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Creator / Don Bluth

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Pictured: Bluth with an admirer.

In much the same way that Pixar and DreamWorks Animation are The Millennium Age of Animation's biggest names and toughest rivals, there was one animator in The Dark Age of Animation who took it upon himself when no one else would to challenge Disney as the reigning king in traditionally animated features. Remembered fondly by children of the 80s and 90s, his independent features laid the ground work for what would eventually be animation's return to its former glory in the waning years of the 20th century, an effort felt to this very day in DreamWorks, Pixar and, yes, even Disney.

That animator was one Donald Virgil "Don" Bluth (born September 13, 1937).

Bluth's films boasted some of the most lavish character and effects animation at the time and are notably darker in theme and content than even most animated features for families made to this day, usually having a high mortality rate or grim subject matter. His were also some of the weirdest animated features, many following a disjointed fever-dream kind of internal logic. Even his more poorly-received features have their fans for their bizarre plots and really pretty animation.


Born in El Paso, Texas, Bluth's career as an animator began at his future rival's studio, working as an assistant animator on Sleeping Beauty and The Sword in the Stone. He took a break for a few years to go to Argentina on a Mormon recruitment mission, briefly working for Filmation as a layout artist before eventually getting re-hired by Disney. Unfortunately by that point, the studio was going through major financial and creative turmoil in the wake of their founder's death, and he was put to work on some of their more economical films like Robin Hood and The Many Adventures of Winnie the Pooh (most notably, the scene where Rabbit is lost in the woods). Bluth nevertheless proved himself a skilled artist, working his way up to a directing animator on The Rescuers, Pete's Dragon (1977) and The Fox and the Hound.


Deeply unhappy with the state of animation at the time and feeling that Disney was too concerned with saving money to produce a great film, Bluth wanted to remind both movie executives and the public at large what painstakingly attentive hand-drawn animation could do. He recruited colleagues Gary Goldman and John Pomoroy to start work on a pet project in his garage and for six years, the three of them met after work to teach themselves the kind of top-tier quality classical animation they felt they weren't getting at Disney, frequently consulting Disney's Nine Old Men for tips and techniques (Bluth even briefly dated Ward Kimball's daughter). Their research and development resulted in the half-hour TV special Banjo the Woodpile Cat. Reasonably successful, it was proof to the three men that they were capable of striking out on their own.

The following year, Bluth quit Disney, taking half the staff of Fox And The Hound with him to work at his new garage-based studio on an independent feature.

The new studio took its first job with the "Don't Walk Away" sequence in the Cult Classic Xanadu. Two years later was their first feature and Bluth's feature directorial debut, The Secret of NIMH. A massive, effects-heavy undertaking which forced Bluth and his two partners to mortgage their houses just to get more funding, it was a big hit with critics and fantasy fans alike, but only barely broke even (not helped by the fact that it was going up against the biggest film of the decade thus far). They produced the animation for two laserdisc-driven videogames, the cult hits Dragon's Lair and Space Ace, in order to recoup their losses.

NIMH managed to catch the eye of ET director and notable animation fan Steven Spielberg who was looking to turn the script for a proposed TV special into an animated feature. Under Spielberg's supervision, the studio created An American Tail, which was briefly the highest grossing animated feature at the time. They followed it up two years later with the prehistoric epic The Land Before Time, which became an even bigger hit. Both films were also hugely successful with critics and audiences and are still beloved to this day. By this point, Bluth's tiny garage business had expanded to a fully-operational studio in Dublin, Ireland. Feeling successful enough to once again work on his own (and getting annoyed that Spielberg was always getting the last word in creativity on their projects), he cut ties with Spielberg and resumed fully-independent production on his next film.

Back at Disney, the old guard sat up and took notice that Bluth was beating them at their own game. The financial success of American Tail raised concern (though the absolute nadir was their own lavish fantasy epic The Black Cauldron under-performing against The Care Bears Movie of all things), convincing the studio's new ultra-competitive head Jeffery Katzenberg to whip the animation unit of Disney back into shape to take down the competition. Spielberg, meanwhile, continued to produce animation: he was a major driving force between the groundbreaking live-action/animation hybrid feature Who Framed Roger Rabbit and introduced the kind of fluid, appealing animation Bluth had introduced him to in their partnership to TV audiences with Family Dog and, later, Tiny Toon Adventures.

In short, Don Bluth near single-handedly kickstarted the renaissance of animation in the west. Sadly, it was not a victory he could share in.

