Join us for an exclusive conversation with the multifaceted Andreas Deja, the creative powerhouse behind the film Mushka. Over a decade in the making, Mushka's journey is a testament to Andreas's dedication to storytelling and animation mastery. With a career spanning 30 years at Disney, Andreas has breathed life into some of the studio's most notorious villains, and in this episode, he shares the intricacies of crafting antagonists that are memorable for more than just their evilness. Discover how collaboration was crucial in shaping Mushka's unique visual style.
Immerse yourself in the art of animation as Andreas reveals the secrets behind bringing characters to life through voice acting and artistic vision. With insights from working with legendary actor Jeremy Irons, we explore the dynamic process of animating to dialogue and how this has influenced both Disney classics and Mushka. Additionally, Andreas reflects on his evolution as a filmmaker, where he expanded his creative horizons to include directing, music, and storytelling, underscoring the multidimensional nature of animated film creation. This episode is not just a journey through Andreas's career but a celebration of the collaborative spirit and the boundless possibilities in the world of animation.
For our listeners, CFA’s teamed up with We Make Movies to get you a discount on production management services, including access to comprehensive production insurance and workers' comp for your next shoot.
Visit wemakemovies.org/insurance and use code CFA23 on your intake form for 10% off your quote.
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Cinematography for Actors is a community aimed at bridging the gap between talent & crew through our weekly podcast & community events. Our weekly show supports the filmmaking community through transparent, honest & technically focused interviews with the goal of elevating the art of effective storytelling.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
That was one musical note that I'm responsible for
and proud of.
At the end of the montagesequence where we see the little
tiger and Sarah growing up, wesee them in bed sleeping
together, and the tiger turnsover and falls over, and then we
cut outside and we see theshadows of the bad guys coming
in and I didn't want to end up,in terms of music, on a happy
(00:20):
note.
I said let's go.
Speaker 3 (00:32):
So it fits the image of these bad guys.
So that was me.
Speaker 2 (00:37):
This is the Cinematography for Actors
podcast.
More than a podcast,cinematography for Actors is a
vibrant community devoted tobridging the gap between talent
and crew.
Each week, our show offerstransparent, insightful
conversations with industryleaders.
We unveil the magic behind thescenes, from candid discussions
about unique filmmakingprocesses to in-depth technical
exploration.
Join us in unraveling theintricacies of filmmaking, one
(00:58):
episode at a time.
It's more than just cameras andlenses we aim to inspire,
educate and empower as we peelback the curtain on the art of
effective storytelling.
Now on to the episode.
Speaker 3 (01:09):
Hi everyone and welcome back to another episode
of Cinematography for Actorspodcast, one of our shorter
episodes here at Mammoth FilmFestival.
We are joined by our secondguest today, the wonderful and
talented Andrea Steja, who isthe writer, director, producer
and animator of Mushka, which wehad the fortune of seeing for
opening night last night.
Welcome, how are you?
Good Thanks for having me Ofcourse, and I am very excited
(01:31):
because not only did I getemotional with you while you
were on stage last night as wewere talking about Full Circle
which we'll dive into, that ideaof the Full Circle career and
things but I'm a cat lover andit was also just so wonderful to
see the amount of passion overa decade that it took you to put
this film together.
How incredible.
Speaker 1 (01:49):
Yeah, it seems like a crazy amount of time to do one
film for so long, but, as Iexplained yesterday, I mean the
main reason was that our crewremained so small.
I really wasn't able toassemble a large group, which
would have cut the time maybedown to five years.
People were busy, people weredoing their own project, so I
ended up with just being ahandful, having a handful of
(02:09):
people, and therefore it took solong.
But these handful of peoplewere really really good, really
strong.
Speaker 3 (02:14):
I mean it's it just shows how important your
collaborators are and havinggood collaborators who you can
work with, because not only dothey move the story along, but
but it's just wonderful to workwith them through that amount of
time.
Speaker 1 (02:26):
Yeah, and I knew most of them, most of these folks,
from working at Disney.
Speaker 3 (02:30):
Yes.
