History TroubledProduction / WesternAnimation

4th Nov '17 8:01:11 AM ClintEastwood
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* The pilot episode of ''WesternAnimation/TheSimpsons'', "Some Enchanted Evening" went so badly wrong that it nearly killed the show before it even began. The big problem was that the key members of the production team didn't appear to be talking to each other. Creator/MattGroening and Creator/JamesLBrooks imagined a show with unique designs and color schemes, but characters who were animated in a realistic way. Animation director Kent Butterworth (and apparently the people at Klasky-Csupo) on the other hand thought it should be animated in a whacked-out, over the top style with little regard paid to keeping the characters on model. And nobody appeared to have told the Korean animators anything at all, meaning they were let loose on the episode with wildly inconsistent results. The end product, while sometimes defended by animation enthusiasts as how the show ''should'' have been animated, wasn't what the producers or Fox wanted at all, and the plug nearly got pulled on the series. Fortunately the second episode, "Bart the Genius" did fit what the producers were looking for, and so they reshuffled the episode order and kicked off the series with "Simpsons Roasting on an Open Fire," while "Some Enchanted Evening" got substantially re-animated and booted to the end of the season.

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* The pilot episode of ''WesternAnimation/TheSimpsons'', "Some "[[Recap/TheSimpsonsS1E13SomeEnchantedEvening Some Enchanted Evening" Evening]]" went so badly wrong that it nearly killed the show before it even began. The big problem was that the key members of the production team didn't appear to be talking to each other. Creator/MattGroening and Creator/JamesLBrooks imagined a show with unique designs and color schemes, but characters who were animated in a realistic way. Animation director Kent Butterworth (and apparently the people at Klasky-Csupo) on the other hand thought it should be animated in a whacked-out, over the top style with little regard paid to keeping the characters on model. And nobody appeared to have told the Korean animators anything at all, meaning they were let loose on the episode with wildly inconsistent results. The end product, while sometimes defended by animation enthusiasts as how the show ''should'' have been animated, wasn't what the producers or Fox wanted at all, and the plug nearly got pulled on the series. Fortunately the second episode, "Bart "[[Recap/TheSimpsonsS1E2BartTheGenius Bart the Genius" Genius]]" did fit what the producers were looking for, and so they reshuffled the episode order and kicked off the series with "Simpsons Roasting on an Open Fire," while "Some Enchanted Evening" got substantially re-animated and booted to the end of the season.
3rd Nov '17 6:57:12 PM MrMediaGuy2
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* ''[[WesternAnimation/TheJetsons Jetsons: The Movie]]'' had a bad production thanks to both George O'Hanlon and Mel Blanc dying before they could finish recording their lines (with O'Hanlon dying immediately after recording his lines in the booth due to a second stroke. If that wasn't enough, recording for George took a lot of work due to O'Hanlon having a hard time reading the script due to his first stroke, causing the voice director to make him repeat what he says), causing Jeff Bergman to have to finish for them, and severe ExecutiveMeddling by Universal such as replacing Janet Waldo with pop singer Tiffany as the voice of Judy Jetson, and by making it a musical due to their growing popularity in the late 80's. All of this caused the film to bomb at the box office, and kill off ''The Jetsons'' series.
3rd Nov '17 6:55:01 PM MrMediaGuy2
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->"I've worked on 15 feature films and every one of them was a disaster at some point or another. Some stay stuck in the disaster zone and never recover, others turn out to be classics (but may have still been in the disaster zone almost to the end of production)."
-->--Disney animator David T. Nethery



