How Much Money Do Disney Animators Make
The 100 best animated movies: Disney
World-famous animators pick the best animated movies ever, including Disney and Pixar movies, cult movies, kids movies, finish-motion, anime and more than
At present we know which are the 100 best animated movies of all time. But which are the best Disney movies and which are the all-time Pixar or Studio Ghibli films? Which are best for kids and families and which are strictly arty, political or edgy?
We've applied 26 handy labels to the 100 keen animated movies in our list. Hither you'll find the all-time Disney movies.
But how many have you lot seen? Take our poll to find out.
RECOMMENDED: Explore the 100 all-time animated movies ever fabricated
Pinocchio (1940)
A wooden puppet yearns to exist a real boy; he must prove himself worthy.
Directors: Ben Sharpsteen, Hamilton Luske, Bill Roberts, Norman Ferguson, Jack Kinney, Wilfred Jackson and T. Hee
Best quote: "Always let your conscience be your guide."
Defining moment: Playing pool, drinking beers, smoking cigars: Who knew it could transform kids into jackasses? (Literally.)
And and so we reach the summit of our listing—nosotros'd be lying if we didn't say information technology was by a nose. Pinocchio is the about magical of animated movies, a high indicate of cinematic invention. Its influence on fantasy is massive: Steven Spielberg quotes the soaring ballad "When You Wish Upon a Star" in his dream project Close Encounters of the Third Kind (and remade the whole picture with his aching robot-boy adventure, A.I.). Disney'due south second characteristic—originally a box-role bomb—begins with a sweetly singing cricket, yet plunges into scenes from a nightmare: in front of a jeering audience on a carnival stage; into the belly of a monstrous whale; across all man recognition. (Pinocchio's extending schnoz is animation'south most sinister and profound metaphor.) It's staggering to call back of this material as intended for children, but that's the power here, a conduit to the churning undercurrent of formulating identity. The takeaway is hard to fence with: Don't prevarication, to yourself or others. Cultural theorists have, for decades, discussed Pinocchio in psychosexual terms or every bit a guide to middle-class absorption. But those readings are similar cracking open a snow globe to see that it's merely water. A swirling adventure flecked with shame, rehabilitation, death and rebirth, the movie contains a universe of feelings. Pinocchio will remain immortal as long equally nosotros draw, pigment, tell tall tales and wish upon stars.—Joshua Rothkopf
Dumbo (1941)
It ain't piece of cake being gray in one of Disney's virtually uncomplicated, beautiful and memorable tales.
Directors: Ben Sharpsteen, Samuel Armstrong, Norman Ferguson, Wilfred Jackson, Jack Kinney, Neb Roberts and John Elliotte
All-time quote: "It own't nobody's fault you got dem big ears."
Defining moment: Dumbo visits his caged mom at night and cuddles up to her trunk as it extends through the bars—all to the sound of the lullaby "Baby Mine."
Disney'southward tender and moving 4th blithe characteristic, Dense remains the company's shortest. Its brevity and simplicity were born of necessity: Neither Pinocchio nor Fantasia had fared well at the box office, and so the creators of Dense were tasked with keeping things short, sweet and cheap. Dumbo was based on a story line written for the paradigm of a new toy—inappreciably the virtually poetic of origins—and tells of a baby elephant built-in to a single mother working in a traveling circus (the film's early scenes of storks delivering baby animals did nothing for several generations of sexual practice education). It has both energy—the building of the big top in the pelting, the circus train chugging over the landscape—and heart: a piercingly distressing story of a mother and child forcibly separated. The template is fairly straightforward, but that doesn't mean there isn't room for some memorable and inventive prepare pieces. The hallucinogenic, jazzy dance of the pink elephants when Dumbo accidentally gets drunkard is a scene for the ages, while the climactic elephant pyramid, when little Dense becomes an unlikely hero, is both terrifying and triumphant.—Dave Calhoun
Snowfall White and the Seven Dwarfs (1937)
Not the kickoff blithe feature, but the first of the Disney empire.
Directors: David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce and Ben Sharpsteen
All-time quote: "Magic mirror on the wall…"
Defining moment: Snow White's headlong dash through the moonlit woods is expressionistic, beautiful and terrifying.
They called information technology Disney'southward folly. It took years and millions of dollars to produce Snow White and the Seven Dwarfs, and one huge question remained unanswered right upward to the twenty-four hour period of release: Would an audience really sit still for 83 minutes of cartoon antics? Of course, the movie was a huge hit, and kick-started Uncle Walt'due south decades-long domination of the painted-cel scene. It may not have been the first feature-length animated film—that honor is held by Argentine animator Quirino Cristiani's 1917 El Apóstol, though all copies have since been destroyed—but it was the outset to receive a global release, and the first to wake up audiences (and producers) to the seemingly limitless potential of a brand-new medium.
