Andreas Deja -- Page 2 of 3


		A Minute with Andreas Deja (Continued from Page 1 )
		AD: Oh that just happened. I started out in 1980. I was put on The Black Cauldron, I did a lot of footage on it, but they didn’t want to put supervising animator credit because people were just so young, so on The Black Cauldron credits it just says “animators,” and depending on how important you were on the film, in that order you were given credit. So I remember being the first name on The Black Cauldron. The next one I worked on was The Great Mouse Detective, but I knew I wasn’t the supervising animator on it, I came on it a little bit late and it had already started and I was given the assignment to reanimate some of the mouse queen scenes that the directors weren’t all that happy with, including the robot queen. When I moved onto Roger Rabbit I was a supervising animator, and I think it ended up there were four supervising animators on Roger Rabbit: myself, Phil Nibbelink, Russell Hall and Simon Wells, and then I came back to LA and The Little Mermaid was starting up and they offered me a role in that one – first to do Prince Eric and then I switched to do Triton. JF: Do you think that was a good thing? AD: Oh, I think King Triton is more fun. He had these temper outbursts and at the same time has this love for his daughter, so there’s some nice emotional range. Prince Eric had some nice acting compared to other Disney princes – but I’d love to do Ursula, of course. JF: How do I get to be where you are now?
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