* The film version of ''WesternAnimation/AstroBoy'' managed to go through no less than three different directors, several different writers and a budget that spiraled out of control due to constant production delays. The bottom fell out when the film's production company went bankrupt a few months before opening. The final product manages to show the chaotic production with its unevenness and lack of direction in terms of plot.
* ''Bands on the Run'', a movie based on Silly Bandz, was by all accounts a nightmare to make according to Jared Norby (the art director) who explained the film's production via [[https://www.youtube.com/watch?v=OTITDiZP1Pk&pbjreload=10 an email]] to [[WebVideo/RebelTaxi Pan Pizza]].
** The team behind the movie, Elastic Productions, composed of a crew barely out of college, knew what they were making was garbage, but only did it so that they can [[IWasYoungAndNeededTheMoney get some work]]. The executives behind the movieís concept wanted to make something to cash in on the Silly Bandz fad by making a micro budget direct-to-DVD movie before the fad was over. While most animated movies have a production time of three years, Bands only had eight months. Norby was the entire art department, who was in charge of character designs, storyboarding, and animatics, all within two months.
** When the storyboards were sent overseas for a cheap Chinese animation company to animate, what they got was a product that had way worse animation than the final product, with ugly character designs, animation, and copyrighted texture photos lifted straight from Google Images (including a piece of unlicensed [[VideoGame/{{Pikmin}} Pikmin 2]] concept art). The animation company were also very lazy too; there was supposed to be a scene with a homeless person in a dumpster who was going to play with the titular Bands, but wasnít given any clothes, so he ended up being cut from the plot, and was left in as an unintentionally creepy-looking, inanimate, [[ArsonMurderAndJaywalking naked]] corpse.
** With four months left to go before the deadline, the team had to scramble to save the film by making it look at least presentable. The team had to build their own render farms, taught themselves how to animate CGI, and pull all-nighters in order to fix what they could. What certainly didnít help was that half of the animation files where in Mandarin.
** The movie ended up being both the first and [[CreatorKiller last film]] to come from Elastic Productions, as they shut down immediately after. The movie ended up selling poorly thanks to coming out in 2011, right after Silly Bandz vanished from the market and were forgotten about.
* Creator/{{Disney}} and Creator/{{Pixar}} have been notorious for having multiple movies that went through this. Morever, during the reign of Michael Eisner and Jeffrey Katzenberg, it was even ''chronic'':
** ''Disney/TheFoxAndTheHound'' had many troubles going on with the production. Several veteran animators either retired or died early in production, batches of animation drawings were stolen, leaving several scenes to be rotoscoped from pencil tests, and Creator/DonBluth led an exodus of practically half the animation team, which delayed its release by six months and turned him into Disney's ArchEnemy for a long while.
** The Toy Story films have all been well known for having this.
*** [[WesternAnimation/ToyStory The first film]] was subject to constant ExecutiveMeddling, pushing to make it [[DarkerAndEdgier more adult and cynical]]. Pixar, this being their first feature, dutifully followed the notes from the executives, even if they didn't agree with them. When a preview cut was declared unwatchable, Jeffrey Katzenberg, then head of animation at Disney, asked with some concern why on earth Pixar had followed all the notes he and others had sent. Production was shut down for two weeks, while Lasseter and the others basically rewrote the entire movie, into pretty much what they wanted in the first place. The movie would survive and get finished in time for release, though Katzenberg's job did not (he ended up quitting Disney a year before the movie's release to start up Creator/DreamWorks).
*** ''WesternAnimation/ToyStory2'' didn't have it any better. The project had started as a Direct-to-Video movie, handled by a smaller part of Pixar who had made the ''Toy Story'' computer games while the main staff worked on ''WesternAnimation/ABugsLife''. Once they saw what had been done of the [=DTV=] movie, they were not only underwhelmed but horrified that Disney liked it enough to give it a theatrical run. Pixar begged Disney to let them scrap it and start over, to which they complied, but also refused to budge their stone-set November release date, only nine months away (this still being an era where computer animation [[AnimationLeadTime required just as much time to produce as traditional animation]]). This eventually took its toll on the exhausted and over-extended creative team, who then had to convince John Lasseter, who was planning to take a break after a grueling number of years heading up ''WesternAnimation/ToyStory'' and ''WesternAnimation/ABugsLife'', to come in on short notice and help the team retool the film and get it out on time. The team were not only able to complete the film, but also churned out a film that more than held its own to the first; the meddling of Disney, though, helped kick-start the plan for the studio to operate independently, as well as dividing up their staff into smaller sections in order to not burn out their entire crew with each film.
*** ''WesternAnimation/ToyStory3'' was stuck in DevelopmentHell for years, going through multiple scripts and directors. Also, when Pixar started animating the film, they thought they could save some time just using their old computer files of the main characters from the previous film. Unfortunately, when they tried, they found out that they neglected to keep them updated with their current operating system and thus were inaccessible for use, and the animators had to remake the characters from scratch.
** ''Disney/BeautyAndTheBeast'': The animators were given no vacation time during the film's production in order for everything to be absolutely flawless, partially owing to Jeff Katzenberg's admitted impatience with the medium. Several of the artists' marriages were broken up as a result; some artists even claimed to buying new clothing on their break time because they couldn't go home to do laundry, and plenty more up and quit. The grueling work clearly shows, but Katzenberg decided not to do this again when he saw how miserable his staff was as a result.
** ''Disney/TheLionKing'' first suffered from [[AndYouThoughtItWouldFail lack of internal faith]] - only up-and-coming animators or people who wanted to do animals picked up the project, with most going to work on ''Disney/{{Pocahontas}}'' instead. One of the directors, ''Disney/OliverAndCompany'' director George Scribner, who had even traveled with the other director Roger Allers and other people to Africa for reference, left as he disagreed on turning the film into a musical while his intention was focusing on the natural aspects. The script was so bad that it needed a reworking with the help of the directors of ''Disney/BeautyAndTheBeast'' - and still was being fine-tuned during production, with completed scenes being reanimated due to dialogue changes. And just months before release, the Northridge earthquake hit Los Angeles, shutting off the studio and forcing animators to finish their work from home. Thankfully [[AndYouThoughtItWouldFail it was all worth it in the end.]]
** ''Disney/TheEmperorsNewGroove'' started as ''Kingdom of the Sun'', a PrinceAndPauper epic directed by Roger Allers. Since the writers weren't very successful in adding original material and test audiences weren't reacting well, another director, Mark Dindal, was hired to see if things evolved. As [[AnimationLeadTime the deadline got closer]] and Allers and Dindal were basically working at two movies simultaneously (the former with a drama, and the latter with a comedy), the higher-ups intervened and Allers quit. After a six-month interval where Dindal and some writers reworked the movie, the film became the screwball comedy that eventually saw the light of day. The ending then had to be rewritten just before release because Sting disagreed with the moral message and was going to quit the project. It was all documented in ''Film/TheSweatbox'', a film shot by Trudie Styler (her husband Sting wrote songs for the movie).
** ''WesternAnimation/{{Ratatouille}}'' was originally developed in 2001 by Jan Pinkava, but Pixar lost faith in Pinkava and ultimately replaced him with Creator/BradBird.
** ''Disney/{{Bolt}}'' suffered from this in spades. The film was originally helmed by ''Disney/LiloAndStitch'' director Chris Sanders, who wanted to make another quirky animated family film. To that end, he envisioned ''American Dog'', which followed a popular television star dog named Henry who (after being knocked out and waking up on a train to Nevada) enlists the help of two other talking animals, including a cat and oversized bunny rabbit, to drive him back home (while believing he's still in a television show). The film went through several different cuts (and suggestions from [[Creator/PixarRegulars John Lasseter and other Pixar directors]] on how to improve the film), but Sanders reportedly rejected all of the changes. Lasseter then fired Sanders from the project, causing the latter to jump ship to [[Creator/DreamWorksAnimation [=DreamWorks=]]], and the film was drastically reworked (under a constrained timeframe) into the final product. Tellingly, ''American Dog'' is not mentioned anywhere on the film's DVD features, and only receives a passing reference in the making-of book ''The Art of Bolt''.
