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Universe of Disney
for cultivate your dreams
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Contents
Articles
The founders
1
Walt Disney
1
Roy O. Disney
The company
The Walt Disney Company
The technical means
22
25
25
42
Technicolor
42
Multiplane camera
52
Rotoscoping
54
Some movies
57
Snow White and the Seven Dwarfs (1937 film)
57
Fantasia (film)
70
Aladdin (1992 Disney film)
90
The Lion King
103
Hercules (1997 film)
116
References
Article Sources and Contributors
124
Image Sources, Licenses and Contributors
130
Article Licenses
License
131
1
The founders
Walt Disney
Walt Disney
Walt Disney on January 1, 1954
Born
Walter Elias Disney
[1]
December 5, 1901
Hermosa, Chicago, Illinois, U.S.
Died
December 15, 1966 (aged 65)
Burbank, California, U.S.
Cause of death
Lung cancer
Resting place
Forest Lawn Memorial Park, Glendale, California, U.S.
Residence
Burbank, California
Nationality
American
Education
McKinley High School, Chicago Academy of Fine Arts
Occupation
Film producer,
Co-founder of The Walt Disney Company, formerly known as Walt Disney Productions
Years active
1920–1966
Home town
Chicago, Illinois
Political party
Republican
Board member of The Walt Disney Company
[2]
Religion
Christian (Congregationalist)
Spouse(s)
Lillian Bounds (1925–66)
Children
Diane Marie Disney
Sharon Mae Disney
Parents
Elias Disney
Flora Call Disney
Relatives
Ronald William Miller (son-in-law)
Robert Borgfeldt Brown (son-in-law)
Roy Edward Disney (nephew)
Walt Disney
2
Family
Herbert Arthur Disney (brother)
Raymond Arnold Disney (brother)
Roy Oliver Disney (brother)
Ruth Flora Disney (sister)
Awards
7 Emmy Awards
22 Academy Awards
Cecil B. DeMille Award
Signature
Walter Elias "Walt" Disney (December 5, 1901 – December 15, 1966) was an American film producer, director,
screenwriter, voice actor, animator, entrepreneur, entertainer, international icon,[3] and philanthropist, well known
for his influence in the field of entertainment during the 20th century. Along with his brother Roy O. Disney, he was
co-founder of Walt Disney Productions, which later became one of the best-known motion picture producers in the
world. The corporation is now known as The Walt Disney Company and had an annual revenue of approximately
US$36 billion in the 2010 financial year.[4]
Disney is particularly noted as a film producer and a popular showman, as well as an innovator in animation and
theme park design. He and his staff created some of the world's most well-known fictional characters including
Mickey Mouse, for whom Disney himself provided the original voice. During his lifetime he received four honorary
Academy Awards and won 22 Academy Awards from a total of 59 nominations, including a record four in one
year,[5] giving him more awards and nominations than any other individual in history.[6] Disney also won seven
Emmy Awards and gave his name to the Disneyland and Walt Disney World Resort theme parks in the U.S., as well
as the international resorts Tokyo Disney Resort, Disneyland Paris, and Hong Kong Disneyland.
The year after his December 15, 1966 death from lung cancer in Burbank, California, construction began on Walt
Disney World Resort in Florida. His brother Roy Disney inaugurated the Magic Kingdom on October 1, 1971.
1901–1937: Beginnings
Childhood
Disney was born on December 5, 1901, at 2156 N. Tripp Avenue in
Chicago's Hermosa community area to Irish-Canadian father Elias
Disney and Flora Call Disney, who was of German and English
descent.[7][8] His great-grandfather, Arundel Elias Disney, had
emigrated from Gowran, County Kilkenny, Ireland where he was born
in 1801. Arundel Disney was a descendant of Robert d'Isigny, a
Frenchman who had travelled to England with William the Conqueror
in 1066.[9] With the d'Isigny name anglicised as "Disney", the family
settled in a village now known as Norton Disney, south of the city of
Lincoln, in the county of Lincolnshire.
Walt’s parents, Elias and Flora (Call) Disney
In 1878, Disney's father Elias had moved from Huron County, Ontario,
Canada to the United States at first seeking gold in California before finally settling down to farm with his parents
near Ellis, Kansas, until 1884. Elias worked for the Union Pacific Railroad and married Flora Call on January 1,
1888, in Acron, Florida, just 40 miles north of where Walt Disney World would ultimately be developed. The family
moved to Chicago, Illinois, in 1890,[10] hometown of Elias' brother Robert[10] who helped Elias financially for most
of Walt's early life.[10] In 1906, when Walt was four, Elias and his family moved to a farm in Marceline,
Missouri,[11] where his brother Roy had recently purchased farmland.[11] In Marceline, Disney developed his love
Walt Disney
3
for drawing[12] with one of the family's neighbors, a retired doctor named "Doc" Sherwood, paying him to draw
pictures of Sherwood's horse, Rupert.[12] His interest in trains also developed in Marceline, a town that owed its
existence to the Atchison, Topeka and Santa Fe Railway which ran through it. Walt would put his ear to the tracks in
anticipation of the coming train[8] then try and spot his uncle, engineer Michael Martin, conducting the train.
The Disneys remained in Marceline for four years,[13] before moving to Kansas
City in 1911[14] where Walt and his younger sister Ruth attended the Benton
Grammar School. At school he met Walter Pfeiffer who came from a family of
theatre aficionados, and introduced Walt to the world of vaudeville and motion
pictures. Before long Walt was spending more time at the Pfeiffers' than at
home.[15] As well as attending Saturday courses at the Kansas City Art
Institute,[16] Walt often took Ruth to Electric Park, 15 blocks from their home,
which Disney would later acknowledge as a major influence of his design of
Disneyland.
10-year old Walt Disney (center
right) at a gathering of Kansas City
newsboys in 1912.
Teenage years
In 1917, Elias acquired shares in the O-Zell jelly factory in Chicago and moved
his family back to the city,[17] where in the fall Disney began his freshman year
at McKinley High School and took night courses at the Chicago Art Institute.[18] He became the cartoonist for the
school newspaper, drawing patriotic topics and focusing on World War I. Despite dropping out of high school at the
age of sixteen to join the army, Disney was rejected for being underage.[19]
After his rejection by the army, Walt and a friend decided to join the Red Cross.[20] Soon after joining he was sent to
France for a year, where he drove an ambulance, but only after the armistice was signed on November 11, 1918.[21]
Hoping to find work outside the Chicago O-Zell factory,[22] in 1919
Walt moved back to Kansas City to begin his artistic career.[23] After
considering whether to become an actor or a newspaper artist, he
decided on a career as a newspaper artist, drawing political caricatures
or comic strips. But when nobody wanted to hire him as either an artist
or even as an ambulance driver, his brother Roy, then working in a
local bank, got Walt a temporary job through a bank colleague at the
Pesmen-Rubin Art Studio[23] where he created advertisements for
newspapers, magazines, and movie theaters.[24] At Pesmen-Rubin he
met cartoonist Ubbe Iwerks[25] and when their time at the studio
expired, they decided to start their own commercial company
together.[26]
Disney as an ambulance driver immediately after
World War I
In January 1920, Disney and Iwerks formed a short-lived company called, "Iwerks-Disney Commercial Artists".
However, following a rough start, Disney left temporarily to earn money at the Kansas City Film Ad Company, and
was soon joined by Iwerks who was not able to run their business alone.[27] While working for the Kansas City Film
Ad Company, where he made commercials based on cutout animations, Disney became interested in animation, and
decided to become an animator.[28] The owner of the Ad Company, A.V. Cauger, allowed him to borrow a camera
from work to experiment with at home. After reading the Edwin G. Lutz book Animated Cartoons: How They Are
Made, Their Origin and Development, Disney considered cel animation to be much more promising than the cutout
animation he was doing for Cauger. Walt eventually decided to open his own animation business,[29] and recruited a
fellow co-worker at the Kansas City Film Ad Company, Fred Harman, as his first employee.[29] Walt and Harman
then secured a deal with local theater owner Frank L. Newman, arguably the most popular "showman" in the Kansas
City area at the time,[30] to screen their cartoons at his local theater, which they titled Laugh-O-Grams.[30]
Walt Disney
Laugh-O-Gram Studio
Presented as "Newman Laugh-O-Grams",[30] Disney's cartoons became widely popular in the Kansas City area[31]
and through their success, he was able to acquire his own studio, also called Laugh-O-Gram,[32] for which he hired a
vast number of additional animators, including Fred Harman's brother Hugh Harman, Rudolf Ising, and his close
friend Ubbe Iwerks.[33] Unfortunately, studio profits were insufficient to cover the high salaries paid to employees.
Unable to successfully manage money,[34] Disney's studio became loaded with debt[34] and wound up bankrupt[35]
whereupon he decided to set up a studio in the movie industry's capital city, Hollywood, California.[36]
Hollywood
Disney and his brother Roy pooled their money and set up a cartoon studio in Hollywood[37] where they needed to
find a distributor for Walt's new Alice Comedies, which he had started making while in Kansas City[35] but never got
to distribute. Disney sent an unfinished print to New York distributor Margaret Winkler, who promptly wrote back to
him that she was keen on a distribution deal for more live-action/animated shorts based upon Alice's Wonderland.[38]
Alice Comedies
Virginia Davis, the live-action star of Alice’s Wonderland and her family relocated from Kansas City to Hollywood
at Disney's request, as did Iwerks and his family. This was the beginning of the Disney Brothers' Studio located on
Hyperion Avenue in the Silver Lake district, where it remained until 1939. In 1925, Disney hired a young woman
named Lillian Bounds to ink and paint celluloid. After a brief courtship, the pair married that same year.
The new series, Alice Comedies, proved reasonably successful, and featured both Dawn O'Day and Margie Gay as
Alice with Lois Hardwick also briefly assuming the role. By the time the series ended in 1927, its focus was more on
the animated characters and in particular a cat named Julius who resembled Felix the Cat, rather than the live-action
Alice.
Oswald the Lucky Rabbit
By 1927, Charles Mintz had married Margaret Winkler and assumed control of her business. He then ordered a new,
all-animated series to be put into production for distribution through Universal Pictures. The new series, Oswald the
Lucky Rabbit, was an almost instant success, and the character, Oswald – drawn and created by Iwerks – became a
popular figure. The Disney studio expanded and Walt re-hired Harman, Rudolph Ising, Carman Maxwell, and Friz
Freleng from Kansas City.
Disney went to New York in February 1928 to negotiate a higher fee per short and was shocked when Mintz told
him that not only did he want to reduce the fee he paid Disney per short but also that he had most of his main
animators, including Harman, Ising, Maxwell, and Freleng—but not Iwerks, who refused to leave Disney—under
contract and would start his own studio if Disney did not accept the reduced production budgets. Universal, not
Disney, owned the Oswald trademark, and could make the films without Walt. Disney declined Mintz's offer and as
a result lost most of his animation staff whereupon he found himself on his own again.[39]
It subsequently took his company 78 years to get back the rights to the Oswald character when in 2006 the Walt
Disney Company reacquired the rights to Oswald the Lucky Rabbit from NBC Universal, through a trade for
longtime ABC sports commentator Al Michaels.[40]
Mickey Mouse
After losing the rights to Oswald, Disney felt the need to develop a new character to replace him, which was based
on a mouse he had adopted as a pet while working in his Laugh-O-Gram studio in Kansas City.[41] Ub Iwerks
reworked the sketches made by Disney to make the character easier to animate although Mickey's voice and
personality were provided by Disney himself until 1947. In the words of one Disney employee, "Ub designed
Mickey's physical appearance, but Walt gave him his soul."[41] Besides Oswald and Mickey, a similar
4
Walt Disney
mouse-character is seen in the Alice Comedies, which featured "Ike the Mouse". Moreover, the first Flip the Frog
cartoon called Fiddlesticks showed a Mickey Mouse look-alike playing fiddle. The initial films were animated by
Iwerks with his name prominently featured on the title cards. Originally named "Mortimer", the mouse was later
renamed "Mickey" by Lillian Disney, who thought that the name Mortimer did not sound appealing. Mortimer
eventually became the name of Mickey's rival for Minnie – taller than his renowned adversary and speaking with a
Brooklyn accent.
The first animated short to feature Mickey, Plane Crazy was a silent film like all of Disney's previous works. After
failing to find a distributor for the short and 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
Cinephone, a sound-synchronization process. Steamboat Willie became an instant success,[42] and Plane Crazy, The
Galloping Gaucho, and all future Mickey cartoons were released with soundtracks. After the release of Steamboat
Willie, Disney successfully used sound in all of his subsequent cartoons, and Cinephone also became the new
distributor for Disney's early sound cartoons.[43] Mickey soon eclipsed Felix the Cat as the world's most popular
cartoon character[41] and by 1930, despite their having sound, cartoons featuring Felix had faded from the screen
after failing to gain attention.[44] Mickey's popularity would subsequently skyrocket in the early 1930s.[41]
Silly Symphonies
Following in the footsteps of Mickey Mouse series, a series of musical shorts titled, Silly Symphonies were released
in 1929. The first, The Skeleton Dance was entirely drawn and animated by Iwerks, who was also responsible for
drawing the majority of cartoons released by Disney in 1928 and 1929. Although both series were successful, the
Disney studio thought it was not receiving its rightful share of profits from Pat Powers,[45] and in 1930, Disney
signed a new distribution deal with Columbia Pictures. The original basis of the cartoons was their musical novelty
with the first Silly Symphony cartoons featuring scores by Carl Stalling.[46]
Iwerks was soon lured by Powers into opening his own studio with an exclusive contract, while Stalling would also
later leave Disney to join Iwerks.[47] Iwerks launched his Flip the Frog series with the first voiced color cartoon
Fiddlesticks, filmed in two-strip Technicolor. Iwerks also created two other cartoon series, Willie Whopper and the
Comicolor. In 1936, Iwerks shut down his studio in order to work on various projects dealing with animation
technology. He would return to Disney in 1940 and go on to pioneer a number of film processes and specialized
animation technologies in the studio's research and development department.
By 1932, although Mickey Mouse had become a relatively popular cinema character, Silly Symphonies was not as
successful. The same year also saw competition increase as Max Fleischer's flapper cartoon character, Betty Boop,
gained popularity among theater audiences.[48] Fleischer, considered Disney's main rival in the 1930s,[49] was also
the father of Richard Fleischer, whom Disney would later hire to direct his 1954 film 20,000 Leagues Under the Sea.
Meanwhile, Columbia Pictures dropped the distribution of Disney cartoons to be replaced by United Artists.[50] In
late 1932, Herbert Kalmus, who had just completed work on the first three-strip technicolor camera,[51] approached
Walt and convinced him to reshoot the black and white Flowers and Trees in three-strip Technicolor.[52] Flowers
and Trees would go on to be a phenomenal success and would also win the first Academy Award for Best Short
Subject: Cartoons in 1932. After the release of Flowers and Trees, all subsequent Silly Symphony cartoons were in
color while Disney was also able to negotiate a two-year deal with Technicolor, giving him the sole right to use their
three-strip process,[53][54] a period eventually extended to five years.[46] Through Silly Symphonies, Disney also
created his most successful cartoon short of all time, The Three Little Pigs (1933).[55] The cartoon ran in theaters for
many months, featuring the hit song that became the anthem of the Great Depression, "Who's Afraid of the Big Bad
Wolf".[56]
5
Walt Disney
6
First Academy Award
In 1932, Disney received a special Academy Award for the creation of
"Mickey Mouse", a series which switched to color in 1935 and soon
launched spin-offs for supporting characters such as Donald Duck,
Goofy, and Pluto. Pluto and Donald became standalone cartoons in
1937,[57] with Goofy following in 1939.[58] Of all Mickey's partners,
Donald Duck, who first teamed up with Mickey in the 1934 cartoon,
Orphan's Benefit, was arguably the most popular, going on to become
Disney's second most successful cartoon character of all time.[59]
One of two stars dedicated to Walt Disney on the
Hollywood Walk of Fame.
Children
The Disneys' first attempt at pregnancy ended in miscarriage. Lillian became pregnant again and gave birth to a
daughter, Diane Marie Disney, on December 18, 1933.[60] Later, the Disneys adopted Sharon Mae Disney
(December 31, 1936 – February 16, 1993).[61]
Diane married Ron Miller at the age of 20 and is known as Diane Disney Miller. The Millers established and own a
winery called Silverado Vineyards in California.[62] Diane and Ron Miller have seven children: Christopher, Joanna,
Tamara, Jennifer, Walter, Ronald and Patrick.[63] Years later, Diane went on to become the cofounder of The Walt
Disney Family Museum, with the aid of her children.[60] The museum was created to preserve her father's image and
reach out to millions of Disney fans worldwide.[64] The museum displays a chronological view of Walt Disney's life
through personal artifacts, interactive kiosks and various animations.[64]
Sharon Mae Disney was born December 31, 1936, in Los Angeles, California and was later adopted by the Disneys,
due to Lillian's several birth complications.[63][65] In 1950, Sharon went on to star as herself in the Walt Disney
Studios special One Hour in Wonderland.[66] Sharon married Robert Brown in 1958, with whom she had one child,
and they remained married until his death in 1967.[65] Sharon married William Lund in 1969 and had two children
with him, but six years later they divorced.[65][67] Sharon was a philanthropist and had contributed to charities such
as the Marianne Frostig Center of Educational Therapy and the Curtis School foundation.[68] In 1993 at the age of
57, Sharon died from cancer at St. John's Hospital in Santa Monica, California.[65] After Sharon's death, her estate
donated $11 million to the California School of Performing Arts, where she was a member of the board of trustees
for almost two decades. Sharon's donation was commemorated by renaming the School of Dance the Sharon D. Lund
School of Dance.[60][69]
Walt Disney
1937–1941: Golden age of animation
"Disney's Folly": Snow White and the Seven Dwarfs
Following the creation of two cartoon series, in 1934 Disney began
planning a full-length feature. The following year, opinion polls
showed that another cartoon series, Popeye the Sailor, produced by
Max Fleischer, was more popular than Mickey Mouse.[70]
Nevertheless, Disney was able to put Mickey back on top as well as
increase his popularity by colorizing and partially redesigning the
character to become what was considered his most appealing design to
date.[41] When the film industry learned of Disney's plans to produce
an animated feature-length version of Snow White, they were certain
Walt Disney introduces each of the Seven Dwarfs
that the endeavor would destroy the Disney Studio and dubbed the
in a scene from the original 1937 Snow White
project "Disney's Folly". Both Lillian and Roy tried to talk Disney out
theatrical trailer.
of the project, but he continued plans for the feature, employing
Chouinard Art Institute professor Don Graham to start a training
operation for the studio staff. Disney then 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 – a new technique first used by Disney in the 1937 Silly Symphonies short The Old Mill.[71]
All of this development and training was used to increase quality at the studio and to ensure that the feature film
would match Disney's quality expectations. Entitled Snow White and the Seven Dwarfs, the feature went into full
production in 1934 and continued until mid-1937, when the studio ran out of money. To obtain the funding to
complete Snow White, Disney had to show a rough cut of the motion picture to loan officers. The film premiered at
the Carthay Circle Theater on December 21, 1937 and at its conclusion the audience gave Snow White and the Seven
Dwarfs a standing ovation. Snow White, the first animated feature in America made in Technicolor, was released in
February 1938 under a new distribution deal with RKO Radio Pictures. RKO had been the distributor for Disney
cartoons in 1936, after it closed down the Van Beuren Studios in exchange for distribution.[72] The film became the
most successful motion picture of 1938 and earned over $8 million on its initial release, the equivalent of
$132,085,110 today.
Golden age of animation
Following the success of Snow White, for which Disney received one full-size, and seven miniature Oscar statuettes,
he was able to build a new campus for the Walt Disney Studios in Burbank, which opened for business on December
24, 1939. Snow White was not only the peak of Disney's success, but also ushered in a period that would later be
known as the Golden Age of Animation for the studio.[73][74] Feature animation staff, having just completed
Pinocchio, continued work on Fantasia and Bambi as well as the early production stages of Alice in Wonderland,
Peter Pan and Wind in the Willows while the shorts staff carried on working on the Mickey Mouse, Donald Duck,
Goofy, and Pluto cartoon series, ending the Silly Symphonies at this time. Animator Fred Moore had redesigned
Mickey Mouse in the late 1930s after Donald Duck overtook him in popularity among theater audiences.[75]
Pinocchio and Fantasia followed Snow White and the Seven Dwarfs into the movie theaters in 1940, but both proved
financial disappointments. The inexpensive Dumbo was then planned as an income generator, but during production
most of the animation staff went on strike, permanently straining relations between Disney and his artists.
7
Walt Disney
1941–1945: World War II era
In 1941, the U.S. State Department sent Disney and a group of animators to South America as part of its Good
Neighbor policy, at the same time guaranteeing financing for the resultant movie, Saludos Amigos.[76]
Shortly after the release of Dumbo in October 1941, the US entered World War II. The U.S. Army and Navy Bureau
of Aeronautics[77] contracted most of the Disney studio's facilities where the staff created training and instruction
films for the military, home-front morale-boosting shorts such as Der Fuehrer's Face and the 1943 feature film
Victory Through Air Power. Military films did not generate income, and the feature film Bambi underperformed on
its release in April 1942. Disney successfully re-issued Snow White in 1944, establishing a seven-year re-release
tradition for his features. In 1945, The Three Caballeros was the last animated feature released by the studio during
the war.
In 1944, Encyclopædia Britannica publisher William Benton entered into unsuccessful negotiations with Disney to
make six to twelve educational films per annum. Disney was asked by the US Coordinator of Inter-American
Affairs, Office of Inter-American Affairs (OIAA), to make an educational film about the Amazon Basin, which
resulted in the 1944 animated short, The Amazon Awakens.[78][79][80][81][82]
1945–1955: Post-war period
Disney studios also created inexpensive package films, containing collections of cartoon shorts, and issued them to
theaters during this period. These included Make Mine Music (1946), Melody Time (1948), 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
Wind in the Willows by Kenneth Grahame, and the second on The Legend of Sleepy Hollow by Washington Irving.
During this period, Disney also ventured into full-length dramatic films that mixed live action and animated scenes,
including Song of the South and So Dear to My Heart. After the war ended, Mickey's popularity would also fade.[83]
By the late 1940s, the studio had recovered enough to continue production on the full-length features Alice in
Wonderland and Peter Pan, both of which had been shelved during the war years. Work also began on Cinderella,
which became Disney's most successful film since Snow White and the Seven Dwarfs. In 1948 the studio also
initiated a series of live-action nature films, titled True-Life Adventures, with On Seal Island the first. Despite its
resounding success with feature films, the studio's animation shorts were no longer as popular as they once were,
with people paying more attention to Warner Bros. and their animation star Bugs Bunny. By 1942, Leon Schlesinger
Productions, which produced the Warner Bros. cartoons, had become the country's most popular animation
studio.[84] However, while Bugs Bunny's popularity rose in the 1940s, so did Donald Duck's,[85] a character who
would replace Mickey Mouse as Disney's star character by 1949.[86]
During the mid-1950s, Disney produced 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.
8
Walt Disney
9
Disney and the Second Red Scare
Disney was a founding member of the anti-communist group Motion Picture
Alliance for the Preservation of American Ideals. In 1947, during the Second Red
Scare,[87] 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. All three men denied the allegations and Sorrell went on to testify
before the HUAC in 1946 when insufficient evidence was found to link him to
the Communist Party.[88][89]
Walt Disney meets Wernher von
Braun in 1954.
Disney also accused the Screen Cartoonists Guild of being a Communist front,
and charged that the 1941 strike was part of an organized Communist effort to
gain influence in Hollywood.[87]
1955–1966: Theme parks and beyond
Planning Disneyland
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. The idea for a children's theme park
came after a visit to Children's Fairyland in Oakland, California. It also
said that Disney may have been inspired to create Disneyland in the
park Republic of the Children located in Manuel B. Gonnet, La Plata,
Argentina, and opened in 1951.[90] This plan was originally intended to
be built on a plot located across the street to the south of the studio.
Disneyland: aerial view, August 1963, looking
SE. New Melodyland Theater at top. Santa Ana
These original ideas developed into a concept for a larger enterprise
Freeway (US 101 at the time, now I-5) upper left
that would become Disneyland. Disney spent five years developing
corner.
Disneyland and created a new subsidiary company, WED Enterprises,
to carry out 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.
As Disney explained one of his earliest plans to Herb Ryman, who created the first aerial drawing of Disneyland
presented to the Bank of America during fund raising for the project, he said, "Herbie, I just want it to look like
nothing else in the world. And it should be surrounded by a train."[91] 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.
Walt Disney
10
Disneyland grand opening
On Sunday, July 17, 1955, Disneyland hosted a live TV preview, among the thousands of people in attendance were
Ronald Reagan, Bob Cummings and Art Linkletter, who shared cohosting duties, as well as the mayor of Anaheim.
Walt gave the following dedication day speech:
“
To all who come to this happy place; welcome. Disneyland is your land. Here age relives fond memories of the past .... and here youth may
savor the challenge and promise of the future. Disneyland is dedicated to the ideals, the dreams and the hard facts that have created America ...
with the hope that it will be a source of joy and inspiration to all the world.
”
Carolwood Pacific Railroad
During 1949, Disney and his family moved to a new home on a large
piece of land in the Holmby Hills district of Los Angeles, California.
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 railroad's
half-mile long layout included a 46-foot (14 m) long trestle bridge,
The Lilly Belle on display at Disneyland Main
loops, overpasses, gradients, an elevated berm, and a 90-foot (27 m)
Station in 1993. The caboose's woodwork was
tunnel underneath his wife's flowerbed. He named the miniature
done entirely by Walt himself.
working steam locomotive built by Disney Studios engineer Roger E.
Broggie Lilly Belle in his wife's honor and had his attorney draw up right-of-way papers giving the railroad a
permanent, legal easement through the garden areas, which his wife dutifully signed; however, there is no evidence
of the documents ever recorded as a restriction on the property's title.
Expansion into new areas
As Walt Disney Productions began work on Disneyland, it also began expanding its other entertainment operations.
In 1950, Treasure Island became the studio's first all-live-action feature, soon followed by 20,000 Leagues Under
the Sea (in CinemaScope, 1954), Old Yeller (1957), The Shaggy Dog (1959), Pollyanna (1960), Swiss Family
Robinson (1960), The Absent-Minded Professor (1961), and The Parent Trap (1961). The studio produced its first
TV special, One Hour in Wonderland, in 1950. Disney began hosting a weekly anthology series on ABC entitled
Disneyland, after the park, on which he aired clips of past Disney productions, gave tours of his studio, and
familiarized the public with Disneyland as it was being constructed in Anaheim. The show also featured a Davy
Crockett miniseries, which started the "Davy Crockett craze" among American youth, during which millions of
coonskin caps and other Crockett memorabilia were sold across the country.[92] In 1955, the studio's first daily
television show, Mickey Mouse Club debuted on ABC. It was a groundbreaking comedy/variety show aimed
specifically for children. Disney took a strong personal interest in the show and even returned to the animation studio
to voice Mickey Mouse in its animated segments during its original 1955–59 production run. The Mickey Mouse
Club would continue in various incarnations in syndication and on the Disney Channel 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. Although he
was spending less time supervising the production of the animated films, he was always present at story meetings.[93]
During Disney's lifetime, the animation department created the successful Lady and the Tramp (the first animated
film in CinemaScope) in 1955, Sleeping Beauty (the first animated film in Super Technirama 70mm) 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.
Walt Disney
Production of short cartoons kept pace until 1956, when Disney shut down the responsible division although special
shorts projects would continue for the remainder of the studio's duration on an irregular basis. These productions
were all distributed by Disney's new subsidiary, Buena Vista Distribution, which had taken over 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 on a number of successful Disney characters and films.
After 1955, the Disneyland TV show was renamed Walt Disney Presents. It switched from black-and-white to color
in 1961 and changed its name to Walt Disney's Wonderful World of Color, at the same time moving from ABC to
NBC,[94] and eventually evolving into its current form as The Wonderful World of Disney. The series continued to
air on NBC until 1981, when it was picked up by CBS.[95] Since then, it has aired on ABC, NBC, the Hallmark
Channel and the Cartoon Network via separate broadcast rights deals. During its run, the Disney series offered some
recurring characters, such as the newspaper reporter and sleuth "Gallegher" played by Roger Mobley with a plot
based on the writings of Richard Harding Davis.
Disney had already formed his own music publishing division in 1949 and in 1956, partly inspired by the huge
success of the television theme song The Ballad of Davy Crockett, he created a company-owned record production
and distribution entity called Disneyland Records.
Early 1960s successes
By the early 1960s, the Disney empire had become a major success, and Walt Disney Productions had established
itself as the world's leading producer of family entertainment. Walt Disney was the Head of Pageantry for the 1960
Winter Olympics.
After decades of pursuit, Disney acquired 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 featured a song score written by Disney
favorites, the Sherman Brothers. The same year, Disney debuted a number of exhibits at the 1964 New York World's
Fair, including Audio-Animatronic figures, all of which were later integrated into attractions at Disneyland and a
new theme park project which was to be established on the East Coast.
Although the studio would probably have proved major competition for Hanna-Barbera, Disney decided not to enter
the race and mimic Hanna-Barbera by producing Saturday morning TV cartoon series. With the expansion of
Disney's empire and constant production of feature films, the financial burden involved in such a move would have
proven too great.
Plans for Disney World and EPCOT
In early 1964, Disney announced plans to develop another theme park to be called Disney World a few miles
southwest of Orlando, Florida. Disney World was to include "the Magic Kingdom", a larger, more elaborate version
of Disneyland. It 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, known as EPCOT for short.
Mineral King Ski Resort
During the early to mid-1960s, Walt Disney developed plans for a ski resort in Mineral King, a glacial valley in
California's Sierra Nevada mountain range. He brought in experts such as the renowned Olympic ski coach and
ski-area designer Willy Schaeffler, who helped plan a visitor village, ski runs and ski lifts among the several bowls
surrounding the valley. Plans finally moved into action in the mid-1960s, but Walt died before the actual work
started. Disney's death and opposition from conservationists ensured that the resort was never built.
11
Walt Disney
12
Illness and death
Walt Disney was a chain smoker his entire adult life, although he made sure he was not seen smoking around
children.[96] In 1966, Disney was scheduled to undergo surgery to repair an old neck injury[97] caused by many years
of playing polo at the Riviera Club in Hollywood.[98] On November 2, during pre-operative X-rays, doctors at
Providence St. Joseph Medical Center, across the street from the Disney Studio, discovered a tumor in his left
lung.[99] Five days later a biopsy showed the tumor to be malignant and to have spread throughout the entire left
lung.[99] After removal of the lung on November 11, doctors informed Disney that his life expectancy was six
months to two years.[100] After several cobalt therapy sessions, Disney and his wife spent a short time in Palm
Springs, California.[100] On November 30, Disney collapsed at his home. He was revived by fire department
personnel and rushed to St. Joseph's where on December 15, 1966, at 9:30 am, ten days after his 65th birthday,
Disney died of acute circulatory collapse, caused by lung cancer.[97] The last thing he reportedly wrote before his
death was the name of actor Kurt Russell, the significance of which remains a mystery, even to Russell.[101]
Roy O. Disney continued with the Florida project, insisting that the name be changed to Walt Disney World in honor
of his brother.
The final productions in which Disney played an active role were the animated feature The Jungle Book and the
animated short Winnie the Pooh and the Blustery Day, as well as the live-action musical feature The Happiest
Millionaire, all released in 1967. Songwriter Robert B. Sherman recalled of the last time he saw Disney:
“
He was up in the third floor of the animation building after a run-through of The Happiest Millionaire. He usually held court in the hallway
afterward for the people involved with the picture. And he started talking to them, telling them what he liked and what they should change, and
then, when they were through, he turned to us and with a big smile, he said, 'Keep up the good work, boys.' And he walked to his office. It was
[102]
the last we ever saw of him.
”
Hibernation urban legend
A long-standing urban legend maintains that Disney was cryonically frozen, and his frozen corpse stored beneath the
Pirates of the Caribbean ride at Disneyland,[103] but Disney's remains were cremated on December 17, 1966, and his
ashes interred at the Forest Lawn Memorial Park in Glendale, California. The first known human cryonic freezing
was in January 1967, more than a month after Disney's death.[103]
According to "at least one Disney publicist", as reported in the French magazine Ici Paris in 1969, the source of the
rumor was a group of Disney Studio animators with "a bizarre sense of humor" who were playing a final prank on
their late boss.[104]
Although the rumor is acknowledged as false by most historians, Robert Mosley (in Disney’s World (1986)) and
Marc Eliot (in Walt Disney – Hollywood’s Dark Prince (1993)) argue that Disney may have known of cryonics and
may have had an interest in the science.[105] His daughter Diane wrote in 1972, "There is absolutely no truth to the
rumor that my father, Walt Disney, wished to be frozen. I doubt that my father had ever heard of cryonics."[104]
Walt Disney
13
Legacy: 1967–present
Continuing Disney Productions
After Walt Disney's death, Roy Disney returned from retirement to
take full control of Walt Disney Productions and WED Enterprises. In
October 1971, the families of Walt and Roy met in front of Cinderella
Castle at the Magic Kingdom to officially open the Walt Disney World
Resort.
After giving his dedication for Walt Disney World, Roy asked Lillian
Disney to join him. As the orchestra played "When You Wish upon a
Star", she stepped up to the podium accompanied by Mickey Mouse.
Plaque at the entrance that embodies the intended
He then said, "Lilly, you knew all of Walt's ideas and hopes as well as
spirit of Disneyland by Walt Disney: to leave
anybody; what would Walt think of it [Walt Disney World]?". "I think
reality and enter fantasy
Walt would have approved," she replied.[106] Roy died from a cerebral
hemorrhage on December 20, 1971, the day he was due to open the Disneyland Christmas parade.
During the second phase of the "Walt Disney World" theme park, EPCOT was
translated by Disney's successors into EPCOT Center, which opened in 1982. As
it currently exists, EPCOT is essentially a living world's fair, different from the
functional city that Disney had envisioned. In 1992, Walt Disney Imagineering
took the step closer to Disney's original ideas and dedicated Celebration, Florida,
a town built by the Walt Disney Company adjacent to Walt Disney World, that
hearkens back to the spirit of EPCOT. EPCOT was also originally intended to be
devoid of Disney characters which initially limited the appeal of the park to
young children. The company later changed this policy and Disney characters
can now be found throughout the park, often dressed in costumes reflecting the
different pavilions.
1968 US postage stamp
Disney entertainment empire
Walt Disney's animation/motion picture studios and theme parks have developed
into a multi-billion dollar television, motion picture, vacation destination and media corporation that carry his name.
Among other assets The Walt Disney Company owns five vacation resorts, eleven theme parks, two water parks,
thirty-nine hotels, eight motion picture studios, six record labels, eleven cable television networks, and one terrestrial
television network. As of 2007, the company had annual revenues of over U.S. $35 billion.[107]
Disney Animation
Walt Disney was a pioneer in character animation. He was one of the first people to move away from basic cartoons
with just "impossible outlandish gags" and crudely drawn characters to an art form with heartwarming stories and
characters the audience can connect to on an emotional level. The personality displayed in the characters of his films
and the technological advancements remain influential today. He was considered by many of his colleagues to be a
master storyteller and the animation department did not fully recover from his death until the late 1980s in a period
known as the Disney Renaissance. The most financially and critically successful films produced during this time
include Who Framed Roger Rabbit (1988), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992)
and The Lion King (1994). In 1995, Walt Disney Pictures distributed Pixar's Toy Story, the first computer animated
feature film. Walt Disney's nephew Roy E. Disney claimed that Walt would have loved Toy Story and that it was "his
kind of movie".[108] With the rise of computer animated films a stream of financially unsuccessful Traditional
Walt Disney
14
hand-drawn animated features in the early years of the 2000s (decade) emerged. This led to the company's
controversial decision to close the traditional animation department. The two satellite studios in Paris and Orlando
were closed, and the main studio in Burbank was converted to a computer animation production facility, firing
hundreds of people in the process. 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 with the largely successful 2009 film The Princess
and the Frog. This marked Disney's return to traditional hand-drawn animation and the studio hired back staff who
had been laid-off in the past. Today, Disney produces both traditional and computer animation.
CalArts
In his later years, Disney devoted substantial time to funding The California Institute of the Arts (CalArts). 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 Disney died, one-fourth of his estate went to
CalArts, which helped in building its campus. In his will, Disney paved the way for the creation of several charitable
trusts which included one for the California Institute of the Arts and other for the Disney Foundation.[109] He also
donated 38 acres (0.154 km2) of the Golden Oaks ranch in Valencia for construction of the school. CalArts moved
onto the Valencia campus in 1972.
In an early admissions bulletin, Disney explained: "A hundred years ago, Wagner conceived of a perfect and
all-embracing art, combining music, drama, painting, and the dance, but in his wildest imagination he had no hint
what infinite possibilities were to become commonplace through the invention of recording, radio, cinema and
television. There already have been geniuses combining the arts in the mass-communications media, and they have
already given us powerful new art forms. The future holds bright promise for those who imaginations are trained to
play on the vast orchestra of the art-in-combination. Such supermen will appear most certainly in those environments
which provide contact with all the arts, but even those who devote themselves to a single phase of art will benefit
from broadened horizons."[110]
Walt Disney Family Museum
In 2009, The Walt Disney Family Museum opened in the Presidio of San Francisco. Thousands of artifacts from
Disney's life and career are on display, including 248 awards that he received.[111]
Controversy
Accusations of antisemitism and racism
Disney was long rumored to be antisemitic during his lifetime, and such rumors persisted after his death. Indeed, in
the 1930s he welcomed German filmmaker and Nazi propagandist Leni Riefenstahl to Hollywood to promote her
film Olympia.[112] Even after news of Kristallnacht broke in November 1938, Disney did not cancel his invitation to
Riefenstahl.[113][114][115]
However, in 2006 Disney biographer Neal Gabler, the first writer to gain unrestricted access to the Disney archives,
concluded that available evidence did not support accusations of antisemitism. In a CBS interview Gabler
summarized his findings:
“
That's one of the questions everybody asks me... My answer to that is, not in the conventional sense that we think of someone as being an
antisemite. But he got the reputation because, in the 1940s, he got himself allied with a group called the Motion Picture Alliance for the
Preservation of American Ideals, which was an anti-Communist and antisemitic organization. And though Walt himself, in my estimation, was
not antisemitic, nevertheless, he willingly allied himself with people who were antisemitic, and that reputation stuck. He was never really able
[116]
to expunge it throughout his life.
”
Walt Disney
15
Disney eventually distanced himself from the Motion Picture Alliance in the 1950s.[117] Gabler also claims in
regards to Riefenstahl's visit, the invitation was suggested to Disney by Jay Stowitts and that although Walt knew
who Riefenstahl was, he didn't know exactly what she represented in terms of politics, as he had no particular
political leaning during the 1930s.[117]
The Walt Disney Family Museum acknowledges that Disney did have "difficult relationships" with some Jewish
individuals, and that ethnic stereotypes common to films of the 1930s were included in some early cartoons, such as
Three Little Pigs and The Opry House however, the museum points out that he befriended many Jewish school
mates;[117] donated to several Jewish charities (The Hebrew Orphan Asylum, Yeshiva College,[117] Jewish Home for
the Aged, The American League for a Free Palestine[117]) and was named "1955 Man of the Year" by the B'nai B'rith
chapter in Beverly Hills.[117][118]
Disney was also rumored to be a racist. According to Gabler, although he was not, he would however occasionally
make racially insensitive remarks that were commonly used by white Americans at the time.[119] For example during
a story meeting on Snow White and the Seven Dwarfs he referred to the scene when the dwarfs pile ontop of each
other as a "nigger pile", and while casting Song of the South he used the term pickaninny. Like many Hollywood film
and cartoon producers of the time, Disney had engaged in racial stereotyping, and Disney cartoons of the period
sometimes displayed racially insensitive material.[119] Examples include Mickey's Mellerdrammer in which Mickey
Mouse dresses in blackface, the "black" bird in the short Who Killed Cock Robbin, Sunflower the half donkey-half
black centarette in Fantasia, the feature film Song of the South, King Louie in The Jungle Book, the Indians in Peter
Pan, the Siamese cats in Lady and the Tramp and the crows in Dumbo (though they were made sympathetic to
Dumbo's plight).[119] Looney Tunes and Merrie Melodies director Bob Clampett, director of the controversial but
highly acclaimed short Coal Black and de Sebben Dwarfs, claimed that
Everybody, including blacks had a good time when these cartoons first came out. All the controversy developed in later years merely because
of changing attitudes toward black civil rights that have happened since then.
“
”
Despite Disney's occasional slurs, there is no evidence that he expressed any hatred or bigotry against any racial
group, publicly or privately, and he hired employees of all racial backgrounds, religions, and nationalities throughout
his career.[119] He also thoroughly enjoyed To Kill a Mockingbird, a film dealing with racial justice, claiming "That's
the kind of film I wish I could make."[117]
Walt Disney
16
Academy Awards
Walt Disney holds the record for both the most Academy Award
nominations (59) and the number of Oscars awarded (22). He also
earned four honorary Oscars. His last competitive Academy Award
was posthumous.[120]
• 1932: Best Short Subject, Cartoons: Flowers and Trees (1932)
• 1932: Honorary Award for creation of Mickey Mouse.
• 1934: Best Short Subject, Cartoons: Three Little Pigs (1933)
• 1935: Best Short Subject, Cartoons: The Tortoise and the Hare
(1934)
• 1936: Best Short Subject, Cartoons: Three Orphan Kittens (1935)
• 1937: Best Short Subject, Cartoons: The Country Cousin (1936)
• 1938: Best Short Subject, Cartoons: The Old Mill (1937)
• 1939: Best Short Subject, Cartoons: Ferdinand the Bull (1938)
• 1939: Honorary Award for Snow White and the Seven Dwarfs
(1937) The citation read, "For Snow White and the Seven Dwarfs,
recognized as a significant screen innovation which has charmed
millions and pioneered a great new entertainment field." (The
award, unique in the history of the Oscars, is one large statuette and
seven miniature statuettes.)[5]
• 1940: Best Short Subject, Cartoons: Ugly Duckling (1939)
This display case in the lobby of the Walt Disney
Family Museum in San Francisco shows many of
the Academy Awards he won, including the
distinctive special award at the bottom for Snow
White and the Seven Dwarfs.
