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Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Episode Notes**** It's 101 Dalmatians and 6000 spots this week. 1961 brings us our first contemporary film, we're in 50s London that is populated largely but dogs from Connecticut. But at least the cameos show that dogs live forever and none of the ones we loved from Lady and the Tramp were killed in a shelter. Some might very well be in danger from a fur-obsessed lunatic with an excellent theme song though. We love to see a mild mannered king through epic shade, it's very satisfying. Join us to watch the wonder that is all of those spots maintaining their individual integrity, it's sort of like magic.    Next up: The Sword in the Stone (1963)   Email us at latecomers@gmail.com Find Amity @ www.amityarmstrong.com Our Facebook group is here for those who consent: https://www.facebook.com/groups/1754020081574479/

Show Notes A ballet becomes a legitimately beautiful and fun cartoon this week. Briar Rose née Aurora and her crazy "aunts" make it almost all the way to safety before jumping the proverbial gun and simple pettiness cause her temporary downfall in 1959's Sleeping Beauty. Walt is passing on the reins and it's apparent here that there are new voices and artists in the mix. Beautiful princesses, handsome princes, kooky old ladies and a horse with the spindliest legs of all time come together this we+ek. Recommendations: U-571 (Netflix); Death of a Unicorn (HBO Max)   Next up: One Hundred and One Dalmatians (1961)   Email us at latecomers@gmail.com Find Amity @ www.amityarmstrong.com Our Facebook group is here for those who consent: https://www.facebook.com/groups/1754020081574479/

Get 50% off your first order of Sundays at https://sundaysfordogs.com/JONSOLO or use my code JONSOLO at checkout. Thank you Sundays for sponsoring this episode!

This week we are returning to Disney live action remakes with One Hundred and One Dalmatians (1961) and 101 Dalmatians (1996)-----The Movies:One Hundred and One Dalmatians (1961)Directed by Clyde Geronimi, Hamilton Luske & Wolfgang ReithermanWritten by Bill PeetBased on the book by Dodie SmithiMDb Rating: 7.3101 Dalmatians (1996)Directed by Stephen HerekWritten by John HughesBased on the book by Dodie SmithiMDB Rating: 5.8-----Find us on:Discord - https://discord.gg/dxgmcfj552Tumblr - @ItTakesTwoPodInstagram - @ItTakesTwo_podFacebook - @ItTakesTwoPodYoutube - @ittakestwonzBluesky - @ittakestwoOur website - ItTakesTwo.co.nz-----Content Warning: Mentions of animal abuse, animal death, the fur industry

Episode #227 hosts Dave Bossert and Aljon Go remember the career of Joe Hale (June 4, 1925 – January 29, 2025) with an interview they had with him from November 2020. Joe Hale, who spent 35 years as an animator, layout artist, and producer at Disney and received an Oscar nomination for his effects work on the 1979 film The Black Hole. Hale started as an inbetweener on Alice in Wonderland (1951) and worked on such other classics as Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), One Hundred and One Dalmatians (1961), Mary Poppins (1964), The Jungle Book (1967), The Fox and the Hound (1981), Bedknobs and Broomsticks (1971) and Pete's Dragon (1977).*Source The Hollywood Reporter. The duo also chat up the latest entertainment news, streaming content reviews, Disney news, and the latest travel deal.We are now on Patreon! Click this link to support the show -⁠⁠⁠⁠⁠Skull Rock Podcast | Join our crew! | Patreon. ⁠⁠⁠⁠⁠Exciting news, listeners! Skull Rock Podcast is thrilled to announce that we are now on Patreon. Dive deeper into the world of animation, films, and behind-the-scenes stories with your favorite hosts. By supporting us on Patreon, you help keep the magic alive and will be part of our special community. We are developing perks in the days to come! Let's make this journey even more extraordinary with your support!

We're letting the dogs out this week on The Disness as we discuss the original One Hundred and One Dalmatians! Join Jordan, Kaylee, and Smalltown as we break down the film, provide our personal thoughts and insight, we take a look at the cast, and there's a whole lot of gags in between. Don't let the Baha Men down and give us a listen! Follow Us! Instagram: @DisnessPodcast Twitter/X: @TheDisness

This month Don Bluth out-disneys Disney with 1982's atmospheric animated action adventure The Secret of NIMH. Featuring the vocal talents of Elizabeth Hartman, Peter Strauss, Arthur Malet, Dom DeLuise, John Carradine, Derek Jacobi, Hermione Baddeley, Paul Shenar, Shannen Doherty, Wil Wheaton, Ina Fried, and Jodi Hicks This episode features contributions from: (in order of appearance) James Knight (with Tyranna and Ellen) Joe Richter of Hindsightless (podcast) Jason Connerley of Nerd's RPG Variety Cast (podcast & blog) Goblin's Henchman (podcast & blog) & the Umber Bulk Lex Mandrake of Dank Dungeons (YouTube, itch.io, Bandcamp) M. W. Lewis of The Worlds of M. W. Lewis (podcast) Honourable mentions: Sleeping Beauty (1959), One Hundred and One Dalmatians (1961), Robin Hood (1973), The Rescuers (1977), The Fox and the Hound (1981), Dragon's Lair (1983), Space Age (1984), Dragon's Lair II: Time Warp (1991), Banjo the Woodpile Cat (1979) The movie for next month is Ralph Bakshi's Fire & Ice from 1983. See below for details on contacting the show. The episode airs on August 26th, submissions by the 24th, please. "Warning" by Lieren of Updates From the Middle of Nowhere Leave me an audio message via ⁠https://www.speakpipe.com/KeepOffTheBorderlands You can email me at ⁠spencer.freethrall@gmail.com⁠ You can find me in a bunch of other places here ⁠https://freethrall.carrd.co⁠ You can also find me on Discord by searching for freethrall This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit freethrall.substack.com

