Don’t get excited. Before you get the wrong impression, our little Tinkerbell hasn’t suddenly gone commando. It simply looks like she’s not wearing any pants. Rest assured little Tink is properly attired. It just looks like… well, you know. I found this animation drawing in a stack of Disney art dating back to the fifties. This animation is not from the Walt Disney feature animated film, “Peter Pan.” No, we were animating television commercials for Peter Pan Peanut Butter.

I’ve written about Phillis Hurrell in times past. In case you don’t remember, Mrs. Hurrell ran Walt Disney’s commercial division back in the fifties. That’s right, boys and girls. That old gender bigot, Walt Disney actually had a woman in charge of one of his film divisions. Keep in mind this wasn’t the eighties or nineties. Walt had a woman in charge way back in the fifties. Chew on that, you Hollywood ninnies! This goes to show just how much people knew about the Old Maestro and the way he ran his studio. As expected, people often have a lot to say when they don’t know anything at all.

Anyway, there were a number of animators creating material for the commercial unit. Some of the names were, Jack Parr, Bob Carlson, Jerry Hathcock and Freddy Hellmich. I think I was working for Freddy on this commercial and I was having a tough time getting my drawings just right. Freddy was roughing his animation with a mechanical pencil that had magenta lead. I remember heading down to traffic to pick up a pencil so I could match Freddy’s rough sketches. I would rough Tinkerbell with the magenta mechanical pencil, then finish the final drawing with a regular B or HB pencil. I remember not being happy with this drawing so I put it aside and started over. That’s why I still have this sketch today. I put it on the shelf and that was many, many years ago.

Margaret Kerry even remembers this scene and if I recall correctly, she did some film reference for the animation. Tinkerbell is happily walking along clapping her hands. It’s fun scene with our little sprite being cute and charming as ever. It’s fun to find this sketch I did so many years ago and remember the Walt Disney Studio when being an animator required that you knew how to draw. Sadly, a requirement not so important in today’s animated world.

My sketch of Tinkerbell and no, she hasn't gone commando.

My sketch of Tinkerbell and no, she hasn't gone commando.

Posted
AuthorFloyd Norman

What the heck does a jazz recording have to do with Disney animation, you might ask? Well, oddly enough there is a connection and it also involves a very talented Disney animator and layout artist. However, we’ll get to that in a minute.

You kids have probably never even heard of the Stan Kenton Orchestra. Kenton was a forties-fifties era orchestra leader, and was known for his progressive jazz recordings. I was a total Stan Kenton Geek and I followed his incredible orchestra from venues at the Hollywood Paladium to Balboa Beach. I hung out in the recording studios at Capitol Records in Hollywood whenever I knew the master was in town.

Stan Kenton was a unique man. Tall and gaunt with straight silver hair, he would stand out in a crowd. I watched him lead his magnificent orchestra for nearly four decades before his untimely passing. Inspired by the Kenton orchestra, I joined a big band while in high school and college, and we played many of the masterful Kenton charts. I last saw Stan while in the parking lot of Capitol Records in Hollywood. It seems I had finally become a professional film maker, and I was there for a recording session. As the old master walked passed, he took a moment to look my way. It was as if he knew my face. Well, I’m not surprised he may have recognized me. When I was a young kid I had spent many an evening looking up at him from the base of the stage. Perhaps he remembered me as that skinny young kid with glasses - but I can’t say for sure.

However, there’s an interesting Disney twist to this story. As I was playing my album, “The Ballad Style of Stan Kenton” many years ago, I noticed a familiar name on the album back cover. (remember when albums still came in covers?) One of the beautiful numbers on the album was credited to Dale Barnhart and I knew a Disney artist by the same name. That couldn’t possibly be the same person, I wondered? Dale Barnhart was a talented musician as well as an artist in Disney’s animation department. At the time he was heading up a clean-up crew on the feature film, “Sleeping Beauty,” and he did indeed craft the beautiful ballad, “When stars looked down” for the Stan Kenton orchestra. In the years that followed, Dale Barnhart and I became good friends. his youngest son, Philo Barnhart also works in the animation business and like his famous father, has spent a number of years in Disney’s animation department. Not surprisingly, Dale’s wife, Phyllis also worked in the paint department of the Walt Disney Studio.

Dale Barnhart and Stan Kenton are no longer with us. However, the awesome music and the beautiful art they created will remain with us forever.

A beautiful ballad by Disney's Dale Barnhart can be heard on this Stan Kenton album recorded in the fifties.

A beautiful ballad by Disney's Dale Barnhart can be heard on this Stan Kenton album recorded in the fifties.

Posted
AuthorFloyd Norman

Back in animation's hay day at Walt Disney Animation, big boss, Michael Eisner proposed this interesting question. "Would it be possible to produce an animated feature that would cost less than a hundred million dollars?" At the time the current crop of Disney films in production were going through the roof. The veterans in the group, like myself, said, "Of course it would be possible." We knew that would never happen unless the production was free of encroaching management. If the ever present creative executives were allowed to fuss over a film the cost of the production would eventually soar. Michael Eisner never got his "budget feature" from animation but his direct-to-video units began cranking out sequels and prequels to the existing Disney library. Of course they were doing it all on a shoestring when compared to what the big ticket features were costing. The head mouse had suddenly found a new revenue stream and things were never the same.