Speaker 1 (02:31):
I mean at one time or another way back, they worked
with me on Beauty and the Beast,lion King, aladdin, all of
those, and I was luckyespecially to have my background
painter, natalie.
She ended up really paintingalmost 90% of all the
backgrounds and we didn't giveher a lot of indications in
terms of what the backgroundshould look like or what the
color should look like.
We left that up to her.
(02:51):
Oh beautiful so she had a lot offreedom to put her own personal
stamp onto the film, so thelook of the film is very much
Natalie.
Speaker 3 (02:59):
Oh, that's so wonderful, the creative
collaboration that comes intoplay Now.
I was talking to Hayley lastnight and I whispered over to
her because I knew we were goingto be interviewing you today.
Um, uh, we had tanner, you know, introduce you and he had you
sign some dvds because you knowyou have such a wonderful list
of credits to your name atdisney and and kind of worked
there for 30 years and have donesome of the most well-known
villains of all time and thenalso heroes with lilo and um and
(03:22):
and stuff, and so I just wantedto ask you and I told Haley
this how do you start a villain?
What are the keycharacteristics of villain
building?
As an animator, you know what?
Speaker 1 (03:32):
that's a good question and that's an important
thing to think about.
How do I make a villaininteresting?
Because you cannot simply makethem bad.
That's boring If the villainjust slaps people or says bad
things.
They have to be interesting.
There has to be more than justbeing bad.
Certain, maybe they have astrange sense of humor, or they
(03:52):
have a sidekick who they talk to.
You know, or they're arrogant,or you have to really find
within this evilness anindividual personality.
So when you look at my threevillains Gaston, jafar and Scar,
they are kind of different fromeach each other.
Gaston was so pompous,everything was just about
(04:13):
himself, that's it.
He's only into himself.
So that was a nice angle thearrogance of that right and the
vanity.
And then Jafar was just powerhungry.
You know, he would do anythingto be the number one person in
the country, in the world, so tospeak.
So there was that.
And then Scar was specialbecause he was smart.
When you combine evil andintelligence, they become extra
(04:39):
dangerous.
And also with that wonderfulvoice of Jeremy Irons that I had
to work with, where I swearevery sentence that he said,
every line, was just a joy towork with because it was so, so
full of character.
You know he's an actor who canmake even a dialogue that is not
so well written sound amazingbecause he just has a way with
words.
Speaker 3 (05:00):
So he was probably my favorite voice that I ever
worked with and do you havemultiple takes of that voice for
potential ways in which youchange the animation and then
you see what works best basedoff of how the the actor has
done a few different takes of ityes, so of course we have the
actor say certain phrases, oractually all of them, several
(05:21):
times, and even often it's thecase that the actor or the
actress would even saythemselves can I do it like one
more time or two more times?
Speaker 1 (05:30):
I don't think I hit it right on the nose and then we
let them.
Speaker 3 (05:33):
Yeah.
Speaker 1 (05:34):
And so we have options and pretty much in 99.9%
I agree with the directors.
Which take is the strongest one, okay, because it's kind of
obvious, which has the mostjuice and the most personality.
And then they're giving me theaudio and I listen to that quite
a few times, close my eyes andjust imagine with images how I
(05:56):
could illustrate that, how Icould come up with the acting
for this particular line ofdialogue.
Speaker 2 (06:01):
So the process at Disney is you are animating two
dialogue.
Is that the same process youused for Mushka?
Did you have voice actors first?
Speaker 1 (06:08):
Yeah, because I was used to that kind of pipeline
and that way of working.
So we did storyboard the filmfirst.
Storyboard is like a comicstrip, you know, where nothing
is moving yet just still imagesTo set the story.
We did that first, and then wehad the voice actors come in
Tanner, of course, was a part ofthat and and we had the voice
actors come in Tanner, of course, was a part of that and then I
would do the same thing.
(06:28):
I would listen to thatrecording and let that inspire
me on how I would move thecharacter, what expressions I
would use and all of that.
It's funny because most peoplethink it's the other way around.
Right, right that we animate andthen the actor comes in and
does sort of a voiceover.
Speaker 2 (06:41):
An ADR type of situation.
