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Disney's The Fox and the Hound: The Coming of the Next Generation




The Fox and the Graph has branches. Mouse Artists by Eric Koenig.


It's totally out of place! Reitherman later walked into Stevens's office, slumped in a chair, and said, "I dunno, Art, maybe this is a young man's medium. Thomas had animated scenes of Tod and Cooper using dialogue Larry Clemmons had written and recorded with the child actors. These animators had moved through the in-house animation training program, and would play an important role in the Disney Renaissance of the s and s. Reitherman had his own ideas on the designs and layouts that should be used, but the newer team backed Stevens. Animator Don Bluth animated several scenes including of Widow Tweed milking her cow, Abigail, while his team worked on the rest of the sequence, and when Tweed fires at Amos Slade's automobile.

They then made young animator Randy Cartwright go back to the scene where Copper finds Chief's body and had him animate Chief's eyes opening and closing so the audience knew right away he was not dead. Another controversy was when 70 year-old director Woolie Reitherman wanted to add a sequence three quarters through the movie where Phil Harris and Charro, playing two whooping cranes, would sing a silly song called, "Scoobie-Doobie Doobie Doo, Let your Body Goo, err The director of Jungle Book walked into a friend's office and said dejectedly, "I dunno By early veteran animators Frank Thomas and Ollie Johnston had completed their handling of Copper and Tod and had begun to think of their book projects like Illusions of Life.

Veteran story artist Larry Clemons had written and recorded the dialogue of Copper and Tod as pups with the child actors, then retired.

The same department "Disneyfied" the most qnd the absolutism virility hunter's abstinence was sold by a competitive, holy old son, and friend and foe all became animals at the end. A past porcupine remarks to let him leverage with him.

The Exodus in Mid-Stream By the field was clearing for the Young Turks, but factions had developed in their ranks. It's one thing to give complete obedience to a silver haired legend who created Captain Hook, quite another when someone who sat in class next to you is now a supervisor demanding the same unquestioning discipline. There was a group devoted to Don Bluth and his vision for revitalizing the studio. They worked after hours in Don's garage on an independent short Banjo the Woodpile Cat. Another group worried about his influence. Bluthies vs. They had a meeting with Ron Miller about the future of the studio that Bluth may have interpreted as a challenge to his authority.

Finally, Don decided the films he desired to make couldn't be done at Disney. One third of the staff followed suit. Miller was outraged. He felt personally betrayed by these artists, all of whom had been nurtured and painstakingly trained to take their role as Disney lifetime employees. Miller ordered all of the resigners off the studio property by noon that same day. Gathering the remaining staff he began a speech with: Miller pushed the release date for The Fox and the Hound back from Christmas to summer New artists were hired and promoted to fill the ranks.

To make up for the lack of experience of the new animators much of the quality control would rely upon a corps of veteran assistant animators clean-up artists -- Tom Ferriter, Walt Stanchfield, Chuck Williams, Dave Suding and more. Like master sergeants their solid reliability would bring the project to completion. Still more young talent not associated with Bluth but tired of the infighting left the studio. Animator Glen Keane began a reputation for himself by re-storyboarding and animating the bear fight sequence.

I've been told the original storyboards were even more dramatic but were toned down by the directors for fear of losing their family "G" rating. Meanwhile, Big Mama explains to Tod that his friendship with Copper cannot continue with the song " Lack daying Education ", as they are natural enemies, but is told by Tod that he refuses to believe Big Mama. As months pass, Tod and Copper reach adulthood. On the night of Copper's teh, Tod sneaks over to meet Copper and asks if Thee are still friends. Copper explains that those days are over, and since he is a hunting dog ohline, he says that things are now going to be different between them because if Chief wakes up, Tod and Copper will both be ad danger.

Chief awakens and alerts Ddating Slade, and as a chase ensues, Copper catches Tod, but decides to let Tod go, dsting diverts Chief and Amos since houmd did not want them to kill Tod, who Teh out a aand and runs across a dzting railroad bridge for home, but bumps into Chief, who is blocking his path hounv. Tod turns back with Chief making his pursuit onto a railroad track on the railroad bridge, but when Tod sees a fast moving train, hounf suddenly approaches, bears down on him, and traps him, Tod, being small enough, is able to duck safely under the vehicle, only to leave Chief to be struck thw the train ajd wounded while suffering a broken leg as he tumbles down a steep cliff helplessly into the river below.

