An Introduction -
Throughout my life and career, I have balanced creative and historical interests, but one constant has been my fascination with legacy Entertainment companies such as Paramount, MGM, and The Walt Disney Company, even reading James Stewart’s "The Disney War" as a somewhat insufferably precocious seventh grader.
This passion for understanding the legacy and impact of the entertainment industry has been both a source of joy and a grounding force during challenging times. In mid 2019, seeking inspiration, I delved into the lesser-known stories of Walt Disney’s Nine Old Men. These animators, though not actually old, were pivotal in shaping Disney’s animation department, bringing their unique talents to the studio and elevating the art form.
The Nine Old Men—Eric Larson, Frank Thomas, Les Clark, John Lounsbery, Marc Davis, Milt Kahl, Ollie Johnston, Ward Kimball, and Woolie Reitherman—were integral to Disney’s creative success. Realizing how few people knew about these pioneers and inspired by both the 1990s Vogue UK Microsuit editorial and and the rise of DisneyBounding, I decided to spotlight their stories through a visual editorial of my own.
I first began my research through reviews of seminal works such as Frank and Ollie’s “The Illusion of Life”, John Canemaker’s “Walt Disney’s Nine Old Men and the Art of Animation”, Don Hahn & Charles Solomon’s “Walt Disney’s Nine old Men - Masters of Animation”, “Walt Disney’s Nine Old Men: The Flipbooks” from Disney Editions, The D23 Members Gift Box set, and conversations with renowned Disney Historian Jeff Kurtti.
Next up, was a visit to Disneyland where myself and a photographer captured carefully planned out shots that drew from each of the gentlemen in question's body of work, personal style, and hobbies as well as sun position, garment overlap, and distance between locations. These photos, shared on Instagram in 2019, extended beyond my followers, engaging a broader audience and demonstrating my passion for in research, creative direction, and unique information presentation.
Below, you’ll find these visual editorials, each linked to the original Instagram posts from the summer of 2019, along with “Side Stories” that appeared as Instagram Stories. This series, done in partnership with the DisneyBound to History initiative, showcases my ability to create engaging and educational content.
I hope you enjoy exploring this project as much as I enjoyed creating it.
- Jordan
This passion for understanding the legacy and impact of the entertainment industry has been both a source of joy and a grounding force during challenging times. In mid 2019, seeking inspiration, I delved into the lesser-known stories of Walt Disney’s Nine Old Men. These animators, though not actually old, were pivotal in shaping Disney’s animation department, bringing their unique talents to the studio and elevating the art form.
The Nine Old Men—Eric Larson, Frank Thomas, Les Clark, John Lounsbery, Marc Davis, Milt Kahl, Ollie Johnston, Ward Kimball, and Woolie Reitherman—were integral to Disney’s creative success. Realizing how few people knew about these pioneers and inspired by both the 1990s Vogue UK Microsuit editorial and and the rise of DisneyBounding, I decided to spotlight their stories through a visual editorial of my own.
I first began my research through reviews of seminal works such as Frank and Ollie’s “The Illusion of Life”, John Canemaker’s “Walt Disney’s Nine Old Men and the Art of Animation”, Don Hahn & Charles Solomon’s “Walt Disney’s Nine old Men - Masters of Animation”, “Walt Disney’s Nine Old Men: The Flipbooks” from Disney Editions, The D23 Members Gift Box set, and conversations with renowned Disney Historian Jeff Kurtti.
Next up, was a visit to Disneyland where myself and a photographer captured carefully planned out shots that drew from each of the gentlemen in question's body of work, personal style, and hobbies as well as sun position, garment overlap, and distance between locations. These photos, shared on Instagram in 2019, extended beyond my followers, engaging a broader audience and demonstrating my passion for in research, creative direction, and unique information presentation.
Below, you’ll find these visual editorials, each linked to the original Instagram posts from the summer of 2019, along with “Side Stories” that appeared as Instagram Stories. This series, done in partnership with the DisneyBound to History initiative, showcases my ability to create engaging and educational content.
