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Walter Elias Disney (;[2] December 5, 1901 – December 15, 1966) was an American animator, film producer and entrepreneur. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. As a film producer, he holds the record for most Academy Awards earned and nominations by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress and have also been named as some of the greatest films ever by the American Film Institute. Disney was the first person to be nominated for Academy Awards in six different categories.

Walt Disney
Walt Disney 1946.JPG

Disney in 1946
Born

Walter Elias Disney

December 5, 1901

Chicago, Illinois, U.S.
Died December 15, 1966 (aged 65)

Burbank, California, U.S.
Resting place Forest Lawn Memorial Park, Glendale, California
Occupations
  • Animator
  • film producer
  • entrepreneur
Title President of The Walt Disney Company[1]
Spouse

Lillian Disney

​

(m. 1925)​
Children 2, including Diane Disney Miller
Relatives Disney family
Awards
  • 26 Academy Awards
    (22 competitive, 4 honorary)
  • 3 Golden Globe Awards
  • 1 Emmy Award
Signature
Walt Disney 1942 signature.svg

Born in Chicago in 1901, Disney developed an early interest in drawing. He took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio with his brother Roy. With Ub Iwerks, he developed the character Mickey Mouse in 1928, his first highly popular success; he also provided the voice for his creation in the early years. As the studio grew, he became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras. The results, seen in features such as Snow White and the Seven Dwarfs (1937), Pinocchio, Fantasia (both 1940), Dumbo (1941), and Bambi (1942), furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella (1950), Sleeping Beauty (1959) and Mary Poppins (1964), the last of which received five Academy Awards.

In the 1950s, Disney expanded into the amusement park industry, and in July 1955 he opened Disneyland in Anaheim, California. To fund the project he diversified into television programs, such as Walt Disney’s Disneyland and The Mickey Mouse Club. He was also involved in planning the 1959 Moscow Fair, the 1960 Winter Olympics, and the 1964 New York World’s Fair. In 1965, he began development of another theme park, Disney World, the heart of which was to be a new type of city, the «Experimental Prototype Community of Tomorrow» (EPCOT). Disney was a heavy smoker throughout his life and died of lung cancer in December 1966 before either the park or the EPCOT project were completed.

Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona. He had high standards and high expectations of those with whom he worked. Although there have been accusations that he was racist or antisemitic, they have been contradicted by many who knew him. Historiography of Disney has taken a variety of perspectives, ranging from views of him as a purveyor of homely patriotic values to being a representative of American imperialism. He remains an important figure in the history of animation and in the cultural history of the United States, where he is considered a national cultural icon. His film work continues to be shown and adapted, and the Disney theme parks have grown in size and number to attract visitors in several countries.

Early life

Disney was born on December 5, 1901, at 1249 Tripp Avenue, in Chicago’s Hermosa neighborhood.[a] He was the fourth son of Elias Disney‍—‌born in the Province of Canada, to Irish parents‍—‌and Flora (née Call), an American of German and English descent.[4][5][b] Aside from Walt, Elias and Flora’s sons were Herbert, Raymond and Roy; and the couple had a fifth child, Ruth, in December 1903.[8] In 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor.[9] Elias was a subscriber to the Appeal to Reason newspaper, and Disney practiced drawing by copying the front-page cartoons of Ryan Walker.[10] He also began to develop an ability to work with watercolors and crayons.[5] He lived near the Atchison, Topeka and Santa Fe Railway line and became enamored with trains.[11] He and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909.[12] The Disney family were active members of a Congregational church.[13]

In 1911, the Disneys moved to Kansas City, Missouri.[14] There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced him to the world of vaudeville and motion pictures. Before long, Disney was spending more time at the Pfeiffers’ house than at home.[15] Elias had purchased a newspaper delivery route for The Kansas City Star and Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated the round for the evening Star after school. The schedule was exhausting, and Disney often received poor grades after falling asleep in class, but he continued his paper route for more than six years.[16] He attended Saturday courses at the Kansas City Art Institute and also took a correspondence course in cartooning.[5][17]

In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, and moved back to the city with his family.[18] Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I;[19][20] he also took night courses at the Chicago Academy of Fine Arts.[21] In mid-1918, he attempted to join the United States Army to fight the Germans, but he was rejected as too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver. He was shipped to France but arrived in November, after the armistice.[22] He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes.[23] He returned to Kansas City in October 1919,[24] where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio, where he drew commercial illustrations for advertising, theater programs and catalogs, and befriended fellow artist Ub Iwerks.[25]

Career

Early career: 1920–1928

Walt Disney’s business envelope featured a self-portrait, c. 1921.

In January 1920, as Pesmen-Rubin’s revenue declined after Christmas, Disney, aged 18, and Iwerks were laid off. They started their own business, the short-lived Iwerks-Disney Commercial Artists.[26] Failing to attract many customers, Disney and Iwerks agreed that Disney should leave temporarily to earn money at the Kansas City Film Ad Company, run by A. V. Cauger; the following month Iwerks, who was not able to run their business alone, also joined.[27] The company produced commercials using the cutout animation technique.[28] Disney became interested in animation, although he preferred drawn cartoons such as Mutt and Jeff and Max Fleischer’s Out of the Inkwell. With the assistance of a borrowed book on animation and a camera, he began experimenting at home.[29][c] He came to the conclusion that cel animation was more promising than the cutout method.[d] Unable to persuade Cauger to try cel animation at the company, Disney opened a new business with a co-worker from the Film Ad Co, Fred Harman.[31] Their main client was the local Newman Theater, and the short cartoons they produced were sold as «Newman’s Laugh-O-Grams».[32] Disney studied Paul Terry’s Aesop’s Fables as a model, and the first six «Laugh-O-Grams» were modernized fairy tales.[33]

Newman Laugh-O-Gram (1921)

In May 1921, the success of the «Laugh-O-Grams» led to the establishment of Laugh-O-Gram Studio, for which he hired more animators, including Fred Harman’s brother Hugh, Rudolf Ising and Iwerks.[34] The Laugh-O-Grams cartoons did not provide enough income to keep the company solvent, so Disney started production of Alice’s Wonderland‍—‌based on Alice’s Adventures in Wonderland‍—‌which combined live action with animation; he cast Virginia Davis in the title role.[35] The result, a 12-and-a-half-minute, one-reel film, was completed too late to save Laugh-O-Gram Studio, which went into bankruptcy in 1923.[36]

Disney moved to Hollywood in July 1923 at 21 years old. Although New York was the center of the cartoon industry, he was attracted to Los Angeles because his brother Roy was convalescing from tuberculosis there,[37] and he hoped to become a live-action film director.[38] Disney’s efforts to sell Alice’s Wonderland were in vain until he heard from New York film distributor Margaret J. Winkler. She was losing the rights to both the Out of the Inkwell and Felix the Cat cartoons, and needed a new series. In October, they signed a contract for six Alice comedies, with an option for two further series of six episodes each.[38][39] Disney and his brother Roy formed the Disney Brothers Studio‍—‌which later became The Walt Disney Company‍—‌to produce the films;[40][41] they persuaded Davis and her family to relocate to Hollywood to continue production, with Davis on contract at $100 a month. In July 1924, Disney also hired Iwerks, persuading him to relocate to Hollywood from Kansas City.[42]

In 1926,[43] the first official Walt Disney Studio was established at 2725 Hyperion Avenue, demolished in 1940.[44]

By 1926, Winkler’s role in the distribution of the Alice series had been handed over to her husband, the film producer Charles Mintz, although the relationship between him and Disney was sometimes strained.[45] The series ran until July 1927,[46] by which time Disney had begun to tire of it and wanted to move away from the mixed format to all animation.[45][47] After Mintz requested new material to distribute through Universal Pictures, Disney and Iwerks created Oswald the Lucky Rabbit, a character Disney wanted to be «peppy, alert, saucy and venturesome, keeping him also neat and trim».[47][48]

In February 1928, Disney hoped to negotiate a larger fee for producing the Oswald series, but found Mintz wanting to reduce the payments. Mintz had also persuaded many of the artists involved to work directly for him, including Harman, Ising, Carman Maxwell and Friz Freleng. Disney also found out that Universal owned the intellectual property rights to Oswald. Mintz threatened to start his own studio and produce the series himself if Disney refused to accept the reductions. Disney declined Mintz’s ultimatum and lost most of his animation staff, except Iwerks, who chose to remain with him.[49][50][e]

Creation of Mickey Mouse to the first Academy Awards: 1928–1933

To replace Oswald, Disney and Iwerks developed Mickey Mouse, possibly inspired by a pet mouse that Disney had adopted while working in his Laugh-O-Gram studio, although the origins of the character are unclear.[52][f] Disney’s original choice of name was Mortimer Mouse, but his wife Lillian thought it too pompous, and suggested Mickey instead.[53][g] Iwerks revised Disney’s provisional sketches to make the character easier to animate. Disney, who had begun to distance himself from the animation process,[55] provided Mickey’s voice until 1947. In the words of one Disney employee, «Ub designed Mickey’s physical appearance, but Walt gave him his soul.»[56]

Mickey Mouse first appeared in May 1928 as a single test screening of the short Plane Crazy, but it, and the second feature, The Gallopin’ Gaucho, failed to find a distributor.[57] Following the 1927 sensation The Jazz Singer, Disney used synchronized sound on the third short, Steamboat Willie, to create the first post-produced sound cartoon. After the animation was complete, Disney signed a contract with the former executive of Universal Pictures, Pat Powers, to use the «Powers Cinephone» recording system;[58] Cinephone became the new distributor for Disney’s early sound cartoons, which soon became popular.[59]

To improve the quality of the music, Disney hired the professional composer and arranger Carl Stalling, on whose suggestion the Silly Symphony series was developed, providing stories through the use of music; the first in the series, The Skeleton Dance (1929), was drawn and animated entirely by Iwerks. Also hired at this time were several local artists, some of whom stayed with the company as core animators; the group later became known as the Nine Old Men.[60][h] Both the Mickey Mouse and Silly Symphonies series were successful, but Disney and his brother felt they were not receiving their rightful share of profits from Powers. In 1930, Disney tried to trim costs from the process by urging Iwerks to abandon the practice of animating every separate cel in favor of the more efficient technique of drawing key poses and letting lower-paid assistants sketch the inbetween poses. Disney asked Powers for an increase in payments for the cartoons. Powers refused and signed Iwerks to work for him; Stalling resigned shortly afterwards, thinking that without Iwerks, the Disney Studio would close.[61] Disney had a nervous breakdown in October 1931‍—‌which he blamed on the machinations of Powers and his own overwork‍—‌so he and Lillian took an extended holiday to Cuba and a cruise to Panama to recover.[62]

Disney in 1935 in Place de la Concorde, Paris

With the loss of Powers as distributor, Disney studios signed a contract with Columbia Pictures to distribute the Mickey Mouse cartoons, which became increasingly popular, including internationally.[63][64][i] Disney and his crew would also introduce new cartoon stars like Pluto in 1930, Goofy in 1932 and Donald Duck in 1934.[65] Always keen to embrace new technology and encouraged by his new contract with United Artists, Disney filmed Flowers and Trees (1932) in full-color three-strip Technicolor;[66] he was also able to negotiate a deal giving him the sole right to use the three-strip process until August 31, 1935.[67] All subsequent Silly Symphony cartoons were in color.[68] Flowers and Trees was popular with audiences[69] and won the inaugural Academy Award for best Short Subject (Cartoon) at the 1932 ceremony. Disney had been nominated for another film in that category, Mickey’s Orphans, and received an Honorary Award «for the creation of Mickey Mouse».[70][71]

In 1933, Disney produced The Three Little Pigs, a film described by the media historian Adrian Danks as «the most successful short animation of all time».[72] The film won Disney another Academy Award in the Short Subject (Cartoon) category. The film’s success led to a further increase in the studio’s staff, which numbered nearly 200 by the end of the year.[73] Disney realized the importance of telling emotionally gripping stories that would interest the audience,[74] and he invested in a «story department» separate from the animators, with storyboard artists who would detail the plots of Disney’s films.[75]

Golden age of animation: 1934–1941

Walt Disney introduces each of the seven dwarfs in a scene from the original 1937 Snow White theatrical trailer.

By 1934, Disney had become dissatisfied with producing formulaic cartoon shorts,[65] and believed a feature-length cartoon would be more profitable.[76] The studio began the four-year production of Snow White and the Seven Dwarfs, based on the fairy tale. When news leaked out about the project, many in the film industry predicted it would bankrupt the company; industry insiders nicknamed it «Disney’s Folly».[77] The film, which was the first animated feature made in full color and sound, cost $1.5 million to produce‍—‌three times over budget.[78] To ensure the animation was as realistic as possible, Disney sent his animators on courses at the Chouinard Art Institute;[79] he brought animals into the studio and hired actors so that the animators could study realistic movement.[80] To portray the changing perspective of the background as a camera moved through a scene, Disney’s animators developed a multiplane camera which allowed drawings on pieces of glass to be set at various distances from the camera, creating an illusion of depth. The glass could be moved to create the impression of a camera passing through the scene. The first work created on the camera‍—‌a Silly Symphony called The Old Mill (1937)‍—‌won the Academy Award for Animated Short Film because of its impressive visual power. Although Snow White had been largely finished by the time the multiplane camera had been completed, Disney ordered some scenes be re-drawn to use the new effects.[81]

Snow White premiered in December 1937 to high praise from critics and audiences. The film became the most successful motion picture of 1938 and by May 1939 its total gross of $6.5 million made it the most successful sound film made to that date.[77][j] Disney won another Honorary Academy Award, which consisted of one full-sized and seven miniature Oscar statuettes.[83][k] The success of Snow White heralded one of the most productive eras for the studio; the Walt Disney Family Museum calls the following years «the ‘Golden Age of Animation’ ».[84][85] With work on Snow White finished, the studio began producing Pinocchio in early 1938 and Fantasia in November of the same year. Both films were released in 1940, and neither performed well at the box office‍—‌partly because revenues from Europe had dropped following the start of World War II in 1939. The studio made a loss on both pictures and was deeply in debt by the end of February 1941.[86]

In response to the financial crisis, Disney and his brother Roy started the company’s first public stock offering in 1940, and implemented heavy salary cuts. The latter measure, and Disney’s sometimes high-handed and insensitive manner of dealing with staff, led to a 1941 animators’ strike which lasted five weeks.[87] While a federal mediator from the National Labor Relations Board negotiated with the two sides, Disney accepted an offer from the Office of the Coordinator of Inter-American Affairs to make a goodwill trip to South America, ensuring he was absent during a resolution he knew would be unfavorable to the studio.[88][l] As a result of the strike‍—‌and the financial state of the company‍—‌several animators left the studio, and Disney’s relationship with other members of staff was permanently strained as a result.[91] The strike temporarily interrupted the studio’s next production, Dumbo (1941), which Disney produced in a simple and inexpensive manner; the film received a positive reaction from audiences and critics alike.[92]

World War II and beyond: 1941–1950

Disney drawing Goofy for a group of girls in Argentina, 1941

Shortly after the release of Dumbo in October 1941, the U.S. entered World War II. Disney formed the Walt Disney Training Films Unit within the company to produce instruction films for the military such as Four Methods of Flush Riveting and Aircraft Production Methods.[93] Disney also met with Henry Morgenthau Jr., the Secretary of the Treasury, and agreed to produce short Donald Duck cartoons to promote war bonds.[94] Disney also produced several propaganda productions, including shorts such as Der Fuehrer’s Face‍—‌which won an Academy Award‍—‌and the 1943 feature film Victory Through Air Power.[95]

The military films generated only enough revenue to cover costs, and the feature film Bambi‍—‌which had been in production since 1937‍—‌underperformed on its release in April 1942, and lost $200,000 at the box office.[96] On top of the low earnings from Pinocchio and Fantasia, the company had debts of $4 million with the Bank of America in 1944.[97][m] At a meeting with Bank of America executives to discuss the future of the company, the bank’s chairman and founder, Amadeo Giannini, told his executives, «I’ve been watching the Disneys’ pictures quite closely because I knew we were lending them money far above the financial risk. … They’re good this year, they’re good next year, and they’re good the year after. … You have to relax and give them time to market their product.»[98] Disney’s production of short films decreased in the late 1940s, coinciding with increasing competition in the animation market from Warner Bros. and Metro-Goldwyn-Mayer. Roy Disney, for financial reasons, suggested more combined animation and live-action productions.[58][n] In 1948, Disney initiated a series of popular live-action nature films, titled True-Life Adventures, with Seal Island the first; the film won the Academy Award in the Best Short Subject (Two-Reel) category.[99]

Theme parks, television and other interests: 1950–1966

In early 1950, Disney produced Cinderella, his studio’s first animated feature in eight years. It was popular with critics and theater audiences. Costing $2.2 million to produce, it earned nearly $8 million in its first year.[100][o] Disney was less involved than he had been with previous pictures because of his involvement in his first entirely live-action feature, Treasure Island (1950), which was shot in Britain, as was The Story of Robin Hood and His Merrie Men (1952).[101] Other all-live-action features followed, many of which had patriotic themes.[58][p] He continued to produce full-length animated features too, including Alice in Wonderland (1951) and Peter Pan (1953). From the early to mid-1950s, Disney began to devote less attention to the animation department, entrusting most of its operations to his key animators, the Nine Old Men, although he was always present at story meetings. Instead, he started concentrating on other ventures.[102] Around the same time, Disney would establish his own film distribution chain Buena Vista, replacing his most recent distributor RKO Pictures.[103]

For several years Disney had been considering building a theme park. When he visited Griffith Park in Los Angeles with his daughters, he wanted to be in a clean, unspoiled park, where both children and their parents could have fun.[104] He visited the Tivoli Gardens in Copenhagen, Denmark, and was heavily influenced by the cleanliness and layout of the park.[105] In March 1952 he received zoning permission to build a theme park in Burbank, near the Disney studios.[106] This site proved too small, and a larger plot in Anaheim, 35 miles (56 km) south of the studio, was purchased. To distance the project from the studio‍—‌which might attract the criticism of shareholders‍—‌Disney formed WED Enterprises (now Walt Disney Imagineering) and used his own money to fund a group of designers and animators to work on the plans;[107][108] those involved became known as «Imagineers».[109] After obtaining bank funding he invited other stockholders, American Broadcasting-Paramount Theatres‍—‌part of American Broadcasting Company (ABC)‍—‌and Western Printing and Lithographing Company.[58] In mid-1954, Disney sent his Imagineers to every amusement park in the U.S. to analyze what worked and what pitfalls or problems there were in the various locations and incorporated their findings into his design.[110] Construction work started in July 1954, and Disneyland opened in July 1955; the opening ceremony was broadcast on ABC, which reached 70 million viewers.[111] The park was designed as a series of themed lands, linked by the central Main Street, U.S.A.‍—‌a replica of the main street in his hometown of Marceline. The connected themed areas were Adventureland, Frontierland, Fantasyland and Tomorrowland. The park also contained the narrow gauge Disneyland Railroad that linked the lands; around the outside of the park was a high berm to separate the park from the outside world.[112][113] An editorial in The New York Times considered that Disney had «tastefully combined some of the pleasant things of yesterday with fantasy and dreams of tomorrow».[114] Although there were early minor problems with the park, it was a success, and after a month’s operation, Disneyland was receiving over 20,000 visitors a day; by the end of its first year, it attracted 3.6 million guests.[115]

The money from ABC was contingent on Disney television programs.[116] The studio had been involved in a successful television special on Christmas Day 1950 about the making of Alice in Wonderland. Roy believed the program added millions to the box office takings. In a March 1951 letter to shareholders, he wrote that «television can be a most powerful selling aid for us, as well as a source of revenue. It will probably be on this premise that we enter television when we do».[58] In 1954, after the Disneyland funding had been agreed, ABC broadcast Walt Disney’s Disneyland, an anthology consisting of animated cartoons, live-action features and other material from the studio’s library. The show was successful in terms of ratings and profits, earning an audience share of over 50%.[117][q] In April 1955, Newsweek called the series an «American institution».[118] ABC was pleased with the ratings, leading to Disney’s first daily television program, The Mickey Mouse Club, a variety show catering specifically to children.[119] The program was accompanied by merchandising through various companies (Western Printing, for example, had been producing coloring books and comics for over 20 years, and produced several items connected to the show).[120] One of the segments of Disneyland consisted of the five-part miniseries Davy Crockett which, according to Gabler, «became an overnight sensation».[121] The show’s theme song, «The Ballad of Davy Crockett», became internationally popular, and ten million records were sold.[122] As a result, Disney formed his own record production and distribution entity, Disneyland Records.[123]

As well as the construction of Disneyland, Disney worked on other projects away from the studio. He was consultant to the 1959 American National Exhibition in Moscow; Disney Studios’ contribution was America the Beautiful, a 19-minute film in the 360-degree Circarama theater that was one of the most popular attractions.[58] The following year he acted as the chairman of the Pageantry Committee for the 1960 Winter Olympics in Squaw Valley, California, where he designed the opening, closing and medal ceremonies.[124] He was one of twelve investors in the Celebrity Sports Center, which opened in 1960 in Glendale, Colorado; he and Roy bought out the others in 1962, making the Disney company the sole owner.[125]

Despite the demands wrought by non-studio projects, Disney continued to work on film and television projects. In 1955, he was involved in «Man in Space», an episode of the Disneyland series, which was made in collaboration with NASA rocket designer Wernher von Braun.[r] Disney also oversaw aspects of the full-length features Lady and the Tramp (the first animated film in CinemaScope) in 1955, Sleeping Beauty (the first animated film in Technirama 70 mm film) in 1959, One Hundred and One Dalmatians (the first animated feature film to use Xerox cels) in 1961, and The Sword in the Stone in 1963.[127]

In 1964, Disney produced Mary Poppins, based on the book series by P. L. Travers; he had been trying to acquire the rights to the story since the 1940s.[128] It became the most successful Disney film of the 1960s, although Travers disliked the film intensely and regretted having sold the rights.[129] The same year he also became involved in plans to expand the California Institute of the Arts (colloquially called CalArts), and had an architect draw up blueprints for a new building.[130]

Disney provided four exhibits for the 1964 New York World’s Fair, for which he obtained funding from selected corporate sponsors. For PepsiCo, who planned a tribute to UNICEF, Disney developed It’s a Small World, a boat ride with audio-animatronic dolls depicting children of the world; Great Moments with Mr. Lincoln contained an animatronic Abraham Lincoln giving excerpts from his speeches; Carousel of Progress promoted the importance of electricity; and Ford’s Magic Skyway portrayed the progress of mankind. Elements of all four exhibits‍—‌principally concepts and technology‍—‌were re-installed in Disneyland, although It’s a Small World is the ride that most closely resembles the original.[131][132]

During the early to mid-1960s, Disney developed plans for a ski resort in Mineral King, a glacial valley in California’s Sierra Nevada. He hired experts such as the renowned Olympic ski coach and ski-area designer Willy Schaeffler.[133][134][s] With income from Disneyland accounting for an increasing proportion of the studio’s income, Disney continued to look for venues for other attractions. In 1963 he presented a project to create a theme park in downtown St. Louis, Missouri; he initially reached an agreement with the Civic Center Redevelopment Corp, which controlled the land, but the deal later collapsed over funding.[136][137] In late 1965, he announced plans to develop another theme park to be called «Disney World» (now Walt Disney World), a few miles southwest of Orlando, Florida. Disney World was to include the «Magic Kingdom»‍—‌a larger and more elaborate version of Disneyland‍—‌plus golf courses and resort hotels. The heart of Disney World was to be the «Experimental Prototype Community of Tomorrow» (EPCOT),[138] which he described as:

an experimental prototype community of tomorrow that will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise.[139]

During 1966, Disney cultivated businesses willing to sponsor EPCOT.[140] He received a story credit in the 1966 film Lt. Robin Crusoe, U.S.N. as Retlaw Yensid, his name spelt backwards.[141] He increased his involvement in the studio’s films, and was heavily involved in the story development of The Jungle Book, the live-action musical feature The Happiest Millionaire (both 1967) and the animated short Winnie the Pooh and the Blustery Day (1968).[142]

