by Gil Benbrook
Don Bluth is a living legend in the world of animation.
He worked at Walt Disney Animation Studios on such beloved films as Sleeping Beauty and Robin Hood, and also headed up his own animation company, where he directed An American Tail, Land Before Time and Anastasia,
In his recent autobiography, "Somewhere Out There: My Animated Life" - which was just released a few weeks ago, he talks about growing up in Texas, being raised in Utah, and moving to California and his time at Disney.
Back in 2015 I sat down with Don for an in-depth conversation that touched upon all of the main highlights in his life. Now that his autobiography is out, and he's also directing a production of the classic Noël Coward comedy Private Lives at his eponymous theatre, the Don Bluth Front Row Theatre in Scottsdale, I had him sit down to answer some questions about his book, the play, and to dive deeper into a few things we spoke about before.
Before we talk about Private Lives, which you directed and which just opened at Don Bluth Front Row Theatre, let's talk about your career and your autobiography that just came out.
What made you decide to write "Somewhere Out There: My Animated Life"?
"In the beginning, I had no intention of writing a book. I was just trying to remember some of the great things that happened to me in the past. As I was writing, however, it occurred to me that someone might read it; who knows who or when. So I sharpened my 85 year old wits knowing that it had to be an entertaining read, with humor. Past a few more months of writing, I realized that the animation history of my past, was not the entire story, but did I have the courage to reveal everything, the under belly of the beast. That would include my spiritual moorings, and my loyalty to the savior, the real genesis of all creativity. "
What was the hardest part of the book to write?;
"Even tho’ I majored in English, The writing of humor is elusive. It drove me crazy. But beyond that, it was the timeline, assigning all the events to a specific year. "
Was the title one you'd always had in your mind to use for an autobiography or one that someone else suggested?
"It was suggested by the publisher, Bella Books, very clever. It was a slam dunk. As I have already said. All creativity come from somewhere out there – even if that is strange notion for some. "
When I last interviewed you, back in 2015, we spoke about practically all of the main events in your career but I'd like to revisit a few of those. After you moved to Los Angeles from Texas and started working at Disney, you were sent on a mission for the Mormon Church to Argentina for 30 months. I know you said that was a difficult experience, especially having your career interrupted practically right after it began, but can you elaborate more about that time in your life?
"Beside being nine thousand miles away from home, family and friends and unable to speak Spanish, There was the culture, new customs, new food, and of course, home sickness. I left a girlfriend behind. I was the last LDS missionary to travel to a foreign country on a boat. On the boat trip, I got a very bad fungus in my crotch, which lasted the full thirty months. That was the most frustrating."
After your mission, you went to BYU and studied literature, then got a job at Filmation before returning to Disney where you became an animator and director, working on such films as Robin Hood and Pete's Dragon. Right after this period it was when you realized that the Disney style of animation was changing as a way for them to cut costs and you left to direct your own animated features"
"I have been asked so many times why I left Disney Studios. The answer is always the same. “When Disney, the man, left, I left. The magic was gone. He was a great story teller.
I know you were in Ireland for 8 years running your animation studio there before you came to Phoenix to head up the Fox Animation studio here. Had you ever been to Phoenix before that time?
"This answer will sound silly. I choose Phoenix just to get warm. Sunshine is a scarcity in Ireland and there are too many cars in LA; I also like fresh air. "
Once you came to town for Fox, to make films such as Anastasia, when did you decide to remain here permanently and how easy was it to make that decision.
"I fell in love with the desert, and especially the morning sunshine. Also, it’s who you’re with that make life bearable. The artist on staff were fabulous people, all three hundred of them. The film, Anastasia, was a brilliant story – fresh and new, full of mystery."
In writing your autobiography and looking back at your life, was there something you wished you could have done differently?
"I wouldn’t change a thing. I was privileged to direct eleven animated films. I call that a blessing. I recall that when I get the mission call, I said to God, 'Look I’ll go on the mission, but when I get back, would it be possible to go back into animation? I sure would like that.' The answer I got was a big 'yes.' At that moment I had no notion that I would leave Disney and begin a studio of my own. I believe that the eleven films were pay back for putting the mission first. It sounds crazy I know, but it really is so."
Hollywood seems to be on a trend lately of remaking classic films from the past - of the films you worked on, which do you think deserves to be remade and why and which of your films do you hope is never remade?
"All I will say about that is: If you are going to remake a perfectly good film because of its title, or franchise, or because you think it would look better in CG. Hopefully you have a good reason to do it, and not just for the money. I am enthusiastic about fresh ideas. "
In our last interview, you spoke about how you started directing kids in skits at church and how that blossomed into you putting on large productions in your living room, which then turned into you opening up your former location just off Shea Boulevard in Scottsdale. Your theatre has now moved a couple miles southeast of its former location, but I do think the new space is great and I love seeing shows there due to how intimate the space is.
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| The cast of Private Lives photo by Stephanie Cartwright |
You took a few years off from directing plays but are now back with the classic Noël Coward comedy, Private Lives. What made you decide to direct this play?
"I am a great fan of Noël Coward’s wit. Every line brings a smile or a laugh. But his material is never shallow or bubble gum. The relationships of married couples swing incessantly from sugar to vinegar, from peace to violence. His plays are like looking into a highly polished mirror, where we learn to laugh at ourselves, even in the face of tragedy."
What do you hope audiences take away from seeing Private Lives?
"Good health primarily. Laughing is good for the soul. It heals the spirit. Private Lives deals with two couples who battle their way through contention to a more peaceful outlook on life. God bless Noël Coward. He did it with never a wag of his finger."
And what do you hope readers take away from reading "Somewhere Out There: My Animated Life"
"Art is not a mathematical science. All the little detains of ones life are like pieces of a bigger puzzle. Like the instrument in an orchestra, each of the players has a unique sound that he/she brings to the table. What then is an artist? It is a person who uses all the small experiences of his/her life, to produce a statement of either sadness or joy through whatever medium he/she choses."
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