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	Don Bluth - Wikipedia, the free encyclopedia
		Donald Virgil Bluth (born September 13, 1937) is a former Disney animator who, along with fellow animators Gary Goldman and John Pomeroy, set out on his own in 1979 to start his own animation studio, Don Bluth Productions.
		At Disney in the 1970s, Bluth was an animator on Robin Hood, The Rescuers, and Pete's Dragon.
		Currently, Don Bluth and Gary Goldman are seeking funding for a film version of Dragon's Lair.
	en.wikipedia.org /wiki/Don_Bluth (513 words)

	Don Bluth
		He was hired as a layout artist (drawing the stage or set design and character poses) by a television animation company in L.A. Bluth was extremely adept at this and was promoted to head of the department after three years.
		Bluth returned to Disney in 1971 where he quickly moved from animator to Director of Animation, to Producer/Director.
		Bluth took advantage of the new laser disk technology that was coming out at the time and created the interactive laser disc games like Dragon's Lair and Space Ace.
	www.tribute.ca /bio.asp?id=2722 (461 words)

	The Creators - Don Bluth
		Don Bluth is recognized as one of the most prestigious Animators in the film business and is admired by his peers all over the world for his creative talent as well as his versatility in bringing his memorable characters to life.
		Bluth’s family moved to Santa Monica, California, and upon graduation from high school, he took a portfolio of his drawings to the Disney studio in Burbank.
		Bluth was extremely adept at this and was promoted to the head of the department where he continued to work for three years.
	www.dragons-lair-project.com /community/related/creators/don.asp (799 words)

	Don Bluth (Site not responding. Last check: 2007-10-21)
		Don Bluth and Gary Goldman are icons in the...
		But by the end of the decade and through the 1990s, Bluth films had dropped significantly in quality and box office returns with titles such as All Dogs Go to Heaven, Rock-A-Doodle, Thumbelina, A Troll in Central Park, The Pebble and the Penguin, and the science-fiction film Titan A.E.
		His Anastasia (1997) found slightly more popularity by using well-known Hollywood stars as its voice talent and by sticking closer to long-proven Disney formulas: a sassy and resourceful princess driven to become more than she is, a cruel and conniving villain who uses dark magic, and a comic-relief sidekick.
	hallencyclopedia.com /Don_Bluth (625 words)

	Don Bluth
		DON: This is a genre of "hand-made" films, one frame at a time and concerning all the arts, acting, lighting, photography, drawing, painting, and, yes, it is too much for one person.
		DON: That is strange, the US versions are in stereo but yes, the videos, laser discs and DVD are "pan and scan." The film was shot full aperture 1:1.33, but was clipped top and bottom for a 1:1.85 projection in the theatres.
		DON: Many games seem to be all about "hack and slash", lots of gore, blood and death, or, on the other end, the games are built for the very young.
	www.yiya.de /reviews/b/blut01e1.shtml (4164 words)

	Savannah College of Art and Design > About the College > News > Savannah College of Art and Design receives ...
		“Don Bluth and Gary Goldman are icons in the animation world,” said SCAD Dean of the School of Film and Digital Media Peter Weishar.
		Bluth has worked in all categories of traditional animation, from mixing colors for ink and paint to writing scripts, directing scenes and even composing songs.
		Bluth’s name came to the public’s attention in 1979 when he resigned his position at Walt Disney Productions along with long-time partners and fellow animators Goldman and John Pomeroy to start Don Bluth Productions.
	www.scad.edu /about/news/topstories/2005/110105.cfm (782 words)

	Animation Nation Bulletin Board: Here's To Don Bluth
		Don Bluth led a walkout of some of the top animation artists at the Disney lot in 1979 and started his own studio by initiating production on a feature film.
		Dons' actions touched millions of people....from the people he trained, to the people who enjoy his pictures, to the fire he started over at the Mouse House and the intense competition that caused Disney to make some incredibly wonderful movies that touched millions around the world.
		Don Bluth, certainly one of the greatest animation legends in the history of the art form and the industry.
	www.animationnation.com /cgi-bin/ultimatebb.cgi?ubb=get_topic&f=1&t=002126 (2013 words)

	Dragon*Con Biography: [Don Bluth]
		Don Bluth, a direct descendant of the Indian princess Pocahontas, was born on September 13, 1937.
		From the age of seven Don became interested in animation, and would go to see the Disney films that came to his area, riding his horse to the local cinema, then drawing scenes and images from the films when he got home.
		Don left Disney in 1957 and became a missionary to Argentina for the Mormon Church.
	www.dragoncon.org /people/bluthd.html (513 words)

