Film & Movies
How relocating to a leaky old warehouse made rebooting Disney’s smart, subversive “Zootopia” so much easier

It was the one-two punch that would have felled a lesser group of filmmakers.
Back in November of 2014, the “Zootopia” story team had just realized that – after 3+ years of developing this project for Walt Disney Animation Studios – they were going to have to change this movie’s protagonist.
“And doing that sort of reboot, changing our film’s story so that it could then be told from Judy’s point-of-view rather than Nick’s, was going to cause a lot of upheaval,” recalled Byron Howard – the co-director of Disney’s “Zootopia” – during a phone interview earlier this week.
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Little did Howard know that the upheaval was just getting started. For – that exact same month – Ed Catmull, the president of Pixar and Walt Disney Animation Studios, made an announcement that would then have a profound impact on “Zootopia” ‘s production.
This announcement had to do with the Roy E. Disney building, that 240,000-square foot structure which had been home to WDAS since December of 1994. For while the exterior of this Robert Stern-designed building had long been praised for its playful detailing (EX: That 70 foot-tall Sorcerer Mickey hat that stands over the structure’s main entrance), its interior was another story entirely.
“The outside of this building was a masterpiece,” Byron admitted. “But the insides really isolated people. There was no sort of central core where you could then get the whole crew together. And since Ed and John (Lasseter) had been trying to foster this new sort of creative culture at Walt Disney Animation Studios, one that depended on people talking to one other and regularly learning from each other … Well, given the way that the interior of this building had originally been designed, where – even at the height of production – you never saw anyone because they were all locked away in these dark back offices, something was going to have to change if that new creative culture was really going to flourish at Disney.”
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Which is why – in November of 2014 – Catmull revealed the Company’s plans to completely overhaul the interior of the Roy E. Disney Animation Building. Which involved gutting this 20 year-old structure so that a large, open communal space could then be created where WDAS employees could gather, eat and share ideas.
“For months, we had been hearing rumors that this redo was in the works. But now it was finally officially here,” Howard said. “With the downside being that – given they wanted to get started on this 16 month-long construction project as soon as possible – the ‘Zootopia’ production team would have to pack up just as we were getting started on our reboot and move.”
And where exactly would they be moving to? Byron remembers the exact moment when “Zootopia” producer Clark Spencer first called up the address of their new home on Google Maps.
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“We’re both looking down at this image of a big triangle-shaped warehouse that sits 30 feet away from the end of the runway at Bob Hope Airport. And right behind the building, there’s this track where Metrolink & Amtrak trains go whipping by all day. And to the other side of the warehouse, there’s this junkyard filled with reclaimed cars and tires,” Howard said. “Which is why I joked – as Clark was showing me this image – that I was looking down on a war zone.”
We now jump ahead six weeks to January 1, 2015. Which is when Byron finds himself standing on the loading dock of this freezing-cold building with the “Zootopia” production team as the first moving trucks from WDAS arrive on the scene.
“Now you have to understand that this building had originally been a warehouse for Walt Disney Imagineering. In fact, when we first got there, there were all these huge crates on the loading dock that were full of props that the Company was about to ship off to Shanghai Disneyland. But the building itself was pretty beaten up. It looked like a real rat trap,” Howard said. “But Rich (Moore, the co-director of ‘Zootopia’) and I told the crew ‘We are going to embrace this. This is going to be fun.’ And to the crew’s credit, that’s exactly what they did.”
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Mind you, it took a while for the “Zootopia” team to fully settle into what eventually became known as WDAS’ Tujunga campus. They first had to learn all of this building’s quirks (i.e., which corners of this warehouse’s roof leaked right after it rained. More importantly, which of the building’s toilets were prone to backing up). But as they prowled around this two story-tall structure, learning all of the ins & outs of the place, there were all sorts of Disney-related treasures to undercover.
“I remember one day opening a door and finding myself in the room where the Imagineers must have edited all of those CircleVision 360 movies that they used to make for the theme parks,” Byron said. “I mean, given that the calendar on the wall of that room was from 1994, it had obviously been decades since anyone had last been in there. But there were film cans for ‘Reflections of China‘ and ‘Muppetvision‘ right by the console. So that was pretty cool.”
And speaking of cool, Howard had high praise for how the artists & animators at Walt Disney Animation Studios embraced this space. Truly made this old Imagineering warehouse their new home.
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“I mean, you’d go down to the building’s loading dock area. Which was this truly massive space. And during the first couple of months we were in that warehouse, at lunchtime, there’d always been five or six drones flying around,” Byron recalled. “People actually figured out how to hang hula hoops off of the ceiling so that all of these drones would then have a challenging course to navigate through.”
“Another time, I remember being in this story meeting and then looking out a window onto the building’s loading dock area. And there was this one guy out there – I think he was from the Effects department – right in the middle of this space, practicing his lightsaber moves. He had one of those light-up, Force FX lightsabers. And he was actually really good. Very nimble. Agile,” Howard continued. “A week goes by. And as we’re having another story meeting, I look out that window again down into the loading dock area. And not only is the lightsaber guy back, but he’s now got two disciples. Two padawan, if I may use the proper Star Wars parlance.”
“And as the weeks went by, this guy kept acquiring more & more people who would then go out and buy these light-up lightsabers just so they could then take part in this cool lunchtime activity,” Byron laughed. “He eventually accumulated this whole Jedi Academy of students who then put on a tremendous show for the rest of the crew at our Halloween party.”
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And it was that exact spirit – that, because all of these artists & animators found themselves directly under the flight path of Burbank Airport, they could then really put themselves out there, take chances – that then began to filter into “Zootopia.” Which is why this Academy Award-nominated film is now seen as the smartest, most subversive thing that Walt Disney Animation Studios has produced in years.
Of course, once work was completed on the retooling of the interior of the Roy E. Disney Animation Building last Fall, people began packing up the workspaces that they’d personalized with Christmas lights and/or 7 foot-tall inflatable triceratops & heading back to Burbank.
“And don’t get me wrong. I love what they’ve done with the Roy E. Disney building. A lot of its large new shared spaces remind me somewhat of what we had back at the Tujunga campus,” Howard stated. “But when we were all working out of that crummy, drafty, leaky old warehouse — where some mornings you’d come in and find out that baby possums had somehow gotten inside of the snack machines — there was just something about that place that reminded me of what it was like when I was just starting out in animation. Back when I was first hired by Disney and was working on ‘Mulan’ & ‘Pocahontas’ inside of these temporary trailers. There’s just something about working together under rough, weird conditions like that really binds you as a team.”
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Which is why Byron now has to fight the urge to return to the Tujunga campus. Where – every 25 minutes or so – a Southwest Airlines flight passes directly overhead and shakes the entire building.
“I honestly think that working out of that warehouse is why ‘Zootopia’ turned out the way that it did. Working there, it felt like we were on this weird little island away from everybody else. So it felt like – for a while, anyway — the rules were off. That we didn’t have to follow the exact same rules that we followed back in Burbank,” Howard concluded. “Which is exactly what we needed when we were rebooting this movie.”
This article was originally published by the Huffington Post on Friday, February 17, 2017
Film & Movies
Before He Was 626: The Surprisingly Dark Origins of Disney’s Stitch

