How to do the charlie brown dance move

A Complete Guide to the Dances of A Charlie Brown Christmas

Posted 11 years ago by Tommy Television

I wanted to write something about A Charlie Brown Christmas this year besides a review, something a little more academic. I thought long and hard about something deep and meaningful I could pull from the animated classic, and finally I settled on the awesome dance scene.

I’m sure everyone has imitated at least one of the dances from A Charlie Brown Christmas once in their lives, but I doubt few have mastered them all. Here is your chance.

The Zombie

Who: Shermy
What: A dance reminiscent of a zombie on a treadmill
Requirements: The ability to keep one’s arms aloft for long periods of time.

What Shermy lacked in popularity among the Peanuts clan, he more than made up for in his display of creative dance. He walks in place with arms outstretched and an ever-so-subtle head-bob.

Remember to keep your eyes open while performing The Zombie, because otherwise this dance could easily be confused with The Sleepwalker.

The Flower Child

Who: 3 and 4 (The Twins)
What: An interesting combination of hippie jubilation and traditional Irish Step Dance
Requirements: Strong calves and an even stronger tolerance of dizziness

The twins in A Charlie Brown Christmas are named 3 and 4*, respectively. Along with their odd names they possess an odd style of dance. It looks like the torso of a hippie with the legs and feet of Michael Flatley from Riverdance. That aside, it is an easy enough accomplishment.

One must simply sway from side to side while kicking up the feet in a mesmerizing and headache inducing pattern.

* Source

The Thriller

Who: Frieda
What: A close-but-no-cigar attempt at the classic Michael Jackson move
Requirements: Noodle limbs, large grin, and a purple dress

Frieda is like the many party-goers we often see trying to pull off the iconic move from Michael Jackson’s Thriller. Her enthusiasm is her saving grace. The dance also brings to mind someone pouring water onto a fire from an invisible bucket.

The Marionette

Who: 5
What: A Marionette attempting the Charleston
Requirements: Flexible ankles, and being double jointed is a plus

5 is the big brother of 3 and 4. He also has the distinction of performing what a lot of people refer to as “The Charlie Brown”, a dance that is included in the wedding reception staple The Cha-Cha Slide.

The Armpit

Who: Violet
What: A jerky , sad looking dance involving armpits
Requirements: Bangs

Violet’s dance in A Charlie Brown Christmas looks sad, almost like a unenthusiastic hip-hip-hooray. It also looks like she is checking to make sure she put on her deodorant that morning. Either way, the dance should be easy to pull off if you are too intimidated by the more challenging numbers in this guide. Besides, not everyone’s a natural like Shermy.

The Victory Dance

Who: Linus
What: Yesssss!
Requirements: A Blankie, unbridle enthusiasm, and speed

Linus is usually considered to be the intellectual one of the group, but he lets lose in this scene like he just found out he was getting something awesome for Christmas. I first discovered this dance when I was snooping through my mother’s closet and found the unwrapped box of the Mighty Max Skull Mountain playset.

The Rain Dance

Who: Sally
What: Traditional Native American rain dance
Requirements: Elbow/Knee coordination

Sally’s dance almost looks like a variation on Linus’ Victory Dance. I think, however, she is fascinated with rain dances, and wants to see if they will also work to bring snow (and snow days).

In a nutshell, those are the dances of A Charlie Brown Christmas. Now you can attend your Christmas parties armed with the know-how to burn up the dance floor, Peanuts style. You get bonus points if you wear a Peanuts t-shirt while you do it, just don’t forget to send the embarrassing pictures so I can post them in a follow up article.



Iconic Cartoon Dance Tutorials : Charlie Brown Dance


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Snoopy and the Potbellied Smallie in the Movies Movie Plot Read Online

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Parent Category: Movies
Published: November 15, 2015

While Snoopy and his crew go after his nemesis, his best friend Charlie Brown goes on his own incredible journey to find a home...

