Should I apologize again? Sure, why not. I deeply regret if I’ve offended my Italian colleagues and the nation of Italy. Okay, that’s done.

Way back in the nineteen fifties, my pal, film composer George Bruns speculated on how he would handle the music score of our feature film, Walt Disney’s “Sleeping Beauty.” Eventually, we decided to simply appropriate the beautiful music Peter Ylyich Tchaikovsky had written for the famous ballet. George said, “They’ve been stealing from Tchaikovsky for years. We might as well steal from Tchaikovsky” too. It would appear that Walt Disney is guilty of theft, doesn’t it? After all, he never received Tchaikovsky’s permission to use his music.

When a group of young artists arrived at the Walt Disney Studios back in 1956 we wandered the offices, hallways and story rooms soaking up everything we could. Finally we had access to the work of the Disney Masters and we were determined to learn everything we could. Did we steal from them? You’re damn right we did. We wanted to draw like them, we wanted to paint like them. We wanted to BE them. Not surprisingly, young artists would check the wastebaskets in the evening looking for Milt Kahl sketches or the paintings of Eyvind Earle. On occasion, a background artist would discard a painting and toss it into the trash bin. You can bet there was an aspiring background artist who couldn’t wait to get his or her hands on this remarkable painting. After all, this is what young artists do. This is how we learn. As a young story artist I roamed the upstairs story rooms in a attempt to soak up everything I could from the old Disney storytellers. I studied the storyboards of Al Bertino, Milt Banta, Joe Rinaldi and Bill Peet. I wanted to know how these guys thought. I wanted to know how these guys drew. I, along with my colleagues attempted to “steal” everything we could find from these Disney Masters.

I had the pleasure of meeting and speaking with the late Steve Jobs some years ago, and Steve was fond of quoting the famous artist, Pablo Picasso who said, “Good artists copy. Great artists steal!” Steve Jobs knew the importance of being aware of great ideas and quickly folding them into whatever you were doing. He encouraged the Apple employees to look for the best and appropriate those ideas when creating new products. “Use them. Borrow them. Steal them,” if you have to. That’s what great artists do, and Steve was known to admire the best of the best. When Apple was developing Macintosh many years ago he continually pushed this idea of the best. That’s why he had a German baby grand piano and an Italian motor bike in the lobby of the Apple facility. These items were not part of their work. They were a constant reminder of good design. Steve Jobs believed this was critical to their products success. Steve had this unique design esthetic. He appreciated good ideas and great design. It was evident in every Apple product under his supervision.

A few months ago, I was working on a comic story involving a group of preteen boys and girls who were off on an adventure. While searching for design ideas, I stumbled across an Italian comic story under a pile of books in my studio. I so admired the design sensibility of the artist I wondered if this particular style could be folded in to the idea I was working on. Because of the availability of digital technology, I was able to sketch and print out the pages I created to see how the style would look in print. The pages were never published. The work was never sold. It was simply a part of the design process all artists go through. It’s pretty clear because of the fire storm I started, this was a poor decision and I will remove any trace of the artists work from my comic should I do it. I was not trying to steal from the artist, I simply admired his work and was hoping to emulate his wonderful drawings. I have only the highest respect for my fellow colleagues and it was never my intention to steal from anyone.

Some years ago, our talented mentors at the Walt Disney Studios encouraged us to learn from each other. Of course, we were encouraged to learn from the aging Disney Masters as well. That’s what we do as artists. Much the way my talented wife, Adrienne learned to paint by copying the work of the talented, illustrator, Drew Struzan. When meeting Mr. Struzan for the first time, my wife was eager to tell the gifted illustrator she copied his work and that was what helped her become a better artist. Artists have always borrowed from each other. Copied each other, and “stolen” from each other. It’s what artists do. And, much like musicians, such as the talented composer, George Bruns once said while composing our score for Walt Disney’s “Sleeping Beauty, “If you find something good, use it.” Finally, our mentors encouraged us to be the very best. “Work to become a better artist,” they said. “If you do that. If you finally reach that level of excellence then guess what will happen next? Other artists will steal from you.”

Be aware I'm stealing the work of Milt Kahl, Marc Davis, Tom Oreb, Ken Anderson and Eric Cleworth. I totally confess it all on this blog post.

Be aware I'm stealing the work of Milt Kahl, Marc Davis, Tom Oreb, Ken Anderson and Eric Cleworth. I totally confess it all on this blog post.

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AuthorFloyd Norman
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Exhausting, exhilarating and amazing. That was Disney’s D23 2017, and I gotta admit it was the best D23 Expo I’ve attended. We arrived early in order to get a jump on the show and prepare ourselves for the whirlwind that would filled the next three days. 