Only one book is appropriate for episode #101 and that is Dodie Smith's 1956 novel, The Hundred and One Dalmatians. Join Courtney and Emily as they compare the original source material to Disney's 1961 animated feature and 1996 live action film.  Follow Our Reading Journey On Social Media! Official Instagram: @BookoftheMouse Courtney: Instagram @greatguthsby and Goodreads Emily: Instagram @emily_mickde and Goodreads Youtube References: 101 Dalmatians (Pongo & Perdita) | Disney Sing Along Songs (1996) PC Game: 101 Dalmatians Disney's Animated Storybook (1996) Next book: Disneyland on the Mountain: Walt, the Environmentalists, and the Ski Resort that Never Was by Greg Glasgow and Kathryn Mayer  

Stevie, Josh, and Pappy review Disney classic 101 Dalmatians! https://www.patreon.com/spoilerspodcast In a Disney animation classic, Dalmatian Pongo is tired of his bachelor-dog life. He spies lovely Perdita and maneuvers his master, Roger, into meeting Perdita's owner, Anita. The owners fall in love and marry, keeping Pongo and Perdita together too. After Perdita gives birth to a litter of 15 puppies, Anita's old school friend Cruella De Vil wants to buy them all. Roger declines her offer, so Cruella hires the criminal Badun brothers to steal them -- so she can have a fur coat. Release date: January 25, 1961 (USA) Directors: Wolfgang Reitherman, Clyde Geronimi, Hamilton Luske Film series: One Hundred and One Dalmatians Story by: Dodie Smith, Bill Peet Box office: 303 million USD Budget: 4 million USD

Old time radio fans will recognize some of their favorite performers' voices popping up in classic Disney films, and today we'll hear three of those stars in radio mysteries. Before she was Cruella de Vil in One Hundred and One Dalmatians, Betty Lou Gerson was a faded movie star who plans to marry into money in "The Girl Next Door" from The Whistler (originally aired on CBS on August 20, 1947). And years before he menaced Peter Pan as Captain Hook, Hans Conried played Sam Spade's client - a butler whose employers have a house full of secrets - in "The Bouncing Betty Caper" (an AFRS rebroadcast from December 12, 1948). Finally, you can still hear Paul Frees as the "Ghost Host" of the Haunted Mansion, and we'll also enjoy his performance as an eccentric poet in "The Cloak of Kamehameha" from The Adventures of Philip Marlowe (originally aired on CBS on April 23, 1949).

Welcome to Bad Dad Rad Dad, where Kylie and Elliott talk about the movies they watch each week while searching for better cinematic dads. Along the way, they watch a movie they found in a cereal box, give big hoorahs to pro-cat animated films, reflect through quiet cinema on a meaningful day, re-evaluate a film they loved in the naughties, and STOP THE LIGHTS discuss the long road of expectations (for a movie that made them cry a whole heck of a lot). This week's movies are: Johnny Mnemonic (1995), One Hundred and One Dalmatians (1961), Columbus (2017), Obvious Child (2014), and All Of Us Strangers (2023).Watch two beautiful men chat and learn the origin of stop the lights! Watch Charles Melton's Criterion Closet video. Follow along onInstagram: @baddad.raddadLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Dodie Smith was a phenomenally prolific writer who experienced huge success in her lifetime but is now remembered mainly for her much-loved coming of age novel I Capture the Castle, and her bestselling The Hundred and One Dalmatians.  In this quarter's literary podcast, coinciding with the revival of her play Dear Octopus at the National Theatre, Dodie's biographer Valerie Grove joins the Slightly Foxed Editors and new presenter Rosie Goldsmith at the kitchen table to talk about the life and work of ‘little Dodie Smith', who started writing a journal at the age of 8 and continued every day until she was 90.  Dodie grew up among her mother's family – an experience she brilliantly recalled in Look Back with Love. Dodie's uncles loved the theatre and encouraged her passion for the stage, leading her to train as an actor, with limited success. After years of struggle she turned her hand to writing and soon sold her first play, Autumn Crocus, which launched her career. Success followed, along with fur coats, glittering friends, a Rolls-Royce and the arrival of Dodie's first Dalmatian. Then it was off to America where she and her husband spent the Second World War, joining a literary circle that included Christopher Isherwood and Aldous Huxley. Dodie was terribly homesick and longed to return to home, yet it was her exile that produced I Capture the Castle, a novel through which her nostalgia for England permeates. We end with a round-up of New Year reading recommendations, including a recent biography of the poet John Donne, Super-Infinite by Katherine Rundell, and The Last English King by Julian Rathbone, a historical novel set in the years before the Battle of Hastings.  For episode show notes, please see the Slightly Foxed website. Opening music: Preludio from Violin Partita No. 3 in E Major by Bach Hosted by Rosie Goldsmith Produced by Philippa Goodrich

