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Sullivan Bluth Studios
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Sullivan Bluth Studios

Former type
Private limited company
Industry
Animation
Fate
Bankruptcy
Founded
1977 (as Don Bluth Productions)
 1985 (as Sullivan Bluth Studios)
 1992 (as Don Bluth Entertainment)
Founder(s)
Don Bluth and Morris Sullivan
Defunct
1995
Headquarters
Dublin, Ireland
Van Nuys, California, USA
Burbank, California, USA
Key people
Don Bluth
Gary Goldman
John Pomeroy
Morris Sullivan
Products
Animated feature films
Employees
350 at peak
Sullivan Bluth Studios was an Irish-American animated film production company established in 1985 by animator Don Bluth. Bluth and several colleagues, all of whom were former Disney animators, left Disney in 1979 to form Don Bluth Productions, later known as the Bluth Group. This studio produced the short film Banjo the Woodpile Cat, the feature film The Secret of NIMH, and the video games Dragon's Lair and Space Ace. The Bluth Group went bankrupt in 1984, and Bluth co-founded Sullivan Bluth Studios with Irish-American businessman Morris Francis Sullivan in 1985.
The studio initially operated from an animation facility in Van Nuys, California, and negotiated with Steven Spielberg and Amblin Entertainment to make the animated feature An American Tail. During its production, Morris Sullivan began to move the studio to Dublin, Ireland to take advantage of government investment and incentives offered by the Industrial Development Authority. Most of the staff from the US studio moved to the new Dublin facility during production on the studio's second feature film, The Land Before Time. The studio also recruited heavily from Ireland, and helped set up an animation course at Ballyfermot Senior College to train new artists.
After The Land Before Time, the studio severed its connection with Amblin and negotiated with UK-based Goldcrest Films, which invested in and distributed two additional features, All Dogs Go to Heaven and Rock-a-Doodle. In 1989, during the production of All Dogs Go to Heaven founding member John Pomeroy and many of the remaining US staff members returned to America to form a US wing in Burbank, California. The studio found itself in financial difficulty in 1992 when Goldcrest withdrew funding due to concerns about the poor box office returns of its most recent films and budgetary over-runs in its in-production films, Thumbelina, A Troll in Central Park and The Pebble and the Penguin. Another British film company, Merlin Films, and Hong Kong media company Media Assets invested in the studio to fund the completion and release of the three partially completed films.
Bluth and Gary Goldman were drawn away from the studio when they were approached in 1994 to set up a new animation studio for 20th Century Fox. Sullivan Bluth Studio's films continued to suffer losses at the box office, and the studio was closed down in 1995 after the release of their final feature, The Pebble and the Penguin. Don Bluth and Gary Goldman went on to head up Fox Animation Studios in Phoenix, Arizona to work on Anastasia and Titan A.E..


Contents  [hide]
1 History 1.1 Early history and early troubles (1979-1984)
1.2 Amblin and Spielberg / Sullivan Bluth (1984-1988)
1.3 Diversification (1987-1989)
1.4 Goldcrest and downturn (1988-1992)
1.5 Decline and bankruptcy (1992-1995)
1.6 Fox Animation Studios (1994-2000)
2 Influence
3 Filmography 3.1 Laserdisc Video Games
3.2 Feature films
3.3 Short Films
4 Notes
5 References
6 External links

History[edit]
Early history and early troubles (1979-1984)[edit]
In 1979, Don Bluth, an animator and animation director at Walt Disney Productions, fellow animators John Pomeroy and Gary Goldman, and eight other animation staff, left the studio during production on The Fox and the Hound. 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.[3] After four years of production, much of it part-time, Banjo the Woodpile Cat was completed and given theatrical screenings in two theatres in December 1979. The short was then offered to various television stations, airing on HBO in February 1980 and ABC in 1982.[4]



The Secret of NIMH (1982), Don Bluth's first independent feature film after leaving Walt Disney Productions.
After the completion of Banjo, the studio moved out of Bluth's house and into a two-story facility in nearby Studio City.[5] The studio's first commission was to produce a two-minute animated sequence for the song “Don't Walk Away” in the live-action musical Xanadu. The brief sequence might ordinarily have taken four or five months to produce; Bluth's studio completed it in under three.[6] The studio then started work on its first feature film, an adaptation of the Newbery Medal-winning children's book Mrs. Frisby and the Rats of NIMH. Backed by Aurora Productions, The Secret of NIMH started production in 1980 and was completed in 1982.[3] Though generally well received by critics, who praised the richness and fluidity of the animation, some found the narrative unsatisfying.[7][8] The Secret of NIMH returned only a modest box office performance,[9] which was blamed on distributor MGM/UA's poor promotion,[3] regionally-staggered releases and competition from E.T. the Extra-Terrestrial, which had been released the previous month (which most likely brought "NIMH" nearly into obscurity).[10] Between this and an industry-wide animators strike in 1982, the studio found itself in financial trouble and filed for bankruptcy.[11]
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 1983. 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 1983 and early 1984 halted production on the sequel Dragon's Lair II: Time Warp. Cinematronics, now in debt and trying to cut its own losses, froze fees and royalties of over US$3 million to Bluth Group, driving the studio once again into bankruptcy.[12] The unfinished sequel to Dragon's Lair, despite having almost all of its animated footage completed, remained unreleased until 1991.[13]
Amblin and Spielberg / Sullivan Bluth (1984-1988)[edit]



An American Tail (1986), the studio's first feature film under the Sullivan Bluth name, and the first of two produced in association with Amblin Entertainment and Steven Spielberg.
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 Don Bluth and his crew's talent to form Sullivan-Bluth Studios (later dropping the hyphen to become Sullivan Bluth Studios).[12] Moving out of the smaller Studio City facility and into a dedicated building in Van Nuys, California, the studio opened in 1985.[3]
In its early days the studio worked on a number of smaller projects such as commercials while seeking a suitable feature film project. In 1984, 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 1986, accompanied by a major publicity campaign.[14] An American Tail was very successful at the box-office, grossing US$47 million in the US[9] and becoming the highest-grossing animated film on an initial release.[11]
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.[15] Difficulties with American trade unions that arose when Bluth offered his employees wages below union rates during the financially tense production of An American Tail may also have influenced the decision to relocate.[16] The IDA offered Sullivan Bluth Studios the largest grant in the country's history to relocate to Dublin, in return for a 5% government ownership of the studio.[17] This, along with Sullivan's own investment, funded the foundation of a large and sophisticated new animation studio near Dublin's Phoenix Park. The studio opened with a staff of 85, mostly handling the ink-and-paint process, but expanded to employ over 300 people, including some 100 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.[15] Despite the majority of operations eventually being moved to the Dublin studio, an executive office was retained in Burbank, California to maintain ties with US producers and distributors.



The Land Before Time (1988), the first of the studio's films worked on at its new studio in Dublin, Ireland.
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 1987 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 1987 before it reached full stride.[18]
Spielberg and Lucas' control over the story and production of The Land Before Time was notably greater than with An American Tail; substantial changes to the story were imposed mid-production,[19] and around 10 minutes of footage, an expenditure for the studio of over US$1 million, was removed.[18] Production was completed in 1988 for a November release, the film vying for box-office receipts with Disney's Oliver & Company. The Land Before Time received positive reviews by the critics and broke the record for the highest-grossing animated film on its opening weekend, and would have retained the record for highest overall gross (US$48 million)[9] had Oliver & Company not surpassed it (US$53 million).[20]
Diversification (1987-1989)[edit]
During the production of The Land Before Time, Morris Sullivan detailed plans to diversify the studio's output into other areas. In late 1987, a further US$4.5 million was invested in improvements to the studio as part of a plan to move into television. 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 UK producers Goldcrest Films in early 1988 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 1989. Out of all the plans to diversify, only the studio's commercial animation department was kept, producing advertisements for US and European television.[17]
Goldcrest and downturn (1988-1992)[edit]
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 Films (which had an Irish office) would make this possible. Working under Goldcrest also afforded director Don Bluth freer rein over the development of the story than under Amblin and Spielberg.



All Dogs Go to Heaven (1989), Sullivan Bluth Studio's first film in association with UK-based Goldcrest Films.
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.[21] The idea was revisited in late 1987 and developed into a feature-length story, titled All Dogs Go to Heaven. The film entered full production in late 1988, following directly on from The Land Before Time.
In 1989, during the production of All Dogs Go to Heaven, founding member John Pomeroy and several original crew members left the Dublin studio to return to the US, setting up a studio in Burbank, California named West Olive, later to become Sullivan Bluth Animation Studios. 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 US market, and early promotion for All Dogs Go to Heaven included a presentation at the 1989 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.[22]
All Dogs Go to Heaven was completed in late 1989, opening in November. On Pomeroy's insistence, some cuts were made to bring the film down from its initial MPAA rating of PG to a G rating.[21] Like their previous feature, the studio's latest would be going head-to-head against Disney's newest release, this time The Little Mermaid. Critics gave the movie mixed reviews, with some drawing unfavourable comparisons with The Little Mermaid.[21] At the box office it fell short of the studio's previous two features, grossing US$26 million domestically.[9] However, it was a great success when released on home video; accompanied by a US$13m advertising campaign, the video sold over three million copies in the first month alone,[21] topping the charts and becoming one of the top-selling VHS releases of all time.[23]
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.[24]
Rock-a-Doodle was loosely based on the play Chantecler by poet and playwright Edmond Rostand (itself based on a fable popularised by Chaucer in The Canterbury Tales). The idea for an adaptation of Chantecler dates back to the late 1930s at the Walt Disney Company, and was revisited repeatedly in the decades to follow, but never entered production.[25] It was not until 1982 that Don Bluth, having left Disney, took a similar idea into pre-production, though the project stalled with the collapse of Don Bluth Productions in the same year. As work on All Dogs Go to Heaven neared completion, the idea was revived and Rock-a-Doodle entered production in late 1989.[24]
During the production of Rock-a-Doodle, the studio found itself in difficulties again. Following a buyout of Goldcrest Films, the new owners of the production company, after finding out the end results of their previous film, decided to end its dealings with Sullivan Bluth Studios. Shortly after, Goldcrest took steps to liquidate the studio, claiming it could not pay back a US$300,000 loan and other debts. However, the petition was withdrawn and the issue settled outside court.[24] Though the precise reasons for the withdrawal were not made public, as part of the settlement the ownership of the studio's artwork was turned over to Goldcrest Films, putting an end to the studio's selling of animation cels.[22]
In January 1992, Sullivan Bluth Studios renamed itself to Don Bluth Entertainment.[26]
Rock-a-Doodle was released in April 1992, and was the last of the studio's films to have Goldcrest involved in its distribution; The Samuel Goldwyn Company picked up the rights for its distribution in the US.[24] The production's goal for success failed abysmally (even worse than All Dogs Go to Heaven), as the critical reception was poor to indifferent, and it performed poorly at the box office, grossing just US$11.7M, losing to its apparent competitor, Kroyer Films/20th Century Fox's FernGully: The Last Rainforest (which grossed over US$32.7M).[9] The film's poor financial performance, along with the loss of financial backing for several other features the studio had in development, led the studio to declare bankruptcy in October 1992.[27]
Decline and bankruptcy (1992-1995)[edit]
With Goldcrest Films' withdrawal, the future of Don Bluth Entertainment was uncertain. Three further films were already well into development; A Troll in Central Park had been in production since mid-1990, Thumbelina since 1991, and The Pebble and the Penguin since late 1991.[28] The studio's in-development features were going over budget, and the studio's Belgian investors and a Netherlands bank, who had invested heavily in them, suffered financial difficulties as a result and withdrew further funding. The threat of the closure of the studio was raised that month in the Dáil Éireann (the lower house of the Oireachtas, or Irish national parliament) in the hopes of securing its future.[29] Thirty employees were laid off at the Los Angeles studio, many of the staff at the Dublin studio continued working unpaid, and Don Bluth reportedly met some operating expenses out of his own pocket.[30]
In November 1992, Don Bluth Entertainment found investment from UK filmmaker John Boorman's production company Merlin Films and Hong Kong-based company Media Assets. Merlin Films and Media Assets invested US$14M to purchase the studio's next three films and a further US$6M to ensure the completion of the two partially completed films, with further investment to follow on the third film, The Pebble and the Penguin, then still in early development.[31] A condition of the investment was that Merlin Films and Media Assets would have a close involvement in the management of Don Bluth Entertainment's financial operations, following reports of the studio's past mismanagement.[32] In 1993, STAR TV (Asia), the parent company of Media Assets, was purchased by Rupert Murdoch, effectively making the studio a subsidiary of News Corporation.[3]