Brown, who really liked her, tries to impress the girl, but gets upset because his losing streak will not stop in any way, this will prevent him from ever being noticed. Lucy tells Charlie that he should try to be more confident, Charlie Brown decides to start a series of new tricks in the hope that one of them will make the new girl notice him. His first attempt at a talent contest fails. However, when his sister Sally is also on the verge of failure, Charlie Brown spends all his time on her and then, with the help of Snoopy, saves his sister and her performance. After learning that the red-haired girl loves to dance, Charlie enrolls in a dance school and asks Snoopy to teach him some new moves. As he dances, Charlie Brown begins to receive praise for his dancing style, until he falls and Charlie's flying boot knocks over the fire sprinkler system, which starts pouring water on everyone. All the other dance school students get very angry and blame Charlie for ruining everything.

Charlie Brown is assigned to partner with the Little Red Haired Girl to write a book report together. Charlie is delighted that there is a real chance to be with her, but she goes into quarantine for a week, leaving Charlie Brown to himself to write the report alone. Hoping to impress his crush and his teacher, Charlie Brown writes a paper on War and Peace. In addition, Charlie Brown happens to be the only student who got a perfect score on the Supertest. The rest of the kids congratulate him and his popularity begins to rise. However, when he goes out to accept the medal at the school assembly, he learns that the test papers were accidentally mixed up and that the perfect score actually belongs to Peppermint Patty. Charlie Brown refuses the medal, having lost all of his newfound popularity. Things take a turn for the worse when an accident ruins the report on War and Peace and he has to confess to the Little Red Haired Girl that he screwed up and failed the assignment.

At the end of the school year, Charlie Brown is surprised when the Red Haired Girl chooses him for a correspondence. Linus convinces Charlie Brown that he should tell Redhead how he feels about her before summer begins. Running to her house, he discovers that she is about to leave by bus for summer camp. He tries to chase the bus, but fails to hit it. As he is about to admit defeat, Charlie Brown sees a flying kite falling from a tree. The snake's tail tangles around his waist and swims away with him, quickly throwing Charlie through the bus window. Surprised by the sight of Charlie Brown successfully flying a kite, the other children run after him.

Upon getting on the bus, Charlie Brown finally asks the Little Red Haired Girl why she chose him despite his failures. The Little Red Girl explains that she admires his selflessness and praises him as an honest, caring, and compassionate person. Both promise to write to each other. The rest of the kids catch up with Charlie Brown and crowd around to congratulate him before hoisting him onto their shoulders and rocking him.

Details about the film "Snoopy and the pot-bellied trifle in the movie."


On October 2, 1950, Charles M. Schultz introduced his characters Charlie Brown, Shermy and Patty to the world in short comic strips printed in seven newspapers. This was the beginning of a 50-year journey as an animator that forever changed the world's pop culture and our understanding of humor. Charles Schultz's comic strips became the best of the twentieth century, his characters laid the foundation for an entire industry, and in the face of Charlie Brown, all the "gray mice" finally spoke out loud.
Charlie Brown has a special place in pop culture. He became the only participant in the comic book "THE SMALL POTTIES", which is present in both the first and the last strip - October 2, 1950 and February 13, 2000, respectively (Snoopy did not appear until October 4, 1950).

Charlie Brown has endured all of life's trials and tribulations, including a kite-eating tree, a bad baseball game, or stupid advice from Lucy Van Pelt. His inexhaustible optimism inspired hope, and this made him understandable and close to readers all over the world.

"Charlie Brown is considered the most notorious loser of all time," says Craig Schultz, son of Charles M. Schultz and one of the writers and producers of SNOOPY AND THE SMALL POTTY MOVIES. “But in reality he is a winner because he never gives up. We lose more often than we win, and who, if not Charlie Brown, proves this better than others.

Charles M. Schultz felt the needs of society and created his characters and storylines with subtle humor, sarcasm and soulfulness. In the mid-60s, he came up with the character Peppermint Patty. She is a real tomboy and a great athlete. In the 21st century, this sounds completely normal, but in the 60s, the participation of girls in a boy's team was a revolutionary act. A few years later, at 1968, the first black hero appears in the strips - Franklin, a classmate and member of the Peppermint team Patty and Marcy.