I hope you enjoy exploring this project as much as I enjoyed creating it.
- Jordan
Woolie Reitherman ~ 1909-1985
"My work had vitality and an 'I don't give a damn - try it!' quality"
The thriling life of Wolfgang "Woolie" Reitherman began June 26, 1909 in Munich, Germany. By 1911, his parents had moved the family to the US, eventually settling in Sierra Madre, CA. In his early 20s, Woolie enrolled at the Chouinard Art Institute with ambitions to become a renowned watercolorist, and it was there that he got the idea to apply for work at Disney. After a grueling week's tryout, Woolie started at Disney on May 21, 1933. Woolie was quickly recognized as an expert in bringing action and drama to life through his art and was assigned such notable works as the Magic Mirror in Snow White, Monstro in Pinocchio, and Timothy Mouse in Dumbo.
When WWII broke out, Woolie swiftly joined the war effort, becoming a Chief Pilot in the Army Airforce. After the war ended, Woolie remained in the South Pacific as a commerical pilot. During a 1947 visit to Burbank, Woolie dropped in to see friends at the studio and Walt personally convinced him to return full time.
Once again, Woolie rapidly rose up the ranks, helping to animate the battle scenes in Peter Pan before becoming the directing animator on sequences such as the battle between Prince Philipp and the Dragon in Sleeping Beauty. From there, Woolie went on to become the director of 101 Dalmations, The Jungle Book, Aristocats, and The Many Adventures of Winnie the Pooh.
After the release of The Fox and the Hound in 1981, Woolie determined that there was still so much world to see and elected to retire so that he and his wife could travel more regularly. Across his 40+ year career with the company, the films Woolie directed for the studio earned a combined $850 million, making him one of the highest grossing directors of all time. Though he passed away in 1985, Woolie left behind an indelable legacy as both an animator and a director. Had it not been for the films he directed and the immense profits they generated, it is possible that Disney Animation may have passed away with Walt, never to see the renaissance that awaited it.
When WWII broke out, Woolie swiftly joined the war effort, becoming a Chief Pilot in the Army Airforce. After the war ended, Woolie remained in the South Pacific as a commerical pilot. During a 1947 visit to Burbank, Woolie dropped in to see friends at the studio and Walt personally convinced him to return full time.
Once again, Woolie rapidly rose up the ranks, helping to animate the battle scenes in Peter Pan before becoming the directing animator on sequences such as the battle between Prince Philipp and the Dragon in Sleeping Beauty. From there, Woolie went on to become the director of 101 Dalmations, The Jungle Book, Aristocats, and The Many Adventures of Winnie the Pooh.
After the release of The Fox and the Hound in 1981, Woolie determined that there was still so much world to see and elected to retire so that he and his wife could travel more regularly. Across his 40+ year career with the company, the films Woolie directed for the studio earned a combined $850 million, making him one of the highest grossing directors of all time. Though he passed away in 1985, Woolie left behind an indelable legacy as both an animator and a director. Had it not been for the films he directed and the immense profits they generated, it is possible that Disney Animation may have passed away with Walt, never to see the renaissance that awaited it.
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Les Clark ~ 1907-1979
"I Guess I was destined to become an animator, even though I didn't know it at the time."
Of all of Walt's Nine Old Men, Les Clark was perhaps the quinessential Big Brother of the group. Despite any chaos or frustration that may have ruffled the other animators, Les always kept a fair and level mind about things: a skill built up from his family life. Born in Ogden, Utah in 1907, Les was the oldest of twelve children. A few years after relocating to CA in 1920, his father fell off the roof of a house he was building and was permanently incapacitated. As the oldest, Les became the primary breadwinner for his massive family before he was even 18.
It was at his summer job as a waiter at a Los Feliz confectionery where Les first met Walt--a regular patron of the shop, as his studio was just across the street. Walt complimented him on his menu lettering and shortly before he graduated high school, the shy Les summoned up the courage to ask Walt for a job. After a brief portfolio review, he got it. He started at the small Hyperion studio on Feburary 23, 1927, under the mentorship of Ub Iwerks.
