Who Framed Roger Rabbit (1988)

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PG

Robert Zemeckis & Richard Williams

Frank Marshall

Robert Watts

Jeffrey Price, Peter S. Seaman & Gary K. Wolf (Novel)

Alan Silvestri

Dean Cundey

Walt Disney Studios

Amblin Entertainment

USA

English

Elstree Studios, Borehamwood, Hertfordshire, England, UK (studio)

Los Angeles, California, USA

Oakland, California, USA

Ren-Mar Studios - 846 N. Cahuenga Blvd., Hollywood, Los Angeles, California, USA (studio)

State Theatre, George Street, Grays, Essex, England, UK (Cinema where Eddie and Roger meet)

Vermont Avenue Tunnel, Griffith Park - 4730 Crystal Springs Drive, Los Angeles, California, USA (Tunnel to Toontown)

Wood Lane Power Station, Shepherd's Bush, London, England, UK (warehouse scene)

Did we miss any?

Roger Rabbit 2 (2012)

The Academy Awards

1989 Won Oscar Best Effects, Sound Effects Editing Charles L. Campbell ,Louis L. Edemann

1989 Won Oscar Best Effects, Visual Effects Ken Ralston, Richard Williams, Ed Jones, George Gibbs

1989 Won Oscar Best Film Editing Arthur Schmidt

1989 Special Achievement Award Richard Williams For animation direction and creation of the cartoon characters.

1989 Nominated Oscar Best Art Direction-Set Decoration Elliot Scott , Peter Howitt

1989 Nominated Oscar Best Cinematography Dean Cundey

1989 Nominated Oscar Best Sound Robert Knudson, John Boyd, Don Digirolamo, Tony Dawe


Academy of Science Fiction, Fantasy & Horror Films, USA

1990 Won Saturn Award Best Director Robert Zemeckis

1990 Won Saturn Award Best Fantasy Film

1990 Won Saturn Award Best Special Effects George Gibbs, Ken Ralston, Richard Williams

1990 Nominated Saturn Award Best Actor Bob Hoskins

1990 Nominated Saturn Award Best Music Alan Silvestri

1990 Nominated Saturn Award Best Supporting Actor Christopher Lloyd

1990 Nominated Saturn Award Best Supporting Actress Joanna Cassidy

1990 Nominated Saturn Award Best Writing Jeffrey Price, Peter S. Seaman


American Cinema Editors

1989 Nominated Eddie Best Edited Feature Film Arthur Schmidt


BAFTA Awards

1989 Won BAFTA Film Award Best Special Effects George Gibbs,Richard Williams,Ken Ralston,Ed Jones

1989 Nominated BAFTA Film Award Best Cinematography Dean Cundey

1989 Nominated BAFTA Film Award Best Editing Arthur Schmidt

1989 Nominated BAFTA Film Award Best Production Design Elliot Scott

1989 Nominated BAFTA Film Award Best Screenplay - Adapted Jeffrey Price Peter S. Seaman


BMI Film & TV Awards

1989 Won BMI Film Music Award Alan Silvestri


British Society of Cinematographers

1988 Nominated Best Cinematography Award Dean Cundey


Chicago Film Critics Association Awards

1989 Won CFCA Award Best Director Robert Zemeckis


César Awards, France

1989 Nominated César Best Foreign Film (Meilleur film étranger) Robert Zemeckis


DVD Exclusive Awards

2003 Nominated DVDX Award Best Menu Design John Ross


David di Donatello Awards

1989 Won David Best Producer - Foreign Film (Migliore Produttore Straniero) Robert Watts Frank Marshall


Directors Guild of America

1989 Nominated DGA Award Outstanding Directorial Achievement in Motion Pictures Robert Zemeckis


Evening Standard British Film Awards

1989 Won Evening Standard British Film Award Best Actor Bob Hoskins Also for The Lonely Passion of Judith Hearne (1987).


Golden Globe Awards

1989 Nominated Golden Globe Best Motion Picture - Comedy/Musical

1989 Nominated Golden Globe Best Performance by an Actor in a Motion Picture - Comedy/Musical Bob Hoskins


Golden Screen, Germany

1989 Won Golden Screen


The Grammy Awards

1989 Nominated Grammy Best Album of Original Instrumental Background Score Written for a Motion Picture or Television Alan Silvestri


