Walt Disney biography

Quick Facts
 NAME: Walt Disney
 OCCUPATION: Entrepreneur
 BIRTH DATE: December 05, 1901
 DEATH DATE: December 15, 1966
 EDUCATION: Kansas City Art Institute and School of Design, McKinley High School,
Chicago Art Institute
 PLACE OF BIRTH: Chicago, Illinois
 PLACE OF DEATH: Burbank, California
 Full Name: Walter Elias Disney
 AKA: Walt Disney

Best Known For

Walt Disney was an American motion-picture and television producer and showman, famous as a
pioneer of cartoon films and as the creator of Disneyland.

Synopsis
Walter Elias "Walt" Disney was born on December 5, 1901, in Hermosa, Illinois. He and his brother
Roy co-founded Walt Disney Productions, which became one of the best-known motion-picture
production companies in the world. Disney was an innovative animator and created the cartoon
character Mickey Mouse. He won 22 Academy Awards during his lifetime, and was the founder of
theme parks Disneyland and Walt Disney World.

Early Life
Walter Elias "Walt" Disney was born on December 5, 1901, in the Hermosa section of Chicago,
Illinois. His father was Elias Disney, an Irish-Canadian, and his mother, Flora Call Disney, was
German-American. Disney was one of five children, four boys and a girl. He lived most of his
childhood in Marceline, Missouri, where he began drawing, painting and selling pictures to
neighbors and family friends. In 1911, his family moved to Kansas City, where Disney developed a
love for trains. His uncle, Mike Martin, was a train engineer who worked the route between Fort
Madison, Iowa, and Marceline. Later, Disney would work a summer job with the railroad, selling
snacks and newspapers to travelers.

Disney attended McKinley High School in Chicago, where he took drawing and photography
classes and was a contributing cartoonist for the school paper. At night, he took courses at the
Chicago Art Institute. When Disney was 16, he dropped out of school to join the army but was
rejected for being underage. Instead, he joined the Red Cross and was sent to France for a year to
drive an ambulance.

Early Cartoons
When Disney returned from France in 1919, he moved back to Kansas City to pursue a career as a
newspaper artist. His brother Roy got him a job at the Pesmen-Rubin Art Studio, where he met
cartoonist Ubbe Iwerks. From there, Disney worked at the Kansas City Film Ad Company, where he
made commercials based on cutout animation. Around this time, Disney began experimenting with
a camera, doing hand-drawn cel animation, and decided to open his own animation business. From
the ad company, he recruited Fred Harman as his first employee.

Walt and Harman made a deal with a local Kansas City theater to screen their cartoons, which they
called Laugh-O-Grams. The cartoons were hugely popular, and Disney was able to acquire his own
studio, upon which he bestowed the same name. Laugh-O-Gram hired a number of employees,
including Harman's brother Hugh and Ubbe Iwerks. They did a series of seven-minute fairy tales
that combined both live action and animation, which they called Alice in Cartoonland. By 1923,
however, the studio had become burdened with debt, and Disney was forced to declare bankruptcy.

Disney and his brother, Roy, soon pooled their money and moved to Hollywood. Iwerks also
relocated to California, and there the three began the Disney Brothers' Studio. Their first deal was
with New York distributor Margaret Winkler, to distribute their Alice cartoons. They also invented a
character called Oswald the Lucky Rabbit, and contracted the shorts at $1,500 each.

In 1925, Disney hired an ink-and-paint artist named Lillian Bound. After a brief courtship, the
couple married.

A few years later, Disney discovered that Winkler and her husband, Charles Mintz, had stolen the
rights to Oswald, along with all of Disney’s animators, except for Iwerks. Right away the Disney
brothers, their wives and Iwerks produced three cartoons featuring a new character Walt had been
developing called Mickey Mouse. The first animated shorts featuring Mickey were Plane Crazy and
The Gallopin' Gaucho, both silent films for which they failed to find distribution. When sound
made its way into film, Disney created a third, sound-and-music-equipped short called Steamboat
Willie. With Walt as the voice of Mickey, the cartoon was an instant sensation.

Commercial Success
In 1929, Disney created Silly Symphonies, which featured Mickey's newly created friends, including
Minnie Mouse, Donald Duck, Goofy and Pluto. One of the most popular cartoons, Flowers and
Trees, was the first to be produced in color and to win an Oscar. In 1933, The Three Little Pigs and
its title song "Who's Afraid of the Big Bad Wolf?" became a theme for the country in the midst of
the Great Depression.

On December 21, 1937, Snow White and the Seven Dwarfs, the first full-length animated film,
premiered in Los Angeles. It produced an unimaginable $1.499 million, in spite of the Depression,
and won a total of eight Oscars. During the next five years, Walt Disney Studios completed another
string of full-length animated films, Pinocchio, Fantasia, Dumbo and Bambi.
In December 1939, a new campus for Walt Disney Studios was opened in Burbank. A setback for
the company occurred in 1941, however, when there was a strike by Disney animators. Many of
them resigned, and it would be years before the company fully recovered. During the mid-40s,
Disney created "packaged features," groups of shorts strung together to run at feature length, but by
1950, he was once again focusing on animated features. Cinderella was released in 1950, followed
by Alice in Wonderland (1951), Peter Pan (1953), a live-action film called Treasure Island (1950),
Lady in the Tramp (1955), Sleeping Beauty (1959) and 101 Dalmatians (1961). In all, more than
100 features were produced by his studio.

Disney was also among the first to use television as an entertainment medium. The Zorro and Davy
Crockett series were extremely popular with children, as was The Mickey Mouse Club, a variety
show featuring a cast of teenagers known as the Mouseketeers. Walt Disney's Wonderful World of
Color was a popular Sunday night show, which Disney used to begin promoting his new theme
park. Disney's last major success that he produced himself was the motion picture Mary Poppins,
which mixed live action and animation.

Disneyland
Disney's $17 million Disneyland theme park opened in 1955.
It was a place where children and their families could explore, take rides and meet the Disney
characters. In a very short time, the park had increased its investment tenfold, and was entertaining
tourists from around the world.

Death
Within a few years of the opening, Disney began plans for a new theme park and Experimental
Prototype Community of Tomorrow in Florida. It was still under construction when, in 1966,
Disney was diagnosed with lung cancer. He died on December 15, 1966, at the age of 65. Disney
was cremated, and his ashes interred at Forest Lawn Cemetery in Los Angeles, California.
 
After his brother's death, Roy carried on the plans to finish the Florida theme park, which opened in
1971 under the name Walt Disney World.

http://www.biography.com/print/profile/walt-disney-9275533

Walt Disney, Biography

Try to imagine a world without Walt Disney. A world without his magic, whimsy, and optimism.
Walt Disney transformed the entertainment industry, into what we know today. He pioneered the
fields of animation, and found new ways to teach, and educate.
Walt's optimism came from his unique ability to see the entire picture. His views and visions, came
from the fond memory of yesteryear, and persistence for the future. Walt loved history. As a result
of this, he didn't give technology to us piece by piece, he connected it to his ongoing mission of
making life more enjoyable, and fun. Walt was our bridge from the past to the future.
During his 43-year Hollywood career, which spanned the development of the motion picture
industry as a modern American art, Walter Elias Disney established himself and his innovations as a
genuine part of Americana.

A pioneer and innovator, and the possessor of one of the

most fertile and unique imaginations the world has ever  Walt Disney in his
known. Walt Disney could take the dreams of America, and
make them come true. He was a creator, a imaginative, and
aesthetic person. Even thirty years after his death, we still office © Disney
continue to grasp his ideas, and his creations, remembering
him for everything he's done for us.
Walter Elias Disney was born on December 5, 1901 in Chicago Illinois, to his father, Elias Disney,
an Irish-Canadian, and his mother, Flora Call Disney, who was of German-American descent. Walt
was one of five children, four boys and a girl.
Later, after Walt's birth, the Disney family moved to Marceline, Missouri. Walt lived out most of his
childhood here. Walt had a very early interest in drawing, and art. When he was seven years old, he
sold small sketches, and drawings to nearby neighbors. Instead of doing his school work Walt
doodled pictures of animals, and nature. His knack for creating enduring art forms took shape when
he talked his sister, Ruth, into helping him paint the side of the family's house with tar.
Close to the Disney family farm, there were Santa Fe Railroad tracks that crossed the countryside.
Often Walt would put his ear against the tracks, to listen for approaching trains. Walt's uncle, Mike
Martin, was a train engineer who worked the route between Fort Madison, Iowa, and Marceline.
Walt later worked a summer job with the railroad, selling newspapers, popcorn, and sodas to
travelers.
During his life Walt would often try to recapture the freedom he felt when aboard those trains, by
building his own miniature train set. Then building a 1/8-scale backyard railroad, the Carolwood
Pacific or Lilly Bell.
Besides his other interests, Walt attended McKinley High School in Chicago. There, Disney divided
his attention between drawing and photography, and contributing to the school paper. At night he
attended the Academy of Fine Arts, to better his drawing abilities.
Walt discovered his first movie house on Marceline's Main Street. There he saw a dramatic black-
and-white recreation of the crucifixion and resurrection of Christ.
During these "carefree years" of country living young Walt began to love, and appreciate nature and
wildlife, and family and community, which were a large part of agrarian living. Though his father
could be quite stern, and often there was little money, Walt was encouraged by his mother, and older
brother, Roy.
Even after the Disney family moved to Kansas City, Walt continued to develop and flourish in his
talent for artistic drawing. Besides drawing, Walt had picked up a knack for acting and performing.
At school he began to entertain his friends by imitating his silent screen hero, Charlie Chaplin. At
his teachers invitation, Walt would tell his classmates stories, while illustrating on the chalk board.
Later on, against his fathers permission, Walt would sneak out of the house at night to perform
comical skits at local theaters.
During the fall of 1918, Disney attempted to enlist for military service. Rejected because he was
under age, only sixteen years old at the time. Instead, Walt joined the Red Cross and was sent
overseas to France, where he spent a year driving an ambulance and chauffeuring Red Cross
officials. His ambulance was covered from stem to stern, not with stock camouflage, but with
Disney cartoons.
Once he returned from France, he wanted to pursue a career in commercial art, which soon lead to
his experiments in animation. He began producing short animated films for local businesses, in
Kansas City. By the time Walt had started to create The Alice Comedies, which was about a real girl
and her adventures in an animated world, Walt ran out of money, and his company Laugh-O-Grams
went bankrupted. Instead of giving up, Walt packed his suitcase and with his unfinished print of The
Alice Comedies in hand, headed for Hollywood to start a new business. He was not yet twenty-two.
The early flop of The Alice Comedies inoculated Walt against fear of failure; he had risked it all
three or four times in his life. Walt's brother, Roy O. Disney, was already in California, with an
immense amount of sympathy and encouragement, and $250. Pooling their resources, they
borrowed an additional $500, and set up shop in their uncle's garage. Soon, they received an order
from New York for the first Alice in Cartoonland(The Alice Comedies) featurette, and the brothers
expanded their production operation to the rear of a Hollywood real estate office. It was Walt's
enthusiasm and faith in himself, and others, that took him straight to the top of Hollywood society.
Although, Walt wasn't the typical Hollywood mogul. Instead of socializing with the "who's who" of
the Hollywood entertainment industry, he would stay home and have dinner with his wife, Lillian,
and his daughters, Diane and Sharon. In fact, socializing was a bit boring to Walt Disney. Usually
he would dominate a conversation, and hold listeners spellbound as he described his latest dreams
or ventures. The people that where close to Walt were those who lived with him, and his ideas, or
both.
On July 13, 1925, Walt married one of his first employees, Lillian Bounds, in Lewiston, Idaho.
Later on they would be blessed with two daughters, Diane and Sharon . Three years after Walt and
Lilly wed, Walt created a new animated character, Mickey Mouse.
His talents were first used in a silent cartoon entitled
Plane Crazy. However, before the cartoon could be
released, sound was introduced upon the motion picture  
Walt with many plush Mickey
industry. Thus, Mickey Mouse made his screen debut in Mouse Dolls
Steamboat Willie, the world's first synchronized sound © Disney
cartoon, which premiered at the Colony Theater in New
York on November 18, 1928.
Walt's drive to perfect the art of animation was endless. Technicolor was introduced to animation
during the production of his Silly Symphonies Cartoon Features. Walt Disney held the patent for
Technicolor for two years, allowing him to make the only color cartoons. In 1932, the production
entitled Flowers and Trees won Walt the first of his studio's Academy Awards. In 1937, he released
The Old Mill, the first short subject to utilize the multi-plane camera technique.
On December 21, 1937, Snow White and the Seven Dwarfs, the first full-length animated musical
feature, premiered at the Carthay Theater in Los Angeles. The film produced at the unheard cost of
$1,499,000 during the depths of the Depression, the film is still considered one of the great feats
and imperishable monuments of the motion picture industry. During the next five years, Walt
Disney Studios completed other full-length animated classics such as Pinocchio, Fantasia, Dumbo,
and Bambi.
Walt rarely showed emotion, though he did have a temper that would blow over as it blew up. At
home, he was affectionate and understanding. He gave love by being interested, involved, and
always there for his family and friends. Walt's daughter, Diane Disney Miller, once said:
Daddy never missed a father's function no matter how I discounted it. I'd say,"Oh, Daddy, you
don't need to come. It's just some stupid thing." But he'd always be there, on time.

