#home on the range

[fancyhats-and-fennelsbuds]

That moment when the animators flex that close-up animation to let us privately investigate a character's personality or either show a tintillating state of insanity of the beloved character's meanwhile blessing us with the specific knowledge of their irises' colour full HD maximum details

(plus allowing me to finally have the perfect pantone's shade to apply in fantasy scenarios before going to sleep )

(eyes...pretty eyes...)

If I was isekai-ed into Toontown, while possibly meeting the blorbos above, visualise me like Sid from Ice Age in the scene when he goes "you have beautiful eyes" one inch from Manny's face

[dralexxxx]

Slides these here and skiddales away

I might go swimming today for the first time this summer because i kid u not it's SO hot here now

[technicallymaximumkitty]

the experimental era of Disney really did went "what if we made all our protagonists neurodivergent"

[kingofthe7sins]

The Falcon and The Bull

Shan Jun and Randy Haven. Based on/Inspired by Shan Yu from Mulan and Alameda Slim from Home on the Range

Commission by the amazing Laizy_Boy04 on instagram

[blackthewolf17]

Slim definitely needs to offer these ladies a big apology if he even thinks of coming within 5 yards of the farm 🕴

Bonus:

[blueninjablade3]

How I think the Disney Villains celebrate Christmas!

Frollo

Okay, this might be a bit OOC, but I think Frollo is the type to go really hard on Christmas. His own Catholic way. He views this as his chance to celebrate his all-mighty lord’s birth! I think this is the ONLY time you can get him to be semi-kind. He definitely has all the nativity scenes in his home. Gives grapes to Quasi as his Christmas gift. If you think you can escape the Christmas sermon… wtf is wrong with you? I promise you won’t. You will be hearing about Jesus and the lord all through December.

If you’re really hard-core into celebrating Jesus’ birth and want to hear about it? Awesome! But if you don’t… you’re semi-safe after December.

Crullea Devil:

I REFUSE to believe that Crullea doesn’t love this season. But, she only loves it, because everyone is buying gifts for their family and stuff, which makes her money! I also think she likes seeing all the winter-line clothing from her competitors/ designing her own. In terms of decorating tree, I think she’s highly like, “NO THAT GARLAND MAKES THE TREE LOOK BAD!” or “THAT DOESN'T MATCH THE AESTHETIC.” She’s very into decorating the house to make it look nice for photos and possibly hosting a party to show off her new coat…

She personally designs you clothes for the holidays. Hand-tailored one-of-a-kind time clothes. Also if you give her beauty products, especially high ones, she’ll love you. She’s also asked for a fur coat more than once… maybe also some… puppies.

Captain Hook

Hook. My sweet sweet baby. He actually doesn’t really like this holiday! Hook used to enjoy this season! He really did. But since he can no longer spend it with anyone but his crew it only reminds him of his childhood and his mama. This makes him very bitter and prone to snapping at his crew and those around him. However, if you really want to celebrate I think he could suffer through it for you. Even if you didn’t wanna celebrate I can still see him getting you a gift. If you’re there the holiday isn’t so bad. Still never gonna be his favorite but he can deal with it.

Alameda Slim

I want you to look me in the eyes and say he is NOT an absolute dad on Christmas. I’m talking he has the black trash sack READY. I do not want anyone to tell me otherwise. This man is THE CHRISTMAS DAD. And yes he did hang lights in Echo Mine for you and the boys. I think he also might like some new chaps or if you’re looking for a big gift maybe a new guitar. I love this man so much he needs more love.

Hey y’all! Sorry for not getting this out by the holiday season! The plan was to get this done before family came in for the holidays but I didn’t finish it. But I finally finished it and have gotten it out so I hope you’ve enjoyed reading and have a happy new year!

Masterlist

[mariespng]

Hi, I'm MÁries and I want to start a tumblr account with my twst oc, prototype is Alameda Slim from Home on the Range.

