The Background Dept. – ‘ An American Tail ‘ production
Sullivan Bluth Studios – Van Nuys California
In this episode, BG Artist Barry Atkinson guides us through the BG Department during a typical casual Saturday in the Spring of 1986. We visit the work space of BG Supervisor Don Moore and meet BG trainee David McCamley. Barry then points out several of Don Moore’s BG paintings and Color Keys giving a quick snapshot of how a traditional animation background team was during the era.

The Background Dept – BG Artist Barry Atkinson – Don Bluth Studio 1986

Show Notes :

BARRY ATKINSON
IMDB > LINK
Linkedin > LINK
Instagram > LINK

Barry Atkinson is a graphic and digital artist who is employed by Walt Disney Television Studios and Mercury Filmworks production companies. He has gained notoriety through his efforts a background artist on many Disney television series and movies. His notable film work includes Big Hero 6 (2014), Atlantis: The Lost Empire (2001), Pocahontas (1995), The Lion King (1994), and the Lion Guard (2016) television series. He has recently retired and is busy on his own creative personal projects.


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DAVID McCAMLEY
IMDB > LINK
Linkedin > LINK

David is a Seven time Emmy nominated director and producer with over 30 years’ experience in feature animated films, TV animation and short films as director, art director, production designer and writer. He has also created and directed two original children’s TV series.

Recent projects include Production designer and Co-Director on Emmy and Annie award winning ‘Ada Twisty’ for Netflix’s , Production design on ‘Lets get rolling with Otis’ for Apple TV+/ Brown Bag films and production design on ‘Eva the Owlet’ Apple TV+/Scholastic/Brown bag films.

Supervising directing on all three seasons of Beatrix Potter’s ‘Peter Rabbit’, a Brown Bag Films production for Nick Junior which went on to win SIX Emmy awards and a further ten nominations. And he was Supervising Director of the Annie ,BAFTA and Emmy nominated CGI series “The Stinky and Dirty Show; season 1 & 2 for Amazon Studio’s.

He began his career on ‘An American Tail’ at Sullivan Bluth studios, where he was fortunate enough to be trained by some of the top industry professionals. In 1990, David moved to Los Angeles where he worked on numerous features and in 1992 joined Walt Disney Feature Animation contributing his talents to award winning films such as the ‘The Lion King’, ‘Pocahontas’, ‘Hunchback’ and ‘Hercules’. On ‘Tarzan’ he held the position of ‘Supervising Digital Background Artist’ pioneering digital background painting for the studio and was a key member in the development of a new 3D Painting system called Deep Canvas.

In 2000 he returned to Ireland to create and direct the TV series The Island of Inis Cool. The series used CGI characters combined with miniature sets to give it the look and feel of clay-animation. Grabby-Bag, a CGI preschool series for RTE, was his second series, which he created, directed and co-produced with Brown Bag Films. He then went on to direct a new CGI series of Noddy in Toyland, and the pilot episode of Doc Mc Stuffins for Disney Junior.

Mark visits Animation Color Stylist Susan Vanderhorst as she works on a scene for Don Bluth’s second feature, An American Tail. Susan walks through her approach to choosing color palettes for characters and props, explaining how each choice supports the mood of the scene and blends seamlessly with the background artwork.

Susan Vanderhorst – Color Stylist – Don Bluth Studio 1986

SHOW NOTES

Susan Vanderhorst IMDB > LINK

A brief archival moment from the Feature Animation building in Burbank, captured before the building was redesigned. We see a few animators walking down the main entrance hallway as they head out to meet the rest of the crew for the Tarzan appreciation lunch in Hollywood.

SHOW NOTES

Below is the list of Tarzan animation crew members shown in the video, presented in the order they appear :

Jared Beckstrand – ‘ Jane ‘ animation crew
IMDB – LINK
LinkedIn – LINK

Bill Waldman – Additional Animation
IMDB – LINK
LinkedIn – LINK

Phil Young – Additional Animation
IMDB – LINK
LinkedIn – LINK

Bill Recinos – Additional Animation
IMDB – LINK
LinkedIn – LINK

Randy Haycock – Supervising Animator : ‘ Clayton ‘
IMDB – LINK
LinkedIn – LINK

Dan Galieote ‘ Terk ‘ animation crew
IMDB – LINK
LinkedIn – LINK

Jay Jackson – Supervising Animator : ‘ Ape Family ‘
IMDB – LINK
LinkedIn – LINK

Brian Ferguson – Additional Animation
IMDB – LINK
LinkedIn – LINK

Tone Thyne – Assistant Production Manager : Character Animation
IMDB – LINK
LinkedIn – LINK