Thumbelina (1994), the first of three films to be completed and released through Media Assets and Merlin Films' investment in the studio.
Although A Troll in Central Park was closer to completion, Merlin and Media Assets decided that Thumbelina was more likely to be a commercial success, and pressed for its completion and release first.[32] MGM/UA, who planned to distribute the films in the US, had already backed off in the wake of DBE's bankruptcy, doubtful that the pictures would ever be completed.[31] J&M Entertainment, which was slated to release the films overseas, sold their rights to Media Assets. Warner Bros. picked up Thumbelina and subsequent films for worldwide distribution.[33] The film was released in March 1994. Critical reception was generally indifferent to mixed, and the film performed poorly at the box office, grossing US$11.4M.[9]
The studio's next feature suffered a much weaker commercial performance. A Troll in Central Park, almost complete at the time of the Merlin deal, was given a limited regional release in October 1994. Like Thumbelina before it, A Troll in Central Park was poorly received by critics, and it grossed just US$74,368.[9] The poor performance of the film has been attributed to Warner Bros.' lack of promotion; there was no television promotion, no advance screenings, and only a low-key print campaign.[34] In the July 2001 issue of Don Bluth's animation magazine Toon Talk, Bluth explained the film's troubled production, faulting his own unwillingness to accept outside input, and lack of time to refine the story, likening the film to “a child [...] born prematurely”.
The third of the studio's partially completed features, The Pebble and the Penguin, was also dogged by production difficulties. MGM/UA stepped in to become distributors for the film in the US, and at a relatively late stage in production insisted on making extensive changes, cutting some sequences, removing some characters and re-recording many of the voices. The changes meant that the animation, the effects animation in particular, fell behind, and some of the ink-and-paint work had to be farmed out to a Hungarian animation studio (in this case, Reflex Animation Ltd.) to meet the release deadline. Directors Don Bluth and Gary Goldman were so dissatisfied at the enforced changes that they insisted on their names being removed from the credits (though the company name “Don Bluth Entertainment Ireland, Ltd.” remained).[35] The Pebble and the Penguin was released in April 1995, and again made a loss at the box office, grossing US$3.9M in the US.[9] The film performed better on home video when released that August, becoming a fast seller alongside other animated films released in the same month[36] Bluth did not remain disassociated with The Pebble and the Penguin, supervising a high-definition remastering in 2007 that corrected some of the animation and shooting errors caused by the rushed production.[37]
Fox Animation Studios (1994-2000)[edit]
See also: Fox Animation Studios
In January 1994, shortly after the Merlin Films/Media Assets deal, founders Don Bluth and Gary Goldman met with then-President of 20th Century Fox Television Peter Chernin, and CEO and Chairman of Fox Filmed Entertainment Bill Mechanic to discuss the creation of a feature animation division. While Bluth and Goldman wanted to remain at the Dublin studio, arguing that because Media Assets was owned by Fox's parent company News Corporation, Fox effectively had a working animation studio already, Mechanic wanted Bluth and Goldman to head up a new studio in Phoenix, Arizona instead. Bluth and Goldman intended to remain in Ireland to complete work on The Pebble and the Penguin, but when they were forced to make changes to the film they left the studio and began working with Mechanic to set up Fox Animation Studios. After the release of The Pebble and the Penguin in 1995, operations at the Dublin studio were wound down. Many of the staff moved to the new Fox Animation studio, and the studio closed its doors later the same year.[15]
Working at the new Arizona animation facility, Bluth and Goldman co-directed Fox Animation Studio's first film, Anastasia, released in 1997, a 1999 direct-to-video prequel Bartok the Magnificent and Titan A.E., released in 2000. Titan A.E. grossed just US$22.7M[9] against its estimated budget of US$75M; Fox Animation Studios had already laid off two-thirds of its staff several months previously, and it closed entirely shortly after Titan A.E.'s release.[38][39]
Influence[edit]
The departure in 1979 of animators Don Bluth, Gary Goldman and John Pomeroy, along with a further four animators and four assistant animators[40] from Disney's feature animation studio caused a considerable disturbance in the animation industry. The 11 animators who left represented about 17% of the studio's animation staff, a loss that delayed the release of The Fox and the Hound by six months.[10] Ron W. Miller, the president and CEO of The Walt Disney Company at the time, remarked that although the timing of their departure was unfortunate, it was “possibly the best thing that could happen to our animation group”.[41] Bluth expressed concerns that as Disney's productions became more technically advanced, the story seemed to lose importance.[1] The aim of his new studio was to “return animation to its glorious past”,[10] concentrating on strong stories, and using traditional animation techniques that had fallen out of favour at Disney. Animation historian Jerry Beck observed that Don Bluth Productions was clearly set up in direct opposition to Disney; even Aurora Productions, who backed the studio's first feature, The Secret of NIMH, was made up of former Disney executives.[10]
While Bluth's early output did not match Disney's success at the box office, critics praised the studio's visual style, and by 1986 Sullivan Bluth Studios' An American Tail had broken the box-office record for a first-release animated feature. As animation columnist Jim Hill notes, this critical and commercial reception forced Disney to rethink its approach to animated features.[42] Throughout the 1980s Disney strove to revitalise its output, and while the next feature after Bluth's departure, The Black Cauldron, was a commercial and critical failure (attributed by Hill to the use of the latest animation technology at the expense of the story), the films that followed (The Great Mouse Detective and Oliver & Company) marked the beginning of a period of increasing success for the studio in the late 1980s and early 1990s, with each successive film earning 40-50% more than its predecessor, culminating in The Lion King earning nearly $800 million worldwide in 1994.[43]

Photograph of the building in Dublin city that was the former home of Sullivan Bluth Animation Studios.

 Sullivan Bluth Studios former home in Dublin city, Ireland.
Sullivan Bluth Studios has also been regarded as a major influence in the development of Ireland's animation industry. Animator Jimmy Murakami had been operating his studio Murakami Films in Ireland throughout the 1980s, and the opening of Sullivan Bluth Studios brought about expansion in the sector, with Murakami Films expanding to become Murakami-Wolf Dublin (later Fred Wolf Films Dublin), and another studio of American origins, Emerald City, opening in Dublin. By 1990 Dublin's animation industry employed around 530 people.[15] Sullivan Bluth Studios was also instrumental in setting up education programmes in Dublin to train new artists and animators. At the Ballyfermot Senior College an animation department was set up, modelled on the school of Art and Design at Sheridan College, Ontario, Canada.[44] Many of Ballyfermot's graduates went on to work at Sullivan Bluth and the city's other animation studios. In 1989 around 75% of the 350 staff employed at the Dublin studio was Irish, and by late 1990 most of the original US crew had returned to America to be replaced by Irish artists and animators.[17] Some senior staff at the studio became part-time instructors at the college. The success of the animation course at Ballyfermot spurred the creation of an animation programme at Dún Laoghaire Institute of Art, Design and Technology, focussed more on experimental and arthouse techniques compared to Ballyfermot's traditional animation approach.[15]
The closure of Sullivan Bluth Studios in 1995 brought about a near collapse in the Irish animation industry. Emerald City closed soon after, and Fred Wolf Films Dublin downsized.[15] By 1997, the industry's annual turnover had dropped from around £12 million to just £100,000.[44] However, the industry began to recover as numerous smaller animation studios were set up. Several former Sullivan Bluth employees started studios of their own, including Brown Bag Films, Monster Animation and Design and Terraglyph Animation.[15] In recent years, the animation sector in Ireland has grown to become a very successful industry as indigneous studios have all managed to produce their TV series for international markets.
Filmography[edit]
Laserdisc Video Games[edit]
Dragon's Lair (1983) *
Space Ace (1984) *
Dragon's Lair II: Time Warp (1991)
Feature films[edit]

Title
Release Date
Distributor
Notes

The Secret of NIMH * July 2, 1982 United Artists (original)/Metro-Goldwyn-Mayer (current) Don Bluth's first independent feature film after leaving Walt Disney Productions
An American Tail November 21, 1986 Universal Pictures 1st feature film with Steven Spielberg
The Land Before Time November 18, 1988 Universal Pictures 2nd and last feature film with Steven Spielberg
All Dogs Go to Heaven November 17, 1989 United Artists (original)/Metro-Goldwyn-Mayer (current) Don Bluth's 4th Animated Feature Film from his company and his 2nd from MGM/UA. Also, the last Don Bluth film to be shot in open-matte.
Rock-a-Doodle April 3, 1992 The Samuel Goldwyn Company (original)/Metro-Goldwyn-Mayer (current) The only Live-action/animated film by Don Bluth. Also, the only Don Bluth film to be created using two different aspect ratios.
Thumbelina March 30, 1994 Warner Bros. (original)/20th Century Fox (current) The first Don Bluth film to be in widescreen.
A Troll in Central Park October 7, 1994 Warner Bros. (original)/20th Century Fox (current) 
The Pebble and the Penguin April 11, 1995 Metro-Goldwyn-Mayer (North America)/Warner Bros. (International) Sullivan Bluth Studios' Last Feature Film. Also, Don Bluth's last Feature Film to use Cels before switching to Digital Ink & Paint while working on films like Anastasia and Titan A.E. for 20th Century Fox Film Corporation's Phoenix-based Feature Animation Studio

Short Films[edit]
Banjo the Woodpile Cat (1979; TV short) *
Xanadu (1980; short animated sequence) *
The Funtastic World of Hanna-Barbera (1990, ride film for Universal Studios Florida)
* denotes works completed by Don Bluth Productions/Bluth Group, prior to the foundation of Sullivan Bluth Studios
Notes[edit]
1.^ Jump up to: a b Hildebrandt & Bohus, Interview with Director Don Bluth
2.Jump up ^ Plume, IGN: Interview with Don Bluth (page 1)
3.^ Jump up to: a b c d e "Don Bluth Biography". Retrieved 2006-11-28.
4.Jump up ^ Cawley, Banjo the Woodpile Cat.
5.Jump up ^ Cawley, Walkout to Independence.
6.Jump up ^ The Big Cartoon Database: Xanadu
7.Jump up ^ Canby, Vincent (1982-07-30). "'N.I.M.H' Shades of Disney's Golden Era". New York Times.
8.Jump up ^ "The Secret of NIMH review". Variety. 1982-07-26.
9.^ Jump up to: a b c d e f g h i "Don Bluth - Box Office Data".
10.^ Jump up to: a b c d Beck, Don Bluth Goes Independent.
11.^ Jump up to: a b Cawley, Don Bluth Biography.
12.^ Jump up to: a b Cawley, Mr. Sullivan and Mr. Spielberg.
13.Jump up ^ Dragon's Lair Project: Dragon's Lair II
14.Jump up ^ Cawley, An American Tail.
15.^ Jump up to: a b c d e f g Clancy Animation in Ireland, National College of Art and Design.
16.Jump up ^ Grant, Masters of Animation.
17.^ Jump up to: a b c d Cawley, At Home in Ireland
18.^ Jump up to: a b Cawley The Land Before Time
19.Jump up ^ Cowan, John Pomeroy: Producing The Land Before Time
20.Jump up ^ "Oliver & Company - Box Office Data".
21.^ Jump up to: a b c d Cawley, All Dogs Go to Heaven.
22.^ Jump up to: a b Cawley, An American Branch.
23.Jump up ^ Lenburg, p.32
24.^ Jump up to: a b c d Cawley, Rock-A-Doodle
25.Jump up ^ Hill, The “Chanticleer” Saga - Part Three
26.Jump up ^ British Film Institute Film & TV Database
27.Jump up ^ Beck, The Animated Movie Guide p.234
28.Jump up ^ Cawley, Beyond...
29.Jump up ^ Dáil Éireann - Adjournment Debate, 13 October 1992
30.Jump up ^ Daly, 'Toon in Tomorrow.
31.^ Jump up to: a b Dawtrey, Merlin's magic may animate DBE.
32.^ Jump up to: a b Dawtrey, Court puts stamp on Bluth sale.
33.Jump up ^ Ayscough, Bluth's toons drawn to WB
34.Jump up ^ Beck, The Animated Movie Guide p.293
35.Jump up ^ Don Bluth & Gary Goldman Look Back at The Pebble and the Penguin
36.Jump up ^ Alaimo, Dan (October 1995). "Sell-through sales: an animated showing". Supermarket News.
37.Jump up ^ DonBluth.com
38.Jump up ^ Duke, Fox tooning out, closing Phoenix arm
39.Jump up ^ Lenburg, p.33-34
40.Jump up ^ Harmetz, 11 Animators Quit Disney, Form Studio
41.Jump up ^ Wall Street Journal, September 19, 1979. Disney Is Dealt Blow by the Resignations of 11 Animators to Start Production Firm
42.Jump up ^ Hill, Is Disney Feature Animation ripe for another revolution?.
43.Jump up ^ Corliss. There's Tumult in Toon Town
44.^ Jump up to: a b Enterprise Ireland. Opportunities for Ireland in the Media Sector p.30-31
References[edit]
Ayscough, Suzan (1993-03-06). "Bluth's toons drawn to WB". Variety.
Beck, Jerry (1996-06-01). "Don Bluth Goes Independent". Animation World Magazine.
Beck, Jerry (October 2005). The Animated Movie Guide. Chicago Review Press. ISBN 1-55652-591-5.
Beucher, Dave. "Don Bluth Overview". Retrieved 2007-01-08.
Bloom, David (2003-03-05). "Fox finds its Forte". Variety.
Cawley, John (October 1991). The Animated Films of Don Bluth. Image Pub of New York. ISBN 0-685-50334-8.
Clancy, Maeve. "Animation in Ireland". National College of Art and Design. Retrieved 2006-12-18.
Corliss, Richard (1997-11-17). "There's Tumult in Toon Town". TIME. Retrieved 2007-01-16.
Cowan, Lisa E (1988). "John Pomeroy: Producing The Land Before Time". Lucasfilm Fan Club Magazine #6.
Daly, Steve (1992-09-11). "'Toon in Tomorrow". Entertainment Weekly #135.
Dawtrey, Adam (1992-11-12). "Merlin's magic may animate DBE". Variety.
Dawtrey, Adam (1992-11-13). "Court puts stamp on Bluth sale". Variety.
Duke, Paul F (2000-07-27). "Fox tooning out, closing Phoenix arm". Variety.
Enterprise Ireland (November 1999). "Opportunities for Ireland in the Media Sector". pp. p. 30–31. Retrieved 2007-01-22.[dead link]
Grant, John (2001). Masters of Animation. B.T. Batsford Ltd. ISBN 0-7134-8628-7.
Harmetz, Aljean (1979-09-19). "11 Animators Quit Disney, Form Studio". New York Times.
Hildebrandt, Tim; Bohus, Ted (January 1982). "Interview with Director Don Bluth". Fantastic Films. Retrieved 2006-12-02.
Hill, Jim (2003-05-19). "Is Disney Feature Animation ripe for another revolution?". Retrieved 2007-01-19.
Hill, Jim (August 2000). "The "Chanticleer" Saga - Part Three".
Lauria, Larry (September 2000). "A Conversation With The New Don Bluth". Animation World Magazine.
Lenburg, Jeff (June 2006). Who's Who in Animated Cartoons: An International Guide to Film and Television's Award-Winning and Legendary Animators. Applause Books. pp. 32–33. ISBN 1-55783-671-X.
Mallory, Michael (1997-11-18). "1997: The year of drawing dangerously". Variety.
Plume, Kenneth (2000-06-10). "IGN: Interview With Don Bluth (Page 1)". (Page 2). (Page 3).
"Adjournment Debate - Animation Film Company Closure". Dáil Éireann - Volume 423 - 13 October 1992.
"British Film Institute Film & TV Database - Sullivan Bluth Studios". Retrieved 2007-01-08.
"Don Bluth Entertainment Ltd. credit report". Retrieved 2007-01-08.
Scott, A. O. "Don Bluth - Filmography". The New York Times. Retrieved 2007-01-08.
External links[edit]
Don Bluth Productions at IMDB
Sullivan Studios at IMDB
Sullivan Bluth Studios at IMDB
Don Bluth Inc. at IMDB
Don Bluth Ireland Studios at IMDB
Don Bluth's official Animation Academy
Don Bluth Films, Inc.