Hopes are high for Disney’s live-action version of Lilo & Stitch, which opens in theaters next week (on May 23rd to be exact). And – if current box office projections hold – it will sell more than $120 million worth of tickets in North America.
Stitch Before the Live-Action: What Fans Need to Know
But here’s the thing – there wouldn’t have been a hand-drawn version of Stitch to reimagine as a live-action film if it weren’t for Academy Award-winner Chris Sanders. Who – some 40 years ago – had a very different idea in mind for this project. Not an animated film or a live-action movie, for that matter. But – rather – a children’s picture book.
Sanders revealed the true origins of Lilo & Stitch in his self-published book, From Pitch to Stitch: The Origins of Disney’s Most Unusual Classic.

From Picture Book to Pitch Meeting
Chris – after he graduated from CalArts back in 1984 (this was three years before he began working for Disney) – landed a job at Marvel Comics. Which – because Marvel Animation was producing the Muppet Babies TV show – led to an opportunity to design characters for that animated series.
About a year into this gig (we’re now talking 1985), Sanders – in his time away from work – began noodling on a side project. As Chris recalled in From Pitch to Stitch:
“Early in my animation career, I tried writing a picture book that centered around a weird little creature that lived a solitary life in the forest. He was a monster, unsure of where he had come from, or where he belonged. I generated a concept drawing, wrote some pages and started making a sculpted version of him. But I soon abandoned it as the idea seemed too large and vague to fit in thirty pages or so.”
We now jump ahead 12 years or so. Sanders has quickly moved up through the ranks at Walt Disney Animation Studios. So much so that – by 1997 – Chris is now the Head of Story on Disney’s Mulan.


