Ron Sadoff Tells the Score

JF: Is there anything you wanted to say that didn’t make it to the DVD?

RS: Most of what I would have said and demonstrated on the piano would have centered around “how” specifically Wallace accomplished what he did. There are so many instances where he fleshes out the feeling of a character, or gives us insights into what they are thinking. Through embellishing themes, changing keys and orchestrations, he provided another dimension to the film.

JF: If Oliver Wallace, Milt Franklyn, Scott Bradley and Carl Stalling were in a bar fight, who would win?

RS: If it’s in a bar, then the action is fast-paced, and Stalling has the edge. He’s bobbing and weaving and he’s way out ahead now that he just quoted a series of snippets from ten pieces from well-known tunes. But Bradley and Franklyn are no strangers to this arena and are giving chase. And suddenly, Wallace appears with the bigger orchestra forces because he’s got a huge film budget! Oh no, this is terrible – the bass trombones just crushed the wabbit. Oh the horror – oh, the humanity… It’s Wallace by a nose!