[hide]
v ·
 t ·
 e
 
Don Bluth Entertainment


Sullivan Bluth
 Studios
The Secret of NIMH (1982) ·
 An American Tail (1986) ·
 The Land Before Time (1988) ·
 All Dogs Go to Heaven (1989) ·
 Rock-a-Doodle (1992) ·
 Thumbelina (1994) ·
 A Troll in Central Park (1994) ·
 The Pebble and the Penguin (1995)
 

Fox Animation
 Studios
Anastasia (1997) ·
 Bartok the Magnificent (1999) ·
 Titan A.E. (2000)
 

Video games
Dragon's Lair (1983) ·
 Space Ace (1984) ·
 Dragon's Lair II: Time Warp (1991) ·
 Dragon's Lair 3D: Return to the Lair (2002) ·
 Tapper World Tour (2010)
 

Short films
Banjo the Woodpile Cat (1979)
 

Other works



Universal Studios

Xanadu (1980) ·
 The Funtastic World of Hanna-Barbera (1990)
 


Walt Disney Studios

The Rescuers (1977) ·
 Pete's Dragon (1977) ·
 The Small One (1978) ·
 The Fox and the Hound (1981)
 


Related articles



Studios

Sullivan Bluth Studios ·
 Square One Studios ·
 Fox Animation Studios ·
 Walt Disney Studios
 


People

Gary Goldman ·
 John Pomeroy ·
 Morris Sullivan
 


 


Categories: Animation studios
Companies established in 1979
Companies disestablished in 1995
American animation studios
Media franchises





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Don Bluth
From Wikipedia, the free encyclopedia
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 The lead section of this article may need to be rewritten. Please discuss this issue on the talk page and read the layout guide to make sure the section will be inclusive of all essential details. (March 2013)

Don Bluth
DonBluth.jpg
Don Bluth, 2006

Born
Donald Virgil Bluth
 September 13, 1937 (age 76)
El Paso, Texas, U.S.
Nationality
American
Occupation
Film Director, producer
 Co-founder of Sullivan Bluth Studios and Fox Animation Studios
Known for
Various animation work with Walt Disney Animation Studios and other companies.
Religion
The Church of Jesus Christ of Latter-day Saints
Donald Virgil "Don" Bluth (born September 13, 1937) is an American animator, film director, producer, writer, production designer, video game designer and independent studio owner who is known for his departure from The Walt Disney Company in 1979 and his subsequent directing of 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 his involvement in the laserdisc game Dragon's Lair. He is also known for competing with Disney during the years leading up to the films that would make up the Disney Renaissance. He is the older sibling of illustrator Toby Bluth.


Contents  [hide]
1 Early life and the Disney years
2 Independent years 2.1 Early critical success
2.2 Affiliation with Steven Spielberg
2.3 Work at Fox Animation Studios
3 Recent work 3.1 As an author
3.2 As an educator
4 As a theatre director
5 Filmography 5.1 Director
5.2 Other roles
6 Frequent collaborations
7 See also
8 References
9 Further reading
10 External links

Early life and the Disney years[edit]
Bluth was born in El Paso, Texas, the son of Emaline (née Pratt) and Virgil Ronceal Bluth.[1] His great-grandfather was Helaman Pratt, an early leader in The Church of Jesus Christ of Latter-day Saints. He is of English, Scottish and German descent.[2]
As a child in El Paso he rode his horse to the town movie theater to watch Disney films; Bluth said later, "then I'd go home and copy every Disney comic book I could find".[3] At the age of six his family moved to Payson, Utah where he lived on a family farm. In 1954 at the age of 17 his family moved to Santa Monica, California, where he attended part of his final year of high school before returning to Utah and graduating from Springville High School. Bluth attended Brigham Young University in Utah for one year and after got a job at The Walt Disney Company. He started in 1955 as an assistant to John Lounsbery for Sleeping Beauty. In 1957 Bluth left Disney only two years after being hired. Afterwards Bluth spent two and a half years in Argentina on a mission for the LDS Church. He returned to the United States where he opened the Bluth Brothers Theater with his younger brother Fred, though he occasionally worked for Disney.
Bluth returned to college and got a degree in English Literature from Brigham Young. Bluth returned to the animation business and joined Filmation in 1967 working on layouts for The Archies and other projects. He returned full-time to Disney in 1971 where he worked on Robin Hood, Winnie the Pooh and Tigger Too, The Rescuers and directing animation on Pete's Dragon. His last involvement with Disney was the 1978 short The Small One. Then he made and produced his first short, Banjo the Woodpile Cat (1979), which takes place in his hometown Payson, Utah during the 1940s as Banjo travels to Salt Lake City to find the urban world.
Independent years[edit]
Early critical success[edit]
On his 42nd birthday in 1979, Bluth, with Gary Goldman, John Pomeroy, and a cadre of 16 fellow Disney animators, set out to start his own animation studio, Don Bluth Productions.[4][5] He drew a few (uncredited) scenes for The Fox and the Hound but left early in production. Bluth was disheartened with the way the Disney company was run. He wanted to revive the classical animation style of the studio's early classics.[6] To this end, his studio, Don Bluth Productions, demonstrated its ability in its first production, a short film titled Banjo the Woodpile Cat, and this led to work on an animated segment of the live-action film Xanadu (1980).
The studio's first feature-length film was The Secret of NIMH (1982), an adaptation of Mrs. Frisby and the Rats of NIMH, the 1972 Newbery Medal winner. Bluth employed 160 animators during the production and agreed to the first profit sharing contract in the animation industry.[5] Though a moderate success in the box office, the movie received critical acclaim. Later, with the home video release and cable showings, it became a cult classic.[7] Nevertheless, due to its modest result in the box office, and an industry wide animation strike, the Don Bluth Productions filed for bankruptcy.[6]
His next film would have been an animated version of the Norwegian folk tale East of the Sun and West of the Moon, but was never made when the financial resources were drawn back.[8]
In 1983 teaming with Rick Dyer, from Advanced Microcomputer Systems, Bluth, Goldman and Pomeroy started the Bluth Group and created the groundbreaking arcade game Dragon's Lair, which let the player control a cartoon-animated character on screen (whose adventures were played off a laserdisc). This was followed in 1984 by Space Ace, a science-fiction game based on the same technology, but which gave the player a choice of different routes to take through the story. Bluth not only created the animation for Space Ace, but he also supplied the voice of the villain, Borf.[9] Work on a Dragon's Lair sequel was underway when the video arcade business crashed. Bluth's studio was left without a source of income and the Bluth Group filed for bankruptcy on March 1, 1985.[5] A sequel called Dragon's Lair II: Time Warp was made in 1991, but it was rarely seen in arcades.[10]
In 1985 Bluth, Pomeroy and Goldman established, with businessman Morris Sullivan, the Sullivan Bluth Studios. It initially operated from an animation facility in Van Nuys, California, but later moved to Dublin, Ireland to take advantage of government investment and incentives. Bluth and his colleagues taught an animation course at Ballyfermot Senior College.[11]
Affiliation with Steven Spielberg[edit]
Teaming up with producer Steven Spielberg, Bluth's next project was An American Tail (1986), which at the time of its release became the highest grossing non-Disney animated film of all time, grossing $45 million in the United States and over $84 million worldwide.[12] The second Spielberg-Bluth collaboration The Land Before Time (1988) did even better in theaters and both found a successful life in home video.[12][13] The main character in An American Tail (Fievel Mouskewitz) became the mascot for Amblimation while The Land Before Time was followed by twelve direct-to-video sequels.
Bluth broke with Spielberg before his next film, All Dogs Go to Heaven (1989). (Bluth was not involved with the Spielberg-produced An American Tail: Fievel Goes West, released in 1991.) Although All Dogs Go To Heaven had moderate theatrical success, it was highly successful in its release to home video.[14] Like The Land Before Time, The Secret of NIMH and An American Tail, All Dogs Go to Heaven was followed by a theatrical sequel, a television series, and a Christmas Carol adaptation, none of which Bluth and his studio had involvement with. Through the 1990s, Bluth films such as Rock-a-Doodle (1992), Thumbelina (1994), A Troll in Central Park (1994), and The Pebble and the Penguin (1995) were critical and box office failures.
Work at Fox Animation Studios[edit]
Bluth scored a hit with Anastasia (1997), produced at Fox Animation Studios in Phoenix, Arizona, which grossed nearly US $140 million worldwide[15] and gained favorable critical reviews. In his positive review of the movie, critic Roger Ebert observed that its creators "consciously include[d] the three key ingredients in the big Disney hits: action, romance and music." Anastasia's success established 20th Century Fox as a Disney competitor.[16]
Despite the success of Anastasia, Bluth resumed his string of box-office disappointments with the futuristic space adventure Titan A.E. (2000). The movie made less than $37 million worldwide despite an estimated $75 million budget.[17] In 2000, 20th Century Fox Studios shut down the Fox Animation Studio facility in Phoenix, making Titan A.E. the last traditionally animated film released by 20th Century Fox in theaters until the release of 2007's The Simpsons Movie.[18]
Recent work[edit]
In 2002, Bluth and video game company Ubisoft developed the video game Dragon's Lair 3D: Return to the Lair, an attempt to recreate the feel of the original Dragon's Lair LaserDisc game in a more interactive, three-dimensional environment. Reviews were mixed, with critics both praising and panning the controls and storyline. However, the visuals were noteworthy, using groundbreaking cel-shading techniques that lent the game a hand-animated feel.[19] As of 2012,[20] Don Bluth and Gary Goldman are seeking funding for a film version of Dragon's Lair.[21][22]
Bluth and Goldman continued to work in video games and were hired to create the in-game cinematics for Namco's I-Ninja, released in 2003.
In 2004, Bluth did the animation for the music video "Mary", by the Scissor Sisters.[23] The band contacted Bluth after having recalled fond memories of the sequence from Xanadu.
In 2009, Bluth was asked to produce storyboards for, and to direct, the 30-minute Saudi Arabian festival film Gift of the Hoopoe. He ultimately had little say in the animation and content of the film, and asked that he not be credited as the director or producer. Nonetheless, he was credited as the director, possibly to improve the film's sales by attaching his name.[24]
On February 3, 2011, it was announced that Bluth and his game development company Square One Studios were working with Warner Bros. Digital Distribution to develop a modern reinterpretation of the 1983 arcade classic Tapper, titled Tapper World Tour.
On March 22, 2011, Anastasia was released to Blu-ray Disc. The high-charting release and an increase in sales for other Bluth-directed titles, has sparked interest for a return to his as-yet unconfirmed 12th directorial feature.[citation needed]
As an author[edit]
Bluth has authored a series of books for students of animation: 2004's The Art of Storyboard, and 2005's The Art of Animation Drawing. Additional books are planned.[citation needed]
As an educator[edit]
In early 2009, Bluth launched his website, DonBluthAnimation.com, in which he focuses on animation education through video tutorials, short films and live video seminars.
As a theatre director[edit]
Bluth currently runs an Adult and Youth Theatre in Arizona, called Don Bluth Front Row Theatre. The theatre group was unique and unusual as productions were presented in the living room of Bluth's Scottsdale, Arizona home. They now run in a small theater off Shea Blvd in Scottsdale. [25]
Filmography[edit]
Director[edit]
The Small One (1978, short film)
Banjo the Woodpile Cat (1979, short film)
The Secret of NIMH (1982)
Dragon's Lair (1983, video game)
Space Ace (1984, video game)
The Wuzzles (1985, TV series)
An American Tail (1986)
The Land Before Time (1988, also co-storyboard and production designer)
All Dogs Go to Heaven (1989)
Dragon's Lair II: Time Warp (1991, video game)
Rock-a-Doodle (1992)
Thumbelina (1994)
A Troll in Central Park (1994)
The Pebble and the Penguin (1995, uncredited)
Anastasia (1997)
Bartok the Magnificent (1999)
Titan A.E. (2000)
Other roles[edit]
Sleeping Beauty (1959, assistant animator, uncredited)
The Sword in the Stone (1963, assistant director, uncredited)
Fantastic Voyage (1968, TV series, layout artist)
Archies and His New Pals (1969, TV special, layout artist)
Will the Real Jerry Lewis Please Sit Down (1970, TV series, layout artist)
Sabrina and the Groovie Goolies (1970, TV series, layout artist)
Robin Hood (1973, character animator)
Journey Back to Oz (1974, layout artist)
Winnie the Pooh and Tigger Too (1974, short film)
The Many Adventures of Winnie the Pooh (1977, directing and character animator)
The Rescuers (1977, directing animator)
Pete's Dragon (1977, animation director)
Xanadu (1980, animated sequence unit, animator)
The Fox and the Hound (1981, animator, uncredited)
Dragon's Lair (1983, TV series)
Space Ace (1984, TV series)
The Funtastic World of Hanna-Barbera (1990, ride)
"Mary" by the Scissor Sisters (2004, animated segments of music video)
Dragon's Lair 3D: Return to the Lair (2002, video game)
Tapper World Tour (2010, video game)
Frequent collaborations[edit]
There have been multiple voice actors who have appeared in more than one of the films directed by Bluth.