1989 saw the release of Bluth's 4th feature, All Dogs Go to Heaven. It was released on the same day as Disney's mega-blockbuster musical smash The Little Mermaid, which blew Bluth's tiny little indie flick out of the water. With Disney heeding his word (and admittedly still salty about the mass exodus he led in 1980) and reclaiming their title as top dog in feature animation, Bluth's films from that point on became lost in the overcrowded "all the animation that isn't by Disney" market, and were burdened by demands from what few investors he had left to be less dark and more marketable.

What was left of his studio after Mermaid was leveled two years later when his next film, Rock-A-Doodle, went up against Disney's Beauty and the Beast. There was no competition any more: the Bluth film was such a massive Box Office Bomb that he was forced to close his studio and sell the right to his previous film in order to form a new studio a couple years later. But the message was made clear at that point that animated features in the 1990s belonged to Disney, and Bluth's next three films were meddled with, rushed and underfunded, each failing harder than the last. After A Troll in Central Park became the lowest grossing animated feature of all time, John Pomoroy left his partnership with Bluth and Goldman to return to Disney.

Things looked up for Bluth in 1995 when 20th Century Fox offered him the director's chair for the first film of their new animation arm in Phoenix, Arizona. Desperate, Bluth abandoned his floundering indie project The Pebble and the Penguin and took the reigns of Fox's Animated Musical, Anastasia. It was Bluth's only financially successful project of the 90s and his first financial success since Land Before Time. However, by that point, the animation landscape had changed significantly for everyone.

The arrival of Pixar and the first fully computer-animated feature Toy Story signaled the dawn of a new age. During production of Fox's second animated feature, the sci-fi epic Titan A.E., more CGI animated films were released and outdid even Disney's most high-profile hand-drawn features both financially and critically. The major studios all took the hint and began dismantling their 2D animation units with Fox being one of the first as soon as Titan was released in 2000.

This was the final straw for Bluth, who was not only burned out from years of struggling to stay afloat but also wasn't willing to give up on his trusty paper and pencil in favor of the computer. One year later, he announced his retirement from filmmaking saying, "Never again will I draw a character and hand the rights over to someone else, which pretty much puts me out of the animation business."

Bluth now resides in Scottsdale, Arizona, where he directs plays in his own theater, the Don Bluth Front Row Theater, and gives online animation tutorials from time to time. He's released two books, The Art Of Animation Drawing and The Art of Storyboard, through an independent publisher, as well as a handful of educational DVDs. His last major animation project to date as been the Scissor Sisters music video for "Mary."

A prequel film to Dragon's Lair has been floating around in Development Hell since the mid 2000s, with Bluth and his partner Goldman trying and failing to secure funding due to Hollywood's lack of faith in hand-drawn animation. A successful Indiegogo campaign secured them the budget for a pitch reel, which was completed in 2017.

You can read his full biography (up to the early '90s) here. Reviews of his movies in chronological order can be read here.

His website can be seen here, which includes animation tutorials and a forum in which you might even be able to talk to the man himself. You can also find his YouTube page here, and his Twitter page here.

Bluth's various productions include, in approximate chronological order:

He's also U.S. senator Mitt Romney's second cousin.

Tropes associated with Don Bluth Productions Include:

