General

The Ub Iwerks Story — Part II

Jim Korkis concludes his two part story about Ub Iwerks, the secret genius of Walt Disney Studios.

Published

21 years ago

September 13, 2003

When I had the opportunity to interview Peter Ellenshaw, the Disney master of matte painting, who worked on several projects with Ub Iwerks about what Iwerks was really like, Ellenshaw very diplomatically answered “He was amazing. He was a genius. But it was obvious we had very different senses of humor.” Even the easy going Ellenshaw obviously had some challenges dealing with the secret genius of the Disney Studio.

According to the book WALT DISNEY: A BIOGRAPHY by Barbara Ford, “In spite of his skills, Ub remained the same shy, inarticulate, serious young man he had been when Walt first met him. He was extremely nervous around young women. Ub’s personality made him a natural foil for confident Walt’s practical jokes. At Kansas City Film Ad Company, Walt would send Ub postcards signed with girls’ names, lock him in the washroom so that he had to hammer on the door to get out, and smuggle animals into his desk and locker. Ub never complained.”

Ub never complained not necessarily because he was a good sport but because he seemed to have difficult expressing emotion and it would sometimes bubble up in a temper to rival Walt’s. So when an opportunity came up in 1930 to run his own studio his own way without any interference from Walt and at a salary double what he was currently making, Ub decided it was time to move on and avoid his growing frustration at Disney.

Walt, who was in New York at the time, was taken completely by surprise and felt betrayed by his longtime friend’s decision to leave the Disney Studio. Even worse, Ub was going to be a competitor.

To be fair, Ub didn’t feel his leaving would put the studio in jeopardy since a process had been established to produce the Mickey Mouse and Silly Symphony cartoons and the studio had expanded with more than enough other animators like Les Clark capable of doing the work. Roy Disney even sent a note to Walt explaining that there was no evidence of malice in Ub’s action and that he was always a little naïve when it came to business dealings. The Disneys paid Ub less than $3,000 for his 20% partnership in the company which was a substantial amount in 1930. (That 20% would have been worth billions today.)

Under the banner of Celebrity Productions, Iwerks produced three cartoon series from 1930 to approximately 1936: Flip the Frog, Willie Whopper and the ComiColor cartoon fables.

After the first two cartoons, Flip was modified to be less froglike and with new short pants, white shoes and gloves, he resembled nothing more than one of the several Mickey Mouse wannabes like Warners’ Foxy which were prevalent at the time. The cartoons did resemble the early Mickey Mouse cartoons with several similar plots like a dark house mystery and building a robot but although they featured strong animation, the stories meandered at a slow pace and never took advantage of the opportunities for gags.

The ComiColor Cartoon series were primarily adaptations of classic folklore stories like Jack and the Beanstalk, the Headless Horseman and Sindbad the Sailor. They were produced in Cinecolor, a two color process using a combination of red and blue hues . Many of the cartoons were filmed in a three dimensional effect using a crude multiplane camera Iwerks had built using parts from an old Chevrolet automobile for about $300. These technical improvements never compensated for the lack of a strong story and charismatic characters.

The Willie the Whopper series recounted the adventures of a pudgy young boy (voiced by a seven year old Jane Withers in one of her first professional jobs) who told tall tales known as “whoppers” and who at the end of each cartoon encouraged audiences to tell one of their own.

The studio was staffed by soon to be legendary animators like Grim Natwick, Shamus Culhane, Virgil Ross and Rudy Zamora as well as a young man just starting his career, Chuck Jones, who was employed to wash the ink and paint off cels so they could be re-used. (Chuck also got a chance to get to know Ub’s secretary, Dorothy, who would later become Chuck’s first wife.) However, while Iwerks was an inspiration as an animator, his laconic manner, often misunderstood by others as being sullen, was unable to provide the leadership needed to guide these talented individuals to creative heights.

It quickly became obvious that Iwerks was unable or unwilling to adapt his cartoons to changes happening in the cartoons of the Thirties which ironically were sparked by the rapid advances in Disney animation. Just as apparent was the fact that Ub was becoming less interested in animation and the day-to-day running of the studio and more interested in technology and was happiest when tinkering with mechanical problems.

Rich production values could not compensate for lead characters who were passive and lacked clear, charismatic personalities nor for unfocused stories so the studio laid off much of its staff in 1935 and shifted from independent production to subcontracting. Ub directed two Porky Pig cartoons and directed some of the Color Rhapsodies series for Columbia.

