.
• 3:01
  Whether
• 3:02
  you're
• 3:02
  a
• 3:02
  brand
• 3:02
  new
• 3:02
  listener,
• 3:03
  whether
• 3:03
  you're
• 3:03
  a
• 3:03
  regular
• 3:03
  returning
• 3:04
  listener,
• 3:04
  thank
• 3:05
  you
• 3:05
  for
• 3:05
  being
• 3:05
  here.
• 3:05
  Thank
• 3:06
  you
• 3:06
  for
• 3:06
  choosing
• 3:06
  to
• 3:06
  listen
• 3:07
  to
• 3:07
  this
• 3:07
  podcast.
• 3:08
  I'm
• 3:08
  so
• 3:08
  happy
• 3:09
  to
• 3:09
  have
• 3:09
  you
• 3:09
  here
• 3:09
  for
• 3:09
  the
• 3:10
  history
• 3:10
  and
• 3:10
  legacy
• 3:11
  of
• 3:11
  An
• 3:11
  American
• 3:12
  Tail.
• 3:13
  And
• 3:13
  thanks
• 3:13
  to
• 3:14
  listeners
• 3:14
  who
• 3:15
  have
• 3:15
  listened
• 3:15
  to
• 3:15
  this
• 3:15
  podcast
• 3:16
  and
• 3:16
  have
• 3:17
  continued
• 3:17
  to
• 3:17
  listen
• 3:18
  and
• 3:18
  support
• 3:18
  this
• 3:18
  podcast.
• 3:19
  Especially
• 3:20
  now,
• 3:20
  because
• 3:21
  this
• 3:21
  is
• 3:21
  the
• 3:21
  first
• 3:22
  of
• 3:22
  three
• 3:22
  special
• 3:22
  episodes
• 3:23
  celebrating
• 3:24
  this
• 3:25
  podcast's
• 3:25
  birthday.
• 3:27
  This
• 3:27
  podcast
• 3:27
  is
• 3:28
  now
• 3:28
  seven
• 3:28
  years
• 3:29
  old
• 3:29
  and
• 3:30
  seven
• 3:30
  years
• 3:31
  ago,
• 3:31
  pretty
• 3:32
  much
• 3:32
  to
• 3:32
  the
• 3:32
  day.
• 3:32
  Actually
• 3:33
  the
• 3:33
  very
• 3:34
  first
• 3:34
  episode
• 3:34
  of
• 3:34
  this
• 3:35
  podcast
• 3:35
  was
• 3:36
  released
• 3:36
  and
• 3:37
  it
• 3:37
  was
• 3:37
  on
• 3:37
  a
• 3:37
  movie
• 3:38
  called
• 3:38
  Titan
• 3:38
  ae,
• 3:39
  which
• 3:40
  is
• 3:40
  a
• 3:41
  little
• 3:41
  known
• 3:41
  animated
• 3:42
  movie
• 3:42
  from
• 3:42
  the
• 3:42
  year
• 3:43
  2000
• 3:43
  that
• 3:44
  was
• 3:44
  directed
• 3:44
  by
• 3:45
  Don
• 3:45
  Bluth.
• 3:46
  It
• 3:46
  also
• 3:47
  very
• 3:47
  famously
• 3:47
  destroyed
• 3:48
  the
• 3:48
  studio,
• 3:48
  but
• 3:49
  we
• 3:49
  won't
• 3:49
  go
• 3:49
  into
• 3:50
  that
• 3:50
  right
• 3:50
  now.
• 3:51
  The
• 3:51
  point
• 3:52
  is,
• 3:52
  over
• 3:53
  the
• 3:53
  years
• 3:53
  on
• 3:54
  this
• 3:54
  podcast,
• 3:54
  I've
• 3:55
  returned
• 3:55
  to
• 3:55
  Don
• 3:56
  Bluth
• 3:56
  many
• 3:57
  more
• 3:57
  times
• 3:58
  for
• 3:58
  the
• 3:58
  secret
• 3:58
  of
• 3:58
  NINH
• 3:59
  and
• 3:59
  Anastasia.
• 4:00
  And
• 4:01
  Don
• 4:01
  Bluth
• 4:02
  has
• 4:02
  this
• 4:02
  ability
• 4:03
  to
• 4:03
  just
• 4:03
  transform
• 4:04
  me
• 4:04
  back
• 4:04
  to
• 4:04
  my
• 4:04
  childhood,
• 4:05
  where
• 4:06
  I
• 4:06
  spent
• 4:06
  a
• 4:06
  lot
• 4:06
  of
• 4:07
  my
• 4:07
  childhood
• 4:07
  watching
• 4:08
  Don
• 4:08
  Bluth
• 4:08
  animated
• 4:09
  movies
• 4:09
  on
• 4:10
  repeat,
• 4:10
  probably
• 4:11
  in
• 4:11
  a
• 4:11
  cycle
• 4:11
  with
• 4:12
  the
• 4:12
  Disney
• 4:12
  movies
• 4:12
  that
• 4:13
  I
• 4:13
  used
• 4:13
  to
• 4:13
  watch
• 4:13
  on
• 4:14
  repeat.
• 4:15
  Animation
• 4:15
  has
• 4:16
  always
• 4:16
  been
• 4:16
  the
• 4:16
  foundation
• 4:17
  of
• 4:17
  my
• 4:17
  very
• 4:18
  being,
• 4:19
  which
• 4:19
  I
• 4:19
  guess
• 4:19
  is
• 4:19
  not
• 4:20
  really
• 4:20
  rare
• 4:20
  for
• 4:20
  a
• 4:21
  millennial.
• 4:21
  But
• 4:22
  even
• 4:22
  as
• 4:22
  a
• 4:22
  semi
• 4:23
  official
• 4:23
  grown
• 4:23
  up,
• 4:24
  I
• 4:24
  still
• 4:24
  love
• 4:25
  animation
• 4:25
  and
• 4:25
  I
• 4:26
  treasure
• 4:26
  it
• 4:26
  so
• 4:27
  much.
• 4:27
  And
• 4:27
  that's
• 4:28
  why
• 4:28
  this
• 4:28
  podcast
• 4:29
  started
• 4:29
  with
• 4:29
  animation
• 4:30
  and
• 4:30
  why
• 4:31
  animation
• 4:31
  continues
• 4:32
  to
• 4:32
  feature
• 4:33
  so
• 4:33
  prevalently
• 4:34
  on
• 4:34
  this
• 4:34
  podcast
• 4:35
  and
• 4:35
  probably
• 4:35
  always
• 4:36
  will.
• 4:36
  Because
• 4:37
  this
• 4:37
  is
• 4:37
  the
• 4:38
  6th
• 4:38
  annual
• 4:38
  animation
• 4:39
  season
• 4:40
  and
• 4:40
  so
• 4:40
  far
• 4:40
  this
• 4:41
  year
• 4:41
  on
• 4:41
  the
• 4:41
  podcast
• 4:42
  we've
• 4:42
  had
• 4:42
  Monsters,
• 4:43
  Inc.
• 4:43
  K
• 4:43
  Pop,
• 4:44
  Demon
• 4:44
  Hunters,
• 4:45
  Paprika,
• 4:46
  Teenage
• 4:46
  Mutant
• 4:46
  Ninja
• 4:47
  Turtles,
• 4:47
  Mutant
• 4:48
  Mayhem,
• 4:48
  and
• 4:48
  most
• 4:49
  recently
• 4:49
  the
• 4:49
  Princess
• 4:50
  and
• 4:50
  the
• 4:50
  Frog.
• 4:51
  And
• 4:51
  I
• 4:51
  am
• 4:52
  a
• 4:52
  huge
• 4:52
  fan
• 4:52
  of
• 4:52
  animated
• 4:53
  movies.
• 4:54
  I
• 4:54
  think
• 4:54
  more
• 4:54
  podcasts
• 4:55
  should
• 4:55
  talk
• 4:55
  about
• 4:55
  them.
• 4:56
  And
• 4:56
  the
• 4:56
  reason
• 4:56
  why
• 4:57
  I
• 4:57
  think
• 4:57
  that
• 4:57
  is
• 4:57
  because
• 4:58
  animation
• 4:59
  deserves
• 4:59
  to
• 4:59
  be
• 4:59
  celebrated
• 5:00
  in
• 5:00
  all
• 5:00
  forms,
• 5:01
  whether
• 5:01
  it
• 5:02
  is
• 5:02
  traditional
• 5:02
  2D,
• 5:03
  hand
• 5:03
  drawn
• 5:03
  or
• 5:04
  stop
• 5:04
  motion
• 5:04
  or
• 5:05
  CGI.
• 5:06
  And
• 5:06
  animation
• 5:07
  season
• 5:07
  is
• 5:08
  here
• 5:08
  to
• 5:08
  tell
• 5:09
  you
• 5:09
  that
• 5:09
  animation
• 5:10
  is
• 5:10
  not
• 5:11
  just
• 5:11
  for
• 5:11
  children.
• 5:12
  Even
• 5:12
  a
• 5:12
  movie
• 5:12
  like
• 5:13
  An
• 5:13
  American
• 5:13
  Tale
• 5:14
  is
• 5:14
  not
• 5:14
  just
• 5:14
  for
• 5:15
  children.
• 5:15
  And
• 5:16
  I'll
• 5:16
  explain
• 5:16
  why
• 5:16
  in
• 5:17
  a
• 5:17
  bit.
• 5:17
  Animation
• 5:18
  is
• 5:18
  also
• 5:18
  not
• 5:18
  a
• 5:19
  genre
• 5:19
  either.