The Secret
 of NIMH
An American
 Tail
The Land
 Before Time
All Dogs Go
 to Heaven
Rock-a-Doodle
Thumbelina
A Troll in
 Central Park
The Pebble and
 the Penguin
Anastasia
Bartok the
 Magnificent
Titan A.E.
Hank Azaria        
No

No
 
Judith Barsi  
No

No
       
Jim Cummings        
No
 
No

Tim Curry       
No
 
No
 
Dom DeLuise
No

No
 
No
  
No
    
Phillip Glasser 
No
    
No
    
Tawny Sunshine Glover     
No

No
    
Kelsey Grammer        
No

No
 
Arthur Malet
No
       
No
  
Danny Mann     
No
   
No
 
Andrea Martin        
No

No
 
Pat Musick 
No
   
No
     
Michael Nunes     
No
 
No
   
Christopher Plummer 
No
  
No
      
Charles Nelson Reilly   
No

No
 
No
    
Neil Ross 
No
   
No
     
Will Ryan 
No

No
 
No

No

No

No
   
See also[edit]

Portal icon Animation portal
Portal icon Disney portal
Sullivan Bluth Studios
Fox Animation Studios
Amblimation
John Pomeroy
Gary Goldman
Toby Bluth
References[edit]
1.Jump up ^ "Don Bluth". Mormons in Business. Retrieved 2012-07-25.
2.Jump up ^ William Addams Reitwiesner. "The Ancestors of Mitt Romney". Retrieved 2012-07-24.
3.Jump up ^ Cardwell, Lynda (1984-02-18). "Laser disc arcade games could become wave of the future". The Gadsden Times. pp. A8. Retrieved 10 November 2013.
4.Jump up ^ "About Don". Don Bluth Animation. Retrieved 2012-07-25.
5.^ Jump up to: a b c Heintjes, Tom (May 1985). "Newswatch: Bluth animation firm goes bankrupt". The Comics Journal No. 98. p. 19. Retrieved 2012-07-30.
6.^ Jump up to: a b Cawley, John. "Don Bluth Biography". The Animated Films of Don Bluth. Cataroo.com. Retrieved 2012-07-25.
7.Jump up ^ Cawley, John. "The Secret of N.I.M.H.". The Animated Films of Don Bluth. Cataroo.com. Retrieved 2012-07-30. "The film developed a cult following which only increased with easy access via video and cable showings."
8.Jump up ^ Beck, Jerry (June 1996). "Don Bluth Goes Independent". Animation World Magazine. Retrieved 10 August 2012. "That failure [of Secret of NIMH] caused Aurora to back out of producing Bluth's next film, East of the Sun, West of the Moon."
9.Jump up ^ Cawley, John. "Space Ace". The Animated Films of Don Bluth. Cataroo.com. Retrieved 2012-07-25.
10.Jump up ^ "Dragon's Lair II". The International Arcade Museum. Retrieved 10 August 2012. "This game ranks a 24 on a scale out of 100 (100 = most often seen, 1=least common) in popularity based on census ownership records."
11.Jump up ^ Melena Ryzik (2010-03-03). "An Animated Irish Invasion". The New York Times. Retrieved 2010-11-19.
12.^ Jump up to: a b Cawley, John. "An American Tail". The Animated Films of Don Bluth. Cataroo.com. Retrieved 2012-07-30.
13.Jump up ^ Cawley, John. "The Land Before Time". The Animated Films of Don Bluth. Cataroo.com. Retrieved 2012-07-31.
14.Jump up ^ Cawley, John. "All Dogs Go To Heaven". The Animated Films of Don Bluth. Cataroo.com. Retrieved 2012-07-31.
15.Jump up ^ "Anastasia (1997)". Box Office Mojo. Retrieved 2012-07-31.
16.Jump up ^ Ebert, Roger (November 21, 1997). "Anastasia". Chicago Sun-Times. Retrieved 2012-07-31.
17.Jump up ^ "Titan A.E. (2000)". Box Office Mojo. Retrieved 2012-07-31.
18.Jump up ^ "20th Century Fox Feature Films (Fox Animation Studios) Animated Theatrical Cartoons (1977-)". The Big Cartoon Database. Retrieved 2012-07-30.
19.Jump up ^ "Dragon's Lair 3D: Return to the Lair". Metacritic. Retrieved 2012-07-25.
20.Jump up ^ Arrant, Chris (2012-04-05). "EXCLUSIVE: Don Bluth Talks About His Return To "Dragon’s Lair"". Cartoon Brew. Retrieved 2012-07-25.
21.Jump up ^ Kelly, Kevin (2007-05-01). "Don Bluth trying to make Dragon's Lair movie". Joystiq. Retrieved 2012-07-25.
22.Jump up ^ Weinberg, Scott (2007-04-29). "Don Bluth Still Wants to Make a 'Dragon's Lair' Movie". Moviefone. Retrieved 2012-07-25.
23.Jump up ^ "Don Bluth animates Scissor Sisters video". Animated Views. 2004-10-22. Retrieved 2012-07-25.
24.Jump up ^ "Gift of the Hoopoe -Recent film of Don Bluth?". Retrieved 2012-07-25.
25.Jump up ^ http://www.donbluthfrontrowtheatre.com/
Further reading[edit]
John Cawley, The Animated Films of Don Bluth, 1991, Image Publishing, ISBN 0-685-50334-8
John Grant, Masters of Animation, 2001, Watson-Guptill Publications, ISBN 0-8230-3041-5
External links[edit]
Official site
Don Bluth's channel on YouTube
Don Bluth at the Internet Movie Database
The Dot Eaters entry on Bluth and the development of Dragon's Lair
Remembering NIMH An interview with Don Bluth Studios about the making of The Secret of NIMH
Don Bluth & Gary Goldman: Long-running Fun An interview with Don Bluth and Gary Goldman
Don Bluth Interview Part 1 and Part 2 about his influences and the making of Dragon's Lair
Don Bluth Biography at Cataroo.com


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Toby Bluth
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Toby Bluth

Born
Fred Bluth
Died
October 31, 2013
Los Angeles, California, U.S.
Occupation
Painter, animator, background artist, production designer, theater/film director
Fred "Toby" Bluth was a Texas-born American illustrator who worked on many Disney films and others as animator, Background artist and Production designer. He had a long career writing and illustrating children's books,[1] not to mention performing and or directing, nearly one hundred musicals, both on Broadway and off.[2] His artwork is prominently displayed at most of the Disney theme parks around the world. He is the younger brother of Don Bluth, who he has collaborated on both theater and animation.[citation needed]


Contents  [hide]
1 Style
2 Death
3 Filmography
4 References
5 External links

Style[edit]
Bluth noted Gustaf Tenggren, whom Walt Disney actively recruited to work on the breakthrough film, Snow White and the Seven Dwarfs[3] as being a big inspiration throughout his career.[2] When asked how he approached each of his watercolor masterpieces, Toby described his intent as

"Creating the moment that you think you saw ... How one remembers a film is often different from the actual film itself."[4]
The use of chiaroscuro was apparent in Bluth's work. These subtle variations of light and shade create depth, life and warm, yet cool shadows to each scene. This lends a heightened delineation of character and allows his subjects much more of a unique, almost animated, existence within the painting.[citation needed]
Death[edit]
He died on October 31, 2013 in Los Angeles, California following a stroke.[5]
Filmography[edit]

Film
Year
Credit
Mickey, Donald, Goofy: The Three Musketeers 2004 Art Director
The Tigger Movie 2000 Additional Background Artist / Stylest
Babes in Toyland 1997 Director / Lyricist / Background Designer / Character Designer
The Story of Santa Claus 1996 Director
Alvin & the Chipmunks 1983 Character Designer / Production Designer
The Smurfs 1981 Background Stylist
A Chipmunk Christmas 1981 Production Designer
Banjo the Woodpile Cat 1979 Writer (uncredited)
References[edit]
1.Jump up ^ Books written and illustrated by Toby Bluth: Bluth, Toby (ed.) (1995). Disney's Cinderella: Dreams Do Come True (First edition ed.). Mouse Works. ISBN 978-1-57082-242-1.
Bluth, Toby (ed.) (1994). Disney's Dopey Loses the Diamonds (First edition ed.). Mouse Works. ISBN 978-1-57082-150-9.
Bluth, Toby (ed.) (1994). Snow White's Escape (First edition ed.). Mouse Works. ISBN 978-1-57082-153-0.
Bluth, Toby (ed.) (1985). Tenderfoot (First edition ed.). Children's Press. ISBN 978-0-516-09166-2.
Bluth, Toby (ed.) (1983). Siegfried's Silent Night (First edition ed.). Ideals Children's Books. ISBN 978-0-8249-8059-7.
2.^ Jump up to: a b "Toby Bluth at ED Chasen Fine Art". Archived from the original on 2008-10-05. Retrieved 2008-10-05.
3.Jump up ^ "Gustaf Tenggren IMDb profile". Archived from the original on 2008-10-05. Retrieved 2008-10-05.
4.Jump up ^ "ART THAT MOVES THE HEART - Toby Bluth". Archived from the original on 2008-10-05. Retrieved 2008-10-05.
5.Jump up ^ "Toby Bluth R.I.P." - article by Jerry Beck on Animation Scoop; November 6, 2013; retrieved November 6, 2013.
External links[edit]
Artist Official Disney Fine Art Site
Toby Bluth at the Internet Movie Database
Artist's Official Site


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Background artists
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Fay Wray
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Fay Wray
Wray, Fay 01.jpg
Studio publicity photo

Born
Vina Fay Wray
September 15, 1907
Cardston, Alberta, Canada
Died
August 8, 2004 (aged 96)
New York City, New York, USA

Resting place
 Hollywood Forever Cemetery in Los Angeles, California
Occupation
Actress
Years active
1923–1980
Spouse(s)
John Monk Saunders
(m.1928-1939; divorced)
Robert Riskin
(m.1942-1955; his death)
 Sanford Rothenberg
(m.1971-1991; his death)
Fay Wray (born Vina Fay Wray; September 15, 1907 – August 8, 2004) was a Canadian-American actress most noted for playing the female lead in King Kong. Through an acting career that spanned 57 years, Wray attained international renown as an actress in horror movie roles. She was one of the first "scream queens".
After appearing in minor movie roles, Wray gained media attention being selected as one of the "WAMPAS Baby Stars". This led to Wray being contracted to Paramount Pictures as a teenager, where she made more than a dozen movies. After leaving Paramount, she signed deals with various film companies, being cast in her first horror film roles among many other types of roles, including in The Bowery (1933) and Viva Villa (1934), both huge productions starring Wallace Beery. For RKO Radio Pictures, Inc., she starred in the film with which she is most identified, King Kong (1933). After the success of King Kong, Wray appeared in many major movie roles and on television, finishing her acting career in 1980.