Speaker 1 (06:43):
Yeah, it's not.
Speaker 3 (06:47):
It type of yeah, it's not, it's actually the other
way around.
That's beautiful.
We have some exciting news.
Cfa has teamed up with we makemovies to get you a discount on
production management services,including access to
comprehensive productioninsurance and workers comp for
your next shoot.
Visit we make moviesorg slashinsurance and use code cfa 23 on
your intake form for 10% offyour quote.
Speaker 2 (07:08):
And did you animate?
Because I learned last nightthat at Disney you animate a
character in a film, so everyonekind of gets a character that
they're the actor for, kind of.
Speaker 1 (07:19):
Exactly.
Speaker 2 (07:21):
Did you animate everyone in Mushka or did you
also have a few people taking ondifferent characters?
Speaker 1 (07:27):
It was a little bit different on Mushka, First of
all at Disney, when I would do acharacter like, let's say,
Jafar.
I didn't do every single scenebecause there's so much footage
that I need help.
So for each of the villains Ihad about five other animators
who helped me Great.
Speaker 3 (07:43):
Other project managers supervising.
Speaker 1 (07:44):
And supervising, but I'm also doing most of the
scenes myself, so we're kind ofbusy guys.
We're doing our own footageplus supervising the others, and
then something that comes intoplay is that everybody draws a
little differently.
And that's normal, but in theend it should look like one
character.
So then it's my responsibilityto say, okay, so-and-so, just
did that scene.
(08:05):
But Jafar looks funny in thatthe eyes are too far apart.
Let me redraw that.
Speaker 3 (08:09):
So I have to do that too Now one of the things I
really wanted to ask you was youbrought up that from when you
were 10 and saw the Jungle Book.
It was 10, I think you wantedto be an animator and work at
Disney and they told you.
You sent them an email and youasked them and said how do I
work with you guys?
What should I do?
(08:29):
Where should I go to school?
And they came back and theywere like do all of these things
?
They responded and then theyalso said don't send us Mickey
Mouse.
Please have your own voice,have your own characters, come
with your own talent and yourwork.
What would you, how would youdefine, with Mooshka being your
project outside of Disney andyour own film?
How would you define what yourvoice is as an animator or what
(08:51):
your style is, how you like toanimate and act those characters
out?
Speaker 1 (08:56):
Well, with Mushka I found myself.
I'm still an animator.
I animated most of thosecharacters.
I wasn't able to focus on one.
I had to do Sarah and thegrandmother kind of all of them.
Of course I had help again byothers who helped me to finish
the whole film, but I had tobecome a filmmaker.
So I was involved in story andI was involved in music and
(09:20):
giving notes on music, which I'dnever done.
If you remember, for example,there was one musical note that
I'm responsible for and proud of, at the end of the montage
sequence where we see the littletiger and Sarah growing up, we
see them in bed sleepingtogether, and the tiger turns
over and falls over, and then wecut outside and we see the
shadows of the bad guys comingin.
(09:42):
And I didn't want to end up, interms of music, on a happy note
Da-da coming in and I didn'twant to end up, in terms of
music, on a happy note I saidlet's go.
So it fits the the image ofthese bad guys.
So that was me.
I came up with that.
Speaker 2 (09:57):
Note you know you're a composer, well, I wouldn't go
that far.
Speaker 1 (10:02):
But I just felt like it had to be a sour note.
Speaker 2 (10:04):
Yes.
Speaker 1 (10:05):
So it was just so much fun to get into areas of
filmmaking that I really hadn'tbeen able before.
Speaker 3 (10:09):
Yeah, now please can you talk about for those that
weren't there yesterday orhaven't heard, maybe, previous
interviews where you've talkedabout this.
We talked about how, at 10, youwanted to work at Disney and
you saw the Jungle Book.
And let's talk about yourwonderful composer and sound and
how it became full circle.
Speaker 1 (10:26):
Well, the whole musical journey started with a
gentleman called Richard Sherman.
As I said yesterday, he's halfof the Sherman Brothers and the
Sherman Brothers worked for WaltDisney and they are responsible
for all the Disney music andsongs, not in the films but also
in the theme park.