In this episode, we discuss Cruella deVil and all of her origin stories throughout various forms of media. We talk about how other characters viewed and treated her, and how those relationships or lack there of affected her and influenced her actions. Then we dive into how audiences viewed her over the years, depending on the adaptations they grew up with. Lastly we discuss her motivations, and how we think she saw herself in an attempt to, if not redeem her, at least make her more sympathetic. Spoiler Alert for any of the 101 Dalmatian stories really, but especially for the 2021 film, Cruella starring Emma Stone. If you haven't seen it yet, go watch it and come back when you're done. Or be prepared to have the whole thing spoiled! Trigger Warnings: animal cruelty and murder   Follow the podcast: BlueSky and Twitter: @BigRepPod Instagram and TikTok: @BigReputationsPod   Become a Patreon supporter: patreon.com/bigreputationspod   Merch: https://www.redbubble.com/shop/ap/86669619 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Hosts: Kimberly Kunkle and Rebecca L. Salois Logo Design: Samantha Marmolejo Music: Shawn P. Russell Sound Consultant and Mixing: Shawn P. Russell Recording and Editing: Rebecca L. Salois ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Sources: Books: One Hundred and One Dalmatians, by Dodie Smith and Evil Things by Serena Valentino Movies: 101 Dalmatians (1961 and 1996), Cruella (2021) "Was Cruella De Vil Right? 101 Dalmatians Misunderstood Disney Villain," on YouTube "Cruella's Changing Perception: From Spoiled Socialite to Rising Fashion Star," by Sarah Bahr "Does 'Cruella' Redeem Disney's Greatest Villain? And Should It?," by John Boone

woof woof! This week, Maria & Julia sit down with film aficionado Alex Lane to chat about the 1961 classic animated film One Hundred & One Dalmatians! We discuss driving anxieties, the fascinating technological developments behind the film, Walt Disney being a DICK, and we ponder - would dalmatian's even make a good fur coat?enjoy, follow us on instagram @matinee_podcast, and don't forget to rate & review!art by Alex Blackwellmusic by Nick Nausbaum

Brad and Jake tackle, but Brad hasn't seen any movies from 1943, so he recommends the acclaimed The Life & Times of Colonel Blimp. This unconventional epic spanning the Second Boer War and both World Wars was helmed by the Archers (Michael Powell and Emeric Pressburger), and starred Roger Livesey, Anton Walbrook, and Deborah Kerr in knockout performances. Jake, with little in his 1943 arsenal, asked Brad to watch Disney's Saludos Amigos. But since it's more of a tourism ad than it is a movie, Brad took the opportunity to rank all 61 Disney Animated Features released at the time of this recording, from Snow White to Strange World. Other movies mentioned in this episode: Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Fantasia (1940), Dumbo (1941), Bambi (1942), The Three Caballeros (1944), Make Mine Music (1946), Fun and Fancy Free (1947), Melody Time (1948), The Adventures of Ichabod and Mr. Toad (1949), Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), One Hundred and One Dalmatians (1961), The Sword in the Stone (1963), The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), The Many Adventures of Winnie the Pooh (1977), The Rescuers (1977), The Fox and the Hound (1981), The Secret of NIMH (1982), The Black Cauldron (1985), The Great Mouse Detective (1986), Oliver & Company (1988), All Dogs Go to Heaven (1989), The Little Mermaid (1989), The Rescuers Down Under (1990), Rock-a-doodle (1991), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Mulan (1998), Tarzan (1999), Fantasia 2000 (1999), Dinosaur (2000), The Emperor's New Groove (2000), Atlantis: The Lost Empire (2001), Lilo & Stitch (2002), Treasure Planet (2002), Brother Bear (2003),Home on the Range (2004), Chicken Little (2005), Meet the Robinsons (2007), Bolt (2008), The Princess and the Frog (2009), Tangled (2010), Winnie the Pooh (2011), Wreck it Ralph (2012), Frozen (2013), Big Hero Six (2014), Zootopia (2016), Moana (2016), Ralph Breaks the Internet (2018), Frozen II (2019), Raya and the Last Dragon (2021), Encanto (2021), Strange World (2022)

Welcome to the 90s Disney Podcast! Join your hosts AJ, Mike, and Chris Minotti as they dive into the world of Disney's All-Star Resorts. Get ready for a nostalgic journey through the development, design, and experiences at these iconic value-priced accommodations. The Need for Value Remember the first thing that crossed your mind when planning a Disney trip? Cost, right? Discover how the expense of staying on Disney property led to the need for more affordable options, especially as more parks opened. Learn about the shift in guest behavior and Disney's desire to keep tourists within the magic. Developing Value Explore the decision to create the All-Star Resorts and the selection of 246 acres of land at the southern end of Disney property. This unique area, located in Osceola County, was a prime location for the new value-priced hotels. Dive into the details of the development process and the involvement of Architectonica, known for its high-tech modernism. All-Star Sports Take a closer look at the first of the All-Star Resorts to open, All-Star Sports, on April 29, 1994. Learn about the themed sections within the resort and the budget-conscious decisions made to keep prices low. From room sizes to landscaping, discover what made these resorts unique. All-Star Music Explore All-Star Music, with its separate themed "hotels" like Calypso and Broadway. This resort introduced family suites and offered guests a diverse musical experience. Find out how it differed from All-Star Sports and All-Star Movies. All-Star Movies Delve into the announcement of All-Star Movies and its opening on January 15, 1999. Explore the themed sections, including The Mighty Ducks, One Hundred and One Dalmatians, The Love Bug, Fantasia, and Toy Story. What to Expect from a Stay Here Get an overview of what you can expect during your stay at the All-Star Resorts, including dining options, pools, and themed areas within the resorts. Learn about the convenience of bus transportation to the parks and the pros and cons of each resort's location. Refurbs Discover the recent refurbishments of the All-Star Resorts and how they have enhanced the guest experience. From updated rooms to improved amenities, these changes have brought a fresh, modern feel to the resorts. Our Memories of the Resort Join us as we share their personal memories and stories from their stays at the All-Star Resorts, reminiscing about the fun and unique experiences we've had. Where to Find Us Connect with the 90s Disney Podcast and share your own memories and experiences. Reach out to us at ⁠90sdisneypodcast@gmail.com⁠, visit ⁠90sDisney.com⁠ to subscribe to the show on your favorite podcast platform, and connect with us and fellow Disney fans on our social media accounts. Outro Thank you for tuning in to this episode of the 90s Disney Podcast. Stay tuned for more exciting journeys into the world of 90s Disney magic! Links Explore more about Disney's All-Star Resorts and the people behind them: Don C. Robinson on Delivering Disney Architectonica - Disney's All-Star and Pop Century Resorts Jim Korkis - Disney's All-Star Sports Resort TouringPlans - Disney's All-Star Movies Resort eBay - Disney's All-Star Resorts Memorabilia Remember to subscribe and leave us a review on your favorite podcast platform! See you real soon! --- Send in a voice message: https://podcasters.spotify.com/pod/show/90sdisney/message Support this podcast: https://podcasters.spotify.com/pod/show/90sdisney/support

