1/11/2024

the team. special thanks.

• Ziggy Cashmere • Behon
• Shadis • Funky Waffle
• Squidword15 • Maxx
• Peachy • PinkOctopede
• Larrikins4Life
• Crowfish!
• Derps
• Glitterz
• Yoshikiller
• Toon Brains
• Tortellini
• Shishagumi
• Springy
• Ubern
• Pip
• Jean
• Max C
• Acrylic
• Nate
• Wormpy
• Josie
• Miza

Stock art illustration, modified / Unknown, Volk Art Inc. 1983

 dedicated to the hyper-
fixated fans, the collectors,
the directors, the writers,
the animators, the artists,
composers, janitors, and
the movies that never were.
table of contents.
• Me and My Shadow
• Foodfight!
• B.O.O. : Bureau of Otherworldly Operations
• The Incredible Mr. Limpet
• Joe Jump
• Dreaming Machine
• Dragon's Lair: The Legend
• Jack and Ben
• Captain Fantastic and the Brown Dirt Cowboy
• Huck's Landing
• My Peoples
• Larrikins

click titles to arrive at chapter

Stock art illustration / Unknown, Stivers Studio, c. 1945

INTRODUCTION
Every animated film is the dream of someone. It doesn't matter how stupid, soulless, or unmarketable some of those ideas may be,
it was someone's dream and they wanted to put the effort into making it. Unfortunately, however, things get in the way. Sometimes
there's creative differences, poor time management, bad marketing, business decisions, even some crime gets involved. For one
reason or another, that movie that someone was so dying to make never gets to see the light of day. Even when it does get out
there, it isn't how they'd hoped.
Careers have been destroyed, portfolios wiped, studios liquidated and lives ruined because of an animated feature gone
wrong, and this book is dedicated to those little mishaps. That isn't to say all of these failures ended in catastrophe, artists were
still paid, they have cult followings, rediscoveries. Artists look back at their work in these productions and they either can't stand
thinking about it, don't care at all, or would do anything to go back. Most of us in the public hear word of the movies that never
were and think that they're cool but hardly ever do we have the chance to really understand what that movie would have been
like. Some of these movies are used an example by many for what not to do, and hardly ever do we sit down and think about the
days, months, and years wasted away into something that didn't make it.
This book presents a fraction has been made for these past films. It explains their stories, productions, and fates. When
possible, it credits artists as they should be credited. Unfortunately, time is not kind to movies that are not meant to be seen
or were given the necessities that they needed. This means the pieces contained within may be of low quality, missing names,
context, or have been modified from their original source to be better presented. This is not, in any means, meant to be an in depth
archive compiling all art created for every production, but it is meant to be the best way to view the majority it. Portfolios have
been scraped, books scanned, resumes poured upon, reels scrubbed, questions asked and answers given, to present everything
here.
Artists look at "the art of" books to understand how their favorite movies came to be, to be inspired by the stories that have
shown to work, but that's only just a tip of the iceberg. For every one movie that gets released there's three that aren't. The ratio
between successful and unsuccessful movies is a staggering imbalance. The talent that has been put into these movies is no
different than the ones that turned out to be successful. Many of the same people that have created AAA movies, from storyboard
artists to editors, work on the same movies that nobody gets to see. Their work is trapped behind studio archives, buried show-
reels and filed away portfolios. It's unlikely any of these movies will get a second chance, and the few lucky ones that have become
cult classics will always remain cult classics. This book is meant to give these films the same amount of respect and honor as their
successful sisters. Some of these you've likely heard of, but almost certainly there's at least one you never knew about.
Shannon Tindle's drawing in response to The Emoji Movie being announced
just a year after Me and My Shadow was shelved, a movie he was a part of.
This diagram, greatly inspired by an illustration by Richard MacDonald* in The Technique of Film Animation, depicts a simplified version of the animation workflow. In the beginning a script is
written, which is then needed to be story boarded. Sometimes boarding happens before visual development (figuring out what the film will look like), after, or at the same time. Then once it's
been boarded (or a sizable amount of progress has been made within it), pre-visualization, which is developing how certain scenes will look, begins. This can include color scripts (deciding how a
scene should be lit and colored), preliminary models, and other forms in further discovering specifically how the story should be told. Around the same time, the characters are also designed and
a model sheet is properly drawn (in traditional animation) or is modeled and rigged. Pre-visualzation, or pre-vis, can happen before, during, and after this process. Once designs are settled on and
assets are being created for the film itself, layout starts. Layout is essentially a more in depth version of a storyboard, and when working in 3D animation, proxy models (which are of a lower poly
count) are used to figure out the composition of every shot before being animated. Layout is essentially already done in storyboard when animating in 2D, so this step can be disregarded for a 2D
film. Once every shot is animated, it's then composited with visual effects and other needed additions. Once that is complete, these completed shots (called dailies or rushes) are then given to the
editor(s), who edit everything together using the storyboard as a blueprint. After much revision, review, and planning, the film is ready.
*The original illustration is uncredited, it's not confirmed Richard MacDonald is the artist.
THE ART OF UNRELEASED AND
D UNAPPRECIATED ANIMATION
 PRODUCTION:
2012-2014

BUDGET:
~$200M

CANCELED
DUE TO EXECUTIVE DISAGREEMENTS,
LACK OF FUNDING, AND
RESTRUCTURING

Me and My Shadow originally started as Shadows, an idea from Mark Dindal in 2010. Shadows plot was about a snobbish, boring
man named Stanley who is the caster of his far more eccentric shadow, Stan. After years of being tortured with Stanley’s boring
life Shadow Stan decides to take matters into his own hands and introduces himself to Stanley. Soon, Stanley and Stan go on an
adventure to stop a villain within the Shadow World, the shadow of Stanley’s past jock bully Troy. They put a stop to Troy, save
Stanley’s love interest, Missy, and happily ever after.
When the film was passed to Allesandro Carloni in 2012, the film was heavily rewritten and retitled to Me and My Shadow.
Stanley’s name was changed to Daniel (Josh Gad), but his character remained greatly the same and now works in the depths of
a light bulb factory. Daniel’s shadow, Shadow Dan (Bill Hader), also similarly yearns for a more exciting life. Once Daniel meets
a photographer named Heidi (Kate Hudson) and the two start to hit it off, Shadow Dan is ecstatic. As soon as Daniel grows
nervous and doesn’t continue perusing Heidi, Shadow Dan takes matters into his own hands and attempts to do so himself.
Soon, Shadow Dan introduces Daniel to the Shadow World, a place shadows go (and yanked from) when their casters enter the
dark. Mac (Tom Hiddleson) an uptight, boring friend of Dan's is revealed to be a shadow in a trench coat controlling casters by
possessing their shadows. Mac is planning a shadow revolution at the next light parade while at the same time intending to
marry the shadow of Heidi. Mac’s motive? He was shut away from his caster ever since they met, and after Daniel and Shadow
Dan confront this and force them to meet again, they discover that they were incomplete without each other and the entire
revolution is put aside. With a soundtrack by Owl City, there was definitely a lot going into this.
Due to the failure of DreamWorks’ previous film Rise of the Guardians and consistent poor project management, 350
employees were let go during mass restructuring in 2013. Peabody and Sherman would take its place and later become a
financial disappointment. My Shadow would be canceled in 2014. In 2016 Comcast would purchase Dreamworks Animation and
it would be restructured yet again.
DANIEL GRUBB
(and shadow dan)
Daniel Grubb definitely had a dramatic change since his conception to the
cancellation of the film. Originally starting as Stanley, a timid, poorly postured,
curly haired glassesless blonde, he was later redesigned to more resemble
the typical stereotypical business man, given an interest in film, and renamed
Daniel. Living in the basement of an old apartment building, his timid nature
and stubborness is a deep contrast with the eccentric and positive attitude
of his shadow counterpart. Shadow Dan's design was initially far different in
appearance compared to Daniel, with a whole new head of hair and a new
build. Later, he would be redesigned to better resemble his caster, but still
retain a joyful attitude.