• 5:19
  It
• 5:20
  is
• 5:20
  just
• 5:20
  a
• 5:20
  medium
• 5:20
  by
• 5:21
  which
• 5:21
  to
• 5:21
  tell
• 5:21
  a
• 5:21
  story.
• 5:22
  It
• 5:22
  is
• 5:22
  the
• 5:22
  perfect
• 5:23
  art
• 5:23
  form
• 5:23
  and
• 5:24
  it
• 5:24
  is
• 5:24
  capable
• 5:24
  of
• 5:25
  depicting
• 5:25
  anyone
• 5:26
  and
• 5:26
  anything
• 5:27
  without
• 5:27
  the
• 5:28
  limitations
• 5:28
  of
• 5:28
  live
• 5:29
  action
• 5:29
  cinema.
• 5:30
  It's
• 5:30
  actually
• 5:30
  something
• 5:30
  that
• 5:31
  Steven
• 5:31
  Spielberg
• 5:31
  also
• 5:32
  believes
• 5:33
  because
• 5:33
  that's
• 5:34
  how
• 5:34
  he
• 5:34
  got
• 5:34
  involved
• 5:35
  in
• 5:35
  this
• 5:35
  movie
• 5:35
  in
• 5:35
  the
• 5:36
  first
• 5:36
  place.
• 5:36
  And
• 5:37
  this
• 5:37
  is
• 5:37
  why
• 5:37
  Animation
• 5:38
  Season
• 5:38
  remains
• 5:39
  so
• 5:39
  important
• 5:39
  to
• 5:40
  highlight
• 5:40
  movies
• 5:41
  that
• 5:41
  you
• 5:42
  might
• 5:42
  have
• 5:42
  discounted
• 5:42
  for
• 5:43
  whatever
• 5:43
  reason
• 5:44
  or
• 5:44
  you
• 5:44
  may
• 5:44
  never
• 5:44
  have
• 5:45
  seen
• 5:45
  since
• 5:45
  you
• 5:46
  were
• 5:46
  a
• 5:46
  small
• 5:46
  child.
• 5:47
  But
• 5:47
  you
• 5:48
  should
• 5:48
  revisit
• 5:48
  them
• 5:49
  because
• 5:49
  I
• 5:49
  guarantee
• 5:50
  you
• 5:50
  are
• 5:50
  missing
• 5:50
  out
• 5:51
  on
• 5:51
  incredible
• 5:52
  storytelling.
• 5:56
  A
• 5:56
  little
• 5:56
  Jewish
• 5:57
  mouse
• 5:58
  may
• 5:58
  not
• 5:58
  be
• 5:58
  the
• 5:58
  biggest
• 5:59
  character
• 5:59
  to
• 5:59
  star
• 6:00
  in
• 6:00
  a
• 6:00
  movie,
• 6:01
  but
• 6:01
  a
• 6:01
  little
• 6:02
  Jewish
• 6:02
  mouse
• 6:02
  can
• 6:03
  do
• 6:03
  amazing
• 6:03
  things
• 6:04
  like
• 6:05
  become
• 6:05
  the
• 6:05
  mascot
• 6:05
  for
• 6:06
  Amblimation,
• 6:06
  Steven
• 6:07
  Spielberg's
• 6:07
  animation
• 6:08
  studio,
• 6:08
  appearing
• 6:09
  in
• 6:09
  its
• 6:09
  production
• 6:10
  logo.
• 6:10
  And
• 6:11
  a
• 6:11
  little
• 6:11
  Jewish
• 6:11
  mouse
• 6:12
  can
• 6:12
  also
• 6:12
  star
• 6:13
  in
• 6:13
  one
• 6:13
  of
• 6:13
  Don
• 6:13
  Bluth's
• 6:14
  most
• 6:14
  accomplished,
• 6:15
  heartbreaking
• 6:16
  and
• 6:17
  fascinating
• 6:17
  stories.
• 6:18
  Children
• 6:19
  love
• 6:19
  Fievel,
• 6:20
  but
• 6:20
  there's
• 6:20
  a
• 6:21
  lot
• 6:21
  more
• 6:21
  to
• 6:21
  this
• 6:21
  story
• 6:22
  that's
• 6:22
  somewhere
• 6:23
  out
• 6:23
  there.
• 6:24
  Here's
• 6:24
  the
• 6:24
  trailer
• 6:25
  for
• 6:25
  An
• 6:25
  American
• 6:26
  Tail.
• 8:19
  Fievel
• 8:19
  Mousekewitz
• 8:20
  A
• 8:20
  young
• 8:21
  Russian
• 8:21
  Jewish
• 8:21
  mouse
• 8:22
  immigrates
• 8:23
  to
• 8:23
  America
• 8:23
  with
• 8:23
  his
• 8:24
  family
• 8:24
  in
• 8:24
  1885
• 8:26
  to
• 8:26
  escape
• 8:26
  persecution
• 8:27
  from
• 8:27
  cats
• 8:27
  in
• 8:28
  their
• 8:28
  homeland.
• 8:29
  During
• 8:29
  the
• 8:29
  voyage
• 8:30
  across
• 8:30
  the
• 8:30
  Atlantic,
• 8:31
  Feivel
• 8:32
  is
• 8:32
  washed
• 8:32
  overboard
• 8:33
  in
• 8:33
  a
• 8:33
  storm
• 8:34
  and
• 8:34
  separated
• 8:34
  from
• 8:35
  his
• 8:35
  family.
• 8:36
  Believing
• 8:36
  there
• 8:37
  are
• 8:37
  no
• 8:37
  cats
• 8:37
  in
• 8:38
  America,
• 8:38
  he
• 8:39
  arrives
• 8:39
  in
• 8:39
  New
• 8:39
  York
• 8:40
  harbor
• 8:40
  alone
• 8:40
  and
• 8:41
  struggles
• 8:41
  through
• 8:41
  the
• 8:42
  harsh
• 8:42
  realities
• 8:42
  of
• 8:43
  immigrant
• 8:43
  life
• 8:44
  as
• 8:44
  he
• 8:44
  realizes
• 8:45
  there
• 8:45
  are
• 8:46
  indeed
• 8:46
  cats
• 8:46
  in
• 8:47
  America.
• 8:48
  And
• 8:48
  he
• 8:48
  strives
• 8:49
  to
• 8:49
  find
• 8:49
  his
• 8:49
  family.
• 8:50
  Let's
• 8:51
  run
• 8:51
  through
• 8:51
  the
• 8:51
  cast.
• 8:52
  We
• 8:52
  have
• 8:52
  Philip
• 8:53
  Glassam
• 8:53
  as
• 8:53
  Fievel
• 8:54
  Mouskowitz,
• 8:55
  John
• 8:55
  Finnegan
• 8:56
  as
• 8:56
  Warren
• 8:57
  T.
• 8:57
  Rat
• 8:58
  Amy
• 8:58
  Green
• 8:59
  as
• 8:59
  Tanya
• 9:00
  Mouskowitz
• 9:01
  Nehemia
• 9:02
  Persoff
• 9:02
  as
• 9:02
  Papa
• 9:03
  Erica
• 9:04
  Yoan
• 9:05
  as
• 9:05
  Mama
• 9:06
  Pat
• 9:06
  Music
• 9:07
  as
• 9:07
  Tony
• 9:08
  to
• 9:08
  Pony
• 9:09
  Dom
• 9:09
  DeLuise
• 9:10
  as
• 9:10
  Tiger
• 9:11
  Christopher
• 9:12
  Plummer
• 9:12
  as
• 9:12
  Henri
• 9:13
  Le
• 9:13
  Pigeon
• 9:14
  Cathianne
• 9:15
  Blore
• 9:15
  as
• 9:16
  Bridget
• 9:16
  Neil
• 9:17
  Ross
• 9:17
  as
• 9:18
  Honest
• 9:18
  John
• 9:19
  and
• 9:19
  Madeleine
• 9:20
  Kahn
• 9:20
  as
• 9:20
  Gussy
• 9:21
  Mausheimer.
• 9:23
  American
• 9:23
  Tail
• 9:24
  has
• 9:24
  a
• 9:24
  screenplay
• 9:25
  by
• 9:25
  Judy
• 9:26
  Freudberg
• 9:26
  and
• 9:26
  Tony
• 9:27
  Geiss,
• 9:28
  a
• 9:28
  story
• 9:29
  by
• 9:29
  David
• 9:29
  Kirschner,
• 9:30
  Judy
• 9:30
  Freudberg
• 9:31
  and
• 9:31
  Tony
• 9:32
  Geiss,
• 9:32
  and
• 9:33
  was
• 9:33
  directed
• 9:33
  by
• 9:34
  Don
• 9:34
  Bluth.
• 9:36
  So
• 9:36
  who
• 9:36
  is
• 9:37
  Don
• 9:37
  Bluth?
• 9:37
  Well,
• 9:38
  he
• 9:39
  worked
• 9:39
  at
• 9:39
  Walt
• 9:39
  Disney
• 9:40
  between
• 9:40
  1955
• 9:41
  to
• 9:41
  1957.
