Cast *InterestingFacts *ProductionDetails
Directed by: Ted Berman & Richard Rich
Written by: Ted Berman & Larry Clemmons
Music by: Stan Fidel, Richard Johnston, Jeffrey Patch, Jim Stafford
Releasedon: July 10, 1981
Running Time: 83 minutes
Box-Office: $37 million in the U.S.
YoungTod... Keith Mitchell
Older Tod... Mickey Rooney
Young Copper... Corey Feldman
Older Copper... Kurt Russell
Big Mama... Pearl Balley
Grumpy Badger... John McIntire
Amos Slade... Jack Albertson
Vixey... Sandy Duncan
Dinky... Dick Bakalyan
Boomer... Paul Winchell
Chief... Pat Buttram
Widow Tweed... Jeanette Nolan
Mickey Rooney (b. 1920), of his real name Joe Yule Jr., started his careeras a famous child actor alongside the likes of Elizabeth Taylor. He alsostarred in Pete's Dragon (1977) as Lampie, and was the voice ofFlip in Little Nemo: Adventures in Slumberland (1992).
Kurt Russell (b. 1951) landed a part in the Elvis movie, It Happenedat the World's Fair, when he was 10 years old. In 1960, Walt Disneyhimself signed Russell to a 10 year contract. Once his stint as a childactor ended, Russell spent the early 1970's playing minor league baseball.In 1979, he gave a classic performance as Elvis Presley in John Carpenter'sABC-TV movie. He followed with roles in a string of well-received films,including The Thing and Silkwood. In 1983, he met GoldieHawn when they worked together on Swing Shift. The two have livedtogether ever since. During the 1980's, Russell starred in a rash of disappointments.Finally, his career seemed to be seriously stalled. He only landed Tangoand Cash after Patrick Swayze dropped out; Dennis Quaid was the firstchoice for the part in Backdraft. In the end, these two roles, followedby the successful sci-fi movie Stargate, were key in re-establishinghim as a box-office draw.
John McIntire (1907-1991) played Sheriff Chambers in Alfred Hitchco*ck'sPsycho(1960), and Rufus in The Rescuers(1977).
You might have noticed that Disney's count of their full-length animatedfilms does not add up to this site's. The Fox and the Houndgives the answer: it was at one time stated by Disney publicist to be the20th, but was finally promoted as the 25th Disney full-length animatedfilm! Partly live action flicks -like The Three Caballeros(1945)- or compilations of short stories -like TheMany Adventures of Winnie the Pooh (1977)- were added to the list,building up to a more impressive -but ever since inaccurate- total.
This was the firstmajor effort by the "new generation" of Disney artists. Despite importantcontributions from studio veterans, especially at the planning stage, TheFox and the Hound was carried out largely by younger artists, someof whom would be key figures in the Disney renaissance of the eightiesand nineties. Among the most gifted of the newcomers was Glen Keane,who animated the bear in a memorable fight sequence that become one ofthe highlights of the movie.
Don Bluth andan animation crew including Gary Goldman, John, Lorna Pomeroy (Cooke),Linda Miller, Emily Jiuliano and Heidi Guedel, left Disney during the productionof the movie, on September 13th, 1979. They had been working on that moviefor about 10 months, and produced about 1000 feet of animation, collectively(about 11 minute of the movie) -Don and Gary were working on the openingwith the old woman, milking the cow and the intro of the little pups (thefox and the hound). When Disney Productions finished the feature, theycalled the Don Bluth Studios and asked if they wanted credit for the workhis team performed. Don "asked the crew and they all declined. This iswhy you do not see any of our names on this film."
The movie wasdelayed in production because of Don Bluth's team leaving. Many decisionswere made that softened the production, one of which involved killing offthe hunting dog, Chief. In the original version Chief is hit by the trainand falls to his death, giving Copper real motivation in getting revengewith Tod. And it was animated that way! The fall is still there, but animationwas added, having Chiefs eyes open a little as Copper nudges him, implyingthat he was hurt but not dead. Of course Chief appears in the rest of thefilm and the rest is history, but one wonders what the film would havebeen like if they really did kill off 'ol Chief.
Another problemhappened toward the tail end of production. A few weeks before release,someone noticed that some of the waterfalls in the picture were only stillpaintings and not animated! In a hurry, effects added spots of light cascadingdown the waterfall, but if you look closer, the water is still a painting!
At the end ofTheFox and the Hound, after Copper protects Todd from Amos's gun, yousee Copper walking away from the water's edge. One of his footprints appearsbefore his foot is put on the ground.
In searching for animated projects for the studio, veteran animationproducer-director Wolfgang Reitherman came across a book by Daniel P. Mannixthat dealt with the adventures of a domesticated fox. He was intriguedand excited by the possibilities and remembered that his son had once broughthome a fox cub as his pet.
Production on the movie began in the spring of 1977. Veteran animatorsFrank Thomas and Ollie Johnston set the style and pace for the lead characterswith their early experimental tests and actual animated scenes. The twoelder statesmen of Disney animation officially retired from the studiomidway into the production to write the definitive tome on their craft(Disney Animation: The Illusion of Life, published in 1981). Thomasand Johnston expanded on their experiences and discoveries at the studioin two other collaborations, Too Funny For Words (1987), an illustrativeanalysis of the cartoon sight gag, and a third book detailing the makingof Bambi.
Additional inspiration for the film was derived from the story sketchesand evocative pastel drawings of long-time Disney artist/storyman MelvinShaw, who also served as creative consultant to the producers. Shaw waspart of a team of seasoned storymen who painstakingly adapted Mannix`sbook onto storyboards with visual renderings and lines of dialogue correspondingto each scene of the film.
The majority of the animation in The Fox and the Hound was doneby a talented group of young artists who were part of a massive recruitmentand training program undertaken by the studio in the early 1970`s. Talentedindividuals from across the country and around the world were sought andhired on the basis of their artistic and creative skills. At the studioclasses were held to teach anatomy, acting, cinematography, staging, lightingstory, life drawing and the unique entertainment philosophy behind Disneycharacter animation and the feature films. Veteran Disney animator EricLarson (another of the legendary "nine old men") played an important rolein finding and molding this new talent.
Thenew generation of animators, under the guidance of the Disney veterans,rose to the occasion and created a first rate artistic achievement. Characterssprang to life in a believable and entertaining manner, involving moviegoersin the way that Disney animation has traditionally done since its inception.
In order to recreate natural realistic movements for the animated animals,the young animators studied countless hours of nature films including theDisney True-Adventure films and reference footage shot specifically forBambi.
The film`s gripping finale, in which Tod bravely and selflessly confrontsa ferocious bear provided some of the best and most powerful animationof recent time. It marked the emergence of one of the studio`s top younganimators, Glen Keane, who went onto designmost of the characters in the 1986 animated feature TheGreat Mouse Detective. Keane is currently serving as a directinganimator on Oliver & Company.
Enhancing the overall look of The Fox and the Hound were theefforts of the effects animators who provided a variety of realistic naturalelements from water to fire throughout the proceedings. Rich colorful backgroundsmade the naturalistic settings come vividly to life.
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