Having been through this drill before we pretty much knew what to expect so we prepared ourselves accordingly. The Anaheim Convention Center was still fairly quiet because the coming onslaught had not yet begun. A handful of eager, early arrivals milled about the convention area and a few were even in costume. We were meeting friends for dinner at Disneyland, and being early we decided to kill some time in the Grand Californian Hotel. As expected, I was stopped a few times by Disney fans who recognized me as we made our way through the park. I still find this weird because I hardly consider myself a celebrity. Yet, I’m well aware of the power of Disney magic and if you’re at the Disney Studios long enough, a few grains of pixie dust will eventually land on you.

As always, the Disney Legends Ceremony launched the Expo and this years inductees were a diverse but well deserving group. With his casual coolness, Disney CEO, Robert Iger hosted the event. Though a number of the talented inductees were no longer with us, the awards were accepted by their kids. In the case of the late, Garry Marshall, it was like seeing Garry as a young man. His son was the image of his dad. After a moving tribute to his old partner, Jack Kirby, Marvel creator, Stan Lee received a standing ovation from the cheering Disney audience. Yet, it was a morning for exceptional women as well. Media producer, Oprah Windfry, entertainer, Whoopie Goldberg and director, Julie Taymor were welcomed into the exclusive Disney club. A moving performance by the cast of The Lion King wrapped up a star-studded morning.

The lobby of the Hilton Hotel was suddenly filled with the screams of young women as actor, Mark Hamill (now a Disney Legend) made his way up the escalator to the Legends Lunch. And, what a lunch it was as everybody who was anybody at the Walt Disney Company gathered in the Hilton for a delicious lunch. It was an opportunity to meet with old friends and make a few new ones as well. Meeting motion picture director, Ava Duvernay was a delight, of course, and I’m so looking forward to her new movie, A Wrinkle in Time. However, another very special woman dominated the room. I’m speaking of the truly legendary, Oprah Winfrey Whose infectious enthusiasm lit up the space. Of course, the highlight of the lunch was posing for photos with my three lovely ladies, Anika Noni Rose, Whoopie Goldberg and Oprah Winfrey. Legends all!

Because of a pretty full D23 schedule I knew I would be missing a good deal of the show. However, every now and then we were able to catch a few panels and they were always delightful surprises. One such, “Eat Like Walt,” was a cook book revealing the Old Maestro’s taste in food. Who would have thought that a cook book could be so fascinating? However, this book detailing Walt’s favorite foods turned out to be just that. An added treat was having Walt Disney’s granddaughters onstage to “spill the beans” firsthand. Jenny and Tammy Miller shared their childhood experience in grandpa’s kitchen and even provided a few insights such as a list of Walt’s favorite dishes and a view of what was contained in the Disney home refrigerator. Finally, John Lasseter dished up a few tasty stories about the yummy treats in Disneyland and the Disney Studio Commissary.

Of course, there are more stories to tell such as the introduction of our new book, “A Kiss Goodnight,” which we were able to share with a very responsive D23 audience Saturday evening. However, let’s end it with that, shall we? It was a great D23 Expo and I’m already looking forward to the next.

What's better than D23 and Luke Skywalker?  

What's better than D23 and Luke Skywalker?

 

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AuthorFloyd Norman

You never know what junk you’ll find when you start cleaning your garage. Often time there will be discarded sketches from films you’ve worked on, along with other flotsam and jetsam from years past. It’s quite amazing how much stuff you can accumulate over a period of years. If you’ve worked in animation as long as I have you’ll more than likely have a lot of junk. I remember grabbing piles of completed storyboards and hauling the whole lot into the trash bin. When people ask why I threw the stuff away I simply replied it was cluttering up my studio and I needed room to create more stuff.

I may have to offer my apologies for calling the material in the photograph, junk. They’re rough story sketches from my co-director on the Pixar film, “Monsters, Inc.” Actually, they’re very cool story sketches and if I recall correctly they were created by David Silverman. We were hurriedly scrambling to complete a sequence for the motion picture in the early days of production.  I still remember the production manager used the term, “aggressive” when referring to our work schedule. In would appear “aggressive” meant, work your ass off and complete this sequence in record time because we need to show it to John and Pete. Everything worked out, and we even churned out a bunch of funny stuff that never made it into the completed film. That’s the life of a story artist, as most of you well know. A good deal of what we do as story artists is never seen by anyone except the production team. Most of what we do is thrown away.