** ''Disney/{{Tangled}}'' took six years, a change in directors, a complete rehaul of the film's original FracturedFairyTale premise, and a cost of $260 million to see the light of day. It currently ranks as the second most expensive film in Hollywood history, coming behind only ''Film/PiratesOfTheCaribbeanAtWorldsEnd'' in production costs. Happily for the future of [[Disney/{{Frozen}} other Disney fairy tale adaptations]], it became Disney's biggest hit since ''Disney/TheLionKing''.
** ''WesternAnimation/{{Brave}}'' had title changes, the dismissal of director/co-writer Brenda Chapman, and many scenes being rewritten and\or dropped during production.
** ''Disney/WreckItRalph'' went through a number of problems along the way. Originally planned to have been screened before ''Disney/{{Tangled}}'', it had went through a number of cancelled and uncancelled calls along the way before finally getting the go-ahead. As well, the many video game companies, ([[ValuesDissonance especially Japanese ones]]), had strict guidelines as to how their characters should act - Nintendo had guides as to how [[VideoGame/SuperMarioBros Bowser]] should drink a cup of coffee, Sega had them reanimate a scene were [[VideoGame/SonicTheHedgehog Sonic]] loses some rings because they said he could only lose rings if he were hit and the only reason Q*Bert got prominence in the movie was because Namco took offence at VideoGame/DigDug being the target.
** ''Disney/{{Frozen}}'' actually has a relatively easygoing production -- at least in terms of the people involved getting along with each other. The problem was instead the ''story''. They spent several years changing the plot over and over. And then once production had gotten well underway, they were inspired by Idina Menzel's performance of "Let it Go" (Which was written as a VillainSong accompanying a "ThenLetMeBeEvil" epiphany for Elsa, but turned out much more positive and uplifting than they intended even for what was meant to be a sympathetic TragicVillain) to re-write Elsa as a hero rather than a villain. Making sweeping changes to the plot to accommodate this new characterization, they were left with under ''fifteen months'' to finish the film. Due to this change in mid-development, there has been a lot of info on the "Evil Elsa" plot leaked or dumped around compared to most Disney films, including concept art for ''VideoGame/DisneyInfinity'', unused models, ''a lot'' of concept art, and many unused songs.
** The unique concept of ''WesternAnimation/InsideOut'' meant twice as much time spent on development. Production design alone lasted five years, the longest for designer Ralph Eggelston, and the emotions' distinct "grainy" surface texture was almost dropped because it was too difficult and expensive for just ''one'' character, let alone five. Towards the end of it, Pete Docter was seconds away from a nervous breakdown and quitting. But like many troubled Disney/Pixar productions, it was all worth it in the end, as ''Inside Out'' was heralded as Pixar's return to form, and, according to several critics, their new gold standard for movies.
** ''WesternAnimation/TheGoodDinosaur'' was originally scheduled to be released in June 2014, but plot troubles caused its director and producer to be replaced, the original script and recorded dialogue scrapped, and the entire cast replaced. The film's release date was pushed back to November 2015.
* Every! Single! Film! made by Creator/DonBluth, enough to force him into retirement in 2000.
** ''WesternAnimation/BanjoTheWoodpileCat'' was an attempt by Bluth and his RagtagBunchOfMisfits working with him at Disney during TheDarkAgeOfAnimation to [[TaughtByExperience teach themselves how to make the kind of movies Disney refused to make any more]]. To do so required a lot of after-hours work done on a shoe-string budget over the span of six years, working entirely out of Bluth's garage and using second hand equipment which was starting to fall apart. At one point, a malfunctioning movieola used for pencil tests pissed Don off to the point that he [[PercussiveMaintenance kicked it]], resulting in the machine ''eating the film,'' at which point they sprang for a new one.
** ''WesternAnimation/TheSecretOfNimh'' was similarly made in Bluth's garage with a budget so small that the last quarter of production was funded by Bluth, Gary Goldman and John Pomeroy mortgaging their houses. The high-quality animation Bluth was aiming for required the animators to work 16 hours a day, sometimes even taking work home with them. It was then ultimately given too small of a release to profit on even its meager budget, not helped by the fact that it was competing with freaking ''[[Film/ETTheExtraTerrestrial ET]]!'' However, it was [[AcclaimedFlop well-reviewed]] enough to become a CultClassic, gaining the attention of [[Creator/StevenSpielberg a certain rival director]] which led to the creation of [[WesternAnimation/AnAmericanTail Bluth's more successful second film]].
** ''WesternAnimaion/AllDogsGoToHeaven'' had a few significant snags. First, Bluth and co. repeatedly hit walls trying to get an adaptation of the original Beth Brown story to work, ultimately deciding to scrap it and come up with a different story based on the title alone. Then, Bluth butted egos with original producer Creator/StevenSpielberg over Spielberg always having final say in their collaborations, leading to Bluth eventually deciding to produce the film independently. And lastly was the murder of [[Creator/JudithBarsi their lead actress]] after she had recorded all of her lines, forcing certain violent aspects of the film to be toned down, such as Killer's tommy gun becoming a laser blaster. Bluth also took umbrage with leads Creator/BurtReynolds and Creator/DomDeLuise constantly ad libbing, but relented when he realized how much funnier their ad libs were than the script itself. Production was otherwise smooth and the film met its intended release date of November 17th 1989... when it was [[DuelingMovies promptly curb-stomped]] by ''Disney/TheLittleMermaid''.
** Then came several films which kicked off Bluth's notorious curse of ExecutiveMeddling. Starting with ''WesternAnimation/RockADoodle'', what few investors he had left forced him to tone down his trademark darkness in favor of a [[LighterAndSofter lighter, more marketable]] and, most importantly, [[FollowTheLeader Disney-esque]] style which completely contradicted his own philosophy of creating films which were dark, but had catharsis. Phil Harris's CaptainObvious narration was forced upon him at the last minute after test audiences, ironically, complained about certain things not making enough sense. It ended up bombing hard enough to close down Bluth's homegrown studio, taking the rights to all of his films with it.
** Pre-production of ''WesternAnimation/{{Thumbelina}}'' was slowed due to seemingly perpetual rewrites which lasted over a year. The original screenwriter had to be fired just to get physical production going, with Bluth writing the script himself and receiving his only solo screen writing credit.
** For ''WesternAnimation/ATrollInCentralPark'', Bluth made the mistake of [[WritingByTheSeatOfYourPants shortening production]], hoping that it would inspire more spontaneity among his crew. [[NiceJobBreakingItHero It wound up being his worst-reviewed film]].
** Late into the production of ''WesternAnimation/ThePebbleAndThePenguin'', Bluth had a falling out with Warner Bros. over the failure of his last two films, control of the project was [[ExecutiveMeddling seized by MGM/United Artists]] and everything went to hell: animation was farmed out for rushed completion, resulting in OffModel or outright incomplete shots being approved, fully animated scenes were cut and several voices had to be re-recorded. Bluth was [[CreatorBacklash furious with how badly the finished film looked]] that he and Gary Goldman outright [[ScrewThisImOutOfHere abandoned ship]], Bluth [[AlanSmithee taking his director credit with him]], to start up a new animation unit at 20th Century Fox.
** For his final film, ''WesternAnimation/TitanAE'', Bluth and Goldman were handed an already foundering project which had already blown through 18 other directors and $30 million on pre-production alone. The two were forced to scrap the whole thing and start over with a $55 million budget and less than two years to deliver. Much of the effects and post-production work were done ''two weeks'' before its release. Then, just before its premiere, Fox lost faith in the project, foresaw the rising trend of computer animation and closed down its barely six-year-old 2D animation unit. Bluth temporarily retired from animation shortly thereafter, publicly stating that he would "never draw another character and hand the rights over to someone else."
** And this isn't even taking into account all of his projects which were abruptly canceled during pre-production either from funding being withdrawn or new animation units getting shut down.
** Bluth and Goldman have since taken to crowd-funding a prequel film to their 1983 game ''VideoGame/DragonsLair'' in the hopes of making a proper comeback, after years in DevelopmentHell. As of this writing, production has been slow.



