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"These guys loved what we were doing. They were free to create, to say anything and man, could they animate. Not the slick, boring, perfect stuff, but the "I really feel this scene" kinda stuff. I believe in what I am drawing. I believe in what I am drawing. What adult animation means to me is not tits and ass, but the right to animate any subject or idea you have and let the ratings fall where they may. All I wanted to do was animate the things I thought about and not the dolls they thought about."

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"When I was young, I had a dream - and a rage over Disney’s insistence that nothing worked on the big screen unless it was perfect - redone and reworked until it was flawless. I always thought the difference between my films and the Disney ones was the difference between rock n’ roll and a symphony. I love them both if the music is right. But a lot of spoiled animators claimed that I was ruining every young kid’s life with my rough animation - and that Terry-Toons and I were nothing. I didn’t listen to them, because I always felt that honesty, leaving the pack, telling stories that were part of the director’s personal life and not some merchandiser’s idea - all those things were more important than Disney’s insistence on perfect animation."
Ralph Bakshi

"Some history - Early on, hand drawn was great - Fleischer’s Popeye, Jim Tyer, Freddie Moore, Rod Scribner, Bill Tytla, Johnny Gent... the direct, fresh stuff. But then suddenly, along came “real good animation” with all its complication, and the long painful looks, big shrugs and sighs, batting eyelashes, cutesy pie phony crap until you want to vomit... Overnight, all the old greats were forced to either kill themselves, stay drunk all the time, or quickly fade away. Animation got saddled with a bunch of boring, repetitive, old fashioned, dumb cliches. I am NOT going to tell computer animation to follow that road. Sure, computer animators should look at hand drawn animation to learn. But don’t get down on your knees. Don’t make the same mistakes hand drawn animation made at the end. Study the right stuff. There’s a hell of a lot more to learn from a Fleischer Popeye than there is from some “epic fantasy” like Prince of Egypt."
Ralph Bakshi

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"I wouldn't leave Disney to do Disney."
Ralph Bakshi on the works of Don Bluth

"You could pick a still out of Lady and the Tramp and get the same impression."
Ralph Bakshi on Rev. Wildmon's accusations of his Mighty Mouse snorting cocaine.

"John is so arrogant! He thinks he's me!"
Bakshi on his former employee.

Okay, so let’s talk about this animation. I hate it. It’s really, really, really, really ugly and unpleasant to look at. Ralph Bakshi is one of the most respected animators of all time, you say? Ummmmmmmmmm… nope, don’t care. This is ass. This is pure ass. Utter butt. That’s not to say there aren’t some very striking images in the movie, but that’s not what I’m talking about. I’m talking about the animation, and basically whenever something moves in this thing it looks horrible. Which is a bit of a handicap for a motion picture. Remember in The Thief and the Cobbler review where I mentioned how Richard Williams had absolutely insane standards for his animators and kept firing those that couldn’t make the grade? Honestly, I think Bakshi had the opposite problem. There seems to be almost no discipline being imposed here. Characters go wildly Off-Model, continuity is poor at best…the Rotoscoping can excuse some of that but there is some damn sloppy work going on here.
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