The Walt Disney Company is closely associated with nostalgia and fond childhood memories. Virtually everyone who was born in the 1990's can say Disney played a huge part of their childhoods, as can people from many previous decades. However, it almost never happened. There was a period in time in which Disney's most famous department, the animation department, was in ruins and on the verge of closure.
Disney were truly revolutionary in that they created the first feature length animated film of all time; Snow White And The Seven Dwarfs, released in 1937.
The film was produced by Walt Disney himself, who was already very famous for the creation of Mickey Mouse his related characters such as Minnie and Goofy. Disney would go to make many films and bring the art of animation to new heights, never before imaginable. Films like Cinderella, Alice In Wonderland, Fantasia, Pinocchio, Peter Pan and Sleeping Beauty were all mega hits and turned The Walt Disney Company into a powerhouse. Disneyland in Anaheim, California was built in 1955 and Disney seemed to be on top of the world. Sadly, tragedy was just around the corner.
Walt Disney, the founder and lifeblood of the company, died of lung cancer on December 15, 1966, and Disney's animation studio seemed to die along with him. From the start, Disney was always most famous its animation department which had become an iconic place. If you were an animator, working for Disney was like playing for the New York Yankees; it didn't get any bigger than that. Without the man himself, however, the animation department fell apart.
The Aristocats was the first movie released after Disney's death, and the reaction was not as popular as previous Disney movies. Disney abandoned what made them famous in the first place; the fairy tale. Gone were the days of Cinderella. Instead Disney became obsessed with animals. The Jungle Book came out after The Aristocats, and Robin Hood was released right after: which replaced the human characters with animals. Following this was Winnie The Pooh, The Rescuers (Which also featured talking animals) and The Fox And The Hound. Today, Disney has re-released these movies enough times that people may feel at least a bit nostalgic for them. But for Disney fans, this was wrong. These movies often simply did not match up to the classic musical fairy tales that they remembered. What happened to the studio that had created all of these iconic hits of the past few decades? The box office numbers, while still respectable, were much lower than in the previous decades. This period, known as the Disney Dark Ages, lasted through the late 1960's, 1970's and 1980's. One of the big hammers to fall came in the form of star animator Don Bluth.
Bluth had become one of the few stars at Disney during this era. He was the animation director for The Rescuers and Pete's Dragon, the latter of which combined live action and animation footage. However, Bluth also began to become angry with Disney's falling fortunes. On September 13th, 1979, Bluth and fellow Disney animation stars Gary Goldman and John Pomeroy lead a max exodus from the studio, with 16 additional animators leaving the studio to join the brand new Don Bluth Productions. One of the problems they had was the new art style the studio was implementing. The classic Disney films had all used a simple and clean animation style that set them apart from other studios. During this period however, the style changed. Now it was "sketchier" and much less clean. In short, the animation at Disney was simply not as good as it once was, and Bluth wanted to back to the classic style of animation. Their first film from Don Bluth Productions was released in 1982, entitled The Secret of NIHM, a heavily acclaimed animated film that still has many fans today. And just like that, Disney had accidentally created a new rival.
In 1984, one of they key pieces of Disney's future joined the company: Michael Eisner became CEO of The Walt Disney Company, and he saw that the animation department was sagging. The company already had a movie in production that they hoped would turn their fortunes around. In the early 1970's, Disney had acquired the rights to The Chronicles of Prydain, a fantasy book series by Lloyd Alexander. They decided to make a film based off the second book in the series, entitled The Black Cauldron. The film had languished in development hell for years, but Disney finally took it off the back burner and decided to make it their big release in 1985.
Disney decided that making this into another fairy tale wouldn't work; they wanted this to be a dark epic, a film which the Disney brand could hang their hat on and say they could do more than just fairy tales. There was a surprising amount of violence in the film, more so than Disney had done previously. However, trouble was already brewing for this film, and it ironically came from a man who would eventually do a lot of good for the company.
When Michael Eisner joined Disney, he decided to appoint a new chairman of Disney's feature film department; Jeffrey Katzenberg. The first film Katzenberg oversaw was The Black Cauldron, which was already in production when he arrived. Upon viewing the film, Katzenberg was horrified. He believed that the film was too violent for children and that parents would not allow their children to see it. The film cost $44 million to make at a time when Disney already was in trouble, and Katzenberg believed the company simply could not allow the movie to flop. He demanded the entire film be re-edited and made more family friendly. To date, the lost scenes have not been released, with12 minutes in total cut out.
