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Creator / DreamWorks Animation

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Bringing a whole new meaning to "man in the moon."

There was this wonderful great mission statement that Walt Disney had: 'I make movies for children, and the child that exists in all of us'. And 14 years later at DreamWorks I can say 'We make movies for adults, and the adult that exists in every child'. And that literally has been our approach.
Jeffrey Katzenberg, in a 2007 interview promoting Bee Movie

The studio that managed to finally destroy the long-held perception that all feature film animation is Disney.

DreamWorks Animation is an animation studio located in Glendale, California, and a subsidiary of NBCUniversal since 2016. Their story begins with Jeffrey Katzenberg — one of the architects of the Disney Renaissance — resigning from Disney,note  and co-founding DreamWorks with Steven Spielberg and David Geffen. Katzenberg used his portion of the studio to create a new animation subsidiary and later merging with animation studio and partner Pacific Data Images (PDI), which DW had a majority interest in the company at that time.note  After Spielberg's Amblimation shut down, most of its animators moved to DreamWorks.

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1994-2004: Katzenberg's dream and humble beginnings

Katzenberg's ultimate goal was to compete directly with his old bosses on their home turf: feature animation. To that end, DreamWorks came roaring out of the gate in 1998 with The Prince of Egypt, an animated epic telling the story of Moses and the Exodus — similar to but distinct from Cecil B. DeMille's The Ten Commandments. A fine article about the environment in which Prince was made can be read here. Prince performed extremely well at the box office, though still below Disney's films from that decade. The same year, DW released the All-CGI Cartoon Antz, a blatant Follow the Leader of Pixar's A Bug's Life – although Antz actually premiered first. More on that film and its repercussions further down this page.

In addition to its in-house films, DW also benefited from a partnership with Aardman Animations, with Nick Park creating well-received stop-motion films like Chicken Run and The Curse of the Were-Rabbit.

Although Prince of Egypt had been a success, DW's follow-up traditionally-animated films met with diminishing returns. The Road to El Dorado failed to turn a profit, as did Sinbad: Legend of the Seven Seas which turned out to be the final nail in the coffin for 2D film animation at DreamWorks.note 

Computer animation was another story entirely. Antz proved a surprisingly big hit with comparable critical acclaim to Pixar's A Bug's Life, and it eventually showed DWA the path they would take to success. The premiere of Shrek in 2001 changed the animation game completely. Using Katzenberg's penchant for rampant celebrity casting and modelling the characters from their movies after the actors voicing them to the max, this film finally put DWA on the map as a legitimate competitor in the feature film market, permanently opening the door Disney largely held shut for decades. It's a fact made undeniable with this film winning the first Academy Award for Best Animated Feature. The studio's success in animation led to Katzenberg leaving the DreamWorks venture entirely in 2004, taking the animation division with him, and DWA became its own, publicly-traded studio and remained so for over a decade. The live-action DreamWorks studio continued to release DWA's films up until DreamWorks was acquired by Paramount Pictures, the film unit of Viacom, in 2006. As a result, DWA struck a separate distribution deal with Paramount thereafter, freeing them of any obligations with their former parent company.

2004-2012: Brief creative slump, then rebound

Post-Shrek 2, however, DWA hit something of an Audience-Alienating Era — an impressive feat for a studio less than a decade old. In addition to the increasingly blatant Stunt Casting, their films became notorious for being simply conduits for pop-culture references and toilet humor (and predictable plots). With the notable exception of 2006's Over the Hedge, nearly every film DWA put out in the middle of the 2000's was savaged by critics — though they still performed well at the box office (usually beating contemporary Disney CGI films). Shark Tale holds the distinction of being the worst-reviewed DreamWorks animated film. Madagascar generally got mediocre reviews and, though it made a healthy enough profit to spawn two sequels, did not have as much financial success as the first two Shrek films. The studio arguably hit its nadir in 2007 with Shrek the Third and Bee Movie disappointing at least critically, and Aardman breaking away from DreamWorks after the release of Flushed Away.

Beginning in 2008 however, the studio grew its beard with a new crop of films arising with a greater focus on story, characters, and quality. So far, this new direction has been paying off handsomely in the box office worldwide. For instance, not only was the classic Kung Fu Panda released, but Madagascar: Escape 2 Africa marked the transition as that franchise moved from a hastily pre-emptive strike against Disney's The Wild to become a gradually improving series with its own voice.

Originally arch-rivals with Disney in the 1990s, they became arch-rivals with Pixar in the 2000s, before becoming kind-of/sort-of arch-rivals with both studios in the 2010s. Disney alum Jeffrey Katzenberg produced more animated feature films through his studio alone than Walt Disney did when he was alive! While the quality of the films had been more inconsistent than Disney, the best of the bunch managed to reach for Disney and Pixar quality (with How to Train Your Dragon sharing a director team with Lilo & Stitch). In fact, in 2011, DWA exceeded them in critical reception with Kung Fu Panda 2 (RT 81%) and Puss in Boots (RT 84%) considered far and away superior films to Pixar's Cars 2 (RT 39%) and both were nominated for the Best Animated Feature Oscar while the Pixar film was shut out. Furthermore, KFP 2 out-grossed Cars 2 in the box office worldwide. In short, Katzenberg's dream had come true.