A Monster in the Forest Becomes Stitch on Earth
With Mulan deep in production, Sanders was looking for his next project when an opportunity came his way.
“I had dinner with Tom Schumacher, who was president of Feature Animation at the time. He asked if there was anything I might be interested in directing. After a little reflection, I realized that there was something: That old idea from a decade prior.”
When Sanders told Schumacher about the monster who lived alone in the forest…
“Tom offered the crucial observation that – because the animal world is already alien to us – I should consider relocating the creature to the human world.”
With that in mind, Chris dusted off the story and went to work.
Over the next three months, Sanders created a pitch book for the proposed animated film. What he came up with was very different from the version of Lilo & Stitch that eventually hit theaters in 2002.
The Most Dangerous Creature in the Known Universe
The pitch – first shared with Walt Disney Feature Animation staffers on January 9, 1998 – was titled: Lilo & Stitch: A love story of a girl and what she thinks is a dog.
This early version of Stitch was… not cute. Not cuddly. He was mean, selfish, self-centered – a career criminal. When the story opens, Stitch is in a security pod at an intergalactic trial, found guilty of 12,000 counts of hooliganism and attempted planetary enslavement.
Instead of being created by Jumba, Stitch leads a gang of marauders. His second-in-command? Ramthar, a giant, red shark-like brute.
When Stitch refuses to reveal the gang’s location, he’s sentenced to life on a maximum-security asteroid. But en route, his gang attacks the prison convoy. In the chaos, Stitch escapes in a hijacked pod and crash-lands on Earth.


Earth in Danger, Jumba on the Hunt
Terrified of what Stitch could do to our technologically inferior planet, the Grand Council Woman sends bounty hunter Jumba – along with a rule-abiding Cultural Contamination Control agent named Pleakley – to retrieve (or eliminate) Stitch.
Their mission must be secret, follow Earth laws, and – most importantly – ensure no harm comes to any humans.
Naturally, Stitch ignores all that.
After his crash, Stitch claws out of the wreckage, sees the lights of a nearby town, and screams, “I will destroy you all!” That plan is immediately derailed when he’s run over by a convoy of sugar cane trucks.
Waking up in the local humane society, Stitch sees a news report confirming the Federation is already hot on his trail. He needs to blend in. Fast.
Enter Lilo
Lilo is a lonely little girl, mourning her parents, looking for a pet. Stitch plays the role of a “cute little doggie” because it’s a means to an end. At this point, Lilo is just someone to use while he builds a communications device.
Using parts from her toys and a stolen police radio, Stitch contacts his old gang. But Ramthar, now the leader, isn’t thrilled. Still, Stitch sends a signal.
Then he builds an army.
Stitch Goes Full Skynet
Stitch constructs a small robot, sends it to the junkyard to build bigger robots. Soon, he has an army. When Ramthar and crew arrive, Stitch’s robots surround them. Ramthar is furious, but Stitch regains command.
Next, Stitch sets his robotic horde on a nearby town. Everything goes smoothly until a robot targets the hula studio where Lilo is dancing. As it lifts her in its claw, Stitch has a change of heart. He saves her.
From here, the plot begins to resemble the Lilo & Stitch we know today. Sort of.
The Ending That Never Was
In Sanders’ original version, it’s not Captain Gantu who kidnaps Lilo, but Ramthar. And when the Grand Council Woman comes to collect Stitch, Lilo produces a receipt from the humane society.
“I paid a $4 processing fee to adopt him. If you take Stitch, you’re stealing.”
The Grand Council Woman crumples the receipt and says, “I didn’t see it.”
Nani chimes in: “Well, I saw it.”
Then Jumba. Then one of Stitch’s old crew. Then a hula girl. And finally, Pleakley pulls out his CCC badge and says:
“Well, I am Pleakley Grathor, Cultural Contamination Control Agent No. 444. And I saw it.”
Pleakley saves Stitch.