Probably the most painful time of Walt's private life, was the accidental death of his mother in 1938.
After the great success of Snow White and the Seven Dwarfs, Walt and Roy bought their parents,
Elias and Flora Disney, a home close to the studios. Less than a month later Flora died of
asphyxiation caused by a faulty furnace in the new home. The terrible guilt of this haunted Walt for
the rest of his life.
In 1940, construction was completed on the Burbank Studio, and Disney's staff swelled to more
than 1,000 artists, animators, story men, and technicians. Although, because of World War II 94
percent of the Disney facilities were engaged in special government work, including the production
of training and propaganda films for the armed services, as well as health films which are still
shown through-out the world by the U.S. State Department. The remainder of his efforts were
devoted to the production of comedy short subjects, deemed highly essential to civilian and military
morale.
Disney's 1945 feature, the musical The Three Caballeros, combined live action with the cartoon
animation, a process he used successfully in such other features as Song of the South and the highly
acclaimed Mary Poppins. In all, more than 100 features were produced by his studio.
Walt's inquisitive mind and keen sense for education through entertainment resulted in the award-
winning True-Life Adventure series. Through such films as The Living Desert, The Vanishing
Prairie, The African Lion, and White Wilderness, Disney brought fascinating insights into the world
of wild animals and taught the importance of conserving our nation's outdoor heritage.

Walt Disney's dream of a clean, and organized amusement

park, came true, as Disneyland Park opened in 1955. As a
fabulous $17-million magic kingdom, soon had increased
its investment tenfold, and by the beginning of its second
quarter-century, had entertained more than 200 million
people, including presidents, kings and queens, and royalty  Walt Disney on his trips through
from all over the globe. Disneyland
© Disney
A pioneer in the field of television programming, Disney began television production in 1954, and
was among the first to present full-color programming with his Wonderful World of Color in 1961.
The Mickey Mouse Club was a popular favorite in the 1950s.
But that was only the beginning. In 1965, Walt Disney turned his attention toward the problem of
improving the quality of urban life in America. He personally directed the design of an
Experimental Prototype Community of Tomorrow (EPCOT). It was planned as a living showcase
for the creativity of American industry. Disney said this about EPCOT:
I don't believe there is a challenge anywhere in the world that is more important to people
everywhere than finding the solutions to the problems of our cities. But where do we begin?
Well, we're convinced we must start with the public need. And the need is not just for curing
the old ills of old cities. We think the need is for starting from scratch on virgin land and
building a community that will become a prototype for the future.

Thus, Disney directed the purchase of 43 square miles of virgin land--twice the size of Manhattan
Island--in the center of the state of Florida. Here, he master planned a whole new "Disney world" of
entertainment to include a new amusement theme park, motel-hotel resort vacation center, and his
Experimental Prototype Community of Tomorrow. After more than seven years of master planning
and preparation, including 52 months of actual construction, the Walt Disney World Resort,
including the Magic Kingdom Park, opened to the public as scheduled on October 1, 1971. EPCOT
Center opened October 1, 1982, and on May 1, 1989, the Disney-MGM Studios Theme Park
opened.

A few years prior to his death on December 15, 1966, Walt Disney took a deep interest in the
establishment of California Institute of the Arts, a college-level professional school of all the
creative and performing arts. CalArts, Walt once said, "It's the principal thing I hope to leave when I
move on to greener pastures. If I can help provide a place to develop the talent of the future, I think
I will have accomplished something."

The California Institute of the Arts was founded in 1961 with the combination of two schools, the
Los Angeles Conservatory of Music and the Chouinard Art Institute. The campus is located in the
city of Valencia, 32 miles northeast of downtown Los Angeles. Walt Disney conceived the new
school as a place where all the performing and creative arts would be taught under one roof in a
"community of the arts" as a completely new approach to professional arts training.

Walt Disney is a legend; a folk hero of the 20th century. His worldwide popularity was based upon
the ideals which his name represents: imagination, optimism, creation, and self-made success in the
American tradition. Walt Disney did more to touch the hearts, minds, and emotions of millions of
Americans than any other person in the past century. Through his work he brought joy, happiness,
and a universal means of communication to the people of every nation. He brought us closer to the
future, while telling us of the past, it is certain, that there will never be such as great a man, as Walt
Disney.
Photos on this page © Disney

Written by Brad A.
http://www.justdisney.com/walt_disney/biography/long_bio.html

 Walt Disney Quotes

 
General Quotations
"We are not trying to entertain the critics. I'll take my chances with the public."
-
"You can design and create, and build the most wonderful place in the world. But it takes people to
make the dream a reality."
-
"All cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy
and fable."
-
"When you're curious, you find lots of interesting things to do. And one thing it takes to accomplish
something is courage."
-
"I don't like formal gardens. I like wild nature. It's just the wilderness instinct in me, I guess."
-
"We allow no geniuses around our Studio."
-
"Movies can and do have tremendous influence in shaping young lives in the realm of entertainment
towards the ideals and objectives of normal adulthood."
-
"I never called my work an 'art' It's part of show business, the business of building entertainment."
-
"I am not influenced by the techniques or fashions of any other motion picture company."
-
"Whenever I go on a ride, I'm always thinking of what's wrong with the thing and how it can be
improved."
-
"The way to get started is to quit talking and begin doing."
-
"Laughter is America's most important export."
-
"People still think of me as a cartoonist, but the only thing I lift a pen or pencil for these days is to
sign a contract, a check, or an autograph."
-
"Why do we have to grow up? I know more adults who have the children's approach to life. They're
people who don't give a hang what the Joneses do. You see them at Disneyland every time you go
there. They are not afraid to be delighted with simple pleasures, and they have a degree of
contentment with what life has brought - sometimes it isn't much, either."
-
"The era we are living in today is a dream of coming true."
-
"There is more treasure n books than in all the pirates' loot on Treasure Island and at the bottom of
the Spanish Main ... and best of all, you can enjoy these riches every day of your life."
-
"Your dead if you aim only for kids. Adults are only kids grown up, anyway."
-
"Or heritage and ideals, our code and standards - the things we live by and teach our children - are
preserved or diminished by how freely we exchange ideas and feelings."
-
 
"I have been up against tough competition all my life. I wouldn't know how to get along without it."

-
"Crowded classrooms and half-day sessions are a tragic waste of our greatest national resource - the
minds of our children."
-
"You reach a point where you don't work for money."
-
"Of all of our inventions for mass communication, pictures still speak the most universally
understood language."
-
"I have no use for people who throw their weight around as celebrities, or for those who fawn over
you just because you are famous."
-
"Adults are interested if you don't play down to the little 2 or 3 year olds or talk down. I don't
believe in talking down to children. I don't believe in talking down to any certain segment. I like to
kind of just talk in a general way to the audience. Children are always reaching."
-
"A man should never neglect his family for business."
-
"I believe in being a modivator."
-
-On Mickey Mouse
"I only hope that we don't lose sight of one thing - that it was all started by a mouse."
-
"Mickey Mouse is, to me, a symbol of independence. He was a means to an end."
-
"When people laugh at Mickey Mouse, it's because he's so human; and that is the secret of his
popularity."

"He popped out of my mind onto a drawing pad 20 years ago on a train ride from Manhattan to
Hollywood at a time when business fortunes of my brother Roy and myself were at lowest ebb and
disaster seemed right around the corner."
"Born of necessity, the little fellow literally freed us of immediate worry. He provided the means for
expanding our organization to its present dimensions and for extending the medium cartoon
animation towards new entertainment levels. He spelled production liberation for us."
"We felt that the public, and especially the children, like animals that are cute and little. I think we
are rather indebted to Charlie Chaplin for the idea. We wanted something appealing, and we thought
of a tiny bit of a mouse that would have something of the wistfulness of Chaplin- a little fellow
trying to do the best he could."
"The life and ventures of Mickey Mouse have been closely bound up with my own personal and
professional life. It is understandable that I should have sentimental attachment for the little
personage who played so big a part in the course of Disney Productions and has been so happily
accepted as an amusing friend wherever films are shown around the world. He still speaks for me
and I still speak for him."
On Disneyland
"To all that 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 hope that
it will be a source of joy and inspiration to all the world."
"Biggest problem? Well, I'd say it's been my biggest problem all my life. MONEY. It takes a lot of
money to make these dreams come true. From the very start it was a problem. Getting the money to
open Disneyland. About seventeen million it took. And we had everything mortgaged including my
personal insurance."
"It's no secret that we were sticking just about every nickel we had on the chance that people would
really be interested in something totally new and unique in the field of entertainment."
"I don't want the public to see the world they live in while they're in the Park (Disneyland). I want
to feel they're in another world."
"When we opened Disneyland, a lot of people got the impressions that it was a get-rich-quick thing,
but they didn't realize that behind Disneyland was this great organization that I built here at the
Studio, and they all got into it and we were doing it because we loved to do it."

"We did it (Disneyland), in the knowledge that most of the people I talked to thought it would be a
financial disaster - closed and forgotten within the first year."
"I first saw the site for Disneyland back in 1953, In those days it was all flat land - no rivers, no
mountains, no castles or rocket ships - just orange groves, and a few acres of walnut trees."
"It's something that will never be finished. Something that I can keep developing...and adding to."
"Disneyland will never be completed. It will continue to grow as long as there is imagination left in
the world."
"We believed in our idea - a family park where parents and children could have fun- together."
"Disneyland is a work of love. We didn't go into Disneyland just with the idea of making money."
"Disneyland is the star, everything else is in the supporting role."
"Disneyland is a show."
"It has that thing - the imagination, and the feeling of happy excitement- I knew when I was a kid."
On Walt Disney World
"Here in Florida, we have something special we never enjoyed at Disneyland...the blessing of size.
There's enough land here to hold all the ideas and plans we can possibly imagine."
"We've got to study the land.. . . . .We've got to put Disneyland, which everybody will know, at the
very upper end of the property because that will be the weenie."
"I've always said that there will never be another Disneyland, and I think it's going to work out that
way. But it will be the equivalent of Disneyland. We know the basic things that have family appeal.
There are many ways that you can use those certain basic things and give them a new decor, a new
treatment. This concept here will have to be something that is unique, so there is a distinction
between Disneyland in California and whatever Disney does in Florida."
"I'm doing this because I want to do it better"
"Believe me, it's the most exciting and challenging assignment we have ever tackled at Walt Disney
Productions."
On EPCOT
(Experimental Prototype Community of Tomorrow)
 
"But the most exciting and by far the most important part of our Florida Project...in fact, the heart of
everything we'll be doing in Disney World...will be our Experimental Prototype Community Of
Tomorrow! We call it EPCOT."
 
"It's like the city of tomorrow ought to be. A city that caters to the people as a service function. It
will be a planned, controlled community, a showcase for American industry and research, schools,
cultural and educational opportunities.
 
"EPCOT will be an experimental prototype community of tomorrow that will take its cue from the
new ideas and new technologies that are now emerging from the creative centers of American
industry. It will be a community of tomorrow that will never be completed, but will always be
introducing and testing and demonstrating new materials and systems. And EPCOT will always be a
showcase to the world for the ingenuity and imagination of American free enterprise."
 
"I don't believe there's a challenge anywhere in the world that's more important to people
everywhere than finding solutions to the problems of our cities. But where do we begin... how do
we start answering this great challenge? Well, we're convinced we must start answering the public
need. And the need is for starting from scratch on virgin land and building a special kind of new
community that will always be in a state of becoming. I twill never cease to be a living blueprint of
the future, where people actually live a life they can't find anywhere else in the world."

On Fantasia
"Fantasia, to me is a whole new opportunity. For my medium it opens up unlimited possibilities.
Music has always played a very important part since sound came into the cartoon. Now, the full
expression that comes from the new Fantasound opens up a whole new world for us."
"I was doing Sorcerer's Apprentice with Mickey Mouse and I happened to have dinner on night with
Leopold Stokowski. And Stokowski said, 'Oh, I'd love to conduct that for you.' ... Well, that led to
not only doing this one little short subject but it got us involved to where I did all of Fantasia and
before I knew it I ended up spending four hundred and some thousand dollars getting music with
Stokowski. But we were in then and it was the point of no return. We went ahead and made it."
On Animation
"Animation offers a medium of story telling and visual entertainment which can bring pleasure and
information to people of all ages everywhere in the world."

"I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude
things then and I used sort of little puppet things."
"We have created characters and animated them in the dimension of depth, revealing through them
to our perturbed world that the things we have in common far outnumber and outweigh those that
divide us."