Based on Disney's adaptation of Dodie Smith's "One Hundred and One Dalmatians"

Burny Mattison was the longest-serving employee at the Walt Disney Company before he passed away in February of this year. He spent 70 years at Disney. He started working in the company mailroom when he was 18. Six months later he became an animator and worked on the film Lady and the Tramp. He worked on several other films, including, One Hundred and One Dalmatians, the Rescuers and others.* Mattison illustrates one nuance of the word persevere. The word can mean to remain, to stay in place. That meaning is used in Luke 2:43, “After the Feast was over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it.” (NIV 1984) This root meaning of “staying behind” or staying in place colors the word in many instances. You could say Burny Mattison persevered at Disney. He stayed in place for 70 years. Are you staying in place with your faith in Jesus? 2 Peter 1:5-7 says, “For this very reason, make every effort to add to your faith goodness; and to goodness, knowledge; and to knowledge, self-control; and to self-control, perseverance; and to perseverance, godliness; and to godliness, brotherly kindness; and to brotherly kindness, love.” (NIV 1984) Hang in there. Don't surrender your faith in Jesus. Make every effort to persevere, to remain, to stand your ground, to wait patiently. *Vanessa Serna, "Disney's longest serving employee of 70 YEARS – who started out as a ‘traffic boy' for Walt Disney - dies at age 87: Animator worked on Lady and the Tramp, The Jungle Book and other classics," Daily Mail, last updated February 28, 2023, https://www.dailymail.co.uk/news/article-11800639/Disneys-longest-serving-employee-70-YEARS-dies-age-87-Animator-worked-Lady-Tramp.html How to leave a review: https://www.sparkingfaith.com/rate-and-review/ Visit Elmer Fuller's author website at: https://www.elmerfuller.com/ Bumper music “Landing Place” performed by Mark July, used under license from Shutterstock.

What's up with all these damn dogs?!?Thomas moved from art direction at Disney World, to creating entertaining comic books riffing on conspiracy theories as the Paranoid American.  Check out his stuff here:https://www.paranoidamerican.com/Please subscribe, review, and rate us on all the podcatchers.  And if you're Scrooge McDuck, throw a bob out to Patreon:https://www.patreon.com/podcastiopodcastiusMatt makes lots of music.  Have a listen:https://rovingsagemedia.bandcamp.com/

141 - Mimi Gibson Interview, One Hundred and One Dalmatians (1961), The Monster That Challenged the World, Houseboat, The Children's Hour On this episode, Steven was able to interview the wonderful Mimi Gibson! Ms. Gibson has starred in many movies, besides the one's listed above. She has also written a book about her life called, Working Kid. We also talk about her involvement with A Minor Consideration, a nonprofit group devoted to protecting and advancing the interests of child actors. You can follow Ms. Gibson on her Facebook page. Thanks for listening! Please send feedback to DieCastMoviePodcast@gmail.com or leave us a message on our Facebook page.

Today we're looking at the book that inspired Disney's 101 Dalmatians. ► Want more? » ALL Messed Up Origins: https://bit.ly/MessedUpOrgins » Disney Explained: https://bit.ly/DisneyExplained » ALL Mythology Explained: https://bit.ly/MythologyExplained » Norse Mythology: http://bit.ly/NorseMythologyExplained » Folklore Explained: https://bit.ly/FablesExplained » Astrology: http://bit.ly/AstrologyExplained » Messed Up Murders: https://bit.ly/MurderPlaylist ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ ► Social Media: » Twitter: https://twitter.com/JonSolo » Instagram: https://www.instagram.com/JonSolo » Facebook Fan Page: https://facebook.com/TheRealJonSolo » Official Subreddit: https://www.reddit.com/r/jonsolo ► Join the Official Channel Discord: » https://www.patreon.com/JonSolo ► Send Fan Mail to: » SoloFamMail@gmail.com ► Business: » biz@messeduporigins.com (Business Inquiries ONLY) ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ ▼ Resources ▼ » my favorites: https://messeduporigins.com/books » The One Hundred and One Dalmatians (1956) by Dodie Smith: https://amzn.to/33UW0bH » 10 Things You Probably Didn't Know…: https://ohmy.disney.com/movies/2016/0...

