On a hill, Vixey joins Tod as they look down on the homes of Slade and Tweed. Wolfgang Reitherman read the original novel and found it particularly touching because one of his sons had once owned a pet fox years before. He decided that it would make for a good animated feature for which production began in spring A power struggle between the two directors and co-producer Ron Miller broke out between them over key sections of the film with Miller supporting the younger Stevens.
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Miller instructed Reitherman to surrender reins over the junior personnel,  but Reitherman resisted due to a lack of trust in the young animators. In an earlier version of the film, Chief was slated to die as he did in the novel. However, the scene was modified to have Chief survive with a cast on his back paw. Animator Ron Clements , who had briefly transitioned into the story department, protested that "Chief has to die.
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The picture doesn't work if he just breaks his leg. Copper doesn't have motivation to hate the fox. Stevens countered that "Geez, we never killed a main character in a Disney film and we're not starting now! Another fight erupted when Reitherman, in thinking the film lacked a strong second act, decided to add a musical sequence of two swooping cranes voiced by Phil Harris and Charo who would sing a silly song titled "Scoobie-Doobie Doobie Doo, Let Your Body Turn Goo" to Tod after he was dropped in the forest.
Charo has recorded the song and voice tracks which were storyboarded,  and live-action reference footage was shot of her in a sweaty pink leotard. However, the scene was strongly disliked by studio personnel who felt the song was a distraction from the main plot with Stevens stating "We can't let that sequence in the movie! It's totally out of place! Reitherman later walked into Stevens's office, slumped in a chair, and said, "I dunno, Art, maybe this is a young man's medium.
Thomas had animated scenes of Tod and Copper using dialogue Larry Clemmons had written and recorded with the child actors. These animators had moved through the in-house animation training program, and would play an important role in the Disney Renaissance of the s and s.
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However, the transition between the old guard and the new resulted in arguments over how to handle the film. Reitherman had his own ideas on the designs and layouts that should be used, but the newer team backed Stevens. Animator Don Bluth animated several scenes including of Widow Tweed milking her cow, Abigail, while his team worked on the rest of the sequence, and when Tweed fires at Amos Slade's automobile. Nevertheless, Bluth and the new animators felt that Reitherman was too stern and out of touch,  and on his 42nd birthday, September 13, , Bluth, along with Gary Goldman and John Pomeroy, entered Ron Miller's office and turned in their resignation.
Following their resignations, 13 animators followed suit in their resignations. Though Bluth and his team had animated substantial scenes, they asked not to receive screen credit. New animators were hired and promoted to fill the ranks. To compensate for the lack of experience of the new animators, much of the quality control would rely upon a corp of veteran assistant animators.
A total of people, including 24 animators, worked on the film. Early into production, the principal characters such as young Tod and Copper, Big Mama, and Amos Slade had already been cast. Jackie Cooper had auditioned for the role, but left the project when he demanded more money than the studio was willing to pay. While filming the Elvis television film, former Disney child actor Kurt Russell was cast following a reading that had impressed the filmmakers, and completed his dialogue in two recording sessions.
The soundtrack album for the film was released in by Walt Disney Records. The release was placed into moratorium on April 30, The Fox and the Hound was released on Blu-ray Disc on August 9, to commemorate the film's 30th anniversary.https://belgacar.com/components/logiciel-espion/logiciel-despionnage-pour-iphone-6-plus.php
Featuring a new digital restoration, the Blu-ray transfer presents the film for the first time in 1. The Fox and the Hound 2 is presented in 1. In The Animated Movie Guide , Jerry Beck considered the film "average", though he praises the voice work of Pearl Bailey as Big Mama, and the extreme dedication to detail shown by animator Glen Keane in crafting the fight scene between Copper, Tod, and the bear. However, Maltin felt the film relied too much on "formula cuteness, formula comedy relief, and even formula characterizations".
Craig Butler from All Movie Guide stated that the film was a "warm and amusing, if slightly dull, entry in the Disney animated canon. However, he praised the film's climax and animation, as well as the ending. His final remark is that "Two of the directors, Richard Rich and Ted Berman, would next direct The Black Cauldron , a less successful but more ambitious project. He argued that the film shows that biased attitudes can poison even the deepest relationships, and the film's bittersweet ending delivers a powerful and important moral message to audiences.
Roger Ebert of the Chicago Sun-Times also praised the film, saying that "for all of its familiar qualities, this movie marks something of a departure for the Disney studio, and its movement is in an interesting direction. The Fox and the Hound is one of those relatively rare Disney animated features that contains a useful lesson for its younger audiences. It's not just cute animals and frightening adventures and a happy ending; it's also a rather thoughtful meditation on how society determines our behavior. Still, this film has a lot of "heart" and is wonderful entertainment for both kids and their parents.
Listen for a number of favorites among the voices. Michael Scheinfeld of Common Sense Media gave the film's quality a rating of 4 out of 5 stars, stating that the film "develops into a thoughtful examination of friendship and includes some mature themes, especially loss.
The website's consensus states that " The Fox and the Hound is a likeable, charming, unassuming effort that manages to transcend its thin, predictable plot". As well as adaptations of the film itself, comic strips featuring the characters also appeared in stories unconnected to the film.
Examples include The Lost Fawn , in which Copper uses his sense of smell to help Tod find a fawn who has gone astray;  The Chase , in which Copper must safeguard a sleepwalking Chief;  and Feathered Friends , in which the birds Dinky and Boomer have to go to desperate lengths to save one of Widow Tweed's chickens from a wolf.
A comic adaptation of the film, drawn by Richard Moore, was published in newspapers as part of Disney's Treasury of Classic Tales. The film takes place during the youth of Tod and Copper, before the events of the later half of the first film. The story-line involves Copper being tempted to join a band of singing stray dogs , thus threatening his friendship with Tod.
The film was critically panned, with critics calling it a pale imitation of its predecessor. From Wikipedia, the free encyclopedia. This article is about the film. For the novel the film is based on, see The Fox and the Hound novel. Original theatrical release poster. Walt Disney Productions.
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