"Cartoon animation offers a medium of storytelling and visual entertainment which can bring
pleasure and information to people of all ages everywhere in the world."

"In learning the art of storytelling by animation, I have discovered that language has an anatomy.
Every spoken word, whether uttered by a living person or by a cartoon character, has its facial
grimace, emphasizing the meaning."
"Animation can explain whatever the mind of man can conceive. This facility makes it the most
versatile and explicit means of communication yet devised for quick mass appreciation."
"I take great pride in the artistic development of cartoons. Our characters are made to go through
emotions which a few short years ago would have seemed impossible to secure with a cartoon
character. Some of the action produced in the finished cartoon of today is more graceful than
anything possible for a human to do."
"Animation is different from other parts. Its language is the language of caricature. Our most
difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and
animals."
"To think six years ahead - even two or three - in this business of making animated cartoon features,
it takes calculated risk and much more than blind faith in the future of theatrical motion pictures. I
see motion pictures as a family-founded institution closely related to the life and labor of millions of
people. Entertainment such as our business provides has become a necessity, not a luxury. . . it is the
part which offers us the greatest reassurance about the future in the animation field."
"I try to build a full personality for each of our cartoon characters - to make them personalities."
"We have created characters and animated them in the dimension of depth, revealing through them
to our perturbed world that the things we have in common far outnumber and outweigh those that
divide us."
On CALarts
(California Institute of the Arts)

"I want people to graduate from there really able to do things. I don't want a lot of theorists. I want
to have a school that turns out people that know all the facts of filmaking, I want them to be capable
of doing anything needed to make a film-photograph it, direct it, design it, animate it, record it,
whatever. That's what I want. Heck, I've hired theorists, and they don't have any knowledge I can
use. I want to have everyone in that school come out capable of going in and doing a job. These
dilettantes who come out with pseudo-knowledge, they give me a pain. I want it so if an actor is
needed, they can get an actor right out of school. If a musician is needed, they can go to the music
department and find a musicians who can compose music."
"This is the thing I'm going to be remembered for."
http://www.justdisney.com/walt_disney/quotes/quotes01.html

 Walt Disney Filmography

Producer Filmography

1. Gnome-Mobile, The (1967)

2. Jungle Book, The (1967)

3. Scrooge McDuck and Money (1967)

4. Follow Me, Boys! (1966)

5. Winnie the Pooh and the Honey Tree (1966)

6. Freewayphobia #1 (1965)

7. Goofy's Freeway Trouble (1965)

8. Mary Poppins (1964)

9. Son of Flubber (1963)

10. Three Lives of Thomasina, The (1963)

11. Bon Voyage! (1962)

12. In Search of the Castaways (1962)

13. Symposium on Popular Songs, A (1962)

14. Absent Minded Professor, The (1961)

15. Aquamania (1961)

16. Donald and the Wheel (1961)

17. Litterbug, The (1961)

18. Nikki, Wild Dog of the North (1961)

19. One Hundred and One Dalmatians (1961)

... aka 101 Dalmatians (1961)

20. Saga of Windwagon Smith (1961)

21. Goliath II (1960)

22. Islands of the Sea (1960)

23. Darby O'Gill and the Little People (1959)

24. Donald in Mathmagic Land (1959)

25. How to Have an Accident at Work (1959)

26. Mysteries of the Deep (1959)

27. Noah's Ark (1959)

28. Sleeping Beauty (1959)

29. Grand Canyon (1958)

30. Paul Bunyan (1958)

31. "Zorro" (1957) TV Series

32. Johnny Tremain (1957)

33. Old Yeller (1957)

34. Story of Anyburg, USA, The (1957)

35. Truth About Mother Goose, The (1957)

36. Chips Ahoy (1956)

37. Cowboy Needs a Horse, A (1956)

38. Hooked Bear (1956)

39. How to Have an Accident in the Home (1956)

40. In the Bag (1956)

41. Jack and Mac (1956)

42. Samoa (1956)

43. Bearly Asleep (1955)

44. Beezy Bear (1955)

45. Lady and the Tramp (1955)

46. Men Against the Arctic (1955)

47. No Hunting (1955)

48. Switzerland (1955)

49. Up a Tree (1955)

50. "Disneyland" (1954) TV Series

... aka "Disney's Wonderful World" (1954)

... aka "Walt Disney Presents" (1954)

... aka "Walt Disney" (1954)

... aka "Walt Disney's Wonderful World of Color" (1954)

... aka "Wonderful World of Disney, The" (1954)

51. 20,000 Leagues Under the Sea (1954)

52. Casey Bats Again (1954)

53. Donald's Diary (1954)

54. Dragon Around (1954)

55. Flying Squirrel, The (1954)

56. Grand Canyonscope (1954)

57. Grin and Bear It (1954)

58. Lone Chipmunks, The (1954)

59. Pigs Is Pigs (1954)

60. Siam (1954)

61. Social Lion (1954)

62. Spare the Rod (1954)

63. Stromy, The Thoroughbred (1954)

64. Alaskan Eskimo, The (1953)

65. Bear Country (1953)

66. Ben and Me (1953)

67. Canvas Back Duck (1953)

68. Don's Fountain of Youth (1953)

69. Father's Day Off (1953)

70. Father's Weekend (1953)

71. Football (Now and Then) (1953)

72. For Whom the Bulls Toil (1953)

73. How to Dance (1953)

74. How to Sleep (1953)

75. Melody (1953)

76. New Neighbor, The (1953)

77. Peter Pan (1953)

78. Rugged Bear (1953)

79. Simple Things, The (1953)

80. Toot, Whistle, Plunk and Boom (1953)

81. Working for Peanuts (1953)

82. Donald Applecore (1952)

83. Father's Lion (1952)

84. Hello Aloha (1952)

85. How to Be a Detective (1952)

86. Lambert the Sheepish Lion (1952)

87. Let's Stick Together (1952)

88. Little House, The (1952)

89. Man's Best Friend (1952)

90. Pluto's Christmas Tree (1952)

91. Pluto's Party (1952)

92. Susie the Little Blue Coupe (1952)

93. Teachers Are People (1952)

94. Trick or Treat (1952)

95. Two Chips and a Miss (1952)

96. Two Gun Goofy (1952)

97. Two Weeks Vacation (1952)

98. Uncle Donald's Ants (1952)

99. Water Birds (1952)

100. Alice in Wonderland (1951)

101. Bee on Guard (1951)

102. Chicken in the Rough (1951)

103. Cold Storage (1951)

104. Cold Turkey (1951)

105. Corn Chips (1951)

106. Dude Duck (1951)

107. Fathers Are People (1951)

108. Get Rich Quick (1951)

109. Home Made Home (1951)

110. Lion Down (1951)

111. Lucky Number (1951)

112. Nature's Half Acre (1951)

113. No Smoking (1951)

114. Out of Scale (1951)

115. Plutopia (1951)

116. R'coon Dawg (1951)

117. Test Pilot Donald (1951)

118. Tomorrow We Diet (1951)

119. Bee at the Beach (1950)

120. Brave Engineer, The (1950)

121. Camp Dog (1950)

122. Cinderella (1950)

123. Cold War (1950)

124. Food for Feudin' (1950)

125. Hold That Pose (1950)

126. Hook Lion and Sinker (1950)

127. In Beaver Valley (1950)

... aka Beaver Valley (1950)

128. Lion Around (1950)

129. Morris the Midget Moose (1950)

130. Motor Mania (1950)

131. Out on a Limb (1950)

132. Pests of the West (1950)

133. Pluto's Heart Throb (1950)

134. Primitive Pluto (1950)

135. Puss-Cafe (1950)

136. Trailer Horn (1950)

137. Wonder Dog (1950)

138. Adventures of Ichabod and Mr. Toad, The (1949)

... aka Ichabod and Mr. Toad (1949)

139. All in a Nutshell (1949)

140. Bubble Bee (1949)

141. Crazy Over Daisy (1949)

142. Donald's Happy Birthday (1949)

143. Goofy Gymnastics (1949)

144. Greener Yard, The (1949)

145. Honey Harvester (1949)

146. Legend of Sleepy Hollow, The (1949)

147. Pluto and the Gopher (1949)

148. Pluto's Surprise Package (1949)

149. Pluto's Sweater (1949)

150. Pueblo Pluto (1949)

151. Sea Salts (1949)

152. Sheep Dog (1949)

153. Slide, Donald, Slide (1949)

154. Tennis Racquet (1949)

155. Toy Tinkers (1949)

156. Wind in the Willows (1949)

157. Winter Storage (1949)

158. Big Wash, The (1948)

159. Blame It on the Samba (1948)

160. Bone Bandit (1948)

161. Cat Nap Pluto (1948)

162. Daddy Duck (1948)

163. Donald's Dream Voice (1948)

164. Drip Dippy Donald (1948)

165. Inferior Decorator (1948)

166. Johnny Appleseed (1948)

167. Little Toot (1948)

168. Melody Time (1948)

169. Mickey and the Seal (1948)

170. Mickey Down Under (1948)

171. Pluto's Fledgling (1948)

172. Pluto's Purchase (1948)

173. Seal Island (1948)

174. So Dear to My Heart (1948)

175. Soup's On (1948)

176. Tea for Two Hundred (1948)

177. They're Off (1948)

178. Three for Breakfast (1948)

179. Trial of Donald Duck, The (1948)

180. Bongo (1947)

181. Bootle Beetle (1947)

182. Chip 'n Dale (1947)

183. Clown of the Jungle (1947)

184. Crazy with the Heat (1947)

185. Donald's Dilemma (1947)

186. Figaro and Frankie (1947)

187. Foul Hunting (1947)

188. Mail Dog (1947)

189. Mickey's Delayed Date (1947)

190. Pluto's Blue Note (1947)

191. Pluto's House Warming (1947)

192. Rescue Dog (1947)

193. Sleepy Time Donald (1947)

194. Straight Shooters (1947)

195. Wide Open Spaces (1947)

196. Bath Day (1946)

197. Casey at the Bat (1946)

198. Donald's Double Trouble (1946)

199. Double Dribble (1946)

200. Dumbbell of the Yukon (1946)

201. Frank Duck Brings 'em Back Alive (1946)

202. In Dutch (1946)

203. Johnny Fedora and Alice Blue Bonnet (1946)

204. Knight for a Day, A (1946)

205. Lighthouse Keeping (1946)

206. Make Mine Music (1946)

207. Martins and the Coys, The (1946)

208. Peter and the Wolf (1946)

209. Pluto's Kid Brother (1946)

210. Song of the South (1946)

211. Squatter's Rights (1946)

212. Wet Paint (1946)

213. Willie the Operatic Whale (1946)

214. African Diary (1945)

215. Californy 'er Bust (1945)

216. Canine Casanova (1945)

217. Canine Patrol (1945)

218. Clock Watcher, The (1945)

219. Contrary Condor (1945)

220. Cured Duck (1945)

221. Dog Watch (1945)

222. Donald's Crime (1945)

223. Duck Pimples (1945)

224. Eyes Have It, The (1945)

225. Flying Gauchito, The (1945)

226. Hockey Homicide (1945)

227. Legend of Coyote Rock, The (1945)

228. No Sail (1945)

229. Old Sequoia (1945)

230. Purloined Pup, The (1945)

231. Tiger Trouble (1945)

232. Commando Duck (1944)

233. Donald Duck and the Gorilla (1944)

234. Donald's Off Day (1944)

235. First Aiders (1944)

236. How to Be a Sailor (1944)

237. How to Play Football (1944)

238. How to Play Golf (1944)

239. Pelican and the Snipe, The (1944)

240. Plastics Inventor, The (1944)

241. Springtime for Pluto (1944)

242. Trombone Trouble (1944)

243. Chicken Little (1943)

244. Der Fuehrer's Face (1943)

... aka Donald Duck in Nutzi Land (1943) (working title)

