_________________________________

Getting to Know Walt Disney's Tinker Bell & The Nostalgic Art of Animation and NeverEnding Christmas PhilharMagic (November 13, 2018; 2024 Edition)

• The D23 team

• Preface: Andreas Deja, John Canemaker

• Foreword: Pete Docter

_________________________________

From all of us to all of you! Merry Christmas from Mickey Mouse, Jiminy Cricket, Tinker Bell, Peter Pan, Wendy, and all your friends from Walt Disney Animation Studios, including the Pixie Hollow gang. In the same jewelry box with the same porcelain ballerina from the first chapter in the rare Tinker Bell series, it produces musical notes from a set of pins placed on a revolving cylinder. The popular device best known today as a music box developed from a musical snuff boxes of the 18th century and were originally called chimes of music. Some of the more complex music boxes also contain a tiny drum and/or bells in addition to the metal comb. Enjoy a "philharmagical" holidays with nine popular Christmas melodies (which inspires these nine merry gentlemen—the old-school team of core animators, who he affectionately called Walt Disney's "Nine Old Men," were known for creating Disney's most famous gang of all-star ensemble of beloved characters from the studio during their careers), the Disney holiday favorite from 1958's From All of Us to All of You, and some of Disney's most memorable hits, including You Can Fly" from Peter Pan. Each of the nine Christmas carols inspire each of the Nine Old Men, including Toyland (Ward Kimball, which also inspires him to write Walt Disney's Babes in Toyland). Press the buttons on the keyboard contained within the songbook and the images (which pay tribute to Walt Disney's Nine Old Men and the other Disney Legends) will flash to music while it's playing or put the key into the music box to hear very beautifully chimes play ten songs.
_
O Christmas Tree
Deck the Halls
Here We Come A-Caroling
Jingle Bells
Toyland
Christmas Is Coming
Jolly Old Saint Nicholas
We Wish You a Merry Christmas
Up on the Housetop
From All of Us to All of You

_________________________________

We dedicate both this Christmas music box and song book to Eric Larson and Marc Davis, who looked like uncles to some of the children who grow up with their seven talented fathers, including some of Walt Disney's all-star animators, Frank Thomas, Ollie Johnston, and their fellow Dixieland Firehouse Five Plus Two musician and railroader Ward Kimball.

_________________________________

Contents

_________________________________

Acknowledgments
Preface: John Canemaker
Preface: Andreas Deja
Foreword: Pete Docter

Walt Disney: About the Father Figure to Tinker Bell and the Fairies of Pixie Hollow
Disney Legends
The First
Making an Entrance: 2024 Disney Legends
Fantasy Springs Opens at Tokyo DisneySea
Meet Tinker Bell's Nine Forever Young Fairies

O Christmas Tree / Marc Davis
Deck the Halls / Frank Thomas
Here We Come A-Caroling / Les Clark
Jingle Bells / Eric Larson
Toyland / Ward Kimball / The Cast and Crew of Babes in Toyland
Christmas Is Coming / Ollie Johnston
Jolly Old Saint Nicholas / John Lounsbery
We Wish You a Merry Christmas / Wolfgang Reitherman
Up on the Housetop / Milt Kahl
From All of Us to All of You / The Cast and Crew of From All of Us to All of You

Frozen Ever After soundtrack ideas

Load (with Oaken's speech)
1st Olaf ("Do You Want to Build a Snowman")
The Trolls
Lift ("Vuelie")
Olaf, Anna, and Kristoff ("For the First Time in Forever")
Elsa and Young Iduna's Voice ("Into the Unknown")
Marshmallow and Drop ("Instrumental Theme (Elsa & Anna)")
Arendelle Ice Castle ("For the First Time in Forever" instrumental)
Anna, Elsa, and Olaf Finale ("In Summer")
Unload (with Oaken's speech)

Walt Disney's Last Productions
Glossary
Index

_________________________________

Acknowledgments

_________________________________

• Michael Barrier (Norm Ferguson, Ham Luske, Bill Tytla, John Sibley)

• Dale Baer† (John Lounsbery)

• John Canemaker (Les Clark, Ham Luske, Grim Natwick)

• Ron Clements (Frank Thomas)

• Andreas Deja (Milt Kahl)

• Didier Ghez (Ub Iwerks, Ham Luske)

• Eric Goldberg (Ward Kimball)

• Don Hahn (Woolie Reitherman)

• Glen Keane (Ollie Johnston)

• Bob Kurtz (Marc Davis)

• Burny Mattinson† (John Sibley)

• John Musker (Eric Larson)

Floyd Norman (Hal King)

Dave Smith† (Fred Moore)

_________________________________

• Robin Allan† (Snow White and the Seven Dwarfs, Make Mine Music, Melody Time)

• Didier Ghez (The Reluctant Dragon)

• Mindy Johnson (Cinderella, Peter Pan)

• J.B. Kaufman (Bambi, South of the Border)

• Daniel Kothenschulte (Silly Symphonies, Pinocchio, Fantasia, Burbank Studios (1939—1940), Dumbo)

• Katja Lüthge (Fun and Fancy Free)

• Leonard Maltin (Song of the South)

• Russell Merritt (Laugh-O-grams, From Alice to Mickey)

• Andreas Platthaus (Lady and the Tramp)

• Brian Sibley (The Adventures of Ichabod and Mr. Toad, Alice in Wonderland, The Sword in the Stone, Mary Poppins, Winnie the Pooh)

• Charles Solomon (Hyperion Studios (1926—1940), Sleeping Beauty, 101 Dalmatians, The Jungle Book)

_________________________________

• Orphan's Benefit (Les Clark)

• Mickey's Elephant (Frank Thomas)

• The Country Cousin (Les Clark)

• Woodland Café (Ward Kimball)

• Hawaiian Holiday (Wolfgang Reitherman)

• Snow White and the Seven Dwarfs (Les Clark, Wolfgang Reitherman, Ward Kimball, John Lounsbery)

• The Brave Little Tailor (Frank Thomas)

• Goofy and Wilbur (Wolfgang Reitherman)

• Donald's Cousin Gus (Wolfgang Reitherman)

• Pinocchio (Eric Larson, Ward Kimball, Frank Thomas)

• Fantasia (John Lounsbery)

• Dumbo (Wolfgang Reitherman, Ward Kimball)

• The Symphony Hour (Les Clark)

• Bambi (Eric Larson, Milt Kahl, Frank Thomas, Ollie Johnston, Marc Davis)

• Saludos Amigos (Milt Kahl)

• Make Mine Music (John Lounsbery)

• Song of the South (Eric Larson, Marc Davis)

• Fun and Fancy Free (John Lounsbery)

• Melody Time (Ollie Johnston)

• The Adventures of Ichabod and Mr. Toad (Frank Thomas, Ollie Johnston)

• Cinderella (Marc Davis)

• Alice in Wonderland (Eric Larson, Milt Kahl, John Lounsbery, Marc Davis)

• Peter Pan (Wolfgang Reitherman, Ward Kimball, Frank Thomas, John Lounsbery, Marc Davis)

• Toot, Whistle, Plunk and Boom (Marc Davis)

• Lady and the Tramp (Les Clark, Wolfgang Reitherman, Frank Thomas, Ollie Johnston, John Lounsbery)

• Sleeping Beauty (Ollie Johnston, Marc Davis)

• One Hundred and One Dalmatians (Milt Kahl, John Lounsbery, Marc Davis)

• The Sword in the Stone (Milt Kahl)

• The Jungle Book (Milt Kahl, Frank Thomas, Ollie Johnston, John Lounsbery)

• The AristoCats (Milt Kahl)

_________________________________

• Flowers and Trees (Les Clark)

• The Country Cousin (Les Clark)

• Ferdinand the Bull (Ward Kimball)

• Donald's Cousin Gus (Wolfgang Reitherman)

• Pinocchio (Wolfgang Reitherman, Milt Kahl, Ollie Johnston, John Lounsbery)

• Fantasia (Les Clark, Wolfgang Reitherman, Ward Kimball)

• The Symphony Hour (Les Clark)

• Bambi (Marc Davis)

• Saludos Amigos (Wolfgang Reitherman)

• The Three Caballeros (Eric Larson)

• Make Mine Music (Ward Kimball)

• The Adventures of Ichabod and Mr. Toad (Wolfgang Reitherman, Frank Thomas)

• Cinderella (Ward Kimball, Milt Kahl, Marc Davis)

• Alice in Wonderland (Ward Kimball, Frank Thomas, Ollie Johnston)

• Peter Pan (Les Clark, Eric Larson, Frank Thomas, Ollie Johnston)

• Lady and the Tramp (Eric Larson, Ollie Johnston, John Lounsbery)

• Sleeping Beauty (Milt Kahl, Frank Thomas, John Lounsbery, Marc Davis)

• One Hundred and One Dalmatians (Eric Larson, Marc Davis)

• The Sword in the Stone (Eric Larson, Frank Thomas, John Lounsbery)

• The Jungle Book (Ollie Johnston, John Lounsbery)

• The AristoCats (Milt Kahl)

• The Rescuers (Milt Kahl)

_________________________________

• Snow White and the Seven Dwarfs (O Christmas Tree, Deck the Halls, Here We Come A-Caroling)

• Pinocchio (Deck the Halls, Here We Come A-Caroling, Jingle Bells, Toyland, Christmas Is Coming, We Wish You a Merry Christmas)

• Bambi (Deck the Halls)

• The Three Caballeros (Toyland, Christmas Is Coming)

• Cinderella (O Christmas Tree, Jingle Bells, Jolly Old Saint Nicholas, Up on the Housetop)

• Peter Pan (O Christmas Tree, Here We Come A-Caroling, Jingle Bells)

• Lady and the Tramp (Deck the Halls, Jingle Bells, Jolly Old Saint Nicholas)

• The Sword in the Stone (Jingle Bells, Christmas Is Coming, Jolly Old Saint Nicholas, We Wish You a Merry Christmas, Up on the Housetop)

_________________________________

• O Christmas Tree (Snow White and the Seven Dwarfs, Cinderella, Peter Pan)

• Deck the Halls (Pinocchio, Bambi, Snow White and the Seven Dwarfs, Peter Pan, Lady and the Tramp)

• Here We Come A-Caroling (Snow White and the Seven Dwarfs, Pinocchio, Fantasia, The Three Caballeros, Peter Pan)

• Jingle Bells (Cinderella, Peter Pan, Pinocchio, Melody Time, Lady and the Tramp, The Sword in the Stone)

• Toyland (Pinocchio, The Three Caballeros, Babes in Toyland)

• Christmas Is Coming (Pinocchio, Bambi, The Three Caballeros, Peter Pan, The Sword in the Stone, The Jungle Book)

• Jolly Old Saint Nicholas (Lady and the Tramp, Fantasia, Melody Time, Cinderella, Peter Pan, The Sword in the Stone)

• We Wish You a Merry Christmas (Pinocchio, Fantasia, Saludos Amigos, Peter Pan, The Sword in the Stone, The Jungle Book, The AristoCats, Robin Hood)

• Up on the Housetop (Bambi, Cinderella, Peter Pan, The Sword in the Stone, The Jungle Book)

• From All of Us to All of You

_________________________________

Colors of Ribbons that edited as the Christmas song sheet

• Red (O Christmas Tree, Jingle Bells, Christmas Is Coming, From All of Us to All of You)

• Green (Deck the Halls, Jolly Old Saint Nicholas, Up on the Housetop)

• Yellow (Here We Come A-Caroling)

• Pink (Toyland, We Wish You a Merry Christmas)

_________________________________

PREFACE: John Canemaker

I first became aware of Walt Disney's Nine Old Men when, as a teenager in 1958, I read Bob Thomas's book The Art of Animation. In a black-and-white photograph spread over two pages, there they were: Les Clark, Wolfgang Reitherman, Eric Larson, Ward Kimball, Milt Kahl, Frank Thomas, Ollie Johnston, John Lounsbery, and Marc Davis. Nine great animators, described as "the group Walt has called 'the nine old men.'"

They looked middle-aged, not old, and the text did not explain that Walt Disney's sobriquet was a joking reference to President Roosevelt's description of his hostile Supreme Court as "nine old men, all too aged to recognize a new idea." But the book introduced to the public a filmmaking team whose ironic appellation has come to represent some of the highest achievements in character (or personality) animation. The Nine Old Men were, wrote Thomas, "the creators who add the touch of genius to the Disney features."

Think of your favorite moments and characters in Disney films from the 1930s through the 1970s—pathos, comedy, or action performed by heroes, heroines, villains, or clowns—and chances are most were animated by one of the Nine Old Men. Although the principles and techniques of character animation were forged by an earlier group at Disney, the Nine Old Men developed and refined those methods to a high degree of expressiveness and subtlety over a forty-year period. In films such as Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Bambi, Song of the South, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, 101 Dalmatians, and The Rescuers, among others, their virtuosity remains a benchmark against which all other character animation continues to be measured.

After Walt Disney's death in 1966, the studio publicity department perpetuated and built the legend of the Nine Old Men with a second and final group photograph, this time in color; magazines and books touted the group's accomplishments. It was an attempt to personalize the continuation of the art form that Walt developed by shining a spotlight on his closest, most loyal, and gifted collaborators.

But the term obscured the individual achievements of nine unique talents and temperaments, even as it purportedly illuminated them. One got the impression that the Nine Old Men were similar, interlocking, and equal parts of a smoothly running machine. Nothing could have been further from the truth, which makes them and their achievements all the more remarkable.

I saw how different they were from each other during my first visit to the Disney Studio in Burbank, California, in the summer of 1973. Researching an academic paper on the development of Disney animation, it was my good fortune to meet and interview several of the Nine. I found them to be individualists with widely differing artistic gifts, viewpoints, personalities, and degrees of ambition and competitiveness. That they had worked together so well for so long seems, upon reflection, miraculous. Of course, the attributes and liabilities of one man complemented another's, and they had much in common.

An example of their commonality is the fact that each man came to Disney merely seeking a job. All were affected by the Depression, a period of rampant unemployment in America; Disney was one of the few places offering paying jobs to artists. The studio's 1933 short Three Little Pigs, with its theme song "Who's Afraid of the Big Bad Wolf?," became a national symbol of the spunk and optimism of the American people. It also held a special relevance for the future Nine Old Men, who arrived at the studio with the wolf literally at their door. But the film also demonstrated a powerful new kind of animation that could communicate with vast audiences by inspiring as well as amusing them. The Nine Old Men stayed at the Disney studio for decades not merely out of loyalty; they became fascinated with character animation and excited by the opportunity to expand the art form's potential.

At the time of my first visit, the Nine were no longer working as a complete team. Wolfgang Reitherman was directing and producing the features; Les Clark was directing television shows; Eric Larson was in charge of training new animators; Marc Davis was designing Disney theme park attractions; Ward Kimball was less than a month from officially retiring. (In fact, I interviewed him at his home where I had the pleasure of riding the cars of his life-size train collection.) Only Milt Kahl, John Lounsbery, Frank Thomas, and Ollie Johnston were still animating. (I was privileged to observe the latter two gentlemen at their drawing boards animating scenes for 1977's The Rescuers.)

Over the years, during subsequent visits to research articles or books, I learned more about the Nine Old Men: their individual relationships with Walt and with each other; their predecessors and mentors at the studio upon whose inspirations and innovations the Nine built; their artistic break-throughs and failures; their rivalries and their involvement in studio politics.

My closest friendships have been with Frank Thomas and Ollie Johnston, who have shared a unique and long-lived loyalty to each other as well as a deep dedication to their art. For over a quarter century we have shared phone calls, letters, and meals in different parts of the world, from Chicago, Illinois, to Cakovec, Yugoslavia. I have interviewed them countless times privately and in front of audiences large and small. I have been privileged to receive their warm encouragement and bracing "tough-love" critiques of my films and writings.

My books on animation history include biographies of Winsor McCay, Tex Avery, and even Felix the Cat; two recent books concentrated on aspects of preanimation processes at the Walt Disney Studio, namely the conceptual artwork and the storyboards. When I was finally offered the opportunity to write about the art of Disney animation itself—through the prism of the Nine Old Men, in a candid assessment of their lives and contributions to a special form of cinema—I leaped at the chance.

Both Frank and Ollie were, as always, enthusiastic. They encouraged me to tell the truth as I see it about the remarkable Disney animated films, how they were made, and who made them. Here, for example, is an excerpt from a September 28, 1998, letter to me from Frank Thomas:

So have fun and choose a heart-wrenching philosophy that will make your audience cheer while wiping a tear from their eye. The subject is BIG, from the casual way it all started, to the resentments, the unhappiness that went hand in hand with the glow of success, the failures, the continuous changes in the studio and in Walt, down to his death and the degeneration of the whole idea surrounding the 9 Old Men.
Don't give it that sugary Disney treatment, these are real people leading real lives. And what's more, they are real artists, extremely talented artists, and few talented writers, historians, teachers, critics, and animators themselves, ever get a chance to do a book with this much importance and potential. Go to it!

I have always wanted to write a book on animators modeled after Giorgio Vasari's Lives of the Artists, the famous sixteenth-century biographical work about the greatest artists of the Italian Renaissance. This project attempts to fulfill that wish.

My purpose is the same as Vasari's: "to revive the memory of those who adorned these professions, who do not merit that their names and works should remain the prey of death and oblivion."

_________________________________

PREFACE: Andreas Deja

One day in the late 1970s I discussed Disney animation with my life-drawing teacher. "Anybody can learn how to animate like Disney," he claimed. "It's all technique, but no art." I was shocked! This man was a terrific teacher and an artist in his own right. I doubted his judgment quietly, having already spent endless hours studying the fluid motion of Disney animation with the help of Super-8 film clips. I could not imagine that anybody could learn to animate like this by picking up a few simple tricks. It seemed to me that in order to create life through drawings, an artist had to become very involved and committed.

My art school didn't offer any animation classes, which meant if I wanted to pursue a future career in animation, a self-taught method would be the only option. After giving myself assignments like walk cycles and other pencil tests, I found out that Disney Studios had started a training program for new talent joining the animation department. It turned out that veteran animator Eric Larson worked with newcomers on developing their craft to eventually become fully fledged animators.

About one year later, in August 1980, I applied for the program and was lucky enough to get accepted. One of the things I remember is Eric going over my drawings from a scene I was trying to animate. Looking over the shoulder of one of Disney's great animators and watching him as he strengthened my poses and timing was intimidating and thrilling at the same time.

When viewing my corrected scene, I couldn't believe my eyes. Eric's input added pure magic; the character's actions became more clear and believable. What started out as messy graphic motion, now seemed to show signs of life.

It was Eric who first introduced me to two other Disney animators, Frank Thomas and Ollie Johnston, who were in the midst of writing their first book on Disney animation, The Illusion of Life. Conversations with these artists were fascinating because, after all, they had been involved with almost all of Disney's animated films. These movies shaped my childhood and made me wonder, how on earth this level of excellence was achieved. Now I had the opportunity to ask endless questions about the art of character animation.

When I was still in Germany, the term "Disney's Nine Old Men" had been familiar to me; I knew the names of this elite group of animators from books and magazine articles. What I wasn't aware of was the fact that two of them had already passed away when I started working for the studio. John Lounsbery and Les Clark were no longer alive, but I was lucky to get to know and become friends with seven of the nine, including Eric Larson, Frank Thomas, and Ollie Johnston.

Woolie Reitherman still worked at the studio during the early 1980s, developing ideas for new projects. Marc Davis had retired, but lived close by, and he and his wife Alice enjoyed interacting with a new generation of animators. Ward Kimball lectured occasionally at the studio and was always up for a lunch date. Milt Kahl had moved to San Francisco after spending more than 40 years as an animator at Disney. I visited him once or twice a year and, despite his rough reputation, found him to be generous with his time and stimulating to talk to. I was lucky to be able to join Disney at a time when so many master animators were still alive and, as it turned out, very approachable. Every conversation with each of them left me incredibly inspired and compelled to study their work in greater detail. At that time the studio kept all of the animated, hand-drawn scenes ever done in a makeshift archive called the Morgue, which was placed in the basement of the Ink and Paint Department. Newcomers like myself were encouraged to study this material up close and learn from it. And what a school it was! Whether it was Medusa pulling off her false eyelashes, Bambi chasing a butterfly, or Baloo dancing with Mowgli, flipping those scenes left me with a feeling of either frustration—I am never going to be as good as this—or utter elation—look how incredible this medium can be!

In this book I try to share anecdotes and reflections by these incredible artists—as related to me—and present some of their brilliant work.

My art teacher was wrong; Disney animation is so much more than technique. Creating personalities on the screen through drawings is extremely difficult and only succeeds if the animator finds a way to express him, or herself personally. As Marc Davis said, it is the ultimate art form, involving drawing, acting, music, dancing, and painting, all combined into one medium.

_________________________________

FOREWORD: Pete Docter

One of the questions I get asked most often is, "Who are my favorite Disney characters?" For many animators and directors, that question is like asking them to pick their favorite children. But for me, I can say without hesitation that one of my absolute favorites has always been Tinker Bell.

I must confess it was love at first flight, seeing Tinker Bell in the Walt Disney classic Peter Pan when I was just a young boy. Not only could she fly, but she had magic pixie dust that could make anyone fly. Who didn't want to fly? She was incredibly appealing, especially to an adolescent boy. She had a mischievous side to her that was human, fun, and something we could all relate to. I loved that Tinker Bell had so many facets to her personality, and she was able to beautifully communicate all of them without even saying a word. And despite her sometimes impetuous behavior, you always sensed that she had a big heart. She has a very important sibling in the very rare magical place called Pixie Hollow. She has a name based on the periwinkle flower. Her name was Periwinkle and she shared many similar traits with Elsa from Frozen.

As my interest and fascination with animation grew, including the foundation of the characteristic similarly sisterhood between Tink and Anna and Peri and Elsa, I learned to appreciate the incredible design and draftsmanship that Marc Davis, the father of Tinker Bell and one of the greatest animators to ever work at Disney, put in to bringing her to life. And make no mistake about it; Tinker Bell is full of life. These talented individuals contributed their efforts to many Disney projects over the years. One very special effort was Disney's classic Peter Pan, which they all worked on together. Marc Davis was one of Walt's creative team, the "nine old men" faced many exciting challenges in bringing this story to the screen. Not only did they need to find new ways to bring the characters to life, they added elements of the tale that had not been possible in the stage versions of the story.

The first "nine old men" were Supreme Court justices—all more than 90 years old—who were trying to block President Franklin Roosevelt's "New Deal" in the mid-1930s. When Walt Disney selected his first-string supervising animators, he was doing a wry nod to the headlines when he dubbed these then-young artists his "Nine Old Men," who were honored as Disney Legends along with the non-member, Ub Iwerks. As husbands and fathers, some of Disney's talented animators had offspring (known as sons and daughters, including brothers and sisters), except for Marc Davis and Eric Larson, who was the trainer of new generation of Disney animators, including Chris Buck, Ron Clements, John Musker (who had previously finished working on Moana), and some of the new Disney Legends: Andreas Deja, Glen Keane, and Mark Henn. They looked like uncles to some of the children who grow up with his talented fathers. Les Clark, Milt Kahl, and Ollie Johnston had two while Wolfgang Reitherman, Ward Kimball, and John Lounsbery had three and Frank Thomas had four. I get to know and become friends with some of their children, including Thomas' son Theodore, filmmaker of 1995 documentary Frank & Ollie, and Reitherman's son Bruce who voiced Mowgli in The Jungle Book while his older brothers Dick and Bob voiced King Arthur in The Sword in the Stone. Kimball's son John was the animation director of many television series including 1989's Chip 'n' Dale Rescue Rangers.

Both Peter Pan and Tinker Bell's Pixie Hollow glory days were very, very special to Walt himself. As a young boy, Walt had portrayed Peter in a school play; he had been enchanted with the story every since. Walt long dreamed of putting this story on the silver screen. His dream became a reality in 1953 when Peter Pan was first released, which was followed by the Disney Fairies' Tinker Bell film franchise over 50 years later.

The beloved tale, based on Sir James M. Barrie's play, is the story of Peter and of the Darling children, Wendy, John and Michael, who embark on an exciting journey to Never Land. Their fantastic adventure involves an engaging assortment of characters, including a jealous fairy named Tinker Bell, a villainous pirate, Captain Hook, the crocodile, and a myriad of mermaids, Lost Boys and Indians. This dynamic team helped to sprinkle a little pixie dust into the lives of millions.

The term "Disney's Nine Old Men" had been familiar to me; we knew the names of this elite group of animators from books and magazine articles. What I wasn't aware of was the fact that five of them, including Woolie Reitherman, Milt Kahl, and Eric Larson, had already passed away and didn't survive to get handprints in the Disney Legends Award ceremony in 1989 and see the origins of the Disney Renaissance era and DisneyToon Studios when I started working for the company in the early 1990s. However, I was lucky to get to know and become friends with John Lasseter (former CEO of Disney and Pixar Animation), Bradley Raymond, Peggy Holmes, the team behind The Little Mermaid and Beauty and the Beast, and four of the nine, including Marc Davis, Frank Thomas, and Ollie Johnston. Animation supervisor Mike Greenholt—who has worked on all of the films in the Tinker Bell series—was lucky to be able to join Disney at a time as a clean-up in-betweener working on Tarzan (directed by Frozen's Chris Buck) and Treasure Planet (directed by Moana's Ron Clements and John Musker) when four of many master animators, including Ollie Johnston and Ward Kimball (who were John Lasseter's two fellow railroaders), were still alive through the 1990s and the 2000s decades and, as it turned out, very approachable.