Charles Schultz managed to put the life unfolding around him into the four drawings of the strip. “I always knew that my father was a great observer,” recalls Craig Schultz. No matter where he was or what he was doing, at that moment he had a short comic book ready. He never missed an opportunity to tell a story."

Charles Schultz didn't even realize his unique ability to weave important themes into the drawings of the strip so flawlessly that everything looked completely obvious. “Nevertheless, my father never took advantage of his position. For 50 years, he has never demonstrated a cynical attitude towards the world around him, and this has paid him back a hundredfold. People really care about his characters,” says Craig Schultz.

Thanks to the universal appeal of all the heroes of the SMALL POTTY comic book - Charlie Brown's label of a loser, Linus's soulfulness, Franklin's reasoning, Marcy's introspection, Lucy's irrepressibility, Sally's unsurpassed love for Linus and the many images of Snoopy - the comic and its characters remain relevant even today despite the fact that this year they will celebrate their 65th anniversary.

When the POTTY SMALL project closed in 2000, it had over 350 million readers, and the comic was printed in 2,600 newspapers in 21 countries. A total of 17 89 were published7 strips (15,391 daily issues and 2,506 Sunday comics), each of them drawn and signed by Charles Schultz himself, and the comic was reprinted as part of syndication, constantly increasing the number of its readers.

Charles Schulz's legacy is taking to the big screen this year as his characters return to audiences in SNOOPY AND THE SMALL BELLIES IN MOVIES.


For years, studios wanted to bring POTTY SMALL to the silver screen, but Charles Schulz's family was against it. They changed their attitude when Steve Martino showed interest in the project. What's more, Craig Schultz enjoyed Martineau's work, including his approach to Horton, where the director retained Dr. Suess' signature style.

In 2012, Craig Schultz called Fox Animation co-CEO Ralph Millero and said he had a script co-written with his son Brian and his son's creative partner Cornelius Juliano (the three writers also serve as producers). Ralph Millero immediately handed over the script to Fox Animation Studio President Vanessa Morrison, who immediately set to work. Blue Sky and Fox have done what every big studio dreams of: getting the film rights to the most coveted intellectual property.

Steve Martino's careful approach to heritage made a deep impression on the Schultz family. “We were lucky to have Steve on board,” says Craig Schultz. “Over the years, we have been approached a lot by people saying that they grew up with these comics and they have a great storyline. But to enter the world my father created and understand how he created his strips is very difficult. Steve Martino did it."

Producer Michael J. Travers notes, “Working with members of the Schultz family and crafting a story that captures the authentic spirit of Charles M. Schultz's work was crucial. This film is a true tribute to his legacy."
It's hard to put into words the pressure that Steve Martino felt. “I was thinking about Schroeder and his toy piano. On the day when we were entrusted with these treasures, it seemed to me that a real piano fell on me. Artists literally lined up outside my door!” Adds lead animator Nick Bruno: "For the first time in my life, my father called me and advised me how to shoot a project like this!"

The production team also included one of the most famous cinematographers and multi-talented (and longtime comic book fan) Paul Fig. “I almost passed out when Ralph Millero asked me to take part in this project,” Paul Fig jokes. “It was like I was invited to star in the sequel to Star Wars.


As work on SNOOPY AND THE SMALL POTTY MOVIE began, Steve had a very memorable conversation with Craig Schultz: “Charles M. Schultz left a strong impression on me as a child and future artist, and during one of the first meetings, Craig stopped me and said: "All of my father's friends called him Sparky, and if we want to walk this path together, you should also call him by that name. " It was a great honor for me."

To set the tone for the shoot, Craig Schultz brought artist Tom Everhart to Blue Sky Studios to meet with the filmmakers and artists. Tom Everhart is known for his portrayals of Snoopy, Charlie Brown, and other comic book characters, which are featured in galleries around the world, including the Louvre in Paris, the Los Angeles Museum of Art, the Tokyo Museum of Fine Art, and of course the Charles M. Schultz in Santa Rosa, California, dedicated to the work and legacy of the famous cartoonist.