2012-2015: Expansion to television, emerging into the Chinese market, from Paramount to Fox, films fall hard

DreamWorks teamed up with China Media Capital (CMC), Shanghai Media Group and Shanghai Alliance to launch Oriental DreamWorks in 2012, which would develop and produce original Chinese live-action and animated content for distribution in China and internationally. ODW later acquired animation studio 37 Entertainment.

To bolster the company's revenues with meat and potatoes stuff, DWA acquired Classic Media later that same year, whose library contains rights to many classic cartoons, including most of the Filmation library (e.g. Fat Albert and the Cosby Kids and He-Man and the Masters of the Universe), Big Idea (VeggieTales), the Gold Key properties that aren't owned by Random House, most of the old Famous Studios/Paramount characters, including the properties acquired by Harvey Comics like Casper the Friendly Ghost with their original ones like Richie Rich (excluding most of the Harvey superheroes, which are in the hands of their creators or their estates), the Entertainment Rights catalog including the intellectual property of Woodland Animations (Postman Pat and Charlie Chalk) and other British studios, the Rankin/Bass Christmas specials and most of their pre-1974 material (all the post-1974 R-B content, like ThunderCats, is held by Warner Bros., as they acquired R-B alongside Lorimar-Telepictures in 1989), and the distribution and marketing rights to Jay Ward's library, including Rocky and Bullwinkle, among others.

On the business side, the company's distribution contract with Paramount was not renewed at the end of that same year as that company began getting back into animation itself after the success of Rango. DWA went to Twentieth Century Fox as its distributor from 2013 to 2017 (except Korea and China), which resulted in a balancing act with animated films from Fox subsidiary and rival Blue Sky Studios. Considering that DWA planned 12 films in four years, that had been quite a scheduling challenge. However, in that year they suffered their first serious box office sting in nearly a decade when Rise of the Guardians, their last film under the Paramount deal, underperformed financially despite warm critical reception, which caused the studio to lay off 25% of their worldwide staff at the end of the year.

In 2013, the studios' next film and their first at Fox, The Croods, proved a big sustained worldwide hit (with some decent critical reception), and the studio scored a great exclusive big time content deal with Netflix to help earn a steadier income so they didn't have primarily risk their solvency on feature films, though at the expense of their previous deal with HBO. Unfortunately, their next two films, Turbo and Mr. Peabody & Sherman, were box office disappointments despite having good critical reception (and both movies generating streaming-exclusive animated series).

In 2014, DWA acquired the distribution rights to all of its pre-2013 theatrical films from Paramount. The rights were consequently licensed to Fox in conjunction with their distribution deal.

The studio's sole success in 2014 was the highly promising How to Train Your Dragon 2, which surpassed the total grosses of their four previous films (as well as its predecessor). Their follow-up Penguins of Madagascar once again underperformed (although it grossed more than Turbo and Mr. Peabody & Sherman); these combined disappointments led DreamWorks to announce in early 2015 that they would be laying off 500 employees and reevaluating their core animation business - this included a smaller film schedule as well as the shuttering of Pacific Data Images. Around this time, Katzenberg sought to find a better partner for the studio, having tried to negotiate with two companies in 2014 for a sale. The Japanese corporation SoftBank and later the toy company Hasbro were interested in taking control of the studio, but both companies pulled out of negotiations after Katzenberg demanded a higher-than-average asking price from both companies (SoftBank invested in Legendary Pictures instead, and Hasbro pulled out due to their successes in the entertainment industry, they later bought eOne). This made any prospect of a sale unlikely for the next two years.

Meanwhile, DreamWorks continued to search for new ways to expand its entertainment offerings. In September 2013, DWA acquired the archives of British animation studio Chapman Entertainment, giving it the rights to shows such as Fifi and the Flowertots and Roary the Racing Car. In June of 2014, it acquired all of the trademarks, associated copyrights and programming content of the Felix the Cat character from Felix the Cat Productions, run by the Oriolo family. These acquisitions, while profitable, failed to change the direction of the studio considerably.

Their sole release for 2015, Home, resulted a moderate success at the box office (it made back its budget domestically, which the studio's previous flops failed to do) and was fairly well-received by the public, but has received the lowest critical score for a DWA film since 2007. By this point, the studio entered a second Audience-Alienating Era, ironically characterized by having good critical and audience reception (although not on the same level as their 2008-2011 output) but below-average box office grosses, the complete opposite of their 2004-2007 output.