The classic Disney animated films of the 50s and 60s featured some of the great stars of the golden age of radio. Some of the best villains in those pictures were voiced by veterans of Escape, Suspense, Sam Spade, and more. We'll hear a trio of radio mysteries featuring a quartet of Disney actors. First, Hans Conried - Captain Hook of Peter Pan - and Betty Lou Gerson - Cruella de Vil of One Hundred and One Dalmatians - co-star in "The Unfair Lady" from The Adventures of Philip Marlowe (originally aired on CBS on June 4, 1949). Next, Martha Wentworth - Mad Madam Mim from The Sword in the Stone - may be a murderess in "Weak Sister" from The Whistler (originally aired on CBS on October 14, 1946). Finally, Eleanor Audley - who memorably played both the Evil Stepmother in Cinderella and Maleficent in Sleeping Beauty - needs Johnny Dollar's help in "The Doting Dowager Matter" (originally aired on CBS on January 25, 1959).

Part of Your World and The Honore Litter enter the 1960s with the sequel- / spinoff- / smoking-tastic One Hundred and One Dalmatians. Is it The Best in Show, a bit spotty, or have elements of both? Plus, the podcast gets its first ending outtake, Emma reveals one of her first crushes, and, prompted by an email from Ian, both Christian and Emma rank the non-package films they've reviewed for the show thus far!

In this episode, Tory and Grace are joined by Josh Taylor from the YouTube channel Modern Mouse to discuss the Silver Era for the “Brackets of the Ages” series. This episode features the Silver Era (1950-1967) with Cinderella, Alice in Wonderland, Peter Pan, Lady and The Tramp, Sleeping Beauty, One Hundred and One Dalmatians, The Sword in the Stone, and The Jungle Book.Whatchu Watchin?!Grace - Dreamlight Valley (video game)Josh - The Little Mermaid & SplashTory - The Woman KingModern Mouse YouTube channelhttps://www.youtube.com/c/ModernMouseModern Mouse's “Disney Animation's Silver Era Explained”https://youtu.be/gmXkXSwl4-0Modern Mouse's “Disney Animation's Silver Era Explained Part 2”https://youtu.be/KRO-Vthnmp4One Cool ShotLady and the Tramp - “Tramp's illuminated silhouette inside the house”dRUNK dISNEY: Cinderella- Drink for every time someone mentions a slipper or shoe- Drink any time someone is mean to Cinderella- Drink any time a song beginsPlease rate, review and subscribe to Disney Versus on iTunes and Apple Podcasts, Spotify, or Google Podcast. Follow us on Facebook at Facebook.com/DisneyVs, @DisneyVs on Twitter and @DisneyVersusPodcast on Instagram

In 1996 The Walt Disney Company gathered several of Hollywood's most talented filmmakers to create their first live action remake of a classic animated film: One Hundred & One Dalmatians. Did you get tired reading all those words? That's ok, because the movie they made was 101 Dalmatians. We watched this movie. You know those episodes where one of us has a strong feeling about the movie and the other two don't agree? This is one of those…and it's not the usual dynamic. Join your podcast besties as we break the seal on Disney's greatest contribution to civilization - the live action remakes - before we carry on watching their second greatest contribution: a bajillion Tinkerbelle movies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Woof woof! This week, Misha and Tyler look back at 1961's One Hundred and One Dalmatians! Like, Subscribe, Rate, Leave a Review! Email us! muchabuaboutnothing@gmail.comCheck out our website! www.muchabuaboutnothing.comFollow us! @muchabupod on Instagram and TwitterCover Art by Misha. Theme Music: "The Devil's Defiance" by Ritchie Everett. www.epidemicsound.com

To start off this first real episode back, Alex makes the rather bold assumption that we would post this before a full year had passed between episodes (oops) before digging into the company-wide changes and production issues surrounding 101 Dalmatians, including the advent of Xerox animation. Alex also examines the heteronormative attitudes baked into the film, which feeds into a very critical discussion of the film's understanding of economics and class (this devolves into a very long Jane Austen tangent that's all Terra's fault). Alex and our guests delve into what really makes Cruella work as a villain or possibly a feminist icon, which leads Terra and Alex into a debate about the role of women in the movie. Terra is terrible at basic math. Originally recorded October 9th, 2021. Listen to all of Dream A Little Deeper: Season 2 on our Patreon now: patreon.com/talkfilmsociety

"When a litter of Dalmatian puppies are abducted by the minions of Cruella De Vil, the owners must find them before she uses them for a diabolical fashion statement." - IMDBContinuing our look into the Disney Animated Canon, this week's episode focuses on the 1961 classic, One Hundred and One Dalmatians. Does Cruella De Vil top our list of greatest Disney villains? And what is our opinion of Canine Crunchies? Join hosts Ashley and Jason in this episode to find out!Unusual Magic Jewelry:https://www.etsy.com/shop/UnusualMagicJewelry?ref=profile_header

It's a doggone good episode this week as we host another Disney versus battle! In one corner we have the original One Hundred and One Dalmatians (1961) and up against it is the live action prequel/reimagining of Cruella (2021). We all know the general plot for this famous Disney classic; a nasty fashionista named Cruella De Vil has a bunch of Dalmatian puppies kidnapped with the express interest of turning them into a fur coat! Talk about gross, but is that the real story? Maybe. As always, we have to ask: will one of these spotted tales reign supreme at the end of the day? Or is there a reason for why we avoided this franchise as kids? Let's find out together!