Describing a thorough study of the work of Charles M. Schultz, Tom Everhart showed clips of strips on screen to show in detail the arrangement of the artist's black ink lines.

“When Tom was dismantling the strip, we saw such details, and it was, in the literal sense of the word, a drawn plot. It was incredible,” says Steve Martino.

“It was a paradigm shift for us,” says production designer Nash Dunnigan. “We realized that now we have a launching pad for defining the image, character style and artistic direction of the film.

Admit it: at least once in your life you drew Snoopy or his booth or the legendary pattern from Charlie Brown's sweater in your school notebook. Or maybe you've been following the heroes of the Sunday comics? “As a kid, I thought I could draw Charlie Brown because it’s so easy,” says Steve Martino. “But when you try to convey the style of Charles M. Schultz, you realize that it is elusive!”


To better capture the uniqueness of the characters, Steve Martino and Michael J. Travers decided to really immerse the crew in the world of comics and began this journey with a visit to the Charles M. Schultz Museum and Research Center.
The museum has thousands of original comic strips, the world's only major collection of this comic strip. It houses hundreds of sketches, book illustrations, personal work, and early drawings by Charles M. Schultz. The research center has a large library containing letters, photographs, interviews, and unique tiny items from the comic strip POTTY.

“Great people work at the Schultz Museum,” says Steve Martino. “They opened their archives for us and treated us very kindly.”

For a deeper insight into Charles M. Schulz's work, artists, animators and other crew members turned to Paige Braddock of Charles M. Schulz Creative Associates. As Creative Director, Paige Braddock is responsible for the look and creative development of all POT-BELLY related products worldwide, as well as editorial direction for publishing initiatives.

“Paige has been a great help,” says Steve Martino. “She is the last artist to work with and learn from Sparky.”

Paige Braddock gave the Blue Sky team great advice that can be summarized in one word: relax. “With Schultz, the line was free and organic. It is impossible to even come close to this quality if you are not able to relax,” says Paige Braddock.

She reassured the artists that they weren't the only ones who had trouble portraying these characters, especially Charlie Brown's head. “When you first start working on a character, it’s almost impossible to immediately capture the likeness, and if there is even the slightest deviation, it’s immediately noticeable,” says Paige Braddock.

Artist Karen Fischer also traveled to Santa Rosa, the first trip of a series of future expeditions. Since childhood, she loved this comic very much and learned a lot during these trips. For example, she says: “The lines that Charlie Brown is drawn with are deceptively simple. It's amazing how much feeling Charles M. Schultz put into those simple, little dots, lines, and swirls. And it's hard to replicate."

To balance the plot, it was decided to include all comic book characters in the film, with the exception of some of the least known to the public.

"It was Steve Martino who suggested pushing the boundaries and bringing in the film everyone's favorite characters, as well as expanding the scope and the main idea of ​​the film," says Craig Schultz.

At its core, SNOOPY AND THE SMALL BELLIES IN THE MOVIES is about the everyday experiences that everyone has to face during their growing up, in school life, dealing with how people perceive each other. “We took that theme and changed the overall tone of the film, which made the main idea of ​​the film more understandable and close to both children and adults,” says Craig Schultz.

Steve Martino and his team made sure that each character in the film was adequately presented to the viewer. The filmmakers were lucky: Charles M. Schultz created a whole group of well-developed characters with clear voices.
"For 50 years, Sparky has been great at showing the world that there's nothing wrong with being sincere about your feelings, worries, and hopes," says Steve Martino. – In each of the characters we see a piece of ourselves, and this makes them so close and understandable. Charles Schultz does not hide the emotions of the characters inside, but releases them, and we stuck to this in our storytelling.

The director continues: “One of the challenges of animation is to create really interesting and deep characters so that when you combine those characters, you can make interesting scenes and a compelling story. Over the years of working on the strips, Sparky has created some really great characters. He wrote about universal and understandable topics voiced by children. They look like adults in child form.”

