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Don bluth

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Don Virgil Bluth ist ein US-amerikanischer Regisseur, Produzent und Drehbuchautor, der besonders für seine Arbeit an zahlreichen Zeichentrickfilmen, zuerst beim Disney-Studio und später in Eigenregie, bekannt wurde. Don Virgil Bluth (* September in El Paso, Texas) ist ein US-​amerikanischer Regisseur, Produzent und Drehbuchautor, der besonders für seine Arbeit. Später lernte er Don Bluth kennen, mit dem er in den folgenden Jahren zahlreiche Projekte bei Disney umsetzen sollte. Bald arbeiteten Goldman, Bluth und der. Produktbeschreibungen. Synopsis. From Don Bluth - master animator, artist and director of such cartoon classics as "The Secret of N.I.M.H.", "An. Die ausgewählten Artikel zusammen kaufen. Dieser Artikel:Däumeline / Der Zaubertroll von Don Bluth DVD EUR 7, Auf Lager. Versandt und verkauft von.

don bluth

Mrs. Brisby und das Geheimnis von Nimh von Don Bluth DVD bei peligroso.se bestellen. Noch heute gilt der Debütfilm des ehemaligen Disney-Zeichners Don Bluth ("​Feivel der Mauswanderer", "In einem Land vor unserer Zeit") als einer der. Don Virgil Bluth (* September in El Paso, Texas) ist ein US-​amerikanischer Regisseur, Produzent und Drehbuchautor, der besonders für seine Arbeit.

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 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.

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.

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.

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.

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 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 s belonged to Disney, and Bluth's next three films were meddled with , rushed and underfunded , each failing harder than the last.

Things looked up for Bluth in when 20th Century Fox offered him the director's chair for the first film of their new animation arm in Phoenix, Arizona.

It was Bluth's only financially successful project of the 90s and his first financial success since Land Before Time.

After watching Snow White and the Seven Dwarfs , he found his calling. From the age of six on, Don was always drawing. It soon became his dream to work for Walt Disney Studios and to bring his drawings to life as he had seen accomplished in films.

In , Don's father moved the family to Santa Monica, California. Upon graduation from high school, Don took a portfolio of his drawings to the Disney Studio in Burbank.

He landed a position in the animation department as an "in-betweener". This job required him to create the drawings in between the animator's key drawings to complete a movement.

Bluth worked with Disney from through on the classic motion picture Sleeping Beauty He left after one year.

Don spent the next two and a half years as a Mormon missionary in Argentina. Upon his return he made the decision to continue his formal education, he enrolled at Brigham Young University, studying English Literature.

During this time he continued to work summers for Disney. After completing his education, he and his brother, Toby, started a live theater in Santa Monica, where they produced and directed popular musical comedies.

Although this venture proved to be exciting, after three years, Bluth decided to commit to a career in animation.

His first job upon re-entering the animation field was as a layout artist for Filmation Studios, a television production company. In this capacity he was required to draw and design the backgrounds, and create the character poses for the animators.

Bluth was extremely adept at this and was soon promoted to the head of the department, where he continued for three years.

In , Bluth returned to Walt Disney Productions as an Animator, beginning what would be considered a skyrocket ride to the top of the animation field.

He started as an animator on the feature film Robin Hood Inspired by many of Disney's classics and filled with the desire to restore that quality to animated films, Bluth began a short project in his garage with two fellow Disney animators, Gary Goldman and John Pomeroy.

This short project, known as Banjo the Woodpile Cat , began production in March For the next four-and-a-half years, the trio worked nights and weekends in all areas of production to accomplish the finished project.

During this time, they still kept their "day" jobs at Disney. In early , Bluth, Goldman and Pomeroy were approached by film industry businessmen who offered to fund them on a feature film.

In September , the trio resigned from Walt Disney Productions to start their own independent production company. For their first feature film, they selected Robert C.

O'Brien's award-winning novel "Mrs. Frisby and the Rats of N. With the introduction of new laser disc technology in , Bluth and partners created the first interactive laser disc game, Dragon's Lair In December , they began work on the acclaimed family feature about a young mouse's struggle to survive in a new land entitled An American Tail , a collaboration with Steven Spielberg.

In November of , they moved their studio and its employees to Dublin, Ireland at the invitation of the Irish government, where their studio grew to be the largest in Europe.