This 1961 classic Disney film not only kept the animation department afloat but changed the game in terms of technological development in the industry. Join Kelly, Kate and Laura as they geek out about One Hundred and One Dalmatians!Get behind the scenes content and vote for upcoming episodes on Patreon.Listen and learn more about Fanimated.E-mail: fanimatedpodcast@gmail.comFacebook: Fanimated Podcastinstagram: @fanimatedpodcastTwitter: @FanimatedPYouTube: Fanimated MediaKelly Anderson's instagram: @kanderdrawSupport the show

Watch One Hundred and One Dalmatians (1961) with us! Question of the Week: Do you feel satisfied with Cruella's defeat?   Follow us! adaptationpodcast.com instagram.com/adaptationpodcast facebook.com/AdaptationPodcast twitter.com/AdaptationCast adaptationpodcast.tumblr.com youtube.com/adaptationpodcast

Cruella is a 2021 American crime comedy film based on the character Cruella de Vil from Dodie Smith's 1956 novel The Hundred and One Dalmatians. ======= About the Tracklist The Tracklist is a podcast that explores the powerful relationship between film and music. Published Tuesdays @ 6:30 AM EST. Follow The Tracklist on Instagram @tracklistpodcast Follow Chris Saunders on Instagram @chrissaunders_music Follow Daron Jenkins on Instagram @thedaronjenkins

We interview LISA DAVIS: The voice of Anita in Disney's 1961 classic... One Hundred and One Dalmatians!     Thank you to our EXECUTIVE PRODUCERS of this episode: (Patreon Supporters)  Mike Clemons AlanS86 And our PRODUCERS:  Torrie Garvin Gemma Bright Visit our Patreon page and get some rewards for donating each month: PATREON Check out our CLOTHING LINE: REWIND WEAR Please rate us on iTunes: iTunes Visit our website: www.SaturdayMorningRewind.com Follow us on Twitter: @SaturdayRewind Follow us on Facebook: Facebook Follow us on Instagram: @SaturdayRewind

Kyle and Amanda are talking the 1961 animated movie, One Hundred and One Dalmatians! Plus, a little bit about Murderville and Episode 6 of The Book of Boba Fett.

In this episode, we talk to the voices of Disney classics: Margaret Kerry - Tinkerbell in Peter Pan (1953), Blayne Weaver - Peter Pan in Peter Pan 2: Return to Neverland, House of Mouse, Disneyland Adventures (video game), and Disney Infinity 3.0 (video game), Donnie Dunagan - Young Bambi in Bambi (1942), Peter Behn - Thumper in Bambi (1942), and David Frankham - Sgt. Tibs in One Hundred and One Dalmatians (1961) about Disney memorabilia, voice acting, and Mr. Walt Disney himself. This discussion was moderated by Patty Hawkins and originally aired live on galaxycon.com on December 12th. Head over to check out more FREE livestream Q&As!

The Adaptation Team covers The Hundred and One Dalmatians by Dodie Smith, published in 1956, and you can tell.  Question of the Week: What are your theories about Cruella?   Follow us! adaptationpodcast.com instagram.com/adaptationpodcast facebook.com/AdaptationPodcast twitter.com/AdaptationCast adaptationpodcast.tumblr.com youtube.com/adaptationpodcast

The Hunger Strike – S02/E14 Lynxi WelcomeEpisode synopsis HBOMax Synopsis: Huey organizes a boycott of BET and gets some high-profile help. Will it be enough to bring the world's worst cable network to its knees? We can only hope. Pre Show: It's July! Summer school School schedules J&J vaccine/Delta variant Lockdown Joe Biden Mental health and kids College cost HBCUs Nikole Hannah-Jones A Different World Unboxing of the Dennis Gugin custom Funko Pop! Vinyls! Scheduling interviews Reminder:  https://www.patreon.com/boondockspod Show: BET Media influence Hood culture influence Repackaged Black culture White People Question: From yungmamacycle on TikTok: “Did you grow up with a dad?”Fatherhood Have a “Stupid White People Question” you want to leave us?Email us at Hosts@TheBoondocksPod.comor leave us a voicemail at ‪‪(760) 933-8636‬, that's (760) WE-3-UNDO. Post Show: Next week: The Uncle Ruckus Reality Show Need to see where we are on social media and such?  Come find us!  https://www.theboondockspod.com/links Trivia: There are widespread rumors that this show and a second episode (“The Uncle Ruckus Reality Show”) have been banned from airing in the U.S. due to threatened litigation from BET. However, a Cartoon Network representative stated that BET had not contacted Cartoon Network regarding the episodes. This, however, does not negate the possibility that Viacom, BET's parent company, may have threatened litigation against Sony. Sony Pictures Television, which produces the series, has not issued a statement on the matter. The episodes are said to specifically attack Reggie Hudlin, BET's President of Entertainment, and Debra L. Lee, President and Chief Executive Officer of BET Holdings (parent company of BET.) Lee is portrayed as Deborah Leevil, a parody of the character Dr. Evil from the Austin Powers movies, and Hudlin is portrayed as Wedgie Rudlin, a “culturally insensitive buffoon coasting on his Ivy League education.”Ironically, Hudlin had retained an executive producer credit on The Boondocks, though this is only a contractual obligation; Hudlin has not had any involvement with the show since the first pilot was rejected by Fox. During the episode, the character Deborah Leevil relates the mission of BET within The Boondocks universe, stating:“Our leader Bob Johnson had a dream, a dream that would accomplish what hundreds of years of slavery, Jim Crow and malt liquor could not accomplish – the destruction of black people.” On the DVD release of the second season, McGruder states “I was looking for changes and improvements, and I didn't see any.” referring to BET's programming. He decided to show his frustration using satire in The Boondocks, reasoning “I didn't see them. So I said, OK, it's fair game.” Debra Leevil is a mixed caricature of Dr. Evil from the Austin Powers movie trilogy, along with Cruella de Vil of the One Hundred and One Dalmatians fame. : Elements including music, impulsive slaying of junior executives, and layout of the board room are all reminiscent of the Austin Powers movies, while Leevil's looks strongly mirror the latter character. There are several American culture references in this episode. The documentary Rollo Goodlove makes called “BET: The High Cost of Low Standards” is a parody on the title of an anti-Wal-mart documentary entitled “Wal-Mart: The High Cost of Low Price”. It also references facts found in that documentary. Rollo Goodlove dances to Soulja Boy Tell ‘Em, though not that well and doesn't seem to know all the words. The song that Rollo Goodlove sings during his protest is “Go-Go Gadget Gospel” by Gnarls Barkley. At one point during the episode, a boy gets up from his couch and says “Man fuck BET! I'm gonna read a book!”. This is a reference to the D'Mite satire song titled “Read a Book” which, ironically, gained its popularity by becoming an animated music video on BET. At the end of the show, Huey asks Granddad for advice and says, “What do you do when you can't do nothing, but there's nothing you can do?” Granddad responds by saying, “You do what you can,” which is the same advice Martin Luther King, Jr. gives Huey at the end of Return of the King.  Show Music: Intro:  #Makeachange by K.I.R.K. is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Outro:  Good Times by Audiobinger is licensed under a Attribution-NonCommercial-ShareAlike License. ★ Support this podcast on Patreon ★