How Roy E. Disney Made Stitch Cuddly
Ultimately, this version of Lilo & Stitch was streamlined. Roy E. Disney believed Stitch shouldn’t be nasty. Just naughty. And not by choice – he was designed that way.
Which is how Stitch became Experiment 626. A misunderstood creation of Jumba the mad scientist, not a hardened criminal with a vendetta.
The rest, as they say, is history.

Ricardo Montalbán’s Lost Role
Here’s a detail that even hardcore Lilo & Stitch fans may not know: Ricardo Montalbán—best known as Mr. Roarke from Fantasy Island and Khan Noonien Singh from Star Trek II: The Wrath of Khan—was originally cast as the voice of Ramthar, Stitch’s second-in-command in this early version of the film. He had already recorded a significant amount of dialogue before the story was reworked following Roy E. Disney’s guidance. When Stitch evolved from a ruthless galactic outlaw to a misunderstood genetic experiment, Montalbán’s character (and much of the original gang concept) was written out entirely.
Which is kind of wild when you think about it. Wrath of Khan is widely considered the gold standard of Star Trek films. So yes, for a time, Khan himself was supposed to be part of Disney’s weirdest sci-fi comedy.
Stitch’s Legacy (and Why It Still Resonates)
Looking back at Stitch’s original story, it’s wild to think how close we came to getting a very different kind of movie. One where our favorite blue alien was less “ohana means family” and more “I’ll destroy you all.” But that transformation—from outlaw to outcast to ohana—is exactly what makes Lilo & Stitch so special.
So as the live-action version prepares to hit theaters, keep in mind that behind all the cuddly merch and tiki mugs lies one of Disney’s strangest, boldest, and most hard-won reinventions. One that started with a forest monster and became a beloved franchise about found family.
June 26th is officially Stitch Day—so mark your calendar. It’s a good excuse to celebrate just how far this little blue alien has come.
Film & Movies
How “An American Tail” Led to Disney’s “Hocus Pocus”

Over the last week, I’ve been delving into Witches Run Amok, Shannon Carlin’s oral history of the making of Disney’s Hocus Pocus. This book reveals some fascinating behind-the-scenes stories about the 1993 film that initially bombed at the box office but has since become a cult favorite, even spawning a sequel in 2022 that went on to become the most-watched release in Disney+ history.
But what really caught my eye in this 284-page hardcover wasn’t just the tales of Hocus Pocus’s unlikely rise to fame. Rather, it was the unexpected connections between Hocus Pocus and another beloved film—An American Tail. As it turns out, the two films share a curious origin story, one that begins in the mid-1980s, during the early days of the creative rebirth of Walt Disney Studios under Michael Eisner, Frank Wells, and Jeffrey Katzenberg.
The Birth of An American Tail
Let’s rewind to late 1984/early 1985, a period when Eisner, Wells, and Katzenberg were just getting settled at Disney and were on the hunt for fresh projects that would signal a new era at the studio. During this time, Katzenberg—tasked with revitalizing Disney Feature Animation—began meeting with talent across Hollywood, hoping to find a project that could breathe life into the struggling division.
One such meeting was with a 29-year-old writer and illustrator named David Kirschner. At the time, Kirschner’s biggest credit was illustrating children’s books featuring Muppets and Sesame Street characters, but he had an idea for a new project: a TV special about a mouse emigrating to America, culminating in the mouse’s arrival in New York Harbor on the same day as the dedication of the Statue of Liberty in 1886.