During the 1960s they actuallywrote that song.
(10:46):
It's a Small World.
Oh, wow that doesn't leave yourhead once you hear it, we're
familiar.
Speaker 2 (10:51):
We'll all be singing it the rest of the day now,
because now it's in your head.
Thank you very much.
Speaker 1 (10:55):
And Richard, he completely gets it and is not
offended when people say thatsong drives me nuts.
But both of these brothers,they had a way of just writing
these memorable, super memorabletunes, you know.
And they did that for MaryPoppins and for the Jungle Book,
the Aristocats.
And so, yeah, richard and Italked we just knew each other
(11:15):
socially a little bit a whileback and he asked me what I was
doing.
I told him the story of thisfilm was going to do and, lo and
behold, he said, said, maybesomebody at this table here who
has a musical background canwrite a song for you.
And I was just are you kiddingrichard?
You know, and uh, and he did,and you know what his family
(11:37):
told me he wrote it that eveningwow, he was so excited he was
just excited about this newproject, this new animated
project, oh my gosh, and.
And.
So we used, of course, his songfor the end credits.
But there's a certain theme,you know, and uh, yeah, full
circle.
You know jungle book, uh, thebare necessities.
(12:10):
I want to be like you.
Yeah, the elephant song.
Speaker 3 (12:12):
You know that that was my childhood, and if you had
told me, hey, little andreas,in about 50 years or whatever,
uh, you're going to be workingwith richard sherman on your own
film, I think I would have hada childhood heart attack it's
such a wonderful moment I can'teven imagine, I think everyone
you know listening to this, andalso every filmmaker has
something that would be that forthem, and I think that's why
(12:35):
it's so wonderful to to continueto grow in this industry and
develop and and really make goodconnections and good
collaborators and and be a goodyou know filmmaker, because, um,
it ends up always coming fullcircle, yeah, when you end up
really, uh, working with one ofyour heroes that you whose work
you and be a good you knowfilmmaker, because it ends up
always coming full circle.
Speaker 1 (12:47):
Yeah, when you end up really working with one of your
heroes that you, whose work yougrew up with.
It just makes it that much morespecial, because Richard
wouldn't have agreed to workwith me if he hadn't liked the
story or the project, and thefact that he did just means the
world to me.
Speaker 3 (13:03):
Yes, Andreas.
Thank you so much for joiningus here with the CFA Podcast
here at Mammoth Film Festival.
We are so excited we got to seeMushka yesterday and are
excited for the world tocontinue to be able to watch it.
Thank you so much.
Speaker 1 (13:13):
Well, thank you so much for having me.
Thank you.
Speaker 3 (13:15):
We'll see you next time.
Speaker 1 (13:16):
Okay, Thanks everyone .
Speaker 4 (13:20):
Bye guys.
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make it easier for otherlisteners to find us.
That was one musical note that I'm responsible for
and proud of.
At the end of the montagesequence where we see the little
tiger and Sarah growing up, wesee them in bed sleeping
together, and the tiger turnsover and falls over, and then we
cut outside and we see theshadows of the bad guys coming
in and I didn't want to end up,in terms of music, on a happy
(00:20):
note.
I said let's go.
Speaker 3 (00:32):
So it fits the image of these bad guys.
So that was me.
Speaker 2 (00:37):
This is the Cinematography for Actors
podcast.
More than a podcast,cinematography for Actors is a
vibrant community devoted tobridging the gap between talent
and crew.
Each week, our show offerstransparent, insightful
conversations with industryleaders.
We unveil the magic behind thescenes, from candid discussions
about unique filmmakingprocesses to in-depth technical
exploration.
Join us in unraveling theintricacies of filmmaking, one
(00:58):
episode at a time.
It's more than just cameras andlenses we aim to inspire,
educate and empower as we peelback the curtain on the art of
effective storytelling.
Now on to the episode.
Speaker 3 (01:09):
Hi everyone and welcome back to another episode
of Cinematography for Actorspodcast, one of our shorter
episodes here at Mammoth FilmFestival.
