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Ever wonder what a toon funeral might be like? Then check out these deleted scenes from "Who Shot Roger Rabbit?"

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Ever wonder what a toon funeral might be like? Then check out these deleted scenes from "Who Shot Roger Rabbit?"

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There's a transition in "Who Framed Roger Rabbit" that has always bothered film buffs.

You know the scene that I'm talking about, right? It's that moment about midway through the movie where Eddie Valiant -- after he saws his way out of those handcuffs -- entrusts Roger to his longtime girlfriend, Dolores. Eddie then tells Dolores that he's going back to his office to check on something.

Copyright 1988 Touchstone Pictures / Amblin Productions

But the next thing we see is ... Jessica Rabbit's silhouette as she slips into the office of Valiant & Valiant. Eddie is clearly surprised to see Roger's wife as he steps out of his bathroom, shirtless and damp. And the toon and the detective now begin to banter as ...

Wait a minute ... Judge Doom and his weasels are hot on Roger's trail. It's literally life-or-death time for this Hollywood hare. But Eddie choses this exact moment to go and take a shower. Does that make sense to you?

Well, there's a reason that it doesn't. In Jeffrey Price and Peter S. Seaman's original screenplay for this Robert Zemeckis film, an entire day went by between the time Eddie exited the Terminal Bar & Grill and the moment that Valiant encountered Jessica Rabbit as he stepped out of his office bathroom.

Wanna know what this hardboiled detective was originally supposed to be doing during those missing 24 hours? Well, what follows is an excerpt from Price & Seaman's September 1986 screenplay. Which was then titled "Who Shot Roger Rabbit."

The way that Jeffrey & Peter saw the action playing out ... After Eddie left Roger with Dolores, the detective climbed aboard a Red Car. Which then took him to ...


A Red Car pulls up. Valiant climbs off. He calmly crosses the street and ducks behind the cemetery entranceway as Maroon's Packard ROARS through.

(impressed) Love that Red Car.

As Valiant starts to walk up the hill ... CUT TO:


A hearse, and a line of black limos are parked in the lane. Nearby, Marvin Acne's funeral is inprogress. Clustered around a gravesite are the mourners ... TOONS of every stripe. There's MICKEY MOUSE comforting MINNIE. TOM AND JERRY. HECKLE AND JECKLE. CHIP 'N DALE. Everyone from the famous to the not-so-famous is in attendance. The eulogy is being delivered in a familiar blustery Southern VOICE. It's FOGHORN LEGHORN.

Today we commit the body of brother Acme to the cold, I say cold, cold ground. We shed no tears for we know that Marvin is going to a better place. That high, high, I say that high-larious place up in the sky.

Foghorn Leghorn dramatically points skyward.

(in unison) A-men!


is leaning up against a palm tree on the hill. We have been watching the proceedings from his POV. Now he sees Maroon's car pull up. He moves around to the other side of the tree as Maroon passes and starts wending his way through the crowd.

Foghorn Leghorn nods to the funeral DIRECTOR, a pasty-faced human in a black mourning coat. The Director starts to turn the crank lowering the coffin into the grave.

Give us a sign, brother Herman, that you've arrived ...

Much to the funeral Director's amazement, the crank starts PLINKING out the tune to "POP GOES THE WEASEL". Now the Toon mourners pick up on it and join in.

TOONS: (singing)
Round and round the mulberry bush,
The monkey chased the weasel ...

The crank and SONG start going FASTER AND FASTER.

TOONS: (continuing: singing)
The monkey said it was all in fun POP!
Goes the weasel.

Suddenly half of the lid to Acme's coffin flies open and a harlequin CLOWN BOI-YOI-YOINGS out. The funeral Director faints dead away as the Toon SOBS turn to LAUGHTER. The Toons turn and head away from the grave comforted by a funeral befitting a gag king. They climb into their cars and SCREECH off like the start of the Indy 500.