Our movie was undergoing a number of changes and we were still trying to figure things out. I love how people sometimes sue animation studios claiming a particular company “stole” their story idea. I often find this notion ludicrous because half the time we don’t even know what the damn story is. The idea of Disney or Pixar stealing somebody’s story is a joke because our storylines are often so fluid and ever-changing, the idea that we lifted somebody’s brilliant idea is frankly ridiculous. Much the same way Pixar fanboys come up with the wacky idea that we’ve weaved an over arching storyline throughout all the Pixar films. In any case, we were building a sequence on the Scare Floor where Mike (the little one-eyed green guy) was assisting bad guy Randle. By the way, Randle’s original name was, “Switch,” but there was a Disney film in production that had a character whose name sounded a little like, “Switch” so a change had to be made.

Looking at these discarded sketches brings back memories of a much smaller Pixar Animation Studios located up in grungy Point Richmond in Northern California. On the corner of "Stab me and Run," as Ken Mitchroney likes to say. The little studio that could was picking up stream and was destined to become an animation powerhouse. This was Pixar’s fourth animated motion picture and I told friends with confidence that the movie was going to be a hit. I honestly had no doubt. Oddly enough, the movie did lose out to DreamWorks, “Shrek” at Awards time. Yet, it was a good time to be at Pixar up in the Bay Area far from the influences of corporate Disney and the long arm of film marketing. Pixar Animation Studios was still a relative newcomer to the cartoon business and great animated movies were still to come.

Rough story sketches from "Monsters, Inc." We were still trying to figure things out.

Rough story sketches from "Monsters, Inc." We were still trying to figure things out.

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AuthorFloyd Norman

I found this photograph on the web and immediately recognized the young man at the drawing board. Of course, we were all young back then. Since that time, many animation artists have since moved on to other careers. All are pretty much forgotten, of course. Sadly, nobody remembers the legions of talented artists who created the Disney magic over a series of decades. Even when a rare photograph does turn up, few, if anyone recognizes the anonymous artist. That’s just the way things were in the old days. While a handful of artists received a screen credit on the Walt Disney feature films, the vast majority did not.

Yet, oddly enough you had to have considerable talent to apply for a job in Disney’s animation department. Even getting an appointment or interview was not always easy. The studio had no signage visible in the old days. Walt Disney preferred remaining invisible in Burbank and the cartoon factory could easily have been mistaken for a local school or hospital. There was not even an image of Mickey Mouse on the water tank towering over the Disney lot. How well do you draw? That was question number one when a young man or woman was being considered for a position at Disney Animation. Is that question still being asked today? I can’t help but wonder how important drawing happens to be in this digital age. Perhaps the question is still being asked. I would like to think so. Drawing ability was certainly a consideration back in the nineteen sixties when animation teams were being organized for the production of Walt Disney’s “The Sword in the Stone.”

That’s when the photograph was taken. This was during the production of Walt Disney’s “The Sword in the Stone.” The time was the early sixties not long after the completion of “101 Dalmatians.” After introducing Professor Ludvig Von Drake on Disney’s first television show in color, most of us moved back to feature film production just getting underway. Naturally, most of the key animators and their assistants would be located in D-wing on the first floor of the Animation Building. And, that my friends, is where I shared space with this smiling young man seated at his drawing table in the coveted wing occupied by Disney’s finest. We would labor on Walt Disney’s “The Sword in the Stone” for the next two or so years before wrapping the movie. Then, as always, a number of the Disney animation artists would depart the studio and begin a new career elsewhere. This was pretty typical in the old days. Few rarely stayed on feature after feature film. Should you not decide to leave on your own, you would more than likely be downsized, and your Disney career would be over. Sadly, that’s just the way it was.

The young man in the photograph was one of those who moved on. I was lucky enough to survive the cut and stayed on for our next project which would be the live-action, animated film, “Mary Poppins.” Of course, I would stick around for upcoming films such as, “The Jungle Book,” and … well, you know the rest. However, the talented young man at the drawing board would leave the studio for other things, and I guess that’s why nobody knows his name today. However, I was there and I do remember. I remember because he was my pal and my colleague. He was one of the talented young artists who spent and year or so at the Walt Disney Studio and was never heard from again. In any case, it’s important you know his name if only because of his contribution to Disney animation. He never received a screen credit, of course. So, consider this a very personal Walt Disney screen credit from me.

His name is, Jerry Behar. And, now you know.

One of Milt Kahl's team members on Walt Disney's "The Sword in the Stone. You should know this guy.

One of Milt Kahl's team members on Walt Disney's "The Sword in the Stone. You should know this guy.

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AuthorFloyd Norman
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