We are joined by our secondguest today, the wonderful and
talented Andrea Steja, who isthe writer, director, producer
and animator of Mushka, which wehad the fortune of seeing for
opening night last night.
Welcome, how are you?
Good Thanks for having me Ofcourse, and I am very excited
(01:31):
because not only did I getemotional with you while you
were on stage last night as wewere talking about Full Circle
which we'll dive into, that ideaof the Full Circle career and
things but I'm a cat lover andit was also just so wonderful to
see the amount of passion overa decade that it took you to put
this film together.
How incredible.
Speaker 1 (01:49):
Yeah, it seems like a crazy amount of time to do one
film for so long, but, as Iexplained yesterday, I mean the
main reason was that our crewremained so small.
I really wasn't able toassemble a large group, which
would have cut the time maybedown to five years.
People were busy, people weredoing their own project, so I
ended up with just being ahandful, having a handful of
(02:09):
people, and therefore it took solong.
But these handful of peoplewere really really good, really
strong.
Speaker 3 (02:14):
I mean it's it just shows how important your
collaborators are and havinggood collaborators who you can
work with, because not only dothey move the story along, but
but it's just wonderful to workwith them through that amount of
time.
Speaker 1 (02:26):
Yeah, and I knew most of them, most of these folks,
from working at Disney.
Speaker 3 (02:30):
Yes.
Speaker 1 (02:31):
I mean at one time or another way back, they worked
with me on Beauty and the Beast,lion King, aladdin, all of
those, and I was luckyespecially to have my background
painter, natalie.
She ended up really paintingalmost 90% of all the
backgrounds and we didn't giveher a lot of indications in
terms of what the backgroundshould look like or what the
color should look like.
We left that up to her.
(02:51):
Oh beautiful so she had a lot offreedom to put her own personal
stamp onto the film, so thelook of the film is very much
Natalie.
Speaker 3 (02:59):
Oh, that's so wonderful, the creative
collaboration that comes intoplay Now.
I was talking to Hayley lastnight and I whispered over to
her because I knew we were goingto be interviewing you today.
Um, uh, we had tanner, you know, introduce you and he had you
sign some dvds because you knowyou have such a wonderful list
of credits to your name atdisney and and kind of worked
there for 30 years and have donesome of the most well-known
villains of all time and thenalso heroes with lilo and um and
(03:22):
and stuff, and so I just wantedto ask you and I told Haley
this how do you start a villain?
What are the keycharacteristics of villain
building?
As an animator, you know what?
Speaker 1 (03:32):
that's a good question and that's an important
thing to think about.
How do I make a villaininteresting?
Because you cannot simply makethem bad.
That's boring If the villainjust slaps people or says bad
things.
They have to be interesting.
There has to be more than justbeing bad.
Certain, maybe they have astrange sense of humor, or they
(03:52):
have a sidekick who they talk to.
You know, or they're arrogant,or you have to really find
within this evilness anindividual personality.
So when you look at my threevillains Gaston, jafar and Scar,
they are kind of different fromeach each other.
Gaston was so pompous,everything was just about
(04:13):
himself, that's it.
He's only into himself.
So that was a nice angle thearrogance of that right and the
vanity.
And then Jafar was just powerhungry.
You know, he would do anythingto be the number one person in
the country, in the world, so tospeak.
So there was that.
And then Scar was specialbecause he was smart.
When you combine evil andintelligence, they become extra
(04:39):
dangerous.
And also with that wonderfulvoice of Jeremy Irons that I had
to work with, where I swearevery sentence that he said,
every line, was just a joy towork with because it was so, so
full of character.
You know he's an actor who canmake even a dialogue that is not
so well written sound amazingbecause he just has a way with
words.
Speaker 3 (05:00):
So he was probably my favorite voice that I ever
worked with and do you havemultiple takes of that voice for
potential ways in which youchange the animation and then
you see what works best basedoff of how the the actor has
done a few different takes of ityes, so of course we have the
actor say certain phrases, oractually all of them, several
(05:21):
times, and even often it's thecase that the actor or the
actress would even saythemselves can I do it like one
more time or two more times?
Speaker 1 (05:30):
I don't think I hit it right on the nose and then we
let them.