• 1941: Honorary Award for Fantasia (1940), shared with: William E.
Garity and J.N.A. Hawkins. The citation for the certificate of merit
read, "For their outstanding contribution to the advancement of the use of sound in motion pictures through the
production of Fantasia."[5]
• 1942: Best Short Subject, Cartoons: Lend a Paw (1941)
• 1943: Best Short Subject, Cartoons: Der Fuehrer's Face (1942)
• 1949: Best Short Subject, Two-reel: Seal Island (1948)
•
•
•
•
•
•
•
•
•
•
•
•
1949: Irving G. Thalberg Memorial Award (Honorary Award)
1951: Best Short Subject, Two-reel: Beaver Valley (1950)
1952: Best Short Subject, Two-reel: Nature's Half Acre (1951)
1953: Best Short Subject, Two-reel: Water Birds (1952)
1954: Best Documentary, Features: The Living Desert (1953)
1954: Best Documentary, Short Subjects: The Alaskan Eskimo (1953)
1954: Best Short Subject, Cartoons: Toot Whistle Plunk and Boom (1953)
1954: Best Short Subject, Two-reel: Bear Country (1953)
1955: Best Documentary, Features: The Vanishing Prairie (1954)
1956: Best Documentary, Short Subjects: Men Against the Arctic
1959: Best Short Subject, Live Action Subjects: Grand Canyon
1969: Best Short Subject, Cartoons: Winnie the Pooh and the Blustery Day
Walt Disney
Other honors
Walt Disney was the inaugural recipient of a star on the Anaheim walk of stars awarded in recognition of his
significant contribution to the city of Anaheim and specifically Disneyland, which is now the Disneyland Resort.
The star is located at the pedestrian entrance to the Disneyland Resort on Harbor Boulevard. Disney has two stars on
the Hollywood Walk of Fame, one for motion pictures and the other for his television work.
Walt Disney received the Congressional Gold Medal on May 24, 1968 (P.L. 90-316, 82 Stat. 130–131) and the
Légion d'Honneur awarded by France in 1935.[121] In 1935, Walt received a special medal from the League of
Nations for creation of Mickey Mouse, held to be Mickey Mouse award.[122] He also received the Presidential Medal
of Freedom on September 14, 1964.[123] On December 6, 2006, California Governor Arnold Schwarzenegger and
First Lady Maria Shriver inducted Walt Disney into the California Hall of Fame located at The California Museum
for History, Women, and the Arts.
A minor planet, 4017 Disneya, discovered in 1980 by Soviet astronomer Lyudmila Karachkina, is named after
him.[124]
The Walt Disney Concert Hall in Los Angeles, California, opened in 2003, was named in his honor.
Waltograph, a freeware typeface, is based on his signature and handwriting.
In 1993, HBO began development of a Walt Disney biographical film, directed by Frank Pierson and produced by
Lawrence Turman, but the project never materialized and was soon abandoned.[125] However, Walt - The Man
Behind the Myth, a biographical documentary about Disney, was later made.[126]
Actor Tom Hanks will be playing Disney in the upcoming film Saving Mr. Banks. It will be the first instance of an
actor portraying Walt Disney in film. The film is scheduled to be released in 2013.[127]
Notes
[1] "Walt Disney" (http:/ / www. imdb. com/ name/ nm0000370/ ). IMDB. . Retrieved 2008-05-21.
[2] "Walt Disney on Faith" (http:/ / www. disneydreamer. com/ Waltfaith. htm). Disneydreamer.com. July 17, 1955. . Retrieved September 5,
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[3] Dave Bryan (August 13, 2002). "Walt Disney Helped Wernher von Braun Sell Americans on Space" (http:/ / web. archive. org/ web/
20090524060442/ http:/ / www. space. com/ news/ spacehistory/ vonbraun_disney_020813. html). Associated Press. Archived from the
original (http:/ / www. space. com/ news/ spacehistory/ vonbraun_disney_020813. html) on May 24, 2009. . Retrieved 2010-09-27.
[4] "2010 Form 10-K, Walt Disney Company" (http:/ / www. sec. gov/ Archives/ edgar/ data/ 1001039/ 000119312510268910/ d10k. htm).
United States Securities and Exchange Commission. .
[5] "Walt Disney Academy awards" (http:/ / awardsdatabase. oscars. org/ index. jsp). Academy of Motion Picture Arts and Sciences. . Retrieved
2008-05-21.
[6] "Results Page – Academy Awards Database" (http:/ / awardsdatabase. oscars. org/ ampas_awards/ help/ helpMain.
jsp?helpContentURL=statistics/ indexStats. html). . Retrieved February 16, 2012.
[7] Lori Rackl (September 27, 2009). "Walt Disney, the man behind the mouse" (http:/ / web. archive. org/ web/ 20091003001653/ http:/ / www.
suntimes. com/ lifestyles/ 1790811,disney-walt-museum-san-francisco-092709. article). Chicago Sun-Times. Archived from the original (http:/
/ www. suntimes. com/ lifestyles/ 1790811,disney-walt-museum-san-francisco-092709. article) on October 3, 2009. . Retrieved 2010-10-21.
[8] "Walt Disney biography" (http:/ / web. archive. org/ web/ 20080605151444/ http:/ / www. justdisney. com/ WaltDisney100/ biography01.
html). Just Disney. Archived from the original (http:/ / www. justdisney. com/ WaltDisney100/ biography01. html) on June 5, 2008. .
Retrieved 2008-05-21.
[9] Disneyland Paris. Michelin. August 7, 2002. p. 38. ISBN 2-06-048002-7.
[10] Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 7.
[11] Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 9-10.
[13] "Walt Disney Hometown Museum" (http:/ / www. waltdisneymuseum. org/ ). Walt Disney Museum. . Retrieved 2008-05-21.
[15] Thomas 1991, pp. 33–41
[16] "Biography of Walt Disney, Film Producer – kchistory.org – Retrieved September 14, 2009" (http:/ / kchistory. org/ cdm4/ item_viewer.
php?CISOROOT=/ Biographies& CISOPTR=31& CISOBOX=1& REC=2). Kchistory.org. . Retrieved 2011-05-31.
[18] Thomas 1991, pp. 42–43
17
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[79] Cramer, Gisela; Prutsch, Ursula, "Nelson A. Rockefeller's Office of Inter-American Affairs (1940–1946) and Record Group 229" (http:/ /
hahr. dukejournals. org/ cgi/ content/ citation/ 86/ 4/ 785), Hispanic American Historical Review 2006 86(4):785–806;
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[81] Niblo, Stephen R., "Mexico in the 1940s: Modernity, Politics, and Corruption" (http:/ / books. google. com/ books?id=WKs-UoFtbTYC&
printsec=frontcover), Wilimington, Del. : Scholarly Resources, 1999. ISBN 0-8420-2794-7. Cf. "Nelson Rockefeller and the Office of
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[82] Leonard, Thomas M.; Bratzel, John F., Latin America during World War II (http:/ / books. google. com/ books?id=YA6-HTSJv5MC&
printsec=frontcover), Rowman & Littlefield Publishers, Inc., 2007. ISBN 978-0-7425-3741-5. Cf. p.47.
[83] Solomon, Charles. "Mickey in the Post-War Era" (http:/ / disney. go. com/ disneyatoz/ familymuseum/ exhibits/ articles/
mickeymousepostwar/ index. html). Disney. . Retrieved 2008-05-21.
[84] "Warner Bros. Studio Biography" (http:/ / web. archive. org/ web/ 20090524120920/ http:/ / www. animationusa. com/ resources/ aboutwb.
html). Animation USA. Archived from the original (http:/ / www. animationusa. com/ resources/ aboutwb. html) on May 24, 2009. . Retrieved
2008-05-21.
[85] "Disney's Animated Classics" (http:/ / www. sandcastlevi. com/ movies/ disneyh5. htm). Sandcastle VI. . Retrieved 2008-05-21.
[86] "Donald Duck" (http:/ / petcaretips. net/ donald-duck. html). Pet Care Tips. . Retrieved 2008-05-21.
[87] "Testimony of Walter E. Disney before HUAC" (http:/ / web. archive. org/ web/ 20080514003423/ http:/ / www. cnn. com/ SPECIALS/
cold. war/ episodes/ 06/ documents/ huac/ disney. html). CNN. October 24, 1947. Archived from the original (http:/ / www. cnn. com/
SPECIALS/ cold. war/ episodes/ 06/ documents/ huac/ disney. html) on May 14, 2008. . Retrieved 2008-05-21.
[88] Cogley, John (1956) Report on Blacklisting, Volume I, Movies Fund for the Republic, New York, p. 34 OCLC 3794664; reprinted in 1972
by Arno Press, New York ISBN 0-405-03915-8
[89] "Communist brochure" Screen Actors Guild Retrieved October 20, 2008
[90] "República de los Niños – Historia del Proyecto" (http:/ / www. fundacionvalorar. org. ar/ republica2008/ Historia. asp).
Fundacionvalorar.org.ar. . Retrieved April 8, 2012.
[91] "Walt Disney Quotes" (http:/ / disneyspace. tripod. com/ id1. html). Tripod.com. . Retrieved 2008-05-21.
[92] Cotter, Bill. "The Television Worlds of Disney – PART II" (http:/ / disney. go. com/ disneyatoz/ familymuseum/ exhibits/ articles/
tvworldsofdisney/ index. html). Disney. . Retrieved 2008-05-21.
[93] John Lasseter-Commentary-Sleeping Beauty-2008 DVD
2008-05-21.
19
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2008-05-21.
[96] Gabler, Neal 2006 Walt Disney: The Triumph of Imagination, Alfed A. Knofph Inc, New York City
[97] "The Day Walt Died" (http:/ / disney. go. com/ disneyatoz/ familymuseum/ exhibits/ articles/ waltspassing/ index. html). Disney. . Retrieved
2008-05-21.
[98] "Horsing Around With Walt and Polo" (http:/ / www. mouseplanet. com/ articles. php?art=ww070711ws). Mouse Planet. . Retrieved
2008-05-21.
2008-05-21.
[100] "Walt Is Sick" (http:/ / www. waltdisney. com/ content/ walt-sick). www.waltdisney.com. . Retrieved February 3, 2013.
[101] "Kurt Russell Confirms Disney's Last Words" (http:/ / www. starpulse. com/ news/ index. php/ 2007/ 04/ 24/
kurt_russell_confirms_that_walt_disney_s). Star Pulse. . Retrieved 2007-04-24.
[102] Greene, K&R (2001). Inside The Dream: The Personal Story Of Walt Disney. Disney Editions. p. 180. ISBN 0-7868-5350-6.
[103] Mikkelson, B & DP (August 24, 2007). "Suspended Animation" (http:/ / www. snopes. com/ disney/ waltdisn/ frozen. asp). Snopes.com. .
[104] "Suspended Animation" (http:/ / www. snopes. com/ disney/ info/ wd-ice. htm) Urban Legends Reference Pages 1995–2001 by Barbara
and David P. Mikkelson
[105] Walt Disney Frozen (http:/ / www. museumofhoaxes. com/ hoax/ Hoaxipedia/ Walt_Disney_Frozen/ ) Hoaxipedia. museumofhoaxes.com
"Walt Disney Frozen" by Elliot Feldman 2008 Alex Boese
[106] Griffiths, Bill. "Grand opening of Walt Disney world" (http:/ / www. startedbyamouse. com/ archives/ GrandOpeningWDW01. shtml). .
[107] "Walt Disney corporate website" (http:/ / corporate. disney. go. com/ investors/ index. html). Disney. . Retrieved 2008-05-21.
[108] Roy E. Disney-The Legacy of Toy Story-Toy Story-2005, DVD
[109] "Walt Disney's will" (http:/ / www. doyourownwill. com/ disney. asp). Do Your Own Will. . Retrieved 2008-01-03.
[110] Plagens, Peter (2000). Sunshine Muse: Art on the West Coast, 1945–1970. University of California Press. p. 159. ISBN 0-520-22392-6.
[111] Rothstein, Edward (September 30, 2009). "Exploring the Man Behind the Animation" (http:/ / www. nytimes. com/ 2009/ 10/ 01/ arts/
design/ 01disney. html?pagewanted=1). The New York Times. .
[112] Dargis, Manohla (21September 2011). "And Now a Word From the Director" (http:/ / www. nytimes. com/ 2011/ 09/ 25/ movies/
conflicting-voices-in-lars-von-triers-words-and-works. html?scp=1& sq=And Now a Word from& st=Search). The New York Times. .
Retrieved September 26, 2011.
[113] Tunzelmann, Alex von (June 14, 2012). "The shameful legacy of the Olympic Games" (http:/ / www. guardian. co. uk/ film/ 2012/ jun/ 14/
shameful-legacy-olympics-1936-berlin). The Guardian. . Retrieved June 15, 2012.
[114] James, Clive (March 25, 2007). "Reich Star" (http:/ / www. nytimes. com/ 2007/ 03/ 25/ books/ review/ James. t. html?pagewanted=2&
_r=1). The New York Times. pp. XX.
[115] Olympia in America, 1938: Leni Riefenstahl, Hollywood, and the Kristallnacht" by Cooper C. Graham (LOC), Historical Journal of Film,
Radio and Television, Vol. 13, No. 4,1993
[116] "Walt Disney: More Than 'Toons, Theme Parks" (http:/ / www. cbsnews. com/ stories/ 2006/ 11/ 01/ earlyshow/ leisure/ books/
main2141735. shtml). CBS News. November 1, 2006. .
[117] Gabler, Neal (2007). Walt Disney: The Triumph of the American Imagination (http:/ / books. google. com/ books?id=41e-Ru0wRkEC&
pg=PA458). Random House. p. 458. ISBN 978-0-679-75747-4. .
[118] "Walt Disney Family Museum" (http:/ / disney. go. com/ disneyatoz/ familymuseum/ collection/ insidestory/ inside_1933d. html).
Disney.go.com. .
[119] Gabler, Neal (2006) Walt Disney, The Triumph of American Imagination, Page 433, Alfred A. Knopf Inc. New York City, U.S.A
[120] Walt Disney – Awards (http:/ / www. imdb. com/ name/ nm0000370/ awards)
[121] "Disney, Walt" (http:/ / www. bedetheque. com/ auteur-6857-BD-Disney-Walt. html) (in French). Bedetheque. . Retrieved 2008-05-21.
[122] Krasniewicz, Louise (2010). Walt Disney: A Biography (http:/ / books. google. com/ ?id=lZ3vTgpHgFoC& pg=PA51& lpg=PA51&
dq="walt+ disney"+ "league+ of+ nations"+ award#v=onepage& q="walt disney" "league of nations" award& f=false). ABC-CLIO. p. xxviii.
ISBN 9780313358302. . Retrieved August 20, 2012.
[123] Krasniewicz, Louise (2010). Walt Disney: A Biography (http:/ / books. google. com/ ?id=lZ3vTgpHgFoC& pg=PA51& lpg=PA51&
dq="walt+ disney"+ "league+ of+ nations"+ award#v=onepage& q=medal of freedom& f=false). ABC-CLIO. p. xxxiv.
ISBN 9780313358302. . Retrieved August 20, 2012.
[124] Schmadel, Lutz D. (2003). Dictionary of Minor Planet Names (http:/ / books. google. com/ books?q=4017+ Disneya). New York: Springer
Science+Business Media. p. 342. ISBN 3-540-00238-3. .
[125] David Rooney (March 3, 1994). "Disney wins Houston and Washington teaming ..." (http:/ / www. variety. com/ article/ VR119623).
Variety. . Retrieved 2009-03-31.
[126] "Walt: The Man Behind the Myth (TV 2001) – IMDb" (http:/ / www. imdb. com/ title/ tt0296273/ ). Internet Movie Database. IMDb.com,
Inc.. 2011. . Retrieved 2011-07-14.
[127] ""Saving Mr. Banks" Begins Production in Los Angeles" (http:/ / disney. go. com/ movies/ movie-news/
index?int_cmp=saving_mr_banks_wdsmp_mop_movie-news_saving_mr_banks_begins_production_in_la_Intl). disney.go.com. . Retrieved
20
Walt Disney
July 21, 2012.
References
• Thomas, Bob (1994). Walt Disney: An American Original. New York: Hyperion. ISBN 0-7868-6027-8.
Further reading
• Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. Oxford: Oxford
University Press. ISBN 0-19-516729-5.
• Broggie, Michael (1997, 1998, 2005). Walt Disney's Railroad Story. Virginia Beach, Virginia. Donning
Publishers. ISBN 1-56342-009-0
• Eliot, Marc (1993). Walt Disney: Hollywood's Dark Prince. Carol. ISBN 1-55972-174-X
• Mosley, Leonard. Disney's World: A Biography (1985, 2002). Chelsea, MI: Scarborough House. ISBN
0-8128-8514-7.
• Gabler, Neal. Walt Disney: The Triumph of American Imagination (2006). New York, NY. Random House. ISBN
0-679-43822-X
• Schickel, Richard, and Dee, Ivan R. (1967, 1985, 1997). The Disney Version: The Life, Times, Art and Commerce
of Walt Disney. Chicago: Ivan R. Dee, Publisher. ISBN 1-56663-158-0.
• Sherman, Robert B. and Sherman, Richard M. (1998) "Walt's Time: From Before to Beyond" ISBN
0-9646059-3-7
• Thomas, Bob (1991). Disney's Art of Animation: From Mickey Mouse to Beauty and the Beast. New York:
Hyperion. ISBN 1-56282-899-1.
• Watts, Steven, The Magic Kingdom: Walt Disney and the American Way of Life, University of Missouri Press,
2001, ISBN 0-8262-1379-0
External links
•
•
•
•
•
•
Walt Disney (http://www.imdb.com/name/nm370/) at the Internet Movie Database
Walt Disney (http://tcmdb.com/participant/participant.jsp?participantId=50875) at the TCM Movie Database
Works by or about Walt Disney (http://worldcat.org/identities/lccn-n78-95660) in libraries (WorldCat catalog)
Walt Disney Family Museum (http://disney.go.com/disneyatoz/waltdisney/)
Walt Disney Gravesite (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=284)
"Walter Elias Disney" (http://vault.fbi.gov/walter-elias-disney/). FBI Records: The Vault. U.S. Federal Bureau
of Investigation.
21
Roy O. Disney
22
Roy O. Disney
Roy O. Disney
Roy Disney in 1965
Born
Roy Oliver Disney
June 24, 1893
Chicago, Illinois, U.S.
Died
December 20, 1971 (aged 78)
Interred: Forest Lawn Memorial Park, Glendale, California, U.S.
Cause of death Seizure
Occupation
Entertainment industry executive
Years active
1923–1971
Political party
Republican
Religion
Christian (Congregationalist)
Spouse(s)
Edna Francis (1925–1971; his death)
Children
Roy E. Disney (1930-2009)
Parents
Elias Disney
Flora Call Disney
Relatives
Herbert Arthur Disney (brother)
Raymond Arnold Disney (brother)
Walter Elias Disney (brother)
Ruth Flora Disney (sister)
Roy Oliver Disney (June 24, 1893 – December 20, 1971) was an American businessman, who co-founded what is
now The Walt Disney Company, along with his younger brother Walt Disney.
Early life
Roy was born to Irish-Canadian Elias Disney and German-American Flora Call Disney in Chicago, Illinois. Roy
served in the US Navy from 1917–1919; a year later his brother Walt tried joining the US Army, only being refused
due to being under age. Roy was later discharged from military duty after suffering an injury, and became a banker
in Los Angeles. In 1923, Walt moved to Hollywood, joining Roy, together founding the Disney Bros Studio. Roy
and Walt ordered and built kit houses from Pacific Ready Cut Homes (a Los Angeles company) and in 1928, they
built their homes side by side on Lyric Avenue. Their homes were slightly customized and enlarged, and do not
exactly match the original homes featured in the Pacific Ready Cut Homes catalogs.[1]
Roy O. Disney
Walt Disney Productions
While Walt was the creative man, Roy was the one who made sure the company was financially stable; Roy and
Walt both founded Disney Studios as brothers, but Walt would buy out most of Roy's share in 1929 and, unlike Max
and Dave Fleischer of rival Fleischer Studios, Roy was not a co-producer.
Roy became the company's first CEO in 1929, although the official title was not given until 1968. He also shared the
role of Chairman of the Board with Walt from 1945. Walt however dropped the Chairman title in 1960 so he could
focus more on the creative aspects of the company. After Walt Disney's death in 1966, Roy postponed his retirement
to oversee construction of what was then known as Disney World, and later renamed it Walt Disney World as a
tribute to his brother. Roy became the president of Walt Disney Productions on December 15, 1966, and remained so
until 1968.
Personal life
Roy was married to Edna Francis[2] from April 1925 until his death; their only child[3] Roy Edward Disney, was born
on January 10, 1930. Throughout his life, Roy rejected the publicity and fame that came with being Walt's brother.
He was extremely camera shy, and a passive individual resulting in few public photos being in existence.
Death
After Walt Disney World opened in October 1971, Roy Disney finally retired. In early December of that year, he
complained of a "spot" over one of his eyes and was scheduled to visit his optometrist for a new eyeglass
prescription. He was discovered in a dazed condition, collapsed, next to his bed by family members; he died from a
seizure. His interment was located in Forest Lawn - Hollywood Hills Cemetery.
Tributes
A statue of Roy O. Disney seated on a park bench beside Minnie Mouse is located in the Town Square section of
Main Street, U.S.A., at the Magic Kingdom theme park in Florida. A duplicate is located outside the Team Disney
building at Disney's corporate headquarters in Burbank, California. There is a third statue at the Tokyo Disneyland
theme park. Roy O. Disney was the father of Roy E. Disney, who died on December 16, 2009. There is a Roy O.
Disney Suite on the top floor of the Hong Kong Disneyland Hotel. The suite is one of the two largest suites of the
hotel.
References
[1] "Pollard-Terry, Gayle. "12,000 Easy Pieces," Los Angeles Times, 16 July 2006, accessed 5 July 2011" (http:/ / articles. latimes. com/ 2006/
jul/ 16/ realestate/ re-kit16). Articles.latimes.com. 2004-08-19. . Retrieved 2012-10-31.
[2] Posted by Daniel (2009-08-01). "Disney's Magic Makers: Edna Francis Disney" (http:/ / www. netcot. com/ thesite/ 2009/ 08/ 01/
disneys-magic-makers-edna-francis-disney/ ). Netcot.com. . Retrieved 2012-10-31.
[3] "The Windows on Main Street: Roy E. Disney" (http:/ / wdwcentral. wordpress. com/ 2008/ 11/ 30/
the-windows-on-main-street-roy-e-disney/ ). Wdwcentral.wordpress.com. . Retrieved 2012-10-31.
Further reading
• Bob Thomas Building a Company: Roy O. Disney and the Creation of an Entertainment Empire. Disney Editions,
1998. ISBN 0-7868-6200-9
23
Roy O. Disney
External links
• Roy O. Disney (http://www.imdb.com/name/nm0228397/) at the Internet Movie Database
• Roy and Walt and Disneyland and Pacific Ready-cut Homes (http://www.uglywomansguide.com/index.php/
2009/12/roy-and-walt-and-disneyland-and-pacific-ready-cut-homes/)
• Find A Grave - Roy O. Disney (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1149)
24
25
The company
Type
Public
Traded as
[1]
NYSE: DIS
Dow Jones Industrial Average Component
S&P 500 Component
Industry
Mass media
Founded
Los Angeles, California, U.S.
(October 16, 1923)
Founder(s)
Walt and Roy Disney
Headquarters
Walt Disney Studios,
500 S. Buena Vista Street,
Area served
Worldwide
Key people
Bob Iger (Chairman & CEO)
Products
Cable television, publishing, movies, theme parks, broadcasting, radio, web portals
Services
Licensing
[2]
[3]
Revenue
US$ 42.278 billion (2012)
Operating income
US$ 9.260 billion (2012)
Net income
US$ 5.682 billion (2012)
Total assets
US$ 74.898 billion (2012)
Total equity
US$ 39.759 billion (2012)
Employees
[3]
[3]
[3]
[3]
166,000 (2012)
[3]
Divisions
Subsidiaries
Website
[www.thewaltdisneycompany.com www.thewaltdisneycompany.com]
The Walt Disney Company (NYSE: DIS [1]), commonly referred to
as Disney, is an American diversified multinational mass media
corporation headquartered in Walt Disney Studios, Burbank,
California, United States. It is the largest media conglomerate in the
world in terms of revenue.[4] Founded on October 16, 1923, by Walt
and Roy Disney as the Disney Brothers Cartoon Studio, Walt Disney
Productions established itself as a leader in the American animation
industry before diversifying into live-action film production, television,
The Walt Disney Studios, the headquarters of The
and travel. Taking on its current name in 1986, The Walt Disney
Walt Disney Company
Company expanded its existing operations and also started divisions
focused upon theatre, radio, music, publishing, and online media. In
addition, it has created new divisions of the company in order to market more mature content than it typically
associates with its flagship family-oriented brands.
The company is best known for the products of its film studio, the Walt Disney Studios, and today one of the largest
and best-known studios in Hollywood. Disney also owns and operates the ABC broadcast television network; cable
television networks such as Disney Channel, ESPN, A+E Networks, and ABC Family; publishing, merchandising,
and theatre divisions; and owns and licenses 14 theme parks around the world. It also has a successful music
division. The company has been a component of the Dow Jones Industrial Average since May 6, 1991. An early and
well-known cartoon creation of the company, Mickey Mouse, is the official mascot of The Walt Disney Company.
Corporate history
1923–1928: The silent era
In early 1923, Kansas City, Missouri animator Walt Disney created a short film entitled Alice's Wonderland, which
featured child actress Virginia Davis interacting with animated characters. After the bankruptcy in 1923 of his
previous firm, Laugh-O-Gram Films,[5] Disney moved to Hollywood to join his brother Roy O. Disney. Film
distributor Margaret J. Winkler of M.J. Winkler Productions contacted Disney with plans to distribute a whole series
of Alice Comedies purchased for $1,500 per reel with Disney as a production partner. Walt and his brother Roy
Disney formed Disney Brothers Cartoon Studio that same year. More animated films followed after Alice.[6]
In January 1926 with the completion of the Disney studio on Hyperion Street, the Disney Brothers Studio's name is
changed to the Walt Disney Studio.[7]
After the demise of the Alice comedies, Disney developed an all-cartoon series starring his first original character,
Oswald the Lucky Rabbit,[6] which was distributed by Winkler Pictures through Universal Pictures.[7] The distributor
had copyright Oswald, so Disney only made a few hundred dollars.[6] Disney only completed 26 Oswald shorts
before losing the contract in February 1928, when Winkler's husband Charles Mintz took over their distribution
company. After failing to take over the Disney Studio, Mintz hired away four of Disney's primary animators except
Ub Iwerks to start his own animation studio, Snappy Comedies.[8]
1928–1934: Mickey Mouse and Silly Symphonies
In 1928, to recover from the loss of Oswald the Lucky Rabbit, Disney came up with idea of a mouse character
named Mortimer while on a train headed to California drawing up a few simple drawings. The mouse was later
renamed Mickey Mouse and starred in several Disney produced films. Ub Iwerks refined Disney's initial design of
Mickey Mouse.[6] Disney's first sound film Steamboat Willie, a cartoon starring Mickey, was released on November
18, 1928[8] through Pat Powers' distribution company.[6] It was the first Mickey Mouse sound cartoon released, but
the third to be created, behind Plane Crazy and The Gallopin' Gaucho.[8] Steamboat Willie was an immediate smash
26
hit, and its initial success was attributed not just to Mickey's appeal as a character but to the fact that it was the first
cartoon to feature synchronized sound.[6] Disney used Pat Powers' Cinephone system, created by Powers using Lee
De Forest's Phonofilm system.[8] Steamboat Willie premiered at B. S. Moss's Colony Theater in New York City, now
The Broadway Theatre.[9] Plane Crazy and The Galloping Gaucho were then retrofitted with synchronized sound
tracks and re-released successfully in 1929.[8]
Disney continued to produce cartoons with Mickey Mouse and other characters,[6] and began the Silly Symphonies
series with Columbia Pictures signing on as Symphonies distributor in August 1929. In September 1929, theater
manager Harry Woodin requested permission to start a Mickey Mouse Club which Walt approved. In November, test
comics strips were sent to King Features, who requested additional samples to show to the publisher, William
Randolph Hearst. On December 16, the Walt Disney Studios partnership was reorganized as a corporation with the
name of Walt Disney Productions, Limited with a merchandising division, Walt Disney Enterprises, and two
subsidiaries, Disney Film Recording Company, Limited and Liled Realty and Investment Company for real estate
holdings. Walt and his wife held 60% (6,000 shares) and Roy owned 40% of WD Productions. On December 30,
King Features signed its first newspaper, New York Mirror, to publish the Mickey Mouse comic strip with Walt'
permission.[10]
In 1932, Disney signed an exclusive contract with Technicolor (through the end of 1935) to produce cartoons in
color, beginning with Flowers and Trees (1932). Disney released cartoons through Powers' Celebrity Pictures
(1928–1930), Columbia Pictures (1930–1932), and United Artists (1932–1937). The popularity of the Mickey
Mouse series allowed Disney to plan for his first feature-length animation.[6]
1934–1945: Snow White and the Seven Dwarfs and World War II
Deciding to push the boundaries of animation even further, Disney began production of his first feature-length
animated film in 1934. Taking three years to complete, Snow White and the Seven Dwarfs, premiered in December
1937 and became highest-grossing film of that time by 1939.[11] Snow White was released through RKO Radio
Pictures, which had assumed distribution of Disney's product in July 1937,[12] after United Artists attempted to attain
future television rights to the Disney shorts.[13]
Using the profits from Snow White, Disney financed the construction of a new 51-acre (210,000 m2) studio complex
in Burbank, California. The new Walt Disney Studios, in which the company is headquartered to this day, was
completed and open for business by the end of 1939.[14] The following year on April 2, Walt Disney Productions had
its initial public offering.[15]
The studio continued releasing animated shorts and features, such as Pinocchio (1940), Fantasia (1940), Dumbo
(1941), and Bambi (1942).[6] After World War II began, box-office profits declined. When the United States entered
the war after the attack on Pearl Harbor, many of Disney's animators were drafted into the armed forces. The U.S.
and Canadian governments commissioned the studio to produce training and propaganda films. By 1942 90% of its
550 employees were working on war-related films.[16] Films such as the feature Victory Through Air Power and the
short Education for Death (both 1943) were meant to increase public support for the war effort. Even the studio's
characters joined the effort, as Donald Duck appeared in a number of comical propaganda shorts, including the
Academy Award-winning Der Fuehrer's Face (1943).
1946–1954: Post-war and television
With limited staff and little operating capital during and after the war, Disney's feature films during much of the
1940s were "package films," or collections of shorts, such as The Three Caballeros (1944) and Melody Time (1948),
which performed poorly at the box-office. At the same time, the studio began producing live-action films and
documentaries. Song of the South (1946) and So Dear to My Heart (1948) featured animated segments, while the
True-Life Adventures series, which included such films as Seal Island (1948) and The Vanishing Prairie (1954),
were also popular and won numerous awards.
27
The release of Cinderella in 1950 proved that feature-length animation could still succeed in the marketplace. Other
releases of the period included Alice in Wonderland (1951) and Peter Pan (1953), both in production before the war
began, and Disney's first all-live action feature, Treasure Island (1950). Other early all-live-action Disney films
included The Story of Robin Hood and His Merrie Men (1952), The Sword and the Rose (1953), and 20,000 Leagues
Under the Sea (1954). Disney ended its distribution contract with RKO in 1953, forming its own distribution arm,
Buena Vista Distribution.[17]
In December 1950, Walt Disney Productions and The Coca-Cola Company teamed up for Disney's first venture into
television, the NBC television network special An Hour in Wonderland. In October 1954, the ABC network
launched Disney's first regular television series, Disneyland, which would go on to become one of the
longest-running primetime series of all time. Disneyland allowed Disney a platform to introduce new projects and
broadcast older ones, and ABC became Disney's partner in the financing and development of Disney's next venture,
located in the middle of an orange grove near Anaheim, California. It was the first phase of a long corporate
relationship which, although no one could have anticipated it at the time, would culminate four decades later in the
Disney company's acquisition of the ABC network, its owned and operated stations, and its numerous cable and
publishing ventures.
1955–1965: Disneyland
In 1954, Walt Disney used his Disneyland series to unveil what would become Disneyland, an idea conceived out of
a desire for a place where parents and children could both have fun at the same time. On July 18, 1955, Walt Disney
opened Disneyland to the general public. On July 17, 1955, Disneyland was previewed with a live television
broadcast hosted by Art Linkletter and Ronald Reagan. After a shaky start, Disneyland continued to grow and attract
visitors from across the country and around the world. A major expansion in 1959 included the addition of America's
first monorail system.
For the 1964 New York World's Fair, Disney prepared four separate attractions for various sponsors, each of which
would find its way to Disneyland in one form or another. During this time, Walt Disney was also secretly scouting
out new sites for a second Disney theme park. In November 1965, "Disney World" was announced, with plans for
theme parks, hotels, and even a model city on thousands of acres of land purchased outside of Orlando, Florida.
Disney continued to focus its talents on television throughout the 1950s. Its weekday afternoon children's television
program The Mickey Mouse Club, featuring its roster of young "Mouseketeers", premiered in 1955 to great success,
as did the Davy Crockett miniseries, starring Fess Parker and broadcast on the Disneyland anthology show.[6] Two
years later, the Zorro series would prove just as popular, running for two seasons on ABC, as well as separate
episodes on the Disneyland series. Despite such success, Walt Disney Productions invested little into television
ventures in the 1960s, with the exception of the long-running anthology series, later known as The Wonderful World
of Disney.[6]
Disney's film studios stayed busy as well, averaging five or six releases per year during this period. While the
production of shorts slowed significantly during the 1950s and 1960s, the studio released a number of popular
animated features, like Lady and the Tramp (1955), Sleeping Beauty (1959) and One Hundred and One Dalmatians
(1961), which introduced a new xerography process to transfer the drawings to animation cels. Disney's live-action
releases were spread across a number of genres, including historical fiction (Johnny Tremain, 1957), adaptations of
children's books (Pollyanna, 1960) and modern-day comedies (The Shaggy Dog, 1959). Disney's most successful
film of the 1960s was a live action/animated musical adaptation of Mary Poppins, which was one of the all time
highest grossing movie[6] and received five Academy Awards, including Best Actress Julie Andrews.
The theme park design and architectural group became so integral to the Disney studio's operations that the studio
bought it on February 5, 1965 along with the WED Enterprises name.[18][19][20][21]
28
1966–1971: The deaths of Walt and Roy Disney and the opening of Walt Disney World
On December 15, 1966, Walt Disney died of complications relating to lung cancer,[6] and Roy Disney took over as
chairman, CEO, and president of the company. One of his first acts was to rename Disney World as "Walt Disney
World" in honor of his brother and his vision.
In 1967, the last two films Walt actively supervised were released, the animated feature The Jungle Book[6] and the
musical The Happiest Millionaire. The studio released a number of comedies in the late 1960s, including The Love
Bug (1969's highest grossing film)[6] and The Computer Wore Tennis Shoes (1969), which starred another young
Disney discovery, Kurt Russell. The 1970s opened with the release of Disney's first "post-Walt" animated feature,
The Aristocats, followed by a return to fantasy musicals in 1971's Bedknobs and Broomsticks.[6] Blackbeard's Ghost
was another successful film during this period.[6]
On October 1, 1971, Walt Disney World opened to the public, with Roy Disney dedicating the facility in person later
that month. On December 20, 1971, Roy Disney died of a stroke, leaving the company under control of Donn Tatum,
Card Walker, and Walt's son-in-law Ron Miller, each trained by Walt and Roy.
1972–1984: Theatrical malaise and new leadership
While Walt Disney Productions continued releasing family-friendly films throughout the 1970s, such as Escape to
Witch Mountain (1975)[6] and Freaky Friday (1976), the films did not fare as well at the box office as earlier
material. However, the animation studio saw success with Robin Hood (1973), The Rescuers (1977), and The Fox
and the Hound (1981).
As head of the studio, Miller attempted make films to drive the profitable teenage market who generally passed on
seeing Disney movies.[22] Inspired by the popularity of Star Wars, the Disney studio produced the science-fiction
adventure The Black Hole in 1979 that cost $20 million to make, but was lost in Star Wars' wake.[6] The Black Hole
was the first Disney production to carry a PG rating in the United States.[22][23] Disney dabbled in the horror genre
with The Watcher in the Woods, and financed the boldly innovative Tron; both films were released to minimal
success.[6]
Disney also hired outside producers for film projects, which had never been done before in the studio's history.[22] In
1979, Disney entered a joint venture with Paramount Pictures on the production of the 1980 film adaptation of
Popeye and Dragonslayer (1981); the first time Disney collaborated with another studio. Paramount distributed
Disney films in Canada at the time, and it was hoped that Disney's marketing prestige would help sell the two
films.[22]
Finally, in 1982, the Disney family sold the naming rights and rail-based attractions to the Disney film studio for
818,461 shares of Disney stock then worth $42.6 million none of which went to Retlaw. Also, Roy E. Disney
objected to the overvalued purchase price of the naming right and voted against the purchase as a Disney board
director.[24] The 1983 release of Mickey's Christmas Carol began a string of successful movies, starting with Never
Cry Wolf and the Ray Bradbury adaptation Something Wicked This Way Comes.[6] In 1984, Disney CEO Ron
Miller created Touchstone Pictures as a brand for Disney to release more adult-oriented material. Touchstone's first
release was the comedy Splash (1984), which was a box office success.
With The Wonderful World of Disney remaining a prime-time staple, Disney returned to television in the 1970s with
syndicated programing such as the anthology series The Mouse Factory and a brief revival of the Mickey Mouse
Club. In 1980, Disney launched Walt Disney Home Video to take advantage of the newly emerging videocassette
market. On April 18, 1983, The Disney Channel debuted as a subscription-level channel on cable systems
nationwide, featuring its large library of classic films and TV series, along with original programming and
family-friendly third-party offerings.
Walt Disney World received much of the company's attention through the 1970s and into the 1980s. In 1978, Disney
executives announced plans for the second Walt Disney World theme park, EPCOT Center, which would open in
29
October 1982. Inspired by Walt Disney's dream of a futuristic model city, EPCOT Center was built as a "permanent
World's Fair", complete with exhibits sponsored by major American corporations, as well as pavilions based on the
cultures of other nations. In Japan, the Oriental Land Company partnered with Walt Disney Productions to build the
first Disney theme park outside of the United States, Tokyo Disneyland, which opened in April 1983.
Despite the success of the Disney Channel and its new theme park creations, Walt Disney Productions was
financially vulnerable. Its film library was valuable, but offered few current successes, and its leadership team was
unable to keep up with other studios, particularly the works of Don Bluth, who defected from Disney in 1979.
By the early 1980s, the Parks generating 70% of Disney's income.[6]
In 1984, financier Saul Steinberg's Reliance Group Holdings launched a hostile takeover bid for Walt Disney
Productions,[6] with the intent of dissolving the company and selling off its various assets. Disney bought out
Reliance's 11.1% stake in the company. However, other shareholder filed suit claiming the deal devaluated Disney's
stock and for Disney management to retain their positions. The shareholder lawsuit was settled in 1989 for $45 total
from Disney and Reliance.[6]
1984–2004: The Eisner era
See also, 1984–2004 under Timeline of The Walt
Disney Company.
With the Sid Bass family purchase of 18.7 percent of
Disney, Bass and the board brought in Michael Eisner as
CEO from Paramount Pictures and Frank Wells from
A view of downtown Celebration, Florida: the city was planned by
Warner Bros. as president. Eisner emphasized
Touchstone Films with Down and Out in Beverly Hills
(1985) to start leading to increased output with
Outrageous Fortune, Tin Men, Ruthless People, and additional hits. Eisner used expanding cable and home video
markets to sign deals using Disney shows and films with a long-term deal with Showtime Networks for
Disney/Touchstone releases through 1996 and entering television syndication and distribution for TV series as The
Golden Girls. Disney began limited releases of its previous films on video tapes in the late 1980s. Eisner's Disney
purchased KHJ, an independent Los Angeles TV station.[6]
Organized in 1985, Silver Screen Partners II, LP financed films for Walt Disney Company with $193 million. In
January 1987, Silver Screen III began financing movies for Disney with $300 million raised, the largest amount
raised for a film financing limited partnership by E.F. Hutton.[25] Silver Screen IV was also set up to finance
Disney's studios.[26]
Beginning with Who Framed Roger Rabbit (1988), and later, The Little Mermaid (1989), its flagship animation
studio enjoyed a series of commercial and critical successes. In addition, the company successfully entered the field
of television animation with a number of lavishly budgeted and acclaimed series such as Adventures of the Gummi
Bears, Duck Tales and Gargoyles. Disney moved to first place in box office receipts by 1988 and had increased
revenues by 20% every year.[6]
Named the "Disney Decade" by the company, the executive talent attempted to move the company to new heights in
the 1990s with huge changes and accomplishments.[6] In September 1990, The Disney Company arranged for
financing up to $200 million by a unit of Nomura Securities for Interscope films made for Disney. On October 23,
Disney formed Touchwood Pacific Partners I which would supplant the Silver Screen Partnership series as their
movie studios' primary source of funding.[26]
In 1991, hotels, home video distribution, and Disney merchandising became 28 percent of total company revenues
with international revenues contributed 22 percent of revenues. The company committed its studios in the first
quarter of 1991 to produce 25 films in 1992. However, 1991 saw net income drop by 23% and had no growth for the
30
year, but saw the release of Beauty and the Beast, winner of 2 Academy Awards and top grossing film in the genre.
