The Land Before Time Sequels: Deleted Scenes

According to Aria Noelle Curzon, who currently voices Ducky as of The Land Before Time V: The Mysterious Island, The Land Before Time Sequels (II-XIV), much like the first film, also have scenes that aren't included in the final cut. Information about these scenes are extremely rare. The only other evidence of them comes from a still promoting the eleventh film, which features a scene not included in the movie. It is unknown if this animation still exists, or if Universal Studios discarded it immediately upon deciding not to use it.

Deleted scenes for the sequels may be almost non-existent due to their lower budgets. To date, all of these scenes are lost.

Update 01/01/19: FIRST EVER deleted scene confirmed details for a Land Before Time sequel found! Llyn Hunter, storyboard artist for the most recent film, The Land Before Time XIV: Journey of the Brave, revealed that the chase sceneinvolving the Featherhead Sharpteeth was going to be longer. You can read the entire quote in the reference.

“	Often there are entire sequences that are worked on for many months then totally rejected. For example I did one sequence were Littefoot and Ducky run into an old ribcage to escape from the Allosauruses and it goes bouncing down a hill like a barrel. I and several of the other storyboard artists working on that sequence did numerous versions of it (how many I can't even guess - but quite a number). In the end it was totally cut. There are many like that. In features Storyboard artists are often used to produce the original visual ideas, then once they are introduced into a rough animatic the director and producer decide whether or not they are working in the overall story for the film. The basic through line of - "Littlefoot and company go in search of his father and save his life" - never changes, but the events to get there and the number of them alter dramatically throughout the process. As to what other scenes I had a hand in, probably a fifth of them before the entire film was completed. This is because as the film was continued to be polished each storyboard artist on staff would work on whatever scene needed changes as they became available. Since in animation the artists actually create the work, it can sometimes be almost an assembly line process. We all have to be able to draw backgrounds, props, and all the characters in the movie and act them out so that the animators can take a scene or sequence at a time and hook it all together and make a comprehensive film. On this film there were about 10 initial board artists and 5 staff (who were a part of that initial 10) who worked on the film. As to future Land Before Time films, I'm sure there will be more, but I'm not sure when. Universal/MCA makes a great deal of money on them with little outlay. The problem is always that animation is always the step child in entertainment, live action will always be green-lit before animation. Most producers would prefer to be in charge of a live action project because of the larger budgets and status. Oddly enough, animation usually makes good money in the long run, but those in charge don't get the credit for it - the marketing departments do. Also, animation artists are temporary workers. We rarely work for a studio for longer than the extent of the project. When the studio is done with the project, they are done with the artists. They lay us off and just hire up a new batch when they are ready for the new picture, so the likelihood that I or anyone else that worked on this production will work on the next is not high. In the long run, it is always a pleasure to be part of a franchise that has such staying power as LBT, I get to consider myself as one of the thousands that have had a hand in its continuation and creation. It is also wonderful that so many millions of people continue to enjoy it. I would suggest if you do wish to see another, send snail mail requests to Universal Animation. Something in paper with a physical stamp on it can have a lot of power as a vote of what you would like to see from them.	”
— Llyn Hunter, 2019