At long last, The Black Cauldron was released July 24th, 1985. The film had taken forever to make, but Disney really believed this was going to revitalize their animation brand. It was not to be. The Black Cauldron was a gigantic critical and financial flop, and was beat out at the box office by The Care Bears Movie at the box office in 1985.
Disney wasn't just let down or disappointed by this. They had been "let down" by movies throughout the past two decades, but this was different. This was nothing short of humiliating. Disney had publicly made it clear that they had placed all of their eggs into The Black Cauldron's basket, and it blew up in their faces. Disney themselves admitted that they entire company had hit "rock bottom," a phrase which both the company and fans still use to describe The Black Cauldron's failure. The movie did not even make back half of its budget, making it one of the biggest flops in Disney history. At this point, Disney secretly began to consider shutting down their animation department all together. They had always claimed to be number one in animated movies, but this had now been publicly proven to be no longer true. Tastes change, and it seemed Disney was simply old news, a has been company that needed to stop kidding itself. Better to admit defeat and stop making films than keep embarrassing themselves. Katzenberg and company refused to go, and dug in their heels. They already had one movie in production: Oliver And Company.
This was a retelling of Oliver Twist with talking animals, featuring Billy Joel in his first only movie role. The film was released on November 18th, 1988, the same weekend as another animated film, The Land Before Time.
The Land Before Time was interesting, because of the behind the scenes personnel. As mentioned earlier, former superstar animator Don Bluth lead a large number of Disney animators away from the studio to form Don Bluth Productions, which later changed its name to the Bluth Group. They recieved massive critical acclaim with The Secret of NIHM but the box returns were not there, and the Bluth Group went bankrupt. Not wanting to admit defeat, Bluth joined with businessman Morris Francis Sullivan in 1985 to create a new company, Sullivan Bluth Studios. They made a deal with Steven Speilberg's Amblin Entertainment to produce films, and proved to be much more successful than the Bluth Group. They had received acclaim for An American Tale, and high hopes for The Land Before Time. It was personally directed by Bluth, with Speilberg and George Lucas serving as executive producers.
Sure enough, The Land Before Time beat Oliver And Company at the box office, meaning Oliver was the second straight animated Disney movie to lose to another animated film on opening weekend. The Land Before Time would go on to spawn a massive franchise, and would boast 12 sequels (Albeit direct to video) and a television series over the next decade. Oliver And Company was not as big a flop as The Black Cauldron, but it did not help Disney regain its crown in the world of animation. Once again, Disney animation seemed to be going nowhere.
In 1985, animation directors John Musker and Roger Clements pitched Disney on doing an adaptation of the Hans Christian Anderson book The Little Mermaid. The movie was turned down, and that seemed to be the end of it. However, after The Black Cauldron and with the threat of being shut down, Disney's animation studio kicked into gear and realized they wanted to make movies on par with their great history. They were inspired by Bluth's success and decided to make extraordinary films. An adaptation of The Little Mermaid had actually been considered as an animated movie back when Walt Disney was alive, but it was ultimately scrapped. When Musker and Clements saw that the animation studio seemed to be gaining new interest internally with their intentions, they pitched The Little Mermaid again. This time, Katzenberg agreed and the film went into production with an intended release in 1989.
Like with The Black Cauldron, Disney put all of their eggs in this movie's basket. But The Little Mermaid was different in that it followed the classic Disney formula. The main character Ariel was just begging to be a Disney princess, there was a prince to be won over, the villain Ursula was straight out of the Maleficent book of villainy, and the musical aspect was well taken care of with bright, catchy songs from Alan Menken. Musker and Clements also decided to abandon Disney's newer, dirtier art form. Their designs were clean and bouncy, very reminiscent of early Disney films like Snow White. The filmmakers really took their job seriously, especially in regards to the main character of Ariel. In order to make her believable, the animators decided to hire a real actress, have her read Ariel's lines and act them out as if she was in a stage play, and animated Ariel based on how the actress performed her. Sherri Stoner, who would eventually become a writer and voice actress on The Animaniacs, was hired to perform Ariel's movements in a practice that almost could be comparable to modern day motion capture.
While Stoner was hugely important to Ariel's creation, she was not the voice of Ariel. Broadway actress Jodi Benson was cast as the lead. As far as voice cast goes, this movie did not attract any real superstars. Most of the roles were given to veteran actors and professional voice actors. This would change in future years as Disney films (And animated films in general) would become a popular place for big stars to lend their talents.