	Science Fiction Weekly Interview
		Don Bluth Productions quickly achieved the same status as Walt Disney Studios and in the process ushered in a new golden age of animated films.
		Don's been working very hard during the last six weeks to reintroduce things to that film that they remember from the game.
		That actor who's giving you the voice performance is bringing all the things that Don talked about from the actor's career in acting and all his experience of life to bring life to those lines of dialogue.
	www.scifi.com /sfw/issue236/interview2.html (2573 words)

	A Chat With Don Bluth And Gary Goldman (Part I)
		Don had just returned from the United Kingdom where the London Philharmonic had recorded music for the film.
		What Don showed that day was little more than a progression reel with some scenes in color, some in pencil test and still others in storyboard form.
		I was president of Washington, DC's ASIFA chapter, and we happened to be hosting Don Bluth at a local animation gallery.
	www.awn.com /mag/issue5.03/5.03pages/lauriachat.php3 (625 words)

	Animation Nation Bulletin Board: Pulling a Don Bluth, a nice article indeed.
		In regards to Bluth, yeah I think some of his stuff has had its flaws namely Anastatia and Titan, but I think it is the idea of what he did that is being spoken of.
		Bluth was one of the few people at Disney who, in terms of age and experience, was between the rapidly retiring crew of veterans (of which the Nine Old Men are the most obvious examples) and these young turks who were finally being hired to restock the animation division.
		From what I've heard, Bluth expected to be annointed the new leader of the studio, and made it clear that he was the only one fit to take the reins from the Nine Old Men.
	www.animationnation.com /ubb/ultimatebb.php?ubb=get_topic;f=1;t=005627 (4301 words)

	NEWSARAMA - MASTER OF THE LAIR: DON BLUTH
		Bluth’s commitment to quality and entertainment set a bench mark for all animated movies that followed, as he opted not to use many of the animation shortcuts of the time, but rather make sure the extra work was done.
		Bluth broke away from Disney in 1979 to form his own production studio with fellow animator Gary Goldman and several others, called Don Bluth Studios.
		Don Bluth: Disney’s early pictures, what we now call the golden age of animation was my inspiration.
	newsarama.com /forums/showthread.php?s=&threadid=4399 (2941 words)

	Biography for Don Bluth (Site not responding. Last check: 2007-10-21)
		Don Bluth was one of the chief animators at Disney to come to the mantle after the great one's death.
		Producer/director Don Bluth is one of the most prestigious animators in the industry, admired by peers all over the world for his creative talent, as well as his versatility in bringing memorable characters to life.
		Bluth was extremely adept at this and was soon promoted to the head of the department, where he continued for three years.
	www.imdb.com /name/nm0089940/bio (1507 words)

	Don Bluth Biography
		Bluth remembered that time as, "milking 24 cows morning and night and singing Disney songs." Even then he was "honestly dreaming of working" at the Disney studio.
		Bluth's initial experience with Disney was as a member of the audience at age seven.
		Don continues to oversee his studio's feature projects from beginning to end, as well as do a share of the drawing.
	www.cataroo.com /DBbio.html (1564 words)

	Don Bluth Ireland
		Don now found himself working with a truly international crew as artists from Europe flocked to his studio to learn from him and work on his projects.
		One of those who left stated that the reason the former Bluth followers had left was because they "had finally grown up." These original pioneers had matured during their years of working with Don.
		Sullivan Bluth was a respected studio in Ireland, a "big fish." In December of 1990 there was even an announcement that the Irish government and Sullivan Bluth were investigating the creation of a Disneyland- like theme park to be built in Ireland.
	www.cataroo.com /DBireland.html (1410 words)

	DVDtoons.com - Animation on DVD - Cartoons on DVD (Site not responding. Last check: 2007-10-21)
		Since breaking away from Disney in 1979, Don Bluth and Gary Goldman have worked numerous features including The Land Before Time, An American Tail, The Secret of N.I.M.H., and the recently released Titan A.E. In this interview, they discuss their careers, the art of animation, home video, as well as a variety of other topics.
		Don Bluth & Gary Goldman: We are very involved especially with the transfer of the film to tape process.
		Don Bluth & Gary Goldman: Well, the problem seems to be that the general audience does not want to see any fl areas on the top and bottom of their screen.
	www.dvdtoons.com /features/20 (3724 words)