Illness, death and aftermath

Grave of Walt Disney at Forest Lawn, Glendale

Disney had been a heavy smoker since World War I. He did not use cigarettes with filters and had smoked a pipe as a young man. In early November 1966, he was diagnosed with lung cancer and was treated with cobalt therapy.[143] On November 30, he felt unwell and was taken by ambulance from his home to St. Joseph Hospital where, on December 15, 1966, aged 65, he died of circulatory collapse caused by the cancer.[144] His remains were cremated two days later and his ashes interred at the Forest Lawn Memorial Park in Glendale, California.[145][t]

The release of The Jungle Book and The Happiest Millionaire in 1967 raised the total number of feature films that Disney had been involved in to 81.[19] When Winnie the Pooh and the Blustery Day was released in 1968, it earned Disney an Academy Award in the Short Subject (Cartoon) category, awarded posthumously.[149] After Disney’s death, his studios continued to produce live-action films prolifically but largely abandoned animation until the late 1980s, after which there was what The New York Times describes as the «Disney Renaissance» that began with The Little Mermaid (1989).[150] Disney’s companies continue to produce successful film, television and stage entertainment.[151]

Disney’s plans for the futuristic city of EPCOT did not come to fruition. After Disney’s death, his brother Roy deferred his retirement to take full control of the Disney companies. He changed the focus of the project from a town to an attraction.[152] At the inauguration in 1971, Roy dedicated Walt Disney World to his brother.[153][u] Walt Disney World expanded with the opening of Epcot Center in 1982; Walt Disney’s vision of a functional city was replaced by a park more akin to a permanent world’s fair.[155] In 2009, the Walt Disney Family Museum, designed by Disney’s daughter Diane and her son Walter E. D. Miller, opened in the Presidio of San Francisco.[156] Thousands of artifacts from Disney’s life and career are on display, including numerous awards that he received.[157] In 2014, the Disney theme parks around the world hosted approximately 134 million visitors.[158]

Personal life and character

Early in 1925, Disney hired an ink artist, Lillian Bounds. They married in July of that year, at her brother’s house in her hometown of Lewiston, Idaho.[159] The marriage was generally happy, according to Lillian, although according to Disney’s biographer Neal Gabler she did not «accept Walt’s decisions meekly or his status unquestionably, and she admitted that he was always telling people ‘how henpecked he is’.»[160][v] Lillian had little interest in films or the Hollywood social scene and she was, in the words of the historian Steven Watts, «content with household management and providing support for her husband».[161] Their marriage produced two daughters, Diane (born December 1933) and Sharon (adopted in December 1936, born six weeks previously).[162][w] Within the family, neither Disney nor his wife hid the fact Sharon had been adopted, although they became annoyed if people outside the family raised the point.[163] The Disneys were careful to keep their daughters out of the public eye as much as possible, particularly in the light of the Lindbergh kidnapping; Disney took steps to ensure his daughters were not photographed by the press.[164]

Disney family at Schiphol Airport (1951)

In 1949, Disney and his family moved to a new home in the Holmby Hills district of Los Angeles. With the help of his friends Ward and Betty Kimball, who already had their own backyard railroad, Disney developed blueprints and immediately set to work on creating a miniature live steam railroad for his backyard. The name of the railroad, Carolwood Pacific Railroad, came from his home’s location on Carolwood Drive. The miniature working steam locomotive was built by Disney Studios engineer Roger E. Broggie, and Disney named it Lilly Belle after his wife;[165] after three years Disney ordered it into storage due to a series of accidents involving his guests.[166]

Disney grew more politically conservative as he got older. A Democratic Party supporter until the 1940 presidential election, when he switched allegiance to the Republican Party,[167] he became a generous donor to Thomas E. Dewey’s 1944 bid for the presidency.[168] In 1946, he was a founding member of the Motion Picture Alliance for the Preservation of American Ideals, an organization who stated they «believ[ed] in, and like, the American Way of Life … we find ourselves in sharp revolt against a rising tide of Communism, Fascism and kindred beliefs, that seek by subversive means to undermine and change this way of life».[169] In 1947, during the Second Red Scare, Disney testified before the House Un-American Activities Committee (HUAC), where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, as communist agitators; Disney stated that the 1941 strike led by them was part of an organized communist effort to gain influence in Hollywood.[170][171] It was alleged by The New York Times in 1993 that Disney had been passing secret information to the FBI from 1940 until his death in 1966. In return for this information, J. Edgar Hoover allowed Disney to film in FBI headquarters in Washington. Disney was made a «full Special Agent in Charge Contact» in 1954.[172]

Disney’s public persona was very different from his actual personality.[173] Playwright Robert E. Sherwood described him as «almost painfully shy … diffident» and self-deprecating.[174] According to his biographer Richard Schickel, Disney hid his shy and insecure personality behind his public identity.[175] Kimball argues that Disney «played the role of a bashful tycoon who was embarrassed in public» and knew that he was doing so.[176] Disney acknowledged the façade and told a friend that «I’m not Walt Disney. I do a lot of things Walt Disney would not do. Walt Disney does not smoke. I smoke. Walt Disney does not drink. I drink.»[177] Critic Otis Ferguson, in The New Republic, called the private Disney: «common and everyday, not inaccessible, not in a foreign language, not suppressed or sponsored or anything. Just Disney.»[176] Many of those with whom Disney worked commented that he gave his staff little encouragement due to his exceptionally high expectations. Norman recalls that when Disney said «That’ll work», it was an indication of high praise.[178] Instead of direct approval, Disney gave high-performing staff financial bonuses, or recommended certain individuals to others, expecting that his praise would be passed on.[179]

Reputation

Views of Disney and his work have changed over the decades, and there have been polarized opinions.[180] Mark Langer, in the American Dictionary of National Biography, writes that «Earlier evaluations of Disney hailed him as a patriot, folk artist, and popularizer of culture. More recently, Disney has been regarded as a paradigm of American imperialism and intolerance, as well as a debaser of culture.»[58] Steven Watts wrote that some denounce Disney «as a cynical manipulator of cultural and commercial formulas»,[180] while PBS records that critics have censured his work because of its «smooth façade of sentimentality and stubborn optimism, its feel-good re-write of American history».[181]

Disney has been accused of anti-Semitism for having given Nazi propagandist Leni Riefenstahl a tour of his studio a month after Kristallnacht,[182] something he disavowed three months later claiming he was unaware who she was when he was issued the invitation.[183][x] None of Disney’s employees—including the animator Art Babbitt, who disliked Disney intensely—ever accused him of making anti-Semitic slurs or taunts.[185] The Walt Disney Family Museum acknowledges that ethnic stereotypes common to films of the 1930s were included in some early cartoons[y] but also points out that Disney donated regularly to Jewish charities, was named «1955 Man of the Year» by the B’nai B’rith chapter in Beverly Hills,[188][189] and his studio employed a number of Jews, some of whom were in influential positions.[190][z] Gabler, the first writer to gain unrestricted access to the Disney archives, concludes that the available evidence does not support accusations of anti-Semitism and that Disney was «not [anti-Semitic] in the conventional sense that we think of someone as being an anti-Semite». Gabler concludes that «though Walt himself, in my estimation, was not anti-Semitic, nevertheless, he willingly allied himself with people who were anti-Semitic [meaning some members of the MPAPAI], and that reputation stuck. He was never really able to expunge it throughout his life».[192] Disney distanced himself from the Motion Picture Alliance in the 1950s.[193] According to Disney’s daughter Diane Disney-Miller, her sister Sharon dated a Jewish boyfriend for a period of time- to which her father raised no objections and even reportedly said «Sharon, I think it’s wonderful how these Jewish families have accepted you.»[186]

Disney has also been accused of other forms of racism because some of his productions released between the 1930s and 1950s contain racially insensitive material.[194][aa] The feature film Song of the South was criticized by contemporary film critics, the National Association for the Advancement of Colored People, and others for its perpetuation of black stereotypes,[195] but Disney later campaigned successfully for an Honorary Academy Award for its star, James Baskett, the first black actor so honored.[196][ab] Gabler argues that «Walt Disney was no racist. He never, either publicly or privately, made disparaging remarks about blacks or asserted white superiority. Like most white Americans of his generation, however, he was racially insensitive.»[194] Floyd Norman, the studio’s first black animator who worked closely with Disney during the 1950s and 1960s, said, «Not once did I observe a hint of the racist behavior Walt Disney was often accused of after his death. His treatment of people‍—‌and by this I mean all people‍—‌can only be called exemplary.»[197]

Watts argues that many of Disney’s post-World War II films «legislated a kind of cultural Marshall Plan. They nourished a genial cultural imperialism that magically overran the rest of the globe with the values, expectations, and goods of a prosperous middle-class United States.»[198] Film historian Jay P. Telotte acknowledges that many see Disney’s studio as an «agent of manipulation and repression», although he observes that it has «labored throughout its history to link its name with notions of fun, family, and fantasy».[199] John Tomlinson, in his study Cultural Imperialism, examines the work of Ariel Dorfman and Armand Mattelart, whose 1971 book Para leer al Pato Donald (trans: How to Read Donald Duck) identifies that there are «imperialist … values ‘concealed’ behind the innocent, wholesome façade of the world of Walt Disney»; this, they argue, is a powerful tool as «it presents itself as harmless fun for consumption by children.»[200] Tomlinson views their argument as flawed, as «they simply assume that reading American comics, seeing adverts, watching pictures of the affluent … [‘Yankee’] lifestyle has a direct pedagogic effect».[201]

Disney has been portrayed numerous times in fictional works. H. G. Wells references Disney in his 1938 novel The Holy Terror, in which World Dictator Rud fears that Donald Duck is meant to lampoon the dictator.[202] Disney was portrayed by Len Cariou in the 1995 made-for-TV film A Dream Is a Wish Your Heart Makes: The Annette Funicello Story,[203] and by Tom Hanks in the 2013 film Saving Mr. Banks.[204] In 2001, the German author Peter Stephan Jungk published Der König von Amerika (trans: The King of America), a fictional work of Disney’s later years that re-imagines him as a power-hungry racist. The composer Philip Glass later adapted the book into the opera The Perfect American (2013).[205]

Several commentators have described Disney as a cultural icon.[206] On Disney’s death, journalism professor Ralph S. Izard comments that the values in Disney’s films are those «considered valuable in American Christian society», which include «individualism, decency, … love for our fellow man, fair play and toleration».[207] Disney’s obituary in The Times calls the films «wholesome, warm-hearted and entertaining … of incomparable artistry and of touching beauty».[208] Journalist Bosley Crowther argues that Disney’s «achievement as a creator of entertainment for an almost unlimited public and as a highly ingenious merchandiser of his wares can rightly be compared to the most successful industrialists in history.»[5] Correspondent Alistair Cooke calls Disney a «folk-hero … the Pied Piper of Hollywood»,[209] while Gabler considers Disney «reshaped the culture and the American consciousness».[210] In the American Dictionary of National Biography, Langer writes:

Disney remains the central figure in the history of animation. Through technological innovations and alliances with governments and corporations, he transformed a minor studio in a marginal form of communication into a multinational leisure industry giant. Despite his critics, his vision of a modern, corporate utopia as an extension of traditional American values has possibly gained greater currency in the years after his death.[58]

In December 2021, The Metropolitan Museum of Art in New York opened a three month special exhibit in honor of Disney titled «Inspiring Walt Disney».[211]

Awards and honors

Disney received 59 Academy Award nominations, including 22 awards: both totals are records.[212] He was nominated for three Golden Globe Awards, but did not win, but he was presented with two Special Achievement Awards‍—‌for Bambi (1942) and The Living Desert (1953)‍—‌and the Cecil B. DeMille Award.[213] He also received four Emmy Award nominations, winning once, for Best Producer for the Disneyland television series.[214] Several of his films are included in the United States National Film Registry by the Library of Congress as «culturally, historically, or aesthetically significant»: Steamboat Willie, The Three Little Pigs, Snow White and the Seven Dwarfs, Fantasia, Pinocchio, Bambi, Dumbo and Mary Poppins.[215] In 1998, the American Film Institute published a list of the 100 greatest American films, according to industry experts; the list included Snow White and the Seven Dwarfs (at number 49), and Fantasia (at 58).[216]

In February 1960, Disney was inducted to the Hollywood Walk of Fame with two stars, one for motion pictures and the other for his television work;[217] Mickey Mouse was given his own star for motion pictures in 1978.[218] Disney was also inducted into the Television Hall of Fame in 1986,[219] the California Hall of Fame in December 2006,[220] and was the inaugural recipient of a star on the Anaheim walk of stars in 2014.[221]

The Walt Disney Family Museum records that he «along with members of his staff, received more than 950 honors and citations from throughout the world».[19] He was made a Chevalier in the French Légion d’honneur in 1935,[222] and in 1952 he was awarded the country’s highest artistic decoration, the Officer d’Academie.[223] Other national awards include Thailand’s Order of the Crown (1960); Germany’s Order of Merit (1956),[224] Brazil’s Order of the Southern Cross (1941),[225] and Mexico’s Order of the Aztec Eagle (1943).[226] In the United States, he received the Presidential Medal of Freedom on September 14, 1964,[227] and on May 24, 1968, he was posthumously awarded the Congressional Gold Medal.[228] He received the Showman of the World Award from the National Association of Theatre Owners,[226] and in 1955, the National Audubon Society awarded Disney its highest honor, the Audubon Medal, for promoting the «appreciation and understanding of nature» through his True-Life Adventures nature films.[229] A minor planet discovered in 1980 by astronomer Lyudmila Karachkina, was named 4017 Disneya,[230] and he was also awarded honorary degrees from Harvard, Yale, the University of Southern California and the University of California, Los Angeles.[19]

Notes

  1. ^ In 1909, in a renumbering exercise, the property’s address changed to 2156 North Tripp Avenue.[3]
  2. ^ Disney was a descendant of Robert d’Isigny, a Frenchman who had traveled to England with William the Conqueror in 1066.[6] The family anglicized the d’Isigny name to «Disney» and settled in the English village now known as Norton Disney in the East Midlands.[7]
  3. ^ The book, Edwin G. Lutz’s Animated Cartoons: How They Are Made, Their Origin and Development (1920), was the only one in the local library on the subject; the camera he borrowed from Cauger.[29]
  4. ^ Cutout animation is the technique of producing cartoons by animating objects cut from paper, material or photographs and photographing them moving incrementally. Cel animation is the method of drawing or painting onto transparent celluloid sheets («cels»), with each sheet an incremental movement on from the previous.[30]
  5. ^ In 2006, the Walt Disney Company finally re-acquired Oswald the Lucky Rabbit when its subsidiary ESPN purchased rights to the character, along with other properties from NBCUniversal.[51]
  6. ^ Several stories about the origins exist. Disney’s biographer, Bob Thomas, observes that «The birth of Mickey Mouse is obscured in legend, much of it created by Walt Disney himself.»[52]
  7. ^ The name Mortimer Mouse was used in the 1936 cartoon Mickey’s Rival as a potential love-interest for Minnie Mouse. He was portrayed as a «humorous denigration of the smooth city slicker» with a smart car, but failed to win over Minnie from the more homespun Mickey.[54]
  8. ^ The Nine Old Men consisted of Eric Larson, Wolfgang Reitherman, Les Clark, Milt Kahl, Ward Kimball, Marc Davis, Ollie Johnston, Frank Thomas and John Lounsbery.[58]
  9. ^ By 1931 he was called Michael Maus in Germany, Michel Souris in France, Miguel Ratonocito or Miguel Pericote in Spain and Miki Kuchi in Japan.[63]
  10. ^ $1.5 million in 1937 equates to $28,274,306 in 2023; $6.5 million in 1939 equates to $126,929,257 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  11. ^ The citation for the award reads: «To Walt Disney for Snow White and the Seven Dwarfs, recognized as a significant screen innovation which has charmed millions and pioneered a great new entertainment field for the motion picture cartoon.»[83]
  12. ^ The trip inspired two combined live-action and animation works Saludos Amigos (1942) and The Three Caballeros (1945).[89][90]
  13. ^ $4 million in 1944 equates to $61,572,779 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  14. ^ These included Make Mine Music (1946), Song of the South (1946), Melody Time (1948) and So Dear to My Heart (1949).[58]
  15. ^ $2.2 million in 1950 equates to $24,778,147 in 2023; $8 million in 1950 equates to $90,102,351 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  16. ^ The patriotic films include Johnny Tremain (1957), Old Yeller (1957), Tonka (1958), Swiss Family Robinson (1960), Polyanna (1960).[58]
  17. ^ Even repeats of the program proved more popular than all other television shows—aside from Lucille Ball’s I Love Lucy; no ABC program had ever been in the top 25 before Disneyland.[117]
  18. ^ The program, which was produced by Ward Kimball, was nominated for an Academy Award for the Best Documentary (Short Subject) at the 1957 Awards.[126]
  19. ^ Disney’s death in 1966, and opposition from conservationists, stopped the building of the resort.[135]
  20. ^ A long-standing urban legend maintains that Disney was cryonically frozen.[146] Disney’s daughter Diane later stated, «There is absolutely no truth to the rumor that my father, Walt Disney, wished to be frozen.»[147][148]
  21. ^ Roy died two months later, in December 1971.[154]
  22. ^ One possible exception to the stable relationship was during the making Snow White and the Seven Dwarfs (1937), where the stresses and turmoil associated with the production led to the couple discussing divorce.[160]
  23. ^ Lillian had two miscarriages during the eight years between marriage and the birth of Diane; she suffered a further miscarriage shortly before the family adopted Sharon.[162]
  24. ^ Another example included animator Art Babbitt, an organizer of the 1941 strike at Disney’s studio, claimed in his later years that he saw Disney and his lawyer attend meetings of the German American Bund, a pro-Nazi organization, during the late 1930s.[184] Gabler questions Babbitt’s claim on the basis that Disney had no time for political meetings and was «something of a political naïf» during the 1930s.[185] Disney’s office appointment book makes no mention of him attending Bund rallies, and no other animators ever made claims of Disney attending such meetings.[186] Disney had previously told one reporter in the mid-1930s- as tensions in Europe were brewing- that America should «let ’em fight their own wars» claiming he had «learned my lesson» from the last one.[187]
  25. ^ Examples include The Three Little Pigs (in which the Big Bad Wolf comes to the door dressed as a Jewish peddler) and The Opry House (in which Mickey Mouse is dressed and dances as a Hasidic Jew).[188][189]
  26. ^ As pointed out by story artist Joe Grant, which included himself, production manager Harry Tytle, and head of merchandising Kay Kamen, who once quipped that Disney’s New York office had «more Jews than The Book of Leviticus»[190] In addition songwriter Robert B. Sherman recalled that when one of Disney’s lawyers made anti-Semitic remarks towards him and his brother, Disney defended them and fired the attorney.[191][186]
  27. ^ Examples include Mickey’s Mellerdrammer, in which Mickey Mouse dresses in blackface; the black-colored bird in the short Who Killed Cock Robin; the American Indians in Peter Pan; and the crows in Dumbo (although the case has been made that the crows were sympathetic to Dumbo because they knew what it was like to be ostracized).[194]
  28. ^ Baskett died shortly afterward, and his widow wrote Disney a letter of gratitude for his support.[196]

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Sources

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  • Barrier, J. Michael (2007). The Animated Man: A Life of Walt Disney. Oakland, CA: University of California Press. ISBN 978-0-520-24117-6. Buckaroo Bugs’.
  • Beard, Richard R. (1982). Walt Disney’s EPCOT Center: Creating the New World of Tomorrow. New York, NY: Harry N. Abrams. ISBN 978-0-8109-0821-5.
  • Broggie, Michael (2006). Walt Disney’s Railroad Story: The Small-Scale Fascination That Led to a Full-Scale Kingdom. Marceline, MO: Carolwood Pacific. ISBN 978-0-9758584-2-4.
  • Canemaker, John (2001). Walt Disney’s Nine Old Men and the Art of Animation. Burbank, CA: Disney Editions. ISBN 978-0-7868-6496-6.
  • Ceplair, Larry; Englund, Steven (1983). The Inquisition in Hollywood: Politics in the Film Community, 1930–1960. Oakland, CA: University of California Press. ISBN 978-0-520-04886-7.
  • Cohen, Karl F. (2004). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, NC: McFarland. ISBN 978-1-4766-0725-2.
  • Dobson, Nichola (2009). Historical Dictionary of Animation and Cartoons. Plymouth, Devon: Scarecrow Press. ISBN 978-0-8108-6323-1.
  • Eliot, Marc (1995). Walt Disney: Hollywood’s Dark Prince. London: André Deutsch. ISBN 978-0-233-98961-7.
  • Finch, Christopher (1999). The Art of Walt Disney from Mickey Mouse to the Magic Kingdom. London: Virgin Books. ISBN 978-0-7535-0344-7.
  • Gabler, Neal (2006). Walt Disney: The Biography. London: Aurum. ISBN 978-1-84513-277-4.
  • Hollis, Tim; Ehrbar, Greg (2006). Mouse Tracks: The Story of Walt Disney Records. Jackson, MS: University Press of Mississippi. ISBN 978-1-61703-433-6.
  • Korkis, Jim (2012). Who’s Afraid of the Song of the South?. Dallas, TX: Theme Park Press. ISBN 978-0-9843415-5-9.
  • Krasniewicz, Louise (2010). Walt Disney: A Biography. Santa Barbara, CA: Greenwood Publishing. ISBN 978-0-313-35830-2.
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  • Painter, Nell Irvin (February 2008). «Was Marie White? The Trajectory of a Question in the United States». The Journal of Southern History. 74 (1): 3–30.
  • Pierce, John J. (1987). Foundations of Science Fiction: A Study in Imagination and Evolution. Westport, CT: Greenwood Press. ISBN 978-0-313-25455-0.
  • Schickel, Richard (1986). The Disney Version: The Life, Times, Art and Commerce of Walt Disney. London: Pavilion Books. ISBN 978-1-85145-007-7.
  • Schmadel, Lutz D. (2003). Dictionary of Minor Planet Names. Heidelberg: Springer Science & Business Media. ISBN 978-3-540-00238-3.
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  • Thomas, Bob (1994) [1976]. Walt Disney: An American Original. New York: Disney Editions. ISBN 978-0-7868-6027-2.
  • Thomas, Frank; Johnston, Ollie (1995) [1981]. The Illusion of Life: Disney Animation. New York: Hyperion. ISBN 978-0-7868-6070-8.
  • Tomlinson, John (2001). Cultural Imperialism: A Critical Introduction. London: A&C Black. ISBN 978-0-8264-5013-5.
  • Watts, Steven (June 1995). «Walt Disney: Art and Politics in the American Century». The Journal of American History. 82 (1): 84–110. doi:10.2307/2081916. JSTOR 2081916.
  • Watts, Steven (2013). The Magic Kingdom: Walt Disney and the American Way of Life. Columbia, MO: University of Missouri Press. ISBN 978-0-8262-7300-0.
  • Williams, Pat; Denney, James; Denney, Jim (2004). How to Be Like Walt: Capturing the Disney Magic Every Day of Your Life. Deerfield Beach, FL: Health Communications. ISBN 978-0-7573-0231-2.
  • Withrow, Steven (2009). Secrets of Digital Animation. Mies, Switzerland: RotoVision. ISBN 978-2-88893-014-3.

External links

  • Walt Disney at IMDb  
  • Walt Disney at the TCM Movie Database  
  • Works by or about Walt Disney in libraries (WorldCat catalog)
  • The Walt Disney Family Museum
  • The Walt Disney Birthplace
  • Talking About Walt Disney at The Interviews: An Oral History of Television
  • FBI Records: The Vault – Walter Elias Disney from the Federal Bureau of Investigation
Источник

Walt Disney
Walt Disney 1946.JPG

Disney in 1946
Born

Walter Elias Disney

December 5, 1901

Chicago, Illinois, U.S.
Died December 15, 1966 (aged 65)

Burbank, California, U.S.
Resting place Forest Lawn Memorial Park, Glendale, California
Occupations
  • Animator
  • film producer
  • entrepreneur
Title President of The Walt Disney Company[1]
Spouse

Lillian Disney

​

(m. 1925)​
Children 2, including Diane Disney Miller
Relatives Disney family
Awards
  • 26 Academy Awards
    (22 competitive, 4 honorary)
  • 3 Golden Globe Awards
  • 1 Emmy Award
Signature
Walt Disney 1942 signature.svg

Walter Elias Disney (;[2] December 5, 1901 – December 15, 1966) was an American animator, film producer and entrepreneur. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. As a film producer, he holds the record for most Academy Awards earned and nominations by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress and have also been named as some of the greatest films ever by the American Film Institute. Disney was the first person to be nominated for Academy Awards in six different categories.