* ''WesternAnimation/FoodFight'', a film featuring Roger Rabbit-esque cameos by advertising mascots starring Creator/CharlieSheen was trapped in development for 10 years. Originally set for a 2003 release until being delayed to 2005, it became even further delayed when the harddrives containing all the animation files were stolen and the studio had to start all over again on an even lower budget. The final result was finished in 2009, given a small theatrical release and started to emerge direct to video in other markets in 2012.



* The [[UsefulNotes/TheGoldenAgeOfAnimation 1939]] Creator/FleischerStudios adaptation of ''WesternAnimation/GulliversTravels'' went through this. Many staffers, including animators ShamusCulhane and Creator/GrimNatwick, recall that the film had a lot of behind the scenes troubles that ended up hurting the quality:
** To begin with, it had a deadline that was far too short--production began in May 1938, and it was due Christmas 1939; this is less than half of the four years of production that went into ''Disney/SnowWhiteAndTheSevenDwarfs'', the film it was meant to emulate to begin with.
** The studio was clearly under equipped to take on the challenge of making a Disney-like feature length animated film--many of their staffers weren't familiar with the West Coast style of animation and techniques pioneered by Disney. The studio had to expand their staff considerably to even make the film possible, even managing to hire many ex-Disney animators, but this resulted in the East Coast and West Coast animators clashing with each other on their approaches to animation, and the studio's decision to hire amateur, apathetic Miami art students, as well as newcomers who received a few hours' worth of cram-course art training[[note]] contrast this to the years of extensive art training and schooling Disney and Don Graham pushed upon their artists[[/note]] resulted in sloppy inking and bad in-between work, which resulted in the film having [[OffModel very uneven animation quality]]. The Fleischers' move to a new studio in UsefulNotes/{{Miami}} also resulted in many of their talented employees in New York getting left behind (including WesternAnimation/BettyBoop voice actress Mae Questel), with the few who did make the move becoming homesick, as well as putting up with the hazards and quirks of UsefulNotes/{{Florida}} (such as many mosquito infestations).
** A feud between story artists over which direction the story would take--it was planned as a Music/BingCrosby vehicle at one point, and at one point ComicStrip/{{Popeye}} was intended to be the star of the film, with its tone being more cartoony, as Max Fleischer actually did not wish to follow the Disney approach to animated films. Both of the previous stories were thrown out and rewritten by West Coast storymen, particularly ex-Warners staffer Cal Howard.
** A feud between Max and Dave Fleischer themselves over whether Dave himself or another person would compose the film's score. Ultimately, outside composers were brought in while songs were contributed by the studios in-house musicians like Sammy Timberg.
** The fact that the film was being made in the Fleischers' new studio in Miami, Florida (which was far too small to hold the 700+ staffers needed to complete ''Gulliver'') meant that if any equipment broke down, it would have been very difficult to get it fixed in any reasonable time. The lack of film industry in Miami also meant that, unless they wanted to use local actors or their woefully inadequate amateur orchestra (which was impeding the sound quality of the shorts from mid-1938 onward), they had to outsource recording sessions to West Coast studios (which they did for ''Gulliver'', ''WesternAnimation/MrBugGoesToTown'', and the WesternAnimation/SupermanTheatricalCartoons).
** In the end, while the film did modestly well at the box office, Paramount deliberately discounted the money the film made in Europe before UsefulNotes/WorldWarII broke out there, meaning the film had much overhead left to be paid, leaving the Fleischers in the red. Critical reaction was also mixed, with a cruel remark from rival Creator/WaltDisney quipping "We can make a better film than that with our second-string animators".