Les began with helping on the Oswald, but after Walt's fateful trip to New York, he began working on the first Mickey cartoons. He worked in secret along with Walt and Ub to get the cartoons finished, further impressing Walt in the process. Les would go on to animate Mickey in a number of shorts, such as the Band Concert, before eventually leading the charge on his animation in the iconic The Sorcerer's Apprentice segment in Fantasia. Throughout this time, Les' connection with both the Disney brothers grew and he was known to play polo with Walt regularly.
After being personally asked by Walt to become a director a number of times since 1939, Les finally conceded in the mid 1950s, helping to direct and animate for the Disney TV shows. He even developed the classic opening to the original Disneyland television show before moving on to educational films. When he retired from the studio in 1975, Les was the "longest continuously employed member of Walt Disney Productions."
It was at his summer job as a waiter at a Los Feliz confectionery where Les first met Walt--a regular patron of the shop, as his studio was just across the street. Walt complimented him on his menu lettering and shortly before he graduated high school, the shy Les summoned up the courage to ask Walt for a job. After a brief portfolio review, he got it. He started at the small Hyperion studio on Feburary 23, 1927, under the mentorship of Ub Iwerks.
Les began with helping on the Oswald, but after Walt's fateful trip to New York, he began working on the first Mickey cartoons. He worked in secret along with Walt and Ub to get the cartoons finished, further impressing Walt in the process. Les would go on to animate Mickey in a number of shorts, such as the Band Concert, before eventually leading the charge on his animation in the iconic The Sorcerer's Apprentice segment in Fantasia. Throughout this time, Les' connection with both the Disney brothers grew and he was known to play polo with Walt regularly.
After being personally asked by Walt to become a director a number of times since 1939, Les finally conceded in the mid 1950s, helping to direct and animate for the Disney TV shows. He even developed the classic opening to the original Disneyland television show before moving on to educational films. When he retired from the studio in 1975, Les was the "longest continuously employed member of Walt Disney Productions."
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Ward Kimball ~ 1914-2002
"My final two cents worth of advice is to develop an all-consuming curiosity for things both exotic and ordinary"
Ward Kimball was the undisputed clown of the Nine Old Men: equal parts visionary prodigy and wisecracking outsider. Born on March 4, 1914, in Minneapolis, Minnesota, Ward's family moved to Santa Barbara, CA, in 1923 to escape the cold. While studying at the Santa Barbara School of the Arts, Ward was encouraged to apply to Disney Studios on Hyperion Avenue. He convinced his mother to drive him to Los Feliz, but upon arrival, he was told they would review his portfolio later. Distraught, as his family barely had enough money for gas, a quick call was made, and Ward was hired on the spot on April 2, 1934.
Barely 20 when he joined, Ward quickly rose through the ranks. Six months in, he was promoted to assistant animator alongside future compatriot Eric Larson. Less than a year later, Ward became a junior animator. He animated legendary characters like Jiminy Cricket and The Three Caballeros, as well as oddball favorites like The Mad Hatter and The Cheshire Cat.
After Walt's passing, Ward, who had begun directing award-winning animated shorts for edutainment purposes in the early '50s, transitioned to television. He helmed "The Mouse Factory" for two seasons before its cancellation. The series' end was hard on Ward, and he became the first of the Nine to leave the studio, retiring in 1973.
A management change in the early 1980s led to renewed interest in the Nine Old Men. Ward, an avid train enthusiast, found a fitting end to his illustrious career as the conductor on Mickey's 50th Birthday Special train tour.
Barely 20 when he joined, Ward quickly rose through the ranks. Six months in, he was promoted to assistant animator alongside future compatriot Eric Larson. Less than a year later, Ward became a junior animator. He animated legendary characters like Jiminy Cricket and The Three Caballeros, as well as oddball favorites like The Mad Hatter and The Cheshire Cat.
