Don Hahn Poster


Jump to: Overview (3)  | Mini Bio (1)  | Spouse (1)  | Trade Mark (2)  | Trivia (5)  | Personal Quotes (7)

Overview (3)

Born in Chicago, Illinois, USA
Birth NameDonald Paul Hahn
Height 6' 2½" (1.89 m)

Mini Bio (1)

Don Hahn was born on November 26, 1955 in Chicago, Illinois, USA as Donald Paul Hahn. He is a producer, known for The Hunchback of Notre Dame (1996), Maleficent (2014) and The Lion King (1994). He has been married to Denise Meara-Hahn since June 12, 1987. They have one child.

Spouse (1)

Denise Meara-Hahn (12 June 1987 - present) ( 1 child)

Trade Mark (2)

Frequently works with directors Gary Trousdale and Kirk Wise
Films rarely contain opening credits

Trivia (5)

In 1996 he wrote a picture book entitled "Disney's Animation Magic". It explained the step by step process of creating an animated film.
One of three producers of animated films to earn an Academy Award nomination for Best Picture. The film was Beauty and the Beast (1991).
Last name is pronounced "Hawn".
Served as a moderator for a cast/crew reunion panel discussion at the premiere of a revival/promotional screening of the 1989 Disney classic The Little Mermaid (1989) at the El Capitan Theatre in Hollywood, California on September 7th, 2006. He also presented the new Roger Allers short film, The Little Matchgirl (2006), and introduced Roy Edward Disney, who paid an unannounced visit to the screening. [September 2006]
Has a daughter named Emilie Hahn.

Personal Quotes (7)

... you tend to categorize animation as a genre as opposed to a technique.
I think animation at its heart, all good animation, is allegory for us as human beings.
The best thing about The Lion King (1994) is that together we made something that not one of us could have made on our own and that is a very magical thing.
[on the standing ovation that an unfinished Beauty and the Beast (1991) received at the Sundance Film Festival] I felt like a cross between the pope and 'Eva Peron'. It was incredible.
I remember when we were almost finished with The Lion King (1994) and we brought Ollie Johnston and Frank Thomas down to watch it. These were two guys who taught all of us and they liked it but they had that, you know, air of "I have a few notes".
My sense of operating and working with a team of people is, you know, let's team up, let's talk about it, let's react and kinda coach and cheer-lead and psychotherapy everybody into the right room. Then it would inevitably blow up and people would run screaming with their hair on fire from the room and I think that balance of comfort and teamwork and mutual support along with terror and infighting and screaming is what makes great art. Not just in an animation studio but historically, whether you're an architect building buildings or whether you're a painter painting a ceiling. All those things go into making great art.
[When asked what Walt Disney would think of Waking Sleeping Beauty (2009)] He wouldn't like that it goes into so much detail about things behind the scenes because he wanted the audience's perception about the studio to be this kind of fantasy. At it's heart though it's a story about people and Walt would have loved that.

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