* ''WesternAnimation/TheRoadToElDorado'': The films director, Will Finn, said that the films production was an absolute bloodbath and that he still has nightmares about it to this day, and he has nothing but grim memories about it whenever it's brought up. It was bad enough that he resigned from Dreamworks to return back to Disney later in its production. He likened the turbulent making of it to being akin to a mashup of ''Film/MutinyOnTheBounty'' and ''Film/TheProducers''.
* ''WesternAnimation/SausageParty'' was no slouch to make.
** First off, Seth Rogen spent ''eight years'' finding a studio interested in the project. Those that were sent the script rejected it due to the religious subject matter and obscene content. Even Sony, the eventual distributor of the film, rejected it at first sight until Rogen re-sent the script to them a couple of years later. Mind you, Seth had no problem pitching ''The Interview'' to Sony despite its heavy themes, so that should speak volumes.
** Once things started rolling, the problems only continued. Director Greg Tiernan was proven to be cruel towards the animators at Nitrogen Studios. He forced them to work overtime 7 days a week without extra pay thanks to the film's low budget. Any animators who stood up against Tiernan's tyranny would be fired and blackballed from the company along with going uncredited in the movie. Speaking of which, only ''half'' of the animators who worked on the film were credited. Sadly, Greg got away with his vile actions because there is no animation union in Vancouver, where Nitrogen is located. This means that the man could do as he pleased with his employees. Even worse, those poor people had nowhere to turn to stop the abuse.
** There were several changes made to the script during production at short notice and with little communication to the folks at Nitrogen, who had little to no idea what to do next.