Katzenberg saw the patriotic appeal of the concept but ultimately passed on it, as he was focused on finding full-length feature projects for Disney’s animation department. Kirschner, undeterred, took his pitch elsewhere—to none other than Kathleen Kennedy, Steven Spielberg’s production partner. Kennedy was intrigued and invited Kirschner to Spielberg’s annual Fourth of July party to pitch the idea directly to the famed director.
Spielberg immediately saw the potential in Kirschner’s idea, but instead of a TV special, he envisioned a full-length animated feature film. This project would eventually become An American Tail, a tribute of sorts to Spielberg’s own grandfather, Philip Posner, who emigrated from Russia to the United States in the late 19th century. The film’s lead character, Fievel, was even named after Spielberg’s grandfather, whose Yiddish name was also Fievel.
Disney’s Loss Becomes Universal’s Gain
An American Tail went on to become a major success for Universal Pictures, which hadn’t been involved in an animated feature since the release of Pinocchio in Outer Space in 1965. Meanwhile, over at Disney, Eisner and Wells weren’t exactly thrilled that Katzenberg had let such a promising project slip through his fingers.
Not wanting to miss out on any future opportunities with Kirschner, Katzenberg quickly scheduled another meeting with him to discuss any other ideas he might have. And as fate would have it, Kirschner had just written a short story for Muppet Magazine called Halloween House, about a boy who is magically transformed into a cat by a trio of witches.
The Pitch That Sealed the Deal
Knowing Katzenberg could be a tough sell, Kirschner went all out to impress during his pitch. He requested access to the Disney lot 30 minutes early to set the stage for his presentation. When Katzenberg and the Disney development team walked into the conference room, they were greeted by a table covered in candy corn, a cauldron of dry ice fog, and a broom, mop, and vacuum cleaner suspended from the ceiling as if they were flying—evoking the magical world of Halloween House.
Katzenberg was reportedly unimpressed by the theatrical setup, muttering, “Oy, show-and-tell time” as he took his seat. But Kirschner knew exactly how to grab his attention. He started his pitch with the fact that Halloween was a billion-dollar business—a figure that made Katzenberg sit up and take notice. He listened attentively to Kirschner’s pitch, and by the time the meeting was over, Katzenberg was convinced. Halloween House would become Hocus Pocus, and Disney had its next big Halloween film.
A Bit of Hollywood Drama
Interestingly, Kirschner’s success with Hocus Pocus didn’t sit well with his old collaborators. About a year after the film’s release, Kirschner ran into Kathleen Kennedy at an Amblin holiday party, and she wasted no time in expressing her disappointment. According to Kirschner, Kennedy said, “You really hurt Steven.” When Kirschner asked how, she explained that Spielberg and Kennedy had given him his big break with An American Tail, but when he came up with the idea for his next film, he brought it to Disney rather than to them.
Hollywood can be a place where loyalty is valued—or, at least, perceived loyalty. At the same time, this was happening just as Katzenberg was leaving Disney and partnering with Spielberg and David Geffen to launch DreamWorks SKG, which only added to the tension. Loyalty, as Kirschner found out, can be an abstract concept in the entertainment industry.
A Halloween Favorite is Born
Despite its rocky start at the box office in 1993, Hocus Pocus has gone on to become a beloved part of Halloween pop culture. And, as Carlin’s book details, its success helped pave the way for more Disney Halloween-themed projects in the years that followed.

As for why Hocus Pocus was released in July of 1993 instead of during Halloween? That’s a story for another time, but it has something to do with another Halloween-themed project Disney was working on that year—Tim Burton’s The Nightmare Before Christmas—and Katzenberg finding himself in the awkward position of having to choose between keeping Bette Midler or Tim Burton happy.
For more behind-the-scenes stories about Hocus Pocus and other Disney films, be sure to check out Witches Run Amok by Shannon Carlin. It’s a fascinating read for any Disney fan!
And if you love hearing these kinds of behind-the-scenes stories about animation and film history, be sure to check out Fine Tooning with Drew Taylor, where Drew and I dive deep into all things movies, animation, and the creative decisions that shape the films we love. You can find us on your favorite podcast platforms or right here on JimHillMedia.com.
Film & Movies
How Disney’s “Bambi” led to the creation of Smokey Bear

When people talk about Disney’s “Bambi,” the scene that they typically cite as being the one from this 1942 film which then scarred them for life is – of course – the moment in this movie where Bambi’s mother gets shot by hunters.
Which is kind of ironic. Given that – if you watch this animated feature today – you’ll see that a lot of this ruined-my-childhood scene actually happens off-camera. I mean, you hear the rifle shot that takes down Bambi’s Mom. But you don’t actually see that Mama Deer get clipped.
Now for the scariest part of that movie that you actually see on-camera … Hands down, that has to be the forest fire sequence in “Bambi.” As the grown-up Bambi & his bride, Faline, desperately race through those woods, trying to find a path to safety as literally everything around them is ablaze … That sequence is literally nightmare fuel.