In August 2015, DWA launched a Western Animation network in Asia - The DreamWorks Channel, in partnership with CTH Thailand and HBO Asia. The channel broadcasts in HD and airs mostly content from their DreamWorks Classics library, along with several series that had not yet been licensed out to other networks in the region (i.e. The Adventures of Puss in Boots, which is a Netflix-original and thus not available in the region outside of Japan otherwise), and they soon liberated the airing rights to Dragons: Riders of Berk from the latter in the region so that they could have it on their own network, though they expressed no interest in liberating The Penguins of Madagascar from Nickelodeon.note  Initially only available in Thailand, the channel was made available to and was quickly picked up by other Pay TV providers in South-East Asia in September 2015 and later to other countries in Europe and Latin America after NBCU purchased DWA.

Incidentally, their decision to launch a western animation channel in Asia comes a year after NBCUniversal pulled out of the Joint Venture that is KidsCo in Asia. NBCU claimed it was due to "growing challenges in the international children's television industry", but most pin the blame on the company purchasing the U.S-based preschool network Sprout from PBS (and later renaming it Universal Kids), and wanting to shift their focus onto said network instead.

2015-present: Katzenberg's last stand, NBCUniversal takes over, beginning of new era

Unwilling to give up on his studio, Katzenberg appointed Bonnie Arnold, the producer of the How to Train Your Dragon series, and Mireille Soria, producer of the Madagascar series, as co-presidents of the studio's feature animation division. Hoping to get the studio out of its ongoing slump, the studio green-lit Kung Fu Panda 3, which was released in January 2016 and was the first film produced by their Chinese studio, Oriental DreamWorks. Despite being well-received and being a box office success, its financial impact was soon overshadowed by Disney's Zootopia two months later; it would prove to be the last effort by Katzenberg to keep the studio independent.

In April 2016, DreamWorks Animation finally succeeded in reaching an acquisition deal, this time with Comcast, the parent company of media conglomerate NBCUniversal.note  Under Comcast's acquisition plan that is worth $3.8 billion,note  Katzenberg retired as CEO of DWA and became chairman of the new DWA division DreamWorks New Media, who oversees the studio's controlling interests in AwesomenessTV (until 2018, when it was sold to Viacom) and the NOVA joint venture. The deal was finalized a few months later on August 22, 2016 (which is ironically two days before the 22nd anniversary of Katzenberg's departure from his pre-DWA ventures at Disney, and 5 weeks and 5 days before the 32nd anniversary of his first contact with Disney and the animation field). What this deal will mean for The DreamWorks Channel remains to be seen.

Katzenberg's successor as CEO, former Warner Bros. Animation president Christopher DeFaria, was appointed to the board five months after the completion, on January 10, 2017. Almost two years later, DeFaria left, leaving television head Margie Cohn (best known for her tenure at Nickelodeon) to oversee all studio operations.

The acquisition also meant that Universal Pictures would have two animation studios under their belt, already owning Illumination Entertainment, the in-house feature animation wing of Universal headed by Chris Meledandri, who also happens to be a Disney veteran from the early 90's. This put them in a similar footing with Disney, which owns its in-house animation studio, as well as Pixar since 2006.note  Universal Animation Studios, Universal's 2D animation arm that primarily operated during the 1990s (bringing us cult classics like Exosquad and Earthworm Jim), and still occasionally churns out a DTV sequel to Curious George (since the franchise is popular internationally), also operates independently (though as a husk of its former self). On February 1, 2018, CMC acquired the remaining shares of ODW and renamed it into Pearl Studio while Universal officially took over distribution a day later, beginning with reissuing the studio's libraries on DVD and Blu-ray.

See also DreamWorks, who despite the having the same name and being founded by the same group of people, has been a separate entity since 2004. With the buyout of the animation company, both sides of DreamWorks have once again been united under one roof, since the live-action DreamWorks is now part of the Amblin Partners group, which is in a deal with Comcast NBCUniversal (which later became a minority shareholder) that started after the release of Disney/Amblin's The BFG. It should be noted that, since they disassociated from each other in 2004, DreamWorks Animation holds the trademark to the name and logos, with the live-action studio borrowing the right to call itself as such, not the other way around.


List of subsidiaries and acquired franchises owned by DreamWorks Animation:

  • DreamWorks Classics
    • Chapman Entertainment
    • Felix The Cat
  • The DreamWorks Channel (owned by NBCU International Networks)
  • Portley Ltd
  • Troll Dolls (except in Scandinavia)

List of works by DreamWorks Animation:

    Major franchises 

Distributed by the original DreamWorks banner

As DreamWorks Pictures

As DreamWorks Animation

Distributed by Paramount

Distributed by Twentieth Century Foxnote 

Distributed by Universal

Distributed by Netflix

    Films awaiting release or in development 
  • Kung Fu Panda 4 (2024)
  • Spooky Jack (with Blumhouse Productions, TBA)
  • Shrek 5/Shrek reboot (TBA)
  • Shadows (TBA)
  • Sputnik's Guide to Life on Earth (adapted from a children' s book, TBA)
  • Yokai Samba (TBA)
  • The Wizards of Once (based on a book from How to Train Your Dragon's author Cressida Cowell, TBA)
  • Mice and Mystics (based on a board game, TBA)
  • Untitled live-action Voltron film (TBA)
  • Unknown number of upcoming Trolls films (TBA)note 
    • Trolls Band Together (2023)
    Short films and television specials 
  • Shrek 4D (2003; with Pacific Data Images)
  • Far Far Away Idol (2004; with Pacific Data Images)
  • Club Oscar (2005)
  • The Madagascar Penguins in a Christmas Caper (2005; with Pacific Data Images)
  • First Flight (2006; first short released under Paramount)
  • Over the Hedge: Hammy's Boomerang Adventure (direct-to-video; 2006)
  • Shrek the Halls (2007; with Pacific Data Images)
  • Secrets of the Furious Five (direct-to-video; 2008)
  • B.O.B.'s Big Break (direct-to-video; 2009)
  • Monsters vs. Aliens: Mutant Pumpkins from Outer Space (2009)
  • Merry Madagascar (2009; with Pacific Data Images)
  • Scared Shrekless (2010; with Pacific Data Images)
  • The Legend of the Boneknapper Dragon (2010)
  • Kung Fu Panda Holiday (2010)
  • Donkey's Caroling Christmas-tacular (2010)
  • Megamind: The Button of Doom (2011)
  • Gift of the Night Fury (2011)
  • Book of Dragons (2011)
  • Kung Fu Panda: Secrets of the Masters (direct-to-video; 2011)
  • Puss in Boots: The Three Diablos (direct-to-video; 2012)
  • Madly Madagascar (direct to video; 2013; with Pacific Data Images, released by 20th Century Home Entertainment)
  • Almost Home (2014; in front of Mr. Peabody & Sherman and 20th Century/Blue Sky's Rio 2)
  • Rocky and Bullwinkle (direct-to-video; with Pacific Data Images; 2014)
  • Dawn of the Dragon Racers (direct-to-video; 2014)
  • Kung Fu Panda: Secrets of the Scroll (2015)
  • The Boss Baby and Tim's Treasure Hunt Through Time (direct-to-video; 2017)
  • Trolls Holiday (2017)
  • Bird Karma (2018)note 
  • Bilby (2018)note 
  • Kung Fu Panda Adventure (2018)
    • DreamWorks Theatre (2018)
  • Marooned (2019)note 
  • How to Train Your Dragon: Homecoming (2019)
  • Tiny Diamond Goes Back To School (2020)
  • To: Gerard (2020)
  • Trolls: Holiday in Harmony (2021)
    Television work 
    Live-Action work (Through PDI; either prior or after the merger) 
    DreamWorks Classics properties 

Tropes commonly used by DreamWorks Animation include:

  • Advertising by Association: Their movies are often advertised this way, referencing previous DreamWorks All CGI Cartoons, Shrek being usually one of them.
  • Amplified Animal Aptitude
  • Arch-Competitor:
    • DreamWorks was created to be this to Disney, but in the 2000s it became much more famous for its rivalry with Pixar.
    • In the first half of the 2010s, they were briefly this to Illumination Entertainment, who shares very similar tropes to DreamWorks. When Universal snapped up DreamWorks, they became corporate siblings rather than rivals (à la Disney/Pixar).
  • Artistic License – Space: The 2010-2017 logo features the full moon waning into a crescent revealing the boy. In order to maintain the original "D" shape of the moon, this happens the opposite of how it would in real life; the moon always waxes and wanes from the right, not the left.
  • Balloonacy: How that kid in the logo gets to the moon in the 2004-2010 logo.
  • Be Yourself: Often very important in pushing the main characters before the climax.
  • Cash-Cow Franchise: Up until its acquisition by Comcast/NBCUniversal, DreamWorks had to develop every successful property into one of these since it was an independent company specializing in high-budget animated films and hounded by unsatisfied stockholders. For instance the Shrek series has made over $2 billion from the four movies alone (and that's not counting merchandising), while Kung Fu Panda, Madagascar, and How to Train Your Dragon are becoming the company's new bedrock ones. When an animated film under-performs then it's cause for major concern and it makes front page headlines, whereas if the same thing happens to Disney Animation, Pixar, or Blue Sky (who are all owned by larger companies... the exact same one, in fact) then it's not treated as nearly that big of a deal (justified, given Disney makes much more revenue and income than DreamWorks). Since said acquisition, Trolls and The Boss Baby have become incredibly successful for them.
  • Celebrity Voice Actor:
    • One of the most notorious perpetrators of this trope. Every last one of their movies has an All-Star Cast (save for How to Train Your Dragon, and even that had Gerard Butler and Craig Ferguson, who might not be all that famous, but are well-known in most circles).
    • The Korean dub of the first Madagascar movie got local celebrity Song Kang-ho to voice Alex. However, Jeffrey Katzenberg admitted that he had never seen Song's movies but approved the casting when he got sent a voice reel of the actor's previous work.
  • Cerebus Syndrome:
    • While it has its hilarious moments, Kung Fu Panda is the film that started the more serious and emotional line of films that DreamWorks would go on to produce in the future, being an action comedy with some pretty serious drama going on, as well as the comedy being a bit darker and dropping the pop-culture jokes that DreamWorks is known for using. In fact, any of DreamWorks' major franchises will fall subject to either one or both of these tropes at one point:
    • Shrek got this with the release of Shrek Forever After, in which the titular protagonist ends up trapped in a alternate world tyranically ruled by the movie's Big Bad, which he has to escape from.
    • As the Madagascar movies went on (up until Penguins of Madagascar, which somewhat returned the original nature of the first movie), comedy was touched upon less frequently, being slowly replaced by a large number of dramatic and emotional scenes.
    • Kung Fu Panda 2 is significantly darker than the first film. Multiple characters are Killed Off for Real onscreen (though we don't get to see most of their bodies), and the Never Say "Die" rule from the first movie is broken a LOT, to the point where it seems like "death", "dead", and "kill" are used every other sentence. The Big Bad wants to take over all of China with giant cannons that are seemingly unstoppable and really are used to kill. And then there's the repressed memories of Po's traumatizing childhood, which involved the attempted genocide of his entire species.
    • How to Train Your Dragon, being released shortly after Kung Fu Panda, wasn't that dark or edgy, but it was still more serious compared to most of DreamWorks' other films. The sequel, on the other hand, takes it further. Here, the Big Bad wants to enslave all dragons, there is a battle with a gigantic ice dragon and Stoick dies. To make matters worse, it was the titular dragon, who was Brainwashed and Crazy, that killed him. The third film is no better (in fact it's much darker than the previous films), with the Big Bad, Grimmel the Grisly, being an Ax-Crazy Blood Knight and a dragon hunter who's fixated in carrying out a mass genocide on all dragons (as well as the implications that he's the Greater-Scope Villain of the previous films) and will stop at nothing to carry out his incredibly heinous and horrific atrocities. Not only that, but there are much more serious themes that are presented in the film, and most importantly, there's a Bittersweet Ending that's a massive Tear Jerker.
    • Trolls has to hit this yet, but it seems that it's already on the way with the overall context and depths that Trolls: World Tour had established.
  • Channel Hop: As explained above, after splitting with DreamWorks, DWA's films were still distributed by their former parent, until 2006, when Viacom bought DreamWorks and Paramount took over distribution until the end of 2012. After that, Dream Works moved to Twentieth Century Fox, who has distributed all films released from 2013 to 2017, as well as gaining the rights to the library beforehand when DWA bought out those rights from Paramount. After Captain Underpants: The First Epic Movie (in the US and select regions) was released, DreamWorks Animation's future releases (as well as their back catalog) were exclusively distributed by new parent Universal from How to Train Your Dragon: The Hidden World onward, with the company having officially taken over distribution of their back catalog in February 2018.
  • Creator's Apathy:
    • CEO Jeffrey Katzenberg had been trying to sell the studio off since Rise of the Guardians failed to turn a profit for the studio and ended its nearly decade-long financial winning streak. Around that time, Katzenberg sought to expand the studio's success by making risky acquisitions, most notably the purchase of Classic Media, the Trolls toys and the YouTube service AwesomenessTV. Meanwhile, their next films, such as Turbo, Mr. Peabody & Sherman and Penguins of Madagascar ended up being financial failures despite recouping their budgets, leading to major write-downs. Coupled with failed takeover attempts by Hasbro and Japanese conglomerate SoftBank, a massive reorganization at DreamWorks saw the closure of Pacific Data Images (which made up half the studio) and 500 jobs lost, ensuring that its glory days of being head-on competitors to Disney and Pixar had long passed. Nevertheless, Katzenberg continued his ventures in an attempt to have the company stay in the black, to mixed results, and oversaw two more films, Home (2015) and Kung Fu Panda 3, that somehow did turn a profit yet not enough to please shareholders. At that point he was about to say "screw it" and take the company private with the help of Chinese investment firm PAG Asia Capital, then Comcast's NBCUniversal unit came knocking on their door with $3.8 billion in their hands. Given the timing of the acquisition talks (a deal was reached after just thirteen days of negotiations), one has to wonder whether or not Katzenberg simply wanted to run the studio to the ground just so he could sell it to someone and silence the shareholders.