Born in Chicago in 1901, Disney developed an early interest in drawing. He took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio with his brother Roy. With Ub Iwerks, he developed the character Mickey Mouse in 1928, his first highly popular success; he also provided the voice for his creation in the early years. As the studio grew, he became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras. The results, seen in features such as Snow White and the Seven Dwarfs (1937), Pinocchio, Fantasia (both 1940), Dumbo (1941), and Bambi (1942), furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella (1950), Sleeping Beauty (1959) and Mary Poppins (1964), the last of which received five Academy Awards.

In the 1950s, Disney expanded into the amusement park industry, and in July 1955 he opened Disneyland in Anaheim, California. To fund the project he diversified into television programs, such as Walt Disney’s Disneyland and The Mickey Mouse Club. He was also involved in planning the 1959 Moscow Fair, the 1960 Winter Olympics, and the 1964 New York World’s Fair. In 1965, he began development of another theme park, Disney World, the heart of which was to be a new type of city, the «Experimental Prototype Community of Tomorrow» (EPCOT). Disney was a heavy smoker throughout his life and died of lung cancer in December 1966 before either the park or the EPCOT project were completed.

Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona. He had high standards and high expectations of those with whom he worked. Although there have been accusations that he was racist or antisemitic, they have been contradicted by many who knew him. Historiography of Disney has taken a variety of perspectives, ranging from views of him as a purveyor of homely patriotic values to being a representative of American imperialism. He remains an important figure in the history of animation and in the cultural history of the United States, where he is considered a national cultural icon. His film work continues to be shown and adapted, and the Disney theme parks have grown in size and number to attract visitors in several countries.

Early life

Pale yellow wooden house with brown trim surrounded by white picket fence

Disney was born on December 5, 1901, at 1249 Tripp Avenue, in Chicago’s Hermosa neighborhood.[a] He was the fourth son of Elias Disney‍—‌born in the Province of Canada, to Irish parents‍—‌and Flora (née Call), an American of German and English descent.[4][5][b] Aside from Walt, Elias and Flora’s sons were Herbert, Raymond and Roy; and the couple had a fifth child, Ruth, in December 1903.[8] In 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor.[9] Elias was a subscriber to the Appeal to Reason newspaper, and Disney practiced drawing by copying the front-page cartoons of Ryan Walker.[10] He also began to develop an ability to work with watercolors and crayons.[5] He lived near the Atchison, Topeka and Santa Fe Railway line and became enamored with trains.[11] He and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909.[12] The Disney family were active members of a Congregational church.[13]

In 1911, the Disneys moved to Kansas City, Missouri.[14] There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced him to the world of vaudeville and motion pictures. Before long, Disney was spending more time at the Pfeiffers’ house than at home.[15] Elias had purchased a newspaper delivery route for The Kansas City Star and Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated the round for the evening Star after school. The schedule was exhausting, and Disney often received poor grades after falling asleep in class, but he continued his paper route for more than six years.[16] He attended Saturday courses at the Kansas City Art Institute and also took a correspondence course in cartooning.[5][17]

In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, and moved back to the city with his family.[18] Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I;[19][20] he also took night courses at the Chicago Academy of Fine Arts.[21] In mid-1918, he attempted to join the United States Army to fight the Germans, but he was rejected as too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver. He was shipped to France but arrived in November, after the armistice.[22] He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes.[23] He returned to Kansas City in October 1919,[24] where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio, where he drew commercial illustrations for advertising, theater programs and catalogs, and befriended fellow artist Ub Iwerks.[25]

Career

Early career: 1920–1928

Walt Disney’s business envelope featured a self-portrait, c. 1921.

In January 1920, as Pesmen-Rubin’s revenue declined after Christmas, Disney, aged 18, and Iwerks were laid off. They started their own business, the short-lived Iwerks-Disney Commercial Artists.[26] Failing to attract many customers, Disney and Iwerks agreed that Disney should leave temporarily to earn money at the Kansas City Film Ad Company, run by A. V. Cauger; the following month Iwerks, who was not able to run their business alone, also joined.[27] The company produced commercials using the cutout animation technique.[28] Disney became interested in animation, although he preferred drawn cartoons such as Mutt and Jeff and Max Fleischer’s Out of the Inkwell. With the assistance of a borrowed book on animation and a camera, he began experimenting at home.[29][c] He came to the conclusion that cel animation was more promising than the cutout method.[d] Unable to persuade Cauger to try cel animation at the company, Disney opened a new business with a co-worker from the Film Ad Co, Fred Harman.[31] Their main client was the local Newman Theater, and the short cartoons they produced were sold as «Newman’s Laugh-O-Grams».[32] Disney studied Paul Terry’s Aesop’s Fables as a model, and the first six «Laugh-O-Grams» were modernized fairy tales.[33]

Newman Laugh-O-Gram (1921)

In May 1921, the success of the «Laugh-O-Grams» led to the establishment of Laugh-O-Gram Studio, for which he hired more animators, including Fred Harman’s brother Hugh, Rudolf Ising and Iwerks.[34] The Laugh-O-Grams cartoons did not provide enough income to keep the company solvent, so Disney started production of Alice’s Wonderland‍—‌based on Alice’s Adventures in Wonderland‍—‌which combined live action with animation; he cast Virginia Davis in the title role.[35] The result, a 12-and-a-half-minute, one-reel film, was completed too late to save Laugh-O-Gram Studio, which went into bankruptcy in 1923.[36]

Disney moved to Hollywood in July 1923 at 21 years old. Although New York was the center of the cartoon industry, he was attracted to Los Angeles because his brother Roy was convalescing from tuberculosis there,[37] and he hoped to become a live-action film director.[38] Disney’s efforts to sell Alice’s Wonderland were in vain until he heard from New York film distributor Margaret J. Winkler. She was losing the rights to both the Out of the Inkwell and Felix the Cat cartoons, and needed a new series. In October, they signed a contract for six Alice comedies, with an option for two further series of six episodes each.[38][39] Disney and his brother Roy formed the Disney Brothers Studio‍—‌which later became The Walt Disney Company‍—‌to produce the films;[40][41] they persuaded Davis and her family to relocate to Hollywood to continue production, with Davis on contract at $100 a month. In July 1924, Disney also hired Iwerks, persuading him to relocate to Hollywood from Kansas City.[42]

A cartoon rabbit is driving a tramcar; other cartoon rabbits are in, under, on and around the car.

In 1926,[43] the first official Walt Disney Studio was established at 2725 Hyperion Avenue, demolished in 1940.[44]

By 1926, Winkler’s role in the distribution of the Alice series had been handed over to her husband, the film producer Charles Mintz, although the relationship between him and Disney was sometimes strained.[45] The series ran until July 1927,[46] by which time Disney had begun to tire of it and wanted to move away from the mixed format to all animation.[45][47] After Mintz requested new material to distribute through Universal Pictures, Disney and Iwerks created Oswald the Lucky Rabbit, a character Disney wanted to be «peppy, alert, saucy and venturesome, keeping him also neat and trim».[47][48]

In February 1928, Disney hoped to negotiate a larger fee for producing the Oswald series, but found Mintz wanting to reduce the payments. Mintz had also persuaded many of the artists involved to work directly for him, including Harman, Ising, Carman Maxwell and Friz Freleng. Disney also found out that Universal owned the intellectual property rights to Oswald. Mintz threatened to start his own studio and produce the series himself if Disney refused to accept the reductions. Disney declined Mintz’s ultimatum and lost most of his animation staff, except Iwerks, who chose to remain with him.[49][50][e]

Creation of Mickey Mouse to the first Academy Awards: 1928–1933

To replace Oswald, Disney and Iwerks developed Mickey Mouse, possibly inspired by a pet mouse that Disney had adopted while working in his Laugh-O-Gram studio, although the origins of the character are unclear.[52][f] Disney’s original choice of name was Mortimer Mouse, but his wife Lillian thought it too pompous, and suggested Mickey instead.[53][g] Iwerks revised Disney’s provisional sketches to make the character easier to animate. Disney, who had begun to distance himself from the animation process,[55] provided Mickey’s voice until 1947. In the words of one Disney employee, «Ub designed Mickey’s physical appearance, but Walt gave him his soul.»[56]

A cartoon mouse is operating a ship's steering wheel

Mickey Mouse first appeared in May 1928 as a single test screening of the short Plane Crazy, but it, and the second feature, The Gallopin’ Gaucho, failed to find a distributor.[57] Following the 1927 sensation The Jazz Singer, Disney used synchronized sound on the third short, Steamboat Willie, to create the first post-produced sound cartoon. After the animation was complete, Disney signed a contract with the former executive of Universal Pictures, Pat Powers, to use the «Powers Cinephone» recording system;[58] Cinephone became the new distributor for Disney’s early sound cartoons, which soon became popular.[59]

To improve the quality of the music, Disney hired the professional composer and arranger Carl Stalling, on whose suggestion the Silly Symphony series was developed, providing stories through the use of music; the first in the series, The Skeleton Dance (1929), was drawn and animated entirely by Iwerks. Also hired at this time were several local artists, some of whom stayed with the company as core animators; the group later became known as the Nine Old Men.[60][h] Both the Mickey Mouse and Silly Symphonies series were successful, but Disney and his brother felt they were not receiving their rightful share of profits from Powers. In 1930, Disney tried to trim costs from the process by urging Iwerks to abandon the practice of animating every separate cel in favor of the more efficient technique of drawing key poses and letting lower-paid assistants sketch the inbetween poses. Disney asked Powers for an increase in payments for the cartoons. Powers refused and signed Iwerks to work for him; Stalling resigned shortly afterwards, thinking that without Iwerks, the Disney Studio would close.[61] Disney had a nervous breakdown in October 1931‍—‌which he blamed on the machinations of Powers and his own overwork‍—‌so he and Lillian took an extended holiday to Cuba and a cruise to Panama to recover.[62]

Disney in 1935 in Place de la Concorde, Paris

With the loss of Powers as distributor, Disney studios signed a contract with Columbia Pictures to distribute the Mickey Mouse cartoons, which became increasingly popular, including internationally.[63][64][i] Disney and his crew would also introduce new cartoon stars like Pluto in 1930, Goofy in 1932 and Donald Duck in 1934.[65] Always keen to embrace new technology and encouraged by his new contract with United Artists, Disney filmed Flowers and Trees (1932) in full-color three-strip Technicolor;[66] he was also able to negotiate a deal giving him the sole right to use the three-strip process until August 31, 1935.[67] All subsequent Silly Symphony cartoons were in color.[68] Flowers and Trees was popular with audiences[69] and won the inaugural Academy Award for best Short Subject (Cartoon) at the 1932 ceremony. Disney had been nominated for another film in that category, Mickey’s Orphans, and received an Honorary Award «for the creation of Mickey Mouse».[70][71]

In 1933, Disney produced The Three Little Pigs, a film described by the media historian Adrian Danks as «the most successful short animation of all time».[72] The film won Disney another Academy Award in the Short Subject (Cartoon) category. The film’s success led to a further increase in the studio’s staff, which numbered nearly 200 by the end of the year.[73] Disney realized the importance of telling emotionally gripping stories that would interest the audience,[74] and he invested in a «story department» separate from the animators, with storyboard artists who would detail the plots of Disney’s films.[75]

Golden age of animation: 1934–1941

Walt Disney sits in front of a set of models of the seven dwarfs

Walt Disney introduces each of the seven dwarfs in a scene from the original 1937 Snow White theatrical trailer.

By 1934, Disney had become dissatisfied with producing formulaic cartoon shorts,[65] and believed a feature-length cartoon would be more profitable.[76] The studio began the four-year production of Snow White and the Seven Dwarfs, based on the fairy tale. When news leaked out about the project, many in the film industry predicted it would bankrupt the company; industry insiders nicknamed it «Disney’s Folly».[77] The film, which was the first animated feature made in full color and sound, cost $1.5 million to produce‍—‌three times over budget.[78] To ensure the animation was as realistic as possible, Disney sent his animators on courses at the Chouinard Art Institute;[79] he brought animals into the studio and hired actors so that the animators could study realistic movement.[80] To portray the changing perspective of the background as a camera moved through a scene, Disney’s animators developed a multiplane camera which allowed drawings on pieces of glass to be set at various distances from the camera, creating an illusion of depth. The glass could be moved to create the impression of a camera passing through the scene. The first work created on the camera‍—‌a Silly Symphony called The Old Mill (1937)‍—‌won the Academy Award for Animated Short Film because of its impressive visual power. Although Snow White had been largely finished by the time the multiplane camera had been completed, Disney ordered some scenes be re-drawn to use the new effects.[81]

Snow White premiered in December 1937 to high praise from critics and audiences. The film became the most successful motion picture of 1938 and by May 1939 its total gross of $6.5 million made it the most successful sound film made to that date.[77][j] Disney won another Honorary Academy Award, which consisted of one full-sized and seven miniature Oscar statuettes.[83][k] The success of Snow White heralded one of the most productive eras for the studio; the Walt Disney Family Museum calls the following years «the ‘Golden Age of Animation’ ».[84][85] With work on Snow White finished, the studio began producing Pinocchio in early 1938 and Fantasia in November of the same year. Both films were released in 1940, and neither performed well at the box office‍—‌partly because revenues from Europe had dropped following the start of World War II in 1939. The studio made a loss on both pictures and was deeply in debt by the end of February 1941.[86]

In response to the financial crisis, Disney and his brother Roy started the company’s first public stock offering in 1940, and implemented heavy salary cuts. The latter measure, and Disney’s sometimes high-handed and insensitive manner of dealing with staff, led to a 1941 animators’ strike which lasted five weeks.[87] While a federal mediator from the National Labor Relations Board negotiated with the two sides, Disney accepted an offer from the Office of the Coordinator of Inter-American Affairs to make a goodwill trip to South America, ensuring he was absent during a resolution he knew would be unfavorable to the studio.[88][l] As a result of the strike‍—‌and the financial state of the company‍—‌several animators left the studio, and Disney’s relationship with other members of staff was permanently strained as a result.[91] The strike temporarily interrupted the studio’s next production, Dumbo (1941), which Disney produced in a simple and inexpensive manner; the film received a positive reaction from audiences and critics alike.[92]

World War II and beyond: 1941–1950

Disney drawing Goofy for a group of girls in Argentina, 1941

Shortly after the release of Dumbo in October 1941, the U.S. entered World War II. Disney formed the Walt Disney Training Films Unit within the company to produce instruction films for the military such as Four Methods of Flush Riveting and Aircraft Production Methods.[93] Disney also met with Henry Morgenthau Jr., the Secretary of the Treasury, and agreed to produce short Donald Duck cartoons to promote war bonds.[94] Disney also produced several propaganda productions, including shorts such as Der Fuehrer’s Face‍—‌which won an Academy Award‍—‌and the 1943 feature film Victory Through Air Power.[95]

The military films generated only enough revenue to cover costs, and the feature film Bambi‍—‌which had been in production since 1937‍—‌underperformed on its release in April 1942, and lost $200,000 at the box office.[96] On top of the low earnings from Pinocchio and Fantasia, the company had debts of $4 million with the Bank of America in 1944.[97][m] At a meeting with Bank of America executives to discuss the future of the company, the bank’s chairman and founder, Amadeo Giannini, told his executives, «I’ve been watching the Disneys’ pictures quite closely because I knew we were lending them money far above the financial risk. … They’re good this year, they’re good next year, and they’re good the year after. … You have to relax and give them time to market their product.»[98] Disney’s production of short films decreased in the late 1940s, coinciding with increasing competition in the animation market from Warner Bros. and Metro-Goldwyn-Mayer. Roy Disney, for financial reasons, suggested more combined animation and live-action productions.[58][n] In 1948, Disney initiated a series of popular live-action nature films, titled True-Life Adventures, with Seal Island the first; the film won the Academy Award in the Best Short Subject (Two-Reel) category.[99]

Theme parks, television and other interests: 1950–1966

In early 1950, Disney produced Cinderella, his studio’s first animated feature in eight years. It was popular with critics and theater audiences. Costing $2.2 million to produce, it earned nearly $8 million in its first year.[100][o] Disney was less involved than he had been with previous pictures because of his involvement in his first entirely live-action feature, Treasure Island (1950), which was shot in Britain, as was The Story of Robin Hood and His Merrie Men (1952).[101] Other all-live-action features followed, many of which had patriotic themes.[58][p] He continued to produce full-length animated features too, including Alice in Wonderland (1951) and Peter Pan (1953). From the early to mid-1950s, Disney began to devote less attention to the animation department, entrusting most of its operations to his key animators, the Nine Old Men, although he was always present at story meetings. Instead, he started concentrating on other ventures.[102] Around the same time, Disney would establish his own film distribution chain Buena Vista, replacing his most recent distributor RKO Pictures.[103]

For several years Disney had been considering building a theme park. When he visited Griffith Park in Los Angeles with his daughters, he wanted to be in a clean, unspoiled park, where both children and their parents could have fun.[104] He visited the Tivoli Gardens in Copenhagen, Denmark, and was heavily influenced by the cleanliness and layout of the park.[105] In March 1952 he received zoning permission to build a theme park in Burbank, near the Disney studios.[106] This site proved too small, and a larger plot in Anaheim, 35 miles (56 km) south of the studio, was purchased. To distance the project from the studio‍—‌which might attract the criticism of shareholders‍—‌Disney formed WED Enterprises (now Walt Disney Imagineering) and used his own money to fund a group of designers and animators to work on the plans;[107][108] those involved became known as «Imagineers».[109] After obtaining bank funding he invited other stockholders, American Broadcasting-Paramount Theatres‍—‌part of American Broadcasting Company (ABC)‍—‌and Western Printing and Lithographing Company.[58] In mid-1954, Disney sent his Imagineers to every amusement park in the U.S. to analyze what worked and what pitfalls or problems there were in the various locations and incorporated their findings into his design.[110] Construction work started in July 1954, and Disneyland opened in July 1955; the opening ceremony was broadcast on ABC, which reached 70 million viewers.[111] The park was designed as a series of themed lands, linked by the central Main Street, U.S.A.‍—‌a replica of the main street in his hometown of Marceline. The connected themed areas were Adventureland, Frontierland, Fantasyland and Tomorrowland. The park also contained the narrow gauge Disneyland Railroad that linked the lands; around the outside of the park was a high berm to separate the park from the outside world.[112][113] An editorial in The New York Times considered that Disney had «tastefully combined some of the pleasant things of yesterday with fantasy and dreams of tomorrow».[114] Although there were early minor problems with the park, it was a success, and after a month’s operation, Disneyland was receiving over 20,000 visitors a day; by the end of its first year, it attracted 3.6 million guests.[115]

The money from ABC was contingent on Disney television programs.[116] The studio had been involved in a successful television special on Christmas Day 1950 about the making of Alice in Wonderland. Roy believed the program added millions to the box office takings. In a March 1951 letter to shareholders, he wrote that «television can be a most powerful selling aid for us, as well as a source of revenue. It will probably be on this premise that we enter television when we do».[58] In 1954, after the Disneyland funding had been agreed, ABC broadcast Walt Disney’s Disneyland, an anthology consisting of animated cartoons, live-action features and other material from the studio’s library. The show was successful in terms of ratings and profits, earning an audience share of over 50%.[117][q] In April 1955, Newsweek called the series an «American institution».[118] ABC was pleased with the ratings, leading to Disney’s first daily television program, The Mickey Mouse Club, a variety show catering specifically to children.[119] The program was accompanied by merchandising through various companies (Western Printing, for example, had been producing coloring books and comics for over 20 years, and produced several items connected to the show).[120] One of the segments of Disneyland consisted of the five-part miniseries Davy Crockett which, according to Gabler, «became an overnight sensation».[121] The show’s theme song, «The Ballad of Davy Crockett», became internationally popular, and ten million records were sold.[122] As a result, Disney formed his own record production and distribution entity, Disneyland Records.[123]

As well as the construction of Disneyland, Disney worked on other projects away from the studio. He was consultant to the 1959 American National Exhibition in Moscow; Disney Studios’ contribution was America the Beautiful, a 19-minute film in the 360-degree Circarama theater that was one of the most popular attractions.[58] The following year he acted as the chairman of the Pageantry Committee for the 1960 Winter Olympics in Squaw Valley, California, where he designed the opening, closing and medal ceremonies.[124] He was one of twelve investors in the Celebrity Sports Center, which opened in 1960 in Glendale, Colorado; he and Roy bought out the others in 1962, making the Disney company the sole owner.[125]

Despite the demands wrought by non-studio projects, Disney continued to work on film and television projects. In 1955, he was involved in «Man in Space», an episode of the Disneyland series, which was made in collaboration with NASA rocket designer Wernher von Braun.[r] Disney also oversaw aspects of the full-length features Lady and the Tramp (the first animated film in CinemaScope) in 1955, Sleeping Beauty (the first animated film in Technirama 70 mm film) in 1959, One Hundred and One Dalmatians (the first animated feature film to use Xerox cels) in 1961, and The Sword in the Stone in 1963.[127]

In 1964, Disney produced Mary Poppins, based on the book series by P. L. Travers; he had been trying to acquire the rights to the story since the 1940s.[128] It became the most successful Disney film of the 1960s, although Travers disliked the film intensely and regretted having sold the rights.[129] The same year he also became involved in plans to expand the California Institute of the Arts (colloquially called CalArts), and had an architect draw up blueprints for a new building.[130]

Disney provided four exhibits for the 1964 New York World’s Fair, for which he obtained funding from selected corporate sponsors. For PepsiCo, who planned a tribute to UNICEF, Disney developed It’s a Small World, a boat ride with audio-animatronic dolls depicting children of the world; Great Moments with Mr. Lincoln contained an animatronic Abraham Lincoln giving excerpts from his speeches; Carousel of Progress promoted the importance of electricity; and Ford’s Magic Skyway portrayed the progress of mankind. Elements of all four exhibits‍—‌principally concepts and technology‍—‌were re-installed in Disneyland, although It’s a Small World is the ride that most closely resembles the original.[131][132]

During the early to mid-1960s, Disney developed plans for a ski resort in Mineral King, a glacial valley in California’s Sierra Nevada. He hired experts such as the renowned Olympic ski coach and ski-area designer Willy Schaeffler.[133][134][s] With income from Disneyland accounting for an increasing proportion of the studio’s income, Disney continued to look for venues for other attractions. In 1963 he presented a project to create a theme park in downtown St. Louis, Missouri; he initially reached an agreement with the Civic Center Redevelopment Corp, which controlled the land, but the deal later collapsed over funding.[136][137] In late 1965, he announced plans to develop another theme park to be called «Disney World» (now Walt Disney World), a few miles southwest of Orlando, Florida. Disney World was to include the «Magic Kingdom»‍—‌a larger and more elaborate version of Disneyland‍—‌plus golf courses and resort hotels. The heart of Disney World was to be the «Experimental Prototype Community of Tomorrow» (EPCOT),[138] which he described as:

an experimental prototype community of tomorrow that will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise.[139]

During 1966, Disney cultivated businesses willing to sponsor EPCOT.[140] He received a story credit in the 1966 film Lt. Robin Crusoe, U.S.N. as Retlaw Yensid, his name spelt backwards.[141] He increased his involvement in the studio’s films, and was heavily involved in the story development of The Jungle Book, the live-action musical feature The Happiest Millionaire (both 1967) and the animated short Winnie the Pooh and the Blustery Day (1968).[142]

Illness, death and aftermath

A gravestone inscribed 'Walter Elias Disney', 'Lillian Bounds Disney', 'Robert B. Brown', Sharon Disney Brown Lund ashes scattered in paradise'

Grave of Walt Disney at Forest Lawn, Glendale

Disney had been a heavy smoker since World War I. He did not use cigarettes with filters and had smoked a pipe as a young man. In early November 1966, he was diagnosed with lung cancer and was treated with cobalt therapy.[143] On November 30, he felt unwell and was taken by ambulance from his home to St. Joseph Hospital where, on December 15, 1966, aged 65, he died of circulatory collapse caused by the cancer.[144] His remains were cremated two days later and his ashes interred at the Forest Lawn Memorial Park in Glendale, California.[145][t]