Dan & Mike put their money where their mouths are, again, to review Disney's latest live action feature Cruella starring Emma Stone, Emma Thompson,  Joel Fry, Paul Walter Hauser, Emily Beecham and Tipper Seifert-Cleveland.   Released on May 28, 2021, Cruella is directed by Craig Gillespie.  Based on the Dodie Smith novel "One Hundred and One Dalmatians", Cruella is a prequel film telling the origin story of fictional character Cruella de Vil.  While reviewing the film, Dan & Mike continue to debate the value of Disney+ "Premier Access" and whether or not you should pay the price now or wait until its release to all Disney+ subscribers on August 27.For all things Oh Brother, visit their official website at https://ohbpodcast.comand don't forget to subscribe to the Oh Brother podcast on YouTube.Oh Brother theme music: Dave Diaz @RevdrumFind Oh Brother on social mediaInstagramTwitterFacebookOh Brother can be found on all major podcast platforms:Apple PodcastsSpotifyPandoraAmazon MusiciHeartRadioActress Karissa Lee Staples Cinematographer and Producer Johnny Derango

In this episode, we discuss 1961’s One Hundred and One Dalmatians, 1996’s 101 Dalmatians, and 1956’s The Hundred and One Dalmatians. Confused? Don’t be. Mostly we’re here to celebrate the original film’s unique animation, terrific villain, and fascinating obsession with television. Me, Mom & The Mouse is a podcast about the joy of watching cartoons with your family. If you like this episode, please subscribe and join us each Friday as we watch every film in the Disney Animated Canon and talk about how it was made, what it means, and why we love it (or don't.) Music: The Show Must Be Go by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4509-the-show-must-be-go License: http://creativecommons.org/licenses/by/4.0/

Read the transcript of the essay here, with in text citations and works cited: https://www.getrevue.co/profile/ghostofjo/issues/make-mine-movies-one-hundred-and-one-dalmatians-1961-612231 Jo is on Twitter at @ghostofjo

This podcast episode will help you learn how to start taking action in your life to reach your career goals, financial goals or other personal goals; the key is taking the first step! If you prefer video format or longer content either visit the YouTube Channel or website listed below. YouTube Channel: http://bit.ly/3iOIIE0 Website: https://gocheezy.com/ Walt Disney's most famous motto was to “Dream, Believe, Dare, Do.” Disney's most famous quote of “The Best Way To Get Started Is To Quit Talking And Begin Doing” can be applied to many elements of our lives, discussed in this video from Henry Gindt. In the clip below, Henry Gindt of GoCheezy.com talks about one of Walt Disney's most famous quotes and analyzes how we might apply these teachings to our daily lives as we sometimes struggle to take the first step in starting a new business, writing our first book, learning a new skill, traveling to some of the most interesting places in the world, learning a new language, or simply finding the motivation to go to the gym regularly and consistently and discovering new ways to eat healthy by cooking nutritious foods at home and trying some of the best recipes for healthy foods. Separately, you might check out some of the recipes and healthy food tips from GoCheezy here. The top 10 best Disney movies, which you can likely stream on Disney Plus include: Snow White and the Seven Dwarfs (1937) One Hundred and One Dalmatians (1961) Bambi (1942) Sleeping Beauty (1959) Aladdin (1992) The Little Mermaid (1989) Beauty and the Beast (1991) Pinocchio (1940) The Lion King (1994) Lilo & Stitch (2002) YouTube Channel: http://bit.ly/3iOIIE0 Website: https://gocheezy.com/ --- Support this podcast: https://anchor.fm/henry-gindt/support