One mourner is left at the gravesite. Sitting in a chair dabbing at her eyes with a handkerchief is Jessica Rabbit. Maroon walks up behind her.

So ... Trying to pull a fast one on me, huh?

Jessica turns, startled. She stands and faces Maroon.


smiles and leans in. This is the moment he's been waiting for. Now just as the conversation begins, it is drowned out by the NOISE from a LAWN MOWER. Valiant turns to see a GARDENER riding around on a small tractor cutting the grass. Valiant tries to flag him down as he watches Maroon and Jessica having an argument. There's accusatory finger pointing. In pantomime. Maroon gestures into his pocket as if describing the position of Acme's will.

Jessica tries to leave. He grabs her arm. They're screaming at each other but we don't hear a word. Valiant waves frantically for the Gardener to cut the machine. But the Gardener misconstrues it as a friendly greeting and waves back. Valiant turns in time to see Jessica kick Maroon in the groin and stomp off to a red Auburn Speedster. She jumps in and speeds away as Maroon staggers back to his car. The Gardener stops the tractor next to Valiant. He SHUTS OFF THE ENGINE. The cemetery is completely still again.

Somethin' you want, mister?

Not anymore ...


A Steinway piano truck is parked next to the stage door. TWO husky PIANO HOVERS are rolling a baby grand up the ramp to the stage door. They knock on the door. The Gorilla opens it and they muscle the piano inside. After a moment, they reemerge. We FOLLOW them back to the truck where a second baby grand stands ready to be moved.

I don't know about you, but it makes me sick to think of these beautiful pianos gettin' chopped into match sticks every night by those screwy ducks.

Struggling, they push this second piano into the club.


They roll the piano over to the wall and park it next to the first.

MOVER #2: (shakes head)
And they call it entertainment.

As they go out the stage door, MOVE IN on the baby grand.


is lying prone -- using the Steinway as his own Trojan Horse. He lifts the piano lid to climb out. but then HEARS FOOTSTEPS approaching. He lowers the lid again. Now someone starts testing the keys. We see the hammers strike the strings, RUNNING UP THE SCALES until they reach the one under Valiant's nose. The hammer whacks Valiant's nose on the backswing and strikes the string making a terrible SOUR NOTE.

DONALD DUCK (V.0.) (exasperated QUACK)
Phooey! Out of tune again!

Not to worry, Donald. We can fix that with my sledgehammer.

Never mind. Daffy. I've got an axe in my dressing room.

Valiant's eyes widen.


as the VOICES of Daffy and Donald recede. Valiant raises the lid and quickly climbs out. He eases over to Jessica's dressing roon. As he starts to open the door, he HEARS SCUFFLING from inside. Valiant puts his ear to the door. More SCUFFLING. Valiant straightens, then suddenly whips the door open and flicks on the light.


Nobody's there. Perplexed, Valiant closes the door behind him and checks behind the dressing screen. In the closet. No one. He shrugs and starts to search the room. He goes to Jessica's dressing table and rifles the drawers. In her purse he discovers a Toon revolver. He examines it.

Girl's gotta protect herself.

Valiant puts the gun back in the purse and closes the drawer. As he stands, he pauses to consider a Hurrel-like black-and-white photo of Roger Rabbit in a silver deco frame. He's dramatically posed with a cigarette like he was Tyrone Power. Valiant shakes his head and turns from the table. Something catches his eye.


Behind the dressing table, the corner of a piece of blue paper peeks out. Valiant stoops down and fishes it out. lt's a cover for a legal document. "Last Will and Testament -- Marvin Acme."


stands, pleased. He opens the blue folder. But it's empty, Valiant puts it in his inside pocket and turns to go when suddenly an unseen hand flicks the lights off.

Son of a ***...