Disney next moved into publishing with Hyperion Press and adult music with Hollywood Records while Disney
Imagineering was laying off 400 employees.[6]
Disney also broadened its adult offerings in film when then Disney Studio Chairman Jeffrey Katzenberg acquired
Miramax Films in 1993.
Wells died in a helicopter crash in 1994.[6] Shortly thereafter, Katzenberg resigned and formed Dreamworks SKG
because Eisner would not appoint Katzenberg to Wells' now-available post plus Katzenberg sued over the terms of
his contract.[6] Instead, Eisner recruited his friend Michael Ovitz, one of the founders of the Creative Artists Agency,
to be President, with minimal involvement from Disney's board of directors (which at the time included
Oscar-winning actor Sidney Poitier, the CEO of Hilton Hotels Corporation Stephen Bollenbach, former U.S. Senator
George Mitchell, Yale dean Robert A. M. Stern, and Eisner's predecessors Raymond Watson and Card Walker).
Ovitz lasted only 14 months and left Disney in December 1996 via a "no fault termination" with a severance package
of $38 million in cash and 3 million stock options worth roughly $100 million at the time of Ovitz's departure. The
Ovitz episode engendered a long running derivative suit, which finally concluded in June 2006, almost 10 years
later. Chancellor William B. Chandler, III of the Delaware Court of Chancery, despite describing Eisner's behavior
as falling "far short of what shareholders expect and demand from those entrusted with a fiduciary position..." found
in favor of Eisner and the rest of the Disney board because they hadn't violated the letter of the law (namely, the duty
of care owed by a corporation's officers and board to its shareholders).[27]
Eisner attempted in 1994 to purchase NBC from GE, but the deal failed due to GE wanting to keep 51% ownership
of the network. Disney acquired many other media sources during the decade, including a merger with Capital
Cities/ABC in 1995 which brought broadcast network ABC and its assets, including the A&E Television Networks
and ESPN networks, into the Disney fold.[6]
In 1998, Disney began a move into the internet field with the purchase of Starwave and 43 percent of Infoseek. In
1999, Disney purchased the remaining shares of Infoseek and launch the Go Network portal in January. Disney also
launched its cruise line with the christening of Disney Magic and a sister ship, Disney Wonder. Two professional
sports teams were acquired the Mighty Ducks of Anaheim and Anaheim Angels.[6]
As the Katzenberg case dragged on as his contract included a portion of the film revenue from ancillary markets
forever. Katzenberg had offered $100 to settle the case but Eisner felt the original claim amount of about half a
billion too much, but then the ancillary market clause was found. Disney lawyers tried to indicate a decline situation
which reveal the some of the problems in the company. ABC had declining rating and increasing costs while the film
segment had two film failures. While neither party revealed the settlement amount, it is estimated at $200 million.[6]
Eisner's controlling style inhibited efficiency and progress according to some critics, while other industry experts
indicated that "age compression" theory led to a decline in the company's target market due to youth copying teenage
behavior earlier.[6]
2000 brought an increase in revenue of 9% and net income of 39% with ABC and ESPN leading the way and Parks
and Resorts marking its sixth consecutive year of growth. However the September 11 attacks led to a complete halt
of vacation travel and led to a recession. The recession led to a decrease in ABC revenue. Plus, Eisner had the
company make an expensive purchase of Fox Family Worldwide. 2001 was a year of cost cutting laying off 4,000
employees, Disney parks operations decreased, slashing annual live-action film investment, and minimizing Internet
operations. While 2002 revenue had a small decrease from 2001 with the cost cutting, net income rose to $1.2 billion
with two creative film releases. In 2003, the Studio became the first studio to record over $3 billion in worldwide
box office receipts.[6]
31
"Save Disney" campaign and Eisner's ouster
Eisner wanted the board to not renominate Roy E. Disney, the son of Disney co-founder Roy O. Disney, as a board
director citing his age of 72 as a required retirement age. Stanley Gold responded by resigning from the board and
requesting the other board members oust Eisner.[6] In 2003, Disney resigned from his positions as the company's vice
chairman and chairman of Walt Disney Feature Animation,[28] accusing Eisner of micromanagement, flops with the
ABC television network, timidity in the theme park business, turning the Walt Disney Company into a "rapacious,
soul-less" company, and refusing to establish a clear succession plan, as well as a string of box-office movie flops
starting in the year 2000.
In 2004, Pixar Animation Studios began looking for another distributor after its 12 year contract with Disney with its
relationship strained over issues of control and money with Eisner. Comcast Corporation made an unsolicited $54
billion bid to acquire the company. A couple of high budget movies flopped at the box office. With these difficulties
and some board directors dissatisfaction, Eisner ceded the board chairmanship.[6]
On March 3, 2004, at Disney's annual shareholders' meeting, a surprising and unprecedented 45% of Disney's
shareholders, predominantly rallied by former board members Roy Disney and Stanley Gold, withheld their proxies
to re-elect Eisner to the board. Disney's board then gave the chairmanship position to Mitchell. However, the board
did not immediately remove Eisner as chief executive.[29]
On March 13, 2005, Robert Iger was announced as Eisner successor as CEO. On September 30, Eisner resigned both
as an executive and as a member of the board of directors.[30]
2005–present: The Iger era
On July 8, 2005, Walt Disney's nephew, Roy E. Disney returned to The Walt Disney Company as a consultant and
with the new title of Non Voting Director, Emeritus. Walt Disney Parks and Resorts celebrated the 50th anniversary
of Disneyland Park on July 17, and opened Hong Kong Disneyland on September 12. Walt Disney Feature
Animation released Chicken Little, the company's first film using 3-D animation. On October 1, Bob Iger replaced
Michael Eisner as CEO. Miramax co-founders Bob Weinstein and Harvey Weinstein also departed the company to
form their own studio. On July 25, 2005, Disney announced that it was closing DisneyToon Studios Australia in
October 2006, after 17 years of existence.
In 2006, Disney acquired Oswald the Lucky Rabbit, Disney’s pre-Mickey silent animation star.[31] Aware that
Disney's relationship with Pixar was wearing thin, President and CEO Robert Iger began negotiations with
leadership of Pixar Animation Studios, Steve Jobs and Ed Catmull, regarding possible merger. On January 23, 2006,
it was announced that Disney would purchase Pixar in an all-stock transaction worth $7.4 billion. The deal was
finalized on May 5; and among noteworthy results was the transition of Pixar's CEO and 50.1% shareholder, Steve
Jobs, becoming Disney's largest individual shareholder at 7% and a member of Disney's Board of Directors.[32][33]
Ed Catmull took over as President of Pixar Animation Studios. Former Executive Vice-President of Pixar, John
Lasseter, became Chief Creative Officer of both Walt Disney Animation Studios and Pixar Animation Studios, as
well assuming the role of Principal Creative Advisor at Walt Disney Imagineering.[33]
After a long time working in the company as a senior executive and large shareholder, Director Emeritus Roy E.
Disney died from stomach cancer on December 16, 2009. At the time of his death, he owned roughly 1% of all of
Disney which amounted to 16 million shares. He is seen to be the last member of the Disney family to be actively
involved in the running of the company and working in the company altogether.
On August 31, 2009, Disney announced a deal to acquire Marvel Entertainment, Inc. for $4.24 billion.[34] The deal
was finalized on December 31, 2009 in which Disney acquired full ownership on the company.[35] Disney has stated
that their acquisition of Marvel Entertainment will not affect Marvel's products, neither will the nature of any Marvel
characters be transformed.[36]
32
In October 2009, Disney Channel president Rich Ross, hired by Iger, replaced Dick Cook as chairman of the
company and, in November, began restructuring the company to focus more on family friendly products. Later in
January 2010, Disney decided to shut down Miramax after downsizing Touchstone, but one month later, they began
selling the Miramax brand and its 700-title film library. On March 12, ImageMovers Digital, Robert Zemeckis's
company which Disney had bought in 2007, was shut down. In April 2010, Lyric Street, Disney's country music
label in Nashville, was shut down. In May 2010, the company sold the Power Rangers brand, as well as its
700-episode library, back to Haim Saban. In June, the company canceled Jerry Bruckheimer's film project Killing
Rommel. In January 2011, Disney Interactive Studios was downsized.[37] In November, two ABC stations were
sold.[38] With the release of Tangled in 2010, Ed Catmull said that the "princess" genre of films was taking a hiatus
until "someone has a fresh take on it … but we don't have any other musicals or fairytales lined up."[39] He explained
that they were looking to get away from the princess era due to the changes in audience composition and preference.
However in the Facebook page, Ed Catmull stated that this was just a rumor.[40]
In April 2011, Disney broke ground on Shanghai Disney Resort. Costing $4.4 billion, the resort is slated to open in
2015.[41] Later, in August 2011, Bob Iger stated on a conference call that after the success of the Pixar and Marvel
purchases, he and the Walt Disney Company are looking to "buy either new characters or businesses that are capable
of creating great characters and great stories."[42] Later, in early February 2012, Disney completed its acquisition of
UTV Software Communications, expanding their market further into India and Asia.[43]
On October 30, 2012, Disney announced plans to acquire Lucasfilm for $4.05 billion with plans to release Star Wars
Episode VII in 2015.[44] On December 4, 2012, the Disney-Lucasfilm merger was approved by the Federal Trade
Commission, allowing the acquisition to be finalized without dealing with antitrust problems.[45] On December 21,
2012, the deal was completed, and Lucasfilm became a wholly owned subsidiary of Disney.
Company divisions and subsidiaries
The Walt Disney Company operates as five primary units and segments: The Walt Disney Studios or Studio
Entertainment, which includes the company's film, recording label, and theatrical divisions; Parks and Resorts,
featuring the company's theme parks, cruise line, and other travel-related assets; Disney Consumer Products, which
produces toys, clothing, and other merchandising based upon Disney-owned properties, Media Networks, which
includes the company's television and Walt Disney Interactive Media Group, Internet, mobile, social media, virtual
worlds and computer games operations.
Its main entertainment features and holdings include Walt Disney Studios, Disney Music Group, Disney Theatrical
Group, Disney-ABC Television Group, Radio Disney, ESPN Inc., Disney Interactive Media Group, Disney
Consumer Products, Disney India Ltd., The Muppets Studio, Pixar Animation Studios, Marvel Entertainment, UTV
Software Communications, and Lucasfilm.
Its resorts and diversified holdings include Walt Disney Parks and Resorts, Disneyland Resort, Walt Disney World
Resort, Tokyo Disney Resort, Disneyland Paris, Euro Disney S.C.A., Hong Kong Disneyland Resort, Disney
Vacation Club and Disney Cruise Line.
33
Disney Media Networks
Disney Media Networks is a reporting segment and primary unit of The Walt Disney Company that contains the
company's various television networks, cable channels, associated production and distribution companies and owned
and operated television stations. Media Networks also manages Disney's interest in its joint venture with Hearst
Corporation, A+E Networks and ESPN Inc..
• Disney–ABC Television Group
• Disney/ABC Television Group Digital Media
• Walt Disney Television
• Disney-ABC Domestic Television - formerly Buena Vista Television
• Disney-ABC International Television - formerly Buena Vista International Television
• ABC Television Network
• ABC News
• ABC Entertainment Group
• ABC Entertainment
• ABC Studios - formerly Touchstone Television & ABC Television Studios
• Times Square Studios (division)
• ABC Family
• ABC Spark - with Corus Entertainment
• ABC Owned Television Stations Group
• Live Well Network
• ABC National Television Sales
• ABC Regional Sports and Entertainment Sales[46]
• Disney Channel Worldwide
• Disney Cinemagic
• Disney Junior
• Disney XD
• Hungama
• Radio Disney
• Disney Television Animation
• Hyperion Books
• ABC Daytime Press
• ESPN Books
• VOICE
• ESPN Inc. (80%)
34
Executive management
Presidents
•
•
•
•
•
•
•
•
1923–1966: Walt Disney
1966–1971: Roy O. Disney
1968–1972: Donn Tatum
1971–1977: Card Walker
1980–1984: Ron W. Miller
1984–1994: Frank Wells
1995–1997: Michael Ovitz
2000–2012: Robert Iger
Chief Executive Officers
•
•
•
•
1929–1971: Roy O. Disney
1983–1984: Ron W. Miller
• 1984–2005: Michael Eisner
• 2005–present: Robert Iger
Chairmen of the Board
From 1945 to 1960 Walt and Roy Disney shared the role of Chairman of the Board. Walt dropped the Chairman title
in 1960 so he could focus more on the creative aspects of the company. Roy O. Disney kept the Chairman and CEO's
role.
•
•
•
•
•
•
•
•
•
1945–1960: Walt Disney
1945–1971: Roy O. Disney (Co-Chair 1945–1960)
1983–1984: Raymond Watson
1984–2004: Michael Eisner
2004–2006: George J. Mitchell
2007–2012: John E. Pepper, Jr.
2012–present: Robert Iger
Vice Chairman of the Board
• 1984–2003: Roy E. Disney
• 1999–2000: Sanford Litvack (Co-Vice Chair)
Chief Operating Officers
• 1984–1994: Frank Wells
• 1997–1999: Sanford Litvack[47] (Acting Chief of Operations)
• 2000–2005: Robert Iger
35
36
Financial data
Revenues
Annual gross revenues of The Walt Disney Company (in millions USD)
Year
Walt Disney Studio
[48]
Entertainment
Disney Consumer
[49]
Products
Walt
Disney
Parks and
Resorts
[53]
2,593.0
724
2,794.0
6,111
[53]
3,115
1,081
3,306
7,502
[53]
3,673.4
1,415.1
3,440.7
8,529
[54][55][56]
4,793
1,798.2
3,463.6
359
10,414
[54][55][56]
6,001.5
2,150
3,959.8
414
12,525
1991
1992
1993
1994
1995
[55][57]
[49]
1996
4,502
10,095
Disney Media
[50]
Networks
Walt Disney Internet Group /
Disney Interactive Media
[51][52]
Group
[58]
Total
18,739
4,142
[59]
6,981
3,782
5,014
6,522
174
22,473
[59]
6,849
3,193
5,532
7,142
260
22,976
[59]
6,548
3,030
6,106
7,512
206
23,402
[60]
5,994
2,602
6,803
9,615
368
25,402
[61]
7,004
2,590
6,009
9,569
25,790
[61]
6,465
2,440
6,691
9,733
25,360
[62]
7,364
2,344
6,412
10,941
27,061
[62]
8,713
2,511
7,750
11,778
30,752
[63]
7,587
2,127
9,023
13,207
31,944
[63]
7,529
2,193
9,925
14,368
34,285
[64]
7,491
2,347
10,626
15,046
35,510
[65]
7,348
2,415
11,504
15,857
719
37,843
[66]
6,136
2,425
10,667
16,209
712
36,149
[67]
6,701
2,678
10,761
17,162
761
38,063
[68]
6,351
3,049
11,797
18,714
982
40,893
[69]
5,825
3,252
12,920
19,436
845
42,278
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
[1] http:/ / www. nyse. com/ about/ listed/ lcddata. html?ticker=dis
[2] "Company History" (http:/ / corporate. disney. go. com/ corporate/ complete_history_1. html). Corporate Information. The Walt Disney
Company. . Retrieved August 30, 2008.
[3] "WDC 10-K 2012 Annual Report" (http:/ / a. media. global. go. com/ investorrelations/ annual_reports/ WDC-10kwrap-2011. pdf). The Walt
Disney Company. .
[4] Siklos, Richard (February 9, 2009). "Why Disney wants DreamWorks" (http:/ / money. cnn. com/ 2009/ 02/ 09/ news/ companies/
disney_dreamworks. fortune/ ?postversion=2009020914). CNN/Money. . Retrieved February 9, 2009.
[5] "1919-1924" (http:/ / kpolsson. com/ disnehis/ ). .
[6] "The Walt Disney Company History" (http:/ / www. fundinguniverse. com/ company-histories/ the-walt-disney-company-history/ ). Company
Profiles. fundinguniverse.com. . Retrieved 6 November 2012.
[7] "1926" (http:/ / kpolsson. com/ disnehis/ disn1926. htm). .
[9] "Broadway Theater Broadway" (http:/ / www. shubertorganization. com/ theatres/ broadway. asp). The Shubert Organization. 1942-07-04. .
[11] Gabler, Neal (2007). Walt Disney: The Triumph of the American Imagination. New York: Random House. pp. 276–277.
ISBN 0-679-75747-3.
[12] "Chronology of the Walt Disney Company" (http:/ / kpolsson. com/ disnehis/ disn1937. htm). .
[13] "Cinema: Man & Mouse" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,758747-5,00. html). TIME. December 27, 1937. .
Retrieved May 17, 2010.
[16] "Walt Disney Goes to War" (http:/ / books. google. com/ books?id=iU4EAAAAMBAJ& lpg=PA2& pg=PA61#v=onepage& q& f=true).
Life: p. 61. August 31, 1942. . Retrieved November 20, 2011.
[17] "Chronology of the Walt Disney Company" (http:/ / kpolsson. com/ disnehis/ disn1937. htm). islandnet.com. .
[18] Broggie, Michael (1997). Walt Disney's Railroad Story. Pentrex. p. 174. ISBN 1563420090.
[19] Smith, Dave (1998). Disney A to Z - The Updated Official Encyclopedia. Hyperion Books. pp. 467, 601. ISBN 0786863919.
[20] Stewart, James (2005). Disney War. Simon & Schuster. pp. 41.
[21] Gabler, Neal (2006). Walt Disney: The Triumph of the American Imagination. Knopf. pp. 629.
[22] Harmetz, Aljean (April 10, 1980). "Disney working to expand market." Wilmington Morning Star. Retrieved November 7, 2012.
[23] Although Disney released a PG-rated film, Take Down, prior to the release of The Black Hole, they did not make the film; it was a pickup
from independent producers.
[24] Peltz, James F. (October 2, 1990). "The Wonderful World of Disney's Other Firm : Entertainment: Walt Disney created a separate company
for his family. Retlaw Enterprises Inc. is now worth hundreds of millions." (http:/ / articles. latimes. com/ 1990-10-02/ business/
fi-1834_1_walt-disney). Los Angeles Times. . Retrieved 19 July 2012.
[25] "BRIEFLY: E. F. Hutton raised $300 million for Disney." (http:/ / articles. latimes. com/ 1987-02-03/ business/ fi-796_1_e-f-hutton). Los
Angeles Times. February 3, 1987. . Retrieved July 18, 2012.
[26] "Disney, Japan Investors Join in Partnership : Movies: Group will become main source of finance for all live-action films at the company's
three studios." (http:/ / articles. latimes. com/ 1990-10-23/ business/ fi-3244_1_financing-partnership). Los Angeles Times. Associated Press.
October 23, 1990. . Retrieved July 18, 2012.
[27] In re The Walt Disney Company Derivative Litigation, 907 A.2d 693 (Delaware Court of Chancery August 9, 2005).
[28] Polsson, Ken. "2003" (http:/ / kpolsson. com/ disnehis/ disn2003. htm). Chronology of the Walt Disney Company. KPolsson.com. . Retrieved
7 November 2012.
[31] Kohler, Chris (October 16, 2012). "How Videogames Are Changing Disney" (http:/ / www. wired. com/ gamelife/ 2012/ 10/
disney-videogames/ ). Wied.com. . Retrieved October 17, 2012.
[32] Holson, Laura M. (January 25, 2006). "Disney Agrees to Acquire Pixar in a $7.4 billion Deal" (http:/ / www. nytimes. com/ 2006/ 01/ 25/
business/ 25disney. html). The New York Times. . Retrieved January 17, 2010.
[33] "Pixar Becomes Unit of Disney" (http:/ / www. nytimes. com/ 2006/ 05/ 06/ business/ media/ 06pixar. html). The New York Times & The
Associated Press. May 6, 2006. . Retrieved January 17, 2010.
[34] "Disney to acquire Marvel Entertainment for $4B" (http:/ / www. marketwatch. com/ story/
disney-to-acquire-marvel-entertainment-for-4b-2009-08-31). MarketWatch.com. . Retrieved 2009-08-31.
[35] Donley, Michelle (December 31, 2009). "Marvel Shareholders OK Disney Acquisition" (http:/ / www. marketwatch. com/ story/
marvel-shareholders-ok-disney-acquisition-2009-12-31). MarketWatch.com. .
[36] Jay Cochran (August 31, 2009). "Disney Announces Acquisition of Marvel Entertainment Inc" (http:/ / www. enewsi. com/ news.
php?catid=190& itemid=15744). enewsi.com. .
[37] Chmielewski, Dawn C. (January 26, 2011). "Disney Interactive lays off 200 as video game unit shifts focus" (http:/ / articles. latimes. com/
print/ 2011/ jan/ 26/ business/ la-fi-ct-disney-interactive-20110126). Los Angeles Times. . Retrieved October 17, 2012.
[38] Grego, Melissa (November 3, 2010). "EXCLUSIVE: Disney to Sell Two Stations" (http:/ / www. broadcastingcable. com/ article/
459382-EXCLUSIVE_Disney_to_Sell_Two_Stations. php). Broadcasting & Cable. . Retrieved September 21, 2012.
[39] " The Disney Fairytale Has An Unhappy Ending (http:/ / www. smh. com. au/ entertainment/ movies/
the-disney-fairytale-has-an-unhappy-ending-20101128-18caf. html)," Sydney Morning Herald November 29, 2010.
37
[40] Catmull, Ed (2010-11-21). "A headline in today’s LA Times erroneously reported..." (http:/ / www. facebook. com/ Disney/ posts/
178092605539974). The Walt Disney Company via Facebook. . Retrieved 2010-12-14.
[41] Barboza, David; Barnes, Brooks (April 7, 2011). "Disney Plans Lavish Park in Shanghai" (http:/ / www. nytimes. com/ 2011/ 04/ 08/
business/ media/ 08disney. html). The New York Times. Archived (http:/ / www. webcitation. org/ 5zl43ocMn) from the original on June 27,
2011. . Retrieved June 27, 2011.
[42] Bhasin, Kim (August 10, 2011). "Disney Is Looking To Buy Even More Stables Of Characters" (http:/ / www. businessinsider. com/
disneys-looking-to-buy-up-some-more-stables-of-characters-2011-8). Business Insider. . Retrieved August 13, 2011.
[43] "Disney to complete UTV buyout" (http:/ / www. filmbiz. asia/ news/ disney-to-complete-utv-buyout). Filmbiz.asia. February 1, 2012. .
Retrieved February 8, 2012.
[44] Ingraham, Nathan (October 30, 2012). "Disney buys Lucasfilm, plans to release 'Star Wars: Episode 7' in 2015" (http:/ / www. theverge.
com/ 2012/ 10/ 30/ 3577656/ disney-buys-lucasfilm-plans-to-release-star-wars-episode-7-in-2015). The Verge. . Retrieved October 30, 2012.
[45] Patten, Dominic (December 4, 2012). "Disney-Lucasfilm Deal Cleared By Feds" (http:/ / www. deadline. com/ 2012/ 12/
disneys-lucasfilms-purchase-gets-cleared-by-feds). Deadline Hollywood. . Retrieved December 5, 2012.
[46] "ABC Owned TV Stations" (http:/ / www. disneyabctv. com/ division/ index_stations. shtml). Corporate & Press Information. Disney |
ABC Television Group. . Retrieved 25 May 2012.
[47] "Antitrust expert Sanford Litvack to examine Google-Yahoo deal | Muckety – See the news" (http:/ / news. muckety. com/ 2008/ 09/ 11/
antitrust-expert-sanford-litvack-to-examine-google-yahoo-deal/ 4962). News.muckety.com. . Retrieved December 10, 2011.
[48] Also named Films
[49] Merged into Creative Content in 1996
[50] Broadcasting from 1994 to 1996
[51] Walt Disney Internet Group, from 1997 to 2000, next merged with Disney Media Networks
[52] Disney Interactive Media Group, starting in 2008 with the merge of WDIG and Disney Interactive Studios
[53] "SEC Info – Disney Enterprises Inc – 10-K – For 9/30/93" (http:/ / www. secinfo. com/ dsvRs. bq. htm). secinfo.com. .
[54] "Disney Annual Report 1995 – Financial Highlights" (http:/ / corporate. disney. go. com/ investors/ annual_reports/ 1995/ contents. html).
Corporate.disney.go.com. . Retrieved 2012-10-31.
[55] "Walt Disney Company Annual Report 1996 – Business Segments" (http:/ / pdf. secdatabase. com/ 1378/ 0000898430-96-005815. pdf).
secdatabase.com. . Form 10-K405, Filing Date: December 19, 1996.
[56] "Disney Enterprises Inc · 10-K · For 9/30/95" (http:/ / www. secinfo. com/ drdbh. a2J7. htm). secinfo.com. .
[57] "Walt Disney Co · 10-K405 · For 9/30/96" (http:/ / www. secinfo. com/ drdbh. 95Wx. htm). secinfo.com. .
[58] Following the purchase of ABC
[59] "Disney Annual Report 1999 – Management's Discussion and Analysis of Financial Condition and Results of Operations" (http:/ / corporate.
disney. go. com/ investors/ annual_reports/ 1999/ dis99ar44. html). corporate.disney.go.com. .
[60] "Disney Annual Report 2000" (http:/ / corporate. disney. go. com/ investors/ annual_reports/ 2000/ pdfs/ financial. pdf).
corporate.disney.go.com. .
[61] "Disney Annual Report 2002" (http:/ / corporate. disney. go. com/ investors/ annual_reports/ 2002/ pdfs/ ar_2002. pdf).
[62] "Disney Annual Report 2004" (http:/ / corporate. disney. go. com/ investors/ annual_reports/ 2004/ pdfs/ annual. pdf).
[63] "Disney Annual Report 2006 – Financial Highlights" (http:/ / corporate. disney. go. com/ investors/ annual_reports/ 2006/ int/ fh. html).
[64] "Disney Annual Report 2007 – Financial Highlights" (http:/ / corporate. disney. go. com/ investors/ annual_reports/ 2007/ fh/ part1. html).
[65] "Disney Factbook 2008 – Financial Information p. 50" (http:/ / amedia. disney. go. com/ investorrelations/ factbook_2008. pdf).
amedia.disney.go.com. .
[66] "Disney 2009 Annual Report – Business Segment Results" (http:/ / amedia. disney. go. com/ investorrelations/ annual_reports/
WDC-10kwrap-2009. pdf). p. 31. .
[67] "Disney 2010 Fourth quarter" (http:/ / corporate. disney. go. com/ investors/ quarterly_earnings/ 2010_q4. pdf). p. 2. .
[68] "THE WALT DISNEY COMPANY REPORTS FOURTH QUARTER AND FULL YEAR EARNINGS FOR FISCAL 2011" (http:/ /
corporate. disney. go. com/ corporate/ pdfs/ Q411_PR_FINAL. pdf). p. 2. .
[69] "THE WALT DISNEY COMPANY REPORTS FOURTH QUARTER AND FULL YEAR EARNINGS FOR FISCAL 2012" (http:/ /
thewaltdisneycompany. com/ sites/ default/ files/ press-releases/ pdfs/ q4-fy12-earnings. pdf). p. 2. .
38
39
Net income
Net income of The Walt Disney Company (in millions USD)
Year
[51]
Walt Disney Internet Group
/
Disney Interactive Media
[52]
Group
Walt Disney Studio
[1]
Entertainment
Disney Consumer
[49]
Products
Walt
Disney
Parks and
Resorts
[53]
318
229
546
1,094
[53]
508
283
644
1,435
[53]
622
355
746
1,724
[54][55]
779
425
684
77
1,965
[54][55]
998
510
860
76
2,445
990
747
1991
1992
1993
1994
1995
[55]
[49]
1996
1,596
Disney Media
[2]
Networks
[3]
−300
Total
3,033
[59]
1,079
893
1,136
1,699
−56
4,312
[59]
769
801
1,288
1,746
−94
3,231
[59]
116
607
1,446
1,611
−93
3,231
[60]
110
455
1,620
2,298
−402
4,081
[61]
260
401
1,586
1,758
4,214
[61]
273
394
1,169
986
2,826
[62]
620
384
957
1,213
3,174
[62]
662
534
1,123
2 169
4,488
[63]
207
543
1,178
3,209
5,137
[63]
729
618
1,534
3,610
6,491
[64]
1,201
631
1,710
4,285
7,827
[65]
1,086
778
1,897
4,942
−258
8,445
[66]
175
609
1,418
4,765
−295
6,672
[67]
693
677
1,318
5,132
−234
7,586
[68]
618
816
1,553
6,146
−308
8,825
[69]
722
937
1,902
6,619
−216
9,964
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
[1] Also named Films
[2] Broadcasting from 1994 to 1996
[3] Not linked to WDIG, Disney reported a $300M loss due to financial modification regarding real estate
Criticism
Some of Disney's animated family films have drawn fire for being accused of having sexual references hidden in
them, among them The Little Mermaid (1989), Aladdin (1992), and The Lion King (1994). Instances of sexual
material hidden in some versions of The Rescuers (1977) and Who Framed Roger Rabbit (1988) resulted in recalls
and modifications of the films to remove such content.[1]
Some religious welfare groups, such as the Catholic League, have opposed films including Priest (1994) and Dogma
(1999).[2] A book called Growing Up Gay, published by Disney-owned Hyperion Press and similar publications, as
well as the company's extension of benefits to same-sex domestic partners, spurred boycotts of Disney and its
advertisers by the Catholic League, the Assemblies of God USA, the American Family Association, and other
conservative groups.[2][3][4] The boycotts were discontinued by most of these organizations by 2005.[5] In addition to
these social controversies, the company has been accused of human rights violations regarding the working
conditions in factories that produce their merchandise.[6][7]
References
[1] "Disney (Disney Films)" (http:/ / www. snopes. com/ disney/ films/ films. asp). snopes.com. . Retrieved July 15, 2009.
[2] "75 Organizations Asked To Join Showtime Boycott" (http:/ / www. catholicleague. org/ release. php?id=381). Catalyst Online. Catholic
League. May 29, 2001. . Retrieved August 29, 2008.
[3] "Disney Boycott Expands" (http:/ / www. catholicleague. org/ catalyst. php?year=1996& month=October& read=151). Catalyst. Catholic
League. October 1996. . Retrieved August 29, 2008.
[4] "Petitions and Boycott Stir Disney" (http:/ / www. catholicleague. org/ catalyst. php?year=1997& month=October& read=414). Catalyst
Online. Catholic League. October 1997. . Retrieved August 29, 2008.
[5] "Southern Baptists end 8-year Disney boycott" (http:/ / www. msnbc. msn. com/ id/ 8318263/ ). MSNBC.com. June 22, 2005. . Retrieved
January 8, 2010.
[6] "Beware of Mickey: Disney's Sweatshop in South China" (http:/ / web. archive. org/ web/ 20070210015136/ http:/ / www. somo. nl/
monitoring/ reports/ hkcic01-02. htm). Centre for Research on Multinational Corporations. February 10, 2007. Archived from the original
(http:/ / www. somo. nl/ monitoring/ reports/ hkcic01-02. htm) on February 10, 2007. . Retrieved August 30, 2008.
[7] Staff writer (June 20, 2001). source "Disney's duds are tops in sweatshop labour, Oxfam" (http:/ / www. cbc. ca/ news/ story/ 2001/ 06/ 18/
sweatshops_010618. html). CBC.com. source. Retrieved August 30, 2008.
Polsson, Ken. "Chronology of the Walt Disney Company". KPolsson.com.
Further reading
• Building a Company: Roy O. Disney and the Creation of an Entertainment Empire, Bob Thomas, 1998
• Building a Dream; The Art of Disney Architecture, Beth Dunlop, 1996, ISBN 0-8109-3142-7
• Cult of the Mouse: Can We Stop Corporate Greed from Killing Innovation in America?, Henry M. Caroselli,
2004, Ten Speed Press
• Disney: The Mouse Betrayed, Peter Schweizer
• The Disney Touch: How a Daring Management Team Revived an Entertainment Empire, by Ron Grover (Richard
D. Irwin, Inc., 1991), ISBN 1-55623-385-X
• The Disney Version: The Life, Times, Art and Commerce of Walt Disney, Richard Schickel, 1968, revised 1997
• Disneyana: Walt Disney Collectibles, Cecil Munsey, 1974
• Disneyization of Society: Alan Bryman, 2004
• DisneyWar, James B. Stewart, Simon & Schuster, 2005, ISBN 0-684-80993-1
• Donald Duck Joins Up; the Walt Disney Studio During World War II, Richard Shale, 1982
• How to Read Donald Duck: Imperialist Ideology in the Disney Comic ISBN 0-88477-023-0 (Marxist Critique)
Ariel Dorfman, Armand Mattelart, David Kunzle (translator).
• Inside the Dream: The Personal Story of Walt Disney, Katherine Greene & Richard Greene, 2001
• The Keys to the Kingdom: How Michael Eisner Lost His Grip, Kim Masters (Morrow, 2000)
40
• The Man Behind the Magic; the Story of Walt Disney, Katherine & Richard Greene, 1991, revised 1998, ISBN
0-7868-5350-6
• Married to the Mouse, Richard E. Foglesorg, Yale University Press.
• Mouse Tales: A Behind-the-Ears Look at Disneyland, David Koenig, 1994, revised 2005, ISBN 0-9640605-4-X
• Mouse Tracks: The Story of Walt Disney Records, Tim Hollis and Greg Ehrbar, 2006, ISBN 1-57806-849-5
• Storming the Magic Kingdom: Wall Street, the raiders, and the battle for Disney, John Taylor, 1987 New York
Times (http://query.nytimes.com/gst/fullpage.html?res=9B0DE1DD1F3FF937A35756C0A961948260)
• The Story of Walt Disney, Diane Disney Miller & Pete Martin, 1957
• Team Rodent, Carl Hiaasen.
• Walt Disney: An American Original, Bob Thomas, 1976, revised 1994, ISBN 0-671-22332-1
• Work in Progress by Michael Eisner with Tony Schwartz (Random House, 1998), ISBN 978-0-375-50071-8
External links
• Official website (http://www.thewaltdisneycompany.com)
• Official blog (http://www.thewaltdisneycompany.com/blog)
• Portrait of Walt Disney Company at independent data base mediadb.eu (http://www.mediadb.eu/en/
datenbanken/internationale-medienkonzerne/the-walt-disney-company.html)
41
42
The technical means
Technicolor
Technicolor is a color motion picture
process invented in 1916 and then improved
over several decades.[1] It was the second
major process, after Britain's Kinemacolor,
and the most widely used color process in
Hollywood from 1922 to 1952. Technicolor
became known and celebrated for its
saturated levels of color, and was used most
commonly for filming musicals such as The
Wizard of Oz and Singin' in the Rain,
costume pictures such as The Adventures of
Robin Hood and Joan of Arc, and animated
films such as Snow White and the Seven
Dwarfs and Fantasia. However, it was also
used for less spectacular dramas and
comedies, and sometimes even a film noir
— such as Leave Her to Heaven or Niagara
— was filmed in Technicolor.
A title card for a Walt Disney Donald Duck cartoon with an "in Technicolor"
credit. Many 1930s and '40s American cartoon shorts were produced in
Technicolor.
"Technicolor" is the trademark for a series of color motion picture processes pioneered by Technicolor Motion
Picture Corporation (a subsidiary of Technicolor, Inc.), now a division of Technicolor SA. The Technicolor
Motion Picture Corporation was founded in Boston in 1914 (incorporated in Maine in 1915) by Herbert Kalmus,
Daniel Frost Comstock, and W. Burton Wescott.[2] The "Tech" in the company's name was inspired by the
Massachusetts Institute of Technology, where Kalmus received an undergraduate degree and was later an
instructor.[3] Technicolor, Inc. was chartered in Delaware in 1921.[4][5]
Name usage
The term "Technicolor" historically has been used to describe four concepts:
• Technicolor process or format: the several image origination systems used in film production (1917-), which
culminated in the "three-strip" process. (1932–1955)
• Technicolor IB printing ("IB" abbreviates "imbibition", a dye-transfer operation): a process for making color
motion picture prints that allows the use of dyes which are more stable and permanent than those created in
chromogenic color prints. Originally used for printing from color separation negatives photographed on
black-and-white film in a Technicolor camera, it was later applied to making prints from negatives photographed
on standard color film in an ordinary camera. (1928–2002, with differing gaps of availability post-1974
depending on lab)
• Technicolor labs: a collection of film laboratories across the world owned and run by Technicolor for
post-production services including developing, printing, and transferring films in all major developing processes,
as well as Technicolor's proprietary ones. Films using these labs thus retain a "Color by Technicolor" credit even
Technicolor
43
though no Technicolor format or printing have been offered recently. (1922–present)
• Technicolor: an umbrella company encompassing all the above as well as other ancillary services.
(1914–present)
History
Two-color Technicolor
Process 1
Technicolor originally existed in a two-color (red and green) system. In
Process 1 (1916), a prism beam-splitter behind the camera lens
exposed two consecutive frames of a single strip of black-and-white
negative film simultaneously, one behind a red filter, the other behind a
green filter. Because two frames were being exposed at the same time,
the film had to be photographed and projected at twice the normal
speed. Exhibition required a special projector with two apertures (one
with a red filter and the other with a green filter), two lenses, and an
adjustable prism that aligned the two images on the screen.[6] The
Color composite of a frame pair from a surviving
fragment of The Gulf Between (1917), the first
results were first demonstrated to members of the American Institute of
Technicolor movie
Mining Engineers in New York on February 21, 1917.[7] Technicolor
itself produced the only movie made in Process 1, The Gulf Between,
which had a limited tour of Eastern cities, beginning with Boston and New York in September 1917, primarily to
interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the
projection alignment doomed this additive color process. Only a few frames of The Gulf Between, showing star
Grace Darmond, are known to exist today.
Process 2
Convinced that there was no future in additive color processes,
Kalmus focused his attention on subtractive color processes. This
culminated in what would eventually be known as Process 2
(1922) (sometimes confusingly called "two-strip"[8]). As before,
the special Technicolor camera used a beam-splitter that
simultaneously exposed two frames of a single strip of
black-and-white film, one behind a green filter and one behind a
red filter.[9]
Frame from the Technicolor picture The Toll of the Sea
The difference was that the two-component negative was now
(1922)
used to produce a subtractive color print. Because the colors were
physically present in the print, no special projection equipment
was required and the correct registration of the two images did not depend on the skill of the projectionist.
The frames exposed behind the green filter were printed on one strip of black-and-white film, and the frames
exposed behind the red filter were printed on another strip. After development, each strip was toned to a color
complementary to that of the filter—red for the green-filtered images, green for the red-filtered. Unlike tinting,
which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image
with transparent coloring matter, so that the highlights remain clear (or nearly so), dark areas are strongly colored,
and intermediate tones are colored proportionally. The two strips, made of film stocks thinner than regular film, were
then cemented together base to base to create a projection print. The Toll of the Sea debuted on November 26, 1922
Technicolor
44
as the first general release film to use Technicolor.
The second all-color feature in this process, Wanderer
of the Wasteland, was released in 1924. Process 2 was
also used for color sequences in such major motion
pictures as The Ten Commandments (1923), The
Phantom of the Opera (1925), and Ben-Hur (1925).
Douglas Fairbanks' The Black Pirate (1926), became
the fourth feature to be filmed entirely in Technicolor.
Although successful commercially, Process 2 was
plagued with technical problems. Because the images
on the two sides of the print were not in the same plane,
both could not be perfectly focused at the same time.
Frame enlargement of a Technicolor segment from The Phantom of
The significance of this problem depended on the depth
the Opera (1925). The film was one of the earliest uses of the process
of field of the projection optics. Much more serious
on interior sets, and demonstrated its versatility.
was a problem with cupping. Films in general tended to
become somewhat cupped after repeated use. Every
time a film was projected, each frame in turn was heated by the intense light in the projection gate, causing it to
bulge slightly. After it had passed through the gate, it cooled and the bulge subsided, but not quite completely. It was
found that the cemented prints were not only very prone to cupping, but that the direction of cupping would suddenly
and randomly change from back to front or vice versa, so that even the most attentive projectionist could not prevent
the image from temporarily popping out of focus whenever the direction changed. Technicolor had to supply new
prints so the cupped ones could be shipped to their Boston laboratory for flattening, after which they could be put
back into service, at least for a while. The unusual thickness of the film and the presence of image layers on both
surfaces made the prints especially vulnerable to scratching, and because the scratches were vividly colored they
were very obtrusive. Splicing a Process 2 print without special attention to its unusual laminated construction was
apt to result in a bad splice that would fail as it passed through the projector. Even before these problems became
apparent, Technicolor regarded this cemented print approach as a stopgap and was already at work developing an
improved process.[10]
Process 3
Based on the same dye-transfer technique first applied to motion pictures in 1916 by Max Handschiegl, Technicolor
Process 3 (1928) was developed to eliminate the projection print made of double-cemented prints in favor of a print
created by dye imbibition. The Technicolor camera for Process 3 was identical to that for Process 2, simultaneously
photographing two consecutive frames of a black-and-white film behind red and green filters.
In the lab, every other frame of the camera negative was printed onto one strip of specially prepared gelatin film (or
"matrix") to create a red record, and the remaining frames were printed onto a second strip of blank film to create a
green record. On exposure to UV light, the gelatin hardened. Areas not exposed to light were washed away by the
developer leaving a relief image created by the hardened gelatin. The two matrix films were then soaked in dye baths
of their complementary colors. The strip containing the red record was dyed green and the green record strip was
dyed red. The thicker the gelatin on each frame, the more dye it absorbed.
During the final printing, the matrices were placed in contact with a blank, emulsified strip of film (known as the
"blank") and the dye was transferred from the matrices to the new print. A mordant made from deacetylated Chitin
was applied to the blank before printing, which kept the dye from migrating.