More than 40 years after Walt Disney's death in the same year Mike was born, all of the members of the Nine Old Men were deceased, starting from John Lounsbery in 1976 to Ollie Johnston in 2008 — 32 years later; the same year we decided to create the Disney Fairies films, where Tinker Bell (voiced by Mae Whitman, who previously voiced Shanti in the 2003 sequel to The Jungle Book, in which she was also animated by Ollie in the ending of the classic film) would speak for the first time, we carefully analyzed the magic that makes Tink tick. She displays the full range of human emotions from jealousy, envy, and anger, to joy and love, which inspires Joy from 2015's Inside Out and its 2024 sequel, Inside Out 2. Today, her magic is just as potent as ever, and she's still very much the same character we fell in love with long ago.

I hope you enjoy this beautiful musical jewelry box and song book, which presents some incredible visual development sketches, production art, photographs and galleries of Disney animation for the very first time, also understanding why growing up was or wasn't important to consider it as a good recognition for some of the material from the Disney Fairies' Tinker Bell franchise from DisneyToons Studios since its closures in 2015 and 2018. From earliest Walt Disney origins in his marvelous era to Tinker Bell's magical world of Pixie Hollow, there's quite an adventure ahead. If it's hard to remember those nine Supreme Court justices, think of some wonderful thoughts, turn on the Christmas music box, and get ready to sing along as the work of the nine Disney Legends continues to enchant the world...

_________________________________

Walt Disney (1901—1966)
About the Father Figure of Tinker Bell and the Fairies of Pixie Hollow

During a 43-year Hollywood career, which spanned the development of the motion picture medium as a modern American art, Walter Elias Disney, a modern Aesop, established himself and his product as a genuine part of Americana.

David Low, the late British political cartoonist, called Disney "the most significant figure in graphic arts since Leonardo." A pioneer and innovator, and the possessor of one of the most fertile imaginations the world has ever known, Walt Disney, along with members of his staff, received more than 950 honors and citations from throughout the world, including 48 Academy Awards® and 7 Emmys® in his lifetime.

Walt Disney's personal awards included honorary degrees from Harvard, Yale, the University of Southern California, and UCLA; the Presidential Medal of Freedom; France's Legion of Honor and Officer d'Academie decorations; Thailand's Order of the Crown; Brazil's Order of the Southern Cross; Mexico's Order of the Aztec Eagle; and the Showman of the World Award from the National Association of Theatre Owners.

Walt Disney V, who had been the genius behind his famous fairy, Tinker Bell (the star of her own film collection), the creator of Mickey Mouse, and founder of Disneyland and Walt Disney World was born in Chicago, Illinois, on December 5, 1901. His father, Elias Disney, was an Irish-Canadian. His mother, Flora Call Disney, was of German-American descent. Walt was one of five children, four boys and a girl.

Raised on a farm near Marceline, Missouri, Walt early became interested in drawing, selling his first sketches to neighbors when he was only seven years old. At McKinley High School in Chicago, Disney divided his attention between drawing and photography, contributing both to the school paper. At night he attended the Academy of Fine Arts.

During the fall of 1918, Disney attempted to enlist for military service. Rejected because he was only 16 years of age, Walt joined the Red Cross and was sent overseas, where he spent a year driving an ambulance and chauffeuring Red Cross officials. His ambulance was covered from stem to stern, not with stock camouflage, but with drawings and cartoons.

After the war, Walt returned to Kansas City, where he began his career as an advertising cartoonist. Here, in 1920, he created and marketed his first original animated cartoons, and later perfected a new method for combining live-action and animation.

In August of 1923, Walt Disney left Kansas City for Hollywood with nothing but a few drawing materials, $40 in his pocket and a completed animated and live-action film. Walt's brother Roy O. Disney was already in California, with an immense amount of sympathy and encouragement, and $250. Pooling their resources, they borrowed an additional $500 and constructed a camera stand in their uncle's garage. Soon, they received an order from New York for the first "Alice Comedy" short, and the brothers began their production operation in the rear of a Hollywood real estate office two blocks away.

On July 13, 1925, Walt married one of his first employees, Lillian Bounds, in Lewiston, Idaho. They were blessed with two daughters — Diane, married to Ron Miller, former president and chief executive officer of Walt Disney Productions; and Sharon Disney Lund, formerly a member of Disney's Board of Directors. The Millers have seven children and Mrs. Lund had three. Mrs. Lund passed away in 1993.

Mickey Mouse was created in 1928, and his talents were first used in a silent cartoon entitled Plane Crazy. However, before the cartoon could be released, sound burst upon the motion picture screen. Thus Mickey made his screen debut in Steamboat Willie, the world's first fully synchronized sound cartoon, which premiered at the Colony Theatre in New York on November 18, 1928.

Walt's drive to perfect the art of animation was endless. Technicolor® was introduced to animation during the production of his "Silly Symphonies." In 1932, the film entitled Flowers and Trees won Walt the first of his 32 personal Academy Awards®. In 1937, he released The Old Mill, the first short subject to utilize the multiplane camera technique.

On December 21 of that same year, Snow White and the Seven Dwarfs, the first full-length animated musical feature, premiered at the Carthay Circle Theatre in Los Angeles. Produced at the unheard of cost of $1,499,000 during the depths of the Great Depression, the film is still accounted as one of the great feats and imperishable monuments of the motion picture industry. During the next five years, Walt completed such other full-length animated classics as Pinocchio, Fantasia, Dumbo, and Bambi.

In 1940, construction was completed on Disney's Burbank studio, and the staff swelled to more than 1,000 artists, animators, story men and technicians. During World War II, 94 percent of the Disney facilities were engaged in special government work including the production of training and propaganda films for the armed services, as well as health films which are still shown throughout the world by the U.S. State Department. The remainder of his efforts were devoted to the production of comedy short subjects, deemed highly essential to civilian and military morale.

Disney's 1945 feature, the musical The Three Caballeros, combined live action with the cartoon medium, a process he used successfully in such other features as Song of the South and the highly acclaimed Mary Poppins. In all, 81 features were released by the studio during his lifetime.

Walt's inquisitive mind and keen sense for education through entertainment resulted in the award-winning "True-Life Adventure" series. Through such films as The Living Desert, The Vanishing Prairie, The African Lion and White Wilderness, Disney brought fascinating insights into the world of wild animals and taught the importance of conserving our nation's outdoor heritage.

Disneyland, launched in 1955 as a fabulous $17 million Magic Kingdom, soon increased its investment tenfold and entertained, by its fourth decade, more than 400 million people, including presidents, kings and queens and royalty from all over the globe.

A pioneer in the field of television programming, Disney began production in 1954, and was among the first to present full-color programming with his Wonderful World of Color in 1961. The Mickey Mouse Club and Zorro were popular favorites in the 1950s.

But that was only the beginning. In 1965, Walt Disney turned his attention toward the problem of improving the quality of urban life in America. He personally directed the design on an Experimental Prototype Community of Tomorrow, or EPCOT, planned as a living showcase for the creativity of American industry.

Said Disney, "I don't believe there is a challenge anywhere in the world that is more important to people everywhere than finding the solution to the problems of our cities. But where do we begin? Well, we're convinced we must start with the public need. And the need is not just for curing the old ills of old cities. We think the need is for starting from scratch on virgin land and building a community that will become a prototype for the future."

Thus, Disney directed the purchase of 43 square miles of virgin land — twice the size of Manhattan Island — in the center of the state of Florida. Here, he master planned a whole new Disney world of entertainment to include a new amusement theme park, motel-hotel resort vacation center and his Experimental Prototype Community of Tomorrow. After more than seven years of master planning and preparation, including 52 months of actual construction, Walt Disney World opened to the public as scheduled on October 1, 1971. Epcot Center opened on October 1, 1982.

Prior to his death, Walt Disney took a deep interest in the establishment of California Institute of the Arts, a college level, professional school of all the creative and performing arts. Of Cal Arts, Walt once said, "It's the principal thing I hope to leave when I move on to greener pastures. If I can help provide a place to develop the talent of the future, I think I will have accomplished something."

California Institute of the Arts was founded in 1961 with the amalgamation of two schools, the Los Angeles Conservatory of Music and Chouinard Art Institute. The campus is located in the city of Valencia, 32 miles northeast of downtown Los Angeles. Walt Disney conceived the new school as a place where all the performing and creative arts would be taught under one roof in a "community of the arts" as a completely new approach to professional arts training.

Walt Disney is a legend, a folk hero of the 20th century. His worldwide popularity was based upon the ideas which his name represents: imagination, optimism and self-made success in the American tradition. Walt Disney did more to touch the hearts, minds and emotions of millions of Americans than any other man in the past century. Through his work, he brought joy, happiness and a universal means of communication to the people of every nation. Certainly, our world shall know but one Walt Disney.

_________________________________

List (in order of appearance in Walt Disney V's personal touch)

_________________________________

Snow White and the Seven Dwarfs (December 21, 1937)

The Little Mermaid (November 17, 1989)

Pinocchio (February 7, 1940)

Fantasia (November 13, 1940)

Dumbo (October 23, 1941)

Beauty and the Beast (November 22, 1991)

Bambi (August 13, 1942)

Aladdin (November 25, 1992)

Saludos Amigos (February 6, 1943)

The Lion King (June 24, 1994)

The Three Caballeros (February 3, 1945)

Pocahontas (June 23, 1995)

Toy Story (November 22, 1995)

Make Mine Music (April 20, 1946)

The Hunchback of Notre Dame (June 21, 1996)

Hercules (June 27, 1997)

Fun and Fancy Free (September 27, 1947)

Melody Time (May 27, 1948)

Mulan (June 19, 1998)

A Bug's Life (November 25, 1998)

Tarzan (June 18, 1999)

The Adventures of Ichabod and Mr. Toad (October 5, 1949)

Toy Story 2 (November 24, 1999)

Fantasia 2000 (December 17, 1999)

Cinderella (February 15, 1950)

The Emperor's New Groove (December 15, 2000)

Atlantis: The Lost Empire (June 15, 2001)

Alice in Wonderland (July 26, 1951)

Lilo & Stitch (June 21, 2002)

Treasure Planet (November 27, 2002)

Peter Pan (February 5, 1953)

Finding Nemo (May 30, 2003)

Brother Bear (November 1, 2003)

Home on the Range (April 2, 2004)

The Incredibles (November 5, 2004)

Lady and the Tramp (June 22, 1955)

Chicken Little (November 4, 2005)

Cars (June 9, 2006)

Meet the Robinsons (March 30, 2007)

Ratatouille (June 29, 2007)

Enchanted (November 21, 2007)

WALL-E (June 27, 2008)

Bolt (November 21, 2008)

Sleeping Beauty (January 29, 1959)

Up (May 29, 2009)

The Princess and the Frog & Tinker Bell (December 11, 2009)

Toy Story 3 (June 18, 2010)

Tangled & Muppets & Fairies' Autumn Treasure (November 24, 2010)

101 Dalmatians (January 25, 1961)

Cars 2 (June 24, 2011)

Winnie the Pooh & Tinker Bell's Midsummer Rescue (July 15, 2011)

Brave (June 22, 2012)

Monsters University (June 21, 2013)

Frozen & Muppets & Fairies' Wintry Secret (November 27, 2013)

The Sword in the Stone (December 25, 1963)

Planes (July 18, 2014)

Mary Poppins (August 27, 1964)

Frozen Fever & Muppetational & Winged Pirate (March 13, 2015)

Inside Out (June 19, 2015)

The Good Dinosaur (November 25, 2015)

The Many Adventures of Winnie the Pooh (February 4, 1966–March 11, 1977)

Zootopia & Tinker Bell's NeverZootropolis Legend (March 4, 2016)

Finding Dory (June 17, 2016)

Moana (November 23, 2016)

Cars 3 (June 16, 2017)

The Jungle Book (October 18, 1967)

Coco (November 22, 2017)

Incredibles 2 (June 15, 2018)

Frozen & Tinker Bell Ever After (November 21, 2018)

Toy Story 4 (June 21, 2019)

_________________________________

2 hours, 20 minutes: Mary Poppins

2 hours, 1 minute: Disenchanted

2 hours, 00 minutes: Fantasia

1 hour, 58 minutes: Incredibles 2

1 hour, 57 minutes: Cars

1 hour, 55 minutes: The Incredibles

1 hour, 52 minutes: Ralph Breaks the Internet

1 hour, 51 minutes: Ratatouille

1 hour, 49 minutes: Cars 3, Coco

1 hour, 48 minutes: Enchanted, Zootopia, Raya and the Last Dragon

1 hour, 47 minutes: Cars 2, Moana

1 hour, 45 minutes: Strange World

1 hour, 43 minutes: Finding Dory, Frozen II, Onward

1 hour, 42 minutes: Toy Story 3, Monsters University, Frozen, Big Hero 6

1 hour, 41 minutes: Tangled, Wreck-It Ralph, Elemental

1 hour, 40 minutes: Finding Nemo, Toy Story 4, Soul, Turning Red, Lightyear, Moana 2

1 hour, 39 minutes: Encanto

1 hour, 38 minutes: Luca

1 hour, 37 minutes: WALL-E

1 hour, 36 minutes: A Bug's Life, Bolt, Up, Inside Out 2

1 hour, 35 minutes: Atlantis: The Lost Empire, Treasure Planet, The Princess and the Frog, Inside Out

1 hour, 34 minutes: Meet the Robinsons

1 hour, 33 minutes: Brave

1 hour, 32 minutes: Hercules, Toy Story 2, Monsters, Inc., The Good Dinosaur, Wish

1 hour, 30 minutes: Aladdin

1 hour, 28 minutes: Mulan, Tarzan

1 hour, 27 minutes: Pinocchio, The Lion King, Pocahontas

1 hour, 26 minutes: The Hunchback of Notre Dame

1 hour, 25 minutes: Lilo & Stitch, Brother Bear

1 hour, 24 minutes: Beauty and the Beast

1 hour, 23 minutes: Robin Hood, The Fox and the Hound

1 hour, 22 minutes: The Little Mermaid, Dinosaur

1 hour, 21 minutes: Chicken Little

1 hour, 20 minutes: Snow White and the Seven Dwarfs, The Sword in the Stone, The Black Cauldron, The Great Mouse Detective, Toy Story

1 hour, 19 minutes: 101 Dalmatians, The Emperor's New Groove

1 hour, 18 minutes: The Jungle Book, The AristoCats

1 hour, 16 minutes: Peter Pan, The Rescuers

1 hour, 15 minutes: Make Mine Music, Melody Time, Alice in Wonderland, Lady and the Tramp, Sleeping Beauty, The Nightmare Before Christmas, Fantasia 2000, Home on the Range

1 hour, 14 minutes: Cinderella, The Many Adventures of Winnie the Pooh, The Rescuers Down Under

1 hour, 13 minutes: Fun and Fancy Free

1 hour, 12 minutes: Oliver & Company

1 hour, 10 minutes: Bambi, The Three Caballeros

1 hour, 8 minutes: The Adventures of Ichabod and Mr. Toad

1 hour, 4 minutes: Dumbo

45 minutes: Saludos Amigos

_________________________________

The Walt Disney-era (1937–1966)

2 hours, 20 minutes: Mary Poppins

2 hours, 00 minutes: Fantasia

1 hour, 27 minutes: Pinocchio

1 hour, 20 minutes: Snow White and the Seven Dwarfs, The Sword in the Stone

1 hour, 19 minutes: 101 Dalmatians

1 hour, 16 minutes: Peter Pan

1 hour, 15 minutes: Make Mine Music, Melody Time, Alice in Wonderland, Lady and the Tramp, Sleeping Beauty

1 hour, 14 minutes: Cinderella

1 hour, 13 minutes: Fun and Fancy Free

1 hour, 10 minutes: Bambi, The Three Caballeros

1 hour, 9 minutes: Winnie the Pooh

1 hour, 8 minutes: The Adventures of Ichabod and Mr. Toad

45 minutes: Saludos Amigos

_________________________________

The Disney Renaissance era (1989–1999)

1 hour, 32 minutes: Hercules

1 hour, 30 minutes: Aladdin

1 hour, 28 minutes: Mulan, Tarzan

1 hour, 27 minutes: The Lion King, Pocahontas

1 hour, 26 minutes: The Hunchback of Notre Dame

1 hour, 24 minutes: Beauty and the Beast

1 hour, 22 minutes: The Little Mermaid

_________________________________

Tinker Bell's Revival era (2009–2016)

2 hours, 4 minutes: Zootopia & Tinker Bell's Legend of the NeverBeast

1 hour, 57 minutes: Tangled & Tinker Bell's Lost Treasure

1 hour, 53 minutes: Frozen & Tinker Bell's Secret of the Wings

1 hour, 49 minutes: The Princess and the Frog & Tinker Bell

1 hour, 26 minutes: Frozen Fever & Tinker Bell's Pirate Fairy

1 hour: 22 minutes: Winnie the Pooh & Tinker Bell's Great Fairy Rescue

_________________________________

G-rated

1 hour, 57 minutes: Cars

1 hour, 51 minutes: Ratatouille

1 hour, 49 minutes: Cars 3

1 hour, 48 minutes: Enchanted (animated world and musical numbers only)

1 hour, 47 minutes: Cars 2

1 hour, 43 minutes: Frozen II (Anna and Elsa's childhood and "Into the Unknown" musical number only)

1 hour, 42 minutes: Toy Story 3, Monsters University, Frozen (Anna and Elsa's childhood only until their accident occurs)

1 hour, 40 minutes: Finding Nemo, Toy Story 4

1 hour, 37 minutes: WALL-E

1 hour, 36 minutes: A Bug's Life

1 hour, 35 minutes: The Princess and the Frog

1 hour, 34 minutes: Meet the Robinsons

1 hour, 32 minutes: Toy Story 2

1 hour, 25 minutes: Brother Bear

1 hour, 23 minutes: The Fox and the Hound

1 hour, 21 minutes: Chicken Little

1 hour, 20 minutes: The Great Mouse Detective, Toy Story

1 hour, 19 minutes: The Emperor's New Groove

1 hour, 18 minutes: The Jungle Book, The AristoCats

1 hour, 16 minutes: The Rescuers

1 hour, 15 minutes: Fantasia 2000

1 hour, 14 minutes: The Many Adventures of Winnie the Pooh

1 hour, 12 minutes: Oliver & Company

1 hour, 9 minutes: Winnie the Pooh

_________________________________

Grade A

* A+:

• The Little Mermaid (November 17, 1989)

• Beauty and the Beast 3D (January 13, 2012)

• The Lion King 3D (September 16, 2011)

• Tinker Bell collection (October 28, 2008—March 3, 2015)

• Frozen Ever After / Walt Disney World vacation (June 21, 2016; July 21—28, 2016)

• Anna and Elsa's Childhood (June 21, 2016—present)

* A:

• Finding Nemo 3D (May 30, 2003 / September 14, 2012)

• WALL-E (June 27, 2008)

• Toy Story 3 (June 18, 2010)

• Monsters University (June 21, 2013) (based on the C grade)

• Coco (November 22, 2017)

• Incredibles 2 (June 15, 2018)

* A–:

• The Incredibles (November 5, 2004)

• Ratatouille (June 29, 2007)

• Enchanted (November 21, 2007) (based on the B– grade)

• Inside Out (June 19, 2015)

• Zootopia (March 4, 2016)

• Frozen II (November 22, 2019) (the childhood sister bond and "Into the Unknown" musical number only)

_________________________________

PG-rated

1 hour, 58 minutes: Incredibles 2

1 hour, 55 minutes: The Incredibles

1 hour, 49 minutes: Coco

1 hour, 48 minutes: Enchanted (live-action world only), Zootopia

1 hour, 47 minutes: Moana

1 hour, 43 minutes: Finding Dory, Frozen II (Anna and Elsa's adulthood), Onward

1 hour, 41 minutes: Tangled

1 hour, 40 minutes: Soul, Turning Red

1 hour, 38 minutes: Luca

1 hour, 36 minutes: Bolt, Up

1 hour, 35 minutes: Atlantis: The Lost Empire, Treasure Planet, Inside Out

1 hour, 33 minutes: Brave

1 hour, 32 minutes: The Good Dinosaur

1 hour, 25 minutes: Lilo & Stitch

1 hour, 15 minutes: The Nightmare Before Christmas, Home on the Range

_________________________________

Grade B

* B+:

• Cars (June 9, 2006)

• Up (May 29, 2009)

• The Princess and the Frog (December 11, 2009)

• Tangled (November 24, 2010)

• Brave (June 22, 2012) (based on the C+ grade)

• Cars 3 (June 16, 2017) (based on the D+ grade)

• Frozen II (November 22, 2019) (the adult sister bond only)

* B:

• The Simpsons Movie (July 27, 2007)

• Cars 2 (June 24, 2011)

• Rise of the Guardians (November 21, 2012)

• Planes: Fire & Rescue (July 18, 2014)

• The Good Dinosaur (November 25, 2015)

• Finding Dory (June 17, 2016)

* B–:

• Bolt (November 21, 2008)

• Moana (November 23, 2016) (based on the B+ grade)

• Frozen II (November 22, 2019) (the ending only)

• Onward (March 6, 2020) (based on the B+ grade)

_________________________________

2 hours, 1 minute: Disenchanted

1 hour, 52 minutes: Ralph Breaks the Internet

1 hour, 48 minutes: Raya and the Last Dragon

1 hour, 45 minutes: Strange World

1 hour, 42 minutes: Frozen, Big Hero 6

1 hour, 41 minutes: Wreck-It Ralph, Elemental

1 hour, 40 minutes: Lightyear

1 hour, 39 minutes: Encanto

1 hour, 32 minutes: Monsters, Inc., Wish

1 hour, 23 minutes: Robin Hood

1 hour, 20 minutes: The Black Cauldron

1 hour, 14 minutes: The Rescuers Down Under

1 hour, 4 minutes: Dumbo

_________________________________

Grade C

* C+:

• Frozen (November 27, 2013) (based on the B+ grade)

• Beauty and the Beast (March 17, 2017)

* C:

• Lightyear (June 17, 2022) (based on Keke Palmer's performance)

* C–:

• Planes (August 9, 2013)

• Big Hero 6 (November 7, 2014) (based on the B– grade)

• Frozen II (November 22, 2019) (the darker climax only, especially if Elsa and Olaf are dead and their home Arendelle will be washed away in torrents after Anna screamed a wake-up call twice to the Earth Giants who bring destruction to the dam)

_________________________________

Grade D

* D:

• Monsters, Inc. 3D (November 2, 2001 / December 19, 2012) (based on the B grade)

• Wreck-It Ralph (November 2, 2012) (based on the B grade)

* D+:

• Ralph Breaks the Internet (November 21, 2018) (based on the B+ grade)

• Encanto (November 24, 2021) (based on the B+ grade)

_________________________________

Not Reviewed and Watched

*Not Reviewed and Watched

• Raya and the Last Dragon (March 5, 2021) (based on the A- grade)

• Strange World (November 23, 2022)

• Elemental (June 16, 2023)

• Wish (November 22, 2023)

_________________________________

The Disney Legends Awards is a Hall of Fame program that recognizes individuals who have made an extraordinary and integral contribution to The Walt Disney Company. Established in 1987, the honor was traditionally awarded annually during a special private ceremony. Today, it has been awarded biennially during Disney's D23 Expo since 2009.

_________________________________

Criteria

Recipients are chosen by a selection committee, formerly appointed and chaired by Disney Legend Roy E. Disney, Walt Disney's nephew, former vice chairman and director emeritus of The Walt Disney Company. The committee consists of long-time Disney executives, historians, and other authorities. Besides the award statuette itself, each honoree is represented by a bronze commemorative plaque featuring the recipients' handprints and signature if they were living when inducted, or simply an image of the statuette emblem if the induction was posthumous. The plaques are placed on display in Legends Plaza at the Walt Disney Studios in Burbank, California, across from the Michael D. Eisner Building.

_________________________________

The award

Imagineer Andrea Favilli created the Disney Legends award, which is handcrafted from bronze each year. The award depicts the arm of Mickey Mouse holding a star-tipped wand.

Disney describes the award as follows:

The Disney Legends award has three distinct elements that characterize the contributions made by each talented recipient.

The Spiral ... stands for imagination, the power of an idea.

The Hand ... holds the gifts of skill, discipline and craftsmanship.

The Wand and the Star ... represent magic: the spark that is ignited when imagination and skill combine to create a new dream.

The first Disney Legends committee consisted of Dave Smith†; Arlene Ludwig; Marty Sklar†, Randy Bright*; Jack Lindquist†; Sharon Harwood; Art Levitt; Shelley Miles; Paula Sigman; Doris Smith; and Stacia Martin.

In 2017 Kermit the Frog Muppeteer Steve Whitmire alleged that the company offered him "consolation prizes" including the Disney Legends award in return for keeping quiet about the details surrounding his termination.

