(Note this is one of those posts where I go off topic and go on a different topic that happened at Disney. and this film was being made while The Black Cauldron was in pre production in the late 1970's)
in late November and December there are interesting holiday traditions involving TV and movies.
people sit and with their families and watch their favorite Christmas shows.
(Rudolph, Frosty, Santa Claus is Comin' To Town, The Grinch, Charlie Brown, etc)
Before TV, the tradition was a little different. people used to listen to the radio for their favorite Christmas themed episode of their favorite show or a radio Christmas special.
the story (religious in nature), Charles Tezwell's The Small One. produced for The Kate Smith Show
from Wikipedia (UGH):
https://en.wikipedia.org/wiki/The_Small_One_(album)
"The Small One," one of the most touching of all Christmas stories, was first produced in 1939 on the Kate Smith radio show by Robert Welch, who later became a Paramount producer.[1] It was featured in Bing Crosby’s Philco Radio Time broadcast of December 25, 1946"
Bing Crosby - The Small One - Dec 24, 1946
"and Decca Records soon arranged to make a new recording of it. This took place on March 20, 1947. The album was released on September 2, 1947[2] and in due course it was ordered by more than 1,500 private schools in the USA.[3]
"Crosby researcher Fred Reynolds outlined the story:
This Christmas story is narrated by Crosby when, in Old Mexico at the hour of siesta, he sees the boy Pablo berating a disreputable looking donkey. He explains that what is mistaken for stubbornness in the breed is, in fact, the pride that was brought by one that fulfilled their destiny. He relates how, many years ago, a boy was sent by his father to take an old donkey (the "Small One") to the tanner and obtain a piece of silver for its hide; of how the boy first tried to save the animal by selling it to a new owner at an auction where he was scoffed at and re-buffed; of how, entering the tanner's gate he is stopped by a stranger asking if he will sell the donkey to him as he has to undertake a long journey and his wife is not well; of how, when the new owner is stopped at the town gate by a soldier and asked his identity, replies that he is Joseph, his wife is Mary and that they are on their way to Bethlehem. There, in a stable, a King was born and the Small One was envied for becoming part of a great miracle.
Bing tells the charming story with conviction and he is well supported by the other actors and the background effects and music provided by Victor Young with a "Silent Night, Holy Night" conclusion. The "hoofbeats" effects (the same notes that the angels sang in their rejoicing) are adroitly interpolated.[4]"
https://archive.org/details/78_the-small-one_bing-crosby-charles-tazewell-victor-young-robert-welch_gbia0020200
"Crosby repeated The Small One on his Philco shows of December 24, 1947 and December 22, 1948.[5]"
in 1947. The Small One was published as a book.
from wikipedia (Again?)
https://en.wikipedia.org/wiki/The_Small_One
"By the early 1970s, several of Disney's senior animators had died or retired, but the continuous success of their animated features convinced studio executives that the animation department was still lucrative but in desperate need for new talent.[1] Veteran animator Eric Larson was selected to head the training program, in which he selected and trained graduates from colleges and art schools across the United States.[2] Eventually, twenty-five new artists were hired from 1970 to 1977.[3]
The idea for The Small One originated from story trainee Pete Young who found the book among optioned properties at the studio library. He developed the initial storyboards at home, and pitched it to Ron Miller who claimed it to be a story with "heart". To help polish the storyboard, Miller brought on veteran Disney storyboard artist Vance Gerry to collaborate with Young.[4][3] Larson had assumed he would be directing the film and brought Burny Mattinson to help re-board the story, as well as veteran animator Cliff Nordberg to help assist on the animation.
According to Mattinson, the team left on Friday for the weekend, and returned on Monday to have their work tossed out because studio management had decided to give the project to Don Bluth to direct.[1] Then-animator Betsy Baytos claimed Larson, in reaction to the news, "just shook his head and knew that he wasn't being appreciated. He felt the old days were gone."
In retrospect, Bluth stated, "Small One was something I directed to get the crew busy until Pete's Dragon...[Larson] might have [been involved] in the storyboard area. [But he] didn't get to direction. I think he elected to [teach]."[3] Given the allotted production budget, Bluth composed two songs himself with a third song composed by assistant director Richard Rich,[4] and recycled animation of Mowgli from The Jungle Book.[5]"
From Don Bluth and Gary Goldman's Blog
dragonslairthemovie.com/working-on-disneys-the-small-one/
There were 127 artists, camera operators and administrators involved in the making of this film, many of whom were not credited.
In those days, as a new animator, you had to have created at least 100 feet of animation in a film (about 68 seconds) in order to receive a credit on the film. If your employed position was below the level of a character animator, a layout artist, background artist, effects animator or a department supervisor, you would not receive a credit on a film. How times have changed.
Eric Larson, a legendary member of Disney’s “Nine Old Men” was a master animator and the mentor to many of us animation trainees. He had nurtured the promising story artist, Pete Young’s idea to bring the Charles Tazewell book, The Small One, to life as an animated short film. Working with veteran storyman, Vance Gerry, and with Eric’s guidance, Pete was able to flesh out the storyboards for the 30 minute short.
Eric ushered the project into production with the intention of producing the little film and having his long-time animation assistant, story artist and animator, Burny Mattinson to direct the animation. However, the studio’s animation producer/director, Woolie Reitherman had begun nurturing Don Bluth to be the next animation feature-film producer/director.
Unbeknownst to Eric, Woolie announced to the crew that Don Bluth would be the Producer/director for The Small One. This caused much concern to Don and to the young turks in the Disney animation training program.
The trainee’s mentor, whom they had expected to produce the film and would have continued to tutor them on the film as well, would not be the producer of the film. There was a bit of anger and an effort to quash this decision by approaching the-then company chairman, Ron Miller. They made a plea to have Mr. Miller approach Woolie to reverse the decision. That did not happen. Don became the new producer/director.
Don, on the other hand, was surprised by Woolie’s decision to cast him in this position so soon after his debut as the Director of animation for Pete’s Dragon (1977). And, worst of all, the announcement was made without notifying Eric. But that was Woolie’s plan, to see if Don could stand the heat and handle the adversity. Don was very aware that Eric was involved with Pete Young’s presentation and that he had been mentoring Pete on this project for months. The challenge would be difficult.
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