As this dye-transfer process was introduced around the same time as sound-on-film, the emulsion on the blank was
adapted to a black-and-white film stock where the soundtrack and frame line were printed in black and white first,
and then the dye-layer was added.
Technicolor
The first feature made entirely in the Technicolor Process 3 was The Viking (1928), which had a synchronized score
and sound effects. Redskin (1929), with a synchronized score, and The Mysterious Island (1929), a part-talkie, were
photographed almost entirely in this process also but included some sequences in black and white. The following
talkies were made entirely – or almost entirely – in Technicolor Process 3: On with the Show! (1929) (the first
all-talking color feature), Gold Diggers of Broadway (1929), The Show of Shows (1929), Sally (1929), The
Vagabond King (1930), Follow Thru (1930), Golden Dawn (1930), Hold Everything (1930), The Rogue Song (1930),
Song of the Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Bride
of the Regiment (1930), Mamba (1930), Whoopee! (1930), King of Jazz (1930), Under a Texas Moon (1930), Bright
Lights (1930), Viennese Nights (1930), Woman Hungry (1931), Kiss Me Again (1931) and Fifty Million Frenchmen
(1931). In addition, scores of features were released with Technicolor sequences. Numerous short subjects were also
photographed in Technicolor Process 3, including the first color sound cartoons by producers such as Ub Iwerks and
Walter Lantz. Song of the Flame became the first color movie to use a widescreen process (using a system known as
Vitascope, which used 65mm film).
In 1931, an improvement of Technicolor Process 3 was developed which removed grain from the Technicolor film,
resulting in more vivid and vibrant colors.[11] This process was first used on a Radio Picture entitled: The Runaround
(1931). The new process not only improved the color but also removed specks (that looked like bugs) from the
screen, which had previously blurred outlines and lowered visibility. This new improvement along with a reduction
in cost (from 8.85 cents to 7 cents per foot) led to a new color revival.[12] Warner Brothers took the lead once again
by producing three features (out of an announced plan for six features): Manhattan Parade (1932), Doctor X (1932)
and Mystery of the Wax Museum (1933). Radio Pictures followed by announcing plans to make four more features in
the new process.[13] Only one of these, Fanny Foley Herself (1931), was actually produced. Although Paramount
Pictures announced plans to make eight features and Metro-Goldwyn-Mayer promised two color features, these
never materialized.[14] This may have been the result of the lukewarm reception to these new color pictures by the
public. Two independently produced features were also made with this improved Technicolor process: Legong:
Dance of the Virgins (1934) and Kliou the Tiger (1935).
Very few of the original camera negatives of movies made in Technicolor Process 2 or 3 survive. In the late 1940s,
most were discarded from storage at Technicolor in a space-clearing move, after the studios declined to reclaim the
materials. Original Technicolor prints that survived into the 1950s were often used to make black-and-white prints
for television and simply discarded thereafter. This explains why so many early color films exist today solely in
black and white.
Warner Bros., which had vaulted from a minor exhibitor to a major studio by its introduction of the talkies,
incorporated Technicolor's printing to enhance their films. Other producers followed Warner Bros.' example by
making features in color, with either Technicolor or one of its competitors, such as Brewster Color and Multicolor
(later Cinecolor).
Consequently, the introduction of color did not increase the number of audiences to the point where it was
economical. This, and the Great Depression severely strained movie studios' finances, and spelled the end of
Technicolor's first financial success.
Three-strip Technicolor
Process 4: Development and introduction
As early as 1924, Technicolor envisioned a full-color process, and by 1929, the company was actively developing
such a process. Hollywood made so much use of Technicolor in 1929 and 1930, that many believed the feature film
industry would soon be turning out color films exclusively. By 1931, the Great Depression took its toll on the movie
industry, and they began to cut back on expenses. The production of color films had decreased dramatically by 1932,
when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could
now promise studios a full range of colors, as opposed to the limited red-green spectrum of previous films. The light
45
Technicolor
46
passing through the camera lens was split into two beam paths by a prism block. Green light was recorded through a
green filter on panchromatic film, while the other half of the light passed through a magenta filter and was recorded
on bipack film stock with two strips running base to base. On this stock, the front film was sensitized to blue light
only, backed by a red gelatin layer which acted as a light filter to the panchromatic film behind it. This process
accurately reproduced the full color spectrum when optically printed using a dye-transfer process in cyan, magenta
and yellow.
Kalmus convinced Walt Disney to shoot one of his Silly Symphony cartoons Flowers and Trees (1932) in Process 4,
the new "three-strip" process. Seeing the potential in full-color Technicolor, Walt Disney negotiated an exclusive
contract for the use of the process, continuing to September 1935 (when other studios could start producing cartoons
in the process, but were barred from releasing them until 1936).[15][16][17] Competitors such as the Fleischer Studios
and the Ub Iwerks studio were shut out – they had to settle for either the two-color Technicolor systems or use a
competing process such as Cinecolor.
Flowers and Trees was a success with audiences and critics alike, and won the first Academy Award for Animated
Short Film. All subsequent Silly Symphonies from 1933 on were shot with the three-strip process. One 1933 Silly
Symphony, Three Little Pigs, engendered such a positive audience response that it overshadowed the feature films
with which it was shown. Hollywood was buzzing about color film again. According to Fortune magazine, "Merian
C. Cooper, producer for RKO Radio Pictures and director of King Kong (1933), saw one of the Silly Symphonies and
said he never wanted to make a black-and-white picture again."
Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive
exposure" process was adopted circa 1937 mainly for cartoon work: the camera would contain one strip of
black-and-white negative film, and each animation cel would be photographed three times, on three sequential
frames, behind alternating red, green, and blue filters (the so-called "Technicolor Color Wheel", then an option of the
Acme, Producers Service and Photo-Sonics animation cameras).[18] Three separate dye transfer printing matrices
would be created from the red, green, and blue records in their respective complementary colors, cyan, magenta and
yellow.
Successive Exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the 16mm
Kodachrome Commercial principal photography element was first duplicated onto a 35mm fine-grain SE negative
element in one pass of the 16mm element, thereby reducing wear on the relatively small 16mm element and also
eliminating registration errors between colors. The live-action SE negative thereafter entered other Technicolor
processes and were incorporated with SE animation and three-strip studio live-action, as required, thereby producing
the combined result.
Shooting Technicolor footage, 1932–1955
Three-strip Technicolor camera from the 1930s
Technicolor's advantage over most early natural-color
processes was that it was a subtractive synthesis rather
than an additive one: unlike the additive Kinemacolor
and Chronochrome processes, Technicolor prints did
not require any special projection equipment. Unlike
the additive Dufaycolor process, the projected image
was not dimmed by a light-absorbing and obtrusive
mosaic color filter layer. Very importantly, compared
to competing subtractive systems, Technicolor offered
the best balance between high image quality and speed
of printing.
Technicolor
The Technicolor Process 4 camera contained color filters, a beam splitter consisting of a partially reflecting surface
inside a split-cube prism, and three separate rolls of black-and-white film (hence the "three-strip" designation). The
beam splitter allowed ⅓ of the light coming through the camera lens to pass through the reflector and a green filter
and form an image on one of the strips, which therefore recorded only the green-dominated third of the spectrum.
The other ⅔ was reflected sideways by the mirror and passed through a magenta filter, which absorbed green light
and allowed only the red and blue thirds of the spectrum to pass. Behind this filter were the other two strips of film,
their emulsions pressed into contact face to face. The front film was a red-blind orthochromatic type that recorded
only the blue light. On the surface of its emulsion was a red-orange coating that prevented blue light from continuing
on to the red-sensitive panchromatic emulsion of the film behind it, which therefore recorded only the red-dominated
third of the spectrum.
Each of the three resulting negatives was printed onto a special matrix film. After processing, each matrix was a
nearly invisible representation of the series of film frames as gelatin reliefs, thickest (and most absorbent) where
each image was darkest and thinnest where it was lightest. Each matrix was soaked in a dye complementary to the
color of light recorded by the negative printed on it: cyan for red, magenta for green, and yellow for blue (see also:
CMYK color model for a technical discussion of color printing).
A single clear strip of black-and-white film with the soundtrack and frame lines printed in advance was first treated
with a mordant solution and then brought into contact with each of the three dye-loaded matrix films in turn,
building up the complete color image. Each dye was absorbed, or imbibed, by the gelatin coating on the receiving
strip rather than simply deposited onto its surface, hence the term "dye imbibition". Strictly speaking, this is a
mechanical printing process, very loosely comparable to offset printing or lithography, and not a photographic one,
as the actual printing does not involve a chemical change caused by exposure to light.
In the early days of the process, the receiver film was pre-printed with a 50% black-and-white image derived from
the green strip, the so-called Key, or K, record. This procedure was used largely to cover up fine edges in the picture
where colors would mix unrealistically (also known as fringing). This additional black increased the contrast of the
final print and concealed any fringing. However, overall colorfulness was compromised as a result. In 1944,
Technicolor had improved the process to make up for these shortcomings and the K record was, therefore,
eliminated.
Convincing Hollywood
The studios were willing to adopt three-color Technicolor for live-action feature production, if it could be proved
viable. Shooting three-strip Technicolor required very bright lighting, as the film had an extremely slow speed of
ASA 5. That, and the bulk of the cameras and a lack of experience with three-color cinematography made for
skepticism in the studio board rooms.
Fortune magazine's October 1934 article stressed that Technicolor, as a corporation, was rather remarkable in that it
kept its investors quite happy despite the fact that it had only been in profit twice in all of the years of its existence,
during the early boom at the turn of the decade. A well-managed company, half of whose stock was controlled by a
clique loyal to Kalmus, Technicolor never had to cede any control to its bankers or unfriendly stockholders. In the
mid-'30s, all the major studios except MGM were in the financial doldrums, and a color process that truly
reproduced the visual spectrum was seen as a possible shot-in-the-arm for the ailing industry.
In November 1933, Technicolor's Herbert Kalmus and RKO announced plans to produce three-strip Technicolor
films in 1934, beginning with Ann Harding starring in a projected film The World Outside.[19]
Live-action use of three-strip Technicolor was first seen in a musical number of the MGM feature The Cat and the
Fiddle, released February 16, 1934. On July 1, MGM released Hollywood Party with a Technicolor cartoon sequence
"Hot Choc-late Soldiers" produced by Walt Disney. On July 28 of that year, Warner Brothers released Service With a
Smile, followed by Good Morning, Eve! on August 5, both being comedy short films starring Leon Errol and filmed
in three-strip Technicolor. Pioneer Pictures, a movie company formed by Technicolor investors, produced the film
47
Technicolor
48
usually credited as the first live-action short film shot in the three-strip process, La Cucaracha released August 31,
1934. La Cucaracha is a two-reel musical comedy that cost $65,000, approximately four times what an equivalent
black-and-white two-reeler would cost. Released by RKO, the short was a success in introducing the new
Technicolor as a viable medium for live-action films. The three-strip process also was used in some short sequences
filmed for several movies made during 1934, including the final sequences of The House of Rothschild (20th Century
Pictures/United Artists) with George Arliss and Kid Millions (Samuel Goldwyn Studios) with Eddie Cantor.
Pioneer/RKO's Becky Sharp (1935) became the first feature film photographed entirely in three-strip Technicolor.
Initially, three-strip Technicolor was only used indoors. In 1936, The Trail of the Lonesome Pine became the first
production to have outdoor sequences, with impressive results. The spectacular success of Snow White and the Seven
Dwarfs (1937), which was released in December 1937 and became the top-grossing film of 1938, attracted the
attention of the studios.
Limitations and difficulties
One major drawback of Technicolor's three-strip process was that it required a special, bulky, and very heavy
Technicolor camera. Film studios could not purchase Technicolor cameras, only rent them for their productions,
complete with camera technicians and a "color supervisor" to ensure sets, costumes and makeup didn't push beyond
the limitations of the system. Often on many early productions, the supervisor was Natalie Kalmus, ex-wife of
Herbert Kalmus and part owner of the company. Directors had great difficulty with her; Vincente Minnelli said, "I
couldn't do anything right in Mrs. Kalmus's eyes."[20]
The process of splitting the image reduced the amount of light reaching the film stock. Since the film speed of the
stocks used were fairly slow, early Technicolor productions required a greater amount of lighting than a
black-and-white production. It is reported that temperatures on the film set of The Wizard of Oz from the hot studio
lights frequently exceeded 100 °F (38 °C), and some of the more heavily costumed characters required a large water
intake. Some actors and actresses claimed to have suffered permanent eye damage from the high levels of
illumination.[21]
Because of the added lighting and triple amount of film necessary, Technicolor demanded high film budgets.
The introduction of Eastmancolor and decline
Color films that recorded the three primary colors in
three emulsion layers on one strip of film had been
introduced in the mid-1930s by Eastman Kodak in the
United States (Kodachrome for 16mm home movies in
1935, then for 8mm home movies and 35mm slides in
1936) and Agfa in Germany (Agfacolor Neu for both
home movies and slides later in 1936). Technicolor
introduced Monopack, a single-strip color reversal film
(a 35 mm version of Kodachrome Commercial) in 1941
for use on location where the bulky three-strip camera
was impractical, but the higher grain of the image made
it unsuitable for studio work.
Gentlemen Prefer Blondes, an example of Technicolor filming in
Eastman Kodak introduced its first 35 mm color motion
1950s Hollywood.
picture negative film in 1950. The first commercial
feature film to use Eastmancolor was the National Film Board of Canada documentary Royal Journey, released in
December 1951.[22][23] In 1952, an improved version suitable for Hollywood production was introduced.[24] This
allowed Technicolor prints to be struck from a single camera negative exposed in a standard camera. Foxfire (1955),
filmed in 1954 by Universal, starring Jane Russell and Jeff Chandler, was the last American-made feature
Technicolor
photographed with a Technicolor three-strip camera.
In 1952, Eastman Kodak introduced a high-quality color print film, allowing studios to produce prints through
standard photographic processes as opposed to having to send them to Technicolor for the expensive dye imbibition
process. That same year, the Technicolor lab adapted its dye transfer process to derive matrices and imbibition prints
directly from Eastmancolor negatives, as well as other stocks such as Ansco and DuPont color stocks.
Technicolor unveiled their stereoscopic camera for 3-D films in March 1953. The rig used two three-strip cameras,
running a total of six strips of film at once (three for the left eye and three for the right).[25] Only two films were shot
with this camera set-up: Flight to Tangier (1953) and the Martin and Lewis comedy Money From Home (1954). A
similar, but different system had been used by a different company, using two three-strip cameras side-by-side for a
British short called Royal River.
In 1954, Technicolor made reduction dye transfer prints of the large format VistaVision negative. Their process was
also adapted for use with Todd-AO, Ultra Panavision 70 and Technirama formats. All of them were an improvement
over the three-strip negatives since the negative print-downs generated sharper and finer grain dye transfer copies.
By the mid-1960s, the dye-transfer process eventually fell out of favor in the United States as being too expensive
and too slow in turning out prints. With the growing number of screens in the US, the standard run of 200-250 prints
increased. And while dye-transfer printing yielded superior color printing, the number of high speed prints that could
be struck in labs all over the country outweighed the fewer, slower number of prints that could only be had in
Technicolor's labs. The last American film released before Technicolor closed their dye plant was The Godfather,
Part II (1974).
In 1975, the US dye transfer plant was closed and Technicolor became an Eastman-only processor. In 1977, the final
dye-transfer printer left in Rome was used by Dario Argento to make prints for his horror film Suspiria.[26] In 1980,
the Italian Technicolor plant ceased printing dye transfer.
The British line was shut down in 1978 and sold to Beijing Film and Video Lab in China. A great many films from
China and Hong Kong were made in the Technicolor dye transfer process, including Zhang Yimou's Ju Dou and
even one American film, Space Avenger (1989, director: Richard W. Haines). The Beijing line was shut down in
1993 for a number of reasons, including inferior processing.
Reintroduction of the dye transfer process
In 1997, Technicolor reintroduced the dye transfer process to general film production. A refined version of the
printing process of the 1960s and 1970s, it was used on a limited basis in the restorations of films such as The
Wizard of Oz, Rear Window, Funny Girl, and Apocalypse Now Redux.
After its reintroduction, the dye transfer process was used in several big-budget, modern Hollywood productions.
These included Bulworth, Pearl Harbor, and Toy Story. The distinct "look" this process achieves, often sought after
by filmmakers looking to re-create the period of time at which Technicolor was at its most prominent, is difficult to
obtain through conventional, high-speed printing methods and is one explanation for the enduring demand and
credibility of the process.
The dye-transfer process was discontinued by Technicolor in 2002 after the purchase of the company by Thomson
which in 2010 changed its name to Technicolor SA.
Dye transfer Technicolor in archival work
By the late 1990s, the dye transfer process still had its advantages in the film archival community. Because the dye
transfer process used stable acid dyes, Technicolor prints are considered of archival quality. A Technicolor print
from the dye transfer era will retain its original colors virtually unchanged for decades with proper storage, whereas
prints printed on Eastmancolor stocks produced prior to 1983 may suffer color fading after exposure to ultraviolet
light and hot, humid conditions as a result of less stable photochemical dyes. Fading on some prints is so rapid that in
49
Technicolor
many cases, after as little as five to ten years, only the magenta record is perceivable on the film.
An article[27] on the restoration of Star Wars Episode IV: A New Hope claimed that a rare dye-transfer print of the
movie, made for director George Lucas at the British Technicolor lab during its initial run, had been used as a color
reference for the restoration. The article claimed that conventional color prints of the movie had all degraded over
the years to the extent that no two had the same color balance. However, because of the variation in color balance per
print, dye-transfer prints are used in the professional restoration world as only a rough guideline.
Furthermore, three-strip camera negatives are all on silver-based black-and-white stock, which have stayed unaltered
over the course of time with proper handling. This has become of importance in recent years with the large market
for films transferred to video formats for home viewing. The best color quality control for video transfer by far is
achieved by optically printing from Technicolor negatives, or by recombining the negative through digital means and
printing, onto low-contrast stock.
One problem that has resulted from Technicolor negatives is the rate of shrinkage from one strip to another. Because
three-Strip negatives are shot on three rolls, they are subject to different rates of shrinkage depending on storage
conditions. Today, digital technology allows for a precise re-alignment of the negatives by resizing shrunken
negatives digitally to correspond with the other negatives. The G, or Green, record is usually taken as the reference
as it is the record with the highest resolution. It is also a record with the correct "wind" (emulsion position with
respect to the camera's lens). Shrinkage and re-alignment (resizing) are non-issues with Successive Exposure
(single-roll RGB) Technicolor camera negatives. This issue could have been eliminated, for three-strip titles, had the
preservation elements (fine-grain positives) been Successive Exposure, but this would have required the preservation
elements to be 3,000 feet or 6,000 feet whereas three-strip composited camera and preservation elements are 1,000
feet or 2,000 feet.
One issue that modern reproduction has had to contend with is that the contrast of the three film strips is not the
same. This gives the effect on technicolor prints that (for example) fades cause the color balance of the image to
change as the image is faded. Transfer to digital media has attempted to correct the differing color balances and is
largely successful. However, a few odd artifacts remain such that saturated parts of the image may show a false
color. Where the image of a flame is included in shot, it will rarely be of the expected orange/yellow color often
being depicted as green.
Technicolor today
The Technicolor company remained a highly successful film processing firm and later became involved in video and
audio duplication (CD, VHS and DVD manufacturing) and digital video processes. MacAndrews & Forbes acquired
Technicolor, Inc. in 1982 for $100 million,[28] then sold it in 1988 to the British firm Carlton Communications PLC
for $780 million.[29] Technicolor, Inc. acquired the film processing company Consolidated Film Industries in
2000.[30] Since 2001, Technicolor has been part of the French-headquartered electronics and media conglomerate
Thomson.[31] The name of Thomson group was changed to “Technicolor” as of February 1, 2010, re-branding the
entire company after its American film technology subsidiary.[32]
The visual aesthetic of dye transfer Technicolor continues to be used in Hollywood, usually in films set in the
mid-20th century. Parts of The Aviator, the 2004 biopic of Howard Hughes, were digitally manipulated to imitate
color processes that were available during the periods each scene takes place. The two-color look of the film is
incorrectly cited as looking like Technicolor's two-color systems, whereas in fact it is a facsimile of Hughes' own
color system, Multicolor. The "three-strip" Technicolor look begins after the newsreel footage of Hughes making the
first flight around the world.
50
Technicolor
References
[1]
[2]
[3]
[4]
[5]
[6]
US patent 1208490 (http:/ / worldwide. espacenet. com/ textdoc?DB=EPODOC& IDX=US1208490), issued 1916-12-12
" What? Color in the Movies Again? (http:/ / www. widescreenmuseum. com/ oldcolor/ fortune-page02. htm)" Fortune, October 1934.
. http:/ / www. hollywoodreporter. com/ hr/ search/ article_display. jsp?vnu_content_id=1000902888.
"$1,000,000 Company Will Color Movies", The New York Times, September 21, 1922, p. 1.
"Technicol.-Prizma Controversy", The Wall Street Journal, Dec. 7, 1922, p. 12.
Cinematographic Multiplex Projection, &c (http:/ / www. google. com/ patents?id=LH9SAAAAEBAJ& zoom=4& pg=PA9#v=onepage& q&
f=false). U.S. Patent No. 1,391,029, filed Feb. 20, 1917.
[7] "Moving Pictures in Color", The New York Times, February 22, 1917, p. 9.
[8] Originally cited by academics as "two-strip" Technicolor, the application of that term to Technicolor's two-component processes is now
increasingly disparaged, since the well-established term "three-strip", widely used to describe Process 4, refers to the number of separate strips
of film used in the camera, not to the printing process or the structure of the final print.
[9] " The First Successful Color Movie (http:/ / books. google. com/ books?id=XSoDAAAAMBAJ& pg=PA59)", Popular Science, Feb. 1923, p.
59.
[10] " Kalmus, Herbert. "Technicolor Adventures in Cinemaland", Journal of the Society of Motion Picture Engineers, December 1938 (http:/ /
www. widescreenmuseum. com/ oldcolor/ kalmus. htm)"
[11] Los Angeles Times, June 7, 1931, Page C9.
[12] Los Angeles Times, June 7, 1931, Page C9; The Washington Post, September 11, 1931, Page 12; Los Angeles Times, July 9, 1931, Page A9.
[13] Radio Pictures announced plans to make four color features under the titles of "The Runaround" (produced), "Babes in Toyland" (never
produced), "Macheta" (never produced) and "Bird of Paradise" (changed to black and white).
[14] MGM announced plans to make The Merry Widow in color and also to rework a revue called The March of Time with a storyline for release.
The only Paramount feature that seems to have been announced was a picture called Rose of the Rancho which was to have starred Richard
Arlen and Dolores Del Rio.
[15] "Technicolor Signs With Disney", The Wall Street Journal, April 17, 1934, p. 10.
[16] "Mickey Mouse Falls Under Technicolor's Sway", The New York Times, February 3, 1935, p. X5.
[17] Nelson B. Bell, "The New Trichrome Process Is About to Meet Test on Screen", The Washington Post, June 2, 1935, p. SO1. Douglas W.
Churchill, "Advices From the Film Citadel", The New York Times, June 9, 1935, p. X3.
[18] "Two key advantages to SE as opposed to three-strip photography is that the optical path is far simpler resulting in a single focal plane for
each frame, and the alignment of frames from a single strip of film as opposed to three separate records is far easier. This is clearly evident
when we are working with our nitrate negatives." Interview with Theo Gluck, Director of Library Restoration and Preservation for Walt
Disney Studios Motion Pictures (http:/ / www. thedigitalbits. com/ articles/ robertharris/ harris101308. html), by Robert A. Harris, 2008.
[19] "Activities on the Western Front" (http:/ / query. nytimes. com/ mem/ archive-free/ pdf?_r=2&
res=FB0A1EFA3C5516738DDDAC0894D9415B838FF1D3) (PDF). The New York Times. November 5, 1933. . Retrieved December 6, 2008.
[20] Vincente Minnelli, I Remember It Well, New York: Doubleday, 1974.
[21] Richard B. Jewell. The golden age of cinema: Hollywood, 1929–1945. Blackwell Pub. 2007 p 103
[22] Chronology of Motion Picture Films: 1940–1959 (http:/ / motion. kodak. com/ US/ en/ motion/ Products/ Chronology_Of_Film/ chrono2.
htm), Kodak.
[23] Crowther, Bosley (February 29, 1952). "THE SCREEN IN REVIEW; Documentary of 'Royal Journey' to Canada and United States Last
Fall at the Embassy Guild" (http:/ / movies. nytimes. com/ movie/ review?res=9504E4D6123AE53ABC4151DFB4668389649EDE). New
York Times. . Retrieved 9 March 2010.
[24] Kodak: Chronology of Motion Picture Films – 1940 to 1959 (http:/ / motion. kodak. com/ US/ en/ motion/ Products/ Chronology_Of_Film/
chrono2. htm).
[25] March 14, 1953 "New Technicolor 3-D Camera" BoxOffice Magazine. Page 10.
[26] "Dario Argento’s Suspiria: A Visual and Aural Masterwork" (http:/ / indianapublicmedia. org/ arts/
dario-argentos-suspiria-visual-aural-masterwork/ ). Indiana Public Media. . Retrieved September 29, 2010.
[27] " Saving Star Wars: The Special Edition Restoration Process and its Changing Physicality (http:/ / secrethistoryofstarwars. com/
savingstarwars. html)" Secret History of Star Wars, March 2009.
[28] MACANDREWS & FORBES GROUP INC reports earnings for Qtr to Sept 30 (http:/ / query. nytimes. com/ gst/ fullpage.
html?res=9F0DE5DA1639F931A25752C1A965948260)
[29] FundingUniverse.com: Carlton Communications PLC (http:/ / www. fundinguniverse. com/ company-histories/
Carlton-Communications-PLC-Company-History. html)
[30] Technicolor Develops the Even Bigger Picture (http:/ / www. technicolor. com/ Cultures/ En-Us/ About/ Press/ PressRelease2000/
TechnicolorDevelopsBigger. htm)
[31] Definitive agreement reached with Carlton Communications for the acquisition of Technicolor by Thomson Multimedia (http:/ / www.
technicolor. com/ Cultures/ En-Us/ About/ Press/ PressRelease2001/ DefinitiveAgreementReached. htm)
[32] Cohen, David S. (January 26, 2010). "Technicolor reinventing itself" (http:/ / www. variety. com/ article/ VR1118014337.
html?categoryId=1009& cs=1). Variety. .
51
Technicolor
52
Further reading
• Fred E. Basten, Glorious Technicolor: The Movies' Magic Rainbow. Easton Studio Press, 2005. ISBN
0-9647065-0-4
• Adrian Cornwell-Clyne, Colour Cinematography. London Champman & Hall, 1951.
• Richard W. Haines, Technicolor Movies: The History of Dye Transfer Printing. McFarland & Company, 2003.
ISBN 0-7864-1809-5
• John Waner, Hollywood's Conversion of All Production to Color, Tobey Publishing, 2000.
• Herbert T. Kalmus with Elenaore King Kalmus, Mr. Technicolor: The Fascinating Story of the Genius Who
Invented Technicolor and Forever Changed the History of Cinema", MagicImage Filmbooks, 1993. ISBN
1-882127-31-5
External links
• Technicolor official site (http://www.technicolor.com)
• Kulturblog: Technicolor, An Explanation (http://www.kulturblog.com/2004/11/technicolor-an-explanation)
• Technicolor History at the American WideScreen Museum (http://www.widescreenmuseum.com/oldcolor/
technicolor1.htm)
• Technicolor Corporate Website (http://www.technicolor.com)
• Database of 3-strip Technicolor Films (http://www.lopek.com/3stf/3stf_index.php?page=default)
• The Digital Intermediate Guide - 3 Strip Example (http://www.digital-intermediate.co.uk/examples/3strip/
technicolor.htm)
Multiplane camera
The multiplane camera is a special motion picture camera used in the
traditional animation process that moves a number of pieces of artwork past
the camera at various speeds and at various distances from one another. This
creates a three-dimensional effect, although not actually stereoscopic.
Various parts of the artwork layers are left transparent, to allow other layers
to be seen behind them. The movements are calculated and photographed
frame-by-frame, with the result being an illusion of depth by having several
layers of artwork moving at different speeds - the further away from the
camera, the slower the speed. The multiplane effect is sometimes referred to
as a parallax process.
An interesting variation is to have the background and foreground move in
opposite directions. This creates an effect of rotation. An early example is the
scene in Walt Disney's Snow White and the Seven Dwarfs where the evil
Queen drinks her potion, and the surroundings appear to spin around her.
History
A predecessor to the multiplane camera was used by Lotte Reiniger for her
animated feature The Adventures of Prince Achmed (1926). Berthold
Bartosch, who worked with her, used a similar setup in his 1930 film "The
A multiplane camera built by an
animation hobbyist in 1972.
Multiplane camera
Idea". The first multiplane camera, using four layers of flat artwork before a horizontal camera, was invented by
former Walt Disney Studios animator/director Ub Iwerks in 1933, using parts from an old Chevrolet automobile.[1]
His multiplane camera was used in a number of the Iwerks Studio's Willie Whopper and Comicolor cartoons of the
mid-1930s.
The technicians at Fleischer Studios created a distantly related device, called the Stereoptical Camera or Setback, in
1934.[2] Their apparatus used three-dimensional miniature sets built to the scale of the animation artwork.[2] The
animation cels were placed within the setup so that various objects could pass in front of and behind them, and the
entire scene was shot using a horizontal camera.[2] The Tabletop process was used to create distinctive results in
Fleischer's Betty Boop, Popeye the Sailor, and Color Classics cartoons.
The most famous multiplane camera was invented by William Garity for the Walt Disney Studios to be used in the
production of Snow White and the Seven Dwarfs.[3] The camera was completed in early 1937 and tested in a Silly
Symphony called The Old Mill, which won the 1937 Academy Award for Animated Short Film.[4] Disney's
multiplane camera, which used up to seven layers of artwork (painted in oils on glass) shot under a vertical and
moveable camera,[3] allowed for more sophisticated uses than the Iwerks or Fleischer versions, and was used
prominently in Disney films such as Pinocchio, Fantasia, Bambi, and Peter Pan.
The Little Mermaid was the final Disney film to use a multiplane camera, though the work was done by an outside
facility as Disney's cameras were not functional at the time.[5] The process was made obsolete by the implementation
of a "digital Multiplane camera" feature in the digital CAPS process used for subsequent Disney films and in other
computer animation systems. [5] Three original Disney Multiplane cameras survive: one at The Walt Disney
Animation Studios, Burbank - California, one at the Walt Disney Family Museum in San Francisco, and one in the
Art of Disney Animation attraction at Walt Disney Studios Park in Disneyland Paris. [6]
References
[1] Pat Williams and Jim Denney (2004). How to Be Like Walt: Capturing the Disney Magic Every Day of Your Life (http:/ / books. google. com/
books?id=lSJIngvkCsAC& pg=PA133). HCI. p. 133. ISBN 978-0-7573-0231-2. .
[2] Barrier, Michael (2008). DVD audio commentary on King of the Mardi Gras. Bonus Material from Popeye the Sailor: Volume 1 [DVD
release]. Warner Home Video.
[3] "Cinema: Man & Mouse" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,758747-5,00. html). TIME.com. 27 Dec 1937. . Retrieved
17 May 2010.
[4] (2001) Audio Commentary by Walt Disney and John Canemaker. Bonus material from Snow White and the Seven Dwarfs: Platinum Edition
[DVD]. Walt Disney Home Entertainment.
[5] (2006) Audio Commentary by John Musker, Ron Clements, and Alan Menken Bonus material from The Little Mermaid: Platinum Edition
[DVD]. Walt Disney Home Entertainment.
[6] "Art of Disney Animation" (http:/ / www. dlrpmagic. com/ guidebook/ walt-disney-studios-park/ toon-studio/ art-of-disney-animation/ ).
DLRP Magic!. . Retrieved 16 November 2012.
External links
• Disney’s Multiplane Camera: The Original New Dimension (http://dizfanatic.com/DizTech006.aspx)
• Building a low-budget multiplane camera (http://www.sparetimelabs.com/animato/animato/stand/stand.
html)
53
Rotoscoping
54
Rotoscoping
Rotoscoping is an animation technique in which animators trace
over footage, frame by frame, for use in live-action and animated
films.[1][2] Originally, recorded live-action film images were
projected onto a frosted glass panel and re-drawn by an animator.
This projection equipment is called a rotoscope, although this
device has been replaced by computers in recent years. In the
visual effects industry, the term rotoscoping refers to the technique
of manually creating a matte for an element on a live-action plate
so it may be composited over another background.
History
The technique was invented by Max Fleischer, who used it in his
series Out of the Inkwell starting around 1915, with his brother
Dave Fleischer dressed in a clown outfit as the live-film reference
for the character Koko the Clown. Max patented the method in
1917.[3]
Patent drawing for Fleischer's original rotoscope. The
artist is drawing on a transparent easel, onto which the
movie projector at the right is throwing an image of a
single film frame.
Fleischer used rotoscoping in a number of his later cartoons, most notably the Cab Calloway dance routines in three
Betty Boop cartoons from the early 1930s, and the animation of Gulliver in Gulliver's Travels (1939). The Fleischer
studio's most effective use of rotoscoping was in their series of action-oriented Superman cartoons, in which
Superman and the other animated figures displayed very realistic movement.
Leon Schlesinger Productions, which produced the Looney Tunes and Merrie Melodies for Warner Bros., producing
cartoons geared more towards exaggerated comedy, used rotoscoping only occasionally.
Walt Disney and his animators employed it in Snow White and the Seven Dwarfs in 1937.[4] From Snow White
onwards, the rotoscope was used mainly for studying human and animal motion, rather than actual tracing.
Rotoscoping was used extensively in China's first animated feature film, Princess Iron Fan (1941), which was
released under very difficult conditions during the Second Sino-Japanese War and World War II.
It was used extensively in the Soviet Union, where it was known as "Éclair" (in Russian – эклер), from the late
1930s to the 1950s; its historical use was enforced as a realization of Socialist Realism. Most of the films produced
with it were adaptations of folk tales or poems – for example, The Night Before Christmas or The Tale of the
Fisherman and the Fish. Only in the early 1960s, after the Khrushchev Thaw, did animators start to explore very
different aesthetics.
The film crew on The Beatles' animated film Yellow Submarine employed rotoscoping in numerous instances, most
notably the sequence for "Lucy in the Sky with Diamonds".
Ralph Bakshi used the technique quite extensively in his animated movies Wizards[1] (1977), The Lord of the
Rings[1] (1978), American Pop[1] (1981), and Fire and Ice (1983). Bakshi first turned to rotoscoping because he was
refused by 20th Century Fox for a $50,000 budget increase to finish Wizards, and thus had to resort to the rotoscope
technique to finish the battle sequences.[5][6]
Rotoscoping was also used in Heavy Metal[1] (1981), What Have We Learned, Charlie Brown? (1983) and It's
Flashbeagle, Charlie Brown (1984), three of a-ha's music videos, "Take on Me" (1985), "The Sun Always Shines on
T.V." (1985), and "Train of Thought" (1986), Don Bluth's Titan A.E. (2000) and Nina Paley's "Sita Sings the Blues"
(2008).
Rotoscoping
55
While rotoscoping is generally known to bring a sense of realism to larger budget animated films, the American
animation company Filmation, known for its budget-cutting limited TV animation, was also notable for its heavy
usage of rotoscope to good effect in series such as Flash Gordon, Blackstar, and He-Man and the Masters of the
Universe.
Smoking Car Productions invented a digital rotoscoping process in 1994 for the creation of its critically acclaimed
adventure video game, The Last Express. The process was awarded U.S. Patent 6,061,462 [7], Digital Cartoon and
Animation Process.
In the mid-1990s, Bob Sabiston, an animator and computer scientist veteran of the MIT Media Lab, developed a
computer-assisted "interpolated rotoscoping" process which he used to make his award-winning short film "Snack
and Drink". Director Richard Linklater subsequently employed Sabiston's artistry and his proprietary Rotoshop
software in the full-length feature films Waking Life (2001) and A Scanner Darkly (2006).[8] Linklater licensed the
same proprietary rotoscoping process for the look of both films. Linklater is the first director to use digital
rotoscoping to create an entire feature film. Additionally, a 2005–08 advertising campaign by Charles Schwab uses
Sabiston's rotoscoping work for a series of television spots, under the tagline "Talk to Chuck".
Technique
Rotoscope output can have slight deviations from the true line that
differs from frame to frame, which when animated cause the animated
line to shake unnaturally, or "boil". Avoiding boiling requires
considerable skill in the person performing the tracing, though causing
the "boil" intentionally is a stylistic technique sometimes used to
emphasize the surreal quality of rotoscoping, as in the music video
"Take on Me" and animated TV series Delta State.
Rotoscoping (often abbreviated as "roto") has often been used as a tool
for visual effects in live-action movies. By tracing an object, a
silhouette (called a matte) is created that can be used to extract that
object from a scene for use on a different background. While blue and
green screen techniques have made the process of layering subjects in
scenes easier, rotoscoping still plays a large role in the production of
visual effects imagery. Rotoscoping in the digital domain is often aided
by motion tracking and onion-skinning software. Rotoscoping is often
used in the preparation of garbage mattes for other matte-pulling
processes.
Rotoscoping has also been used to allow a special visual effect (such as
a glow, for example) to be guided by the matte or rotoscoped line. One
classic use of traditional rotoscoping was in the original three Star
Wars films, where it was used to create the glowing lightsaber effect,
by creating a matte based on sticks held by the actors. To achieve this,
editors traced a line over each frame with the prop, then enlarged each
line and added the glow.
A cartoon horse animated by rotoscoping from
Eadweard Muybridge's 19th-century photos.
Artistic license has been taken to achieve the
cartoony look.
Cross-gallop rotoscoped with a more realistic
look, from Eadweard Muybridge's "Horses and
Other Animals in Motion"
References
[1] J.C. Maçek III (2012-8-2). "'American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung" (http:/ / www. popmatters. com/ pm/
column/ 160872-american-pop-matters-ron-thompson-the-illustrated-man-unsung/ ). PopMatters. .
Rotoscoping
[2] "Through a 'Scanner' dazzlingly: Sci-fi brought to graphic life" USA TODAY, August 2, 2006 Wednesday, LIFE; Pg. 4D WebLink (http:/ /
www. usatoday. com/ life/ movies/ news/ 2006-08-01-rotoscoping_x. htm)
[3] US patent 1242674 (http:/ / worldwide. espacenet. com/ textdoc?DB=EPODOC& IDX=US1242674), Max Fleischer, "Method of producing
moving-picture cartoons", issued 1917-10-09
[4] "Reviving an ancient art" The Times (London), August 5, 2006, FEATURES; The Knowledge; Pg. 10. Weblink, see bottom of page (http:/ /
entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ whats_on/ listings/ article696500. ece)
[5] Ralph Bakshi: The Wizard of Animation making-of documentary.
[6] Bakshi, Ralph. Wizards DVD, 20th Century Fox Home Entertainment, 2004, audio commentary. ASIN: B0001NBMIK
[7] http:/ / www. google. com/ patents?vid=6061462
[8] La Franco, Robert (March 2006). "Trouble in Toontown" (http:/ / www. wired. com/ wired/ archive/ 14. 03/ scanner. html). Wired 14 (03).
ISSN 1059-1028. . Retrieved 2008-10-15.
External links
• Description of "Digital cartoon and animation process" (Digital Rotoscoping) Patent (http://www.google.com/
patents?id=XkwEAAAAEBAJ&dq=6061462)
• Freeware to rotoscope a photo (http://toonyphotos.com/download.html)
56
57
Some movies
Snow White and the Seven Dwarfs
Original theatrical one-sheet poster
Directed by
David Hand (supervising)
William Cottrell
Wilfred Jackson
Larry Morey
Perce Pearce
Ben Sharpsteen
Produced by
Walt Disney
Written by
Ted Sears
Richard Creedon
Otto Englander
Dick Rickard
Earl Hurd
Merrill De Maris
Dorothy Ann Blank
Webb Smith
Based on
Snow White by
The Brothers Grimm
Starring
Adriana Caselotti
Lucille La Verne
Harry Stockwell
Pinto Colvig
Roy Atwell
Otis Harlan
Moroni Olsen
Billy Gilbert
Stuart Buchanan
Music by
Frank Churchill
Paul Smith
Leigh Harline
Studio
Distributed by RKO Radio Pictures
Release date(s) •
•
December 21, 1937 (premiere)
February 4, 1938 (United States)
Running time
83 minutes
Country
United States
Language
English
Budget
$1,488,423
Box office
$416 million
[1]
[2]
Snow White and the Seven Dwarfs is a 1937 American animated film produced by Walt Disney and released by
RKO Radio Pictures. Based on the German fairy tale by the Brothers Grimm, it is the first full-length cel animated
feature film and the earliest in the Walt Disney Animated Classics series. The story was adapted by storyboard artists
Dorothy Ann Blank, Richard Creedon, Merrill De Maris, Otto Englander, Earl Hurd, Dick Rickard, Ted Sears and
Webb Smith. David Hand was the supervising director, while William Cottrell, Wilfred Jackson, Larry Morey, Perce
Pearce, and Ben Sharpsteen directed the film's individual sequences.
Snow White premiered at the Carthay Circle Theatre on December 21, 1937, followed by a nationwide release on
February 4, 1938, and with international earnings of $8 million during its initial release briefly assumed the record of
highest grossing sound film at the time. The popularity of the film has led to it being re-released theatrically many
times, until its home video release in the 1990s. Adjusted for inflation, it is one of the top ten performers at the North
American box office.
At the 11th Academy Awards, Walt Disney was awarded an honorary Oscar, and the film was nominated for Best
Musical Score. It was added to the United States National Film Registry in 1989 and is ranked in the American Film
Institute's list of the 100 greatest American films, who also named the film as the greatest American animated film of
all time in 2008.