[hyzenthlayroseart]

I wanted to save these for when I was done with the whole project but I have a feeling the next few entries will take a long time to make since each era has so many movies (Renaissance Era, Experimental Era and the Modern Era) and I got impatient with myself so I'm posting what's done so far.

So I decided to do a project where I draw films from each Disney era together. For those who don't know about Disney's animation eras, here's a good guide: https://www.bfi.org.uk/features/many-merry-eras-disney

Another one that had to be split into two drawings, I'm sure the Revival Era and the Modern Era will have to each be split as well.

Now in a new millenium, Disney was moving away from the Renaissance era's Broadway inspired films and entering a new era experimenting new technology and new ways of storytelling. While it was an exciting time for being creative and taking risks, they didn't always pay off. Thankfully some of the films from this era that failed at the time have been reevaluated over time as underrated masterpieces, and even some that still aren't viewed in a positive light still have a cult following. Many critics viewed the failures from this era as a consequence of putting technical innovation over storytelling.

The first film from this era was Fantasia 2000, the sequel to 1940's Fantasia. Interestingly, Walt initially planned way back in the day to have Fantasia be a continuing film series with new segments replacing older ones in each release. Tragically, plans for this were scrapped when the original film unfortunately ended up being a box office failure. It wasn't until 1984 when Walt's nephew Roy E. Disney suggested the idea of a Fantasia sequel to then-CEO Michael Eisner that the idea was revived, however, then-chairman Jeffery Katzenberg was uninterested. After the 1990 re-release of Fantasia was a financial success, Disney saw it as a sign that there was enough public interest in Fantasia to justify a sequel. Michael Eisner finally gave the film the greenlight in 1991, and years later in the year 1999, the film premiered at Carnegie Hall in New York, then in 2000 the film had a wide release in IMAX. The film was a critical success but sadly ended up becoming a box office flop like its predecessor.

The next film was Dinosaur, and while it's unfortunately a forgotten film today, it has a significant role in Disney animation history as their first CGI animated film. The idea was originally conceived by director Paul Verhoeven and special effects artist Phil Tippet as a stop-motion animated film and pitched to Disney in 1988 but due to budget disputes with Jefferey Katzenberg, the two filmmakers left the project and it ended up shelved in development hell. It wasn't until 1994 that development on the project began by shooting various test footage of computer-generated characters placed digitally in miniature model backgrounds. Computer-generated backgrounds were considered as well, but ultimately it was decided that the film would combine CGI characters in live-action scenery. Michael Eisner greenlit the project, however he insisted that the characters talk during the film; previously it was planned for the animal characters to be silent while a narrator spoke throughout the film like a nature documentary. When the film premiered it was a box office success, and the film received positive reviews for its visuals, however the reception story and characters were more mixed in reviews.

The next film was The Emperor's New Groove, which was actually a complete rehaul of a cancelled film called Kingdom of the Sun, a musical taking place in the Incan empire with a Prince and the Pauper story involving a selfish emperor switching places with a peasant who looks just like him, however the emperor gets turned into a llama by an evil witch who threatens to reveal his identity unless he obeys her. The emperor would learn humility as a llama and fall in love with a llama herder, and the two would team up to undo the witch's plans. The film ended up in a troubled production, and in the end it was clear that it wasn't far enough in production to be released on its scheduled released date. Roger Allers, who would have been the director for the film, quit the project. This lead to Michael Eisner telling producer Randy Fullmer that he had two weeks to salvage the project or production would be completely shut down. The film was ultimately changed to The Emperor's New Groove, and instead of being a musical inspired by The Prince and the Pauper it was now a buddy comedy with no love interests. Since the film had to salvaged in such a short time-frame, it was actually made without a fully finalized script and was made unconventionally with a more improvisational approach with the writers basically given free rein which lead to the film being as hilarious as it is. When the film premiered, it was unfortunately not a box office success, however it did receive positive reviews and to this day is considered one of Disney's funniest animated movies.

