Please, don't worry Whatever you say.
Yes, ma'am, Aye, aye, sir, Okeydokey.
(IN ROGER'S VOICE) Boy, I love Roger Rabbit!
I am Roger Rabbit!
(IN NORMAL VOICE) Well, I'm not really Roger Rabbit.
I'm here, Baby...
He's Roger Rabbit. I'm Charles Fleischer.
But I did create the voice of Roger Rabbit.
And I did it every day live on the set when they were filming the movie.
You don't believe me, do you?
No thanks, Eddie I may be a Toon,
but I'm going to show you I can go out like a man.
I'm here to give you a personally guided tour into the world of the film.
I'm going to show you who made Roger Rabbit.
I just got a really good idea.
I know someone whose advice would be very helpful at this point.
- Hey, Roger. Come here, quick. - What? Out of the TV?
That's right, Out of the TV Come on.
Roger, I need your advice.
What do you think we should cover
to tell these people about how we made the movie?
I think you should show them everything.
There's the animation, or the sound effects for the Toons.
Like...
(GIBBERS)
Ooh! Maybe show them who made the movie.
I really hope my idea helped you.
Roger, I think that you and I are on the same page.
Or, should I say, the same frame?
- Hey, Rog, you want to join us'? - Mmm-hmm.
All right. I'm going to zap you back. You ready? One, two, three.
(SCREAMS)
That means you, too.
(CRYING)
So, here we are inside the world of Roger Rabbit.
It looks like the normal, run-of-the-mill cartoon, right?
Wrong!
Background, and action!
So, to answer the question who made Roger Rabbit,
we really should start with the head honcho.
And by that, I don't mean R.K. Maroon.
This gentleman is Mr. Steven Spielberg.
He was the executive producer.
And here, that's Mr. Robert Zemeckis, the director.
These two brilliant minds are responsible
for bringing Roger Rabbit to the big screen.
(MOANING, TEETH RATTLING)
(EXPLOSION)
(SINGING) Two bits
(GULPING, WHIMPERING)
(GRUNTS)
(PUFFS)
Allow me to introduce you
to award-winning animator Mr. Richard Williams.
He was brought in to direct the animation on Roger Rabbit.
His initial sketches established what Roger would look like
and it assisted the filmmakers in figuring out
all the aspects of Toon acting.
Wouldn't you know. Locked.
Whoa!
(FLUSHING)
It was a big challenge trying to figure out
how to take a cartoon character and a human actor
and try and figure out how to put them in the same scene
and make them look seamless.
The butcher, the baker. They didn't know.
But the liquor store guy, he knew.
In other words, the whole damn town knows you're here!
- Get out of here! Come on, Out! - Hey, take it easy, will ya?
- Out! Get out! Come on, - Please, Eddie, don't throw me out!
- You're making a big mistake! - Get out of here!
- I didn't kill anybody! I swear! - Let go of that door, will ya?
Wait, hold it, I'm getting a little ahead of myself.
Just let me back up a little.
Whoa!
Long before the filming was started, a series of storyboards was created.
These are simple sketches
that are arranged like panels in a comic strip.
And they show the filmmakers
what the action is going to look like on the screen. Whoa!
Now, before the animation started,
the filmmakers had to shoot all these scenes
using only the human actors.
Why? Because the Toons would be added in later.
Let's take a look at what I'm talking about.
WOMAN: Take one.
Good-looking guy like that (LAUGHING)
The dames will be breaking his door down.
Dame? What dames?
Jessica is the only one for me!
You'll see! We'll rise above this piddling peccadillo!
We're going to be happy again!
You got that? Happy. Capital H-A-P-P-I...
- (GLASS SHATTIERING) - (FOOTSTEPS RECEDING)
When Steven Spielberg saw the first cut of the movie
before the Toons were added,
he said that it looked like The Invisible Man Returns.
To help out the actors, rubber dolls of the missing cartoon characters
were used as a reference.
...your arm is in relationship to his eyes.
So if your hands like this, we're cutting him at the eyes.
It's the bottom of the frame line. You got to get that up so that... Yeah.
FLEISCHER: They brought Toon actors to the set to do voices
while they filmed the humans.
(BOTH LAUGHING)
(MAN'S VOICE) What the hell was wrong with that take?
- Say something! - Look, stars!