Speaker 3 (05:33):
Yeah.
Speaker 1 (05:34):
And so we have options and pretty much in 99.9%
I agree with the directors.
Which take is the strongest one, okay, because it's kind of
obvious, which has the mostjuice and the most personality.
And then they're giving me theaudio and I listen to that quite
a few times, close my eyes andjust imagine with images how I
(05:56):
could illustrate that, how Icould come up with the acting
for this particular line ofdialogue.
Speaker 2 (06:01):
So the process at Disney is you are animating two
dialogue.
Is that the same process youused for Mushka?
Did you have voice actors first?
Speaker 1 (06:08):
Yeah, because I was used to that kind of pipeline
and that way of working.
So we did storyboard the filmfirst.
Storyboard is like a comicstrip, you know, where nothing
is moving yet just still imagesTo set the story.
We did that first, and then wehad the voice actors come in
Tanner, of course, was a part ofthat and and we had the voice
actors come in Tanner, of course, was a part of that and then I
would do the same thing.
(06:28):
I would listen to thatrecording and let that inspire
me on how I would move thecharacter, what expressions I
would use and all of that.
It's funny because most peoplethink it's the other way around.
Right, right that we animate andthen the actor comes in and
does sort of a voiceover.
Speaker 2 (06:41):
An ADR type of situation.
Speaker 1 (06:43):
Yeah, it's not.
Speaker 3 (06:47):
It type of yeah, it's not, it's actually the other
way around.
That's beautiful.
We have some exciting news.
Cfa has teamed up with we makemovies to get you a discount on
production management services,including access to
comprehensive productioninsurance and workers comp for
your next shoot.
Visit we make moviesorg slashinsurance and use code cfa 23 on
your intake form for 10% offyour quote.
Speaker 2 (07:08):
And did you animate?
Because I learned last nightthat at Disney you animate a
character in a film, so everyonekind of gets a character that
they're the actor for, kind of.
Speaker 1 (07:19):
Exactly.
Speaker 2 (07:21):
Did you animate everyone in Mushka or did you
also have a few people taking ondifferent characters?
Speaker 1 (07:27):
It was a little bit different on Mushka, First of
all at Disney, when I would do acharacter like, let's say,
Jafar.
I didn't do every single scenebecause there's so much footage
that I need help.
So for each of the villains Ihad about five other animators
who helped me Great.
Speaker 3 (07:43):
Other project managers supervising.
Speaker 1 (07:44):
And supervising, but I'm also doing most of the
scenes myself, so we're kind ofbusy guys.
We're doing our own footageplus supervising the others, and
then something that comes intoplay is that everybody draws a
little differently.
And that's normal, but in theend it should look like one
character.
So then it's my responsibilityto say, okay, so-and-so, just
did that scene.
(08:05):
But Jafar looks funny in thatthe eyes are too far apart.
Let me redraw that.
Speaker 3 (08:09):
So I have to do that too Now one of the things I
really wanted to ask you was youbrought up that from when you
were 10 and saw the Jungle Book.
It was 10, I think you wantedto be an animator and work at
Disney and they told you.
You sent them an email and youasked them and said how do I
work with you guys?
What should I do?
(08:29):
Where should I go to school?
And they came back and theywere like do all of these things
?
They responded and then theyalso said don't send us Mickey
Mouse.
Please have your own voice,have your own characters, come
with your own talent and yourwork.
What would you, how would youdefine, with Mooshka being your
project outside of Disney andyour own film?
How would you define what yourvoice is as an animator or what
(08:51):
your style is, how you like toanimate and act those characters
out?
Speaker 1 (08:56):
Well, with Mushka I found myself.
I'm still an animator.
I animated most of thosecharacters.
I wasn't able to focus on one.
I had to do Sarah and thegrandmother kind of all of them.
Of course I had help again byothers who helped me to finish
the whole film, but I had tobecome a filmmaker.
So I was involved in story andI was involved in music and
(09:20):
giving notes on music, which I'dnever done.