	About Don Bluth
		Their efforts resulted in a featurette 'Banjo, The Woodpile Cat', which was released after the three made a much publicized departure from Disney in 1979 to form their own company to make 'The Secret of NIMH'.
		Three years later, Bluth attracted the attention of Steven Spielberg and created one of the most sucessful independantly produced animated feature films of the 1980's.
		Bluth's box office success, An American Tale, told the story of the immigrant mouse Fieval venturing off to America: would later be Followed by the successful sequel feature film Fieval Goes West.
	www.animationusa.com /bluth.html (365 words)

	DP Interviews - Don Bluth (Site not responding. Last check: 2007-10-21)
		Don Bluth needs no introduction for many a gamer who haveplayed Dragon's Lair, one of the most enduring arcade games of all time.
		When Don Bluth granted me an interview at Classic Game Expo 2002, all I was hoping for was an opportunity to ask him a few questions about the then-upcoming Dragon's Lair 3D videogame...
		Bluth opened up and went into fascinating detail about the origins of the original Dragon's Lair arcade game, his thoughts on its popularity over the years, and how the idea to make Dragon's Lair 3D came about.
	www.digitpress.com /archives/interview_bluth.htm (3980 words)

	IGN: Don Bluth
		While Don was at BYU he showed an art porfolio to the Disney and was immediately hired.
		Don then met Morris Sullivan a buisnessman in classical animaiton and the two formed Sullivan/Bluth studios.
		Don has now setup shop with Fox Animation Studios in Phoenix Arizona, where he helped create their first film success Anastasia.
	filmforce.ign.com /objects/035/035187.html (517 words)

	Interview: Don Bluth
		Throughout all these years, we could count on Don Bluth to generate endearing, family-friendly entertainment.
		Bluth and Goldman make heavy use of state-of-the-art computer generated imagery (CGI), but they blend it with traditional animation - taking advantage of the strengths and nuances of both artforms.
		We caught up with Don Bluth recently to talk about the film and the future of American animation.
	www.scifidimensions.com /Jun00/movies_don_bluth.htm (3139 words)

	A Conversation With The New Don Bluth
		The topic of the conversation was the upcoming release of Titan, A.E. Part one, the interview with Gary Goldman was run in the June issue.
		Part two, the interview with Don Bluth, was never printed because the events which transpired at Fox Feature Animation made the interview irrelevant.
		Bill Mechanic, head of the Fox Studio, and the Fox organization parted ways; Fox Feature Animation was shut down; Don Bluth and Gary Goldman were gone; and Titan, A.E. (which debuted at number five at the box office in its first weekend of release) was sent into animation oblivion.
	www.awn.com /mag/issue5.06/5.06pages/lauriabluth.php3 (578 words)

	Compare Prices and Read Reviews on Titan A.E. at Epinions.com (Site not responding. Last check: 2007-10-21)
		Bluth even manages to give these toons some sexual chemistry, in the growing relationship between Cale and Akima.
		The contrast in skill and effort between the backgrounds and the figures is sometimes jarring, detracting from the overall artistic integrity of the picture.
		In the end, TITAN AE is merely another well-meaning Don Bluth effort — meticulously crafted, but too tied up in its own earnestness to be truly entertaining.
	www.epinions.com /mvie-review-1E39-10D6ED33-39560CC9-prod5 (774 words)

	Crescent Blues \| Artist Interview: "Don Bluth and Gary Goldman: Long-running Fun"
		Crescent Blues found plenty of evidence of both at Dragoncon 2001, where Bluth and Goldman were talking to fans and gearing up for the 3-D and movie version of Dragon's Lair.
		These actors have had so much experience with their careers and their own lives that once they catch on to what you're trying to get across to your audience, they'll bring a new flavor, a new spice to the mix.
		Don Bluth: The Dom DeLuise part was not written with all that stuff in it.
	www.crescentblues.com /5_1issue/int_don_bluth.shtml (2660 words)

	Don Bluth Goes Independent
		The 1970s was a decade in which TV animation plunged to its depths, with the likes of Hanna-Barbera and Filmation dominating Saturday mornings with the worst of their wares.
		Directing animator Don Bluth and two colleagues, Gary Goldman and John Pomeroy, three of the most talented of the young Turks at Disney (publicized heavily in the promotion of The Rescuers) had defiantly quit.
		But it was Bluth, Goldman, Pomeroy and 11 other renegades from Disney who, in 1979, caused a chain reaction which led to today's feature animation boom.
	www.awn.com /mag/issue1.3/articles/beck1.3.html (1507 words)

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