The release of The Jungle Book and The Happiest Millionaire in 1967 raised the total number of feature films that Disney had been involved in to 81.[19] When Winnie the Pooh and the Blustery Day was released in 1968, it earned Disney an Academy Award in the Short Subject (Cartoon) category, awarded posthumously.[149] After Disney’s death, his studios continued to produce live-action films prolifically but largely abandoned animation until the late 1980s, after which there was what The New York Times describes as the «Disney Renaissance» that began with The Little Mermaid (1989).[150] Disney’s companies continue to produce successful film, television and stage entertainment.[151]

Disney’s plans for the futuristic city of EPCOT did not come to fruition. After Disney’s death, his brother Roy deferred his retirement to take full control of the Disney companies. He changed the focus of the project from a town to an attraction.[152] At the inauguration in 1971, Roy dedicated Walt Disney World to his brother.[153][u] Walt Disney World expanded with the opening of Epcot Center in 1982; Walt Disney’s vision of a functional city was replaced by a park more akin to a permanent world’s fair.[155] In 2009, the Walt Disney Family Museum, designed by Disney’s daughter Diane and her son Walter E. D. Miller, opened in the Presidio of San Francisco.[156] Thousands of artifacts from Disney’s life and career are on display, including numerous awards that he received.[157] In 2014, the Disney theme parks around the world hosted approximately 134 million visitors.[158]

Personal life and character

Early in 1925, Disney hired an ink artist, Lillian Bounds. They married in July of that year, at her brother’s house in her hometown of Lewiston, Idaho.[159] The marriage was generally happy, according to Lillian, although according to Disney’s biographer Neal Gabler she did not «accept Walt’s decisions meekly or his status unquestionably, and she admitted that he was always telling people ‘how henpecked he is’.»[160][v] Lillian had little interest in films or the Hollywood social scene and she was, in the words of the historian Steven Watts, «content with household management and providing support for her husband».[161] Their marriage produced two daughters, Diane (born December 1933) and Sharon (adopted in December 1936, born six weeks previously).[162][w] Within the family, neither Disney nor his wife hid the fact Sharon had been adopted, although they became annoyed if people outside the family raised the point.[163] The Disneys were careful to keep their daughters out of the public eye as much as possible, particularly in the light of the Lindbergh kidnapping; Disney took steps to ensure his daughters were not photographed by the press.[164]

Disney family at Schiphol Airport (1951)

In 1949, Disney and his family moved to a new home in the Holmby Hills district of Los Angeles. With the help of his friends Ward and Betty Kimball, who already had their own backyard railroad, Disney developed blueprints and immediately set to work on creating a miniature live steam railroad for his backyard. The name of the railroad, Carolwood Pacific Railroad, came from his home’s location on Carolwood Drive. The miniature working steam locomotive was built by Disney Studios engineer Roger E. Broggie, and Disney named it Lilly Belle after his wife;[165] after three years Disney ordered it into storage due to a series of accidents involving his guests.[166]

Disney grew more politically conservative as he got older. A Democratic Party supporter until the 1940 presidential election, when he switched allegiance to the Republican Party,[167] he became a generous donor to Thomas E. Dewey’s 1944 bid for the presidency.[168] In 1946, he was a founding member of the Motion Picture Alliance for the Preservation of American Ideals, an organization who stated they «believ[ed] in, and like, the American Way of Life … we find ourselves in sharp revolt against a rising tide of Communism, Fascism and kindred beliefs, that seek by subversive means to undermine and change this way of life».[169] In 1947, during the Second Red Scare, Disney testified before the House Un-American Activities Committee (HUAC), where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, as communist agitators; Disney stated that the 1941 strike led by them was part of an organized communist effort to gain influence in Hollywood.[170][171] It was alleged by The New York Times in 1993 that Disney had been passing secret information to the FBI from 1940 until his death in 1966. In return for this information, J. Edgar Hoover allowed Disney to film in FBI headquarters in Washington. Disney was made a «full Special Agent in Charge Contact» in 1954.[172]

Disney’s public persona was very different from his actual personality.[173] Playwright Robert E. Sherwood described him as «almost painfully shy … diffident» and self-deprecating.[174] According to his biographer Richard Schickel, Disney hid his shy and insecure personality behind his public identity.[175] Kimball argues that Disney «played the role of a bashful tycoon who was embarrassed in public» and knew that he was doing so.[176] Disney acknowledged the façade and told a friend that «I’m not Walt Disney. I do a lot of things Walt Disney would not do. Walt Disney does not smoke. I smoke. Walt Disney does not drink. I drink.»[177] Critic Otis Ferguson, in The New Republic, called the private Disney: «common and everyday, not inaccessible, not in a foreign language, not suppressed or sponsored or anything. Just Disney.»[176] Many of those with whom Disney worked commented that he gave his staff little encouragement due to his exceptionally high expectations. Norman recalls that when Disney said «That’ll work», it was an indication of high praise.[178] Instead of direct approval, Disney gave high-performing staff financial bonuses, or recommended certain individuals to others, expecting that his praise would be passed on.[179]

Reputation

A portrait of Disney with cartoon representations of different nationalities on a 6 cent US stamp

Views of Disney and his work have changed over the decades, and there have been polarized opinions.[180] Mark Langer, in the American Dictionary of National Biography, writes that «Earlier evaluations of Disney hailed him as a patriot, folk artist, and popularizer of culture. More recently, Disney has been regarded as a paradigm of American imperialism and intolerance, as well as a debaser of culture.»[58] Steven Watts wrote that some denounce Disney «as a cynical manipulator of cultural and commercial formulas»,[180] while PBS records that critics have censured his work because of its «smooth façade of sentimentality and stubborn optimism, its feel-good re-write of American history».[181]

Disney has been accused of anti-Semitism for having given Nazi propagandist Leni Riefenstahl a tour of his studio a month after Kristallnacht,[182] something he disavowed three months later claiming he was unaware who she was when he was issued the invitation.[183][x] None of Disney’s employees—including the animator Art Babbitt, who disliked Disney intensely—ever accused him of making anti-Semitic slurs or taunts.[185] The Walt Disney Family Museum acknowledges that ethnic stereotypes common to films of the 1930s were included in some early cartoons[y] but also points out that Disney donated regularly to Jewish charities, was named «1955 Man of the Year» by the B’nai B’rith chapter in Beverly Hills,[188][189] and his studio employed a number of Jews, some of whom were in influential positions.[190][z] Gabler, the first writer to gain unrestricted access to the Disney archives, concludes that the available evidence does not support accusations of anti-Semitism and that Disney was «not [anti-Semitic] in the conventional sense that we think of someone as being an anti-Semite». Gabler concludes that «though Walt himself, in my estimation, was not anti-Semitic, nevertheless, he willingly allied himself with people who were anti-Semitic [meaning some members of the MPAPAI], and that reputation stuck. He was never really able to expunge it throughout his life».[192] Disney distanced himself from the Motion Picture Alliance in the 1950s.[193] According to Disney’s daughter Diane Disney-Miller, her sister Sharon dated a Jewish boyfriend for a period of time- to which her father raised no objections and even reportedly said «Sharon, I think it’s wonderful how these Jewish families have accepted you.»[186]

Disney has also been accused of other forms of racism because some of his productions released between the 1930s and 1950s contain racially insensitive material.[194][aa] The feature film Song of the South was criticized by contemporary film critics, the National Association for the Advancement of Colored People, and others for its perpetuation of black stereotypes,[195] but Disney later campaigned successfully for an Honorary Academy Award for its star, James Baskett, the first black actor so honored.[196][ab] Gabler argues that «Walt Disney was no racist. He never, either publicly or privately, made disparaging remarks about blacks or asserted white superiority. Like most white Americans of his generation, however, he was racially insensitive.»[194] Floyd Norman, the studio’s first black animator who worked closely with Disney during the 1950s and 1960s, said, «Not once did I observe a hint of the racist behavior Walt Disney was often accused of after his death. His treatment of people‍—‌and by this I mean all people‍—‌can only be called exemplary.»[197]

Watts argues that many of Disney’s post-World War II films «legislated a kind of cultural Marshall Plan. They nourished a genial cultural imperialism that magically overran the rest of the globe with the values, expectations, and goods of a prosperous middle-class United States.»[198] Film historian Jay P. Telotte acknowledges that many see Disney’s studio as an «agent of manipulation and repression», although he observes that it has «labored throughout its history to link its name with notions of fun, family, and fantasy».[199] John Tomlinson, in his study Cultural Imperialism, examines the work of Ariel Dorfman and Armand Mattelart, whose 1971 book Para leer al Pato Donald (trans: How to Read Donald Duck) identifies that there are «imperialist … values ‘concealed’ behind the innocent, wholesome façade of the world of Walt Disney»; this, they argue, is a powerful tool as «it presents itself as harmless fun for consumption by children.»[200] Tomlinson views their argument as flawed, as «they simply assume that reading American comics, seeing adverts, watching pictures of the affluent … [‘Yankee’] lifestyle has a direct pedagogic effect».[201]

Disney has been portrayed numerous times in fictional works. H. G. Wells references Disney in his 1938 novel The Holy Terror, in which World Dictator Rud fears that Donald Duck is meant to lampoon the dictator.[202] Disney was portrayed by Len Cariou in the 1995 made-for-TV film A Dream Is a Wish Your Heart Makes: The Annette Funicello Story,[203] and by Tom Hanks in the 2013 film Saving Mr. Banks.[204] In 2001, the German author Peter Stephan Jungk published Der König von Amerika (trans: The King of America), a fictional work of Disney’s later years that re-imagines him as a power-hungry racist. The composer Philip Glass later adapted the book into the opera The Perfect American (2013).[205]

Several commentators have described Disney as a cultural icon.[206] On Disney’s death, journalism professor Ralph S. Izard comments that the values in Disney’s films are those «considered valuable in American Christian society», which include «individualism, decency, … love for our fellow man, fair play and toleration».[207] Disney’s obituary in The Times calls the films «wholesome, warm-hearted and entertaining … of incomparable artistry and of touching beauty».[208] Journalist Bosley Crowther argues that Disney’s «achievement as a creator of entertainment for an almost unlimited public and as a highly ingenious merchandiser of his wares can rightly be compared to the most successful industrialists in history.»[5] Correspondent Alistair Cooke calls Disney a «folk-hero … the Pied Piper of Hollywood»,[209] while Gabler considers Disney «reshaped the culture and the American consciousness».[210] In the American Dictionary of National Biography, Langer writes:

Disney remains the central figure in the history of animation. Through technological innovations and alliances with governments and corporations, he transformed a minor studio in a marginal form of communication into a multinational leisure industry giant. Despite his critics, his vision of a modern, corporate utopia as an extension of traditional American values has possibly gained greater currency in the years after his death.[58]

In December 2021, The Metropolitan Museum of Art in New York opened a three month special exhibit in honor of Disney titled «Inspiring Walt Disney».[211]

Awards and honors

A black and white photograph of Walt Disney standing, holding an Academy Award.

Disney received 59 Academy Award nominations, including 22 awards: both totals are records.[212] He was nominated for three Golden Globe Awards, but did not win, but he was presented with two Special Achievement Awards‍—‌for Bambi (1942) and The Living Desert (1953)‍—‌and the Cecil B. DeMille Award.[213] He also received four Emmy Award nominations, winning once, for Best Producer for the Disneyland television series.[214] Several of his films are included in the United States National Film Registry by the Library of Congress as «culturally, historically, or aesthetically significant»: Steamboat Willie, The Three Little Pigs, Snow White and the Seven Dwarfs, Fantasia, Pinocchio, Bambi, Dumbo and Mary Poppins.[215] In 1998, the American Film Institute published a list of the 100 greatest American films, according to industry experts; the list included Snow White and the Seven Dwarfs (at number 49), and Fantasia (at 58).[216]

In February 1960, Disney was inducted to the Hollywood Walk of Fame with two stars, one for motion pictures and the other for his television work;[217] Mickey Mouse was given his own star for motion pictures in 1978.[218] Disney was also inducted into the Television Hall of Fame in 1986,[219] the California Hall of Fame in December 2006,[220] and was the inaugural recipient of a star on the Anaheim walk of stars in 2014.[221]

The Walt Disney Family Museum records that he «along with members of his staff, received more than 950 honors and citations from throughout the world».[19] He was made a Chevalier in the French Légion d’honneur in 1935,[222] and in 1952 he was awarded the country’s highest artistic decoration, the Officer d’Academie.[223] Other national awards include Thailand’s Order of the Crown (1960); Germany’s Order of Merit (1956),[224] Brazil’s Order of the Southern Cross (1941),[225] and Mexico’s Order of the Aztec Eagle (1943).[226] In the United States, he received the Presidential Medal of Freedom on September 14, 1964,[227] and on May 24, 1968, he was posthumously awarded the Congressional Gold Medal.[228] He received the Showman of the World Award from the National Association of Theatre Owners,[226] and in 1955, the National Audubon Society awarded Disney its highest honor, the Audubon Medal, for promoting the «appreciation and understanding of nature» through his True-Life Adventures nature films.[229] A minor planet discovered in 1980 by astronomer Lyudmila Karachkina, was named 4017 Disneya,[230] and he was also awarded honorary degrees from Harvard, Yale, the University of Southern California and the University of California, Los Angeles.[19]

Notes

  1. ^ In 1909, in a renumbering exercise, the property’s address changed to 2156 North Tripp Avenue.[3]
  2. ^ Disney was a descendant of Robert d’Isigny, a Frenchman who had traveled to England with William the Conqueror in 1066.[6] The family anglicized the d’Isigny name to «Disney» and settled in the English village now known as Norton Disney in the East Midlands.[7]
  3. ^ The book, Edwin G. Lutz’s Animated Cartoons: How They Are Made, Their Origin and Development (1920), was the only one in the local library on the subject; the camera he borrowed from Cauger.[29]
  4. ^ Cutout animation is the technique of producing cartoons by animating objects cut from paper, material or photographs and photographing them moving incrementally. Cel animation is the method of drawing or painting onto transparent celluloid sheets («cels»), with each sheet an incremental movement on from the previous.[30]
  5. ^ In 2006, the Walt Disney Company finally re-acquired Oswald the Lucky Rabbit when its subsidiary ESPN purchased rights to the character, along with other properties from NBCUniversal.[51]
  6. ^ Several stories about the origins exist. Disney’s biographer, Bob Thomas, observes that «The birth of Mickey Mouse is obscured in legend, much of it created by Walt Disney himself.»[52]
  7. ^ The name Mortimer Mouse was used in the 1936 cartoon Mickey’s Rival as a potential love-interest for Minnie Mouse. He was portrayed as a «humorous denigration of the smooth city slicker» with a smart car, but failed to win over Minnie from the more homespun Mickey.[54]
  8. ^ The Nine Old Men consisted of Eric Larson, Wolfgang Reitherman, Les Clark, Milt Kahl, Ward Kimball, Marc Davis, Ollie Johnston, Frank Thomas and John Lounsbery.[58]
  9. ^ By 1931 he was called Michael Maus in Germany, Michel Souris in France, Miguel Ratonocito or Miguel Pericote in Spain and Miki Kuchi in Japan.[63]
  10. ^ $1.5 million in 1937 equates to $28,274,306 in 2023; $6.5 million in 1939 equates to $126,929,257 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  11. ^ The citation for the award reads: «To Walt Disney for Snow White and the Seven Dwarfs, recognized as a significant screen innovation which has charmed millions and pioneered a great new entertainment field for the motion picture cartoon.»[83]
  12. ^ The trip inspired two combined live-action and animation works Saludos Amigos (1942) and The Three Caballeros (1945).[89][90]
  13. ^ $4 million in 1944 equates to $61,572,779 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  14. ^ These included Make Mine Music (1946), Song of the South (1946), Melody Time (1948) and So Dear to My Heart (1949).[58]
  15. ^ $2.2 million in 1950 equates to $24,778,147 in 2023; $8 million in 1950 equates to $90,102,351 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  16. ^ The patriotic films include Johnny Tremain (1957), Old Yeller (1957), Tonka (1958), Swiss Family Robinson (1960), Polyanna (1960).[58]
  17. ^ Even repeats of the program proved more popular than all other television shows—aside from Lucille Ball’s I Love Lucy; no ABC program had ever been in the top 25 before Disneyland.[117]
  18. ^ The program, which was produced by Ward Kimball, was nominated for an Academy Award for the Best Documentary (Short Subject) at the 1957 Awards.[126]
  19. ^ Disney’s death in 1966, and opposition from conservationists, stopped the building of the resort.[135]
  20. ^ A long-standing urban legend maintains that Disney was cryonically frozen.[146] Disney’s daughter Diane later stated, «There is absolutely no truth to the rumor that my father, Walt Disney, wished to be frozen.»[147][148]
  21. ^ Roy died two months later, in December 1971.[154]
  22. ^ One possible exception to the stable relationship was during the making Snow White and the Seven Dwarfs (1937), where the stresses and turmoil associated with the production led to the couple discussing divorce.[160]
  23. ^ Lillian had two miscarriages during the eight years between marriage and the birth of Diane; she suffered a further miscarriage shortly before the family adopted Sharon.[162]
  24. ^ Another example included animator Art Babbitt, an organizer of the 1941 strike at Disney’s studio, claimed in his later years that he saw Disney and his lawyer attend meetings of the German American Bund, a pro-Nazi organization, during the late 1930s.[184] Gabler questions Babbitt’s claim on the basis that Disney had no time for political meetings and was «something of a political naïf» during the 1930s.[185] Disney’s office appointment book makes no mention of him attending Bund rallies, and no other animators ever made claims of Disney attending such meetings.[186] Disney had previously told one reporter in the mid-1930s- as tensions in Europe were brewing- that America should «let ’em fight their own wars» claiming he had «learned my lesson» from the last one.[187]
  25. ^ Examples include The Three Little Pigs (in which the Big Bad Wolf comes to the door dressed as a Jewish peddler) and The Opry House (in which Mickey Mouse is dressed and dances as a Hasidic Jew).[188][189]
  26. ^ As pointed out by story artist Joe Grant, which included himself, production manager Harry Tytle, and head of merchandising Kay Kamen, who once quipped that Disney’s New York office had «more Jews than The Book of Leviticus»[190] In addition songwriter Robert B. Sherman recalled that when one of Disney’s lawyers made anti-Semitic remarks towards him and his brother, Disney defended them and fired the attorney.[191][186]
  27. ^ Examples include Mickey’s Mellerdrammer, in which Mickey Mouse dresses in blackface; the black-colored bird in the short Who Killed Cock Robin; the American Indians in Peter Pan; and the crows in Dumbo (although the case has been made that the crows were sympathetic to Dumbo because they knew what it was like to be ostracized).[194]
  28. ^ Baskett died shortly afterward, and his widow wrote Disney a letter of gratitude for his support.[196]

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  • Canemaker, John (2001). Walt Disney’s Nine Old Men and the Art of Animation. Burbank, CA: Disney Editions. ISBN 978-0-7868-6496-6.
  • Ceplair, Larry; Englund, Steven (1983). The Inquisition in Hollywood: Politics in the Film Community, 1930–1960. Oakland, CA: University of California Press. ISBN 978-0-520-04886-7.
  • Cohen, Karl F. (2004). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, NC: McFarland. ISBN 978-1-4766-0725-2.
  • Dobson, Nichola (2009). Historical Dictionary of Animation and Cartoons. Plymouth, Devon: Scarecrow Press. ISBN 978-0-8108-6323-1.
  • Eliot, Marc (1995). Walt Disney: Hollywood’s Dark Prince. London: André Deutsch. ISBN 978-0-233-98961-7.
  • Finch, Christopher (1999). The Art of Walt Disney from Mickey Mouse to the Magic Kingdom. London: Virgin Books. ISBN 978-0-7535-0344-7.
  • Gabler, Neal (2006). Walt Disney: The Biography. London: Aurum. ISBN 978-1-84513-277-4.
  • Hollis, Tim; Ehrbar, Greg (2006). Mouse Tracks: The Story of Walt Disney Records. Jackson, MS: University Press of Mississippi. ISBN 978-1-61703-433-6.
  • Korkis, Jim (2012). Who’s Afraid of the Song of the South?. Dallas, TX: Theme Park Press. ISBN 978-0-9843415-5-9.
  • Krasniewicz, Louise (2010). Walt Disney: A Biography. Santa Barbara, CA: Greenwood Publishing. ISBN 978-0-313-35830-2.
  • Langer, Mark (2000). «Disney, Walt». American National Biography. Retrieved April 11, 2016. (subscription required)
  • Lee, Newton; Madej, Krystina (2012). Disney Stories: Getting to Digital. Tujunga, CA: Springer Science & Business Media. ISBN 978-1-4614-2101-6.
  • Mannheim, Steve (2016). Walt Disney and the Quest for Community. Abingdon, Oxon: Routledge. ISBN 978-1-317-00058-7.
  • Mosley, Leonard (1990). Disney’s World. Lanham, MD: Scarborough House. ISBN 978-1-58979-656-0.
  • Nichols, Catherine (2014). Alice’s Wonderland: A Visual Journey Through Lewis Carroll’s Mad, Mad World. New York: Race Point Publishing. ISBN 978-1-937994-97-6.
  • Norman, Floyd (2013). Animated Life: A Lifetime of Tips, Tricks, Techniques and Stories from a Disney Legend. Burlington, MA: Focal Press. ISBN 978-0-240-81805-4.
  • Painter, Nell Irvin (February 2008). «Was Marie White? The Trajectory of a Question in the United States». The Journal of Southern History. 74 (1): 3–30.
  • Pierce, John J. (1987). Foundations of Science Fiction: A Study in Imagination and Evolution. Westport, CT: Greenwood Press. ISBN 978-0-313-25455-0.
  • Schickel, Richard (1986). The Disney Version: The Life, Times, Art and Commerce of Walt Disney. London: Pavilion Books. ISBN 978-1-85145-007-7.
  • Schmadel, Lutz D. (2003). Dictionary of Minor Planet Names. Heidelberg: Springer Science & Business Media. ISBN 978-3-540-00238-3.
  • Telotte, Jay P. (June 2, 2008). The Mouse Machine: Disney and Technology. Urbana, IL: University of Illinois Press. ISBN 978-0-252-09263-3.
  • Thomas, Bob (1994) [1976]. Walt Disney: An American Original. New York: Disney Editions. ISBN 978-0-7868-6027-2.
  • Thomas, Frank; Johnston, Ollie (1995) [1981]. The Illusion of Life: Disney Animation. New York: Hyperion. ISBN 978-0-7868-6070-8.
  • Tomlinson, John (2001). Cultural Imperialism: A Critical Introduction. London: A&C Black. ISBN 978-0-8264-5013-5.
  • Watts, Steven (June 1995). «Walt Disney: Art and Politics in the American Century». The Journal of American History. 82 (1): 84–110. doi:10.2307/2081916. JSTOR 2081916.
  • Watts, Steven (2013). The Magic Kingdom: Walt Disney and the American Way of Life. Columbia, MO: University of Missouri Press. ISBN 978-0-8262-7300-0.
  • Williams, Pat; Denney, James; Denney, Jim (2004). How to Be Like Walt: Capturing the Disney Magic Every Day of Your Life. Deerfield Beach, FL: Health Communications. ISBN 978-0-7573-0231-2.
  • Withrow, Steven (2009). Secrets of Digital Animation. Mies, Switzerland: RotoVision. ISBN 978-2-88893-014-3.

External links

Источник

Walt Disney
Walt Disney 1946.JPG

Disney in 1946
Born

Walter Elias Disney

December 5, 1901

Chicago, Illinois, U.S.
Died December 15, 1966 (aged 65)

Burbank, California, U.S.
Resting place Forest Lawn Memorial Park, Glendale, California
Occupations
  • Animator
  • film producer
  • entrepreneur
Title President of The Walt Disney Company[1]
Spouse

Lillian Disney

​

(m. 1925)​
Children 2, including Diane Disney Miller
Relatives Disney family
Awards
  • 26 Academy Awards
    (22 competitive, 4 honorary)
  • 3 Golden Globe Awards
  • 1 Emmy Award
Signature
Walt Disney 1942 signature.svg

Walter Elias Disney (;[2] December 5, 1901 – December 15, 1966) was an American animator, film producer and entrepreneur. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. As a film producer, he holds the record for most Academy Awards earned and nominations by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress and have also been named as some of the greatest films ever by the American Film Institute. Disney was the first person to be nominated for Academy Awards in six different categories.