If you remember, for example,there was one musical note that
I'm responsible for and proud of, at the end of the montage
sequence where we see the littletiger and Sarah growing up, we
see them in bed sleepingtogether, and the tiger turns
over and falls over, and then wecut outside and we see the
shadows of the bad guys comingin.
(09:42):
And I didn't want to end up, interms of music, on a happy note
Da-da coming in and I didn'twant to end up, in terms of
music, on a happy note I saidlet's go.
So it fits the the image ofthese bad guys.
So that was me.
I came up with that.
Speaker 2 (09:57):
Note you know you're a composer, well, I wouldn't go
that far.
Speaker 1 (10:02):
But I just felt like it had to be a sour note.
Speaker 2 (10:04):
Yes.
Speaker 1 (10:05):
So it was just so much fun to get into areas of
filmmaking that I really hadn'tbeen able before.
Speaker 3 (10:09):
Yeah, now please can you talk about for those that
weren't there yesterday orhaven't heard, maybe, previous
interviews where you've talkedabout this.
We talked about how, at 10, youwanted to work at Disney and
you saw the Jungle Book.
And let's talk about yourwonderful composer and sound and
how it became full circle.
Speaker 1 (10:26):
Well, the whole musical journey started with a
gentleman called Richard Sherman.
As I said yesterday, he's halfof the Sherman Brothers and the
Sherman Brothers worked for WaltDisney and they are responsible
for all the Disney music andsongs, not in the films but also
in the theme park.
During the 1960s they actuallywrote that song.
(10:46):
It's a Small World.
Oh, wow that doesn't leave yourhead once you hear it, we're
familiar.
Speaker 2 (10:51):
We'll all be singing it the rest of the day now,
because now it's in your head.
Thank you very much.
Speaker 1 (10:55):
And Richard, he completely gets it and is not
offended when people say thatsong drives me nuts.
But both of these brothers,they had a way of just writing
these memorable, super memorabletunes, you know.
And they did that for MaryPoppins and for the Jungle Book,
the Aristocats.
And so, yeah, richard and Italked we just knew each other
(11:15):
socially a little bit a whileback and he asked me what I was
doing.
I told him the story of thisfilm was going to do and, lo and
behold, he said, said, maybesomebody at this table here who
has a musical background canwrite a song for you.
And I was just are you kiddingrichard?
You know, and uh, and he did,and you know what his family
(11:37):
told me he wrote it that eveningwow, he was so excited he was
just excited about this newproject, this new animated
project, oh my gosh, and.
And.
So we used, of course, his songfor the end credits.
But there's a certain theme,you know, and uh, yeah, full
circle.
You know jungle book, uh, thebare necessities.
(12:10):
I want to be like you.
Yeah, the elephant song.
Speaker 3 (12:12):
You know that that was my childhood, and if you had
told me, hey, little andreas,in about 50 years or whatever,
uh, you're going to be workingwith richard sherman on your own
film, I think I would have hada childhood heart attack it's
such a wonderful moment I can'teven imagine, I think everyone
you know listening to this, andalso every filmmaker has
something that would be that forthem, and I think that's why
(12:35):
it's so wonderful to to continueto grow in this industry and
develop and and really make goodconnections and good
collaborators and and be a goodyou know filmmaker, because, um,
it ends up always coming fullcircle, yeah, when you end up
really, uh, working with one ofyour heroes that you whose work
you and be a good you knowfilmmaker, because it ends up
always coming full circle.
Speaker 1 (12:47):
Yeah, when you end up really working with one of your
heroes that you, whose work yougrew up with.
It just makes it that much morespecial, because Richard
wouldn't have agreed to workwith me if he hadn't liked the
story or the project, and thefact that he did just means the
world to me.
Speaker 3 (13:03):
Yes, Andreas.
Thank you so much for joiningus here with the CFA Podcast
here at Mammoth Film Festival.
We are so excited we got to seeMushka yesterday and are
excited for the world tocontinue to be able to watch it.
Thank you so much.
Speaker 1 (13:13):
Well, thank you so much for having me.
Thank you.
Speaker 3 (13:15):
We'll see you next time.
Speaker 1 (13:16):
Okay, Thanks everyone .
Speaker 4 (13:20):
Bye guys.
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