Contents  [hide]
1 Early life
2 Early acting career
3 Horror films and King Kong
4 Later career
5 Personal life
6 Death
7 Honours
8 Filmography
9 See also
10 Footnotes
11 External links

Early life[edit]
Wray was born on a ranch near Cardston in the province of Alberta, Canada, to two Mormons, Elvina Marguerite Jones, who was from Salt Lake City, and Joseph Heber Wray, who was from Kingston upon Hull, England.[1] She was one of six children.[2] Her family returned to the United States a few years after she was born; they moved to Salt Lake City in 1912[3] and moved to Lark, Utah in 1914. In 1919, the Wrays returned to Salt Lake City again and then relocated to Hollywood, California, where Fay attended Hollywood High School.
Early acting career[edit]



 Wray publicity shot from 1930
In 1923, Wray appeared in her first film at the age of sixteen, when she landed a role in a short historical film sponsored by a local newspaper.[4] In the 1920s, Wray landed a major role in the silent film The Coast Patrol (1925),[5] as well as uncredited bit parts at the Hal Roach Studios.
In 1926, the Western Association of Motion Picture Advertisers, selected Wray as one of the "WAMPAS Baby Stars", a group of women who they believed to be on the threshold of movie stardom. She was at the time under contract to Universal Studios, mostly co-starring in low budget westerns opposite Buck Jones.
The following year in 1927, Wray was signed to a contract with Paramount Pictures In 1928, director Erich von Stroheim cast her as the main female lead in his film The Wedding March, released by Paramount. While the film was noted for its high budget and production values, it was a financial failure, but gave Wray her first lead role. Wray stayed with Paramount to make more than a dozen films and to make the transition from silent films to "talkie" films.[6]
Horror films and King Kong[edit]



 Fay Wray in the 1933 feature film King Kong
After leaving Paramount, Wray signed to various film companies. It was under these deals that Wray was cast in various horror films, including Doctor X. However, her greatest known films were produced under her deal with RKO Radio Pictures, Inc.. Her first film under RKO was The Most Dangerous Game (1932), co-starring Joel McCrea and shot at night on the same jungle sets that were being used for King Kong during the day, with the leads from both films, Wray and Robert Armstrong, appearing in both movies.
The Most Dangerous Game was followed by Wray's most memorable film, King Kong. According to Wray, Jean Harlow had been RKO's original choice, but because MGM put Harlow under exclusive contract during the pre-production phase of the film, she became unavailable[7] and Wray was approached by director Merian C. Cooper to play the role of Ann Darrow, the blonde captive of King Kong. Wray was paid $10,000 dollars to play the role.[8] The film was a commercial success. Wray was reportedly proud that the film saved RKO from bankruptcy.[9] Wray's role would become the one with which she would be most associated.
Later career[edit]
She continued to star in various films, but by the early 1940s, her appearances became less frequent. She retired from acting in 1942, after her second marriage. However, due to financial exigencies she continued in her acting career,[8] and over the next three decades, Wray appeared in certain film roles and also frequently on television.
Wray was cast in the 1953-54 ABC situation comedy, The Pride of the Family, as Catherine Morrison. Paul Hartman played her husband, Albie Morrison. Natalie Wood and Robert Hyatt played their children, Ann and Junior Morrison, respectively.[10]
Wray appeared in three episodes of CBS's courtroom drama, Perry Mason, the first of which was "The Case Of The Prodigal Parent" (Episode 1-36) aired June 7, 1958. In 1959, she portrayed murder victim Lorna Thomas in "The Case of the Watery Witness". In 1965, she played voodoo practitioner Mignon Germaine in "The Case of the Fatal Fetish". In 1959, Wray was cast as Tula Marsh in the episode "The Second Happiest Day" of the CBS anthology series Playhouse 90. Another 1959 role was in the episode "The Morning After" of CBS's Alfred Hitchcock Presents. In 1960, she appeared as Clara in an episode of 77 Sunset Strip, "Who Killed Cock Robin?". Another 1960 role was that of Mrs. Staunton, with Gigi Perreau as her daughter, in the episode "Flight from Terror" of the ABC adventure series, The Islanders.
Wray appeared in a 1961 episode of the The Real McCoys titled "Theatre in the Barn" S4/Ep23. In 1963, she played Mrs. Brubaker in the episode "You're So Smart, Why Can't You Be Good?" episode of the NBC medical drama about psychiatry, The Eleventh Hour. She ended her acting career in the 1980 made-for-television film, Gideon's Trumpet.
In 1988, she published her autobiography, On the Other Hand.[11] In her later years, Wray continued to make public appearances. In 1991, she was crowned Queen of the Beaux Arts Ball presiding with King Herbert Huncke.[12]
She was approached by James Cameron to play the part of "Rose Dawson Calvert" for his 1997 blockbuster Titanic with Kate Winslet to play her younger self, but she turned down the role and the part of Rose was given to Gloria Stuart. She was a special guest at the 70th Academy Awards, where the show's host, Billy Crystal, introduced her as the "Beauty who charmed the Beast". She was the only 1920s Hollywood actress in attendance that evening. On October 3, 1998, she appeared at the Pine Bluff Film Festival, which showed "The Wedding March" (with live orchestral accompaniment).
In January 2003, the 95-year old Wray appeared at the 2003 Palm Beach International Film Festival to celebrate the Rick McKay documentary film Broadway: The Golden Age, by the Legends Who Were There, where she was also honored with a "Legend in Film" award. In her later years, she also visited the Empire State Building frequently, once visiting in 1991 as a guest of honor at the building's 60th anniversary, and also in May 2004,[13] which was among her last public appearances. Her final public appearance was at an after-party at the Sardi's restaurant in New York City, following the premiere of the documentary film Broadway: The Golden Age, by the Legends Who Were There.[citation needed]
Personal life[edit]
Wray was married three times – to the writers John Monk Saunders and Robert Riskin and to the neurosurgeon, Dr. Sanford Rothenberg (January 28, 1919 – January 4, 1991).[14]
She had three children: Susan Saunders, Victoria Riskin, and Robert Riskin, Jr. She became a naturalized citizen of the United States in 1933.
In her autobiography On The Other Hand: A Life Story she declares herself a Republican.[15]
Death[edit]



 Star on Hollywood Walk of Fame at 6349 Hollywood Blvd.
In 2004, Wray was approached by director Peter Jackson to appear in a small cameo for the 2005 remake of King Kong. She met with Naomi Watts, who was to play the role of Ann Darrow. She politely declined the cameo, and claimed the original "Kong" to be the true "King". Before filming of the remake commenced, Wray died in her sleep of natural causes on August 8, 2004, in her Manhattan apartment. Her friend Rick McKay said that "she just kind of drifted off quietly as if she was going to sleep... she just kind of gave out."[16] She was 96 years old. Wray is interred at the Hollywood Forever Cemetery in Hollywood, California.
Two days after her death, the lights of the Empire State Building were extinguished for 15 minutes in her memory.[17]
In the 2005 film, Carl Denham (Jack Black) mentions he hired Ann Darrow (Naomi Watts) "because Fay was unavailable".
Honours[edit]
In 1989, Wray was awarded the Women in Film Crystal Award.[18] Wray was honored with a "Legend in Film" award at the 2003 Palm Beach International Film Festival. For her contribution to the motion picture industry, Wray was honored with a star on the Hollywood Walk of Fame at 6349 Hollywood Blvd. She received a star posthumously on Canada's Walk of Fame in Toronto on June 5, 2005. A small park near Lee's Creek on Main Street in Cardston, Alberta, her birthplace, was named "Fay Wray Park" in her honour. The small sign at the edge of the park on Main Street has a silhouette of King Kong on it, remembering her role in the film King Kong. A large oil portrait of Wray by Alberta artist Neil Boyle is on display in the Empress Theatre in Fort Macleod, Alberta. In May 2006, Wray became one of the first four entertainers to ever be honoured by Canada Post by being featured on a postage stamp.
Filmography[edit]
Gasoline Love (1923 short subject)
Thundering Landlords (1925 short)
No Father to Guide Him (1925 short)
The Coast Patrol (1925)
Sure-Mike (1925 short)
What Price Goofy (1925 short)
Isn't Life Terrible? (1925 short)
Chasing the Chaser (1925 short)
Madame Sans Jane (1925 short)
Unfriendly Enemies (1925 short)
Your Own Back Yard (1925 short)
Moonlight and Noses (1925 short)
Should Sailors Marry? (1925 short)
WAMPAS Baby Stars of 1926 (1926 short)
One Wild Time (1926 short)
Don Key (A Son of a Burro) (1926 short)
The Man in the Saddle (1926)
Don't Shoot (1926 short)
The Wild Horse Stampede (1926)
The Saddle Tramp (1926 short)
The Show Cowpuncher (1926 short)
Lazy Lightning (1926)
Loco Luck (1927)
A One Man Game (1927)
Spurs and Saddles (1927)
A Trip Through the Paramount Studio (1927 short)
The Honeymoon (1928) (unreleased)
The Legion of the Condemned (1928)
Street of Sin (1928)
The First Kiss (1928)
The Wedding March (1928)
Thunderbolt (1929)
The Four Feathers (1929)
Pointed Heels (1929)
Behind the Make-Up (1930)
Paramount on Parade (1930)
The Texan (1930)
The Border Legion (1930)
The Sea God (1930)
Captain Thunder (1930)
Stub Man (1931)
The Conquering Horde (1931)
Three Rogues (1931)
The Slippery Pearls (1931 short)
Dirigible (1931)
The Finger Points (1931)
The Lawyer's Secret (1931)
The Unholy Garden (1931)
Hollywood on Parade (1932) (short subject)
Stowaway (1932)
Doctor X (1932)
The Most Dangerous Game (1932)
The Vampire Bat (1933)
Mystery of the Wax Museum (1933)
King Kong (1933)
Below the Sea (1933)
Ann Carver's Profession (1933)
The Woman I Stole (1933)
Shanghai Madness (1933)
The Big Brain (1933)
One Sunday Afternoon (1933)
The Bowery (1933)
Master of Men (1933)
The Clairvoyant (1934)
Madame Spy (1934)
The Countess of Monte Cristo (1934)
Once to Every Woman (1934)
Viva Villa! (1934)
The Affairs of Cellini (1934)
Black Moon (1934)
The Richest Girl in the World (1934)
Cheating Cheaters (1934)
Woman in the Dark (1934) also available as Woman In The Shadows, based on a Dashiell Hammett story
Come Out of the Pantry (1935)
Mills of the Gods (1935)
Bulldog Jack (1935)
White Lies (1935)
When Knights Were Bold (1936)
Roaming Lady (1936)
They Met in a Taxi (1936)
It Happened in Hollywood (1937)
Murder in Greenwich Village (1937)
The Jury's Secret (1938)
Smashing the Spy Ring (1939)
Navy Secrets (1939)
Wildcat Bus (1940)
Melody for Three (1941)
Adam Had Four Sons (1941)
Not a Ladies' Man (1942)
This Is the Life (1944) co-author of play with Sinclair Lewis
Treasure of the Golden Condor (1953)
Small Town Girl (1953)
Hell on Frisco Bay (1955)
The Cobweb (1955)
Queen Bee (1955)
Rock, Pretty Baby (1956)
Crime of Passion (1957)
Tammy and the Bachelor (1957)
Summer Love (1958)
Dragstrip Riot (1958)
Gideon's Trumpet (1980)
Off the Menu: The Last Days of Chasen's (1997 documentary)
Broadway: The Golden Age, by the Legends Who Were There (2003 documentary)
See also[edit]

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Portal icon Utah portal
Portal icon California portal
Portal icon Los Angeles portal
Portal icon New York City portal
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Portal icon Television portal
Canadian pioneers in early Hollywood
Footnotes[edit]
1.Jump up ^ "Ancestry of Fay Wray". Wargs.com. Retrieved 2011-03-09.
2.Jump up ^ "Fay Wray - Northern Stars". Northernstars.ca. Retrieved 2011-03-09.
3.Jump up ^ The Salt Lake Tribune, 26 January 2009, "Utah-Hollywood connection runs deep", p. B2
4.Jump up ^ SL Tribune, 26 January 2009
5.Jump up ^ Imdb.com - The Coast Patrol (1925)
6.Jump up ^ "Fay Wray". TCM.com. Retrieved 2011-03-09.
7.Jump up ^ Parish, James Robert; Mank, Gregory W.; Stanke, Don E. (1978). The Hollywood Beauties. New Rochelle, New York: Arlington House Publishers. p. 203. ISBN 0-87000-412-3.
8.^ Jump up to: a b "Fay Wray". Emol.org. Retrieved 2011-03-09.
9.Jump up ^ "Fay Wray by Kendahl Cruver". Things-and-other-stuff.com. 1907-09-15. Retrieved 2011-03-09.
10.Jump up ^ "The Pride of the Family". Internet Movie Data Base. Retrieved May 1, 2011.
11.Jump up ^ Wray, Fay (1989). On the Other Hand: A Life Story (1st ed.). St. Martin's Press. ISBN 978-0-312-02265-5. OCLC 17917980.
12.Jump up ^ "Beaux Arts Society: Royal Family". Retrieved 24 February 2014.
13.Jump up ^ "UPI.com". UPI.com. Retrieved 2011-03-09.
14.Jump up ^ "Social Security Death Index". Ssdi.rootsweb.ancestry.com. 2010-07-15. Retrieved 2011-03-09.
15.Jump up ^ Wray, Fay On The Other Hand: A Life Story p. 134
16.Jump up ^ "report of Wray's death". BBC News. 2004-08-09. Retrieved 2011-03-09.
17.Jump up ^ "Fay Wray - Empire State Building To Dim Lights In Remembrance Of Actress Fay Wray". UPI.com. Retrieved 2011-03-09.
18.Jump up ^ "Past Recipients: Crystal Award". Women In Film. Retrieved May 10, 2011.
External links[edit]
 Wikimedia Commons has media related to Fay Wray.
Fay Wray at the Internet Movie Database
Fay Wray at AllMovie
Fay Wray at the TCM Movie Database
Fay Wray at the Internet Broadway Database
Northern Stars
CBC.ca News: Fay Wray dies at 96


Authority control
WorldCat ·
 VIAF: 14967094 ·
 LCCN: n86041342 ·
 ISNI: 0000 0000 8094 4538 ·
 GND: 118887416 ·
 BNF: cb13982603z (data)
 




 
 
 
 
 
 
 

 


Categories: 1907 births
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People from Salt Lake City, Utah
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Actresses from New York City
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Shirley Temple
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For the beverage named after her, see Shirley Temple (beverage).
Page protected with pending changes level 1

Shirley Temple
Shirley Temple Colored Headshot.jpg
Born
Shirley Temple[note 1]
April 23, 1928
Santa Monica, California, U.S.
Died
February 10, 2014 (aged 85)
Woodside, California, U.S.