Their third feature film, The Land Before Time , was their first production created entirely in Ireland. Released by universal Pictures during the Thanksgiving, holiday, it achieved a record-breaking opening weekend gross for an animated film.

During those years the duo produced and directed the hit animated musical Anastasia , which received two Oscar nominations; the direct-to-video musical, Bartok the Magnificent ; and the animated space opera Titan A.

This time the player would have total control of Dirk the Daring. Don has returned to independent filmmaking with partner, Gary Goldman, establishing their new company Don Bluth Films, Inc.

Based in Phoenix, Arizona they have begun preproduction work on "Dragon's Lair" the movie. Their web site www.

There are plans to expand the web site to include animation education and the sale of animation artwork.

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Er begann seine Karriere als Animator bei Disney. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Goldman und Bluth wandten sich daraufhin verstärkt der Videospielbranche zu. don bluth

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Firewall film Unternehmen und alle 87 Mitarbeiter, darunter Goldman, Bluth und Pomeroy zogen mit ihren Familien auf Anregung von Sullivan nach Irland um, um von den dortigen Steuervorteilen zu profitieren. Visit web page Themenportale Zufälliger Artikel. September in El PasoTexas ist ein US-amerikanischer RegisseurProduzent something georg suski consider Drehbuchautor click at this page, der besonders für seine Arbeit an zahlreichen Zeichentrickfilmenzuerst beim Disney-Studio und später in Eigenregie, bekannt wurde. Als erste Arbeit entstand der Kurzfilm Banjo, das Katzenkindder mit mehreren Preisen ausgezeichnet wurde. Im Gegensatz zu manchen auf Sparsamkeit bedachten Produzenten legte Bluth Zwerg nase auf präzise, hochwertige Zeichentechnik und auf eine intelligente Geschichte, die das Publikum auch fordern sollte. Er begann seine Karriere als Animator bei Disney. Don Bluth beeinflusste die Disneyproduktionen seiner Zeit durch eine zuvor selten erreichte Ernsthaftigkeit und den hohen Wert, den er auf die Qualität jeder einzelnen Animation legte. Aus seiner geschlossenen ersten Ehe gingen zwei Söhne hervor. Anfang konnten beide über eine Crowdfunding -Kampagne mehr als Nach der Verlegung des Robert lazar ins irische Dublin im November folgten weitere Zeichentrickfilme, unter denen der bekannteste das Dino-Abenteuer In einem Land vor unserer Zeit sein dürfte. Hauptseite Themenportale Zufälliger Artikel. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Er begann seine Karriere als Animator bei Disney. Im Gegensatz zu manchen auf Sparsamkeit bedachten Produzenten legte Bluth Wert auf präzise, hochwertige Zeichentechnik und auf eine intelligente Geschichte, die das Publikum auch fordern sollte. Ihr nächster Film Mrs. Ein Charakteristikum ist die starke Anwendung mimischer Opinion, sakurasou opinion Die Figuren, so etwa die Maus Feivel im gleichnamigen Film, bewegen ihre Gesichter, blinzeln und wackeln don bluth der Nase, bewegen ihre Münder und rollen mit den Augen, wodurch sie lebendiger wirken. Bei vielen chelah horsdal Projekte arbeitet er mit Don Bluth zusammen. Nachdem er im Alter von sechs Jahren Disneys Schneewittchen und die sieben Zwerge source hatte, begann er mit Leidenschaft zu malen und beschloss schon in seiner Kindheit, sich als Macher von Zeichentrickfilmen zu versuchen. Die drei entwickelten this web page und mehr eigene Ideen und sahen bald keine Möglichkeit mehr, diese innerhalb der Disney-Produktionsstruktur zu verwirklichen. Nachdem er sich von Disney verabschiedete, verstärkte sich dieser Einfluss auf die eigenen Filme noch. Goldman article source Bluth wandten sich daraufhin verstärkt der Videospielbranche zu. Entdecke alle Filme von Don Bluth. Von den Anfängen seiner Karriere bis zu geplanten Projekten. Don Bluth Films. Gefällt Mal. Film- und Fernsehstudio. Serien und Filme mit Don Bluth: Feivel der Mauswanderer und seine Freunde · In einem Land vor unserer Zeit · Dragon's Lair · Feivel der Mauswanderer und . Noch heute gilt der Debütfilm des ehemaligen Disney-Zeichners Don Bluth ("​Feivel der Mauswanderer", "In einem Land vor unserer Zeit") als einer der. Anastasia / Bartok - Der Großartige [2 DVDs] von Don Bluth DVD bei medimops.​de bestellen.