Hugo Awards

1989 Won Hugo Best Dramatic Presentation


Kids Choice Awards

1989 Won Kids' Choice Award Favorite Movie


Los Angeles Film Critics Association Awards

1988 Won Special Award Robert Zemeckis


Motion Picture Sound Editors, USA

1989 Won Golden Reel Award Best Sound Editing - ADR


Sant Jordi Awards

1989 Won Audience Award Best Foreign Film (Mejor Película Extranjera) Robert Zemeckis


Venice Film Festival

1988 Won Children and Cinema Award - Special Mention Robert Zemeckis


Writers Guild of America, USA

1989 Nominated WGA Award (Screen) Best Screenplay Based on Material from Another Medium Jeffrey Price, Peter S. Seaman

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The story was based on the Gary K Wolf book, Who Censored Roger Rabbit?, although it was changed a great deal. The plot involves the Toons, stars of cartoons who commute from Toontown, and their interaction with human actors in Hollywood. Roger's honeybunny, Jessica, is photographed with a man who is later murdered, and Roger becomes the prime suspect. Christopher Lloyd as the villainous Judge Doom, plots and schemes against our heroes. It's up to detective Eddie Valiant to set things right for the hapless Roger Rabbit.

Every item is called "Acme" as in the old Chuck Jones “Road Runner” cartoons.

With the film's Laserdisc release, Variety first reported in March 1994 that observers uncovered several scenes of subliminal antics from the animators that featured brief nudity of the Jessica Rabbit character. While undetectable when played at the usual rate of 24 film frames per second, the Laserdisc player allowed the viewer to advance frame-by-frame to uncover these visuals.

Many retailers said that within minutes of the Laserdisc debut, their entire inventory was sold out. The run was fueled by media reports about the controversy, including stories on CNN and various newspapers. A Disney exec responded to Variety that "people need to get a life than to notice stuff like that. We were never aware of it, it was just a stupid gimmick the animators pulled on us and we didn't notice it. At the same time, people also need to develop a sense of humor with these things."

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A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have.

Mommy's going to the beauty parlor, darling, but I'm leaving you with your favorite friend, Roger. He's going to take very, very good care of you, because if he doesn't... he's going back to the science lab.

No! Not my Jessica! Not pattycake! It can't be! It just can't be! Jessica's my wife! It's absolutely impossible! Jessica's the love of my life. The apple of my eye. The cream in my coffee.

Dear Jessica: How do I love thee? Let me count the ways. One one-thousand. Two one-thousand. Three one-thousand. Four one-thousand. Five...?

Submit Quotes

Assistant director visible in reflection in trolley car window as Eddie leaves the studio lot after his first visit to Maroon's office.

When Eddie and Roger escape from the weasels in the bar, they run to the weasel's truck. Roger squeezes through the slot to find Benny and the love letter pops out. You can see a crew member's black gloved hand shove the letter through to Eddie.

In the final fight sequence, when Judge Doom is being blown across the room by the canon spraying acid, the black wires pulling him are clearly visible. This was corrected for the 2004 Vista Series DVD, where the wires are no longer visible.

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The movie is funny, but it's more than funny, it's exhilarating. Reviewed by: Roger Ebert of The Chicago Sun-Times.

A film whose best moments are so novel, so deliriously funny, and so crazily unexpected that they truly must be seen to be believed. Reviewed by: Elvis Mitchell of The New York Times.

While flawlessly delivered, it's overkill--so loud and excessive, it makes our head swim... It's like a sumptous banquet composed entirely of fast food; fills you up but entirely forgettable. Reviewed by: TV Guide.

Parents need to know that some of the nuances of the storyline and much of the film's innuendo-laden humor will go right over children's heads. Several scenes feature cartoon violence including one where characters are thrown into "the dip" (an acid-like concoction that will "erase" toons). A live-action character is shot on screen (no blood), and someone is run over by a steamroller. Also, adult language used by the live-action characters includes "son of a bitch" and "bastard." Silly double entendres proliferate ("I'm not bad, I'm just drawn that way.") and Jessica Rabbit is highly sexualized.

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