What makes Snow White truly special is non its success, still, simply its originality: Working without a dominion volume, Disney and his animators created—fully formed—an entirely new genre. But look at last yr'south Frozen and ask yourself how far mainstream animation has actually developed: Snow White has a dashing fairy-tale heroine, a hunky simply slightly tedious dude, lovable pratfalling sidekicks, of import life lessons, groundbreaking and gorgeous animation, whistleable tunes and, perhaps about notably, the greatest femme fatale in flick history. It just goes to show: You can't improve on perfection.—Tom Huddleston
Fantasia (1940)
In Disney'due south extravaganza, eight fantastical vignettes are scored to music past Bach, Tchaikovsky and Stravinsky.
Managing director: No less than xi directors slaved on individual sequences, many without credit.
Best quote: "Mr. Stokowski! Mr. Stokowski!"
Defining moment: Sorcerer'due south apprentice Mickey Mouse finds himself on the wrong end of the broomsticks.
By the stop of the 1930s, Mickey Mouse, the bedrock character of a growing empire, had declined in popularity. Then Walt Disney deputed the elaborate short "The Sorcerer'southward Apprentice." Accompanied by the highly hummable Paul Dukas limerick of the same name, it follows the red-robed rodent as he magically brings an regular army of broomsticks to life. While in postproduction on the short, Disney decided to surroundings information technology with similar vignettes scored to other classical compositions, and Fantasia was built-in. Aside from some interstitial material narrated by Deems Taylor (during which Mickey himself greets star conductor Leopold Stokowski), the music dictates Fantasia's visual-audible flow. Abstract color patterns rise and fall to Bach, life-size mushrooms dance to Tchaikovksy, a hippo and an alligator do a slapstick Ponchielli ballet, and the devil himself summons night spirits to Modest Mussorgsky'southward churning Night on Baldheaded Mount. Silly and sublime in equal mensurate—as well every bit a film that served to introduce generations of kids to the joys of classical music—this is one of the Mouse House'south finest.—Keith Uhlich
101 Dalmatians (1961)
Disney'due south virtually fashionable baddie concocts a devilish program.
Directors: Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman
Best quote: "I live for furs. I worship furs! Is there a woman in all this wretched world who doesn't?"
Defining moment: The puppies sneak past Cruella De Vil, covered in soot, disguised every bit black Labradors.
What is it with Disney villainesses? So much wrath and murderous rage with so little cause. A yr after the evil fairy Maleficent put a expletive on Sleeping Beauty for not being invited to her christening, dognapper Cruella De Vil arrived. Flicking ash on the carpet, her mwah-ha-ha programme is to plough 99 dalmatian pups into a mode argument. With its modern London setting and jazzy score, 101 Dalmatians dragged Disney into the 20th century, leaving backside fairy tales, princesses and musical numbers. Oddly, it'south the before scenes, earlier the puppies arrive, that stick in the mind. Sick of the bachelor life, Pongo studies the lady dogs and their "pets" (owners) passing under his window. And the come across-beautiful in Regent'south Park is witty and utterly lovely. Subsequently, the twilight bark—the doggie telegraph communicating news of the missing puppies—is Disney at its finest.—Cath Clarke
Bambi (1942)
The film that makes little kids (and grown adults) cry.
Directors: James Algar, Samuel Armstrong, David Paw, Graham Heid, Bill Roberts, Paul Satterfield and Norman Wright
All-time quote: "Faster! Faster, Bambi! Don't wait back! Go on running! Keep running!"
Defining moment: Bambi and his mother graze peacefully in a clearing. Her ears prick upwardly. Something's not right. A gunshot rings out. They run for their lives.
For lots of u.s.a., Bambi is and then many firsts: the start time we cried in the theater, when…you know when; the showtime time nosotros realized that really bad things happen to adorably cute deer. In 1942, Walt Disney described Bambi equally "the best picture I have ever made, and the best always to come out of Hollywood." Today, it however has friends in high places. Toy Story director John Lasseter and the Pixar coiffure are huge fans, arguing that, from boy to buckhood, Bambi contains some of Disney's about charming animation (Walt set up a small zoo at the studio for his squad to study the animals). And in the gyre call of Disney supporting actors, Thumper the rabbit is an all-time great. Despite its reputation for being sentimental, the moving-picture show's closing scene—Bambi abandons his mate and newborn twin fawns to bring together his father in the forest—is as un-Disney as it gets.—Cath Clarke
The Jungle Book (1967)
Disney gets with the '60s.
