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Don Bluth Entertainment

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Don Bluth Entertainment
Company typePrivate
IndustryAnimation
PredecessorDon Bluth Productions, Bluth Group, Sullivan Bluth Studios
Founded1979
FounderDon Bluth
Defunct1995-10-31
Headquarters
Dublin (later), Van Nuys (initially)
,
Ireland, United States
Area served
Worldwide
Key people
Don Bluth, Gary Goldman, John Pomeroy, Morris Sullivan
ProductsAnimated feature films, animated shorts, video games

Don Bluth Entertainment, initially known as Sullivan Bluth Studios, was an Irish-American animation company established in 1979 by animator Don Bluth alongside former Disney associates. The studio began as Don Bluth Productions and was later called the Bluth Group. Early works included the short film Banjo the Woodpile Cat, the feature-length The Secret of NIMH, an animated segment in Xanadu, and the video games Dragon's Lair and Space Ace. In 1985, Bluth, together with businessman Gary Goldman, John Pomeroy, and Morris Sullivan, co-founded Sullivan Bluth Studios.

The company initially operated out of a Van Nuys, California studio before collaborating with Steven Spielberg's Amblin Entertainment to create An American Tail. During this time, Sullivan moved the studio’s base to Dublin, Ireland, taking advantage of incentives offered by the Industrial Development Authority (IDA). Most of the American team relocated to Dublin during production of The Land Before Time. The studio also hired local artists and contributed to establishing an animation program at Ballyfermot College of Further Education.

Following the end of its partnership with Amblin, Sullivan Bluth entered into an agreement with UK-based Goldcrest Films, which provided investment and distribution for All Dogs Go to Heaven and Rock-a-Doodle. In 1989, amid work on All Dogs Go to Heaven, founding member John Pomeroy along with several US staff returned to launch a satellite facility in Burbank, California. Financial challenges arose in 1992 when Goldcrest withdrew support due to disappointing box office returns and budget excesses on Thumbelina, A Troll in Central Park, and The Pebble and the Penguin. Funding from British company Merlin Films and Hong Kong’s Media Assets allowed these projects to be finalized.

At the end of 1993, Bluth and Goldman departed to create a new animation division within 20th Century Fox. Sullivan Bluth Studios continued experiencing financial losses and ultimately closed on October 31, 1995, shortly after releasing The Pebble and the Penguin. Don Bluth and Gary Goldman then headed Fox Animation Studios in Phoenix, Arizona, producing films such as Anastasia, until that studio was absorbed into 20th Century Fox Animation.

Ownership of the studio’s film catalog is divided: Disney (through 20th Century Studios) controls Banjo the Woodpile Cat, Thumbelina, A Troll in Central Park, and international rights to The Pebble and the Penguin; Amazon MGM Studios holds rights to The Secret of NIMH, All Dogs Go to Heaven, Rock-a-Doodle, and North American rights for The Pebble and the Penguin; while Universal Pictures retains rights for both An American Tail and The Land Before Time.

Origins and initial challenges (1979–1984)

On September 13, 1979, Don Bluth, then an animator and director at Walt Disney Productions, left alongside fellow animators John Pomeroy, Gary Goldman, and eight others during production on The Fox and the Hound. Their departure was motivated by dissatisfaction with Disney’s bureaucratic environment and its rapid-production approach. Before their exit, they had been developing their own project titled Banjo the Woodpile Cat. Establishing Don Bluth Productions from Bluth’s garage in Ventura, California, they completed this short after four years of part-time effort. The film debuted in theaters in December 1979 and later aired on HBO in 1980 followed by ABC in 1982.

Subsequently relocating to a Studio City facility, their first assignment was creating a two-minute animated segment for the movie Xanadu, finished within three months—significantly faster than standard timelines. With support from Aurora Productions, they produced their debut feature-length film, The Secret of NIMH, released in 1982. Although critically acclaimed for its animation quality, it earned only $12 million domestically due to poor distribution by MGM/UA and competition from the blockbuster E.T. the Extra-Terrestrial. Alongside an animators’ strike that year, these factors led to financial strain culminating in bankruptcy.