245. Donald's Tire Trouble (1943)

246. Education for Death (1943)

247. Fall Out-Fall in (1943)

248. Figaro and Cleo (1943)

249. Flying Jalopy (1943)

250. Gaucho Goofy, El (1943)

Producer Filmography, Continued

251. Home Defense (1943)
252. Lake Titicaca (1943)
253. Old Army Game, The (1943)
254. Pedro (1943)
255. Pluto and the Armadillo (1943)
256. Private Pluto (1943)
257. Reason and Emotion (1943)
258. Saludos Amigos (1943)
259. Victory Vehicles (1943)
260. Aquarela do Brasil (1942)
261. Army Mascot, The (1942)
262. Bambi (1942)
263. Bellboy Donald (1942)
264. Donald Gets Drafted (1942)
265. Donald's Garden (1942)
266. Donald's Goldmine (1942)
267. Donald's Snow Fight (1942)
268. How to Fish (1942)
269. How to Play Baseball (1942)
270. How to Swim (1942)
271. Mickey's Birthday Party (1942)
272. Olympic Champ, The (1942)
273. Pluto at the Zoo (1942)
274. Pluto, Junior (1942)
275. Sky Trooper (1942)
276. Sleepwalker, The (1942)
277. Symphony Hour (1942)
278. T-Bone for Two (1942)
279. Vanishing Private, The (1942)
280. Village Smithy, The (1942)
281. Art of Self Defense, The (1941)
282. Art of Skiing, The (1941)
283. Baggage Buster (1941)
284. Canine Caddy (1941)
285. Chef Donald (1941)
286. Donald's Camera (1941)
287. Dumbo (1941)
288. Early to Bed (1941)
289. Gentleman's Gentleman, A (1941)
290. Golden Eggs, The (1941)
291. Good Time for a Dime, A (1941)
292. Lend a Paw (1941)
293. Little Whirlwind, The (1941)
294. Nifty Nineties, The (1941)
295. Old MacDonald Duck (1941)
296. Orphan's Benefit (1941)
297. Pluto's Playmate (1941)
298. Timber (1941)
299. Truant Officer Donald (1941)
300. Bill Posters (1940)
301. Bone Trouble (1940)
302. Donald's Dog Laundry (1940)
303. Donald's Vacation (1940)
304. Fantasia (1940)
305. Fire Chief, The (1940)
306. Goofy's Glider (1940)
307. Mr. Duck Steps Out (1940)
308. Mr. Mouse Takes a Trip (1940)
309. Pantry Pirate (1940)
310. Pinocchio (1940)
311. Pluto's Dream House (1940)
312. Put-Put Troubles (1940)
313. Riveter, The (1940)
314. Tugboat Mickey (1940)
315. Window Cleaners (1940)
316. Autograph Hound, The (1939)
317. Beach Picnic (1939)
318. Donald's Cousin Gus (1939)
319. Donald's Lucky Day (1939)
320. Donald's Penguin (1939)
321. Goofy and Wilbur (1939)
322. Hockey Champ, The (1939)
323. Officer Duck (1939)
324. Pointer, The (1939)
325. Practical Pig, The (1939)
326. Sea Scouts (1939)
327. Society Dog Show (1939)
328. Ugly Duckling, The (1939)
329. Boat Builders (1938)
330. Brave Little Tailor, The (1938)
331. Donald's Better Self (1938)
332. Donald's Golf Game (1938)
333. Donald's Nephews (1938)
334. Farmyard Symphony (1938)
335. Ferdinand the Bull (1938)
336. Fox Hunt, The (1938)
337. Good Scouts (1938)
338. Merbabies (1938)
339. Mickey's Parrot (1938)
340. Mickey's Trailer (1938)
341. Moth and the Flame, The (1938)
342. Mother Goose Goes Hollywood (1938)
343. Polar Trappers (1938)
344. Self Control (1938)
345. Whalers, The (1938)
346. Wynken, Blynken and Nod (1938)
347. Clock Cleaners (1937)
348. Don Donald (1937)
349. Donald's Ostrich (1937)
350. Hawaiian Holiday (1937)
351. Little Hiawatha (1937)
352. Lonesome Ghosts (1937)
353. Magician Mickey (1937)
354. Mickey's Amateurs (1937)
355. Modern Inventions (1937)
356. Moose Hunters (1937)
357. Old Mill, The (1937)
358. Pluto's Quin-puplets (1937)
359. Snow White and the Seven Dwarfs (1937)
360. Woodland Cafe (1937)
361. Worm Turns, The (1937)
362. Alpine Climbers (1936)
363. Country Cousin, The (1936)
364. Donald and Pluto (1936)
365. Elmer Elephant (1936)
366. Mickey's Circus (1936)
367. Mickey's Elephant (1936)
368. Mickey's Grand Opera (1936)
369. Mickey's Polo Team (1936)
370. Mickey's Rival (1936)
Producer Filmography, Continued
371. More Kittens (1936)
372. Mother Pluto (1936)
373. Moving Day (1936)
374. Orphan's Picnic (1936)
375. Three Blind Mousketeers (1936)
376. Three Little Wolves (1936)
377. Thru the Mirror (1936)
378. Toby Tortoise Returns (1936)
379. Band Concert, The (1935)
380. Broken Toys (1935)
381. Cock o' the Walk (1935)
382. Cookie Carnival, The (1935)
383. Golden Touch, The (1935)
384. Mickey's Fire Brigade (1935)
385. Mickey's Garden (1935)
386. Mickey's Kangaroo (1935)
387. Mickey's Man Friday (1935)
388. Mickey's Service Station (1935)
389. Music Land (1935)
390. On Ice (1935)
391. Pluto's Judgement Day (1935)
392. Robber Kitten, The (1935)
393. Three Orphan Kittens (1935)
394. Tortoise and the Hare, The (1935)
395. Water Babies (1935)
396. Who Killed Cock Robin? (1935)
397. Big Bad Wolf, The (1934)
398. Camping Out (1934)
399. China Shop, The (1934)
400. Dognapper, The (1934)
401. Flying Mouse, The (1934)
402. Funny Little Bunnies (1934)
403. Goddess of Spring, The (1934)
404. Grasshopper and the Ants, The (1934)
405. Gulliver Mickey (1934)
406. Mickey Plays Papa (1934)
407. Mickey's Steamroller (1934)
408. Orphan's Benefit (1934)
409. Peculiar Penguins (1934)
410. Playful Pluto (1934)
411. Shanghaied (1934)
412. Two-Gun Mickey (1934)
413. Wise Little Hen, The (1934)
414. Birds in the Spring (1933)
415. Building a Building (1933)
416. Father Noah's Ark (1933)
417. Giantland (1933)
418. Lullaby Land (1933)
419. Mad Doctor, The (1933)
420. Mail Pilot, The (1933)
421. Mickey's Gala Premiere (1933)
422. Mickey's Mechanical Man (1933)
423. Mickey's Mellerdrammer (1933)
424. Mickey's Pal Pluto (1933)
425. Night Before Christmas, The (1933)
426. Old King Cole (1933)
427. Pet Store, The (1933)
428. Pied Piper, The (1933)
429. Puppy Love (1933)
430. Steeple-Chase, The (1933)
431. Three Little Pigs, The (1933)
432. Ye Olden Days (1933)
433. Babes in the Woods (1932)
434. Barnyard Olympics (1932)
435. Bears and the Bees, The (1932)
436. Bird Store, The (1932)
437. Bugs in Love (1932)
438. Duck Hunt, The (1932)
439. Flowers and Trees (1932)
440. Grocery Boy, The (1932)
441. Just Dogs (1932)
442. King Neptune (1932)
443. Klondike Kid, The (1932)
444. Mad Dog, The (1932)
445. Mickey in Arabia (1932)
446. Mickey's Good Deed (1932)
447. Mickey's Nightmare (1932)
448. Mickey's Revue (1932)
449. Musical Farmer (1932)
450. Santa's Workshop (1932)
451. Touchdown Mickey (1932)
452. Trader Mickey (1932)
453. Wayward Canary, The (1932)
454. Whoopee Party, The (1932)
455. Barnyard Broadcast, The (1931)
456. Beach Party, The (1931)
457. Birds of a Feather (1931)
458. Birthday Party, The (1931)
459. Blue Rhythm (1931)
460. Busy Beavers, The (1931)
461. Castaway, The (1931)
462. Cat's Out, The (1931)
463. China Plate, The (1931)
464. Clock Store, The (1931)
465. Delivery Boy, The (1931)
466. Egyptian Melodies (1931)
467. Fishin' Around (1931)
468. Fox Hunt, The (1931)
469. Mickey Cuts Up (1931)
470. Mickey Steps Out (1931)
471. Mickey's Orphans (1931)
472. Moose Hunt, The (1931)
473. Mother Goose Melodies (1931)
474. Spider and the Fly, The (1931)
475. Traffic Troubles (1931)
476. Ugly Duckling, The (1931)
477. Arctic Antics (1930)
478. Autumn (1930)
479. Barnyard Concert, The (1930)
480. Cactus Kid, The (1930)
481. Cannibal Capers (1930)
482. Chain Gang, The (1930)
483. Fire Fighters, The (1930)
484. Frolicking Fish (1930)
485. Gorilla Mystery (1930)
486. Just Mickey (1930)
487. Midnite in a Toyshop (1930)
488. Monkey Melodies (1930)
489. Night (1930)
490. Picnic, The (1930)
491. Pioneer Days (1930)
492. Playful Pan (1930)
493. Shindig, The (1930)
494. Summer (1930)
495. Winter (1930)
496. Barnyard Battle, The (1929)
497. Haunted House, The (1929)
498. Hell's Bells (1929)
499. Jazz Fool, The (1929)
500. Jungle Rhythm (1929)
501. Karnival Kid, The (1929)
502. Merry Dwarfs, The (1929)
503. Mickey's Choo-Choo (1929)
504. Mickey's Follies (1929)
505. Opry House, The (1929)
506. Plow Boy, The (1929)
507. Skeleton Dance, The (1929)
508. Springtime (1929)
509. Terrible Toreador, El (1929)
510. When the Cat's Away (1929)
511. Wild Waves (1929)
512. Barn Dance, The (1928)
513. Gallopin' Gaucho (1928)
514. Plane Crazy (1928)
515. Steamboat Willie (1928)
516. Alice at the Carnival (1927)
517. Alice at the Rodeo (1927)
518. Alice Foils the Pirates (1927)
519. Alice in the Alps (1927)
520. Alice in the Big League (1927)
521. Alice in the Klondike (1927)
522. Alice the Beach Nut (1927)
523. Alice the Collegiate (1927)
524. Alice the Golf Bug (1927)
525. Alice the Whaler (1927)
526. Alice's Auto Race (1927)
527. Alice's Channel Swim (1927)
528. Alice's Circus Daze (1927)
529. Alice's Knaughty Knight (1927)
530. Alice's Medicine Show (1927)
531. Alice's Picnic (1927)
532. Alice's Three Bad Eggs (1927)
533. Alice Charms the Fish (1926)
534. Alice Cuts the Ice (1926)
535. Alice Helps the Romance (1926)
536. Alice in Slumberland (1926)
537. Alice in the Wooly West (1926)
538. Alice Rattled by Rats (1926)
539. Alice the Fire Fighter (1926)
540. Alice the Lumberjack (1926)
541. Alice's Balloon Race (1926)
542. Alice's Brown Derby (1926)
543. Alice's Little Parade (1926)
544. Alice's Monkey Business (1926)
545. Alice's Mysterious Mystery (1926)
546. Alice's Ornery Orphan (1926)
547. Alice's Spanish Guitar (1926)
548. Alice Cans the Cannibals (1925)
549. Alice Gets Stung (1925)
550. Alice Is Stage Struck (1925)
551. Alice Loses Out (1925)
552. Alice Picks the Champ (1925)
553. Alice Plays Cupid (1925)
554. Alice Solves the Puzzle (1925)
555. Alice the Toreador (1925)
556. Alice Wins the Derby (1925)
557. Alice's Eggplant (1925)
558. Alice's Tin Pony (1925)
559. Alice and the Dog Catcher (1924)
560. Alice and the Three Bears (1924)
561. Alice Gets in Dutch (1924)
562. Alice Hunting in Africa (1924)
563. Alice Plays the Piper (1924)
564. Alice the Peacemaker (1924)
565. Alice's Day at the Sea (1924)
566. Alice's Fishy Story (1924)
567. Alice's Spooky Adventure (1924)
568. Alice's Wild West Show (1924)
569. Alice's Wonderland (1923)
570. Aschenputtel (1922)
... aka Cinderella (1922)
571. Four Musicians of Bremen, The (1922)
572. Goldilocks and the Three Bears (1922)
573. Jack and the Beanstalk (1922)
574. Little Red Riding Hood (1922)
575. Puss in Boots (1922)
576. Tommy Tucker's Tooth (1922)
Director Filmography
1. Snow White and the Seven Dwarfs (1937)
2. Golden Touch, The (1935)
3. Barnyard Concert, The (1930)
4. Cactus Kid, The (1930)
5. Just Mickey (1930)
6. Night (1930)
7. Barnyard Battle, The (1929)
8. Haunted House, The (1929)
9. Jazz Fool, The (1929)
10. Jungle Rhythm (1929)
11. Karnival Kid, The (1929)
12. Merry Dwarfs, The (1929)
13. Mickey's Choo-Choo (1929)
14. Opry House, The (1929)
15. Plow Boy, The (1929)
16. Skeleton Dance, The (1929)
17. Terrible Toreador, El (1929)
18. When the Cat's Away (1929)
19. Africa Before Dark (1928)
20. Barn Dance, The (1928)
21. Bright Lights (1928)
22. Fox Chase, The (1928)
23. Hot Dog (1928)
24. Hungry Hoboes (1928)
25. Oh What a Knight (1928)
26. Ole Swimmin' Hole, The (1928)
27. Ozzie of the Mounted (1928)
28. Poor Papa (1928)
29. Ride 'Em Plowboy (1928)
30. Rival Romeos (1928)
31. Sagebrush Sadie (1928)
32. Sky Scrappers (1928)
33. Sleigh Bells (1928)
34. Steamboat Willie (1928)
35. Tall Timber (1928)
36. Alice at the Carnival (1927)
37. Alice at the Rodeo (1927)
38. Alice Foils the Pirates (1927)
39. Alice in the Alps (1927)
40. Alice in the Big League (1927)
41. Alice in the Klondike (1927)
42. Alice the Beach Nut (1927)
43. Alice the Collegiate (1927)
44. Alice the Golf Bug (1927)
45. Alice the Whaler (1927)
46. Alice's Auto Race (1927)
47. Alice's Channel Swim (1927)
48. Alice's Circus Daze (1927)
49. Alice's Knaughty Knight (1927)
50. Alice's Medicine Show (1927)
51. Alice's Picnic (1927)
52. Alice's Three Bad Eggs (1927)
53. All Wet (1927)
54. Banker's Daughter, The (1927)
55. Empty Socks (1927)
56. Great Guns (1927)
57. Harem Scarem (1927)
58. Mechanical Cow, The (1927)
59. Neck 'n' Neck (1927)
60. Ocean Hop, The (1927)
61. Oh Teacher (1927)
62. Rickety Gin (1927)
63. Trolley Troubles (1927)
64. Alice Charms the Fish (1926)
65. Alice Cuts the Ice (1926)
66. Alice Helps the Romance (1926)
67. Alice in Slumberland (1926)
68. Alice in the Wooly West (1926)
69. Alice on the Farm (1926)
70. Alice Rattled by Rats (1926)
71. Alice the Fire Fighter (1926)
72. Alice the Lumberjack (1926)
73. Alice's Balloon Race (1926)
74. Alice's Brown Derby (1926)
75. Alice's Little Parade (1926)
76. Alice's Monkey Business (1926)
77. Alice's Mysterious Mystery (1926)
78. Alice's Ornery Orphan (1926)
79. Alice's Spanish Guitar (1926)
80. Alice Cans the Cannibals (1925)
81. Alice Chops the Suey (1925)
82. Alice Gets Stung (1925)
83. Alice in the Jungle (1925)
84. Alice Is Stage Struck (1925)
85. Alice Loses Out (1925)
86. Alice Picks the Champ (1925)
87. Alice Plays Cupid (1925)
88. Alice Solves the Puzzle (1925)
89. Alice the Jail Bird (1925)
90. Alice the Toreador (1925)
91. Alice Wins the Derby (1925)
92. Alice's Eggplant (1925)
93. Alice's Tin Pony (1925)
94. Alice and the Dog Catcher (1924)
95. Alice and the Three Bears (1924)
96. Alice Gets in Dutch (1924)
97. Alice Hunting in Africa (1924)
98. Alice Plays the Piper (1924)
99. Alice the Peacemaker (1924)
100. Alice's Day at the Sea (1924)
101. Alice's Fishy Story (1924)
102. Alice's Spooky Adventure (1924)
103. Alice's Wild West Show (1924)
104. Alice's Wonderland (1923)
105. Aschenputtel (1922)
... aka Cinderella (1922)
106. Four Musicians of Bremen, The (1922)
107. Goldilocks and the Three Bears (1922)
108. Jack and the Beanstalk (1922)
109. Little Red Riding Hood (1922)
110. Puss in Boots (1922)
111. Tommy Tucker's Tooth (1922)

