![]() ![]() Storyboard animator Eric Leighton was enlisted to take Scribner’s place as co-director, with the screenplay assigned to screenwriter John Harrison and animator Robert Nelson Jacobs. After working on the project for several months, Scribner was reassigned to direct animated theme park productions for Walt Disney Imagineering. By March 1996, then-CEO Michael Eisner was impressed by the concept footage and the decision was made to take the unprecedented route of combining live-action background footage with computer-generated dinosaurs.Įisner subsequently greenlit the project, now titled Dinosaur, and assigned Oliver & Company director George Scribner and storyboard artist Ralph Zondag to direct the film. In late 1994, they began development on the production by inserting computer-generated dinosaur characters against miniature model backdrops. Suddenly, the idea of a stop-motion animated dinosaur film seemed like an idea doomed to fail and the project was immediately shelved.Īfter Jurassic Park became the highest-grossing film of all time, dinosaurs were back in vogue and Disney saw the potential in reworking the beleaguered dinosaur project into a fully digitally animated film. In late 1992, Katzenberg caught wind of the game-changing advances in digital animation of the dinosaurs in Universal Pictures’ upcoming blockbuster Jurassic Park. Allen, who spent months auditioning lemurs and working with the production team on visual development for the film’s dinosaur characters. The project was then handed to stop-motion animator David W. But Smith also soon departed the project after Katzenberg asked for his assistance on Honey, I Blew Up the Kid. Their version of the screenplay included a conspiracy of lemurs (yes, that’s evidently the correct collective noun) in the film’s narrative, with Smith keen to use live trained lemurs in the production. ![]() While Smith also battled against Katzenberg’s pleas to craft a “cute story of dinosaurs talking,” he continued pre-production on the film with the assistance of screenwriter Jeanne Rosenberg. Smith taking over the production in 1990. As Disney began to push for the project to something more befitting of their family-friendly style, Tippet and Verhoeven soon departed the project, with producer/director Thomas G. With an estimated budget of $45 million, the project was envisioned in the style of a nature documentary, with a decidedly dark and violent tone that culminated in the historic extinction of all dinosaurs after the cataclysmic impact of a gargantuan asteroid. The idea for a Disney animated feature set in the prehistoric age of dinosaurs began way back in 1986 when directors Phil Tippett and Paul Verhoeven approached then-Disney chairman Jeffrey Katzenberg with a pitch for a stop-motion animation film centred on the epic battle between a styracosaurus named Woot (yes, Woot) and a tyrannosaurus rex named Groz. While it would still take several more years for Disney to fully dive into the world of computer animation, they began the new millennium with a feature unlike anything they had produced thus far. It was time for the studio to adapt or die. At the same time, Pixar was breaking new ground with 3D computer animation, and the box office results were consistently beating Disney at their own game. As films like The Little Mermaid and Beauty and the Beast dabbled with utilising the Computer Animation Production System (CAPS) to craft selected sequences, it wasn’t long before entire films were being created using computer technology, blending both digital creations with hand-drawn designs.īut these films were still inherently rooted in the classic traditional Disney animation style, which had seen varied results in both artistic and narrative quality and, more importantly for the studio, financial success. Since the late 1980s, the advent of computer animation had slowly changed the production methods of Disney’s animated feature films. ![]() The one that laid the foundation for a revolution. ![]()
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