Menken and his team took their jobs seriously as well. The musical had been used so well in Disney's past. "When You Wish Upon A Star" is forever linked with Pinocchio, "Heigh Ho"is always recognizable alongside Snow White, "Chim Chimney" is Mary Poppins's signature song, and Peter Pan's "Following The Leader" is a classic. In response to the animation team's decision to base their designs off of classic Disney, they made their songs bouncy, fun, dramatic and extremely catchy; just like classic Disney. These songs were clearly designed to appeal to both children and adults, which had always been the vision Walt Disney carried out for his company. He always dreamed that The Walt Disney Company would be just as appealing to adults as it would for their children. One need only listen to "Under The Sea" from this movie to hear the energy put into it. You can practically hear a new era being carved out for Disney.
The Little Mermaid was released on November 14th, 1989, and its difference was immediate. The critical reaction was overwhelmingly positive, garnering Disney their best reviews in decades. Even more important, the box office intake was great. It grossed over $84 million in North America alone. With a $40 million budget, this netted Disney an excellent profit. With more money coming in from around the world, The Little Mermaid proved to be Disney's first big success in recent memory.
Aside from being a financial moneymaker for Disney, arguably the biggest gain from The Little Mermaid was that it was simply refreshing. The animators had finally made a movie that everyone hopes to make when you sign on to work at Disney. Everything about this movie just spelled "classic," and Disney saw that they had to look backwards in order to look forwards, and honour their legacy. The Disney Renaissance was finally underway.
For an encore, it would have made sense for Disney to make another fairy tale movie following The Little Mermaid's success. However, Disney already had a movie in production, and it was not a fairy tale: The Rescuers Down Under. It was a sequel to the 1977 movie and was released in 1990, the year after The Little Mermaid.
This movie, while generally well liked, is not really regarded as a part of the Disney Renaissance, and so it will receive minimal attention here. One thing it did bring to the table is the Computer Animation Production System, or CAPS. This was developed for Disney by Pixar Animation Studios as an alternate to cel painting as a way of colouring animated movies. With CAPS, now the colouring process could be done in a computer. The system was used minimally on The Little Mermaid, but The Rescuers Down Under was made entirely with CAPS, as has every subsequent hand drawn animated feature by Disney. The Rescuers Down Under was a modest success, but Disney did have another fairy tale in the pipeline, and no one could have predicted how big this next movie would be.
As mentioned previously, Walt Disney had considered doing an adaptation of The Little Mermaid back in the early days in the company, even though the movie was never made during his lifetime. For their next movie, Disney looked at some other shelved movies from this era and saw one that seemed perfect: Beauty And The Beast. At first, production on this movie was hard. Katzenberg was unhappy with much of the work that was going on, and the movie changed directors several times. The animators had a compressed schedule on which to work on Beauty And The Beast, which often spells disaster for a film. To make it worse, directors Gary Trousdale and Kirk Wise decided that the movie would make use of Computer Generated Imagery or CGI, which was a new thing at the time. This was before Terminator 2 and Jurassic Park changed the face of CGI, and it was still something to fear. Nevertheless, the use of CGI was notable in the dance scene, which would become a trademark of the movie. When the crew finally had the technical aspects nailed down, the movie was scheduled for release on November 22nd, 1991.
The reaction was immediate. In North America alone the movie grossed $145 million, making it Disney's most successful animated film ever at the time, as well as the first animated film to surpass $100 million. If The Little Mermaid had been a big hit for the studio, then Beauty And The Beast was the gigantic monster hit it so badly needed in the past few decades. The critical reaction was immediate as well. Animated movies generally did not do well at awards season. They are often seen as merely "kids stuff," and not worthy of serious consideration for awards, save perhaps in the music and technical categories. Beauty And The Beast changed that. Not only was it nominated for the Golden Globe for Best Picture: Musical or Comedy, it actually managed to win the award, beating out City Slickers and The Commitments. This was the first animated film to do so, and it would not be Disney's last. More importantly, Beauty And The Beast was nominated for Best Picture at the Academy Awards, something that was unthinkable for a so called "cartoon." It did not win, but the fact it was even nominated was a big moment for animation in general. It proved to animation studios that award bodies are paying attention to what they release, and will nominated animated movies, provided they are exceptional. To date, only two animated movies have been nominated for Best Picture since Beauty And The Beast: Up was nominated in 2010, and Toy Story 3 was nominated in 2011, making Beauty And The Beast the only non Pixar movie to receive a nomination.