• 9:42
  He
• 9:43
  worked
• 9:43
  uncredited
• 9:44
  as
• 9:44
  an
• 9:44
  assistant
• 9:44
  animator
• 9:45
  on
• 9:45
  Sleeping
• 9:46
  Beauty
• 9:47
  and
• 9:47
  worked
• 9:47
  and
• 9:47
  credited
• 9:48
  as
• 9:48
  an
• 9:48
  assistant
• 9:49
  animator
• 9:49
  on
• 9:49
  the
• 9:50
  Sword
• 9:50
  in
• 9:50
  the
• 9:50
  Stone
• 9:51
  in
• 9:51
  1963
• 9:52
  before
• 9:53
  joining
• 9:53
  Filmation
• 9:54
  in
• 9:54
  1967
• 9:55
  and
• 9:56
  then
• 9:56
  returning
• 9:56
  to
• 9:56
  Disney
• 9:57
  full
• 9:57
  time
• 9:57
  in
• 9:58
  1971
• 9:59
  where
• 9:59
  he
• 10:00
  worked
• 10:00
  on
• 10:00
  character
• 10:01
  animation
• 10:01
  on
• 10:01
  Robin
• 10:02
  Hood,
• 10:02
  the
• 10:02
  titles
• 10:03
  animation
• 10:03
  for
• 10:04
  Escape
• 10:04
  to
• 10:04
  Witch
• 10:04
  Mountain
• 10:05
  and
• 10:05
  as
• 10:05
  an
• 10:06
  animator
• 10:06
  on
• 10:06
  the
• 10:06
  Many
• 10:07
  Adventures
• 10:07
  of
• 10:07
  Weird
• 10:08
  Poo.
• 10:09
  He
• 10:09
  became
• 10:09
  the
• 10:09
  directing
• 10:10
  animator
• 10:10
  for
• 10:10
  the
• 10:11
  Rescuers
• 10:11
  and
• 10:11
  Pete's
• 10:12
  Dragon
• 10:12
  and
• 10:13
  drew
• 10:13
  a
• 10:13
  few
• 10:14
  accredited
• 10:14
  scenes
• 10:15
  for
• 10:15
  the
• 10:15
  Fox
• 10:15
  and
• 10:15
  the
• 10:16
  Hound
• 10:16
  before
• 10:16
  created.
• 10:17
  Tensions
• 10:17
  reached
• 10:18
  a
• 10:18
  breaking
• 10:18
  point
• 10:18
  during
• 10:19
  production
• 10:19
  of
• 10:19
  the
• 10:20
  Fox
• 10:20
  and
• 10:20
  the
• 10:20
  Hound,
• 10:21
  with
• 10:21
  arguments
• 10:21
  between
• 10:22
  younger
• 10:22
  animators
• 10:23
  and
• 10:23
  older
• 10:23
  animators
• 10:24
  over
• 10:24
  the
• 10:25
  creative
• 10:25
  direction
• 10:26
  serving
• 10:27
  as
• 10:27
  the
• 10:27
  final
• 10:27
  straw.
• 10:29
  On
• 10:29
  13
• 10:30
  September
• 10:31
  1979,
• 10:31
  his
• 10:32
  42nd
• 10:32
  birthday,
• 10:33
  Don
• 10:33
  Bluth
• 10:34
  resigned
• 10:34
  from
• 10:35
  Disney.
• 10:35
  But
• 10:36
  he
• 10:36
  didn't
• 10:36
  leave
• 10:36
  alone
• 10:37
  the
• 10:37
  departure
• 10:38
  of
• 10:38
  animators.
• 10:39
  Don
• 10:39
  Bluth,
• 10:39
  Gary
• 10:40
  Goldman
• 10:40
  and
• 10:40
  John
• 10:41
  Pomeroy,
• 10:42
  along
• 10:42
  with
• 10:42
  a
• 10:42
  further
• 10:43
  four
• 10:43
  animators
• 10:44
  and
• 10:44
  four
• 10:44
  assistant
• 10:45
  animators
• 10:46
  represented
• 10:47
  about
• 10:47
  17%
• 10:48
  of
• 10:48
  the
• 10:48
  studio's
• 10:49
  animation
• 10:49
  staff.
• 10:50
  The
• 10:51
  loss
• 10:51
  was
• 10:51
  so
• 10:51
  significant
• 10:52
  to
• 10:52
  Disney
• 10:53
  that
• 10:53
  it
• 10:53
  delayed
• 10:54
  the
• 10:54
  release
• 10:54
  of
• 10:54
  the
• 10:54
  Fox
• 10:55
  and
• 10:55
  the
• 10:55
  Hound
• 10:55
  by
• 10:56
  six
• 10:56
  months.
• 10:57
  Bluth
• 10:57
  left
• 10:58
  Disney
• 10:58
  and
• 10:58
  started
• 10:59
  Don
• 10:59
  Bluth
• 10:59
  Productions
• 11:00
  and
• 11:00
  he
• 11:00
  was
• 11:01
  passionate
• 11:01
  about
• 11:01
  reviving
• 11:02
  the
• 11:02
  classical
• 11:03
  animation
• 11:03
  style
• 11:04
  Disney
• 11:04
  had
• 11:04
  used
• 11:05
  on
• 11:05
  its
• 11:05
  Golden
• 11:06
  Age
• 11:06
  classics.
• 11:07
  And
• 11:07
  the
• 11:07
  cost
• 11:07
  cutting
• 11:08
  measures
• 11:08
  of
• 11:08
  the
• 11:09
  60s
• 11:09
  and
• 11:09
  70s
• 11:10
  left
• 11:10
  Bluth
• 11:11
  feeling
• 11:11
  concerned
• 11:12
  for
• 11:12
  Disney's
• 11:12
  future.
• 11:13
  He
• 11:13
  felt
• 11:14
  they
• 11:14
  could
• 11:14
  no
• 11:14
  longer
• 11:15
  be
• 11:15
  creative,
• 11:15
  that
• 11:16
  there
• 11:16
  was
• 11:16
  too
• 11:16
  much
• 11:16
  bureaucracy,
• 11:17
  that
• 11:18
  artistic
• 11:18
  value
• 11:18
  was
• 11:19
  reduced
• 11:19
  and
• 11:20
  with
• 11:20
  no
• 11:20
  scope
• 11:21
  to
• 11:21
  grow,
• 11:22
  they
• 11:22
  had
• 11:22
  no
• 11:22
  choice
• 11:23
  but
• 11:23
  to
• 11:23
  leave
• 11:24
  and
• 11:24
  set
• 11:24
  up
• 11:24
  on
• 11:24
  their
• 11:25
  own.
• 11:25
  Their
• 11:26
  first
• 11:26
  feature
• 11:26
  length
• 11:27
  animated
• 11:27
  movie
• 11:28
  was
• 11:28
  an
• 11:28
  adaptation
• 11:29
  of
• 11:29
  Mrs.
• 11:29
  Frisby
• 11:30
  and
• 11:30
  the
• 11:30
  rats
• 11:30
  at
• 11:31
  NIMH,
• 11:31
  which
• 11:31
  became
• 11:32
  the
• 11:32
  secret
• 11:32
  of
• 11:33
  NIMH.
• 11:33
  That's
• 11:33
  episode
• 11:34
  76
• 11:34
  of
• 11:34
  this
• 11:35
  podcast
• 11:35
  and
• 11:36
  it
• 11:36
  represented
• 11:36
  the
• 11:36
  sort
• 11:37
  of
• 11:37
  animated
• 11:37
  movies
• 11:38
  that
• 11:38
  would
• 11:38
  become
• 11:38
  blues
• 11:39
  trademarks.
• 11:40
  Often
• 11:40
  dark,
• 11:41
  a
• 11:41
  little
• 11:42
  scary
• 11:42
  and
• 11:42
  nightmare
• 11:43
  fuel
• 11:43
  for
• 11:44
  our
• 11:44
  childhoods.
• 11:45
  The
• 11:45
  Secret
• 11:45
  of
• 11:46
  Nim
• 11:46
  had
• 11:46
  a
• 11:46
  modest
• 11:47
  return
• 11:47
  at
• 11:47
  the
• 11:47
  box
• 11:48
  office,
• 11:48
  but
• 11:49
  then
• 11:49
  an
• 11:49
  industry
• 11:49
  wide
• 11:50
  animators
• 11:50
  strike
• 11:51
  led
• 11:52
  to
• 11:52
  Don
• 11:52
  Bluth
• 11:53
  Productions
• 11:53
  filing
• 11:54
  for
• 11:54
  bankruptcy
• 11:54
  in
• 11:55
  1982.
• 11:56
  But
• 11:57
  Don
• 11:57
  Bluth
• 11:57
  is
• 11:57
  nothing
• 11:58
  if
• 11:58
  not
• 11:58
  a
• 11:58
  trial.
• 11:59
  And
• 11:59
  this
• 11:59
  was
• 11:59
  when
• 12:00
  a
• 12:00
  collaboration
• 12:00
  with
• 12:01
  Steven
• 12:01
  Spielberg
• 12:02
  and
• 12:02
  Amblin
• 12:02
  Entertainment
• 12:03
  led
• 12:04
  to
• 12:04
  one
• 12:04
  of
• 12:04
  Bluth's
• 12:05
  most
• 12:05
  endearing
• 12:05
  and
• 12:05
  popular
• 12:06
  movies,
• 12:07
  especially
• 12:07
  where
• 12:07
  sales
• 12:08
  of
• 12:08
  Kleenex
• 12:08
  are
• 12:09
  concerned.
• 12:10
  And
• 12:10
  American
• 12:11
  Tales
• 12:11
  creation
• 12:12
  can
• 12:12
  actually
• 12:13
  be
• 12:13
  attributed
• 12:14
  to
• 12:14
  the
• 12:14
  late
• 12:14
  composer
• 12:15
  Jerry
• 12:15
  Goldsmith,
• 12:16
  composer
• 12:16
  of
• 12:17
  the
• 12:17
  Mummy,
• 12:17
  the
• 12:17
  greatest
• 12:17
  movie
• 12:18
  ever
• 12:18
  made.