John Ripa – Supervising Animator : ‘ Young & Baby Tarzan ‘
IMDB – LINK

Chris Wahl – Supervising Animator : ‘ Flynt & Mungo ‘
IMDB – LINK
LinkedIn – LINK

In this episode, Animation Camera veteran David R. Ankney shares a rare production detail from director Don Bluth’s second theatrical animated feature film, ‘ An American Tail ‘, the ‘ The Mouse of Minsk ‘ – The physical reference model constructed to guide animators through the complex ‘Secret Weapon’ sequence that is seen near the end of the film. It’s a glimpse into the practical, hands‑on problem‑solving that defined Don Bluth’s studio in the 1980s.

SHOW NOTES :

An American Tail (1986) – The Secret Weapon Scene – Video > LINK

The Mouse of Minsk : ( sometimes misheard as “mouse of mince” ) from Don Bluth’s An American Tail

What the Mouse of Minsk Actually is in the Film
There are two versions:

1. The Legendary Mouse of Minsk
   Only mentioned in the story.
   Described as “as tall as a tree” with a “mile-long tail.”
   The “real” Mouse of Minsk is never shown in the film — only described in Papa Mousekewitz’s legend.
   Therefore, no model sheets exist for this version.
   
   
2. The Mechanical Mouse of Minsk ( the one you see on-screen )
   Built by the New York mice from museum junk.
   Used as a giant firework-powered decoy to scare off the Mott Street Maulers.
   This is the only version that appears visually in the film.
   The design is a large, clunky, patchwork mechanical contraption, not a character with expressive animation.
   
   No official character model sheets or production-design images of the Mouse of Minsk have been released publicly. The model was likely built from Storyboard / layout drawings, not full character turnarounds.

Near the end of Tarzan’s animation schedule, Walt Disney Feature Animation organized an appreciation lunch for the crew. A handful of artists gathered in the second‑floor hallway before heading over together — a simple moment from one of the studio’s productions during that era, before the feature animation building in Burbank California was redesigned.

SHOW NOTES

Tone Thyne IMDB > LINK
Tone Thyne LinkedIn > LINK

Chris Wahl IMDB > LINK
Chris Wahl LinkedIn > LINK

Ken Duncan IMDB > LINK
Ken Duncan LinkedIn > LINK

T.Dan Hofstedt IMDB > LINK
T.Dan Hofstedt LinkedIn > LINK

Kevin Lima IMDB > LINK
Kevin Lima LinkedIn > LINK

Chris Buck IMDB > LINK

April 9, 1998. As Disney’s Mulan approached the end of production, the animation crew gathered at the Hollywood Athletic Club for a special Appreciation Lunch. In Part 2, we follow the team as they arrive at the venue, take in the atmosphere, share food, and unwind over a few games of pool—capturing a rare, behind‑the‑scenes moment of celebration during the final stretch of the film.

SHOW NOTES :

During production on Don Bluth’s An American Tail, the crew was split between two buildings in Southern California: the main studio and a second building across the street known as “the Warehouse”. In this video, producer Gary Goldman makes a quick visit to our room. One of my roommates, EFX animator Joey Mildenberger, calls him over so I can record a brief behind‑the‑scenes moment from the production floor.

GARY GOLDMAN :

Walt Disney Productions :
February 1972 to September 1979

1973 Inbetweener/assistant Animator to Frank Thomas: Robin Hood
1974 Animator: Winnie the Pooh and Tigger Too
1976 Animator : The Rescuers
1977 Directing Animator: Pete’s Dragon
1978 Directing Animator: The Small One ( 30 minute featurette )
Directing Animator: The Fox and the Hound (uncredited).

Co-founder : Don Bluth Productions; Bluth Group Ltd; Sullivan Bluth Studios, Ireland and Don Bluth Films, Inc.