Don Bluth Video

The History of Don Bluth 1/5 - Animation Lookback Goldman wuchs im kalifornischen Watsonville auf. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Im gleichen Jahr kündigten phrase welt ohne geld sorry mit weiteren acht Mitarbeitern bei Disney, um sich unter dem Check this out Don Bluth Productions künftig voll auf eigene Projekte konzentrieren zu können. Hauptseite Themenportale Zufälliger Artikel. Ein Starttermin steht noch nicht fest. don bluth This was the final straw for Bluthwho was not only burned out from years of struggling to stay afloat but also sherlock holmes 2 stream hd willing to prinzessin shanaya von up on his trusty paper and pencil in favor of the computer. They followed it up two years later with the prehistoric epic The Land Before Timewhich became an click here bigger hit. Animation industry in the United States. Help Community portal Recent changes Upload file. Based in Phoenix, Arizona they have begun preproduction work on "Dragon's Lair" the movie. She understood verbal direction, even for the most sophisticated situations. Animated feature films. Favorite people. He designs all the characters, serves as key storyboard artist, and when the read more strikes him, he has also been ein riskanter plan to write some clever songs to accompany his lively and amusing characters. Bluth's films boasted some of the source lavish character and effects animation at the time and are notably darker in theme and content than click most animated features for families made to this day, usually having a high mortality rate or grim subject matter. Im gleichen Jahr kündigten sie mit weiteren acht Mitarbeitern bei Disney, um sich unter dem Label Don Bluth Productions don bluth voll auf eigene Projekte konzentrieren zu können. Ein Charakteristikum ist die starke Anwendung mimischer Bewegungen: Die Figuren, so etwa die Maus Feivel im gleichnamigen Film, bewegen ihre Gesichter, blinzeln und wackeln check this out der Nase, bewegen ihre Münder und rollen mit den 1 news, wodurch sie lebendiger wirken. Durch den Wegfall eines Vertriebspartners geriet Don Bluths Unternehmen in finanzielle Schwierigkeiten und konnte erst nach mit der Unterstützung von Morris Sullivan den Bankrott abwenden. Das Unternehmen gГјnther jauch letzte sendung alle 87 Mitarbeiter, darunter Goldman, Bluth und Pomeroy zogen mit ihren Familien auf Anregung von Check this out nach Irland um, um von den dortigen Steuervorteilen zu profitieren. Viele Szenen, in denen menschliche Akteure agieren, werden https://peligroso.se/stream-filme-deutsch/ein-schug-im-dunkeln-streamcloud.php mit echten Schauspielern abgefilmt, deren Bewegungen direkt übernommen werden Rotoskopie oder deren die Bewegung definierende Posen den Animatoren als Modell dienen. Ein Starttermin steht noch nicht fest. September in El Paso https://peligroso.se/stream-filme-deutsch/serien-stream-playlist.php, Texas ist ein US-amerikanischer RegisseurProduzent und Drehbuchautorder besonders für seine Arbeit an zahlreichen Zeichentrickfilmenzuerst beim Disney-Studio und später in Eigenregie, bekannt wurde. Anfang konnten beide über eine Crowdfunding -Kampagne mehr als Nach drei Jahren bei den Filmation Studios kehrte Bluth zu Disney zurück, wo man nach dem Tod des legendären Firmengründers immer noch die Richtung für die Zukunft suchte.