Cause of death
 Chronic obstructive pulmonary disease

Resting place
 Cremation
Education
Tutors, private high school
Alma mater
Westlake School for Girls (1940–45)
Occupation
Film actress (1932–50)
 TV actress/entertainer (1958–65)
 Public servant (1969–92)
Years active
1932–65 (as actress)
 1967–92 (as public servant)
Known for
Juvenile film roles
Notable work(s)
Bright Eyes, The Little Colonel, Curly Top, Wee Willie Winkie, Heidi, The Little Princess, Since You Went Away, The Bachelor and the Bobby-Soxer, Fort Apache
Television
Shirley Temple's Storybook, The Shirley Temple Show

Political party
 Republican
Spouse(s)
John Agar (m. 1945; div. 1950); 1 child
Charles Alden Black (m. 1950; died 2005); 2 children
Children
Linda Susan Agar (b. 1948)
Charles Alden Black, Jr. (b. 1952)
Lori Alden Black (b. 1954)

Awards
Academy Juvenile Award
 Kennedy Center Honors
 Screen Actors Guild Life Achievement Award
Website
www.shirleytemple.com
Shirley Temple Black (née Temple; April 23, 1928 – February 10, 2014) was an American film and television actress, singer, dancer and public servant, most famous as a child star in the 1930s. As an adult, she entered politics and became a diplomat, serving as United States Ambassador to Ghana and later to Czechoslovakia, and as Chief of Protocol of the United States.
Temple began her film career in 1932 at the age of three. In 1934, she found international fame in Bright Eyes, a feature film designed specifically for her talents. She received a special Juvenile Academy Award in February 1935 for her outstanding contribution as a juvenile performer to motion pictures during 1934, and film hits such as Curly Top and Heidi followed year after year during the mid-to-late 1930s. Licensed merchandise that capitalized on her wholesome image included dolls, dishes and clothing. Her box office popularity waned as she reached adolescence.[1] She appeared in a few films of varying quality in her mid-to-late teens, and retired completely from films in 1950 at the age of 22. She was the top box-office draw in Hollywood for four years in a row (1935–38) in a Motion Picture Herald poll.[2][3]
Temple returned to show business in 1958 with a two-season television anthology series of fairy tale adaptations. She made guest appearances on television shows in the early 1960s and filmed a sitcom pilot that was never released. She sat on the boards of corporations and organizations including The Walt Disney Company, Del Monte Foods and the National Wildlife Federation. She began her diplomatic career in 1969, with an appointment to represent the United States at a session of the United Nations General Assembly. In 1988, she published her autobiography, Child Star.[4]
Temple was the recipient of numerous awards and honors including the Kennedy Center Honors and a Screen Actors Guild Life Achievement Award. She ranks 18th on the American Film Institute's list of the greatest female American screen legends of all time.


Contents  [hide]
1 Early years
2 Fox films
3 20th Century Fox 3.1 1935–1937
3.2 1938–1940
4 Last films and retirement
5 Temple-related merchandise and endorsements
6 Myths and rumors
7 Marriages and children
8 Television
9 Life after Hollywood 9.1 Political ambitions
9.2 Breast cancer
9.3 Corporation commitments
10 Death
11 Awards and honors
12 Filmography
13 See also
14 References 14.1 Notes
14.2 Footnotes
14.3 Works cited
14.4 Bibliography
15 External links

Early years[edit]



 In Glad Rags to Riches, 1933
Shirley Temple was born on April 23, 1928, in Santa Monica, California. She was the daughter of Gertrude Amelia Temple (née Krieger), a homemaker, and George Francis Temple, a bank employee. The family was of English, German and Dutch ancestry.[5][6] She had two brothers, George Francis, Jr. and John Stanley.[6][7][8] Temple's mother encouraged her infant daughter's singing, dancing, and acting talents, and in September 1931 enrolled her in Meglin's Dance School in Los Angeles.[9][10][11] About this time, Temple's mother began styling her daughter's hair in ringlets similar to those of silent film star Mary Pickford.[12]
While at Meglin's, she was spotted by Charles Lamont, a casting director for Educational Pictures. Although Shirley hid behind the piano while in the studio, Lamont took a shine to her, inviting her to audition, and in 1932 signed her to a contract. Educational Pictures were about to launch their Baby Burlesks,[13][14][15][16] series of short films satirizing recent film and political events, using pre-school children in every role. Because the children were dressed as adults and given mature dialogue the series was eventually seen as dated and exploitive.
Baby Burlesks was a series of one-reelers; another series of two-reelers called Frolics of Youth followed, with Temple playing Mary Lou Rogers, a youngster in a contemporary suburban family.[17] To underwrite production costs at Educational, Temple and her child co-stars modeled for breakfast cereals and other products.[18][19] She was lent to Tower Productions for a small role in her first feature film (The Red-Haired Alibi) in 1932[20][21] and, in 1933, to Universal, Paramount, and Warner Bros., for various bit parts.[22][23] After Educational Pictures declared bankruptcy in 1933, her father purchased her contract for $25.
Fox films[edit]



 Temple's hand and foot prints at Grauman's Chinese Theater
It was while walking out of the viewing of her last Frolics of Youth picture that Fox Film songwriter Jay Gorney saw Temple dancing in the movie theater lobby. Recognizing her from the screen, he arranged for her to have a tryout for the movie Stand Up and Cheer!. Arriving for the audition on December 7, 1933, she won the part and was signed to a $150/week contract guaranteed for two weeks by the Fox Film Corporation. The role turned out to be a breakthrough performance for her. Her charm was evident to Fox heads, as she was ushered into corporate offices almost immediately after the completion of the Baby Take a Bow song and dance number she did with James Dunn. On December 21, 1933, her contract was extended to a year at the same $150/week with a seven year option and her mother Gertrude was hired on at $25/week as her hairdresser and personal coach.[24] Released in May 1934, Stand Up and Cheer! became Temple's breakthrough film. Within months, she became the symbol of wholesome family entertainment.[25] In June, her success continued with a loan-out to Paramount for Little Miss Marker.[26][27]
Following the success of her first three 1934 movies, it soon became apparent to the Temples that the amount of money she was being paid was not commensurate to the amount of money her films generated for the studios. Her image also started to appear on numerous commercial products without approval and without compensation. In an effort to get control over the corporate piracy of her image and to negotiate with Fox, Temple's parents hired the lawyer Loyd Wright to represent them. On July 18, 1934, Temple's contract was raised to $1,000 a week and her mother's salary was raised to $250 a week, with an additional $15,000 bonus for each movie completed. Cease and desist letters were sent out to several companies and the process was started for awarding corporate licenses.[28]
On December 28, 1934, Bright Eyes was released. It was the first feature film crafted specifically for Temple's talents and the first in which her name appeared above the title.[29][30] Her signature song, "On the Good Ship Lollipop", was introduced in the film and sold 500,000 sheet music copies. The film demonstrated Temple's ability to portray a multi-dimensional character and established a formula for her future roles as a lovable, parentless waif whose charm and sweetness mellow gruff older men.[31] In February 1935, Temple became the first child star to be honored with a miniature Juvenile Oscar for her 1934 film accomplishments,[32][33][34][note 2] and she added her foot- and handprints to the forecourt at Grauman's Chinese Theatre a month later.[35]
20th Century Fox[edit]
Fox Films merged with Twentieth Century Pictures to become 20th Century Fox in 1935. Producer and studio head Darryl F. Zanuck focused his attention and resources upon cultivating Temple's superstar status. With four successful films to her credit, she was the studio's greatest asset. Nineteen writers known as the Shirley Temple Story Development team created 11 original stories and some adaptations of the classics for her.[36][note 3]
Biographer Anne Edwards writes about the tone and tenor of Temple films under Zanuck, "This was mid-Depression, and schemes proliferated for the care of the needy and the regeneration of the fallen. But they all required endless paperwork and demeaning, hours-long queues, at the end of which an exhausted, nettled social worker dealt with each person as a faceless number. Shirley offered a natural solution: to open one's heart."[37] Edwards points out that the characters created for Temple would change the lives of the cold, the hardened, and even the criminal with positive results.[37] Edwards quotes a nameless filmographer: "She assaults, penetrates, and opens [the flinty characters] making it possible for them to give of themselves. All of this returns upon her at times forcing her into situations where she must decide who needs her most. It is her agony, her Calvary, and it brings her to her most despairing moments ... Shirley's capacity for love ... was indiscriminate, extending to pinched misers or to common hobos, it was a social, even a political, force on a par with democracy or the Constitution."[38] Temple films were seen as generating hope and optimism, and President Franklin D. Roosevelt said, "It is a splendid thing that for just fifteen cents an American can go to a movie and look at the smiling face of a baby and forget his troubles."[39][note 4]

Photograph of Eleanor Roosevelt seated with Temple immediately to her left. The two are looking at each other apparently engaged in conversation.

First Lady Eleanor Roosevelt and Shirley Temple in July 1938
Most films Temple starred in were cheaply made at $200,000 or $300,000 per picture and were comedy-dramas with songs and dances added, sentimental and melodramatic situations aplenty, and little in the way of production values. Her film titles are a clue to the way she was marketed—Curly Top and Dimples, and her "little" pictures such as The Little Colonel and The Littlest Rebel. Temple often played a fixer-upper, a precocious Cupid, or the good fairy in these films, reuniting her estranged parents or smoothing out the wrinkles in the romances of young couples. She was very often motherless, sometimes fatherless, and sometimes an orphan confined to a dreary asylum.[40] Elements of the traditional fairy tale were woven into her films: wholesome goodness triumphing over meanness and evil, for example, or wealth over poverty, marriage over divorce, or a booming economy over a depressed one.[41] As Temple matured into a pre-adolescent, the formula was altered slightly to encourage her naturalness, naïveté, and tomboyishness to come forth and shine while her infant innocence, which had served her well at six but was inappropriate for her tweens (or later childhood years), was toned down.[40]
1935–1937[edit]
In the contract they signed in July 1934, Temple's parents agreed to four films a year from their daughter (rather than the three they wished). A succession of films followed: The Little Colonel, Our Little Girl, Curly Top (with the signature song "Animal Crackers in My Soup"), and The Littlest Rebel in 1935. Curly Top and The Littlest Rebel were named to Variety's list of top box office draws for 1935.[42] In 1936, Captain January, Poor Little Rich Girl, Dimples,[note 5] and Stowaway were released. Curly Top was Temple's last film before the merger of 20th Century and Fox.
Based on Temple's many screen successes, Zanuck increased budgets and production values for her films. By the end of 1935, Temple's salary was raised to $2,500 a week.[43] In 1937, John Ford was hired to direct the sepia-toned Wee Willie Winkie (Temple's own favorite) and an A-list cast was signed that included Victor McLaglen, C. Aubrey Smith and Cesar Romero.[44][45] Elaborate sets were built at the famed Iverson Movie Ranch in Chatsworth, Calif., for the production, with a rock feature at the heavily filmed location ranch eventually being named in honor of Temple and becoming known as Shirley Temple Rock.
The film was a critical and commercial hit.[44] but British writer and critic Graham Greene muddied the waters in October 1937 when he wrote in a British magazine that Temple was a "complete totsy" and accused her of being too nubile for a nine-year-old:

Her admirers—middle-aged men and clergymen—respond to her dubious coquetry, to the sight of her well-shaped and desirable little body, packed with enormous vitality, only because the safety curtain of story and dialogue drops between their intelligence and their desire.[46]
Temple and Twentieth Century-Fox sued for libel and won. The settlement remained in trust for Temple in an English bank until she turned twenty-one, when it was donated to charity and used to build a youth center in England.[47][48]
The only other Temple film released in 1937 was Heidi.[47] Midway through the shooting of the movie, the dream sequence was added into the script. There were reports that Temple was behind the dream sequence and that she was enthusiastically pushing for it but in her autobiography she vehemently denied this. Her contract gave neither her or her parents any creative control over the movies she was in. She saw this as the collapse of any serious attempt by the studio to build upon the dramatic role from the previous movie Wee Willie Winkie.[49]
1938–1940[edit]



 Temple in The Little Princess
The Independent Theatre Owners Association paid for an advertisement in the Hollywood Reporter in May 1938 that included Temple on a list of actors who deserved their salaries while others, such as Katharine Hepburn and Joan Crawford, were described as "whose box-office draw is nil".[50] That year Rebecca of Sunnybrook Farm, Little Miss Broadway and Just Around the Corner were released. The latter two were panned by the critics, and Corner was the first Temple film to show a slump in ticket sales.[51] The following year, Zanuck secured the rights to the children's novel, A Little Princess, believing the book would be an ideal vehicle for Temple. He budgeted the film at $1.5 million (twice the amount of Corner) and chose it to be her first Technicolor feature. The Little Princess was a 1939 critical and commercial success with Temple's acting at its peak. Convinced Temple would successfully move from child star to teenage actress, Zanuck declined a substantial offer from MGM to star Temple as Dorothy in The Wizard of Oz and cast her instead in Susannah of the Mounties, her last money-maker for Twentieth Century-Fox.[52][53] The film was successful, but because she made only two films in 1939 instead of the usual three or four, Temple dropped from number one box-office favorite in 1938 to number five in 1939.[54]
In 1939, Temple was the subject of the Salvador Dalí painting Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time and she was animated and was with Donald Duck in The Autograph Hound.
In 1940, Temple starred in two consecutive flops at Twentieth Century-Fox, The Blue Bird and Young People.[55][56] Temple's parents bought up the remainder of her contract and sent her at the age of 12 to Westlake School for Girls, an exclusive country day school in Los Angeles.[57] At the studio, Temple's bungalow was renovated, all traces of her tenure expunged, and the building reassigned as an office complex.[56]
Last films and retirement[edit]
Within a year of her departure from Twentieth Century-Fox,[note 6] MGM signed Temple for her comeback, and made plans to team her with Judy Garland and Mickey Rooney for the Andy Hardy series. The idea was quickly abandoned, with MGM teaming Temple with Garland and Rooney for the musical Babes on Broadway. Fearing that either Garland or Rooney could easily upstage Temple, MGM replaced her with Virginia Weidler. As a result, Temple's only film for Metro became Kathleen in 1941, a story about an unhappy teenager. The film was not a success and her MGM contract was canceled after mutual consent. Miss Annie Rooney followed for United Artists in 1942, but it too was unsuccessful.[note 7] The actress retired for almost two years from films, throwing herself into school life and activities.[58]
In 1944, David O. Selznick signed Temple to a personal four-year contract. She appeared in two wartime hits for him: Since You Went Away and I'll Be Seeing You. Selznick however became involved with Jennifer Jones and lost interest in developing Temple's career. She was loaned to other studios with Kiss and Tell, The Bachelor and the Bobby-Soxer,[note 8] and Fort Apache being her few good films at the time.[59]
According to biographer Robert Windeler, her 1947–49 films neither made nor lost money, but "had a cheapie B look about them and indifferent performances from her".[60] Selznick suggested she move abroad, gain maturity as an actress, and even change her name. She had been typecast, he warned her, and her career was in perilous straits.[60][61] After auditioning for and losing the role of Peter Pan on the Broadway stage in August 1950,[62] Temple took stock, admitted her recent movies had been poor fare, and announced her official retirement from films on December 16, 1950.[60][63]
Temple-related merchandise and endorsements[edit]



