Latest / Verbal Diorama / All Dogs Go To Heaven

Transcript

All Dogs Go To Heaven · Verbal Diorama

• 4:06
  Hi,
• 4:06
  everyone.
• 4:07
  I'm
• 4:07
  Em.
• 4:07
  And
• 4:07
  welcome
• 4:08
  to
• 4:08
  Verbal
• 4:08
  Diorama,
• 4:08
  episode
• 4:09
  334,
• 4:11
  All
• 4:12
  Dogs
• 4:12
  Go
• 4:13
  To
• 4:13
  Heaven.
• 4:13
  This
• 4:13
  is
• 4:14
  the
• 4:14
  podcast
• 4:14
  that's
• 4:14
  all
• 4:14
  about
• 4:14
  the
• 4:15
  history
• 4:15
  and
• 4:15
  legacy
• 4:15
  movies
• 4:16
  you
• 4:16
  know,
• 4:16
  and
• 4:17
  movies
• 4:17
  you
• 4:17
  don't
• 4:18
  that
• 4:18
  can't
• 4:18
  keep
• 4:19
  a
• 4:19
  good
• 4:19
  dog
• 4:20
  down.
• 4:21
  Welcome
• 4:22
  to
• 4:22
  Verbal
• 4:22
  Diorama.
• 4:23
  Whether
• 4:23
  you're
• 4:23
  a
• 4:23
  regular
• 4:24
  returning
• 4:24
  listener,
• 4:24
  whether
• 4:25
  you're
• 4:25
  a
• 4:25
  brand
• 4:25
  new
• 4:25
  listener,
• 4:26
  thank
• 4:26
  you
• 4:26
  for
• 4:26
  being
• 4:27
  here.
• 4:27
  Thank
• 4:27
  you
• 4:27
  for
• 4:27
  choosing
• 4:27
  to
• 4:28
  listen
• 4:28
  to
• 4:28
  this
• 4:28
  podcast.
• 4:29
  I
• 4:29
  am
• 4:29
  so
• 4:30
  happy
• 4:30
  to
• 4:30
  have
• 4:30
  you
• 4:30
  here
• 4:31
  for
• 4:31
  the
• 4:31
  history
• 4:32
  and
• 4:32
  legacy
• 4:33
  of
• 4:33
  All
• 4:33
  Dogs
• 4:34
  Go
• 4:34
  to
• 4:34
  Heaven.
• 4:35
  And
• 4:36
  if
• 4:36
  you
• 4:36
  are
• 4:36
  a
• 4:36
  regular
• 4:37
  listener,
• 4:37
  thank
• 4:37
  you
• 4:38
  so
• 4:38
  much
• 4:38
  to
• 4:39
  you
• 4:39
  for
• 4:39
  continuing
• 4:40
  to
• 4:40
  listen
• 4:40
  to
• 4:40
  this
• 4:40
  podcast
• 4:41
  and
• 4:41
  continuing
• 4:42
  to
• 4:42
  support
• 4:42
  this
• 4:42
  podcast.
• 4:43
  Especially
• 4:44
  now,
• 4:44
  because
• 4:45
  this
• 4:45
  is
• 4:46
  the
• 4:46
  final
• 4:47
  of
• 4:47
  three
• 4:47
  special
• 4:48
  episodes
• 4:49
  celebrating
• 4:50
  this
• 4:50
  podcast's
• 4:51
  birthday.
• 4:52
  So
• 4:52
  this
• 4:53
  podcast
• 4:53
  started
• 4:54
  seven
• 4:54
  years
• 4:54
  ago
• 4:55
  and
• 4:55
  the
• 4:55
  very
• 4:55
  first
• 4:56
  episode
• 4:56
  of
• 4:56
  this
• 4:56
  podcast
• 4:57
  that
• 4:57
  I
• 4:57
  did
• 4:57
  was
• 4:58
  on
• 4:59
  a
• 4:59
  Don
• 4:59
  Bluth
• 4:59
  movie
• 5:00
  called
• 5:00
  Titan
• 5:01
  AE,
• 5:01
  which
• 5:02
  came
• 5:02
  out
• 5:02
  in
• 5:02
  the
• 5:02
  year
• 5:03
  2000.
• 5:04
  Titan
• 5:04
  AE
• 5:05
  is
• 5:05
  probably
• 5:05
  not
• 5:06
  the
• 5:06
  first
• 5:06
  movie
• 5:07
  that
• 5:07
  springs
• 5:07
  to
• 5:07
  people's
• 5:08
  minds
• 5:08
  when
• 5:08
  they
• 5:09
  think
• 5:09
  about
• 5:09
  Don
• 5:09
  Bluth,
• 5:10
  but
• 5:11
  you
• 5:11
  know
• 5:11
  what?
• 5:11
  It's
• 5:12
  actually
• 5:12
  a
• 5:13
  decent
• 5:13
  movie
• 5:14
  and
• 5:14
  it
• 5:14
  definitely
• 5:14
  doesn't
• 5:15
  deserve
• 5:15
  the
• 5:15
  hate
• 5:16
  and
• 5:16
  it
• 5:16
  definitely
• 5:17
  doesn't
• 5:17
  deserve
• 5:17
  to
• 5:17
  have
• 5:18
  the
• 5:18
  reputation
• 5:18
  of
• 5:19
  destroying
• 5:19
  an
• 5:20
  entire
• 5:20
  studio.
• 5:21
  But
• 5:22
  that's
• 5:22
  for
• 5:22
  that
• 5:22
  episode.
• 5:23
  Over
• 5:24
  the
• 5:24
  years,
• 5:24
  I've
• 5:25
  returned
• 5:25
  to
• 5:25
  Don
• 5:25
  Bluth
• 5:26
  a
• 5:26
  couple
• 5:26
  more
• 5:26
  times
• 5:27
  on
• 5:27
  this
• 5:27
  podcast.
• 5:28
  I've
• 5:28
  done
• 5:28
  episodes
• 5:29
  on
• 5:29
  the
• 5:29
  Secret
• 5:30
  of
• 5:30
  NIMH
• 5:30
  and
• 5:31
  Anastasia,
• 5:32
  and
• 5:33
  I've
• 5:33
  always
• 5:33
  been
• 5:33
  a
• 5:34
  huge
• 5:34
  fan
• 5:34
  of
• 5:34
  Don
• 5:34
  Bluth.
• 5:35
  Ever
• 5:35
  since
• 5:35
  my
• 5:35
  very
• 5:36
  early
• 5:36
  childhood
• 5:37
  I
• 5:37
  have
• 5:37
  watched
• 5:38
  Don
• 5:38
  Bluth
• 5:38
  movies
• 5:39
  and
• 5:39
  this
• 5:40
  season
• 5:40
  is
• 5:41
  basically
• 5:41
  not
• 5:41
  only
• 5:42
  to
• 5:42
  celebrate
• 5:42
  animation,
• 5:43
  just
• 5:43
  generally,
• 5:44
  but
• 5:44
  also
• 5:44
  to
• 5:45
  celebrate
• 5:45
  Don
• 5:45
  Bluth
• 5:46
  and
• 5:46
  how
• 5:47
  much
• 5:47
  he
• 5:47
  means
• 5:48
  to
• 5:48
  me
• 5:48
  as
• 5:49
  a
• 5:49
  person
• 5:49
  who
• 5:49
  grew
• 5:50
  up
• 5:50
  watching
• 5:51
  his
• 5:51
  movies
• 5:52
  on
• 5:52
  repeat
• 5:53
  and
• 5:53
  probably
• 5:54
  at
• 5:54
  the
• 5:54
  same
• 5:54
  time
• 5:55
  as
• 5:55
  watching
• 5:55
  the
• 5:56
  Disney
• 5:56
  movies
• 5:56
  on
• 5:56
  repeat.
• 5:57
  Obviously
• 5:58
  Don
• 5:58
  Bluth
• 5:58
  used
• 5:59
  to
• 5:59
  work
• 5:59
  for
• 5:59
  Disney,
• 6:00
  so
• 6:00
  it
• 6:00
  kind
• 6:00
  of
• 6:00
  tracks.
• 6:01
  Animation
• 6:02
  has
• 6:02
  always
• 6:03
  been
• 6:03
  so
• 6:04
  important
• 6:04
  to
• 6:04
  me.
• 6:05
  So
• 6:05
  important
• 6:05
  to
• 6:06
  the
• 6:06
  person
• 6:07
  that
• 6:07
  I
• 6:07
  am
• 6:07
  today
• 6:08
  is
• 6:08
  from
• 6:09
  the
• 6:09
  animated
• 6:09
  movies
• 6:10
  that
• 6:10
  I
• 6:10
  watched
• 6:10
  as
• 6:10
  a
• 6:11
  kid.
• 6:11
  And
• 6:11
  that's
• 6:11
  not
• 6:11
  hyperbole.
• 6:13
  Genuinely,
• 6:14
  I
• 6:14
  feel
• 6:15
  like
• 6:15
  I
• 6:16
  learned
• 6:16
  so
• 6:16
  many
• 6:16
  lessons
• 6:17
  from
• 6:17
  the
• 6:17
  animated
• 6:18
  movies
• 6:18
  that
• 6:18
  I
• 6:18
  watched
• 6:19
  when
• 6:19
  I
• 6:19
  was
• 6:19
  a
• 6:19
  kid.
• 6:19
  And
• 6:20
  still
• 6:20
  to
• 6:20
  this
• 6:20
  day
• 6:21
  as
• 6:21
  a
• 6:22
  semi
• 6:22
  official
• 6:22
  grown
• 6:23
  up,
• 6:23
  I
• 6:23
  still
• 6:24
  love
• 6:24
  animation.
• 6:25
  I
• 6:25
  still
• 6:25
  treasure
• 6:25
  it.
• 6:26
  And
• 6:26
  it's
• 6:27
  why
• 6:27
  this
• 6:27
  podcast
• 6:27
  started
• 6:28
  with
• 6:28
  animation
• 6:29
  and
• 6:29
  why
• 6:30
  animation
• 6:31
  continues
• 6:31
  to
• 6:31
  feature
• 6:32
  on
• 6:32
  this
• 6:32
  podcast
• 6:33
  so
• 6:33
  often.
• 6:34
  It's
• 6:34
  just
• 6:34
  genuinely
• 6:35
  because
• 6:36
  I
• 6:36
  love
• 6:36
  it
• 6:37
  so
• 6:37
  much.
• 6:38
  We
• 6:38
  are
• 6:39
  coming
• 6:39
  to
• 6:39
  the
• 6:39
  end
• 6:40
  of
• 6:40
  the
• 6:40
  6th
• 6:40
  annual
• 6:41
  animation
• 6:41
  season
• 6:42
  on
• 6:42
  this
• 6:42
  podcast.
• 6:43
  Previous
• 6:44
  episodes
• 6:44
  this
• 6:45
  season
• 6:45
  have
• 6:45
  been
• 6:46
  on
• 6:46
  Monsters,
• 6:46
  Inc.
• 6:47
  K
• 6:47
  Pop,
• 6:47
  Demon
• 6:48
  Hunters,
• 6:48
  Paprika,
• 6:49
  Teenage
• 6:50
  Mutant
• 6:50
  Ninja
• 6:50
  Turtles,
• 6:51
  Mutant
• 6:51
  Mayhem,
• 6:52
  the
• 6:52
  Princess
• 6:53
  and
• 6:53
  the
• 6:53
  Frog,
• 6:53
  An
• 6:54
  American
• 6:54
  Tail,
• 6:54
  and
• 6:55
  the
• 6:55
  Land
• 6:55
  Before
• 6:55
  Time.