* According to the animators who worked on it, ''Sir Billi'' suffered from a hellish production, to the point where many have called it the Scottish counterpart of ''Foodfight''. Originally promoted as the first animated film from Scotland -- though by the time it was actually released it had lost that honour to ''WesternAnimation/TheIllusionist'', forcing them to instead market it as the country's first computer-animated film -- which boasted a rapidly-growing animation industry thanks to investment from both the UK national and Scottish regional governments, the project was able to attract a lot of high-profile talents including Creator/SeanConnery, Creator/AlanCumming, and one-time ''Franchise/HarryPotter'' composer Patrick Doyle. Things rapidly fell apart in production, however, as director Sascha Hartmann rapidly proved to be a PrimaDonnaDirector who demanded that the animators use his unappealing character designs with no alterations, constantly made changes to scenes which required them to be hastily re-animated (causing the quality to suffer), and also repeatedly called back the cast to re-record thier dialogue, which is noticeable in that Connery's voice is very inconsistent, either from poor health, disillusionment with the project, or both. On top of that, Hartmann not only fired any animator who protested the film's [[WhatDoYouMeanItsForKids inappropriately adult humour]] or his approach to managing the project in general, but even reportedly fired anyone who was actually managing to produce stand-out work, as he considered them a threat to his authority as director. By the end of production everything was being churned out hastily by a group of inexperienced animators, which ended up being evident in the less-than-stellar animation used in the finished product.
* ''Animation/TheTragedyOfMan'', a highly ambitious and faithful retelling of a 1800s Hungarian theatrical play of the same name, started production in 1983, and the animating process began in 1988. A couple years later, the Soviet Union collapsed, taking Hungary's former studio system with it, along with shoving the country's already waning animation industry further downhill. Without state-sponsored backing, what was initially envisioned as a 6 year project only landed in theaters in 2011 -- the time frame was indeed correct, the animation did take about 6 years to complete, with the rest of that time being spent on trying to raise funds. Each of the film's 15 acts, all done in their own distinct art and animation style, were completed out of order and showcased at various film festivals to get funding. Most of the voice actors had to be replaced as the originals got too old for their roles. In the end, director Marcell Jankovics licencing his older animated short ''Sisyphus'' for a GM car commercial gave him a financial boost, and he was happy the movie got finished at all.
3rd Nov '17 5:14:55 PM Malady
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** Many of the season 1 episodes were massacred by bad outsourcing, due in part to work from the cheapskate, sweatshop conditions of FilCartoons, who handled ink-and-paint work for the entire first season, and more often than not heavily ruined many scenes due to their all-around cheap Xeroxing, ugly colors and even "reworking" drawings or whole scenes of animation; there were even some unintentional (rather than purposeful) off model moments, such as Stimpy's eyes inexplicably turning black in the "Stimpy's Breakfast Tips". Carbunkle director Bob Jacques had to fight tooth and claw to get the studio to turn in acceptable work for episodes like "Stimpy's Invention" (and even then the sporadic error slipped in, such as Stimpy's eyes floating off his face when he's showing Ren his new socks), and described the experience of working with them as "all damage control".