Actor Filmography
1. Walt Disney Story, The (1973)
2. "Disneyland" (1954) TV Series .... Host (1954-1966)
... aka "Disney's Wonderful World" (1954)
... aka "Walt Disney Presents" (1954)
... aka "Walt Disney" (1954)
... aka "Walt Disney's Wonderful World of Color" (1954)
... aka "Wonderful World of Disney, The" (1954)
3. Saludos Amigos (1943) .... Himself
4. Show Business at War (1943) .... Himself
... aka March of Time Volume IX, Issue 10, The (1943)
5. Reluctant Dragon, The (1941) .... Himself
... aka Behind the Scenes at Walt Disney Studio (1941)
6. Fantasia (1940) (voice) .... Mickey Mouse
7. Gallopin' Gaucho (1928) (voice) .... Mickey Mouse
8. Plane Crazy (1928) (voice) .... Mickey Mouse
9. Steamboat Willie (1928) (voice) .... Minnie Mouse

Writer Filmography
1. Lt. Robin Crusoe, U.S.N. (1966) (Story)
(In credits, appeared as Retlaw Elias Yensid, Walter Disney, backwards)

http://www.justdisney.com/walt_disney/filmography/filmography01.html

Walt Disney. Disney, Walt (5 Dec. 1901-15 Dec. 1966), animator and motion
Courtesy of the Library of Congress (LC-USZ62-  
114742). picture producer, was born Walter Elias Disney in Chicago,
Illinois, the son of Elias Disney, a building contractor, and Flora Call, a teacher. After a childhood
near Marceline and in Kansas City, Missouri, Disney studied at the Chicago Institute of Art in the
evening while attending McKinley High School during the day. In 1918 he enlisted in the American
Ambulance Corps, serving in France and returning to employment as an artist at the Pesmen-Rubin
Commercial Art Studio, where he befriended artist Ub Iwerks. After learning the rudiments of
animation at a subsequent job at the Kansas City Film Ad Service, Disney began to produce his own
animated films. In 1922 he formed Laugh-O-Gram Films. He was soon joined by Iwerks and a staff,
including Hugh Harman and Rudolf Ising, to produce theatrical and sponsored films.
In 1923 Disney relocated to Los Angeles and incorporated the Disney Bros. Studio in partnership
with his brother Roy. The signing of a contract with distributor Margaret Winkler to produce the
"Alice Comedies," which combined live action and animation in emulation of the successful
Fleischer "Out of the Inkwell" series, gave his product national distribution. Marriage in 1925 to
Lillian Bounds of the studio's ink and paint department followed. The union would produce two
daughters. Disney's distributor in 1927 arranged for the "Oswald the Lucky Rabbit" series of
cartoons to be distributed through Universal, which gave Disney films regular access to theaters and
introduced the filmmaker to the benefits of product licensing through the merchandising of "Oswald
the Lucky Rabbit" chocolate bars. Disagreements with Charles Mintz (husband of Margaret
Winkler) resulted in Mintz hiring away many of Disney's animators in order to force Disney to
work directly for him, rather than as an independent contractor. Outraged, Disney broke with Mintz.
While the artists now under contract with Mintz completed the last of Disney's Oswald films, Ub
Iwerks worked in seclusion animating Plane Crazy, the first of a projected series starring Disney's
new character, Mickey Mouse. Gallopin' Gaucho, the second of the series, was begun, but no
distributor could be found. Looking for some way to differentiate his new Mickey Mouse cartoons
from the silent Oswald series, Disney made an agreement with former Universal executive Pat
Powers to animate cartoons using the Powers' Cinephone sound process. The result was Steamboat
Willie (1928). Earlier sound animated films made by competitors Max Fleischer and Paul Terry
enjoyed limited success, but the coupling of synchronized sound with the engaging new character
made Steamboat Willie a sensation.
At the suggestion of his musical director Carl Stalling, Disney inaugurated the "Silly Symphony"
series with Skeleton Dance (1929). While the character-based "Mickey Mouse" films used music as
an accompaniment to the action, the "Silly Symphonies" created stories through the use of music.
Skeleton Dance was animated completely by Ub Iwerks. Since production costs were rising faster
than returns, Disney pressured his distributor for more money and urged Iwerks to abandon the
practice of animating straight through in favor of the more efficient technique of drawing key poses
and letting lower-paid assistants sketch the in-between poses. In 1930 the disgruntled Iwerks
accepted Powers's offer to set up a rival company, Celebrity Productions. Carl Stalling resigned
shortly after.
In contrast with the previous debacle with Mintz, Disney now owned the copyright to his
characters, and the popularity of Mickey Mouse ensured a quick transition of distribution to
Columbia. Prior to Iwerks's and Stallings's departures, Disney had been hiring experienced
animators from New York that were to include Bert Gillett, David Hand, Dick Huemer, Ben
Sharpsteen, and Grim Natwick. He also began training local talent such as Eric Larson, Wolfgang
Reitherman, Les Clark, Milt Kahl, Ward Kimball, Marc Davis, Ollie Johnston, Frank Thomas, and
John Lounsbery (later known as the "Nine Old Men"). A more significant move was to expand his
economic base, hiring Herman "Kay" Kamen in the United States and William Banks Levy in the
United Kingdom to act as merchandising agents. Licensing fees added substantially to studio
revenue, as did the introduction of Iwerks's Mickey Mouse comic strips, continued after Iwerks's
departure by Win Smith and then Floyd Gottfredson. Mickey Mouse Clubs, which promoted Disney
films and products, reached a peak membership by 1932 larger than the Boy Scouts of America and
the Girl Scouts combined.
The decline in popularity of Mickey Mouse in the mid-1930s was compensated by the introduction
of other characters such as Donald Duck, Pluto, and Goofy. With a stable financial base, Disney
sought expensive refinements to animation technique, introducing the "pencil test" (in which the
animator's original pencil drawings are photographed sequentially on motion picture film and
projected in order to test the action) to check work in progress. Story development became an
elaborate process, closely monitored by Disney himself. Through the establishment of links to the
Chouinard School of Art and in-house training sessions led by Don Graham, the studio developed
an unrivaled degree of expressive virtuosity. Disney was hailed by critics as creating an American
art form exhibiting "that same delicate balance between fantasy and fact, poetry and comic reality,
which is the nature of all folklore. In Disney's studio . . . by a system as truly of the machine age as
Henry Ford's plant at Dearborn, true art is produced" ("The Big Bad Wolf," Fortune, 5 Nov. 1934,
p. 88). Disney's moral homilies set in rural or small-town surroundings, like The Three Little Pigs
(1933), The Wise Little Hen (1934), and The Band Concert (1935), were seen as embodying
peculiarly American values by contemporary critics. In contrast to the earlier "cartoony," gag-
oriented, and often risqué films made by his New York competitors, Disney's films were patterned
after Hollywood live-action films, with linear narratives, mimetic design, and, as Disney put it, "not
an obvious moral, but a worth-while theme" (quoted in Douglas W. Churchill, "Disney's
'Philosophy,' " New York Times Magazine, 6 Mar. 1938, p. 9).
A believer in technological progress, Disney was quick to embrace innovations, producing the first
cartoon using the three-color Technicolor process (Flowers and Trees, 1932) and assigning camera
department head William Garity to develop the multiplane camera, which allowed the use of three-
dimensional effects beginning with The Old Mill (1937). Increasing costs of the films were met by
more lucrative distribution contracts with United Artists and then Radio Keith-Orpheum. Disney's
banker, Joseph Rosenberg, authorized loans from the Bank of America that underwrote the
application of new skills and technology to Snow White and the Seven Dwarfs (1937), which was
the first animated feature film with sound and color.
Income resulting from Snow White and the Seven Dwarfs ($4.2 million from the initial release in
the United States and Canada alone) allowed Disney to build a state-of-the-art studio in Burbank,
California, as he proceeded with the even more elaborate Pinocchio (1940); Fantasia (1940), which
had the first stereophonic sound track; and Bambi (1942). The wartime loss of foreign markets and
the declining critical reaction to his increasingly ambitious projects led to the company's first public
stock offering in 1940 and to retrenchment during the war period with modest productions like The
Reluctant Dragon (1941) and Dumbo (1941). To ensure the success of his films, Disney became an
early user of George Gallup's audience research from the pre- to postproduction stages of his films'
development.
In the aftermath of a 1941 strike, talents such as Art Babbitt, Vladimir Tytla, David Hilberman,
Zachary Schwartz, and John Hubley defected to other studios, while Virgil Partch and Walt Kelly
left animation altogether. After the war, Disney appeared as a friendly witness before the House
Committee on Un-American Activities to name strike leaders as communists. During the strike,
following a request by John Hay "Jock" Whitney, director of the Motion Picture Section of Nelson
Rockefeller's Office of the Coordinator of Inter-American Affairs, Disney went on a goodwill tour
of South America to develop markets to replace those lost in Europe and Asia during wartime
hostilities. This led to projects aimed at the Latin American markets, such as Saludos Amigos!
(1943) and Three Caballeros (1945). Production of government propaganda and training films
contributed to the war effort and kept the studio afloat financially. Disney self-financed Victory
through Air Power (1943), based on the book by aviation advocate Alexander de Seversky. Winston
Churchill arranged for Franklin Roosevelt to see the film at the Quebec Conference in 1943.
Roosevelt's subsequent order that Victory through Air Power be shown to the Joint Chiefs of Staff
may have influenced air strategy.
The war's end saw a declining market for short films with greater competition from animation units
at Warner Bros. and M-G-M. As animation became increasingly expensive in relation to live action,
Disney scaled down production of unprofitable shorts. At Roy Disney's urging, the company
increased live-action production in films like Make Mine Music (1946), Song of the South (1946),
Melody Time (1948), and So Dear to My Heart (1949). The release of the all-animated feature
Cinderella (1950) was followed by the studio's first entirely live-action feature, Treasure Island
(1950), which began a string of live-action adventures, including The Sword and the Rose (1953)
and Twenty-thousand Leagues under the Sea (1954). A documentary series of "True-Life
Adventure" films began with Seal Island (1949). Other forms of product diversification included
film projects for Firestone and General Motors.
On Christmas Day 1950 NBC broadcast Disney's foray into television--a special on the making of
Alice in Wonderland (1951) called One Hour in Wonderland, which Roy Disney credited with
adding millions to the box office for the film, stating his belief that "television can be a most
powerful selling aid for us, as well as a source of revenue. It will probably be on this premise that
we enter television when we do" ("Interim Letter to Shareholders," 31 Mar. 1951).
Disney's entry into television synchronized his activities with those of his business allies. Disney's
company acquired a 34 percent interest in Disneyland, Inc., which was to develop an amusement
park in Anaheim, California. Plans for the park were commissioned in 1952, and it opened in 1955.
The other principal stockholders (later bought out) were American Broadcasting-Paramount
Theatres, Inc.; Western Printing and Lithographing Company; and Walt Disney himself. ABC's
financing of Disneyland was contingent upon the Disney production of a weekly "Disneyland"
series for the network, which marked an unprecedented commitment by a major Hollywood movie
studio to television production. It became ABC's first hit series. Western Printing had held exclusive
rights to reproduce Walt Disney's characters for juvenile books, coloring books, and comics since
1932. Disneyland, Walt Disney Productions, the "Disneyland" show on television, and publications
based on the films, shows, and theme park would all promote one another. Interlocking business
relationships among these leisure industries created interlocking systems of promotion. The
Disneyland park and television series became the linchpin of these systems.
Disney developed similar relationships among his ventures and those of the U.S. government and
major corporations. Monsanto, Atlantic Richfield, TWA, Douglas Aircraft, American Motors, Pepsi-
Cola, and other companies became sponsors of rides or exhibits at Disneyland. As part of the
"Atoms for Peace" program, the U.S. Navy and General Dynamics participated in the construction
of an "atomic submarine" ride at Disneyland, as well as in the production of the "Disneyland"
telefilm Our Friend the Atom (1957), which promoted the use of atomic energy. Government
scientists such as Willy Ley and Wernher von Braun cooperated in telefilms publicizing government
rocketry programs, such as Man in Space (1956) and Mars and Beyond (1957), as well as with the
design of the "Trip to the Moon" ride at Disneyland.
For the State Department during the Cold War, Disneyland became a convenient simulacrum of
America. One official observed that there really was no reason for showing foreign dignitaries
anything but Disneyland--everything was right there. Disney was also a consultant to the American
Exhibition in Moscow and the Brussels World's Fair, where the American pavilion featured Disney's
360-degree film in its Circarama theater. For the New York World's Fair, Disney technicians
designed the Ford, General Electric, and Pepsi-Cola/UNICEF "It's a Small World" exhibits, as well
as developing the mechanized "Audio-Animatronics" system of presidential effigies used in the
Hall of Presidents. Disney was also active in the field of education, being instrumental in the
establishment in 1961 of the California Institute of the Arts, to which he was to leave almost half his
estate.
Disney's other ventures for ABC included "The Mickey Mouse Club" (1955-1959) and "Zorro"
(1957-1959). These and such "Disneyland" broadcasts as the Davy Crockett series led to a bonanza
from the licensing of such products as Mickey Mouse Club hats, Zorro swords and capes, and Davy
Crockett coonskin caps. Through careful market positioning of his product amid those of major film
corporations, Disney focused on family entertainment. Live-action films took historical and often
patriotic subjects in Johnny Tremain (1957), Old Yeller (1957), Tonka (1958), The Swiss Family
Robinson (1960), and Polyanna (1960). The Shaggy Dog (1959) began a series of low-budget
comedies such as The Absent Minded Professor (1961) and Son of Flubber (1963) that became
mainstays of the company's production. Popular fantasies like Darby O'Gill and the Little People
(1959) and Babes in Toyland (1961) led to the blockbuster Mary Poppins (1964). Animation
continued in Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), One Hundred
and One Dalmatians (1961), The Sword in the Stone (1963), Winnie the Pooh and the Honey Tree
(1966), and The Jungle Book (1967).
In 1961 Disney changed his broadcasting alliance from ABC to NBC with "Walt Disney's
Wonderful World of Color" and the less successful "Disneyland after Dark" series. With more than
one-third of corporate income coming from the leisure park, Disney began development of the
Mineral King resort. Stalled by ecological concerns, Disney initiated a new theme park near
Orlando, Florida, in 1964. The project was awarded municipality rights by the Florida legislature,
giving it unprecedented powers for a corporation. This Disney World park was to be built in
conjunction with the Experimental Prototype Community of Tomorrow (EPCOT). In Disney's
words, EPCOT was to be "a controlled community, a showcase for American industry and research,
schools, cultural and educational opportunities" (quoted in Holliss and Sibley, p. 87). While Roy
Disney was to supervise the completion of Walt Disney World, which opened in 1971, final
realization of the EPCOT project after Walt Disney's death in Burbank, California, of acute
circulatory collapse following lung cancer bore little resemblance to the original vision.
Years after his death, Walt Disney retains a centrality in American culture granted to few twentieth-
century figures, "because of the manner in which his work in film and television is connected to
other projects in urban planning, ecological politics, product merchandising, United States domestic
and global policy formation, technological innovation, and constructions of national character"
(Eric Smoodin, ed., "Introduction: How to Read Walt Disney," Disney Discourse: Producing the
Magic Kingdom [1994], pp. 4-5). Assessments are deeply divided. Earlier evaluations of Disney
hailed him as a patriot, folk artist, and popularizer of culture. More recently, Disney has been
regarded as a paradigm of American imperialism and intolerance, as well as a debaser of culture.
Publications on Disney, ranging from company-sponsored hagiographies to fanciful exposés, are
numerous enough to be categorized as an industry of their own. Disney remains the central figure in
the history of animation. Through technological innovations and alliances with governments and
corporations, he transformed a minor studio in a marginal form of communication into a
multinational leisure industry giant. Despite his critics, his vision of a modern, corporate utopia as
an extension of traditional American values has possibly gained greater currency in the years after
his death.
  http://www.anb.org/articles/18/18-00309.html