Almost like the beginning of a Disney movie, this story starts with a boy captivated by animals, but distressed by turbulence in his family. After growing up in Indianapolis during the years following World War I - and attending Arsenal Technical High School and what was then the John Herron Institute of Art - Bill Peet went on to be generally considered the greatest storyboard artist at Disney Studios. Peet is the only artist to have created all of the storyboards for a Disney animated movie; he did that for two classics, One Hundred and One Dalmatians (1961) and The Sword in the Stone (1963). (During the era before computer-generated animation, several storyboard artists typically would create one movie.) During and after his 27 years at the studio - where Peet's relationship with founder Walt Disney was periodically volatile - he wrote and illustrated about 30 children's books sold internationally. Almost all of his books - which include The Wump World (1970) and The Ant and the Elephant (1972) - remain in print today, nearly 20 years after his death in 2002. Peet's books fascinated Ken Avidor as a boy growing up in New York, inspiring him to become a sketch artist and cartoonist. Ken, who now is based in Indianapolis, will be Nelson's guest to share insights about Peet, whose years with Disney included significant work on such beloved films as Pinocchio (1940) and Dumbo (1941) - as well as the early development of The Jungle Book (1967), although a rift with Walt Disney resulted in Peet leaving the studio during production of that animated classic. After the break with Disney, he focused on his children's books, which often were inspired by his Hoosier childhood, including Chester, the Worldly Pig (1978), about a restless hog who runs off from an Indiana farm to join a circus. The books were so successful that Peet often was regarded as on par with his contemporary, the legendary children's author Dr. Seuss. So why isn't Peet better remembered, even in his home state? That's a question Ken Avidor will discuss during our show, along with sharing insights about the themes that reoccur in Peet's work. Cruelty within the animal kingdom - along with the impact of human "progress" on animals - were predominant storylines. Born in the Ohio River town of Grandview, Ind., in 1915, Bill Peet was 3 years old when his family moved to the eastside of Indianapolis. Although family members lived in several houses, Peet wrote in Bill Peet: An Autobiography (1989) that his happiest years were when they lived with his maternal grandmother in what is now called the Emerson Heights neighborhood. That's when Peet's father, whom he described as a continual source of conflict, abandoned the family for 10 years. Also during his youth, Peet explored creeks and woods near his home, sketching wildlife. At Tech High School, Peet wrote, he was failing almost all of his classes until a friend advised him to study art. By then, he had been drawing for several years. His autobiography is filled with sketches depicting scenes from his boyhood, including locomotives at Union Station, race cars at the Indianapolis 500, the visiting circus ("but always the assembly of tent cities, never the circus itself," he noted) and fish in a local creek, including dozens killed by water pollution. At the Indiana State Fair in 1934, Peet's paintings won prizes. After his studies at Herron, Peet was hired during the Great Depression by Disney Studios, where his work on Dumbo - the story of a circus elephant with oversized, floppy ears - impressed Walt Disney. His impact on One Hundred and One Dalmatians was enormous. Although the movie was based on a children's book by English author Dodie Smith, Peet wrote a screenplay that expanded some aspects of the story and dropped others. In addition to doing all of the storyboards, he was deeply involved in character development, including the depiction of Cruella de Vil, the terrifying villain who attempts to steal the Dalmatian puppies for her own nefarious purpose. During his years at Disney, Peet had his first children's book published. Hubert's Hair-Raising Adventure (1959) is about a proud lion whose mane catches fire. Many of the ideas for his books, Peet wrote, derived from bedtime stories that he told his two sons. Peet's wife, Margaret, was a native of Ladoga, Ind.; they met when she was studying art at Herron.

Crystal and Ian take a closer look at film that was a creative crossroads for Disney Animation Studios, the 1961 classic, One Hundred and One Dalmatians. Watch the YouTube version here.★ Support this podcast on Patreon ★

Welcome to the 18th episode of The Castle Vault! In this week's journey exploring the famed Disney Vault through the Disney Plus streaming service, we try to count all the reasons we love ... One Hundred and One Dalmatians! In this episode, we discuss One Hundred and One Dalmatians, and just how wonderful this film is, in every aspect. Despite the lack of representation and love from Disney, we just absolutely adored it. BUt where will it land on The Hierarchy? We also have all of our fun segments that we do weekly, including an incredible World of Color Brain round! All this and more in Episode 18 of the Castle Vault! Stay magical, friends.  Show Rundown Intro Housekeeping! Disney Plus check-in The Castle Vault - One Hundred and One Dalmatians (1961) Talkin' Tie-ins The Hierarchy World of Color ... Brain Five Fun Facts Tough Trivia Time Emails We Recommend!   Want to contact us? Jason: @JasonInquires (Twitter and Instagram) Josh: @TheNoyse (Twitter and Instagram) Show: @TheCastleVault (Twitter and Instagram) Email: TheCastleVault@gmail.com TheCastleVault.com

ORIGINALLY PUBLISHED 02/20/2020 Well ain't this appropriate? It's our 101st episode, so naturally we had to talk about the 1961 Disney animated classic "One Hundred and One Dalmatians." Featuring what may be the best villain of the classic Disney period and the first use of the xerox animation method they would implement for the next 20 years or so, the movie was made during the last stretch of Walt Disney's time. Featuring the voice talents of Rod Taylor, Betty Lou Gerson, Ben Wright and Cate Bauer and directed by Clyde Geronimi, Hamilton Luske, and Wolfgang Reitherman....you know, the big names!

The Next Reel's Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, we're honored to have two guests join us to discuss one of their favorite films – it's the Bancroft Brothers! That's right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney's 1961 classic One Hundred and One Dalmatians.

The Next Reel's Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, we're honored to have two guests join us to discuss one of their favorite films – it's the Bancroft Brothers! That's right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney's 1961 classic One Hundred and One Dalmatians.

The Next Reel's Speakeasy is our ongoing series in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, we're honored to have two guests join us to discuss one of their favorite films – it's the Bancroft Brothers! That's right, twin brothers Tom and Tony Bancroft, both of whom are animators, are here to chat about Disney's 1961 classic One Hundred and One Dalmatians.

Matthew Sweet on Pantomime past to present with writer Jeffrey Richards and actor/director Tony Lidington. Bryony Lavery talks stage writing ahead of her double-Christmas offerings of Treasure Island at the National Theatre in London and The One Hundred and One Dalmatians at Chichester's Festival Theatre. American biologist EO Wilson on the meaning of human existence.