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Randy Cartwright tells Monoreel Radio that he asked to be pulled off of "The Black Cauldron"

From Audio: Monoreel Radio Episode #13 - Waking Sleeping Beauty

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station description Deep dives into Disney movies.
Monoreel Radio
Duration: 03:48
Randy spills the tea on what went wrong!
Playlists that Randy Cartwright tells Monoreel Radio that he asked to be pulled off of "The Black Cauldron" appears on.
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Randy spills the tea on what went wrong!
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um at one point in the film, you show some animation from Peter Pan in. It was actually you that mentioned, I think the exact quote was it's better than the magic we're making today, but we can't help that. I think right now this was going into black cauldron at the time. Did you all kind of have a feeling that black cauldron was going to be, become what it eventually became on film in terms of um not being as successful as some of the previous films. No, not at all. It was just the opposite. When the first film we're working on, Fox and Hound, black cauldron was just an idea. We didn't really know what it was going to become. Uh but when I first started at the studio in the training room, there were two rooms that had artwork in it. One had artwork from Fox and Hound. They're all uh mel shaw skin pastel sketches, beautiful artwork and the other one had all kinds of pastel sketches for the black cauldron. And they were just beautiful sketches, very exciting. And we always considered the fox and hounds kind of our training film, we kind of our training wheels, we would learn that, learn how to really animate on that and then black cauldron is the picture that we would really take off and really make into something special. Uh and So we were real excited about it. Ron Clements wrote three full treatments for the film. I've got one of them at home uh for years and we love the characters, the concept of the characters, the terror and the boy who who really wants to be a hero and then learns what a hero really is, which is not a big, great fighter. It's someone who cares about other people and an island we who saw through his bravado supposedly, and Gergiev, who is this little character that they supposedly didn't think anything. I thought he was just an annoyance and found out he had the hero inside him. I mean these concepts were great for the film also. I personally didn't want to see just a typical human character thing. I wanted more fun out of it. I was hoping we get more like the reluctant dragon character, a little bit more cartoony characters. Andreas had just been hired and he did a whole series of designs of island. We tear and all the characters in all these different variations on what we might be able to do. A lot of Corona's website you can look at today and we were all excited about how this was going to go about. And then Don Bluth quit, scared the management to death and they were scared to give any films to any young people again. So they start they brought in some of some they used some of the older animators that had never been supervisors before to run the picture and we were not allowed to really have that much input in it, They took it over and it it kind of felt the pieces, that's why I asked to get off, it was not going well. Um I'm doing a lot of stories about that later but some other time. Yeah, yeah it was, yeah and so it kind of felt pieces we knew it was not going to come out well once it was actually started and we saw what it was going to be but it was, we were so excited about it. Originally it was going to be the young person's big opening. It was going to be great but it didn't happen that way.
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