to:

** Many of the season 1 episodes were massacred by bad outsourcing, due in part to work from the cheapskate, sweatshop conditions of FilCartoons, Creator/FilCartoons, who handled ink-and-paint work for the entire first season, and more often than not heavily ruined many scenes due to their all-around cheap Xeroxing, ugly colors and even "reworking" drawings or whole scenes of animation; there were even some unintentional (rather than purposeful) off model moments, such as Stimpy's eyes inexplicably turning black in the "Stimpy's Breakfast Tips". Carbunkle director Bob Jacques had to fight tooth and claw to get the studio to turn in acceptable work for episodes like "Stimpy's Invention" (and even then the sporadic error slipped in, such as Stimpy's eyes floating off his face when he's showing Ren his new socks), and described the experience of working with them as "all damage control".
4th Oct '17 10:01:13 PM therealjackieboy
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Added DiffLines:

** ''Disney/TheFoxAndTheHound'' had many troubles going on with the production. Several veteran animators either retired or died early in production, batches of animation drawings were stolen, leaving several scenes to be rotoscoped from pencil tests, and Creator/DonBluth led an exodus of practically half the animation team, which delayed its release by six months and turned him into Disney's ArchEnemy for a long while.
21st Sep '17 1:44:09 PM Prinzenick
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->"I've worked on 15 feature films and every one of them was a disaster at some point or another. Some stay stuck in the disaster zone and never recover, others turn out to be classics (but may have still been in the disaster zone almost to the end of production."

to:

->"I've worked on 15 feature films and every one of them was a disaster at some point or another. Some stay stuck in the disaster zone and never recover, others turn out to be classics (but may have still been in the disaster zone almost to the end of production.production)."
21st Sep '17 1:43:34 PM Prinzenick
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Added DiffLines:

->"I've worked on 15 feature films and every one of them was a disaster at some point or another. Some stay stuck in the disaster zone and never recover, others turn out to be classics (but may have still been in the disaster zone almost to the end of production."
-->--Disney animator David T. Nethery
13th Sep '17 9:23:55 PM therealjackieboy
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** While the Toy Story films have been acclaimed and loved by many, they have all been well known for having this.
** ''WesternAnimation/ToyStory'' was subject to constant ExecutiveMeddling, pushing to make it [[DarkerAndEdgier more adult and cynical]]. Pixar, this being their first feature, dutifully followed the notes from the executives, even if they didn't agree with them. When a preview cut was declared unwatchable, Jeffrey Katzenberg, then head of animation at Disney, asked with some concern why on earth Pixar had followed all the notes he and others had sent. Production was shut down for two weeks, while Lasseter and the others basically rewrote the entire movie, into pretty much what they wanted in the first place. The movie would survive and get finished in time for release, though Katzenberg's job did not (he ended up quitting Disney a year before the movie's release to start up Creator/DreamWorks).

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** While the The Toy Story films have been acclaimed and loved by many, they have all been well known for having this.
** ''WesternAnimation/ToyStory'' *** [[WesternAnimation/ToyStory The first film]] was subject to constant ExecutiveMeddling, pushing to make it [[DarkerAndEdgier more adult and cynical]]. Pixar, this being their first feature, dutifully followed the notes from the executives, even if they didn't agree with them. When a preview cut was declared unwatchable, Jeffrey Katzenberg, then head of animation at Disney, asked with some concern why on earth Pixar had followed all the notes he and others had sent. Production was shut down for two weeks, while Lasseter and the others basically rewrote the entire movie, into pretty much what they wanted in the first place. The movie would survive and get finished in time for release, though Katzenberg's job did not (he ended up quitting Disney a year before the movie's release to start up Creator/DreamWorks).