3D model / Haengsook Oh Character develop;ment / Mike Yamada

Character development / Patrick Mate
Character development / Patrick Mate
Character design / Shannon Tindle Character development / Griselda Sastrawinata
Daniel with Heidi, 3D Model / Raffaello Vecchione 3D Model / Raffaello Vecchione
Stanley and Shadow Stan / Chris Brock
Storyboard sequence, excerpt / Kat Thorson Good
Animation test / Rune Brandt Bennicke
Visual development / Jason Scheier
Character poses / Anonymous
Character poses / Rune Brandt Bennicke
Character expressions / Rune Brandt Bennicke
Storyboard sequence, excerpt / Rune Brandt Bennicke
Animation test / William Salazar

A shadow is sketched and animated on top of a scene and then injected into the environment
Animation test / Matt Williamês
Various animation tests set in the Shadow World / Julien Bizat, Maël Gourmelen, Sandro Cleuzo
Visual development / Chris Brock
A young Daniel (then named Stanley) plays with his shadow.
"WE HAD A FAMILY DAY AT THE STUDIO A FEW MONTHS BEFORE THE MOVIE WAS
CANCELED WHERE THEY SHOWED CLIPS AND PRESENTATIONS... SO MANY PEOPLE
TOLD US THAT ME AND MY SHADOW WAS THE ONLY THING THEIR KIDS TALKED ABOUT...
PEOPLE WOULD TELL US THAT THEIR KIDS WERE PLAYING WITH THEIR SHADOWS AT
HOME. I USED TO TELL ALESSANDRO EVERY TIME I HEARD ONE OF THOSE STORIES... BUT
I STOPPED AFTER A WHILE. I COULD SEE IT MADE HIM FEEL WORSE.
- Rune Brandt Bennicke
Animating a run cycle / John Dusenberry

Sketch / Kristoff Serrand Shadow contouring process / United States Patent 20140267249A1
The process in animating Daniel's shadow immediately
created problems. With a 2D animated character in a 3D
environment that's meant to be a 3D character's shadow,
how is that shadow able to properly act as if it's being
cast with the environment's lighting and movement
when it is hand drawn? If lighting were to change and
the 3D character were to move, would the shadow need
to be reanimated with every adjustment? This is when a
new system was created, specifically for the animation of
Me and My Shadow.
On March 14th, 2013, Dreamworks applied for a
patent on a new type of animation process, to contour
a hand animated shadow to an environment. Using
this process, a simplified drawing platform is given in
scenes that casts a subjects natural shadow. Using this,
animators can use the natural shadow as a reference in
relation to its environment and position, roughly sketch
an animation, clean it up, and input their animation as
the new shadow. The new shadow accurately contours
over objects and appears to be casted from its subject,
even when it is fabricated by hand.
Though the film never saw a release, this technique
is still being perfected and the patent is still live. Hopefully,
DreamWorks will find a use for it in their future films.
HEIDI
Not too much is known about Heidi other
than the fact that she's a photographer,
is far more outgoing than Daniel and has
her own shadow like everyone else.

Character design / Scott Willis 3D Model / Raffaello Vecchione

 Clothing color schemes / Griselda Sastrawinata

3D models / Raffaello Vecchione 3D model / Unknown artist

Visual development / Unknown
Visual development / Chris Brock
Animated scene, spline / Sebastien Wojda

Character development / Dan Krall 3D Model / Haengsook Oh Pre-vis / Unknown

Storyboard sequence, excerpt / Rune Brandt Bennicke
Character poses / Rune Brandt Bennicke
MAC
Mac is Shadow Dan's stuffy, uptight friend
in the Shadow World. Just a shadow like
his peers, his caster banned him to the
shadow world by hiding in the dark
out of fear. In pain and in need of
revenge, Mac goes undercover
and takes control of other
shadows and therefore their
casters, planning a shadow
revolution on the light world.

Character poses / Sandro Cleuzo

Animation test / Julien Bizat
Dan expresses his excitement to Mac about Daniel and Heidi

Animation test / Sandro Cleuzo

Animation test / Sandro Cleuzo
Mac appears from a building's shadow

Animation test / Sebastien Wojda

Mac controls Shadow Dan in attempting to sabotage Daniel
BACKGROUND CHARACTERS
There are other characters in Daniel's world, many of which still unknown. Three
two most prolific however, at least in what was created, is an unnamed old lady,
a fireman named Big Charles, and the owner of Roberto's Pizza Paisano, Roberto
himself. Like everyone else, they too, have their own shadows.

Character turn around / Tom Caulfield

3D Model / Haengsook Oh The old woman's shadow loses a game of chess in the shadow world.
Animation test / Mael Gourmelen and Tom Caulfield

Character poses / Tom Caulfield

Big Charles, character development / Tom Caulfield
Roberto, character development / Rune Brandt Bennicke
Daniel had a cat, this is it's shadow
Character development / Mael Gourmelen
Character poses / Mael Gourmelen
ENVIRONMENTS
The world that Daniel, Heidi, and Mac inhabit is one that definitely changed
throughout production. Artist Pascal Campion envisioned something close to
France and extremely European, however this was quickly dismissed and that
aesthetic was thrown out entirely and Campion would be let go from the project.
The look of their little city would be changed to better resemble something more
American, western, something along the lines of Oregon or Washington. The
entire infrastructure of this American place would be based on light bulbs, the
same light bulbs that Daniel works on building and testing every boring day. The
streets are shaped like a lightbulb, there are light bulb advertisements plastered
on buildings, and the light bulb factory itself looks like an amusement park. All
of this color and strangely Orwellian light bulb splendor outside of Daniel's drab,
grey, and dark apartment.

Daniel's apartment / Pascal Campion

3D model / Christian Dumitriu
Visual development / Pascal Campion Visual development / Chris Brock
Visual development / Pascal Campion
Mac's house / Jason Scheier
Visual development / Pascal Campion
Visual development / Chris Brock Visual development / Pascal Campion
Visual development / Pascal Campion
Visual development / Griselda Sastrawinata
Visual development / Pascal Campion
Visual development / Griselda Sastrawinata
Light bulb factory / Jason Scheier
 Visual development / Mike Yamada

Visual development / Pascal Campion Visual development / Pascal Campion

Visual development / Jason Scheier
Visual development / Pascal Campion Visual development / Jason Scheier
Visual development / Jason Scheier
Visual development / Jason Scheier
Visual development / Jason Scheier
Light bulb factory assembly line / Jason Scheier

The Shadow World / Scott Willis

Visual development / Jason Scheier
The Shadow World / Scott Willis
Animation test / Daniel Hashimoto
Shadows are only in their world as long as a caster is in the dark
Light parade costume and float designs / Griselda Sastrawinata
Behind the scenes
Kristoff Serrand's studio
 PRODUCTION:
1997-2002
2003-2012
BUDGET:
$45 - 65M

RELEASED
FINANCIAL FAILURE DUE TO POOR
PROJECT MANAGEMENT

Foodfight! was the brainchild of Threshold Studios founders Joshua Wexler and Lawrence Kasanoff. The film was made to be
the grocery-store equivalent of Toy Story, where food icons (nicknamed “Ikes”) come alive at night and turn shopping aisles into
bustling streets. It was about Dex Dogtective (Charlie Sheen), a fictional cereal mascot who has given up his profession due to
the kidnapping of his girlfriend Sunshine Goodness (Hilary Duff). After a new brand called Brand X starts moving their way into
the store, various mascots go missing. This suspicious activity sparks the curiosity of Dex and after being persuaded by his friend
Daredevil Dan (Wayne Brady) he re-enters the detective game. Soon, he is thwarted (and seduced) by Brand X mascot Lady X (Eva
Longoria) who controls a robotic man named Mr. Clipboard (Christopher Lloyd). After failing to defeat Dex, she and her military of
Brand X soldiers are destroyed in a food fight (get it?) between them and the remaining Ikes.
Sounds made up? It’s real. Foodfight was conceived in 1997 as Threshold Studios’ first feature animated film. Originally with
a long list of mascot cameos such as Chester Cheetah, Twinkie the Kid and the Keebler Elves. The film would slowly degrade over
time due to financial problems, disorganization, and bad communication. Between 1997 and 2002 the film would be computer
animated with key-frames. However, in December of 2002 it was reported that the film’s assets were stolen from their server
room; only a small portion of animation (around 10 minutes) had been completed. Between 2003-2006 the film and its crew
would be transformed entirely and its workflow would be restructured. Director Lawrence Kasanoff, who had experience only in
directing live-action films, decided to change the animation from being traditional to motion capture. This extreme change lead
to confusion and a professional language barrier between him and the team. Between 2007-2011 the film would be worked on
slowly, with scenes being redone, contracts running out and investors backing out. In 2011 the movie’s assets and copyright would
be placed up for auction by the Fireman’s Insurance Fund to insure the investors had a return profit. From there it was handed on
to a new studio, completed as quickly as possible, and given a limited theatrical release in the UK, Dubai, and Russia before a DVD
release in 2013. Note: Much of the artwork within this chapter was upscaled and restored from various low quality
sources. Accuracy is close but not exact to the original image.
DEX DOGTECTIVE
Dex Detective originally started as a human
being named Dex Detective. He was based
Dex’s original weapon of choice was
a price gun. The change to a barcode
off noir film actors such as Humphrey scanner was made sometime during
Bogart or Sean Connery. It’s not clear why the late 2000s, likely to stay up to
the change was made from man to dog, date.
but it likely happened around 2000 and was
probably done for him to fit in with the rest
of the animal cast.
During the early 2000s there were
talks for a Dex Detective (then Dogtective)
Flash animated series cataloging his grocery
store detective adventures. This, along with
the “Foodfight on Ice” idea, never happened
and was abandoned years before release.

Animation Test / Jeremy Yates Dex with his price gun / Jim George Dex in his white tux / Jim George
 An early model of Dex Dogtective / Original trailer

A cart war between Dex Detective and a Brand X soldier

Concept art for unfinished videogame / Jason leong

Illustration from the Foodfight Soundbook / Ron Zalme Both versions of Cinnamon Sleuth / Unknown Artist
Various children’s books published for the Toy designs for various characters, likely never distributed.
film’s original planned release date of 2007.
The film would not come out for another
five years
DAREDEVIL DAN
Dex’s comedic relief Pal stayed relatively the same between conception and
release. Being voiced by Wayne Brady and singing his own theme song, how
could he not be the favorite? Daredevil Dan was probably meant to be the
breakout character, being a fictional mascot, there were plans to actually roll
out a line of Daredevil Dan chocolate bars!