We can't see anything in the darkness. But we hear the SOUND of A FISTFIGHT. There's the CRASHING of lamps and furniture breaking. Now the door opens for a second as the assailant escapes. Light floods in the room, illuminating Valiant on the floor with a curtain wrapped around his head. As he struggles free the door closes. The room is dark again. Valiant scrambles to the door. When he whips it open, REVEAL the Gorilla framed in the doorway. Valiant is frozen. The gorilla flicks on the light. He smiles wickedly.

And here I tought we had mice.

Valiant tries to make a break for it. WHAM! The Gorilla lays him out cold with a right cross.



As his vision comes INTO FOCUS, Valiant sees the Gorilla, Jessica Rabbit, the Weasel's and Judge Doom are standing over him.

Copyright 1988 Touchstone Pictures / Amblin Productions

... I caught him rummagin' around in here. Then I called you, Judge, on a counta you be da one we pay juice to.

DOOM: (clears throat)
You did the right thing, Bongo.


pull a groggy Valiant upright and plop him in a chair in front of Doom.

Being caught breaking and entering is not very good advertising for a detective. What were you looking for, Mr. Valiant?

Ask her...

Valiant nods toward Jessica, who stands coolly smoking a cigarette.

Last week some heavy breather wanted one of my nylons as a souvenir. Maybe that's what he was after.

Copyright 1988 Touchstone Pictures / Amblin Productions

Look, doll, if I wanted underwear, I woulda broken into Frederick's of Hollywood. I was lookin' for Marvin Acme's will.

Marvin Acme had no will. I should know, the probate is in my court.

He had a will, all right. She took it off Acme the night she and R.K. Maroon knocked him off. Then she set up her loving husband to take the fall.

You, Mr. Valiant, are either drunk or punch drunk. Probably both.

These are bold accusations, Mr. Valiant. I hope you have some proof?

I found the cover the will came in behind the dressing table.

Valiant reaches into his pocket. But the blue envelope is gone.

VALIANT: (continuing)
They must've taken it off me


The other people who were in here lookin' for the will. I woulda caught 'em if Cheetah here hadn't interrupted me.

The Gorilla makes a move for Valiant. Doom stops him.

Copyright 1988 Touchstone Pictures / Amblin Productions

Take it easy, Bongo. We'll handle Mr. Valiant our own way ... downtown.

Downtown? Fine. Get ahold of Santino, I'd be more than glad to talk to him.

Oh, not that downtown. Toontown.

The mention of Toontown has a visible impact on Valiant.

VALIANT: (nervous)
You're not takin' me to downtown Toontown?

Indeed we are. We'll continue the interrogation there.

VALIANT: (very agitated)
I ain't tellin' you nothin'! Get me Santino.

You're a very stubborn man, Mr. Valiant. Very pig-headed. Boys. show Mr. Valiant how we handle pig-headed men at the Toontown station ...

The Weasels drag Valiant out of the room ...

VALIANT: (screaming)
No... you bastards! Leggo of me!


The Toon Control Wagon streaks along with the cat SIREN WAILING. It flashes by then slams on the brakes at the entrance to an eerie tunnel. A sign next to the tunnel says: "Toontown".


The Weasels look over at the bound and gagged Valiant. One of them turns Valiant's head to look at the Toontown sign.

What're you shakin' for? Didn't you have a good time last time you were here?

With a wicked WHEEZE, the driver floors it.

Copyright Touchstone Pictures / Amblin Productions


The wagon disappears into the murky darkness. PAN UP to the night sky.



PAN DOWN to the Tunnel. We can't see into the darkness but we HEAR HOOTING and HOLLERING from within, GUNS going off, FIRECRACKERS EXPLODING, WHIPS CRACKING, all accompanied by the WHEEZING LAUGHTER of the Weasels.

WEASEL #1: (0.S.)
Soo-eey! Soo-eey!

WEASEL #2: (O.S.)
Let him go, boys. I think he's got the message.

After a beat, Valiant comes staggering out of the tunnel. He's got a burlap sack over his head tied around his waist. Behind him, the Weasels emerge holding paint cans and brushes. They watch as he trips and falls by the side of the road. The Weasels GIGGLE victoriously and head back inside.

