Even after his introduction, there are still long stretches where he’s offscreen. Yet Williams’ presence dominates the film to such an extent that it feels like a starring vehicle for the beloved comedian and Academy Award winning actor, even though, when it comes to screen time, it’s undeniably a supporting role. Williams is so synonymous with Aladdin that, re-watching the film, I was shocked to discover that the big blue scene-stealer Williams gave life to doesn’t make his first appearance in his popular form until 35 minutes have elapsed. It’s doubtful anyone but the most dedicated fan would be able to tell you who voiced the title characters in Pinocchio or Cinderella, but in the age of Shrek and Kung Fu Panda, studios now frequently advertise animated films on the basis of the movie stars providing the lead voices. After Aladdin, animated movies became increasingly star-driven. Though the film rode the wave of late 1980s/early 1990s Disney hits like The Little Mermaid and Beauty and The Beast, it also represented a brash new beginning. It’s not too much of a stretch to say that the history of American animation can roughly be divided into pre- Aladdin and post- Aladdin eras. Williams’ presence dominates the film to such an extent that it feels like a starring vehicle. (Photo by Walt Disney Pictures courtesy Everett Collection) Of course, it became one of the most talked about vocal performances of all time, and the neat little gig he’d squeezed into his schedule ended up changing the way American animated films were made and marketed forever. It seems a little ridiculous today to worry that Aladdin might possibly overshadow his more central turn in Toys, since the former went on to become the top-grossing film of 1992 while the latter was an enormous bomb, but Williams didn’t want people to focus on his performance in Aladdin. Generally, actors want to draw as much attention to their work as humanly possible, particularly if they’re an incorrigible ham like the late, lamented Williams was, so this was notable. He didn’t want his name used in advertising or promotion, going so far as to dictate that the Genie character couldn’t take up more than 25 percent of the movie poster. So Williams struck an unusual deal with Disney, who agreed not to market Aladdin as a Robin Williams movie. These films were largely sold on Williams’ name, and he was worried that his vocal turn as a mischievous but gold-hearted genie in Aladdin, for which he was paid the union minimum of $75,000, would overshadow the movies for which he was being compensated handsomely. In December of 1991 he starred in the blockbuster Hook and followed it up with 1992’s heavily hyped, mega-budgeted Toys. Robin Williams was an extraordinarily busy man in the early 1990s. 1 he was feeling dejected because a new musical he was in, "Goddess," had to be postponed until summer at Berkeley Repertory Theatre in California due to the omicron outbreak.(Photo by Walt Disney courtesy Everett Collection) It was a tough time to get a career started, and before he got the opportunity to audition for "Aladdin" Feb. Martin, who graduated from college during the height of the coronavirus pandemic, has performed regionally at Great Lakes Theater in Cleveland and other regional theaters in Illinois, Idaho, Michigan and Massachusetts. All of those things I still take with me in my professional life." Regional work Showing up 15 minutes before rehearsal starts to stretch and warm up. He also credits Weathervane Playhouse for teaching him how to behave in a professional manner at a young age: "Being nice to your dressers. More: Copley High graduate wins Baldwin Wallace scholarship honoring young Broadway pioneer "She really helped shape me into the performer I am today," he said. Martin, who graduated from Baldwin Wallace's musical theater program in 2020, credits Victoria Bussert, who heads the program, as his "guardian angel." "I'm out there bedazzled all out," the actor said.
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