• 6:56
  There
• 6:57
  is
• 6:57
  one
• 6:57
  more
• 6:57
  movie
• 6:57
  yet
• 6:58
  to
• 6:58
  come
• 6:58
  in
• 6:58
  this
• 6:59
  season
• 6:59
  as
• 6:59
  well,
• 7:00
  and
• 7:00
  animation
• 7:01
  season
• 7:01
  is
• 7:02
  a
• 7:02
  celebration
• 7:02
  of
• 7:02
  animation
• 7:03
  in
• 7:03
  all
• 7:03
  its
• 7:04
  forms
• 7:04
  from
• 7:05
  all
• 7:05
  different
• 7:05
  studios,
• 7:06
  from
• 7:07
  all
• 7:07
  decades,
• 7:08
  from
• 7:08
  all
• 7:08
  time
• 7:08
  periods.
• 7:09
  I
• 7:10
  just
• 7:10
  think
• 7:10
  it's
• 7:10
  really
• 7:10
  important
• 7:11
  to
• 7:11
  talk
• 7:11
  about
• 7:12
  animation
• 7:13
  because
• 7:13
  while
• 7:14
  ostensibly
• 7:15
  this
• 7:15
  movie
• 7:15
  is
• 7:16
  very
• 7:16
  much
• 7:16
  aimed
• 7:16
  at
• 7:17
  children,
• 7:17
  arguably
• 7:18
  probably
• 7:19
  shouldn't
• 7:19
  be,
• 7:19
  but
• 7:19
  we'll
• 7:20
  get
• 7:20
  to
• 7:20
  that.
• 7:21
  Animation
• 7:21
  is
• 7:22
  not
• 7:22
  just
• 7:22
  for
• 7:23
  children.
• 7:23
  And
• 7:24
  it's
• 7:24
  also
• 7:24
  not
• 7:24
  a
• 7:24
  genre
• 7:25
  either.
• 7:25
  It
• 7:26
  is
• 7:26
  the
• 7:26
  perfect
• 7:26
  art
• 7:26
  form.
• 7:27
  It
• 7:27
  is
• 7:27
  capable
• 7:28
  of
• 7:28
  depicting
• 7:28
  anything
• 7:29
  and
• 7:29
  anyone.
• 7:30
  It
• 7:30
  has
• 7:31
  none
• 7:31
  of
• 7:31
  the
• 7:31
  limitations
• 7:32
  of
• 7:32
  live
• 7:32
  action
• 7:33
  cinema,
• 7:33
  which
• 7:34
  still
• 7:34
  kind
• 7:35
  of
• 7:35
  irks
• 7:35
  me
• 7:35
  that
• 7:36
  there
• 7:36
  are
• 7:36
  so
• 7:36
  many
• 7:36
  studios,
• 7:37
  especially
• 7:37
  Disney,
• 7:38
  who
• 7:39
  are
• 7:39
  now
• 7:39
  taking
• 7:39
  these
• 7:40
  treasured
• 7:41
  animated
• 7:41
  classics
• 7:42
  and
• 7:42
  turning
• 7:43
  them
• 7:43
  into
• 7:43
  live
• 7:43
  action,
• 7:44
  not
• 7:44
  because
• 7:45
  of
• 7:45
  the
• 7:45
  art
• 7:46
  form,
• 7:46
  but
• 7:47
  because
• 7:47
  they
• 7:47
  just
• 7:47
  want
• 7:48
  to
• 7:48
  make
• 7:48
  a
• 7:48
  little
• 7:48
  bit
• 7:48
  of
• 7:48
  extra
• 7:48
  money
• 7:49
  from
• 7:49
  the
• 7:49
  ip.
• 7:50
  And
• 7:50
  I
• 7:50
  understand
• 7:51
  it
• 7:51
  from
• 7:51
  a
• 7:51
  business
• 7:52
  point
• 7:52
  of
• 7:52
  view,
• 7:53
  however,
• 7:54
  the
• 7:54
  movies
• 7:54
  that
• 7:55
  they
• 7:55
  create
• 7:55
  are
• 7:56
  never
• 7:56
  going
• 7:56
  to
• 7:57
  be
• 7:57
  as
• 7:57
  great
• 7:58
  as
• 7:58
  the
• 7:58
  original
• 7:59
  animated
• 8:00
  movies.
• 8:00
  It's
• 8:00
  just
• 8:00
  not
• 8:01
  possible.
• 8:02
  There
• 8:02
  is
• 8:02
  not
• 8:03
  one
• 8:03
  movie
• 8:03
  that
• 8:04
  exists
• 8:05
  that
• 8:05
  is
• 8:05
  better
• 8:06
  than
• 8:06
  the
• 8:06
  animated
• 8:07
  movie
• 8:07
  that
• 8:08
  came
• 8:08
  before
• 8:08
  it.
• 8:08
  There
• 8:08
  are
• 8:08
  some
• 8:09
  great
• 8:09
  ones
• 8:09
  out
• 8:09
  there,
• 8:10
  definitely
• 8:11
  some
• 8:11
  great
• 8:11
  ones.
• 8:11
  And
• 8:12
  there
• 8:12
  are
• 8:12
  some
• 8:12
  great
• 8:13
  ones
• 8:13
  that
• 8:13
  I
• 8:13
  do
• 8:13
  actually
• 8:13
  want
• 8:14
  to
• 8:14
  talk
• 8:14
  about
• 8:14
  on
• 8:15
  this
• 8:15
  podcast
• 8:15
  in
• 8:15
  the
• 8:15
  near
• 8:16
  future
• 8:16
  when
• 8:17
  we
• 8:17
  do
• 8:17
  talk
• 8:17
  about
• 8:17
  live
• 8:18
  action
• 8:18
  remakes,
• 8:19
  because
• 8:19
  it
• 8:19
  is
• 8:19
  something
• 8:19
  I
• 8:20
  have
• 8:20
  avoided
• 8:21
  on
• 8:21
  this
• 8:21
  podcast.
• 8:21
  But
• 8:22
  I
• 8:22
  do
• 8:22
  think
• 8:22
  there
• 8:22
  are
• 8:22
  some
• 8:23
  wonderful
• 8:23
  examples
• 8:24
  of
• 8:24
  live
• 8:24
  action
• 8:25
  remakes.
• 8:26
  But
• 8:26
  let's
• 8:27
  not
• 8:27
  discount
• 8:28
  the
• 8:28
  animated
• 8:29
  classics
• 8:29
  that
• 8:30
  came
• 8:30
  before.
• 8:31
  And
• 8:31
  that's
• 8:31
  why
• 8:31
  this
• 8:32
  season
• 8:32
  is
• 8:32
  so
• 8:33
  important.
• 8:33
  And
• 8:34
  that's
• 8:34
  why
• 8:35
  I
• 8:35
  do
• 8:35
  this
• 8:35
  season
• 8:36
  every
• 8:36
  January
• 8:36
  and
• 8:37
  February.
• 8:37
  And
• 8:37
  I
• 8:37
  have
• 8:38
  done
• 8:38
  since
• 8:38
  the
• 8:38
  very
• 8:38
  start
• 8:39
  of
• 8:39
  this
• 8:39
  podcast,
• 8:40
  and
• 8:40
  I
• 8:40
  will
• 8:40
  continue
• 8:41
  to
• 8:41
  do
• 8:41
  it
• 8:42
  until
• 8:42
  this
• 8:42
  podcast
• 8:43
  ends,
• 8:43
  whenever
• 8:44
  that
• 8:44
  happens.
• 8:45
  And
• 8:45
  the
• 8:45
  reason
• 8:46
  why
• 8:46
  I'm
• 8:47
  doing
• 8:47
  Don
• 8:47
  Bluth
• 8:48
  is
• 8:48
  kind
• 8:48
  of
• 8:48
  obvious.
• 8:49
  He
• 8:49
  was
• 8:49
  the
• 8:50
  guy
• 8:50
  that
• 8:50
  we
• 8:50
  all
• 8:50
  grew
• 8:50
  up
• 8:51
  watching.
• 8:51
  He
• 8:52
  gave
• 8:52
  us
• 8:52
  joy,
• 8:52
  he
• 8:53
  gave
• 8:53
  us
• 8:53
  pain,
• 8:53
  he
• 8:54
  gave
• 8:54
  us
• 8:54
  fear.
• 8:55
  But
• 8:56
  mostly
• 8:57
  for
• 8:57
  this
• 8:57
  movie
• 8:57
  in
• 8:57
  particular.
• 8:58
  Everyone
• 8:59
  loves
• 8:59
  dogs,
• 9:00
  but
• 9:01
  they've
• 9:01
  been
• 9:01
  our
• 9:01
  faithful
• 9:02
  companions
• 9:02
  for
• 9:03
  centuries.
• 9:03
  Charlie
• 9:04
  B.
• 9:04
  Barkin
• 9:05
  isn't
• 9:05
  exactly
• 9:06
  a
• 9:06
  good
• 9:06
  dog.
• 9:07
  He
• 9:07
  associates
• 9:08
  with
• 9:08
  some
• 9:09
  awful
• 9:09
  dogs.
• 9:10
  And
• 9:10
  those
• 9:10
  awful
• 9:11
  dogs
• 9:12
  decide
• 9:12
  to
• 9:12
  send
• 9:12
  him
• 9:13
  to
• 9:13
  heaven
• 9:13
  earlier
• 9:14
  than
• 9:14
  planned.
• 9:15
  And
• 9:15
  as
• 9:16
  the
• 9:16
  first
• 9:16
  Sullivan
• 9:17
  Bluth
• 9:17
  movie
• 9:18
  without
• 9:18
  the
• 9:18
  guidance
• 9:19
  and
• 9:20
  final
• 9:20
  word
• 9:21
  of
• 9:21
  Steven
• 9:21
  Spielberg,
• 9:22
  this
• 9:23
  movie
• 9:23
  had
• 9:23
  a
• 9:24
  lot
• 9:24
  to
• 9:24
  prove.
• 9:25
  So
• 9:26
  here's
• 9:26
  the
• 9:26
  trailer
• 9:26
  for
• 9:27
  All
• 9:27
  Dogs
• 9:27
  Go
• 9:28
  to
• 9:28
  Heaven.
• 10:56
  Charlie
• 10:56
  B.
• 10:57
  Barkin,
• 10:57
  a
• 10:57
  rascally
• 10:58
  German
• 10:58
  shepherd
• 10:59
  with
• 10:59
  a
• 10:59
  shady
• 10:59
  past,
• 11:00
  breaks
• 11:00
  out
• 11:01
  of
• 11:01
  a
• 11:01
  New
• 11:01
  Orleans
• 11:01
  dog
• 11:02
  pound
• 11:02
  with
• 11:03
  the
• 11:03
  help
• 11:03
  of
• 11:03
  his
• 11:03
  faithful
• 11:04
  friend
• 11:04
  Itchy,
• 11:05
  a
• 11:05
  nervously
• 11:06
  hyperactive
• 11:06
  dachshund.
• 11:08
  He
• 11:08
  then
• 11:08
  makes
• 11:08
  tracks
• 11:09
  to
• 11:09
  reunite
• 11:09
  with
• 11:09
  his
• 11:10
  gambling
• 11:10
  casino
• 11:11
  partner,
• 11:11
  Carface
• 11:12
  Carruthers,
• 11:13
  a
• 11:13
  shifty
• 11:13
  pitbull
• 11:14
  who
• 11:14
  has
• 11:14
  planned
• 11:15
  dastardly
• 11:15
  and
• 11:16
  potentially
• 11:16
  deadly
• 11:17
  double
• 11:17
  cross.
• 11:18
  Suddenly,
• 11:19
  Charlie
• 11:19
  finds
• 11:20
  himself
• 11:20
  at
• 11:20
  the
• 11:20
  pearly
• 11:21
  gates
• 11:21
  face
• 11:22
  to
• 11:22
  face
• 11:22
  with
• 11:22
  Annabelle,
• 11:23
  the
• 11:23
  heavenly
• 11:23
  whippet.
• 11:24
  Charlie
• 11:25
  weasels
• 11:26
  his
• 11:26
  way
• 11:26
  back
• 11:26
  to
• 11:26
  earth
• 11:27
  and
• 11:27
  reunites
• 11:27
  with
• 11:28
  Itchy.