• 12:19
  Goldsmith
• 12:20
  composed
• 12:20
  the
• 12:20
  secret
• 12:20
  of
• 12:21
  NIMH.
• 12:21
  And
• 12:21
  one
• 12:22
  day
• 12:22
  in
• 12:22
  1982,
• 12:23
  he
• 12:23
  called
• 12:23
  Gary
• 12:24
  Goldman,
• 12:25
  letting
• 12:25
  him
• 12:25
  know
• 12:25
  that
• 12:26
  he'd
• 12:26
  screamed
• 12:27
  the
• 12:27
  Secret
• 12:27
  of
• 12:27
  NIMH
• 12:27
  for
• 12:28
  a
• 12:28
  friend.
• 12:28
  And
• 12:29
  that
• 12:29
  friend
• 12:29
  was
• 12:30
  completely
• 12:30
  bowled
• 12:31
  over
• 12:31
  by
• 12:31
  the
• 12:31
  movie
• 12:32
  and
• 12:32
  wanted
• 12:32
  to
• 12:33
  meet
• 12:33
  the
• 12:33
  creators.
• 12:34
  That
• 12:35
  friend
• 12:35
  was
• 12:35
  Steven
• 12:36
  Spielberg.
• 12:37
  And
• 12:37
  in
• 12:37
  the
• 12:37
  early
• 12:38
  80s,
• 12:38
  Spielberg
• 12:39
  was
• 12:39
  literally
• 12:40
  the
• 12:40
  biggest
• 12:40
  director
• 12:41
  of
• 12:41
  the
• 12:41
  toy,
• 12:42
  fresh
• 12:42
  off
• 12:42
  of
• 12:42
  E.T.
• 12:43
  the
• 12:43
  extraterrestrial.
• 12:44
  And
• 12:45
  when
• 12:45
  Spielberg
• 12:45
  arrived
• 12:46
  at
• 12:46
  the
• 12:46
  studios,
• 12:47
  he
• 12:47
  complimented
• 12:48
  the
• 12:48
  team
• 12:48
  of
• 12:48
  Bluth,
• 12:49
  Goldman
• 12:49
  and
• 12:49
  Pomeroy.
• 12:50
  Spielberg
• 12:51
  told
• 12:51
  them
• 12:52
  he
• 12:52
  thought
• 12:52
  the
• 12:52
  golden
• 12:53
  age
• 12:53
  of
• 12:53
  animation
• 12:53
  was
• 12:54
  over
• 12:55
  until
• 12:55
  he
• 12:55
  saw
• 12:55
  NimhHeaskedhow
• 12:57
  muchitcost.
• 12:58
  Theytoldhim
• 12:59
  $9million,andthatitwasentirelymadein
• 13:01
  theU.S.andthat's
• 13:03
  whenSpielberglitupandsaidthathe'dalwayswanted
• 13:07
  tomakeananimatedmovie
• 13:09
  andthathe
• 13:10
  genuinelybelievedinthe
• 13:11
  mediumof
• 13:12
  animation,thattherewerenolimitstoanimation.SomethingthatIhavealso
• 13:17
  beensayingforaverylongtime,althoughclearlySpielberghasbeensayingit
• 13:20
  longer.Soof
• 13:22
  coursetheysaid
• 13:22
  yes.And
• 13:23
  soSpielbergsaidhewouldfindtheperfect
• 13:25
  story
• 13:26
  andget
• 13:26
  back
• 13:27
  tothem.It
• 13:28
  wouldbealmosttwo
• 13:29
  yearslaterwhenSpielbergreturnedwiththeperfectstory.WhileDonBluthand
• 13:34
  histeamwaited,theyreformedunderthenameBluthGroup.
• 13:38
  They
• 13:38
  workedonthe
• 13:39
  videogameDragon's
• 13:40
  Lair,
• 13:40
  whichwasasuccessin1983.Andseeingafinancialfutureinvideo
• 13:45
  games,
• 13:45
  they
• 13:46
  settowork
• 13:46
  onDragon'sLair
• 13:48
  2withcinematronicsandthe
• 13:50
  scifigame
• 13:50
  SpaceAce.
• 13:52
  Thenthevideo
• 13:53
  gamesindustrycollapsedinlate1983
• 13:56
  andDragon's
• 13:57
  Lab2
• 13:57
  wascancelled.Bluth'sgroupwasdrivenyet
• 14:00
  againto
• 14:00
  bankruptcy,
• 14:01
  andtherewasstillnowordfromSpielbergatthattime.ButDonBluthdidhavealovelyconversationwithMichaelJackson,whowasalso
• 14:09
  afanoftheSecretofMyth.Itwas1984when
• 14:13
  theyfinallygotthecall.
• 14:14
  Spielberg
• 14:15
  hadfoundtheperfectstory.ItwasaboutayoungmousenamedMouseyMousekowitzandhis
• 14:21
  familywhoemigratefromRussiato
• 14:23
  theUnitedStatesbyboataftertheirhomeisdestroyed
• 14:26
  bycats.Duringthe
• 14:28
  trip,afiercestormwouldthrowlittle
• 14:30
  Mousieoverboard
• 14:31
  andhelosescontactwithhisfamily.Thestory
• 14:35
  wouldbehisjourneyto
• 14:36
  findthemagain.Itwouldbea
• 14:38
  musicalandtheywouldcallitan
• 14:40
  Americantale,
• 14:41
  spelledTAI
• 14:43
  L,
• 14:43
  notTALE.Itwouldbeanothermovie
• 14:47
  tofeaturerodents,something
• 14:48
  thatwasbecomingpopularforanimationin
• 14:51
  the70sand80swiththerescuers,the
• 14:53
  secretofNIMHBasiltheGreatMouse
• 14:56
  Detective,whichwould
• 14:56
  comeoutthesameyearasAnAmerican
• 14:58
  Tale.
• 14:58
  More
• 14:58
  on
• 14:58
  an
• 14:59
  American
• 14:59
  Tail,
• 14:59
  spelled
• 15:00
  T
• 15:00
  A
• 15:00
  I
• 15:01
  wasactuallya
• 15:01
  completecoincidence.An
• 15:03
  American
• 15:04
  Talewas
• 15:04
  aconcept
• 15:05
  byDavidKirchner,thesameguywhocreatedJockeyinChild'sPlayandalsoHocusPocus.
• 15:11
  KirchneroriginallypitchedhislittleJewishmousestorytoJeffreyKatzenberg,whohadbecome
• 15:16
  chairmanofWaltDisney
• 15:17
  An
• 15:18
  American
• 15:19
  Tail.
• 15:20
  potentialDisneymovie.Katzenbergrepliedthatnoonewouldwantto
• 15:25
  seeamovieaboutalittleJewish
• 15:26
  American
• 15:27
  Tail
• 15:27
  was
• 15:27
  a
• 15:28
  concept
• 15:28
  by
• 15:29
  David
• 15:29
  Kirchner,
• 15:30
  the
• 15:31
  same
• 15:31
  guy
• 15:32
  who
• 15:32
  created
• 15:32
  Chucky
• 15:33
  in
• 15:33
  moneyandideas.Buttherewouldn'tbeas
• 15:35
  muchmoneyasyoumight
• 15:36
  expectforafeaturelengthanimated
• 15:39
  movie
• 15:40
  withthelikesofStevenSpielberg'sinvolvement.Don
• 15:43
  Blimphadtoacceptasmallerbudgetthan
• 15:45
  usualinordertogetthemovie
• 15:48
  made.Disneywasspendingabout$12
• 15:50
  milliononeach
• 15:51
  movie
• 15:52
  atthe
• 15:52
  time,
• 15:53
  butUniversalwouldonlysupportthemovieupto
• 15:56
  $6.5million.Butthesignificanceofcollaboratingwith
• 16:00
  StevenSpielbergonasignificant
• 16:02
  projectoutweighedthepotentialfinancialcost,or
• 16:06
  sotheythought.Theyeventuallyagreedona
• 16:09
  budgetof
• 16:09
  $9million.
• 16:11
  But
• 16:11
  todoanAmericantailfor$9million,thenewlyformed
• 16:15
  Bluth
• 16:15
  had
• 16:15
  to
• 16:16
  accept
• 16:16
  a
• 16:17
  smaller
• 16:17
  budget
• 16:18
  than
• 16:18
  salaries
• 16:19
  forayear
• 16:19
  and
• 16:19
  ahalf.And
• 16:20
  those
• 16:21
  people
• 16:21
  couldnotbemembersofthe
• 16:22
  unionbecausethe
• 16:24
  union
• 16:24
  requiredhigherratesofpaythanthestudio
• 16:27
  couldoffer.
• 16:28
  UnliketheformerDonBluthproductionstudio,theSullivanBluthstudiowasn'tintheunion.Andwhen
• 16:34
  many
• 16:35
  ofthecrewattemptedtowithdrawfromtheuniontoworkonthemovie,the
• 16:39
  union
• 16:39
  steppedinandsentamemorequestingSullivan
• 16:42
  Bluthtoconformedtounion
• 16:44
  demandsandaccusedthem
• 16:45
  ofcoercingtheirmembersto
• 16:47
  resigntheirmembership
• 16:49
  inordertowork
• 16:49
  for
• 16:50
  them.TheunionalsobelievedSullivan
• 16:52
  BluthwasDonBluthProductions.