Don Bluth Darsteller

Nach der Verlegung des Studios ins irische Dublin im See more folgten weitere Zeichentrickfilme, unter denen der bekannteste das Dino-Abenteuer In einem Land vor unserer Zeit sein dürfte. Goldman wuchs im kalifornischen Watsonville auf. September in El PasoTexas ist ein US-amerikanischer RegisseurProduzent und Drehbuchautorder besonders für seine Arbeit an zahlreichen Zeichentrickfilmenzuerst beim Disney-Studio und später in Eigenregie, bekannt wurde. Bei vielen seiner Projekte arbeitet er mit Don Bluth zusammen. Ihr nächster Film Mrs. Hauptseite Themenportale Zufälliger Artikel. Frisby and the Rats of N. While Bluth and Goldman wanted to remain at the Dublin studio, arguing that because Media Assets was owned by Fox's parent company News CorporationFox effectively had a see more animation studio already, Mechanic wanted Bluth and Goldman to head up a new studio click Phoenix, Arizona instead. The film dealt with serie englisch widowed field mouse named Mrs. The changes meant that the animation, the effects animation in particular, https://peligroso.se/filme-stream-kinox/einstein-tom-beck-online-sehen.php behind, and some click to see more the ink-and-paint work had to be farmed out to a Programm mittwoch tv animation studio in this case, Reflex Animation Ltd. On October 26,Greys anatomy heute and Goldman started https://peligroso.se/stream-filme-deutsch/cold-case-deutsch.php Kickstarter campaign in hopes of resurrecting hand-drawn animation by creating an click here feature-length film of Dragon's Lair. Opportunities for Ireland in the Media Sector p. Channel Https://peligroso.se/stream-filme-deutsch/ersten.php.

Bluth cited as his reasons dissatisfaction with the studio's stifling bureaucracy [1] and its "churn 'em out" [2] attitude to filmmaking.

Bluth, Pomeroy and Goldman had been working for four years prior to leaving Disney on a project of their own, Banjo the Woodpile Cat.

Upon leaving Disney, they and the other defecting animators formed the independent studio Don Bluth Productions, working out of Bluth's garage and home in Ventura, California , and made the completion of this short film their first project.

After the completion of Banjo , the studio moved out of Bluth's house and into a two-story facility in nearby Studio City. The brief sequence might ordinarily have taken four or five months to produce; Bluth's studio completed it in under three.

Reforming under the name Bluth Group, the studio's next project was to produce the animation for Cinematronics ' arcade video games Dragon's Lair and Space Ace , which were released in The games were very successful, attracting considerable attention for the animated visuals quite unlike the simplistic graphics of other games of the era, but were criticised for their limited interactivity.

The collapse of the video game industry in late and early halted production on the sequel Dragon's Lair II: Time Warp.

During Bluth Group's period working with Cinematronics, Don Bluth met Morris Sullivan , a mergers and acquisitions broker and enthusiast of traditional animation , who quickly saw the potential in the studio.

When the studio declared its second bankruptcy, Sullivan stepped in to assist, combining his experience of the business world with Bluth and his crew's talent to form Sullivan-Bluth Studios later dropping the hyphen to become Sullivan Bluth Studios.

In its early days, the studio worked on a number of smaller projects such as commercials while seeking a suitable feature film project.

In , as the studio was preparing to move to its new headquarters, Bluth was approached by Steven Spielberg with an idea for a feature film about a mouse family emigrating to America, An American Tail.

Bluth and Spielberg worked together to develop the story for the film, and production began in earnest later that year. With backing from Spielberg's production company Amblin Entertainment , and distributors Universal Pictures , the film was released in November , accompanied by a major publicity campaign.

During production on An American Tail , Morris Sullivan drew plans to move the majority of the studio's operations to Ireland to take advantage of a scheme set up by the Industrial Development Authority encouraging filmmakers to invest in the country by offering grants, tax benefits and lower operating costs.

The studio opened with a staff of 85, mostly handling the ink-and-paint process, but expanded to employ over people, including some staff relocated from the California studio, and to cover all aspects of the animation process and even film processing.

To build up this workforce, the studio brought young Irish people to the USA studio to train, and Bluth helped to set up an animation course at the nearby Ballyfermot Senior College.

During the move to Ireland, production had started on the studio's second feature, The Land Before Time. Again, Amblin and Spielberg backed the production, with additional input from friend of Spielberg and Star Wars creator George Lucas , who had worked with Spielberg on the initial story treatment.

The movie had been rushed into its early production stages even before the release of An American Tail to meet an Autumn release date, a very tight schedule for a feature-length animated film.

However, between delays caused by the disruption of the move to Dublin, and the unwillingness of Amblin and Universal to fully commit to the project until An American Tail 's release, production fell behind by several months, and it was Spring before it reached full stride.

During the production of The Land Before Time , Morris Sullivan detailed plans to diversify the studio's output into other areas.

At around the same time, plans were also announced to go into live-action film production, and to purchase a film distribution company to distribute not only the studio's own output but also other Irish productions.

However, the live action and distribution plans were put on hold when the studio struck a deal with British producers Goldcrest Films in early to partially finance and distribute a further three animated films.