• 11:28
  He
• 11:29
  plots
• 11:29
  his
• 11:29
  revenge
• 11:30
  against
• 11:30
  Carface
• 11:31
  and
• 11:31
  along
• 11:32
  the
• 11:32
  way
• 11:33
  acquires
• 11:33
  help
• 11:34
  from
• 11:34
  a
• 11:34
  little
• 11:34
  girl
• 11:34
  named
• 11:35
  Anne
• 11:35
  Marie
• 11:36
  who
• 11:36
  can
• 11:36
  talk
• 11:36
  to
• 11:37
  animals.
• 11:38
  After
• 11:38
  a
• 11:38
  series
• 11:38
  of
• 11:39
  fiendish
• 11:39
  schemes,
• 11:40
  close
• 11:40
  scrapes
• 11:41
  and
• 11:41
  unexpected
• 11:41
  adventures,
• 11:42
  both
• 11:43
  Charlie
• 11:43
  and
• 11:43
  Ann
• 11:44
  Marie
• 11:44
  find
• 11:45
  their
• 11:45
  lives
• 11:45
  are
• 11:45
  at
• 11:46
  stake.
• 11:46
  Only
• 11:47
  one
• 11:47
  of
• 11:47
  them
• 11:47
  can
• 11:48
  be
• 11:48
  saved
• 11:49
  and
• 11:49
  the
• 11:49
  outcome
• 11:49
  is
• 11:50
  in
• 11:50
  Charlie's
• 11:51
  paws.
• 11:52
  Let's
• 11:52
  run
• 11:52
  through
• 11:52
  the
• 11:53
  cast.
• 11:53
  We
• 11:53
  have
• 11:54
  Burt
• 11:54
  Reynolds
• 11:55
  as
• 11:55
  Charlie
• 11:55
  B.
• 11:56
  Barkin,
• 11:57
  Dom
• 11:57
  DeLuise
• 11:58
  as
• 11:58
  Itchy
• 11:59
  Itchiford.
• 12:00
  Judith
• 12:00
  Barsi
• 12:01
  as
• 12:01
  Anne
• 12:02
  Marie,
• 12:03
  Vic
• 12:03
  Tabak
• 12:04
  as
• 12:04
  Carface
• 12:05
  Carruthers,
• 12:06
  Charles
• 12:06
  Nelson
• 12:07
  Reilly
• 12:07
  as
• 12:08
  Killer,
• 12:09
  Lonnie
• 12:09
  Anderson
• 12:10
  as
• 12:10
  Flo,
• 12:11
  Melba
• 12:12
  Moore
• 12:12
  as
• 12:12
  Annabelle,
• 12:13
  and
• 12:14
  Ken
• 12:14
  Page
• 12:14
  as
• 12:15
  King
• 12:15
  Gator.
• 12:16
  All
• 12:17
  Dogs
• 12:17
  Go
• 12:17
  to
• 12:17
  Heaven
• 12:18
  has
• 12:18
  a
• 12:18
  screenplay
• 12:19
  by
• 12:19
  David
• 12:19
  M.
• 12:20
  Weiss
• 12:21
  and
• 12:21
  story
• 12:21
  by
• 12:22
  Don
• 12:22
  Bluth.
• 12:23
  Ken
• 12:23
  Cromer,
• 12:24
  Gary
• 12:24
  Goldman,
• 12:25
  Larry
• 12:25
  Leker,
• 12:26
  Linda
• 12:26
  Miller,
• 12:27
  Monica
• 12:27
  Parker,
• 12:28
  John
• 12:28
  Pomeroy,
• 12:29
  Guy
• 12:29
  Schulman,
• 12:30
  David
• 12:30
  J.
• 12:31
  Steinberg
• 12:32
  and
• 12:32
  David
• 12:32
  M.
• 12:33
  Weiss
• 12:33
  and
• 12:34
  was
• 12:34
  directed
• 12:34
  by
• 12:35
  Don
• 12:35
  Bluth.
• 12:37
  So
• 12:37
  who
• 12:38
  is
• 12:38
  Don
• 12:38
  Bluth?
• 12:39
  Well,
• 12:40
  he
• 12:40
  worked
• 12:40
  at
• 12:40
  Walt
• 12:41
  Disney
• 12:41
  between
• 12:41
  1955
• 12:42
  to
• 12:43
  1957.
• 12:44
  He
• 12:44
  worked
• 12:44
  uncredited
• 12:45
  as
• 12:45
  an
• 12:45
  assistant
• 12:46
  animator
• 12:46
  on
• 12:46
  Sleeping
• 12:47
  Beauty
• 12:48
  and
• 12:48
  worked
• 12:49
  and
• 12:49
  credited
• 12:49
  as
• 12:49
  an
• 12:50
  assistant
• 12:50
  animator
• 12:50
  on
• 12:51
  the
• 12:51
  Sword
• 12:51
  in
• 12:51
  the
• 12:51
  Stone
• 12:52
  in
• 12:52
  1963
• 12:53
  before
• 12:54
  joining
• 12:54
  Filmation
• 12:55
  in
• 12:55
  1967
• 12:57
  and
• 12:57
  then
• 12:57
  returning
• 12:57
  to
• 12:58
  Disney
• 12:58
  full
• 12:58
  time
• 12:59
  in
• 12:59
  1971,
• 13:00
  where
• 13:01
  he
• 13:01
  worked
• 13:01
  on
• 13:01
  character
• 13:02
  animation
• 13:02
  of
• 13:03
  Robin
• 13:03
  Hood,
• 13:03
  the
• 13:04
  titles
• 13:04
  animation
• 13:05
  for
• 13:05
  Escape
• 13:05
  to
• 13:05
  Witch
• 13:06
  Mountain
• 13:06
  and
• 13:07
  as
• 13:07
  an
• 13:07
  animator
• 13:07
  on
• 13:07
  the
• 13:08
  Many
• 13:08
  Adventures
• 13:08
  of
• 13:09
  Weird
• 13:09
  Poo.
• 13:10
  He
• 13:10
  became
• 13:10
  the
• 13:11
  directing
• 13:11
  animator
• 13:12
  for
• 13:12
  the
• 13:12
  Rescuers
• 13:12
  and
• 13:13
  Pete's
• 13:13
  Dragon
• 13:14
  and
• 13:14
  drew
• 13:14
  a
• 13:15
  few
• 13:15
  accredited
• 13:16
  scenes
• 13:16
  for
• 13:16
  the
• 13:16
  Fox
• 13:16
  and
• 13:17
  the
• 13:17
  Hound
• 13:17
  before
• 13:18
  creative
• 13:18
  tensions
• 13:19
  reached
• 13:19
  a
• 13:19
  breaking
• 13:19
  point.
• 13:20
  During
• 13:20
  production
• 13:21
  of
• 13:21
  the
• 13:21
  Fox
• 13:21
  and
• 13:21
  the
• 13:21
  Hound
• 13:22
  with
• 13:22
  arguments
• 13:23
  between
• 13:23
  younger
• 13:23
  animators
• 13:24
  and
• 13:24
  older
• 13:25
  animators
• 13:25
  over
• 13:26
  the
• 13:26
  creative
• 13:26
  direction
• 13:28
  serving
• 13:28
  as
• 13:28
  the
• 13:28
  final
• 13:29
  straw.
• 13:30
  On
• 13:30
  13
• 13:31
  September
• 13:32
  1979,
• 13:33
  his
• 13:33
  42nd
• 13:34
  birthday,
• 13:34
  Don
• 13:35
  Bluth
• 13:35
  resigned
• 13:36
  from
• 13:36
  Disney.
• 13:37
  But
• 13:37
  he
• 13:37
  didn't
• 13:37
  leave
• 13:38
  alone
• 13:38
  the
• 13:39
  departure
• 13:39
  of
• 13:39
  animators
• 13:40
  Don
• 13:40
  Bluth,
• 13:41
  Gary
• 13:41
  Goldman
• 13:42
  and
• 13:42
  John
• 13:42
  Pomeroy,
• 13:43
  along
• 13:43
  with
• 13:44
  a
• 13:44
  further
• 13:44
  four
• 13:44
  animators
• 13:45
  and
• 13:45
  four
• 13:45
  assistant
• 13:46
  animators,
• 13:47
  represented
• 13:48
  about
• 13:48
  17%
• 13:49
  of
• 13:49
  the
• 13:50
  studio's
• 13:50
  animation
• 13:51
  staff.
• 13:52
  The
• 13:52
  loss
• 13:52
  was
• 13:52
  so
• 13:53
  significant
• 13:53
  to
• 13:53
  Disney
• 13:54
  that
• 13:54
  it
• 13:55
  delayed
• 13:55
  the
• 13:55
  release
• 13:55
  of
• 13:55
  the
• 13:56
  Fox
• 13:56
  and
• 13:56
  the
• 13:56
  Hound
• 13:56
  by
• 13:57
  six
• 13:57
  months.
• 13:58
  Bluth
• 13:59
  left
• 13:59
  Disney
• 13:59
  and
• 13:59
  started
• 14:00
  Don
• 14:00
  Bluth
• 14:01
  Productions.
• 14:01
  And
• 14:02
  he
• 14:02
  was
• 14:02
  passionate
• 14:02
  about
• 14:03
  reviving
• 14:03
  the
• 14:03
  classical
• 14:04
  animation
• 14:04
  style
• 14:05
  Disney
• 14:06
  had
• 14:06
  used
• 14:06
  on
• 14:06
  its
• 14:06
  golden
• 14:07
  age
• 14:07
  classics.
• 14:08
  And
• 14:08
  the
• 14:08
  cost
• 14:09
  cutting
• 14:09
  measures
• 14:09
  of
• 14:10
  the
• 14:10
  60s
• 14:10
  and
• 14:10
  70s
• 14:11
  left
• 14:12
  Bluth
• 14:12
  feeling
• 14:13
  concerned
• 14:13
  for
• 14:13
  Disney's
• 14:14
  future.
• 14:14
  He
• 14:15
  felt
• 14:15
  they
• 14:15
  could
• 14:15
  no
• 14:15
  longer
• 14:16
  be
• 14:16
  creative,
• 14:17
  that
• 14:17
  there
• 14:17
  was
• 14:17
  too
• 14:17
  much
• 14:17
  bureaucracy,
• 14:18
  that
• 14:19
  artistic
• 14:19
  value
• 14:20
  was
• 14:20
  reduced
• 14:21
  and
• 14:21
  with
• 14:21
  no
• 14:22
  scope
• 14:22
  to
• 14:22
  grow,
• 14:23
  they
• 14:23
  had
• 14:23
  no
• 14:24
  choice
• 14:24
  but
• 14:24
  to
• 14:24
  leave
• 14:25
  and
• 14:25
  set
• 14:25
  up
• 14:26
  on
• 14:26
  their
• 14:26
  own.
• 14:27
  Their
• 14:27
  first
• 14:27
  feature
• 14:28
  length
• 14:28
  animated
• 14:29
  movie
• 14:29
  was
• 14:29
  an
• 14:30
  adaptation
• 14:30
  of
• 14:30
  Mrs.
• 14:31
  Frisbee
• 14:31
  and
• 14:31
  the
• 14:31
  rats
• 14:32
  at
• 14:32
  NIMH,
• 14:32
  which
• 14:33
  became
• 14:33
  the
• 14:33
  secret
• 14:33
  of
• 14:34
  NIMH.
• 14:34
  That's
• 14:35
  episode
• 14:35
  76
• 14:35
  of
• 14:36
  this
• 14:36
  podcast.
• 14:36
  And
• 14:37
  it
• 14:37
  represented
• 14:38
  the
• 14:38
  sort
• 14:38
  of
• 14:38
  animated
• 14:39
  movies
• 14:39
  that
• 14:39
  would
• 14:39
  become
• 14:40
  blue
• 14:40
  trademarks,
• 14:41
  often
• 14:42
  dark,
• 14:42
  a
• 14:43
  little
• 14:43
  scary
• 14:43
  and
• 14:44
  nightmare
• 14:44
  fuel
• 14:44
  for
• 14:45
  our
• 14:45
  childhoods.