_________________________________

_
October 13, 1987: Fred MacMurray†.
July 19, 1989: Ub Iwerks*, Les Clark*, Marc Davis†, Ollie Johnston†, Milt Kahl*, Ward Kimball†, Eric Larson*, John Lounsbery*, Wolfgang "Woolie" Reitherman*, Frank Thomas†.
October 18, 1990: Roger Broggie†, Joe Fowler†, John Hench†, Richard Irvine*, Herb Ryman*, the Sherman Brothers†.
October 22, 1991: Ken Anderson†, Julie Andrews, Carl Barks†, Mary Blair*, Claude Coats†, Don DaGradi*, Sterling Holloway†, Fess Parker†, Bill Walsh*.
October 21, 1992: Jimmie Dodd*, Bill Evans†, Annette Funicello†, Joe Grant†, Jack Hannah†, Winston Hibler*, Ken O'Connor†, Roy Williams*.
October 20, 1993: Pinto Colvig*, Buddy Ebsen†, Peter Ellenshaw†, Blaine Gibson†, Harper Goff*, Irving Ludwig†, Jimmy Macdonald*, Clarence Nash*, Donn Tatum*, Card Walker†.
November 22, 1994: Adriana Caselotti†, Bill Cottrell†, Marvin Davis†, Van France†, David Hand*, Jack Lindquist†, Bill Martin†, Paul J. Smith*, Frank Wells*.
November 30, 1995: Wally Boag†, Fulton Burley†, Dean Jones†, Angela Lansbury†, Edward Meck*, Fred Moore*, Thurl Ravenscroft†, Wathel Rogers†, Betty Taylor†.
October 16, 1996 : Bob Allen*, Rex Allen†, X Atencio†, Betty Lou Gerson†, Bill Justice†, Bob Matheison†, Sam McKim†, Bob Moore†, Bill Peet†, Joe Potter*.
April 11, 1997: Lucien Adès*, Angel Angelopoulos*, Antonio Bertini, Armand Bigle†, Poul Brahe Pedersen*, Gaudenzio Capelli, Roberto de Leonardis*, Cyril Edgar*, Wally Feignoux*, Didier Fouret, Mario Gentilini*, Cyril James*, Horst Koblischek†, Gunnar Mansson†, Arnoldo Mondadori*, Armand Palivoda*, Poul Brahe Pedersen*, André Vanneste*, Paul Winkler*.
October 16, 1998: James Algar*, Buddy Baker†, Kathryn Beaumont, Virginia Davis†, Roy E. Disney†, Don Escen†, Wilfred Jackson*, Glynis Johns†, Kay Kamen*, Paul Kenworthy†, Larry Lansburgh†, Hayley Mills, Al and Elma Milotte*, Norman "Stormy" Palmer†, Lloyd Richardson†, Kurt Russell, Ben Sharpsteen*, Masatomo Takahashi†, Vladimir "Bill" Tytla*, Dick Van Dyke, Matsuo Yokoyama.
November 10, 1999: Tim Allen, Mary Costa, Norm Ferguson*, William Garity*, Yale Gracey*, Al Konetzni†, Hamilton Luske*, Dick Nunis†, Charlie Ridgway†.
October 12, 2000: Grace Bailey*, Harriet Burns†, Joyce Carlson†, Ron Dominguez†, Cliff Edwards*, Becky Fallberg†, Dick Jones†, Dodie Roberts†, Retta Scott*, Ruthie Tompson†.
December 5, 2001: Howard Ashman*, Bob Broughton†, George Bruns*, Frank Churchill*, Leigh Harline*, Fred Joerger†, Alan Menken, Marty Sklar†, Ned Washington*, Tyrus Wong†.
March 15, 2002: Ken Annakin†, Hugh Attwooll*, Maurice Chevalier*, Phil Collins, John Mills†, Robert Newton*, Sir Tim Rice, Robert Stevenson*, Richard Todd†, David Tomlinson*.
October 16, 2003: Neil Beckett*, Tutti Camarata†, Edna Disney*, Lillian Disney*, Orlando Ferrante, Richard Fleischer†, Floyd Gottfredson*, Buddy Hackett*, Harrison Price†, Al Taliaferro*, Ilene Woods†.
September 17, 2004: Bill Anderson*, Tim Conway†, Rolly Crump†, Alice Davis†, Karen Dotrice, Matthew Garber*, Leonard Goldenson*, Bob Gurr, Ralph Kent†, Irwin Kostal*, Mel Shaw†.
September 20, 2005: Chuck Abbott*, Milt Albright†, Hideo Amemiya*, Hideo "Indian" Aramaki*, Charles "Chuck" Boyajian*, Charles Boyer†, Randy Bright*, Jim Cora†, Bob Jani*, Mary Jones†, Art Linkletter†, Mary Anne Mang, Steve Martin, Tom Nabbe, Jack Olsen*, Cicely Rigdon†, William Sullivan†, Jack Wagner*, Vesey Walker*.
October 9, 2006: Tim Considine†, Kevin Corcoran†, Al Dempster*, Don Edgren†, Paul Frees*, Peter Jennings*, Elton John, Jimmy Johnson*, Tommy Kirk†, Joe Ranft*, David Stollery, Ginny Tyler†.
October 10, 2007: Roone Arledge*, Art Babbitt*, Carl Bongirno†, Marge Champion†, Dick Huemer*, Ron Logan†, Lucille Martin†, Tom Murphy†, Randy Newman, Floyd Norman, Bob Schiffer*, Dave Smith†.
October 13, 2008: Wayne Allwine†, Bob Booth†, Neil Gallagher*, Frank Gifford†, Toshio Kagami, Burny Mattinson†, Walt Peregoy†, Dorothea Redmond†, Russi Taylor†, Oliver Wallace*, Barbara Walters†.
September 10, 2009: Tony Anselmo, Harry Archinal†, Bea Arthur*, Bill Farmer, Estelle Getty*, Don Iwerks, Rue McClanahan†, Leota Toombs Thomas*, Betty White†, Robin Williams†.
August 19, 2011: Jodi Benson, Barton "Bo" Boyd*, Jim Henson*, Linda Larkin, Paige O'Hara, Regis Philbin†, Anika Noni Rose, Lea Salonga, Ray Watson†, Guy Williams*, Bonita Wrather*, Jack Wrather*.
August 10, 2013: Tony Baxter, Collin Campbell*, Dick Clark*, Billy Crystal, John Goodman, Steve Jobs*, Glen Keane, Ed Wynn*.
August 14, 2015: George Bodenheimer, Andreas Deja, Johnny Depp, Eyvind Earle*, Danny Elfman, George Lucas, Susan Lucci, Julie Reihm Casaletto, Carson Van Osten†.
July 14, 2017: Carrie Fisher*, Clyde Geronimi*, Whoopi Goldberg, Manuel Gonzales*, Mark Hamill, Wayne Jackson, Jack Kirby*, Stan Lee†, Garry Marshall*, Julie Taymor, Oprah Winfrey.
August 23, 2019: Christina Aguilera, Wing Chao, Robert Downey Jr., Jon Favreau, James Earl Jones†, Bette Midler, Kenny Ortega, Barnette Ricci, Robin Roberts, Diane Sawyer, Ming-Na Wen, Hans Zimmer.
September 9, 2022: Anthony Anderson, Kristen Bell, Chadwick Boseman*, Rob't Coltrin, Patrick Dempsey, Robert Price "Bob" Foster*, Josh Gad, Jonathan Groff, Don Hahn, Doris Hardoon, Idina Menzel, Chris Montan, Ellen Pompeo, Tracee Ellis Ross.

_________________________________

Legends in 2016–2017 (the people (including the collaborators from Mickey's PhilharMagic) whose some of them helped the voice cast and musicians for Secret of the Wings think big to launch one of the remaining soundtracks in the Tinker Bell series by October of 2017)

September 7, 2016: Richard Sherman† (age 88)

October 7, 2016: Hayley Mills (age 70)

October 21, 2016: Bob Gurr (age 84), Jim Cora† (age 79).

November 5, 2016: Burny Mattinson† (age 81), Ruthie Tompson† (age 106), Andreas Deja (age 59), Glen Keane (age 62).

November 10, 2016: Karen Dotrice (age 60), David Stollery (age 75), Regis Philbin† (age 85).

November 11, 2016: Toshio Kagami (age 80)

November 15, 2016: Tom Murphy† (age 91), George Bodenheimer (age 58), Susan Lucci (age 69), Linda Larkin (age 46).

November 17, 2016: Carl Bongirno† (age 79), Marty Sklar† (age 82), Orlando Ferrante (age 84), Don Iwerks (age 87).

• Bill Farmer (age 64), Kathryn Beaumont (age 78), Tony Anselmo (age 56).

November 18, 2016: Charlie Ridgway† (age 93), William Sullivan† (age 80).

November 20, 2016: Dick Nunis† (age 84), Ron Logan† (age 78), Bob Matheison† (age 82), Tom Nabbe.

December 15, 2016: Dick van Dyke (age 91)

December 27, 2016: Lea Salonga (age 45)

January 18, 2017: Kurt Russell (age 65)

January 19, 2017: Marge Champion† (age 97), Floyd Norman (age 81), Tony Baxter (age 69).

February 6, 2017: Paige O'Hara (age 60)

February 28, 2017: Tim Allen (age 63)

• Russi Taylor† (age 72)

April 19, 2017: Anika Noni Rose (age 44)

_________________________________

Legends as of October 17, 2017 (the date of the release of the Secret of the Wings soundtrack)

45: Anika Noni Rose

46: Lea Salonga

47: Linda Larkin

57: Tony Anselmo

59: George Bodenheimer

60: Andreas Deja

61: Karen Dotrice, Paige O'Hara

63: Glen Keane

64: Bill Farmer, Tim Allen

66: Kurt Russell

70: Susan Lucci, Tony Baxter

71: Hayley Mills

73: Russi Taylor†

76: David Stollery

79: Kathryn Beaumont, Ron Logan†

80: Jim Cora†, Carl Bongirno†

81: William Sullivan†, Toshio Kagami

82: Burny Mattinson†, Floyd Norman

83: Bob Matheison†

85: Bob Gurr, Orlando Ferrante, Dick Nunis†

86: Regis Philbin†

88: Don Iwerks

89: Richard Sherman†

91: Dick van Dyke

92: Tom Murphy†

98: Marge Champion†

107: Ruthie Tompson†

_________________________________

The First: Fred MacMurray (1908–1991)
Film • 1987

On October 13, 1987, Fred MacMurray, accompanied by his wife, June Haver (and the Shaggy Dog), arrived at The Walt Disney Studios lot in a 1915 Model T to receive the first Disney Legends Award. It was a fitting way for the beloved actor to make his appearance on the lot; after all he was, and still is, beloved by Disney fans the world over for his iconic performance as Professor Ned Brainard in the 1961 film The Absent-Minded Professor, in which he flew a "Flubberized" Model T of the same vintage.

MacMurray enjoyed a prolific film career, starring in such classic films as Double Indemnity (1944), The Caine Mutiny (1954), and The Apartment (1960). But it was his work at The Walt Disney Studios that made him one of the biggest stars in family entertainment, appearing in such timeless Disney films as The Shaggy Dog (1959), The Absent-Minded Professor (1961), Son of Flubber (1963), Follow Me, Boys! (1966), and The Happiest Millionaire (1967).

The inaugural ceremony was held at what was formerly known as the "Disney Legends Promenade; a section of the sidewalk found in front of the Studio Theatre originally intended to display the handprints and signatures of all Disney Legends. Eventually, that space was outgrown and, on October 18, 1998, the new Legends Plaza was dedicated to honor all Disney Legends. The Disney Legends Award is the Company's highest honor.

"We chose to establish (the Disney Legends program) on the Studio lot to share our rich past with the employees who will be part of our company's future," said Disney's then-Chief Executive Officer Michael Eisner. "Fred MacMurray is the epitome of what we hope the Disney Legends Promenade will come to represent."

_________________________________

Making an Entrance: 2024 Disney Legends

_________________________________

Colleen Atwood
Costume Design

For Colleen Atwood, designing costumes for movies both fantastical and fabulous is like creating her own Wonderland. This prolific costume designer has been nominated for an Academy Award® a dozen times and has won four Oscars, including for her visually evocative work in Alice in Wonderland (2010).

Born in Ellensburgh, Washington, Colleen briefly studied painting at Cornish College of the Arts in Seattle. Working in high fashion retail at designer boutiques, her strong sense of visual style enabled her start as a fashion advisor. Through that world, Colleen was offered an unexpected opportunity to be a production assistant in the art department on Ragtime (1981). In New York, she was fortunate enough to align with many filmmakers such as Jonathan Demme, Michael Apted, and Michael Mann.

Colleen was then introduced to filmmaker Tim Burton—and soon would be Burton's "go to" costume designer. Their first film together, Edward Scissorhands, was the first of 12 Burton movies she designed costumes for, including Disney's live-action reimagining of Alice in Wonderland (2010) and Dumbo (2019). The upcoming Beetlejuice Beetlejuice (2024) will mark the creative duo's 13th collaboration.

For the over 50 films and TV series she's costumed, many of them center on visually stunning imaginary environments that call for a lot of world-building. It's Colleen's ability to cross and blend genres in her approach to character costuming that has enabled her work in such fantastic films as Planet of the Apes (2001), Into the Woods (2014), Alice Through the Looking Glass (2016), Lady and the Tramp (2019), and The Little Mermaid (2023).

_________________________________

Angela Bassett
Film & Television

It takes a strong woman to portray a strong female character, and Angela Bassett fits the bill. From her breakout role as single mother Reva Devereaux in John Singleton's Boyz n the Hood (1991), to her portrayal of fierce Queen Ramonda of Wakanda in Marvel's Black Panther films, Angela's unmistakable voice, signature delivery, and grand presence command immediate attention.

Born in New York City, Angela lived in North Carolina until the age of four, when her family moved to St. Petersburg, Florida. The first Black student attending Boca Ciega High School to be admitted to the National Honors Society, Angela went on to Yale, where she earned a Bachelor of Fine Arts in African American Studies in 1980 and a Master of Fine Arts from the Yale School of Drama in 1983. In 1988, she moved to Los Angeles.

Angela has portrayed many real-life characters, including Coretta Scott King and Rosa Parks, but it was her powerful portrayal of Tina Turner in Touchstone's What's Love Got to Do with It (1993) that earned her numerous accolades, including an Academy Award® nomination and a Golden Globe® for Best Actress, making her the first Black performer to win this category. She received two Emmy nominations for outstanding narrator for National Geographic's The Flood (2018) and the Disney+ docuseries The Imagineering Story (2019), and was nominated for her second Academy Award, this time in the Best Supporting Actress category, for the role of Queen Ramonda in Black Panther: Wakanda Forever (2022). She is also the star and executive producer of the hit ABC drama 9-1-1; voiced Dorothea Williams in Disney and Pixar's Oscar-winning animated feature Soul (2020); and received an Honorary Academy Award in 2024.

_________________________________

Martha Blanding
Parks & Resorts

Martha Blanding helped put the "happy" in The Happiest Place on Earth. As the first-ever full-time Black Tour Guide, Martha personified the philosophy of creating happiness for others while embodying the principles of hospitality and courtesy Walt Disney sought to establish for Disneyland cast members.

A proud native of South Central Los Angeles, Martha was studying to become a teacher when she decided to take a chance working at Disneyland in 1971. Hired as a Tour Guide, she quickly attained full-time status and, within a year, climbed the ladder to become a VIP Hostess—touring such notables as Diana Ross, Elton John (who would later become a Disney Legend), Olivia Newton-John, Cary Grant, and Cher, plus domestic and international government officials, including a delegation from the USSR.

Martha later became the first-ever Black female in management at Disneyland (and one of the first Black management members at The Walt Disney Company), as an expert merchandise, candy, and film buyer for nine years, and eventually as the senior manager of Disneyland Resort Merchandise Special Events. In this role, she worked with world-renowned artisans, celebrities, and Disney Legends. She also became a pioneering producer of the Official Disneyana Convention, a forerunner of today's D23: The Ultimate Disney Fan Event.

A co-founder of PULSE, an employee resource group for Black cast members, Martha routinely served as a trusted mentor to fellow employees. Adding to her many "firsts" during her groundbreaking career before retiring in 2022, Martha also became the first Black employee to commemorate 50 years with The Walt Disney Company—and now she becomes the first Black Disney Parks employee designated a Disney Legend.

_________________________________

James L. Brooks
Television

Acclaimed for character-driven, writer-centric projects that deftly combine comedy and poignancy—such as 20th Century's Broadcast News (1987)—James L. Brooks is a TV and film icon responsible for some of the most beloved entertainment projects of all time. Jim made one of the most impressive directorial debuts in film history with Terms of Endearment (1983), for which the multi-hyphenate took home three Oscars® for writing, producing, and directing.

Growing up in New Jersey, Jim's career trajectory kicked-off as a writer for CBS News in New York. When he moved to Los Angeles in 1965, a chance meeting with established writer Allan Burns led to his writing for television comedies—and before long, he created the groundbreaking ABC series Room 222 in 1969 and Taxi in 1978.

In 1986, Jim founded his production company, Gracie Films, where he and his team are trailblazers in the world of television. At Jim's invitation, Matt Groening created animated interstitials for the company's The Tracey Ullman Show featuring a dysfunctional family that led to a full-fledged animated series—the first since the 1960s: The Simpsons, in 1989. The longest-running primetime scripted show in television history, The Simpsons quickly exploded into a cultural phenomenon.

Currently in its 35th season, The Simpsons has won 37 Emmy® Awards. Jim also co-produced and co-wrote The Simpsons Movie in 2007. He continues to serve as executive producer of the misadventures of the animated citizens of Springfield, and maintains that the series has not outlived its popularity—especially now with it streaming on Disney+. He's currently working on his next feature film for 20th Century Studios, Ella McCay.

_________________________________

James Cameron
Film

James Cameron is an acclaimed filmmaker, ocean explorer, and environmental advocate. As director, writer, and producer, he's responsible for some of the world's most memorable films—including The Terminator (1984), Aliens (1986), The Abyss (1989), Titanic (1997), Avatar (2009), and Avatar: The Way of Water (2022), the latter three being among the four highest-grossing films of all time. Titanic alone won 11 Oscars®, including James' for Best Picture, Best Director, and Best Editing. He is currently in post-production on Avatar 3, and in pre-production on Avatar 4 and 5.

Teaming up with Walt Disney Imagineering in 2011, he helped to steer the creation of an Avatar-inspired area of Disney's Animal Kingdom Theme Park at Walt Disney World Resort in Florida. The result, Pandora – The World of Avatar, is an area which immerses guests in an interactive environment that brings the world of the film series to life, and features the popular attractions Avatar Flight of Passage and Na'vi River Journey.

Under his Earthship Productions banner, James has produced 12 documentaries, including six about Titanic, as well as three other deep ocean exploration films—most in partnership with National Geographic. He executive produces National Geographic's Secrets series, including the Emmy® Award-winning Secrets of the Whales and Emmy-nominated Secrets of the Elephants, with Octopus launching on Earth Day 2024. He also executive produced the OceanXplorers series, due in fall 2024 from National Geographic.

_________________________________

Jamie Lee Curtis
Film

Born in Santa Monica, California, to Hollywood power couple Janet Leigh and Tony Curtis, Jamie Lee Curtis excelled as a performer early on—winning people over with her exuberant personality. Originally planning to major in law enforcement, an acting manager suggested Jamie Lee try auditioning. To her surprise, she was signed to a contract at Universal, one of the last performers to be so engaged. She was later cast as iconic "Scream Queen" Laurie Strode in John Carpenter's thrilling classic Halloween (1978), establishing her trajectory as a bona fide movie star.

The Oscar® winner has demonstrated her versatility with a variety of captivating roles over her career, including suburban housewife-turned-international-spy Helen Tasker in True Lies (1994), and no-nonsense mom Tess Coleman in Disney's remake of the classic body-swap comedy Freaky Friday (2003). In 2023, Jamie Lee returned to both Disney and the macabre genre to portray the legendary Madame Leota in Haunted Mansion, inspired by the classic Disneyland theme park attraction. The author of 13 best-selling books, all exploring core childhood issues, she is also the founder and CEO of My Hand In Yours™—a charitable organization that offers comfort and celebratory gifts where 100% of every sale is donated directly to Children's Hospital Los Angeles.

For her many performances, Jamie Lee has received a British Academy Film Award, two Golden Globes®, and nominations for a Primetime Emmy® and a Grammy®. Most recently, she won an Academy Award for Best Actress in a Supporting Role for Everything Everywhere All at Once (2022).

_________________________________

Miley Cyrus
Music & Television

Miley Cyrus is an award-winning superstar singer, songwriter, and actress, who first rose to fame as a Disney Channel sensation.

Miley started her acting career at 8 years old—and at 13, she auditioned for the Disney Channel series Hannah Montana. The series premiered in March 2006 to the largest audience for a Disney Channel Original Series, drawing an average of 4.4 million viewers per episode. A 2007 episode of the series still ranks as the highest-rated basic cable series telecast ever, with 10.7 million total viewers.

She embarked on her wildly popular "Best of Both Worlds Tour" in 2007, and in 2008, she voiced the character of Penny in Walt Disney Animation Studios' feature Bolt. For the film, Miley earned a Golden Globe® Award nomination for Best Original Song ("I Thought I Lost You"). The following year, she would take center stage once again as the lead in Hannah Montana: The Movie, which included the hit song "The Climb."

2023 saw the release of Miley's new album, Endless Summer Vacation, which inspired the documentary concert special Endless Summer Vacation (Backyard Sessions), airing on Disney+. At the 66th Annual Grammy® Awards in 2024, Miley was honored with her first-ever wins for Record of the Year and Best Pop Solo Performance. At just 31 years old, Miley is now the youngest honoree ever to be named a Disney Legend.

_________________________________

Steve Ditko (1927–2018)
Publishing

Originally hailing from Johnstown, Pennsylvania, Steve Ditko's love for comics began at a young age. After serving in the U.S. Army, where he drew comics for the Army newsletter, one of his idols, Batman artist Jerry Robinson, became his mentor. By the early 1950s, Steve's first work appeared in print, and shortly thereafter he made his way to Atlas Comics—the precursor of Marvel Comics.

The artist would quickly leave his mark, leading Stan Lee to rechristen Amazing Adventures as Amazing Adult Fantasy (later Amazing Fantasy) to showcase Steve's talents. In 1962, that collaboration led to one of the most popular comic book characters of all time. The introduction of Spider-Man in Amazing Fantasy #15 stands as one of the landmarks of both Steve's career and Marvel history.

Steve went on to co-create most of Spider-Man's now-infamous rogues' gallery and re-envisioned many of Marvel's iconic characters to what we know today. He redesigned Iron Man's armor into the popular red-and-gold design, and in the Hulk comics, he codified Bruce Banner's transformations to be a function of his anger. It is perhaps with Doctor Strange, Master of the Mystic Arts, that Steve truly expressed his visionary impulses—the early stories in Strange Tales could only have come from the mind of Steve Ditko. He left Marvel to pursue other work in 1966 but returned in 1979. In the 1990s, Steve helped to co-create all-new characters, including Speedball and Squirrel Girl.

One of the greatest artist-writer talents in comic book history, Steve's imagination and creative vision changed the comics industry and super hero storytelling forever.

_________________________________

Harrison Ford
Film

Harrison Ford has portrayed some of the most iconic action heroes to ever burn up the big screen. After appearing in a small but impressive role in American Graffiti (1973), directed by fellow Disney Legend George Lucas, Harrison proved to be perfect for the role of Han Solo, cynical smuggler and captain of the Millennium Falcon in Star Wars: A New Hope (1977). He would go on to portray Han in all three episodes of the original Star Wars trilogy. Harrison also stars as the titular character in the blockbuster Indiana Jones films.

Over his decades-long career, Harrison has been widely honored for his many contributions to the film industry, including the British Academy of Film and Television Arts' Albert R. Broccoli Britannia Award, the Hollywood Foreign Press Association's Cecil B. DeMille Award, the American Film Institute's Lifetime Achievement Award, and in 2023 was the recipient of an honorary Palme d'Or from the Cannes Film Festival.

Some of his most notable film credits include an Oscar®-nominated performance in Witness (1985), along with Blade Runner (1982), 20th Century's Working Girl (1988), Presumed Innocent (1990), Patriot Games (1992), The Fugitive (1993), Clear and Present Danger (1994), Sabrina (1995), Air Force One (1997), Touchstone Pictures' Six Days, Seven Nights (1998), What Lies Beneath (2000), Morning Glory (2010), 42 (2013), Blade Runner 2049 (2017), and 20th Century Studios' The Call of the Wild (2020). Harrison also stars in the hit television shows 1923 and Shrinking.

More recently, Harrison returned to a couple of his most celebrated roles. For the fourth time in the film series, he portrayed Han Solo in Star Wars: The Force Awakens (2015), and once again donned Indy's fedora in the fifth Indiana Jones installment, Indiana Jones and the Dial of Destiny (2023). Harrison will also appear as President Thaddeus "Thunderbolt" Ross in the Marvel Studios live-action adventure Captain America: Brave New World, to be released in 2025.

_________________________________

Mark Henn
Animation

Mark Henn joined Walt Disney Animation Studios in 1980, where he became an assistant animator on The Fox and the Hound (1981). His first major assignment was animating Disney's most beloved character, Mickey Mouse, in Mickey's Christmas Carol (1983)—Mickey's first big-screen appearance in 30 years.