Jacket patches / Unknown artist

Character design / Jim George Character design / Jim George

Early in production, there were talks to produce actual food products Daredevil Dan’s Airplane / Unknown artist
Chocolate bar wrapper / Unknown artist
Daredevil Dan’s Cockpit / Unknown artist
SUNSHINE GOODNESS
Sunshine Goodness, Dex’s girlfriend and raisin mascot, didn’t change too much
during the production of Foodfight. The strangest thing about her is the fact she was
likely casted for Hillary Duff when she was eleven years old. Duff was 19 by the time of
Foodfight’s release. The choice of her cat ears and tail is also a mystery, but has been
part of her character design since the beginning. Duff’s older sister, Haylie Duff, also
voiced a character in the film by the name of Sweet Cakes, who only has one line. It’s
possible they may have originally had some sort of relation as characters, however
they never meet in the final film.

Early model / Unknown artist Character design / Jim George

Packaging design / Unknown artist
Digital render / Publicity still

When the originals assets disappeared in 2002, everything

had to be remade from scratch. This meant previous
character models, which were closer to their original
character designs, had also been entirely revamped and
optimized for motion-capture animation. Dex’s model
was modified as many as four times during production. To
many, eyes appeared soulless and animation felt stiff and
unnatural. This did, however, open the doors to some very
memorable scenes, such as Mr. Clipboard’s introduction.
(Which was entirely motion-captured by G.J. Echternkamp.) Early model / Original trailer
BRAND X
Brand X are the Ikes’ greatest threat. Being lead by seductress Lady X
and her weirdly fascist looking minions Lieutenant X, General X, and
Muffin Man, their goal is to take down every Ike and replace them with
their own kind. Originally, Brand X was a literal take on the “brand x”
label in commercials meant to criticize another brand or a generic label.
Overtime this idea got kind of lost in translation, and Brand X became its
own brand filled with “elixir” meant to take over the
world so everyone will consume Brand X.

Muffin Man / Jim George General X / Jim George Lieutenant X / Jim George Lady X / Jim George
Later renamed Mashed Potato Man, then swapped out for Lunch Lady
Packing design / Unknown artist Deleted scene, later reworked Mr. Clipboard / Jim George
Screenplay / Joshua Wexler, Brent Friedman, Lawrence Kasanoff
 Besides Brand X’s many minions they also had mechanized
Terminator-type bugs called “X-O-Bytes.” These X-O-Bytes
were originally intended to have a far larger role in the film in
terrorizing the Ikes and being a threat to the main characters.
Though, overtime, their spotlight dwindled to only being a
decoration for the Brand X image.

X-O-Byte / Jim George X-O-Bytes building a blockade

Concept art for unfinished videogame / Jason Leong
 George Johnsen doing motion capture for
Mashed Potato Man / Original website

Brand X soldier turn around / Jim Coombs (?)

Brand X detergent aisle at night / Unknown artist
Brand X war room / Unknown artist
CHEAZEL WEASEL
Possibly one of the most memorable characters of the bunch. Cheazel Weasel, the
sly, disgusting, nasty looking alley weasel originally started as an icon for a kitchen
cleaner. It’s unknown why the change was made from being that to representing
processed cheese. Or, specifically, his brand “Cheese Mold.” Ever since YouTuber
JonTron’s review of Foodfight, Cheazel has been eloquently nicknamed by fans as the
“poop rat.” With a memorable voice from Foodfight’s own director, Larry Kassanoff,
and with animation being captured from contortionist Daniel Browning Smith,
Cheazel certainly stands out as a character.

Side profile / Jim Coombs (?) Early model / Unknown artist Character design / Jim George
Product design / Unknown artist
Originally, at the end of the film the Ikes were going to set off the fire sprinklers and flood the Brand X buildings. To do this, they sent Cheazel to cut
off the alarm’s telephone line as to not cause panic. This scene was kept but re-contextualized, however it is presented as intended within the books..
Storyboard sequence / Gary Clair
BACKGROUND CHARACTERS
When Foodfight was first pitched the idea was
to have only a few original characters for the film.
The rest of the characters, especially those in
the background, would be well established food
mascots that have been around in American
supermarkets for decades. Over time,
the mascots once planned to be in the film
would be removed due to contracts running
out and legal disagreements. The voids left by
these characters would be filled with new,
original characters. While these were already
designed years before the slow
disappearance of the
mascots. They would
be redesigned, and
pushed farther
to fill in now
nameless lines
and empty
scenes.

Space Cadet Bob / Jim George Vlad Chocul / Jim George Maximilius Moose / Jim George
 Screenplay / Joshua Wexler, Brent Friedman, Lawrence Kasanoff

Krispy Chips bag / Unknown artist Captain Krispy / Jim George

Hairy Hold styling gel labels / Unknown artist Hairy Hold / Jim George
 Polar Pleasure Ice Cream box / Unknown artist

Early model / Unknown artist Polar Penguin / Jim George

Dr. Si Nustrix Nasal Spray bottle design / Unknown artist Dr. Si Nustrix / Jim George
Twinkleton / Jim George

Various jar and bottle designs / Unknown artists Hell’s Bells Wasabi Horseradish jar design / Unknown artist
 Early render of Kung Tofu / Publicity still

Won Ton Tea box design / Unknown artist

 Dex fights the Ninja Noodle icon in a deleted scene
Sizzle Reel / Threshold Studios

Ninja Noodles packaging design / Unknown artist Various packaging designs / Unknown artist
Maximilius Moose, Dex’s friend and bouncer at the club Copa Banana, started out as a bulldog.
Test animation / Jeremy Yates

Voodoo Hot Chili can label / Unknown artist

Mr. Leonard / Jim George

 Foo Man Chewy, unused model / Unknown artist

Various packaging designs / Unknown artist Unused elf character model / Unknown artist
CARLSON’S MARKET
Every event in Foodfight takes place in Carlson’s Market, a grocery store ran by
humble owner Mr. Leonard. The store is quite large, nearly the size of New York to
the inhabitants. Leonard’s own office is referred to as the “expiration station” by the
locals, due to discontinued and expired products being moved there. It’s not said
why exactly Leonard puts expired food in his office, but that’s where it goes, and it’s
essentially a gigantic morgue. The store was originally far bigger, with candy aisles, a
Twinkie saloon, and even a Raisin City Music Hall.

Carlson’s Market at night / Unknown artist The Keebler Factory / Unknown artist
Asian food aisle, day / Unknown artist
Asian food aisle, night / Unknown artist
Asian food aisle, endcap, night / Unknown artist Asian food aisle, back alley, night / Unknown artist
Italian food aisle, endcap, day / Unknown artist Italian food aisle, endcap, night / Unknown artist
Italian aisle, day / Artist unknown
Italian aisle, night / Artist unknown
Cereal aisle, day / Artist unknown
Cereal aisle, night / Artist unknown
Cereal aisle, endcap, day / Artist unknown Toiletries aisle, endcap, night / Artist unknown
Toiletries aisle, endcap, day / Artist unknown
Toiletries aisle, day / Artist unknown
Toiletries aisle, night / Artist unknown
Discount aisle, day / Artist unknown
Discount aisle, night / Artist unknown
Cookie aisle, day / Artist unknown
Cookie aisle, night / Artist unknown
Cookie aisle, rooftop / Artist unknown
Twinkie Saloon / Artist unknown
Specialties aisle, day / Artist unknown
Specialties aisle, night / Artist unknown
Detergent aisle, day / Artist unknown
See Brand X section for night version
Candy aisle, night and day / Artist unknown
Cheese section, day / Artist unknown
Cheese section, night / Artist unknown
Produce section, day / Artist unknown
Produce section, night / Artist unknown
Copa Banana, interior / Artist unknown
Copa Banana, interior / Artist unknown
Floor plan for Carlson’s Market / Unknown artist
Director Larry Kasanoff displaying artwork for Foodfight! / Monica Almeida
 PRODUCTION:
2009-2015