The love for Beauty And The Beast continues to this day, with it topping many lists for best Disney film of all time. The aforementioned dance scene is a classic now, arguably one of the most famous scenes in movie history.
Everything from the music to the animation has been fondly remembered. The long tilt from the top of the room to the floor as Belle and the Beast dance is perhaps the most famous shot in the entire movie. The character of Belle is also unique, and quite unusual for a Disney princess. She has no interest in the handsome Gaston and no interest in castles or riches. She simply wants adventure and wants to see the world. The movie honours the Disney formula by having songs, romance, a villain, a princess (of sorts) and action, but it puts the formula on its head. In a normal Disney movie the Beast would have taken Belle hostage, Gaston would rescue her, kill the beast and the two would live happily ever after. Here, Belle and the Beast fall in love while she is in the castle. Gaston does indeed come to rescue her, but she puts up a fight in an attempt to stay with the Beast. She doesn't cry when Gaston dies, but weeps when the Beast appears to die. Everything is turned on its head, but manages to honour the classic Disney formula enough to make it seem fresh yet classic.
it should be noted that around this time, Disney had put the wheels in motion for a movie that would change cinema forever. In 1979, George Lucas started a computer division at Lucasfilm, a chunk of which was made up of a faction called The Graphics Group. The group proved to be very successful in developing early CGI animations, with a team headed by New York Institute of Technology professor Ed Catmull. The group began to grow, and it had caught the attention of Apple Computers founder Steve Jobs. At this time, Jobs had left Apple and was working on other projects. He saw the potential of The Graphics Group and purchased it from Lucasfilm, with the intention of making it into its own studio. The company changed its name to Pixar in 1986. The company was known to Disney through its development of the CAPS program for animation, and also through the employment of John Lasseter. Lasseter was a former Disney employee, who came to work for Pixar. Disney had always regretted his departure and had long desired him to return, to no avail. Pixar believed they would be able to produce a feature length animated film, which intrigued Katzenberg. He entered into negotiations with Pixar to distribute such a film. Eventually they came to an agreement for Pixar to make the film, which would be directed and co-written by Lasseter and executive produced by Jobs. It was called Toy Story, and it was destined for release in 1995.
With the overwhelmingly positive reaction to Beauty And The Beast, Disney was now officially on a role, and the world was anticipating their next movie. Their next movie had been in production since the very late 1980's: an adaptation of the Middle Eastern folk story Aladdin. The Little Mermaid directors John Musker and Ron Clements returned to direct Aladdin, and Katzenberg hired Ted Elliot and Terry Rossio to write the film. The duo would later go on to write the highly successful Pirates of the Caribbean and National Treasure franchises for Disney. The movie was set for release on November 25th, 1992.
Up until now, the Disney Renaissance films had attracted only veteran actors and professional voice actors for their voice casts. Now that Disney was high profile again, stars were starting to look towards Disney animated movies. Robin Williams signed on to play the Genie in Aladdin, and absolutely made the character his own. The character was full of pop culture references and comedy, clearly the most marketable character in the movie.
However, Williams did not want to be marketed at all. Williams took a pay cut to appear in Aladdin, provided Disney did not use his character to be one of the main advertising factors, and would not use his character to advertise products. Disney openly violated this part of Williams' contract and used his image everywhere. One need only look at some of the other poster released for the movie to see how much the Genie was at the forefront.
Williams was furious over this. "The one thing I said I will do is the voice," he said. "I'm doing it basically because I want to be part of this animation tradition. I want something for my children. One deal is, I just don't want to sell anything -- as in Burger King, as in toys, as in stuff....We had a deal." It was speculated at the time that Williams would never work for Disney again, and the studio ended up giving him a public apology. It took a few years but the two parties would eventually make amends, and Williams even voiced the Genie in a direct to video sequel to Aladdin released a few years later.
Regardless of the difficulties with Williams, production on Aladdin continued. Alan Menken returned to score the film and create new songs. While many of the songs in Aladdin are still beloved, there is certainly one song of note: "A Whole New World," the song sung by Aladdin and Jasmine as they fly on the magic carpet.