• 14:46
  The
• 14:46
  Secret
• 14:47
  of
• 14:47
  NIMH
• 14:47
  had
• 14:47
  a
• 14:47
  modest
• 14:48
  return
• 14:48
  at
• 14:48
  the
• 14:49
  box
• 14:49
  office,
• 14:50
  but
• 14:50
  then
• 14:50
  an
• 14:50
  industry
• 14:51
  wide
• 14:51
  animators
• 14:52
  strike
• 14:53
  led
• 14:53
  to
• 14:53
  Don
• 14:53
  Bluth
• 14:54
  Productions
• 14:54
  filing
• 14:55
  for
• 14:55
  bankruptcy
• 14:56
  in
• 14:56
  1982.
• 14:57
  But
• 14:58
  as
• 14:58
  I
• 14:58
  said
• 14:59
  last
• 14:59
  episode,
• 14:59
  Don
• 14:59
  Bluth
• 15:00
  is
• 15:00
  nothing
• 15:01
  if
• 15:01
  not
• 15:01
  a
• 15:01
  trial.
• 15:02
  And
• 15:02
  this
• 15:02
  was
• 15:02
  why
• 15:03
  the
• 15:03
  collaboration
• 15:03
  with
• 15:04
  Steven
• 15:04
  Spielberg
• 15:04
  and
• 15:05
  Amblin
• 15:05
  Entertainment
• 15:06
  led
• 15:06
  to
• 15:07
  two
• 15:07
  of
• 15:07
  Bluth's
• 15:08
  most
• 15:08
  endearing
• 15:09
  and
• 15:09
  popular
• 15:09
  movies,
• 15:10
  especially
• 15:10
  where
• 15:11
  sales
• 15:11
  of
• 15:11
  Kleenex
• 15:12
  are
• 15:12
  concerned.
• 15:13
  An
• 15:13
  American
• 15:13
  Tale
• 15:14
  of
• 15:14
  the
• 15:14
  Land
• 15:14
  Before
• 15:14
  Time
• 15:16
  are
• 15:16
  the
• 15:16
  previous
• 15:16
  episodes
• 15:17
  of
• 15:17
  this
• 15:17
  podcast.
• 15:18
  But
• 15:19
  both
• 15:19
  were
• 15:19
  projects
• 15:20
  that
• 15:20
  frustrated
• 15:21
  Bluth
• 15:22
  because
• 15:22
  of
• 15:22
  his
• 15:22
  lack
• 15:23
  of
• 15:23
  creative
• 15:24
  control.
• 15:25
  Despite
• 15:26
  partnering
• 15:26
  with
• 15:26
  Amblin,
• 15:27
  giving
• 15:27
  Son
• 15:27
  of
• 15:28
  and
• 15:28
  Bluth
• 15:28
  their
• 15:28
  two
• 15:28
  biggest
• 15:29
  hits,
• 15:29
  the
• 15:30
  partnership
• 15:30
  wouldn't
• 15:30
  continue.
• 15:31
  Spielberg
• 15:32
  would
• 15:32
  instead
• 15:33
  create
• 15:33
  Amblimation.
• 15:34
  Fievel
• 15:35
  had
• 15:35
  found
• 15:36
  his
• 15:36
  family
• 15:36
  in
• 15:36
  America
• 15:37
  and
• 15:37
  Littlefoot
• 15:38
  had
• 15:38
  been
• 15:38
  reunited
• 15:39
  with
• 15:39
  his
• 15:39
  grandparents
• 15:40
  in
• 15:40
  the
• 15:40
  Great
• 15:40
  Valley.
• 15:41
  There
• 15:41
  would
• 15:42
  be
• 15:42
  no
• 15:42
  third
• 15:42
  collaboration.
• 15:44
  Instead,
• 15:45
  Sullivan
• 15:45
  Bluth,
• 15:46
  bolstered
• 15:47
  by
• 15:47
  two
• 15:47
  of
• 15:47
  animation's
• 15:48
  biggest
• 15:48
  hits
• 15:49
  of
• 15:49
  the
• 15:49
  80s,
• 15:50
  had
• 15:50
  a
• 15:50
  new
• 15:50
  studio
• 15:51
  in
• 15:51
  Dublin,
• 15:52
  had
• 15:52
  acquired
• 15:52
  some
• 15:53
  of
• 15:53
  the
• 15:53
  most
• 15:53
  talented
• 15:54
  animators
• 15:54
  in
• 15:54
  the
• 15:54
  business,
• 15:55
  and
• 15:56
  had
• 15:56
  lined
• 15:56
  up
• 15:56
  a
• 15:57
  new
• 15:57
  deal
• 15:57
  with
• 15:57
  independent
• 15:58
  British
• 15:58
  producers
• 15:59
  Goldcrest
• 16:00
  Films
• 16:01
  and
• 16:02
  All
• 16:02
  Dogs
• 16:02
  Go
• 16:02
  to
• 16:02
  Heaven
• 16:03
  had
• 16:03
  been
• 16:03
  a
• 16:03
  story
• 16:04
  brewing
• 16:04
  in
• 16:04
  Bluth's
• 16:05
  mind
• 16:05
  for
• 16:05
  a
• 16:05
  while
• 16:06
  since
• 16:06
  the
• 16:07
  Secret
• 16:07
  of
• 16:07
  NIMH,
• 16:08
  an
• 16:08
  idea
• 16:09
  of
• 16:09
  an
• 16:09
  animated
• 16:09
  film
• 16:10
  consisting
• 16:10
  of
• 16:10
  three
• 16:11
  short
• 16:11
  stories
• 16:12
  with
• 16:12
  one
• 16:12
  of
• 16:13
  Them
• 16:13
  a
• 16:13
  satire
• 16:14
  of
• 16:14
  detective
• 16:14
  films
• 16:15
  with
• 16:15
  a
• 16:16
  shaggy
• 16:16
  German
• 16:16
  shepherd
• 16:17
  as
• 16:17
  a
• 16:17
  private
• 16:18
  eye.
• 16:18
  The
• 16:19
  idea
• 16:19
  was
• 16:19
  with
• 16:20
  Burt
• 16:20
  Reynolds
• 16:21
  in
• 16:21
  mind,
• 16:21
  who
• 16:21
  was
• 16:22
  a
• 16:22
  friend
• 16:22
  of
• 16:22
  Dom
• 16:22
  DeLuise,
• 16:23
  who
• 16:23
  was
• 16:24
  a
• 16:24
  regular
• 16:24
  collaborator
• 16:25
  of
• 16:25
  Don
• 16:25
  Bluth.
• 16:26
  But
• 16:27
  back
• 16:27
  in
• 16:27
  those
• 16:27
  days,
• 16:28
  Don
• 16:28
  Bluth
• 16:29
  Productions,
• 16:29
  as
• 16:30
  it
• 16:30
  was
• 16:30
  known
• 16:30
  at
• 16:30
  the
• 16:30
  time,
• 16:31
  struggled
• 16:32
  during
• 16:32
  periods
• 16:33
  of
• 16:33
  financial
• 16:33
  instability,
• 16:35
  ultimately
• 16:35
  declaring
• 16:36
  bankruptcy.
• 16:37
  And
• 16:37
  the
• 16:37
  doggy
• 16:37
  Private
• 16:38
  Eyes
• 16:38
  story
• 16:38
  just
• 16:39
  remained
• 16:39
  an
• 16:39
  idea
• 16:40
  with
• 16:40
  a
• 16:40
  few
• 16:40
  storyboards.
• 16:41
  The
• 16:42
  studio
• 16:42
  did
• 16:42
  apparently
• 16:43
  adopt
• 16:43
  a
• 16:43
  similar
• 16:44
  real
• 16:44
  life
• 16:44
  dog,
• 16:45
  whom
• 16:45
  they
• 16:46
  named
• 16:46
  Bert,
• 16:47
  a
• 16:47
  stray
• 16:47
  German
• 16:48
  shepherd
• 16:48
  mix
• 16:49
  who
• 16:49
  also
• 16:49
  moved
• 16:50
  with
• 16:50
  them
• 16:50
  to
• 16:50
  Ireland.
• 16:51
  But
• 16:51
  Bert
• 16:52
  the
• 16:52
  dog
• 16:52
  was
• 16:52
  the
• 16:52
  only
• 16:53
  thing
• 16:53
  to
• 16:53
  come
• 16:54
  out
• 16:54
  of
• 16:54
  the
• 16:54
  idea.
• 16:56
  Once
• 16:56
  the
• 16:56
  Land
• 16:56
  Before
• 16:57
  Time
• 16:57
  was
• 16:57
  complete,
• 16:58
  Bluth
• 16:59
  now
• 16:59
  had
• 16:59
  the
• 16:59
  creative
• 17:00
  control
• 17:00
  he
• 17:00
  craved,
• 17:01
  and
• 17:02
  three
• 17:02
  of
• 17:02
  the
• 17:02
  biggest
• 17:02
  animated
• 17:03
  movies
• 17:03
  from
• 17:04
  Disney
• 17:04
  up
• 17:05
  until
• 17:05
  that
• 17:05
  point
• 17:06
  were
• 17:06
  the
• 17:07
  Fox
• 17:07
  and
• 17:07
  the
• 17:07
  Hound,
• 17:08
  101
• 17:09
  Dalmatians,
• 17:10
  and
• 17:10
  Lady
• 17:10
  and
• 17:10
  the
• 17:11
  Tramp.
• 17:11
  And
• 17:12
  dogs
• 17:12
  seemed
• 17:13
  to
• 17:13
  be
• 17:13
  the
• 17:13
  magic
• 17:13
  ingredient.
• 17:14
  Bluth
• 17:15
  immediately
• 17:15
  went
• 17:16
  back
• 17:16
  to
• 17:16
  his
• 17:16
  doggy
• 17:17
  private
• 17:17
  eye
• 17:18
  story,
• 17:18
  and
• 17:19
  From
• 17:19
  October
• 17:19
  to
• 17:19
  December
• 17:20
  1987,
• 17:21
  Bluth,
• 17:22
  Gary
• 17:22
  Goldman
• 17:23
  and
• 17:23
  John
• 17:23
  Pomeroy
• 17:24
  put
• 17:24
  together
• 17:25
  their
• 17:25
  ideas
• 17:25
  for
• 17:26
  the
• 17:26
  movie,
• 17:26
  including
• 17:27
  the
• 17:27
  title
• 17:28
  All
• 17:28
  Dogs
• 17:28
  Go
• 17:29
  to
• 17:29
  Heaven,
• 17:29
  which
• 17:30
  was
• 17:30
  based
• 17:30
  on
• 17:30
  a
• 17:30
  book
• 17:31
  Bluth
• 17:31
  had
• 17:31
  been
• 17:32
  read
• 17:32
  to
• 17:32
  at
• 17:32
  school.
• 17:33
  He
• 17:33
  thought
• 17:33
  it
• 17:34
  sounded
• 17:34
  provocative
• 17:35
  and
• 17:35
  people
• 17:35
  would
• 17:35
  naturally
• 17:36
  be
• 17:36
  attracted
• 17:37
  to
• 17:37
  a
• 17:37
  movie
• 17:37
  with
• 17:37
  that
• 17:38
  title.
• 17:39
  And
• 17:39
  that
• 17:39
  was
• 17:39
  the
• 17:39
  key
• 17:39
  for
• 17:40
  the
• 17:40
  three
• 17:40
  men.
• 17:41
  They'd
• 17:41
  done
• 17:41
  immigrant
• 17:42
  mice,
• 17:42
  they'd
• 17:43
  done
• 17:43
  dinosaurs,
• 17:44
  and
• 17:44
  they
• 17:44
  wanted
• 17:45
  something
• 17:45
  that
• 17:45
  would
• 17:45
  hook
• 17:45
  the
• 17:46
  audience.
• 17:46
  And
• 17:47
  who
• 17:47
  doesn't
• 17:47
  love
• 17:48
  dogs?
• 17:49
  David
• 17:49
  N.