    • If analysts of the sale are to be believed, it seemed NBCU's parent Comcast wasn't even interested at all in DreamWorks' film library. The main motive for buying the studio? To gain access to DreamWorks' intellectual property to add to NBCU's content portfolio, meaning that all Comcast cared about was to milk their property in order to expand their revenue. In a way the priorities behind the deal are reminiscent of Comcast's failed $54 billion bid for Disney in 2004; after the buyout was rejected it was revealed that Comcast wasn't interested in Disney for its studio or theme parks or even its intellectual property - rather Comcast was only interested in Disney for ESPN, the company's biggest cash cow at the time.
  • Dance Party Ending: Popularized it in animated films. They ended up bringing it up to eleven with Trolls.
  • Denser and Wackier: DreamWorks began as Jeffery Katzenberg's serious attempt to compete with Disney, putting out some very edgy films like The Prince of Egypt, Antz and, in collaboration with Aardman, Chicken Run. As soon as the self-referential, potty-mouthed and pop-culture heavy Shrek became a mega Sleeper Hit, DreamWorks completely did away with the heavy stuff (as well as their traditional animation unit) and spent the better part of the Turn of the Millennium making the same movie over and over. After the Shrek saga declined, the studio attempted to remedy this with more sophisticated films like Kung Fu Panda and How to Train Your Dragon (2013's Turbo being the only holdout). However, for well-reviewed these efforts were, audiences found many of these as too sentimental, heavily affecting its finances. The studio put humor at the front once again (although far less gag-based) with Home (2015), Kung Fu Panda 3 and Trolls.
  • Disneyesque: All of their hand-drawn animated films.
  • DVD Commentary:
    • Antz: With directors Tim Johnson and Eric Darnell
    • The Prince of Egypt: With directors Brenda Chapman, Simon Wells and Steve Hickner
    • The Road to El Dorado: With directors Bibo Bergeron and Don Paul and art director Raymond Zibach
    • Chicken Run: With directors Nick Park and Peter Lord
    • Shrek: With directors Andrew Adamson and Vicky Jenson and producer Aron Warner
    • Spirit: Stallion of the Cimarron: With directors Lorna Cook and Kelly Asbury and producer Mireille Soria
    • Sinbad: Legend of the Seven Seas: With directors Tim Johnson and Patrick Gilmore, producer Mireille Soria, production designer Raymond Zibach, head of story Jennifer Yuh Nelson, animation supervisor Kristof Serrand and layout supervisor Damon O'Bierne
    • Shrek 2:
      • First commentary with directors Kelly Asbruy and Conrand Vernon
      • Second commentary with producer Aron Warner and editor Mark Andrews
    • Shark Tale: With directors Bilbo Bergeron, Vicky Jenson and Rob Letterman
    • Madagascar: With directors/co-writers Eric Darnell and Tom McGrath
    • The Curse of the Were-Rabbit: With directors/co-writers Nick Park and Steve Box
    • Over the Hedge: With directors Tim Johnson and Karey Kirkpatrick and producer Bonnie Arnold
    • Flushed Away: With directors Dave Bowers and Sam Fell
    • Bee Movie: With producer/voice of Barry Jerry Seinfeld, directors Simon Smith and Steven Hickner, co-writer Barry Marder, co-producer Christina Steinberg and editor Nick Fletcher
    • Kung Fu Panda: With directors John Stevenson and Mark Osborne
    • Madagascar: Escape 2 Africa: With directors Eric Darnell and Tom McGrath and producers Mireille Soria and Mark Swift
    • Monsters vs. Aliens: With producer Lisa Stewart grabs directors Rob Letterman and Conrad Vernon
    • How to Train Your Dragon: With co-writers and directors Chris Sanders and Dean DeBlois and producer Bonnie Arnold
    • ''Shrek Forever After': With director Mike Mitchell, head of story Walt Dorhn and producers Gina Shay and Teresa Chang
    • Megamind: With director Tom McGrath, producers Lara Breay and Denise Nolan Cascino and writers Alan Schoolcraft and Brent Simons
    • Kung Fu Panda 2: With director Jennifer Yuh Nelson, producer Melissa Cobb, production designer Raymond Zibach, and supervising animator, Kung Fu choreographer and story artist Rodolphe Guenoden
    • Madagascar 3: Europe's Most Wanted: with directors directors Eric Darnell, Tom McGrath and Conrad Vernon
    • Rise of the Guardians: With director Peter Ramsey and Producers Christina Steinberg and Nancy Bernstein
    • How to Train Your Dragon 2: With writer/director Dean DeBlois, head of character animation Simon Otto, producer Bonnie Arnold and production designer Pierre-Olivier Vincent
    • How to Train Your Dragon: The Hidden World: With writer/director Dean DeBlois, producer Brad Lewis and head of animation Simon Otto
    • Abominable: With writer/director Jill Culton, co-director Todd Wilderman, producer Suzanne Buirgy, producer/chief creative officer Peilin Chou, head of character animation John Hill, production designer Max Boas and visual effects supervisor Mark Edwards
    • Trolls: World Tour: With director Walt Dohrn, co-director David Smith and producer Gina Shay
    • The Croods: A New Age: With director Joel Crawford, producer Mark Swift, head of story Januel Mercado and editor James Ryan
    • Spirit Untamed: With director Elaine Bogan, co-director Ennio Torresan and producer Karen Foster
    • The Boss Baby: Family Business: With director Tom McGrath, producer Jeff Hermann and Production Designer Raymond Zibach
    • The Bad Guys: With director Pierre Perifel, Producer Damon Ross, Head of Story Nelson Yokota, Head of Character Animation JP Sansand Production Designer Luc Desmarchelier
    • Puss in Boots: The Last Wish: With director Joel Crawford, co-director Januel Mercado, producer Mark Swift, head of story Januel Mercado and editor James Ryan
  • DreamWorks Face: Trope Namer and Codifier.
  • Dueling Movies: A lot of their movies during the 2000s shared superficial similarities with Disney/Pixar movies that happened to be released roughly within a year of each other. (Antz to A Bug's Life, Finding Nemo to Shark Tale, etc.)
  • Early-Installment Weirdness: The Prince of Egypt, The Road to El Dorado, or Spirit: Stallion of the Cimarron — if nothing else, for using 2D animation instead of the 3D renders that they'd become more commonly known for from Shrek onward. Both Egypt and Spirit also had a more personal involvement from Katzenberg himself (he wrote the story for Spirit), but after the latter's fall at the box office and him creating the infamous Father of the Pride (which was disowned by the end of the 2000's), he backed out of taking direct credits.
  • Fascinating Eyebrow: One paired with a smirk is common in their promotional art, to the point where the combination is commonly dubbed "the Dreamworks face" online.
  • Follow the Leader: Earlier on in their history, before they decided to go in a "light fantasy" direction to counter Pixar's more "epic" films, they were notorious for copying the template of whatever Pixar film was being developed at the same time.