(LAUGHS)
By the way, the suit was my idea.
I wore it every day during filming.
There were a lot of props that they didn't want the Toons to handle.
Because you never really know
what's going to happen when Toons handle props.
So what did they do?
They had a special effects team come in
and figure out how to move things around in the real world
before the Toons were ever able to get a hold of them.
How did they do it? They built mechanical devices
which then picked things up on the set.
And you never get to see these contraptions in the movie
because they were covered over by the animation.
That is brilliant.
(GURGLING) Aah!
- Aah! -(HORN BLOWING)
Thanks. I needed that.
FLEISCHER: Additionally, a group of puppeteers lent a hand
in moving certain props around on wires,
making it appear as if
missing Toon characters were right there on the set.
We got a reliable tip-off the rabbit was here.
You keep talkin' like that, and I'm gonna have to wash your mouth out.
(GASPING)
FLEISCHER: Through the magic of the special effects team
and the artistry of the puppeteers,
the invisible Toons came to life.
So, this robotic arm later became a plate-smashing Roger Rabbit.
And this tray would soon be carried by a penguin waiter.
(IN WEASEL VOICE) And these weapons
would soon be wielded by weasels.
Nah. Valiant's got him stashed somewhere.
FLEISCHER: When it came time to pull it all together,
they filmed the scenes with the special effects,
the actors, but no Toons.
Ready!
(SCREAMS)
(GRUNTS)
Action!
And, cut!
How was that, Mr. Zemeckis'?
Not bad. Once again One more.
FLEISCHER: Once the human actors finished their scenes,
the animators went into action.
Director Robert Zemeckis worked very closely with Richard Wllllams
and his team of animators
to integrate the animation with the live action
that had already been shot.
And the rabbit doesn't want to go back in,
and Hoskins is pushing him down, and pushing him down,
and straining him,
and just doing like Toon squash on the top of his head.
(MUMBLING INDISTINCTLY)
So tell me, Eddie, Is that a rabbit in your pocket,
or are you just happy to see me?
FLEISCHER: More than 300 of the best animators and production personnel
from all over the world
were brought together to work on Who Framed Roger Rabbit.
To add animation to a scene,
every frame of live-action footage was made into a still photograph
and then the animators had to hand-draw
every frame on top of each photo.
No computers were used.
Now, think about that.
Someone had to draw every minute movement of the Toons
frame by frame,
and then hand-paint all the colors onto each cell.
Okay, let's do the math and see if we can figure this out.
There's 24 frames per second,
which means that every 10 seconds would be 240.
(AUDIO SPEEDS UP) 30 multiply by the square root of hours in a day...
(AUDIO SPEEDS UP AND BECOMES INDISTINCT)
(NORMAL SPEED) The total number of cells hand-drawn for Roger Rabbit
is 82,000!
That's a lot.
Next, every animation cell was photographed to film.
And when that film is run through a projector,
the animation starts to come to life.
This is where most animation films have traditionally stopped.
But here is where these filmmakers took it one step further.
They decided to make their Toons look more lifelike than ever before.
The animation and live-action footage
were sent to the George Lucas visual effects company,
Industrial Light & Magic.
The same guys who made Star Wars.
It was there the animation received the final touches.
Shading, shadows and highlights were added
layer by layer, and then composited together
to give the characters a lifelike three-dimensional look.
(SINGING) You wouldn't be wanderin' now
From door to door
I'm not bad, I'm just drawn that way.
FLEISCHER: And with every piece of the puzzle in place...
(IN ROGER'S VOICE) Ta-da!
Two and a half years later,
you've got yourself a movie called Who Framed Roger Rabbit.
(KISSING)
Blech! Bleach!
So, who made Roger Rabbit? I'll tell you.
Bob, Steven, Kathy, Fred, Joanna,
Bill, Dean...
(AUDIO SPEEDS UP AND BECOMES INDISTINCT)
(NORMAL SPEED) ...Stubby and me,
Charles Fleischer.
I hope you enjoyed your journey.
Roger and I had an amazing time and we would both like to thank you.
Thank you from me and... Roger?
- (ROGER LAUGHS) - Roger.
Roger, what are you doing? Get me out of here, will you?
Don't press the remote. Roger!
Put down that remote, Roger! Don't...
- (STATIC HISSING) - See you later, Charlie.
(ROGER LAUGHS)