 Temple leaving the White House offices with her mother and her bodyguard Grif, 1938
Many Temple-inspired products were manufactured and released during the 1930s. Ideal Toy and Novelty Company in New York City negotiated a license for dolls with the company's first doll wearing the polka-dot dress from Stand Up and Cheer!. Shirley Temple dolls realized $45 million in sales before 1941.[64] A mug, a pitcher, and a cereal bowl in cobalt blue with a decal of Temple were given away as a premium with Wheaties.
Successfully-selling Temple items included a line of girls' dresses and accessories, soap, dishes, cutout books, sheet music, mirrors, paper tablets, and numerous other items. Before 1935 ended, Temple's income from licensed merchandise royalties would exceed $100,000, doubling her income from her movies. In 1936, her income would top $200,000 from royalties. She endorsed Postal Telegraph, Sperry Drifted Snow Flour, the Grunow Teledial radio, Quaker Puffed Wheat,[64] General Electric and Packard automobiles.[31][note 9]
Myths and rumors[edit]
At the height of her popularity, Temple was often the subject of a number of myths and rumors, some of which were propagated by 20th Century Fox/Fox Films. In addition to forging her birth certificate to make her a year younger, Fox also publicized her as a natural talent with no formal acting or dance training. As a way of explaining how she knew stylized buck and weave dancing, she was enrolled in the Elisa Ryan School of Dancing for two weeks.[65]
One persistent rumor that was especially prevalent in Europe was the idea that Temple was not a child at all but rather a 30-year old midget due in part to her stockier body type. So prevalent were these rumors that the Vatican dispatched Father Silvio Massante in part to investigate whether or not she was indeed a child. The fact that she never seemed to miss any teeth led some people to conclude she had all her adult teeth. Temple was actually constantly losing teeth throughout her tenure with 20th Century Fox, most notably during the sidewalk ceremony in front of Grauman’s Theatre, where she took off her shoes and placed her bare feet in the cement to take attention away from her face. To combat this, she wore dental plates and caps to hide the gaps in her teeth.[65] Another rumour pertaining to her teeth was the idea that they were filed to make them appear like baby teeth, which was false.[66]
Her biggest trademark, her hair, also was the subject of rumors. One rumor that circulated was that she actually wore a wig. On more than one occasion, fans would yank at her hair to test this theory. As she would later state, she wished all she had to do was wear a wig. The actual nightly process she went through in the setting of her curls was actually tedious and often grueling, with once a week vinegar rinses burning her eyes.[65] Rumors also spread about her hair color, namely that she was not a natural blonde, but this was untrue. During the making of Rebecca of Sunnybrook Farm, news spread that she was going to do extended scenes without her trademark curls. During production, she also caught a cold which caused her to miss a couple days. As a result, a spurious myth began in Britain that all of her hair had been cut off.[66]
Marriages and children[edit]
In 1943, 15-year-old Temple met John Agar (1921–2002), an Army Air Corps sergeant, physical training instructor, and a member of a Chicago meat-packing family.[67][68] On September 19, 1945, when Temple was 17 years old, they were married before 500 guests in an Episcopal ceremony at Wilshire Methodist Church in Los Angeles.[69][70][71] On January 30, 1948, Temple gave birth to their daughter, Linda Susan.[69][72][73] Agar became a professional actor and the couple made two films together: Fort Apache (1948, RKO) and Adventure in Baltimore (1949, RKO).[73] The marriage became troubled,[73][74] and Temple divorced Agar on December 5, 1949.[31][73] She received custody of their daughter and the restoration of her maiden name.[73][75][76] The divorce was finalized on December 5, 1950.
In January 1950, Temple met Charles Alden Black, a WWII United States Navy intelligence officer and Silver Star recipient who was Assistant to the President of the Hawaiian Pineapple Company.[77][78] Conservative and patrician, he was the son of James B. Black, the president and later chairman of Pacific Gas and Electric, and reputedly one of the richest young men in California.[78] Temple and Black were married in his parents' Del Monte, California, home on December 16, 1950, before a small assembly of family and friends.[69][78][79]
The family relocated to Washington, D.C., when Black was recalled to the Navy at the outbreak of the Korean War.[80] Temple gave birth to their son, Charles Alden Black, Jr., in Washington, D.C., on April 28, 1952.[69][81][82] Following the war's end and Black's discharge from the Navy, the family returned to California in May 1953. Black managed television station KABC-TV in Los Angeles, and Temple became a homemaker. Their daughter Lori was born on April 9, 1954.[69] Lori went on to be a bassist in the grunge band the Melvins. In September 1954, Charles, Sr. became director of business operations for the Stanford Research Institute and the family moved to Atherton, California.[83] The couple remained married for 54 years until his death on August 4, 2005, at home in Woodside of complications from a bone marrow disease.[84]
Television[edit]
Between January and December 1958, Temple hosted and narrated a successful NBC television anthology series of fairy tale adaptations called Shirley Temple's Storybook. Temple acted in three of the sixteen hour-long episodes, and her son made his acting debut in the Christmas episode, "Mother Goose".[85][86] The series was popular but faced some problems. The show lacked the special effects necessary for fairy tale dramatizations, sets were amateurish, and episodes were telecast in no regular time-slot, making it difficult to generate a following.[87] The show was reworked and released in color in September 1960 in a regular time-slot as The Shirley Temple Show.[88][89] It faced stiff competition from Maverick, Lassie, Dennis the Menace, the 1960 telecast of The Wizard of Oz, and the Walt Disney anthology television series however, and was canceled at season's end in September 1961.[90]



 Shirley Temple (1965)
Temple continued to work on television, making guest appearances on The Red Skelton Show, Sing Along with Mitch, and other shows.[88] In January 1965, she portrayed a social worker in a sitcom pilot called Go Fight City Hall that was never released.[91] In 1999, she hosted the AFI's 100 Years... 100 Stars awards show on CBS, and, in 2001, served as a consultant on an ABC-TV production of her autobiography, Child Star: The Shirley Temple Story.[92]
Motivated by the popularity of Storybook and television broadcasts of Temple's films, the Ideal Toy Company released a new version of the Shirley Temple doll and Random House published three fairy tale anthologies under Temple's name. Three hundred thousand dolls were sold within six months and 225,000 books between October and December 1958. Other merchandise included handbags and hats, coloring books, a toy theater, and a recreation of the Baby, Take a Bow polka-dot dress.[93]
Life after Hollywood[edit]

Shirley Temple Black
Temple Black 1990.jpg
Shirley Temple Black in Prague (1990)
27th United States Ambassador to Czechoslovakia
In office
 August 23, 1989 – July 12, 1992
President
George H. W. Bush
Preceded by
Julian Niemczyk
Succeeded by
Adrian A. Basora
18th Chief of Protocol of the United States
In office
 July 1, 1976 – January 21, 1977
President
Gerald Ford
Preceded by
Henry E. Catto, Jr.
Succeeded by
Evan Dobelle
9th United States Ambassador to Ghana
In office
 December 6, 1974 – July 13, 1976
President
Gerald Ford
Preceded by
Fred L. Hadsel
Succeeded by
Robert P. Smith
Personal details

Born
April 23, 1928
Santa Monica, California
Died
February 10, 2014 (aged 85)
Woodside, California
Resting place
Cremation
Nationality
American
Political party
Republican
Political ambitions[edit]
Following her venture into television, Temple became active in the Republican Party in California. In 1967, she ran unsuccessfully in a special election in California's 11th congressional district to fill the seat left vacant by the death of eight-term Republican J. Arthur Younger from leukemia.[94][95] She ran as a conservative and lost to law school professor Pete McCloskey, a liberal Republican who was a staunch opponent of the Vietnam War.[96][97]
Temple was extensively involved with the Commonwealth Club of California, a public-affairs forum headquartered in San Francisco. She spoke at several of the meetings through the years and served as its president in 1984.[98][99]
Temple got her start in foreign service after her failed run for Congress in 1967, when Henry Kissinger overheard her talking about Namibia at a party and was surprised that she knew anything about it.[100] She was appointed Representative to the 24th United Nations General Assembly by President Richard M. Nixon (September – December 1969),[101][102] and was appointed United States Ambassador to Ghana (December 6, 1974 – July 13, 1976) by President Gerald R. Ford.[103] She was appointed first female Chief of Protocol of the United States (July 1, 1976 – January 21, 1977), and was in charge of arrangements for President Jimmy Carter's inauguration and inaugural ball.[103][104] She served as the United States Ambassador to Czechoslovakia (August 23, 1989 – July 12, 1992), having been appointed by President George H. W. Bush.[31] She was the first and only female US ambassador to Czechoslovakia. Temple was a personal witness to two crucial moments in the history of Czechoslovakia's fight against Communism. Temple was in Prague in August 1968, as a representative of the International Federation of Multiple Sclerosis Societies and was actually going to meet up with Czechoslovakian party leader Alexander Dubček on the very day that Soviet-backed forces invaded the country. Dubček fell out of favor with the Soviets after a series of reforms known as the Prague Spring. Temple, who was stranded at a hotel as the tanks rolled in, sought refuge on the roof of the hotel. It was from here she saw an unarmed woman on the street gunned down by Soviet forces, a sight which stayed with her for the rest of her life.[105] Later, after she became ambassador to Czechoslovakia, she was present during the Velvet Revolution, which brought about the end of Communism in Czechoslovakia. Temple played a critical role in hastening the end of the Communist regime by openly sympathizing with anti-Communist dissidents and later establishing formal diplomatic relations with the newly elected government led by Václav Havel. She took the unusual step of personally accompanying Havel on his first official visit to Washington, riding along on the same plane.[106]
Breast cancer[edit]
In 1972, Temple was diagnosed with breast cancer. The tumor was removed and a modified radical mastectomy performed. Following the operation, she announced it to the world via radio, television, and a February 1973 article for the magazine McCall's. In doing so, she became one of the first prominent women to speak openly about breast cancer.[107]
Corporation commitments[edit]
Temple served on numerous boards of directors of large enterprises and organizations including The Walt Disney Company, Del Monte, Bank of America, the Bank of California, BANCAL Tri-State, Fireman's Fund Insurance, the United States Commission for UNESCO, the United Nations Association and the National Wildlife Federation.[108]
Death[edit]
Shirley Temple died on February 10, 2014, at the age of 85. She was at her home in Woodside, California, surrounded by family and caregivers.[109][110] Her family stated only that she died of natural causes. The specific cause, according to her death certificate released on March 3, 2014, was chronic obstructive pulmonary disease.[111] A lifelong smoker, she avoided revealing her habit in public to avoid setting a bad example for her fans. She is survived by her three children, as well as a granddaughter and two great-grandchildren.[112]
Awards and honors[edit]
Temple was the recipient of many awards and honors including a special Juvenile Academy Award,[69] the Life Achievement Award from the American Center of Films for Children,[103] the National Board of Review Career Achievement Award,[113] Kennedy Center Honors,[114][115] and the Screen Actors Guild Life Achievement Award.[116] On September 11, 2002, a life-size bronze statue of the child Temple by sculptor Nijel Binns was erected on the Fox Studio lot.[117]
On March 14, 1935, Temple left her footprints and handprints in the wet cement at the forecourt of Grauman's Chinese Theatre in Hollywood. She was the Grand Marshal of the New Year's Day Rose Parade in Pasadena, California three times in 1939, 1989, and 1999.
On February 8, 1960, she received a star on the Hollywood Walk of Fame for her work in films.
Filmography[edit]
Main article: Shirley Temple filmography
See also[edit]
Book icon Book: Shirley Temple