• 16:55
  SullivanBluthrespondedtothe
• 16:57
  unionsayingtheyhadmadeatentativeagreementtoproduceafeaturelength
• 17:01
  movieandthatafinalcontracthadnotbeenagreed
• 17:04
  uponatthattime.Butan
• 17:06
  importantcontingency
• 17:07
  ofthe
• 17:08
  workwastheagreed
• 17:09
  budget,whichwas
• 17:10
  lowerthan
• 17:10
  expected.ThisbattlebetweenSullivanBluthand
• 17:14
  theunionswouldbe
• 17:16
  ongoingduringproduction.Nevertheless,StevenSpielbergwasincrediblyhandsonwith
• 17:22
  thismovie
• 17:22
  andwithitsproduction.Amousey
• 17:25
  MousekiewiczbecameFievel,hisRussiangrandfather
• 17:28
  Philip'sYiddishnay.
• 17:30
  He
• 17:30
  originallywantedtheideatobemorelikeDisney'sRobinHoodinanormal
• 17:35
  animalworld.ItwasDonBlinthwhosuggestedgrounding
• 17:38
  itintherealworld
• 17:40
  with
• 17:40
  the
• 17:40
  mice
• 17:40
  astinyversionsintheHuman
• 17:42
  world.JustlikeBasil,theGreatMouseDetectiveandtheRescuers,Spielbergactuallywatched
• 17:48
  therescuersandagreed.Intheplanningstages,SpielbergwasinJapanmakingEmpireofthe
• 17:54
  sunandDon
• 17:55
  Bluth
• 17:55
  wouldsendeverythingtohimfor
• 17:57
  approval,fromstoryboardsto
• 17:59
  characterdesigns
• 18:00
  andsequences.Spielbergwouldmarkupthestoryboardswithpointsonnarrativestrengthandhumor,butasthis
• 18:07
  washisfirstforayintoanimation,
• 18:09
  And
• 18:10
  Mousey
• 18:10
  Mousekewitz
• 18:11
  became
• 18:11
  Fievel,
• 18:12
  his
• 18:12
  Russian
• 18:13
  grandfather
• 18:13
  Philip's
• 18:14
  Yiddish
• 18:15
  name.
• 18:15
  He
• 18:16
  originally
• 18:16
  wanted
• 18:17
  the
• 18:17
  this
• 18:17
  learningprocess.Beforethis,Ihadbeen
• 18:21
  abottomless
• 18:21
  pitofappreciation
• 18:22
  for
• 18:23
  Don
• 18:23
  Bluth
• 18:23
  who
• 18:24
  suggested
• 18:24
  grounding
• 18:24
  it
• 18:25
  in
• 18:25
  the
• 18:26
  real
• 18:26
  world
• 18:27
  with
• 18:27
  the
• 18:28
  enlightened,
• 18:28
  butIstillcan'tbelieve
• 18:30
  it'sso
• 18:30
  complicated.Endquote.David
• 18:33
  Kirschner'sconceptwasabouthalfanhour'sworth
• 18:36
  offormat
• 18:37
  andsoto
• 18:38
  fleshitout,EmmyAwardwinningwritersJudyFreudbergandTonyGeiss,knownfortheirworkon
• 18:44
  Sesame
• 18:44
  street,werebrought
• 18:45
  intofinishthescript.Whenthe
• 18:47
  initialscriptwascomplete.
• 18:49
  Itwaslongandit
• 18:51
  hadtobeheavilyeditedbeforeitsfinalreleaseandsecurityaroundthisscriptwastight.Oneexampleofthesecurityproceduresinplacewasthatthefinalscript
• 19:01
  pages
• 19:02
  wereallstampedwithaspecificnumber,soanyphotocopiesfoundoutsideofthestudiocouldbetracked
• 19:09
  backto
• 19:09
  anoriginalsource.EventheDonBluthnewsletterhadtoreceive
• 19:14
  permissionfromAmblinbeforepublishinganyartworkfromtheupcomingAnAmericanTale.DespiteagreeingwithmanyofSpielberg'ssuggestionsforthemovie,Don
• 19:25
  Bluthexpressedand
• 19:27
  disagreement
• 19:27
  withthemain
• 19:28
  character'snameofFovel.ItmayhavebeenSpielberg'sgrandfather'sname,butBluthfeltthatitwastooforeignsoundingandaudienceswouldn'tremember
• 19:37
  it.Spielbergobviouslydisagreed,
• 19:39
  soacompromisewasreached
• 19:41
  inhavingTony
• 19:42
  refertoFeivelasPhilly.Thatdoesn'tmean
• 19:45
  auniversal
• 19:46
  spellingofFievelwasagreedbecausetheopeningcredits
• 19:49
  misspellitas
• 19:51
  FEI
• 19:52
  VELratherthanFI
• 19:54
  EV
• 19:55
  EL,whichwentlargelyunnoticed
• 19:57
  until
• 19:58
  afterit
• 19:58
  releasedtheideathat
• 20:00
  Tanyawasrenamed
• 20:01
  Tillyso
• 20:02
  Follivalcouldhavebeenrenamed.Phillycamefromtheideatoo,althoughitincorrect
• 20:08
  thatimmigrants
• 20:09
  wereforcedto
• 20:10
  changetheirnameson
• 20:11
  entrytotheUSWhilenewimmigrantsdidfrequentlyhavetheir
• 20:15
  namesanddisguisedupon
• 20:16
  arriving
• 20:17
  inAmerica.Changingthementirelyinalegalsensewasneverdoneandanypermanentchangesweredonebythepersonthemselveswell
• 20:25
  afterthey'darrived.PerhapsbecausetheyfeltthefamilywouldassimilatebetterwithanAmerican
• 20:30
  soundingname.Names
• 20:32
  wererecordedatthepointofdepartureonshipmanifestandthesewereused
• 20:37
  of
• 20:37
  Fievel.
• 20:37
  to
• 20:37
  the
• 20:38
  UnitedStates,eveniftheywerelongordifficulttopronounce.Themyth
• 20:43
  of
• 20:43
  immigrantnamechangeswaspopularizedbymovieslikeTheGodfatherPart2.There's
• 20:48
  muchthismoviedoesget
• 20:50
  so
• 20:50
  a
• 20:50
  compromise
• 20:51
  was
• 20:51
  reached
• 20:52
  in
• 20:52
  having
• 20:52
  Tony
• 20:53
  refer
• 20:53
  to
• 20:54
  Fievel
• 20:54
  as
• 20:54
  Philly.
• 20:55
  That
• 20:55
  doesn't
• 20:56
  mean
• 20:56
  a
• 20:57
  issetinShostka,Russia
• 20:59
  in1885.ShostkaisinUkraine
• 21:02
  today,butbackthenwaspartofthewider
• 21:04
  Russian
• 21:05
  Empire.Pogromsbegan
• 21:07
  after
• 21:07
  TsarAlexander
• 21:08
  IIwasassassinated
• 21:10
  in1881andhissuccessorenactedaslewofantiSemiticlegislationin1883.
• 21:17
  Fieval
• 21:18
  scale
• 21:18
  JewishemigrationfromtheRussianEmpire
• 21:20
  totheUnitedStatesinthe
• 21:22
  decadesprecedingWorldWarIand
• 21:24
  theRussianRevolutionwaslargelydue
• 21:26
  to
• 21:26
  these
• 21:27
  circumstances.Theexperienceofimmigrantsinlate
• 21:30
  19th
• 21:31
  centuryNewYorkandtheirdisappointmentwiththesocalled
• 21:34
  American
• 21:35
  Dreammakesupthemajorityofthenarrative.As
• 21:38
  socioeconomicdifferencesgained
• 21:40
  significance,ethnicdifferencesbecamelesssignificant.
• 21:45
  Compared
• 21:45
  totheJewishGussieMausheimer,thewealthiestmouseinNewYork,theimpoverishedJewish
• 21:50
  micearemoresimilartotheotherimpoverishedimmigrantmice.Andthis
• 21:54
  moviehasitall.AntiSemitism,childslavery,genocide,thebuildingoftheStatueofLibertyandappalling
• 22:02
  circumstancesin
• 22:03
  sweatshops
• 22:03
  and
• 22:04
  tenements.They're
• 22:04
  allthat.Andwouldn'tyoubelieveit?TherearecatsinAmerica.Justapoint.
• 22:10
  Themice
• 22:11
  andthehumanimmigrantsdon'tactuallyarriveatEllisislandbecausethis
• 22:15
  moviepredatesEllisIsland.
• 22:17
  TheyarriveatCastle
• 22:18
  Garden,previouslyFort
• 22:20
  Clinton,whichisnow
• 22:21
  knownasCastleClinton.In
• 22:23
  1855,
• 22:24
  CastleGardenserved
• 22:26
  asan
• 22:26
  immigrantprocessingdepotuntilfacilitiesmovedtoellis
• 22:30
  islandin1892.And
• 22:32
  asImentioned,thismovieissetin
• 22:34
  1885.It
• 22:36
  alsodoesn'tromanticizeimmigrantlife
• 22:38
  inAmerica.HonestJohnrepresentspoliticians,particularlythosewhooperatedout
• 22:44
  ofTammanyhall,whowouldskimvotesfromnewimmigrantswithproimmigrant
• 22:49
  policiesand
• 22:49
  stances.Thismoviedoesn'tshyawayfrompoverty,tenements,politicalcorruptionandexploitation,whichwereallvery
• 22:57
  real
• 22:58
  aspects
• 22:58
  oftheimmigrantexperiencein1880sNewYork.You
• 23:02
  canevenseehumangarmentworkersatsewing
• 23:05
  machines,referencingtheinfamousTriangleshirtwaistfactoryandthe
• 23:09
  resultingfire
• 23:10
  in1911
• 23:11
  thatkilled146workers,themajorityofwhomwereimmigrantswhocouldn'tescapebecausethe
• 23:17
  ownerslockedthedoors
• 23:19
  andstairwellstostopunauthorizedbreaksandtoreducetheft.Wanting
• 23:23
  tomakethesemicestylisticallydifferentfromthosefromDisneyandfromthe
• 23:27
  Secretofnimh,Bluthdesignedthe
• 23:30
  charactersofAnAmerican
• 23:31
  TalewiththeAmblinandSearsMarketingdepartments.Theyuseda
• 23:35
  40slookfeaturinglargeears
• 23:38
  andalargerhead.Bluthdidthemajordesignsforallof
• 23:41
  thecharacters.