Valiant lies there for a moment, catching his breath. Then he struggles to free his hands. Finally he rips the sack off his head and sits up.

Copyright !988 Touchstone Pictures / Amblin Productions


We see he's got a huge Toon pig with a goofy grin painted over his head. Valiant pulls and tugs on it, but this is a costume that won't come off. Valiant curses, gets to his feet and stumbles down the road.


Valiant gets in the back of the line of PASSENGERS boarding the Red Car.


steps aboard. The Trolleynan, who we recognize as Earl from the Terminal Bar, does a double-take when he sees the ridiculously silly looking man/Toon.

Here's one for the books ... a Toon wearin' human clothes.

Earl ... it's me, Valiant.

Eddie? Jesus, what happened?

Toon cops worked me over.

Boy, I'll say. They gave you a real Toon-a-roo.

VALIANT: (apprehensively)
What am I, Earl?

Earl breaks the news to Valiant soberly.

You're a pig... a happy-go-lucky pig.


No ...

Does it hurt?

Not much. lt's hard to talk.

Uh, Eddie, do me a favor. Could you sit in the back so you won't cause as much of a commotion.

Valiant tries to pull the brim of his hat down. But it's comically small on the huge head. He makes his way down the aisle past a veritable gauntlet of RAZZING, poking, tripping PASSENGERS. Finally he finds an empty seat in the back as the Red Car starts up,


wearing a baseball cap is sitting a few seats away with his MOTHER. The Kid looks back at Eddie and laughs. He leans over and whispers something to his Mom.

Can I, Mom?

Go ahead, darling.Take your bat.

The Kid takes his baseball bat and approaches Valiant innocently.

Hi, Mr. Pig. If I hit you on the head, will you make me a cuckoo bird?

The Kid starts to take a swing with the bat.

Kid, if you hit me on the head. I'm gonna throw you out this window.

The Kid's eyes widen in terror. This is not a typical Toon response.

KID: (crying)


We hear the SOUND of the SHOWER. Valiant's hand reaches out past the shower curtain and grabs for a bottle. But it's not shampoo. It's turpentine.

Copyright 1988 Touchstone Pictures / Amblin Productions



The water swirling down the drain is tinged with paint of different colors.

Copyright 1988 Touchstone Pictures / Amblin Productions


He scrubs manically until the last of the pig head is gone. He rinses off and he feels around his face. The absence of the Toon mask seems to bring him some relief. He shuts off the shower and slides the shower curtain back.


is leaning up against the door jam, dressed as usual, in a black cocktail dress with elbow length gloves and pearls.

Hello, Mr. Valiant. I rang the doorbell, but I guess you couldn't hear it.

That's because I don't have a doorbell.

Jessica, caught in her lie, flutters her eyelids nervously.

Oh... well, I ... I just had to see you ...

Okay, you've seen me. Now give me a towel.

As she hands him a towel, she stares down at his anatomy.

What's that thing?

Valiant looks down at what she's referring to.

Come on, lady, haven't you ever seen a mole before?

Toons aren't given imperfections.

No? I guess we're not counting lying, stealing and murder.

Copyright 1988 Touchstone Pictures / Amblin Productions

And after that exchange ... This screenplay's story pretty much plays out the way the finished version of "Who Framed Roger Rabbit" does.

Me personally? I have to admit that I find some of the ideas that Price & Seaman included in their script (Which was the third draft of the "Roger Rabbit" screenplay, by the way) to be pretty provocative. The idea that Eddie (once he had that pig head painted onto his body) was asked to sit at the back of the trolley ... Well, if that had remained in the finished film, that would have really nailed home the idea that Toons were second class citizens in Hollywood.

Likewise having Eddie pull back the shower curtain and find Jessica waiting there for him in the bathroom ... Well, it would have been interesting to see what the folks at the MPAA would have made of that whole "What's that thing?" exchange ... Whether they would have really hammered on Disney for daring to include that sort of double entendre in an animated film.