After Walt's passing, Ward, who had begun directing award-winning animated shorts for edutainment purposes in the early '50s, transitioned to television. He helmed "The Mouse Factory" for two seasons before its cancellation. The series' end was hard on Ward, and he became the first of the Nine to leave the studio, retiring in 1973.
A management change in the early 1980s led to renewed interest in the Nine Old Men. Ward, an avid train enthusiast, found a fitting end to his illustrious career as the conductor on Mickey's 50th Birthday Special train tour.
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John Lounsbery ~ 1911-1976
"I just want to be a good animator someday"
Of all the Nine Old Men, none were perhaps as under-recognized yet so beloved as John Lounsbery. Born on March 9, 1911, in Cincinnati, Ohio, John grew up with a passion for drawing and graduated from the Art Institute of Denver in 1932. A classmate convinced him that further schooling was needed to make it as a cartoonist, so they traveled to the Art Center in LA. There, one of his teachers recommended Disney as a post-grad job opportunity. John, just twenty-four, impressed Disney and was hired on July 2, 1935.
John was assigned to assist legendary animator Norm "Fergie" Ferguson, working closely on Pluto shorts before moving on to the Witch in *Snow White* and later Foulfellow and Gideon in *Pinocchio*. From there, John became a star animator in his own right. He was assigned Ben Ali Gator in the *Dance of the Hours* sequence of *Fantasia*, earning high praise.
Animation historian John Canemaker wrote, "Smoldering movie acting to rival Rudolph Valentino!" John then served as animation director on *Dumbo* and as an animator on *Victory Through Air Power* and *The Three Caballeros*. When the studio returned to animated features, Lounsbery became known for his comical supporting characters such as Mr. Darling in *Peter Pan*, Tony in *Lady and the Tramp*, and his climactic masterwork, Colonel Hathi in *The Jungle Book*.
Despite his boisterous characters, John was a humble man with pastoral interests. He and his wife Florence raised their three children on a six-acre ranch on the edge of the San Fernando Valley. At work, John's status was ever-increasing. He was co-directing *The Many Adventures of Winnie the Pooh* when he passed away on February 13, 1976, at St. Joseph's Hospital, the same hospital where Walt had died a decade prior. He was the first of the Nine to go.
Though his life was cut short, John left behind a legacy of jubilant animated characters and friendships that are beloved worldwide.
John was assigned to assist legendary animator Norm "Fergie" Ferguson, working closely on Pluto shorts before moving on to the Witch in *Snow White* and later Foulfellow and Gideon in *Pinocchio*. From there, John became a star animator in his own right. He was assigned Ben Ali Gator in the *Dance of the Hours* sequence of *Fantasia*, earning high praise.
Animation historian John Canemaker wrote, "Smoldering movie acting to rival Rudolph Valentino!" John then served as animation director on *Dumbo* and as an animator on *Victory Through Air Power* and *The Three Caballeros*. When the studio returned to animated features, Lounsbery became known for his comical supporting characters such as Mr. Darling in *Peter Pan*, Tony in *Lady and the Tramp*, and his climactic masterwork, Colonel Hathi in *The Jungle Book*.
Despite his boisterous characters, John was a humble man with pastoral interests. He and his wife Florence raised their three children on a six-acre ranch on the edge of the San Fernando Valley. At work, John's status was ever-increasing. He was co-directing *The Many Adventures of Winnie the Pooh* when he passed away on February 13, 1976, at St. Joseph's Hospital, the same hospital where Walt had died a decade prior. He was the first of the Nine to go.
Though his life was cut short, John left behind a legacy of jubilant animated characters and friendships that are beloved worldwide.
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Frank Thomas ~ 1912-2004
"This place is too unique, too wonderful, too different."
