Comics and Film

I was having lunch in the commissary at the Walt Disney Studios when a couple of writers from the comic strip department invited me to join them at their table. Once seated, they tried to talk me into coming aboard their team which was then located in the ROD Building on the studio lot. "We need Disney writers," they said, "and we think you'd be a good fit." I respectfully declined their offer, of course. I was a movie guy, and writing comics even for a prestigious studio like Disney seemed a step down to this animation veterean.

It was nearly two years later that circumstances in the film business changed my mind. I had been working on a feature film that suddenly melted down. Not an unusual event in the development of animated films, of course. In any case, I was completely burned out and wanted to step away from the "wonderful world of animation" for a while. What better way to detox than taking a completely different job. That new job as it turns out, was becoming a writer for Disney's comic strip department.

Totally unlike the world of film where everything is micromanaged to death, the move to comic strips provided a needed breath of fresh air. Movies are "important" and represent a truck load of money. Comic books and strips on the other hand are considered small potatoes and nobody really cares about the medium often referred to as the "trash of the publishing business."

Personally, I've always enjoyed working in comics and I began my career assisting a local Santa Barbara cartoonist while still a kid in high school. My years spent writing Mickey Mouse, Donald Duck and a host of Disney characters were the best of my cartoony life. Better yet, we were allowed to pretty much write anything we wanted and we were not annoyed by a squadron of useless executives peering over our shoulders. My little cartoon break from the world of animation turned out to be one of the most fun experiences I've ever had and my years of writing comics as it turns out was a far happier experience than working on a "big time feature animated film." Creating entertaining animated movies used to be fun. Sadly, it's not fun anymore now that it's become big business. And, those who think it is fun must be working at some animation studios I don't know about.

A Sixties View of D-Wing

This is Kimie Tashima Calvert, and I grabbed this photograph one quiet morning in D-Wing at the Walt Disney Studios back in the sixties when things were very mellow in the animation business.

Kimie seems to be facing the office of animator, John Kennedy. This office was once occupied by Disney Legend, Ward Kimball. Ward was long gone having moved upstairs to 2-D to run his own production unit. Down the hall from Kimie are the offices of Frank Thomas and his key assistant, Dale Oliver. That's Ollie Johnston's office on the rear right, and the office on the left is occupied by Eric Larsen. Moving left back toward us is Stan Green's office. As you know, Stan Green assisted the legendary Milt Kahl for many years.

This was a very mellow time at the Walt Disney Studios. The sixties were sort of a transition time for all of us. Old Disney had come to an end with the wrap up and successive layoffs after Sleeping Beauty. Austarity had come to Walt's animation department and the success of 101 Dalmatians proved Disney could still manufactor hits under a budget. Things were getting underway with our next animated feature because Walt had given the go ahead to The Sword in the Stone. I had moved from my old office in A-Wing to join Milt Kahl's team in D-Wing.

Since the Disney Studio had shed hundreds of artists you can imagine how quiet the halls were after Sleeping Beauty. I regreted the cut backs and the trauma many suffered after losing their jobs. However, I considered myself lucky to have survived the layoffs and was able to continue my animation career.

In spite of what appeared to be an animation downturn, the future contined to look bright. A new feature film had Disney very excited and we would soon be working on a live-action animation combination called, Mary Poppins. Also being developed was a new cartoon series based on Winnie the Pooh, and word was out that story master, Bill Peet would be developing a cartoon version of Kipling's, The Jungle Book as our next animated project.

As I said, the Sixties was a mellow time for all of us Disney artists, but it would soon get very, very exciting.

Talking Turkey

Last night I had to step away from my desk because “Midnight in Paris” was on Adrienne’s television, and for some reason I just couldn’t resist watching it even though I had already seen the Woody Allen film.

This is me at my work station or whatever you might call it. In any case it’s where I was storyboarding an animated motion picture that features the voice of Owen Wilson and his brother, Luke Wilson. Along with Woody Harrelson, Owen is the voice of a turkey who travels back in time to subvert the use of turkeys in the Thanksgiving holiday. If Owen and Woody can manage to get the Pilgrims to switch from turkey to pork, they’ll be off the hook.

It’s a fun, cartooney motion picture that could provide a few laughs if it’s done correctly. I was invited by my pal, Ash Brannon to do storyboards on the film. I had last worked with Ash on “Toy Story2” while at Pixar Animation Studios. It was great joining my buddy, Ken Mitchroney and Ash on the wacky turkey movie.

One afternoon while storyboarding one of the characters in the film - a character that was voiced by Luke Wilson, I looked up from my drawing board to see the actor standing nearby. Wilson had come in to do some pick lines for the film. As you probably already know these animated films are usually written and rewritten as we go. That means the actors are continually recording new dialogue.

This photograph was taken by my pal and colleague, Ken Mitchroney who was sitting opposite me in the large production facility. No, it wasn’t Disney and it wasn’t Pixar, but the opportunity to work on an animated cartoon is something I can never resist.

Making Each Day Count

This is a sketch that was easy to draw from memory. I can't tell you how many times I saw The Old Maestro walk through the double doors of the Animation Building. Yes, this is pretty much what the boss looked like back in the day. However, don't judge Walt too harshly by the look on his face. He was not a angry man who scowled as he made his way around the studio lot. He was not aloof and unapproachable, though some may have garnered a wrong impression.

Walt Disney was a man who had much on his mind. I can't even begin to imagine all the projects he must have been juggling in his head. Not only was he running a cartoon studio but a live-action one as well. The Anaheim theme park was off to a roaring success, and Disney had other park ideas in mind. Education was foremost on his mind and a good deal of thought was being given to the ever expanding California Institute of the Arts then being planned for a site in the west valley. There was the exciting project in the high sierras he called Mineral King, and of course the Florida project was just beginning to gain traction. Clearly, Walt Disney had a lot on his plate, and I guess you could forgive him for being somewhat distracted.

You see, the scowl on Walt's face wasn't really a scowl at all. He wasn't having a bad day and he wasn't angry at anyone in his evergrowing studio. His mind was focused on several rotating projects and more were being added everyday. Walt Disney was ever mindful of the limited time we all have on this earth and he was intent on making the most of every minute he had. It was no wonder the boss was often considered a workaholic. Walt knew he had to make the most of every day if he ever hoped to accomplish his many goals.

So, don't be mislead by the grumpy individual who just walked by. He's not really grumpy, he's just extremly focused, and he has much to do in the upcoming years. He will accomplish a good deal during the next few years, but not all the dreams will be realized. That's the way it goes, I guess. We're all human with a limited time on this earth. Walt Disney was well aware of this fact, and that's why he made every day count.