• 17:50
  Weiss
• 17:50
  was
• 17:50
  brought
• 17:50
  on
• 17:51
  board
• 17:51
  to
• 17:51
  write
• 17:51
  the
• 17:51
  script,
• 17:52
  which
• 17:52
  would
• 17:53
  take
• 17:53
  inspiration
• 17:53
  from
• 17:54
  films
• 17:54
  like
• 17:54
  It's
• 17:55
  a
• 17:55
  Wonderful
• 17:55
  Life,
• 17:56
  Little
• 17:56
  Miss
• 17:56
  Marker,
• 17:57
  and
• 17:57
  Heaven
• 17:57
  Can
• 17:58
  Wait.
• 17:59
  And
• 17:59
  from
• 17:59
  when
• 18:00
  we're
• 18:00
  little,
• 18:00
  we're
• 18:01
  told
• 18:01
  about
• 18:01
  heaven
• 18:02
  or
• 18:02
  places
• 18:02
  similar
• 18:03
  and
• 18:03
  that
• 18:04
  good
• 18:04
  kind
• 18:04
  people
• 18:05
  end
• 18:05
  up
• 18:05
  there.
• 18:06
  So
• 18:06
  while
• 18:06
  there
• 18:06
  would
• 18:07
  be
• 18:07
  an
• 18:07
  implicit
• 18:07
  reference
• 18:08
  to
• 18:08
  death,
• 18:09
  Bluth
• 18:09
  was
• 18:09
  adamant
• 18:10
  that
• 18:10
  All
• 18:10
  Dogs
• 18:11
  Go
• 18:11
  to
• 18:11
  Heaven
• 18:12
  was
• 18:12
  the
• 18:12
  title
• 18:13
  to
• 18:13
  be
• 18:13
  kept
• 18:14
  and
• 18:14
  even
• 18:14
  a
• 18:15
  suggested
• 18:15
  alternative,
• 18:16
  Charlie
• 18:17
  the
• 18:17
  heavenly
• 18:17
  Dog,
• 18:18
  was
• 18:18
  denied.
• 18:19
  When
• 18:19
  the
• 18:19
  title
• 18:20
  of
• 18:20
  the
• 18:20
  maybe
• 18:20
  was
• 18:20
  announced
• 18:20
  to
• 18:21
  the
• 18:21
  press,
• 18:22
  it
• 18:22
  wasn't
• 18:22
  taken
• 18:22
  particularly
• 18:23
  seriously.
• 18:24
  But
• 18:24
  Bluth
• 18:25
  played
• 18:25
  up
• 18:25
  the
• 18:25
  idea
• 18:26
  it
• 18:26
  was
• 18:26
  a
• 18:27
  fairy
• 18:27
  tale.
• 18:28
  And
• 18:28
  just
• 18:29
  like
• 18:29
  the
• 18:29
  previous
• 18:29
  episode
• 18:30
  Fairy
• 18:30
  Tale,
• 18:31
  the
• 18:31
  Princess
• 18:31
  and
• 18:31
  the
• 18:31
  Frog,
• 18:32
  All
• 18:32
  Dogs
• 18:32
  Go
• 18:33
  to
• 18:33
  Heaven
• 18:33
  would
• 18:34
  also
• 18:34
  be
• 18:34
  set
• 18:34
  in
• 18:35
  New
• 18:35
  Orleans
• 18:36
  as
• 18:36
  somewhere
• 18:36
  totally
• 18:37
  different
• 18:37
  to
• 18:37
  any
• 18:38
  of
• 18:38
  their
• 18:38
  previous
• 18:38
  settings,
• 18:39
  with
• 18:39
  a
• 18:39
  rich
• 18:40
  history
• 18:40
  of
• 18:40
  jazz,
• 18:41
  Mardi
• 18:41
  Gras,
• 18:42
  the
• 18:42
  bayou,
• 18:43
  the
• 18:43
  Mississippi
• 18:43
  river,
• 18:44
  as
• 18:44
  well
• 18:44
  as
• 18:45
  a
• 18:45
  general
• 18:45
  feeling
• 18:46
  of
• 18:46
  spirituality
• 18:47
  which
• 18:47
  would
• 18:47
  tie
• 18:48
  into
• 18:48
  the
• 18:48
  themes
• 18:48
  of
• 18:49
  heaven.
• 18:50
  For
• 18:51
  casting,
• 18:51
  they
• 18:52
  would
• 18:52
  go
• 18:52
  back
• 18:52
  to
• 18:53
  Burt
• 18:53
  Reynolds,
• 18:54
  who
• 18:54
  loved
• 18:54
  their
• 18:54
  movies
• 18:55
  and
• 18:55
  wanted
• 18:55
  to
• 18:56
  play
• 18:56
  the
• 18:56
  role
• 18:56
  Charlie.
• 18:57
  And
• 18:58
  his
• 18:58
  only
• 18:58
  stipulations
• 18:59
  were
• 18:59
  that
• 19:00
  his
• 19:00
  name
• 19:00
  wasn't
• 19:01
  used
• 19:01
  to
• 19:01
  market
• 19:02
  the
• 19:02
  movie
• 19:03
  and
• 19:03
  that
• 19:03
  he
• 19:03
  wanted
• 19:04
  to
• 19:04
  play
• 19:04
  total
• 19:05
  jerk
• 19:05
  who
• 19:06
  became
• 19:06
  reformed
• 19:07
  halfway
• 19:07
  through
• 19:08
  and
• 19:08
  really
• 19:09
  earned
• 19:09
  his
• 19:09
  spot
• 19:10
  in
• 19:10
  Heaven.
• 19:11
  He
• 19:11
  was
• 19:11
  cast
• 19:11
  alongside
• 19:12
  his
• 19:12
  friend
• 19:12
  Dom
• 19:13
  DeLuise
• 19:14
  and
• 19:14
  Reynolds
• 19:14
  and
• 19:14
  DeLuise's
• 19:15
  friendship
• 19:16
  meant
• 19:16
  that
• 19:16
  instead
• 19:16
  of
• 19:16
  recording
• 19:17
  their
• 19:17
  lines
• 19:18
  separately,
• 19:19
  Bluth
• 19:19
  had
• 19:19
  them
• 19:19
  record
• 19:20
  together.
• 19:21
  The
• 19:21
  pair
• 19:21
  ad
• 19:21
  libbed
• 19:22
  and
• 19:22
  altered
• 19:22
  the
• 19:23
  script
• 19:23
  to
• 19:23
  fit
• 19:23
  their
• 19:23
  characters.
• 19:25
  Even
• 19:25
  Reynolds
• 19:26
  wife
• 19:26
  Lori
• 19:26
  Anderson
• 19:27
  got
• 19:27
  in
• 19:27
  on
• 19:27
  the
• 19:28
  action
• 19:28
  and
• 19:28
  got
• 19:29
  herself
• 19:29
  a
• 19:29
  role
• 19:29
  in
• 19:30
  the
• 19:30
  movie
• 19:30
  too
• 19:30
  as
• 19:31
  the
• 19:31
  collie
• 19:31
  Flo.
• 19:33
  This
• 19:33
  would
• 19:33
  also
• 19:33
  be
• 19:34
  Bluth's
• 19:34
  first
• 19:34
  movie
• 19:35
  to
• 19:35
  feature
• 19:35
  a
• 19:36
  main
• 19:36
  human
• 19:36
  character
• 19:37
  in
• 19:38
  7
• 19:38
  year
• 19:38
  old
• 19:38
  orphan
• 19:39
  Anne
• 19:39
  Marie.
• 19:40
  And
• 19:40
  after
• 19:40
  testing
• 19:41
  around
• 19:41
  20
• 19:41
  young
• 19:42
  girls
• 19:42
  to
• 19:42
  perform
• 19:42
  the
• 19:43
  live
• 19:43
  action
• 19:43
  references,
• 19:44
  the
• 19:44
  studio
• 19:45
  picked
• 19:45
  a
• 19:46
  six
• 19:46
  year
• 19:46
  old
• 19:46
  Irish
• 19:47
  girl.
• 19:48
  Across
• 19:48
  the
• 19:48
  course
• 19:48
  of
• 19:49
  six
• 19:49
  or
• 19:49
  seven
• 19:49
  months,
• 19:50
  she
• 19:50
  would
• 19:50
  come
• 19:50
  into
• 19:51
  the
• 19:51
  studio
• 19:51
  two
• 19:52
  or
• 19:52
  three
• 19:52
  times
• 19:52
  a
• 19:52
  week
• 19:53
  and
• 19:53
  would
• 19:53
  be
• 19:53
  filmed
• 19:54
  doing
• 19:54
  in
• 19:54
  live
• 19:55
  action
• 19:55
  what
• 19:56
  Anne
• 19:56
  Marie
• 19:56
  was
• 19:56
  to
• 19:57
  do
• 19:57
  in
• 19:57
  animation.
• 19:58
  John
• 19:58
  Pomeroy
• 19:59
  had
• 19:59
  recently
• 20:00
  remarried
• 20:01
  and
• 20:01
  he
• 20:01
  and
• 20:01
  his
• 20:02
  new
• 20:02
  wife
• 20:02
  were
• 20:02
  filmed
• 20:03
  as
• 20:03
  reference
• 20:03
  for
• 20:03
  the
• 20:04
  married
• 20:04
  couple
• 20:04
  and
• 20:05
  Anne
• 20:05
  Marie's
• 20:05
  future
• 20:06
  foster
• 20:06
  parents,
• 20:07
  Kate
• 20:07
  and
• 20:07
  Harold.
• 20:09
  Don
• 20:09
  Bluth
• 20:10
  had
• 20:10
  been
• 20:10
  so
• 20:10
  taken
• 20:11
  with
• 20:11
  young
• 20:11
  Judith
• 20:12
  Barsi
• 20:13
  when
• 20:13
  she
• 20:13
  voiced
• 20:13
  Ducky
• 20:14
  in
• 20:14
  the
• 20:14
  Land
• 20:14
  Before
• 20:14
  Time,
• 20:15
  he
• 20:15
  had
• 20:15
  already
• 20:16
  planned
• 20:16
  to
• 20:16
  hire
• 20:17
  her
• 20:17
  again
• 20:17
  for
• 20:18
  this
• 20:18
  movie.
• 20:19
  He
• 20:19
  had
• 20:19
  also
• 20:19
  planned
• 20:20
  to
• 20:20
  use
• 20:20
  her
• 20:20
  extensively
• 20:21
  in
• 20:21
  publicity.
• 20:22
  She
• 20:23
  was
• 20:23
  not
• 20:23
  yet
• 20:23
  10
• 20:23
  years
• 20:24
  old,
• 20:24
  cute
• 20:25
  as
• 20:25
  a
• 20:25
  button
• 20:25
  with
• 20:26
  talent
• 20:26
  way
• 20:26
  beyond
• 20:27
  her
• 20:27
  years.
• 20:28
  But
• 20:28
  after
• 20:28
  she'd
• 20:29
  recorded
• 20:29
  her
• 20:29
  lines
• 20:30
  for
• 20:30
  the
• 20:30
  role
• 20:30
  of
• 20:30
  Anne
• 20:31
  Marie,
• 20:32
  tragedy
• 20:32
  struck.
• 20:34
  Barsi's
• 20:34
  story
• 20:35
  is
• 20:35
  one
• 20:35
  of
• 20:35
  the
• 20:36
  most
• 20:36
  tragic
• 20:36
  of
• 20:37
  Hollywood
• 20:37
  stories.
• 20:37
  So
• 20:38
  trigger
• 20:39
  warning
• 20:39
  for
• 20:39
  the
• 20:39
  next
• 20:39
  section
• 20:40
  because
• 20:41
  I'm
• 20:41
  going
• 20:41
  to
• 20:41
  be
• 20:42
  briefly
• 20:42
  talking
• 20:42
  about
• 20:43
  Judith
• 20:43
  Barsi's
• 20:44
  tragic
• 20:44
  death
• 20:44
  at
• 20:45
  the
• 20:45
  hands
• 20:45
  of
• 20:45
  her
• 20:45
  abusive
• 20:46
  father.