  • Cats Are Mean: His first feature depicts one cat as a literal monster! There are exceptions, like Banjo the Woodpile Cat and Edmund in Rock-A-Doodle, and even a mix of both good and bad cats in An American Tail. He says this is because he prefers dogs to cats, but dogs don't always come off well in his movies either (Carface in All Dogs Go To Heaven, the vicious dogs in Banjo and A Troll In Central Park).
  • Covers Always Lie: The DVD covers to his films always use sub-par stock art and make the movie look far more cutesy than it really is. One of the worst victims, aside from the aforementioned "Family Fun Edition" of NIMH (perhaps better known for this because it has a more vocal fanbase), would have to be the cover of An American Tail, which shows Tanya as she appears in Fievel Goes West, a movie Bluth didn't even direct. And depending on which edition of the DVD it is, a lot of very minor background characters made it onto the cover, for whatever reason. Because the original VHS cover done by Drew Struzan apparently wasn't good enough anymore.
  • Creator Thumbprint: In addition to his distinct illustrative art style, nearly all of his movies include scene with a character moving (usually falling) across a background with a tight vanishing point on either end (the mice falling down the vent in The Secret of NIMH, Charlie ascending to heaven in All Dogs Go to Heaven, Bartok falling into the underworld in Anastasia).
  • Creepy Shadowed Undereyes: Used on almost every villain in his movies.
  • Darker and Edgier: In more ways than one. His first four movies are considered to be some of the darkest family films in all of Western animation, let alone of the 1980s, with higher death tolls and more down-to-earth drama than even the darkest stuff Disney was making at the time or since. His own storytelling philosophy is that kids can handle dark stuff as long as it has a happy ending (even All Dogs Go to Heaven, one of the few American animated films to kill off its main character, had a cathartic ending). Executive Meddling forced him to cheer up in the 90s until he was allowed to go back to darker stuff with Anastasia and eventually direct exactly one PG-rated film with Titan A.E..
  • Direct to Video: Second only to Disney, his first four films are notorious for their glut of cheap direct-to-video sequels, The Land Before Time being the worst offender with almost fifteen released between 1993 and 2016. Bluth has no involvement with any of them, save for maybe being offered to direct which he always turned down because he was busy with his own projects. Bartok the Magnificent is the only DTV sequel to one of his films that he oversaw.
  • Down on the Farm: In Banjo the Woodpile Cat, The Secret of NIMH and Rock-A-Doodle. This is a case of Write What You Know because Bluth grew up on a farm; this is definitely the case with Banjo, which was based on a childhood pet who got lost and later found his way back.
  • Earn Your Happy Ending: And then some. In a lot of his films, this is probably the only thing that keeps his audiences from walking away severely depressed.
  • Evil Is Hammy: The Grand Duke from Rock-A-Doodle and the beetles from Thumbelina. All Bluth films listed above from A Troll In Central Park to Bartok the Magnificent use this trope too.
  • Evil Sorcerer: Mordroc from Dragon's Lair II: Time Warp, The Grand Duke from Rock-A-Doodle, Gnorga from A Troll In Central Park, and Rasputin from Anastasia
  • Gone Horribly Right: Great news, Don! Everyone likes your movies so much that Disney's decided to start putting more effort into theirs and now animation is popular again! Bad news, now you have to compete with Disney's multi-million dollar hype-machine blockbusters and a handful of other features with better funding and advertisement than yours.
  • Hate at First Sight: Anya and Dmitri in Anastasia and the leads in Titan A.E., who both detest each other at the start, but fall in love later on.
  • Humans Are Bastards: The scientists at the eponymous institute in The Secret of NIMH. It doesn't really crop up much elsewhere, most humans are usually just ignorant in his other movies with animal protagonists.
  • Ink-Suit Actor: Not entirely, but one of Bluth's signatures is that when creating the characters, he likes to take physical features from their voice actors and incorporate them into the design.
  • Instant Index: Just Add Water!: Water and related tropes are featured extremely prominently in his five first movies; in each of these there is at least one rain sequence, one under water sequence (there is even a specific under water musical theme in The Land Before Time), scenery where water is featured profusely (a watermill, a rusting cargo, sewers, docks...), several dramatic sequences and/or a climax involving water more or less directly...
  • Sliding Scale of Idealism vs. Cynicism: An interesting example in that his films are typically optimistic, but the characters go through hell to get their happy ending.
  • Something Completely Different: Titan A.E. is very different from his other films for a variety of reasons. First, it didn't even start off with Bluth—it spend a while in Development Hell before 20th Century Fox gave Bluth, fresh off the success of Anastasia, the directors chair and 19 months to slam the film out. It also completely eschews the fairy tale aesthetic and tone of his previous films and, unlike his previous work Space Ace, plays its Sci-Fi art and tone completely straight. And while Don's work is known for its dark elements already, this film throws in more cynical elements to go with it, which are sometimes played for laughs, and there are also no kid friendly characters or sidekicks (with the possible exception of Gune) sandwiched in—in fact, the film takes a potshot at the trope when a Drej trooper unceremoniously (and comically) kills one such character who tried to tag along with Cale and Korso. The soundtrack also consists of rock music instead of an orchestral score. On top of that, it's also very heavy on CGI, far more than any of Bluth's previous work.
  • Start My Own: Bluth's animation studios after he left Disney but before he joined Fox Animation.
  • Technician vs. Performer: The performer to Gary Goldman's technician. Bluth claims that he's better at coming up with broad ideas while Goldman is better at production. That said, it's clear that both their strengths lay more in technique than in story. The stories are there, but there's clearly more attention given to the animation.


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