Steve Martino was most interested in Charlie Brown. “We all have a little bit of Charlie Brown in us,” explains Steve Martino. “The thing about this character is that he always finds himself in such extreme situations that you start to think better about your own abilities. We've all been in this ridiculous situation and failed. Charlie Brown teaches us that no matter what, you can pick up your strength and try again. We really wanted to convey this mood in his image.


Steve Martino entrusted the daunting task of leading the team of animators responsible for creating the film's characters to three experienced Blue Sky artists - Nick Bruno, Scott Carroll and lead animator Jeff Gabor. All of them are passionate admirers of the work of Charles M. Schultz. “We were just wedged into this project,” jokes Scott Carroll.

Together they were responsible for teaching, managing and most importantly maintaining the existing model by a team of 100 animators. Bruno, Carroll and Gabor had to emphasize the clarity, focus and simplicity of the concept and create an animation style that would be new to almost everyone who worked on the film. Each animator who joins the team attended what was known as "Van Pelt University" where they took a short survival course studying the style and work of Charles M. Schultz.
"It's hard to get a lot of information about how characters move from cartoons," notes Jeff Gabor. “When you analyze 15 or 20 images of Snoopy, it is impossible to decipher what happened between the changes in position, so we turned to a TV project for a clue.”

Jeff Gabor is referring to television cartoons produced by Bill Melendez and Lee Mendelsohn. During their time together, the duo produced more than 40 television programs that received three Emmy awards and 20 nominations for this award. In 2015, the Emmy- and Peabody-winning film A Charlie Brown Christmas is celebrating its fiftieth anniversary, and for many, the release of the program will be the official start of the Christmas holidays.

Scott Carroll adds: "It was only through studying the work of Bill Littlejohn that we were able to capture the legendary comic book style in animation."


Recreating the world and characters of a famous comic book using CGI on a big screen is not an easy task, but not for animators. Developing the overall visual image of the film was an interesting challenge for the art department as well. “I was always looking at strips and I wanted to know a little bit more about the world of Charlie Brown,” says Steve Martino. "Sparky always showed only a brief moment - a small fragment of their world."

Production designer Nash Dunnigan and his team have been busy expanding this world.

“Basically our production designer is Sparky,” says Nash Dunnigan. “His original strips provide a lot of information for our visual solution.” The art team studied thousands of strips looking for commonalities in Charles Schulz's work.

Nash Dunnigan really wanted to keep the visual design consistent and avoid stylization. “You can only convey the level of detail in the scenery and environment, and then everything, the contact is lost,” the artist explains. "We didn't want to compete with the film's intentional simplicity."

Nash set up the team to follow the style of Charles Schulz's work in every design. They noted that the strips of the 80s and 90s already have a conventional "background" and "scenery", and this left room for creativity for the filmmakers. “We looked at the strips and saw, for example, only part of a lamp or sofa or the corner of a window,” recalls lead set designer John Townley. “It was more important to convey the nuances of how he [Schultz] painted and his style in general.”

Steve Martino understood that in the artwork he wanted to clearly distinguish between the events that take place in Snoopy's imagination as he takes off into the clouds as a World War I pilot, and events in the "real world".

Scenes at Charlie Brown's house, school, and outdoors are styled in soft background colors so as not to detract from the signature bright and saturated colors used to create the main characters. “Steve wanted us to feel like we were watching a Sunday comic strip while we were at Charlie Brown's house or in the neighborhood,” explains Nash Dunnigan.

For Snoopy's imaginary flights, here the art team wanted to push the boundaries of the color palette. Since Snoopy and his siblings are mostly white, the richer colors needed to accentuate their actions.
One of the most attractive characteristics of comic strips is that their characters are ageless. “We were trying to achieve a style where you can't define a time period, so that our film doesn't have any reference to any time period either – with a few exceptions,” says Nash Dunnigan. "We tried to refrain from using items and ideas not featured in Sparky's strips."

