Gary A. Trousdale (born June 8, 1960) is an American film director known for directing movies such as Beauty and the Beast, The Hunchback of Notre Dame and Atlantis: The Lost Empire. He frequently directs films with Kirk Wise.
Trousdale planned to become an architect, but decided instead to study animation at CalArts, where he studied for three years. He was hired in 1982 to design storyboards and do other animation. He then went to work designing restaurant menus and t-shirts.
Trousdale was hired by Walt Disney Feature Animation in 1985 as an effects animator on The Black Cauldron. He gained true prominence in his field with the success of his animated film directorial debut Beauty and the Beast, which was nominated for an Academy Award for Best Picture and won a LAFCA Award. He later directed The Hunchback of Notre Dame in 1996. In 2001 he directed Atlantis: The Lost Empire.
He moved to DreamWorks Animation in 2003, where he worked on projects such as The Madagascar… read more
Kirk Wise (born August 24, 1963) is an American film director, animator and screenwriter best known for his work at Disney. Wise has directed such Disney movies as Beauty and the Beast, Atlantis: The Lost Empire, and The Hunchback of Notre Dame. He also directed the English language translation of Hayao Miyazaki’s Spirited Away.
Wise graduated from Palo Alto High School and went on to study character animation at California Institute of the Arts. Early in his career, Wise worked as an animator on Disney’s Sport Goofy in Soccermania, The Great Mouse Detective and The Brave Little Toaster, as well as Steven Spielberg’s Amazing Stories episode “Family Dog”. Returning to Walt Disney Feature Animation, he began work on Oliver & Company as an assistant animator, but eventually joined the story department, where he was reunited with former CalArts classmate Gary Trousdale. After working as storyboard artists on The Rescuers Down Under and The Prince and the Pauper… read more
One of Disney's darkest animated films is also one of its best. Often swept under the rug by Disney like it's the bastard child of the brand, and Frollo's twisted sexual desire for Esmerelda remains startlingly complex for a children's film. The gothic score, the gorgeous rendering of Notre Dame, the grandiose religious symbolism - this is a grown up film masquerading as children's entertainment. And it's fantastic.
Disney has had a share of trying a different approach to an animated film, an attempt that usually can earn them a lot of backlash and controversy, from the tear-jerking theme of death in Bambi to… read review