    • While DreamWorks were copying Pixar, everyone else was copying DreamWorks (Disney even joined the fray for a few movies). Shrek in 2001 was followed by numerous imitators, and its template pretty much defined what "animated fairy tale" meant for the rest of the decade. And that's not to mention the number of copycat studios that were created after DreamWorks proved that non-Disney feature animation could be profitable, a few of which are still around today.
  • Logo Joke: Has its own page featuring customized logos for some of their properties.
  • The Man in the Moon: In the logo animation used from 2010 to 2017, that kid in the logo is part of the moon.
  • No-Respect Guy: A common theme in DreamWorks movies are main characters who are treated as Butt Monkeys for being different or for seeing things in an unorthodox way, despite being relatively pleasant or rational in comparison to the other characters.
  • Off-the-Shelf FX: PDI was noted for being the very first computer graphics company to not go with the overly expensive supercomputers most CG studios were using at the time, instead opting to use regular computer systems and custom-made software to get comparable, if not slightly better, results. Even after getting acquired by DreamWorks, the studio proudly boasted working with consumer-grade HP computer systems modded to fit their needs.
  • Old Shame: After Shrek became a hit, DreamWorks more or less apologized for their 2D films and have buried them in their history, though they've garnered a cult following for non-Disney enthusiasts since then. As for their CGI projects, their short-lived prime-time sitcom Father of the Pride has basically vanished from the face of the earth.
  • Recycled: The Series: So, so many (just see the "Television Work" folder above), with a particularly strong expansion on the concept with the advent of streaming services. As of 2020, the Madagascar, Kung Fu Panda, How to Train Your Dragon and Trolls franchises have managed to achieve multiple series. Additionally, beginning in 2019, the studio's acquisition by Comcast saw them producing some of these for non-DreamWorks Universal properties as well, starting with Fast & Furious: Spy Racers.
  • Shifted to CGI: The first several animated films were mainly traditionally animated Disneyesque works. Starting with Shrek, the studio switched to exclusively making All CGI Cartoons. They don't have an interest in going back to 2D films. DreamWorks is considered a (if not the) major reason why traditionally animated theatrical films stopped being popular in the early-to-mid 2000s. Even though, many of their television series are still fully 2D-animated to this day.
  • Single Woman Seeks Good Man: A lot of the films with romance as a main plot or a sub-plot will often have one or more of the female characters falling for a decent guy.
  • Sliding Scale of Idealism vs. Cynicism: All of the studios films learn more towards the idealistic end, even if they start off on the cynical side.
  • Spam Attack: As early as 2004, DreamWorks had built a reputation for releasing animated movies quickly and frequently, with a release schedule of about two films a year. In 2009 they announced a plan to release three or four animated theatrical movies a year, twice as many per year as Disney and Pixar combined. In 2015 they abandoned this plan, only releasing one film in that year, and scheduling two movies per year for 2016 and beyond.
  • Start My Own: Jeffrey Katzenberg started up the studio after Disney repeatedly rejected his push for more adult-friendly content, specifically the infamous "Black Friday" version of Toy Story.note  Katzenberg had attempted to get The Prince of Egypt going at Disney, but for obvious reasons (his falling out with Eisner, Disney never really being good with content from the Bible), it didn't go anywhere until DreamWorks was founded.
  • Strictly Formula: They have been accused of enforcing this trope in most of their CGI-animated movies during the 2000s: in the beginning, the main character is a grumpy or antisocial outcast (or at the very least is "different"). Throughout the film he becomes a better person. In the end, he saves the day and everyone accepts him for who he is. Add bonus points for pop culture references, fart jokes, and the occasional DreamWorks Face, and you're good to go.
  • Throw It In: A few of the background jokes (like the "Utah Teapot") in "Homer3" were added in by the companynote .
  • Toilet Humour: DreamWorks has played with this trope very frequently, even dwarfing that of Pixar's use. They eventually started falling out of love with it by the late 2000s when audiences grew sick of it, though it still pops up occasionally, and even when it does it's often downplayed in some way.
  • What Could Have Been:
    • PDI (pre-DW) had plans for a feature-length CGI movie as early as 1985. It never happened due to money issues.
    • John Kricfalusi was nearly hired to work for them, but after meeting the executives, who wanted him to conform to the studio's style, he backed out. Kricfalusi highlighted this event in his blog.
    • At one point in the mid-90s Will Vinton sold a pitch for a live-action/CGI animated film, Whatever that project was it seems like it never happened.
    • There are dozens of whole films that were never made. These include Punk Farmnote  and Truckersnote .
    • Another project, Monkeys of Mumbai, was to be a musical directed by Tarzan's Kevin Lima with songs penned by Stephen Schwartz (who previously collaborated with DreamWorks on The Prince of Egypt) and A.R. Rahman, but sat at the studio for years. It was officially confirmed by Lima to be cancelled in December 2017.
    • DreamWorks also had a similar project called Vivo that featured songs by Lin-Manuel Miranda, which ultimately entered turnaround due to a January 2015 restructuring. However, unlike Monkeys of Mumbai, this project would eventually find a new home at Sony Pictures Animation (which did happen), to be directed by The Croods' Kirk DeMicco and co-produced by ex-Disney employee Rich Moore.
    • In the mid-2000s, they came this close to creating a property based on Miss Chevious, a character from an extremely obscure 80s black-and-white comic (Tales From The Aniverse). Given DreamWorks' muscle, it could easily have lifted a 6-issue furry comic from the 80s to prominence, but apparently someone high up the ladder didn't understand the treatment written by the comic's creator.
    • Before DreamWorks Animation was ultimately acquired by NBCUniversal in 2016, there were multiple companies who tried to purchase the studio prior:
      • Japanese media giant SoftBank had plans to purchase DreamWorks Animation in 2014, but for whatever reason the deal fell through, instead investing in Legendary Pictures, which ironically had another ex-Walt Disney Studios chairman, Dick Cook, on their board.
      • Hasbro considered merging with DreamWorks Animation in 2014 as well, but quickly pulled out after Hasbro's stock lost $300 million in value the day after the announcement and because DreamWorks's high asking price of $35 per share when their current value was considerably less and falling was too much for themnote . Disney also wasn't terribly wild about the idea after they had sealed their own deal with Hasbro a month priornote ; Hasbro never discussed the merger with them, although to be fair, the details of the intended merger were from a letter that someone leaked to the press, meaning there may have been different plans.