Biographical Sketch of Walt Disney

Creator of Mickey Mouse and the Silly Symphony Cartoons
Released by R.K.O., c.1937

Walt Disney's valiant and Lilliputian Mickey Mouse is much more real to children, not only in
America, but in every country in which his films are distributed, then Santa Claus or the Easter
Bunny. Unlike those symbolical childhood characters even sophisticated grown-ups believe
solemnly in Mickey and his devoted sweetheart, Minnie. The Disney Silly Symphonies, those
lovely colored bits of fantasy and whimsy, are America's finest contribution to the world's folklore.
Legend has been made to walk and talk.
But of the young man Walt Disney who created them, little has ever been known or written - due
mostly to his innate modesty, and to the fact that his work, the accomplishment of a dream, still
interests him far more than the fame which has come to him because of it. It is time Walt Disney
were made to walk and talk. Perhaps this story may bring you closer to him.
He was born in the city of Chicago, Illinois, on December 5th, 1901. He probably looked a little like
Mickey Mouse at the time, since most new babies do. He real name is Walt Disney; his father was
Elias Disney, an Irish-Canadian, and his mother, Flora Call Disney, is of German-American descent.
He has three brothers and one sister.
Elias Disney was a contractor and builder in Chicago for twenty years; later the Disneys moved to a
farm near Marceline, Missouri, where Walt attended a little country school and probably carried his
lunch in a red lard pail. Later he went to the Benton Grammar School in Kansas City. He
remembers being on the track team but he was too busy to be especially active in athletics. At the
age of nine, he tackled his first business venture which was not unlike the financial debut of many
young Americans. He had a paper route.
It was not always comfortable work,. He had to get up at 3:30 every morning, and deliver papers till
6:00. Then he hurried home for breakfast and went off to school. Every evening after school he
made the same route.
"No," he recalls with a boyish smile, "that's not quite right. I missed a total of one month during
those six years, on account of illness. I was pretty proud of my record, though."
It was always pitch dark when he started out on winter mornings, and often bitter cold. Sometimes
he plowed his way through several feet of freshly fallen snow, breaking his own path in those early
hours. Occasionally, when he reached the warm hall of an apartment house, he would lie down for a
short snooze - waking to find it was daylight. Then he'd have to run the rest of the way so that he
could deliver all his papers and not be late for school.
Business interfered a great deal with his pleasure at this time; still he managed to be a member of
the "gang," build a few caves, join a couple of secret societies, the aims and aspirations of which are
still a secret even to its members, and take part in a few shows.
He was always interested in the stage, and Charlie Chaplin was his idol. On amateur nights in
neighborhood theatres he often did impersonations of the great silent comedian, for which he
sometimes won prizes of as much as two dollars! He was not alone in his stage ambitions; his
chum, a boy named Walt Pfeiffer, and he got up a vaudeville skit. Pfeiffer pere coached them, and
the boy's sister played the piano for their songs. Their billing read "The Two Walts." and they won
prizes in several local theatres.
Later on, in Chicago, finding another dramatic aspirant, Walt Tried to go into vaudeville with a
"Dutch comedian" act. The act got, as he calls it, the hook - and his stage career ended. But he never
entirely got over his early passion for disguises and sleight-of-hand tricks, and even now will
attempt the latter occasionally unless watched carefully.
But the thing he always liked to do best, as far back as he can remember, was drawing. He doesn't
know why; nobody else in the Disney family is at all artistically inclined. The other boys are all
business men, including his brother Roy who handles all of the studio's business affairs. His were
not the type of parents who doted on "showing off" their children's talents. He got no particular
inspiration from them or from his brother or sister, but could always count on sympathetic interest
and encouragement. His favorite aunt supplied him with pencils and drawing tablets, he recalls; and
a very dear old neighbor, a retired doctor, often "bought" his drawings with little presents.
"I remember one time especially," he says, laughing. "I guess I was about seven. The doctor had a
very fine stallion which he asked me to sketch. He held the animal while I worked with my home-
made easel and materials. The result was pretty terrible - but both the doctor and his wife praised
the drawing highly, to my great delight."
At high school, McKinley High School in Chicago, Walt divided his attention between drawing and
photography, doing illustration for the school paper and taking his first motion pictures with a
camera and projector he had bought. Motion photography was to interest him more and more; it is
his long interest in both mediums which has led to their happy combination in his pictures. Not
content with school all day, he also went to night school at the Academy of Fine Arts, where he
studied cartoon under Leroy Gossitt, a member of the old Chicago Herald staff.
His first real job was when in 1917, at the age of fifteen, school was over, he became what is known
as a "news butcher." With peanuts, candy, magazines, apples, he supplied the strange wants of
people riding on trains between Kansas City and Chicago. Any boy of his age would have loved
such a job. He liked traveling; he liked hanging nonchalantly on the steps of the train as it pulled
into stations -- and he loved wearing a uniform.
Sometimes he would go up and ride on the coal car with the engineers, buying that privilege with a
cigar or a plug of tobacco. It was a job with a special sort of thrill.
"But it didn't last long," h regrets. "It wasn't a very profitable venture. You see, I was only fifteen -
and I ate up all my profits!"
During the summer of 1918, when there was a shortage of man power in Chicago on account of the
War, Walt Disney decided to apply for a postoffice job. He was only sixteen, and looked it - and of
course he was turned down. Here his talent for character disguise stood him in good stead, for he
went straight home, changed his clothes; wearing a hat instead of a cap, he put on old make-up and
promptly applied again for the job - and to the same man. Since his first application had not gotten
as far as his name, and the man did not recognize him with ten years added, he got the job. He
worked for several months as a down-town letter carrier in the daytime and a route collector at
night.
That fall the War had set in in good earnest, and it was the fashion for young men to enlist. Turned
down by both the Army and Navy and Canadian enlistment offices on account of his age, Walt felt
as though he were too young for anything. He was finally successful in joining the Red Cross as a
chauffeur. After a short period of training he was sent overseas, where he spent a year driving an
ambulance and chauffeuring Red Cross officials. On one occasion he drove General Pershing's son
Jack then eleven years old, around Neufchateau, France, when the boy visited his famous father.
Walt had the distinction of driving one of the most unusual ambulances in France -- for with all the
excitement of war, he had not forgotten entirely about drawing. His vehicle of mercy was covered
from stem to stern with works of art, and not stock camouflage, but original Disney sketches.
Although his education was not completed and he was only eighteen years old when the War
suddenly stopped, Walt could not bear the thought of going back to school. He wanted to do
something practical, something constructive. He took stock of his two ambitions: should he be an
actor or an artist? It would be easier, he decided, to get a job as an artist; so an artist he would be.
His first art job was with an advertising company in Kansas City which did work for farm journals,
and where he was required to draw such inspiring things as egg-laying mash, salt blocks for cattle,
and farm equipment. Since he was merely an apprentice, the two other artists in the company kept
him turning out rough sketches, which they finished themselves, often changing them entirely. He
forgot to ask in advance what his salary would be, in typical artist fashion. For a week he sketched
happy farmers and contented cows, and at the end of it they informed him that he would receive
fifty dollars a month. He would have thought five dollars a month very generous.
He came on the job in the fall; when the Christmas rush was over, they fired him. He got a job with
the post office again and delivered Christmas cards until New Year's. Then, appropriately to the
season, he made a resolution; he would go into business for himself, as a commercial artist.
Optimistically he figured that two months' experience warranted this momentous decision.
His first free lance jobs were designing letterheads and theatre ads; and an enterprising publisher of
a small newspaper gave him "free" desk space - in return for a great many advertising drawings. It
was there that he met a man with the unbelievable name of Ubbe Iwerks, another young apprentice
artist out of a job. He and Iwwerks [sic] formed a partnership then and there. Disney was the contact
man and artist, while Iwwerks did the lettering and took care of the office detail. The first month the
two of them made $125.00, and any free lance artist will agree that that wasn't bad - especially if
there thought to collect any of it!
However, in spite of their success, they still watched the want ads, and when a slide company in
Kansas City advertised for a cartoonist, Walt answered the ad and got the job - at $35 a week, which
almost floored him.
"I knew I wasn't worth it," he says, "but I decided to try it. I turned the commercial art business over
to Iwwerks, and it was at the slide company that I got my start in the animated cartoon game. Two
months later my partner was working there with me. We made animated advertising films, and my
boss let me take home an old camera that was lying around. I rigged up a studio in a garage and
started experimenting in my spare time.
At the slide company we used the old cut-out method of animation, joining arms and legs together
with pins and moving them under the camera. I found a new method of animation in a book from
the library, tried it out and convinced my boss it was a better system, so he installed it."
Walt's home experiments led to his making a
short reel of local Kansas City incidents,
which he sold immediately to the owner of
three large local theatres. He arranged to
furnish one subject a week, animated cartoons
of local happenings. It is interesting to note
that he was able to make and sell this film for
a price of thirty cents per foot. The cost of
Mickey Mouse and Silly Symphony cartoons
today is well over $25 per foot!
It was while he was first fumbling around in