Disney's take on the fairy tale has had a big cultural impact, resulting in a popular theme park attraction, a video
game, and a Broadway musical.
Plot
Through a textual prologue told via a storybook, Snow White is a princess living with her stepmother, a vain and
wicked queen who is assumed to have taken over the kingdom after the death of Snow White's mother and father.
Fearing Snow White's beauty surpassing her own, the Queen forced her to work as a scullery maid and asked her
Magic Mirror daily "who is the fairest one of all". For several years the mirror always answered that the Queen was,
pleasing her.
At the film's opening, the Magic Mirror informs the Queen that Snow White is now the fairest in the land. The
jealous Queen orders a reluctant huntsman to take Snow White into the forest and kill her. She further demands that
the huntsman return with Snow White's heart in a jeweled box as proof of the deed. The huntsman encounters Snow
White but decides not to harm her. He tearfully begs for her forgiveness, revealing the Queen wants her dead, and
urges her to flee into the woods and never come back, bringing back a pig's heart instead.
Lost and frightened, the princess is befriended by woodland creatures who lead her to a cottage deep in the woods.
Finding seven small chairs in the cottage's dining room, Snow White assumes the cottage is the untidy home of
seven orphaned children. It soon becomes apparent that the cottage belongs instead to seven adult dwarfs, Doc,
Grumpy, Happy, Sleepy, Bashful, Sneezy, and Dopey, who work in a nearby mine. Returning home, they are
alarmed to find their cottage clean and surmise that an intruder has invaded their home. The dwarfs find Snow White
upstairs, asleep across three of their beds. Snow White awakes to find the Dwarfs at her bedside and introduces
herself, and all of the dwarfs eventually welcome her into their home after they learn she can cook and clean
beautifully. Snow White cooks, cleans, and keeps house for the dwarfs while they mine for jewels and at night sing,
play music and dance.
Meanwhile, the Queen discovers that Snow White is still alive when the mirror again answers that Snow White is the
fairest in the land. Using magic to disguise herself as an old hag, the Queen creates a poisoned apple that will put
whoever eats it into the "Sleeping Death". The Evil Queen explains that Snow White would collapse into a magical
sleep if she were to take even a single bite of the apple. The sleep can only be cured by the power of "love's first
kiss". The Queen reasons that this is no danger to her plans, as the dwarfs would not be able to awaken Snow White,
and would think she was dead, thus resulting in Snow White being buried alive. The Queen goes to the cottage while
the dwarfs are away and tricks Snow White into biting into the poisoned apple. As Snow White falls asleep the
Queen proclaims that she will be the fairest of the land. The vengeful dwarfs, alerted by the woodland animals who
58
59
recognize her, chase the Queen up a cliff and trap her. She tries to roll a boulder over them but before she can do so,
lightning strikes the cliff, causing her to fall to her death.
The dwarfs return to their cottage and find Snow White seemingly dead, being kept in a deathlike slumber by the
potion. Unwilling to bury her out of sight in the ground, they instead place her in a glass coffin trimmed with gold in
a clearing in the forest. Together with the woodland creatures, they keep watch over her in an "eternal vigil". After
some time, a prince, who had previously met and fallen in love with Snow White, learns of her eternal sleep and
visits her coffin. Saddened by her apparent death, he kisses her, which breaks the spell and awakens her. The dwarfs
and animals all rejoice as the Prince takes Snow White to his castle, which glows in the presence of Snow White.
Cast
• Adriana Caselotti as Snow White: Snow White is a young princess.
She is the daughter of a great king whose wife died when the
daughter was very young. Her wicked stepmother has forced her to
work as a scullery maid in the castle. Despite this, she retains a
cheerful but naïve demeanor.
• Lucille La Verne as Queen Grimhilde: The Queen is the stepmother
of Snow White. Once her magic mirror tells her that Snow White is
fairer than she is, she immediately enlists Humbert the huntsman to
kill her in the woods. After she discovers that Snow White did not
die, she disguises herself as an old hag and uses a poisoned apple to
remove Snow White from her path without killing her.
Walt Disney introduces each of the Seven Dwarfs
in a scene from the original 1937 Snow White and
the Seven Dwarfs theatrical trailer
• Harry Stockwell as The Prince: The prince first sees Snow White
singing at her wishing well. He immediately falls in love with her and her voice. He later reappears to revive her.
• Roy Atwell as Doc: The leader of the seven dwarfs, Doc wears glasses and often mixes up his words.
• Pinto Colvig as Grumpy: Grumpy initially disapproves of Snow White's presence in the dwarfs' home, but later
warns her of the threat posed by the Queen and rushes to her aid upon realizing that she is in danger, leading the
charge himself. He has the biggest nose of the dwarfs, and is frequently seen with one eye shut.
• Otis Harlan as Happy: Happy is the joyous dwarf and is usually portrayed laughing.
• Pinto Colvig as Sleepy: Sleepy is always tired and appears laconic in most situations.
• Scotty Mattraw as Bashful: Bashful is the shyest of the dwarfs, and is often embarrassed by the presence of any
attention directed at him.
• Billy Gilbert as Sneezy:[3] Sneezy's name is earned by his extraordinarily powerful sneezes (caused by hay fever),
which are seen blowing even the heaviest of objects across a room.
• Eddie Collins as Dopey (vocal effects and live-action reference only):[3] Dopey is the only dwarf who does not
have a beard. He is clumsy and mute, with Happy explaining that he has simply "never tried" to speak.
• Moroni Olsen as The Magic Mirror: The Slave of the Magic Mirror appears as a green mask in clouds of smoke.
The Queen regularly asks him who is the fairest in the land.
• Stuart Buchanan as Humbert the Huntsman: Despite his status as the Queen's assassin, the Huntsman cannot bear
to kill Snow White, even when the Queen orders him to take the princess's heart.
60
Production
Development on Snow White and the Seven Dwarfs began in early
1934, and in June 1934, Walt Disney announced the production of his
first feature, to be released under Walt Disney Productions,[4] to The
New York Times.[5] Before Snow White and the Seven Dwarfs, the
Disney studio had been primarily involved in the production of
animated short subjects in the Mickey Mouse and Silly Symphonies
series. Disney hoped to expand his studio's prestige and revenues by
moving into features,[6] and estimated that Snow White and the Seven
Dwarfs could be produced for a budget of US$250,000; this was ten
times the budget of an average Silly Symphony.[5]
Film trailer, featuring reviews, cels from the
production, and introducing the characters by
their personality.
Snow White and the Seven Dwarfs was to be the first full-length cel
animated feature in motion picture history,[4] and as such Walt Disney
had to fight to get the film produced. Both his brother and business partner Roy Disney and his wife Lillian
attempted to talk him out of it,[6] and the Hollywood movie industry referred to the film derisively as "Disney's
Folly" while it was in production. He had to mortgage his house to help finance the film's production, which
eventually ran up a total cost of $1,488,422.74, a massive sum for a feature film in 1937.[1]
Story development
On August 9, 1934, twenty-one pages of notes—entitled "Snowwhite suggestions"—were compiled by staff writer
Richard Creedon, suggesting the principal characters, as well as situations and 'gags' for the story. As Disney had
stated at the very beginning of the project, the main attraction of the story for him was the Seven Dwarfs, and their
possibilities for "screwiness" and "gags"; the three story meetings held in October and attended by Disney, Creedon,
Larry Morey, Albert Hurter, Ted Sears and Pinto Colvig were dominated by such subjects. At this point, Disney felt
that the story should begin with Snow White's discovery of the Cottage of the Seven Dwarfs.[5] Walt Disney had
suggested from the beginning that each of the dwarfs, whose names and personalities are not stated in the original
fairy tale, could have individual personalities. The dwarfs names were chosen from a pool of about fifty potentials,
including Jumpy, Deafy, Dizzey, Hickey, Wheezy, Baldy, Gabby, Nifty, Sniffy, Swift, Lazy, Puffy, Stuffy, Tubby,
Shorty and Burpy.[7] The seven finalists were chosen through a process of elimination. The leader of the dwarfs,
required to be pompous, self-important and bumbling, was named Doc; others were named for their distinguishing
character traits. At the end of the October story meetings, however, only Doc, Grumpy, Bashful, Sleepy and Happy
of the final seven were named; at this point, Sneezy and Dopey were replaced by 'Jumpy' and an unnamed seventh
dwarf.[1]
Along with a focus on the characterizations and comedic possibilities of the dwarfs, Creedon's eighteen-page outline
of the story written from the October meetings, featured a continuous flow of gags as well as the Queen's attempt to
kill Snow White with a poisoned comb, an element taken from the Grimms' original story. After persuading Snow
White to use the comb, the disguised Queen would have escaped alive, but the dwarfs would have arrived in time to
remove it. After the failure of the comb, the Queen was to have the Prince captured and taken to her dungeon, where
she would have come to him (story sketches show this event both with the Queen and the Witch) and used magic to
bring the dungeon's skeletons to life, making them dance for him and identifying one skeleton as "Prince Oswald",
an example of the more humorous atmosphere of this original story treatment.[5] It is written in story notes that the
Queen has such magical power only in her own domain, the castle. With the Prince refusing to marry her, the Queen
leaves him to his death (one sketch shows the Prince trapped in a subterranean chamber filling with water)[8] as she
makes her way to the dwarfs' cottage with the poisoned apple. The forest animals were to help the Prince escape the
Queen's minions and find his horse. The Prince was to ride to the cottage to save Snow White, but took the wrong
road (despite warnings from the forest animals and his horse, whom he, unlike Snow White, could not understand).
He therefore would not have arrived in time to save her from the Queen, but would have been able to save her with
love's first kiss. This plot was not used in the final film, though many sketches of the scene in the dungeon were
made by Ferdinand Hovarth.
Other examples of the more comical nature of the story at this point include suggestions for a 'fat, batty, cartoon
type, self-satisfied' Queen.[5] The Prince was also more of a clown, and was to serenade Snow White in a more
comical fashion. Walt Disney encouraged all staff at the studio to contribute to the story, offering five dollars for
every 'gag'; such gags included the dwarfs' noses popping over the foot of the bed when they first meet Snow
White.[9]
Disney became concerned that such a comical approach would lessen the plausibility of the characters and, sensing
that more time was needed for the development of the Queen, advised in an outline circulated on November 6 that
attention be paid exclusively to "scenes in which only Snow White, the Dwarfs, and their bird and animal friends
appear". The names and personalities of the dwarfs, however, were still "open to change". A meeting of November
16 resulted in another outline entitled 'Dwarfs Discover Snowwhite', which introduced the character of Dopey,[5]
who would ultimately prove to be the most successful and popular of the dwarf characterisations.[7] For the rest of
1934 Disney further developed the story by himself, finding a dilemma in the characterization of the Queen, who he
felt could no longer be 'fat' and 'batty', but a 'stately beautiful type', a possibility already brought up in previous story
meetings. Disney did not focus on the project again until the autumn of 1935. It is thought that he may have doubted
his, and his studio's ability, and that his trip to Europe that summer restored his confidence. At this point Disney and
his writers focused on the scenes in which Snow White and the dwarfs are introduced to the audience and each other.
He laid out the likely assignments for everyone working on the film in a memorandum of November 25, 1935, and
had decided on the personalities of the individual dwarfs.[5]
It had first been thought that the dwarfs would be the main focus of the story, and many sequences were written for
the seven characters. However, at a certain point, it was decided that the main thrust of the story was provided by the
relationship between the Queen and Snow White.[9] For this reason, several sequences featuring the dwarfs were cut
from the film. The first, which was animated in its entirety before being cut, showed Doc and Grumpy arguing about
whether Snow White should stay with them. Another, also completely animated, would have shown the dwarfs
eating soup noisily and messily; Snow White unsuccessfully attempts to teach them how to eat 'like gentlemen'. A
partially animated sequence involved the dwarfs holding a "lodge meeting" in which they try to think of a gift for
Snow White; this was to be followed by the elaborate 'bed building sequence', in which the dwarfs and the forest
animals construct and carve a bed for the princess. This also was cut, as it was thought to slow down the movement
of the story.[9] The soup-eating and bed-building sequences were animated by Ward Kimball, who was sufficiently
discouraged by their removal to consider leaving the studio, however Disney persuaded him to stay by promoting
him to supervising animator of Jiminy Cricket in his next feature Pinocchio (1940).[10]
61
Design
The primary authority on the design of the film was concept artist
Albert Hurter. All designs used in the film, from characters'
appearances to the look of the rocks in the background, had to meet
Hurter's approval before being finalized.[8] Two other concept artists
— Ferdinand Hovarth and Gustaf Tenggren — also contributed to the
visual style of Snow White and the Seven Dwarfs. Hovarth developed a
number of dark concepts for the film, although many other designs he
developed were ultimately rejected by Disney team as less easily
translated into animation than Hurter's. Tenggren was used as a color
The famous "Heigh-Ho" sequence from Snow
stylist and to determine the staging and atmosphere of many of the
White was animated by Shamus Culhane.
scenes in the film, as his style borrowed from the likes of Arthur
Rackham and John Bauer and thus possessed the European illustration
quality that Walt Disney sought. He also designed the posters for the film and illustrated the press book. However,
only Hurter receives a credit for the film, as a character designer. Other artists to work on the film included Joe
Grant, whose most significant contribution was the design for the Queen's Witch form.[8]
Don Graham really knew what he was teaching, and he "showed" you how to do something – he didn't just talk. He taught us things
that were very important for animation. How to simplify our drawings – how to cut out all the unnecessary hen scratching amateurs
have a habit of using. He showed us how to make a drawing look solid. He taught us about tension points – like a bent knee, and
how the pant leg comes down from that knee and how important the wrinkles from it are to describe form. I learned a hell of a lot
from him!
[11]
Art Babbitt
Art Babbit, an animator who joined the Disney studio in 1932, invited seven of his colleagues (who worked in the
same room as him) to come with him to an art class that he himself had set up at his home in the Hollywood Hills.
Though there was no teacher, Babbit had recruited a model to pose for him and his fellow animators as they drew.
These "classes" were held weekly; each week, more animators would come. After three weeks, Walt Disney called
Babbit to his office and offered to provide the supplies, working space and models required if the sessions were
moved to the studio. Babbit ran the sessions for a month until animator Hardie Gramatky suggested that they recruit
Don Graham; the art teacher from the Chouinard Institute taught his first class at the studio on November 15, 1932,
and was joined by Phil Dike a few weeks later.[5] These classes were principally concerned with human anatomy and
movement, though instruction later included action analysis, animal anatomy and acting.[11]
The first duty of the cartoon is not to picture or duplicate real action or things as they actually happen — but to give a caricature of
life and action — to picture on the screen things that have run thru the imagination of the audience to bring to life dream-fantasies
and imaginative fancies that we have all thought of during our lives or have had pictured to us in various forms during our lives [...] I
definitely feel that we cannot do the fantastic things, based on the real, unless we first know the real. This point should be brought
out very clearly to all new men, and even the older men.
[12]
Walt Disney in 1935
Though the classes were originally described as a "brutal battle", with neither instructor nor students well-versed in
the other's craft,[5] the enthusiasm and energy of both parties made the classes stimulating and beneficial for all
involved. Graham often screened Disney shorts and, along with the animators, provided critique featuring both
strengths and weaknesses. For example, Graham criticised Babbit's animation of Abner the mouse in The Country
Cousin as "taking a few of the obvious actions of a drunk without coordinating the rest of the body", while praising it
for maintaining its humour without getting "dirty or mean or vulgar. The country mouse is always having a good
time".[11]
62
Very few of the animators at the Disney studio had had artistic training (most had been newspaper cartoonists);
among these few was Grim Natwick, who had trained in Europe. The animator's success in designing and animating
Betty Boop for Fleischer Studios showed an understanding of human female anatomy, and when Walt Disney hired
Natwick he was given female characters to animate almost exclusively. Attempts to animate Persephone, the female
lead of The Goddess of Spring, had proved largely unsuccessful; Natwick's animation of the heroine in Cookie
Carnival showed greater promise, and the animator was eventually given the task of animating Snow White herself.
Though live action footage of Snow White, the Prince and the Queen was shot as reference for the animators, the
artists animators disapproved of rotoscoping, considering it to hinder the production of effective caricature. None of
Babbit's animation of the Queen was rotoscoped;[13] despite Graham and Natwick's objections, however, some
scenes of Snow White and the Prince were directly traced from the live-action footage.[11]
Music
The songs in Snow White and the Seven Dwarfs were composed by
Frank Churchill and Larry Morey. Paul J. Smith and Leigh Harline
composed the incidental music score. Well-known songs from Snow
White and the Seven Dwarfs include "Heigh-Ho", "Some Day My
Prince Will Come", and "Whistle While You Work". Since Disney did
not have its own music publishing company at the time, the publishing
rights for the music and songs were administered through Bourne Co.
Music Publishers, which continues to hold these rights. In later years,
the studio was able to acquire back the rights to the music from many
Theatrical trailer featuring the song "Heigh-Ho".
of the other films, but not Snow White. Snow White and the Seven
Dwarfs became the first American film to have a soundtrack album,
Snow White and the Seven Dwarfs, released in conjunction with the feature film. Before Snow White and the Seven
Dwarfs, a film soundtrack recording was unheard of and of little value to a movie studio.
Cinematic influences
At this time, Disney also encouraged his staff to see a variety of films. These ranged from the mainstream, such as
MGM's Romeo and Juliet (1936) - to which Disney made direct reference in a story meeting pertaining to the scene
in which Snow White lies in her glass coffin - to the more obscure, including European silent cinema. Snow White
and the Seven Dwarfs, as well as the two Disney films to follow it, were also influenced by such German
expressionist films as Nosferatu (1922) and The Cabinet of Dr. Caligari (1919), both of which were recommended
by Disney to his staff. This influence is particularly evident in the scenes of Snow White fleeing through the forest
and the Queen's transformation into the Witch. The latter scene was also inspired by Dr. Jekyll and Mr. Hyde (1931),
to which Disney made specific reference in story meetings.[11]
Release
Original theatrical run
Snow White and the Seven Dwarfs premiered at the Carthay Circle Theatre on December 21, 1937, to a wildly
receptive audience, many of whom were the same naysayers who dubbed the film "Disney's Folly".[1] The film
received a standing ovation at its completion[14] from an audience that included Judy Garland and Marlene
Dietrich.[15] Six days later, Walt Disney and the seven dwarfs appeared on the cover of Time magazine.[16] The New
York Times said "Thank you very much, Mr. Disney".[17] Variety suggested that "[so] perfect is the illusion, so
tender the romance and fantasy, so emotional are certain portions when the acting of the characters strikes a depth
comparable to the sincerity of human players, that the film approaches real greatness."[18]
63
Following successful exclusive runs at Radio City Music Hall in New York City and a theater in Miami in January
1938,[1] RKO Radio Pictures put the film into general release on February 4. It became a major box-office success,
making four times more money than any other motion picture released in 1938.[19] In its original release, Snow White
and the Seven Dwarfs grossed $3.5 million in the United States and Canada,[20] and by May 1939 its total
international gross of $6.5 million made it the most successful sound film of all time, displacing Al Jolson's The
Singing Fool (1928) (Snow White and the Seven Dwarfs was soon displaced from this position by Gone with the
Wind in 1940).[20][21] By the end of its original run, Snow White and the Seven Dwarfs had earned $7,846,000 in
international box office receipts.[22] This earned RKO a profit of $380,000.[23]
Re-releases
Snow White and the Seven Dwarfs was first re-released in 1944, to raise revenue for the Disney studio during the
World War II period. This re-release set a tradition of re-releasing Disney animated features every seven to ten years,
and Snow White and the Seven Dwarfs was re-released to theaters in 1952, 1958, 1967, 1975, 1983, 1987 and
1993.[24] Coinciding with the fiftieth anniversary release in 1987, Disney released an authorized novelization of the
story, written by children's author Suzanne Weyn.[25][26]
In 1993, Snow White and the Seven Dwarfs became the first film to be entirely scanned to digital files, manipulated,
and recorded back to film. The restoration project was carried out entirely at 4K resolution and 10-bit color depth
using the Cineon system to digitally remove dirt and scratches and restore faded colors.[27]
Snow White and the Seven Dwarfs has had a lifetime gross of $416 million across its original release and several
reissues.[2] Adjusted for inflation, and incorporating subsequent releases, the film still registers one of the top ten
American film moneymakers of all time.[28]
Reception
At the 11th Academy Awards, the film won an Academy Honorary Award for Walt Disney "as a significant screen
innovation which has charmed millions and pioneered a great new entertainment field". Disney received a full-size
Oscar statuette and seven miniature ones, presented to him by 10-year-old child actress Shirley Temple. The film
was also nominated for Best Musical Score.[29] "Some Day My Prince Will Come" has become a jazz standard that
has been performed by numerous artists, including Buddy Rich, Lee Wiley, Oscar Peterson, Frank Churchill,[30] and
Oliver Jones.[31] Albums by Miles Davis, by Wynton Kelly, and Alexis Cole.[32]
Noted filmmakers such as Sergei Eisenstein and Charlie Chaplin praised Snow White and the Seven Dwarfs as a
notable achievement in cinema; Eisenstein went so far as to call it the greatest film ever made.[33] The film inspired
Metro-Goldwyn-Mayer to produce its own fantasy film, The Wizard of Oz, in 1939.[34] Another animation pioneer,
Max Fleischer, decided to produce his animated feature film Gulliver's Travels in order to compete with Snow White.
The 1941 parody Ball of Fire featured a nightclub singer disrupting the lives of seven scholars (and Gary Cooper)
while hiding from the police. The 1943 Merrie Melodies short Coal Black and de Sebben Dwarfs, directed by Bob
Clampett, parodies Snow White and the Seven Dwarfs by presenting the story with an all-black cast singing a jazz
score.
Snow White's success led to Disney moving ahead with more feature-film productions. Walt Disney used much of
the profits from Snow White and the Seven Dwarfs to finance a new $4.5 million studio in Burbank – the location on
which The Walt Disney Studios is located to this day.[19] Within two years, the studio completed Pinocchio and
Fantasia, and had begun production on features such as Dumbo, Bambi, Alice in Wonderland and Peter Pan.[35]
American Film Institute recognition
The American Film Institute (AFI), an independent non-profit organization created in the United States by the
National Endowment for the Arts,[36] releases a variety of annual awards and film lists recognizing excellence in
film making. The AFI 100 Years… series, which ran from 1998 to 2008, created categorized lists of America’s best
movies as selected by juries composed from among over 1,500 artists, scholars, critics and historians. A film's
64
inclusion in one of these lists was based on the film’s popularity over time, historical significance and cultural
impact.[37] Snow White and the Seven Dwarfs was selected by juries for inclusion on many AFI lists, including the
following:
•
•
•
•
•
AFI's 100 Years... 100 Movies - #49[38]
AFI's 100 Years... 100 Movies (10th Anniversary Edition) - #34[39]
AFI's 10 Top 10 - #1 Animated film[40]
AFI's 100 Years... 100 Heroes and Villains: The Queen - #10 Villain[41]
AFI's 100 Years... 100 Songs:
• "Someday My Prince Will Come" - #19[42]
• "Whistle While You Work" - Nominated[43]
• AFI's 100 Years... 100 Movie Quotes: "Magic Mirror on the wall, who is the fairest one of all?" - Nominated[44]
• AFI's Greatest Movie Musicals - Nominated[45]
Home media
On October 28, 1994, the film was released as the first video in the Walt Disney Masterpiece Collection and the first
in the Walt Disney Animated Classics series.[4]
Snow White and the Seven Dwarfs was released on DVD on October 9, 2001, the first in Disney's Platinum Editions,
and featured, across two discs, the digitally restored film, a making-of documentary narrated by Angela Lansbury, an
audio commentary by John Canemaker and, via archived audio clips, Walt Disney.[46]
Snow White and the Seven Dwarfs was released on Blu-ray Disc on October 6, 2009, the first of Disney's Diamond
Editions, and a new DVD edition was released on November 24, 2009. The Blu-ray includes a high-definition
version of the movie sourced from a new restoration by Lowry Digital, a DVD copy of the film, and several bonus
features not included on the 2001 DVD. This set returned to the Disney Vault on April 30, 2011.[47]
Media
Theme parks
Snow White's Scary Adventures is a popular theme park ride at Disneyland (an opening day attraction dating from
1955),[48] Tokyo Disneyland,[49] and Disneyland Paris.[50] Fantasyland at Walt Disney World's Magic Kingdom[51]
is currently undergoing an expansion due to end in 2013. The Snow White's Scary Adventures ride will be closing
and replaced with Princess Fairytale Hall, where Snow White and other princesses will be located for a meet and
greet. Also included in the 2013 expansion of Fantasyland is the Seven Dwarfs Mine Train roller coaster.[52] Snow
White, her Prince, the Queen (both in the form of a regent and a hag), and the Seven Dwarfs are also featured in
parades and character appearances throughout the parks. Disneyland's Fantasyland Theater hosted Snow White: An
Enchanting Musical from 2004 to 2006.
65
Video games
The first attempt at a Snow White and the Seven Dwarfs video game was for the Atari 2600 as part of their line of
children's games.[53] It was never officially released, although a "homebrew" version was made available on a
limited basis.[54]
Walt Disney's Snow White and the Seven Dwarfs was released for the Game Boy Color system in 2001.[55]
Snow White also makes an appearance in the PlayStation 2 game Kingdom Hearts as one of the seven fabled
Princesses of Heart.[56] A world based on the movie, Dwarf Woodlands, appears in Kingdom Hearts: Birth by Sleep
for the PSP.[57]
Broadway musical
Unknown Mary Jo Salerno played Snow White in the Disney-produced Snow White and the Seven Dwarfs (also
known as Snow White Live!) at the Radio City Music Hall.[58] Music and lyrics for four new songs were created by
Jay Blackton and Joe Cook, respectively; titles included "Welcome to the Kingdom of Once Upon a Time" and "Will
I Ever See Her Again?".[59] It ran from October 18 to November 18, 1979 and January 11 to March 9, 1980, a total
of 106 performances.[60]
Other appearances
The Seven Dwarfs made rare appearances in shorts, despite their popularity; they simply were too populous to
animate efficiently. Commissioned shorts The Standard Parade (1939), The Seven Wise Dwarfs (1941, using mostly
recycled footage), All Together (1942) and The Winged Scourge (1943) all include appearances.[61]
Animated television series House of Mouse, which included many Disney character animated cameos, included the
characters in the special Mickey's Magical Christmas: Snowed in at the House of Mouse. Live action fantasy
television series Once Upon A Time regularly include live action interpretations of characters including Snow White,
the Evil Queen and Grumpy.
A 1937-1938 newspaper comic strip adaptation was republished repeatedly as a comic book, most recently in
1995.[62]
References
[1] Barrier 1999, p. 229
[2] Box-office
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Wilhelm, Henry Gilmer; Brower, Carol (1993). The Permanence and Care of Color Photographs: Traditional and Digital Color Prints,
Color Negatives, Slides, and Motion Pictures. Preservation Pub. p. 359. ISBN 978-0911515008. "In only 2 months after the 1987
re-release, the film grossed another $45 million—giving it a total gross to date of about $375 million! ( Online copy (http:/ / books. google.
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ISBN 0-7868-6152-5
[9] Frank Thomas and Ollie Johnston, The Illusion of Life: Disney Animation (Disney Editions, Italy, 1981) ISBN 0-7868-6070-7
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[11] Bruno Girveau (editor), Once Upon a Time — Walt Disney: The Sources of inspiration for the Disney Studios (Prestel, London, 2006) ISBN
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html?res=9B0DE1D71E3BF931A25754C0A961948260). The New York Times. . Retrieved 2007-03-05.. See also Ebert, Roger (2009-10-21).
"Walt and El Grupo" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20091021/ REVIEWS/ 910219998). Chicago
Sun-Times. . Retrieved 2009-10-23. "The great Russian filmmaker Eisenstein, on seeing 'Snow White', called it the greatest film ever made."
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June 2008. . Retrieved 5 January 2013.
[42] "AFI's 100 Years... 100 Songs" (http:/ / www. afi. com/ 100Years/ songs. aspx). American Film Institute. Los Angeles CA. 22 June 2004. .
[43] "400 nominated songs" (http:/ / www. afi. com/ Docs/ 100Years/ songs400. pdf) (PDF). American Film Institute. Los Angeles CA. p. 8. .
[44] "400 nominated movie quotes" (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) (PDF). American Film Institute. Los Angeles CA.
p. 82. . Retrieved 5 January 2013.
[45] "180 nominated musical" (http:/ / www. afi. com/ Docs/ 100Years/ musicals_ballot. pdf) (PDF). American Film Institute. Los Angeles CA.
p. 20. . Retrieved 5 January 2013.
[46] Brevet, Brad (6 October 2009). "Blu-ray Review: Snow White and the Seven Dwarfs (Platinum Edition)" (http:/ / www. ropeofsilicon. com/
blu-ray-review-snow-white-and-the-seven-dwarfs-platinum-edition/ ). Rope of Silicon. Seattle WA: RopeofSilicon.com LLC. . Retrieved 5
January 2013.
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snow-white-and-the-seven-dwarfs. html). Disneydvd.disney.go.com. . Retrieved 2012-05-27.
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detail?name=SnowWhiteScaryAdventuresAttractionPage). Disneyland.disney.go.com. . Retrieved 2010-04-01.
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Tokyodisneyresort.co.jp. . Retrieved 2010-04-01.
[50] "Disneyland Paris' Blanche-Neige et les Sept Nains Page" (http:/ / parks. disneylandparis. co. uk/ disneyland-park/ lands/ fantasyland/
attractions/ blanche-neige-et-les-sept-nains. xhtml). Parks.disneylandparis.co.uk. . Retrieved 2010-04-01.
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attractionDetail?id=SnowWhitesScaryAdventuresAttractionPage). Disneyworld.disney.go.com. . Retrieved 2010-04-01.
[52] "Disney's Fantasyland plan leaves Snow White ride out in cold" (http:/ / articles. orlandosentinel. com/ 2011-02-03/ the-daily-disney/
os-bevil-disney-snow-white-ride-20110203_1_fantasyland-expansion-disney-s-fantasyland-snow-white-s-scary-adventures). Orlando Sentinel.
2011-02-03. . Retrieved 2011-02-26.
[53] "page on the ''Snow White'' video game" (http:/ / www. atariage. com/ software_page. html?SoftwareLabelID=903). Atariage.com. .
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IGN. News Corporation. . Retrieved January 5, 2013.
[56] "Official Kingdom Hearts Page" (http:/ / na. square-enix. com/ games/ kingdomhearts/ ). Square Enix. . Retrieved April 1, 2010.
[57] Square Enix, Inc. via PR Newswire (September 7, 2010). "KINGDOM HEARTS Birth by Sleep Unveils the Saga's Untold Origins Today"
(http:/ / www. sys-con. com/ node/ 1523426). Sys-Con Media. Woodcliff Lake, NJ: SYS-CON Media. . Retrieved January 5, 2013.
[58] Debnam, Betty (7 February 1980). ""Snow White and the Seven Dwarfs" made into musical" (http:/ / news. google. com/
newspapers?id=gF8fAAAAIBAJ& sjid=e9QEAAAAIBAJ& dq=mary jo salerno& pg=2329,2955763). The Nevada Daily Mail. United Press
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[59] Fanning, Jim (21 December 2012). "D23′s From the Archives: Snow White Oddities—Part 3" (http:/ / d23. disney. go. com/ news/ 2012/ 12/
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Bibliography
• Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. New York.: Oxford
University Press. ISBN 0-19-516729-5.
• Snow White and the Seven Dwarfs & the Making of the Classic Film. Hyperion. 1994. pp. 96.
ISBN 978-0786861330.
• Kaufman, J. B. (2012). Snow White and the Seven Dwarfs: The Art and Creation of Walt Disney's Classic
Animated Film (http://www.weldonowen.com/
68
snow-white-and-seven-dwarfs-art-creation-walt-disney-classic-film). San Francisco CA: Weldon Owen.
pp. 256. ISBN 9781616284374.
• Kaufman, J. B. (2012). The Fairest One of All: The Making of Walt Disney's Snow White and the Seven
Dwarfs (http://www.weldonowen.com/fairest-one-all-making-walt-disney-snow-white-seven-dwarfs). San
Francisco CA: Weldon Owen. pp. 320. ISBN 9781616284381.
• Walt Disney's Snow White and the Seven Dwarfs: An Art in Its Making. Disney Editions. 1994. pp. 194.
ISBN 978-0786861446.
External links
• Official website (http://disney.go.com/vault/archives/movies/snow/snow.html)
• Walt's Masterworks: Snow White and the Seven Dwarfs (http://disney.go.com/disneyatoz/familymuseum/
collection/masterworks/snowwhite/index.html) at Disney.com
• Snow White and the Seven Dwarfs (http://www.imdb.com/title/tt0029583/) at the Internet Movie Database
• Snow White and the Seven Dwarfs (http://www.allrovi.com/movies/movie/v45383) at AllRovi
• Snow White and the Seven Dwarfs (http://www.boxofficemojo.com/movies/?id=snowwhite.htm) at Box
Office Mojo
• Snow White and the Seven Dwarfs (http://www.rottentomatoes.com/m/
1048445-snow_white_and_the_seven_dwarfs/) at Rotten Tomatoes
Streaming audio
• Snow White (http://ia700201.us.archive.org/15/items/Lux03/Lux_38-12-26_Snow_White.mp3) on Lux
Radio Theater: December 26, 1938. Guest appearance by Walt Disney.
• Snow White (http://ia700508.us.archive.org/0/items/ScreenGuildTheater/
Sgt_46-12-23_ep327_Snow_White.mp3) on Screen Guild Theater: December 23, 1946
69
Fantasia (film)
70
Fantasia (film)
Fantasia
Theatrical release poster
Directed by
See Credits
Produced by
Walt Disney
Written by
Joe Grant
Dick Huemer
Narrated by
Deems Taylor
Starring
Leopold Stokowski
The Philadelphia Orchestra
Music by
See Credits
Cinematography James Wong Howe
Studio
Distributed by
RKO Radio Pictures
Release date(s)
•
Running time
125 minutes
Country
United States
Language
English
Budget
$2.28 million
Box office
$83,320,000
November 13, 1940
[1][2]
[3]
Fantasia is a 1940 American animated film produced by Walt Disney and released by Walt Disney Productions.
With story direction by Joe Grant and Dick Huemer, and production supervision by Ben Sharpsteen, it is the third
feature in the Disney animated features canon. The film consists of eight animated segments set to pieces of classical
music conducted by Leopold Stokowski; seven of which are performed by the Philadelphia Orchestra. Music critic
and composer Deems Taylor acts as the film's Master of Ceremonies, who introduces each segment in live action
interstitial scenes.
Disney settled on the film's concept as work neared completion on The Sorcerer's Apprentice, an elaborate Silly
Symphonies short designed as a comeback role for Mickey Mouse who had declined in popularity. As production
costs grew higher than what it could earn, he decided to include the short in a feature-length film with other
segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with
Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in
stereophonic sound.
Fantasia was first released in theatrical roadshow engagements held in thirteen U. S. cities from November 13, 1940.
It received mixed critical reaction, and was unable to make a profit. In part this was due to World War II cutting off
the profitable European market, but due as well to the film's high production costs and the expense of leasing
theatres and installing the Fantasound equipment for the roadshow presentations. Also, audiences who felt that
Disney had suddenly gone "highbrow" stayed away, preferring the standard Disney cartoons. The film was
subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each
version. As of 2012, Fantasia has grossed $76.4 million in domestic revenue and is the 22nd highest-grossing film of
all time in the U. S. when adjusted for inflation.[4] Walt's nephew Roy E. Disney co-produced a sequel released in
Fantasia (film)
1999 titled Fantasia 2000.
Program
Fantasia opens with live action scenes of members of an orchestra gathering against a blue background and tuning
their instruments in half-light, half-shadow. Master of ceremonies Deems Taylor enters the stage (also in half-light,
half-shadow) and introduces the program.
• Toccata and Fugue in D Minor by Johann Sebastian Bach. Live-action shots of the orchestra illuminated in blue
and gold, backed by superimposed shadows, fade into abstract patterns. Animated lines, shapes and cloud
formations reflect the sound and rhythms of the music.[5]
• Nutcracker Suite by Pyotr Ilyich Tchaikovsky. Selections from the ballet suite underscore scenes depicting the
changing of the seasons from summer to autumn to winter. A variety of dances are presented with fairies, fish,
flowers, mushrooms, and leaves, including "Dance of the Sugar Plum Fairy", "Chinese Dance", "Dance of the
Flutes", "Arabian Dance", "Russian Dance" and "Waltz of the Flowers".[6]
• The Sorcerer's Apprentice by Paul Dukas. Based on Goethe's 1797 poem Der Zauberlehrling. Mickey Mouse, the
young apprentice of the sorcerer Yen Sid, attempts some of his master's magic tricks but doesn't know how to
control them.[7]
• Rite of Spring by Igor Stravinsky. A visual history of the Earth's beginnings is depicted to selected sections of the
ballet score. The sequence progresses from the planet's formation to the first living creatures, followed by the
reign and extinction of the dinosaurs.[8]
• Intermission/Meet the Soundtrack: The orchestra musicians depart and the Fantasia title card is revealed. After
the intermission there is a brief jam session of jazz music led by a clarinettist as the orchestra members return.
Then a humorously stylized demonstration of how sound is rendered on film is shown. An animated sound track
"character", initially a straight white line, changes into different shapes and colors based on the sounds played.[9]
• The Pastoral Symphony by Ludwig van Beethoven. A mythical ancient Greek world of centaurs, cupids, fauns
and other figures from classical mythology is portrayed to Beethoven's music. A gathering for a festival to honor
Bacchus, the god of wine, is interrupted by Zeus who creates a storm and throws lightning bolts at the
attendees.[10]
• Dance of the Hours by Amilcare Ponchielli. A comic ballet in four sections: Madame Upanova and her ostriches
(Morning); Hyacinth Hippo and her servants (Afternoon); Elephanchine and her bubble-blowing elephant troupe
(Evening); and Ben Ali Gator and his troop of alligators (Night). The finale finds all of the characters dancing
together until their palace collapses.[11]
• Night on Bald Mountain by Modest Mussorgsky and Ave Maria by Franz Schubert. At midnight the devil
Chernabog summons evil spirits and restless souls from their graves. The spirits dance and fly through the air
until driven back by the sound of an Angelus bell as night fades into dawn. A chorus is heard singing Ave Maria
as a line of robed monks is depicted walking with lighted torches through a forest and into the ruins of a
cathedral.[12]
71
Fantasia (film)
72
Production
Origins
Leopold Stokowski
In 1936, Walt Disney felt that the Disney studio's star character Mickey Mouse
needed a boost in popularity. He decided to feature the mouse in The Sorcerer's
Apprentice, a deluxe cartoon short based on the poem written by Johann
Wolfgang von Goethe and set to the orchestral piece by Paul Dukas that was
inspired by the original tale.[13] The concept of matching animation to classical
music was used as early as 1928 in Disney's cartoon series, the Silly Symphonies,
but he wanted to go beyond the usual slapstick, and produce shorts where "sheer
fantasy unfolds...action controlled by a musical pattern has great charm in the
realm of unreality. "[14][15] Upon receiving the rights to use the music by the end
of July 1937,[16] Disney considered using a well-known conductor to record the
music for added prestige. He happened to meet Leopold Stokowski, conductor of
the Philadelphia Orchestra since 1912, at Chasen's restaurant in Hollywood, and
talked about his plans for the short. Stokowski recalled that he did "like the
music"; was happy to collaborate on the project, and offered to conduct the piece
at no cost.[17]
Following their meeting, Disney's New York representative ran into Stokowski on a train headed for the East. In
writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had
some very interesting ideas on instrumental coloring, which would be perfect for an animation medium".[17] In his
excited response dated October 26, 1937, Disney wrote that he felt "all steamed up over the idea of Stokowski
working with us...The union of Stokowski and his music, together with the best of our medium, would be the means
of a success and should lead to a new style of motion picture presentation. "[18] He had already begun working on a
story outline, and wished to use "the finest men...from color...down to animators"[19] on the short. The Sorcerer's
Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse
cartoon series.[17][20]
An agreement signed by Disney and Stokowski on December 16, 1937 allowed
the conductor to "select and employ a complete symphony orchestra" for the
recording.[21] Disney hired a stage at the Culver Studios in California for the
session. It began at midnight on January 9, 1938, and lasted for three hours using
eighty-five Hollywood musicians.[22] As production costs of The Sorcerer's
Apprentice climbed to $125,000, it became clearer to Disney and his brother
Roy, who managed the studio's finances, that the short could never earn such a
sum back on its own.[13] Roy wanted his brother to keep any additional costs on
the film to a minimum. He said, "because of its very experimental and
unprecedented nature...we have no idea what can be expected from such a
production. "[17] Ben Sharpsteen, a production supervisor on Fantasia, noted that
its budget was three to four times greater than the usual Silly Symphony, but
Disney "saw this trouble in the form of an opportunity. This was the birth of a
Deems Taylor
new concept, a group of separate numbers—regardless of their running
time—put together in a single presentation. It turned out to be a concert—something novel and of high quality. "[23]
Ideas to produce a complete feature film were pursued in February 1938, when enquiries were made to extend
Stokowski's contract.[23] In August, Disney asked Stokowski's representative to have him return to the studios to
select material for the new film, which was initially titled The Concert Feature.[17] The pair further thought of
Fantasia (film)
presenting the film with an on-screen host to introduce each number in the program. Both had heard composer and
music critic Deems Taylor provide intermission commentary during radio broadcasts of the New York Philharmonic,
and agreed he would be most suitable for the role.[18] Disney did contact Taylor about the project, but by then work
on Pinocchio, Bambi, and development on his new Burbank studio kept him too busy to work on the new feature.[24]
In a change of plans, Taylor was asked during a call on September 3, 1938 leave to come to the studios as soon as
possible. He left New York City for Los Angeles by train two days later for a month's visit.[18]
Development
Taylor arrived at the studio one day after a series of meetings began to select the musical pieces for The Concert
Feature. Disney made story writers Joe Grant and Dick Huemer gather a preliminary selection of music and along
with Stokowski, Taylor, and the heads of various departments, discussed their ideas.[23] Each meeting was recorded
verbatim by stenographers with participants being given a copy of the entire conversation for review. As selections
were considered, a recording of the piece was located and played back at the next gathering.[25] Disney did not
contribute much to early discussions; he admitted that his knowledge of music was instinctive and untrained.[26] In
one meeting, he inquired about a piece "on which we might build something of a prehistoric theme...with
animals".[27] The group was considering The Firebird by Igor Stravinsky, but Taylor noted that his "Le Sacre du
printemps would be something on that order", to which Disney replied upon hearing a recording, "This is marvelous!