Iwerks became progressively more and more unhappy about his situation and on September 9, 1940, he returned to the Disney Studio and became Walt’s creative technical director for the studio’s new Optical Print Department. Iwerks stayed at the studio for the next three decades as a technical troubleshooter until his death in 1971 and his credit of “special processes” appears on numerous Disney films.

Ub’s rehiring was done by Ben Sharpsteen and Walt pointedly did not want to know the details even though it was highly unusual for the Disney Studio to rehire someone who left to become a competitor. Walt dealt with Ub at a professional distance with no revival of the social connections of the past. They respected each other and publicly praised each other but a definite chill existed that was sensed by all who worked at the studio.

However, Walt recognized how valuable Ub was to the Studio and left him alone to explore his own instincts regarding technological matters. Ub designed and built the first multi-head optical printer which made possible the combination of live action and animation in THE THREE CABALLEROS (and later modifications he made on this device were responsible for the more intricate combinations of live action and animation in MARY POPPINS).

He assisted in the development of a xerography process that allowed animator’s artwork as in 101 DALMATIANS (1961) to be transferred directed to xerox cels and thus eliminated the inking process.

Although Ub was no longer involved in animation, Dave Smith of the Disney Archives has revealed that Ub slipped in at least one drawing in every picture he worked on. For example, he did the art work for a coral reef in a process shot in 20,000 LEAGUES UNDER THE SEA and he did a lot of uncredited artwork in the training films that the studio did for the military during World War II as well as animated an unused segment for Danny Kaye’s film, UP IN ARMS.

He designed many of the effects for such Disneyland attractions as “it’s a small world” and “Pirates of the Caribbean” and did the design for the film presentation for the “Hall of Presidents” attraction for Walt Disney World. In 1962, Ub was loaned out to Alfred Hitchcock and put in more than three hundred hours on special effects for THE BIRDS.

Ub was a collector of mechanical things, firearms and early cameras and related material like glass slides. Professionally, he was a member of several organizations including the Motion Picture Research Council, the American Society of Cinematographers, the Academy of Motion Picture Arts and Sciences and the Academy of Television Arts and Sciences.

In 1959, Ub received an Academy Award for the design of an improved optical printer for special effects and matte shots. He received another Oscar in 1964 on the conception and perfection of techniques for color traveling matte composite cinematography. (Iwerks and his staff perfected the traveling matte system in MARY POPPINS to create the scenes where characters danced with animated penguins and the “Feed the Birds” sequence in which hundreds of pigeons flocked around St. Paul’s Cathedral.) He also received the Herbert T. Kalmus Cold Medal Award for his outstanding contributions to the industry.

“My granddad was a quiet man. His house in Sherman Oaks was studious and modern, with Mozart playing all the time. Grandma Mildred liked flower-arranging – simple designs like ikebana,” commented Kathie Iwerks Stark, Ub’s granddaughter.

According to Stark, her grandfather taught himself to bowl but stopped once he’d bowled 300, a perfect game. He also abandoned archery once he’d perfected that sport. To relax, Ub Iwerks played poker with Ben “Bugs” Hardaway, one of the creators of Bugs Bunny and one of the creators of Woody Woodpecker.

Ub passed away in 1971, five years after Walt Disney. Don Iwerks, one of Ub’s sons, spent thirty-five years at the Walt Disney Companies and some of that time working with his dad. Don and his team designed and manufactured unique film systems for both Disneyland and Walt Disney World. Ub’s other son, David, also worked at the Disney Studios in special effects. In 1986, Don left Disney to help start Iwerks Entertainment which became one of the world’s leading providers of location-based entertainment attractions with over 250 installations operating or contracted worldwide. It continues Ub’s spirit of innovation in technology.

Walt and Ub were a great team. Iwerks was able to develop and perfect technical processes that supported Walt’s creative ideas and was content to remain in Walt’s shadow even after Walt’s death. Ub was a quiet and unassuming man who many felt could have followed the same path as Walt but their paths diverged yet eerily remained parallel and now decades later, thanks to his granddaughter’s book and film documentary, Disney’s secret genius is beginning to receive some belated recognition for his many accomplishments. He was posthumously named a Disney Legend in 1989.

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

10 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

10 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

10 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015