Mind you, the artists at Walt Disney Animation Studios had lots of inspiration for the forest fire sequence in “Bambi.” You see, in a typical year, the United States experiences – due to either natural phenomenon like lightning strikes or human carelessness – 100 forest fires. Whereas in 1940 (i.e., the year that Disney Studios began working in earnest of a movie version of Felix Salten’s best-selling movie), America found itself battling a record 360 forest fires.
Which greatly concerned the U.S. Forest Service. But not for the reason you might think.
Protecting the Forest for World War II
I mean, yes. Sure. Officials over in the Agricultural Department (That’s the arm of the U.S. government that manages the Forest Service) were obviously concerned about the impact that this record number of forest fires in 1940 had had on citizens. Not to mention all of the wildlife habitat that was now lost.
But to be honest, what really concerned government officials was those hundreds of thousands of acres of raw timber that had been consumed by these blazes. You see, by 1940, the world was on the cusp of the next world war. A conflict that the U.S. would inevitably be pulled into. And all that now-lost timber? It could have been used to fuel the U.S. war machine.
So with this in mind (and U.S. government officials now seeing an urgent need to preserve & protect this precious resource) … Which is why – in 1942 (just a few months after the Japanese bombed Pearl Harbor) – the U.S. Forest Service rolls out its first-ever forest fire prevention program.
Which – given that this was the early days of World War II – the slogan that the U.S. Forest Service initially chose for its forest fire prevention program is very in that era’s we’re-all-in-this-together / so-let’s-do-what-we-can-to-help-America’s war-effort esthetic – made a direct appeal to all those folks who were taking part in scrap metal drives: “Forest Defense is National Defense.”

And the poster that the U.S. Forest Service had created to support this campaign? … Well, it was well-meaning as well. It was done in the WPA style and showed men out in the forest, wielding shovels to ditch a ditch. They were trying to construct a fire break, which would then supposedly slow the forest fire that was directly behind them.
But the downside was … That “Forest Defense is National Defense” slogan – along with that poster which the U.S. Forest Service had created to support their new forest fire prevention program didn’t exactly capture America’s attention.
I mean, it was the War Years after all. A lot was going in the country at that time. But long story short: the U.S. Forest Service’s first attempt at launching a successful forest fire prevention program sank without a trace.
So what do you do in a situation like this? You regroup. You try something different.
Disney & Bambi to the Rescue
And within the U.S. government, the thinking now was “Well, what if we got a celebrity to serve as the spokesman for our new forest fire prevention program? Maybe that would then grab the public’s attention.”
The only problem was … Well, again, these are the War Years. And a lot of that era’s A-listers (people like Jimmy Stewart, Clark Gable, even Mel Brooks) had already enlisted. So there weren’t really a lot of big-name celebrities to choose from.
But then some enterprising official at the U.S. Forest Service came up with an interesting idea. He supposedly said “Hey, have you seen that new Disney movie? You know, the one with the deer? That movie has a forest fire in it. Maybe we should go talk with Walt Disney? Maybe he has some ideas about how we can better capture the public’s attention when it comes to our new forest fire prevention program?”
And it turns Walt did have an idea. Which was to use this government initiative as a way to cross-promote Disney Studio’s latest full-length animated feature, “Bambi.” Which been first released to theaters in August of 1942.
So Walt had artists at Disney Studio work up a poster that featured the grown-up versions of Bambi the Deer, Thumper the Rabbit & Flower the Skunk. As this trio stood in some tall grasses, they looked imploring out at whoever was standing in front of this poster. Above them was a piece of text that read “Please Mister, Don’t Be Careless.” And below these three cartoon characters was an additional line that read “Prevent Forest Fires. Greater Danger Than Ever!”