Directing Animator, Producer, Director :

1979 Directing Animator, Producer – Banjo the Woodpile Cat ( 27 minute featurette )
1980 Producer – animated sequence – Xanadu
1982 Directing Animator/ Producer – The Secret of N.I.M.H.
1983 Producer – Dragon’s Lair Video Game
1983 Producer – Space Ace Video Game
1989 Producer – Dragon’s Lair II: A Timewarp Video Game
1986 Producer – An American Tail
1988 Producer – The Land Before Time
1989 Producer / Co-Director – All Dogs Go To Heaven
1990 Producer / Co-Director – Rock-A-Doodle
1991 Producer / Co-Director – A Troll in Central Park
1993 Producer / Co-Director – Thumbelina
1997 Producer / Co-Director – Anastasia
1999 Producer / Co-Director – Bartok the Magnificent, Direct To Video
2000 Producer / Co-Director – Titan A.E.
2002 Bluth Group Ltd. – Executive Producer: Dragon’s Lair 3D: Return to the Lair Video Game

Don Bluth Films, Inc.: Developing Intellectual properties for feature films, working with writers, scheduling, budgeting and financing for ten projects in development. Currently located in Phoenix, Arizona.

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Gary Goldman – IMDB Page > LINK

Gary Goldman – LinkedIn Page > LINK

Step inside my [ some-what messy ] office ( Room 2410 ) at the Disney Feature Animation Building during the 1999 production of Kingdom of the Sun—the original version of what later became The Emperor’s New Groove. In this behind‑the‑scenes look at Disney animation, I then walk the 2nd floor hallways of the studio to visit my friend Juliet Stroud‑Duncan. Just a short moment during production in the daily life of Disney feature animators during the late 1990s.

Show Notes :

Juliet Stroud IMDB > LINK

April 9, 1998. As Disney’s animated feature Mulan wrapped production, the animation crew was invited to a special Appreciation Lunch at the Hollywood Athletic Club. But thanks to a mix‑up, our bus driver took us to the LA Zoo instead !

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SHOW NOTES :

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Show Notes :

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The Official BLOG of Dorse Lanpher : LINK

Dorse A. Lanpher IMDB page : LINK

Dorse A. Lanpher LINKEDIN page : LINK

‘ FLYIN’ CHUNKS AND OTHER THINGS TO DUCK ‘ Memoirs of a life spent doodling for dollars
By Dorse A. Lanpher > behind the scene stories of being in the animation industry
Amazon.com : LINK

JIM HILL MEDIA article : LINK

DISNEY FANDOM article : LINK

TRADITIONAL ANIMATION article : LINK

CARTOON BREW article : LINK

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Here are a few of the photo’s I had taken over the years of Dorse while working at the studios :

Meeting Dorse Spring 1985 :

My first encounter with Dorse was Spring 1985 when I had just started my 1st week as a Key Clean Up Artist for Don Bluth’s feature ‘ An American Tail ‘. One of my closest friends from college, Ralph Zondag, had started two weeks earlier so we were the first new Canadians that just joined the crew. At the end of that first week, on the Friday, the entire studio went to a local theater for the company’s first full screening of the movie as it was 50% completed at that point. My Clean Up supervisor Vera offered to drive me to the theater with her husband at the time, Dorse.
Two years earlier I was sitting in college reading the ‘ Don Bluth fan club ‘ newsletter that the studio mailed out to subscribers, and now, here I was driving to the company’s newest in production feature with both Vera and Dorse whom i knew from photos and articles in the newsletter. It was a bit overwhelming to be in this opportunity with artists that were so respected.
After the screening Don Bluth had booked a private room at a restaurant where the leadership of the company could gather and discuss the movie over a meal. As we were leaving the theater, Don told both Ralph and myself, much to our surprise, that we were also invited. Ralph would get a ride to the restaurant with Thad [ head of finance ] and Don would drive me.
I was trying to figure out how all this happened ?
Only a few years earlier after seeing the new feature ‘ The Secret of NIMH ‘ in college and all of us animation students geeking out over how beautiful the animation was, I was now driving in Don’s pickup with just the two of us talking about animation.
In the restaurant both Ralph and myself looked completely out of place but taking in everything that was discussed. It was one of the best nights, everyone was excited about where the movie was headed.
And Dorse would interrupt the conversation various times throughout the meal to ‘ Toast to the Canadians ! ‘ All I could do was smile, it was all too surreal. Those moments I’ll never forget, surrounded by artists that were so passionate about what they were doing and where the future was going.
Thank you Dorse for those ‘ Toasts ‘ and for everyone at that table for including us.

– Mark

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