It would be perfect for prehistoric animals. There would be something terrific in dinosaurs, flying lizards, and
prehistoric monsters. There could be beauty in the settings. "[28]
Numerous choices were discarded as talks continued, including Moto Perpetuo by Niccolò Paganini with "shots of
dynamos, cogs, pistons" and "whirling wheels" to show the production of a collar button. Other deletions were
Prelude in G minor and Troika by Sergei Rachmaninoff, and a rendition of "The Song of the Flea" by Mussorgsky
which was to be sung by Lawrence Tibbett.[29] On September 29, 1938, around sixty of Disney's artists gathered for
a two-and-a-half hour piano concert while he provided a running commentary about the new musical feature. A
rough version of The Sorcerer's Apprentice was also shown that, according to one attendee, had the crowd
applauding and cheering "until their hands were red. "[30] The final pieces were chosen the following morning, which
included Toccata and Fugue in D minor, Cydalise et le Chèvre-pied by Gabriel Pierné, The Nutcracker Suite, Night
on Bald Mountain, Ave Maria, Dance of the Hours, Clair de Lune by Claude Debussy, The Rite of Spring and The
Sorcerer's Apprentice.[30] Disney had already begun working out the details for the segments, and showed greater
enthusiasm and eagerness as opposed to his anxiety while starting on Pinocchio.[31]
Clair de Lune was soon removed from the Fantasia program, but Disney and his writers encountered problems of
setting a concrete story to Cydalise. Its opening march, "The Entry of the Little Fauns", attracted Disney to the piece
which at first provided suitable depictions of fauns he wanted. On January 5, 1939, following a search for a stronger
piece to fit the mythological theme, the piece was replaced with sections of Beethoven's sixth symphony.[32]
Stokowski disagreed with the switch, believing that Disney's "idea of mythology...is not quite what this symphony is
about." He was also concerned about the reception from classical music enthusiasts who would criticize Disney for
venturing too far from the composer's intent.[33] Taylor on the other hand welcomed the change, describing it as "a
stunning one", and saw "no possible objection to it."[34]
The new feature continued to be known as The Concert Feature or Musical Feature as late as November 1938. Hal
Horne, a publicist for Disney's film distributor RKO Radio Pictures, wished for a different title, and gave the
suggestion Filmharmonic Concert. Stuart Buchanan then held a contest at the studio for a title that produced almost
1,800 suggestions including Bach to Stravinsky and Bach and Highbrowski by Stokowski. Still, the favorite among
the film's supervisors was Fantasia, an early working title that had even grown on Horne, "It isn't the word alone but
the meaning we read into it. "[35] From the beginning of its development, Disney expressed the greater importance of
music in Fantasia compared to his past work: "In our ordinary stuff, our music is always under action, but on
this...we're supposed to be picturing this music - not the music fitting our story."[36] Disney had hoped that the film
73
Fantasia (film)
would bring classical music to people that, including himself, had "walked out on this kind of stuff."[37]
Design and animation
Animation on The Sorcerer's Apprentice began on January 21, 1938 when James Algar, the director of the segment,
assigned animator Preston Blair to work on the scene when Mickey Mouse wakes from his dream.[38] Each of the
seven hundred members of staff at the time received a synopsis of the Goethe tale, and were encouraged to complete
a twenty-question form that requested their ideas on what action might take place.[16][22] Layout artist Tom Codrick
created what Dick Huemer described as "brilliantly colored thumbnails" from preliminary storyboard sketches using
gouache paints, which featured bolder use of color and lighting than any previous Disney short.[39] Mickey was
redesigned by animator Fred Moore who added pupils for the first time to achieve greater ranges of
expression.[16][40] Most of the segment was shot in live action, including a scene where a UCLA athlete was asked to
run and jump across one of the studio's sound stages with barrels in the way, which was used for reference when
Mickey traverses through water.[41]
Disney had been interested in producing abstract animation since he saw A Color Box by Len Lye from 1935. He
explained the work done in the Toccata and Fugue was "no sudden idea...they were something we had nursed along
several years but we never had a chance to try".[42] Preliminary designs included those from effects animator Cy
Young, who produced drawings influenced by the patterns on the edge of a piece of sound film.[32] In late 1938
Disney hired Oskar Fischinger, a German artist who had produced numerous abstract animated films, including some
with classical music, to work with Young. Upon review of three leica reels produced by the two, Disney rejected all
three. According to Huemer all Fishinger "did was little triangles and designs...it didn't come off at all. Too dinky,
Walt said. "[43] Fischinger, like Disney, was used to having full control over his work and was not used to working in
a group. Feeling his designs were too abstract for a mass audience,[13] Fishinger left the studio in apparent despair,
before the segment was completed, in October 1939.[44] Disney had plans to make the Toccata and Fugue an
experimental three-dimensional film, with audiences being given cardboard stereoscopic frames with their souvenir
programs, but this idea was abandoned.[42]
In The Nutcracker Suite, animator Art Babbitt is said to have credited The Three Stooges as a guide for animating
the dancing mushrooms in the Chinese Dance routine. He drew with a music score pinned to his desk to work out the
choreography so he could relate the action to the melody and the counterpoint, "those nasty little notes
underneath...so something has to be related to that".[45] The studio filmed professional dancers Joyce Coles and
Marjorie Belcher wearing ballet skirts that resembled shapes of blossoms that were to sit above water for Dance of
the Flutes. An Arabian dancer was also brought in to study the movements for the goldfish in Arab Dance.[46]
An early concept for The Rite of Spring was to extend the story to the age of mammals and the first humans and the
discovery of fire and man's triumph. John Hubley, the segment's art director, explained that it was later curtailed by
Disney to avoid controversy from creationists, who promised to make trouble should he connect evolution with
humans.[47] To gain a better understanding of the history of the planet the studio received guidance from Roy
Chapman Andrews, the director of the American Museum of Natural History, English biologist Julian Huxley,
paleontologist Barnum Brown, and astronomer Edwin Hubble.[48][19] Animators studied comets and nebulae at the
Mount Wilson Observatory, and observed a herd of iguanas and a baby alligator that were brought into the studio.[49]
The camera was kept at a low position throughout the segment to heighten the immensity of the dinosaurs.[48]
For inspiration on the routines in Dance of the Hours, animators studied real life ballet performers including Marge
Champion and Irina Baronova.[40] Animator John Hench was assigned to work on the segment, but resisted as he
knew little about ballet. Disney then gave Hench season tickets to the Ballet Russe de Monte Carlo with backstage
access so he could learn more about it.[50] Béla Lugosi, best known for his role in Dracula, was brought in to provide
reference poses for Chernabog. As animator Bill Tytla disliked the results, he used colleague Wilfred Jackson to
pose shirtless which gave him the images he needed.[13] There were ideas of releasing scents throughout the theater
during Fantasia, including the smell of incense during Ave Maria.[51]
74
Fantasia (film)
Over one thousand artists and technicians were used in the making of Fantasia,[52] which features more than 500
characters.[53] Segments were color-keyed scene by scene so the colors in a single shot would harmonize between
proceeding and following ones.[54] Before a segment's narrative pattern was complete, an overall color scheme was
designed to the general mood of the music, and patterned to correspond with the development of the subject
matter.[54] The studio's character model department would also sculpt three-dimensional clay models so the
animators could view their subject from all angles.[38]
Soundtrack
Recording
Disney wanted to experiment in more sophisticated sound recording
and reproduction techniques for Fantasia. "Music emerging from one
speaker behind the screen sounds thin, tinkly and strainy. We wanted
to reproduce such beautiful masterpieces...so that audiences would feel
as though they were standing at the podium with Stokowski".[55] For
the recording of The Sorcerer's Apprentice in January 1938,[22]
engineers at Disney collaborated with RCA Corporation for using
multiple audio channels which allowed any desired dynamic balance to
be achieved upon playback. The stage was altered acoustically with
double plywood semi-circular partitions that separated the orchestra
The Philadelphia Academy of Music.
into five sections to increase reverberation.[56] Though as the
production of Fantasia developed, the setup used for The Sorcerer's Apprentice was abandoned for different
multi-channel recording arrangements.
On January 18, 1939, Stokowski signed an eighteen-month contract with Disney to conduct the remaining pieces
with the Philadelphia Orchestra.[21] Recording began that April and lasted for seven weeks at the Academy of Music,
the orchestra's home which was chosen for its excellent acoustics.[55][57] In the recording sessions, thirty-three
microphones were placed around the orchestra that captured the music onto eight optical sound recording machines
placed in the hall's basement. Each one represented an audio channel that focused on a different section of
instruments: cellos and basses, violins, brass, violas, and woodwinds and tympani. The seventh channel was a
combination of the first six while the eighth provided an overall sound of the orchestra at a distance.[55][58][59] A
ninth was later added to provide a click track function for the animators to time their drawings to the music.[60][58] In
the forty-two days of recording 483,000 feet of film was used.[55] Disney paid all the expenses which included the
musician's wages, stage personnel, a music librarian, and the orchestra's manager that cost almost $18,000.[21] When
the finished recordings arrived at the studio, a meeting was held on July 14, 1939 to allow the artists working on
each segment to listen to Stokowski's arrangements, and suggest alterations in the sound to work more effectively
with their designs.[61]
Fantasound
The Disney brothers contacted David Sarnoff of RCA regarding the manufacture of a new system that would "create
the illusion that the actual symphony orchestra is playing in the theater". Sarnoff backed out at first due to financial
reasons, but agreed in July 1939 to make the equipment so long as the Disneys could hold down the estimated
$200,000 in costs.[62] Though it was not exactly known how to achieve their goal, engineers at Disney and RCA
investigated many ideas and tests made with various equipment setups.[56] The collaboration led to the development
of Fantasound, a pioneering stereophonic surround sound system which innovated some processes widely used
today, including simultaneous multi-track recording, overdubbing, and noise reduction.[58]
75
Fantasia (film)
Fantasound employed two projectors running at the same time. With one containing the picture film with a mono
soundtrack for backup purposes, the other ran a sound film that was mixed from the eight tracks recorded at the
Academy to four: three of which contained the audio for the left, center, and right stage speakers respectively, while
the fourth became a control track with amplitude and frequency tones that drove variable-gain amplifiers to control
the volume of the three audio tracks.[56] In addition were three "house" speakers placed on the left, right, and center
of the auditorium that derived from the left and right stage channels which acted as surround channels.[58] As the
original recording was captured at almost peak modulation to increase signal-to-noise ratio, the control track was
used to restore the dynamics to where Stokowski thought they should be. For this, a tone-operated gain-adjusting
device was built to control the levels of each of the three audio tracks through the amplifiers.
The illusion of sound traveling across the speakers was achieved with a device named the "pan pot", which directed
the predetermined movement of each audio channel with the control track. Mixing of the soundtrack required six
people to operate the various pan pots in real time, while Stokowski directed each level and pan change which was
marked on his musical score. To monitor the recording levels at lower frequencies, Disney ordered eight three-color
oscillators from the newly-established Hewlett-Packard company,[63] a predecessor from VU meters used today.
Between the individual takes, prints, and remakes, approximately three million feet of sound film was used in the
production of Fantasia.[55] Almost a fifth of the film's budget was spent on its recording techniques.[64]
Release history
Theatrical runs
1940–1941 roadshows with Fantasound
RKO balked at the idea of distributing Fantasia, which it described as
a "longhair musical",[65] and believed its duration of two hours and five
minutes plus intermission was too long for a general release.[66][67] It
relaxed its exclusive distribution contract with Disney, who wanted a
more prestigious exhibit in the form of a limited-run roadshow
attraction. A total of thirteen roadshows were held across the United
States; each involving two daily screenings with seat reservations
booked in advance at higher prices and a fifteen-minute intermission.
Disney hired film salesman Irving Ludwig to manage the first eleven
engagements,[68] who was given specific instructions regarding each
aspect of the film's presentation, including the setup of outside theater
marquees and curtain and lighting cues. Patrons were taken to their
seats by staff hired and trained by Disney,[69] and were given a
program booklet illustrated by Gyo Fujikawa.[70]
The first roadshow opened at the Broadway Theatre in New York City
on November 13, 1940.[70] The Disneys had secured a year's lease with
The Broadway Theatre
the venue that was fully equipped with Fantasound, which took
personnel a week working around the clock to install.[71] Proceeds made on the night went to the British War Relief
Society for the efforts in the Battle of Britain.[72] Ticket demand was so great that eight telephone operators were
employed to handle the extra calls while the adjoining store was rented out to cater the box office bookings.[73]
Fantasia ran at the Broadway for forty-nine consecutive weeks, the longest run achieved by a film at the time.[74] Its
run continued for a total of fifty-seven weeks until February 28, 1942.[75]
The remaining twelve roadshows were held throughout 1941, which included a thirty-nine week run[74] at the
Carthay Circle Theatre in Los Angeles from January 29.[76][77] Fantasia broke the long-run record at the venue in its
76
Fantasia (film)
77
twenty-eighth week; a record previously held by Gone with the Wind.[78] Its eight-week run at the Fulton Theatre in
Pittsburgh attracted over 50,000 people with reservations being made from cities located one hundred miles from the
venue.[79] Engagements were also held at the Geary Theatre in San Francisco for eight months,[70] the Hanna
Theatre in Cleveland for nine weeks,[80][81] the Majestic Theatre in Boston,[70] the Apollo Theater in Chicago,[82]
and also in Philadelphia, Detroit, Buffalo, Minneapolis, Washington, D.C., and Baltimore.[83]
Fantasia grossed over $300,000 in the first sixteen weeks in New York; over $20,000 in the opening five weeks in
San Francisco; and almost the same amount in the first ten weeks both in Los Angeles and Boston.[73] The first
eleven roadshows earned a total of $1.3 million by April 1941,[74] but the $85,000 in production and installation
costs of a single Fantasound setup,[58][84] along with theatres having to be leased,[85] forced Disney to exceed their
loan limits.[86] The onset of the Second World War prevented plans for a potential release in Europe, normally the
source of as much as forty-five per cent of the studio's income.[72] Up to eighty-eight engagements were outlined
across five years, but wartime demands for material limited the number of Fantasound prints to sixteen.[74] All but
one of the Fantasound setups were dismantled and given to the war effort.[1] Upon acquiring the film's distribution
rights April 1941, RKO initially continued the roadshow booking policy but presented the film in mono, which was
easier to exhibit.[87][74] The combined average receipts from each roadshow was around $325,000, which placed
Fantasia at an even greater loss than Pinocchio.[88]
1942, 1946, 1956 and 1963 runs
Disney allowed RKO to handle the general release of Fantasia, but fought their decision to have the film cut. He
gave in as the studio needed as much income as possible to remedy its finances, but refused to cut it himself, "You
can get anybody you want to edit it...I can't do it. "[89] With no input from Disney, musical director Ed Plumb and
Ben Sharpsteen reduced Fantasia to one hour and forty minutes at first, then to one hour and twenty minutes by
removing most of Taylor's commentary and the Toccata and Fugue.[86][90] Fantasia was re-released in January 1942
at more popular prices with a mono soundtrack, and was placed on the lower half of double bills with the Western
film Valley of the Sun.[91]
RKO reissued Fantasia once more in 1946 with the animated sequences complete and the scenes of Taylor,
Stokowski, and the orchestra restored but shortened. Its running time was restored to one hour and fifty-five minutes.
This edit would be the standard form for subsequent re-releases, and was the basis for the 1990 restoration.[67]
"I wanted a special show just like Cinerama plays today...I had Fantasia set for a wide screen. I had dimensional sound...To get that
wide screen I had the projector running sideways...I had the double frame. But I didn't get to building my cameras or my projectors
because the money problem came in...The compromise was that it finally went out standard with dimensional sound. I think if I'd
had the money and I could have gone ahead I'd have a really sensational show at that time. "
[88]
Walt Disney on the widescreen release in 1956.
By 1955 the original sound negatives began to deteriorate, though a four-track copy had survived in good condition.
Using the remaining Fantasound system at the studio, a three-track stereo copy was transferred across telephone
wires onto magnetic film at an RCA facility in Hollywood.[1] This copy was used when Fantasia was reissued in
stereo by Buena Vista Distribution in SuperScope, a derivative of the anamorphic widescreen CinemaScope format,
on February 7, 1956.[67] The projector featured an automatic control mechanism designed by Disney engineers that
was coupled to a variable anamorphic lens, which allowed the picture to switch between its Academy standard
aspect ratio of 1.33:1 to the wide ratio of 2.35:1 in twenty seconds without a break in the film. This was achieved by
placing the cues that controlled the mechanism on a separate track in addition to the three audio channels. Only
selected parts of the animation were stretched, while all live action scenes remained unchanged.[92] This reissue
garnered some criticism from viewers, as the widescreen format led to the cropping and reframing of the images.[93]
On February 20, 1963, Fantasia was re-released in both standard and SuperScope versions with stereo sound, though
existing records are unclear. Its running time was fifty-six seconds longer than the previous issue which is
unexplained.[67] This was the final release that occurred before Disney's death in 1966.
Fantasia (film)
1969, 1977, 1982, 1985 and 1990 runs
Fantasia began to make a profit from its $2.28 million budget after its return to theaters on December 17, 1969.[1][67]
The film was promoted with a psychedelic-styled advertising campaign, and it became popular among teenagers and
college students who were reported to have taken drugs for a psychedelic experience.[94] Animator Ollie Johnston
recalled that young people "thought we were on a trip when we made it...every time we'd go to talk to a school or
something, they'd ask us what we were on. "[95] The release is also noted for the controversial removal of four scenes
from The Pastoral Symphony over racial stereotyping. Fantasia was issued on a regular basis, typically for
exhibition in art houses in college towns, until the mid-1970s.[67]
The film was reissued nationwide once more on April 15, 1977, this time with simulated stereo sound.[1][72] This edit
featured the RKO distribution logo being replaced with that of Buena Vista Distribution, since RKO had not been
part of a release since 1946. It had not been removed earlier as the credit sequence would have required to be re-shot.
A two-and-a-half-minute reduction in the film's running time in this version remains unclear in existing records.[67]
For the 1982 and 1985 releases Disney presented Fantasia with a
completely new soundtrack recorded in Dolby Stereo. First released on
April 2, 1982[67] this version of the film marked the first time a film's
soundtrack had been digitally re-recorded in its entirety. To replace
Stokowski's recordings, the noted film conductor Irwin Kostal was
engaged. He directed a 121-piece orchestra and 50-voice choir[96] for
the recording that took place over eighteen sessions and cost $1
million.[97] To maintain continuity with the animation Kostal based his
Tim Matheson (left) provided the narration in the
performance on the tempos and pacing of the Stokowski recordings,
1985 re-release.
including the cuts and revisions to The Rite of Spring. However, for
Night on Bald Mountain he used Mussorgsky's original orchestration
instead of Leopold Stokowski's own edition that was part of the original soundtrack. The new recording also
corrected a two-frame lag in projection caused by the old recording techniques used in the 1930s.[2] Deems Taylor's
scenes were deleted and a much briefer voiceover narration was recorded by Hugh Douglas[67] as the studio felt the
modern audience "is more sophisticated and knowledgeable about music. "[2] This version returned to around 400
theaters in 1985,[98] this time with actor Tim Matheson providing the narration.[99]
For its fiftieth anniversary, Fantasia returned to 550 theaters nationwide on October 5, 1990 in its traditional 1946
version including the live action scenes with Taylor and the original Stokowski score. The film underwent a
two-year restoration process which began after a six-month search to piece together the original negatives that had
been in storage since 1946. This marked the first time since then that a release of the film had been processed from
the original and not from a copy.[100] Each of its 535,680 frames were restored at YCM Laboratories,[101] and an
untouched print from 1951 was used for guidance on color and tone.[100] Theaters were required to have specific
stereo equipment installed, and to present the film in its original 1.33:1 aspect ratio with black borders on the side of
their screens.[95][102] The Stokowski soundtrack was digitally remastered using the 1955 magnetic soundtrack, with
an estimated three thousand pops and hisses being removed in the process.[57][58][102] The 1990 reissue of Fantasia
went on to gross $25 million domestically.[103]
Home media
Audio
Disney considered releasing a multi-disc 78-rpm record album of Fantasia's soundtrack in conjunction with the
film's 1940 roadshow release, but this idea was not realized.[21] The soundtrack was ultimately released as a three
record LP set in sixteen countries[104] by Disneyland Records in 1957[70] under the catalog number WDX-101.
Disney was required to obtain permission from Stokowski, who initially rejected the deal unless the Philadelphia
78
Fantasia (film)
Orchestra Association received a share of the royalties.[104] With nearly two hours of music, the Fantasia soundtrack
album is the longest soundtrack album ever released of a Disney film.
The Fantasia soundtrack album contains all of the musical selections but none of the commentary from the film.
After stereo LP's became possible, Buena Vista Records released a stereo version of the soundtrack album.
The original soundtrack was remastered and issued as a two-disc CD set by Walt Disney Records in 1991. It
eventually sold 100,000 copies.[70][105] This was re-released in 2006. In 1982, Buena Vista Records also released a
two-disc edition of the re-recorded soundtrack conducted by Irwin Kostal.[96] This was also issued on CD by Walt
Disney Records.
Video
Fantasia has received three home video releases. The first, featuring the 1990 restored theatrical version, was
released on VHS and laser disc on November 1, 1991 as part of the "Walt Disney Classics" line. The 50-day release
prompted 9.25 million advance orders for cassettes and a record 200,000 for discs, doubling the figure of the
previous record. The "Deluxe Edition" package included the film, a "making of" feature, a commemorative
lithograph, a 16-page booklet, a two-disc soundtrack of the Stokowski score and a certificate of authenticity signed
by Roy E. Disney, the nephew of Walt.[103] Fantasia became the biggest-selling sell-through cassette of all time with
14.2 million copies being purchased.[106] The record was surpassed by Beauty and the Beast in December 1992.[107]
This version was also released as a DVD in 2000, outside of the U. S. in the United Kingdom and other countries,
again under the "Walt Disney Classics" banner.[108]
In November 2000, Fantasia was released on video for the second time, this time along with Fantasia 2000, on
DVD with 5.1 surround sound. The films were issued both separately and in a three-disc set called The Fantasia
Anthology. A variety of bonus features were included in the bonus disc, The Fantasia Legacy. This edition attempted
to follow as closely as possible the runtime and format of the original roadshow version, and included additional
restored live-action footage of Taylor and the orchestra, including the bookends to the film's intermission.[109] In the
2000 and 2010 releases, Deems Taylor's voice has been overdubbed throughout by Corey Burton because most of
the audio tracks to Taylor's restored scenes have been lost.[110] The 2000 UK release, however, was in the 1991
video version.[108]
Both films were reissued again by Walt Disney Studios Home Entertainment in November 2010 separately, as a
two-disc DVD/Blu-ray set and a combined DVD and Blu-ray four-disc (named the "Fantasia 2 Movie Collection")
set that featured 1080p high-definition video and 7.1 surround sound.[111] The 2010 version of Fantasia featured a
new restoration by Reliance MediaWorks and a new sound restoration,[112] but was editorially identical to the 2000
version.[113] This marked the first time the roadshow version was released in Europe. Fantasia was withdrawn from
release and returned to the "Disney Vault" moratorium on April 30, 2011 (although it remains on sale until existing
stocks are depleted).[114][115]
Reception
Critical response
Among those at the film's premiere was film critic Bosley Crowther of The New York Times, who noted that "motion
history was made last night...Fantasia dumps conventional formulas overboard and reveals the scope of films for
imaginative excursion...Fantasia...is simply terrific. "[72] Peyton Boswell, an editor at Art Digest, called it "an
aesthetic experience never to be forgotten. "[84] Time magazine described the premiere as "stranger and more
wonderful than any of Hollywood's" and the experience of Fantasound "as if the hearer were in the midst of the
music. As the music sweeps to a climax, it froths over the proscenium arch, boils into the rear of the theatre, all but
prances up and down the aisles. "[49] Dance Magazine devoted its lead story to the film, saying that "the most
extraordinary thing about Fantasia is, to a dancer or balletomane, not the miraculous musical recording, the range of
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Fantasia (film)
color, or the fountainous integrity of the Disney collaborators, but quite simply the perfection of its dancing. "[72]
Variety also hailed Fantasia, calling it "a successful experiment to lift the relationship from the plane of popular,
mass entertainment to the higher strata of appeal to lovers of classical music. "[116] The Chicago Tribune assigned
three writers to cover the film's Chicago premiere: society columnist Harriet Pribble; film critic Mae Tinee; and
music critic Edward Barry. Pribble left amazed at the "brilliantly-attired audience", while Tinee felt the film was
"beautiful...but it is also bewildering. It is stupendous. It is colossal. It is an overwhelmingly ambitious orgy of color,
sound, and imagination. " Barry was pleased with the "program of good music well performed...and beautifully
recorded" and felt "pleasantly distracted" from the music to what was shown on the screen.[82] In a breakdown of
reviews from both film and music critics, Disney author Paul Anderson found 33% to be "very positive", 22% both
"positive" and "positive and negative", and 11% negative.[117]
Those who adopted a more negative view at the time of the film's release were mostly music critics who resisted the
idea of presenting classical music with visual images, arguing that doing so would rob the musical pieces of their
integrity. Composer and music critic Virgil Thomson praised Fantasound which he thought offered "good
transmission of music", but disliked the "musical taste" of Stokowski, with exception to The Sorcerer's Apprentice
and The Rite of Spring.[72] Olin Downes of The New York Times too hailed the quality of sound that Fantasound
presented, but felt that "much of Fantasia distracted from or directly injured the scores. "[72] Film critic Pauline Kael
dismissed parts of Fantasia as "grotesquely kitschy".[118] Some parents resisted paying the higher roadshow prices
for their children, and several complained that the Night on Bald Mountain segment had frightened them.[89]
There were also a few negative reactions that were more political in nature, especially since the film's release
happened at a time when Nazi Germany reigned supreme in Europe. One review of the film in this manner, written
by Dorothy Thompson for The New York Herald Tribune on November 25, 1940, was especially harsh. Thompson
claimed that she "left the theater in a condition bordering on nervous breakdown," because the film was a
"remarkable nightmare." Thompson went on to compare the film to rampant Nazism, which was "the abuse of
power" and "the perverted betrayal of the best instincts." Thompson also claimed that the film depicted nature as
being "titanic" while man was only "a moving lichen on the stone of time." She concluded that the film was a
negative "caricature of the Decline of the West," and that it was "cruel" and "brutal and brutalizing." In fact,
Thompson claimed that she was so distraught by the film that she even walked out of it before she saw the two last
segments, Night on Bald Mountain and Ave Maria, because she did not want to be subject to any more of the film's
"brutalization."[119]
Fantasia holds a "fresh" rating on Rotten Tomatoes, a website which aggregates film reviews. Its consensus—"A
landmark in animation and a huge influence on the medium of music video, Disney's Fantasia is a relentlessly
inventive blend of the classics with phantasmagorical images". 98% of critics gave the film a positive review based
on a sample of 48 reviews, with an average score of 8.6 out of 10. Among the website's "top critics" it holds a
positive rating of 86% from seven reviews.[120] Roger Ebert of the Chicago Sun-Times rated the film four stars out of
four, and noted that throughout Fantasia, "Disney pushes the edges of the envelope".[121]
Remarks have also been made about Fantasia not being a children's film. Reporting on the popular culture site Inside
Pulse and in The Eagle newspaper, Robert Saucedo remembered to be "not the only one...having to sit through the
movie as a kid fidgeting in your seat as the film delivers abstract image after abstract image", concluding that
Fantasia is "for adults and very nerdy kids, "[122][123] while news and gossip website PopSugar included Fantasia in
its "10 Movies That Scared Buzz Readers as Kids" list.[124]
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Fantasia (film)
Awards and honors
Fantasia ranked fifth at the 1940 National Board of Review Awards in the Top Ten Films category.[125] Disney and
Stokowski won a Special Award for the film at the 1940 New York Film Critics Circle Awards.[126] Fantasia was
the subject of two Academy Honorary Awards on February 26, 1942 — one for Disney, William Garity, John N. A.
Hawkins, and the RCA Manufacturing Company for their "outstanding contribution to the advancement of the use of
sound in motion pictures through the production of Fantasia", and the other to Stokowski "and his associates for
their unique achievement in the creation of a new form of visualized music in Walt Disney's production Fantasia,
thereby widening the scope of the motion picture as entertainment and as an art form".[127]
In 1990, Fantasia was selected for preservation in the United States National Film Registry by the Library of
Congress as being "culturally, historically, or aesthetically significant".[128] On the 100th anniversary of cinema in
1995, the Vatican included Fantasia in its list of 45 "great films" made under the Art category; the others being
Religion and Values.[129]
Fantasia is featured in three lists that rank the greatest American films as determined by the American Film Institute.
The film ranked number 58 in 100 Years... 100 Movies in 1998[130] before it was dropped from its 10th Anniversary
revision in 2007,[131] though it was nominated for inclusion.[132] The 10 Top 10 list formed in 2008 placed Fantasia
fifth under Animation.[130]
Controversies
In the late 1960s, four shots from The Pastoral Symphony were removed that depicted two characters in a
racially-stereotyped manner. A black centaurette called Sunflower was depicted polishing the hooves of a white
centaurette, and a second named Otika appeared briefly during the procession scenes with Bacchus and his
followers.[133] According to Disney archivist David Smith, the sequence was aired uncut on television in 1963
before the edits were made for the film's 1969 theatrical reissue.[134] John Carnochan, the editor responsible for the
change in the 1991 video release, said "It's sort of appalling to me that these stereotypes were ever put in".[135] Film
critic Roger Ebert commented on the edit – "While the original film should, of course, be preserved for historical
purposes, there is no need for the general release version to perpetrate racist stereotypes in a film designed primarily
for children."[136] The edits have been in place in all subsequent theatrical and home video reissues.
In May 1992, the Philadelphia Orchestra Association filed a lawsuit against The Walt Disney Company and Buena
Vista Home Video. The orchestra maintained that as a co-creator of Fantasia, the group was entitled to half of the
estimated $120 million in profits from video and laser disc sales.[105] The orchestra dropped its case in 1994 when
the two parties reached an undisclosed settlement out of court.[137] British music publisher Boosey & Hawkes filed a
further lawsuit in 1993, contending that Disney did not have the rights to distribute The Rite of Spring in the 1991
video releases because the permission granted to Disney by Stravinsky in 1940 was only in the context of a film to
be shown in theaters.[138] The United States district court backed Boosey & Hawkes's case in 1996,[139] but the
Second Circuit Court of Appeals reversed the ruling in 1998, stating that Disney's original "license for motion
picture rights extends to video format distribution. "[140]
Additional material
Disney had wanted Fantasia to be an ongoing project, with a new edition being released every few years.[141] His
plan was to substitute one of the original segments with a new one as it was complete, so the viewer would always
see a new version of the film.[70] From January to August 1941, story material was developed based on additional
pieces, including Ride of the Valkyries by Richard Wagner, The Swan of Tuonela by Jean Sibelius, Invitation to the
Dance by Carl Maria von Weber, Flight of the Bumblebee by Nikolai Rimsky-Korsakov,[13][70] which was later
adapted into the Bumble Boogie segment in Melody Time (1948), and there was even consideration for a segment
inspired by the Polka and Fugue from Schwanda the Bagpiper by Jaromír Weinberger. The film's disappointing
initial box office performance and the advent of World War II brought an end to these plans.[142] Taylor had
81
Fantasia (film)
82
prepared introductions for The Firebird by Stravinsky, La Mer by Claude Debussy, Adventures in a Perambulator by
John Alden Carpenter, Don Quixote by Richard Strauss, and Pictures at an Exhibition by Mussorgsky "to have them
for the future in case we decided to make any one of them".[141][143]
Clair de Lune was another segment that was part of the film's original program. After being completely animated, it
was cut out of the final film to shorten its already long running time. The segment featured two egrets flying through
the Everglades on a moonlit night. The sequence was later edited and re-scored for the Blue Bayou segment in Make
Mine Music (1946). A workprint of the original was discovered and Clair de Lune was restored in 1992, complete
with the original soundtrack of Stokowski with the Philadelphia Orchestra. It was included as a bonus feature in The
Fantasia Anthology DVD in 2000.[110]
Legacy
Sequel
"Fantasia is timeless. It may run 10, 20 or 30 years. It may run after I'm gone. Fantasia is an idea in itself. I can never build another
Fantasia. I can improve. I can elaborate. That's all. "
[13]
Walt Disney
In 1980, the Los Angeles Times reported that animators Wolfgang Reitherman and Mel Shaw had begun work on
Musicana, "an ambitious concept mixing jazz, classical music, myths, modern art and more, following the old
Fantasia format. "[144] Animation historian Charles Solomon wrote that development took place between 1982 and
1983, which combined "ethnic tales from around the world with the music of the various countries". Proposed
segments for the film included a battle between an ice god and a sun goddess set to Finlandia by Sibelius, one set in
the Andes to the songs of Yma Sumac, and another featuring caricatures of Louis Armstrong and Ella Fitzgerald.
The project was shelved in favor of Mickey's Christmas Carol.[145]
Roy E. Disney, the nephew of Walt, co-produced Fantasia 2000 which entered production in 1990 and features
seven new segments performed by the Chicago Symphony Orchestra with conductor James Levine.[146] The
Sorcerer's Apprentice is the only segment retained from the original film. Fantasia 2000 premiered at Carnegie Hall
on December 17, 1999 as part of a five-city live concert tour, followed by a four-month engagement in IMAX
cinemas[147] and a wide release in regular theatres, in 2000.[148]
Parodies and spin-offs
Fantasia is parodied in A Corny Concerto, a Warner Bros. cartoon from 1943 of the Merrie Melodies series. The
short features Elmer Fudd[149] in the role of Taylor, wearing his styled eyeglasses, who introduces two segments set
to pieces by Johann Strauss (Tales from the Vienna Wood and the Blue Danube, both featuring Porky and Bugs and
Daffy respectively). In 1976, Italian animator Bruno Bozzetto produced Allegro Non Troppo, a feature-length parody
of Fantasia.[150] Walt Disney Pictures used the story of The Sorcerer's Apprentice as a basis for its eponymous
fantasy-adventure film in 2010.[151]
The animated television series The Simpsons references Fantasia in a few episodes. Matt Groening, the creator of the
franchise, expressed a wish to make a parody film named Simpstasia; it was never produced, partly because it would
have been too difficult to write a feature-length script.[152] In "Treehouse of Horror IV", director David Silverman
had admired the animation in Night on Bald Mountain, and made the first appearance of Devil Flanders resemble
Chernabog.[153] The episode "Itchy & Scratchy Land" references The Sorcerer's Apprentice in a snippet titled
"Scratchtasia" that features the music and several shots parodying it exactly.[154]
Fantasia is also referenced in the animated series South Park in the episode "Chef's Chocolate Salty Balls", where
Mr. Hankey dons a wizard outfit and drives out an independent film festival by summoning a wave of sewage,
similar to Mickey's dream of summoning a storm in The Sorcerer's Apprentice.
Fantasia (film)
83
Theme parks
The Sorcerer's Hat is the icon of Disney's Hollywood Studios, one
of the four theme parks located at Walt Disney World Resort. The
structure is of the magic hat from The Sorcerer's Apprentice.[155]
Also located at the resort is Fantasia Gardens, a miniature golf
course that integrates characters and objects from the film in each
hole.[156] The fireworks and water show Fantasmic! features
scenes from The Sorcerer's Apprentice and other Fantasia
segments on water projection screens, and involves the plot of
Mickey as the apprentice doing battle with the Disney
Villains.[157]
The Sorcerer's Hat in Disney's Hollywood Studios.
For the 20th anniversary of Disneyland Paris, Mickey will be
depicted in a special version of his Sorcerer's Apprentice outfit. His friends will also wear similar outfits as well.
Video games
In 1991, a side-scrolling eponymous video game developed by Infogrames was released for the Sega Mega
Drive/Genesis system.[158] The player controls Mickey Mouse, who must find missing musical notes scattered across
four elemental worlds based upon the film's segments.
There are several film reel levels based on some of the movie's segments such as Sorcerer's Apprentice that appear
on Epic Mickey, a game released in 2010 for the Wii console. Yen Sid and Chernabog also make cameo appearances
in the game (with the former narrating the opening and ending of the game and the latter as a painting).[159]
The Disney/Square Enix crossover game series Kingdom Hearts features Chernabog as a boss in the first
installment.[160] The Night on Bald Mountain piece is played during the fight. In Kingdom Hearts II, Yen Sid is
given a speaking role and is voiced in English by Corey Burton. Symphony of Sorcery, a world based on the movie,
appears in Kingdom Hearts 3D: Dream Drop Distance. Like the Timeless River world in Kingdom Hearts II, it is
featured as a period of Mickey Mouse's past. [161]
Credits
Musical score conducted by Leopold Stokowski. Performed by the Philadelphia Orchestra, except as noted.
Segment
Live-action scenes
Toccata and Fugue in D Minor
Nutcracker Suite
The Sorcerer's Apprentice
The Rite of Spring
Intermission/Meet the Soundtrack
The Pastoral Symphony
Dance of the Hours
Night on Bald Mountain and Ave Maria
Personnel
Fantasia (film)
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[89] Thomas 1994, p. 162
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Disne. Indiana University Press. ISBN 978-0-253-21353-2.
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google.co.uk/books?id=UtWg20olrl0C&printsec=frontcover#v=onepage&q&f=false). McGill-Queen's Press.
ISBN 978-0-7735-3037-9.
• Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age (http://books.google.co.
uk/books?id=zDJXnzMh7bkC&printsec=frontcover&client=firefox-a&source=gbs_ge_summary_r&
cad=0#v=onepage&q&f=false). Oxford University Press. ISBN 978-0-19-516729-0.
• Barrier, Michael (2008). The Animated Man: A Life of Walt Disney (http://books.google.co.uk/
books?id=te1NcjZfRmIC&printsec=frontcover#v=onepage&q&f=false). University of California Press.
ISBN 978-0-520-25619-4.
• Cohen, Karl F. (2004). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America (http://
books.google.co.uk/books?id=gIyH_DLYhoIC&printsec=frontcover#v=onepage&q&f=false). McFarland.
ISBN 978-0-7864-2032-2.
• Culhane, John (1983). Walt Disney's Fantasia. Harry N. Abrams Inc.. ISBN 978-3-8228-0393-6.
• Denney, Jim; Williams, Pat (2004). How to Be Like Walt: Capturing the Disney Magic Every Day of Your Life.
HCI. ISBN 978-0-7573-0231-2.
• Ebert, Roger (1997). Questions for the Movie Answer Man (http://books.google.co.uk/
books?id=Y_3PAWCwSnoC&printsec=frontcover). Andrews McMeel Publishing. ISBN 978-0-8362-2894-6.
• Eagan, Daniel (2010). America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National
Film Registry (http://books.google.co.uk/books?id=deq3xI8OmCkC&printsec=frontcover#v=onepage&q&
f=false). Continuum International Publishing Group. ISBN 978-0-8264-2977-3.
• Ehrbar, Greg; Hollis, Tim (2006). Mouse Tracks: The Story of Walt Disney Records. Univ. Press of Mississippi.
ISBN 978-1-57806-849-4.
• Gabler, Neal (2008). Walt Disney: The Biography. Aurum Press Ltd. ISBN 978-1-84513-342-9.
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• Goldmark, Daniel; Taylor, Yuval (2002). The Cartoon Music Book (http://books.google.co.uk/
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ISBN 978-1-55652-473-8.
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• Grant, John (1998). Encyclopedia of Walt Disney's Animated Characters. Hyperion Books.
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google.co.uk/books?id=jhvrSwOOsRgC&printsec=frontcover#v=onepage&q&f=false). Wayne State
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• Shepherd, Ashley (2003). Pro Tools for Video, Film and Multimedia (http://books.google.co.uk/
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• Solomon, Charles (1995). Disney That Never Was: The Stories and Art of Five Decades of Unproduced
Animation. Hyperion. ISBN 978-0-7868-6037-1.
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• Ward, Glenn (2010). Understand Postmodernism: Teach Yourself. Hachette UK. ISBN 978-1-4441-3398-1.