*** ''WesternAnimation/ToyStory3'' was stuck in DevelopmentHell for 8 years and going through multiple scripts and directors. Also, when Pixar started animating the film, they thought they could save some time just using their old computer files of the main characters from the previous film. Unfortunately, when they tried, they found out that they neglected to keep them updated with their current operating system and thus were inaccessible for use, and the animators had to remake the characters from scratch.

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*** ''WesternAnimation/ToyStory3'' was stuck in DevelopmentHell for 8 years and years, going through multiple scripts and directors. Also, when Pixar started animating the film, they thought they could save some time just using their old computer files of the main characters from the previous film. Unfortunately, when they tried, they found out that they neglected to keep them updated with their current operating system and thus were inaccessible for use, and the animators had to remake the characters from scratch.
13th Sep '17 6:09:29 AM therealjackieboy
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Added DiffLines:

** While the Toy Story films have been acclaimed and loved by many, they have all been well known for having this.


Added DiffLines:

*** ''WesternAnimation/ToyStory2'' didn't have it any better. The project had started as a Direct-to-Video movie, handled by a smaller part of Pixar who had made the ''Toy Story'' computer games while the main staff worked on ''WesternAnimation/ABugsLife''. Once they saw what had been done of the [=DTV=] movie, they were not only underwhelmed but horrified that Disney liked it enough to give it a theatrical run. Pixar begged Disney to let them scrap it and start over, to which they complied, but also refused to budge their stone-set November release date, only nine months away (this still being an era where computer animation [[AnimationLeadTime required just as much time to produce as traditional animation]]). This eventually took its toll on the exhausted and over-extended creative team, who then had to convince John Lasseter, who was planning to take a break after a grueling number of years heading up ''WesternAnimation/ToyStory'' and ''WesternAnimation/ABugsLife'', to come in on short notice and help the team retool the film and get it out on time. The team were not only able to complete the film, but also churned out a film that more than held its own to the first; the meddling of Disney, though, helped kick-start the plan for the studio to operate independently, as well as dividing up their staff into smaller sections in order to not burn out their entire crew with each film.
*** ''WesternAnimation/ToyStory3'' was stuck in DevelopmentHell for 8 years and going through multiple scripts and directors. Also, when Pixar started animating the film, they thought they could save some time just using their old computer files of the main characters from the previous film. Unfortunately, when they tried, they found out that they neglected to keep them updated with their current operating system and thus were inaccessible for use, and the animators had to remake the characters from scratch.
8th Sep '17 2:37:17 PM NWolfman
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** ''WesternAnimaion/AllDogsGoToHeaven'' had two significant snags: the first was Bluth and Creator/StevenSpielberg butting egos over his ExecutiveMeddling on their previous two collaborations, which led to Spielberg walking out and Bluth producing the film independently. The other, more significant one was the murder of [[Creator/JudithBarsi their lead actress]] after she had recorded all of her lines, forcing certain violent aspects of the film to be toned down, such as Killer's tommy gun becoming a laser blaster. Bluth also took umbrage with leads Creator/BurtReynolds and Creator/DomDeLuise constantly ad libbing, but relented when he realized how much funnier their ad libs were than the script itself. Production was otherwise smooth and the film met its intended release date of November 17th 1989... when it was [[DuelingMovies promptly curb-stomped]] by ''Disney/TheLittleMermaid''.

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** ''WesternAnimaion/AllDogsGoToHeaven'' had two a few significant snags: the first was snags. First, Bluth and co. repeatedly hit walls trying to get an adaptation of the original Beth Brown story to work, ultimately deciding to scrap it and come up with a different story based on the title alone. Then, Bluth butted egos with original producer Creator/StevenSpielberg butting egos over his ExecutiveMeddling on Spielberg always having final say in their previous two collaborations, which led leading to Spielberg walking out and Bluth producing eventually deciding to produce the film independently. The other, more significant one And lastly was the murder of [[Creator/JudithBarsi their lead actress]] after she had recorded all of her lines, forcing certain violent aspects of the film to be toned down, such as Killer's tommy gun becoming a laser blaster. Bluth also took umbrage with leads Creator/BurtReynolds and Creator/DomDeLuise constantly ad libbing, but relented when he realized how much funnier their ad libs were than the script itself. Production was otherwise smooth and the film met its intended release date of November 17th 1989... when it was [[DuelingMovies promptly curb-stomped]] by ''Disney/TheLittleMermaid''.
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http://tvtropes.org/pmwiki/article_history.php?article=TroubledProduction.WesternAnimation