BUDGET:
100M

CANCELED
DUE TO EXECUTIVE DECISIONS,
CREATIVE DIFFERENCES, AND
FINANCIAL CUTBACKS

Originally starting in 2009 under the title Boo U and being directed by Tony Leondis, Boo U (U standing for university) was about
a ghost named Watts who was so bad at his job he had to return to ghost school. Soon, this story was scrapped, possibly due to
similarities with the then in-development Monster's University.
For a few years no updates would be given on B.O.O. until it was revelaed Seth Rogan and later Melissa McCarthy had joined
the cast for a movie now named B.O.O. (Bureau of Otherwordly Operations.). B.O.O. was about a paranormal investigator Jackson
Moss (Seth Rogan), who after an unknown cause of death, becomes a ghost and joins the B.O.O.; an agency composed of ghosts
dedicated to protecting humans from hauntings. Moss and his partner, Watts (Melissa McCarthy), work at defeating their most
wanted haunter Addison Drake (Bill Murray), who's plan is to destroy the B.O.O. and take over the human realm.
B.O.O. would be delayed time and time again due to Dreamworks' financial status steadily declining after multiple box office
bombs (the biggest of which was caused by Rise of the Guardians) and Dreamworks would close their PDI studio, laying off 500
employees and shelving several projects including B.O.O. Dreamworks CEO Jeffrey Katzenberg was not entirely satisfied with the
way B.O.O. was going, and out of fear of competition with Disney's new film Inside Out. The ending was also a problem, no decision
could be made in what exactly happens to Moss' character. Does he remain dead? Does he somehow resurrect to return to his
son? This problem was never solved.
B.O.O. was reportedly over halfway fully animated before it was permanently canceled. Strangely enough, during its
production (and even after its cancellation,) some merchandise planned for the film were released into a few stores across the
country and available on Amazon. Unfortunately, only a beach towel has actually been located physically, with only pictures of an
activity book and a toy arm gun being available. B.O.O. is just another Dreamworks movie that fell victim to the shutdown of PDI,
and unfortunately its existence now is only within resumes and animation reels.
JACKSON MOSS
Jackson Moss is a tinkerer and investigator of the
paranormal. The father of Henry Watts and the
owner of Moss and Son Ghost Patrol (or alternatively
Detective Ghost Shop). It's unknown what exactly
happens to Moss to cause him to become a ghost,
but with his entry into the great beyond he is finally
given the real answer that the paranormal are real, a
question he has been asking himself his entire life.

Animated sequences / Unknown, Alexis Wanneroy 3D model / Raffaello Vecchione

 3D model / Raffaello Vecchione 3D model / Danny Williams

Character development / Bill Kaufman Animation test / Jon Gutman

HENRY MOSS
Henry Moss is the son of Jackson Moss (obviously). Not much is known about him
as a character other than he sports a team of friends like any other average tween
boy and seems to follow in the footsteps of his father. When the B.O.O. needs help
to defeat Addison Drake, he adopts an entirely new B.O.O. aesthetic, complete with
Jimmy Neutron hair.

Accessory design / Iuri Lioi 3D model / Raffaello Vecchione

Pre-visualization / Peter Zaslav
Originally, Henry had a much closer resemblance to his father. It's unknown why the change was made from having normal hair to Jimmy Neutorn.
Animation test / Unknown

3D model / Danny Williams 3D model / Raffaello Vecchione

Visual development / Samuel Michlap
WATTS
Watts, a B.O.O. agent, was one of the
first characters designed for the film.
Originally a guy when the film was
titled BOO U(niversity), Watts has a long
heritage of past B.O.O. cadets that she
lives up to.

3d model / Phil Zucco 3D model / Raffaello Vecchione

3D model / Danny Williams 3D models / Danny Williams

Character development / Bill Kaufman
Animation test / Patrick Mate
Storyboard sequence for Boo U, abridged / Kat Thorson Good
Finale storyboard sequence, excerpt / Rob Koo
ADDISON
DRAKE
Addison Drake is the main threat to the B.O.O.,
while his motives are unknown, Drake seems to
have a desire to take over the mortal world with
ghosts. Using a strange energy jump rope as his
main weapon, Drake is a cunning and cocky type
of mob-boss leader of the other enemy ghosts.

3D model / Raffaello Vecchione

Pre-visualization / Peter Zaslav
Assorted animated sequences and test / Alexis Wanneroy

Animated sequence (spline) / John Gutman

Finale storyboard sequence (excerpt) / Rob Koo
OTHER CHARACTERS

Jackson Moss' ex-wife and Dylan's mother Jackson Moss' ex-wife's husband Captain Book, a senior B.O.O. officer
3D model / Raffaello Vecchione 3D model / Raffaello Vecchione 3D model / Raffaello Vecchione
Henry's friend, Dylan Addison Drake's dog, Lionel
3D model / Danny Williams 3D model / Raffaello Vecchione
Character designs / David Crane
Character designs / Kat Thorson Good
Visual development / Paul Duncan
Visual development / Francisco Mora
Visual development / Francisco Mora
Visual development / Iuri Lioi
Samuel Michlap
Visual development / Samuel Michlap
Mixed in here are also designs for B.O.O. when it was Boo U! Can you spot Watts' original design?
Visual development / Bill Kaufman
Visual development / Iuri Lioi
Visual development / Peter Zaslav
Visual development / Timothy Barnes
There were talks in creating a TV show called B.O.O. Academy to be made after B.O.O.'s release.
These are some environment designs for the show that never came to be.
 PRODUCTION:
1996-1999
2009-2014
BUDGET:
180M

CANCELED
DUE TO CREATIVE DIFFERENCES

The Incredible Mr. Limpet originally came out in March of 1964. It was a live action and animation hybrid starring television star
Don Knots in the lead role, based off the book Mr. limpet by Theodore Pratt. A somewhat successful film, telling the story of a shy
book keeper who is turned into a fish and ends up helping the Navy fight the Nazis during the second world war.
In 1996, Warner Bros. decided to re-imagine the story of Mr. Limpet, hiring Space Jam screenwriter duo Steve Rudnick
and Leo Benvenuti. By 1997, Jim Carrey was on board for the lead role, and in 1998 Steve Oedekerk was hired as both its writer
and director. Ten million dollars were spent on an animation test to turn Carrey's face into a fish. Top of the line motion capture
technology was used to make it as convincing as possible, though it was all for naught. Carrey would leave the project in 1999,
and right behind him would be Steve Oedekerk. Other actors, such as Robin Williams, Mike Myers, Adam Sandler and Chris
Rock were considered to replace Carrey's role, but none of them were interested. After displaying the animation test to director
Brad Bird as a pitch, he was disgusted by its appearance and said it was the most horrifying thing he'd ever seen. Beavis and
Butthead creator Mike Judge was soon hired in 2000 as co-writer and director, however Judge's version seems to have never
made it to shooting, especially with a star still undetermined.
For nearly a decade the Limpet project would be shelved, until in 2009, Kevin Lima, director of Enchanted, was hired as a
director. The next year, actor Zach Galifianakis was in negotiations to star as Limpet. In 2011, Richard Linklater was set to direct
Mr. Limpet instead. By 2014 the cast included Jon Hamm, Kevin Hart, Keegan Michael-Key, Jordan Peele, and Zach Galifianakis.
Though just a month after this announcement, Linklater would leave as its director and concentrate on making Everybody
Wants Some!!! Though filming was meant to start before the end of 2014, Warner Bros. never seemed to find another director to
take on the project. The plot differences between this version and its original remain unknown, and the project has simply been
left in voice recordings, storyboards, animation tests, and visual development.
Character development / Bob Camp
 "IF YOU SAW THIS IN THE WATER, YOU
WOULD GET OUT OF THE WATER AND
RUN SCREAMING AND TELL EVERYONE
THE WORLD WAS ENDING.”
- Brad Bird after seeing test footage of Jim
Carrey as Mr. Limpet

Visual development / Richard Dolan

Animation test / Bryant Reif

Face sculptures / Tom Hester

Moe and Sheldon, character development / Joe

Animation test of Crusty / Mark Farquhar

Visual development / Walter P. Martishius
Storyboards / Harry Sabin
Facial tracking study / Hiroki Itokazu
Zack Galifianakis as Mr. Limpet, character design / Barry Reynolds
Storyboards / David Lux
 PRODUCTION:
2005-2008

BUDGET:
N/A

CANCELED
DUE TO EXECUTIVE DISAGREEMENTS
AND RESTRUCTURING

Joe Jump was the brain child of Disney story artist, voice actor and assistant animator Sam Levine. Levine came up with the
concept of a forgotten eighties video game character wanting to modernize and upgrade himself by "jumping" into other games.
The script was originally written by him and then-unknown screenwriter Jared Stern and with that, visual development at Disney
began. Trips were taken to Tokyo to get rights cleared for classic game characters and the main character himself was intended to
be traditionally animated in contrast with other CGI characters and environments.
Joe Jump, the titular character, was inspired by the artwork on the original arcade cabinet of Pac-Man, being a small,
abstract, silly looking character. Joe also had a love interest, who's name is unknown, along with enemies known as Loogie 1, 2, 3,
and 4. After growing tired of his life as a decades old video game character, Joe decides to go to other, more violent and advanced
games, to modernize himself. With every upgrade Joe would lose more of himself, journeying anywhere between Asteroids to a
Halo-inspired game featuring demonic hell beasts and super-armored space cadets. The details of Joe Jump's plot are shrouded
in mystery, behind brick walls of NDAs and fuzzy memories.
In 2008, less than two years after John Lasseter was made Chief Creative Officer, Joe Jump's plug would be pulled, likely due
to it not being as traditionally Disney as Lasseter preferred. Levine would leave as soon as Joe Jump was canceled, and that same
year Rich Moore was hired at Disney, already with the idea of an animated film set within a video game world. Joe Jump wasn't
the first project Disney had in mind with this concept. During the nineties, talks were had about a separate film titled High Score,
also set within a video game world. Details on this particular production, however, are non existent. Moore's idea would slowly
transform into Reboot Ralph, and Joe Jump was dropped entirely. Reboot Ralph would transform into Wreck It Ralph, and one
500M dollar box office smash later, here we are. Though Joe Jump never even made it to test animation, he was still the first real
foothold in Ralph's conception. Just, unfortunately, without any of its original pieces except for its basic plot point: what if a video
game character left its own game?
Visual development / Dan Cooper
Joe Jump continues to get new upgrades. Behind him is Loogie and "Ship" the space ship from Asteroids.
Pac-Man / Midway Mfg.