In Disney Animation, 2 names have a tendency to hold prominence above the rest: Frank & Ollie. Though very talented animators in their own right, their friendship and post-retirement collaborations solidified their unique place in history. Frank Thomas was born on Sept. 5, 1912 in Santa Moinca, CA. A budding artist, his father promised to pay for art school if he finished his bachelors at Stanford first. There he met his life-long best friend Ollie Johnston in this schools only art class. After graduation, Frank moved on to The Chouinard Institute in LA where the idea of working at Disney was first presented. After a grueling tryout period on Sept. 24, 1934 he was hired on as employee #224 of Walt Disney Productions.
At the studio, Frank rose up the ranks rapidly, becoming an assistant to Fred Moore after a meer six months and then being made 1 of the studio's 6 junior animators only a year after that. A life long learner, Frank absorbed everything he could from Freddy as well as from other veteran animators like Ham Luske & Les Clark & put it into practice.
Frank was part of the team assigned the Seven Dwarfs of Snow White: taking on Snow White's funeral, the emotional crux of the film, at Walt's request. His masterful handling of the scene catapulted his reputation to new heights. From there he would go on to animate Pinocchio, Captain Hook, Pongo, and Baloo as well as classic scenes such as Thumper and Bambi ice skating, Lady and the Tramp's Romantic Dinner, and the Jolly Holiday sequence in Mary Poppins. Frank continued to work on every animated release through Fox and the Hound, retiring in 1978.
In retirement, Frank & Ollie worked together to publish Disney Animation: The Illusion of Life in 1981 which has grown to become the bible for personality animation. A renewed interest in the 80s also led to the studio sending the two on world tours to discuss the Disney Legacy. Though Frank passed away in 2004 his legacy lives on in his characters and the lives his work continues to tocuh. In fact, you may even catch the a bit of his wisdom in an Incredible 2004 pixar film...
At the studio, Frank rose up the ranks rapidly, becoming an assistant to Fred Moore after a meer six months and then being made 1 of the studio's 6 junior animators only a year after that. A life long learner, Frank absorbed everything he could from Freddy as well as from other veteran animators like Ham Luske & Les Clark & put it into practice.
Frank was part of the team assigned the Seven Dwarfs of Snow White: taking on Snow White's funeral, the emotional crux of the film, at Walt's request. His masterful handling of the scene catapulted his reputation to new heights. From there he would go on to animate Pinocchio, Captain Hook, Pongo, and Baloo as well as classic scenes such as Thumper and Bambi ice skating, Lady and the Tramp's Romantic Dinner, and the Jolly Holiday sequence in Mary Poppins. Frank continued to work on every animated release through Fox and the Hound, retiring in 1978.
In retirement, Frank & Ollie worked together to publish Disney Animation: The Illusion of Life in 1981 which has grown to become the bible for personality animation. A renewed interest in the 80s also led to the studio sending the two on world tours to discuss the Disney Legacy. Though Frank passed away in 2004 his legacy lives on in his characters and the lives his work continues to tocuh. In fact, you may even catch the a bit of his wisdom in an Incredible 2004 pixar film...
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Ollie Johnston ~ 1912-2008
”Don't draw what the character is doing... draw what the character is thinking."
Born on Oct. 31, 1912 in Palo Alto, CA, Oliver "Ollie" Johnston was the man who breathed warmth and life into Disney characters with his unique touch of magic. After an illness-ridden childhood, he enrolled at Stanford in October, 1931—signing up for the only art course the school offered. While sitting outside on first day of the class, a classmate named Frank Thomas came up to Ollie and introduced himself: the beginning of a friendship that would last for over 73 years.
In the December of 1933, Ollie visited Frank, who had since moved to LA, and was so moved by the work Frank was doing at Chouinard Art Institute that he dropped out of Stanford, moved in with Frank, and enrolled himself. In 1934, former Chouinard instructor Donald Grahm had just begun at Disney as the studio's art instructor and, knowing they were roommates, Donald mentioned to Frank that he would like it if Ollie would join them and try out for the studio. Ollie came in for his test and—on January 31, 1935—he began what would become a 43-year journey at Disney.