The song was sung by Brad Caleb Kane and Lea Salonga as Aladdin and Jasmine respectively, and the song won the Academy Award for Best Original Song at the 1993 Academy Awards. The song also was a huge hit on the pop charts, reaching number 1 on the Billboard Hot 100, a huge achievement. The soundtrack also won the Oscar for Best Original Soundtrack, winning Menken his fifth Oscar out of his current total of eight.
As has been the trend for the Disney Renaissance, Aladdin was a huge hit. It was released on November 25, 1992, causing a huge impact.As mentioned before, Aladdin won two Academy Awards, and was nominated for three others. It also picked up three Golden Globes (Including a Special Award for Williams) and was nominated for three others, including Best Picture: Musical or Comedy, although it failed to win this, unlike Beauty And The Beast. Aladdin grossed over $500 million, which was a record at the time for an animated movie. Critical reviews were very positive, and the huge marketing campaign turned Aladdin into an international phenomenon. The villain of Jafar has become famous in the years since, and has gone down in history as one of the great Disney villains. This would be the last Disney animated movie for the next two years as Disney prepared its next animated movie. Up until now, all Disney animated movies had been based on a book, fairy tale or story, albeit some being based rather loosely. For their next movie, Disney decided they would make their first ever original animated movie, and it was set for release in 1994.
For many years, Disney had been interested in developing a movie about Africa, and specifically a movie about lions. The movie would eventually come to be known as The Lion King, conceived as a coming of age story for a young lion cub named Simba. As the story was written and rewritten, the plot ended up being loosely inspired by William Shakespeare's Hamlet. Key plot points include Cladius (Scar) killing his brother Old Hamlet (Mufasa) in order to become king, with Hamlet (Simba) eventually killing him. Timon and Pumbaa's characters may not exactly match Rosencrantz and Guildenstern, but they do serve as somewhat comical friends to Simba. For Katzenberg, this was something of a passion project. He worked hard on developing this movie, and pushed the creative staff hard. Even so, the film was considered a risk. Katzenberg has been quoted as saying he believed that The Lion King would struggle at the box office, while the other upcoming Disney film, Pocahontas would be a smash hit and recoup The Lion King's losses. (We will discuss Pocahontas later) Production included a trip to Kenya for the staff in order to understand the environment that they were dealing with. The movie was directed by Rob Minkoff and Roger Allers, both of whom were directing their first feature length movies (Allers had been head of story for Beauty And The Beast and Minkoff had directed a Roger Rabbit short) They conceived an epic film, with a larger scale than previous Disney movies. The cast was also large. Matthew Broderick (Who seems to keep appearing in Lecture Hall installments....) was cast as adult Simba while Jonathan Taylor Thomas, who starred in Disney's hit sitcom at the time Home Improvement, was cast as young Simba. James Earl Jones, famous for providing the voice of Darth Vader in the Star Wars trilogy was back behind the voiceover microphone to play Mufasa. Zazu the hornbill was played by Mr. Bean star Rowan Atkinson. Whoopi Goldberg, Jim Cummings and Cheech Marin played the hyena trio, while the evil Scar was played by Jeremy Irons.
Production continued on The Lion King with the team steaming ahead to its 1994 release date. While this happened, a terrible tragedy occurred that ultimately ended up costing Disney two people of immense importance. Frank Wells was the president of The Walt Disney Company, a position he had held since 1984. This position made him the second in command at Disney, answering only to Disney CEO Michael Eisner. Wells was killed on April 3rd, 1994 in a helicopter accident at the age of 62. Following Wells's death, the position of president was vacant, and Katzenberg decided he was the best suited for the job and lobbied hard for the promotion. Much of what occurred during this time is still speculation, but ultimately Eisner refused to give the promotion, and instead hired Creative Artists Agency founder Michael Ovitz for the job. Furious, Katzenberg resigned from Disney, although he has later claimed that he was fired. Regardless of what happened the fact remained that Jeffrey Katzenberg, arguably the most influential person in starting the Disney Renaissance was no longer a member of the company. The amount of importance Katzenberg brought to Disney cannot be measured. He was the one who pushed for more quality for Disney, he was the one who brokered the distribution deal with Pixar, he was the one who had overseen every good decision Disney had made. It was under Katzenberg that Disney released its classic library of films onto VHS, under Katzenberg that future classics were made. Katzenberg was a visionary for Disney, and now he was gone. Eisner announced that Disney would likely make fewer animated movies. Some argue that the Disney Renaissance ended the moment Katzenberg left. However, this article will continue, especially seeing as the majority of people believe the Disney Renaissance did not end until the end of the decade. Regardless, the fact remained Katzenberg was gone and, this would hurt the company in ways that arguably lasts up to this day.