Rebranded as Bluth Group, the studio then produced animation sequences for Cinematronics’ arcade titles Dragon's Lair and Space Ace in 1983. While these games were praised for their sophisticated animation techniques, they faced criticism over limited gameplay interactivity. The video game industry crash of 1983 halted production on Dragon's Lair II: Time Warp. Cinematronics’ financial collapse froze more than $3 million owed to Bluth Group, forcing another bankruptcy. Although nearly finished at that time, the sequel remained unreleased until 1991.

Amblin and Spielberg / Sullivan Bluth (1984–1988)

While collaborating with Cinematronics, Don Bluth encountered Morris Sullivan, a mergers and acquisitions specialist with a strong interest in traditional animation. Following the studio’s second bankruptcy, Sullivan merged his financial acumen with Bluth’s creative team to establish Sullivan Studios, later renamed Sullivan Bluth Studios. In 1985, the company relocated from Studio City to a purpose-built facility in Van Nuys, California.

Initially concentrating on undeveloped projects and commercial work, the studio received a proposal from Steven Spielberg in 1984 for An American Tail, a feature film centered on a mouse family immigrating to America. Supported by Spielberg’s Amblin Entertainment and Universal Pictures, the movie premiered in November 1986 accompanied by an extensive marketing campaign. It earned $47 million domestically, becoming the top-grossing animated release during its initial run.

During production, Sullivan intended to shift most operations to Ireland to take advantage of incentives offered by the Industrial Development Authority (IDA), such as grants, tax relief, and reduced expenses. Difficulties with American trade unions regarding wage disputes may have also played a role in this decision. The IDA provided the largest grant ever awarded in Ireland at that time in exchange for a 5% government stake. Sullivan’s investment financed a substantial new animation facility near Dublin’s Phoenix Park. Beginning with 85 employees primarily focused on ink-and-paint tasks, the workforce grew to over 300, encompassing full animation and film processing capabilities. The studio trained Irish artists in the United States and supported the creation of an animation program at Ballyfermot Senior College. An executive office was maintained in Burbank to preserve connections within the US industry.

Concurrently, production started on The Land Before Time, backed by Amblin and Spielberg with creative input from George Lucas. Although initially rushed to meet an autumn 1987 release, delays caused by the relocation to Dublin and cautious commitments from Amblin and Universal postponed full production until spring 1987.

Spielberg and Lucas exerted increased influence over The Land Before Time, mandating major story revisions during production and cutting approximately 10 minutes of footage at a cost exceeding $1 million. Completed in 1988 for a November release, it competed with Disney’s Oliver & Company. The film was well-received critically and set a record for the highest opening weekend gross for an animated feature, ultimately earning $48 million—second only to Oliver & Company which grossed $53 million.

This era represented substantial commercial expansion for Sullivan Bluth Studios through strategic alliances, international growth, and successful film launches that strengthened its position within the competitive animation sector.

Diversification (1987–1989)

While producing The Land Before Time, founder Morris Sullivan sought to broaden the studio’s business scope. By late 1987, $4.5 million was allocated toward expanding into television programming and live-action film production, alongside acquiring a distribution company to manage both internal projects and external Irish productions. Michael T. Murphy was appointed to oversee the live-action division, with a workforce exceeding 300 employees—including 90 American animators relocated from Los Angeles. However, these expansion plans were temporarily suspended when the studio entered into a partnership with British producers Goldcrest Films in early 1988 to co-finance and distribute three animated features.

Later that year, attempts to establish a television animation unit focused on Saturday morning cartoons resumed but were discontinued by April 1989. Ultimately, only the commercial animation department remained operational, producing advertisements for clients across American and European markets. Additionally, the company launched Sullivan Bluth Interactive Media to oversee video game adaptations of Dragon's Lair for home computer systems and gaming consoles.

Goldcrest partnership and financial challenges (1988–1992)

During the production of The Land Before Time, the studio initiated development of its subsequent feature, intending to fund it through internal earnings and Irish investors instead of relying on Hollywood financing. The agreement with Goldcrest enabled this strategy and afforded director Don Bluth enhanced creative authority compared to earlier collaborations.

An early concept for a canine-centered story featuring Burt Reynolds evolved into All Dogs Go to Heaven, which commenced full-scale production after The Land Before Time wrapped up in late 1988. In 1989, several key staff members, including Pomeroy, departed the Dublin facility to found Sullivan Bluth Animation Studios in Burbank, California, thereby expanding the company’s footprint in North America. Initially, this new branch focused on rough animation tasks while Dublin handled cleanup and finalizing work, but over time it assumed a larger share of production duties.