the realm of animated cartoon ideas with no
special direction that Walt Disney met Mickey
Mouse, then utterly unknown, and even
unnamed. Walt had always liked mice. He
caught them in wastebaskets around the studio,
and kept them in a cage where he could watch
their antics.
One of them, bolder than the rest, used to
crawl all over his drawing board, and seemed
to have a distinct personality of his own. At
One of the Newman Theatres in Kansas City where the Newman Laugh-O-grams first Walt called him Mortimer Mouse; but
- the first Walt Disney films ever - were shown. Mortimer seemed much too formal, and as
they became better friends, he often addressed
his cute little pal as Mickey Mouse. The name
seemed to fit him to a T. But the young artist had no idea that the name Mickey Mouse might some
day be more famous than his own!
Walt Disney was impatient. He wanted to carry his experiments in animation much farther than he
was able to alone, and while he was employed daytimes. He could not afford to give up his job; but
he enlarged his garage studio, and invited several prospective young cartoonists to spend their
evenings helping him with a new idea - the animation of fairy tales. Their recompense was a share
of his knowledge on the subject - and the promise of a job if the venture were successful.
For six months he spent his evenings and spare time working with his "staff" on a short subject
called "Little Red Riding Hood." When it was completed to his fair satisfaction, he left his job with
the slide company and formed his own company, a $15,000 Missouri corporation, to produce
modernized fairy tales. Seven of these films were made altogether, and sold to a distributing firm in
New York. But the New York outfit went broke shortly after the deal was made, and the corporation
want into bankruptcy. Success had again proved to be a mirage.
Walt decided he had gone as far as he could in Kansas City. He was not discouraged; he still knew
his ideas were good - but he lacked opportunity to carry them out. He knew then that he must some
way get to Hollywood. But he was flat broke, and far in debt; he had had no salary for months, had
just scraped along. What to do?
First he made a song film for a theatre organist, which paid enough to buy him an ancient motion
picture camera. For two weeks he scouted around Kansas City taking moving pictures of babies,
selling them to proud parents. Finally he had enough money for a ticket to California, and even
found a purchaser for his camera. He landed in Hollywood in August, 1923 - a little over ten years
ago, mind you! - with a suit of clothes two years old, a sweater, some drawing materials, and $0.
Behind him in Kansas City were debts which it took him several years to clean up.
He also had with him a print of the last fairy tale subject he had made; the stockholders of the
defunct corporation had granted him this favor. For three months he tramped around Hollywood,
trying to interest someone in it; they all said the same thing: they couldn't use the idea, but their
New York office might consider it. Since it was out of the question for him to take the print to New
York, Walt sent it East with a prayer, prepared to wait for years, or for all he knew, forever.
Things looked pretty black. His only
comfort was that his brother Roy was also
in California with an immense amount of
sympathy and encouragement for what
Walt was trying to do - and with $250.
They formed a partnership. It was a tough
proposition to get financial backing:
nobody in Hollywood had over heard of
these Disney boys. An Uncle Herbert,
with whom they lived for a short time,
lent them $500; they breathed easier and
let out their belts.
Then suddenly, like a bolt from the blue,
came an order from an independent
Rare photo of Roy Disney's marriage to Edna Francis on April 11, 1925. Notice the
distributor in New York for a series of Disney Bros. logo on the truck, before the cartoon studio became Walt Disney
pictures like the sample reel Walt had sent Productions. The unidentified man is believed to be a member of the Disney family.
East. Feverishly they rented the back end
of a real estate office; bought an old
camera, rigged up stands and tables out of old dry goods boxes. Walt taught Roy how to use the
camera, and he himself started drawing night and day. With the aid of two girls they hired for $15 a
week apiece, they made the first "Alice" cartoon. Busy as they were, there must have been time for
romance, for one of those two girls, Lillian Bounds, later became Mrs. Walt Disney!
The two boys rented a cheap room and ate their meals in a cafeteria, in order to make their small
capital last as long as possible. One would get a meat order, the other vegetables; then they would
split them at the table. Sometimes they ate at home; Roy would leave early, while Walt still bent
over his drawing-board (they made six "Alice" subjects before they hired another artist) and fry a
steak, or ham and eggs.
"We cooked, ate, and slept in that one room, and had to walk about a mile before we reached the
bathroom," Walt remembers. "And yet when I think back, we had a grand time in those days."
Finally they decided Walt could no longer do all the drawings, so he sent for the boy with whom he
had started in the commercial art business, Ubbe Iwwerks, in Kansas City. Ubbe had become a fair
animator; but they soon needed still more help, so Walt summoned more of the boys from back
home. "Alice" was discontinued about this time; Walt's next creation for the New York distributor
was "Oswald [sic] the Rabbit." Oswald was quite successful; but Walt was beginning to strain at the
leash. He was not satisfied; there were things he wanted to do to improve the cartoons, and they
took money. He decided to go to New York for a conference with the chief; and Lillian Bounds,
who was now his wife, went with him.
Unfortunately, the chief was not in agreement with Walt's ideas of expansion and improvement. The
cartoons were selling, people liked them -- why spend more money? And was this young spendthrift
Disney necessary to their success, anyway? In short, there was a break, and the Disney outfit was
out on the street for its pains. Walt, wiring Roy, who was running the Hollywood studio, that
everything was all right and he was on his way home, was full of misgivings.
And well he might be - because the New York company took over most of the boys who had come
on from Kansas City to work with Walt, and went on producing "Oswald" without him. On the train
going back to California, Walt and his wife soberly talked things over. He had a studio, a few loyal
men, including the faithful Iwwerks, and nothing to do. They had their home, and a little money
saved - and no definite deal in sight. The only answer was to create a new character and make
pictures himself. But what character? Cats, dogs, rabbits . . . all had been used. "About the only
thing that hasn't been featured is -- I've got it!" he cried, jumping to his feet. "A mouse! My Mickey
Mouse! Why didn't I think of it before?"
All the way across the continent on the train Walt Disney worked enthusiastically on the first
Mickey Mouse scenario. Mrs. Walt Disney helped with suggestions and encouragement. Mickey
must, of course, have a sweetheart, his girl . . . they called her Minnie Mouse. Their excitement
grew with the miles; they could hardly wait to start working, to tell Roy and the others at the studio.
They'd keep quiet about this new series, make it in the garage at home, just as they had in the old
days. The scenery sped by unnoticed.
Back in Hollywood, the first move was a studio conference.
Roy and the others were enthusiastic about the new plan.
They quickly finished several "Oswald" subjects that were
in work for the New York company, and then started their
own enterprise with fresh vigor. It was a big chance to take,
with so little money - but everyone had faith in Walt's new
character. Quietly and swiftly they worked, in the garage, on
their first Mickey Mouse, and when the film was ready to be
run off, there was great suspense. At the preview, however, a
little of the first fine enthusiasm fell off, for the picture was
rather disappointing. However, Walt sent it off to New York
with fervent hopes.
But nobody in the East seemed to want Mickey Mouse.
Such a small creature did not create a ripple in an industry
which had just been topsy-turvy by a new element - sound.
Al Jolson's "Jazz Singer" had just been released, and was
Walt Disney in the early 1930s. (Aberdeen collection).  bidding fair to revolutionize moving pictures. The first
Mickey cartoon was silent - and of coarse no producer,
To purchase Aberdeen photos for reprint purposes click here.
however, farsighted, could visualize a cartoon in
synchronization.
In spite of its failure to sell, Disney went right to work on a
second Mickey, also silent; but during its making he realized that synchronized cartoons were not
only possible, but inevitable. Number 2 cartoon went begging, while they planned the third for
sound. When this print was finished, Disney took it to New York. Half of his mission was to sell the
picture, but the first half was to get it synchronized, since that had been impossible in Hollywood.
This third Mickey Mouse was "Steamboat Willie," the first to be shown publicly.
But Walt, as he tramped the streets again, money getting low, almost despaired that it would ever be
shown. He was worried about the studio, which was just getting by financially. He approached
sound company after sound company, but either their prices were too high or they would not take
the job of setting Mickey in motion. Finally he found one company which was interested and whose
price was fair.
But again there was dissension. With the boys in his studio, Disney had worked out his own method
of synchronization. He knew it would work, but New York musicians refused to use it. Patiently
Walt saw them try their own method and admit the result was a miserable failure. Eventually they
followed his advice, using the same system which is used today in the Disney Studio, which he had
patented a year before. This system is used quite generally in the animated cartoon industry.
When "Steamboat Willie" was shown, distributors wee
enthusiastic, but no deal went through. Nobody could
understand why this young Disney would not sell out his
idea. They tempted him with fancy prices, but he kept
insisting it was his pictures he wanted to sell, not his
company.
"I wanted to retain my individuality," he says, glad now that
he did. "I was afraid of being hampered by studio policies. I
knew that if someone else got in control, I would be
restrained, held down to their ideas of low cartoon cost and
value."
After staying in New York several weeks, he decided to
release Mickey Mouse independently, and after making the
necessary arrangements, returned to Hollywood. It was a big
undertaking, to produce and distribute the pictures himself;
but with the help of his brother Roy, he knew they could do it,
Walt Disney during the 1930s.
and that it would be a much happier arrangement than selling
out.
 

SOURCES:

RKO, Biographical Sketch of Walt Disney, 1937, pp. 1-8.