Disney's next film was Atlantis: The Lost Empire, a science fantasy adventure film inspired by works of Jules Vernes such as Journey to the Center of the Earth and Twenty Thousand Leagues Under the Sea. The filmmakers used the Internet to research mythology surrounding Atlantis, visited museums to study 20th century technology, looked at ancient architecture as inspiration for Atlantis, and even hired Mark Okrand, who invented the Klingon language for Star Trek, to create a language for Atlanteans. At the time of the film's release, it was known for using more CGI than any other traditionally animated Disney film. When the film premiered, it was not a box office success and received mixed reviews, although the animation received positive reviews.

Their next film, Lilo and Stitch, would have a much better fate. The idea for the film started in 1985 with a failed children's book pitch made by Chris Sanders about a creature named Stitch who lived in the forest. In 1987 he was hired at Disney to work in the visual development department for The Rescuers Down Under, but he soon transitioned into storyboarding for Beauty and the Beast, The Lion King and eventually promoted to head the story on Mulan. In 1997, it was discussed that Disney should try its hand at creating a smaller and less expensive film in wake of the large-budget films they had already done, an idea inspired by the similar production history of Dumbo. When Chris Sanders was asked if there were any stories he'd be interested in developing into an animated film, and Chris Sanders pitched an idea based on his failed children's book project, pitching an idea about Stitch crash-landing in a forest surrounded by woodland animals, but then-vice president Thomas Schumaker suggested that Stitch should interact with humans instead. The story was pitched as taking place in Kansas, but after glancing at a map of Hawaii on his wall and remembering a vacation there, Sanders decided to change the location to Hawaii. Unlike previous Disney animated films, the film's pre-production team remained relatively small and isolated from upper management until the film went into full production. When the animation team travelled to Kuaui for research for the film, the tour guide explained the concept of Ohana, a Hawaiian term meaning "family", a concept which became an important part of the film's theme. Watercolor paint was chosen for the film's background art as opposed to the traditional gouache technique. While watercolor had been used in early Disney shorts as well as Snow White, Pinocchio and Dumbo, the technique had been abandoned in the mid-40s in favor of less complicated media such as gouache. When the film released, it was both a critical and box office success, and to this day is considered one of Disney's most beloved movies.

The next film was Treasure Planet, a steampunk science fiction take on Treasure Planet but in space. The idea was originally pitched by Ron Clements in 1985 (at the same meeting where he and John Musker pitched The Little Mermaid) but was rejected by Michael Eisner, pitched again then turned down again in 1989, then pitched and rejected a third time after the release of Aladdin. These rejections angered Clements and Musker so much that they approached then-chairman Roy E. Disney, who backed the filmmakers and made his wishes known to Eisner, who in turn agreed that the studio should produce the movie. In 1995, their contract was re-negotiated to allow them to commence development on Treasure Planet when Hercules reached completion. When the film premiered it was a box office failure but received positive reviews, and throughout the years after it's been considered an underrated gem.

The next film was Brother Bear, with the idea for a film about bears being suggested after the success of The Lion King in 1994, leading to Michael Eisner urging for more animal-centric films. Initially the story idea was inspired by King Lear and centered around an old blind bear who travelled through the woods with his three daughters, but in 1997 animator Aaron Blaise joined the project and wanted a more naturalistic story, so he and producer Chuck Williams produced a two-page treatment of a father-son story in which the son is transformed into a bear, and in the end, remains a bear, which then-president Thomas Schumaker approved. After the project was greenlit, the team went on a research trip to Alaska in 1999, and a year later went to Yellowstone National Park, Grand Teton National Park and Sequoia National Park. In 2000, the story evolved into a tale where the transformed bear Kenai is taken under the wing of an older bear named Grizz, but after struggling to get charm into the story, Grizz was changed to a bear cub named Koda. When the film premiered, it was a box office success but received mixed reviews. As the years went on, it became known as another underrated masterpiece from Disney.