Premiering in November 1989, All Dogs Go to Heaven was edited to secure a G rating. Although critical reception was mixed and it fell short at the box office compared to Disney’s The Little Mermaid, the film earned $27 million domestically and achieved remarkable success in home video sales, moving over three million units within the first month backed by a $13 million promotional campaign.

Following this outcome, the studio placed greater emphasis on audience reactions for its next project, Rock-a-Doodle, implementing test screenings and content revisions aimed at expanding its appeal. Released in April 1992, this film marked the conclusion of Goldcrest’s financial involvement after their three-picture agreement expired in May 1991. Distributed in the United States by The Samuel Goldwyn Company, Rock-a-Doodle underperformed at the box office with $11.7 million gross, overshadowed by competing titles such as FernGully: The Last Rainforest. This disappointing financial result contributed to the studio filing for bankruptcy in October 1992.

Despite its theatrical challenges, Rock-a-Doodle generated substantial revenue from home video sales, earning $28 million from two million copies shipped by late 1992.

The storyline was loosely inspired by Edmond Rostand’s play Chantecler, a concept revisited multiple times since the 1930s but only entering production under Bluth’s guidance beginning in late 1989.

During the making of Rock-a-Doodle, Goldcrest’s new ownership sought liquidation due to outstanding debts but ultimately reached an out-of-court settlement; as part of this resolution, Goldcrest obtained rights to the studio’s artwork assets, effectively ending cel sales. Around this time, Sullivan Bluth secured contracts with Hanna-Barbera Productions and Universal Studios for animation work on The Funtastic World of Hanna-Barbera attraction at Universal Studios Florida and provided services for Hyperion Films’ Rover Dangerfield.

In January 1992, following Morris Sullivan’s retirement, Sullivan Bluth Studios rebranded itself as Don Bluth Entertainment.

Period of decline (1992–1995)

After Goldcrest withdrew, Don Bluth Entertainment faced considerable uncertainty with three projects underway: A Troll in Central Park, Thumbelina, and The Pebble and the Penguin. Budget overruns placed strain on Belgian investors and a Dutch financial institution, resulting in withdrawal of funding. The possibility of studio closure was debated within Ireland’s parliament. Approximately thirty employees were laid off in Los Angeles while Dublin staff continued working without pay; Don Bluth personally financed some operational costs.

On November 12, 1992, filmmaker John Boorman’s Merlin Films together with Hong Kong-based Media Assets invested $14 million to acquire the studio and committed an additional $6 million to complete A Troll in Central Park and Thumbelina, with intentions to support completion of The Pebble and the Penguin. Due to previous management concerns, Merlin and Media Assets assumed close financial oversight. In July 1993, News Corporation acquired Star TV, Media Assets’ parent company.

Although A Troll in Central Park was near completion, Merlin and Media Assets prioritized finishing and releasing Thumbelina, considering it to have stronger commercial prospects. By March 1993, Media Assets had become sole proprietor. MGM/UA withdrew from U.S. distribution amid bankruptcy apprehensions; international rights transferred from J&M Entertainment to Media Assets. Warner Bros. secured worldwide distribution rights. Released on March 30, 1994, Thumbelina received unfavorable reviews and grossed slightly over $11 million.

A Troll in Central Park experienced a limited release on October 7, 1994, earning just $71,000 amid minimal promotional effort from Warner Bros. Don Bluth later attributed issues to rushed production schedules and absence of external creative consultation.

Production faced difficulties with The Pebble and the Penguin when MGM/UA demanded last-minute edits causing delays that necessitated outsourcing some animation work to Hungary's Reflex Animation Ltd. Directors Bluth and Goldman removed their names from the credits in protest. Released April 14, 1995, it earned nearly $4 million domestically but performed well in home video following its August release. Bluth supervised a high-definition remaster in 2007 aimed at correcting earlier deficiencies.

Additionally, MGM contracted the Dublin studio for animation on All Dogs Go to Heaven 2, although without Don Bluth’s creative involvement.

Studio closure and Fox Animation Studios era (1994–2000)

In late 1993, founders Bluth and Goldman engaged with 20th Century Fox executives Peter Chernin and Bill Mechanic regarding establishing a feature animation division. While Bluth and Goldman preferred continuing operations at their Dublin facility, Mechanic advocated for creating a new studio based in Phoenix, Arizona. Fox decided to shut down Don Bluth Ireland due to an existing seven-year distribution contract with Warner Bros., which conflicted with Fox’s strategic interests.