FYI: Several of the sequences featured in this version of the script (To be specific: Valiant & Doom's confrontation scene in Jessica's dressing room, Eddie being chased out of the Toontown tunnel by the weasels as well as his shower with turpentine) actually were shot and fully animated. But due to studio concerns about "Roger Rabbit" 's tone (Many Disney execs felt that this Steven Spielberg co-production was 'way too dark for what was originally supposed to be a family-friendly film) and the movie's length, these scenes were eventually cut out of the picture.

But the good news is ... Those scenes that were cut out of the theatrical release of "Who Framed Roger Rabbit" eventually found their way into the 15th anniversary edition DVD for this film. So if you'd like to see more than just the image captures that I used to illustrate today's article, then I suggest that you pick up a copy of this disc.

Anyway ... That's a look at "Roger Rabbit" could have been like. So what do you folks think? Do you prefer the finished version of the picture, or would you like to have seen some of the excerpted elements from Jeffrey & Peter's screenplay folded into the film.

Your thoughts?

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  • Fantastic article, Jim! Roger Rabbit is my favorite movie, so anything I can find about it is always welcome. I had known about the funeral scene, but had no idea about the red car, the additional Donald and Daffy exchange, or the "What's that thing?" exhange. I could read articles like this forever!
  • Great article!  I've seen the pig face part on the DVD, but I don't remember anything else.  The movie would have been a lot longer if all these extra scenes had been inserted.  That's what DVDs are for, to show things that were taken out.  I think the movie works as it is, but I understand the "bad" transitioning.  I didn't know that it was originally supposed to be called "Who Shot Roger Rabbit"...I don't want Roger getting shot...but he's a toon...can toons die from a gun shot?
  • In the first "Who Shot?" draft, Foggy was supposed to be delivering -Roger's- speech.  (Roger had missed the bullet, and Eddie had to keep him out of sight until the case was over.)
    And yes, it's a pretty LONG set of scenes that don't particularly get us anywhere except back where we started...It's fun to look them up, but there's usually one basic reason why deleted scenes are.
    (And if the delete-transition "bothers" film buffs, it's because they're looking for logic and story continuity in a Robert Zemeckis film.)  :)
  • I'd read elsewhere about the pig-head scene. I'm glad it got cut because it didn't make a whole lot of sense. The toon funeral isn't a bad idea, but didn't really fit well with the film's storyline.

    As for "Roger Rabbit" itself...I read the book it was based on "Who Shot Roger Rabbit?", and the film improved on it enormously IMO, yet...I do wish the style of the film had been less Tex Avery and more Chuck Jones. And I'll never forget, the character who got the biggest laugh during the screening I saw was Droopy (as the elevator boy). After all the frenetic action the audience had so far endured, Droopy's deadpan "What floor, sir?" brought the house down. Also, I didn't care for the dirty trick Bugs played on Eddie Valiant - in Bug's actual toons, he always had a reason to pull a trick on somebody. The arbitrary gag isn't Bug's style and came off as just plain mean. It's one of the mistakes that helped ruin "Back In Action", where Daffy got clobbered over and over again for no reason. In fact, what ALL the writers of follow-up spins on the Looney Tunes franchise (like "Tiny Toons") never understood is that the anvil, brick, pie, whatever, wasn't the gag. It was the *payoff* for the gag. IMO these writers never understood LT or just plain comedy. End of rant.
  • When I was in middle school in Granada Hills, CA some studio folks passed out flyers outside my school to have us come to a screening of Who Framed Roger Rabbit.  It went and was really excited.  The movie wasn't finished as when they get to Toon Town the movie went to black and white and some pencil drawings and it stopped kind of abruptly if I remember right.  I remember the pig head scene because when I saw the movie when it came out I remember thinking about why I never saw the pig head.  I don't remember a funeral scene though, so maybe it was a different cut of the film.  Thanks for the article Jim.  This film doesn't get the attention it deserves.
  • gigglesock said:
    I do wish the style of the film had been less Tex Avery and more Chuck Jones. And I'll never forget, the character who got the biggest laugh during the screening I saw was Droopy (as the elevator boy). After all the frenetic action the audience had so far endured, Droopy's deadpan "What floor, sir?" brought the house down. Also, I didn't care for the dirty trick Bugs played on Eddie Valiant - in Bug's actual toons, he always had a reason to pull a trick on somebody. The arbitrary gag isn't Bug's style and came off as just plain mean. It's one of the mistakes that helped ruin "Back In Action"
    That was my killer complaint against the movie (which, sorry, I hated):
    A "salute to cartoons" made by attention-deficited next-generation baby-boomers who wishfully thought Tex Avery directed every cartoon ever made...Which -is- exactly what ruined "Back in Action"/"Space Jam", not to mention Spielberg's own "Tiny Toons".
    (And I repeat, what real cartoon character from the 30's, 40's or 50's does Roger and his Baby Herman cartoons even vaguely RESEMBLE?--I give up!)