In March of 1936, Ollie was promoted to Fred Moore's assistant rapidly advancing up the ranks to Junior Animator in 1938: thanks, in part, to a direct request from Fred to Walt. Ollie would go on to develop some of the most beloved animated characters and sequences of the next four decades—including Pinocchio, Thumper, Smee, Lady, & Baloo, just to name a few.
After Ollie and Frank retired together in January of 1978, the two men returned to their homes, purpose-built right next one another, and continued to work together on writing projects and appearances. Ollie also now found more time to enjoy the model steam train he had built in his backyard, which was double the scale of Walt's. After Frank passed away in 2004, Ollie moved up to Sequim, WA to be closer to his children. Ollie Johnston died on April 14, 2008, he was the last of Walt's Nine Old Men. Ollie lives on, of course, through his books, lectures, and cherished characters. "36 years later," remarked animator Glen Keane, "I can still see Ollie drawing."
In the December of 1933, Ollie visited Frank, who had since moved to LA, and was so moved by the work Frank was doing at Chouinard Art Institute that he dropped out of Stanford, moved in with Frank, and enrolled himself. In 1934, former Chouinard instructor Donald Grahm had just begun at Disney as the studio's art instructor and, knowing they were roommates, Donald mentioned to Frank that he would like it if Ollie would join them and try out for the studio. Ollie came in for his test and—on January 31, 1935—he began what would become a 43-year journey at Disney.
In March of 1936, Ollie was promoted to Fred Moore's assistant rapidly advancing up the ranks to Junior Animator in 1938: thanks, in part, to a direct request from Fred to Walt. Ollie would go on to develop some of the most beloved animated characters and sequences of the next four decades—including Pinocchio, Thumper, Smee, Lady, & Baloo, just to name a few.
After Ollie and Frank retired together in January of 1978, the two men returned to their homes, purpose-built right next one another, and continued to work together on writing projects and appearances. Ollie also now found more time to enjoy the model steam train he had built in his backyard, which was double the scale of Walt's. After Frank passed away in 2004, Ollie moved up to Sequim, WA to be closer to his children. Ollie Johnston died on April 14, 2008, he was the last of Walt's Nine Old Men. Ollie lives on, of course, through his books, lectures, and cherished characters. "36 years later," remarked animator Glen Keane, "I can still see Ollie drawing."
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Eric Larson ~ 1905-1988
"Our only limit in animation is our own imaginations."
Born in 1905 in Clevland, Utah, Eric's talents as an adept writer and artist were spotted by a company that happened to print his university's year book and the organization moved then 22-year-old Eric to Los Angeles to fulfill an art director role in 1927. After getting married in February of 1933, Eric began looking for opportunities for growth in his career and debated going back into writing before Disney story-man Richard Creedon convinced him to "audition" to join the animation department. Eric aced the test and started on June 1st of the same year, catalyzing what would be a 53-year career with the Walt Disney Company.
During that time, Eric would go on to animate some of Disney's most beloved furry friends, starting with the woodland animals in Snow White. He went on to design Figaro the cat in Pinocchio and Peg in Lady in the Tramp: to name a few. However, the character for which he is most known is perhaps wise, old Owl from the film Bambi. In the 1970s, Eric was established as the head of the Animation department's Talent Search and Training Programs, where he went on to mentor the next generation of animation legends. Artists such as John Musker, Ron Clements, Jane Baer, Andreas Deja, and Glen Keane were brought up through Eric's teaching; he was a direct influence of what would later become the Disney Renaissance of the 1990s.
However, Eric would not see the company through its Renaissance himself. When Disney moved its animation department off the lot in 1985, he was forced to vacate the sunlit room that had been is office since 1940 for a windowless space in the basement of a warehouse. The move broke his heart. As the last of the nine old men working at the company, he retired in February of 1986 and passed away in 1988. Though gone, Eric's legacy lives on in the spirit of those he trained. John Musker--co-director of such works as The Little Mermaid, Aladdin, and Moana--is known to have said: "Eric Larson. I owe him everything."
