![]() ![]() By the end of that first four-hour session, Robin was dripping with sweat, completely drained. But he made most of it work, albeit in ways we never anticipated. Going in, I was wary we wouldn’t be able to use a lot of the stuff Robin might come up with because it wouldn’t fit the requirements of the story. At one point, we had to remove the genie’s lead animator, Eric Goldberg, from the recording stage because his uncontrollable laughter was messing up takes. Each take, Robin would add and embellish, so by the 25th (and last) take, the scene had expanded to about 20 minutes long! Robin kept coming up with more and more ideas. The original scene was meant to be about three minutes long. He started out recording the script as written a few times, then took off in a multitude of directions. On the first day of recording we had script pages written in Robin’s improv style and storyboards illustrating some of the visual metamorphosing we were planning. ![]() Robin would be encouraged to improvise to his heart’s content. John Musker and I wrote the original script with the specific idea that Robin would voice the genie and that he would be a visual as well as vocal shape-shifter. Improv in voice acting has been a part of Disney films going all the way back to “Snow White.” But Robin Williams’ Genie was something extraordinary. He shares his memories of working with Robin Williams on the animated blockbuster. Longtime Disney animator Ron Clements co-directed Disney’s 1992 “ Aladdin” alongside John Musker. ![]()
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