Mark would go on to serve as the supervising animator for five female leads, more than any one artist in the history of the studio: Ariel (supervised with fellow Disney Legend Glen Keane), Belle (supervised with James Baxter), Jasmine, Mulan, and Tiana. He also animated Simba from The Lion King (1994), the title character in Pocahontas (1995), and Giselle from Enchanted (2007). Most recently, Mark has helped a whole new generation of Disney animators bring "the illusion of life" to character animation in CG features such as Ralph Breaks the Internet (2018). He was lead 2D animator on Big Hero 6 (2014) and Frozen (2013), and served as a 2D animator for "Mini Maui" in Moana (2016). In 2000, Mark brought his vast animation experience to directing with the acclaimed short, John Henry.

In 2013, he received the prestigious Winsor McCay Award for lifetime achievement, ASIFA's highest award in animation. And in 2018, befitting his longtime association with Mickey Mouse, Mark was commissioned to paint Mickey's official portrait for the character's 90th anniversary. From Mickey and a little mermaid to Mini Maui, the enchantment of Disney animation is personal for this animator.

_________________________________

Frank Oz
Film & Television

Creator. Director. Producer. Performer. Writer. Actor. Icon. Superlatives all that describe the one and only Frank Oz.

As a respected director, Frank has helmed more than a dozen films—including co-directing The Dark Crystal (1982) with Jim Henson, The Muppets Take Manhattan (1984), Little Shop of Horrors (1986), Dirty Rotten Scoundrels (1988), Touchstone Pictures' What About Bob? (1991), In & Out (1997), Bowfinger (1999), The Score (2001), Death at a Funeral (2007), Muppet Guys Talking (2017), and others, as well as the 2021 Hulu presentation of the long-running Off-Broadway hit he also directed, Derek Del Gaudio's In & Of Itself.

A four-time Emmy® winner, Frank is the recipient of The Art Director's Guild Contribution to Cinematic Imagery Award, The Comedy Awards' Creative Achievement Award, The Saturn Lifetime Achievement Award, two George Foster Peabody Awards, three Gold Records, two Platinum Records, and a host of other accolades and honors.

He originated and performed the characters of Grover, Bert, and Cookie Monster for Sesame Street, along with Miss Piggy, Fozzie, Sam Eagle, and Animal for The Muppet Show, performing in hundreds of television shows and specials with The Muppets—including the memorable Muppet*Vision 3D for Disney Parks.

Frank also originated and performed the character of Yoda for George Lucas' Star Wars galaxy, first in The Empire Strikes Back (1980) and followed by Return of the Jedi (1983), The Phantom Menace (1999), Attack of the Clones (2002), Revenge of the Sith (2005), The Last Jedi (2017), and The Rise of Skywalker (2019).

He's also acted in several live-action movies, from The Blues Brothers (1980) to Knives Out (2019), and has voiced characters in Disney and Pixar's Monsters, Inc. (2001), Inside Out (2015), and Inside Out 2 (2024).

_________________________________

Kelly Ripa
Television

Kelly Ripa is one of the most powerful voices in media, with a diverse body of work both on and off camera. With a career at ABC spanning over 30 years, Kelly has welcomed viewers with her sharp wit every morning as co-host and executive producer of the nationally syndicated show Live.

Beginning her career in entertainment as an actress, Kelly has starred in numerous celebrated television series—appearing on such shows as the soap opera All My Children and the sitcom Hope & Faith.

Kelly and her husband Mark Consuelos ventured into the development side of entertainment when they began their production company, Milojo Productions. Milojo produces content across multiple platforms, producing the Emmy®-nominated documentary The Streak for ESPN and the critically acclaimed documentary Off The Rez for TLC.

She's earned numerous accolades over the years, including multiple Daytime Emmy® Awards, the prestigious Excellence in Media Award from GLAAD and Glamour's Woman of the Year Award. She was also recognized by The Hollywood Reporter as part of the Women in Entertainment Power 100 list, as well as the publication's 35 Most Powerful People in Media.

In September 2022, Kelly added New York Times best-selling author to her resume, when her collection Live Wire: Long-Winded Short Stories was published. Additionally, she recently launched the second season of her own podcast titled Let's Talk Off Camera with Kelly Ripa. She lives in New York City with Mark Consuelos, and together the couple have three children.

_________________________________

Joe Rohde
Imagineering

Retiring in 2021 as a portfolio creative executive with 40 years at Walt Disney Imagineering, Joe Rohde was the overall creative executive and supervising designer for Disney's Animal Kingdom Theme Park, including later expansions such as Expedition Everest – Legend of the Forbidden Mountain and Pandora – The World of Avatar. Joe's other notable projects include The Adventurers Club (formerly a part of Pleasure Island at Walt Disney World); Aulani, A Disney Resort & Spa in Ko Olina, Hawaiʻi; and Guardians of the Galaxy – Mission: BREAKOUT! at Disney's California Adventure Park.

Joe grew up in Honolulu and the San Fernando Valley, creating art and theater sets, acting in school productions, and exploring film backlots with his cameraman father. He attended Occidental College, graduated with a major in studio art, and went to work as teacher—where at 25, he was recruited by Walt Disney Imagineering. His first assignment was as a model builder for the Mexico Pavilion at EPCOT.

Joe's big Imagineering break came with the development of a certain animal-focused theme park for the Walt Disney World Resort in Florida. Disney's Animal Kingdom Theme Park would prove to be a celebration of animals; a passionate argument for the coexistence of conservation and communities; and a recognition of the essential role that ecosystems play in our existence. Joe was also instrumental in creating the Disney Conservation Fund, which has disbursed over $125 million in grants to projects worldwide. He is well known for his intensive focus on the philosophy of narrative placemaking and experiential storytelling.

Joe now uses his art to raise funds for both international conservation and local community projects. In 2022 he received the Disney Conservation Fund's first Conservation Legacy Award, and he's appeared on numerous documentaries about Imagineering.

_________________________________

John Williams
Music

The unforgettable music of John Williams is the soundtrack of our lives.

In a career spanning more than six decades, this most prolific of movie composers has created the music for more than 100 films—including all nine Star Wars saga films and all five Indiana Jones films. Born and raised in New York, John moved to Los Angeles with his family in 1948. Venturing back to the East Coast to attend The Julliard School, he later returned to Los Angeles to commence his career.

Early on, Williams composed the music for more than 200 television films and numerous TV series including Lost in Space for 20th Century Fox. John's artistic partnership with director Steven Spielberg, now in its 50th year, led to an introduction to fellow Disney Legend George Lucas and what became the biggest film phenomenon of its time, Star Wars (1977).

John has received five Academy Awards® and 54 Oscar® nominations—most recently for Indiana Jones and the Dial of Destiny (2023)—making him the Academy's most-nominated living person and the second-most-nominated person in the history of the Oscars... a number second only to Walt Disney. He has also received seven British Academy Awards (BAFTA), 26 Grammys®, four Golden Globes®, and five Emmys®, as well as the National Medal of Arts, the Kennedy Center Honors, and an honorary knighthood from Queen Elizabeth II.

_________________________________

FOR IMMEDIATE RELEASE – June 6, 2024 (Publicity Department Oriental Land Co., Ltd.)
Fantasy Springs Opens at Tokyo DisneySea

URAYASU, CHIBA—Tokyo Disney Resort® announced that Fantasy Springs, the eighth themed port at Tokyo DisneySea® Park, celebrated its grand opening today, welcoming a large number of guests.

Themed to magical springs that lead to a world of Disney fantasy, Fantasy Springs is the only themed port of its kind in the world and consists of three areas inspired by Walt Disney Animation Studios films: Frozen Kingdom (the Frozen-themed area), Rapunzel's Forest (the Tangled-themed area) and Peter Pan's Never Land (the Peter Pan-themed area), as well as Tokyo DisneySea Fantasy Springs Hotel.

A ceremony was held before the grand opening where representatives of Oriental Land Co., Ltd.: Toshio Kagami, Representative Director and Chair of the Board of Directors; Yumiko Takano, Representative Director, Chairperson and CEO; and Kenji Yoshida, Representative Director, President and COO — as well as representatives of The Walt Disney Company: Bob A. Iger, Chief Executive Officer, and Josh D'Amaro, Chairman of Disney Experiences, took to the stage to express their gratitude to guests and others who support Tokyo Disney Resort and announced the opening of Fantasy Springs.

The ceremony was also attended by 100 members (50 pairs) of the Tokyo Disney Resort Official Park Fan Club Funderful Disney who had been selected through a lottery to be part of the commemoration. Furthermore, Mickey Mouse and Minnie Mouse made appearances, as well as beloved Disney Animation characters – Anna and Elsa from Frozen, Rapunzel and Flynn Rider from Tangled, and Peter Pan and Wendy from Peter Pan.

Opening Ceremony

After the ceremony concluded, cast members, who had anticipated this occasion just as eagerly as the guests, waved flags and extended a warm welcome to guests as they entered the new themed port. Within Fantasy Springs, guests were seen enjoying the magical springs featuring Disney character motifs in the rockwork, and immersed in the atmosphere that brings the world of Disney films to life. Others were taking pictures, experiencing attractions, and tasting the new menu items on offer.

Left: Cast members welcoming guests entering Fantasy Springs; Right: Guests enjoying the pirate ship at Peter Pan's Never Land

Taking approximately five years from the start of construction for this project in May 2019, there has been a total investment amounting 320 billion yen, and spanning an area of approximately 140,000 m2, Fantasy Springs is the largest development of Tokyo DisneySea since its opening in 2001.

The addition of Fantasy Springs brings even more excitement to Tokyo DisneySea, and Tokyo Disney Resort will continue to evolve to bring happiness and enjoyment for our guests.

_________________________________

Who are the 543 Disney characters in 'Once Upon a Studio'?

_________________________________

To commemorate the openings of the World of Frozen at Hong Kong Disneyland on Nov. 20, 2023 and Fantasy Springs on June 6, 2024 (which featured Anna and Elsa's Frozen Journey at Frozen Kingdom and especially Fairy Tinker Bell's Busy Buggies at Peter Pan's Never Land), the Walt Disney Animation Studios debuted "Once Upon A Studio," an all-new short featuring not 100, but several hundred Disney characters, (543 to be exact) from classic to modern – and everywhere in between. Join us as we attempt to identify them.

_________________________________

The short begins with Disney Legend – and longest-serving Disney employee at 70 years – Burny Mattinson (who filmed the opening scene just six months before he passed away in February 2023) telling a young intern, "if these walls could talk."

_________________________________

"For 70 years, Burny was such an important part of this studio," said Disney Animation President Clark Spencer. "His career spans everything from working in the mailroom to being an animator and story artist to directing feature films to being the best mentor anyone could ever ask for."

When Burny closes the door, it sets off a flurry of activity as unlikely combinations of Disney characters make their way to the front of the building for a 100th-anniversary photo (all thanks to a little pixie dust from Tinker Bell (voiced by an unknown Japanese voice actor who can make Japanese people understand, unless if she can use jingling bells and her singing voice by Rachel Potter who is used for the song "Journey to Fantasy Springs")).

So, let's take a look at "Once Upon a Studio" scene-by-scene and see how many characters we can identify before we get to the big photo finish.

_________________________________

Meet Tinker Bell's Nine Forever Young Fairies

"Have you ever wondered how nature gets its glow? Who gives it light and color as the seasons come and go? Well, it's me, Tinker Bell, and my friends from Pixie Hollow. Only fairies and sparrowmen are allowed to see the magic that happens on our little island. But like I always say, rules are made to be broken. So, have a little pixie dust and come on—I'll show you how fairies are born, how we live and work, and how we bring flowers, fireflies, waterfalls, and wonderful things to the world you live in. Do you think you have the magic to see inside our world? If you believe in fairies, I bet you can!" — Tinker Bell

_________________________________

Sweet and sassy TINKER BELL always has her friends' backs—even if it means keeping a secret about a massive and mysterious creature.

In September 2010, Tinker Bell received the 2,418th star on Hollywood's Walk of Fame. Tink is joined by Disney Legend Alice Davis, the wife of animator and fellow Disney Legend Marc Davis.

The magic of Tinker Bell dates to the 1904 stage play "Peter Pan, or the Boy Who Would Not Grow Up" by J.M. Barrie and "Peter and Wendy," his 1911 novel, and really took off with Disney's animated 1953 "Peter Pan."

"Along with Mickey Mouse, Tinker Bell is probably the most recognizable character of all time," said Bradley Raymond, director of the Disney 2010 direct-to-video feature "Tinker Bell and the Great Fairy Rescue," one in a series on the famous fairy. "She's been popular from 1953 to now because of that multifaceted character we all fell in love with in 'Peter Pan.' ... There's something mysterious about her."

For children who grew up during the baby boom era, there were two "Peter Pans": the TV version with Mary Martin and the animated feature by Walt Disney. Each had its special charms, and the cartoon "Peter Pan" remains one of the most exciting and colorful films in the Disney canon.

Disney discarded the wistful nostalgia for the illusory innocence of childhood that pervaded Sir James Barrie's original play and replaced it with brash Yankee energy. This Peter Pan is a cocky, all-American boy, more like Tom Sawyer than the smug British popinjay Barrie envisioned.

The Disney artists also changed or discarded much of the traditional stage business. For the first time, Peter was voiced by an actor (Bobby Driscoll), rather than portrayed by an actress. The Crocodile, who had always been an offstage sound effect, appeared on the screen. The artists eliminated Peter's impassioned plea to the audience to clap their hands to prove they believe in fairies and save Tinker Bell's life.

When the film was first released, critics complained about the portrayal of Tinker Bell as a human pixie rather than as a beam of light. This depiction is actually very close to Barrie's descriptions of her as feminine, vain and slightly vulgar. Watch her monumental self-pity as she collapses into tears while Captain Hook bewails her abandonment by Peter.

The movements of Tinker Bell in the Disney classic were modeled on Margaret Kerry. On a bare soundstage, wearing her own bathing suit as a costume, and assisted only by an occasional oversized prop or mattresses to pad a fall, the then-22-year-old Kerry, along with other actors, enacted the production's storyboards, giving animators reference films for gestures, key poses and timing.

That old footage is still preserved in the Disney archives and was pulled out nearly 50 years later for animators creating 2002's "Return to Never Land."

"Lots of people don't understand all this," says Kerry. "They think the entire movie comes from the animator's head, but I say wait a minute — Marc Davis [Tinker Bell's animator] is a man's man — how does he know how a 3 1/2-inch sprite is going to move, get angry, or stamp her foot? And how does he know what kind of emotion would go behind that? How does he know how Wendy's skirt will wrap when she walks? Or flies for that matter? What Marc did was take something and then exaggerate it so it was more truly delightful."

Kerry easily recognizes her own body language in the 1953 film. So did her second husband, Jack Willcox, whom she once took to a "Peter Pan" screening. "I was so excited and nudging him," she recalls. "'There I am!' I said. 'Jack! Jack! Jack, that's me!' He just leaned over and said, 'Margaret, I'd recognize those thighs anywhere.'"

_________________________________

Periwinkle is a Frost Fairy who lives in the Winter Woods. She learns that Tinker Bell is her sister when their wings both glow. She is curious and loves to go on adventures.

_________________________________

Iridessa is a Light Fairy who always looks on the bright side of things. She likes order and following the rules. She is warm and welcoming and makes all new fairies feel at ease.

_________________________________

Silvermist has a go-with-the-flow personality. She is a Water Fairy who can charm even the most stubborn dew drop. Sweet and sympathetic, she knows just how to lend a helping hand.

_________________________________

Rosetta is a true artist who loves bringing beauty into the world. Despite being a Garden Fairy, she dislikes bugs, dirt, mud, or anything that will ruin her dress. She embraces exactly who she is.

_________________________________

Fawn never judges a book by its cover. She is an Animal Talent Fairy who loves all animals.

_________________________________

Lyria is the best story-telling fairy in all of Pixie Hollow. She tells magical tales at Fairy Tale Theater, which she brings to life by creating moving illustrations out of pixie dust.

_________________________________

Vidia is the fastest of the fast-flying fairies. She is confident and caring in her own way. She loves her friends, but may not say it out loud.

_________________________________

Ambitious dust-keeper fairy Zarina, captivated by Blue Pixie Dust, teams up with scheming pirates when her ideas get her into trouble.

_________________________________

Tinker Bell and the Legend of the NeverBeast Animators: What Inspires a "NeverBeast"

In Disneytoon Studios' latest release, Tinker Bell and the Legend of the NeverBeast, Pixie Hollow's most famous fairy, Tinker Bell, is back, lending support to her good friend Fawn, an animal fairy always willing to break the rules to help an animal in need. But when that animal turns out to be massive and strange with glowing green eyes, "Gruff" is deemed unwelcome in Pixie Hollow; and a band of skilled scout fairies become determined to capture him out of fear he'll destroy their beloved home.

...that animal turns out to be massive and strange with glowing green eyes

Actress Ginnifer Goodwin voices Fawn, and director Steve Loter is quick to point out, "You can feel the smile behind her voice." But the film's true scene-stealer is Gruff, the NeverBeast himself—a brand-new creature that might remind you of a rhino... or he might remind you of a hippo. But, as the filmmakers explained to D23, he probably reminds you most of your own pet dog or cat; and it's this adherence to reality that explains how Gruff manages to overcome his inherently beastly qualities and endear himself to Fawn—and the audience.

Gruff cuts an imposing figure when he and Fawn meet. But Gruff quickly puts Fawn—and the audience—at ease with the subtlest of gestures. The film's producer, Michael "Makul" Wigert, observes, "I think there’s one moment where Fawn sees him for the first time in the cave and you see his ear twitch; and that just reminds you, 'Oh, I've seen my dog do that. I can relax a little bit.' So we wanted to use something like that sparingly, to remind audiences that it's going to be okay." The filmmakers provided this video of an animation test. Check it out and see if you recognize any of your own beloved pets' characteristics:

To see the video, click here.

According to Animation Supervisor Mike Greenholt—who has worked on all of the films in the Tinker Bell series—told D23, "One of the challenges that Steve gave us was that he wanted this animal to feel like an animal and not a person in an animal costume." And for help facing that challenge, Greenholt found inspiration in the Disney classic Dumbo (which features a now-iconic character that doesn't speak), as well as another unlikely source: his wife's dog.

"You can see thought happening behind the eyes, and it's not the way a human would react."

And while we're on the subject of eyes, Gruff's are unusual, even for a NeverBeast. They're a deep green and have the distinction of having no pupils. Story Artist Ryan Green—whose prior background in biology was an invaluable resource for the NeverBeast team—explains that Loter wanted a "glass ball feeling," like two mirrors in which Fawn sees herself. The lack of pupils, Green says, means "Gruff doesn't emote as much as an animal would that would have an iris and would look around, so his tail became a good way to show emotions," in much the way that a housecat's tail emotes for the animal.

This early sketch illustrates Gruff's prehensile—and emotive—tail, as well as his orb-like eyes.

Greenholt adds, "The moment you get a smaller pupil with white around it, it feels more cartoon-y or more human. We did tests where we had a smaller pupil and he suddenly looked like a man in a mask and it lost the animal quality to it." The filmmakers had to rely on body language and story beats to get Gruff's emotions and intent across, in much the same way that a certain other legendary animator did, Greenholt suggests. "When you look at the first Mickey Mouse cartoons, his eyes were black dots as well, and again, it relies all on the staging. You pose the character so it's very clear where they’re looking." The Muppets were also a great influence with respect to body language, Greenholt admits. "In some cases you'll have puppets that just have button eyes and it all comes down to, how do they move? Can you move sad? Can you move excited? Can you move nervous? It's just using all of that in your toolbox."

But the animators were a little nervous their toolboxes weren't equipped to tackle their biggest challenge: fur. "Fur is hard to do, even on a good day," Greenholt confesses. And Green adds, "It's amazing how much it could distract from the animal's performance sometimes, where you just see nothing but hair moving everywhere. We had to be delicate with how much the audience notices it."

This life-size Gruff has taken up residence at Disneytoon Studios in advance of the film's release on video in March.

Though modern technology and animation techniques allowed the filmmakers to give their CG NeverBeast hair that quite realistically evokes that of a yak, Greenholt is quick to tip his cap to animators of the past. "I think for me, my big influences are the "Nine Old Men," the old animators: Marc Davis, Milt Kahl, Frank Thomas, Ollie Johnston. Every time I read about them or hear an interview with them, I'm always inspired because they really get into the mind of their characters and they think about what they're doing." He adds, "It shows, even after years have gone by, their stuff still looks good."

_________________________________

"Once Upon a Studio" Scene-by-Scene

_________________________________

After Burny shuts the door, Mickey (Chris Diamantopoulos) calls for Tinker Bell (and when he's sure the coast is clear), he and Minnie (Kaitlyn Robrock) jump out of their frame and set off to gather the rest of the gang.

_________________________________

Down the hall, Princess Tiana (Anika None Rose) gathers Pinocchio (Griffen Campbell), Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman) from "Zootopia," and her "Princess and the Frog" pal Louis the Alligator (Michael-Leon Wooley).

As Mickey passes three framed scenes from "Bambi," Bambi, Thumper (Ian R'Mante and Peter Behn), and Flower (Stan Alexander) jump out to wake up Orville, Bernard (Bob Newhart), and Miss Bianca from "The Rescuers," who narrowly miss Minnie with Bolt, Mittens, and Rhino (Mark Walton) from "Bolt" when Orville crash lands.

Minnie enlists the help of Peter Pan (Lee Slobotkin and Bobby Driscoll) to fly with Wendy, John, and Michael to "get the folks upstairs."

_________________________________

The Second Floor

_________________________________

When they reach the second-floor landing, Peter and the kids are intercepted by Sisu (Awkwafina) from "Raya and the Last Dragon," who's apparently racing Jim Hawkins (Joseph Gordon-Levitt) from "Treasure Planet" through the hallway. Around the corner, Maui (Dwayne Johnson) from "Moana" turns into a giant bird and heads up the stairs as he reminds Aladdin (Scott Weinger) and Abu (Frank Welker) to meet in the lobby.

Hot on their wheels is Vanellope von Schweetz (Sarah Silverman) in her kart-racer with Dodger (Billy Joel) from "Oliver & Company" riding shotgun. Then, Elliott (Charlie Callas) from "Pete's Dragon" swoops by with Cody (Adam Ryen) from "The Rescuers" (passing Wayne and Lanny from "Prep and Landing").

Moana (Auli'i Cravalho) rides in on a wave, catching Flounder (Luke Lowe) just in the nick of time – except he needs water. Moana dashes to the Snuggly Ducking (a nod to "Tangled"), where Merlin (Jim Meskimen) is busy serving tea to Cogsworth (Bob Joles), Mrs. Potts, and Chip from "Beauty and the Beast;" The Mad Hatter (Alan Tudyk) and March Hare from "Alice in Wonderland," and Dr. Lucille Krunklehorn from "Meet the Robinsons." Luckily for Flounder (and thanks to Merlin), the Hatter's hat makes a handy fish bowl (despite no help being offered by a passing penguin waiter from "Mary Poppins" who's carrying a plate of spaghetti and meatballs a la "Lady and the Tramp").

_________________________________

Passing Stromboli (Charles Judels) from "Pinocchio" struggling with a vending machine, Anna (Kristen Bell) wonders aloud to Elsa (Idina Menzel) if all the villains will be part of the photo, to which Elsa replies with a snow flurry ensuring at least once villain (namely Hans (Santino Fontana)) remains inside his frame.

_________________________________

Following Mickey and Minnie's instructions, Donald (Tony Anselmo and Clarence Nash) calls the elevator only to find it already packed with Terk from "Tarzan," Carl (Harland Williams) from "Meet the Robinsons," Mother Gothel from "Tangled," plus Ranger Woodlore and Humphrey, the Bear, but just as the doors are about to close, Flash (Raymond S. Persi) from "Zootopia" asks Donald to hold the elevator.

_________________________________

Meanwhile, as Olaf (Josh Gad) from "Frozen" is working at an animation desk (and Pumbaa and Timon (Nathan Lane) from "The Lion King" pass his door and tell him to hurry), Genie (voiced by the late great Robin Williams) appears from the sketch pad.

_________________________________

At the men's room mirror, Gaston (Richard White) from "Beauty and the Beast" is getting ready for the photo, along with Prince John from "Robin Hood," Thomas O'Malley from "The Aristocats," Chicken Little, Milo from "Atlantis: The Lost Empire," Happy from "Snow White and the Seven Dwarfs," and the Headless Horseman from "The Legend of Sleepy Hollow" – Oh, and the Cheshire Cat (Sterling Holloway) from "Alice in Wonderland."

_________________________________

As Minnie reminds the men to "get moving," Pooh (Sterling Holloway) enlists the help of Christopher Robin, Kanga, and Eeyore to help him get out of his frame and Antonio (Ravi Cabot-Conyers) from "Encanto" is having a walk-and-talk with Pua from "Moana," Meeko from "Pocahontas," Pascal from "Tangled," Cri-Kee from "Mulan," and a pair of cheerful bluebirds from "Cinderella" – but pauses to remind Joanna (Frank Welker) from "The Rescuers" not to eat Jaq and Gus (Jimmy Macdonald) from "Cinderella" (with help from Pluto (Bill Farmer)).