During that time, Eric would go on to animate some of Disney's most beloved furry friends, starting with the woodland animals in Snow White. He went on to design Figaro the cat in Pinocchio and Peg in Lady in the Tramp: to name a few. However, the character for which he is most known is perhaps wise, old Owl from the film Bambi. In the 1970s, Eric was established as the head of the Animation department's Talent Search and Training Programs, where he went on to mentor the next generation of animation legends. Artists such as John Musker, Ron Clements, Jane Baer, Andreas Deja, and Glen Keane were brought up through Eric's teaching; he was a direct influence of what would later become the Disney Renaissance of the 1990s.
However, Eric would not see the company through its Renaissance himself. When Disney moved its animation department off the lot in 1985, he was forced to vacate the sunlit room that had been is office since 1940 for a windowless space in the basement of a warehouse. The move broke his heart. As the last of the nine old men working at the company, he retired in February of 1986 and passed away in 1988. Though gone, Eric's legacy lives on in the spirit of those he trained. John Musker--co-director of such works as The Little Mermaid, Aladdin, and Moana--is known to have said: "Eric Larson. I owe him everything."
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Milt Kahl ~ 1909-1987
"I didn't have any limitations, I could do anything."
Talent, verve, and ego—all things no one could ever accuse Milt Kahl of lacking. Milton Kahl was born March 22, 1909 in San Francisco, CA. At the age of 16, he took a job with what is now the Oakland Tribune, working in their art department, and continued to make a name for himself as an artist until the depression took its tole and he was laid off. Following some smaller gigs, an old friend, Ham Luske, recommended Milt consider joining him at Disney. On June 25, 1934, Milt started his first day at the studio.
Milt's gifts as an animator shot him to the top of the talent pool, and by 1936, he was a junior animator. It was Pinnochio that put Milt on the map. Walt had been struggling for years to nail down the look of his little wooden boy, and eventually, Milt—fed up with the lack of progress—redesigned the character and did a test on his own. Upon seeing the footage, Walt was ecstatic. It was exactly what he wanted.
From there on, Milt became a force to be reckoned with: helping to lead the character design on such unforgettable friends as Brer Rabbit, Prince Charming, Peter Pan, Wendy, Prince Philipp, Tigger, Medusa, and his master work, Shere Khan, whilst also animating a flurry of others. His work set the look for Disney Animation, and he knew it.
Milt was perhaps too aware that he was the best draftsman at Disney and his abrassive demeanor often alienated those he worked with. By the mid 70s, his relationships within the studio had grown so toxic that he up and left in the middle of production on the Rescuers; his last day at the studio was April 30, 1976.
In retirement, Milt traveled, fished, and picked up wire sculpture making, amongst other hobbies. He didn't return to drawing. He viewed it too much as work and he no longer had passion for it. Milt passed away on April 19, 1987, but in contrast to his reputation as a vitrolic firebrand, his legacy is that of mentor and unsurpassed artist. "Milt had a very sweet, helpful side, when he chose," said Ollie. “He gave unstintingly of his time and talent when it was to help the picture."
Milt's gifts as an animator shot him to the top of the talent pool, and by 1936, he was a junior animator. It was Pinnochio that put Milt on the map. Walt had been struggling for years to nail down the look of his little wooden boy, and eventually, Milt—fed up with the lack of progress—redesigned the character and did a test on his own. Upon seeing the footage, Walt was ecstatic. It was exactly what he wanted.
From there on, Milt became a force to be reckoned with: helping to lead the character design on such unforgettable friends as Brer Rabbit, Prince Charming, Peter Pan, Wendy, Prince Philipp, Tigger, Medusa, and his master work, Shere Khan, whilst also animating a flurry of others. His work set the look for Disney Animation, and he knew it.
Milt was perhaps too aware that he was the best draftsman at Disney and his abrassive demeanor often alienated those he worked with. By the mid 70s, his relationships within the studio had grown so toxic that he up and left in the middle of production on the Rescuers; his last day at the studio was April 30, 1976.