External links
•
•
•
•
•
•
Fantasia (http://www.imdb.com/title/tt0032455/) at the Internet Movie Database
Fantasia (http://tcmdb.com/title/title.jsp?stid=74544) at the TCM Movie Database
Fantasia (http://www.allrovi.com/movies/movie/v16752) at AllRovi
Fantasia (http://www.rottentomatoes.com/m/fantasia/) at Rotten Tomatoes
Fantasia (http://www.boxofficemojo.com/movies/?id=fantasia.htm) at Box Office Mojo
Fantasia (http://www.bcdb.com/bcdb/cartoon.cgi?film=15) at the Big Cartoon DataBase
89
90
Aladdin
Original theatrical poster; art by John Alvin
Directed by
Ron Clements
John Musker
Produced by
Ron Clements
John Musker
Written by
Ron Clements
John Musker
Ted Elliott
Terry Rossio
Narrated by
Robin Williams
Starring
Scott Weinger
Jonathan Freeman
Robin Williams
Linda Larkin
Frank Welker
Gilbert Gottfried
Douglas Seale
Music by
Alan Menken
Editing by
Mark A. Hester
H. Lee Peterson
Studio
Walt Disney Feature Animation
Distributed by Walt Disney Pictures
Release date(s) •
November 25, 1992
Running time
90 minutes
Country
United States
Language
English
Budget
$28 million
Box office
$504,050,219
[1]
[1]
Aladdin is a 1992 American animated musical family film produced by Walt Disney Feature Animation and released
by Walt Disney Pictures. Aladdin was the 31st animated feature in the Walt Disney Animated Classics series, and
was part of the Disney film era known as the Disney Renaissance. The film was directed by John Musker and Ron
Clements, and is based on the Arab folktale of Aladdin and the magic lamp from One Thousand and One Nights. The
voice cast features Scott Weinger, Jonathan Freeman, Robin Williams, Linda Larkin, Frank Welker, Gilbert
Gottfried, and Douglas Seale.
Lyricist Howard Ashman first pitched the idea, and the screenplay went through three drafts before Disney president
Jeffrey Katzenberg agreed to its production. The animators based their designs on the work of caricaturist Al
Hirschfeld, and computers were used for both colouring and creating some animated elements. The musical score
was written by Alan Menken and features six songs with lyrics written by both Ashman and Tim Rice, who took
over after the former's death.
Aladdin was released on November 25, 1992 to positive reviews and was the most successful film of 1992, earning
over $217 million in revenue in the United States, and over $504 million worldwide. The film also won many
awards, most of them for its soundtrack. Aladdin's success led to many material inspired by the film such as two
direct-to-video sequels, The Return of Jafar and Aladdin and the King of Thieves, an animated television series, toys,
video games, spin-offs, and merchandise.
Plot
Jafar, Grand Vizier to the Sultan of Agrabah, is attempting to retrieve a magical oil lamp containing a genie from the
Cave of Wonders. After seeing a petty thief's failed attempt to enter the cave, Jafar and his parrot, Iago, learn that
only a "Diamond in the Rough" can enter the cave.
Jasmine, the Sultan's daughter, frustrated with her life in the palace, flees to Agrabah's marketplace. There she meets
street rat Aladdin and his monkey, Abu. The two discover they have a lot in common. When Aladdin is detained for
thievery, Jasmine orders him released, but Jafar lies to her that Aladdin has been executed.
Disguised as an elder, Jafar releases Aladdin and Abu from prison and leads them to the Cave of Wonders. The
tiger-shaped head of the cave says to touch nothing but the lamp. Aladdin and Abu enter the cave, where a magic
carpet guides them to the lamp. Abu's attempt to steal a ruby backfires and causes the cave to collapse, but the carpet
flies them to the entrance. As Aladdin delivers the lamp, Jafar tries to kill him, but Abu bites Jafar in the arm and
gets the lamp back as he, the carpet, and Aladdin fall back into the cave just as it closes.
In the collapsed cave, Aladdin rubs the lamp, unexpectedly unleashing a genie, who reveals he will grant Aladdin
three wishes—with the exception of murder, romance, revival of the dead or multiplication of wishes. Aladdin
doubts there is a genie, thinking he may have suffered head trauma, so the Genie launches into a song of "Never Had
a Friend Like Me", then finally convinces Aladdin by freeing him, Abu and the Carpet from the cave. Genie realizes
he used magic without actually granting a wish, to which he says Aladdin will get no more magic help unless he
expressly states "I wish". While contemplating his wishes, Genie admits he would wish for freedom, since he is a
prisoner to his lamp. Aladdin promises to free the Genie as his last wish. After talking about Jasmine with the Genie,
Aladdin decides to use his first wish to become a prince so he can woo Jasmine.
Aladdin returns to Agrabah just as Jafar tries to trick the Sultan into arranging a marriage between himself and
Jasmine. When Aladdin parades into the Sultan's palace as "Prince Ali", Jasmine rejects Ali as a suitor. Despite the
Genie's suggestion that Aladdin to tell the princess who he really is, Aladdin keeps up his act as a suave prince, and
takes Jasmine around the world on the magic carpet. During the trip, Jasmine believes Ali to be the peasant man she
saw earlier, Aladdin, and demands the truth from him. Aladdin instead fabricates a story that he sometimes dresses
as a commoner to escape palace life. The couple kisses as Aladdin returns her home.
Afterwards, Aladdin is captured by Jafar and thrown into the ocean, but the Genie rescues Aladdin as his second
wish. Aladdin returns to the palace and exposes Jafar's plot; and Jafar flees after noticing the lamp in Aladdin's
possession, realizing who Aladdin is. As Aladdin gets doubtful about revealing who really is, Iago steals the Genie's
lamp and brings it to Jafar, who becomes the Genie's new master. Jafar uses his first two wishes to become Sultan
and the most powerful sorcerer in the world. Using his new powers, Jafar forces Jasmine and her father to bow,
exposes Aladdin as a street rat, then exiles him and Abu to a frozen wasteland.
Aladdin uses the magic carpet to return to Agrabah, where Jafar has imprisoned both Jasmine and the Sultan as his
slaves. Jasmine distracts Jafar with a seductive act as Aladdin tries to steal back the lamp, but Jafar confronts him.
He imprisons Jasmine in a large hourglass and turns himself into an enormous cobra. As Jafar traps Aladdin in his
coils, he boasts to be "the most powerful being on Earth", which causes Aladdin to shout out that the Genie is more
powerful. Faced with this realization, Jafar uses his final wish to become a genie. However, Jafar discovers that
genies are not free entities as he is sucked into a black lamp, dragging Iago with him. The Genie flicks the lamp into
the Cave of Wonders.
After Aladdin realizes that he cannot keep pretending to be something he is not, he decides to keep his promise and
wish for the Genie's freedom. Seeing Jasmine's love for Aladdin, the Sultan changes the law to allow her to marry
91
whomever she deems worthy. The newly free Genie leaves to explore the world while Aladdin and Jasmine celebrate
their engagement.
Cast and characters
• Scott Weinger as Aladdin: A poor but kind-hearted Agrabah thief. Weinger sent in a homemade audition tape
with his mother playing the Genie,[2] and after several call backs he found six months later that he had the part.[3]
The character's singing voice was provided by Brad Kane, who would also perform the speaking voice before
Weinger was cast.[4]
• Robin Williams as The Genie: A comedic genie, with nigh omnipotent power that can only be exercised when his
master wishes it. Clements and Musker wrote the part of the Genie for Williams, and when met with resistance
created a reel of Williams' standup to animation of the Genie. When Williams watched the video, he "laughed his
ass off" and agreed to do the project. He too voiced the Merchant at the beginning of the film,[5] while Bruce
Adler provided his singing voice.
• Jonathan Freeman as Jafar: The power-hungry Grand Vizier of Agrabah. Jafar was originally envisioned as an
irritable character, but the directors decided that a calm villain would be scarier.[6] Freeman was the first actor
cast, and spent one year and nine months recording his dialogue. He later readjusted his voice after Weinger and
Larkin were cast as he felt "Jafar had to be seen as a real threat to Aladdin and Jasmine".[7] Animator Andreas
Deja tried to incorporate Freeman's facial expressions and gesturing into the character.[8]
• Linda Larkin as Princess Jasmine: The princess of Agrabah, who is tired of life in the royal palace. Larkin was
chosen nine months after her audition, and had to adjust her pitch to reach the voice the filmmakers were looking
for the character.[6] Lea Salonga, who was performing Miss Saigon on Broadway at the time, supplies the
character's singing voice.[9]
• Frank Welker as Abu: Aladdin's kleptomaniac pet monkey with a high-pitched voice. The animators filmed
monkeys at the San Francisco Zoo to study the movements Abu would have.[6] In the three years it took to record
the film, Welker did not meet Weinger or Williams.[10] Welker also voiced Jasmine's tiger Rajah, and the Cave of
Wonders.[11]
• Gilbert Gottfried as Iago: Jafar's sarcastic, foul-mouthed pet parrot sidekick. Iago's animator Will Finn tried to
incorporate some aspects of Gottfried's appearance into Iago's design, specially his semi-closed eyes and the
always-appearing teeth.[6]
• Douglas Seale as The Sultan: The pompous but kind ruler of Agrabah, who desperately tries to find a suitor for
his daughter Jasmine. Some aspects of the character were inspired in the Wizard of Oz, to create a bumbling
authority figure.[6]
• Jim Cummings as Razoul: The Captain of the Guard. He was named after layout supervisor Rasoul Azadani.[6]
• The Magic Carpet is a sentient carpet who is able to fly. Animator Randy Cartwright described working on the
Carpet as challenging, since it is just a square shape, who expresses himself through pantomime – "It's sort of like
acting by origami".[12] Cartwright kept folding a piece of cloth while animating to see how to position the
Carpet.[12] After the character animation was done, the carpet's surface design was applied digitally.[8]
92
93
Production
Script and development
In 1988, lyricist Howard Ashman pitched to Disney the idea of an animated musical adaptation of Aladdin. After
Ashman wrote some songs with partner Alan Menken and a film treatment,[13] a screenplay was written by Linda
Woolverton, who had worked on Beauty and the Beast.[14] Then directors John Musker and Ron Clements joined the
production, picking Aladdin out of three projects offered, which also included an adaptation of Swan Lake and King
of the Jungle – that eventually became The Lion King.[15]
Musker and Clements wrote a draft of the screenplay, and delivered it to studio chief Jeffrey Katzenberg in 1991.
Katzenberg thought the script "didn't engage", and only approved it after the screenwriting duo Ted Elliott and Terry
Rossio rewrote it.[13] Among the changes, the character of Aladdin's mother was removed, Princess Jasmine was
made into a stronger character, Aladdin's personality was rewritten to be "a little rougher, like a young Harrison
Ford,"[13][16] and the parrot Iago, originally conceived as a "British" calm and serious character, was reworked into a
comic role after the filmmakers saw Gilbert Gottfried in Beverly Hills Cop II. Gottfried was cast to provide Iago's
voice.[17] Several characters and plot elements are also based on the 1940 version of The Thief of Bagdad,[18][19] and
many aspects of the traditional story were changed for the film – for instance, the setting is changed from "China" to
a fictional Arabian city, Agrabah.[20]
Design and animation
One of the first issues that the animators faced during production of Aladdin was the depiction of Aladdin
himself.[21] Director and producer John Musker explains:
“
In early screenings, we played with him being a little bit younger, and he had a mother in the story. [...] In design he became more
[21]
athletic-looking, more filled out, more of a young leading man, more of a teen-hunk version than before.
”
He was initially going to be as young as 13, but that eventually changed to eighteen.[21] Aladdin was designed by a
team led by supervising animator Glen Keane, and was originally made to resemble actor Michael J. Fox. During
production, it was decided that the design was too boyish and wasn't "appealing enough," so the character was
redesigned to add elements derived from actor Tom Cruise and Calvin Klein models.[5]
The design for most characters was based on the work of caricaturist Al Hirschfeld,[8] which production designer
Richard Vander Wende also considered appropriate to the theme, due to similarities to the swooping lines of Persian
miniatures and Arabic calligraphy.[12] Jafar's design was not based on Hirschfeld's work because Jafar's supervising
animator, Andreas Deja, wanted the character to be contrasting.[22] Each character was animated alone, with the
animators consulting each other to make scenes with interrelating characters. Since Aladdin's animator Glen Keane
was working in the California branch of Walt Disney Feature Animation, and Jasmine's animator Mark Henn was in
the Florida one at Disney-MGM Studios, they had to frequently phone, fax or send designs and discs to each
other.[12]
For the scenery design, layout supervisor Rasoul Azadani took many pictures of his hometown of Isfahan, Iran for
guidance.[6] Other inspirations for design were Disney's animated films from the 1940s and 50s and the 1940 film
The Thief of Bagdad.[12] The coloring was done with the computerized CAPS process, and the color motifs were
chosen according to the personality – the protagonists use light colors such as blue, the antagonists darker ones such
as red and black, and Agrabah and its palace use the neutral color yellow.[6][8] Computer animation was used for
some elements of the film, such as the tiger entrance of the Cave of Wonders and the scene where Aladdin tries to
escape the collapsing cave.[8]
Musker and Clements created the Genie with Robin Williams in mind; even though Katzenberg suggested actors
such as John Candy, Steve Martin, and Eddie Murphy, Williams was approached and eventually accepted the role.
Williams came for voice recording sessions during breaks in the shooting of two other films he was starring in at the
time, Hook and Toys. Unusually for an animated film, much of Williams' dialogue was ad-libbed: for some scenes,
Williams was given topics and dialogue suggestions, but allowed to improvise his lines.[8] It was estimated that
Williams improvised 52 characters.[23] Eric Goldberg, the supervising animator for the Genie, then reviewed
Williams' recorded dialogue and selected the best gags and lines that his crew would create character animation to
match.[8]
The producers added many in-jokes and references to Disney's previous works in the film, such as a "cameo
appearance" from directors Clements and Musker and drawing some characters based on Disney workers.[11] Beast,
Sebastian from The Little Mermaid, and Pinocchio make brief appearances,[6] and the wardrobe of the Genie at the
end of the film—Goofy hat, Hawaiian shirt, and sandals—are a reference to a short film that Robin Williams did for
the Disney/MGM Studios tour in the late 80s.[11]
Robin Williams' conflicts with the studio
In gratitude for his success with the Disney/Touchstone film Good Morning, Vietnam, Robin Williams voiced the
Genie for SAG scale pay ($75,000), on condition that his name or image not be used for marketing, and his
(supporting) character not take more than 25% of space on advertising artwork, since Toys was scheduled for release
one month after Aladdin's debut. For financial reasons, the studio went back on the deal on both counts, especially in
poster art by having the Genie in 25% of the image, but having other major and supporting characters portrayed
considerably smaller. The Disney Hyperion book Aladdin: The Making of an Animated Film listed both of Williams'
characters "The Peddler" and "The Genie" ahead of main characters, but was forced to refer to him only as "the actor
signed to play the Genie".[5]
Williams and Disney had a bitter falling-out, and as a result, Dan Castellaneta voiced the Genie in The Return of
Jafar, the Aladdin animated television series, and had recorded his voice for Aladdin and the King of Thieves.
Following Jeffrey Katzenberg's departure from Disney, former 20th Century Fox production head Joe Roth, whose
last act for Fox was greenlighting Williams' film Mrs. Doubtfire, Roth replaced Katzenberg and arranged for a public
apology to Williams by Disney. Williams agreed to perform in Hollywood Pictures' Jack, directed by Francis Ford
Coppola, and even agreed to voice the Genie again for the King of Thieves sequel (for considerably more than scale),
replacing all of Castellaneta's dialogue.[24]
Music
Composer Alan Menken and songwriters Howard Ashman and Tim Rice were praised for creating a soundtrack that
is "consistently good, rivaling the best of Disney's other animated musicals from the '90s."[25] Menken and Ashman
began work on the film together, with Rice taking over as lyricist after Ashman died of AIDS-related complications
in early 1991.[26] Although fourteen songs were written for Aladdin, only six are featured in the movie, three by each
lyricist.[27] The DVD Special Edition released in 2004 includes four songs in early animations tests, and a music
video of one, "Proud of Your Boy", performed by Clay Aiken,[28] which also appears on the album DisneyMania
3.[29]
94
Themes
"The original story was sort of a winning the lottery kind of thing. When we got into it, particularly coming in at the end of 1980s, it
seemed like an Eighties 'greed is good' movie. (...) Like having anything you could wish for would be the greatest thing in the world
and having it taken away from you is bad, but having it back is great. We didn't really want that to be the message of the movie"
Ron Clements
[12]
The filmmakers thought the moral message of the original tale was not appropriate, and decided to "put a spin on it",
by making the fulfillment of wishes seem like a great thing, but eventually becoming a problem.[12] Another major
theme was not trying to be what the person is not – both Aladdin and Jasmine get into trouble faking to be different
people,[6] and the Prince Ali persona fails to impress Jasmine, who only falls for Aladdin when she finds out who he
truly is.[30] Being "imprisoned" is also discussed, a fate that occurs to most of the characters – Aladdin and Jasmine
are stuck to their lifestyles, Genie is attached to his lamp and Jafar, to the Sultan – and is represented visually by the
prison-like walls and bars of the Agrabah palace, and the scene involving caged birds which Jasmine later frees.[6]
Jasmine is also depicted as a different Disney Princess, being rebellious to the royal life and the social structure,[31]
and trying to make her own way, unlike the princesses who just wait for rescue.[12]
Release and reception
Theatrical run
A large promotion campaign preceded Aladdin's debut in theaters, with the film's trailer being attached to most
Disney VHS releases, and numerous tie-ins and licensees being released.[32] After a limited release on November 13,
1992,[33] Aladdin debuted in 1,131 theaters on November 25, 1992, grossing $19.2 million in its opening weekend –
number two at the box office, behind Home Alone 2: Lost in New York.[34] It took eight weeks for the film to reach
number one at the US box office, breaking the record for the week between Christmas and New Year's Eve with
$32.2 million.[35] The film held the top spot five times during its 22-week run.[36] Aladdin was the most successful
film of 1992 grossing $217 million in the United States and over $504 million worldwide.[1] It was the biggest gross
for an animated film until The Lion King two years later.[37] As of 2013, it is the twenty-sixth highest grossing
animated film and the third highest grossing traditionally animated feature worldwide, behind The Lion King and The
Simpsons Movie.[38]
Critical reception
Aladdin was well received by critics. The review aggregator website Rotten Tomatoes reported that 92% of critics
gave the film a positive review based on a sample of 51 reviews, with an average score of 8/10.[39] Among the "Top
Critics", it has a 100% positive review rating from ten critics.[40]
Most critics' praise went to Robin Williams' performance as Genie,[39] with Janet Maslin of The New York Times
declaring that children "needn't know precisely what Mr. Williams is evoking to understand how funny he is".[41]
Warner Bros. animator Chuck Jones even called the film "the funniest feature ever made."[13] James Berardinelli
gave it 3.5 out of 4 stars, praising the "crisp visuals and wonderful song-and-dance numbers".[42] Peter Travers of
Rolling Stone said the comedy made the film accessible to both children and adults,[43] a vision shared with Desson
Howe of The Washington Post, who also said "kids are still going to be entranced by the magic and adventure."[44]
Brian Lowry of Variety praised the cast of characters, describing the expressive magic carpet as "its most remarkable
accomplishment" and considered that "Aladdin overcomes most story flaws thanks to sheer technical virtuosity".[45]
Some aspects of the film were widely criticized. Ed Gonzalez of Slant Magazine wrote a negative review, describing
the film as racist, ridiculous, and a "narcissistic circus act" for Robin Williams. Roger Ebert, who generally praised
the film in his review, considered the music inferior to its predecessors The Little Mermaid and Beauty and the
Beast, and claimed Aladdin and Jasmine were "pale and routine".[46]
95
Awards
Aladdin also received many award nominations, mostly for its music. It won two Academy Awards, Best Music,
Original Score and Best Music, Original Song for "A Whole New World" and receiving nominations for Best Song
("Friend Like Me"), Best Sound Editing, and Best Sound (Terry Porter, Mel Metcalfe, David J. Hudson and Doc
Kane).[47] At the Golden Globes, Aladdin won Best Original Song ("A Whole New World") and Best Original Score,
as well as a Special Achievement Award for Robin Williams, with a nomination for Best Motion Picture – Musical
or Comedy.[48] Other awards included the Annie Award for Best Animated Feature,[49] a MTV Movie Award for
Best Comedic Performance to Robin Williams,[50] Saturn Awards for Best Fantasy Film, Performance by a Younger
Actor to Scott Weinger and Supporting Actor to Robin Williams,[51] the Best Animated Feature by the Los Angeles
Film Critics Association,[52] and four Grammy Awards, Best Soundtrack Album, and Song of the Year, Best Pop
Performance by a Duo or Group with Vocal and Best Song Written for a Motion Picture, Television or Other Visual
Media for "A Whole New World".[53]
American Film Institute recognition:
• AFI's 100 Years... 100 Laughs – Nominated[54]
• AFI's 100 Years...100 Songs
• "Friend Like Me" – Nominated Song[55]
• "A Whole New World" – Nominated Song[55]
• AFI's 10 Top 10 – Nominated Animated Film[56]
• AFI's Greatest Movie Musicals – Nominated Musical[57]
Home media
The film was first released in VHS on October 1, 1993, as part of the "Walt Disney Classics" line. In its first week of
availability, Aladdin sold over 10.6 million copies,[58] and went on to sell over 25 million in total (a record only
broken by the later release of The Lion King).[59] It entered moratorium on April 30, 1994.[60]
On October 5, 2004, Aladdin was released on DVD, as part of Disney's Platinum Edition line. The DVD release
featured retouched and cleaned-up animation, prepared for Aladdin's planned but ultimately cancelled IMAX reissue
in 2003,[61] and a second disc with bonus features. Accompanied by a $19 million marketing campaign,[62] the DVD
sold about 3 million units in its first month, but it was less than the number of copies, sold in that amount of time, by
any other Platinum Edition released before it.[63] The film's soundtrack was available in its original Dolby 5.1 track
or in a new Disney Enhanced Home Theater Mix.[28] The DVD went into moratorium in January 2008, along with its
sequels.[64]
According to an insert in the Lady and the Tramp Diamond Edition release, Aladdin was going released on Blu-ray
as a Diamond Edition in Spring 2013.[65] But this release is delayed because Peter Pan was released on Blu-ray as a
Diamond Edition in February 5, 2013 to celebrate its 60th Anniversary. A new release for the Diamond Edition has
not been announced since.
Controversies
One of the verses of the opening song "Arabian Nights" was altered following protests from the American-Arab
Anti-Discrimination Committee (ADC). The lyrics were changed in July 1993 from "Where they cut off your ear if
they don't like your face," in the original release to "Where it's flat and immense and the heat is intense." The change
first appeared on the 1993 video release.[66] The original lyric was intact on the initial CD soundtrack release, but the
re-release uses the edited lyric. The rerecording has the original voice on all other lines and then a noticeably deeper
voice says the edited line. Entertainment Weekly ranked Aladdin in a list of the most controversial films in history,
due to this incident.[67] The ADC also complained about the portrayal of the lead characters Aladdin and Jasmine.
They criticized the characters' Anglicized features and Anglo-American accents, in contrast to the other characters in
96
the film, which are dark-skinned, have foreign accents and grotesque facial features, and appear villainous or
greedy.[66]
Protests were also raised to another scene. When Aladdin is attacked by the tiger Rajah on the palace balcony,
Aladdin quietly says "Good kitty, take off and go..." and the word "kitty" is overlapped by Rajah's snarl. Some
people reported hearing "Good teenagers, take off your clothes,"[68] which they considered a subliminal reference to
promiscuity. Because of the controversy, Disney replaced the phrase with "Down, kitty" on the DVD release.[69]
Animation enthusiasts have noticed similarities between Aladdin and Richard Williams's unfinished film The Thief
and the Cobbler (also known as Arabian Knight under Miramax Films and The Princess and the Cobbler under
Majestic Films International). These similarities include a similar plot, similar characters, scenes and background
designs, and the antagonist Zig-Zag's resemblance in character design and mannerisms to Genie and Jafar.[70][71]
Though Aladdin was released prior to The Thief and the Cobbler, The Thief and the Cobbler was started much earlier
in the 1960s, its production being mired in difficulties including financial problems, copyright issues, and late
production times caused by separate studios trying to finish the film after Richard Williams was fired from the
project for lack of finished work.[72] The late release coupled with Miramax (a Disney-owned studio) purchasing and
re-editing the film, has sometimes resulted in The Thief and the Cobbler being labeled a copy of Aladdin.[71]
Legacy
Sequels and spin-offs
Aladdin was followed by Disney's first direct-to-video sequel, The Return of Jafar in 1994. The film saw the debut of
a new character, Abis Mal, voiced by Jason Alexander, and all of the original cast, except for Robin Williams,
replaced by Dan Castellaneta, and Douglas Seale, replaced by Val Bettin. The plot mainly focused on Jafar seeking
revenge on Aladdin. However, this time, with Iago on Aladdin's side, Abis Mal becomes Jafar's new henchman.[73]
Shortly after The Return of Jafar, the Aladdin TV series was aired on television. The episodes focused on Aladdin's
adventures after the events of the second film.[74] In 1996, the final sequel to Aladdin, Aladdin and the King of
Thieves was released on video. The story concludes as Aladdin and Jasmine are about to be married and Aladdin
discovers that his father is still alive, but is the king of all thieves in Agrabah.[73]
The Aladdin characters later made a crossover with Hercules: The Animated Series,[75] and were featured as guests
in the television series House of Mouse and related works to those series—Jafar was the leader of the villains in
Mickey's House of Villains.[76]
The film also inspired a Disney On Ice presentation,[77] and two attractions in Disney's theme parks: "The Magic
Carpets of Aladdin", a Dumbo the Flying Elephant-like ride at both Magic Kingdom at Walt Disney World Resort
and Walt Disney Studios Park at Disneyland Resort Paris;[78][79] and the show Disney's Aladdin: A Musical
Spectacular at Disney California Adventure Park.[80]
Video games
Along with the film release, three different video games based on Aladdin were released. A coproduction between
Virgin Games and Walt Disney Feature Animation for the Sega Genesis was released in late 1993 and later ported to
Nintendo Entertainment System, PC, Game Boy and Game Boy Color.[81] That same year, Capcom released a Super
Nintendo game, which was ported to the Game Boy Advance in 2002.[82][83] In 1994, SIMS released an Aladdin
game for the Sega Game Gear and Sega Master System.[84]
The television series inspired another game by Argonaut Games, entitled Aladdin: Nasira's Revenge and released in
2000 for the PlayStation and PC.[85] Also, in 2004 Vivendi Universal released Disney's Aladdin Chess Adventures, a
chess computer game with the Aladdin license.[86]
97
The Kingdom Hearts series features a playable Aladdin world known as Agrabah.[87] In Kingdom Hearts and
Kingdom Hearts: Chain of Memories, the plotline is loosely related to the storyline of the original film.[87][88] In
Kingdom Hearts II, it is a mixture of Aladdin and The Return of Jafar.[89] Genie is also a recurring summon in the
series.[87]
Musical adaptation
In November 2010 Alan Menken confirmed that a musical theatre adaptation of the show is in the works with a book
written by Chad Beguelin.[90] The show premiered at the 5th Avenue Theatre from July 7–31, 2011.[91] Jonathan
Freeman, who voiced Jafar in the film, played the role in the stage adaptation.[92] Adam Jacobs and Courtney Reed
played Aladdin and Jasmine. Additional actors included Seán G. Griffin as the Sultan; Don Darryl Rivera as Iago;
and, playing Omar, Babkak, and Kassim – a trio of characters originally conceived by the film's creators but not used
– Andrew Keenan-Bolger, Brian Gonzales, and Brandon O'Neill. The show was also directed and choreographed by
Casey Nicholaw.[93] Another production of the musical played at the Muny Theatre in St. Louis from July 5–13,
2012.[94][95] According to sources, the show will play on Broadway beginning Spring 2014 at the New Amsterdam
Theatre, taking the place of Mary Poppins.[96][97][98] In January 2013, it was announced that the musical will have a
pre-Broadway tryout at the Ed Mirvish Theatre in Toronto lasting from November 13, 2013 to January 12, 2014.[99]
Casey Nicholaw is expected to direct and choreograph, with Chad Beguelin writing the book and additional lyrics,
Bob Crowley as the scene designer, and costume design by Gregg Barnes.[99][100]
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101
External links
•
•
•
•
•
Aladdin (http://www.imdb.com/title/tt0103639/) at the Internet Movie Database
Aladdin (http://www.allrovi.com/movies/movie/v1338) at AllRovi
Aladdin (http://www.boxofficemojo.com/movies/?id=aladdin.htm) at Box Office Mojo
Aladdin (http://www.rottentomatoes.com/m/1042582/) at Rotten Tomatoes
Aladdin (http://www.bcdb.com/cartoons/4-Aladdin) at the Big Cartoon DataBase
102
The Lion King
103
The Lion King
The Lion King
[1]
Theatrical release poster by John Alvin
Directed by
•
•
Roger Allers
Rob Minkoff
Produced by
Don Hahn
Written by
•
•
•
Based on
Hamlet by
William Shakespeare (uncredited)
Starring
•
•
•
•
•
•
•
•
•
•
•
•
•
Music by
Hans Zimmer
Editing by
Ivan Bilancio
Studio
Irene Mecchi
Jonathan Roberts
Linda Woolverton
Matthew Broderick
James Earl Jones
Jeremy Irons
Jonathan Taylor Thomas
Moira Kelly
Nathan Lane
Ernie Sabella
Rowan Atkinson
Robert Guillaume
Madge Sinclair
Whoopi Goldberg
Cheech Marin
Jim Cummings
Release date(s) •
June 15, 1994
[2]
[2]
Running time
87 minutes
Country
United States
Language
English
Budget
$45 million
Box office
$951,583,777
[3]
[3]
The Lion King is a 1994 American animated musical drama film produced by Walt Disney Feature Animation and
released by Walt Disney Pictures. It is the 32nd animated feature in the Walt Disney Animated Classics series. The
story takes place in a kingdom of anthropomorphic lions in Africa, and was influenced by the biblical tales of Joseph
and Moses, and the William Shakespeare plays Hamlet and Macbeth. The film was produced during a period known
as the Disney Renaissance. The Lion King was directed by Roger Allers and Rob Minkoff, produced by Don Hahn,
and has a screenplay credited to Irene Mecchi, Jonathan Roberts and Linda Woolverton. The voice cast includes
Matthew Broderick, Jeremy Irons, James Earl Jones, Jonathan Taylor Thomas, Moira Kelly, Nathan Lane, Ernie
Sabella, Rowan Atkinson, Robert Guillaume, Madge Sinclair, Whoopi Goldberg, Cheech Marin and Jim Cummings.
The Lion King
It tells the story of Simba, a young lion who is to take his father Mufasa's place as king. However, after Simba's
uncle Scar kills Mufasa, he must stop his uncle from conquering the Pride Lands and avenge his father.
Development of The Lion King began in 1988 during a meeting between Jeffrey Katzenberg, Roy E. Disney and
Peter Schneider while promoting Oliver & Company in Europe. Thomas Disch wrote a film treatment, and
Woolverton developed the first scripts while George Scribner was signed on as director, being later joined by Allers.
Production began in 1991, with most of the animators inexperienced or interested in animals as most of the Disney
team wanted to work on Pocahontas instead. Some time after the staff traveled to Hell's Gate National Park to
research on the film's setting and animals, Scribner left production disagreeing with the decision to turn the film into
a musical, and was replaced by Minkoff. When Hahn joined the project, he was dissatisfied with the script and the
story was promptly rewritten. Nearly 20 minutes of animation sequences took place at Disney-MGM Studios in
Florida. Computer animation was also used in several scenes, most notably in the wildebeest stampede scene.
The Lion King was released on June 15, 1994[2] to a positive reaction from critics, who praised the film for its music
and story. With earnings of over US$951 million worldwide as of 2011, the film is the highest-grossing hand-drawn
film in history,[4] the highest-grossing 2D animated film in the United States,[5] and the 17th-highest-grossing feature
film. The Lion King garnered two Academy Awards for its achievement in music and the Golden Globe Award for
Best Motion Picture – Musical or Comedy. Its songs were written by composer Elton John and lyricist Tim Rice,
with an original score by Hans Zimmer.[6] The film was dedicated to Frank Wells, who died in a helicopter crash
early in 1994.
A Broadway adaptation of the film opened in 1997, and won six Tony Awards, including Best Musical. Disney
followed the film with two direct-to-video productions, the sequel The Lion King II: Simba's Pride (1998) and the
prequel/parallel The Lion King 1½ (2004).
Plot
In the Pride Lands of Africa, a lion king rules over the other animals, who celebrate the birth of future king Simba,
son of King Mufasa and Queen Sarabi. Mufasa's younger brother, Scar, doesn't attend the ceremony, due to his
jealousy of not being King. Scar tells Mufasa he used to be next in line until Simba was born. A few years later,
Simba grows into a curious lion cub, Mufasa gives him a tour of the Pride Lands, teaching him the responsibilities of
being a king and warning him about the shadowy place beyond the borders. Later that day, Scar tells him that the
shadowy place is an elephant graveyard. Simba's curiosity is piqued, and he convinces his best friend Nala, a female
lion cub, to come with him. At the graveyard, the cubs are attacked by three spotted hyenas, Shenzi, Banzai and Ed,
before Mufasa rescues them and willingly forgives Simba for disobeying him. The hyenas are friends of Scar, who
then plot with them to take over the Pride Lands.
On Scar's orders, the hyenas stampede a large herd of wildebeest into a gorge where Simba is. Mufasa rescues
Simba, but as Mufasa tries to climb up the gorge's walls, Scar throws him back into the stampede, killing him. After
Simba finds Mufasa's body in the gorge, Scar tricks him into thinking that Mufasa's death is his fault and advises him
to run away forever. As Simba leaves, Scar orders the hyenas to go after Simba, but the cub escapes. Scar then
announces to the other animals that both Mufasa and Simba were killed and steps forward as the new king, allowing
a swarm of hyenas to live in the Pride Lands.
Simba, now far from home, collapses in a desert from exhaustion, but is found by Timon and Pumbaa, a meerkat and
a warthog who nurse him back to health. Timon and Pumbaa then take Simba in, and the lion lives a carefree life
under the motto "hakuna matata". Years later, Simba, now an adult, rescues Timon and Pumbaa from a hungry
lioness, who turns out to be Nala. The two reconcile and fall in love. Nala tries to get Simba to come back home by
saying that because of Scar allowing the hyenas to live in the Pride Lands, it has become a wasteland with not
enough food and water. Still feeling guilty over his father's death, Simba refuses and storms off.
Wise mandrill Rafiki tracks Simba down, telling him that Mufasa is still "alive" and taking him to a pond where he is
visited by the specter of Mufasa, who tells him that he has forgotten who he is and thus must take his rightful place
104
The Lion King
as the true king of Pride Rock. Simba then realizes that he can no longer run from his past and goes back home.
Nala, Timon and Pumbaa follow him, and agree to help him fight.
At the Pride Lands, Simba confronts Scar on Pride Rock after he attacks his mother Sarabi. Scar taunts Simba, who
still feels guilt over his father's death, but after pushing him over the edge of Pride Rock, Scar reveals that he killed
Mufasa. The enraged Simba jumps back up and forces Scar to reveal the truth to the other lions. Timon, Pumbaa,
Rafiki and the lionesses fight off the hyenas while Scar, attempting to escape, is cornered by Simba at the top of
Pride Rock. Scar begs Simba for mercy, saying he is family and places the blame on the hyenas. Simba says he does
not believe Scar anymore, but spares his life and tells him to run away and never return. Scar meekly walks past him,
but then attacks his nephew. After a fierce battle, Simba triumphs and throws Scar off Pride Rock. Scar survives the
fall, but is attacked and killed by the hyenas, who overheard his attempt to betray them.
With Scar and the hyenas gone, Simba descends from the top of Pride Rock where he is acknowledged by the pride
as the rain falls again. Sometime later, Pride Rock is restored to its former glory and Simba looks down happily at
his kingdom with Nala, Timon, and Pumbaa by his side; Rafiki presents Simba and Nala's newborn cub to the
inhabitants of the Pride Lands and the circle of life continues.
Cast
• Jonathan Taylor Thomas and Matthew Broderick as Simba – Mufasa and Sarabi's son, who becomes King of the
Pride Lands. Jason Weaver and Joseph Williams provide Simba's young and adult singing voices respectively.
Mark Henn and Ruben A. Aquino respectively served as the supervising animators for the young and adult
Simba.
• James Earl Jones as Mufasa – Simba's father, the King of the Pride Lands as the film begins. Tony Fucile served
as the supervising animator for Mufasa.
• Jeremy Irons as Scar – Mufasa's younger brother and Simba's uncle, who usurps the throne. Andreas Deja served
as the supervising animator for Scar.
• Moira Kelly and Niketa Calame as Nala – Simba's best friend and later his queen. Sally Dworsky and Laura
Williams respectively provided her young and adult singing voices. Aaron Blaise and Anthony de Rosa
respectively served as the supervising animators for young and adult Nala.
• Nathan Lane and Ernie Sabella as Timon and Pumbaa, respectively – Simba's meerkat and warthog friends.
Michael Surrey and Tony Bancroft respectively served as the supervising animators for Timon and Pumbaa.
• Robert Guillaume as Rafiki – a wise old mandrill who serves as shaman of the Pride Lands and presents newborn
cubs of the King and Queen to the animals of the Pride Lands. James Baxter served as the supervising animator
for Rafiki.
• Rowan Atkinson as Zazu – a hornbill who serves as the king's majordomo (or "majordodo", as he refers to
himself in the film). Ellen Woodbury served as the supervising animator for Zazu.
• Madge Sinclair as Sarabi – Mufasa's queen, Simba's mother and the leader of the lioness hunting party. Russ
Edmonds served as the supervising animator for Sarabi.
• Whoopi Goldberg, Cheech Marin and Jim Cummings as Shenzi, Banzai and Ed, respectively – the three members
of the hyena trio who serve Scar.
• Zoe Leader as Sarafina – Nala's mother, who is shown briefly talking to Simba's mother, Sarabi.
• Jim Cummings as Gopher – a minor character who pops up during Simba's pouncing lesson to warn Zazu about
the hyenas.
105
The Lion King
Production
Development
The idea for The Lion King was conceived in late 1988 during a conversation between Jeffrey Katzenberg, Roy E.
Disney and Peter Schneider on a plane to Europe to promote Oliver & Company. During the conversation, the topic
of a story set in Africa came up, and Katzenberg immediately jumped at the idea.[7] Producer Thomas Schumacher,
who had just completed The Rescuers Down Under, decided to attach himself to the project "because lions are cool".
The idea was then developed by Walt Disney Feature Animation's vice president for creative affairs Charlie Fink.[8]
Katzenberg decided to add elements involving coming of age and death,[9] and ideas from personal life experiences,
such as some of his trials in his bumpy road in politics, saying about the film, "It is a little bit about myself."[9] In
November of that year Thomas Disch (author of The Brave Little Toaster) wrote a treatment entitled King of the
Kalahari,[10] and afterwards Linda Woolverton spent a year writing drafts of the script, which was titled King of the
Beasts and then King of the Jungle.[8] The original version of the film was very different from the final film. The plot
was centered in a battle being between lions and baboons with Scar being the leader of the baboons, Rafiki being a
cheetah,[9] and Timon and Pumbaa being Simba's childhood friends.[11] Simba would also not leave the kingdom,
but become a "lazy, slovenly, horrible character" due to manipulations from Scar, so Simba could be overthrown
after coming of age.[8]
Oliver & Company director George Scribner was the initial director of the film,[12] being later joined by Roger
Allers, who was the lead story man on Beauty and the Beast in October 1991.[7] Allers brought with him Brenda
Chapman, who would become the head of story.[8] Afterwards, several of the lead crew members, including Allers,
Scribner, Hahn, Chapman, and production designer Chris Sanders, took a trip to Hell's Gate National Park in Kenya,
in order to study and gain an appreciation of the environment for the film.[13] After six months of story development
work Scribner decided to leave the project, as he clashed with Allers and the producers on their decision to turn the
film into a musical, as Scribner's intention was of making a documentary-like film more focused on natural
aspects.[7][14] Rob Minkoff replaced Scribner, and producer Don Hahn joined the production. Hahn found the script
unfocused and lacking a clear theme, and after establishing the main theme as "leaving childhood and facing up to
the realities of the world", asked for a final retool. Allers, Minkoff, Chapman and Hahn then rewrote the story across
two weeks of meetings with directors Kirk Wise and Gary Trousdale, who had just finished Beauty and the Beast.[13]
The script also had its title changed from King of the Jungle to The Lion King, as the setting was not the jungle but
the savannah.[7]
The Lion King was the first Disney animated feature to be an original story, rather than being based on an
already-existing work. The filmmakers have said that the story of The Lion King was inspired by the Joseph and
Moses stories from the Bible and William Shakespeare's Hamlet.[15] During the summer of 1992, the team was
joined by screenwriter Irene Mecchi, with a second screenwriter, Jonathan Roberts, joining a few months later.
Mecchi and Roberts took charge of the revision process, fixing unresolved emotional issues in the script and adding
comic business for Pumbaa, Timon and the hyenas.[16] Lyricist Tim Rice worked closely with the writing team,
flying to California at least once a month, as his songs needed to work in the narrative continuity. Rice's lyrics –
which were reworked up to the production's end – were even pinned to the storyboards during development.[13]
Rewrites were frequent, with animator Andreas Deja saying that completed scenes would be delivered only for the
response to be that parts needed to be reanimated due to dialog changes.[8]
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The Lion King
Casting
The voice actors were chosen for how they fit and could add to the characters – for instance, James Earl Jones was
cast because the directors found his voice "powerful" and similar to a lion's roar. Nathan Lane originally auditioned
for Zazu, and Ernie Sabella for one of the hyenas. Upon meeting each other at the recording studio, the actors, who
at the time both co-starred in Guys and Dolls, were asked to record together as hyenas. The directors laughed at their
performance and decided to cast them as Timon and Pumbaa.[17][18] For the hyenas, the original intention was to
reunite Cheech & Chong, but while Cheech Marin accepted to play Banzai, Tommy Chong was unavailable. Thus
his role was changed into a female hyena, Shenzi, who was voiced by Whoopi Goldberg.[11]
Animation
"The Lion King was considered a little movie because we were going to take some risks. The pitch for the story was a lion cub gets
framed for murder by his uncle set to the music of Elton John. People said, 'What? Good luck with that.' But for some reason, the
people who ended up on the movie were highly passionate about it and motivated."