Joe Jump / Sandro Cleuzo Joe Jump with Loogie / Sandro Cleuzo
Joe Jump's character was inspired by Pac-Man's original Western design
Loogie(s), character development / Sandro Cleuzo

Jump boots, visual development / Jim Martin

Joe Jump acquires various power ups by game jumping
Inside Frogger, visual development / Jim Martin
Inside Asteroids, visual development / Jim Martin
Inside Asteroids, visual development / Jim Martin
Sal's Pizza, visual development / Sean Eckols
Joe Jump's machine is likely inside a pizzeria from the eighties.
Smash Kaliber, character development / Harald Siepermann Character development / Jim Martin
Character development / Jim Martin
Crash Kaliber, character development / Jim Martin
Crash Kaliber, character development / Jim Martin
Visual development / Jim Martin
Visual development / Jim Martin
Visual development / Jim Martin Tova Starship, visual development / Jim Martin
 The Overlord's forearm / Jim Martin

The Overlord, character development / Ricardo Delgado Weapon design / Jim Martin
Overlord's Castle, visual development / Ricardo Delgado

Battle Beast / Ricardo Delgado

 Smashworld - Level One / Ricardo Delgado

Volcano Arena / Ricardo Delgado CZL Lab / Ricardo Delgado

Character development / Sandro Cleuzo
Character development / Sean Eckols
Lizard City, visual development / Ricardo Delgado
Lizard City, visual devleopment / Dennis Greco
 PRODUCTION:
2009-2011
2011-2018
BUDGET:
“DREAMING N/A

MACHINE”
CANCELED
DUE TO THE PASSING OF ITS CREATOR

Dreaming Machine (Yumemiru Kikai) was the first film to be created by renowned anime artist Satoshi Kon that was intended
for a family audience, more specifically children. The film was set in a world where all organic life had gone extinct, and all the
robots that humanity had built to do their labor are the only things that even resemble life left on the planet. Robin, a headless,
child-like robot lives alone on an island. When Ririko, a more adult, feminine robot arrives, she provides a head for him and
they become friends. While suffering tsunamis and floods on the island, they two and a third friend, a large, blue robot named
King, decide to take a journey to the “Land of Electricity,” a place where electricity is an infinite resource with a utopian, 1950s
futuristic aesthetic. Not only is getting there difficult, but they are met with many enemies and discover that an army is trying
to monopolize the electricity.
Dreaming Machine was in Satoshi Kon’s mind since at least the creation of his last film Paprika, which has references to the
film’s main three characters in various scenes. While Kon’s films were moderately successful, Dreaming Machine was still difficult
to create due to a lack of finances. To add more difficulty, Satoshi Kon would pass away in the summer of 2010 due to pancreatic
cancer, something he was only diagnosed with six weeks before his death. After a period of mourning, the team would continue
to produce Dreaming Machine, even going as far as having a social studies trip to various factories in studying and understanding
machines. Though it was Kon’s dying wish for Dreaming Machine to be completed, the film would be canceled in 2011 due to lack
of funding. While the film was still on the table to be completed some time in the future, producer Masao Maruyama announced
that it would not be completed until they find a suitable director that could match Satoshi Kon’s style and understand what Kon
was trying to do with Dreaming Machine.
In the end, 600 shots out of an estimated 1500 would be fully animated before the film was put on indefinite hold. No
clips have surfaced of the completed animation, and what has been made public is only though the film’s own website and
retrospectives on Kon’s work.
RIRIKO
Ririko was built as a nanny type of robot to take
care of children. Her physique is patterned after
the stereotypical mid-century housewife and was
partially inspired by dolls such as Barbie. As of now,
her personality is a complete mystery, but likely had a
gentle and caring demeanor.

Character busts / Satoshi Kon Character poses / Satoshi Kon

Character sheet / Satoshi Kon Ririko with Robin / Unknown artist
Character development sheets / Satoshi Kon
Enhanced from a very low quality source
ROBIN
Robin is the main hero of the story, with much of it
being told from his perspective. Starting without a
head, Robin grows throughout the course of the film
from his original child-like appearance to nearly adult
looking. With a head supplied by Ririko, the two rely
on each other heavily, seemingly alone on their island
together.

Promotional art / Satoshi Kon Character poses / Satoshi Kon

Robin with unknown character / Satoshi Kon Robin’s evolution throughout the film / Satoshi Kon

Character development sheets / Satoshi Kon

Enhanced from a very low quality source
KING
King is the muscle of the group. Extremely little is
known about King, Robin and Ririko meet him before
they make the decision to go to the Land of Electricity.

Character design / Satoshi Kon

ODDS & ENDS
Very, very little is known about the other inhabitants
of Ririko, Robin, and King’s world. Very low quality
pictures of character developments by Kon himself
exist, though their names are not legible. The villain
himself is unknown, and whether or not the main cast
are unique robots or part of a series is also a mystery.
Stills and backgrounds of the completed footage
have also made their way to the public through the
website, as well as a handful of other materials such as
storyboards and photographs from the team.

A cake of unknown character called Stereo Boys given to animator A storyboard sequence displaying the destroyed city in which the
Michiyo Suzuki for her birthday / Dreaming Machine blog cast inhabits / Satoshi Kon
Character development sheets / Satoshi Kon
Enhanced from a very low quality source

Background and composite / Satoshi Kon

Publicity stills relatively sorted in order of the story / Dreaming Machine website
Background and composite / Satoshi Kon
Various backgrounds / Unknown artist
Various backgrounds and colored storyboard panels / Unknown artist
Various backgrounds and a publicity still / Various
Visual development / Unknown artist

Dreaming Machine stamp / Dreaming Machine blog Dreaming Machine storyboard book / Dreaming Machine blog
 SULLIVAN PRODUCTION:
1983-1984

BLUTH
STUDIOS BUDGET:
N/A

CANCELED
DUE TO THE VIDEO GAME CRASH OF
1983

In 1983 a video arcade game called Dragon's Lair was released to the masses. A game utilizing laserdisc technology instead
of computer-generated graphics meant that players could control a traditionally animated character on screen. Immediately,
it was a sensation. Created by video game designer Rick Dyer and animated by Sullivan Bluth Studios (which animated The
Secret of NIMH just the year prior), Dragon's Lair opened the door to animation being applied in areas outside of the theater and
television.
Within the same year after Dragon's Lair massive success, Sullivan Bluth Studios started work on both Dragon's Lair II (later
named Dragon's Lair: Time Warp) and writing the script for Dragon's Lair: The Legend, a feature length animated film. Dragon's
Lair: The Legend was a prequel about Dirk the Daring (Michael J. Fox) as a teenager with his friend Strun as peasants in a forest,
adoptees of an old hag who is killed by the evil wizard Mordroc. Strun is also kidnapped and possessed by Mordroc, leaving Dirk
alone. In the woods, Dirk encounters Princess Daphne and her Aunt Brunhilde, who have been disguised as Gypsies to avoid
Mordroc. They tell Dirk of a legendary knight who is the only one capable of defeating Mordroc. So, Dirk sets off alone to find this
warrior and meets up with the Seven Deadlies, a group of dwarf trolls named after the seven deadly sins. These thieves strike
up an uneasy alliance with Dirk and accompany him to the abandoned castle of the legendary knight. The Knight, a mysterious,
tired being who's features are obscured by his helmet, agrees to help Dirk. At this point, it is discovered that Strun has essentially
become Mordroc and kidnapped Daphne to wed as his queen for his reign. After the Knight successfully slays Mordroc/Strun on
a battle on top of a mountain, Mordroc's soul escapes Strun's corpse and turns into a massive, horrifying dragon. Here, Dirk must
slay the dragon himself, as the Knight's payment. After successfully slaying the dragon, it's discovered that Daphne has been
killed (unknown how) but Dirk brings her back to live with his love (again, unknown how.) Dirk is a revered hero, the end.
The film failed to garner much interest from investors, who were more interested in turning the idea of Dragon's Lair: Time
Warp into a film instead. Unfortunately, when the video game marked crashed in 1983-1985, so did any hopes for The Legend.
Colored storyboard panels / Don Bluth
Pitch storyboard / Don Bluth
Captions by Unknown
Elements of The Legend would later be seen in Time Warp in
1991, with a very different (and more cartoony looking) Mordroc
(pictured right.) This would be our first (and last) appearance
of Mordroc.
In the same year, The Legend would be loosely adapted
as a Gameboy game of the same name. With a fairly different
plot and being essentially a reskin of a pre-existing game titled
Roller Coaster, this game is a far cry from its source material.
In 2015, Don Bluth and Gary Goldman announced they
would be working on Dragon's Lair: The Movie and started a
crowdfund to reboot this concept. Though without an update
for years, the fate of this project is unknown. Animation Cel from Dragon's Lair II: Time Warp / Sullivan Bluth Studios
 PRODUCTION:
2005-2008