Portal icon Biography portal
Portal icon United States portal
Portal icon Film portal
List of oldest and youngest Academy Award winners and nominees
"On the Good Ship Lollipop"
References[edit]
Notes[edit]
1.Jump up ^ While Temple occasionally used "Jane" as a middle name, her birth certificate reads "Shirley Temple". Her birth certificate was altered to prolong her babyhood shortly after she signed with Fox in 1934; her birth year was advanced from 1928 to 1929. Even her baby book was revised to support the 1929 date. She admitted her real age when she was 21 (Burdick 5; Edwards 23n, 43n).
2.Jump up ^ Temple was presented with a full-sized Oscar in 1985 (Edwards 357).
3.Jump up ^ In keeping with her star status, Winfield Sheehan, head of Fox Films before the merge, had built Temple a four-room bungalow at the studio with a garden, a picket fence, a tree with a swing and a rabbit pen. The living room wall was painted with a mural depicting Temple as a fairy tale princess wearing a golden star on her head. Under Zanuck, Temple was assigned a bodyguard, John Griffith, a childhood friend of Zanuck's (Edwards 77), and, at the end of 1935, Frances "Klammie" Klampt became Temple's tutor at the studio (Edwards 78).
4.Jump up ^ Temple and her parents traveled to Washington, D.C., late in 1935 to meet President Roosevelt and his wife Eleanor. The presidential couple invited the Temple family to a cook-out at their home in Hyde Park, New York, where Eleanor, bending over an outdoor grill, was hit smartly in the rear with a pebble from the slingshot Temple carried everywhere in her little lace purse (Edwards 81).
5.Jump up ^ In Dimples, Temple was upstaged for the first time in her film career by Frank Morgan who played Professor Appleby with such zest as to render Temple almost the amateur (Windeler 175).
6.Jump up ^ In 1941, Temple worked radio with four shows for Lux soap and a four-part Shirley Temple Time for Elgin. Of radio she said, "It's adorable. I get a big thrill out of it, and I want to do as much radio work as I can." (Windeler 43)
7.Jump up ^ Temple received her first on-screen kiss in the film (from Dickie Moore, on the cheek) (Edwards 136).
8.Jump up ^ Temple took her first on-screen drink (and spat it out) in Bobby-Soxer. The Women's Christian Temperance Union protested that unthinking teenagers might do the same after seeing Temple in the film (Life Staff 140).
9.Jump up ^ In the 1990s, audio recordings of Temple's film songs and videos of her films were released with Temple receiving no profits. Dolls continued to be released as well as porcelain dolls authorized by Temple and created by Elke Hutchens. The Danbury Mint released plates and figurines depicting Temple in her film roles, and, in 2000, a porcelain tea set (Burdick 136)
Footnotes[edit]
1.Jump up ^ "Shirley Temple". biography.com. Retrieved August 15, 2012.
2.Jump up ^ Balio 227
3.Jump up ^ Windeler 26
4.Jump up ^ Child Star. McGraw-Hill. 1998. ISBN 9780070055322.
5.Jump up ^ Edwards 15, 17
6.^ Jump up to: a b Windeler 16
7.Jump up ^ Edwards 15
8.Jump up ^ Burdick 3
9.Jump up ^ Edwards 29–30
10.Jump up ^ Windeler 17
11.Jump up ^ Burdick 6
12.Jump up ^ Edwards 26
13.Jump up ^ Edwards 31
14.Jump up ^ Black 14
15.Jump up ^ Edwards 31–4
16.Jump up ^ Windeler 111
17.Jump up ^ Windeler 113, 115, 122
18.Jump up ^ Black 15
19.Jump up ^ Edwards 36
20.Jump up ^ Black 28
21.Jump up ^ Edwards 37, 366
22.Jump up ^ Edwards 267–9
23.Jump up ^ Windeler 122
24.Jump up ^ Shirley Temple Black, "Child Star: An Autobiography" (New York: McGraw-Hill, 1988), 32-36.
25.Jump up ^ Barrios 421
26.Jump up ^ Edwards 62
27.Jump up ^ Windeler 122, 127
28.Jump up ^ Shirley Temple Black, "Child Star: An Autobiography" (New York: McGraw-Hill Publishing Company, 1988), 79-83.
29.Jump up ^ Edwards 67
30.Jump up ^ Windeler 143
31.^ Jump up to: a b c d Thomas; Scheftel
32.Jump up ^ Black 98–101
33.Jump up ^ Edwards 80
34.Jump up ^ Windeler 27–8
35.Jump up ^ Black 72
36.Jump up ^ Edwards 74–5
37.^ Jump up to: a b Edwards 75
38.Jump up ^ Edwards 76
39.Jump up ^ Edwards 75–6
40.^ Jump up to: a b Balio 227–8
41.Jump up ^ Zipes 518
42.Jump up ^ Balio 228
43.Jump up ^ Shirley Temple Black, "Child Star: An Autobiography" (New York: McGraw-Hill Publishing Company, 1988), 130.
44.^ Jump up to: a b Windeler 183
45.Jump up ^ Edwards 104–5
46.Jump up ^ Edwards 105, 363
47.^ Jump up to: a b Edwards 106
48.Jump up ^ Windeler 35
49.Jump up ^ Shirley Temple Black, "Child Star: An Autobiography" (New York: McGraw-Hill Publishing Company, 1988), 192-193.
50.Jump up ^ "Box-office Busts/Boys and Girls". Life. pp. 13, 28. Retrieved September 8, 2012.
51.Jump up ^ Edwards 120–1
52.Jump up ^ Edwards 122–3
53.Jump up ^ Windeler 207
54.Jump up ^ Edwards 124
55.Jump up ^ Burdick 268
56.^ Jump up to: a b Edwards 128
57.Jump up ^ Windeler 38
58.Jump up ^ Windeler 43–5
59.Jump up ^ Windeler 49, 51–2
60.^ Jump up to: a b c Windeler 71
61.Jump up ^ Edwards 206
62.Jump up ^ Edwards 209
63.Jump up ^ Black 479–81
64.^ Jump up to: a b Black 85–6
65.^ Jump up to: a b c Black, Shirley Temple (1988). Child Star: An Autobiography. New York: McGraw-Hill. pp. 39–41. ISBN 978-0070055322.
66.^ Jump up to: a b Lindeman, Edith. "The Real Miss Temple". Richmond Times-Dispatch. Retrieved 15 May 2014.
67.Jump up ^ Edwards 147
68.Jump up ^ Windeler 53
69.^ Jump up to: a b c d e f Edwards 355
70.Jump up ^ Edwards 169
71.Jump up ^ Windeler 54
72.Jump up ^ Black 419–21
73.^ Jump up to: a b c d e Windeler 68
74.Jump up ^ Edwards 199–200
75.Jump up ^ Black 449
76.Jump up ^ Edwards 199
77.Jump up ^ Edwards 207
78.^ Jump up to: a b c Windeler 72
79.Jump up ^ Edwards 211
80.Jump up ^ Edwards 215
81.Jump up ^ Edwards 217
82.Jump up ^ Windeler 72–3
83.Jump up ^ Windeler 74
84.Jump up ^ Dawicki 2005
85.Jump up ^ Edwards 231, 233, 393
86.Jump up ^ Windeler 255
87.Jump up ^ Burdick 112–3
88.^ Jump up to: a b Edwards 393
89.Jump up ^ Burdick 115
90.Jump up ^ Burdick 115–6
91.Jump up ^ Edwards 235–6, 393
92.Jump up ^ "Child Star: The Shirley Temple Story (2001)". rotten tomatoes. Retrieved August 15, 2012.
93.Jump up ^ Edwards 233
94.Jump up ^ Edwards 243ff
95.Jump up ^ Windeler 80ff
96.Jump up ^ Sean Howell (July 1, 2009). "Documentary salutes Pete McCloskey". The Almanac Online. Embarcadero Publishing Co. Retrieved February 12, 2014.
97.Jump up ^ Romney, Lee (June 11, 2012). "Between two public servants, Purple Heart-felt admiration". LATimes.com. The Los Angeles Times. Archived from the original on June 15, 2012. Retrieved February 11, 2014.
98.Jump up ^ http://hoohila.stanford.edu/commonwealth/speakerView.php?speakerID=1316
99.Jump up ^ http://www.commonwealthclub.org/node/82358
100.Jump up ^ Joshua Keating, "Shirley Temple Black's Unlikely Diplomatic Career," Slate, 11 Feb 2014 (http://www.slate.com/blogs/the_world_/2014/02/11/shirley_temple_black_s_unlikely_diplomatic_career.html).
101.Jump up ^ Edwards 356
102.Jump up ^ Windeler 85
103.^ Jump up to: a b c Edwards 357
104.Jump up ^ Windeler 105
105.Jump up ^ Craig R. Whitney, "Prague Journal: Shirley Temple Black Unpacks a Bag of Memories," New York Times, 11 Sep 1989 (http://www.nytimes.com/1989/09/11/world/prague-journal-shirley-temple-black-unpacks-a-bag-of-memories.html).
106.Jump up ^ Joshua Keating, "Shirley Temple Black's Unlikely Diplomatic Career: Including an Encounter with Frank Zappa," Slate, 11 Feb 2014 (http://www.slate.com/blogs/the_world_/2014/02/11/shirley_temple_black_s_unlikely_diplomatic_career.html).
107.Jump up ^ Thornton, Michael (April 18, 2008). "Shirley Temple: the superstar who had her childhood destroyed by Hollywood". Daily mail. Retrieved August 15, 2012.
108.Jump up ^ Edwards 318, 356–7
109.Jump up ^ "Hollywood star Shirley Temple dies". BBC News. 11 February 2014. Retrieved February 11, 2014.
110.Jump up ^ "Shirley Temple, former Hollywood child star, dies at 85". Reuters. Retrieved February 11, 2014.
111.Jump up ^ "EXCLUSIVE: Shirley Temple revealed to be a secret smoker and actually died from lung disease... but her family covered it up to protect her 'goody goody' image". Daily Mail. Retrieved March 3, 2014.
112.Jump up ^ "Shirley Temple Dead At 85". Retrieved February 12, 2014.
113.Jump up ^ "Shirley Temple Black". The National Board of Review. Archived from the original on 2011-07-27. Retrieved February 12, 2014.
114.Jump up ^ "History of Past Honorees". The John F. Kennedy Center for the Performing Arts. Retrieved February 12, 2014.
115.Jump up ^ Burdick 136
116.Jump up ^ "Shirley Temple Black: 2005 Life Achievement Recipient". Screen Actors Guild. Archived from the original on 2008-09-07. Retrieved February 12, 2014.
117.Jump up ^ "The Shirley Temple Monument". Nijart. Retrieved February 12, 2014.
Works cited[edit]
Balio, Tino (1995) [1993]. Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. University of California Press. ISBN 0-520-20334-8.
Barrios, Richard (1995). A Song in the Dark: The Birth of the Musical Film. Oxford University Press. ISBN 0-19-508810-7.
Black, Shirley Temple (1989) [1988]. Child Star: An Autobiography. Warner Books, Inc. ISBN 0-446-35792-8.
Burdick, Loraine (2003). The Shirley Temple Scrapbook. Jonathan David Publishers, Inc. ISBN 0-8246-0449-0.
Dawicki, Shelley (August 10, 2005). "In Memoriam: Charles A. Black". Woods Hole Oceanographic Institution. Retrieved February 10, 2011.
Edwards, Anne (1988). Shirley Temple: American Princess. William Morrow and Company, Inc. ISBN 068806051X.
Life Staff (1946-09-16). "Tempest Over Temple: Shirley sips liquor and the W.C.T.U. protests". Life 21 (12): 140.
Thomas, Andy; Scheftel, Jeff (1996). Shirley Temple: The Biggest Little Star. Biography. A&E Television Networks. ISBN 0-7670-8495-0
Windeler, Robert (1992) [1978]. The Films of Shirley Temple. Carol Publishing Group. ISBN 0-8065-0725-X.
Zipes, Jack, ed. (2000). The Oxford Companion to Fairy Tales. Oxford University Press. ISBN 0-9653635-7-0.
Bibliography[edit]
Basinger, Jeanine (1993). A Woman's View: How Hollywood Spoke to Women, 1930–1960. Wesleyan University Press. pp. 262ff. ISBN 0394563514.
Bogle, Donald (2001) [1974]. Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films. The Continuum International Publishing Group Inc. pp. 45–52. ISBN 0-8264-1267-X.
Cook, James W.; Glickman, Lawrence B.; O'Malley, Michael (2008). The Cultural Turn in U.S. History: Past, Present, and Future. University of Chicago Press. pp. 186ff. ISBN 978-0-226-11506-1.
Everett, Charles (2004) [1974]. "Shirley Temple and the House of Rockefeller". Jump Cut: A Review of Contemporary Media (2): 1, 17–20.
Thomson, Rosemarie Garland, ed. (1996). Freakery: Cultural Spectacles of the Extraordinary Body. New York University Press. pp. 185–203. ISBN 0-8147-8217-5.
External links[edit]
 Wikimedia Commons has media related to Shirley Temple.
 Wikiquote has quotations related to: Shirley Temple
 Wikinews has related news: Many SAG Awards presenters announced
Official website
Shirley Temple's Website
Shirley Temple at the Internet Movie Database
Shirley Temple at the TCM Movie Database
Photographs of Shirley Temple
Shirley Temple Rock at the Iverson Movie Ranch
Wee Willie Winkie at the Iverson Movie Ranch
Iverson Movie Ranch: History, vintage photos.

Awards and achievements
Preceded by
None Academy Juvenile Award
 1934 Succeeded by
Deanna Durbin and Mickey Rooney
 1938
Preceded by
James Garner Screen Actors Guild Life Achievement Award
 2005 Succeeded by
Julie Andrews
Diplomatic posts
Preceded by
Fred L. Hadsel United States Ambassador to Ghana
 1974–1976 Succeeded by
Robert P. Smith
Preceded by
Henry E. Catto, Jr. Chief of Protocol of the United States
 1976–1977 Succeeded by
Evan Dobelle
Preceded by
Julian Niemczyk United States Ambassador to Czechoslovakia
 1989–1992 Succeeded by
Adrian A. Basora


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Categories: 1928 births
2014 deaths
20th-century American actresses
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RCA Victor artists
Screen Actors Guild Life Achievement Award
Singers from California








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