Born in Chicago in 1901, Disney developed an early interest in drawing. He took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio with his brother Roy. With Ub Iwerks, he developed the character Mickey Mouse in 1928, his first highly popular success; he also provided the voice for his creation in the early years. As the studio grew, he became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras. The results, seen in features such as Snow White and the Seven Dwarfs (1937), Pinocchio, Fantasia (both 1940), Dumbo (1941), and Bambi (1942), furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella (1950), Sleeping Beauty (1959) and Mary Poppins (1964), the last of which received five Academy Awards.

In the 1950s, Disney expanded into the amusement park industry, and in July 1955 he opened Disneyland in Anaheim, California. To fund the project he diversified into television programs, such as Walt Disney’s Disneyland and The Mickey Mouse Club. He was also involved in planning the 1959 Moscow Fair, the 1960 Winter Olympics, and the 1964 New York World’s Fair. In 1965, he began development of another theme park, Disney World, the heart of which was to be a new type of city, the «Experimental Prototype Community of Tomorrow» (EPCOT). Disney was a heavy smoker throughout his life and died of lung cancer in December 1966 before either the park or the EPCOT project were completed.

Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona. He had high standards and high expectations of those with whom he worked. Although there have been accusations that he was racist or antisemitic, they have been contradicted by many who knew him. Historiography of Disney has taken a variety of perspectives, ranging from views of him as a purveyor of homely patriotic values to being a representative of American imperialism. He remains an important figure in the history of animation and in the cultural history of the United States, where he is considered a national cultural icon. His film work continues to be shown and adapted, and the Disney theme parks have grown in size and number to attract visitors in several countries.

Early life

Pale yellow wooden house with brown trim surrounded by white picket fence

Disney was born on December 5, 1901, at 1249 Tripp Avenue, in Chicago’s Hermosa neighborhood.[a] He was the fourth son of Elias Disney‍—‌born in the Province of Canada, to Irish parents‍—‌and Flora (née Call), an American of German and English descent.[4][5][b] Aside from Walt, Elias and Flora’s sons were Herbert, Raymond and Roy; and the couple had a fifth child, Ruth, in December 1903.[8] In 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor.[9] Elias was a subscriber to the Appeal to Reason newspaper, and Disney practiced drawing by copying the front-page cartoons of Ryan Walker.[10] He also began to develop an ability to work with watercolors and crayons.[5] He lived near the Atchison, Topeka and Santa Fe Railway line and became enamored with trains.[11] He and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909.[12] The Disney family were active members of a Congregational church.[13]

In 1911, the Disneys moved to Kansas City, Missouri.[14] There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced him to the world of vaudeville and motion pictures. Before long, Disney was spending more time at the Pfeiffers’ house than at home.[15] Elias had purchased a newspaper delivery route for The Kansas City Star and Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated the round for the evening Star after school. The schedule was exhausting, and Disney often received poor grades after falling asleep in class, but he continued his paper route for more than six years.[16] He attended Saturday courses at the Kansas City Art Institute and also took a correspondence course in cartooning.[5][17]

In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, and moved back to the city with his family.[18] Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I;[19][20] he also took night courses at the Chicago Academy of Fine Arts.[21] In mid-1918, he attempted to join the United States Army to fight the Germans, but he was rejected as too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver. He was shipped to France but arrived in November, after the armistice.[22] He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes.[23] He returned to Kansas City in October 1919,[24] where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio, where he drew commercial illustrations for advertising, theater programs and catalogs, and befriended fellow artist Ub Iwerks.[25]

Career

Early career: 1920–1928

Walt Disney’s business envelope featured a self-portrait, c. 1921.

In January 1920, as Pesmen-Rubin’s revenue declined after Christmas, Disney, aged 18, and Iwerks were laid off. They started their own business, the short-lived Iwerks-Disney Commercial Artists.[26] Failing to attract many customers, Disney and Iwerks agreed that Disney should leave temporarily to earn money at the Kansas City Film Ad Company, run by A. V. Cauger; the following month Iwerks, who was not able to run their business alone, also joined.[27] The company produced commercials using the cutout animation technique.[28] Disney became interested in animation, although he preferred drawn cartoons such as Mutt and Jeff and Max Fleischer’s Out of the Inkwell. With the assistance of a borrowed book on animation and a camera, he began experimenting at home.[29][c] He came to the conclusion that cel animation was more promising than the cutout method.[d] Unable to persuade Cauger to try cel animation at the company, Disney opened a new business with a co-worker from the Film Ad Co, Fred Harman.[31] Their main client was the local Newman Theater, and the short cartoons they produced were sold as «Newman’s Laugh-O-Grams».[32] Disney studied Paul Terry’s Aesop’s Fables as a model, and the first six «Laugh-O-Grams» were modernized fairy tales.[33]

Newman Laugh-O-Gram (1921)

In May 1921, the success of the «Laugh-O-Grams» led to the establishment of Laugh-O-Gram Studio, for which he hired more animators, including Fred Harman’s brother Hugh, Rudolf Ising and Iwerks.[34] The Laugh-O-Grams cartoons did not provide enough income to keep the company solvent, so Disney started production of Alice’s Wonderland‍—‌based on Alice’s Adventures in Wonderland‍—‌which combined live action with animation; he cast Virginia Davis in the title role.[35] The result, a 12-and-a-half-minute, one-reel film, was completed too late to save Laugh-O-Gram Studio, which went into bankruptcy in 1923.[36]

Disney moved to Hollywood in July 1923 at 21 years old. Although New York was the center of the cartoon industry, he was attracted to Los Angeles because his brother Roy was convalescing from tuberculosis there,[37] and he hoped to become a live-action film director.[38] Disney’s efforts to sell Alice’s Wonderland were in vain until he heard from New York film distributor Margaret J. Winkler. She was losing the rights to both the Out of the Inkwell and Felix the Cat cartoons, and needed a new series. In October, they signed a contract for six Alice comedies, with an option for two further series of six episodes each.[38][39] Disney and his brother Roy formed the Disney Brothers Studio‍—‌which later became The Walt Disney Company‍—‌to produce the films;[40][41] they persuaded Davis and her family to relocate to Hollywood to continue production, with Davis on contract at $100 a month. In July 1924, Disney also hired Iwerks, persuading him to relocate to Hollywood from Kansas City.[42]

A cartoon rabbit is driving a tramcar; other cartoon rabbits are in, under, on and around the car.

In 1926,[43] the first official Walt Disney Studio was established at 2725 Hyperion Avenue, demolished in 1940.[44]

By 1926, Winkler’s role in the distribution of the Alice series had been handed over to her husband, the film producer Charles Mintz, although the relationship between him and Disney was sometimes strained.[45] The series ran until July 1927,[46] by which time Disney had begun to tire of it and wanted to move away from the mixed format to all animation.[45][47] After Mintz requested new material to distribute through Universal Pictures, Disney and Iwerks created Oswald the Lucky Rabbit, a character Disney wanted to be «peppy, alert, saucy and venturesome, keeping him also neat and trim».[47][48]

In February 1928, Disney hoped to negotiate a larger fee for producing the Oswald series, but found Mintz wanting to reduce the payments. Mintz had also persuaded many of the artists involved to work directly for him, including Harman, Ising, Carman Maxwell and Friz Freleng. Disney also found out that Universal owned the intellectual property rights to Oswald. Mintz threatened to start his own studio and produce the series himself if Disney refused to accept the reductions. Disney declined Mintz’s ultimatum and lost most of his animation staff, except Iwerks, who chose to remain with him.[49][50][e]

Creation of Mickey Mouse to the first Academy Awards: 1928–1933

To replace Oswald, Disney and Iwerks developed Mickey Mouse, possibly inspired by a pet mouse that Disney had adopted while working in his Laugh-O-Gram studio, although the origins of the character are unclear.[52][f] Disney’s original choice of name was Mortimer Mouse, but his wife Lillian thought it too pompous, and suggested Mickey instead.[53][g] Iwerks revised Disney’s provisional sketches to make the character easier to animate. Disney, who had begun to distance himself from the animation process,[55] provided Mickey’s voice until 1947. In the words of one Disney employee, «Ub designed Mickey’s physical appearance, but Walt gave him his soul.»[56]

A cartoon mouse is operating a ship's steering wheel

Mickey Mouse first appeared in May 1928 as a single test screening of the short Plane Crazy, but it, and the second feature, The Gallopin’ Gaucho, failed to find a distributor.[57] Following the 1927 sensation The Jazz Singer, Disney used synchronized sound on the third short, Steamboat Willie, to create the first post-produced sound cartoon. After the animation was complete, Disney signed a contract with the former executive of Universal Pictures, Pat Powers, to use the «Powers Cinephone» recording system;[58] Cinephone became the new distributor for Disney’s early sound cartoons, which soon became popular.[59]

To improve the quality of the music, Disney hired the professional composer and arranger Carl Stalling, on whose suggestion the Silly Symphony series was developed, providing stories through the use of music; the first in the series, The Skeleton Dance (1929), was drawn and animated entirely by Iwerks. Also hired at this time were several local artists, some of whom stayed with the company as core animators; the group later became known as the Nine Old Men.[60][h] Both the Mickey Mouse and Silly Symphonies series were successful, but Disney and his brother felt they were not receiving their rightful share of profits from Powers. In 1930, Disney tried to trim costs from the process by urging Iwerks to abandon the practice of animating every separate cel in favor of the more efficient technique of drawing key poses and letting lower-paid assistants sketch the inbetween poses. Disney asked Powers for an increase in payments for the cartoons. Powers refused and signed Iwerks to work for him; Stalling resigned shortly afterwards, thinking that without Iwerks, the Disney Studio would close.[61] Disney had a nervous breakdown in October 1931‍—‌which he blamed on the machinations of Powers and his own overwork‍—‌so he and Lillian took an extended holiday to Cuba and a cruise to Panama to recover.[62]

Disney in 1935 in Place de la Concorde, Paris

With the loss of Powers as distributor, Disney studios signed a contract with Columbia Pictures to distribute the Mickey Mouse cartoons, which became increasingly popular, including internationally.[63][64][i] Disney and his crew would also introduce new cartoon stars like Pluto in 1930, Goofy in 1932 and Donald Duck in 1934.[65] Always keen to embrace new technology and encouraged by his new contract with United Artists, Disney filmed Flowers and Trees (1932) in full-color three-strip Technicolor;[66] he was also able to negotiate a deal giving him the sole right to use the three-strip process until August 31, 1935.[67] All subsequent Silly Symphony cartoons were in color.[68] Flowers and Trees was popular with audiences[69] and won the inaugural Academy Award for best Short Subject (Cartoon) at the 1932 ceremony. Disney had been nominated for another film in that category, Mickey’s Orphans, and received an Honorary Award «for the creation of Mickey Mouse».[70][71]

In 1933, Disney produced The Three Little Pigs, a film described by the media historian Adrian Danks as «the most successful short animation of all time».[72] The film won Disney another Academy Award in the Short Subject (Cartoon) category. The film’s success led to a further increase in the studio’s staff, which numbered nearly 200 by the end of the year.[73] Disney realized the importance of telling emotionally gripping stories that would interest the audience,[74] and he invested in a «story department» separate from the animators, with storyboard artists who would detail the plots of Disney’s films.[75]

Golden age of animation: 1934–1941

Walt Disney sits in front of a set of models of the seven dwarfs

Walt Disney introduces each of the seven dwarfs in a scene from the original 1937 Snow White theatrical trailer.

By 1934, Disney had become dissatisfied with producing formulaic cartoon shorts,[65] and believed a feature-length cartoon would be more profitable.[76] The studio began the four-year production of Snow White and the Seven Dwarfs, based on the fairy tale. When news leaked out about the project, many in the film industry predicted it would bankrupt the company; industry insiders nicknamed it «Disney’s Folly».[77] The film, which was the first animated feature made in full color and sound, cost $1.5 million to produce‍—‌three times over budget.[78] To ensure the animation was as realistic as possible, Disney sent his animators on courses at the Chouinard Art Institute;[79] he brought animals into the studio and hired actors so that the animators could study realistic movement.[80] To portray the changing perspective of the background as a camera moved through a scene, Disney’s animators developed a multiplane camera which allowed drawings on pieces of glass to be set at various distances from the camera, creating an illusion of depth. The glass could be moved to create the impression of a camera passing through the scene. The first work created on the camera‍—‌a Silly Symphony called The Old Mill (1937)‍—‌won the Academy Award for Animated Short Film because of its impressive visual power. Although Snow White had been largely finished by the time the multiplane camera had been completed, Disney ordered some scenes be re-drawn to use the new effects.[81]

Snow White premiered in December 1937 to high praise from critics and audiences. The film became the most successful motion picture of 1938 and by May 1939 its total gross of $6.5 million made it the most successful sound film made to that date.[77][j] Disney won another Honorary Academy Award, which consisted of one full-sized and seven miniature Oscar statuettes.[83][k] The success of Snow White heralded one of the most productive eras for the studio; the Walt Disney Family Museum calls the following years «the ‘Golden Age of Animation’ ».[84][85] With work on Snow White finished, the studio began producing Pinocchio in early 1938 and Fantasia in November of the same year. Both films were released in 1940, and neither performed well at the box office‍—‌partly because revenues from Europe had dropped following the start of World War II in 1939. The studio made a loss on both pictures and was deeply in debt by the end of February 1941.[86]

In response to the financial crisis, Disney and his brother Roy started the company’s first public stock offering in 1940, and implemented heavy salary cuts. The latter measure, and Disney’s sometimes high-handed and insensitive manner of dealing with staff, led to a 1941 animators’ strike which lasted five weeks.[87] While a federal mediator from the National Labor Relations Board negotiated with the two sides, Disney accepted an offer from the Office of the Coordinator of Inter-American Affairs to make a goodwill trip to South America, ensuring he was absent during a resolution he knew would be unfavorable to the studio.[88][l] As a result of the strike‍—‌and the financial state of the company‍—‌several animators left the studio, and Disney’s relationship with other members of staff was permanently strained as a result.[91] The strike temporarily interrupted the studio’s next production, Dumbo (1941), which Disney produced in a simple and inexpensive manner; the film received a positive reaction from audiences and critics alike.[92]

World War II and beyond: 1941–1950

Disney drawing Goofy for a group of girls in Argentina, 1941

Shortly after the release of Dumbo in October 1941, the U.S. entered World War II. Disney formed the Walt Disney Training Films Unit within the company to produce instruction films for the military such as Four Methods of Flush Riveting and Aircraft Production Methods.[93] Disney also met with Henry Morgenthau Jr., the Secretary of the Treasury, and agreed to produce short Donald Duck cartoons to promote war bonds.[94] Disney also produced several propaganda productions, including shorts such as Der Fuehrer’s Face‍—‌which won an Academy Award‍—‌and the 1943 feature film Victory Through Air Power.[95]

The military films generated only enough revenue to cover costs, and the feature film Bambi‍—‌which had been in production since 1937‍—‌underperformed on its release in April 1942, and lost $200,000 at the box office.[96] On top of the low earnings from Pinocchio and Fantasia, the company had debts of $4 million with the Bank of America in 1944.[97][m] At a meeting with Bank of America executives to discuss the future of the company, the bank’s chairman and founder, Amadeo Giannini, told his executives, «I’ve been watching the Disneys’ pictures quite closely because I knew we were lending them money far above the financial risk. … They’re good this year, they’re good next year, and they’re good the year after. … You have to relax and give them time to market their product.»[98] Disney’s production of short films decreased in the late 1940s, coinciding with increasing competition in the animation market from Warner Bros. and Metro-Goldwyn-Mayer. Roy Disney, for financial reasons, suggested more combined animation and live-action productions.[58][n] In 1948, Disney initiated a series of popular live-action nature films, titled True-Life Adventures, with Seal Island the first; the film won the Academy Award in the Best Short Subject (Two-Reel) category.[99]

Theme parks, television and other interests: 1950–1966

In early 1950, Disney produced Cinderella, his studio’s first animated feature in eight years. It was popular with critics and theater audiences. Costing $2.2 million to produce, it earned nearly $8 million in its first year.[100][o] Disney was less involved than he had been with previous pictures because of his involvement in his first entirely live-action feature, Treasure Island (1950), which was shot in Britain, as was The Story of Robin Hood and His Merrie Men (1952).[101] Other all-live-action features followed, many of which had patriotic themes.[58][p] He continued to produce full-length animated features too, including Alice in Wonderland (1951) and Peter Pan (1953). From the early to mid-1950s, Disney began to devote less attention to the animation department, entrusting most of its operations to his key animators, the Nine Old Men, although he was always present at story meetings. Instead, he started concentrating on other ventures.[102] Around the same time, Disney would establish his own film distribution chain Buena Vista, replacing his most recent distributor RKO Pictures.[103]

For several years Disney had been considering building a theme park. When he visited Griffith Park in Los Angeles with his daughters, he wanted to be in a clean, unspoiled park, where both children and their parents could have fun.[104] He visited the Tivoli Gardens in Copenhagen, Denmark, and was heavily influenced by the cleanliness and layout of the park.[105] In March 1952 he received zoning permission to build a theme park in Burbank, near the Disney studios.[106] This site proved too small, and a larger plot in Anaheim, 35 miles (56 km) south of the studio, was purchased. To distance the project from the studio‍—‌which might attract the criticism of shareholders‍—‌Disney formed WED Enterprises (now Walt Disney Imagineering) and used his own money to fund a group of designers and animators to work on the plans;[107][108] those involved became known as «Imagineers».[109] After obtaining bank funding he invited other stockholders, American Broadcasting-Paramount Theatres‍—‌part of American Broadcasting Company (ABC)‍—‌and Western Printing and Lithographing Company.[58] In mid-1954, Disney sent his Imagineers to every amusement park in the U.S. to analyze what worked and what pitfalls or problems there were in the various locations and incorporated their findings into his design.[110] Construction work started in July 1954, and Disneyland opened in July 1955; the opening ceremony was broadcast on ABC, which reached 70 million viewers.[111] The park was designed as a series of themed lands, linked by the central Main Street, U.S.A.‍—‌a replica of the main street in his hometown of Marceline. The connected themed areas were Adventureland, Frontierland, Fantasyland and Tomorrowland. The park also contained the narrow gauge Disneyland Railroad that linked the lands; around the outside of the park was a high berm to separate the park from the outside world.[112][113] An editorial in The New York Times considered that Disney had «tastefully combined some of the pleasant things of yesterday with fantasy and dreams of tomorrow».[114] Although there were early minor problems with the park, it was a success, and after a month’s operation, Disneyland was receiving over 20,000 visitors a day; by the end of its first year, it attracted 3.6 million guests.[115]

The money from ABC was contingent on Disney television programs.[116] The studio had been involved in a successful television special on Christmas Day 1950 about the making of Alice in Wonderland. Roy believed the program added millions to the box office takings. In a March 1951 letter to shareholders, he wrote that «television can be a most powerful selling aid for us, as well as a source of revenue. It will probably be on this premise that we enter television when we do».[58] In 1954, after the Disneyland funding had been agreed, ABC broadcast Walt Disney’s Disneyland, an anthology consisting of animated cartoons, live-action features and other material from the studio’s library. The show was successful in terms of ratings and profits, earning an audience share of over 50%.[117][q] In April 1955, Newsweek called the series an «American institution».[118] ABC was pleased with the ratings, leading to Disney’s first daily television program, The Mickey Mouse Club, a variety show catering specifically to children.[119] The program was accompanied by merchandising through various companies (Western Printing, for example, had been producing coloring books and comics for over 20 years, and produced several items connected to the show).[120] One of the segments of Disneyland consisted of the five-part miniseries Davy Crockett which, according to Gabler, «became an overnight sensation».[121] The show’s theme song, «The Ballad of Davy Crockett», became internationally popular, and ten million records were sold.[122] As a result, Disney formed his own record production and distribution entity, Disneyland Records.[123]

As well as the construction of Disneyland, Disney worked on other projects away from the studio. He was consultant to the 1959 American National Exhibition in Moscow; Disney Studios’ contribution was America the Beautiful, a 19-minute film in the 360-degree Circarama theater that was one of the most popular attractions.[58] The following year he acted as the chairman of the Pageantry Committee for the 1960 Winter Olympics in Squaw Valley, California, where he designed the opening, closing and medal ceremonies.[124] He was one of twelve investors in the Celebrity Sports Center, which opened in 1960 in Glendale, Colorado; he and Roy bought out the others in 1962, making the Disney company the sole owner.[125]

Despite the demands wrought by non-studio projects, Disney continued to work on film and television projects. In 1955, he was involved in «Man in Space», an episode of the Disneyland series, which was made in collaboration with NASA rocket designer Wernher von Braun.[r] Disney also oversaw aspects of the full-length features Lady and the Tramp (the first animated film in CinemaScope) in 1955, Sleeping Beauty (the first animated film in Technirama 70 mm film) in 1959, One Hundred and One Dalmatians (the first animated feature film to use Xerox cels) in 1961, and The Sword in the Stone in 1963.[127]

In 1964, Disney produced Mary Poppins, based on the book series by P. L. Travers; he had been trying to acquire the rights to the story since the 1940s.[128] It became the most successful Disney film of the 1960s, although Travers disliked the film intensely and regretted having sold the rights.[129] The same year he also became involved in plans to expand the California Institute of the Arts (colloquially called CalArts), and had an architect draw up blueprints for a new building.[130]

Disney provided four exhibits for the 1964 New York World’s Fair, for which he obtained funding from selected corporate sponsors. For PepsiCo, who planned a tribute to UNICEF, Disney developed It’s a Small World, a boat ride with audio-animatronic dolls depicting children of the world; Great Moments with Mr. Lincoln contained an animatronic Abraham Lincoln giving excerpts from his speeches; Carousel of Progress promoted the importance of electricity; and Ford’s Magic Skyway portrayed the progress of mankind. Elements of all four exhibits‍—‌principally concepts and technology‍—‌were re-installed in Disneyland, although It’s a Small World is the ride that most closely resembles the original.[131][132]

During the early to mid-1960s, Disney developed plans for a ski resort in Mineral King, a glacial valley in California’s Sierra Nevada. He hired experts such as the renowned Olympic ski coach and ski-area designer Willy Schaeffler.[133][134][s] With income from Disneyland accounting for an increasing proportion of the studio’s income, Disney continued to look for venues for other attractions. In 1963 he presented a project to create a theme park in downtown St. Louis, Missouri; he initially reached an agreement with the Civic Center Redevelopment Corp, which controlled the land, but the deal later collapsed over funding.[136][137] In late 1965, he announced plans to develop another theme park to be called «Disney World» (now Walt Disney World), a few miles southwest of Orlando, Florida. Disney World was to include the «Magic Kingdom»‍—‌a larger and more elaborate version of Disneyland‍—‌plus golf courses and resort hotels. The heart of Disney World was to be the «Experimental Prototype Community of Tomorrow» (EPCOT),[138] which he described as:

an experimental prototype community of tomorrow that will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise.[139]

During 1966, Disney cultivated businesses willing to sponsor EPCOT.[140] He received a story credit in the 1966 film Lt. Robin Crusoe, U.S.N. as Retlaw Yensid, his name spelt backwards.[141] He increased his involvement in the studio’s films, and was heavily involved in the story development of The Jungle Book, the live-action musical feature The Happiest Millionaire (both 1967) and the animated short Winnie the Pooh and the Blustery Day (1968).[142]

Illness, death and aftermath

A gravestone inscribed 'Walter Elias Disney', 'Lillian Bounds Disney', 'Robert B. Brown', Sharon Disney Brown Lund ashes scattered in paradise'

Grave of Walt Disney at Forest Lawn, Glendale

Disney had been a heavy smoker since World War I. He did not use cigarettes with filters and had smoked a pipe as a young man. In early November 1966, he was diagnosed with lung cancer and was treated with cobalt therapy.[143] On November 30, he felt unwell and was taken by ambulance from his home to St. Joseph Hospital where, on December 15, 1966, aged 65, he died of circulatory collapse caused by the cancer.[144] His remains were cremated two days later and his ashes interred at the Forest Lawn Memorial Park in Glendale, California.[145][t]

The release of The Jungle Book and The Happiest Millionaire in 1967 raised the total number of feature films that Disney had been involved in to 81.[19] When Winnie the Pooh and the Blustery Day was released in 1968, it earned Disney an Academy Award in the Short Subject (Cartoon) category, awarded posthumously.[149] After Disney’s death, his studios continued to produce live-action films prolifically but largely abandoned animation until the late 1980s, after which there was what The New York Times describes as the «Disney Renaissance» that began with The Little Mermaid (1989).[150] Disney’s companies continue to produce successful film, television and stage entertainment.[151]