Following enforced alterations to The Pebble and the Penguin, Bluth and Goldman departed Dublin to collaborate with Mechanic on founding Fox Animation Studios. Media Assets considered selling the Dublin operation—renamed Screen Animation Ireland Limited after Bluth's exit—but negotiations failed leading to closure in October 1995. The cancellation of All Dogs Go to Heaven 2 resulted in MGM outsourcing remaining animation tasks while personnel transitioned to Fox Animation.

At the Phoenix facility, Bluth and Goldman co-directed Fox Animation's inaugural feature film,Anastasia, released November 1997; followed by the direct-to-video prequel Bartok the Magnificent (1999) and Titan A.E. (2000). The latter grossed only $22.7 million against a $75 million budget. After substantial layoffs post-release, Fox Animation Studios ceased operations shortly thereafter—marking an end to Fox's internal feature animation efforts.

Impact

The departure on September 13, 1979 of animators Bluth, Goldman, Pomeroy alongside seven others from Disney's feature animation division significantly disrupted the industry landscape. These eleven individuals represented roughly seventeen percent of Disney's animation workforce at that time, causing a six-month delay for The Fox and the Hound. Ron W. Miller—then future Disney CEO—acknowledged that although poorly timed, this exodus could ultimately benefit Disney's animation department. Bluth sought to "restore animation’s former glory," emphasizing compelling storytelling combined with traditional techniques that Disney had gradually moved away from. Sullivan Bluth Productions was founded as direct competition with Disney underpinned by former Disney executives' support.

While Bluth’s initial films did not achieve Disney-level box office success, they garnered critical acclaim for their distinctive visual style. By 1986 Sullivan Bluth Studios’ An American Tail set a record for highest box-office earnings for an animated feature debut release—prompting Disney to reconsider its animated feature business strategy. Despite commercial failure of The Black Cauldron, Disney rebounded with titles such as The Great Mouse Detective and Oliver & Company, culminating financially with $800 million global revenue from The Lion King (1994).

Sullivan Bluth Studios played an instrumental role in cultivating Ireland's animation sector. Its establishment stimulated growth within Dublin’s industry including expansions like Murakami-Wolf Dublin (later Fred Wolf Films Dublin) alongside American-origin Emerald City studio. By 1990 approximately five hundred thirty animation professionals were employed locally.

The studio also contributed significantly toward developing animator education programs. Ballyfermot Senior College launched an animation department modeled on Sheridan College (Canada), producing graduates who joined Sullivan Bluth as well as other regional studios. By 1989 about seventy-five percent of Dublin studio personnel were Irish nationals as original American crew members were replaced by local talent; senior staff also served as part-time instructors. This success inspired an animation program at Dún Laoghaire Institute of Art, Design and Technology emphasizing experimental approaches.

Closure of Sullivan Bluth Studios in 1995 nearly devastated Ireland’s animation industry; Emerald City soon shuttered while Fred Wolf Films Dublin downsized drastically—with annual turnover plummeting from £12 million to £100 thousand by 1997. Recovery ensued through emergence of smaller studios founded largely by ex-Sullivan Bluth employees—such as Brown Bag Films, Monster Animation and Design, plus Terraglyph Animation—leading eventually to a vibrant Irish animation sector producing content for global audiences.

