I’ve been spending a fair amount of time in Walt 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 animation veteran of a time long gone in Walt Disney’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 Disney. For those of you who don’t remember story boarding, “Old School,” it was guys like Roy Williams, Homer Brightman and Al Bertino knocking out gags and then going out for a drink. The story rooms were strictly a man’s world replete with cigars and cigarettes filling the ashtrays. In time, cartoon shorts no longer generated sufficient income for the Disney company and even distributors were growing disenchanted. Besides, exhibitors could squeeze in extra 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 often being produced at a loss. Finally, Roy O. Disney had to tell his brother that enough was enough. I still remember the day when old timers, Jack Hannah and Dick Kinney were given their walking papers and departed Disney forever. We had finally come to the end of an era at Walt Disney Productions.

   Animation 2-C now had a new tenant and Wolfgang Reitherman and his crew would remain in this special wing longer than most. Woolie would direct the Dragon battle in “Sleeping Beauty” and sequences from “101 Dalmatians” from this location. 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” and Reitherman and company would continue on after my departure. Woolie’s wing would move through a number of changes over the next few years and artistic personal 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 absent 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 window. This was a large room  usually shared by layout artists, Basil Daviovitch and Sylvia Romier. During “101 Dalmatians,” Dale Barnhart, Ray Aragon and Sammie June Lanham worked here. The layout room connected to the director’s office. A large 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 other 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. Animated motion pictures today appear to need armies of managers 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 Productions. Some of Woolie’s crew remained for time but they eventually left 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 more forgettable than classic. With the arrival of new management It would appear animation’s days in Burbank were clearly numbered. However, “The Great Mouse Detective” showed that Disney animation still had promise. Unfortunately, they would have to prove that in a new location. I still remember the fateful week when Walt’s premiere animation staffers were shown the door and essentially kicked out on their butts. Disney Animation finally returned to Burbank albeit in a round about kind of way. Their new home is an architectural oddity on Riverside Drive and a new generation of filmmakers make do with their less than functional surroundings. Many years have passed since Animation 2-C has been home to a Disney animation unit. That marvel of efficiency and functionality pioneered by Walt Disney. A creative unit that we knew as, “Music Room.” Today, few people in the Animation Building know of its history and the brilliant men and women who labored there. Would anybody in 2-C even know Woolie Reitherman, Don Griffith or Vance Gerry? 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 Animation 2-C. This was the wing that was once my home as a young Disney story artist. It was the wing where we met with Walt Disney to put the finishing touch on “The Jungle Book.” It’s 2014, and 1966 is a long time ago. You can wait around and hope - but it’s never going to be this good again.

This is Woolie's wing on the second floor of the Animation Building on the Walt Disney Studio lot. It was home to many talented Disney artists, and for a time it was my home as well.

This is Woolie's wing on the second floor of the Animation Building on the Walt Disney Studio lot. It was home to many talented Disney artists, and for a time it was my home as well.


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AuthorFloyd Norman