Disney’s plans for the futuristic city of EPCOT did not come to fruition. After Disney’s death, his brother Roy deferred his retirement to take full control of the Disney companies. He changed the focus of the project from a town to an attraction.[152] At the inauguration in 1971, Roy dedicated Walt Disney World to his brother.[153][u] Walt Disney World expanded with the opening of Epcot Center in 1982; Walt Disney’s vision of a functional city was replaced by a park more akin to a permanent world’s fair.[155] In 2009, the Walt Disney Family Museum, designed by Disney’s daughter Diane and her son Walter E. D. Miller, opened in the Presidio of San Francisco.[156] Thousands of artifacts from Disney’s life and career are on display, including numerous awards that he received.[157] In 2014, the Disney theme parks around the world hosted approximately 134 million visitors.[158]

Personal life and character

Early in 1925, Disney hired an ink artist, Lillian Bounds. They married in July of that year, at her brother’s house in her hometown of Lewiston, Idaho.[159] The marriage was generally happy, according to Lillian, although according to Disney’s biographer Neal Gabler she did not «accept Walt’s decisions meekly or his status unquestionably, and she admitted that he was always telling people ‘how henpecked he is’.»[160][v] Lillian had little interest in films or the Hollywood social scene and she was, in the words of the historian Steven Watts, «content with household management and providing support for her husband».[161] Their marriage produced two daughters, Diane (born December 1933) and Sharon (adopted in December 1936, born six weeks previously).[162][w] Within the family, neither Disney nor his wife hid the fact Sharon had been adopted, although they became annoyed if people outside the family raised the point.[163] The Disneys were careful to keep their daughters out of the public eye as much as possible, particularly in the light of the Lindbergh kidnapping; Disney took steps to ensure his daughters were not photographed by the press.[164]

Disney family at Schiphol Airport (1951)

In 1949, Disney and his family moved to a new home in the Holmby Hills district of Los Angeles. With the help of his friends Ward and Betty Kimball, who already had their own backyard railroad, Disney developed blueprints and immediately set to work on creating a miniature live steam railroad for his backyard. The name of the railroad, Carolwood Pacific Railroad, came from his home’s location on Carolwood Drive. The miniature working steam locomotive was built by Disney Studios engineer Roger E. Broggie, and Disney named it Lilly Belle after his wife;[165] after three years Disney ordered it into storage due to a series of accidents involving his guests.[166]

Disney grew more politically conservative as he got older. A Democratic Party supporter until the 1940 presidential election, when he switched allegiance to the Republican Party,[167] he became a generous donor to Thomas E. Dewey’s 1944 bid for the presidency.[168] In 1946, he was a founding member of the Motion Picture Alliance for the Preservation of American Ideals, an organization who stated they «believ[ed] in, and like, the American Way of Life … we find ourselves in sharp revolt against a rising tide of Communism, Fascism and kindred beliefs, that seek by subversive means to undermine and change this way of life».[169] In 1947, during the Second Red Scare, Disney testified before the House Un-American Activities Committee (HUAC), where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, as communist agitators; Disney stated that the 1941 strike led by them was part of an organized communist effort to gain influence in Hollywood.[170][171] It was alleged by The New York Times in 1993 that Disney had been passing secret information to the FBI from 1940 until his death in 1966. In return for this information, J. Edgar Hoover allowed Disney to film in FBI headquarters in Washington. Disney was made a «full Special Agent in Charge Contact» in 1954.[172]

Disney’s public persona was very different from his actual personality.[173] Playwright Robert E. Sherwood described him as «almost painfully shy … diffident» and self-deprecating.[174] According to his biographer Richard Schickel, Disney hid his shy and insecure personality behind his public identity.[175] Kimball argues that Disney «played the role of a bashful tycoon who was embarrassed in public» and knew that he was doing so.[176] Disney acknowledged the façade and told a friend that «I’m not Walt Disney. I do a lot of things Walt Disney would not do. Walt Disney does not smoke. I smoke. Walt Disney does not drink. I drink.»[177] Critic Otis Ferguson, in The New Republic, called the private Disney: «common and everyday, not inaccessible, not in a foreign language, not suppressed or sponsored or anything. Just Disney.»[176] Many of those with whom Disney worked commented that he gave his staff little encouragement due to his exceptionally high expectations. Norman recalls that when Disney said «That’ll work», it was an indication of high praise.[178] Instead of direct approval, Disney gave high-performing staff financial bonuses, or recommended certain individuals to others, expecting that his praise would be passed on.[179]

Reputation

A portrait of Disney with cartoon representations of different nationalities on a 6 cent US stamp

Views of Disney and his work have changed over the decades, and there have been polarized opinions.[180] Mark Langer, in the American Dictionary of National Biography, writes that «Earlier evaluations of Disney hailed him as a patriot, folk artist, and popularizer of culture. More recently, Disney has been regarded as a paradigm of American imperialism and intolerance, as well as a debaser of culture.»[58] Steven Watts wrote that some denounce Disney «as a cynical manipulator of cultural and commercial formulas»,[180] while PBS records that critics have censured his work because of its «smooth façade of sentimentality and stubborn optimism, its feel-good re-write of American history».[181]

Disney has been accused of anti-Semitism for having given Nazi propagandist Leni Riefenstahl a tour of his studio a month after Kristallnacht,[182] something he disavowed three months later claiming he was unaware who she was when he was issued the invitation.[183][x] None of Disney’s employees—including the animator Art Babbitt, who disliked Disney intensely—ever accused him of making anti-Semitic slurs or taunts.[185] The Walt Disney Family Museum acknowledges that ethnic stereotypes common to films of the 1930s were included in some early cartoons[y] but also points out that Disney donated regularly to Jewish charities, was named «1955 Man of the Year» by the B’nai B’rith chapter in Beverly Hills,[188][189] and his studio employed a number of Jews, some of whom were in influential positions.[190][z] Gabler, the first writer to gain unrestricted access to the Disney archives, concludes that the available evidence does not support accusations of anti-Semitism and that Disney was «not [anti-Semitic] in the conventional sense that we think of someone as being an anti-Semite». Gabler concludes that «though Walt himself, in my estimation, was not anti-Semitic, nevertheless, he willingly allied himself with people who were anti-Semitic [meaning some members of the MPAPAI], and that reputation stuck. He was never really able to expunge it throughout his life».[192] Disney distanced himself from the Motion Picture Alliance in the 1950s.[193] According to Disney’s daughter Diane Disney-Miller, her sister Sharon dated a Jewish boyfriend for a period of time- to which her father raised no objections and even reportedly said «Sharon, I think it’s wonderful how these Jewish families have accepted you.»[186]

Disney has also been accused of other forms of racism because some of his productions released between the 1930s and 1950s contain racially insensitive material.[194][aa] The feature film Song of the South was criticized by contemporary film critics, the National Association for the Advancement of Colored People, and others for its perpetuation of black stereotypes,[195] but Disney later campaigned successfully for an Honorary Academy Award for its star, James Baskett, the first black actor so honored.[196][ab] Gabler argues that «Walt Disney was no racist. He never, either publicly or privately, made disparaging remarks about blacks or asserted white superiority. Like most white Americans of his generation, however, he was racially insensitive.»[194] Floyd Norman, the studio’s first black animator who worked closely with Disney during the 1950s and 1960s, said, «Not once did I observe a hint of the racist behavior Walt Disney was often accused of after his death. His treatment of people‍—‌and by this I mean all people‍—‌can only be called exemplary.»[197]

Watts argues that many of Disney’s post-World War II films «legislated a kind of cultural Marshall Plan. They nourished a genial cultural imperialism that magically overran the rest of the globe with the values, expectations, and goods of a prosperous middle-class United States.»[198] Film historian Jay P. Telotte acknowledges that many see Disney’s studio as an «agent of manipulation and repression», although he observes that it has «labored throughout its history to link its name with notions of fun, family, and fantasy».[199] John Tomlinson, in his study Cultural Imperialism, examines the work of Ariel Dorfman and Armand Mattelart, whose 1971 book Para leer al Pato Donald (trans: How to Read Donald Duck) identifies that there are «imperialist … values ‘concealed’ behind the innocent, wholesome façade of the world of Walt Disney»; this, they argue, is a powerful tool as «it presents itself as harmless fun for consumption by children.»[200] Tomlinson views their argument as flawed, as «they simply assume that reading American comics, seeing adverts, watching pictures of the affluent … [‘Yankee’] lifestyle has a direct pedagogic effect».[201]

Disney has been portrayed numerous times in fictional works. H. G. Wells references Disney in his 1938 novel The Holy Terror, in which World Dictator Rud fears that Donald Duck is meant to lampoon the dictator.[202] Disney was portrayed by Len Cariou in the 1995 made-for-TV film A Dream Is a Wish Your Heart Makes: The Annette Funicello Story,[203] and by Tom Hanks in the 2013 film Saving Mr. Banks.[204] In 2001, the German author Peter Stephan Jungk published Der König von Amerika (trans: The King of America), a fictional work of Disney’s later years that re-imagines him as a power-hungry racist. The composer Philip Glass later adapted the book into the opera The Perfect American (2013).[205]

Several commentators have described Disney as a cultural icon.[206] On Disney’s death, journalism professor Ralph S. Izard comments that the values in Disney’s films are those «considered valuable in American Christian society», which include «individualism, decency, … love for our fellow man, fair play and toleration».[207] Disney’s obituary in The Times calls the films «wholesome, warm-hearted and entertaining … of incomparable artistry and of touching beauty».[208] Journalist Bosley Crowther argues that Disney’s «achievement as a creator of entertainment for an almost unlimited public and as a highly ingenious merchandiser of his wares can rightly be compared to the most successful industrialists in history.»[5] Correspondent Alistair Cooke calls Disney a «folk-hero … the Pied Piper of Hollywood»,[209] while Gabler considers Disney «reshaped the culture and the American consciousness».[210] In the American Dictionary of National Biography, Langer writes:

Disney remains the central figure in the history of animation. Through technological innovations and alliances with governments and corporations, he transformed a minor studio in a marginal form of communication into a multinational leisure industry giant. Despite his critics, his vision of a modern, corporate utopia as an extension of traditional American values has possibly gained greater currency in the years after his death.[58]

In December 2021, The Metropolitan Museum of Art in New York opened a three month special exhibit in honor of Disney titled «Inspiring Walt Disney».[211]

Awards and honors

A black and white photograph of Walt Disney standing, holding an Academy Award.

Disney received 59 Academy Award nominations, including 22 awards: both totals are records.[212] He was nominated for three Golden Globe Awards, but did not win, but he was presented with two Special Achievement Awards‍—‌for Bambi (1942) and The Living Desert (1953)‍—‌and the Cecil B. DeMille Award.[213] He also received four Emmy Award nominations, winning once, for Best Producer for the Disneyland television series.[214] Several of his films are included in the United States National Film Registry by the Library of Congress as «culturally, historically, or aesthetically significant»: Steamboat Willie, The Three Little Pigs, Snow White and the Seven Dwarfs, Fantasia, Pinocchio, Bambi, Dumbo and Mary Poppins.[215] In 1998, the American Film Institute published a list of the 100 greatest American films, according to industry experts; the list included Snow White and the Seven Dwarfs (at number 49), and Fantasia (at 58).[216]

In February 1960, Disney was inducted to the Hollywood Walk of Fame with two stars, one for motion pictures and the other for his television work;[217] Mickey Mouse was given his own star for motion pictures in 1978.[218] Disney was also inducted into the Television Hall of Fame in 1986,[219] the California Hall of Fame in December 2006,[220] and was the inaugural recipient of a star on the Anaheim walk of stars in 2014.[221]

The Walt Disney Family Museum records that he «along with members of his staff, received more than 950 honors and citations from throughout the world».[19] He was made a Chevalier in the French Légion d’honneur in 1935,[222] and in 1952 he was awarded the country’s highest artistic decoration, the Officer d’Academie.[223] Other national awards include Thailand’s Order of the Crown (1960); Germany’s Order of Merit (1956),[224] Brazil’s Order of the Southern Cross (1941),[225] and Mexico’s Order of the Aztec Eagle (1943).[226] In the United States, he received the Presidential Medal of Freedom on September 14, 1964,[227] and on May 24, 1968, he was posthumously awarded the Congressional Gold Medal.[228] He received the Showman of the World Award from the National Association of Theatre Owners,[226] and in 1955, the National Audubon Society awarded Disney its highest honor, the Audubon Medal, for promoting the «appreciation and understanding of nature» through his True-Life Adventures nature films.[229] A minor planet discovered in 1980 by astronomer Lyudmila Karachkina, was named 4017 Disneya,[230] and he was also awarded honorary degrees from Harvard, Yale, the University of Southern California and the University of California, Los Angeles.[19]

Notes

  1. ^ In 1909, in a renumbering exercise, the property’s address changed to 2156 North Tripp Avenue.[3]
  2. ^ Disney was a descendant of Robert d’Isigny, a Frenchman who had traveled to England with William the Conqueror in 1066.[6] The family anglicized the d’Isigny name to «Disney» and settled in the English village now known as Norton Disney in the East Midlands.[7]
  3. ^ The book, Edwin G. Lutz’s Animated Cartoons: How They Are Made, Their Origin and Development (1920), was the only one in the local library on the subject; the camera he borrowed from Cauger.[29]
  4. ^ Cutout animation is the technique of producing cartoons by animating objects cut from paper, material or photographs and photographing them moving incrementally. Cel animation is the method of drawing or painting onto transparent celluloid sheets («cels»), with each sheet an incremental movement on from the previous.[30]
  5. ^ In 2006, the Walt Disney Company finally re-acquired Oswald the Lucky Rabbit when its subsidiary ESPN purchased rights to the character, along with other properties from NBCUniversal.[51]
  6. ^ Several stories about the origins exist. Disney’s biographer, Bob Thomas, observes that «The birth of Mickey Mouse is obscured in legend, much of it created by Walt Disney himself.»[52]
  7. ^ The name Mortimer Mouse was used in the 1936 cartoon Mickey’s Rival as a potential love-interest for Minnie Mouse. He was portrayed as a «humorous denigration of the smooth city slicker» with a smart car, but failed to win over Minnie from the more homespun Mickey.[54]
  8. ^ The Nine Old Men consisted of Eric Larson, Wolfgang Reitherman, Les Clark, Milt Kahl, Ward Kimball, Marc Davis, Ollie Johnston, Frank Thomas and John Lounsbery.[58]
  9. ^ By 1931 he was called Michael Maus in Germany, Michel Souris in France, Miguel Ratonocito or Miguel Pericote in Spain and Miki Kuchi in Japan.[63]
  10. ^ $1.5 million in 1937 equates to $28,274,306 in 2023; $6.5 million in 1939 equates to $126,929,257 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  11. ^ The citation for the award reads: «To Walt Disney for Snow White and the Seven Dwarfs, recognized as a significant screen innovation which has charmed millions and pioneered a great new entertainment field for the motion picture cartoon.»[83]
  12. ^ The trip inspired two combined live-action and animation works Saludos Amigos (1942) and The Three Caballeros (1945).[89][90]
  13. ^ $4 million in 1944 equates to $61,572,779 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  14. ^ These included Make Mine Music (1946), Song of the South (1946), Melody Time (1948) and So Dear to My Heart (1949).[58]
  15. ^ $2.2 million in 1950 equates to $24,778,147 in 2023; $8 million in 1950 equates to $90,102,351 in 2023, according to calculations based on the Consumer Price Index measure of inflation.[82]
  16. ^ The patriotic films include Johnny Tremain (1957), Old Yeller (1957), Tonka (1958), Swiss Family Robinson (1960), Polyanna (1960).[58]
  17. ^ Even repeats of the program proved more popular than all other television shows—aside from Lucille Ball’s I Love Lucy; no ABC program had ever been in the top 25 before Disneyland.[117]
  18. ^ The program, which was produced by Ward Kimball, was nominated for an Academy Award for the Best Documentary (Short Subject) at the 1957 Awards.[126]
  19. ^ Disney’s death in 1966, and opposition from conservationists, stopped the building of the resort.[135]
  20. ^ A long-standing urban legend maintains that Disney was cryonically frozen.[146] Disney’s daughter Diane later stated, «There is absolutely no truth to the rumor that my father, Walt Disney, wished to be frozen.»[147][148]
  21. ^ Roy died two months later, in December 1971.[154]
  22. ^ One possible exception to the stable relationship was during the making Snow White and the Seven Dwarfs (1937), where the stresses and turmoil associated with the production led to the couple discussing divorce.[160]
  23. ^ Lillian had two miscarriages during the eight years between marriage and the birth of Diane; she suffered a further miscarriage shortly before the family adopted Sharon.[162]
  24. ^ Another example included animator Art Babbitt, an organizer of the 1941 strike at Disney’s studio, claimed in his later years that he saw Disney and his lawyer attend meetings of the German American Bund, a pro-Nazi organization, during the late 1930s.[184] Gabler questions Babbitt’s claim on the basis that Disney had no time for political meetings and was «something of a political naïf» during the 1930s.[185] Disney’s office appointment book makes no mention of him attending Bund rallies, and no other animators ever made claims of Disney attending such meetings.[186] Disney had previously told one reporter in the mid-1930s- as tensions in Europe were brewing- that America should «let ’em fight their own wars» claiming he had «learned my lesson» from the last one.[187]
  25. ^ Examples include The Three Little Pigs (in which the Big Bad Wolf comes to the door dressed as a Jewish peddler) and The Opry House (in which Mickey Mouse is dressed and dances as a Hasidic Jew).[188][189]
  26. ^ As pointed out by story artist Joe Grant, which included himself, production manager Harry Tytle, and head of merchandising Kay Kamen, who once quipped that Disney’s New York office had «more Jews than The Book of Leviticus»[190] In addition songwriter Robert B. Sherman recalled that when one of Disney’s lawyers made anti-Semitic remarks towards him and his brother, Disney defended them and fired the attorney.[191][186]
  27. ^ Examples include Mickey’s Mellerdrammer, in which Mickey Mouse dresses in blackface; the black-colored bird in the short Who Killed Cock Robin; the American Indians in Peter Pan; and the crows in Dumbo (although the case has been made that the crows were sympathetic to Dumbo because they knew what it was like to be ostracized).[194]
  28. ^ Baskett died shortly afterward, and his widow wrote Disney a letter of gratitude for his support.[196]

References

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External links

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Сайт Деловой английский www.delo-angl.ru
Опубликовано: 06.03.2016

Уолт Дисней родился 5 декабря 1901 года. Дисней стал одним из самых известных продюсеров мультфильмов в мире. Он особенно знаменит как кинопродюсер и популярный шоумен, а также как новатор в мультипликации и проектировании тематических парков.

Дисней известен своим вкладом в сферу развлечений в 20 веке. Первый успех пришел к нему благодаря серии «Освальд – счастливый кролик», которая была создана студией Диснея для Чарльза Минца из «Юниверсал Студиоз». Когда Дисней попросил большего бюджета для его популярных серий об Освальде, Минц отказал, и Диснею пришлось уйти. Позже Дисней и его брат Рой. О. Дисней начали с нуля и совместно основали «Уолт Дисней Продакшнз», в настоящее время известную как «Компания Уолта Диснея». Сегодня эта компания имеет ежегодный доход, приблизительно, 35 миллиардов долларов США. Этот успех пришел, в основном, благодаря ряду наиболее известных в мире вымышленных персонажей, созданных им и его штатом, включая Микки Мауса, – персонажа, которого первоначально озвучил сам Дисней.

Дисней получил 26 наград «Оскар» из 59 номинаций, включая рекордные четыре за один год. Он получил больше наград и номинаций, чем любой другой человек. В его честь также названы тематические парки Диснейленд и Всемирный курорт Уолта Диснея в Соединенных Штатах, а также международные курорты (Диснейленды) в Японии, Франции и Китае.

Дисней умер от рака легких в городе Бербанк, штат Калифорния, 15 декабря 1966 года. На следующий год началось строительство Всемирного курорта Уолта Диснея во Флориде. Его брат Рой Дисней открыл «Волшебное королевство» 1 октября 1971 года.

Источник: Wikipedia

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Walt Disney

Walt Disney was born on December 5, 1901. Disney became one of the best-known motion picture producers in the world. He is particularly noted for being a film producer and a popular showman, as well as an innovator in animation and theme park design.

Disney is famous for his contributions in the field of entertainment during the 20th century. His first success was through the series, Oswald the Lucky Rabbit which was created by the Disney studio for Charles Mintz of Universal Studios. When Disney asked for a larger budget for his popular Oswald series, Mintz refused and Disney had to quit. Later, Disney and his brother Roy O. Disney started from scratch and co-founded Walt Disney Productions, now known as The Walt Disney Company. Today, this company has annual revenues of approximately U.S. $35 billion. This success is largely due to a number of the world’s most famous fictional characters he and his staff created including Mickey Mouse, a character for which Disney himself was the original voice.

Disney won 26 Academy Awards out of 59 nominations, including a record four in one year, giving him more awards and nominations than any other individual. He is also the namesake for Disneyland and Walt Disney World Resort theme parks in the United States, as well as the international resorts in Japan, France, and China.

Disney died of lung cancer in Burbank, California, on December 15, 1966. The following year, construction began on Walt Disney World Resort in Florida. His brother Roy Disney inaugurated The Magic Kingdom on October 1, 1971.

Source: Wikipedia

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  • theme park – тематический парк (парк отдыха с аттракционами, оборудованием, посвящённый одной теме, часто детский)
  • to start from scratch – начинать с нуля, на пустом месте, на голом месте
  • fictional character – вымышленный персонаж
  • Academy Award – премия “Оскар” (награда Американской академии кинематографических искусств и наук за лучшие достижения в области кинематографии)
  • namesake – человек, названный в чью-л. честь
  • inaugurate – вводить в действие; открывать (памятник, выставку); инициировать; торжественно вводить в должность

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Источник

Quick Facts

Also Known As: Walter Elias Disney

Died At Age: 65

Family:

Spouse/Ex-: Lillian Bounds (1925–66)

father: Elias Disney

mother: Flora Call Disney

siblings: Herbert Arthur Disney, Raymond Arnold Disney, Roy Oliver Disney, Ruth Flora Disney

children: Diane Marie Disney, Sharon Mae Disney

Born Country: United States


Quotes By Walt Disney

Animators

Height: 1.78 m

political ideology: Republican

Died on: December 15, 1966

place of death: Burbank, California, United States

Ancestry: German American, Canadian American, British American, Irish American, Indian American

City: Chicago, Illinois

Notable Alumni: Kansas City Art Institute, School Of The Art Institute Of Chicago

Grouping of People: Smoker

Cause of Death: Lung Cancer

U.S. State: Illinois

Founder/Co-Founder: The Walt Disney Company

More Facts

education: School Of The Art Institute Of Chicago, Kansas City Art Institute

Childhood & Early Life

Walter Elias ‘Walt’ Disney was born to Elias Disney and Flora Call Disney. His father was an Irish-Canadian by descent and his mother was a German-American. He had four siblings, three brothers and a sister.

At the age of four, he shifted base to Marceline, Missouri, with his family. It was here that he developed his life-long fascination for drawing and painting.

The family moved to Kansas City in 1911 where he received his early education. Walter Pfeiffer, theatre aficionado, became an early guiding light for him as he introduced young Disney to a world of vaudeville and motion pictures.

Moving to Chicago in 1917, he enrolled himself at the McKinley High School. At night, he used to attend course at the Chicago Art Institute. He worked as a cartoonist for his school newspaper.

Soon, he dropped out of school to join the Army but was rejected because he was underage. He then served as the driver of an ambulance for Red Cross.

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Career

Moving back to Kansas City in 1919, started working at the Pesmen-Rubin Art Studio, as ad-writer. It was there that he met Ubbe Iwerks.

In 1920, he found employment with Kansas City Film Ad Company. His profile included making commercials from cutout animations. He developed an interest in animation and decided to become an animator.

However, finding true interest in cel animation, he left the company to start his own business venture. He offered employment to Fred Harman, who was his colleague at Kansas City Film Ad Company.

He entered into a business deal with a local theatre owner, Frank L Newman to screen the cartoons which he named, Laugh-o-Grams. The popularity of the cartoons led to the opening of Laugh-o-Grams studio. However, financial debt caused the closure of the studio in 1923.