According to folks I’ve spoken with at Disney’s Corporate Archives, this “Bambi” -based promotional campaign for the U.S. Forest Service’s forest fire prevention campaign was a huge success. So much so that – as 1943 drew to a close – this division of the Department of Agriculture reportedly reached out to Walt to see if he’d be willing to let the U.S. Forest Service continue to use these cartoon characters to help raise the public’s awareness of fire safety.
Walt – for reasons known only to Mr. Disney – declined. Some have suggested that — because “Bambi” had actually lost money during its initial theatrical release in North America – that Walt was now looking to put that project behind him. And if there were posters plastered all over the place that then used the “Bambi” characters that then promoted the U.S.’s forest fire prevention efforts … Well, it would then be far harder for Mr. Disney to put this particular animated feature in the rear view mirror.
Introducing Smokey Bear
Long story short: Walt said “No” when it came to reusing the “Bambi” characters to promote the U.S. Forest Service’s forest fire prevention program. But given how successful the previous cartoon-based promotional campaign had been … Well, some enterprising employee at the Department of Agriculture reportedly said “Why don’t we come up with a cartoon character of our own?”
So – for the Summer of 1944 – the U.S. Forest Service (with the help of the Ad Council and the National Association of State Foresters) came up with a character to help promote the prevention of forest fires. And his name is Smokey Bear.
Now a lot of thought had gone into Smokey’s creation. Right from the get-go, it was decided that he would be an American black bear (NOT a brown bear or a grizzly). To make this character seem approachable, Smokey was outfitted with a ranger’s hat. He also wore a pair of blue jeans & carried a bucket.
As for his debut poster, Smokey was depicted as pouring water over a still-smoldering campfire. And below this cartoon character was printed Smokey’s initial catchphrase. Which was “Care will prevent 9 out of 10 forest fires!”

Which makes me think that this slogan was written by the very advertising executive who wrote “Four out of five dentists recommend sugarless gum for their patients who chew gum.”
Anyway … By the Summer of 1947, Smokey got a brand-new slogan. The one that he uses even today. Which is “Only YOU can prevent forest fires.”
The Real Smokey Bear
Now where this gets interesting is – in the Summer of 1950 – there was a terrible forest fire up in the Capitan Mountains of New Mexico. And over the course of this blaze, a bear cub climbed high up into a tree to try & escape those flames.
Firefighters were finally able to rescue that cub. But he was so badly injured in that fire that he was shipped off to the National Zoo in Washington, D.C. and nursed back to health. And since this bear really couldn’t be released back in the wild at this point, he was then put on exhibit.
And what does this bear’s keepers decide to call him? You guessed it: Smokey.

And due to all the news coverage that this orphaned bear got, he eventually became the living symbol of the U.S. Forest Service’s forest fire prevention program. Which then meant that this particular Smokey Bear got hit with a ton of fan mail. So much so that the National Zoo in Washington D.C. wound up with its own Zip Code.
“Smokey the Bear” Hit Song
And on the heels of a really-for-real Smokey Bear taking up residence in our nation’s capital, Steve Nelson & Jack Rollins decide to write a song that shined a spotlight on this fire-fightin’ bruin. Here’s the opening stanza:
With a ranger’s hat and shovel and a pair of dungarees,
You will find him in the forest always sniffin’ at the breeze,
People stop and pay attention when he tells them to beware
Because everybody knows that he’s the fire-preventin’ bear
Believe or not, even with lyrics like these, “Smokey the Bear” briefly topped the Country charts in the Summer of 1950. Thanks to a version of this song that was recorded by Gene Autry, the Singing Cowboy.
By the way, it was this song that started all of the confusion in regards to Smokey Bear’s now. You see, Nelson & Rollins – because they need the lyrics of their song to scan properly – opted to call this fire-fightin’-bruin Smokey THE Bear. Rather than Smokey Bear. Which has been this cartoon character’s official name since the U.S. Forest Service first introduced him back in 1944.
“The Ballad of Smokey the Bear”
Further complicating this issue was “The Ballad of Smokey the Bear,” which was a stop-motion animated special that debuted on NBC in late November of 1966. Produced by Rankin-Bass as a follow-up to their hugely popular “Rudolph the Red-Nosed Reindeer” (which premiered on the Peacock Network in December of 1964) … This hour-long TV show also put a “THE” in the middle of Smokey Bear’s name because the folks at Rankin-Bass thought his name sounded better that way.
And speaking of animation … Disney’s “Bambi” made a brief return to the promotional campaign for the U.S. Forest Service’s forest fire prevention program in the late 1980s. This was because the Company’s home entertainment division had decided to release this full-length animated feature on VHS.
What’s kind of interesting, though, is the language used on the “Bambi” poster is a wee different than the language that’s used on Smokey’s poster. It reads “Protect Our Forest Friends. Only You Can Prevent Wildfires.” NOT “Forest Fires.”
Anyway, that’s how Disney’s “Bambi” led to the creation of Smokey Bear. Thanks for bearin’ with me as I clawed my way through this grizzly tale.
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