• 20:47
  Judith
• 20:48
  Barsi,
• 20:48
  like
• 20:48
  many
• 20:49
  child
• 20:49
  actors,
• 20:49
  was
• 20:50
  providing
• 20:50
  for
• 20:50
  her
• 20:51
  family
• 20:51
  at
• 20:51
  a
• 20:51
  young
• 20:52
  age.
• 20:52
  But
• 20:52
  by
• 20:53
  1987
• 20:54
  she'd
• 20:54
  already
• 20:54
  appeared
• 20:55
  in
• 20:55
  Jaws
• 20:55
  the
• 20:56
  Revenge
• 20:56
  at
• 20:56
  the
• 20:56
  age
• 20:56
  of
• 20:57
  eight,
• 20:57
  as
• 20:57
  she
• 20:58
  genuinely
• 20:58
  is
• 20:58
  one
• 20:59
  of
• 20:59
  the
• 20:59
  best
• 20:59
  things
• 20:59
  in
• 20:59
  that
• 20:59
  movie,
• 21:00
  by
• 21:00
  the
• 21:00
  way.
• 21:01
  Age
• 21:01
  9,
• 21:02
  she
• 21:02
  charmed
• 21:02
  Bluth
• 21:03
  and
• 21:03
  Steven
• 21:03
  Spielberg
• 21:04
  with
• 21:04
  her
• 21:05
  spirited
• 21:05
  recording
• 21:06
  sessions
• 21:06
  as
• 21:06
  Ducky
• 21:07
  and
• 21:08
  later
• 21:08
  as
• 21:08
  Anne
• 21:08
  Marie
• 21:09
  in
• 21:09
  All
• 21:09
  Dogs
• 21:09
  Go
• 21:09
  to
• 21:10
  Heaven.
• 21:10
  But
• 21:11
  all
• 21:11
  was
• 21:11
  not
• 21:11
  well
• 21:12
  at
• 21:12
  home.
• 21:13
  Despite
• 21:13
  her
• 21:14
  earnings
• 21:14
  and
• 21:14
  career
• 21:15
  successes,
• 21:15
  her
• 21:16
  father
• 21:16
  Joszef's
• 21:17
  alcoholism
• 21:18
  worsened
• 21:18
  and
• 21:19
  he
• 21:19
  started
• 21:19
  verbally
• 21:20
  and
• 21:20
  physically
• 21:21
  abusing
• 21:21
  both
• 21:22
  Judith
• 21:22
  and
• 21:23
  her
• 21:23
  mother,
• 21:23
  Maria.
• 21:24
  Maria
• 21:25
  would
• 21:25
  report
• 21:25
  him
• 21:26
  to
• 21:26
  the
• 21:26
  police,
• 21:26
  but
• 21:26
  would
• 21:27
  end
• 21:27
  up
• 21:27
  dropping
• 21:27
  the
• 21:27
  charges.
• 21:29
  His
• 21:29
  threats
• 21:29
  continued
• 21:30
  though,
• 21:30
  with
• 21:30
  Judith
• 21:31
  starting
• 21:31
  to
• 21:31
  suffer
• 21:32
  extreme
• 21:33
  physical
• 21:33
  and
• 21:33
  emotional
• 21:34
  abuse
• 21:35
  and
• 21:35
  her
• 21:35
  agent
• 21:36
  took
• 21:36
  her
• 21:36
  to
• 21:36
  a
• 21:36
  child
• 21:37
  psychologist
• 21:38
  who
• 21:38
  reported
• 21:38
  her
• 21:39
  findings
• 21:39
  to
• 21:39
  Child
• 21:40
  Protective
• 21:40
  Services.
• 21:42
  Maria
• 21:43
  promised
• 21:43
  the
• 21:43
  caseworker
• 21:44
  that
• 21:44
  she
• 21:44
  was
• 21:44
  divorcing
• 21:45
  her
• 21:45
  husband
• 21:46
  and
• 21:46
  planned
• 21:47
  to
• 21:47
  move
• 21:47
  away
• 21:47
  with
• 21:47
  Judith
• 21:48
  but
• 21:48
  she
• 21:49
  hesitated
• 21:49
  leaving
• 21:50
  and
• 21:50
  on
• 21:51
  28th
• 21:51
  July
• 21:52
  1988,
• 21:53
  the
• 21:53
  bodies
• 21:54
  of
• 21:54
  Maria
• 21:55
  Barsi,
• 21:55
  Joszef
• 21:56
  Barsi
• 21:57
  and
• 21:57
  the
• 21:57
  then
• 21:57
  10
• 21:58
  year
• 21:58
  old
• 21:58
  Judith
• 21:59
  were
• 21:59
  found
• 21:59
  at
• 22:00
  their
• 22:00
  home
• 22:00
  in
• 22:00
  an
• 22:00
  apparent
• 22:01
  murder
• 22:01
  suicide.
• 22:03
  Both
• 22:03
  the
• 22:03
  Land
• 22:03
  Before
• 22:04
  Time
• 22:04
  and
• 22:04
  All
• 22:05
  Dogs
• 22:05
  Go
• 22:05
  to
• 22:05
  Heaven
• 22:06
  were
• 22:06
  released
• 22:06
  posthumously
• 22:07
  with
• 22:07
  the
• 22:08
  closing
• 22:08
  credits
• 22:08
  Song
• 22:09
  of
• 22:09
  All
• 22:09
  Dogs
• 22:09
  Go
• 22:10
  to
• 22:10
  Heaven
• 22:10
  dedicated
• 22:11
  to
• 22:11
  Judith.
• 22:13
  The
• 22:13
  news
• 22:13
  of
• 22:14
  Judith's
• 22:14
  death
• 22:15
  affected
• 22:15
  the
• 22:16
  whole
• 22:16
  cast
• 22:16
  and
• 22:16
  crew.
• 22:17
  In
• 22:17
  an
• 22:17
  interview
• 22:18
  with
• 22:18
  Meridian
• 22:18
  magazine,
• 22:19
  Bluth
• 22:20
  would
• 22:20
  say
• 22:20
  the
• 22:20
  news
• 22:21
  nearly
• 22:21
  paralyzed
• 22:22
  the
• 22:22
  production,
• 22:22
  that
• 22:23
  they
• 22:23
  still
• 22:23
  had
• 22:23
  her
• 22:24
  production
• 22:24
  cassette
• 22:25
  recordings
• 22:25
  of
• 22:25
  her
• 22:25
  voice
• 22:26
  to
• 22:26
  help
• 22:26
  in
• 22:27
  the
• 22:27
  animation
• 22:27
  process
• 22:28
  and
• 22:28
  no
• 22:29
  one
• 22:29
  could
• 22:29
  actually
• 22:29
  listen
• 22:30
  to
• 22:30
  those
• 22:30
  cassettes.
• 22:31
  Everybody
• 22:32
  would
• 22:32
  start
• 22:32
  tearing
• 22:33
  up
• 22:33
  and
• 22:34
  it
• 22:34
  stopped
• 22:34
  production
• 22:35
  for
• 22:35
  a
• 22:35
  short
• 22:35
  while.
• 22:36
  Bluth
• 22:37
  was
• 22:37
  reportedly
• 22:38
  so
• 22:38
  distressed
• 22:38
  when
• 22:39
  he
• 22:39
  heard
• 22:39
  about
• 22:39
  Judith's
• 22:40
  death
• 22:40
  that
• 22:41
  he
• 22:41
  left
• 22:41
  the
• 22:41
  studio
• 22:42
  for
• 22:42
  the
• 22:42
  day
• 22:42
  on
• 22:42
  hearing
• 22:43
  the
• 22:43
  news.
• 22:44
  There's
• 22:44
  also
• 22:44
  a
• 22:45
  long
• 22:45
  standing
• 22:45
  rumourrumourthat
• 22:46
  thatBurtReynoldswassoupsetoverJudith'smurderhetook
• 22:49
  multiple
• 22:50
  takes
• 22:50
  to
• 22:50
  record
• 22:51
  the
• 22:51
  dialogue
• 22:51
  at
• 22:52
  the
• 22:52
  end
• 22:52
  of
• 22:52
  the
• 22:52
  movie
• 22:53
  where
• 22:53
  Charlie
• 22:54
  is
• 22:54
  allowed
• 22:54
  to
• 22:54
  see
• 22:54
  Anne
• 22:55
  Marie
• 22:55
  one
• 22:55
  more
• 22:56
  time.
• 22:56
  The
• 22:56
  rumourrumour
• 22:57
  istakes.However,Snopes,afactcheckingwebsite,hasyetto
• 23:02
  findevidencetosubstantiatetheclaim.Itstatestherumor
• 23:06
  appearedtospawneitheroutofaJune2024TikTokvideooranIMDb.comtriviapaid
• 23:13
  entry,neitherofwhich
• 23:15
  providedany
• 23:16
  sourcesfortheirclaims.PhilIt'satraumaticexperiencewhen
• 23:20
  claims.
• 23:21
  Still
• 23:21
  it's
• 23:21
  a
• 23:22
  traumatic
• 23:22
  experience
• 23:23
  when
• 23:23
  it'sasmallchild.
• 23:25
  Buteveryonewantedtopaytributeto
• 23:27
  Judithand
• 23:28
  thebest
• 23:28
  waywas
• 23:29
  tofinishthemovieand
• 23:30
  haveherstarshinethatlittlebitbrighter
• 23:33
  because
• 23:33
  of
• 23:33
  it.The
• 23:35
  Irishcrew,freefrom
• 23:36
  the
• 23:36
  burdenofpleasingSteven
• 23:38
  Spielberg,feltmorefreeonthismovieandtheproductionmovedquickly.Theyfelttheexperience
• 23:44
  ofdrawingdogsmorefun
• 23:46
  than
• 23:46
  dinosaurs.Computeranimationwasalsoused
• 23:49
  sparingly.DonLuthwasn't
• 23:51
  ahugefanof
• 23:52
  usingthecomputerforanimation,
• 23:54
  butforatrickyshot,thesceneofthecarrunningdownthepiertowards
• 23:58
  Bluth
• 23:59
  wasn't
• 23:59
  a
• 23:59
  huge
• 24:00
  fan
• 24:00
  themechanicalcraneworkatthejunkyard,
• 24:03
  heconsentedtothe
• 24:04
  newtechnologybeing
• 24:05
  usedfor
• 24:06
  thoseMidwaythroughproduction,
• 24:08
  JohnPomeroy
• 24:09
  returnedtotheUS
• 24:11
  toheadupanewdivision
• 24:12
  ofthecompanythere,and
• 24:14
  theUScrewhebuiltalsostartedworking
• 24:16
  onAll
• 24:17
  Dogs
• 24:17
  GotoHeaven.TheyalsousedthenewlargerUSpresencetorekindlegrassroots
• 24:22
  interestin
• 24:23
  theUSfor
• 24:24
  thenewly
• 24:25
  growingstudio.
• 24:26
  Adivisionentitled
• 24:27
  DonBluthAnimationGallerybeganofficiallymarketingtheBluthcellsunseenfor
• 24:33
  severalyears,except
• 24:34
  forthosefor
• 24:34
  AmericanTaleandtheLand
• 24:35
  BeforeTime,
• 24:37
  whichbelongedtoAmblin.Butdespiteallof
• 24:40
  thishardwork,theystilldidn'thaveaUSdistributorforAllDogsGotoHeaven.AndaproposeddealwithUniversalwasunsatisfactorytoSullivan,BluthandGoldcrestonterms.So
• 24:52
  GoldcresttookthemovietotheMercatoInternazionaledelFilmdeltvFilm
• 24:57
  ErdelDocumentarioorMifedGlobalMarketplaceattheendof1988inorder
• 25:04
  tosellthemovietotheoverseas
• 25:06
  markets.Andall
• 25:07
  they
• 25:07
  hadwasatestreel.It
• 25:10
  wasn'tuntilthe
• 25:10
  summerof1989
• 25:12
  thatUnitedArtists,thesamestudiothathaddistributedthe
• 25:16
  Secretof
• 25:16
  Nin,pickedupAllDogsGotoHeavenandGoldcrestwasableto
• 25:21
  makeadealtodistributethefilmintheUStheyachieved
• 25:24
  distributionfor
• 25:25
  everymajormarket
• 25:26
  intheworldexcept
• 25:28
  forJapan,for$7million.The
• 25:31
  UnitedArtist
• 25:32
  dealwasunusualthough,in
• 25:34
  thattheywouldnot
• 25:35
  handlethepublicityandGoldcrestwouldcoverthat
• 25:38
  with
• 25:38
  had
• 25:38
  distributed
• 25:39
  the
• 25:39
  Secret
• 25:40
  of
• 25:40
  NIMH,
• 25:41
  picked
• 25:41
  up
• 25:41
  All
• 25:42
  Dogs
• 25:42
  Go
• 25:43
  to
• 25:43
  Heaven
• 25:44
  and
• 25:44
  wouldpick
• 25:44
  upthefilmprintandadvertisingcostsataround
• 25:48
  $10million.