• 23:42
  Somechanges
• 23:43
  occurredduring
• 23:44
  production,suchasHenri
• 23:45
  thepigeon.
• 23:46
  Hewas
• 23:47
  originallydrawn
• 23:48
  scraggly
• 23:48
  andworn,andthisdesignwasduetothefirstchoiceforHenri's
• 23:52
  voicebeingSidCaesar.Aftertherecordingsession,Bluthfelttheboysdidn'thave
• 23:57
  thefeelofthescene,andsotherolewaseventuallyrecast
• 24:01
  withChristopherPlummerandthen
• 24:02
  redesignedtohave
• 24:03
  amore
• 24:04
  dignifiedlookwitha
• 24:05
  tophatinsteadofaberet.Henriwas
• 24:09
  quite
• 24:09
  acontentiouscharacterandsomepeopleatthestudiorequestedthepigeonbecut.ButBluthwasadamantthatHenriwasthevoice
• 24:16
  oftheStatueofLiberty.Anditwasimportant
• 24:19
  thatshe
• 24:20
  hadavoice
• 24:21
  becauseshe
• 24:22
  isthe
• 24:22
  firstthingthatimmigrants
• 24:23
  see
• 24:24
  whentheygetofftheboat.
• 24:26
  Speaking
• 24:26
  ofvoices,thecastwasfilledwithknownandunknownvoiceactors.MadeleineKhanwascastastheverywealthyGussieMausheimer.Shewaspickedhoping
• 24:37
  thatshewoulduseavoicesimilartothe
• 24:38
  one
• 24:39
  sheusesinBlazingSaddles.Papawasplayed
• 24:42
  byNehemiaPersoff,
• 24:44
  chosenbecauseofhissimilar
• 24:45
  roleasBarbraStreisand'sfatherinYentl.ChristopherPlummerwasbest
• 24:51
  knownastheleadin
• 24:52
  the
• 24:52
  moviethe
• 24:52
  SoundofMusic.ObviouslychosenashonoreePigeonDomdonoisehad
• 24:57
  alsostarred
• 24:58
  intheSecretof
• 24:59
  NIMHandwouldbeafrequentcollaboratorofBluth,as
• 25:02
  wellas
• 25:02
  Mel
• 25:03
  Brooks.Goingback
• 25:04
  toBlazingSaddles,notforthe
• 25:05
  LandBeforeTime,butI'llgettothatnextepisode.The
• 25:09
  pivotalroleofFievel
• 25:10
  wenttoPhilipGlasser,the
• 25:12
  son
• 25:12
  characters
• 25:13
  of
• 25:13
  An
• 25:14
  American
• 25:14
  Tail
• 25:15
  with
• 25:15
  the
• 25:15
  Amblin
• 25:16
  and
• 25:16
  Sears
• 25:17
  Marketing
• 25:17
  departments.
• 25:18
  They
• 25:18
  used
• 25:19
  a
• 25:19
  40s
• 25:20
  look
• 25:20
  featuring
• 25:21
  large
• 25:21
  ears
• 25:21
  was
• 25:22
  castasWarranty
• 25:23
  Rat,recitingexcerptsfromShakespeare'sHamletinavoicethat
• 25:27
  soundedlikea
• 25:28
  Brooklyn
• 25:28
  taxidriver.Theidea
• 25:30
  wassofunnythatthe
• 25:31
  writers
• 25:31
  madeWarrenfrequentlymisquotesShakespeare.DonBluthwantedtostoryboardtheentirefilm,butunderestimated
• 25:39
  thescopeofthework,andLarryLeckerwashiredtoassistBluth
• 25:43
  witha
• 25:44
  fewsequences.
• 25:45
  Bluthwouldmakeroughsketches
• 25:47
  thatLecker
• 25:48
  woulddecipherintoactualstoryboard
• 25:50
  panels.Butthentheyfounda
• 25:52
  new
• 25:52
  tool
• 25:52
  thatwouldplay
• 25:53
  asignificantroleintheirfutureoperations.A
• 25:56
  videoprinter.Theydiscoveredtheycouldcaptureliveactionusinganearlyinexpensivemodel,
• 26:03
  thenusedtheprinterto
• 26:04
  printouttiny4by
• 26:06
  5inchesblackandwhitethermalimagesfromthe
• 26:09
  tape.
• 26:10
  Theythenhadpreciseposingtoworkfromby
• 26:14
  printingeachframeofthe
• 26:15
  footage.Whilesomeanimators
• 26:17
  simplyusedthisas
• 26:19
  areference,othersphotocopied
• 26:21
  ittomakeitlargerandcouldthentracetheimagesfromHonestJohn'slightly
• 26:26
  inebriatedstrolltothefirefightersbattlingthe
• 26:29
  fire.Thefilmmakersusedthistechniquetohelpin
• 26:33
  anumber
• 26:33
  ofscenessequences.
• 26:35
  Itisverysimilar
• 26:36
  tothe
• 26:36
  rotoscopingtechniquethat'sbeen
• 26:38
  usedsincetheearliestdaysofanimation,inwhich
• 26:41
  sequencesareshotinliveactionandtracedontoanimationcells.Butthisis
• 26:46
  aquickerversion.
• 26:48
  Theyalsobuiltmodels
• 26:49
  and
• 26:50
  photographedthem,
• 26:50
  with
• 26:51
  themostelaborate
• 26:52
  being
• 26:52
  theMausand
• 26:53
  Obviously
• 26:53
  chosen
• 26:54
  as
• 26:54
  honoree
• 26:55
  Pigeon
• 26:55
  Dom
• 26:56
  DeLuise
• 26:56
  had
• 26:57
  sequence.Alarge
• 26:59
  workforcewasassembledastheanimationproductionbegan,with
• 27:03
  animators
• 27:04
  comingfrom
• 27:04
  all
• 27:05
  aroundtheworld.AnumberofanimatorscamefromCanadatoworkandlearnfromthe
• 27:10
  master,DonBluth.TherewasalsoatraineecrewfromIrelandandseveralstudentsfromtheCalifornia
• 27:16
  InstituteoftheArts.Theyworkedas
• 27:18
  freelancers.Therewas
• 27:21
  talkaboutrelocatingthe
• 27:22
  entireproductionto
• 27:23
  Ireland,but
• 27:24
  Steven
• 27:25
  Spielbergflatoutrejected
• 27:26
  John
• 27:27
  Finnegan
• 27:28
  was
• 27:28
  cast
• 27:29
  as
• 27:29
  Warren
• 27:30
  T
• 27:30
  Rat,
• 27:31
  reciting
• 27:31
  excerpts
• 27:32
  from
• 27:32
  Shakespeare's
• 27:33
  notbeproducedinIreland.Unfortunately,
• 27:36
  duetofinancialconstraints,ofwhichthereweremanyon
• 27:39
  thismovie,SpielbergwouldletthemovieCellsbepaintedinIreland,whichhaditsownissuesduetotheslower
• 27:46
  turnaroundin
• 27:47
  Irelandcomparedtotheus.There
• 27:51
  of
• 27:51
  the
• 27:51
  work,
• 27:52
  and
• 27:52
  Larry
• 27:52
  Lkermovie.DonBluth,AnneBlynnandUniversal.Andeachofthemhadtheirownideas.Duetobudgetaryandschedulingissues,theyhadtocuteitherasongorascene.ButasSpielbergwantedhisveryownhihotypesong,itwasdecidedtoinsteadcutscenes.Andthiswouldmeansomeofthekeynarrativescenes,suchastheMouskowitz'sjourneyfromShotsk,whichisinUkraine,toHamburg,whichisinGermany,wasremoved.AndalsotheexplanationofwherebabyYashadisappearstowouldalsoenduponthecuttingroomfloor.Itwouldalsomeanthecuttingofmoreintense,lessfamilyfriendlyscenes,includingascariersceneattheseawithwavemonsters.Butthroughoutitall,Bluthalwaysrememberedhewasworking
• 28:43
  withStevenSpielberg.Aliteraldreamcometrueforanyfilmmaker.Anddespiteallthehardships,thelongdays,thetightbudget,thehighstakes,AnAmericanTalewouldbe
• 28:55
  thelittle
• 27:59
  Jewishmousethatcould.AndthisisreallytheperfecttimetosegueintotheobligatoryKeanureference,ifyoudon'tknowwhatthatis.ThisisapartofthepodcastwhereItryandlinkeverymoviethatIfeaturewithKeanuReevesfornoreasonotherthanheisthebestofMen.AndKeanuReevessortofworkedwithStevenSpielberg.Letmeexplain.On
• 29:18
  photographed
• 29:19
  them,
• 29:19
  with
• 29:20
  the
• 29:20
  most
• 29:21
  elaborate
• 29:21
  being
• 29:22
  the
• 29:22
  Mouse
• 29:23
  of
• 29:23
  Minsk.
• 29:23
  A
• 29:24
  model
• 29:25
  of
• 29:25
  the
• 29:26
  ship
• 29:26
  was
• 29:27
  also
• 29:27
  built
• 29:28
  for
• 29:28
  the
• 29:29
  storm
• 29:29
  at
• 29:30
  sea
• 29:30
  sequence.