Impervious to the bankruptcy, he aimed to set up a studio in California. Together with his brother Roy, and Iwerks, he opened Disney Brother’s Studio.

They entered into a distribution deal with New York distributor Margaret Winkler for Walt’s ‘Alice Comedies’, an animated shorts based upon ‘Alice’s Wonderland’. They invented a character, Oswald the Lucky Rabbit for which they contracted the shorts at $1,500 each.

In 1925, he recruited ink-and-paint artist Lillian Bound, little knowing then that the two would become lifelong partners.

The dream-run for Disney ended in 1928 when he realized that Universal Pictures had bought the trademark for Oswald and that most of his creative designers, except Iwerk, had forsaken him for the Universal Pictures.

Together with Iwerk, he worked on creating a new character, based on his pet mouse which he adopted during the Laugh-o-Gram days. The final touches to the sketch gave the world of animation a new character in Mickey Mouse.

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While the first two animated shorts did not bring Mickey Mouse much fame due to them being silent movies, the third short, was sound and music equipped became an instant success and created a sensation. Walt gave his voice for Mickey.

After the supper success of Mickey’s third short, Streamboat Willie, he launched sound in all of his subsequent cartoons.

In 1929, he released a series of musical shorts, titled ‘Silly Symphonies’, which featured Mickey’s friends, Donald Duck, Goofy, Pluto and Mickey’s girlfriend Minnie Mouse.

In 1933, he created his most memorable cartoon short, ‘The Three Little Pigs’. The cartoon was a big hit and garnered positive reviews. Furthermore, its anthem song, ‘Who’s Afraid of the Big Bad Wolf’ became an iconic number during the Great Depression.

In 1935, he created history by launching ‘Flowers and Trees’, then one of the most popular cartoon shorts, in color. For the same, he was bestowed with the prestigious Academy Award.

In 1934, he planned to come up with a full-length animation feature. People deemed it to be ‘Disney’s Folly’ and the mark of his downfall. His wife and brother even encouraged in talking him out of the project but in vain.

After a successful training schedule, his high-profile leap of a feature film titled, ‘Snow White and the Seven Dwarfs’, went into production in 1934. After three years, the film premiered at the Carthay Circle Theatre, Los Angeles.

‘Snow White and the Seven Dwarfs’ opened to public in February 1938. The film was a blockbuster at the box office and went on to become the most successful film of 1938. In its initial release, the film had grossed $8 million.

The grand success of Snow White not only catapulted the position of Disney in the world of animation but also brought about an era, which later was given the name as the Golden Age of Animation.

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Following the success of his first film, he started working on several others, including, ‘Pinnochio’, ‘Fantasia’, ‘Dumbo’ and ‘Bambi’. Simultaneously, the short staff continued to work on the characters of Mickey Mouse, Donald Duck, Goofy, and Pluto cartoon series

In 1939, he opened the Walt Disney Studios in Burbank. However, two years later, a strike by Disney Animators resulted in heavy losses for the studio as many of the animators resigned from work.

By 1950s, after stabilizing the financial condition of Walt Disney Studios, he started focussing again on feature films. The first to release was ‘Cinderella’ in 1950, which was followed by ‘Alice in Wonderland’, ‘Peter Pan’, ‘Treasure Island’, ‘Lady in the Tramp’, ‘Sleeping Beauty’ and ‘101 Dalmatians’.

A visit to Children’s fairyland in Oakland inspired him for the concept of Disneyland. After five years of immense planning, projecting, fund raising and execution, the grand opening of Disneyland Theme Park took place on July 17, 1955. The park primarily gave children and families to explore the world of fantasy.

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Major Works

He gave the world of animation a new ideology to work on and is believed to be responsible for the Golden Age of Animation. Most of the cartoon characters that we reckon today, Micky Mouse, Donald Duck, Goofy, and so on are the brain-child of this international icon, who became a major figure in the American animation industry in 20th century. Disneyland, the most popular theme park of the world, was also conceptualized and created by him.

Awards & Achievements

He received four honorary Academy Awards and twenty-two Academy Awards in his life for his distinguished works.

He was the proud recipient of seven Emmy awards.

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Personal Life & Legacy

He married Lillian Bound in 1925. The couple was blessed with a daughter, Diane Marie Disney in 1933. They adopted Sharon Mae Disney in 1936.

He died on December 15, 1966 due to lung cancer. Two days later, he was cremated and his ashes were interred at the Forest Lawn Memorial Park in Glendale, California.

Trivia

The Disneyland theme park located in US is the brainchild of this creative genius, who created ripples in the world of animation with his futuristic vision and immense ingenuity.

Источник
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“I only hope that we never lose sight of one thing — that it was all started by a mouse.”
―Walt Disney[src]

Walter Elias «Walt» Disney was an American entrepreneur, business magnate, animator, voice actor, producer, director, writer, and the eponymous founder of The Walt Disney Company. One of the most famous and well-known motion picture producers in the world and a pioneer of the animation industry, Walt co-founded his namesake company, Walt Disney Productions, with his brother, Roy in 1923.

Walt Disney is in particular noted for being a successful storyteller, a hands-on film producer, and a popular showman. He and his staff created a number of the world’s most popular animated properties; including the one creation that many consider Disney’s alter-ego, Mickey Mouse.

He was also the original voice of Mickey Mouse from 1928 to 1947 and again from 1955 and 1962. He also did the original voices of Minnie Mouse and Pete as well.

1901-1919: Childhood

Walt Disney was born on December 5, 1901, in Chicago, Illinois to Elias Disney and Flora Call. He was named after his father’s close friend, Walter Parr, a minister at St. Paul Congregational Church. In 1906, his family moved to a farm near Marceline, Missouri. The family sold the farm in 1909 and lived in a rented house until 1910 when they moved to Kansas City. Disney was nine years old at the time.

According to the Kansas City Public School District records, Disney began attending the Benton Grammar School in 1911, and graduated on June 8, 1917. During this time, Disney also enrolled in classes at the Chicago Art Institute. He left school at the age of sixteen and became a volunteer ambulance driver in The Red Cross during World War I after he changed his birth certificate to show his year of birth as 1900 in order to be able to enlist in The Red Cross. He set sail for France in November but when he came, the fighting was over. He stayed in France until 1919.

1920-1936: Early years in animation

Kansas City animation studios

Disney returned to the USA, moved to Kansas City and, with Ub Iwerks, formed a company called «Iwerks-Disney Commercial Artists» in January 1920. The company faltered and Disney and Iwerks soon gained employment at the Kansas City Film Ad Corporation, working on primitive animated advertisements for local movie houses.

In 1921, Disney started Laugh-O-grams, Inc., which produced short cartoons based on popular fairytales and children’s stories. Among his employees were Iwerks, Hugh Harman, Rudolf Ising, Carman Maxwell, and Friz Freleng. The shorts were popular in the local Kansas City area, but their costs exceeded their returns. After creating one last short, the live-action/animation Alice’s Wonderland, the studio declared bankruptcy in July 1923. Two of Disney’s brothers, Roy Oliver Disney and Raymond Arnold Disney, were employed as bank tellers in the First National Bank in downtown Kansas City during this time when Walt was developing his Laugh-O-grams, Inc. Studio. Roy later invited Walt to move to Hollywood, California, and Disney earned enough money for a one-way train ticket to California, leaving his staff behind, but taking the finished reel of Alice’s Wonderland with him.

Alice Comedies: Contract and new California studio

Disney set up shop with his brother Roy, started the Disney Brothers Studio in their Uncle Robert’s garage, and got a distribution deal with New York City states-rights distributors Margaret J. Winkler and her fiancé Charles Mintz (via Winkler Pictures). Virginia Davis, the live-action star of Alice’s Wonderland, was sequestered from Kansas, as was Ub Iwerks. By 1926, the Disney Brothers Studio had its name changed to Walt Disney Studio; the name Walt Disney Productions would be adopted in 1929. One of the studio’s employees, Lillian Bounds, became Walt Disney’s wife; they married on July 13, 1925.

The Alice Comedies were reasonably successful and featured both Dawn O’Day and Margie Gay as Alice after Virginia Davis’ parents pulled her out of the series because of a pay cut. Lois Hardwick also briefly assumed the role. By the time the series ended in 1927, the focus was more on the animated characters, in particular, a cat named Julius who recalled Felix the Cat, rather than the live-action Alice.

Oswald the Lucky Rabbit

In January 1927, Mintz told Disney to create a cartoon character they could sell to Universal Pictures — Universal wanted to re-enter the cartoon business and needed a character of its own. Disney had Iwerks design a rabbit character, and when Universal approved the design, their publicity department named it Oswald.

In January 1928, Iwerks warned Walt that several of the animators at his studio were signing contracts with Winkler Pictures. George Winkler, one of the Winkler heads, had been talking with the animators during pick-up runs of the Oswald the Lucky Rabbit cartoons. In the following month, Disney went to New York to negotiate a higher fee per short from Mintz. Mintz announced that not only did he want to reduce the fee he paid Disney per short, but that he had most of his main animators, including Harman, Ising, Maxwell, and Freleng under contract. Mintz’ final deal was for Walt and Roy become his employees. Disney declined, and it resulted in his contract for the Oswald series to not be renewed. Disney, Iwerks, and the few non-defecting animators secretly began work on a new mouse character during the production of the last contracted Oswald cartoons.

The Creation of Mickey Mouse

Walt Disney and Mickey Mouse.

Christened by Lillian Disney, Mickey Mouse made his film debut in a short called Plane Crazy, which was, like all of Disney’s previous works, a silent film. After failing to find distributor interest in Plane Crazy or its follow-up, The Gallopin’ Gaucho, Disney created a Mickey cartoon with sound called Steamboat Willie. A businessman named Pat Powers provided Disney with both distribution and the Cinephone, a bootlegged sound-synchronization process. Steamboat Willie became a success, and Plane Crazy, The Galloping Gaucho, and all future Mickey cartoons were released with soundtracks. Disney himself provided the vocal effects for the earliest cartoons and performed as the voice of Mickey Mouse until 1947 and replaced by sound effects technician Jimmy MacDonald.

Joining the Mickey Mouse series in 1929 were a series of musical shorts called Silly Symphonies, which began with The Skeleton Dance. Although both series were successful, the Disney studio was not seeing its rightful share of profits from Pat Powers, and in 1930, Disney signed a new distribution deal with Sony/Columbia Pictures, leaving behind Powers and Ub Iwerks, who had been lured into an exclusive contract with Powers. After heading the only mildly successful Ub Iwerks Studio, Iwerks would return to Disney in 1940 and, in the studio’s research and development department, pioneer a number of film processes and specialized animation technologies.

By 1932, Mickey Mouse became the most popular cartoon character on the screen, and many competing studios such as Van Beuren and Screen Gems created Mickey Mouse clones in hopes of cashing in on Disney’s success. After moving from Sony/Columbia to MGM/United Artists in 1932, Walt began producing the Silly Symphonies in the new three-strip Technicolor process, making them the first commercial films presented in a true-color process. The first color Symphony was Flowers and Trees, which won the first Academy Award for Best Short Subject: Cartoons in 1932. The same year, Disney received a special Academy Award for the creation of Mickey Mouse, whose series was moved into color in 1935 and soon launched spin-off series for supporting characters such as Donald Duck, Goofy, and Pluto.

Disney’s daughters

As Mickey’s co-creator and producer, Disney was almost as famous as his mouse cartoon character but remained a largely private individual. His greatest hope was to give birth to a child — preferably a son — but he and Lillian tried with no luck. Lillian finally gave birth to a daughter, Diane Disney Miller, on December 18, 1933; and the couple would adopt a second, Sharon Mae Disney, who was born December 21, 1936. Walt loved both of his children.

1937-1954: Animated feature films

Disney’s Folly: Snow White and the Seven Dwarfs

Walt Disney introduces each of the seven dwarfs.

Although his studio produced the two most successful cartoon series in the industry, the returns were still dissatisfying to Disney, and he began plans for a full-length feature in 1934. When the rest of the film industry learned of Disney’s plans to produce an animated feature-length version of Snow White, they dubbed the project «Disney’s Folly» and were certain that the project would destroy the Disney studio. Both Lillian and Roy tried to talk Disney out of the project, but he continued plans for the feature. He employed Chouinard Art Institute professor Don Graham to start a training operation for the studio staff, and used the Silly Symphonies as a platform for experiments in realistic human animation, distinctive character animation, special effects, and the use of specialized processes and apparatus such as the multiplane camera.

Walt Disney’s Snow White and the Seven Dwarfs. This film was his studio’s full-length feature production and the first commercially-successful animated feature film.

All of this development and training was used to elevate the quality of the studio so that it would be able to give the feature the quality Disney desired. Snow White and the Seven Dwarfs, as the feature was named, was in full production from 1935 until mid-1937, when the studio ran out of money. To acquire the funding to complete Snow White, Disney had to show a rough cut of the motion picture to loan officers at the Bank of America, who gave the studio the money to finish the picture. The finished film premiered at the Carthay Circle Theater on December 21, 1937; at the conclusion of the film the audience gave Snow White and the Seven Dwarfs a standing ovation. The very first animated feature in English and Technicolor, Snow White was released in February 1938 under a new distribution deal with RKO Radio Pictures. The film became the most successful motion picture of 1938 and earned over $8 million (today $98 million) in its original theatrical release. The success of Snow White allowed Disney to build a new campus for the Walt Disney Studios in Burbank, which opened for business on December 24, 1939. The feature animation staff, having just completed Pinocchio, continued work on Fantasia and Bambi, while the shorts staff continued work on the Mickey Mouse, Donald Duck, Goofy, and Pluto cartoon series, ending the Silly Symphonies at this time.

Wartime troubles

Pinocchio and Fantasia followed Snow White into movie theaters in 1940, but both were financial disappointments. The inexpensive Dumbo was planned as an income generator, but during the production of the new film, most of the animation staff went on strike, permanently straining the relationship between Disney and his artists.

Shortly after Dumbo was released in October 1941 and became a successful moneymaker, the United States entered World War II. The U.S. Army took over most of the Disney studio’s facilities and had the staff create training and instructional films for the military, as well as home-front propaganda, such as Der Fuehrer’s Face and the feature film, Victory Through Air Power in 1943. The military films did not generate income, however, and Bambi underperformed when it was released in April 1942. Disney successfully re-issued Snow White in 1944, establishing the seven-year re-release tradition for Disney features.

Inexpensive package films, containing collections of cartoon shorts, were created and issued to theaters during this period as well. The most notable and successful of these were Saludos Amigos (1942), its sequel The Three Caballeros (1945), Song of the South (the first Disney feature to feature dramatic actors, 1946), Fun and Fancy Free (1947), and The Adventures of Ichabod and Mr. Toad (1949). The latter had only two sections: the first based on The Legend of Sleepy Hollow by Washington Irving and the second based on The Wind in the Willows by Kenneth Grahame.

By the late 1940s, the studio had recovered enough to continue production on the full-length features: Alice in Wonderland and Peter Pan, which had been shelved during the war years and began work on Cinderella. The studio also began a series of live-action nature films, entitled True-Life Adventures, in 1948 with On Seal Island.

A dark chapter

In 1947, during the dark early years of the Cold War, Walt Disney testified before the House Un-American Activities Committee, and he named several of his employees as Communist sympathizers. Some historians believe that the animosity from the 1941 strike of Disney Studio employees caused him to bear a grudge. His dislike and distrust of labor unions may have also led to his testimony.

1955-1966: Theme Parks and Beyond

Carolwood Pacific Railroad

In 1949, when Disney and his family moved to a new home on large piece of property in the Holmby Hills district of Los Angeles, California, with the help of his friends Ward and Betty Kimball, owners of their own backyard railroad, Disney developed the blueprints and immediately set to work creating his own miniature railroad in his backyard. The name of the railroad, Carolwood Pacific Railroad, originated from the address of his home which was located on Carolwood Drive. The railroad’s half-mile long layout included a 46-foot-long trestle, loops, overpasses, gradients, an elevated dirt berm, and a 90-foot tunnel underneath Mrs. Disney’s flower bed. He even named the miniature working steam locomotive built by Roger E. Broggie of the Disney Studios Lilly Belle in his wife’s honor.

Planning Disneyland

Walt and his Animated Family.

On a business trip to Chicago in the late 1940s, Disney drew sketches of his ideas for an amusement park where he envisioned his employees spending time with their children. These ideas developed into a concept for a larger enterprise which was to become Disneyland. Disney spent five years of his life developing Disneyland and created a new subsidiary of his company, called WED Enterprises, to carry out the planning and production of the park. A small group of Disney studio employees joined the Disneyland development project as engineers and planners and were dubbed Imagineers.

When presenting his plan to the Imagineers, Disney said: «I want Disneyland to be the most amazing place on Earth, and I want a train circling it». Entertaining his daughters and their friends in his backyard and taking them for rides on his Carolwood Pacific Railroad had inspired Disney to include a railroad in the plans for Disneyland.

Expanding into new areas

As Walt Disney Productions began work on Disneyland, it also began expanding its other entertainment operations. 1950’s Treasure Island became the studio’s first all-live-action feature, and was soon followed by such successes as 20,000 Leagues Under the Sea (in CinemaScope, 1954), The Shaggy Dog (1959), and The Parent Trap (1960). The Walt Disney Studio was one of the first to take full advantage of the then-new medium of television, producing its first TV special, One Hour in Wonderland, in 1950. Walt Disney began hosting a weekly anthology series on ABC named Disneyland after the park, where he showed clips of past Disney productions, gave tours of his studio, and familiarized the public with Disneyland as it was being constructed in Anaheim, California. In 1955, he debuted the studio’s first daily television show, the popular Mickey Mouse Club, which would continue in many various incarnations into the 1990s.

As the studio expanded and diversified into other media, Disney devoted less of his attention to the animation department, entrusting most of its operations to his key animators, whom he dubbed the Nine Old Men. During Disney’s lifetime, the animation department created the successful Lady and the Tramp (in CinemaScope, 1955) and One Hundred and One Dalmatians (1961) and the financially disappointing Sleeping Beauty (in Super Technirama 70 mm, 1959) and The Sword in the Stone (1963).

Production on the short cartoons had kept pace until 1956, when Disney shut down the shorts division. Special shorts projects would continue to be made for the rest of the studio’s duration on an irregular basis.

The Disneyland Plaque.

These productions were all distributed by Disney’s new subsidiary Buena Vista Distribution, which had assumed all distribution duties for Disney films from RKO by 1955. Disneyland, one of the world’s first theme parks, finally opened on July 17, 1955, and was immediately successful. Visitors from around the world came to visit Disneyland, which contained attractions based upon a number of successful Disney properties and films. After 1955, the Disneyland TV show became known as Walt Disney Presents, went from black-and-white to color in 1961—changing its name to Walt Disney’s Wonderful World of Color—and eventually evolved into what is today known as The Wonderful World of Disney, which continues to air on ABC as of 2005.

During the mid-1950s, Disney produced a number of educational films on the space program in collaboration with NASA rocket designer Wernher von Braun: Man in Space and Man and the Moon in 1955, and Mars and Beyond in 1957. The films attracted the attention of not only the general public but also the Soviet Union’s space program.

Early 1960s successes

By the early 1960s, the Disney Empire was a major success, and Walt Disney Productions had established itself as the world’s leading producer of family entertainment. After decades of trying, Disney finally procured the rights to P.L. Travers’ books about a magical nanny. Mary Poppins, released in 1964, was the most successful Disney film of the 1960s, and many hailed the live-action/animation combination feature as his greatest achievement. The same year, Disney debuted a number of exhibits at the 1964 New York World’s Fair, including Audio-Animatronic figures, all of which later were integrated into attractions at Disneyland and a new theme park project, to be established on the east coast, which Disney had been planning since Disneyland opened.

Plans for Disney World and EPCOT

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In 1964, Walt Disney Productions began quietly purchasing land in central Florida west of Orlando in a largely rural area of marginal orange groves for Disney’s «Florida Project». The company acquired over 27,000 acres (109 square kilometers) of land and arranged favorable state legislation which would provide unprecedented quasi-governmental control over the area to be developed in 1966, founding the Reedy Creek Improvement District. Disney and his brother Roy then announced plans for what they called «Disney World».
Disney World was to include a larger, more elaborate version of Disneyland to be called the Magic Kingdom, and would also feature a number of golf courses and resort hotels. The heart of Disney World, however, was to be the Experimental Prototype City (or Community) of Tomorrow, or EPCOT for short. EPCOT was designed to be an operational city where residents would live, work, and interact using advanced and experimental technology, while scientists would develop and test new technologies to improve human life and health.

Death

However, Disney’s involvement in Disney World ended in late 1966, when he was diagnosed with lung cancer in his left lung, after a lifelong habit of chain-smoking (where his dreams of advancements in the improvement of human health would have come in handy) since World War 1. He was checked into the St. Joseph’s Hospital across the street from the Disney Studio lot and his health eventually deteriorated. His dedication to his projects was still visible while lying in his deathbed. On the evening of December 14, Roy came to visit him. Here, Walt pointed up to the ceiling using the tiles as a grip map. He then signaled Roy about the roads and major places in EPCOT and Disney World. Even sick and near death, Walt’s mind was clear, active, and vibrant; his imagination fully engaged and his voice enthusiastic.

It came as a complete shock to the Disney Family and to the whole world when Walt passed away the next morning. He was pronounced dead at 9:35 AM PST on December 15, 1966 having just celebrated his sixty-fifth birthday two weeks earlier. The official cause of death was «acute circulatory collapse.» His heart simply stopped beating.

Contrary to urban legend, he was not cryogenically frozen. He was cremated and his ashes were interred in the Disney family garden in the Court of Freedom section of Forest Lawn Memorial Park in Glendale, California.

Impact

It was truly unthinkable. Walt Disney was dead. Roy, who had always been supportive to Walt, looking for and helping him, had lost his reason for living. After an hour or so, Walt’s foot was sticking out from under the blanket. Roy was by the bed, gently rubbing Walt’s foot and said «Well kid, it looks like the end of the road.» Roy was still the older brother to the end.

Roy Disney carried out the Florida project, insisting that the name becomes Walt Disney World in honor of his brother. Roy O. Disney died only three months after that resort’s opening in 1971.

WaltObituary

Walt Disney’s Obituary

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Walt Disney’s Death Certificate

Legacy

The Epcot theme park

When the second phase of the Walt Disney World theme park was built, EPCOT was translated by Walt Disney’s successors into the Epcot theme park, which opened in 1982. The Epcot Park that currently exists is essentially a living world’s fair, a far cry from the actual functional city that Disney had envisioned. However, the Celebration, Florida town built by the Walt Disney Company adjacent to Walt Disney World harkens back to the EPCOT vision that Walt would have wanted.

The Disney entertainment empire

The famous «Partners» featuring Walt and Mickey at the Magic Kingdom park.

Today, Walt Disney’s animation/motion picture studios and theme park have developed into a multi-billion dollar television, motion picture, vacation destination and media corporation that carries his name. The Walt Disney Company today owns, among other assets, four vacation resorts, nine theme parks, two water parks, thirty-two hotels (and counting), eight motion picture studios, six record labels, eleven cable television networks, and one terrestrial television network.

Disney theme parks today

Today, what was known as the Florida Project is now the largest and most popular private-run tourist destination on the planet, but Walt Disney’s spirit and shine is still there. From the ‘Partners’ statue at the Magic Kingdom to the Tree of Life at Animal Kingdom, Walt Disney is still remembered and loved by guests, Theme Park Characters and Cast Members alike, and his vision is still continued. His fascination with mass transportation lives in the Walt Disney World Monorail which runs through two theme parks and four hotels, and his dreams of the future live on at Epcot in ahead-of-their-time attractions and technological breakthroughs. His Skyway, long since closed, is now reborn as the Disney Skyliner gondola system.

Disneyland has developed from a cramped theme park to an open resort of two theme parks, three hotels, and a large shopping complex. Walt Disney World is a popular destination for vacations by tourists worldwide, and Tokyo Disneyland is the most visited theme park in the world (its sister park Tokyo Disneysea is the second). In September 2005, The Walt Disney Company opened Hong Kong Disneyland Resort in China, with another Chinese theme park followed—Shanghai Disneyland.