• 25:49
  Because
• 25:50
  ofthesplit,UnitedArtistswouldreceiveonethird
• 25:53
  of
• 25:53
  the
• 25:53
  usual
• 25:54
  distributionfee.Andif
• 25:55
  thefilmgrossedover$35millionat
• 25:58
  theboxoffice,UnitedArtistsagreed
• 26:01
  topayGoldcrest
• 26:02
  aminimumof
• 26:03
  $8million
• 26:04
  fromthehomevideosales.But
• 26:07
  Iamgoingtocomebacktobothofthosethingsinalittlebitbecausetheboxoffice
• 26:12
  takingsandtheDVDsalesof
• 26:14
  thismoviearebothincrediblyimportantandincrediblyinteresting.
• 26:19
  ThisisagoodmomentthoughtosegueintotheobligatoryKeanureferenceofthisepisode.Andifyoudon'tknowwhatthat
• 26:25
  is,iswhereI
• 26:26
  try
• 26:26
  andlinkevery
• 26:27
  moviethatIfeaturewithKeanuReevesfor
• 26:29
  noreasonotherthanheis
• 26:31
  thebestofmen.And
• 26:33
  genuinely,there
• 26:34
  wasever
• 26:34
  only
• 26:34
  gonnabeonereferencefor
• 26:36
  thismovie.Twowords.JohnWick,if
• 26:41
  youknow,youknow.JamesHornerwouldn'treturntoscore
• 26:45
  thismovieafterhescored
• 26:47
  AnAmericanTaleandtheLandBeforeTime.Instead,they
• 26:50
  broughtin
• 26:51
  RalphBurnstocomposethescore
• 26:53
  alongwith
• 26:54
  Tony
• 26:54
  AwardwinnerCharlesStraussto
• 26:56
  writethesongs.
• 26:57
  StrausshadpreviouslycomposedthemusicforPiedbyBirdieandAnnie.
• 27:02
  Burnshad
• 27:03
  writtenthe
• 27:03
  scoreforallthatJazzandwasthemusicsupervisoronCabaret.Strausswrotefoursongsfor
• 27:10
  thesoundtrackandheandBluthworkedtogetherwritingspecificconceptsforeachsong,
• 27:15
  wantingeachonetofurthertheplotandenlightenaudience.The
• 27:20
  settingforlet's
• 27:21
  MakeMusicTogetherwasinspired
• 27:22
  by
• 27:22
  score
• 27:23
  this
• 27:23
  movie
• 27:24
  after
• 27:24
  he
• 27:24
  scored
• 27:25
  An
• 27:25
  American
• 27:26
  Tail
• 27:26
  and
• 27:27
  the
• 27:27
  Land
• 27:27
  Before
• 27:28
  Time.
• 27:28
  withafloweryswimmingcap.
• 27:30
  Twoof
• 27:31
  thesongs
• 27:31
  werewritten
• 27:32
  byTJKunstar,brotherof
• 27:34
  codirectorDanKunstar.AllDogs
• 27:37
  Go
• 27:37
  toHeavenhadaspecialdisplaypresentation.The1989San
• 27:41
  DiegocomicCon
• 27:43
  Bye
• 27:43
  Bye
• 27:43
  screenings
• 27:44
  wereheldasthemovieneared
• 27:45
  completion.Buttherewas
• 27:47
  aproblem.The
• 27:48
  feedbackfromthetestscreeningswas
• 27:50
  thatthe
• 27:51
  filmwastoo
• 27:51
  intenseforyoungchildren.
• 27:53
  And
• 27:53
  things
• 27:54
  gotworse.WhentheMPAAgaveitaPG
• 27:57
  rating,themoviewascut
• 27:59
  down
• 27:59
  toensureaGrating.Inthe
• 28:01
  us
• 28:02
  themajority
• 28:03
  ofcutsinvolvedtwoscenes.ThefirstwasthescenewhereCharlieiskilledbythecar,whichoriginally
• 28:10
  showedamoregraphicdepictionofthecar
• 28:12
  hittingCharlie.Charlie'sbodyseen
• 28:15
  flyingoff
• 28:16
  thepierandintotheriver.
• 28:17
  Buttheothercutscamefromthenightmare
• 28:20
  written
• 28:21
  by
• 28:21
  TJ
• 28:22
  Kuenster,
• 28:22
  brother
• 28:22
  of
• 28:23
  co
• 28:23
  director
• 28:24
  Dan
• 28:24
  Kuenster.
• 28:25
  Charlie,
• 28:25
  attemptingto
• 28:26
  reach
• 28:26
  outforhim.Italsoappearedformuchlongerandmorethreateninglyon
• 28:30
  the
• 28:31
  screen.Minorcutswere
• 28:33
  made
• 28:33
  to
• 28:33
  the
• 28:33
  typeofweapon,car,faceand
• 28:35
  killerusedagainstCharlie
• 28:36
  and
• 28:36
  AnneMarie.Originally,thepairattackedthemwithatommygun.However,midproduction,therewasanattackataCaliforniaschoolbyamanusingautomaticweaponsandseveralchildrenhad
• 28:49
  beenkilled.
• 28:50
  Sotokeep
• 28:51
  itfromlookinglikeasimilarscene,thetommygunwaschangedtoanatomic
• 28:56
  gun
• 28:57
  tomakeitseema
• 28:58
  bitmorefantasysounding.Allegedly,Don
• 29:01
  Bluthowned
• 29:02
  aprivate35
• 29:04
  millimeterprintwiththecutscenes
• 29:06
  includedandplanned
• 29:08
  toreleaseadirector'scut.Buttheprint
• 29:11
  was
• 29:11
  stolenfromBluth's
• 29:12
  lockedstorageroom.
• 29:14
  Sothereare
• 29:14
  diminishinghopesofthisversion
• 29:16
  everbeingreleased
• 29:17
  onhome
• 29:17
  mediabecausethe
• 29:19
  print
• 29:19
  hasneverbeenrecovered.Oncethecutswere
• 29:23
  doneonthe
• 29:23
  movie,theywerehappy,ready
• 29:25
  tosetAll
• 29:26
  DogsGoingtoHeavenintotheDoggy
• 29:28
  park.Andjustlikewiththeman
• 29:30
  beforetime,Disneywere
• 29:32
  preppedand
• 29:33
  readytotakeon
• 29:34
  SullivanBluthattheUSBoxoffice.Lasttimeithad
• 29:38
  beenOliverandcompany.Thistime
• 29:41
  around,AllDogsGotoHeavenwassetto
• 29:44
  battletheLittle
• 29:45
  Mermaid.Andweallknowwherethisisgoing,solet'sjustrip
• 29:50
  offtheplasteror
• 29:51
  bandaid.On17thNovember1989,alldogsgotoHeavenwasreleased.
• 29:58
  It
• 29:58
  wasa
• 29:58
  busyweek.Itwas
• 29:59
  thesame
• 30:00
  weekas
• 30:00
  the
• 30:00
  LittleMermaid,butalso
• 30:02
  thesameweekasBackto
• 30:03
  theFuturePart2,HarlemNightsandSteelMagnolias.HarlemKnightsactuallytookthetopspotin
• 30:10
  thatfirstweekwithBack
• 30:11
  totheFuturePart2insecond.Lookwho's
• 30:15
  Talkingwas
• 30:15
  inthird,SteelMagnoliaswas
• 30:18
  fourth,TheLittle
• 30:19
  Mermaidfifth,andAll
• 30:20
  DogsGotoHeaven
• 30:22
  6.
• 30:23
  ButwhileTheLittleMermaidgrew14%initssecondweek,AllDogs
• 30:28
  GotoHeavendidn't
• 30:29
  itdropped7.2%
• 30:30
  initssecondweek.Byitsthirdweek,AllDogsGo
• 30:34
  toHeaven
• 30:35
  haddroppedseventhplacewitha52.5%drop,and
• 30:39
  byits
• 30:40
  fourth
• 30:40
  weekitwas10thintheUSboxoffice.All
• 30:44
  DogsGotoHeavenwasinmorecinemasthantheLittleMermaid,butAriel
• 30:48
  remainedmore
• 30:49
  popular,andEvenasmall28%boost
• 30:52
  overtheChristmasperiodcouldn'tsaveAll
• 30:55
  DogsGo
• 30:56
  toHeavenfromgoingtoboxoffice.
• 30:58
  Heavenwithin
• 30:59
  sevenweeksofrelease,AllDogsGo
• 31:02
  to
• 31:02
  Heaven
• 31:02
  wouldendup
• 31:03
  grossing
• 31:03
  $27.1milliononits$13millionbudget.Notahugefinancialdisappointmentaccordingtothebooks,butadisappointmentfor
• 31:13
  Sullivan
• 31:14
  Bluth.However,itsfortuneschangedwhenitwasreleasedonVHS
• 31:19
  inAugust
• 31:20
  1990
• 31:22
  andthe
• 31:22
  videosoldover3millioncopiesinitsfirstmonthalone,toppingtheVHShome
• 31:28
  videochartsandbecomingoneofthetopsellingVHSreleasesatthetime.
• 31:33
  Comingfromatheatricaldisappointmenttotoamassivesuccess,cementingits
• 31:38
  legacyonhomevideoandfulfilling
• 31:41
  all
• 31:41
  theobligationsitneededtofulfill,itwas
• 31:45
  rereleased
• 31:45
  onVHSseveraltimesaswellason
• 31:48
  SVHS8
• 31:50
  millimetervideo,LaserDiscandlateronDVD
• 31:53
  andBluRay.ButbecauseAllDogsGotoHeaven
• 31:57
  cameoutatthe
• 31:58
  sametimeastheLittleMermaid,criticsimmediatelyandratherunfairly
• 32:03
  compared
• 32:04
  them.