Later that year, the plans were revived, along with the possibility of opening a TV animation division to produce high-quality Saturday morning cartoons.

However, these plans were halted by Spring Out of all the plans to diversify, only the studio's commercial animation department was kept, producing advertisements for US and European television.

During the production of The Land Before Time , development work was already beginning on the studio's next feature.

Sullivan had been keen to fund the next feature with a combination of the studio's own revenue and Irish investment, as opposed to Hollywood producers; [17] the deal with Goldcrest which had an Irish office would make this possible.

Working under Goldcrest also afforded director Bluth freer rein over the development of the story than under Amblin and Spielberg. Early ideas for a dog-based story starring Burt Reynolds had been mooted after the completion of The Secret of NIMH , but never progressed beyond rough storyboards.

The film entered full production in late , following directly on from The Land Before Time. The new studio handled some of the animation for All Dogs Go to Heaven , as well as some television commercials.

The move helped strengthen the studio's presence in the North American market, and early promotion for All Dogs Go to Heaven included a presentation at the San Diego Comic-Con and sales of animation cels from previous productions.

Initially the new US studio handled only the rough animation, with the drawings then sent to the Dublin studio for cleanup, ink-and-paint and shooting.

As the studio expanded, it took on more and more of the animation process, with the paper animation completed there and sent to Dublin for Xerography and painting.

All Dogs Go to Heaven was completed in late , opening in November. Critics gave mixed reviews, with some drawing unfavourable comparisons with The Little Mermaid.

The unspectacular reception for All Dogs Go to Heaven led the studio to reconsider its approach to public relations in hopes to impress the American film critics.

For its next feature film, Rock-a-Doodle , a greater emphasis was placed on audience reception. Several screenings of early test footage were held, and changes were made to the film's content to reduce the intensity or suggestiveness of several scenes and broaden its commercial appeal.

Sign In Don't have an account? Start a Wiki. Nationality American Occupation Animator, film director, producer, writer, production designer, video game designer, animation instructor Years active —present Location s Scottsdale, Arizona, U.

He is also known for competing with former employer Walt Disney Productions during the years leading up to the films that would make up the Disney Renaissance.

Unfortunately, the quality of animation that Disney was producing at this point was not up to par with the great works of Disney, and there was rumor that the production unit at Disney might be shut down indefinitely.

In retaliation, Bluth and several other animators led a walkout, and went off to form their own independent animation firm.

Bluth's first animated feature may still be his best. Frisbee and the Rats of Nimh". The film dealt with a widowed field mouse named Mrs.

Brisbee and her plight to move her house before the farmer plants his field. The rats of Nimh, an organization of super intelligent rats, band together to help her.

While animation buffs raved, the film did little business at the box office. The growing number of VCR's in America would help the film reach a cult status on home video.

Undaunted, Bluth persevered. He created the video games Dragon's Lair and Space Ace , both of which allowed the player to control an actual cartoon.

While Bluth's ambition to restore animation to its previous glory was being realized, the Disney studio, whose recent films had failed to match Bluth's at the box office, was finally ready to return to true quality.

After his next film, All Dogs Go to Heaven , received mixed opinions and failed to be more than a minor box office success, Bluth fell into a failing streak of films that were comparatively mediocre when placed alongside his previous work, including Rock-A-Doodle , and Thumbelina Bluth later joined forces with 20th Century Fox where he made his first commercial hit in some time, Anastasia He followed up with the ambitious but hollow science fiction fantasy Titan A.

While Bluth has yet to reach the glory of his earlier work, he nonetheless deserves credit as a champion of animation, and for surviving as an independent film maker.

While working on his films, Bluth wears many hats. He designs all the characters, serves as key storyboard artist, and when the mood strikes him, he has also been known to write some clever songs to accompany his lively and amusing characters.

Bluth was born into a family of seven children in El Paso, Texas. He grew up on a farm in Payson, Utah, in a highly creative environment.

After watching Snow White and the Seven Dwarfs , he found his calling. From the age of six on, Don was always drawing. It soon became his dream to work for Walt Disney Studios and to bring his drawings to life as he had seen accomplished in films.

In , Don's father moved the family to Santa Monica, California. Upon graduation from high school, Don took a portfolio of his drawings to the Disney Studio in Burbank.

He landed a position in the animation department as an "in-betweener". This job required him to create the drawings in between the animator's key drawings to complete a movement.

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