Floyd Norman on Disney Mavericks
Animator Discusses Walt's Strange Relationship with Artists
Aug 15, 2007
Walt Disney had a reputation as an autocratic boss, a real “my way or the highway” type who made his employees toe the line in every way possible. Was that correct?
Not necessarily, says Floyd Norman, via Jim Hill Media. Norman was the “Lone Negro” who worked in the Mouse House’s animation department in the 1950’s and 60’s.
“Walt Disney wasn't the first ‘control freak’ in history,” Norman admits, “but he was certainly worthy of that dubious title. Every story idea, art style and casting choice in a motion picture had to go through Walt first. When you worked for Walt Disney you either became Walt Disney or you went somewhere else . . . The studio was the perfect reflection of its founder.”
However, Norman says that, even in such a creatively claustrophobic atmosphere, certain artists had tacit permission to break the rules, and did so regularly.
“As much as he wanted things his way, Walt Disney recognized he needed people on his staff that would challenge, disagree and go against him in his own animation department,” Norman writes. “This is the stuff that breeds and nourishes creativity and keeps the medium alive and vital. To be sure, there were those who would toe the company line, and do exactly what the Old Maestro expected. However, there were also those who chose to move in a different direction, even though that move might incur the wrath of the Old Man himself. Guys like Ward Kimball, Walt Peregoy, Tom Oreb and others knew that in order to keep animation alive and thriving, there was a need to move forward even over the objections of the boss.”
Norman continues, "The Old Maestro recognized the need for new, untried ideas to have a platform. So Walt allowed projects that did not reflect his personal vision to continue . . . Walt was no curmudgeon, stuck in the past. He was perfectly willing to take risks with story and art direction if he felt something might be gained from these experiments."
Here’s a classic example of how Disney tolerated these mavericks under his own roof. Walt made no secret that he hated Tom Oreb’s production design for 1961’s 101 Dalmations. Yet he allowed Oreb’s work on the movie to proceed. Was Disney offering Oreb enough rope to hang himself? Possibly, but Walt also recognized that Oreb was a genius who might have known something he didn’t.
Subsequent events proved Oreb right. 101 Dalmations became one of the studio’s biggest hits and ushered in a new stylistic direction for Walt Disney Animation. And all because Disney had the wisdom to recognize genius even when he didn’t like it.
This tolerance changed after Walt’s death in 1966. Instead of being tolerated (and occasionally embraced), maverick animators were shown the door. And people like Don Bluth (The Secret of NIMH), Tim Burton (Batman) and John Lasseter (Toy Story) eventually worked their magic for other studios, much to Disney’s chagrin.
Sometimes, the Mouse House was forced to rehire these ‘crazy animators’ after their genius had flowered elsewhere. And they ensured that Disney paid dearly for their mistake.
“Walt Disney Feature Animation has had a name change, and along with that I think they could use a new attitude,” writes Norman. “This studio could use a roomful of mavericks and ‘crazy men’ to challenge the status quo. All too often the people the studio gets rid of are the very people they should embrace. The artists who refuse to ‘play by the rules’ and make the movies that are acceptable to the establishment.”
Unfortunately, Lasseter (himself a former ‘crazy animator’) appears to be making similar mistakes. He fired Chris Sanders (Lilo and Stitch) from American Dog because Lasseter didn’t like the direction Sanders was taking with the flick. In fact, Lasseter said publicly that he hated Lilo and Stitch, despite the fact that it was one of Disney’s few hits in the late Eisner era.
Sanders is now working at DreamWorks Animation on Crood Awakening. Should that movie become successful, that’s a clear indication that Lasseter needs to ponder the notion that just because he doesn’t like an animator’s style, that it’s bad. Sanders proved himself with Lilo and Stitch, and Lasseter should have respected that. If he repeats those errors with other maverick animators, then the “new era” in Disney Animation might end up like the old one.
“Walt Disney was the ultimate ‘control freak,’ and he wanted things done his way,” concludes Norman. “Yet, even the Old Maestro realized that sometimes the most important people in your organization are not the creators who tow the company line and follow the rules. What keeps any studio creatively vital are the mavericks and the ‘crazy men.’ The nut cases who come up with the ideas you don't like.
“Get rid of them - - and you've also gotten rid of your future.”
To read Norman’s complete essay, click here.
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