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Don Bluth. Highest Rated: 93% The Secret of NIMH (1982) Lowest Rated: 14% A Troll in Central Park (1994) Birthday: Sep 13, 1937. Birthplace: El Paso, Texas, USA. Arguably one of the biggest names ...
Feb 2, 2022 · Don Bluth. As the Greatest Generation entered their golden years in the 1970s, so too did many of the original animators responsible for Disney’s massive success in the 1930s and onward.
Oct 29, 2019 · More than 20 years after the animated film “Anastasia” was released, the director of the film still recalls the magic surrounding the Oscar-nominated fairy tale.The co-director of 20th Century Fox’s adaptation of “Anastasia,” Don Bluth, is a hidden gem right in the heat of Arizona. Bluth, who still has the energy of a child at 82 ...
Donald Virgil "Don" Bluth (born September 13, 1937) is an American animator, film director, producer, writer, production designer, video game designer, and animation instructor who is known for directing animated films, such as The Secret of NIMH (1982), An American Tail (1986), The Land Before Time (1988), All Dogs Go to Heaven (1989), and Anastasia (1997), and for his involvement in the LaserDisc game Dragon's Lair (1983). He is also known for competing with former employer Walt Disney Product
Donald Virgil "Don" Bluth is an American animator and independent studio owner. He is best known for his departure from The Walt Disney Company in 1979 and his subsequent directing of animated classics such as The Secret of NIMH (1982), An American Tail (1986),The Land Before Time (1988), and All Dogs Go to Heaven (1989), as well as his involvement in the laserdisc game Dragon's Lair.
May 12, 2023 · In April, I was lucky enough to speak with Bluth for roughly 30 minutes on the phone. We talked about “The Land Before Time,” and Bluth’s philosophy on letting children see the bad times as well as the good. We talked briefly about his time at Walt Disney, and the heyday of Don Bluth Entertainment (formerly Sullivan Bluth Studios).
Jun 1, 1996 · 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. They left because of what they felt was a lack of regard by their superiors about the quality of the artwork, a deteriorating production process, and management's declining respect for the artists who built the studio.