Some years later, I found myself wandering the halls of the Frank G. Wells Building on the Walt Disney studio lot where I had just dropped off a story board assignment. Ironically, it was on one of the many sequels Disney had in production. Since I had a few hours to spare, I thought I would stroll through the building to see what else was going on. For those of you not familiar with this relatively new structure on the Disney lot, it was then the home of Disney television, and direct-to-video development. There were many projects in development, but none of them merited more than a passing glance. Eventually, I made my way to the second floor of the building where I was suddenly surprised to find a group of old friends and colleagues working away on a project that was so intriguing I knew I wouldn't be able to stay away. The film in progress was "The Three Musketeers," starring Mickey Mouse, Donald Duck, and Goofy. In a era of warmed over sequels and prequels, this little movie was a breath of fresh air.

Before I go any further, let's zip back to the early eighties when I made my unexpected return to the Disney studio as a writer in the comic strip department. I remember more than one project that featured the classic Disney characters taking on the roles of historic or literary characters.  Usually these special stories were written for the comic book department. A couple of these ideas were moved over to animation where young Disney story tellers were busily adapting the stories for film. These projects appeared to be the perfect vehicle for Mickey, Donald and Goofy. I can't remember every idea in development at the time but one was called "Mickey Columbus" and the other was a retelling of the Dumas story of "The Three Musketeers." Remember, this was pre Eisner and Wells, and the Disney studio was soon in for a major upheaval. The clever ideas, along with many others would be put on the back burner, or worse - completely forgotten.

Yet, here we were in 2002, and the Mickey project that I never thought would see the light of day was finally in development. Better yet, the studio had assembled a crew worthy of such a project. A unique group of creatives with a full understanding of the Disney characters and how to use them. They were knowledgeable concerning shorts of the forties, and fifties. These guys in my opinion, were the dream team of cartoon story and I had worked with most of them over the years. Chris Otsuki, Kirk Hanson, Bob Taylor, Daan Jippes, Ken Mitchroney, Don Dougherty and Bob McNight were busily crafting this Disney epic the old fashion way. They understood how the characters had evolved over time, and how they related to each other. I had little doubt this show would be great.

I continued to work in development on other projects in the Wells Building but I couldn't stay away from the "Mickey" project. The youthful director, Donavan Cook eventually got use to seeing me hanging around and soon I began sitting in on story pitches and watching over the shoulder as art direction and styling on the movie progressed. I was so impressed I knew this little film was deserving of more than a direct-to-video release. In many ways it reminded me of something that had happened back in 1997 when I began work on a direct-to-video sequel called, "Toy Story2." This was another movie that many of us felt was worthy of a theatrical release. I continually made a nuisance of myself by bugging our Disney executive, Jane Healy, as well as Helene Plotkin and Karen Roberts Jackson who were our producers at Pixar Animation Studios. In time, both Disney and Pixar saw the light and "Toy Story2" was slated for the big screen. 

The perfect opportunity had presented itself. Disney finally had the perfect Mickey Mouse vehicle and a movie that was sure to play well in theaters. Adding to that, the upcoming celebration of the Mouse's seventy fifth birthday was on the horizon. For a company that prides itself on synergy, things couldn't have been better. Think of the promotional opportunities a movie starring Disney's most famous characters would generate. There was no way the Disney company was going to let this opportunity slip pass them - or so I thought. "The Three Musketeers," starring Mickey, Donald and Goofy was released on home video. The film did enjoy a wonderful, but brief big screen presentation at the El Capitan theater in Hollywood. Those who attended the screening confirmed my belief that the movie would indeed play well theatrically. The theater, pack to the hilt with rambunctious kids fell silent when the movie began. Clearly, this was a movie both parents and kids could enjoy together. "The Three Musketeers" was the family film many of us had been begging Disney to make for years.

I am delighted that Disney finally made "The Three Musketeers." I'm grateful they allowed Mickey Mouse, Donald Duck, and Goofy to be seen by a new generation of kids. And of course, the movie probably made a truck load of cash for the Walt Disney Company. Having said that, I have to conclude it's a sin and a shame this wonderful little film was unceremoniously dumped onto the direct-to-video rack. I even emailed Disney film boss, Dick Cook (no relation to director, Donovan) to reconsider the decision to release the movie to direct-to-video. Dick Cook is a nice guy, but I knew even he had to answer to the big boss upstairs. Finally, in my opinion that's where the rationale for this whole thing becomes clear. Yes, I've heard the arguments why "The Three Musketeers" failed to gain a theatrical release and those reasons probably make a good deal of sense. Yet, I can't help wonder if projects such as "Doug," "Recess," and "Teacher's Pet" can score a big screen release, how hard would it be to give the big push to the most recognizable mouse in the world? Or, perhaps this is not really about shelf space or box office receipts after all. Could there be another agenda, you say? Or, maybe I’m just being paranoid.

Poor Mickey, Donald and Goofy never even got a shot. God help us should the movie going public embrace traditional hand drawn Disney animation.

Poor Mickey, Donald and Goofy never even got a shot. God help us should the movie going public embrace traditional hand drawn Disney animation.

Posted
AuthorFloyd Norman
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