If you know anything about the Walt Disney Studio, you know that the Old Maestro exercised total control over his animated kingdom. From the studio’s humble beginnings in the 1930’s to his passing in 1966, nothing — and I do mean nothing — ever escaped the careful gaze of Walt Disney.
Maybe Walt Disney wasn’t the first “control freak” in history, but he was certainly worthy of that dubious title. Every story idea, art style and casting choice in a motion picture had to go through Walt first. When you worked for Walt Disney you either became Walt Disney or you went somewhere else. Your story ideas had to be acceptable to Walt. Your art styling had to match Disney’s artistic sensibility. The studio was the perfect reflection of its founder.
Knowing these things, would it surprise you to know that the Old Maestro actually encouraged dissension in the ranks? Would you be shocked to know Walt Disney allowed his artists and writers to pursue their own vision even though it might be in total opposition to the accepted Disney style?
To be sure, Walt Disney was an enigma. On one hand, he wanted things done his way, and he was not tolerant of opposition. Having said that, how does one explain the latitude he often gave those who traveled a different path? Some might say he was only giving those “radicals” enough rope to hang themselves so he could be done with them. Such was not the case. The Old Maestro may have ultimately rejected their ideas, but he was perfectly willing to allow those ideas to be pursued.
Even in a studio as tightly controlled as Disney, it would appear that The Old Maestro recognized the need for new, untried ideas to have a platform. So Walt allowed projects that did not reflect his personal vision to continue. If you were to wander the story rooms in the Animation Building in the fifties and sixties, you might have been surprised to see what was in development. Walt was no curmudgeon, stuck in the past. He was perfectly willing to take risks with story and art direction if he felt something might be gained from these experiments.
The unpredictable Ward Kimball. Though Walt called him a genius, Kimball had his
fair share of turmoil with the boss. Kimball was well known for breaking the rules.
Photo courtesy of Amid Amidi
Remember the Ward Kimball space unit in the 1950s? Walt was willing to let Kimball run with his often wacky ideas in this new and unusual Disney department, even though he sometimes seriously objected to what Ward was doing with the Disney characters. What about Nick’s commercial unit on the second floor of the Animation Building where the Disney characters were radically stylized for television ads? How many of you remember Tom Oreb’s restyling of Mickey Mouse with his squared off ears? Think the Old Man was unaware of what was going on in his own studio? Think again.
Tom Oreb was a brilliant designer. Yet Walt Disney made it no secret that he hated
the production design for “101 Dalmatians,” one of the studio’s biggest hits.
Photo courtesy of Amid Amidi
As much as he wanted things his way, Walt Disney recognized he needed people on his staff that would challenge, disagree and go against him in his own animation department. This is the stuff that breeds and nourishes creativity and keeps the medium alive and vital. To be sure, there were those who would toe the company line, and do exactly what the Old Maestro expected. However, there were also those who chose to move in a different direction, even though that move might incur the wrath of the Old Man himself. Guys like Ward Kimball, Walt Peregoy, Tom Oreb and others knew that in order to keep animation alive and thriving, there was a need to move forward even over the objections of the boss.
Color stylist Walt Peregoy was a creative force at the Disney Studio.
His work didn’t always win the Old Maestro’s acceptance,
but he certainly won Disney’s respect.
Photo courtesy of Amid Amidi
Today, I see the Disney Company making some of the same mistakes that were made in the 1970s. Back then, there were artists with strange drawing styles. Some had odd and quirky ideas. There were those who wanted to break new ground with technology. However, these guys just weren’t Disney. They simply didn’t fit. The talented individuals who failed to conform to the company line were allowed to walk out the door – – only to be brought back years later at considerable cost.
Walt Disney Feature Animation has had a name change, and along with that I think they could use a new attitude. This studio could use a roomful of mavericks and “crazy men” to challenge the status quo. All too often the people the studio gets rid of are the very people they should embrace. The artists who refuse to “play by the rules” and make the movies that are acceptable to the establishment.
Walt Disney was the ultimate “control freak,” and he wanted things done his way. Yet, even the Old Maestro realized that sometimes the most important people in your organization are not the creators who tow the company line and follow the rules. What keeps any studio creatively vital are the mavericks and the “crazy men.” The nut cases who come up with the ideas you don’t like.
Get rid of them – – and you’ve also gotten rid of your future.
Did you enjoy today’s “Toon Tuesday” column? Well, that’s just one of the hundreds of amazing tales that Floyd Norman has to tell. Many of which you’ll find in the three books Floyd currently has the market. Each of which take an affectionate look back at the time that Mr. Norman spent working in the animation industry.
These include Floyd’s original collection of cartoons and stories — “Faster! Cheaper! The Flip Side of the Art of Animation” (which is available for sale over at John Cawley’s cataroo.com) as well as two follow-ups to that book, “Son of Faster, Cheaper” & “How the Grinch Stole Disney.” Which you can purchase by heading over to Afrokids.com.