BUDGET:
N/A

CANCELED
DUE TO EXECUTIVE DECISIONS

Nearing the completion of their first short film Moongirl, the newly named Laika Entertainment greenlit a new project. Laika's first
feature on their own would be an adaption of Neil Gaiman's Coraline, which was planned to be a hybrid of CG and stop motion.
That same year, they would approve another project, a film called Jack and Ben's Animated Adventure. In contrast with what we
think when he hear Laika today, Jack and Ben was to be fully computer animated, just as Moongirl was when it premiered that
2005.
Jack and Ben was pitched by Cars creator Jorgen Klubien after he finished the storyboarding Moongirl. The next year after
being green lit, Laika leased 60,000 square feet in the Leland James Center for a massive production facility where Jack and
Ben would be created while it's new studio would be built on the 30 acres of land that chairman and owner Phil Knight had just
purchased. Not only was Klubien the story's own writer, he would also be its director.
Investors favored Jack and Ben over Coraline, and while both films were being produced, Jack and Ben seemed to have an
advantage with possible funding. Because of this, Coraline director Henry Selick would send emails to Laika director Travis Knight
about how bad of an idea it would be to produce Jack and Ben. This, along with the cost of having two separate crews producing
two separate films at once, meant Coraline was given higher priority and Jack and Ben was shelved. Klubein was let go, and while
there were some efforts to continue making Jack and Ben in a more surrealistic and darker tone with Mulan director Barry Cook
as its new director, this never went further than a short preview at SIGGRAPH 2008.
Jack and Ben was going to be about two blue bird brothers. Jack, the smaller of the two, looks after his mentally disabled
brother, Ben, as they're left behind from their flock the first time they migrate south for the winter. The two characters, as well as
other assets, would later be used in a short film titled The Mouse That Soared, being directed by Laika animator Kyle Bell in 2009.
Previous animation tests done for Jack and Ben would also later be released as a small series titled The Secret Life of Bluebirds,
also by the same director, in 2012.
Poster mock-up / Scott Fassett Visual development / O. Nedelin, F. Gardner, Scott Fassett
Visual development / Jorgen Klubien
Character design / Ovi Nedelcu
Character designs / Scott Fassett
 Ben finds "Pinky Mouse" as a baby and
decides to raise him. This is expanded
greatly (and perhaps inaccurately?) in
The Mouse that Soared.
Digital sculpture / Frederick
Gardner

Visual development / Stef Choi Racing birds / Frederick Gardner

Animation tests / Laika CG Crew
Animation tests / Laika CG Crew
Character designs / Lauren Bain
Character design / Ovi Nedelcu
Visual development / Scott Fassett

Predators / Frederick Gardner, Ovi Nedelcu

Visual development / Scott Fassett
Visual development / Dave Fulp
Storyboards / Bob Foster Visual development / Dave Fulp
Visual development / Stef Choi
Visual development / Barry E. Jackson Visual development / Lauren Bain
Visual development / Scott Fassett
Visual development (top) / Scott Fassett
Panorama for animation test (bottom) / Frederick Gardner, Scott Fassett
Animation tests / Laika CG Crew
Eden Tree, Visual development / Stef Choi
Visual development / Scott Fassett
Visual development (top, right) / Frederick Gardner, Scott Fassett
Visual Development / Scott Fassett

Visual Development / Lauren Bain

Visual Development / Barry E. Jackson
Visual Development / Patricia Doktor

Visual Development / Barry E. Jackson Visual Development / Frederick Gardner

Visual Development / Frederick Gardner
Visual Development / Dave Fulp

Visual Development / Lauren Bain

Visual Development / Lauren Bain
Visual Development / Lauren Bain Visual Development / Frederick Gardner
Animation test / Laika CG Crew
SIGGRAPH 2008 Concept Trailer / Laika CG Crew
Laika card design / Scott Fassett
 PRODUCTION:

AL BRODAX 1978-1981

CANCELED
FOR REASONS UNKNOWN

When Elton John released his album Captain Fantastic and the Brown Dirt Cowboy in 1975 it was met with remarkable success.
Based off the pre-orders alone within the same year it was certified gold. It was a concept album based on Elton John and song
writer Bernie Taupin’s experience early in their career working together, and with this, it tells a story.
With the previous success of the 1968 film Yellow Submarine, based off the music of The Beatles, it was somewhat natural
to come up with the idea of Captain Fantastic getting its own animated film. By 1978, this was becoming a reality. With Yellow
Submarine’s producer Al Brodax on board along with album-cover artist Alan Aldridge who would be designing the film’s
characters and overall look, Captain Fantastic was starting to take shape. With a budget of 2.5 million dollars, the film was going
to be produced by Al Brodax in conjunction with Elton John’s own company, Captain Fantastic Enterprises. It would not be until
mid -1980 that a script would finally be completed. However, just a year later, it seems production was halted. Not a word was
said about what happened or whether it would continue later on, and it was quietly canceled without a peep.
The film’s plot is still unknown, and while a screenplay has been circulating between collectors, no public digitization has
been made of it. While it’s safe to assume its story would be similar to that given in the album itself, when viewing the concept
art it’s quite obvious the concepts within the album are taken so literally to the point of being psychedelic. The term “bitter
fingers” refers to Elton and Bernie’s bitter attitude in being told to write for other bands early in their career. In the film, however,
it turns this term into a character named Bitter Fingers, who may have been the villain, but who knows?
The best part of the film (and the saddest part about it being cancelled) is the character designs being by renowned artist
Alan Aldridge, a man responsible for movie posters, book covers, and album covers for anyone between The Beatles to The Who.
Juke Box Jive character designs / Alan Aldridge Haunted Ballroom / Alan Aldridge

Bitterfingers chracter design / Alan Aldridge Acolytes of Bitterfingers / Alan Aldridge

 “IT'S HARD TO WRITE
A SONG WITH BITTER
FINGERS. SO MUCH
TO PROVE, SO FEW
TO TELL YOU WHY.
THOSE OLD DIE-HARDS
IN DENMARK STREET
START LAUGHING
AT THE KEYBOARD
PLAYER'S HOLLOW
HAUNTED EYES.”
Bitter Fingers
Bernie Taupin, Elton John
Captain Fantastic and the Brown Dirt Cowboy
Track 3
Fast Buck character design sheets / Alan Aldridge
Doctor Delirium and Walking Stick design sheets / Alan Aldridge
 PRODUCTION:
1981-1983

BUDGET:
N/A

CANCELED
DUE TO INVESTMENT FRAUD

Thomas D. Carter was an employee within the entertainment division of Disneyland during the 60s and 70s. After that, he got into
"factoring," an investment plan where you buy unpaid bills, pay them as a percentage, and then get paid back the full amount in
full by the insurance that needed the bill paid. It's a weird and complicated thing in investment but it was enough to give Carter a
pretty significant profit. Multiplying that further by selling shares and then use that money to buy more bills, eventually he earned
million doing this. With that money, Carter decided to create his own entertainment, be his own Walt Disney.
Recruiting many ex-Disneyland crew and performers such as Don Payne, Wally Boag and Jim Adams, Carter wanted to build
his own amusement restort in Las Vegas called "Huck's Landing," a park based off Mark Twain's "Huckleberry Finn" complete with
restaurants, rides, hotels, and water parks. While having a drink together, he and artist Phil Mendez created a plan, why not give
this whole park its own feature film? It worked for Disney by making a Disneyland TV show, maybe this would be just as beneficial.
Setting up an animation studio in Los Angeles, they recruited artists such as Floyd Norman, Leo Sullivan, and Scott Shaw!
on the team, just to name a few. The film's story followed "Huck", a baby that falls off a ferry in the Mississipi river, being found
and raised by an old turtle named Ol' Mudd. Here, Huck is raised on Ol' Mudd's Island, with a bounty on him to be returned to his
mother. An old "quadroon" sets forth to retrieve Huck for the money as well as send his minions the Pirate Birds to retrieve Huck
for him. Joined by a fun cast of animals like Belvedere the crow, Beulah the alligator, and Missy the possum, Huck's Landing was
going to be a classic, fun, children's feature. This plot would be changed greatly once Mendez left due to severe creative differences
and budgetary cutbacks, scaling back on the whole "boy raised by animals" thing and replacing the villain with the "Baron," the
man that caused the whole ferry incident to begin with.
Huck's Landing would reach a screeching halt when in 1983 a local newspaper published an article about Carter being
investigated for insurance fraud. The crew was called, told to take their stuff, and Huck's Landing was shuttered. Carter would
continue to work on the project on his own, be imprisoned for two years in 1991 for said insurance fraud, and continues to try and
sell his massive franchise idea today.
Poster art / Unknown
 Maquette / Unknown Sketch / Unknown

Ol' Mudd, character development/ Phillip Mendez Character drawing / Unknown

Introduction storyboard sequence / Unknown
Animation test / Unknown Production rendering / Unknown

Animation test / Unknown

Originally there were plans for Huck's Landing to have its own
television show, and comic strip. Funnily enough, even though
the movie never got off the ground nor any of its other many
other affiliated projects, the comic strip did end up happening.
Just... not anywhere that the public could see. Renowned
comic artist Scott Shaw! did every strip himself, and though
a healthy amount were written, drawn, and inked, they were
never printed in any sort of periodical or newspaper.