On May 5, 2005, the Walt Disney Company kicked off the Happiest Homecoming on Earth celebration in front of Walt’s Sleeping Beauty Castle at Disneyland, celebrating fifty years of the world’s most famous theme park. Walt Disney Parks and Resorts are renowned over the world for their attentions to detail, hygiene and standards, all set by Walt Disney at Disneyland.

Disney animation today

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Traditional hand-drawn animation, with which Walt Disney started his company, was, for a time, no longer produced at the Walt Disney Animation Studios. After a stream of financially unsuccessful traditionally animated features in the early 2000s, the two satellite studios in Paris and Orlando were closed, and the main studio in Burbank was converted to a computer animation production facility. In 2004, Disney released what was announced as their final «traditionally animated» feature film, Home on the Range. However, since the 2006 acquisition of Pixar, and the resulting rise of John Lasseter to Chief Creative Officer, that position has changed, and the largely successful 2009 film The Princess and the Frog has marked Disney’s return to traditional hand-drawn animation.

CalArts

Disney devoted substantial time in his later years funding The California Institute of the Arts (CalArts), which was formed in 1961 through a merger of the Los Angeles Conservatory of Music and the Chouinard Art Institute, which had helped in the training of the animation staff during the 1930s. When he died, one-fourth of his estate went towards CalArts, which greatly helped the building of its campus. Walt also donated 38 acres (154,000 m²) of the Golden Oaks ranch in Valencia for the school to be built on. CalArts moved onto the Valencia campus in 1971.

Lillian Disney devoted a lot of her time after Walt died to pursuing CalArts and organized hundreds of fundraising events for the university in her late husband’s honor (as well as funding the Walt Disney Symphony Hall). After Lillian’s passing, the legacy continued with daughter Diane and husband Ron continuing the tradition. CalArts is today one of the largest independent universities in California today, mostly because of the contributions of the Disneys.

Roles

Gallery

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Walt Disney and Mickey Mouse puppet.

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Walt Disney’s spirit inside the lamp in Disneyland’s Fire Dep.

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Walt Disney’s grave.

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Walt Disney’s office.

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Walt Disney at Disneyland’s opening.

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Centre right is Walt Disney from 1912.

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Walt as an ambulance driver.

Walt Disney's star on the Hollywood Walk of Fame

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Walt’s represented spirit in Disneyland.

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Walt’s and his family’s grave.

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His parents, Flora and Elias.

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Walt, a night he won four Oscars.

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Walt’s signature.

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Walt after winning two Oscars.

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Walt with Lillian at the Oscars.

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Walt with a Mickey plush.

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Walt with his many awards.

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Walt drawing Mickey.

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A Walt Disney stamp.

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A young Walt Disney drawing Mickey.

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Walt and Mickey.

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A young Walt Disney.

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Walt with a Mickey Mouse drawing.

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Walt explaining The Florida Project.

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Walt with the seven dwarfs.

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Walt with many of his characters.

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Walt drawing Mickey Mouse.

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Walt and Lillian on their honeymoon.

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«Uncle Walt»

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Walt taking a look at the Fantasia characters.

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Walt explaining his plans for the Experimental Prototype Community of Tomorrow.

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Walt operating a camera.

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Walt reading a Mickey Mouse comic book.

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A young Walt Disney.

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Walt as Grand Marshal for the Tournament of Roses Parade.

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Newspaper cartoons that show how the world was, and still is, affected by Walt Disney’s death.

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Walt with Mickey, Minnie, Alice and the White Rabbit at the opening of the Alice in Wonderland attraction at Disneyland in 1958.

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Photo from the October 1963 party in the Penthouse Club at the Disney Studio where Mousecars and Ducksters were presented to Disney comic strip writers and artists (left to right: Bob Karp, Walt Disney, Floyd Gottfredson, Al Taliaferro, Manuel Gonzales, and Roy O. Disney).

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Walt Disney makes a cameo in Mickey Mouse (2013).

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Walt with Mickey in «The Treasure of Marco Topo».

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Walt with the NBC Peacock and Ludwig Von Drake in a promotional photo for Walt Disney’s Wonderful World of Color.

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Disney with Santa Claus.

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Walt Disney with his characters on the front cover of the December 27, 1954 issue of TIME Magazine.

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A Walt Disney Lego figure.

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Walt Disney on the set with Dorothy McGuire, Fess Parker, and Robert Stevenson for «Old Yeller».

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Walt Disney's Introduction for Alice in Wonderland

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Walt Disney with Dwight D. Eisenhower.

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One «Who is/Who was» book which talks about who Walt Disney was.

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A Fan-Art picture of Walt Disney and all of the films he and his company made before he passed away.

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Trivia

  • The 2007 film, Meet the Robinsons pays tribute to Walt Disney. The film ends with a quote from Walt Disney himself: «Around here, however, we don’t look backwards for very long. We keep moving forward, opening up new doors and doing new things, because we’re curious… and curiosity keeps leading us down new paths.»
    • The phrase «keep moving forward» is constantly used during the film, in reference to the Walt Disney quote.
  • In the ABC television series Once Upon a Time, August Booth reveals to them that the fairy tale story book was created by a series of Authors, and names one past Author as «Walt». The implication that Disney himself is an Author is further proved in a flashback to 1966 when the Sorcerer’s Apprentice approaches Isaac Heller and offers him the position of Author, citing that the previous Author had passed away; 1966 is the year the Disney passed away and his death date of December 15th was written on a letter from the Apprentice to Isaac.
  • Disney had very simple tastes in food. According to his daughter Diane, «He liked fried potatoes, hamburgers, western omelets, hotcakes, canned peas, hash, stew, roast beef sandwiches. He doesn’t go for vegetables, but loves chicken livers or macaroni and cheese.» Lillian Disney would complain, «Why should I plan a meal when all Disney really wants is a can of chili or a can of spaghetti?» [1]
  • Although a baptized Christian, Walt Disney was not a frequent visitor to churches. Religious people would occasionally ask him to make religious films but Walt declined. However, a number of his Silly Symphonies featured figures from the Bible. Including:
    • Hell’s Bells (first released November 11, 1929), featuring Satan.
    • Father Noah’s Ark (April 8, 1933), featuring Noah, Ham, Japheth, Shem, and their respective wives.
    • The Goddess of Spring (November 3, 1934). Featuring Persephone and a version of her uncle/husband Hades/Pluto identified here with Satan.
    • Noah’s Ark (November 10, 1959). Featuring Noah, Ham, Japheth, Shem and their respective wives. Not officially released as a Silly Symphony but very similar to them.
    • Several of the films he produced have also been noted for characters praying to God, such as Swiss Family Robinson and in Snow White and the Seven Dwarfs where Snow White is seen in one scene praying beside her bed, and for positively representing Christianity as a religion.
  • In 1940, the United States Federal Bureau of Investigation recruited Disney as an Official Informant. He was later designated as a Special Agent in Charge contact. He testified against employees of his company that he took issue with, alleging them to be communists.
  • ‘Uncle Walt’ could be seen around 1950s Disneyland doing menial chores, like getting strollers for people, tinkering under the hood of a car on Main Street U.S.A., fishing in Rivers of America, or piloting the Mark Twain Riverboat.
  • One of the audio animatronic pirates on the Pirates of the Caribbean ride introduced in 1967 has Walt Disney’s face. It was taken from the same life cast mold that was used in the «Partners» statue in Fantasyland in Disneyland.
  • According to Richard Sherman, Walt would ask him how his progress on a week was then ask him to play the song «Feed the Birds», his favorite song from Mary Poppins. After Walt passed away in 1966, Richard played the song frequently in his honor.
  • Tom Hanks portrayed Walt in the 2013 live-action film, Saving Mr. Banks. Tom Hanks is a distant cousin of Walt Disney, but this marks the first time that Walt is portrayed in Film.
  • Walt Disney had a cameo in the Mickey Mouse cartoon Tokyo Go.
    • A cameo also appears in «Ferdinand the Bull», wherein the bullring workers are based on Disney staffers, while the Matador is based on Walt.
  • Oswald’s line in Epic Mickey («I’m starting to see why he liked you more.») is a clear reference to Walt.
  • Howard Stark’s appearance in Iron Man 2 is a reference to Walt Disney.
  • Another famous rumor about Walt was that he was antisemitic. Walt actually frequently donated to Jewish charities and was named «Man of the Year» by B’nai Brith.

See also

  • List of Disney animated features
  • Walt Disney Quotes Video

External links


v — e — d

Walt Disney Animation Studios - Transparent Logo.png
1920s—1970s
Disney’s Nine Old Men: Milt Kahl • Frank Thomas • Ollie Johnston • Les Clark • John Lounsbery • Marc Davis • Ward Kimball • Eric Larson • Wolfgang Reitherman

Animators: Bill Tytla • Art Babbitt • Lee Blair • Preston Blair • Fred Moore • Shamus Culhane • Cy Young • Don Lusk • Norman Ferguson • Hal King • Jack Hannah • Dick Kinney • Hal Ambro • Ken O’Brien • Judge Whitaker • Bill Justice • Don Bluth • Gary Goldman • Charles A. Nichols • Blaine Gibson • John Ewing • Walt Stanchfield • Fred Hellmich • Amby Paliwoda • Wilfred Jackson • Xavier Atencio • Ben Sharpsteen • Earl Hurd • Dale Oliver • Eric Cleworth • David Hand • Fred Spencer • Julius Svendsen • Kenneth Muse • Rudolf Ising • Hugh Harman • Friz Freleng • Walt Kelly • Leo Salkin • John Dehner
Visual Development, Layout, Background Artists and Character Designers: Gustaf Tenggren • Mary Blair • Marjorie Ralston • Lillian Bounds • Joe Grant • Mel Shaw • Claude Coats • Don DaGradi • John Hench • Eyvind Earle • Ken O’Connor • Thor Putnam • Albert Hurter • John Hubley • Herbert Ryman • Don Griffith • Basil Davidovich • Jack Boyd • Peter Ellenshaw • Ruthie Tompson • Earl Duvall
Storyboard Artists and Writers: Bill Peet • Ralph Wright • Dick Huemer • Floyd Norman • Yale Gracey • Ted Sears • Erdman Penner • Joe Rinaldi • Winston Hibler • Otto Englander • William Cottrell • Bill Berg • Al Bertino • T. Hee • Homer Brightman • Ted Osbourne • Larry Clemmons • Harry Reeves • Jesse Marsh
Directors: Clyde Geronimi • Hamilton Luske • Jack Kinney • Ted Berman • Richard Rich • Nathan Greno • George Scribner • Riley Thomson • Dick Lundy • Jack King • Burt Gillett
Producers: Walt Disney • Ron Miller • Ken Anderson • Don Duckwall • Perce Pearce • Margaret J. Winkler

1980s—present
Renaissance Directors: Rob Minkoff • Roger Allers • Gary Trousdale • Kirk Wise • Chris Sanders • Mark Dindal • John Musker

Story Trust Directors: Ron Clements • Chris Buck • Byron Howard • Don Hall • Chris Williams • Rich Moore • Stephen J. Anderson
Producers: Peter Del Vecho • Clark Spencer • Roy Conli • Dorothy McKim • Don Hahn
Chief Creative Officer: Jennifer Lee
Associated Figures: Bob Iger • Roy Edward Disney • Michael Eisner • John Lasseter • Ed Catmull • Jeffrey Katzenberg • Bob Chapek
Signature Voice Actors: Jim Cummings • Alan Tudyk • Katie Lowes • John DiMaggio • Maurice LaMarche • Jodi Benson • David Ogden Stiers • Jesse Corti • Paul Briggs • Raymond S. Persi • Phil Johnston • Frank Welker • Bill Farmer • Brian Cummings
Signature Musicians: Robert B. Sherman • Richard M. Sherman • Alan Menken • Kristen Anderson-Lopez • Robert Lopez • Lin-Manuel Miranda • Howard Ashman • Tim Rice • Phil Collins • Stephen Schwartz • Marc Shaiman • Danny Troob
Supervising Animators: Glen Keane • Andreas Deja • Eric Goldberg • Mark Henn • John Pomeroy • Randy Haycock • Dale Baer • T. Daniel Hofstedt • Tony Bancroft • Tom Bancroft • Tony Fucile • Anthony DeRosa • Russ Edmonds • Michael Surrey • Bruce W.Smith • Duncan Marjoribanks • Ruben Aquino • Nik Ranieri • Ron Husband • Rick Farmiloe • Tom Sito • Tony Anselmo • Randy Cartwright • Anne Marie Bardwell • Shawn Keller
Visual Development & Storyboard Artists: Dean DeBlois • Lisa Keene • Claire Keane • Brittney Lee • Jin Kim • Shiyoon Kim


v — e — d

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Media
Saludos Amigos (video/soundtrack) • The Three Caballeros (video/soundtrack) • Walt Disney anthology series • House of Mouse • Mickey and the Roadster Racers • South of the Border with Disney • Walt & El Grupo • Legend of the Three Caballeros

Books: The Penguin That Hated the Cold • The Three Caballeros Ride Again • The Magnificent Seven (Minus 4) Caballeros • South of the Border with Disney: Walt Disney and the Good Neighbor Program, 1941-1948
Segments: El Gaucho Goofy • Aquarela do Brasil • Pedro • Lake Titicaca • The Cold-Blooded Penguin • The Flying Gauchito • Baía • Las Posadas • Mexico: Pátzcuaro, Veracuz and Acapulco • Donald’s Surreal Reverie

Disney Parks
Gran Fiesta Tour Starring The Three Caballeros • It’s a Small World • Mickey Mouse Revue

Entertainment: Let’s Party Gras! • Max LIVE: Gettin’ Goofy With It
Restaurants: Mickey & Pals Market Café
Parades: Disney Adventure Friends Cavalcade • Disney’s Party Express • Mickey’s Soundsational Parade
Fireworks: Harmonious • Mickey’s Mix Magic! • Wonderful World of Animation
Spring: Fashionable Easter
Summer: Soryo Kobu
Halloween: Goofy’s Skeletoons Street Party
Christmas: Mickey’s Most Merriest Celebration • World of Color: Season of Light • The Viva Navidad Street Party

Characters
Saludos Amigos: Donald Duck • Pedro • Mama Plane • Papa Plane • Aconcagua • Goofy • José Carioca
The Three Caballeros: Panchito Pistoles • Pablo • Penguins • Aracuan Bird • Burrito • Flying Gauchito • Yaya • Toy Bull

Members of the Saludos Amigos Artist Tour: Walt Disney • Frank Thomas • Lee Blair • Mary Blair • Norman Ferguson
Legend of the Three Caballeros: Xandra • Daisy Duck • April, May, and June • Baron Von Sheldgoose • Lord Felldrake Sheldgoose • Leopold the Horrible • Baroness Von Sheldgoose • Humphrey the Bear • Eugenia Ferdinand-Ferdinand • Clinton Coot • Pete • Donald’s Kettle • Larry the Minotaur • Astro Mummies • Moon Bots • Jupiter, Venus, and Mars • Termites • Apollo • Moai Commander • Lava Lizards • Moai • King Vomit • Goblins • Baydoodior • Spike the Bee • Dapper Duck • George Washington • Abraham Lincoln • Thomas Jefferson • Teddy Roosevelt • Mono • Hanzy • Clementine • Priestess • Gods of Life and Death • Karasu Tengu • Sheldgoose’s Ancestors • King Arthur • Lancelot, Galahad, Kay, and Bors • Merlin • Tyrone • Gary • Yeti Staff • Mr. Spirit • Blazebeak

Objects
Caballeros’ Amulets • Felldrake’s Staff • Felldrake’s Ring • Spark of Life • Magic Mirrors • Xandra’s Atlas • Mystic Barrier • World Fruit • Xandra’s Bow
Episodes
Legend of the Three Caballeros
«Dope-a Cabana» • «Labyrinth and Repeat» • «Pyramid-Life Crisis» • «World Tree Caballeros» • «No Man Is an Easter Island» • «Stonehenge Your Bets» • «Mount Rushmore or Less» • «Nazca Racing» • «Mexico à Go-Go» • «Mt. Fuji Whiz» • «Thanks a Camelot» • «Shangri-La-Di-Da» • «Sheldgoose Square Dance»
Songs
Saludos Amigos: Saludos Amigos • La Blanca Paloma • Escravos de Jó • Aquarela do Brasil • Tico-Tico no Fubá
The Three Caballeros: Baía • Have You Been to Baía? • Pandeiro & Flute • Os Quindins de Yayá • The Three Caballeros • Las Posadas • Mexico • Jarabe Pateño • Lilongo • You Belong to My Heart • La Zandunga • Jesusita en Chihuahua
Legend of the Three Caballeros: Moai Vacation • Goblin Jail • Draw the Line • Shangri-La-Di-Da
Others: We Are The Three Caballeros • My Name is Panchito • Pagode na Disney
Locations
South America • Brazil • Mexico • Argentina • Chile • Peru • Uruguay
Deleted Concepts
Pluto and the Armadillo • The Laughing Gauchito • Caxanga • Cuban Carnival • The Hornero Bird • Blame It on the Samba • Miguelito Maracas

v — e — d

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Media
Mickey Mouse • The Wonderful World of Mickey Mouse • Where’s My Mickey? • Comic book • Where’s My Mickey? Free • Where’s My Mickey? XL
Disney Parks
The Annex • Mickey and Minnie’s Runaway Railway • Move It! Shake It! MousekeDance It! Street Party • Vacation Fun • World of Color: Celebrate • We Love Mickey!

Fireworks: Wonderful World of Animation

Characters
Main: Mickey Mouse • Minnie Mouse • Donald Duck • Daisy Duck • Goofy • Pluto

Supporting: Yeti • Mickey’s Scooter • Horace Horsecollar • Gubbles • Cat • Baby Panda • Clara Cluck • Ghouly • Pete • Ludwig Von Drake • Scrooge McDuck • Clarabelle Cow • Mr. Johnson • Grandma Goofy • Minnie’s Scooter • José Carioca • Panchito Pistoles • Chip ‘n’ Dale • Sleepy • Doc • Bashful • Happy • Grumpy • Dopey • Sneezy • Forest Animals • Huey, Dewey, and Louie • The Orphans • Piñatas Bandidas • Pamplona Bulls • Road Hogs • Giant Squid • Mortimer Mouse • The Three Little Pigs • Big Bad Wolf • The Evil Queen • Flamingo Maitre’d • Gus Goose • Santa Claus • Chernabog and his minions • Beagle Boys • Spike the Bee • Erica • Martian Robot • Morty and Ferdie Fieldmouse • Pluto’s Angel • Pluto’s Devil • Muscular Kangaroo • Piggy • Weasels • House of Tomorrow • Butch the Bulldog • Merlin • Ursula • Parrot • Lonesome Ghosts • Fairy Godmother • Blue Fairy • Jiminy Cricket • The Magic Mirror • Melvin, Buff, and Max
Cameos: Prince Charming • Cinderella • Casey Junior • Walt Disney • Oswald the Lucky Rabbit • Willie the Whale • Lady • Tramp • Peter Pig • Paddy Pig • Unnamed Dog • Belle • Beast• Gyro Gearloose • Glut the Shark • King Louie • Flunkey • Bandar-log • Buzzy, Flaps, Ziggy, and Dizzy • Snow White • Geppetto • Pinocchio • Teenagers • Phantom Blot • The Headless Horseman • Dirty Bill • Humphrey the Bear • Mary Poppins • Thumper • Bambi • Jafar • Raja • Martian Mastermind • Dumbo • The Crows • Skeletons • Three Little Wolves • Elmer Elephant • Tillie Tiger • Max Hare • Toby Tortoise • Bambi’s mother • Ortensia • Yen Sid • Timothy Q. Mouse • Rhino Guards • Maleficent’s Goons • Lady Kluck • Madam Mim • Alan-A-Dale • Mother Rabbit • Skippy • Friar Tuck • Otto • Sir Hiss • Trigger • Flounder • Aracuan Bird • Flit • Madame Upanova • Dapper Dans • Flora, Fauna, and Merryweather • J. Thaddeus Toad • Cheshire Cat • Vultures • Joe • Jenny • Friend Owl • Bucky Bug • Flowers of Wonderland • Alice • Tigger • Willie the Giant • Clopin • Grogu • R2-D2 • Kermit the Frog • Chuuby • Susie the Little Blue Coupe • Ichabod Crane • Tilda

Episodes
Mickey Mouse

Season 1: «No Service» • «Yodelberg» • «Croissant de Triomphe» • «New York Weenie» • «Tokyo Go» • «Stayin’ Cool» • «Gasp!» • «Panda-monium» • «Bad Ear Day» • «Ghoul Friend» • «Dog Show» • «O Sole Minnie» • «Potatoland» • «Sleepwalkin’» • «Flipperboobootosis» • «Tapped Out» • «Third Wheel» • «The Adorable Couple«
Season 2: «Cable Car Chaos» • «Fire Escape» • «Eau de Minnie» • «O Futebol Clássico» • «Down the Hatch» • «Goofy’s Grandma» • «Captain Donald» • «Mumbai Madness» • «The Boiler Room» • «Space Walkies» • «Mickey Monkey» • «Clogged» • «Goofy’s First Love» • «Doggone Biscuits» • «Workin’ Stiff» • «Al Rojo Vivo» • «Bottle Shocked» • «A Flower for Minnie» • «Bronco Busted«
Season 3: «Coned!» • «One Man Band» • «Wish Upon a Coin» • «Movie Time» • «Shifting Gears» • «Black and White» • «­­¡Feliz Cumpleaños!» • «Wonders of the Deep» • «Road Hogs» • «No» • «Roughin’ It» • «Dancevidaniya» • «Couple Sweaters» • «Turkish Delights» • «Sock Burglar» • «Ku’u Lei Melody» • «Entombed» • «No Reservations» • «Split Decision» • «Good Sports«
Season 4: «Swimmin’ Hole» • «Canned» • «Touchdown and Out» • «Locked in Love» • «Bee Inspired» • «Shipped Out» • «Three-Legged Race» • «Nature’s Wonderland» • «The Birthday Song» • «The Perfect Dream» • «Feed the Birds» • «Carnaval» • «Year of the Dog» • «The Fancy Gentleman» • «New Shoes» • «Springtime» • «Dumb Luck» • «Flushed!» • «Roll ’em«
Season 5: «Amore Motore» • «A Pete Scorned» • «House Painters» • «Surprise!» • «Hats Enough» • «Safari, So Good» • «For Whom the Booth Tolls» • «Outta Time» • «My Little Garden» • «You, Me and Fifi» • «Outback at Ya!» • «Our Homespun Melody» • «Over the Moon» • «Easy Street» • «Two Can’t Play» • «Our Floating Dreams» • «Gone to Pieces» • «Carried Away«
Specials: «Duck the Halls: A Mickey Mouse Christmas Special» • «The Scariest Story Ever: A Mickey Mouse Halloween Spooktacular«
The Wonderful World of Mickey Mouse
Season 1: «Cheese Wranglers» • «House of Tomorrow» • «Hard to Swallow» • «School of Fish» • «Keep on Rollin’» • «The Big Good Wolf» • «The Brave Little Squire» • «An Ordinary Date» • «Supermarket Scramble» • «Just the Four of Us» • «Houseghosts» • «The Enchanting Hut» • «Duet for Two» • «Birdwatching» • «Bellboys» • «I Heart Mickey» • «Untold Treasures» • «Disappearing Act» • «Once Upon an Apple» • «Game Night«
Season 2: «The Wonderful Winter of Mickey Mouse» • «The Wonderful Spring of Mickey Mouse» • «The Wonderful Summer of Mickey Mouse» • «The Wonderful Autumn of Mickey Mouse«
Locations
Snack Shack • Cafe Minnie • Patisserie Daisy

Places in the World: Paris, France • New York City, New York • Tokyo, Japan • Beijing, China • Venice, Italy • Idaho • San Francisco, California • Brazil • India • Pamplona, Spain • Monaco • London, England • Mexico • Moscow, Russia • Turkey • Hawaii • Egypt • Korea
Allusions to Disneyland: Matterhorn Bobsleds • It’s a Small World • Main Street Electrical Parade • King Arthur Carrousel • The Haunted Mansion • Great Moments with Mr. Lincoln • Space Mountain • Rocket to the Moon • Mine Train Through Nature’s Wonderland

Songs
The Adorable Couple • Jing-A-Ling-A-Ling • I’m Alive • Swimmin’ Hole • Our Homespun Melody • Carried Away • Nothing Can Stop Us Now • Bubblegum Days and Cotton Candy Nights
Источник

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