Infuriated by all this, Copper and Amos blame Tod for poor Chief's accident and swear vengeance to get him if it's the last thing they do. To make matters worse, Amos storms to Widow's house, angrily telling her about getting Tod, who almost killed Chief, and that he plans to get the fox, but Widow was able to block him out. Now Widow realizes that she can't protect Tod forever, so she takes him on a drive through the woods, singing the song " Goodbye May Seem Forever ", and releases him at a nearby game preserve. Tod's first night alone in the woods is a disaster, accidentally trespassing into a badger 's den; the badger named Mr.

Digger John McIntire somewhat meanly and rudely tells him to go away. A friendly porcupine offers to let him stay with him. That same night, Amos Slade and Copper plan revenge on Tod, by showing a demonstration of Tod stepping into a trap. The next morning, Big Mama comes looking for Tod, and finds Vixeya beautiful female fox of Tod's age, who is clearly good friends with Big Mama. Tod wakes up after being pricked by the porcupine's quills, falls, and lands right on the badger's den. Digger scolds Tod once again. Tod tries to apologize but is interrupted when the badger thinks Tod is making up excuses.

The porcupine tries to defend Tod, with Mr. Digger saying to him "you keep out of this, you walking pincushion! The porcupine points out that Mr. Digger shouldn't be grumpy to a newcomer, to which the badger responds by telling Tod to "go back where you came from". Tod leaves, now more depressed than ever. She carries him to an exit burrow, and one of the terriers kindly spares her a return trip by breaking into the tunnel and savaging the other cubs to death. The men are just about to call off their hunt when another terrier picks up their scent. The vixen rewards its diligence by snapping its spine in two, but is caught herself when trying to tunnel her way up through the roof, leaving Tod all alone in a cacophony of death.

Hands up who knows why Disney changed this part. Wisely opting for a cross-country chase rather than a full-on fox massacre, the film paints our orphaned Tod as a victim who is quickly rescued and given an alternative guardian with the help of some wacky side characters. Tod himself is shown to be a survivor as well as a victim — he was spared because he knew to keep still and quiet while all hell broke loose around him. Despite appearances, Chief is a softy at heart and allows the puppy, named Copper, to sleep on him when no one is looking and grudgingly teaches him everything he knows. Mannix version Image Gilliamhome on Flickr. The book is the opposite of pretty much everything I just said.

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To start with, Copper is the old timer and Chief is the young upstart, and the former utterly hates the latter. He is particularly put out when he is the one who tracks down the body of a hunter killed by a bear, but the master sees fit to bring Chief and all the other dogs along as well when they go to capture it. As the master lavishes praise and attention on the Trigg hound for saving his life, Copper flushes with anger and shame as he was unable to protect his owner. Meanwhile the bear is torn to pieces by the other dogs. In an interesting parallel with the animators, which is also mentioned in the DVD documentary, the Disney version shows the passing of the torch from old to young in the best way possible.

Conversely, the Mannix version shows the worst possible outcome, with the older dog jealous and angry and the upstart trying to take the credit away from them, consciously or otherwise. We also see that Copper is a multi-purpose tracker who may or may not be a coward. One particular animal he tracks will leave a mark on him forever more, in both versions no less. The Best of Friends…? Disney version Young Tod and Copper have a few things in common. As well as being godawful at Hide and Seek they are both surrounded by old people or animals and want to explore further afield.

While Chief tuts disapprovingly, the puppy wanders off in search of the source, whereupon he comes face to face with the fox cub. A dog-shaped obstacle is about to put this to the test, as soon after Amos becomes fed up of Copper running off and decides to tie him to his makeshift kennel next to Chief. Hmm, there was probably a better way to phrase that. The subsequent shouting match between Tweedy and Amos means the friends are separated — Tod is confined to the house, and Copper later leaves with his master and mentor on a winter hunting trip. Friends forever, folks!


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