View Poll Results: Renaissance Pick

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  • Don Bluth

    0 0%
  • Ron Clements & John Musker

    0 0%
  • Steven Spielberg

    0 0%
  • Michael Eisner

    0 0%
  • Jeffery Katzenburg

    0 0%
  • Somebody not mentioned in this poll !

    2 100.00%
Results 1 to 4 of 4
  1. #1

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    Mar 2013

    Question So Who Was Really Responsible for the Animation Renaissance?

    I figure most Disney fans must have an interest in the history of animation. One of the most interesting periods of animation was the Animation Renaissance the revival of animation from the mid 1980's to the early 2000's. There are several people who were responsible for starting it of. So who do you think was the person most responsible for bringing animation back to the main stream?


    Don Bluth: An animator most famous for leaving Disney during the production of The Fox and The Hound and then making some of the films credited to start the Renaissance, including An American Tail.

    Ron Clements & John Musker: Animator directors famed for their work on The Little Mermaid (one of the films often credited for the renaissance) and several following Disney films.

    Steven Spielberg: Founder of Amblin, a company which ended up working on several key renaissance films such as, An American Tail and Who Framed Rodger Rabbit. Also contributed to the rise of television animation through works such as Animaniacs. Later was one of the founders of Dreamworks Animation.

    Michael Eisner: Former Disney CEO. While Disney fans often remember his less than spectacular latter years, Eisner's early years produced films such as Who Framed Rodger Rabbit, The Little Mermaid, Beauty and the Beast and eventually the crown jewel of the era: The Lion King.

    Jeffery Katzenberg: Former Disney chairmen who managed Disney's animation department from 1984-1994 helping it to create many of the hits already mentioned, later went on to found Dreamworks Animation.

    So who does MiceChat give credit to? Anybody I missed?
    Last edited by xboxtravis7992; 04-08-2013 at 10:15 PM.

  2. #2

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    Re: So Who Was Really Responsible for the Animation Renaissance?

    I'd say it's a combination of Eisner, Katzenberg, and particularly the songwriting duo of Menken & Ashman, who did the music for The Little Mermaid, Beauty & The Beast & Aladdin. Don Bluth gave them the shot in the arm, while Spielberg also provided a bit of a spark. There's no ONE guy to give favor too, though.

  3. #3

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    Re: So Who Was Really Responsible for the Animation Renaissance?

    I think your ignoring the whole attitude shift that essentially ignored animation, freeing up the creatives to be creative. Eisner came in and kicked the animators off the Burbank lot that Walt had built for animation.

  4. #4

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    Re: So Who Was Really Responsible for the Animation Renaissance?

    Who was most responsible for the Disney Animation Renaissance?

    1) Roy E. Disney -- After the corporate changeover, Eisner and Katzenberg would have shuttered feature animation or hastened the coming of cheap TV animation had Roy not protected the division under his own wing, nurtured the new talent and projects, and encouraged reinvestment in CAPS, Pixar, Roger Rabbit, Nightmare, etc. Without his efforts, we would not be having this conversation today.

    2) The Nine Old Men -- More than a decade earlier, the original Disney animation pioneers laid the groundwork for animation's future by determining that their secrets would not die with them. They established the Disney Animation Training Program (Under Disney Legend Eric Larsen), the CalArts Character Animation Program (which trained so many of the key animation talents of the ''renaissance'' era, including John Musker, Ron Clements, John Lasseter, Brad Bird, Tim Burton, et al). Some of the elder animators delayed retirement to pass the torch, while others went above and beyond in their efforts (Larsen as noted, and Frank and Ollie with their magnificent book of secrets "Disney Animation: The Illusion of Life", etc).

    3) Howard Ashman -- Not only a great talent, but a man with a sense of playful humor and a love for cartoons and Walt Disney's movies, something the other broadway and very few of the live-action folk possessed. Howard was one of the few voices that the non-animation people in control of the medium listened to and the fact that he became a co-producer as well as a lyricist is no small reason that "Little Mermaid", "Beauty and the Beast" and "Aladdin" have become part of the Disney classic legacy in the fancy of the public where so many films that followed Howard's death have not.

    4) Frank Wells -- Supported Roy E. Disney's venture to re-grow and reinvest in Disney Feature Animation within the corporate structure.

    5) Alan Menken -- The melodic music (with Ashman's clever lyrics) brought back and sold much of the magic touch of the classic era.

    6) Steve Jobs and company (and the developers of CAPS) -- For nurturing the Pixar story, obviously, but also for developing CAPS, which brought back colored "ink" lines, shadows and high production values of the golden age back to the ''renaissance'' features after the age of Xerox cels.

    7) Jeffrey Katzenberg -- Ultimately, his harder-edged personal tastes provided a current-market balance to the traditional elements in those handful of key features. He was a tough critic and a restless viewer, so pleasing him required pushing the envelope, though sometimes too far.

    8) Ron Miller, Tom Wilhite, et al -- Kept the traditions, legacy, and division going during the quiet years and supported the new talent, training and CalArts programs at the studio even during the years when animated films were at a creative weak point.

    9) Don Bluth -- His belief in full animation (and Walt Disney style entertainment) never flagged and helped keep the torch burning, inspiring some of the younger talents who who picked up that torch, and encouraged them (and the business) that there was still a glimmer of hope for a revival of the craft, and provided some competition for the mouse that helped to raise the bar. See also Steven Speilberg and Richard Williams.

    10) Walt Disney -- not only for inspiring generations with his body of work, but for having the foresight to salvage what was left of Chouinard Art Institute and Los Angeles Conservatory of Music by establishing California Institute of the Arts and leaving much of his estate to the effort of nurturing new creative talent. Though the specifics could not have been forseen by Walt, CalArts was to play no small part in the Disney Renaissance story.

    11) But most of all -- the many talented young ''believers'' of the Disney Feature Animation staff -- some are celebrated household names today but many are completely unsung -- people like Glen Keane, John Musker, Ron Clements, Joe Ranft, John Lasseter, Brad Bird, Tim Burton, Gary Trousdale, Chris Sanders, Kirk Wise, Don Hahn, Rob Minkoff, Mike Gabriel, Mike Giaimo, Mark Henn, Dave Pruiksma, Eric Goldberg -- and dozens of other dedicated talents that comprised the very heart and soul of Disney animation. These creative spirits lived and breathed traditional animation, Walt Disney, cartoons, art, filmmaking, humor, storytelling, movement, acting, color, and all the secrets of the golden age -- they honed their talents, went to CalArts and other animation schools, entered training programs, trained themselves, studied, wished and worked hard to "save" Disney animation, their passion. Even when the entire business and craft was thought "dead" by Hollywood, these people bet their very futures on the passion they felt for traditional character animation and its very special method of filmmaking and storytelling and kept those legacies alive. It was on their backs and their talents and beliefs that the entire "renaissance" was built. Some became wildly successful in their own right, while others did not ultimately see the promised land of pure gold that followed (and along with the gold, along came many gold-diggers who didn't care one bit about the craft or its makers, but loved the profits, power and fame), and ironically -- many of these animation talents were swept away with the long, slow demise of traditional animation after the renaissance became a vehicle for content, marketing and moneymaking agendas other than the making of quality cartoons, while others still toil away there and elsewhere in the business today. Without them, there would have been no animation industry to revive.
    Last edited by merlinjones; 04-20-2013 at 10:05 AM.

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