• 29:31
  A
• 29:31
  large
• 29:32
  workforce
• 29:32
  was
• 29:33
  assembled
• 29:33
  as
• 29:34
  the
• 29:34
  animation
• 29:35
  production
• 29:35
  began,
• 29:36
  with
• 29:36
  animators
• 29:37
  coming
• 29:37
  from
• 29:38
  all
• 29:38
  around
• 29:39
  the
• 29:39
  KeanuReeveshasneverstarredasamouse,soit'skindofdifficult.Imean,technically,IsupposehehasstarredasanAmerican,butit'stoovague.So,anyway,let'stalkaboutthesoundtracktoAnAmericanTale,becauseitisanoriginal
• 29:57
  They
• 29:58
  worked
• 29:58
  as
• 29:58
  freelancers.
• 29:59
  There
• 30:00
  was
• 30:00
  talk
• 30:01
  about
• 30:01
  relocating
• 30:02
  the
• 30:02
  entire
• 30:03
  production
• 30:03
  to
• 30:04
  Ireland,
• 30:04
  but
• 30:04
  Steven
• 30:05
  Spielberg
• 30:05
  flat
• 30:06
  out
• 30:06
  rejected
• 30:07
  the
• 30:07
  idea,
• 30:08
  saying
• 30:08
  that
• 30:09
  a
• 30:09
  movie
• 30:10
  called
• 30:10
  An
• 30:10
  American
• 30:11
  Tail
• 30:11
  could
• 30:11
  only
• 30:12
  be
• 30:12
  made
• 30:13
  in
• 30:13
  America
• 30:14
  and
• 30:14
  would
• 30:15
  not
• 30:15
  be
• 30:16
  produced
• 30:16
  in
• 30:16
  Ireland.
• 30:17
  Unfortunately,
• 30:18
  andcomposerwho'dworkedfrequentlywithQuincyJones.Butafterwritingafewsongs,nothingwasreallyhittingandtheteamdecidedtohireanothersongwriter.SohusbandandwifeCynthiaWeilandBarryMannwerebroughtinandthey'vewrittenanumberofpophitsforDollyPartonandothers.Warnerwasalsoinvolvedwiththewritingofthesongs.Afterthefirstbatchofsongswerewritten,itwasdecidedthataspecialsongwouldbewrittenforLindaRonstadt,thethengirlfriendofSpielberg'sfriendGeorgeLucas,comingbacktohimnextepisode.ThesongSomewhereOutTherewaswrittenasaduetforsiblingsFiebelandTonya,thenplannedtoberunovertheendcreditswithRonStudsingingitalongsideJamesIngram.SomewhereOutTherewouldgoontowin
• 31:07
  twoGrammyAwardsforSongoftheYear,abestsongwrittenspecificallyforamotionpictureorfortelevision,andbecomethemostpopularsongto
• 31:15
  comefromananimatedfeaturesincethe
• 31:18
  50s.TherewasalsoahugemarketingpushforFievelasacute,cuddlyanimatedmouse,includingplushtoysatSears,alongwithalineofclothingandaccessories.AndthiswasallintentionalbecauseDonBluthwantedpeopletoknowwhoFievelwas.UnliketheSecretofnimh,AnAmericanTalewouldhaveamuchlargeropeninginover1200cinemas.FievelwasonbillboardsandinadsbeforehugeTVshows.TherewasnowaythisDonBluthmousemoviecouldfail.AtpreviewscreeningsInOctoberof1986,theyweremetwithagenerallygoodresponse.
• 31:59
  However,priortoanAmericanTalesrelease,ArnoldSpiegelmanwascreatinghisgraphicnovelMaus.AndwhenhereadthedescriptionofAnAmericanTale,SpiegelmanracedtocompleteMausbecausethesimilaritiescausedhimtothinkthatBluthandSpielbergwereplagiarisinghim.Both
• 32:19
  Steven
• 32:20
  Spielberg.
• 32:20
  Let
• 32:21
  me
• 32:21
  explain.
• 32:22
  On
• 32:22
  a
• 32:23
  biographical
• 32:23
  documentary
• 32:24
  called
• 32:24
  Mifune
• 32:24
  the
• 32:25
  Last
• 32:25
  Samurai.
• 32:26
  Keanu
• 32:27
  Reeves
• 32:27
  narrated
• 32:28
  the
• 32:28
  documentary
• 32:29
  and
• 32:29
  Spielberg
• 32:30
  was
• 32:30
  interviewed
• 32:31
  alongside
• 32:32
  Martin
• 32:32
  Scorsese
• 32:33
  about
• 32:33
  Mifune's
• 32:34
  influence
• 32:34
  on
• 32:35
  cinema.
• 32:35
  And
• 32:36
  the
• 32:37
  reason
• 32:37
  why
• 32:38
  I'm
• 32:38
  catsasametaphorforJewsandNazis,respectively.Spevelmanreleasedthefirstvolume,MausOneMyFatherBleedsHistory,in1986,threemonthsbeforeanAmericanTalewasreleased,andtheremainingchapter,Mouse2andheremytroublesbeganin1991,butasthere
• 32:59
  too
• 33:00
  vague.
• 33:00
  So,
• 33:01
  anyway,
• 33:02
  let's
• 33:03
  talk
• 33:03
  about
• 33:04
  the
• 33:04
  soundtrack
• 33:05
  to
• 33:05
  An
• 33:06
  American
• 33:06
  Tail,
• 33:07
  because
• 33:07
  it
• 33:08
  is
• 33:09
  November1986,fourmonthsafterBasiltheGreatMouseDetectiveandthesameweekasDisneyrereleasedSongofthesouthandAmericaTailwaskeptoffthetopspotbyCrocodileDundeeandStarTrek.TheVoyageHomeandAmericanTaildebutedatthird,withSongofthesouthatfourth,withjustoveramilliondollarsbetweenthepairthatfirstweek,andAmericanTail'stankingsactuallyjumped15.1%initssecondweektheweekafterThanksgiving,butnot
• 33:43
  enoughtojumpupthechartsanyfurther,andFievel
• 33:45
  stayed
• 33:45
  atthird
• 33:47
  andAmericanTailwouldendupintheUStop10forsixweeks.Onits$9millionbudget,anAmericanTailwouldgross$47.5millionintheUSand$36.5millioninternationallyforatotalworldwidegrossof$84millionatthetimeofitsdomesticrelease.ItbecamethehighestgrossinganimatedfeatureforaninitialreleaseandthehighestgrossingnonDisneyproducedanimatedfilm.ItwasalsooneofthefirstanimatedfilmstobemorefinanciallysuccessfulthanaDisneyonebecauseitbeattheGreat
• 34:24
  Mousedetectives$50million
• 34:26
  to
• 34:27
  him
• 34:27
  next
• 34:28
  episode.
• 34:28
  The
• 34:29
  song
• 34:30
  Somewhere
• 34:30
  Out
• 34:31
  There
• 34:31
  was
• 34:32
  written
• 34:32
  as
• 34:33
  a
• 34:33
  duet
• 34:34
  for
• 34:34
  siblings
• 34:35
  Fievel
• 34:35
  and
• 34:36
  AnAmericanTaleisasweet,melancholyimmigrantstory,butthemoviediddrawtheireofsomefilmcriticswhofeltthetonewasbleakanddepressingandthattheimmigrantexperiencewastoldthroughstereotypes.GeneSisterRogerEberthatedthemovie,givingittwothumbsdownandcallingitthemostdownbeatchildren'smoviesinceReturntoOzandthatitwaswaytoodepressingforyoungaudiences.AndthiswasontheirTVshowAttheMoviesin1986.BothreviewersalsocriticizedhowitgavelittlementionthatthemaincharacterswereJewish
• 35:12
  a
• 35:13
  line
• 35:13
  of
• 35:14
  clothing
• 35:14
  and
• 35:15
  accessories.
• 35:15
  And
• 35:15
  this
• 35:16
  was
• 35:16
  all
• 35:17
  intentional
• 35:17
  because
• 35:18
  Don
• 35:18
  Bluth
• 35:18
  wanted
• 35:19
  people
• 35:19
  to
• 35:20
  know
• 35:20
  who
• 35:21
  Fievel
• 35:21
  was.
• 35:21
  Unlike
• 35:22
  the
• 35:23
  Secret
• 35:23
  of
• 35:23
  nimh,
• 35:24
  An
• 35:24
  American
• 35:25
  Tail
• 35:25
  would
• 35:25
  have
• 35:26
  a
• 35:26
  much
• 35:26
  larger
• 35:27
  opening
• 35:27
  in
• 35:28
  over
• 35:28
  1200
• 35:29
  cinemas.
• 35:29
  Fievel
• 35:29
  was
• 35:30
  on
• 35:30
  billboards
• 35:31
  and
• 35:31
  in
• 35:32
  ads
• 35:32
  before
• 35:33
  huge
• 35:33
  TV
• 35:33
  shows.
• 35:34
  There
• 35:34
  was
• 35:35
  no
• 35:35
  way
• 35:36
  this
• 35:36
  Don
• 35:37
  Bluth
• 35:37
  mouse
• 35:37
  movie
• 35:38
  could
• 35:38
  fail.
• 35:39
  At
• 35:40
  preview
• 35:40
  screenings
• 35:41
  In
• 35:41
  October
• 35:41
  of
• 35:42
  1986,
• 35:42
  they
• 35:43
  were
• 35:43
  met
• 35:44
  with
• 35:44
  a
• 35:45
  generally
• 35:45
  good
• 35:45
  response.