_________________________________

In the lobby, the "101 Dalmatians" pups are watching "Fantasia" as Angus McBadger, Rat, and Mole from "Wind in the Willows" along with Ryder, Honeymaren, Kristoff (Jonathan Groff), and Sven from "Frozen" pass through, with Kristoff advising the puppies (a little late) to stop watching the scary scene. When they scurry away from Chernabog, the puppies cause Scrooge McDuck (Alan Young) to drop his bags of money, much to the delight of Robin Hood (Daniel Wolfe) and Little John (Richard Epcar).

_________________________________

Finally, Flash joins the (now annoyed) Donald and crew at the elevator, and at the last minute, Baymax (Scott Adsit) from "Big Hero 6" squeezes in.

_________________________________

On another landing, Ursula (Pat Carroll) is followed by a lovestruck Splat from "Strange World" as Cinderella (Jennifer Hale) and Prince Charming (Keith Ferguson) descend the stairs. When the prince loses a shoe, the two share a laugh until Max (Frank Welker) (Prince Eric's dog from "The Little Mermaid") runs away with the footwear.

Mickey comes up the stairs and is concerned to see Kaa (Sterling Holloway) from "The Jungle Book," hypnotizing Clarabelle, but Rapunzel (Mandy Moore) assures him that she (and her trusty frying pan) has everything under control.

That's when Mickey notices a portrait of Walt, and they share a moment as "Feed the Birds" from "Mary Poppins" (Walt's favorite song) plays in the background. (It was recently recorded by Richard Sherman in Walt's office).

_________________________________

♪ O Christmas tree, O Christmas tree,

How lovely are your branches!

O Christmas tree, O Christmas tree,

How lovely are your branches!

You boughs are green in summer's glow,

And do not fade in winter's snow.

O Christmas tree, O Christmas tree,

How lovely are your branches! ♪

_________________________________

Marc Davis (1913–2000)

Legends Award Category: Animation & Imagineering

Year Inducted: 1989

_________________________________

Animator, Bambi, Fun and Fancy Free, The Adventures of Ichabod and Mr. Toad.
Directing animator, Song of the South, Cinderella, Alice in Wonderland, Peter Pan, Sleeping Beauty, One Hundred and One Dalmatians.

_________________________________

–
Mark Henn, Burny Mattinson†.
_________________________________

_________________________________

Animator, artist, Imagineer. Marc Davis dedicated his creative genius to helping Walt Disney realize his dreams, from helping perfect the animated story to creating Disneyland, the world's first theme park. About his years at Disney, Marc once said, "I rarely felt confined to the animation medium. I worked as an idea man and loved creating characters, whether they be for animation or any other medium."

Marc is probably best known as the father of some of Disney's most memorable animated women, including Cruella De Vil from One Hundred and One Dalmatians, Maleficent from Sleeping Beauty, and Tinker Bell from Peter Pan. When once asked to choose a favorite among his bevy of grand Disney dames, he replied, "Each of my women characters has her own unique style; I love them all in different ways."

The only child of Harry and Mildred Davis, Marc was born on March 30, 1913, in Bakersfield, California, where his father was engaged in oil field developments. Wherever a new oil boom developed, the family moved with Harry and, as a result, Marc attended more than 20 different schools across the country while growing up.

After high school, he enrolled in the Kansas City Art Institute, followed by the California School of Fine Arts in San Francisco and Otis Art Institute in Los Angeles. While studying, Marc spent hours at the zoo drawing animals, which became one of his specialties.

His story drawings for Bambi are considered some of the finest studies of animal characters ever created at the Disney Studio.

Marc joined Disney in 1935 as an apprentice animator on Snow White and the Seven Dwarfs and moved on to story sketch and character design on Bambi and Victory Through Air Power. Over the years, he animated on classic Disney features such as Song of the South, Cinderella, and Alice in Wonderland, as well as shorts, including African Diary, Duck Pimples, and Toot, Whistle, Plunk, and Boom.

He later transferred to Disney's design and development organization, today known as Walt Disney Imagineering. As one of Disney's original Imagineers, Marc contributed whimsical story and character concepts for such Disneyland attractions as the Enchanted Tiki Room, it's a small world, Pirates of the Caribbean, Haunted Mansion and Jungle Cruise.

After 43 years with the Studio, Marc retired in 1978, but continued to lend his expertise to the development of Epcot Center and Tokyo Disneyland. He and his wife, Alice, who designed costumes for the Audio-Animatronics® characters featured in Pirates of the Caribbean and it's a small world, were also long-time supporters of the California Institute of the Arts, which was founded by Walt Disney.

Marc Davis passed away on January 12, 2000, in Glendale, California.

_________________________________

Tinker Bell

A feisty fairy who is highly protective of Peter Pan.

_________________________________

Designed with ultimate appeal and feminine elegance, Tinker Bell admires her mirror image; Marc Davis's love of women comes through in his animated portrayals, such as Tinker Bell.

_________________________________

Marc's animation sketches were turned into clean-up drawings by Clair Weeks. To see Tinker Bell's scene in CGI, click here.

_________________________________

One of Marc's "doodle" sheets shows his research for Tinker Bell's facial features and hair movement. By placing her mouth low and practically eliminating the jaw, she appears more pixie-like and less realistic.

_________________________________

Snow White dances in the dwarfs' cottage.

_________________________________

Davis in 1987.

_________________________________

Early color sketches already reveal Cinderella as a fun-loving person, who finds herself caught in a bad predicament.

_________________________________

Cinderella and the letter from the palace.

_________________________________

Cinderella (Seq. 3: Fairy Godmother (directed by Hamilton Luske), Sc. 10) (00:43:21–22)

_________________________________

It is interesting to see that the final clean-up drawings were made right over Marc's rough animation drawings. This process saved time, but was only possible whenever the animator drew the character completely on model.

_________________________________

Bob Kurtz Remembering Marc

How do you write about greatness? Where do I start about my dear friend and mentor, the legendary Marc Davis?

I first met Marc as a student in his Life Drawing class. I watched, fascinated, as Marc slowly twisted his cigarette into a black plastic cigarette holder. Then, through clenched teeth and cigarette pointed up at 45 degrees, Marc would reveal amazing gems of drawing wisdom. It was the best of times.

One of Marc's mantras was that good drawings and clear thinking went together, along with observation and life experience. Marc would say, "Who you are comes out in your drawings." That probably explains why Marc's animation was so versatile and full of life.

As the years passed, Marc and I grew closer. Together with Marc's talented wife and soul mate, Alice, and my wife, Theresa, we would laugh and talk into the late hours. Marc was a wonderful storyteller, and colorfully shared the experiences of his life with their many guests. Then there were those delicious late-night gourmet meals that Alice would whip up in a mere four hours. And always there would be those beloved, spoiled little dogs wandering around and about our feet.

Marc, always the thoughtful host, was also Marc the martini Zen master. With his back to you, secretly and patiently, you would see a bit of a hand move, a squeeze of this, a shake of that. No, Marc would not let you see what he was creating; it was a Houdini magic act. Each of Marc's finely crafted martinis took ten minutes to make and ten hours to recover from.

Marc and Alice's home was like a bustling railroad station; only the train whistle was missing. There was always someone about to leave, and more would drop in. There was a constant parade of affection and love. It was musical chairs without the music.

Together, Marc and Alice traveled the world, making even more friends. Every holiday season their house was filled with baskets and baskets overflowing with Christmas cards. Cards sent from around the world, maybe a thousand or more, all with warm, personal inscriptions. Marc and Alice always answered each of them personally.

Once, I brought Marc a magazine article about "Who Was the Greatest Villainess in Motion Picture History." At the top of the list, the number-one villainess was not Joan Crawford or Bette Davis; it was Cruella De Vil! Marc responded with that wonderful deep chuckle.

Beyond his prodigious talent, and in addition to being so generous with his time and encouragement to young artists, Marc was warm, open, gracious, caring, and always a gentleman. Marc was a class act.

No, Marc Davis was not a saint, but he was pretty damn close.

_________________________________

♪ Deck the halls with boughs of holly,

Fa-la-la-la-la, la-la-la-la.

'Tis the season to be jolly,

Fa-la-la-la-la, la-la-la-la.

Don we now our gay apparel,

Fa-la-la, la-la-la, la-la-la.

Troll the ancient Yuletide carol,

Fa-la-la-la-la, la-la-la-la. ♪

_________________________________

Frank Thomas (1912–2004)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Snow White and the Seven Dwarfs, The Three Caballeros, Mary Poppins, The Many Adventures of Winnie the Pooh.
Directing animator, Pinocchio, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, One Hundred and One Dalmatians, The Sword in the Stone, The Jungle Book, The AristoCats, Robin Hood, The Rescuers.
Supervising animator, Bambi, The Fox and the Hound.
Story, The AristoCats, Robin Hood.

_________________________________

–
Randy Haycock, James Baxter.
_________________________________

_________________________________

Animator Frank Thomas instilled vivid personality into his characters. He drew some of Disney animation's most memorable, as well as touching, moments, including the Dwarfs crying at Snow White's bier, Bambi and Thumper learning how to ice skate, and the charming spaghetti-eating sequence in Lady and the Tramp.

To Frank, personality was always the key to successful animation. As he once said:

"Until a character becomes a personality, it cannot be believed.

Without personality, the character may do funny or interesting things, but unless people are able to identify themselves with the character, its actions will seem unreal."

Born on September 5, 1912, Frank was raised in Fresno, California, where his father was President of Fresno State College. By age nine, Frank already knew what he wanted to do in life; he once recalled asking his father how he could make money just drawing pictures. By the time he was a sophomore at Fresno State, his interest in art expanded to motion pictures. As a class project, Frank wrote and directed a movie spoofing college life, which played in local theaters.

After finishing his education at Stanford University, Frank went on to study at Chouinard Art Institute in Los Angeles. While living in a rooming house in Hollywood, he met another young Stanford graduate who worked as an artist at the Walt Disney Studio. The artist told Frank about a job opening and, on September 24, 1934, he joined Disney as employee no. 224, assigned to work on the short Mickey's Elephant.

Over the years, Frank worked on nearly 20 animated features including Pinocchio, Peter Pan, Sleeping Beauty, Cinderella, The Jungle Book, and One Hundred and One Dalmatians, as well as numerous shorts. He also accompanied Walt Disney and a select group of artists on a goodwill tour of South America in 1941 on behalf of the American Government, which inspired the films Saludos Amigos and The Three Caballeros.

In his spare time, Frank played piano with the internationally famous "Firehouse Five Plus Two" jazz band, along with fellow Disney artists including Ward Kimball.

After nearly 45 years with the Studio, Frank retired in 1978. He went on to co-author four books with lifelong friend and fellow animator Ollie Johnston, including the definitive Disney Animation: The Illusion of Life, Too Funny For Words: Disney's Greatest Sight Gags, Walt Disney's Bambi: The Story and the Film, and The Disney Villain.

He and Ollie were also the subjects of the 1995 documentary Frank and Ollie, which chronicles their unique friendship from its beginnings at Stanford to their creative relationship at Disney. That same year, Disney artists paid tribute to the legendary animators in the Mickey Mouse short Runaway Brain, which featured a villain whimsically named "Dr. Frankenollie." Frank and Ollie also made vocal cameos in two animated features by director Brad Bird, 1999's The Iron Giant and the 2004 Pixar film The Incredibles.

Frank Thomas passed away on September 8, 2004, in La Cañada Flintridge, California.

_________________________________

A rough layout pose shows Thumper's confidence on the ice.

_________________________________

The lack of squash and stretch when Pinocchio falls reminds audiences that he is made out of solid wood; Pinocchio gives the performance of his life on stage in Stromboli's puppet theatre, exuding the show-off joy of the amateur entertainer.

_________________________________

One of the most charming moments ever animated.

_________________________________

Delicate facial expressions combined with subtle timing communicate believable emotions of sadness and loss.

_________________________________

Captain Hook

Pirate Captain who would like nothing more than to get revenge on his nemesis Peter Pan, who is responsible for his hook.

_________________________________

Hook is looking for Peter Pan's hiding place.

_________________________________

Captain Hook (Seq. 11: Hook Tricks Tinker Bell (directed by Clyde Geronimi), Sc. 4) (00:53:11–15)

_________________________________

Frank excelled at showing Hook's mood swings.

_________________________________

Brom Bones and Tilda (Seq. 7: The Dance (directed by Clyde Geronimi), Sc. 36)

_________________________________

Reluctant agents Bernard and Bianca.

_________________________________

Ron Clements Remembering Frank

I worked closely with Frank Thomas for around two years, starting in 1974, on the movie The Rescuers. I was a 21-year-old animation trainee, and he was my mentor. It was an unbelievably rewarding time. I felt like kind of a sorcerer's apprentice. These guys, the master Disney animators, truly were magicians. They created life, personality, entertainment out of nothing more than pencil and paper, and what a privilege to see how they did it!

Frank was thoughtful, intelligent, and articulate. He analyzed things to death and did tons of thumbnails and diagrams. He always pushed you to explore multiple options in approaching any scene before finally settling on what you felt was the very best. He was passionate, hard to please, and harder on himself than anybody. He flipped his scenes so relentlessly they were ragged, like the texture of an old treasure map. He once told me, in his whole career, he had only done a handful of scenes he was really satisfied with. He never said what they were. Pinocchio in the "I've Got No Strings" scene? Bambi on ice? Captain Hook? Certainly, I would hope, the Dwarfs tearfully mourning the death of their beloved Snow White, or the spaghetti-eating sequence in Lady and the Tramp would be among them.

Chuck Jones once called Frank the Laurence Olivier of animators, and that was accurate. He was a brilliant actor, always getting into the specific, unique thought processes of each character, pushing relationships, feelings, sincerity. The great thing is, the life he created will exist forever, to be experienced over and over again. And what could be more magical than that?

_________________________________

♪ Here we come a-caroling

Among the leaves so green.

Here we come a-wand'ring

So fair to be seen.

Love and joy come to you,

And to you glad tidings, too

And God bless you and send you a happy New Year,

And God send you a happy New Year. ♪

_________________________________

Les Clark (1907–1979)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo, Saludos Amigos, The Three Caballeros, Make Mine Music, One Hundred and One Dalmatians.
Directing animator, Song of the South, Fun and Fancy Free, Melody Time, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp.
Sequence director, Sleeping Beauty.

_________________________________

–
Mark Henn.
_________________________________

_________________________________

While in high school, Les Clark worked a summer job at a lunch counter near the Walt Disney Studio in Hollywood. Walt and Roy Disney used to eat there, and, one day, Les got up the courage to ask Walt for a job.

He recalled Walt's reply, "'Bring some of your drawings in and let's see what they look like.' So, I copied some cartoons and showed them to Walt. He said I had a good line, and why don't I come to work on Monday.

"I graduated [from high school] on a Thursday and went to work [the following] Monday." THIS IMAGE: At the Walt Disney Studio on Hyperion Avenue, circa 1930: standing left to right: Jack King, Dick Lundy, Burt Gillett, Ub Iwerks, Walt Disney, Carl Stalling, Wilfred Jackson; kneeling left to right: Johnny Cannon, Norm Ferguson, Merle Gibson, Ben Sharpsteen, Les Clark.

Les, who was the first of Walt Disney's legendary "Nine Old Men" (an affectionate term Franklin D. Roosevelt coined for his Supreme Court Justices, which Disney adopted when referring to his key animators), spent the next 48 years of his life animating and directing for Disney.

Born in Ogden, Utah, in 1907, Les attended elementary school in Twin Falls, Idaho, until his family moved to Los Angeles. After graduating from Venice High School in 1927, he joined the company's Ink and Paint Department. Les developed an adept hand at animating Mickey Mouse, beginning with one scene in Mickey's debut film, Steamboat Willie. By 1929, he won his first animation assignment on Disney's first Silly Symphony, The Skeleton Dance. He would later animate a memorable scene in the "Sorcerer's Apprentice" segment of Fantasia, when Mickey's sleeves keep falling down as he brings the magical brooms to life.

Les animated on or directed nearly 20 features, including Pinocchio, Dumbo, Saludos Amigos, So Dear to My Heart, One Hundred and One Dalmatians, Song of the South, Fun and Fancy Free, Cinderella, Alice in Wonderland, Peter Pan, and Lady and the Tramp, as well as more than 100 shorts.

After Les served as sequence director on Sleeping Beauty, Walt asked him to direct television specials and educational films. For two decades, Les directed dozens of such productions, including Donald in Mathmagic Land and Donald and the Wheel.

Like Walt, Les didn't believe in resting on his laurels, but in always expanding his talent. As Frank Thomas and Ollie Johnston recalled in their book Disney Animation: The Illusion of Life, "Les quietly went ahead perfecting what he did best, constantly at art class working hard to improve and learn. There was much admiration for this quiet, thoughtful man, who came in with no art background yet through sheer determination and desire not only kept up, but helped advance the art with his refinements of many fundamentals."

Les Clark retired from Disney in 1976; he passed away on September 12, 1979.

_________________________________

Original animation drawings by Ub Iwerks for Steamboat Willie, the first Mickey Mouse cartoon with a soundtrack.

_________________________________

Mickey Mouse (Seq. 7: The Sorcerer's Apprentice (directed by James Algar), Sc. 11)

_________________________________

In The Sorcerer's Apprentice, Clark gave Mickey an intensity that had not been seen before.

_________________________________

Pinocchio turns around; Sincere emotions help to make Pinocchio come alive to an audience.

_________________________________

Les Clark animated a complex scene of Snow White dancing with the dwarfs in their cottage.

_________________________________

Clark animated Sleepy playing a flute in Snow White and the Seven Dwarfs.

_________________________________

Delicate drawing and subtle timing added a graceful touch to the fairies.

_________________________________

Tinker Bell

A feisty fairy who is highly protective of Peter Pan.

_________________________________

Even though Marc Davis supervised the animation of Tinker Bell, Les Clark did not mind being the second-in-command.

_________________________________

Wendy Darling

Oldest of the Darling children, an eternal believer, mother figure to the Lost Boys and friend to Peter Pan.

_________________________________

Wendy (Seq. 14: The Fight with the Pirates (directed by Clyde Geronimi), Sc. 102) (01:11:43–49)

_________________________________

John Canemaker Remembering Les

When shy, part-time confectionery waiter Leslie James Clark (1907-1979) graduated from high school on a Thursday and reported to work the following Monday (February 23, 1927), his new boss, Walt Disney, warned him the job might be temporary. By the time Les Clark retired in 1975, he was a senior animator and director, and the longest continuously employed member of Walt Disney Productions.

I met Clark in July 1973, two years before he retired at age 68, during my first visit to the Disney Studio. I found him to be reserved, quiet, and, yes, shy. Yet he gave me an interview so full of information that I used much of it almost three decades later in my book Walt Disney's Nine Old Men and the Art of Animation.

That was one of the remarkable things about Les Clark his mild-mannered, reticent, apparently ego-free qualities belied his tremendous gifts as a masterly animator of surpassing skill. Everything he drew came alive with charm and personality.

He entered animation at a crucial time during the silent era—a year before Mickey Mouse's "birth"—and participated in events that shaped not only Disney's future, but also the art form of character animation itself. At first, Clark was apprentice to sorcerer/legendary animator Ub Iwerks, whom Clark fondly remembered as a "very gifted" and very patient" teacher.

Clark emulated his master in "rhythm animation"—smooth "ripple" actions repeated in pleasing cycles and patterns of motion in many a Mickey Mouse and Silly Symphony short. Traces of this magical, cartoony animation style are in the elastic pink train sambaing to "Baia" in The Three Caballeros.

Soon the pupil surpassed his mentor. Diligently working on his draftsmanship skills throughout his career, Clark became a first-rate character animation "actor," specializing in Mickey Mouse. It was Les Clark who animated dynamic personality scenes in The Band Concert and Fantasia, both among the mouse's greatest acting performances.

What was also amazing about Clark was his versatility as an animator. He "played" everything from a buxom operatic hen (Clara Cluck) to a delicate dewdrop fairy to an inebriated country bumpkin of a rodent (The Country Cousin) to a frustrated bee trapped in a surreal landscape (Bumble Boogie); Clark's animation ranged from gigantic Paul Bunyan to tiny Jiminy Cricket and Tinker Bell on TV's Mickey Mouse Club.

Often, Clark was handed technically difficult assignments, which he accepted with good humor and managed with seriousness of purpose and consummate skill. One such assignment was Snow White dancing with dwarfs, a sequence of subtle changes in perspective as the characters cavort; another was the combining of a live actor with animated animals in the joyous "Zip-A-Dee-Doo-Dah'" musical number from Song of the South.

Clark's animation provided the necessary emotional mortar to hold scenes together in many films, including Pinocchio and Alice in Wonderland. Art Babbitt, another great animator and a tough critic, always spoke admiringly of Clark, who "never received the recognition the others [animators] did. And he should have, Babbitt said, "because he was marvelous! Terrific animator, very inventive. But taken for granted."

Les Clark's development from a "rubber-hose-and-circle" patternmaker into a master personality animator matches the best of his peers. His work through the years deserves careful study, and today's DVDs—and this flipbook offer the ambitious student an opportunity to learn from one of the greats.

_________________________________

♪ Jingle bells, jingle bells,

Jingle all the way!

Oh, what fun it is to ride

In a one-horse open sleigh. Hey!

Jingle bells, jingle bells,

Jingle all the way!

Oh, what fun it is to ride

In a one-horse open sleigh. ♪

_________________________________

Eric Larson (1905–1988)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Snow White and the Seven Dwarfs, The Three Caballeros, Make Mine Music, The Sword in the Stone, Mary Poppins, The Jungle Book, The AristoCats, Robin Hood, The Many Adventures of Winnie the Pooh.
Directing animator, Pinocchio, Song of the South, Melody Time, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, One Hundred and One Dalmatians.
Sequence director, Sleeping Beauty.
Supervising animator, Fantasia, Bambi.
Titles, The Rescuers.

_________________________________

–
Mark Henn, Burny Mattinson†, Chris Buck, James Baxter.

_________________________________

Toward the end of his enduring career at The Walt Disney Studios, animator Eric Larson became a gentle and devoted mentor to the next generation of up-and-coming Disney artists. Former student Andreas Deja, who animated such Disney characters as Jafar from Aladdin and Scar in The Lion King, remembered Eric as "the best animation teacher ever." "No one was more concerned with passing on the Disney legacy than Eric," Deja once said.

In the late 1970s, Eric expanded the Studio's Talent Program to find and train new and talented animators from colleges and art schools across the nation. This program, which still exists today, came at a crucial juncture in Disney's history, when many veteran animators were stepping down from their drawing boards. Subsequently, through his close work with young animators, Eric helped preserve the integrity of Disney animation for generations to come.

Born in Cleveland, Utah, in 1905, Eric avidly read comic humor magazines, such as Punch and Judge, while growing up on the plains. After high school, he went on to major in journalism at the University of Utah. While there, Eric edited the campus magazine and won a reputation as a creative humorist in both literature and graphic arts. He also sketched cartoons, which appeared in the local Deseret News.

After graduation, Eric traveled around America for a year freelancing for various magazines and, in 1933, landed in Los Angeles. There, he developed an adventure serial for KHJ Radio, called The Trail of the Viking.

That same year, taking the advice of a friend who was familiar with his exceptional drawing skill, Eric decided to submit some of his sketches to the Walt Disney Studio.

He was hired as an assistant animator (to Hamilton Luske), and his journalism aspirations changed for good.

Over the years, Eric animated on such feature films as Snow White and the Seven Dwarfs, Fantasia, Bambi, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, and The Jungle Book, as well as nearly 20 shorts and six television specials. Later, he served as a consultant on The Black Cauldron and The Great Mouse Detective.

After 52 years at Disney, Eric retired in 1986. In an interview at that time, he said, "The important thing is not how long I've been here, but how much I've enjoyed it and what I've accomplished in all that time. When I think about my contribution to the animation that people enjoy so much, it makes me feel good."

Eric Larson passed away in La Cañada Flintridge, California, on October 25, 1988.

_________________________________

Stylized designs allowed for smooth, fluid animation.

_________________________________

Peter Pan promises the Darling children a flight to Never Land.

_________________________________

Peter Pan and Wendy (Seq. 2.1: Learning to Fly (directed by Wilfred Jackson), Sc. 52) (00:17:09–14)

_________________________________

Peter Pan and Wendy flying to Never Land.

_________________________________

A unique approach was required to make audiences believe the marionettes were made out of wood.

_________________________________

Figaro crossing a soft bedcover and opening a window in the film Pinocchio.

_________________________________

Larson obviously enjoying a close encounter with Peggy Lee, the voice and model for Peg, a sexy singing pooch in Lady and the Tramp.

_________________________________

A beautiful animation showing Peg in mid-song.

_________________________________

Peg (Seq. 10: Lady at Dog Pound (directed by Clyde Geronimi), Sc. 81) (00:59:13–23)

_________________________________

In the 1950s Larson animated his share of humans, such as Cinderella, seen with frames of the live-action reference film; Cinderella is instantly likeable in the opening scene.