During this time period, Disney was more or less peerless in the animation game. Warner Brothers and other studios continued to release movies, but none were anywhere near as popular as the Disney movies. Now that Katzenberg was no longer associated with Disney, he began to explore job openings around Hollywood. He received an offer from Microsoft to begin a movie studio for the computer giant, but he ultimately turned this down. Instead, Katzenberg called two friends: music mogul David Geffen and, most significantly, legendary filmmaker Steven Speilberg. The three formed a new movie studio, the first major Hollywood studio to be founded in decades: DreamWorks SKG (SKG standing for Speilberg, Katzenberg, Geffen) Almost immediately, Katzenberg founded DreamWorks Animation, which he personally headed up. The live action portion was lead by Speilberg, and he remains involved with DreamWorks today. We will keep tabs on DreamWorks Animation, as they would contribute some interesting parts of Disney's future.
20th Century Fox chairman Joe Roth was hired to oversee Disney's animation department, although it would be a while before he could enter his own movies into production: after all, The Lion King was deep in development and several months away from release. This was the first movie in the Disney Renaissance to not feature music from Alan Menken. The score was composed by Hans Zimmer, with songs by Tim Rice and music legend Sir Elton John. The song "Can You Feel The Love Tonight," was sung in the movie as a love song between Simba and Nala, and was also recorded by John and sung over the credits. The Elton John version, like "A Whole New World" before it, was a massive hit, reaching number 4 on the Billboard Hot 100. "Can You Feel The Love Tonight" was also sung by John and made it onto number 18 on Billboard. "Hakuta Matata" was not a big hit, but was still well known at the time. An interesting note comes with the song "Be Prepared," which basically functions as Scar's villain song for the movie. For the first bit of the song, Jeremy Irons did his own singing. However, part way through recording, Irons's voice apparently gave out and the rest of the song was turned over to legendary voice actor Jim Cummings, who was already voicing one of the hyenas. Cummings' rendition was so exact to the way Irons sang the song that virtually no one can detect that there are two separate singers.
With all of the behind the scenes drama over, The Lion King was released on June 15, 1994, and the post Katzenberg era was officially underway at Disney. With the Disney Renaissance so well underway, many expected The Lion King to be a hit, but no one could possibly have known how huge this movie would be. It ultimately ended up being the second highest grossing movie of 1994, losing only to Forrest Gump. This meant The Lion King outgrossed other huge hits from that year such as Speed, The Santa Clause, True Lies, The Mask and Pulp Fiction, among others. To date, The Lion King is just shy of a billion dollars, a feat unheard of for animation at the time. It took Aladdin's spot as the highest grossing animated movie of all time, and it would keep its crown for 16 years until Toy Story 3 beat it in 2010. The critical reaction was also huge, with the movie winning international acclaim. The movie won Oscars for Best Original Score and Best Original Song ("Can You Feel The Love Tonight"). It was also a hit at the Golden Globes, winning the exact same awards there as it did at the Oscars. This time however, it also brought home Best Picture: Musical or Comedy, the animated Disney movie to do this since Beauty And The Beast. The movie spawned video games, promotions with Burger King and other companies, toys, t-shirts and virtually everything else needed to make it so that The Lion King was everywhere in 1994, making it a full blown pop culture phenomenon.
This was without a doubt the peak of The Disney Renaissance, possibly the peak for the company as a whole. This was just 11 years after The Black Cauldron bombed and Disney Animation was left for dead. Now they had consistently made hit after hit that proved just as popular with adults and critics as they did with children. It was one of the greatest comebacks in entertainment history, if not the greatest comeback. Even classic Disney had never managed a Best Picture nomination. Walt Disney had always said it was a dream to create things that made parents and children have fun together. This was a modern realization of it. The classic Disney movies were not being widely released on VHS, and the new classics were welcomed with open arms. Alas, all good things must come to an end. As mentioned before, The Lion King was the peak of The Disney Renaissance. After it, nothing would ever be the same, and not in a good way for Disney Animation.
This concludes Part I of the Disney Renaissance Lecture Hall. Stay tuned for the rest of the story.
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