[17]
Don Hahn
The development of The Lion King started concurrently with Pocahontas, which most of the animators of Walt
Disney Feature Animation decided to work on instead, believing it would be the more prestigious and successful of
the two.[15] The story artists also did not have much faith in the project, with Brenda Chapman declaring she was
reluctant to accept the job "because the story wasn't very good",[8] and writer Burny Mattinson saying to co-worker
Joe Ranft about the film that "I don't know who is going to want to watch that one."[14] Most of the leading
animators were either doing their first major work supervising a character, or had much interest in animating an
animal.[9] Thirteen of these supervising animators, both in California and Florida, were responsible for establishing
the personalities and setting the tone for the film's main characters. The animation leads for the main characters
included Mark Henn on young Simba, Ruben A. Aquino on adult Simba, Andreas Deja on Scar, Aaron Blaise on
young Nala, Anthony DeRosa on adult Nala, and Tony Fucile on Mufasa.[16] Nearly 20 minutes of the film,
including the "I Just Can't Wait to Be King" sequence,[11] were animated at the Disney-MGM Studios facility.
Ultimately, more than 600 artists, animators and technicians contributed to The Lion King over the course of its
production.[12] Weeks before the film was to be released, production was affected by the 1994 Northridge
earthquake, which shut off the studio and required the animators to finish their work from home.[19]
The character animators studied real-life animals for reference, as was done for the 1942 Disney film Bambi. Jim
Fowler, renowned wildlife expert, visited the studios on several occasions with an assortment of lions and other
savannah inhabitants to discuss behavior and help the animators give their drawings an authentic feel.[13] The Pride
Lands are modeled on the Kenyan national park visited by the crew. Varied focal lengths and lenses were employed
to differ from the habitual portrayal of Africa in documentaries – which employ telephoto lenses to shoot the wildlife
from a distance. The epic feel drew inspiration from concept studies by artist Hans Bacher – which, following
Scribner's request for realism, tried to depict effects such as lens flare – and the works of painters Charles Marion
Russell, Frederic Remington and Maxfield Parrish.[13][20] Since the characters were not anthropomorphized, all the
animators had to learn to draw four-legged animals, and the story and character development was done through
usage of longer shots following the characters.[11]
The use of computers helped the filmmakers present their vision in new ways. The most notable use of computer
animation is in the "wildebeest stampede" sequence. Several distinct wildebeest characters were created in a 3D
computer program, multiplied into hundreds, cel shaded to look like drawn animation, and given randomized paths
down a mountainside to simulate the real, unpredictable movement of a herd. [21] Five specially trained animators
and technicians spent more than two years creating the two-and-a-half minute stampede sequence.[16] Other usages
of computer animation were done through CAPS, which helped simulate camera movements such as tracking shots,
and was employed on the coloring, lighting and particle effects.[11]
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The Lion King
The enthusiastic audience reception to an early Lion King film trailer, which consisted solely of the opening
sequence with the song "Circle of Life", suggested that the film would be very successful. While both The Lion King
and Pocahontas were commercial successes, The Lion King received more positive feedback and earned larger
grosses than did Pocahontas, released one year later.[22][23][24]
Soundtrack
Lyricist Tim Rice, who was working with composer Alan Menken on songs for Aladdin, was invited to write the
songs, and accepted on the condition of finding a composing partner. As Menken was unavailable, the producers
accepted Rice's suggestion of Elton John,[18] after Rice's invitation of ABBA fell through due to Benny Andersson
being busy with the musical Kristina från Duvemåla.[9] John expressed an interest of writing "ultra-pop songs that
kids would like; then adults can go and see those movies and get just as much pleasure out of them", mentioning a
possible influence of The Jungle Book, where he felt the "music was so funny and appealed to kids and adults".[25]
John and Rice wrote five original songs for this film ("Circle of Life", "I Just Can't Wait to Be King", "Be Prepared",
"Hakuna Matata" and "Can You Feel the Love Tonight") with the singer's performance of "Can You Feel the Love
Tonight" over the end credits.[26] The IMAX and DVD releases added another song, "The Morning Report", which
was based on a song discarded during development that eventually got featured in the live musical version of The
Lion King.[27] The film's score was composed by Hans Zimmer, who was hired based on his work in two films in
African settings, The Power of One and A World Apart,[13] and supplemented the score with traditional African
music and choir elements arranged by Lebo M.[26]
The film's original motion picture soundtrack was released on July 13, 1994. It was the fourth-best-selling album of
the year on the Billboard 200 and the top-selling soundtrack.[28] It is the only soundtrack for an animated film to be
Diamond certified (10x platinum). A bootleg recording exists of Hans Zimmer's complete instrumental score for the
film, but it has never been given a full release by Disney.[29][30]
The use of the song "The Lion Sleeps Tonight" in a scene with Timon and Pumbaa has led to disputes between
Disney and the family of South African Solomon Linda, who composed the song (originally titled "Mbube") in 1939.
In July 2004, the family filed suit, seeking $1.6 million in royalties from Disney. In February 2006, Linda's heirs
reached a legal settlement with Abilene Music, who held the worldwide rights and had licensed the song to Disney
for an undisclosed amount of money.[31]
Release
Promotion
Upon release, The Lion King was accompanied by an extensive marketing campaign which included tie-ins with
Burger King, Mattel, Kodak, Nestlé and Payless ShoeSource, and various merchandise,[32] accounting 186 licensed
products.[33][34] In 1994, Disney earned approximately $1 billion with products based on the film,[35] with $214
million alone for Lion King toys during Christmas 1994.[36]
Box office
The Lion King earned $422,783,777 in North America and an estimated $528,800,000 in other territories for a
worldwide total of $951,583,777.[3] It is the second-highest-grossing animated film of all time worldwide and the
highest-grossing film of Walt Disney Animation Studios. It is also the highest-grossing motion picture of 1994
worldwide.[37] After its initial run, having earned $768.6 million,[38] it ranked as the second-highest grossing film of
all time worldwide, behind Jurassic Park .[39] It held the record for the highest-grossing animated feature film (in
North America, outside North America, and worldwide) until it was surpassed by the computer animated Finding
Nemo (2003), Shrek 2 (2004), Ice Age: Dawn of the Dinosaurs (2009) and Toy Story 3 (2010). During its 3D
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The Lion King
re-release, The Lion King surpassed all but Toy Story 3 to rank as the second-highest-grossing animated film
worldwide, and the highest-grossing hand-drawn animation.[40] It is also the biggest animated movie of the last 50
years in terms of estimated attendance.[41] As of 2012, it ranks as the 17th highest-grossing film worldwide.[42]
Original theatrical run
The Lion King had a limited release in North America on June 15, 1994, playing in only two theaters, El Capitan
Theater in Los Angeles and Radio City Music Hall in New York City. It still earned $1,586,753 across the weekend
of June 17–19, standing at the tenth place of the box office ranking.[43] The average of $793,377 per theater stands as
the largest ever achieved during a weekend.[44] The wide release followed on June 24, 1994, in 2,550 theaters. The
Lion King grossed $40.9 million – which at the time was the fourth biggest opening weekend earning ever and the
highest sum for a Disney film – to top the weekend box office.[12] By the end of its theatrical run, in spring 1995, it
had earned $312,855,561,[3] being the second-highest-grossing 1994 film in North America behind Forrest
Gump.[45] Outside North America, it earned $455.8 million during its initial run, for a worldwide total of $768.6
million.[38]
Re-releases
IMAX & Large-Format
The film was re-issued on December 25, 2002 for IMAX and large-format theaters. On its first weekend, it made
$2.7 million from 66 locations, a $27,664 per theater average. This run ended with $15,686,215 on May 30, 2003.[46]
3D Conversion
In 2011, The Lion King was converted to 3D for a two-week limited theatrical re-issue and subsequent 3D Blu-ray
release.[47][48] The film opened at the number one spot on Friday, September 16, 2011 with $8.9 million[49] and
finished the weekend with $30.2 million, ranking number one at the box office.[50] This made The Lion King the first
re-issue release to earn the number-one slot at the American weekend box office since the re-issue of Star Wars:
Episode VI - Return of the Jedi in March 1997.[40] The film also achieved the fourth-highest September opening
weekend of all time.[51] It held off very well on its second weekend, again earning first place at the box office with a
27% decline to $21.9 million.[52] Most box-office observers had expected the film to fall about 50% in its second
weekend and were also expecting Moneyball to be at first place.[53]
After its initial box-office success, many theaters decided to continue to show the film for more than two weeks,
even though its 3D Blu-ray release was scheduled for two-and-a-half weeks after its theatrical release.[52] In North
America, the 3D re-release ended its run in theaters on January 12, 2012 with a gross $94,242,001. Outside North
America, it earned $83,400,000.[54] The successful 3D re-release of The Lion King made Disney and Pixar plan 3D
theatrical re-releases of Beauty and the Beast, Finding Nemo, Monsters, Inc., and The Little Mermaid during 2012
and 2013.[55] However, none of the re-releases of the first three films achieved the enormous success of The Lion
King in 3D and the re-release of the The Little Mermaid was ultimately cancelled.[56][57][58][59] In 2012, Ray Subers
of Box Office Mojo wrote that the reason why the 3D version of The Lion King succeeded was because, "the notion
of a 3D re-release was still fresh and exciting, and The Lion King (3D) felt timely given the movie's imminent
Blu-ray release. Audiences have been hit with three 3D re-releases in the year since, meaning the novelty value has
definitely worn off."[60]
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The Lion King
Critical response
The Lion King received mostly positive reviews and at Rotten Tomatoes, based on 96 reviews collected, the film has
an overall approval rating of 90%, with a weighted average score of 8.2/10.[23] Metacritic, which assigns a
normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 83 from the 14 reviews it
collected.[61]
Chicago Sun-Times film critic Roger Ebert called the film "a superbly drawn animated feature" and, in his print
review wrote, "The saga of Simba, which in its deeply buried origins owes something to Greek tragedy and certainly
to Hamlet, is a learning experience as well as an entertainment."[62] On the television program Siskel & Ebert the
film was praised but received a mixed reaction when compared to previous Disney films. Gene Siskel and Roger
Ebert both gave the film a "Thumbs Up" but Siskel said that it was not as good as earlier films such as Beauty and
the Beast and was "a good film, not a great one".[63] Hal Hinson of The Washington Post called it "an impressive,
almost daunting achievement" and felt that the film was "spectacular in a manner that has nearly become
commonplace with Disney's feature-length animations", but was less enthusiastic toward the end of his review
saying, "Shakespearean in tone, epic in scope, it seems more appropriate for grown-ups than for kids. If truth be told,
even for adults it is downright strange."[64] Owen Gleiberman, film critic for Entertainment Weekly, praised the film
and wrote that it "has the resonance to stand not just as a terrific cartoon but as an emotionally pungent movie".[65]
Rolling Stone film critic Peter Travers praised the film and felt that it was "a hugely entertaining blend of music, fun
and eye-popping thrills, though it doesn't lack for heart".[66] The staff of TV Guide wrote that "The film has some of
Disney's most spectacular animation yet—particularly in the wildebeest stampede—and strong vocal performances,
especially by skilled Broadway comedian Nathan Lane. However, it suffers from a curiously undeveloped story
line."[67] James Berardinelli, film critic for ReelViews, praised the film saying, "With each new animated release,
Disney seems to be expanding its already-broad horizons a little more. The Lion King is the most mature (in more
than one sense) of these films, and there clearly has been a conscious effort to please adults as much as children.
Happily, for those of us who generally stay far away from 'cartoons', they have succeeded."[68]
Accolades
The Lion King received four Golden Globe and Academy Award nominations. The film would go on to win two
Golden Globes, for Best Motion Picture – Musical or Comedy and Best Original Score,[69] as well as two Academy
Awards, for Best Original Score (by Hans Zimmer) and Best Original Song with "Can You Feel the Love Tonight"
by Elton John and Tim Rice.[70] The songs "Circle of Life" and "Hakuna Matata" were also nominated.[70] "Can You
Feel the Love Tonight" also won the BMI Film Music Award, and the Grammy Award for Best Male Vocal
Performance.[71][72] The film also won Annie Awards for Best Animated Feature, Best Achievement in Voice
Acting (for Jeremy Irons) and Best Individual Achievement for Story Contribution in the Field of Animation.[73]
At the Saturn Awards, the film was nominated in two categories, Best Fantasy Film and Best Performance by a
Younger Actor although it did not win in either category.[74][75] The film also received two nominations at the
British Academy Film Awards, for Best Sound as well as the Anthony Asquith Award for Film Music although it
lost in both categories to Speed and Backbeat respectively.[76] The film received two BMI Film & TV Awards for
Film Music and Most Performed Song with "Can You Feel the Love Tonight."[77] At the 1995 MTV Movie Awards
the film received nominations for Best Villain and Best Song, though it lost in both categories.[78] The Lion King
won the Kids' Choice Award for Favorite Movie at the 1995 Kids' Choice Awards.[79]
In 2008, The Lion King was ranked as the 319th greatest film ever made by Empire magazine,[80] and in June 2011,
TIME named it one of "The 25 All-TIME Best Animated Films".[81] In June 2008, the American Film Institute
revealed its "10 Top 10"—the best ten films in ten "classic" American film genres—after polling over 1,500 people
from the creative community. The Lion King was acknowledged as the 4th best film in the animation genre.[82]
American Film Institute Lists[83][84][85]
• AFI's 100 Years...100 Movies – Nominated
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The Lion King
• AFI's 100 Years...100 Songs:
•
•
•
•
• "Hakuna Matata" – No. 99
• "Circle of Life" – Nominated
• "Can You Feel the Love Tonight" – Nominated
AFI's Greatest Movie Musicals – Nominated
AFI's 100 Years...100 Cheers – Nominated
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated
AFI's 10 Top 10 – No. 4 Animated Film
Home media
The Lion King was first released on VHS and laserdisc in the United States on March 3, 1995, under Disney's
"Masterpiece Collection" video series. In addition, Deluxe Editions of both formats were released. The VHS Deluxe
Edition included the film, an exclusive lithograph of Rafiki and Simba (in some editions), a commemorative "Circle
of Life" epigraph, six concept art lithographs, another tape with the half-hour TV show The Making of The Lion
King, and a certificate of authenticity. The CAV laserdisc Deluxe Edition also contained the film, six concept art
lithographs and The Making of The Lion King, and added storyboards, character design artwork, concept art, rough
animation, and a directors' commentary that the VHS edition did not have, on a total of four double sided discs. The
VHS tape quickly became one of the best-selling videotapes of all time: 4.5 million tapes were sold on the first
day[86] and ultimately sales totaled more than 30 million[87] before these home video versions went into moratorium
in 1997.[88]
On October 7, 2003, the film was re-released on VHS and released on DVD for the first time, titled The Lion King:
Platinum Edition, as part of Disney's Platinum Edition line of animated classic DVDs. The DVD release featured
two versions of the film on the first disc, a remastered version created for the 2002 IMAX release and an edited
version of the IMAX release purporting to be the original 1994 theatrical version.[89] A second disc, with bonus
features, was also included in the DVD release. The film's soundtrack was provided both in its original Dolby 5.1
track and in a new Disney Enhanced Home Theater Mix, making this one of the first Disney DVDs so equipped.[90]
By means of seamless branching, the film could be viewed either with or without a newly created scene – a short
conversation in the film replaced with a complete song ("The Morning Report"). A Special Collector's Gift Set was
also released, containing the DVD set, five exclusive lithographed character portraits (new sketches created and
signed by the original character animators), and an introductory book entitled The Journey.[88] The Platinum Edition
of The Lion King featured changes made to the film during its IMAX re-release, including re-drawn crocodiles in the
"I Just Can't Wait to Be King" sequence as well as other alterations.[91] More than two million copies of the Platinum
Edition DVD and VHS units were sold on the first day of release.[86] A DVD boxed set of the three The Lion King
films (in two-disc Special Edition formats) was released on December 6, 2004. In January 2005, the film, along with
the sequels, went back into moratorium.[92]
The Diamond Edition of The Lion King was released on October 4, 2011.[47] This marks the time that the film has
been released in high-definition Blu-ray and on Blu-ray 3D.[47][93] The initial release was produced in three different
packages, a two-disc version with Blu-ray and DVD, a four-disc version with Blu-ray, DVD, Blu-ray 3D, and digital
copy, and an eight-disc box set which also included the sequels The Lion King 2: Simba's Pride and The Lion King
1½.[47][93] A standalone single-disc DVD release also followed on November 15, 2011.[47] The Diamond Edition
topped the Blu-ray charts with over 1.5 million copies sold.[94] The film sold 3.83 million units on Blu-ray Disc in
total (equivalent of $101.14 million).[95]
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The Lion King
Controversies
Certain elements of the film were considered to bear a resemblance to a famous 1960s Japanese anime television
show, Kimba the White Lion, with characters having analogues, and various individual scenes being nearly identical
in composition and camera angle. Matthew Broderick believed initially that he was in fact working on a remake of
Kimba, since he was familiar with the Japanese original.[96] Disney's official stance is that the similarities are all
coincidental.[97] Yoshihiro Shimizu, of Tezuka Productions, which created Kimba the White Lion, has refuted
rumours that the studio was paid hush money by Disney but explains that they rejected urges from within the
industry to sue because, "we're a small, weak company. It wouldn't be worth it anyway ... Disney's lawyers are
among the top twenty in the world!"[98]
Protests were raised against one scene where it appears as if the word "SEX" might have been embedded into the
dust flying in the sky when Simba flops down,[99] which conservative activist Donald Wildmon asserted was a
subliminal message intended to promote sexual promiscuity. The film's animators have stated that the letters spell
"SFX" (a common abbreviation of "special effects"), and was intended as an innocent "signature" created by the
effects animation team.[100]
Hyena biologists protested against the animal's portrayal: one hyena researcher sued Disney studios for defamation
of character,[101] and another—who had organized the animators' visit to the University of California's Field Station
for Behavioural Research, where they would observe and sketch captive hyenas—[102] included boycotting The Lion
King as a way of helping to preserve hyenas in the wild.[103]
Legacy
Sequels and spin-offs
Between 1995 and 1999, the characters of Timon and Pumbaa received their own animated show, The Lion King's
Timon and Pumbaa, which ran for three seasons and 85 episodes. Ernie Sabella continued to voice Pumbaa, while
Timon was voiced by Quinton Flynn and Kevin Schon in addition to Nathan Lane himself.
In 1998, a sequel entitled The Lion King 2: Simba's Pride was released on VHS. The film centers around Simba's
daughter, Kiara, who falls in love with Kovu, a male lion who was raised in a pride of Scar's followers, the
Outsiders. 2004 saw the release of another Lion King film on DVD, The Lion King 1½. It is a prequel in showing
how Timon and Pumbaa met each other, and a parallel in that it also depicts what the characters did during the
events of the original movie.
Video games
Along with the film release, three different video games based on The Lion King were released by Virgin Interactive
on December 1994. The main title was developed by Westwood Studios, and published for PC and Amiga computers
and the consoles SNES and Sega Mega Drive/Genesis. Dark Technologies created the Game Boy version, while
Syrox Developments handled the Master System and Game Gear version.
Another adaptation by Torus Games, The Lion King: Simba's Mighty Adventure, telling the story of both The Lion
King and Simba's Pride, was released in 2000 for the Game Boy Color and PlayStation.[104] Timon and Pumbaa also
appeared in Timon & Pumbaa's Jungle Games, a 1995 PC game collection of puzzle games by 7th Level, later
ported to the SNES by Tiertex.
Simba is a recurring summon in the Kingdom Hearts series by Square Enix,[105][106] and Kingdom Hearts II features
a playable The Lion King world known as Pride Lands, with a plotline loosely related to the later part of the original
film. All of the main characters except Zazu and Sarabi appear.[107] Simba was also featured in the Nintendo DS title
Disney Friends.
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The Lion King
Musical adaptation
A musical adaptation with the same name premiered in Minneapolis, Minnesota in July 1997, opening on Broadway
in October 1997 at the New Amsterdam Theatre. It won six Tony Awards including Best Musical. The show moved
to the Minskoff Theatre in 2006 and is still running to this day. It is now Broadway's seventh longest-running show
in history. The show's financial success led to other productions in North America and all over the world.
A live-action 30-minute musical revue of the movie, "Festival of the Lion King," opened in April 1998 in Disney's
Animal Kingdom park at Walt Disney World in Orlando, Florida, and in September 2005 in Adventureland in Hong
Kong Disneyland. It features animatronic puppets of Simba and Pummba and a costumed actor as Timon, as well as
other live actors. It does not follow the plot of the movie, but incorporates the musical numbers into audience
participation and gymnastic routines.
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[7] (Blu-ray) The Lion King: A Memoir – Don Hahn. The Lion King: Diamond Edition: Walt Disney Home Entertainment. 2011.
[8] Neuwirth, Allan (2003). Makin' toons: inside the most popular animated TV shows and movies. Skyhorse Publishing Inc..
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[9] (Blu-ray) The Pride of the King. The Lion King: Diamond Edition: Walt Disney Home Entertainment. 2011.
[10] "THE ORIGINS OF 'THE LION KING'" (http:/ / www. jamescumminsbookseller. com/ news/ ?p=59). James Cummins Book Seller. .
[11] Allers, Roger; Hahn, Don, and Minkoff, Rob (1995). Laserdisc/DVD audio commentary for The Lion King. Walt Disney Home
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2011-10-24.
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[15] The Lion King: Platinum Edition (Disc 2), Origins (DVD). Walt Disney Home Entertainment. 1994-06-15.
[16] "Lion King Production Notes" (http:/ / www. lionking. org/ text/ FilmNotes. html) (Press release). Walt Disney Pictures. 1994-05-25. .
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Academy_of_Science_Fiction_Fantasy_And_Horror_Films_USA/ 1995). Internet Movie Database. . Retrieved 2008-08-05.
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blu-ray-disc/ lion-king-fast-five-propel-blu-ray-record-breaking-week-25386). Home Media Magazine. . Retrieved 2011-12-24.
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Seeking+ out+ history,+ Asian+ and+ otherwise,+ in+ California's+ oldest+ city). Los Angeles Times: pp. L4. . Retrieved 2008-08-12.
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164/ 164882p1. html). IGN. .
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[107] Hollinger, Elizabeth (2006). Kingdom Hearts II Official Strategy Guide. BradyGames Publishing. ISBN 978-0-7440-0526-4.
External links
•
•
•
•
•
The Lion King Official Website (http://www.Disney.com/TheLionKing)
The Lion King (http://www.allrovi.com/movies/movie/v131171) at AllRovi
The Lion King (http://www.boxofficemojo.com/movies/?id=lionking.htm) at Box Office Mojo
The Lion King (http://www.imdb.com/title/tt0110357/) at the Internet Movie Database
The Lion King (http://www.bcdb.com/bcdb/cartoon.cgi?film=3) at the Big Cartoon DataBase
Hercules
Promotional poster
Directed by
Ron Clements
John Musker
Produced by
Ron Clements
John Musker
Written by
Ron Clements
John Musker
Barry Johnson
Narrated by
Charlton Heston
Starring
Tate Donovan
Danny DeVito
James Woods
Susan Egan
Rip Torn
Music by
Alan Menken
Editing by
Tom Finan
Robert Hedland
Studio
117
Release date(s) •
June 27, 1997 (United States)
Running time
93 minutes
Country
United States
Language
English
Budget
$85 million
Box office
$252,712,101
[1]
[1]
Hercules is a 1997 American animated musical film produced by Walt Disney Feature Animation and released by
Walt Disney Pictures. The 35th animated feature in the Walt Disney Animated Classics series, the film was directed
by Ron Clements and John Musker. The film is based on the legendary Greek mythology hero Heracles (known in
the film by his Roman name, Hercules), the son of Zeus, in Greek mythology.
Though Hercules did not match the financial success of Disney's early-1990s releases, the film received positive
reviews,[2] and made $99 million in revenue in the United States during its theatrical release and $252,712,101
worldwide.[1]
Hercules was later followed by the direct-to-video prequel Hercules: Zero to Hero, which served as a midquel to
Hercules: The Animated Series, a syndicated Disney TV series focusing on Hercules during his time at the
Prometheus academy.
Plot
After imprisoning the Titans beneath the ocean, the Greek gods Zeus and his wife Hera have a son named Hercules.
While the other gods are joyful, Zeus' jealous brother Hades plots to overthrow Zeus and rule Mount Olympus.
Turning to the Fates for help, Hades learns that in eighteen years, a planetary alignment will allow Hades to locate
and free the Titans to conquer Olympus, but only if Hercules does not interfere. Hades sends his minions Pain and
Panic to dispose of Hercules. The two succeed at kidnapping and feeding him a formula that turns him mortal, but
fail to remove his superhuman strength before Hercules is found and adopted by the farmers Amphitryon and
Alcmene.
Years later, the teenaged Hercules becomes an outcast due to his strength, and wonders where he came from. After
his foster parents reveal the necklace they found him with, Hercules decides to visit the temple of Zeus for answers.
The temple's statue of Zeus comes to life and reveals all to Hercules, telling him that he can regain his godhood by
becoming a "true hero". Zeus sends Hercules and his forgotten infant-hood friend Pegasus to find the satyr
Philoctetes—"Phil" for short—who is known for training heroes. The two meet Phil, who has retired from training
heroes due to numerous disappointments, but Hercules inspires him to follow his dream to train a true hero who will
be recognized by the gods. Phil trains Hercules into a potential hero, and when he is older, they fly for Thebes. On
the way, they meet Megara—"Meg" for short—a sarcastic damsel who Hercules saves from the centaur Nessus.
However, after Hercules, Phil, and Pegasus leave, Meg is revealed to be Hades' minion, having sold her soul to him
to save an unfaithful lover.
Arriving in Thebes, Hercules is turned down by the downtrodden citizens until Meg says that two boys are trapped in
a gorge. Hercules saves them, unaware that they are Pain and Panic in disguise, allowing Hades to summon the
Hydra to fight Hercules. Hercules continually cuts off its heads, but more heads replace them until Hercules kills the
monster by causing a landslide. Hercules is seen as a hero and a celebrity, but Zeus tells Hercules he is not yet a true
hero. Driven to depression, Hercules turns to Meg, who is falling in love with him. Hades learns of this and offers
Hercules to give up his powers for twenty-four hours so Meg will be unharmed. Hercules accepts, losing his
strength, and is shocked when Hades reveals that Meg is working for him.
Hades unleashes the Titans who climb Olympus and capture the gods, while a Cyclops goes to Thebes to kill
Hercules. Phil inspires Hercules to fight and kill the cyclops, but Meg is crushed by a falling pillar saving Hercules
from it, allowing him to regain his strength. Hercules and Pegasus fly to Olympus where they free the gods and
launch the Titans into space where they explode, though Meg dies before he returns to her. With Meg's soul now
Hades' property, Hercules breaks into the Underworld where he negotiates with Hades to free Meg from the Styx in
exchange for his own life. His willingness to sacrifice his life restores his godhood and immortality before the
life-draining river can kill him, and he rescues Meg and punches Hades into the Styx. After reviving Meg, Hercules
and his friends are summoned to Olympus where Zeus and Hera welcome their son home. However, Hercules
decides to remain on Earth with Meg with his parents' approval. Hercules returns to Thebes where he is hailed as a
true hero as Zeus creates a picture of Hercules in the stars commemorating his heroism.
Cast
• Tate Donovan as Hercules, based on the mythological deity Heracles. Supervising animator Andreas Deja
described Hercules as "...not a smart aleck, not streetwise, he's just a naive kid trapped in a big body", and that
Donovan "had a charming yet innocent quality in his readings". Donovan had not done any voice-over work prior
to Hercules. Deja integrated Donovan's "charming yet innocent quality" into Hercules' expressions.[3]
•
•
•
•
•
•
•
•
•
• Josh Keaton provided the speaking voice of Hercules as a teenager, while Roger Bart provided his singing
voice. Randy Haycock served as the supervising animator for Hercules as an infant and teenager.
Danny DeVito as Philoctetes/Phil. Eric Goldberg, the supervising animator for Philoctetes, cited Grumpy in Snow
White and Bacchus in Fantasia as the inspirations for the character's design. Goldberg mentioned that they
discovered that Danny DeVito "has really different mouth shapes" when they videotaped his recordings and that
they used these shapes in animating Phil.[3]
James Woods as Hades. Producer Alice Dewey mentioned that Hades "was supposed to talk in a slow and be
menacing in a quiet, spooky way", but thought that James Woods' manner of speaking "a mile a minute" would be
a "great take" for a villain.[3] Woods did a lot of ad-libbing in his recordings, especially in Hades' dialogues with
Megara. Nik Ranieri, the supervising animator for Hades, mentioned that the character was "based on a
Hollywood agent, a car salesman type", and that a lot came from James Woods' ad-libbed dialogue. He went on to
say that the hardest part in animating Hades was that he talks too much and too fast, so much so that "it took
[him] two weeks to animate a one-second scene". Ranieri watched James Woods' other films and used what he
saw as the basis for Hades' sneer.[3]
Susan Egan as Megara. Supervising animator Ken Duncan stated that she was "based on a '40s screwball
comedienne" and that he used Greek shapes for her hair ("Her head is in sort of a vase shape and she's got a Greek
curl in the back.").[3]
Frank Welker as Pegasus. Ellen Woodbury served as the supervising animator for Pegasus.
Rip Torn and Samantha Eggar as Zeus and Hera, Hercules' birth-parents. Anthony DeRosa served as the
supervising animator for both characters.
Lillias White, Cheryl Freeman, LaChanze, Roz Ryan and Vanéese Y. Thomas as the Muses (Calliope,
Melpomene, Terpsichore, Thalia and Clio respectively), the narrators of the film's story. Michael Snow served as
the supervising animator for the Muses.
Bobcat Goldthwait and Matt Frewer as Pain and Panic, Hades' henchmen. James Lopez and Brian Ferguson
respectively served as the supervising animators for Pain and Panic.
Patrick Pinney as the Cyclops. Dominique Monfrey served as the supervising animator for the Cyclops.
Hal Holbrook and Barbara Barrie as Amphitryon and Alcmene, Hercules' adoptive parents. Richard Bazley served
as the supervising animator for both characters.
• Amanda Plummer, Carole Shelley and Paddi Edwards as Clotho, Lachesis, Atropos, the three Fates who predict
Hades' attempt to conquer Olympus. Nancy Beiman served as the supervising animator for the three characters.
• Paul Shaffer as Hermes. Michael Swofford served as the animator for Hermes.
118
•
•
•
•
119
Jim Cummings as Nessus. Chris Bailey served as the animator for Nessus.
Wayne Knight as Demetrius
Keith David as Apollo
Charlton Heston has a cameo role as the opening narrator.
Production
Production for the film took place from late 1994 to early 1997. The character design was based on Greek statues
and artist Gerald Scarfe's work in Pink Floyd—The Wall. Each major character in Hercules had a supervising
animator. Andreas Deja, the supervising animator for Hercules, commented that the animation crew he worked with
to animate Hercules was the "largest [he] ever worked with". He previously worked on other characters (like Gaston
in Beauty and the Beast, Jafar in Aladdin, and Scar in The Lion King) with about four animators on his crew, but he
had a team of twelve or thirteen for Hercules.[3] Given Deja had worked with three villains before, he was first
offered Hades, but asked to animate the protagonist instead - "I knew if would be more difficult and more
challenging, but I just needed that experience to have that in your repertoire."[4]
Music
Hercules: An Original Walt Disney
Records Soundtrack
Soundtrack album by Various artists
Released
May 27, 1997
Genre
Pop, gospel, soul, R&B
Label
Walt Disney
Producer
Alan Menken, David Zippel
Walt Disney Animation Studios chronology
The Hunchback of Notre
Dame
(1996)
Hercules Mulan
(1997) (1998)
Hercules: An Original Walt Disney Records Soundtrack is the soundtrack for Hercules. It consists of music written
by composer Alan Menken and lyricist David Zippel, with vocals performed by Lillias White, LaChanze, Roz Ryan,
Roger Bart, Danny DeVito, and Susan Egan among others, along with the successful single version of "Go the
Distance" by Michael Bolton. For the Spanish version of the film, "Go the Distance" was redone by Ricky Martin
and released as a single under the title "No Importa La Distancia" and was also very successful, both inside and
outside the United States. In the Turkish version of the film, "Go the Distance" was sung by Tarkan, who also
performed the vocals for the adult Hercules.
"Go the Distance" was nominated for both the Academy Award for Best Original Song and the Golden Globe Award
for Best Original Song, but ultimately lost both to Celine Dion's monumental hit "My Heart Will Go On" from
Titanic.
Belinda Carlisle recorded two versions of "I Won't Say (I'm in Love)" as well as a music video for promotional
purposes. Though the English dub eventually opted not to use it, several foreign dubs have it in place of the reprise
of "A Star Is Born" in the ending credits. These dubs include, but are not limited to, the Swedish one, the Finnish
one, the Icelandic one and the Russian one. Curiously enough, the DVD release of the Swedish dub has replaced it
with the reprise of "A Star Is Born".
Track list:
1. "Long Ago..." - Charlton Heston
2. The Gospel Truth/Main Title - Lillias White, LaChanze, Roz Ryan, Cheryl Freeman, and Vanéese Y. Thomas
3. The Gospel Truth II - Roz Ryan
4. The Gospel Truth III - Lillias White, LaChanze, Roz Ryan, Cheryl Freeman, and Vanéese Y. Thomas
5. "Go the Distance" - Roger Bart
6. Oh Mighty Zeus (Score)
7. "Go the Distance (Reprise)" - Roger Bart
8. "One Last Hope" - Danny DeVito
9. "Zero to Hero" - Tawatha Agee, Lillias White, LaChanze, Roz Ryan, Cheryl Freeman, and Vanéese Y. Thomas
10. "I Won't Say (I'm in Love)" - Susan Egan, Lillias White, LaChanze, Roz Ryan, Cheryl Freeman, and Vanéese
Y. Thomas
11. "A Star Is Born" - Lillias White, LaChanze, Roz Ryan, Cheryl Freeman, and Vanéese Y. Thomas
12. "Go the Distance (Single)" - Michael Bolton
13. The Big Olive (Score)
14. The Prophecy (Score)
15. Destruction of the Agora (Score)
16. Phil's Island (Score)
17. Rodeo (Score)
18. Speak of the Devil (Score)
19. The Hydra Battle (Score)
20. Meg's Garden (Score)
21. Hercules' Villa (Score)
22. All Time Chump (Score)
23. Cutting the Thread (Score)
24. A True Hero/A Star Is Born (End Title) - Lillias White, LaChanze, Roz Ryan, Cheryl Freeman, and Vanéese Y.
Thomas
Release
Marketing
Marketing and promotion for Hercules began even before the film's theatrical release. Several Hercules toys, books,
and other merchandise were produced,[5] and a parade was held at Times Square during the film's premiere two
weeks prior to its theatrical run.[6] Hercules was also received the first Disney on Ice adaptation before the film was
theatrically released.[7] A tie-in video game, titled Hercules Action Game, was developed by Eurocom and released
in July 1997 for the PC and PlayStation.[8]
120
Home media
The film's first home video release, on VHS, was February 3, 1998 in the US as part of the Walt Disney Masterpiece
Collection series. A Limited Issue came out on DVD November 9, 1999, followed by on August 1, 2000, a re-issue
to VHS and DVD as part of the Walt Disney Gold Classic Collection.
Video game
A video game based on the film was released for the PlayStation and Microsoft Windows in 1997, later put on the
PlayStation Network online service for the PlayStation 3.
Reception
Disney intended for the film to have an open-air premiere at Pnyx hill, but the Greek government declined after
Greek media and public panned the film. A Greek newspaper entitled Adsmevtos Typos called it "another case of
foreigners distorting our history and culture just to suit their commercial interests".[9]
After a one-theater release on June 15, 1997, Hercules had its wide release on June 27, 1997. With an opening
weekend of $21,454,451, it opened at the second spot of the box office, after Face/Off.[10] The film grossed only $99
million on its domestic lifetime, something Disney's executives blamed on "more competition".[11] The international
totals for Hercules raised its gross to $253 million.[1]
Critical reception
As of 2008, Rotten Tomatoes reported that 83% of critics gave positive reviews based on 48 reviews.[2]
Film critic Roger Ebert of the Chicago Sun-Times wrote a positive review of the film, enjoying the story as well as
the animation. Ebert also praised James Woods' portrayal of Hades, stating that Woods brings "something of the
same verbal inventiveness that Robin Williams brought to Aladdin".[12]
Awards and nominations
• Academy Awards[13]
• Academy Award for Best Original Song - "Go the Distance" (Nominated)
• Golden Globes[14]
• Golden Globe Award for Best Original Song - "Go the Distance" (Nominated)
• Saturn Award[15]
• Best Fantasy Film (Nominated)
• Blockbuster Entertainment Awards[16]
• Favorite Animated Family Movie (Nominated)
• Favorite Song from a Movie - "Go the Distance" (Nominated)
• Young Artist Award[17]
• Best Performance in a Voice Over Role - Young Actor Josh Keaton for Young Hercules's voice (Nominated)
• Annie Awards
121
122
Result
Award
Winner/Nominee Recipient(s)
Nominated Animated Theatrical Feature
Won
Individual Achievement in Producing
Alice Dewey (Producer)
John Musker (Producer)
Ron Clements (Producer)
Won
Individual Achievement in Directing
John Musker (Director)
Ron Clements (Director)
Nominated Individual Achievement in Character Animation Ken Duncan (Supervising Animator - Meg)
Won
Individual Achievement in Character Animation Nik Ranieri (Supervising Animator - Hades)
Won
Individual Achievement in Effects Animation
Mauro Maressa (Effects Supervisor)
References
[1]
[2]
[3]
[4]
[5]
"Hercules (1997)" (http:/ / www. boxofficemojo. com/ movies/ ?id=hercules. htm). Box Office Mojo. . Retrieved 2008-02-03.
"Hercules (1997)" (http:/ / www. rottentomatoes. com/ m/ 1078028-hercules/ ). Rotten Tomatoes. . Retrieved 2008-09-25.
"The Quick Draw Artists". Disney Adventures: 44–49. September 1997.
Interview: Animator Andreas Deja (http:/ / www. dvdmg. com/ interviewandreasdeja. shtml), DVD Movie Guide
Grossman, Wendy (June 26, 1997). "Disney flexes marketing muscle for Hercules" (http:/ / chronicle. augusta. com/ stories/ 062697/
fea_hercules1. html). chronicle.augusta.com. . Retrieved 2009-01-09.
[6] Gest, Emily (June 10, 1997). "DISNEY'S READY TO ROLL WITH HERCULEAN LABOR" (http:/ / www. nydailynews. com/ archives/
news/ 1997/ 06/ 10/ 1997-06-10_disney_s_ready_to_roll_with_. html). www.nydailynews.com. . Retrieved 2009-01-09.
[7] Wasko, Janet (2001). Understanding Disney: the manufacture of fantasy (http:/ / books. google. com/ ?id=1goTERg-s28C& pg=PR4&
lpg=PP72). Wiley-Blackwell. ISBN 0-7456-1484-1. .
[8] Disney's Hercules (http:/ / www. eurocom. co. uk/ index. php/ video-games/ disneys-hercules) at Eurocom
[9] Byrne, Ciaran; Julia Llewelyn Smith (October 9, 1997). "Greeks put Hercules on trial" (http:/ / news. google. com/
newspapers?id=cQkFAAAAIBAJ& sjid=EjIDAAAAIBAJ& pg=2055,3065624). The Nation: C6, C8. .
[10] Weekend Box Office Results for June 27-29, 1997 (http:/ / www. boxofficemojo. com/ weekend/ chart/ ?yr=1997& wknd=26& p=. htm) Box Office Mojo
[11] Hercules Is Too Weak to Lift Disney Stock (http:/ / www. nytimes. com/ 1997/ 07/ 10/ business/ hercules-is-too-weak-to-lift-disney-stock.
html), The New York Times
[12] Ebert, Roger (1997-06-27). "Hercules review" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19970627/ REVIEWS/
706270302/ 1023). Chicago Sun Times. . Retrieved 2010-01-04.
[13] "1997 (70th)" (http:/ / awardsdatabase. oscars. org/ ampas_awards/ BasicSearch?action=searchLink& displayType=1& BSFromYear=70).
awardsdatabase.oscars.org. . Retrieved 2009-01-09.
[14] "HFPA Awards Search" (http:/ / www. goldenglobes. org/ browse/ film/ 25917). www.goldenglobes.org. . Retrieved 2009-01-09.
[15] "Academy of Science Fiction, Fantasy & Horror Films, USA: 1998" (http:/ / www. imdb. com/ Sections/ Awards/
Academy_of_Science_Fiction_Fantasy_And_Horror_Films_USA/ 1998). www.imdb.com. . Retrieved 2009-01-09.
[16] "Blockbuster Entertainment Awards: 1998" (http:/ / www. imdb. com/ Sections/ Awards/ Blockbuster_Entertainment_Awards/ 1998).
www.imdb.com. . Retrieved 2009-01-09.
[17] "Nineteenth Annual Youth in Film Awards 1996-1997" (http:/ / www. youngartistawards. org/ pastnoms19. htm).
www.youngartistawards.org. . Retrieved 2009-01-09.
External links
•
•
•
•
•
•
Official website (http://disney.go.com/disneyvideos/animatedfilms/hercules/home.html)
Hercules (http://www.allrovi.com/movies/movie/v156908) at AllRovi
Hercules (http://www.imdb.com/title/tt0119282/) at the Internet Movie Database
Hercules (http://www.rottentomatoes.com/m/1078028-hercules/) at Rotten Tomatoes
Hercules (http://www.bcdb.com/bcdb/cartoon.cgi?film=Hercules) at the Big Cartoon DataBase
Hercules (http://www.boxofficemojo.com/movies/?id=hercules.htm) at Box Office Mojo
123
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Universe of Disney - graphiquecommunicators

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