_________________________________

Rolly (Seq. 15: The Dairy Barn (directed by Hamilton Luske), Sc. 46) (01:02:39–42)

_________________________________

Madam Mim as Dragon (Seq. 10: Wizards' Duel (directed by Wolfgang Reitherman), Sc. 144) (01:09:21–24)

_________________________________

John Musker Remembering Eric

A gifted animator and a natural teacher with a soft spot for young people trying to learn the craft, Eric Larson had been placed by Studio management in charge of their new in-house talent development program. It was there that, with great patience, clarity, and warmth, he essentially taught me and many others—people like Glen Keane and Ron Clements, for example—how to animate. He himself was mentored by Ham Luske, one of the principal animators at Disney in the thirties, and later its primary director, Ham's lessons of sincerity, action analysis, and caricature were deeply imprinted on Eric, who passed them on, along with countless other things he had learned from artists like Freddie Moore and Bill Tytla, not to mention Walt himself, to wide-eyed trainees like me.

Eric had an understated touch to his own animation. He found the essential truth, warmth, and sincerity of whatever character he animated. He gave us a Figaro in Pinocchio, full of gentle humor, and well-observed traits, both of a real kitten and an inquisitive and occasionally exasperated child. The grandfatherly curmudgeon owl in Bambi was his. He animated the loopy Aracuan bird who motored along the frame's edge in The Three Caballeros, and Sasha, the Russian-hatted bird in Peter and the Wolf, who, like many of Eric's characters, steals the show without trying to. But where this genteel and gentlemanly Mormon came up with Peg, the saucy show dog in Lady and the Tramp, I'll never know, although I can personally attest that Eric's courtly manner and twinkling blue eyes had legions of young, pretty female admirers from the ranks of the new trainees.

While in the training program, I would bring Eric a "scene" of my animation. From my haphazard stack of drawings, he would pull out the "keys," the crucial poses. He would put a sheet of fresh paper over them on the disk, and holding his pencil counterbalanced by his extended pinkie riding along the paper (a pinkie calloused from years of animation—a callous, he said all good animators had), Eric would draw far more powerful, clear, and carefully analyzed versions of what I had done. These drawings were often diagrams, which did not necessarily look like my character. But the silhouettes, arcs, paths of action, the clear "anticipations," and the ideas on timing, all honed from his years on the board, were magically transformative. Poses now related to one another in a fluid and dynamic way. Actions were clearer. Thought processes were communicated. "Positive statements" was his mantra.

Eric's words to me then still ring in my ears now, some 35 years later. He also said. "Our only limit in animation is our own imaginations, and our ability to draw what we imagine." I try and live my animation life by those words that came from the always supportive, gentle, powerful mentor with the high-waisted pants and the sparkling blue eyes: Eric Larson. I owe him everything.

_________________________________

♪ Toyland! Toyland!

Dear little girl and boy land!

While you dwell within it,

You are ever happy then.

Childhood's joy land!

Mystic, merry Toyland!

Once you pass its borders,

You can never return again. ♪

_________________________________

Ward Kimball (1914–2002)

Legends Award Category: Animation & Imagineering

Year Inducted: 1989

The Cast and Crew of Babes in Toyland (1961)

Cast
Ray Bolger (Barnaby)
Tommy Sands (Tom Piper)
Annette Funicello (Mary Contrary)
Ed Wynn (Toymaker)
Tommy Kirk (Grumio)
Kevin Corcoran (Boy Blue)
Henry Calvin (Gonzorgo)
Gene Sheldon (Roderigo)
Mary McCarty (Mother Goose)
Ann Jillian (Bo Peep)
Brian Corcoran (Willie Winkie)

Crew
Director: Jack Donohue
Screenplay: Ward Kimball, Joe Rinaldi, Lowell S. Hawley.
Photography: Edward Colman
Film Editor: Robert Stafford
Art Directors: Carroll Clark, Marvin Davis.
Set Decoration: Emile Kuri, Hal Gausman.
Costume Designer: Bill Thomas
Costumers: Chuck Keehne, Gertrude Casey.
Music: George Bruns
Lyrics: Mel Leven
Orchestration: Franklyn Marks
Choral Arrangements: Jud Conlon
Choreographer: Tom Mahoney
Assistant Director: Austen Jewell
Assistant to the Producer: Lou Debney
Make-Up: Pat McNalley
Hair Stylist: Ruth Sandifer
Sound Supervisor: Robert O. Cook
Music Editor: Evelyn Kennedy
Unit Manager: Arthur J. Vitarelli
Special Art Styling: Ken O'Connor
Toy Sequence Design: Bill Justice, Xavier Atencio.
Animation Effects: Josh Meador
Special Effects: Eustace Lycett, Robert A. Mattey.
Matte Artist: Jim Fetherolf

_________________________________

Animator, Snow White and the Seven Dwarfs, Saludos Amigos, Victory Through Air Power, The Three Caballeros, Make Mine Music, Mary Poppins.
Directing animator, Pinocchio, Dumbo, Fun and Fancy Free, Melody Time, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, Peter Pan.
Supervising animator, Fantasia.

_________________________________

–
Eric Goldberg.
_________________________________

_________________________________

While some Disney animators sought to touch the hearts of audiences, Ward Kimball sought to astound. As he once explained to a reporter, "Old Wardie got into audience's hearts his own way. He made them laugh."

Fellow Disney Legend Eric Larson once wrote of Ward's animation style: "A powerful caricaturist of mood and action, Ward often used the same approach in his scene planning and cutting, as was shown in the first meeting of Donald Duck, Jose Carioca and Panchito in The Three Caballeros. The action and cutting was wild, woolly, and humorous."

Born in Minneapolis, Minnesota, on March 4, 1914, Ward's first recognizable drawing as a child was of a steam locomotive.

He once said that his mother called him a "marked" baby because of his early obsession with railroads, a theme that would resonate throughout his life.

After high school, Ward set his mind upon becoming a magazine illustrator and enrolled at the Santa Barbara School of Art in California. While there, however, he happened to catch Walt Disney's Three Little Pigs at a local matinee and, with portfolio in hand, Ward headed for Hollywood.

He joined the Walt Disney Studio in 1934, and contributed to most of its animated features up until his retirement in 1972. Among the many memorable Disney characters he brought to life were Jiminy Cricket in Pinocchio, Tweedledee and Tweedledum in Alice in Wonderland, and Lucifer the Cat in Cinderella.

Ward also directed two Academy Award®-winning short subjects, Toot, Whistle, Plunk and Boom—the first CinemaScope cartoon—and It's Tough to Be a Bird, which combined both live action and animation. During the 1950s, he produced and directed three one-hour space films for the Disneyland television show. The first of his television productions, Man in Space, was given a command performance before President Dwight Eisenhower.

During the 1960s, Ward helped write the story and script treatment for Walt's first live-action musical fantasy, Babes in Toyland, for which he directed the stop-motion toy sequences. A trombone-player, Ward led several fellow Disney employees in the internationally known Dixieland jazz band Firehouse Five Plus Two. He also restored and operated a full-size locomotive on his two-acre orange grove, and was instrumental in sparking Walt Disney's own interest in backyard railroads.

After retirement, Ward consulted with Walt Disney Imagineering on theme park projects such as the World of Motion pavilion at Epcot Center.

Ward passed away on July 8, 2002, in Los Angeles, California, at age 88. In 2005, the Disneyland Railroad named their newly acquired Engine No. 5 the Ward Kimball in his memory. Famously, the handprints Ward left on his Disney Legend plaque feature an extra finger, a reminder of his sterling sense of humor.

_________________________________

All drawings are key, there are no in-betweens when animating a scene this complex.

_________________________________

Ward turned the song number in The Three Caballeros into one of animation's most hilarious and surreal moments.

_________________________________

Kimball's model sheet of Lucifer reveals strong poses and evil expressions, in spite of an overall cartoony appearance.

_________________________________

Kimball had fun animating Lucifer in Cinderella.

_________________________________

Lucifer (Seq. 1.6: Serving Breakfast (directed by Wilfred Jackson), Sc. 63) (00:19:35–00:20:11)

_________________________________

Alice in Wonderland is a veritable vaudeville of Kimball's comedic gifts. His tea party is filled with slapstick; The Mad Hatter's tongue was used to animate his dialogue with a lisp.

_________________________________

Eric Goldberg Remembering Ward

Ward Kimball certainly the most whacked-out member of Disney's Nine Old Men, was the studio maverick. Ward would try anything, and even though that was frequently interpreted as "anything-for-a-laugh," this quality extended far beyond the mere joke. He could do the warm, sympathetic stuff (like Jiminy Cricket), as well as the crazy, inspired lunacy (Panchito's gun barrel mouthing some of his lyrics in The Three Caballeros title song) that would become his trademark. Ward also experimented with limited animation and modern design, UPA-style, in films like Melody and Toot, Whistle, Plunk and Boom (an Academy Award winner). The bottom line is that Ward's work always had ideas behind it—planned insanity, if you will.

Ward's animation shared a unique quality with that of his close friend Freddie Moore—sheer boldness. Nowhere is this better demonstrated than in the piece selected for this flipbook. From Alice in Wonderland, Tweedledee and Tweedledum bounce and cavort outlandishly in a scene that looks great when you see it at speed, but reveals its true audaciousness when you look at it frame by frame. They squish like water balloons, flatten out like pancakes, poke each other, and do all manner of facial contortions and rubber-legged gavottes, leaving the viewer with this distinct thought: I can't believe he got away with that. In a nutshell (not a bad place for Ward to be), Ward Kimball spent his entire career "getting away with it," and we are all the richer and more amused for it.

_________________________________

♪ Christmas is coming,

The goose is getting fat.

Please to put a penny

In the old man's hat.

If you haven't got a penny,

A halfpenny will do.

If you haven't got a halfpenny,

Then God bless you! ♪

_________________________________

Ollie Johnston (1912–2008)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Pinocchio, Victory Through Air Power, The Three Caballeros, Make Mine Music, Mary Poppins, The Many Adventures of Winnie the Pooh.
Supervising animator, Fantasia, Bambi, The Fox and the Hound.
Directing animator, Song of the South, Melody Time, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, One Hundred and One Dalmatians, The Sword in the Stone, The Jungle Book, The AristoCats, Robin Hood, The Rescuers.

_________________________________

–
Mark Henn, Randy Haycock, James Baxter, Pete Docter.
_________________________________

_________________________________

Animator Ollie Johnston infused an unusual level of warmth and heartfelt emotion into his characters. As lifelong friend and fellow animator and Disney Legend Frank Thomas recalled, "Ollie was the only one of the Studio animators who was sensitive to character relationships and how they affected story." Explained Frank: "Back then, cartoon characters seldom touched unless they hit each other. But one day Ollie said, 'You know, the act of two people holding hands communicates in a powerful way.' And he was right. His warmth made a difference in so many of our characters."

Ollie animated such memorable friendships as those of Baloo and Mowgli in The Jungle Book and the sycophantic relationship between Sir Hiss and Prince John in Robin Hood. And he valued his own relationship with the characters he animated, including Thumper from Bambi, Mr. Smee from Peter Pan, and the trio of fanciful fairies from Sleeping Beauty. "They were all good friends whom I remember fondly," he once said.

Born in Palo Alto, California, on October 31, 1912, Ollie attended grammar school on the campus of Stanford University, where his father served as professor of romance languages. After graduating from Palo Alto High School, he returned to Stanford and spent his last year of study at Chouinard Art Institute in Los Angeles.

On January 21, 1935, Ollie joined the Walt Disney Studio as an apprentice animator, working on early Disney shorts such as Mickey's Garden and The Tortoise and the Hare, which won an Academy Award® for Best Short Subject (Cartoons). He went on to work as animator and directing animator on more than 24 feature films, including Snow White and the Seven Dwarfs, Fantasia, Song of the South, Cinderella, Alice in Wonderland, Lady and the Tramp, and Sleeping Beauty.

An avid train enthusiast, Ollie created a backyard railroad at his home and was instrumental in helping stir Walt Disney's own personal interest in trains.

After 43 years with the Studio, Ollie retired in 1978. He went on to co-author four books with Frank Thomas, beginning with the definitive Disney Animation: The Illusion of Life. This was followed by Too Funny for Words: Disney's Greatest Sight Gags, Walt Disney's Bambi: The Story and the Film, and The Disney Villain.

He and Frank were the subjects of the 1995 documentary Frank and Ollie, which chronicles their unique friendship from its beginnings at Stanford to their creative relationship at Disney. That same year, Disney artists paid tribute to the legendary animators in the Mickey Mouse short Runaway Brain, which featured a villain whimsically named "Dr. Frankenollie." Frank and Ollie also made vocal cameos in two animated features by director Brad Bird, 1999's The Iron Giant and the 2004 Pixar Animation Studios film The Incredibles.

On November 10, 2005, Ollie was presented the prestigious National Medal of the Arts by President George W. Bush at a ceremony in the Oval Office.

Ollie passed away on April 14, 2008, in Sequim, Washington—the last surviving member of Walt's legendary "Nine Old Men."

_________________________________

Pinocchio might be made out of wood, but he acts like a real kid; Johnston literally brought Pinocchio to life in his earliest scenes.

_________________________________

Pinocchio (Seq. 4.9: Blue Fairy Frees Pinocchio from Cage (directed by Hamilton Luske), Sc. 21) (00:48:24–27)

_________________________________

Pinocchio's nose begins to grow.

_________________________________

Wart, Merlin, and Archimedes from The Sword in the Stone, animated by Johnston.

_________________________________

A Peter Pan model sheet of Mr. Smee, who was animated by Ollie Johnston.

_________________________________

Smee is one of Ollie's most entertaining creations.

_________________________________

Mr. Smee (Seq. 11: Hook Tricks Tinker Bell (directed by Clyde Geronimi), Sc. 6) (00:53:15–19)

_________________________________

Glen Keane Remembering Ollie

It is 1975, and for over 35 years Ollie has had the corner office 1D-12 at the end of the "Hall of Kings," referring to the animation greats who share that wing with him.

I am filled with awe as I knock on his door and hear Ollie's soft, airy voice say with a blend of humility and curiosity, "Come in?"

Entering, I see Ollie dressed in his cardigan sweater, surrounded by delicate pencil studies of Penny from The Rescuers. On the wall is a photo of his pride and joy, a full-sized locomotive in the snow on his property in Julian, California.

Resting on the table behind him is a brown paper sack. He and Frank Thomas are creatures of habit and sit together each day over lunch talking about the sequences they are working on, plotting how to convince the director, "Woolie" Reitherman, to see things their way. Like inseparable brothers, they have worn a path in the floor between their offices.

Holding out a wrinkled stack of animation paper, I ask, "Ollie, can you take a look at my scene?"

Without hesitation Ollie takes my drawings, and after deftly flipping them several times so he can study the movement, he takes the top and bottom drawings and sets aside the hundred or so in-betweens and comments, "I think these two are all you need. They will be our Golden Poses."

I stand behind peering over his shoulder as the master places a clean sheet over one of my drawings and proceeds to sketch with his "Kobalt Hell" blue-colored pencil. His hand moves effortlessly as his pencil appears to just "kiss" the paper.

I watch in amazement as my stiff, rudimentary drawing of a little girl is transformed into a living, breathing being. The world and the room seem to disappear, and I can actually feel the softness of her cheeks, the intensity in her brows, the sculpted dimension of her form. She appears to be alive. "Don't draw what the character is doing he says. "Draw what the character is thinking."

This is the hallmark of all of Ollie's animation, from Thumper to Mr. Smee to Mowgli. His characters actually simmer with the spark of life.

Ollie Johnston was not only a master animator but a gifted teacher who broke down the dizzying complexities of animation into bite-size principles that even the most neophyte animator could apply.

Thirty-six years later, I still see Ollie drawing.

_________________________________

♪ Jolly old Saint Nicholas,

Lean your ear this way.

Don't you tell a single soul

What I'm going to say.

Christmas Eve is coming soon.

Now, you dear old man,

Whisper what you'll bring to me,

Tell me if you can. ♪

_________________________________

John Lounsbery (1911–1976)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Pinocchio, Fantasia, Victory Through Air Power, The Three Caballeros, Make Mine Music, Mary Poppins, The Many Adventures of Winnie the Pooh.
Directing animator, Dumbo, Song of the South, Fun and Fancy Free, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, One Hundred and One Dalmatians, The Sword in the Stone, The Jungle Book, The AristoCats, Robin Hood.
Co-director, The Many Adventures of Winnie the Pooh, The Rescuers.

_________________________________

–
Randy Haycock.
_________________________________

_________________________________

John Lounsbery had his own special way of looking at things, according to fellow animators Frank Thomas and Ollie Johnston. In their book, Disney Animation: The Illusion of Life, they wrote that no matter how bad a situation might be, John could always make "some funny observation to lighten the situation."

And while shy by nature, John created animated characters that were anything but. Thomas and Johnston wrote, "Hardly subtle, John's characters were always fun to watch."

In fact, John once said that one of his all-time favorite characters was the bold and unabashed Ben Ali, the dancing alligator, who starred in the "Dance of the Hours" sequence of Fantasia.

Other memorable characters he animated include the "less-than" Honest John from Pinocchio, faithful Timothy the mouse in Dumbo, and the ever-so-jolly Tony the cook from Lady and the Tramp.

The youngest of three sons, John was born March 9, 1911, in Cincinnati, Ohio, and raised in Colorado, where he enjoyed winter sports, drawing and summer trips to the mountains. After graduating from East Denver High School, he enrolled in the Art Institute of Denver, where he received his diploma in 1932. That same year, John moved to Los Angeles; there, he worked as a freelance commercial artist while attending illustration courses at the Art Center School of Design. One of the school's instructors spotted John's talent and pointed him in the direction of the Walt Disney Studio, which was searching for artists at the time.

In 1935, John joined Disney's animation team and, for several years, he specialized in "Pluto" shorts, such as Pluto's Playmate, Pluto at the Zoo, and Private Pluto, among others. Later, he was promoted to directing animator on such classic Disney films as Dumbo, Song of the South, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, The Jungle Book, The Aristocats, and Robin Hood.

He also served as directing animator on such beloved Pooh featurettes as Winnie the Pooh and the Honey Tree and Winnie the Pooh and the Blustery Day, which won an Academy Award® in the category of Best Short Subject (Cartoons). John also directed Winnie the Pooh and Tigger Too, which earned an Oscar® nomination.

John Lounsbery passed away on February 13, 1976, in Los Angeles. At the time of his death, he was still giving Disney his all as one of the directors of the animated feature The Rescuers.

_________________________________

A not so giant-size sneeze from Willie.

_________________________________

Tony (Seq. 7: Dinner at Tony's (directed by Clyde Geronimi), Sc. 68) (00:46:12–14)

_________________________________

Tony serenades Lady and Tramp.

_________________________________

Jaq and Gus need to outsmart Lucifer in order to collect clothing items for Cinderella's dress.

_________________________________

Bruno, the dog and Major, the horse begin their magical transformation.

_________________________________

Merlin (Seq. 2: Wart Meets Merlin (directed by Wolfgang Reitherman), Sc. 309) (00:15:01–07)

_________________________________

Mim as a chicken.

_________________________________

Dumbo experiences the effects of champagne.

_________________________________

Because of his outgoing personality, Mr. Darling becomes the most engaging character in this sequence from Peter Pan.

_________________________________

Dale Baer (1950–2021) Remembering John

John Lounsbery was described by people who knew him as modest, unassuming, quiet, unselfish, the soul of kindness, self-effacing; a gentleman. His animation stood out above the rest. His mastery of "'squash and stretch" made his work so entertaining to watch. As broad as it was, his characters were still believable, sincere, and above all, funny.

Johnny was the go-to guy for all us young people. Tweaking a few lines here and there, he'd show you how to strengthen the poses, working from what you came up with. You always left his office feeling good about yourself.

Beginning his apprenticeship under Norm Ferguson, I don't think Johnny ever forgot what it was like starting out. He was not an envious person. You never heard a bad word out of him about anyone. The one thing that showed up on a couple of occasions was insecurities about himself, which wasn't helped by some of his peers. And when you're a young guy with your own insecurities just coming into this business, it is hard to believe that someone of John's caliber and experience could feel that way too.

Johnny was being groomed to replace "Woolie," upon Reitherman's retirement, to direct. It was something John really didn't want to do. When I asked him as he was packing his office to move upstairs what it was like becoming a director, all he could say was, "I just want to be a good animator someday."

I knew Johnny only five years, not nearly long enough to absorb his 40 years of knowledge. But what I did take, I hope, was his kindness, his willingness to share, and his encouragement.

John Lounsbery never commanded respect. He earned respect by being the gentleman that he was.

_________________________________

♪ We wish you a merry Christmas,

We wish you a merry Christmas,

We wish you a merry Christmas

And a happy New Year.

Good tidings we bring

To you and your kin.

Good tidings for Christmas

And a happy New Year. ♪

_________________________________

Wolfgang Reitherman (1909–1985)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Snow White and the Seven Dwarfs, Saludos Amigos.
Directing animator, Pinocchio, Dumbo, Fun and Fancy Free, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp.
Supervising animator, Fantasia.
Sequence director, Sleeping Beauty.
Director, One Hundred and One Dalmatians, The Sword in the Stone, The Jungle Book, The AristoCats, Robin Hood.
Co-producer, The AristoCats, The Fox and the Hound.
Producer, Robin Hood, The Many Adventures of Winnie the Pooh, The Rescuers.
Co-director, The Many Adventures of Winnie the Pooh, The Rescuers.

_________________________________

–
Pete Docter.
_________________________________

_________________________________

Wolfgang "Woolie" Reitherman once described himself as "full of life and ginger," and his animation as having "vitality and … quality." Woolie's boundless energy and personality did indeed spill over into his animation; with an unusual knack for action sequences, Woolie animated such memorable sequences as the dramatic dinosaur battle in Fantasia, the climactic whale-chase scene in Pinocchio, and the fire-breathing clash between Prince Phillip and the Dragon in Sleeping Beauty.

Born in Munich, Germany, on June 26, 1909, Woolie came to the United States as an infant and was raised in Sierra Madre, California. Fascinated with airplanes and flying, he attended Pasadena Junior College with the intent of becoming an aircraft engineer and, later, took a job at Douglas Aircraft. In 1931, however, Woolie changed his career flight path when he decided to become an artist and enrolled at Chouinard Art Institute in Los Angeles to study watercolor. While there, he met an instructor who taught classes at the Walt Disney Studio and, in 1933, Woolie joined the Company's animation department.

Woolie once said about animation: "It was a romance from the start. "The minute you know you can make a drawing move, the static drawing loses its appeal: movement is life.

"Animation represents the greatest breakthrough in 20th-century art."
THIS IMAGE: Funny Little Bunnies, one of the first films Reitherman worked on.

During World War II, Woolie left the Studio to enlist with the U.S. Army Air Forces. He became an ace pilot, serving in Africa, India, China, and the South Pacific, earning the Distinguished Flying Cross. After the war, he returned to the Studio.

Over the years, Woolie contributed to more than 30 Disney shorts including Water Babies, Mickey's Fire Brigade, and Donald in Mathmagic Land. He also contributed his animation skill to such classic animated features as Snow White and the Seven Dwarfs, Cinderella, Peter Pan, Lady and the Tramp, One Hundred and One Dalmatians, The Jungle Book, and more.

In 1963, Woolie became the first animator in the history of the company to be given the directorial reins of an entire animated feature, with The Sword in the Stone. Among the films he directed include The Jungle Book (1967), The Aristocats (1970), and Robin Hood (1973). He also directed the cartoon featurette Winnie the Pooh and the Blustery Day, which won an Academy Award® in 1969.

After Walt Disney's untimely death in 1966, Woolie helped unify the Studio's stable of egos and talent. As fellow animator Frank Thomas recalled, Woolie was a "very strong leader" during that unsettling time. After nearly 50 years with the Studio, Woolie retired in 1981.

Woolie Reitherman passed away on May 22, 1985, in Burbank, California.

_________________________________

Reitherman captures the enormous scale of Monstro.

_________________________________

Monstro (Seq. 10.9: Pinocchio Swallowed by Whale (directed by Bill Roberts), Sc. 8) (01:16:25–56)

_________________________________

Reitherman said: "Nobody is going to worry about a gag's logic, if it's funny."; Reitherman animated Captain Hook as both a buffoon and a dangerous threat in Peter Pan.

_________________________________

Don Hahn Remembering Woolie

Wolfgang "Woolie" Reitherman was a man's man. Perpetually clad in a Hawaiian shirt, he reeked of the confidence that came from his years as an ace pilot during World War II, where he flew in Africa, India, China, and the South Pacific and earned a Distinguished Flying Cross medal.

Woolie joined Disney in 1933. His animation—the dinosaur battle in Fantasia, Monstro the whale in Pinocchio, and the clash between Prince Phillip and the dragon in Sleeping Beauty—mirrored the way he lived his life: powerful and full of vitality, energy, and quality.

He soon emerged as a natural leader, so much so that Walt Disney left him the keys to the Animation department in the mid-1960s as Disney's attentions turned to Disneyland, television, and live-action films. After Walt's death in 1966, Woolie became the galvanizing force of the animation crew during a very unsettling time.

I worked closely with him as an assistant director. The day I met him, he shook my hand with a grip that dislodged my ring finger. If John Wayne and Robert Mitchum had a baby, it would have been Woolie. When he talked, he had the habit of chomping on an unlit cigar until the end was horribly soggy, whereupon he would reach into his drawer, pull out a stained pair of scissors, cut off the end, and continue chomping away, all without missing a word.

