The Music Room

I’ve been spending a fair amount of time in Disney’s old Animation Building recently. A visit to the second floor always provokes a flood of memories. The structure has been renovated, and yet things look pretty much the same. At least enough remains to remind this Disney veteran of a time long past in Walt’s magic kingdom. When I first arrived at Disney in the fifties 2-C was considered a shorts unit. Directors like Jack Hannah and Dick Kinney still produced animated shorts for the studio. For those of you who don’t remember story boarding “Old School,” it was guys like Roy Williams and Al Bertino knocking out gags and then going out for a drink. The story rooms were strictly a man’s world replete with newspapers, cigars and cigarettes filling the ashtrays.

In time, cartoon shorts no longer generated sufficient income for the company and even distributors were growing disenchanted with the dwindling revenues. Besides, exhibitors could squeeze in more screenings of a feature film without short cartoons clogging the schedule. To his credit, Walt Disney continued to produce animated shorts even though the films were being produced at a loss. Finally, Roy had to tell his brother that enough was enough. I still remember the day when old timers like Jack Hannah and Dick Kinney were given their walking papers and we had come to an end of an era at Walt’s cartoon house. 2-C now had a new tenant, and Wolfgang Reitherman and his team would occupy this special wing longer than most. Woolie would direct the Dragon battle in “Sleeping Beauty,” and sequences from “101 Dalmatians.” In the early sixties, Woolie would be the first Disney director to helm a feature film on his own. “The Sword in the Stone” unlike its predecessors, would not have three directors. Surprisingly, I would join Woolie’s unit on “The Jungle Book” in 1966 and Woolie and company would continue on after my departure. Woolie’s wing would move through a number of changes over the years and artistic teams would rotate. However, a few things stayed the same. A casual visit to 2-C would make you feel as though you’d never left even though you may have been away for a decade.

Senior layout artist, Don Griffith sat at the far end of the wing in a spacious office. His work area overlooked the Camera Building to the east and trees were visible through the large windows. This was a room usually shared by layout artists, Basil Daviovitch and Sylvia Roemer. During “101 Dalmatians,” Dale Barnhart, Ray Aragon and Sammie June Lanham worked here. The room connected to Woolie’s office which was a space with ample room for chairs, couches, storyboards and a Moviola. Moving west down the hallway was Woolie’s personal assistant, Betty Gossin. Of course, they were called secretaries back in those days. Her space was connected to the next large story room where story veterans Vance Gerry and Al Wilson worked away. Across the hallway were two large rooms where veteran animators, Dick Lucas and Eric Cleworth doubled as story artists for the unit. The beauty of this arrangement was that all the spaces were connected. The office of the story artist flowed into the directors space. Should Woolie have a question for his layout crew he only had to walk through a doorway. Instead of making an appointment to speak with your boss, you knew he was only a few feet away. Walt Disney had created an amazing system to develop animated films, and these directorial units or “Music Rooms,” were incredibly efficient. When I think of how animated films are produced today, it would appear that studios need an “army” to accomplish what we did with only a handful of people.

In time, Woolie Reitherman finally packed it in and announced his retirement from Walt Disney Studios. Some of Woolie’s team remained for time but they eventually departed as well. 2-C was turned over to producer, Joe Hale and his team to begin work on “The Black Cauldron.” In spite of the nearly ten years spent on the film, “The Black Cauldron” turned out to be a forgettable effort and animation’s days in Burbank were clearly numbered. “The Great Mouse Detective” showed that Disney animation still had promise, but they would have to prove it in a new location. I still remember the fateful week when Walt’s premiere animation staffers were pretty much kicked out on their butts. Disney Animation has finally returned to Burbank. Well, in a round about kind of way. Their new home is an architectural oddity on Riverside Drive, and the staff makes do with their less than functional surroundings. Yet, over a decade has passed since 2-C has been home to a Disney animation unit. That marvel of efficiency and functionality pioneered by Walt Disney. A unit that we once knew as, “The Music Room.”

Today, few people in the Animation Building know of its history and the brilliant men and women who created magic there. Would anybody in 2-C even know Woolie Reitherman, Don Griffith or Vance Gerry today? Are they even aware of the magic that was created within the walls of the wing they now inhabit? I slap myself awake as I stare down the hallway of 2-C. This was the wing that was once my home as a young Disney story artist. It’s 2014, and 1966 is a long time ago. This is 2-C on the second floor of Walt’s Animation Building. You can wait around and hope … but it’s never gonna be this way again.

The director's unit was known as, "The Music Room." A term from the 1930s when the room had a piano. We no longer have music rooms today, and the director's unit is nowhere near as efficient as it was when Walt ran the place.

The director's unit was known as, "The Music Room." A term from the 1930s when the room had a piano. We no longer have music rooms today, and the director's unit is nowhere near as efficient as it was when Walt ran the place.