• 32:05
  Theycriticizedthedisjointednarrative,
• 32:07
  thequalityoftheanimation,andthe
• 32:09
  songsby
• 32:10
  CharlesStraussandT.J.kunster.ThefilmreceivedathumbsdownfromGeneSiskelanda
• 32:16
  thumbsup
• 32:17
  fromRogerebertonthe
• 32:18
  1989episodeoftheMovies,while
• 32:22
  SiskelfoundittobesurprisinglyweakgivendirectorDonBluth'spreviouswork,largelydueto
• 32:28
  itsconfusingstory
• 32:29
  andneedlesslyviolentscenes.Ebertwasahuge
• 32:32
  fanofthefilm'srubberyandkindofflexibleanimation,stating
• 32:37
  thatitwasagoodfilmdespitenotbeingananimatedclassic.Thefilm'sdepictionsofhell,
• 32:43
  death,murder,gambling,violence,kidnappingand
• 32:47
  generallydarkthemes
• 32:48
  werealso
• 32:49
  heavilycriticizedfor
• 32:51
  afamily
• 32:51
  animatedfilm.Butthe
• 32:54
  successof
• 32:54
  AllDogsGotoHeaven,
• 32:56
  particularlyitsbeforetheToddhomevideo,promptedasequelAllDogs
• 33:00
  GotoHeaven2in1996,
• 33:03
  withBurtReynoldsreplacedas
• 33:05
  the
• 33:05
  voiceofCharliebyCharlieSheen.DonBluth
• 33:09
  hashistoricallynotbeeninvolvedinthesequels
• 33:11
  of
• 33:12
  anyofhismovies,and
• 33:13
  DonBluthwould
• 33:14
  haveno
• 33:15
  involvementin
• 33:15
  thiswiththissequel
• 33:17
  either.Therewas
• 33:19
  alsoatelevisionseries
• 33:20
  called
• 33:20
  AllDogsGoto
• 33:21
  Heaven
• 33:22
  series,
• 33:22
  which
• 33:23
  ranfrom
• 33:23
  1996to1998
• 33:26
  whenStephenWebbervoicedCharlie,arolehereprised
• 33:30
  inanAll
• 33:31
  Dogs
• 33:31
  ChristmasCarolin1998,aChristmastelevisionfilm
• 33:35
  basedonCharlesDickens,AChristmasCarol.You'll
• 33:38
  bepleasedto
• 33:39
  know,though,thatDom
• 33:39
  DeLuiseplayeditchythroughoutthe
• 33:42
  entirefranchise.Fortheseventh
• 33:45
  birthdayof
• 33:45
  thispodcast,I'vedoneepisodes
• 33:48
  on
• 33:48
  AnAmericanTaleandtheLand
• 33:50
  Kuenster.
• 33:50
  The
• 33:51
  film
• 33:51
  received
• 33:52
  a
• 33:52
  thumbs
• 33:53
  down
• 33:53
  from
• 33:54
  Gene
• 33:54
  Siskel
• 33:55
  one
• 33:55
  ofthosemoviesmademecry
• 33:56
  Ebert
• 33:57
  on
• 33:58
  it'sthis
• 33:58
  one.And
• 34:00
  there'sareally
• 34:00
  simpleexplanationforthat.BecausewhileI'venotrecentlyhaddogs,
• 34:06
  IhadadogwhenIwasachild,but
• 34:08
  notduringmy
• 34:08
  adultlifehaveIhadadog.
• 34:10
  Ihavehadcats.Andthereasonwhythismovieaffectsmesomuchis
• 34:17
  becauseIstilllived
• 34:19
  withthepain
• 34:19
  oflosing
• 34:20
  oneofmycats.Andsothisonejusthits
• 34:23
  medeepinthefeelssomuchmore.
• 34:26
  BecauseIwouldgiveanything
• 34:28
  toseeJessagain.Shediedin2022,andifyoulistentotheend
• 34:33
  ofanyepisodeofthispodcast,youwillhearJess,becauseJessisthenoiseattheendofeverypodcast.Jessissoimportant
• 34:42
  totheveryfoundationofthispodcast.
• 34:44
  Abitlikeanimation,really.AndwhenCharlieandAnneMariegettoreunite
• 34:49
  oneata
• 34:49
  time,Ican't
• 34:51
  helpbutbe
• 34:52
  seriouslyaffectedbythat.AndIuglycryhardat
• 34:56
  thismovie
• 34:57
  becausethatis
• 34:58
  theonethingthat
• 34:59
  Iwouldwant.ButthenIalsobelieve
• 35:01
  that
• 35:01
  allcatsgoto
• 35:02
  Heaven.IfI'mbeinghonest,allthreeofthesemovieselicitthesame
• 35:07
  kindofresponse.Andit's
• 35:09
  something
• 35:09
  that's
• 35:09
  notuniquetoDon
• 35:10
  Bluth,butitissomethinghe'sbecomesynonymouswith.
• 35:14
  I'venotseenthenextmovie
• 35:16
  Sullivan
• 35:16
  1996
• 35:17
  to
• 35:17
  1998
• 35:18
  when
• 35:18
  Stephen
• 35:19
  Weber
• 35:19
  voiced
• 35:20
  Charlie,
• 35:20
  knowtheboxofficefailurewould
• 35:22
  lead
• 35:22
  tothenewlynamed
• 35:23
  DonBluth
• 35:24
  Productions
• 35:25
  filingforbankruptcyin
• 35:26
  1992,asituationBluthhadbecomealltoofamiliarwith.
• 35:32
  Butthey
• 35:32
  stillhad
• 35:33
  moviesindevelopmentandproduction,andafterfinding
• 35:36
  investment
• 35:36
  andbeingboughtoutby
• 35:37
  MerlinFilmsandMedia
• 35:39
  this
• 35:39
  podcast,
• 35:40
  I've
• 35:40
  done
• 35:41
  episodes
• 35:41
  on
• 35:42
  An
• 35:42
  American
• 35:43
  Tail
• 35:44
  was
• 35:44
  seentohavethebiggestpotential
• 35:45
  tobeahit,so
• 35:47
  thatwasreleasedfirstin1994
• 35:49
  andfloppedattheboxoffice.A
• 35:52
  TrollinCentral
• 35:52
  parkalsocameoutin1994.Thatwasaboxofficebomb.Andthepebble
• 35:58
  andthePenguinwasthefinalnailin
• 36:00
  thecoffinin1995becauseDonLutherandGaryGoldman
• 36:04
  directedthat
• 36:05
  movieandaskedtohavetheir
• 36:06
  names
• 36:07
  removedfrom
• 36:08
  the
• 36:08
  finished
• 36:08
  film
• 36:08
  becausetheywereso
• 36:09
  unhappywithit.Butallstoriesendup
• 36:13
  somewhere,
• 36:14
  anditwouldleadtoDonBluthending
• 36:16
  upat
• 36:16
  FoxAnimationStudios
• 36:18
  fortheirfirst
• 36:19
  film,Anastasia,whichwouldendupbecomingDonBluth'sbiggesteverhit.
• 36:24
  Andthat'sa
• 36:24
  storyItalkabout
• 36:25
  inepisode138
• 36:27
  ofthispodcast,soI
• 36:28
  wouldrecommendgoingbackandlistening
• 36:30
  tothatone.
• 36:32
  AsforAllDogsGotoHeaven,it's
• 36:34
  definitelyleaningmore
• 36:35
  towardsgrown
• 36:36
  upthemes.I
• 36:38
  don't
• 36:38
  thinkany
• 36:38
  animatedmoviebynoscenefeaturesquitesomuchdrinkingandgambling.AndwhileyoucanunderstandBluth'sannoyanceatleavingDisneybecause
• 36:48
  hefelt
• 36:48
  thestudiowaslosingitsway,onlytogooutonhisownandendup
• 36:52
  havingto
• 36:52
  answerto
• 36:53
  other
• 36:53
  peoplethatthiscouldeasilyjustbethemovie,
• 36:56
  he
• 36:56
  decided
• 36:56
  togoallout
• 36:57
  onthatthiswas
• 36:58
  his
• 36:59
  rebelliousphaseandhewasrelyingona
• 37:01
  lotof
• 37:02
  audience
• 37:02
  gracefromAnAmericanTaleandtheLand
• 37:05
  BeforeTime.Andhonestly,
• 37:07
  this
• 37:07
  onedoes
• 37:08
  feelsodifferent.The10creditedstorywritersprobably
• 37:12
  didn'thelp
• 37:13
  matterseither.Itdoesfeel
• 37:15
  muddledandinconsistentandoftentimesinappropriate,butalsoincrediblymemorableinsomanyways.Asafingertotheestablishmentthatforcedhim
• 37:26
  tocutesyhispreviousworks,thismoviedoesworkanditdoessomehowpreservetheillusionthat
• 37:32
  it'samovieforchildren,despiteitkindanotbeingandalsodespiteitsinherent
• 37:38
  weirdness.
• 37:39
  Butit'shardnot
• 37:40
  towatchthismovieandthinkoftheheartbreakingdeath
• 37:43
  ofJudithBarsi.AtleastAnneMariegotherhappilyeverafter.JustkeepbreakingmyheartDon.Sothe
• 37:52
  questionis,doalldogsactually
• 37:54
  Thumbelina
• 37:54
  was
• 37:55
  seen
• 37:56
  do.ExceptCarface.He'saverybad
• 38:00
  dog.You
• 38:01
  cannevercome
• 38:02
  backfromthat
• 38:03
  kindoflife.AndIjustwantto
• 38:06
  endand
• 38:06
  say,youknow,
• 38:08
  goodbyesaren'tforever.Thengoodbye
• 38:11
  Charlieandgoodbye
• 38:13
  Don
• 38:13
  Bluth
• 38:14
  fornow.Welove
• 38:16
  you
• 38:16
  and
• 38:17
  thankyouandthankyoufor
• 38:19
  listeningandasalways,
• 38:21
  Iwouldlove
• 38:21
  to
• 38:21
  hear
• 38:21
  because
• 38:22
  Don
• 38:22
  Bluth
• 38:22
  and
• 38:23
  Gary
• 38:23
  Goldman
• 38:24
  directed
• 38:24
  that
• 38:25
  continued
• 38:25
  supportofthis
• 38:26
  podcast.Genuine,heartfelt,wonderfulthanksforlisteningto
• 38:30
  this
• 38:30
  podcast.Whether
• 38:32
  it's
• 38:32
  yourfirstepisodeoryour
• 38:33
  334thepisode.Thankyouforbeingherefortheseventhbirthday
• 38:39
  ofthispodcast.I'msogratefultoyouforlisteningtometalkaboutthesemoviesandIhopeyouwilljoinmenextweekforthefinalepisodeofanimationseason.
• 38:51
  Ifyouwanttoshowyoursupportin
• 38:53
  multipledifferentways.Youcouldleavearatingorreviewwhereveryoufoundthispodcast.Youcouldtellyourfriendsandfamilyaboutthis
• 38:59
  podcast
• 39:00
  oryoucanfind
• 39:01
  meand
• 39:02
  followmeon
• 39:03
  socialmediaandyou
• 39:04
  canshare
• 39:04
  thepodcastthatway.IamatVerbalDioramayoucanshareposts,
• 39:09
  likeposts,
• 39:10
  commenton
• 39:10
  posts.Itallhelpsreallytogetthewordoutthereandto
• 39:14
  hopefullygetother
• 39:15
  peopleto
• 39:16
  knowthispodcastandknowwhat
• 39:17
  I've
• 39:18
  beendoing.Igenuinely
• 39:19
  lovedoingthispodcast
• 39:20
  andanythingyoucoulddotohelp
• 39:22
  wouldbesoappreciated.A
• 39:25
  hugethankyoutotheamazing
• 39:26
  patronsof
• 39:27
  thispodcast.ToSimon,
• 39:29
  Laurel,Derek,Kat,Andy,Mike,
• 39:32
  was
• 39:32
  relying
• 39:33
  on
• 39:33
  a
• 39:34
  lot
• 39:34
  of
• 39:35
  audience
• 39:35
  grace
• 39:35
  from
• 39:36
  An
• 39:36
  American
• 39:37
  Tail
• 39:37
  and
• 39:38
  the
• 39:38
  Land
• 39:39
  Danny,
• 39:39
  Stew,
• 39:40
  Brett,PhilipM.Zenos,Sean,Rhino,PhilipK,Adam,Elaine,Kyle,AaronandSteve.Ifyouwanttogetintouch,
• 39:49
  youcanemailverbaldioramail.comyoucanalsogo
• 39:53
  tothewebsiteverbaldiorama.comandyoucanfilloutthecontact
• 39:57
  form.Youcansayhello,
• 39:58
  youcangive
• 39:59
  feedback,
• 39:59
  oryoucan
• 40:00
  givesuggestions.Iwouldgenuinelylovetohearfromyou.Youcanalso
• 40:03
  DMmeon
• 40:04
  socialmediaaswell.IreallylovetohearfrompeopleandI
• 40:08
  alwaystrytorespondasquicklyaspossible.I'mhugelygrateful
• 40:11
  toyou
• 40:12
  all
• 40:12
  foryoursupport.Andfinally.
• 3:10
  heart-breakingXZ
• 42:34
  Bye.