    And if you'd read the book (at least, from before the movie came out), you know that Gary Wolf's original Toons were comic strip characters, and Jessica was Brenda Starr--Which made a heck of a lot more sense than trying to keep her in the story by pretending she was meant to be Tex Avery's Red Hot Riding Hood, which she, um...isn't.
  • Interesting article. I can see why those scenes were cut from the film, especially since they didn't advance the plot very much, but I still want to get that 15th anniversary edition for that toon funeral scene for all of those extra cameos (not to mention that exhange between Daffy and Donald later). I don't own the film myself, so I think it would be a good buy to get the film in its original cut. It's gotta be pretty depressing to not only have to cut completely shot scenes, but also completely animated, inked, and colored sequences.

    I sort of agree with DerekJ and gigglesock about the film in some regards from what I remember of the picture...I don't think it was a total failure, or a bad movie, but I do have to admit that I mainly watch it for the toon cameos, the animation, the universe of toons existing right next to the universe of humans, more so than for the film's mainplot that revolves around Roger, Jessica, Baby Herman, and Valiant (although the characters all do have their moments).

    And speaking of Roger, Jessica, and Baby Herman, I don't they're necessarily there to represent particular characters, but rather certain toon archetypes. Roger the crazy, antic-a-minute loon complete with catch phrases and signature sounds; Jessica the calm, collected, overly sexual damsel with a restricted-by-old-fashioned-society attitude; and Baby Herman sort of represents two archetypes: the innocent and vulnerable infant that gets everyone else into trouble by unwittingly wandering about (at least when he's on the silver screen), and the bizarre way that some toons have voices and attitudes that betray their appearances.
  • Again, Wolf's original book was about comic-strip characters:
    Roger was the generic funny comic-strip animal, Jessica was the soap-opera Brenda Starr, the plot revolved around Roger trying to escape from a shady rights-ownership deal on his strip, and Baby Herman existed in some different form until the filmmakers wanted to "homage" Frank Tashlin's "Brother Brat".
    Which explains why Roger, like Jessica and Herman, is being forced into somebody else's fanboy-homage shoes that don't quite fit, and we don't know what the heck he's supposed to be doing.

    Spielberg, of course, went cuckoo for the cameo idea (and the "equal time" rule to keep piece between Warner and Disney rushes the characters through without time to establish themselves beyond showing up), but even the classic cameos seem to be too Tex-blinded to be who we "remember":
    Never mind the "mean" new-generation Bugs, but Mickey not helpful either?--That's not our Mouse!  >:(
  • I haven't ever read the book that it was based on, but I really enjoyed Roger Rabbit.  I thought it was an interesting, fun, innovative film to watch.  And, also, I was of the age when it came out that I wanted to BE Jessica Rabbit.  I loved her scene in the Ink and Paint club.  However, I do agree that most of the toons do seem to be out of character, if only to enforce Valiant's hatred of toons.  That was the element of the movie that always felt slightly off to me - I didn't have a problem with Roger, Jessica, or Herman because they were "new" characters, so they didn't have to fit any mold.  It was the well-known, loved characters behaving in uncharacteristic ways that seemed strange.  Again, maybe my view is because I never read the book...anyone else really like this movie?
  • Well, part of that sheds some light as to how Eddie suspected R. K. Maroon of killing Marvin Acme.