He talked about flying a Grumman F6F Hellcat on a bombing run. I talked about my new Volkswagen Beetle. We compared favorite movies. His was The Guns of Navarone, mine was Chitty Chitty Bang Bang.

I got the job, but I knew this guy would forever influence my life. Woolie was not a fanboy animator, nor a cartoonist; he was a filmmaker who drew deeply from his life experience. He was a creative producer like Walt Disney, and I knew I wanted to be just like him someday.

_________________________________

♪ Up on the housetop, the reindeer pause;

Out jumps good ol' Santa Claus!

Down through the chimney with lots of toys,

All for the little ones' Christmas joys.

Ho! Ho! Ho! Who wouldn't go?

Up on the housetop, click, click, click!

Down through the chimney with good St. Nick. ♪

_________________________________

Milt Kahl (1909–1987)

Legends Award Category: Animation

Year Inducted: 1989

_________________________________

Animator, Snow White and the Seven Dwarfs, Saludos Amigos, The Three Caballeros, Make Mine Music, Mary Poppins, The Many Adventures of Winnie the Pooh.
Directing animator, Pinocchio, Song of the South, Melody Time, The Adventures of Ichabod and Mr. Toad, Cinderella, Alice in Wonderland, Peter Pan, Lady and the Tramp, Sleeping Beauty, One Hundred and One Dalmatians, The Sword in the Stone, The Jungle Book, The AristoCats, Robin Hood, The Rescuers.
Supervising animator, Bambi.

_________________________________

–
Randy Haycock, James Baxter.
_________________________________

_________________________________

Fellow animators recognized the extraordinary draftsmanship of Milt Kahl early in his Disney career. Fellow animator and Disney Legend Ollie Johnston recalled how, during the making of Pinocchio, a senior animator at the time responded to Milt's drawings. Ollie said, "One morning Freddie Moore burst into my room saying, 'Hey, you ought to see the drawings [of Pinocchio] this guy Milt Kahl is doing.'" Walt Disney recognized Milt's talent as well, and named him supervising animator over the artists who brought Pinocchio to life.

Years later, when The Sword in the Stone director and Disney Legend Woolie Reitherman saw Milt's first rough drawings of Merlin the magician and Madame Mim, he reportedly turned to Milt and said, "These things look so beautiful, they could hang in a museum." To this, Milt responded with a characteristic "Aw… You're full of it!"

Because Milt was so good at his craft, he was often assigned the toughest of Disney tasks: animating human characters, such as Peter Pan, Alice of Alice in Wonderland, and Prince Phillip from Sleeping Beauty.

He was just as adept at animating animal characters, including Bambi, the snooty llama from Saludos Amigos, and Brer Rabbit, Brer Fox and Brer Bear in Song of the South.

Milt was born in San Francisco in 1909, and later attended school in the city. He cut his high school education short, however, to pursue his dream of becoming a magazine illustrator or cartoonist. While studying art, he worked retouching photos and pasting up layouts at the now defunct Oakland Post-Enquirer, followed by the San Francisco Bulletin. Milt then started his own commercial art business, which limped along after the Great Depression hit. During this time, he saw the Disney short Three Little Pigs at a local theater and became mesmerized by the possibilities of this exciting young art form called "animation."

In June 1934, Milt applied to the Walt Disney Studio and was hired to work as an assistant animator on such shorts as Mickey's Circus, Lonesome Ghosts, and The Ugly Duckling, which won an Oscar® for Best Short Subject (Cartoons). Over the years, Milt contributed to such Disney features as Melody Time, The Adventures of Ichabod and Mr. Toad, Cinderella, Lady and the Tramp, One Hundred and One Dalmatians, The Jungle Book, and The Rescuers, among others.

After nearly 40 years with Disney, Milt retired from the Studio in 1976. He then returned to his native Bay Area to pursue other interests, including sculpting delicate wire into human figures, such as dancing ballerinas.

Milt Kahl passed away on April 19, 1987, in Mill Valley, California.

_________________________________

Peter Pan

The adventurous leader of the Lost Boys who whisks the Darling children away to Never Land.

_________________________________

Early pre-animation character designs for Peter Pan.

_________________________________

Wendy Darling

Oldest of the Darling children, an eternal believer, mother figure to the Lost Boys and friend to Peter Pan.

_________________________________

Madam Mim turned out to be one of Milt's favorite characters.

_________________________________

"Never underestimate the benefit of props."

_________________________________

The Duke from Cinderella.

_________________________________

The Grand Duke (Seq. 5.1: Slipper Fitting (directed by Clyde Geronimi), Sc. 193) (01:12:00–03)

_________________________________

Andreas Deja Remembering Milt

As an art student in the late seventies, I wrote a fan letter to Milt Kahl, complimenting him on his superb animation and characters. It took a while, but I received a response. He thanked me for my flattering remarks and informed me that he had left the field of animation and lived in retirement near San Francisco. I was shocked. Without Milt Kahl, who would design new characters and set drawing standards for future Disney films? It seemed like the end of an era.

For almost 40 years, Milt Kahl's drawings and animation had influenced and changed the style of Disney animation. The characters in Snow White and the Seven Dwarfs were drawn in a round and dimensional way; by Sleeping Beauty, Milt's sense for strong graphic design helped create a new look for Disney animation.

Walt Disney was very fortunate to have Milt Kahl on his animation team. Many of the other animators would ask the master draftsman for help to improve their drawings.

This gave visual continuity to a character animated by several artists. Milt cussed and yelled in frustration as he redrew and improved a colleague's scene. "Why can't these guys draw like me?"

Once during the production of Peter Pan, in which Milt supervised the animation of the title character, Walt wasn't pleased with all the different looking Pans in the screening. Milt bluntly responded: "That's because you don't have any talent in this place!"

Of course Walt disagreed. Ollie Johnston later said that Milt was the only animator who could get away with arguing with the boss.

Milt's animation is unique. His characters always move with believable weight. His acting choices show a great sense of personality. Milt said he could animate anything well, and he was right.

Whether he drew a dancing llama, a prince, a newborn deer, or an evil tiger, his talent had no limits.

_________________________________

Paul J. Smith; lyrics by Gil George

_________________________________

♪ From all of us to all of you,

A very merry Christmas

For all this bright and joyful night,

We're glad to have you with us

So gather 'round the lovely tree,

Where all the lights are shining

You'll see how happy we will be

While all the bells are chiming

Ding-dong-dingle! What a merry sound!

Ding-dong-dingle! Kris Kringle is in town

From all of us to all of you,

It's good to have you with us

Now here we go and here's our show

That says a very, merry, Christmas! ♪

_________________________________

The Cast and Crew of From All of Us to All of You (1958)

Director: Jack Hannah
Story: Al Bertino, David Detiege.
Styling: John Hench
Animation: Volus Jones, Al Coe, Les Clark, Bob McCrea.
Layout: Yale Gracey
Backgrounds: Ray Huffine
Film Editor: Tom Acosta
Music: Paul Smith
Song ("You Can Fly"): Sammy Cahn, Sammy Fain.
Special Process: Eustace Lycett
Sound: Robert O. Cook
Production Supervision: Harry Tytle
Cast: Walt Disney (Himself), Cliff Edwards (Jiminy Cricket).

_________________________________

Santa's Workshop

Director: Wilfred Jackson

_________________________________

Toy Tinkers

Director: Jack Hannah
Story: Harry Reeves, Milt Banta.
Animation: Volus Jones, Bob Carlson, Bill Justice.
Effects Animation: Jack Boyd
Layout: Yale Gracey
Background: Thelma Witmer
Music: Paul Smith

_________________________________

Memorable Moments

_________________________________

You Can Fly – Sammy Fain; lyrics by Sammy Cahn

Director: Wilfred Jackson
Layout: McLaren Stewart
Animation: Marc Davis, Eric Larson, Norm Ferguson, Hal King, Hal Ambro, Harvey Toombs, Don Lusk, Clair Weeks.
_________________________________
♪ Think of a wonderful thought,
Any merry little thought
Think of Christmas, think of snow, think of sleigh bells
Off you go, like reindeer in the sky!
You can fly, you can fly, you can fly! ♪
_________________________________

_________________________________

Fun on the Ice – Frank Churchill

Director: James Algar
Animation: Frank Thomas, Bill Justice, Phil Duncan.
_________________________________

_________________________________

I've Got No Strings – Leigh Harline; lyrics by Ned Washington

Director: Wilfred Jackson
Layout: Terrell Stapp, Thor Putnam.
Animation: Frank Thomas, Bill Tytla, Ward Kimball, Art Babbitt, Eric Larson, Woolie Reitherman, Jack Campbell, Ollie Johnston, Don Patterson, Les Clark, Marvin Woodward.
_________________________________
♪ I got no strings to hold me down
To make me fret or make me frown
I had strings but now I'm free
There are no strings on me

Heigh-ho the merry-o
That's the only way to be
I want the world to know
Nothing ever worries me

I got no strings so I have fun
I'm not tied up to anyone
They got strings but you can see
There are no strings on me ♪
_________________________________

_________________________________

Bella Notte – Peggy Lee & Sonny Burke

Director: Clyde Geronimi
Layout: Hugh Hennesy, Don Griffith, Tom Codrick.
Animation: Frank Thomas, John Lounsbery, Eric Larson, Ed Aardal, Cliff Nordberg, Don Lusk, George Kreisl.
Backgrounds: Eyvind Earle.
_________________________________
♪ For this is the night
It's a beautiful night
And we call it bella notte

Look at the skies
They have stars in their eyes
On this lovely bella notte

Side by side with your loved one
You'll find enchantment here
The night will weave its magic spell
When the one you love is near

For this is the night
And the heavens are right
On this lovely bella notte ♪
_________________________________

_________________________________

The Work Song / A Dream Is a Wish Your Heart Makes – Mack David, Jerry Livingston, and Al Hoffman

Directors: Wilfred Jackson, Hamilton Luske.
Layout: McLaren Stewart, Ken O'Connor, Lance Nolley.
Animation: Eric Larson, John Lounsbery, Don Lusk, Phil Duncan, Hugh Fraser, Hal King, Fred Moore, Judge Whitaker, George Nicholas.
_________________________________
Poor Cinderelly. Every time she finds a minute, that's the time when they begin it. Cinderelly, Cinderelly.
Cinderella!

♪ Cinderelly, Cinderelly
Night and day it's Cinderelly
Make the fire!
Fix the breakfast!
Wash the dishes!
Do the moppin'!
And the sweepin' and the dustin'!
They always keep her hoppin'!
She'd go around in circles
Till she's very, very dizzy
Still they holler
Keep her busy, Cinderelly ♪
_________________________________
♪ A dream is a wish your heart makes
When you're fast asleep
In dreams you will lose your heartaches
Whatever you wish for, you keep

No matter how your heart is grieving
If you keep on believing
The dream that you wish will come true

Whatever you wish for you keep

The dream that you wish will come true
Will come true ♪
_________________________________

_________________________________

The Silly Song – Frank Churchill; lyrics by Larry Morey

Director: Wilfred Jackson
Animation: Hamilton Luske, Bill Tytla, Fred Moore, Frank Thomas, Dick Lundy, James Algar, Les Clark, Fred Spencer, Grim Natwick, Jack Campbell, Marvin Woodward, Marc Davis.
_________________________________
♪ (YODELING)

I'd like to dance and tap my feet
But they won't keep in rhythm
You see, I washed 'em both today
and I can't do nothin' with 'em

Ho-hum, the tune is dumb
The words don't don't mean a thing
Isn't this a silly song
For anyone to sing? ♪
_________________________________

_________________________________

A Disney Christmas Gift (1982)

_________________________________

Once Upon a Wintertime

Director: Hamilton Luske
Story: Art Scott, Mary Blair.
Animation: Eric Larson, John Lounsbery, Harvey Toombs, Hal King, Don Lusk, Rudy Larriva.
Effects Animation: George Rowley
Layout: Ken O'Connor, Al Zinnen, Don Griffith.
Backgrounds: Art Riley
Music: Eliot Daniel, Ken Darby.

_________________________________

Pluto's Christmas Tree

Director: Jack Hannah
Story: Bill Berg, Milt Schaffer.
Animation: George Kreisl, Fred Moore, Bill Justice, Volus Jones.
Effects Animation: George Rowley
Layout: Yale Gracey
Background: Thelma Witmer
Music: Joseph Dubin

_________________________________

Wendy and the Darling children meet Peter / You Can Fly

Director: Wilfred Jackson
Layout: McLaren Stewart
Animation: Milt Kahl, Ward Kimball, Marc Davis, Eric Larson, Les Clark, Norm Ferguson, Hal King, Hal Ambro, Harvey Toombs, Ken O'Brien, Don Lusk, Clair Weeks.
Effects Animation: George Rowley
Backgrounds: Claude Coats

_________________________________

The Clock Watcher

Director: Jack King
Story: Harry Reeves, Rex Cox.
Animation: Don Towsley, Bill Justice, Judge Whitaker, Josh Meador.
Layout: Ernest Nordli
Background: Howard Dunn
Music: Oliver Wallace

_________________________________

Las Posadas & Breaking Piñata

Director: Clyde Geronimi
Layout: Hugh Hennesy, Herb Ryman.
"Las Posadas" paintings: Mary Blair
Animation: Ward Kimball, Ollie Johnston.
Effects Animation: George Rowley

_________________________________

Wart Becomes Kay's Squire / Off to London

Director: Wolfgang Reitherman
Layout: Don Griffith, Basil Davidovich.
Animation: Milt Kahl, Ollie Johnston, John Lounsbery, Hal King, Eric Larson, Eric Cleworth, Cliff Nordberg, Dick Lucas.
Backgrounds: Walt Peregoy

_________________________________

The Fairy Godmother

Director: Hamilton Luske
Layout: Ken O'Connor, Charles Philippi.
Animation: Milt Kahl, Marc Davis, John Lounsbery, Don Lusk, Phil Duncan, Hugh Fraser, Fred Moore, Judge Whitaker, Hal Ambro.
Effects Animation: George Rowley, Josh Meador.

_________________________________

The Night Before Christmas

Director: Wilfred Jackson

_________________________________

Jiminy Cricket's Christmas

_________________________________

The Nutcracker Suite: Waltz of the Flowers

Director: Samuel Armstrong
Layout: Bob Cormack, Bruce Bushman.
Animation: Les Clark, Bob Stokes.

_________________________________

Donald's Snow Fight

Director: Jack King

_________________________________

The Art of Skiing

Directors: Bill Roberts, Jack Kinney.

_________________________________

Mickey's Good Deed

Director: Burt Gillett

_________________________________

The Disney Legends

Administration: Donn Tatum*, Card Walker†, Frank Wells*, Don Escen†, Masatomo Takahashi†, Lucille Martin†, Tom Murphy†, Dave Smith†, Harry Archinal†, Ray Watson†, Robert Price "Bob" Foster*.

Administration, Animation, Family & Film: Roy E. Disney†.

Animation: Les Clark*, Ollie Johnston†, Milt Kahl*, Eric Larson*, John Lounsbery*, Wolfgang "Woolie" Reitherman*, Frank Thomas†, Carl Barks†, Joe Grant†, Jack Hannah†, David Hand*, Fred Moore*, Bill Peet†, Virginia Davis†, Wilfred Jackson*, Bill Tytla*, Norm Ferguson*, Hamilton Luske*, Grace Bailey*, Becky Fallberg†, Dodie Roberts†, Retta Scott*, Ruthie Tompson†, Tyrus Wong†, Floyd Gottfredson*, Mel Shaw†, Al Dempster*, Joe Ranft*, Art Babbitt*, Marge Champion†, Dick Huemer*, Floyd Norman, Burny Mattinson†, Walt Peregoy†, Steve Jobs*, Glen Keane, Andreas Deja, Eyvind Earle*, Clyde Geronimi*, Mark Henn.

Animation & Film: Don DaGradi*, Bob Moore†, James Algar*, Ben Sharpsteen*, Don Hahn.

Animation, Film & Television: Bill Anderson*.

Animation & Imagineering: Marc Davis†, Ub Iwerks*, Ward Kimball†, John Hench†, Ken Anderson†, Mary Blair*, Claude Coats†, Ken O'Connor†, Bill Cottrell†, X Atencio†, Bill Justice†, Yale Gracey*, Joyce Carlson†.

Animation & Television: Roy Williams*.

Attractions: Joe Fowler†, Van France†, Jack Lindquist†, Wally Boag†, Fulton Burley†, Edward Meck*, Betty Taylor†, Bob Allen*, Bob Matheison†, Joe Potter*, Dick Nunis†, Charlie Ridgway†.

Attractions & Imagineering: Ralph Kent†, Leota Toombs Thomas*.

Consumer Products: Antonio Bertini, Armand Bigle†, Horst Koblischek†, Gunnar Mansson†, André Vanneste*, Kay Kamen*, Matsuo Yokoyama, Al Konetzni†, Neil Beckett*, Barton "Bo" Boyd*, Carson Van Osten†.

Consumer Products & Film: Cyril James*.

Costume Design: Colleen Atwood.

Family: Edna Francis Disney*, Lillian Disney*.

Film: Fred MacMurray†, Julie Andrews, Winston Hibler*, Peter Ellenshaw†, Irving Ludwig†, Dean Jones†, Angela Lansbury†, Roberto de Leonardis*, Cyril Edgar*, Wally Feignoux*, Armand Palivoda*, Glynis Johns†, Paul Kenworthy†, Hayley Mills, Al and Elma Milotte*, Norman "Stormy" Palmer†, Lloyd Richardson†, Kurt Russell, Dick Van Dyke, Bill Garity*, Bob Broughton†, Ken Annakin†, Hugh Attwooll*, Maurice Chevalier*, John Mills†, Robert Stevenson*, David Tomlinson*, Richard Fleischer†, Tim Conway†, Matthew Garber*, Bob Schiffer*, Don Iwerks, Ed Wynn*, Johnny Depp, Carrie Fisher*, Mark Hamill, Robert Downey Jr., Jon Favreau, Bette Midler, Chadwick Boseman*, James Cameron, Jamie Lee Curtis, Harrison Ford.

Film & Imagineering: Harper Goff*, Marvin Davis†.

Film & Music: Danny Elfman.

Film, Parks & Resorts, Television: Paul Frees*.

Film & Publishing: Stan Lee†.

Film & Television: Fess Parker†, Bill Walsh*, Annette Funicello†, Buddy Ebsen†, Rex Allen†, Larry Lansburgh†, Tim Allen, Robert Newton*, Richard Todd†, Buddy Hackett*, Karen Dotrice, David Stollery, Ginny Tyler†, Jim Henson*, Billy Crystal, John Goodman, Whoopi Goldberg, Garry Marshall*, Oprah Winfrey, Kenny Ortega, Patrick Dempsey, Angela Bassett, Frank Oz.

Film & Voice: Robin Williams†, Kristen Bell, Josh Gad, Jonathan Groff, Idina Menzel.

Imagineering: Roger Broggie†, Richard Irvine*, Herb Ryman*, Bill Evans†, Blaine Gibson†, Bill Martin†, Wathel Rogers†, Sam McKim†, Harriet Burns†, Fred Joerger†, Marty Sklar†, Orlando Ferrante, Buzz Price†, Rolly Crump†, Alice Estes Davis†, Bob Gurr, Randy Bright*, Don Edgren†, Carl Bongirno†, Bob Booth†, Neil Gallagher*, Dorothea Redmond†, Tony Baxter, Collin Campbell*, Wayne Jackson, Wing T. Chao, Rob't Coltrin, Doris Hardoon, Joe Rohde.

Music: The Sherman Brothers†, Paul J. Smith*, Lucien Adés*, Buddy Baker†, Howard Ashman*, George Bruns*, Frank Churchill*, Leigh Harline*, Alan Menken, Ned Washington*, Phil Collins, Tim Rice, Tutti Camarata†, Irwin Kostal*, Elton John, Jimmy Johnson*, Randy Newman, Oliver Wallace*, Hans Zimmer, Chris Montan, John Williams.

Music & Television: Christina Aguilera, Miley Cyrus.

Parks & Resorts: Ron Dominguez†, Chuck Abbott*, Milt Albright†, Hideo Amemiya*, Hideo "Indian" Aramaki*, Charles Boyer†, James Cora†, Bob Jani*, Mary Jones†, Art Linkletter†, Mary Anne Mang, Steve Martin, Tom Nabbe, Jack Olsen*, Cicely Rigdon†, William Sullivan†, Jack Wagner*, Vesey Walker*, Ron Logan†, Toshio Kagami, Bonita Wrather*, Jack Wrather*, George Lucas, Julie Reihm Casaletto, Barnette Ricci, Martha Blanding.

Publishing: Angel Angelopoulos*, Gaudenzio Capelli, Didier Fouret, Mario Gentilini*, Arnoldo Mondadori*, Poul Brahe Pedersen*, Paul Winkler*, Al Taliaferro*, Manuel Gonzales*, Jack Kirby*, Steve Ditko*.

Television: Jimmie Dodd*, Leonard Goldenson*, Tim Considine†, Kevin Corcoran†, Peter Jennings*, Tommy Kirk†, Roone Arledge*, Frank Gifford†, Barbara Walters†, Bea Arthur*, Estelle Getty*, Rue McClanahan†, Betty White†, Regis Philbin†, Guy Williams*, Dick Clark*, George Bodenheimer, Susan Lucci, Robin Roberts, Diane Sawyer, Anthony Anderson, Ellen Pompeo, Tracee Ellis Ross, James L. Brooks, Kelly Ripa.

Television & Voice: Ming-Na Wen.

Theatrical: Julie Taymor.

Voice: Sterling Holloway†, Pinto Colvig*, Jimmy Macdonald*, Clarence Nash*, Adriana Caselotti†, Thurl Ravenscroft†, Betty Lou Gerson†, Kathryn Beaumont, Mary Costa, Cliff Edwards*, Dick Jones†, Ilene Woods†, Wayne Allwine†, Russi Taylor†, Tony Anselmo, Bill Farmer, Jodi Benson, Linda Larkin, Paige O'Hara, Anika Noni Rose, Lea Salonga, James Earl Jones†.

_________________________________

100th-Anniversary Photo Op

_________________________________

Minnie calls Mickey to the lobby, so Mickey catches a lift with Dumbo. He flies past a crowd on the stairs that includes Madame Medusa from "The Rescuers," Michael "Goob" Yagoobian (AKA Bowler Hat Guy) (Stephen J. Anderson) from "Meet the Robinsons," Kronk from "The Emperor's New Groove," The Clade family (Ethan, Searcher, and Meridian) from "Strange World," Clara Cluck, Pegleg Pete, and Gazelle from "Zootopia."

As Raya (Kelly Marie Tran) holds the door – with Madam Mim from "Sword in the Stone" and Flynn Rider and Maximus from "Tangled" looking on – Mickey and Dumbo fly out the studio's front door, followed by Wreck-It Ralph (John C. Reilly), Scar (Jeremy Irons) from "The Lion King," and Mr. Toad (Eric Blore) who has a new "wild ride" aboard the flying carpet from "Aladdin."

We hear Mickey mention the ladder, which causes Ichabod Crane from "The Legend of Sleepy Hollow" to turn around quickly and duck as Goofy (Bill Farmer) recklessly swings a tall ladder around.

Trusty (Bill Baucom) and Jock from "Lady and the Tramp" are followed by Flora (Verna Felton), Fauna, and Merryweather (Barbara Luddy) (the three fairies from "Sleeping Beauty"), who look at the studio's iconic wizard's hat and magically change it from blue to pink and back to blue.

Mickey starts gathering everyone for the photo, including Amos Mouse and Benjamin Franklin from "Ben and Me," Phil from "Hercules," Luisa from "Encanto" (holding Rutt and Tuke from "Brother Bear" and the cow crew from "Home on the Range"), Pacha and Kuzco (David Spade) from "The Emperor's New Groove," Colonel Hathi and Winifred from "The Jungle Book," the three little pigs, Cinderella's stepsisters Anastasia and Drizella), Captain Hook and Smee from "Peter Pan," and a black and white Oswald, the lucky rabbit.

Rafiki (Robert Guillaume) from "The Lion King" lifts the camera to Goofy (a la Simba), and as Goofy teeters on the ladder, Tarzan and Jane, Chief Bogo from "Zootopia," Casey (at the bat), Clarabelle, Horace Horsecollar, and Jafar from "Aladdin" worriedly look on (with Iago (Piotr Michael) counting down to his inevitable fall) – and when Stitch (Chris Sanders) steps up to "help," Lilo steers him away.

In true Grumpy style, the grouchy dwarf (Josh Robert Thompson) from "Snow White and the Seven Dwarfs" throws up his hands in disgust while young Simba and Nala from "The Lion King" as well as Rabbit, Eeyore (Jim Meskimen), Piglet, and Gopher from "The Many Adventures of Winnie the Pooh" look disappointed.

As Friar Tuck from "Robin Hood," Fred, Honey Lemon, GoGo Tomago, Wasabi, and Hiro from "Big Hero 6," The Big Bad Wolf, Ludwig von Drake, Arthur from "Sword in the Stone," King Leonidas from "Bedknobs and Broomsticks," and the Ongis from "Raya and the Last Dragon" start to leave, Mickey begs them to stay, but it's no use.