Their next film, Home on the Range, was originally conceived in the 90s as a supernatural Western called Sweatin' Bullets, about a timid cowboy who visits a ghost town and confronts an undead cattle rustler, inspired by the song "Ghost Riders in the Sky". The story was changed to one about a little bull named Bullets who wanted to be more like the horses that lead the herd, then finally in 1999 it was changed to a story about three cows who become bounty hunters to save their farm. The film was originally scheduled for a 2003 release while Brother Bear was slated for a 2004 release, however Disney ended up switching the dates in order to promote Brother Bear on the Platinum Edition release of The Lion King. When the film premiered, it received mixed reviews and was a box office disaster, and went on to be blamed for killing 2D animation at Disney (at least until The Princess and the Frog released in 2009, but that's for a future upload). Nowadays the film still is looked at unfavorably, but it does still have its fans.

The next film Chicken Little, was basically Disney's attempt at making a film like Shrek, meaning that they made a fairy tale parody with crude, edgy, self-aware humor and pop culture references, but needless to say, their attempt was unsuccessful. When the film idea was developed in 2001, the character of Chicken Little was a female, and the story would be about her going to a Summer camp to reduce her anxiety as well as repair her relationship with her father, and discovering her camp counselor planning a nefarious plot against her hometown. When it was pitched to Michael Eisner, he suggested Chicken Little be changed to a boy because boys wouldn't want to see a film with a female protagonist (yes, really). When David Stainton became Disney animation's new president in 2003, he decided the story needed a different approach, and during the next three months it was changed to a story about Chicken Little trying to save his town from aliens. When the film premiered it was a box office success but received mixed reviews, and today it still isn't viewed favorably (but like Home on the Range, it does still have its fans).

The next film was Meet the Robinsons, based on a 1990s children's book A Day With Wilbur Robinson by William Joyce, who pitched the story idea to various filmmakers like Steven Spielberg, George Miller, Peter Jackson, Francis Ford Coppola and Diane Keaton as a live-action film before eventually being acquired by Disney as an animated film. This film would be Disney's first time animating humans in CGI, so they ended up using Pixar's The Incredibles as inspiration, as well as looking at their own films from the Silver Age such as Alice in Wonderland, Cinderella, Peter Pan and some Warner Bros. cartoons as inspirations for 1950s aesthetics. When the film premiered, it got positive reviews but was unfortunately a box office failure. Thankfully it also gained a reputation as an underrated classic like several of its other predecessors in this era.

Finally, there's Bolt, a film which originally began as a story by Chris Sanders called American Dog, a story about an anthropomorphic dog celebrity named Henry who one day finds himself stranded in the desert with a one-eyed cat and a rabbit, and the three of them search for new homes, all while Henry still thinks he's on TV. Chris Sanders was eventually removed from the project after resisting changed to the story and went to work at Dreamworks instead, however in recent years Sanders has assured that he has no ill will over the decision and approved of the final film. The dog Henry was changed to a normal dog thinks the show he's the star of is real, and when his owner Penny gets "kidnapped" in the show, he runs away from the studio to "rescue" her, but gets lost and and ends up teaming up with a sarcastic female alley cat named Mittens and a fanboy hamster named Rhino to get back home, and along the way realizes his show was never real. When the film premiered it was a box office success and received positive reviews, and was overall a sweet and heartwarming film to end the era.

[murmurmm00mm]

butch (my twst oc) and and my friends characters based on Home on the Range

[honkula]

Me and @planefood were drawing in a magma and drew my self insert and Alameda Slim

[prokopetz]

Everybody always brings up the yodelling when discussing what a strange movie Home on the Range is, but I think we need to talk more about the film's intense preoccupation with Alameda Slim's ass.

[disneyvillainsdaily]

silly closeups :)

Alameda Slim - Home on the Range (2004)

[dralexxxx]

WHO LET THESE IDIOTS PLAY THE GAMES!?!?

//TW BLOOD//

The sketch

[peikkos-selfships]

I LOVE EVERYTHING ABOUT THIS!!!

[kissentz]

some alameda slim for @songwithfivenames~

[blackthewolf17]

So this is a little practice at Samanta Erdini's suggestion for my portfolio, All of you cross your fingers that the reason behind this comes true.🕴