        An SEC filing published after the NBCU agreement confirmed the talks between the two (with Hasbro being identified as "Company B") were indeed being made. It turned out that the asking price from DreamWorks and Disney's intervention had little to do with the merger falling apart, and that the talks being reported publicly on news sites shot the merger down because it violated a confidentiality agreement the two parties signednote .
      • Warner Bros. also considered buying the studio, but it went nowhere.
      • The Dalian Wanda Group, which previously owned the AMC theater chain, had also discussed an acquisition of DreamWorks, but it never got serious; Dalian Wanda acquired Legendary Pictures altogether and eventually declared war on Disney in China without DreamWorks Animation.
      • Employees of Sony Pictures reportedly pressured studio executives to try to acquire DreamWorks in hopes of bolstering its animation unit and increase profits. Like the Warner Bros. example above, the talks ended up going nowhere. Before that, Sony was in talks to distribute DreamWorks's films when the Paramount deal was coming to an end.
      • Katzenberg considered returning to Paramount after hearing that Viacom considered selling the studio, but the deal never happened; he ultimately wound up forming the doomed mobile-first streaming service Quibi.
      • The last move before the sale to Comcast was Katzenberg talking with Chinese investor PAG Asia to return the company to being private with Katzenberg still at the wheel. The deal was not all that much, however, and Comcast/Universal immediately trumped the offer before it could be finalized.
    • After NBCUniversal bought DWA in 2016, they wanted to have Illumination Entertainment's Chris Meledandri to spearhead both studios in the same vein as former Disney/Pixar Animation Chief Creative Officer, John Lasseter. Feeling content as CEO of Illumination, Meledandri declined the offer, taking it as a "compliment", and decided to take a consultant role instead.
    • The studio, at one point, worked on an animated musical titled Larrikins directed by Tim Minchin, taking place in the Land Downunder and starring anthropomorphic Australian Wildlife. When the movie got cancelled, its characters got recycled for the short film Bilby instead.
    • In the late 90s, Greg Weisman was developing a bunch of stuff for their short-lived TV animation division — including an animated series based on Small Soldiers, Steven Spielberg's Cliffhangers, an action anthology series involving a new 5-episode serial every week (with each ep ending on a cliffhanger, hence the name), and a series based on a DW video game, T'ai Fu: Wrath of the Tiger.
  • The Wiki Rule: Has a wiki here.


Video Example(s):


DreamWorks Animation

DreamWorks Animation's current on-screen logo made its debut on How to Train Your Dragon: The Hidden World, released on January 22, 2019.

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