Technically one was finally published, shown above, in the

book Cartoon Confidential by John Cawley and Jim Korkis,
both ex-crew members on the Huck's Landing team. An entire
chapter in that book is dedicated to this production, and was
the first time anyone really learned what actually happened
behind the doors of Tom Carter Enterprises. And that was
back in 1991!
 Character drawing / Unknown Huck meets Tom Sawyer / Presentation reel

Huck / Unknown Production rendering / Unknown

Mudd discovers Huck / Presentation reel

Huck grows up on Ol' Mudd's Island / Presentation reel

Pencil test / Unknown
Character drawing / Unknown Production rendering / Tom Carter Enterprises
Character drawing / Unknown

Production rendering / Production rendering / Belvedere teaches Huck how to fly, Storyboard sequence / Unknown
 An accident happens on the ferry / Presentation reel

Fred Mayne auditions for The Baron / Audition tape

Character drawing / Unknown

 Production rendering / Unknown

The Pirate Birds / Unknown

The Colonel attends a Licensing Showcase / The Pirate Birds capture Huck, Storyboard sequence / Unknown
Huck's Landing Gazette
Missy, Production rendering / Unknown Background painting / Michael Humphries

Visual development / Michael Humphries

Visual development / Michael Humphries
Visual development / Michael Humphries
Cel setup / Various
Visual development / Michael Humphries
Storyboard 7 / Photo by Floyd Norman
This brochure claims Michael Jackson was part of the film's music, even being produced by his company
Kingdom Entertainment. Jackson never made a public announcement regarding Huck's Landing.
Investment brochure / Tom Carter Enterprises
Investment brochure / Tom Carter Enterprises
Mudd holds a licensing booklet Mudd shakes Tom Carter's hand Mudd admires his cake

Tom Shannon hard at work / John Cawley Mike Sekowski smiles for the camera / John Cawley
In the end, not a single completed product or venture
came out of Tom Carter Enterprises. Ground would
not even be broken to make way for the new Huck's
Landing Resort, there would be no comic strip, no
cartoon, movie, or any other production being created
in house.
Despite his previous time spent in prison, Carter
continues to pitch Huck's Landing to investors under a
new company name, 34th Street Entertainment. The
current pitch presentation claims that Dolly Parton is
behind the final song within the film, though if that is
anything like Michael Jackson's involvement, this may
be another tall tale.
Huck's Landing only saw the light of day in the
form of a few news articles, retrospectives, tote bags
that somehow made their way out into unknown
stores. Tom Carter's business card / Larry McAdams

Christmas on Huck's Landing / Tom Carter Enterprises Color test VHS tape / Marc Acrylic
 PRODUCTION:
1999-2003

BUDGET:
N/A

CANCELED
DUE TO THE DECLINING POPULARITY
OF 2D ANIMATION

My Peoples later known as Once In A Blue Moon, Elgin's People, Angel & Her No Good Sister, and then A Few Good Ghosts (in that
order) was a passion project by Mulan director Barry Cook. Cook, who grew up in rural Tennessee, wanted to create a feature film
based around a story he had developed much earlier, The Ghost & HIs Gift, a retelling of Oscar Wilde's The Canterville Ghost but set
in Appalachia during the late 40s. The Ghost & His Gift told the story of how a ghost and three children help bring together a young
man and a woman he loved. However, after the pitch with then-Disney-CEO Michael Eisner and president Thomas Schumacher
did not go as planned, it had to be reworked.
After being inspired by the use of folk dolls in Appalachian culture, the story was reworked into My Peoples. My Peoples
was about two families, the Harpers and McGees, who had been feuding for generations. However, Elgin Harper, a young fiddler,
falls in love with Rose McGee, though their love is forbidden by their families. As a token of love, Elgin crafts Angel (Dolly Parton), a
folk doll out of a flour scoop, to deliver to her. However, after a spell by Rose's father, Old Man McGee, goes wrong, Angel and her
other folk doll friends are brought to life. After discovering the role she's been forced to play, Angel runs off, not wanting to be the
cupid that brings them together. Because of this, the other folk dolls, the grouchy Ms. Spinster (Lily Tomlin), the strange Abraham
Lincoln (Hal Holbrook), Cherokee, Good O' Boy (Mike Snider), Blues Man (Lou Rawls), and Crazy Ray (James Carville) run after her
to try and get her to come back.
Hopes were high for a while. Cook's plan was to animate this film as a 2D and 3D hybrid, with the dolls being in 3D and the
humans being in 2D, just as he had done with his short film Off His Rockers years before. As production ramped up, however, faith
ran down at the same time. After the disappointment of 2D animated films such as Atlantis: The Lost Empire and Treasure Planet,
the financial stability of traditional animation was beginning to crumble. After many rewrites and changes to try and make it stand
up to competing 3D films, My Peoples was canceled in November 14th, 2003. More than 100 people would be let go over those next
two months, while Chicken Little, which was determined to be the safer option of the two, would be completed and released just
over a year later.
Angel is constructed from a flour scoop / Barry Cook
Character render / Barry Cook, Jim Finn Visual development / Unknown
"THEY WERE QUITE ENAMORED WITH THE NICE
VISUAL PROP THEY COULD HOLD AND PASS
AROUND THE TABLE. FROM THAT MOMENT ON,
THE ENTHUSIASM WAS PRETTY HIGH. PEOPLE
THOUGHT, 'THIS COULD BE REALLY SPECIAL.'"

Creator Barry Cook after the pitch of My Peoples to

Disney execs was a success

(Above) Animation test / Various

(Left) Visual development / Hans Bacher
Maquette / Barry Cook Visual development / Ric Sluiter
This maquette was delivered to the second pitch meeting in a violin case, just as it
would have been sent to Rose by Elgin. Execs were floored by the presentation.
Angel and Ms. Spinster, visual development / Tony Hudson, FXVet Studio Visual development / Ric Sluiter
Visual development / Ric Sluiter Visual development / Peter Moehrle Animation test / John Webber
Abe Lincoln and Ms. Spinster, visual development / Peter Moehrle Animation test / Greg Azzopardi
Character development / Rune Brandt Bennicke Character development / Sandro Cleuzo
Ms. Spinster was later written to be possessed by the ghost of Edna Lee,
Elgin's aunt that used the prosthetic leg Spinster is fashioned from.
Animation test / Sandro Cleuzo
Abe Lincoln, visual development / Tony Hudson, Ric Sluiter Visual development / Ric Sluiter Animation test / John Webber
Visual development / Jim Finn Visual development / Unknown
Visual development / Ric Sluiter Character design / Barry Cook
Character development / Character development / Rune Brandt Bennicke
Sandro Cleuzo Abe Lincoln was later rewritten to be possessed by the ghost of Uncle Ned, who,
weirdly enough, also looks like Abe Lincoln. (No relation)
Visual development / Jim Finn
Abe takes the wheel to Herbert Hollingshead's car at the local drive in while Cherokee keeps watch to sabotage his date with Rose McGee.
Meanwhile, Good O' Boy and the rest of the gang tap into the speaker system and dub over the movie, ruining a romantic moment.
 Visual development / Ric Sluiter 3D model / Roger Borelli

Cherokee, visual development / Tony Hudson, FXVet Studio Visual development / Hans Bacher
Visual development / Ric Sluiter
Character development / Rune Brandt Bennicke
Cherokee was rewritten to be possessed by the ghost of a small Native American
boy named Little Feather. His relation to Elgin is unknown.
Animation test / Rune Brandt Bennicke
Good O' Boy, visual development / Tony Hudson, FXVet Studio Visual development / Rob Corley
Ric Sluiter / Good O' Boy and Blues Man

3D Model / Mick Todd Visual development / K. Sean Sullivan

Hans Bacher / Visual development
The character behind Blues Man was named Preacher Man, who was cut early in development due to
concerns that he may be an offensive southern stereotype.
Angel helps Crazy Ray break from his chains / Andry Karness, Peter Moehrle
Crazy Ray attempts to escape via freight train / Ric Sluiter
Angel's dog, Pupu / Jim Finn
Animation test / John Webber Pitch animation / Various
Arvilla Tugthistle and Old Man McGee / Rick Maki
Herbert, Rose, and Elgin / Andreas Deja
Character development / Andreas Deja
Character development / Andreas Deja
Character development / Andreas Deja
Prologue storyboard sequence / Mark Walton
Visual development / Peter Moehrle
Prologue animatic / Armand Serrano
Prologue test animation / Peter Moehrle
Visual development / Ric Sluiter
Character development / Andreas Deja
Ol' Man McGee's house / Andrew Harkness
Storyboard sequence, "Old Man McGee's Story" / Mark Walton, Tamara Stocker
Visual development / Bob Stanton
Visual development / Jim Finn Visual development / Andrew Hickson
Visual development / Peter Moehrle
Concept poster / Ric Sluiter Concept poster / Sean Sullivan
Visual development / Unknown
Characters from My Peoples and Wild Life are seen in Cornelius Robinson's room of failed inventions, can you spot them all?
 PRODUCTION:
2013-2017