    Also, there was a slightly different version of the funeral that David Koeing was talking about, but I don't know if it's the same thing.
  • Ahhh, I see your point now, DerekJ. It was rather depressing to see Mickey just let Valiant fall and Bugs act so maliciously. And that "equal time" rule really did make things more complicated than they should have been. And now that I rewatch some the clips on YouTube, I realize that it really is a shame that everything had the spin of just one man's style and that the golden characters such as Mickey, Bugs, Daffy, Donald, etc., were merely there for one or two throw-in/throw-away gags, rather than supporting roles that could've appeared more and advanced the plot. Le sigh.

    I'll be sure to check out the original book, though.

    I just watched that Richard Williams featurette and it's interesting to me that he was told to draw with Disney articulation/skill, the Warner Brothers drawing style, and Tex Avery humor. "One thing that we haven't got in the film is that immensely subtle Disney animation like you have in Bambi. Like you don't have any of that. My goodness, when you have when Bambi's mother dies and Bambi's father says 'your mother can't be with you anymore,' that's HARD. But having a character go 'DAOING!' (gestures with his hands the Tex Avery motion of the eyes popping out of the head), and a strong leap in the air, and fly around the room, that's relatively easy. It doesn't require such good drawing and it doesn't require such good time. What seperates the men from the boys is when you have to do a subtle character."
  • I spent an entire year trying to persuade my friend that "Roger Rabbit" had a very dark sub-plot about segregation (i.e Ink and Paint Club as a sort of Cotton Club; Toontown as a segregated ghetto). Now I'll just show him this article and he can figure it out for himself.
  • "WFRR?" was one of my absolute favorite movies when it came out, and it still ranks up there.

    I don't concentrate on "Well, this character is based on this archetype, and this character isn't acting the way he should act," and so on.  As a viewer now, I view it as a really smart film noir piece- not quite a parody, but almost a goof on the conventions.

    Back when it came out, none of that mattered to me.  I just flat out enjoyed the flick.  I liked Roger Rabbit.  I still have the talking Roger Rabbit plush toy (although the voicebox has become quite faulty, as he basically speaks at double-speed).  I remember watching with great enthusiasm the Mickey's 60th Special, which prominently featured Roger Rabbit.  Sometimes, I wish we could have shows like that, or the MGM Grand Opening that had John Ritter running around the park, or the Muppets go to WDW special rebroadcast on the Disney Channel or something.

    Heck, with Toon Disney and the Disney Channel skewing younger, I would mind seeing a Vault Disney channel pop up, featuring older material that people haven't seen in years (they could even include early Disney Channel stuff in the morning slots).

    Of course, factors like all of the legal issues surrounding the Roger Rabbit character would probably get in the way...
  • Awesome article Jim. :-)

    I knew of the pig-head sequence but have yet to hear of the cemetary scene.  If that was included along with the pig-head, then yes, how Valiant made the connection between Maroon and Acme would've made a bit more sense.  He just says "that's the connection" later in the film revolving around a business deal, but it doesn't explain really how he had even an inkling of such a deal.  Too bad there was no mention of that earlier draft(s) in the Vista release.
  • Anonymouse, several months ago I found an online petition advocating for another Disney Channel that shows classic Disney, both animated and live action. Here's the link:


    I don't know how much good online petitions do against big companies like Disney, but I thought I'd relay you to the link anyway. I signed it myself. :)
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