Feature films

# Title Release date Director(s) Story by Screenplay by Producer(s) Distributor Budget Box office Rotten Tomatoes Metacritic Notes
1 The Secret of NIMH
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 Don Bluth Don Bluth, John Pomeroy, Gary Goldman, and Will Finn Template:N/A Don Bluth, Gary Goldman, and John Pomeroy MGM/UA (North America)
United International Pictures (International) 		$6.3 million $14,665,733 93% 76 (15 reviews) Don Bluth's first independent feature after leaving Walt Disney Animation Studios.
2 An American Tail
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 David Kirschner, Judy Freudberg, and Tony Geiss Judy Freudberg and Tony Geiss Universal Pictures $9 million $84,542,002 71% 38% (7 reviews) First feature produced with Amblin Entertainment.
3 The Land Before Time
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 Judy Freudberg and Tony Geiss Stu Krieger $12 million $84,460,846 70% 66 (15 reviews) Second and final collaboration with Amblin Entertainment.
4 All Dogs Go to Heaven
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 Don Bluth, Ken Cromar, Gary Goldman, Larry Leker, Linda Miller, Monica Parker, John Pomeroy, Guy Schulman, David J. Steinberg, and David N. Weiss David N. Weiss MGM/UA (North America)
Rank Film Distributors (UK) 		$13.8 million $27,100,027 44% 50 Last Don Bluth film shot using open matte format.
5 ' Rock-a-Doodle
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 ' Don Bluth, John Pomeroy, David J. Steinberg,D av id N . Weiss , T.J . Kuenster , a nd Gary Goldman ' The Samuel Goldwyn Company (North America)
Rank Film Distributors (UK) 		' $18 million ' $11 ,657 ,385 '20% ' Only live-action/animated hybrid directed by Don Bluth; utilized dual aspect ratios.
'6 ' 'Thumbelina' '
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 DonBl uth a nd GaryGoldman ' Template:N/A ' DonBl uth WarnerBros.Pictures ' $28million '$11 ,373 ,501 '40% ' First widescreen animated feature by DonBl uth ; co-directedbystudio co-founderGary Goldman .
'7 ' 'A TrollinCentralPark ' '
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 ' DonBl uth ,GaryGoldman ,JohnPomeroy ,T.J.Kuenster ,a nd StuKrieger ' StuKrieger ' N/A '$71 ,368 '14%
'8 ' 'ThePebbleandthePenguin ' '
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 ' Template:N/A ' RachelKoretskyandStevenWhitestone ' RussellBoland ,DonBl uth ,GaryGoldman ,andJohnPomeroy ' MGM/UA(NorthAmerica )
WarnerBros.Pictures(International ) 		'$28million '$3 ,983 ,912 '31% ' ' Studio's final traditionally cel-animated feature; subsequent productions such asAnastasia employed digital ink-and-paint techniques .

Short film

Animation services

Logo animations

  • PBS Kids (1993; creation of animated P-Pals character sequences)

Unproduced projects

  • Piper: A Disney short inspired by the Pied Piper of Hamelin, cancelled during production though some footage remains accessible.
  • Strawberry Fields Forever: An animated film influenced by Beatles music rendered in a style reminiscent of Fantasia.
  • East of the Sun and West of the Moon: Planned following completion of The Secret of NIMH, halted due to animators' strike in 1982.
  • Beauty and the Beast: Developed beginning in 1984 with Columbia Pictures attached as distributor before being dropped after Disney announced their own adaptation.
  • The Velveteen Rabbit: An animated feature based on the classic children’s tale.
  • Satyrday: A fantasy quest story developed prior to production on ‘‘An American Tail’’, some concepts later influenced French film ‘‘Mune: Guardian of the Moon’’.
  • The Baby Blue Whale: Described as an underwater ‘‘Bambi’’ focused on a girl protecting a whale from whalers; collaboration with screenwriter Robert Towne ended leading to cancellation.
  • A Song of the Ice Whale: A narrative about whales trapped beneath Arctic ice requiring international rescue efforts.
  • Jawbreaker: A television miniseries chronicling adventures of a boy possessing a magical tooth.
  • Additional abandoned projects during Fox Animation Studios’ formation included adaptations based on ‘‘Quintaglio Ascension’’, ‘‘The Belgariad’’, and ‘‘The Hitchhiker's Guide to the Galaxy’’.

Video games

Cancelled video game projects

  • The Sea Beast: Styled similarly to ‘‘Dragon's Lair’’ featuring sailor Barnacle Bill rescuing a mermaid princess.
  • Jason and the Golden Fleece: Based on Greek mythology surrounding Jason.
  • Devil’s Island: Centered on a shipwreck survivor seeking treasure while confronting corrupt civilization forces.
  • Haywire: Featuring a Charlie Chaplin-like character escaping from an evil industrialist-controlled factory.
  • Drac: Story involving Van Helsing rescuing his girlfriend from Dracula’s minions.
  • Cro Magnon: Following a caveman battling dinosaurs along with an evil warlord antagonist.
  • Sorceress: Focused on defending an island against temple robbers and poachers.
  • Pac-Man Adventures: Initially developed jointly with Namco before rebranding as ‘‘Pac-Man World 3’’ without involvement from Don Bluth or his studio.



See also

Bibliography


External links

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