• 35:46
  However,
• 35:46
  prior
• 35:47
  to
• 35:47
  an
• 35:48
  American
• 35:48
  Tail's
• 35:48
  release,
• 35:49
  Arnold
• 35:49
  Spiegelman
• 35:50
  was
• 35:50
  creating
• 35:50
  his
• 35:51
  graphic
• 35:51
  novel
• 35:52
  Maus.
• 35:52
  And
• 35:53
  when
• 35:54
  he
• 35:54
  read
• 35:54
  the
• 35:55
  description
• 35:55
  of
• 35:56
  An
• 35:56
  American
• 35:57
  Tail,
• 35:57
  Spiegelman
• 35:58
  raced
• 35:58
  to
• 35:58
  complete
• 35:59
  Maus
• 35:59
  because
• 36:00
  the
• 36:00
  similarities
• 36:01
  caused
• 36:01
  him
• 36:02
  to
• 36:02
  think
• 36:02
  that
• 36:03
  Bluth
• 36:03
  and
• 36:04
  Spielberg
• 36:04
  intonethanthefirstmovie.Therewasalsoa13episodeTVseriesbasedonit
• 36:10
  to
• 36:10
  escape
• 36:11
  a
• 36:11
  cruel
• 36:11
  regime
• 36:12
  of
• 36:12
  cats,
• 36:13
  and
• 36:13
  both
• 36:14
  mice
• 36:14
  families
• 36:15
  have
• 36:15
  Jewish
• 36:16
  surnames.
• 36:16
  However,
• 36:17
  there
• 36:17
  are
• 36:18
  clear
• 36:18
  differences.
• 36:19
  An
• 36:20
  American
• 36:20
  Tail
• 36:21
  serves
• 36:21
  as
• 36:21
  a
• 36:22
  metaphor
• 36:22
  for
• 36:23
  Jewish
• 36:23
  immigration
• 36:24
  to
• 36:24
  the
• 36:24
  US
• 36:25
  while
• 36:25
  Maus
• 36:26
  deals
• 36:26
  with
• 36:27
  the
• 36:27
  horrors
• 36:28
  of
• 36:28
  the
• 36:29
  onlycastmembertoremainthroughouttheentireseriesasthevoiceofTiger.Feivelalsobecame
• 36:36
  amajorcharacteratUniversalStudios,gettinghisownsectionandastageshowinCalifornia.Itwasthefirst
• 36:44
  before
• 36:44
  an
• 36:45
  American
• 36:45
  Tale
• 36:46
  was
• 36:46
  released,
• 36:47
  and
• 36:47
  the
• 36:48
  remaining
• 36:48
  chapter,
• 36:49
  Maus
• 36:49
  2
• 36:50
  and
• 36:50
  here
• 36:50
  my
• 36:51
  troubles
• 36:51
  began
• 36:52
  in
• 36:52
  1991,
• 36:53
  but
• 36:53
  as
• 36:54
  there
• 36:54
  was
• 36:55
  no
• 36:55
  official
• 36:56
  smoking
• 36:56
  gun,
• 36:57
  Spiegelman
• 36:57
  chose
• 36:58
  not
• 36:58
  to
• 36:59
  sue
• 36:59
  for
• 37:00
  plagiarism.
• 37:00
  An
• 37:01
  American
• 37:02
  Tail
• 37:02
  was
• 37:03
  released
• 37:03
  on
• 37:04
  thismoviewhenIwasasmallchildandyoungmedidn'tknowthatthesemicewereJewish
• 37:09
  becauseIdidn'tknowwhatHanukkahwas.Littlemedidn'tknowaboutreligiouspersecution.Littlemedidn'tknow
• 37:15
  aboutsweatshopsorchildslavery.Alllittlemeknewwasalittlemousehadlosthisfamilyandthat'sallIneededtoknowwhenIwasachild.NowadaysIlookatthismovieinanentirelydifferentlens.Alensofknowingaboutantisemitism,ofknowingthattheAmericanDreamimmigrantsweresoldisoftenmoreof
• 37:36
  anightmareandthathundredsofpeoplejustliketheMouseKowitzfamilydieonboatcrossingstogettotheUKforabetterlife.And
• 37:46
  sometimeswearenotaswarmandreceptiveasthestaffatCastleGardenaredepictedasbeing.Itreallygoestoshowthepoweranimationhastoexposeeveryonetotopicsthatmightbeharsherinliveaction.NottomentionthepopularityofAnAmericanTalewasawakeupcallformany,inanindustrywhereDisneyhaddominatedtheboxofficeforsolongwhilealsobecomingaculturaltouchstoneforitsgeneration,Disneywereactuallystrugglingtogainrelevanceinthemarketatthetime,andtheyendeduplosingtoananimatorwhousedtoworkforthem.Andthatmusthavebeenahugekickintheteeth.Itwouldresultinanongoing
• 38:26
  $50
• 38:27
  million
• 38:27
  by
• 38:28
  quite
• 38:28
  some
• 38:29
  margin.
• 38:29
  A
• 38:30
  Rotten
• 38:31
  Tomatoes
• 38:31
  and
• 38:31
  American
• 38:32
  Tail
• 38:32
  has
• 38:32
  a
• 38:33
  77%
• 38:33
  rating
• 38:34
  with
• 38:34
  a
• 38:35
  consensus
• 38:35
  of
• 38:36
  exquisitely
• 38:36
  animated
• 38:36
  An
• 38:37
  American
• 38:37
  Tail
• 38:38
  is
• 38:38
  a
• 38:39
  sweet,
• 38:39
  melancholy
• 38:40
  immigrant
• 38:40
  story,
• 38:41
  but
• 38:41
  the
• 38:42
  movie
• 38:42
  did
• 38:42
  draw
• 38:43
  the
• 38:43
  ire
• 38:44
  of
• 38:44
  some
• 38:45
  film
• 38:45
  critics
• 38:46
  who
• 38:46
  felt
• 38:47
  the
• 38:47
  tone
• 38:48
  was
• 38:48
  bleak
• 38:48
  and
• 38:49
  depressing
• 38:49
  and
• 38:50
  that
• 38:50
  the
• 38:51
  immigrant
• 38:51
  experience
• 38:52
  was
• 38:52
  told
• 38:53
  through
• 38:53
  stereotypes.
• 38:54
  Gene
• 38:54
  failedattheboxoffice,AmblemationwasclosedandmanyofthestaffendedupatDreamWorksworkingonthePrinceofEgypt.ButDonBluthwouldcontinuewiththe
• 39:05
  nextmovieinthisseries,joinforcesyetagainwithStevenSpielbergandhisgoodfriendGeorgeLucasfortheLandBeforeTime,whichwouldbeanothermassivehit
• 39:15
  forDonBluth
• 39:17
  andbethestartofafranchisewith,countthem,13sequels.Butmoreonthatnextepisode.Thankyouforlistening.Asalways,Iwouldlovetohear
• 39:28
  yourthoughtsonAn
• 39:29
  AmericanTaleandthankyouforyourcontinuedsupportof
• 39:33
  thispodcast.Genuineheartfeltthanksforlisteningtothispodcast.Whetherit'syourfirstepisodeoryour332nd.Ifyouwanttoshowyoursupportinmultipledifferentways,youcouldleavearatingorreviewwhereveryoufoundthispodcast.Youcouldtellyourfriendsandfamilyaboutthispodcastoryoucanfindmeandfollowmeonsocialmediaandyoucansharethepodcastthatway.Iam@VerbalDiorama.Youcansharepostslikeposts,commentonposts.Itallhelpsreallytogetthewordoutthereandhopefullygetotherpeopletoknowthispodcast
• 40:08
  andknowwhatI'vebeendoing.Igenuinelylovedoingthispodcastandanythingyoucoulddotohelpwouldbesoappreciated.Ahugethankyoutotheamazingpatronsofthispodcast.ToSimon,Laurel,Derek,
• 40:21
  the
• 40:22
  theatrical
• 40:22
  sequel
• 40:23
  Fievel
• 40:23
  Goes
• 40:24
  west,
• 40:24
  which
• 40:25
  was
• 40:25
  more
• 40:26
  comedic
• 40:26
  in
• 40:27
  tone
• 40:27
  than
• 40:28
  the
• 40:28
  first
• 40:29
  movie.
• 40:29
  There
• 40:30
  was
• 40:31
  also
• 40:31
  a
• 40:32
  13
• 40:32
  episode
• 40:33
  TV
• 40:33
  series
• 40:34
  based
• 40:34
  on
• 40:35
  it
• 40:35
  called
• 40:36
  Fievel's
• 40:36
  American
• 40:37
  Tails,
• 40:38
  which
• 40:38
  aired
• 40:39
  between
• 40:39
  September
• 40:40
  and
• 40:40
  December
• 40:41
  1992.
• 40:41
  2
• 40:42
  direct
• 40:43
  to
• 40:43
  video
• 40:44
  movies
• 40:44
  were
• 40:45
  also
• 40:45
  produced
• 40:46
  by
• 40:46
  Universal
• 40:47
  Pictures
• 40:47
  Home
• 40:48
  Entertainment,
• 40:48
  the
• 40:49
  Treasure
• 40:49
  of
• 40:50
  Manhattan
• 40:50
  island
• 40:51
  in
• 40:51
  1998
• 40:52
  and
• 40:52
  genuinelylovetohearfromyou.YoucanalsoDMmeonsocialmediaaswell.Ireallylovetohear
• 40:58
  frompeopleandIalwaystrytorespondasquicklyaspossible.I'mhugely
• 41:02
  gratefultoyouallforyoursupport.Andfinally,byeforBilly.kTailTail
• 43:51
  Bye