The Alley Cat ( film) | Revolvy
Titled 'The Alley Cat,' Nayan's nocturnal photograph of a leopard walking fourth Indian to have won this coveted award, considered the Oscars of photography. In , I read incidents of leopards being killed in Mumbai. Meet the Staff Helpful Cat Hints .. Brent Tarleton; Buffy; Ally Sheedy; Jenga and Arthur; Stratego and Mastermind . Laila; Geneviere; Suzie; Daisy and Oscar; Nomad; Cricket; Bubbs; Balsam Alder; Harper Adopted, December Sylvester J. Pussycat Sr., usually called Sylvester, is a fictional character, a three- time Academy Award-winning anthropomorphic Tuxedo cat in the Looney.
The entire equipment cost me about Rs 1. Nayan would place cameras in the path of leopards to document their movement and understand their co-existence in urban Mumbai. It took four months to capture this particular winning shot.
How did you get interested in leopards? When I started off, I was a bird photographer. InI read about how a group of women burned down a leopard with kerosene in Uttarakhand.
The women stood around it and were seen rejoicing as the animal was reduced to charcoal. I was very angry and disappointed. I wanted to do something about it. That's how I got interested in leopards.
InI read incidents of leopards being killed in Mumbai. I decided to research, to find out more about what is causing this imbalance and conflict. Tell us about the winning photograph. I have been researching leopards in and around the Aarey Milk Colony in Goregaon, north-west Mumbai since Unlike what most people think, I do not walk behind leopards and chase them to click pictures. It's a scientific and creative process, one that needs a lot of patience, planning and precaution besides execution.
For months, I studied the movements of leopards with the help of tribals and forest officials. I found volunteers who could help me fix my equipment at the right places so I could record their movements. I modified sensors and lighting equipment and waited patiently.
Meet the Wildlife Photographer of the Year
I scanned through multiple video recordings tracking their movement through the night. In fact, I pre-visualised this image almost a year ago. I rejected 1, images before finalising this one. What was your reaction when you won the award? It was a rush of nostalgia. I thought about Frans Lanting, the photographer who made me dream about wildlife and photography and how I'd flipped through those transparencies as an excited young boy. Twenty years later, I am in London to receive the award and there are these leading photographers who I have admired and learned from discussing my work.
One of them was National Geographic photographer Tim Laman. I told him how much I have admired his work and that I could not believe I was standing next to him.
The Alley Cat (1941 film)
I had applied in and as well. InI was one of the finalists, but inI misplaced my transparencies so I could not make it to the next round. So, this award is special in many ways. Is wildlife photography challenging? First is the social challenge of being accepted by your families. Non commercial photographers like me do not look at wildlife as a money making profession.
So, one has to have an alternate first career as financial backup. Besides that, there is always the fear of your equipment getting stolen. Mine was stolen on two occasions and it was an expensive loss. If you are shooting in the wild, one has to be really careful with the equipment. During the process, you are likely to meet people who may not want to get shot on your camera -- they may or may not be involved in something illegal and your assignment may seem like a threat to them.
You also need to convince the forest officials about the credibility and purpose of your research, that you mean no harm. How do you prepare for an assignment? Be it any project, I spend at least two months on research. I survey the place, read about the subject I am planning to shoot, interact with the locals and forest officials, get the desired permissions etc.
Then I read about camera techniques and how I can shoot and deliver the image differently. The cats tell Roquefort to pursue O'Malley and get help.
He does so, whereupon O'Malley races back to the mansion, ordering Roquefort to find Scat Cat and his gang. Edgar places the cats in a trunk which he plans to send to Timbuktu, Africa so they can never come back.
In the end, Edgar is tipped into the trunk, locked inside, and sent to Timbuktu himself. Madame Adelaide's will is rewritten to exclude Edgar and include O'Malley. She starts a charity foundation providing a home for all of Paris' stray cats. The grand opening thereof, to which most of the major characters come, features Scat Cat's band, who perform a reprise of "Everybody Wants to Be a Cat". By New Year'sMcGowan had found several stories including a children's book about a mother cat and her kittens set in New York City.
However, Tytle felt that a London location had added a significant element to One Hundred and One Dalmatians and suggested setting the story of the cats in Paris. Following a rough storyline, the story became about two servants—a butler and a maid—who were in line to inherit a fortune of an eccentric mistress after the pet cats died and focused on their feeble and foolish attempts to eliminate the felines. Boris Karloff and Francoise Rosay were in mind to portray the butler and the distressed Madame.
A subplot centered around a mother cat hiding her kittens to keep them out of danger in a variety of different homes and locales around Paris, France. During the filming of Escapade in FlorenceMcGowan brought him the story that had been written by Tom Rowe, an American writer who was living in Paris.
By Augustthey sent the completed script to Burbank, where it was returned as "rejected" by an unknown executive at the Disney studios. Nevertheless, Tytle brought the script to Walt staying at the Connaught in London.
Disney approved for the draft but recommended additional cuts which were made by February Before filming was to commence Paris, Rowe wrote a letter to Disney addressing his displeasure of the script revisions, in which Tytle responded to Rowe that the changes Walt approved of would be kept. However, by summerthe project was shelved, where Tytle, in a discussion with Walt, recommended to produce The Aristocats as an animated feature.
For that reason, Walt temporarily shelved the project as the animation department was occupied with The Jungle Book.
Meanwhile, director Wolfgang Reitherman learned of the project and suggested it as a follow-up project to Jungle Book. Because of the production delays, Tytle was advised to centralize his efforts on live action projects and was replaced by Winston Hibler. InDisney assigned Ken Anderson to determine whether Aristocats would be suitable for an animated feature.
With occasional guidance from Reitherman, Anderson worked from scratch and simplified the two stories into a story that focused more on the cats. Walt saw the preliminary sketches and approved the project shortly before his death.
After The Jungle Book was completed, Walt and his team began work on Aristocats, which was still on after Walt's death. Hibler was eventually replaced by Reitherman, who would abandon the more emotional story of Duchess's obsession to find adopters befitting of her kittens' talents initially favored by Walt suggesting instead the film be conceived as an adventure comedy in the vein of One Hundred and One Dalmatians. Furthermore, the character Elvirathe maid, who was intended to be voiced by Elsa Lanchester, was removed from the story placing Edgar as the central antagonist in order to better simplify the storyline.
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Casting As with The Jungle Book, the characters were patterned on the personalities of the voice actors. Louis Armstrong was initially reported to voice Scat Cat, but he backed out of the project in for unknown reasons. Well before writing the script, the Coens began with a single idea, of Van Ronk being beaten up outside of Gerde's Folk City in the Village.
The filmmakers employed the image in the opening scenes, then periodically returned to the project over the next couple of years to expand the story using a fictional character. According to the book's co-author, Elijah Waldthe Coens mined the work "for local color and a few scenes".
That concerned us at one point; that's why we threw the cat in.
On the advice of an animal trainer, the Coens put out a casting call for an orange tabby cat, which is sufficiently common that several cats would be available to play one part.
Individual cats were then selected for each scene based on what they were predisposed to do on their own. StudioCanal helped finance it without an American distributor in place.