For example, the art team tried to place a TV as a backdrop in Charlie Brown's living room. While studying the strips, the artists noticed a TV set in one of the 70s comics. “We came up with a TV in the style of the time,” recalls Nash, “but decided not to use this image in the film, because we felt that it would immediately place the scene and the film in a certain period. TV is multimedia and certain decades, and we didn’t want to introduce these concepts.”
The filmmakers made one exception: the legendary dial telephone featured in many of Charles Schulz's strips and comics.

The graphic image of the film "Snoopy and small potbelly in the movie" is a tribute to the legacy of Charles M. Schultz. “I immediately fell in love with the film's art direction,” admits producer Paul Fig. “He doesn’t contradict your idea of ​​what the characters in this comic should be, but rather complements it.”


As Snoopy plunges into his fantasy world, we see our beloved beagle transform into his other self, "the world's most famous writer" working on his next great novel. With the help of a trusted Woodstock editor, Snoopy begins his The World's Greatest Tale with the classic line: "The night was dark and stormy..."

how the story unfolds in his fictional world,” explains Steve Martino. A fresh twist in the fate of Charlie Brown is the appearance of a little red-haired girl who settled in the neighborhood and came to their class. Snoopy, like a true friend, follows the development of the novel. Cornelius Juliano notes, "Snoopy's story is filled with love and adventure, set against the backdrop of World War I as an ace pilot sets out to win the heart of the beautiful aviator Fifi in a head-on collision with nemesis the Red Baron."

As a writer and comic book fan, Brown Schultz especially likes this part of the movie. “This scene was an opportunity for me to finally find the answer to a question that has plagued me for years: why is Snoopy constantly chasing the Red Baron.”

For the generations that grew up on the TV programs SMALL POTTY, the voices of Charlie Brown, Lucy, Linus, Sally and the rest of the guys will forever be remembered. The success of the future film largely depended on the right choice of young actors.
Casting director Christian Kaplan organized an active search and, together with the filmmakers, listened to more than 1,000 young talents from all over America. In order to accurately check the beat and rhythm, they auditioned the actors using the text and fragments from the TV programs “THE SMALL BELLY”.

After a long search, Steve Martino found his Charlie Brown in ten-year-old New Yorker Noah Schnapp. “Noah not only has the right voice for Charlie Brown, but also the right temperament,” says Steve Martino. “It allowed us to build on his character and it felt like Charlie Brown was with us.”

Steve Martino stayed up for several nights contemplating choosing a young actor to voice Linus. "I liked the voice of Linus more than others in the original programs" SMALL BELLY, and the candidate for the voice acting of this character was the most difficult to choose, - the director recalls. “Linus has a completely charming natural lisp. It always sounded so natural!” This role was given to eleven-year-old Alex Garfin from New York. “In our story, Linus acts as a true and faithful friend of Charlie Brown,” says Steve Martino, “and just as Noah is similar to Charlie Brown, the character of Alex resembles the image of Linus.”

Lucy was supposed to be played by a real actress, and ten-year-old California native Hadley Miller successfully coped with this task. The only thing that distinguished Hadley from her quick-tempered and accustomed to commanding heroine was character. “Hadley is a sweet and well-mannered girl, and I was worried if she could play the brave and willful Lucy,” says the director. “But all the excitement disappeared as soon as Hadley entered the recording booth.”

“I was struck by how well she did everything,” recalls Steve Martino. Hadley really understood Lucy's character. I said, “Oh, great!” and she immediately turned back into Hadley and in a sweet and polite voice replied, “Thank you. ” She was just incredible."

Although the little red-haired girl has only a few lines in the film, she plays an important role in the plot, because this is Charlie Brown's great love. “We wanted her to have a sincere and pleasant voice,” says the director. – This role was played by ten-year-old Francesca Capaldi, best known for the Disney Channel comedy television series Dog Dot Com.

At the beginning of the recording process, Craig Schultz attended the recording session of Mariel Sheets, who voiced Sally Brown. The girl did not know who Craig Schultz was, and he recalls how during the break she wonderfully recited lines from programs dedicated to Christmas and Halloween. Craig notes that she made a phenomenal impression.