BUDGET:
90M

CANCELED
DUE TO CREATIVE DIFFERENCES AND
BY BEING USED AS A WRITE-OFF

In 2013 it was announced that Matilda: The Musical composer Tim Minchin would also be composing the music for an animated
musical called Larrikins. Larrikins, named after the Australian term "larrikin" meaning outsider, rebel, or misfit, originated from
writer Harry Cripps, who until that point had never written an animated film before.
Being directed by both Minchin and Chris Miller by 2016, Larrikins was a story about an anxious, somewhat uptight bilby
named Perry (Damon Herrman) who's kicked out of his family burrow. Meanwhile, the Royal Albatross', prestigious leaders of these
animals, are guided away from their home by their advisor, an eagle named Hotspur (Ewen Leslie), to protect their egg. While
Perry is trying to discover what life is like in the Outback, he witnesses Hotspur betray the royal family and wound them. When
Hotspur and the other eagles leave, the wounded emperor tells Perry where the egg has been hidden, and to go to the ancient
pelicans, the followers of the albatross, to tell them. Perry, now even more anxious, finds a bar and asks for the pelicans. Being
laughed at, he meets Red the kangaroo (Hugh Jackman), a rather selfish one who after discovering Perry's knowledge, wants
to help him because of some sort of possibility in being rewarded with a paradise. As they make their way through the outback
together, they are steadily chased by rabbits (Jacki Weaver), dingos (Margot Robbie), and other beasts who either want them or
want the egg. Through all of this, they meet Andrew (Tim Minchin), a cane toad with a tragic past of being a famous singer who
failed, and he, too, joins their party. Saving the egg from the burrow of a snake and continuing to keep it away from those who are
trying to steal it, the eagles end up winning regardless when they decide to wipe out the pelicans. After the Royal Albatross' have
been overthrown, the animals rise up and attempt to fight the eagles themselves, likely ending in victory.*
Unfortunately, when NBCUniversal bought Dreamworks in 2016, Larrikins would be canceled less than a year later and used
as a tax-write-off. Dreamworks had never made a musical before, and new executives decided that Larrikins wasn't worth the
risk. The characters would live on in another form, in a short film titled Bilby, about Perry finding a chick and having to protect it.
However, this is a far cry from what we would have seen in Larrikins, and only serves as a glimpse into what could have been.
*The plot summary stated above is an educated guess based off the storyboards and animated
sequences available. It is missing many, many details.
Perry, character design \ Peter De Seve
Character development \ Pierre Perifel
Pre-visualization / Avner Geller
Perry lives in a burrow with his family with a room dedicated to nuts and berries, piled into pyramids.
Perry is approached by his parents.
Visual development / Celine DeHyeu Kim
Storyboard sequence, excerpt / Various
In this musical scene, Perry discovers what the outside world is like.
Visual development / Richard Daskas
3D model / John Catalan
Perry's father, brothers, and mother, character development / Gabriele Pennacchioli
Visual development / Richard Daskas 3D model / John Catalan
Storyboard sequence, excerpt / Various
In this morbid tune, Red is introduced living the life in the ruthless outback.
Pre-visualization / Celine DeHyeu Kim
Pre-visualization / Celine DeHyeu Kim
Pre-visualization / Celine DeHyeu Kim
Meeting Red, storyboard excerpt / Ryan Savas
Pre-visualization / Avner Geller
Red and Perry meet in a secret bar in a boabab tree.
Pre-visualization / Nicolas Weis
Animated sequences / Marco Regina
Pre-visualization / Celine DeHyeu Kim
Andrew, character design / Peter De Seve
Pre-visualization / Peter De Seve
Animated sequence / Dave Weatherly

Animated sequence / Scott Lemmer

Animated sequence / Dave Weatherly

Test animation / Dave Weatherly

Storyboard sequence, excerpt / Various
Perry and Andrew sneak into a viper's burrow to save the Royal Egg. When being caught, the viper (declaring
herself as "Mummy") knocks Perry out, intending to kill him.
"Uluru," storyboard sequence / Ryan Savas
Pre-visualization / Ron Kurniawan
Storyboard sequence, excerpt / Scott Underwood
Andrew performs a psychedelic display in front of Mummy in order to save Perry, kissing her on the lips, using his
toxins, and overall being his Andrew-self in order to make their get away with the egg.
Pre-visualization / Nicolas Weis Pre-visualization / Michael Isaak
Pre-visualization / Celine DeHyeu Kim
Pre-visualization / Celine DeHyeu Kim
Pre-visualization / Celine DeHyeu Kim
Hotspur, character design / Peter De Seve
Character development / Hyun Huh
Dorset, character design / Peter De Seve
Pre-visualization / Nicolas Weis
Inside Hotspur's fortress.
Visual development / Ron Kurniawan
Pre-Visualization for "Rise Up" musical number / Richard Daskas
"Rise Up," animated sequence / Sebastien Wojda
Animated sequence / Alexis Wanneroy

Animated sequence / Dave Weatherly

Animated sequence (spline) / Scott Lemmer

Animated sequences (spline) / Sebastien Wojda
Animated sequences / Unknown, feather system by Jaryd Snover
 Animated sequence / Unknown, feather system by Jaryd Snover

Animated sequence / Dave Weatherly

Jake the hare, visual development / Richard Daskas Animated sequence / Marco Regina
Jake is Hotspur's messenger and informant. In this scene, Jake thumps the ground to make signals to Doris the rabbit, the leader of a rabbit pack, to capture and destroy the Royal Egg.
Doris, character design / Unknown Storyboard sequence, excerpt / Rune Brandt Bennicke
In this sequence, Perry is kidnapped by Doris' rabbit clan to bring him to Hotspur. Hitching a ride on the top of a
cargo train, Red, Perry and Andrew make their escape.
Storyboard sequence, excerpt (continued) / Rune Brandt Bennicke
Animated sequence / Dave Weatherly
3D model / Haengsook Oh
Pre-visualization / Richard Daskas

Pre-visualization / Celine DeHyeu Kim

Character development / Gabriele Pennacchioli
"Empire opening," storyboard sequence / Ryan Savas
In the beginning of the film, the Hotspur warns the Royal Albatross' about intruders in order to lure them away from their protection. Here, we are introduced to the royal egg.
3D model / Haengsook Oh
Pre-visualization / Ron Kurniawan
The Emperor Albatross is wounded after Hotspur's betrayal.
Kylie, visual development / Richard Daskas
Near the end of the film it's possible that the royal egg had hatched, outcame Kylie, the royal heir. Kylie and Perry's
journey would later be told on its own in the short film Bilby.
Visual development / Pierre Perifel
Ancient pelicans, character development / Hyun Huh
Visual development / Richard Daskas
Character development / Gabriele Pennacchioli
Howard, visual development / Richard Daskas
Howard, animated sequence / Alexis Wanneroy
Dingo(s), character design / Peter De Seve
Animation tests / Alexis Wanneroy
Mummy and baby snakes, character development / Gabriele Pennacchioli
Lizard Rock Band, character development / Gabriele Pennacchioli
Visual development / Richard Daskas
Character development / Michael Isaak Auntie, character development / Hyun Huh

Character design / Unknown 3D model / Haengsook Oh

3D models / Haengsook Oh
Character design / Unknown
Storyboard sequence, excerpt / Various
During the climax of the film, the animals of the outback climb atop of each other to reach the eagles atop of their peak to overthrow them.
Visual development / Nicolas Weis
Gum Trees
Eucalyptus forest, visual development / Nicolas Weis
Perry's burrow, visual development / Avner Geller
Baobab bar, visual development / Avner Geller
The eagle's peak, visual development / Celine DeHyeu Kim
Pre-visualization / Celine DeHyeu Kim
Visual development / Celine DeHyeu Kim
Visual development / Celine DeHyeu Kim
Hotspur's fortress, visual development / Iuri Lioi
Visual development / Iuri Lioi
Visual development / Iuri Lioi
Pre-visualization / Celine DeHyeu Kim
glossary.
Write-off (taxes)
Eliminating an asset and declaring it a financial loss
in order to be deducted from taxable income.

Spline (3D animation)

The smoother animation before final rendering
and tweaks, usually done as a pre-render without
textures or lightning.

Blocking (3D animation)

The stage in animation where keyframes and
extreme emotions have been placed.

Pre-visualization
The development in how certain scenes will look.

Visual development
Figuring out how a film will look visually in all aspects.

Character development
Developing how certain characters will look, react,
and behave.

Animation test
Testing anything between how a character speaks
to how water comes out a pipe.
Storyboard
A series of panels drawn in order to visualize how a
story is told in its composition and overall execution.

Key art
Artwork that is repeatedly used in marketing
specifically for the show.

Pencil test
An animated sequence in the form of a sketch
before being cleaned, inked, and colored. These
often miss certain in-between frames (tweens) or
are in need of refinement before finalizing.

Stock art illustration / Unknown, Volk Art Inc. 1983