In retirement, Milt traveled, fished, and picked up wire sculpture making, amongst other hobbies. He didn't return to drawing. He viewed it too much as work and he no longer had passion for it. Milt passed away on April 19, 1987, but in contrast to his reputation as a vitrolic firebrand, his legacy is that of mentor and unsurpassed artist. "Milt had a very sweet, helpful side, when he chose," said Ollie. “He gave unstintingly of his time and talent when it was to help the picture."
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Marc Davis ~ 1913-2000
"To be an aimator, you have to have a sense of the dramatic, a feel for acting. You have to be a storyteller."
In the pantheon of Disney Legends, perhaps none have had as varied and as notable contributions to the company as Marc Davis. Born March 30, 1913 in Bakersfield, CA, Marc was the son of traveling magicians. In the summer of 1935, Davis was encouraged by a theater owner to apply for Disney.
Marc wrote the studio, signing the letter M. Fraser Davis and soon got a letter back that Disney was—at that time—not hiring any women artists. He threw the letter away. After Marc's father passed away, Marc and his mother traveled to LA hoping to find work. This time, he applied to Disney in person and was hired on the spot. Marc began at Disney on December 2, 1935.
Within a few months, Davis was promoted to assistant animator for Grim Natwick, the creator of Betty Boop, who was hard at work animating Snow White herself. After Snow White, Marc was promoted to animator on Bambi. From there, Marc lead the animation on many of Disney's classic heroines and villains from Cinderella, Tinkerbell, and Aurora, to Maleficient and Cruella DeVil. His work brought each of them to life in ways that could be only described as magical. When asked for his all-time favorite sequence of animation, Walt pointed to Marc's transformation sequence in Cinderella.
In the early 60s, Walt asked Marc to go to Disneyland to evaluate the park in depth and his notes so excited Walt that Marc was instantly moved into the WED unit, never to return to animation. Marc would go on to work on inumerable Disney theme park attractions including Pirates of the Caribbean, The Haunted Mansion, The Jungle Cruise, and The Country Bears. Marc retired from Disney in 1978, but he continued to draw and make himself available for fans until his death on Janurary 12, 2000.
Today, his work continues to be cherished by millions—children and adult alike. Perhaps Walt said it best: “I haven't used Marc like I should have... Marc can do story, he can do character, he can animate, he can do shows for me. All I have to do is tell him what I want and its there. He's my Renaissance Man."
Marc wrote the studio, signing the letter M. Fraser Davis and soon got a letter back that Disney was—at that time—not hiring any women artists. He threw the letter away. After Marc's father passed away, Marc and his mother traveled to LA hoping to find work. This time, he applied to Disney in person and was hired on the spot. Marc began at Disney on December 2, 1935.
Within a few months, Davis was promoted to assistant animator for Grim Natwick, the creator of Betty Boop, who was hard at work animating Snow White herself. After Snow White, Marc was promoted to animator on Bambi. From there, Marc lead the animation on many of Disney's classic heroines and villains from Cinderella, Tinkerbell, and Aurora, to Maleficient and Cruella DeVil. His work brought each of them to life in ways that could be only described as magical. When asked for his all-time favorite sequence of animation, Walt pointed to Marc's transformation sequence in Cinderella.
In the early 60s, Walt asked Marc to go to Disneyland to evaluate the park in depth and his notes so excited Walt that Marc was instantly moved into the WED unit, never to return to animation. Marc would go on to work on inumerable Disney theme park attractions including Pirates of the Caribbean, The Haunted Mansion, The Jungle Cruise, and The Country Bears. Marc retired from Disney in 1978, but he continued to draw and make himself available for fans until his death on Janurary 12, 2000.
Today, his work continues to be cherished by millions—children and adult alike. Perhaps Walt said it best: “I haven't used Marc like I should have... Marc can do story, he can do character, he can animate, he can do shows for me. All I have to do is tell him what I want and its there. He's my Renaissance Man."
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