See Bibliography.

 http://www.cobbles.com/simpp_archive/walt-disney_biographical-sketch.htm

Pogledati i sledece linkove:

http://thewaltdisneycompany.com/about-disney/disney-history/1920-01-01--1929-12-31
http://www.waltdisney.org/beginnings-walt-disney%E2%80%99s-early-years-1901-1923

VREME 574, 3. januar 2002. / MOZAIK

100 godina od rođenja Volta Diznija, oca globalizacije:

Veliki mali miš
"Samo se nadam da nikada nećemo izgubiti iz vida jednu stvar... sve je počelo od
miša", Volt Dizni, 1954. godine
Zvanično se vodi da je 15. decembra 1966. godine, deset dana posle svog 65. rođendana, Volter
Ilaja Dizni privremeno napustio planetarnu scenu ostavljajući za sobom stotine hiljada zaposlenih u
svom preduzeću da nastavljaju njegovo delo. Naime, ovaj čovek prvi je Zemljanin koji biološki
nikada nije umro. Kada mu je krajem 1966. godine ustanovljeno zloćudno oboljenje pluća, hirurzi
su mu zahvatom odstranili tumor, zalečili ga i otpustili kući. Posle nekoliko nedelja Dizni je obišao
postrojenja svoje fabrike snova, pozdravio se sa najbližim saradnicima i vratio u bolnicu. U
jutarnjim satima tog 15. decembra 1966. godine u Državnoj bolnici u Berbanku, predgrađu Los
Anđelesa, hladnoća tečnog azota zamrzla je sve životne sokove i zaustavila srce najpoznatijeg
čoveka na svetu.
Zamisao da jednoga dana, kada nauka nadvlada rak i kada bude moguće oživljavanje hiberniranog
tela, veliki Volt ponovo kroči na pločnike svog carstva, svojstvena je samo njemu. Svojstvena i
moguća. Dizni je bez sumnje toga bio svestan. Kada je odlazio, ostavio je sve u najboljem redu. I
danas je to tako, bar ako je suditi po goloj godišnjoj plati od 100 miliona dolara koju prima Majkl
Ajzner (59), već 17 godina uspešan čuvar Diznijeve fotelje u preduzeću.
"Ništa ne mora da umre", reči su Volta Diznija upućene Reju Bredberiju, čuvenom piscu naučne
fantastike, reči koje će ovaj obelodaniti 20 godina kasnije u jednom eseju posvećenom starom
drugaru Voltu, a povodom 60. rođendana najpoznatijeg Diznijevog deteta Mikija Mausa. Na šta je
tačno Volt mislio nije poznato ni Bredberiju, ali ako je to bila poruka i čovečanstvu, onda su to bile
najrevolucionarnije reči ovog čoveka. Dizni je inače u političkom smislu bio verovatno jedan od
najvećih oportunista u istoriji naše civilizacije; njegov "hod po mukama" bio je hod američke
unutrašnje i spoljne politike.
Volt Dizni tvorac je prve globalne robne marke u istoriji koju je za ovih 70 godina prodao u više
primeraka nego Crkva Bibliju od Gutenberga do danas. Dizni je pokazao da granice ne postoje, ni
državne, ni verske, kulturološke, rasne, prirodne... njegovim sunarodnicima ostalo je samo da posao
održe i dokrajče. Momčilo Jojić, novinar "Politike", o kome će još biti reči pisao je o tome 1939.
godine – "... Mali Miki, bistro, pošteno, veselo, dovitljivo, hrabro, šaljivo, šeretsko stvorenje, jedini
je valjda sin na svetu koji je svom ocu stvorio i zaradio grdne milione i učinio ga slavnim širom
sveta. Volt Dizni je stvorio Mikija – Miki je učinio bogatim svoga roditelja Volta, doneo mu mnogo
miliona dolara, privukao u njegovu kuću mnogobrojnu družinu nestašnih drugara, od čijih
nestašluka odzvanja smeh ispod Tibeta i Kopaonika, Stenovitih planina i Urala. Miki Maus je dobar
sin..."
32 + 7: Istinita priča o Dizniju i njegovom životu već je poodavno toliko vešto izromansirana
dokumentima, podacima i činjenicama pa je zapravo tako i razvijena po najosunčanijim predelima
američkog sna. Zna se tačno koliko je Volt zaradio od svakog svog filma, prvih kaiševa i tabli stripa
da je prve pristigle honorare trošio na plaćanje kirije i dokupljivanje opreme... i tako do kraja priče.
Sve to, razume se, nije ni važno, pošto danas ionako niko više u Americi, a pogotovo šire, ne zna šta
je 1928. godine značilo šuškanje 78 dolara u džepu. Bilo je to već jasno i 1939. godine malopre
pomenutom Momčilu Jojiću, reporteru "Politike", prvom i jedinom našem novinaru koji je Dizniju
rekao "helou", a ovaj mu uzvratio, pre nego što su počeli razgovor koji je "Politika" nešto kasnije, te
godine, i objavila. Jojić je tada napisao i ovo:
"... Volt Dizni je počeo. Bio je mali nepoznati i siromašni crtač. Stvorio je Mikija. Svetu su se
dopale te divne šale koje su u sebi nosile mnogo poštenog i čovečnog. Volt Dizni je uzeo
pomoćnike i počeo da stvara, nove ličnosti, nove velike filmove. On nema vremena da crta. On
nadgleda..."
Sve što je tada Dizni priznao da "baš radi" bilo je da svoj glas pozajmljuje Mikiju. To je za njega
bilo uživanje koje nikome nije prepuštao. Tako je bilo do samog kraja. Sve ostalo radili su drugi, u
početku Ab Ajverks, pa Flojd Gotfredson, pa stotine, pa hiljade drugih. Dizni je nadzirao,
učestvovao, odobravao i osluškivao. Osluškivao je i svoje obične sunarodnike ali i rasprave u
Kongresu. Tako je znao kada treba da pokrene Hromog Dabu i uključi se u opštu borbu protiv
mafije, kada treba da pošalje svoje junake na Tibet i priključi se američkoj kampanji u Kini, kada
Paja Patak treba da zakorači na Ande u potrazi za indijanskim blagom i približi svetu predele
budućeg Panameričkog saveza.
U Drugom svetskom ratu američki kongres odobrio je uspavanom Diznijevom preduzeću kredit od
250 miliona dolara da ponese putem svojih junaka, na hiljadama propagandnih plakata i oznakama
jedinica, u stotinama crtanih filmova, patriotske poruke i podršku momcima zaglibljenim u pesak
Ivo Džime ili u snegove Ardena. Neki američki teoretičari stripa i sociolozi kulture napisaće kasnije
da je Drugi svetski rat za Ameriku dobio Paja Patak.
A Volt Dizni, za svoje 43-godišnje karijere u Holivudu, osvojio je 32 Oskara i 7 Emija. Doživeo je
da čuje čuvenog ruskog reditelja Sergeja Ejzenštajna kako kaže da je Miki Maus najveći američki
doprinos svetskoj kulturi. Za života je dobio 960 nagrada, postao počasni doktor Harvarda, Jejla,
Losanđeleskog univerziteta (UCLA), poneo predsedničku Medalju slobode, francusku Legiju časti,
tajlandski Orden krune, brazilski Orden južnog krsta i meksički Orden actečkog orla. Nije dočekao
da čuje da njegov naslednik Ajzner i japanski car Hirohito nose isti sat kao i Miki Maus. Nije
dočekao da čuje da je njegov film Snežana i sedam patuljaka iz 1937. godine videlo najviše ljudi u
XX veku, a da je tadašnju zaradu zamenio za zlato bila bi to neuporedivo veća dobit nego što je
ostvarena od bilo kog drugog filma prikazanog u minulom veku. I to ne zato što je onda zlato bilo
jevtinije. To će već, razume se, čuti kada ga ožive.
DAVID I GOLIJAT: Šta je, dakle, tajna uspeha ovog čoveka? Najkraće rečeno to je neodoljiva
privlačnost njegovih likova, priča i načina prikazivanja. Stvorio je svet koji je veći deo čovečanstva
zavoleo a to znači da je umeo da istakne bar najmanji zajednički činilac celokupnog ljudskog roda,
bez obzira na sve razlike koje među nama postoje. Našao je najtanje strune koje nas povezuju i na
njima je svirao. Značenjima i objašnjavanjem opšte prihvatljivosti njegovih likova bavili su se
mnogi. Sociolozi: simboličkim objedinjavanjem u junaku osnovnih težnji "malog čoveka" s jedne
strane, i predstavljanjem junaka kao živog otelotvorenja socijalnih, političkih i etičkih ideala
društva s druge strane. Junaka takvog idealizovanog sveta vidimo kao ličnost neporočnu, hrabru,
otvorenu, preduzimljivu i inteligentnu... (Žika Bogdanović). Psiholozi: Miki je dosezao do
najdubljih ponora ljudske duše oličavajući borbu malog protiv velikog, Davida protiv Golijata.
Znači mitskog, ali ne mitskog oličenog u snovima koji ne mare za verovatno, već su to snovi za
koje ljudi tokom čitave povesti veruju da su mogući.
Volt Dizni je otkrio još jednu važnu stvar: u crtanom svetu – ukinuo je čvrste porodične veze. Osim
u Bambiju, roditelja i dece nigde nema, kao ni supružnika. Po jednom sopstvenom priznanju Dizni
je to uradio jedino zato da bi njegovi likovi imali veću slobodu, i kretanja i ponašanja. Svi ti ujaci,
sestrići, ujne, momci i devojke lakše su se svađali i mirili, putovali, nestajali i pojavljivali se, ali
ničim se nisu mešali u život i ponašanje porodica svojih obožavalaca. S druge strane, obožavaoci su
se uživljavali u likove a ne u njihove porodice.
DIZNI I MI: Čitava ova priča o Dizniju, dakako, ne bi bila potpuna da se u nju nismo umešali i mi,
i to kao treća zemlja u Evropi, posle Italije i Francuske, koja je, zahvaljujući pre svega "Politici",
ponudila čitalaštvu Diznijeve stripove. Početkom 1935. godine u našem najstarijem dnevnom listu
objavljena je tabla stripa pod naslovom "Miki i njegova savest". O našoj savesti, takođe može da se
govori već od 1. decembra 1937. godine, kada smo u prebogatu povest Diznijevog preduzeća ušli
kao prva i jedina zemlja čija je državna cenzura prekinula objavljivanje jednog njegovog stripa.
Naime, u to vreme "Politika" je već ušla u završnicu sa objavljivanjem epizode Miki i njegov
dvojnik u originalu Mickey Mouse as the Monarch of Medioka kada se državnom cenzoru učinilo da
radnja stripa previše liči na život na jugoslovenskom dvoru, a glavni junaci nekako su mu bili
oličenje princa Pavla Karađorđevića i mladog kralja Petra. Cenzor je zabranio dalje izlaženje zbog
vređanja dvora. Da sve postane još zamršenije, američki list "Njujork tajms" imao je tada u
Beogradu i dopisnika Hjuberta Harisona koji se odmah potrudio da o ovom nemilom događaju
obavesti svet. Njegovo izveštavanje u Jugoslaviji je već neko vreme nerviralo vladu Milana
Stojadinovića, tako da je najnoviji ispad sa Mikijem Mausom u Beogradu ista cenzura protumačila
"kao nedobronamerno, netačno i tendenciozno" komentarisanje i najavila mu da je bolje da
dobrovoljno napusti Beograd nego da mu dozvola boravka bude poništena. Pošto je tvrdoglavi
novinar i u svom listu i preko agencije "Rojters" obelodanio i ovu "najavu", ovoga puta naloženo
mu je da napusti zemlju u roku od tri dana. Nisu pomogli ni protesti američkog i britanskog
poslanstva. Harison se spakovao i kada je stigao na beogradsku železničku stanicu naišao je na
okupljenu masu ljudi koja mu je klicala u znak podrške. Kako je 8. decembra "Njujork tajms"
izvestio "... atmosfera na beogradskog železničkoj stanici nalikovala je pre na ispraćaj nacionalnog
junaka nego na proterivanje nepoželjnog stranca... U masi istaknutih jugoslovenskih ličnosti koje su
se okupile da ga isprate nalazili su se i vladika Irinej Gregorović, član Svetog sinoda, general
Maksimović, načelnik Ministarstva odbrane, i dr Vladimir Maček, vođa srpsko-hrvatskog
nacionalnog bloka, moleći ga da putuje preko Zagreba kako bi pružio priliku i Hrvatima da mu
izraze svoju naklonost..."
Još jedna neverovatna podudarnost u ovom stripu sa događajima kod nas pojavila se prilikom
izlaska Mikija i njegovog dvojnika kao posebne sveske u izdanju "Politikinog zabavnika" u januaru
1992. godine. Naime, na 54. stranici stripa posle burnih protesta stanovništva Medioke na trgu
ispred dvorca Miki kao kraljev dvojnik izlazi pred masu i kaže: "A sad, dragi moji podanici, kući i
na posao!" Podanici u gomili viču: "Živeo!" Cenzure nije bilo, ali su se redakciji javili čitaoci da
čestitaju na tobožnjoj hrabrosti, na šta je redakcija odgovorila da nije u pitanju hrabrost već
originalan tekst.
***
Ovde je, recimo, mogao da bude kraj, ali ipak nije jer danas u našoj zemlji više ne izlaze Diznijevi
stripovi. Slobodni smo da iznesemo uverenje da smo danas kao takvi jedina zemlja u Evropi i jedna
od malobrojnih u svetu, dakle, da ne pripadamo više jednoj važnoj svetskoj zajednici. Da li bi bilo
nedostojno tražiti od gospode Svilanovića i Montgomerija da malo razmisle šta će im reći Volt
Dizni ako se vrati za trajanja njihovih mandata.
Zefirino Grasi

http://www.vreme.co.rs/cms/view.php?id=304721