Manager: Wolfgang Reitherman
Best quote: "I'm the king of the swingers / The jungle VIP / I've reached the acme and had to stop / And that's what's botherin' me."
Defining moment: King Louie of the Apes and Baloo the Bear'southward scat-'northward'-dance routine.
Blame the hippies. The Jungle Book is and then loopy, hip and happening, yous can't help wondering if Disney's animators were passing the bong as they worked. Simply wait at the vultures, with their mop tops and British accents (the Beatles were intended to do the voices simply John Lennon refused). After rejecting an early draft of the script as too nighttime for a family flick, Walt Disney instructed a second team to drop "the heavy stuff" from Rudyard Kipling's stories of Mowgli. They created some of Disney's most lovable characters: Baloo (the Neb Murray of bears) and smooth-as-silk Shere Khan the Tiger. The movie is a loftier betoken for Disney musical numbers—"Blank Necessities" and "I Wanna Be Like Yous" are pure joy. Walt himself died during production, and historians credit the huge box-role success of The Jungle Book with saving the studio'southward animation section from closure.—Cath Clarke
Beauty and the Beast (1991)
Romance, music and comedy combine in a latter-day Disney milestone.
Directors: Kirk Wise and Gary Trousdale
Best quote: "It's no use. She's so beautiful. And I'thousand…well, await at me!"
Defining moment: The camera sweeps through the ballroom as the couple hits the floor.
Disney had long been in the doldrums when The Fiddling Mermaid showed information technology could entertain a new generation, but this adaptation of the classic fairy tale pushed the quality threshold to a new level, making it the first animated characteristic to be Oscar-nominated in the Best Picture category. The central was taking the emotional eye of the story entirely seriously, bolstered by a soaring, Broadway-on-steroids score from Howard Ashman and Alan Menken. So while there are jaunty loftier jinks from the anthropomorphic fixtures in the Animate being's imposing castle, they never overshadow the tale's pent-up yearning, as the hairy protagonist must find true honey earlier the petals fall from a rose or remain forever in bestial form. Crucially, the visuals convey enough heft and calibration to wow the grown-up audiences who truly appreciate the story's romantic spell.—Trevor Johnston
Cinderella (1950)
Who needs a caring stepmother when y'all've got drinking glass slippers, an enchanted lifestyle and a hunky Prince Charming at the end of the day?
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
All-time quote: "A dream is a wish your heart makes when you're fast asleep."
Defining moment: A pumpkin and some mice get a magical makeover.
Even today, when you watch a Disney motion picture, the affect of Cinderella can be felt from the very get-go frame: That iconic castle, the studio's logo, comes right from this picture. Information technology was the make-or-break gamble that, had it failed, would have meant the cease for Walt & Co. Instead, his film's delinquent success allowed him to finance the theme parks and cement his proper noun forever. The elements of the story are bedrock components of the Disney formula: plucky, charming heroine, helpful sidekick animals, the promise of total transformation. Yet there was innovation here, as well; musical numbers would, for the start time, be commissed out to Tin Pan Aisle experts, while live-activeness footage was shot as a model for most scenes. When Disney's own remake comes out in 2015, it will have a huge debt of charm to repay.—Joshua Rothkopf
The Footling Mermaid (1989)
The calypso-inflected Hans Christian Andersen adaptation that revived the Mouse Business firm's ailing fortunes.
Directors: John Musker and Ron Clements
Best quote: "Somebody's got to nail that girl'southward fins to the flooring."
Defining moment: In the infectious "Nether the Body of water," Sebastian the crab attempts to convince wayward Ariel of the claim of ocean living.
2 years after, Dazzler and the Beast received more acclaim, but information technology was this cheery musical accommodation of Hans Christian Andersen's bleakly fatalistic fairy tale that redesigned the template of contemporary Disney blitheness and returned the studio to pop-culture prominence. The formula—take a story everyone knows with a plucky princess, then add together a bunch of hip, tricky-as-chlamydia show tunes—yet works, every bit the recent success of Frozen demonstrates. Merely alongside the witty, verbally intricate contributions of ingenious songsmiths Howard Ashman and Alan Menken, it'southward the depth of yearning for other lives and other forms that gives this one emotional resonance and staying ability. Well, that and the lasciviously tentacled, Mae West–and–Divine-inspired sea witch Ursula, surely amidst the greatest Disney villains.—Guy Order
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Source: https://www.timeout.com/film/the-100-best-animated-movies-disney
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