“Children are great to work with because they have incredible imaginations,” says Steve Martino. “Given that they are playing their characters in an empty room, with no costumes or props, they can only rely on our ability to help them visualize the entire scene.

Finding a voice actress for Fifi, whom Snoopy is in love with, was also not easy. Fifi appeared on the program in the 80s and she never spoke, so the filmmakers had to figure out what kind of voice she had. “We wanted something special, not just an actress, because we need to do voice acting,” explains Steve Martino.

As a result, the role of Fifi was voiced by Tony and Emmy Award winner Kristin Chenoweth. She received Tony and Drama Desk awards in 1999 for her portrayal of Sally Brown in You're a Good Guy, Charlie Brown. This fall, Kristin, as a long-time fan of the SMALL BUTTIES comic, will participate in the anniversary TV program dedicated to the 50th anniversary of the cartoon "A Charlie Brown Christmas", where she will perform the legendary song of this program "Christmas Time is Here".

Blue Sky Studios was delighted to meet Christine Chenoweth again as she had already voiced Gaby in their Rio 2 project. Steve Martino says, "Everyone at Blue Sky was delighted to hear that Kristin, with her unique talents, would be in the film, and with her fifteen years of experience with SMALL POTTY, it would be hard to find a better candidate for this role. "


Randy Thom, the two-time Academy Award-winning sound engineer who did all the sound mixing on SNOOPY AND THE SMALL BELLIES IN MOVIES, is no stranger to animation. He has become a legend in sound design and has contributed to over twenty animated films, including all of How to Train Your Dragon and Rio, as well as The Incredibles (Oscar). Randy currently works for Skywalker Sound.

He successfully handles many difficult situations that arise when creating sound design for animation projects. “It's great to be able to work with so many different styles,” says Randy Thom. - In working on the film "Snoopy and a small potbellied movie" I liked Steve Martino's instruction about the need to preserve the original sound of the television project "Small potbellied" the most.

“In addition to using state-of-the-art equipment, we used special technology to age the character of the sound by incorporating distinctive sounds recognizable from the TV project,” continues the sound engineer.

Paying tribute to the classic TV program and the legacy of Charles M. Schultz, Bill Melendez and Lee Mendelsohn, the filmmakers have access to a library of Snoopy voice recordings made by Bill Melendez. “It was important to us to use Bill's voice, so I approached his studio and got most of the recordings he's made over the years,” says Craig Schultz.

Randy Thom used recordings of the voice of Bill Melendez (voicing Snoopy and Woodstock) with great care in the film. “We studied Bill's voice and the recordings he made,” explains Randy Tom. - He recorded various sounds made by himself - a slight growl, whistling, made his voice lower and higher, and then increased the pitch. The result is the voice of a funny little creature. The trick is to create an emotionally expressive language, but a language made up of sounds, not words,
characteristic of either animals or people. This language must necessarily be both amusing and gentle.


SNOOPY AND THE SMALL BUTTIES IN THE MOVIES feature the legendary music of Vince Guaraldi, who wrote the beloved song "Linus and Lucy" from the TV project. “I want to reassure you,” says Steve Martino, “the song “Linus and Lucy” and all the other memorable tunes will be in this film.”

Steve Martino approached longtime POTTY LITTLE project member David Benoit to perform the film's famous title track. To convey the unique voice of Miss Othmar (teacher of the “pot-bellied little thing”) and other voices of adult actors, the filmmakers invited the jazz legend from New Orleans Troy Andrews, known as the “Trombone Shorty”.

Composer Christophe Beck (Frozen, Ant-Man, Pitch Perfect) was responsible for all the musical arrangements.
In one memorable scene, Snoopy teaches Charlie Brown how to dance so he can win over a little red-haired girl. Knowing that a song would be needed for the scene, Steve Martino approached renowned young composer Megan Traynor, Billboard Music Award winner and Grammy nominee, to write an original melody. “Meghan wrote a wonderful song that captures Charlie Brown's upbeat mood as Snoopy teaches him how to dance,” says Steve Martino.

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