The group is joined by Princess Jasmine from "Aladdin," Abuela Alma and Isabela Madrigal from "Encanto," Sgt. Calhoun from "Wreck-It Ralph," Daisy Duck, Officer Clawhauser from "Zootopia," and Koda and Kenai from "Brother Bear." But then they hear a guitar playing "When You Wish Upon a Star."

It's Alan-a-Dale, the musical narrator from "Robin Hood" who's joined by Scat Cat from "The Aristocats" on trumpet, Mirabel from "Encanto" on accordion, and Hathi Jr. from "Jungle Book" on his trunk while Taffyta Muttonfudge from "Wreck-It Ralph" and Johnny Appleseed look on – and because it's Disney – the singing starts.

_________________________________

When You Wish Upon a Star Your Dreams Come True

_________________________________

When You Wish Upon a Star – Leigh Harline; lyrics by Ned Washington

_________________________________
♪ When you wish upon a star
Makes no difference who you are
Anything your heart desires
Will come to you

If your heart is in your dream
No request is too extreme
When you wish upon a star
As dreamers do

Fate is kind
She brings to those who love
The sweet fulfillment of
Their secret longing

Like a bolt out of the blue
Fate steps in and sees you through
When you wish upon a star
Your dreams come true ♪
_________________________________

_________________________________

First, it's Belle (Paige O'Hara) from "Beauty and the Beast" (standing with The Queen of Hearts from "Alice in Wonderland," Lewis and Wilbur from "Meet the Robinsons," Penny from "The Rescuers," plus Pecos Bill and Widowmaker). As the Beast (Robby Benson) joins Belle for a duet, Hades (James Woods) from "Hercules" gripes, but Aurora and Phillip from "Sleeping Beauty," Cruella De Vil from "101 Dalmatians" and John Henry look pleased.

The next verse is sung by Quasimodo (Tom Hulce) from "The Hunchback of Notre Dame" (who is joined on the studio's rooftop by his gargoyle pals Victor, Hugo, and Laverne).

Pocahontas (Judy Kuhn) sings to Mama Odie from "The Princess and the Frog," Tod and Copper from "The Fox and the Hound," Basil of Baker Street, Olivia Flaversham, and Dr. David Q. Dawson from "The Great Mouse Detective," Dumbo and Timothy, Boun and Tong from "Raya and the Last Dragon," and the Aristocats (Duchess, Thomas O'Malley, Marie, Toulouse, and Berlioz).

Then, Princess Ariel (Jodi Benson) sings to Nessie, Prince Eric, Jaeger Clade from "Strange World," and Dolores Madrigal from "Encanto" – accompanied by Scuttle (Jess Harnell) who's very quickly hushed by Baloo (Jim Cummings) and Mowgli (Phoenix Reisser) from "The Jungle Book" as Lady and the Tramp smile and Sebastian the crab conducts from atop the golden harp from "Fun and Fancy Free."

Goofy looks sadly at his broken camera when suddenly, Sorcerer Mickey's magical brooms from "Fantasia" come to his aid, assisted by Felix from "Wreck-It Ralph," Hercules, and Cinderella's Fairy Godmother (who bibbidi bobbidi boos everything back on track).

Snow White (Natalie Babbitt Taylor) then harmonizes with Mulan (Lea Salonga) and Asha (Ariana DeBose) from "Wish" for Lambert the Sheepish Lion, Princess Eilonwy from "Black Cauldron,"Baymax, Oaken (Yoo Hoo), and Robin Hood and Maid Marian from "Robin Hood," Winnie the Pooh (Jim Cummings), Tigger, The White Rabbit from "Alice in Wonderland," and Lumiere and Plumette from "Beauty and the Beast."

To "bring it home" is none other than Jiminy Cricket (Cliff Edwards), who sings his iconic song from "Pinocchio" from the palm of Mickey's hand.

_________________________________

Say Cheese, Everyone!

_________________________________

So, how did you do? Can you identify any characters we didn't mention in the photo below?

_________________________________

Mickey Mouse March – Jimmie Dodd

_________________________________
♪ Who's the leader of the club that's made for you and me?
M-I-C-K-E-Y M-O-U-S-E
Hey there, Hi there, Ho there! You're as welcome as can be!
M-I-C-K-E-Y M-O-U-S-E

Mickey Mouse! (Donald Duck!)
Mickey Mouse! (Donald Duck!)
Forever let us hold our banner high, high, high, high!

Come along and sing a song and join the jamboree!
M-I-C-K-E-Y M-O-U-S-E ♪
_________________________________

_________________________________

Be Our Guest – Alan Menken; lyrics by Howard Ashman

_________________________________

Bonjour! It is with deepest pride and greatest pleasure that we welcome you tonight. And now, the dining room proudly presents your dinner.

♪ Be our guest, be our guest!

Put our service to the test

Tie your napkin 'round your neck, chérie

And we provide the rest

Soup du jour, hot hors d'oeuvres

Why, we only live to serve?

Try the grey stuff, it's delicious!

Don't believe me? Ask the dishes!

(INSTRUMENTAL)

Course by course! One by one! Till you shout,

"Enough, I'm done!"

Then we'll sing you off to sleep as you digest

Tonight, you'll prop your feet up, but for now, let's eat up

Be our guest! Be our guest! Be our guest!

Please be our guest! ♪

_________________________________

The Sorcerer's Apprentice – Paul Dukas

_________________________________

Part of Your World – Alan Menken; lyrics by Howard Ashman

_________________________________

♪ Look at this stuff. Isn't it neat?

Wouldn't ya think my collection's complete?

Wouldn't ya think I'm the girl,

The girl who has everything?

I've got gadgets and gizmos aplenty

I've got whozits and whatzits galore

You want thingamabobs? I got 20

But who cares? No big deal. I want more!

I wanna be where the people are

I wanna see, wanna see 'em dancin'

Walkin' around on those...

What do ya call 'em? Oh, feet.

When's it my turn?
Wouldn't I love

Love to explore that shore up above?

Watch and you'll see, someday I'll be part of your world! ♪

_________________________________

I Just Can't Wait to Be King – Elton John; lyrics by Tim Rice

_________________________________

♪ I'm gonna be the main event

Like no king was before

I'm brushin' up on lookin' down

I'm workin' on my roar!

Thus far, a rather uninspiring thing

Oh, I just can't wait to be king!

Everybody, look left

Everybody, look right

Everywhere you look, I'm

Standing in the spotlight

Let every creature go for broke and sing

Let's hear it in the herd and on the wing

It's gonna be King Simba's finest fling!

Oh, I just can't wait to be king!

Oh, I just can't wait

To be king! ♪

_________________________________

Disneywiz, thinking as a result of Tinker Bell and her friends' absence and the presence of the Arendelle sisters, went on a log flume attraction that is based on the new film franchise in summer of 2016, following the opening in Epcot at the Walt Disney World Resort on June 21, 2016. This celebrates the anniversary of the day Anna saved her sister with an unselfish act of true heart and thaw a frozen heart.

_________________________________

1. Load (with Oaken's speech)

(Loading area announcements)

Oaken: Yoo-hoo! For your safety, keep your hands, arms, feet, and legs inside the the boat there. And vatch your little vones, ja? (Spanish safety spiel.)

_________________________________

Oaken

Oaken runs Wandering Oaken's Trading Post and Sauna.

_________________________________

2. 1st Olaf ("Do You Want to Build a Snowman")

(Ride begins. Boats approach OLAF (voiced by Josh Gad) and SVEN. Music transitions to “Do You Wanna Build a Snowman?”)

Version 1:
Olaf: Do you wanna build a snowman?
C'mon, I know you do!
Elsa's made a magic winter show,
With summer snow,
For Sven and me and you!
We're going up to Elsa's ice palace with you and you and you — all of you! See you there!
Sven: (Reindeer grunt.)
_
Version 2:
Olaf: Do you wanna build a snowman?
C'mon, let's go and play!
Elsa wants to give us all some fun,
She's making everyone
A snowy summer day!
Oh, you're going to Elsa's ice palace! Sven's going, I'm going. It'll be so beautiful! See ya there!
Sven: (Reindeer grunt.)

_________________________________

Olaf

Created from Elsa's magical powers, Olaf is by far the friendliest snowman in Arendelle. He is innocent, outgoing and loves all things summer. Olaf may be a bit naive, but his sincerity and good-natured temperament make him a true friend to Anna and Elsa.

_________________________________

Sven

A reindeer with the heart of a Labrador, Sven is Kristoff's loyal friend, sleigh-puller and conscience.

_________________________________

3. The Trolls

(Boats move alongside TROLLS)

Young Troll: Tell us the story again!
Young Trolls: Please!
Grand Pabbie: On a day, very much like today, Anna saved her sister with an unselfish act of true love and thawed a frozen heart.
Young Troll: Ooh, ooh, and now they're best friends!
Grand Pabbie: Indeed.
Baby Troll: Hey, you're going up to a ice palace! Lucky…

_________________________________

4. Lift ("Vuelie")

(Boats move alongside TROLLS. Music transitions to "Vuelie.")

Chorus: Na na na heyana
Hahiyaha naha
Naheya heya na yanuwa
Anhahe yunuwana.

(Boats move uphill)

_________________________________

5. Olaf, Anna, and Kristoff ("For the First Time in Forever")

(Boats level out as they pass OLAF ice skating. Music transitions to "For the First Time in Forever.")
Olaf: La da da, for the first time in forever,
Now I'm so glad you came along!
For the first time in forever…
I don't really know this song.
And watch this next part, yooo-oooh!
Skating! Skating, skating, celebrating!

Welcome to Elsa's ice palace!

(Boats move alongside ANNA (voiced by Kristen Bell) and KRISTOFF (voiced by Jonathan Groff) singing together. SVEN's tongue is stuck to an ice crystal.)

Kristoff: Are you ready to see Elsa?
Anna: They were born ready!
For the first time in forever…
Anna and Kristoff: We get to share this frozen fun.
For the first time in forever,
Elsa's inviting everyone.
Anna: Would you say you’re elated or gassy?
Kristoff: Let's just call it "delight."
Anna and Kristoff: 'Cause for the first time in forever,
You're here…
Anna: For my sister's magic night.

_________________________________

Anna

Spirited and loving, Anna gives her heart freely to those she cares about. Ever the optimist, she's proud to be Arendelle's Queen and always tried to do her best for the Kingdom and the people she loves.

_________________________________

Kristoff

A rugged mountain man and ice harvester by trade, Kristoff was a bit of a loner with his reindeer pal, Sven, until he met Anna. As Arendelle's official Ice Master and Deliverer, Kristoff has found love with Anna and his new family: Elsa, Olaf and Sven.

_________________________________

6. Elsa and Young Iduna's Voice ("Into the Unknown")

(As boats begin to pass through doors into ELSA's (voiced by Idina Menzel) ice palace, music shifts to "Into the Unknown" instead of "Let It Go.")

Angelic Voice: (VOCALIZING)

(boats begin to pass through doors into ELSA's ice palace)

Elsa: You're not a voice
You're just a ringing in my ear
And if I heard you, which I don't
I'm spoken for, I fear
Everyone I've ever loved is here within these walls
I'm sorry, Secret Siren, but I'm blocking out your calls
Every day's a little harder as I feel my power grow
Don't you know there's part of me that longs to go

(Boats begin moving backward away from ELSA as she shows off her powers.)

Into the unknown?
Into the unknown!
Into the unknown!
Angelic Voice: (VOCALIZING)
Elsa: Whoa-oh-oh
Are you out there?
Do you know me?
Can you feel me?
Can you show me?
(VOCALIZES)
Angelic Voice and Elsa: (HARMONIZING)
Elsa: Where are you going?
Don't leave me alone
How do I follow you
Into the unknown?
Angelic Voice: (VOCALIZES)

_________________________________

Elsa

Elsa is a mythic character – magical and larger than life. Now completely in control of her powers, she is confident, resolved, and warm Elsa looks after the spirits of nature and embraces her role as the Snow Queen, knowing that it is who she was always meant to be.

_________________________________

7. Marshmallow and Drop ("Instrumental Theme (Elsa & Anna)")

(Boats change direction as they pass MARSHMALLOW, who is covered in SNOWGIES.)

Version 1:

Marshmallow: Let it go!

Version 2:

Marshmallow: I'm free!

_________________________________

Marshmallow

Marshmallow is an enormous icy snowman born from Elsa's powers.

_________________________________

Snowgies

Snowgies are little snowmen Elsa unwittingly creates every time she sneezes—and she sneezes a lot.

_________________________________

8. Arendelle Ice Castle ("For the First Time in Forever" instrumental)

(Boats plunge down waterfall and sail past Arendelle, which features snow fireworks going off over the castle.)

_________________________________

9. Anna, Elsa, and Olaf Finale ("In Summer")

(As boats approach unload area, ANNA, ELSA, and OLAF stand to the side and sing "In Summer.")

Olaf: Dah dah, dah doo,
Buh buh buh buh buh boo.
Olaf, Anna, and Elsa: The hot and the cold are both so intense,
Put 'em together…
Olaf: It just makes sense!
Rat dadat dadat dadat dadadadadoo
Olaf, Anna, and Elsa: Winter's a good time to stay in and cuddle,
Olaf: But put me in summer, and I'll be a…
Anna and Elsa: Happy snowman?
Olaf: Exactly!
Olaf, Anna, and Elsa: When life gets rough,
I like to hold on to my dream.
Relaxing in the summer sun,
Olaf: Just lettin' off steam.
Oh, the sky will be blue…
Olaf, Anna, and Elsa: And you guys'll be there too…
Olaf: When I finally do what frozen things do,
Olaf, Anna, and Elsa: In summer!

_________________________________

10. Unload (with Oaken's speech)

(Boats return to dock. Unload area announcements.)

Oaken: Yoo-hoo! Welcome back! Please remain seated 'til your boat comes to a complete stop at the dock and you are asked to get out to the right, ja? Bye-bye, now! Bye-bye!

_________________________________

During this time, Disneywiz decided to underrate the film like the less popular film in the Tinker Bell series, Secret of the Wings (with Elsa sharing many similar traits with Periwinkle):

Both have blue eyes and very fair hair – Peri's is white and Elsa's is platinum blonde.
Both have a small lock of hair down their forehead.
Both possess unusually strong powers over ice and snow, frost and sleet, hail and cold.
Both have icy-blue motifs.
Both have a dear sister (Anna / Tinker Bell) whom they love and care about very, very much.
Their sisters are the protagonists of both movies respectively.
Both enjoy playing in the snow with their sister but are forced into separation as their sisters may be vulnerable to the cold.
Both also appear to be unaffected by the cold. Peri's outfit has no sleeves, and she is almost always surrounded by ice and snow. Elsa, during "Let it Go", sings that "the cold never bothered her."
In the end, both reunite with their beloved sister to save their home kingdom (Arendelle / Pixie Hollow) from a ravaging blizzard / snowstorm.
Both Frozen and Secret of the Wings have the kiss in the end.

_________________________________

Disneywiz rewrote and changed the stories of Frozen and Tinker Bell, with sharing the resemblance story between Anna & Elsa and Tinker Bell & Periwinkle (in the prologue only) (all sisters enjoying playing in the snow in the prologue until they are forced into separation as their sisters may be vulnerable to the cold). Skipping the Secret of the Wings climax due to no soundtrack, Tinker Bell will be spending the whole summer in the mainland with a better sister figure, Lizzy Griffiths, which is set during the events of the first Frozen during Anna and Elsa's adulthood.

_________________________________

SPLAT: Ta-da!

BEAST: What?

KAA: ...mistake.

JIM: Whoo-hoo!

FLASH: Hold the...

ANNA: Do the magic!

GRUMPY: You don't...

EDWARD: Ah! Giselle!

ELSA: Go away, Anna.

EEYORE: There's one.

JAQ: Isn't it wonderful?

LOUIS: Tiana! Naveen!

TROLL: True love's kiss

DODGER: You help Tito.

THUMPER: Hiya, Bambi.

ANTONIO: Use my room.

IDUNA: And on that note,

MOANA: What's in there?

TOAD: Hello, you fellows.

CARL: Why is it an acorn?

MERRYWEATHER: Flora?

OLAF: Hey, let me ask you.

ANNA: And we're locked in.

MULAN: "Quiet and demure.

KRISTOFF: Come on, Sven.

LITTLE JOHN: Rob? Robin?

ASHA: Yes, that's the castle.

QUASIMODO: Most of them.

NICK: Mission accomplished.

ALADDIN: Look, I... I'm sorry.

CODY: That's it, you've got it!

SNOW WHITE: Uh-uh, uh-uh!

ELSA: Why is their ship here?

ABU: Yoo-hoo! Aladdin! Hello!

RUNEARD: Stand tall, Agnarr.

TIANA: Where you taking me?

STROMBOLI: Get along there.

FLOUNDER: Ariel, wait for me.

JUDY: (WHISPERS) Come on.

RHINO: Superbark. Superbark!

SCROOGE: What, what, what?

BELLE: New and a bit alarming

MAUI: I wasn't born a demigod.

SISU: Wow. So many questions.

KRISTOFF: Come on. Come on.

AGNARR: And I was so honored

COGSWORTH: Now it's too late.

BAYMAX: I have some concerns.

POOH: Oh, not for honey, I hope.

SCUTTLE: Nothing is happening.

RAYA: Where are you taking me?

CINDERELLA: Oh, there you are.

ROBIN: We're waiting. (LAUGHS)

POCAHONTAS: Come on, Meeko!

GISELLE: And grew and grew love

DONALD: Who would've thought it?

TINKER BELL: Just tie this off here.

TRUSTY: But I'd say a mite smaller.

MERLIN: You merely look like a fish.

MINNIE: Oh, Mickey, where are you?

FLORA: Bolt the door, Merryweather.

PINOCCHIO: Father? Father, it's me.

RAPUNZEL: What did you do to him?

HADES: A stirring performance, boys.

PETER: I came to listen to the stories.

GASTON: Who does she think she is?

VANELLOPE: Okay, good. Little more.

MICKEY: Hey, Pluto. Here she comes.

KUZCO: So this is where you came in.

URSULA: Come in. Come in, my child.

BOWLER HAT GUY: What's going on?

GOOFY: Gawrsh, that's the king's seal!

JIMINY: I gotta get in! My pal's in there.

BERNARD: No, no! Back! Back, Penny!

BALOO: (LAUGHS) You're gettin' it, kid.

ARIEL: Flounder, don't be such a guppy.

RALPH: No, no, no! Wait a second! Aah!

_________________________________

00:00:00–00:19:59
_________________________________
SVEN: Mm.
KAA: ...mistake.
VINNY: Hey, Junior.
CALHOUN: All right.
MRS. BANKS: Jane.
ANNA: Do the magic!
FAIRY: No, Pinocchio.
ELSA: Go away, Anna.
NALA: It's really creepy.
TROLL: True love's kiss
IDUNA: And on that note,
CASS: That's my nephew!
ALICE: Yoo-hoo! Yoo-hoo!
MERRYWEATHER: Flora?
GURGI: Oh, no, Great Lord.
MULAN: "Quiet and demure.
KRISTOFF: Come on, Sven.
JOHN: Blast you, Peter Pan!
FÉLIX: Our angel, our angel!
KALA: Oh! Oh, no. Shh. Shh.
RUNEARD: Stand tall, Agnarr.
DONALD: Suspension bridge?
FLOUNDER: Ariel, wait for me.
NANNY: The puppies are here!
KERCHAK: I said he could stay.
MARIE: Me first, me first. Whoo.
KRONK: Back! Elbow! Shoulder!
AGNARR: And I was so honored
SEARCHER: (CHUCKLES) Ooh!
CINDERELLA: Oh, there you are.
ISABELA: Who wants more pink?
ROBIN: We're waiting. (LAUGHS)
POCAHONTAS: Come on, Meeko!
JUMBA: He is bulletproof, fireproof
GISELLE: And grew and grew love
BIG MAMA: Mm-hmm. Oh, uh-huh.
MICHAEL: And I'll cut you to pieces.
RABBIT: Here we come. Don't worry.
DOPPLER: Jim! Oh, Jim! Wait for me!
MR. BANKS: Advertisement for what?
FRIEND OWL: Come on. (SHOOING)
PETER: I came to listen to the stories.
FLYNN: This is the story of how I died.
EINSTEIN: Yeah. And you're okay, too.
NAKOMA: Help me turn this thing over.
CALOWAY: There's a star on that door.
BERLIOZ: Yeah, old pickle-puss Edgar.
MAURICE: We should be there by now.
WENDY: Bu... But where are we going?
PONGO: For a while, it seemed to work.
ARIEL: Flounder, don't be such a guppy.
RALPH: No, no, no! Wait a second! Aah!

_________________________________

00:20:00–00:29:59

_________________________________

ZEUS: Ha ha!

SIMBA: Come here!

DODGER: You help Tito.

MOANA: What's in there?

GOTHEL: I love you most.

ANNA: And we're locked in.

SHENZI: Ooh, it tingles me.

CALLISTO: Okay, everyone.

LITTLE JOHN: Rob? Robin?

PHILLIP: You know, Samson,

ABU: Yoo-hoo! Aladdin! Hello!

TIMOTHY: I think they're cute.

DRIZELLA: Huh. As if you care.

MRS. PACKARD: Commander?

NANI: Okay, I got to get to work.

ATTINA: What is with her lately?

SISU: Wow. So many questions.

GOPHER: Quick! Turn the page!

MORPH: "Nothing but me heart."

TERK: Oh! Watch it! Oh! Ow! Ow!

ANASTASIA: Well, it's about time.

BASIL: This case is most intriguing

PLEAKLEY: Well, what's he doing?

RATCLIFFE: Keep on working, lads

TRUSTY: But I'd say a mite smaller.

MERLIN: You merely look like a fish.

PENNY: Bolt! It's okay, Bolt. I'm fine.

AURORA: Why, it's my dream prince.

MARIAN: Are you ready, Lady Kluck?

HORNED KING: The Black Cauldron!

MILO: Sorry about... Sorry about that.

MUSHU: Uh, uh... Yes, I just woke up.

GASTON: Who does she think she is?

JOCK: Aye, and they walk on all fours.

HIRO: I know what you're going to say.

BALOO: (LAUGHS) You're gettin' it, kid.

ANDRINA: Ariel, dear, time to come out.

_________________________________

00:30:00–00:39:59

_________________________________

BEAST: What?

DINKY: Charge!

SHANK: Well, well, well.

THUMPER: Hiya, Bambi.

LUISA: I move mountains

CARL: Why is it an acorn?

GRACE: We're on your trail.

RITA: Oh, that poor little kid.

COOKIE: Ya-ha! Gertie, pull!

ASHA: Yes, that's the castle.

KODA: Hello. I can't breathe.

QUASIMODO: Most of them.

KRISTOFF: Anna, be careful!

ZAZU: Oh, Scar, this is awful!

SNOW WHITE: Uh-uh, uh-uh!

CLAWHAUSER: Here you go.

BOGO: Abandoning your post.

ROGER: Maybe Scotland Yard.

ABUELA: Such a perfect match.

FIDGET: Let me out! Let me out!

HERCULES: Yeah. Yeah. I know.

POOH: Oh, not for honey, I hope.

PIGLET: Oh, dear. Oh, dear, dear.

SILVER: Well done, Mr. Arrow, sir!

JAEGER: A subterranean labyrinth

HONEST JOHN: (SIGHS) Splendid!

KING CANDY: Now, now! (LAUGHS)

DUCHESS: Now, be careful, children.

O'MALLEY: Hey, cool it, you little tiger.

MITTENS: So, if you got superpowers,

URSULA: Come in. Come in, my child.

YZMA: And so, it is with great sadness

ANITA: We're doing everything possible.

TRAMP: Alligators. Now there's an idea.

_________________________________

00:40:00–00:49:59

_________________________________

KENAI: Koda?

MR. BIG: Meh.

DAWSON: Basil?

PHIL: Two words.

FLASH: ...Priscilla!

BAGHEERA: Baloo.

ABBY: Ring the bell!

GRUMPY: You don't...

MERIDIAN: Heads up.

EDWARD: Ah! Giselle!

EEYORE: There's one.

JAQ: Isn't it wonderful?

MEG: (PANTING) Please.

POWHATAN: Pocahontas.

BASHFUL: Ain't he sweet?

OLAF: Hey, let me ask you.

LEWIS: That's a prototype?

PEPA: Married in a hurricane

CODY: That's it, you've got it!

WILBUR: Robinson Industries,

STROMBOLI: Get along there.

LUMIERE: Life is so unnerving

JOHN: This place is incredible.

MATTIAS: Hey, back at home...

DOLORES: I can hear him now

MEDUSA: There is another one!

LILO: Want to listen to the King?

FFLEWDDUR: Aah! Great Belin!

BAYMAX: I have some concerns.

JANE: I've never seen such eyes.

TARZAN: They mean us no harm.

PRINCE JOHN: Seize the fat one!

HATHI: Oh, absolutely impossible.

PACHA: Well, we better get going.

LING: Some king of the rock. Aah!

RUTT: So, you want to play "I spy"?

WASABI: Whoa, whoa, whoa, whoa.

PANCHITO: This custom takes place

BIANCA: Let go, you big bullies, you!

FLORA: Bolt the door, Merryweather.

FELIX: The vines. They're Laffy Taffy.

HADES: A stirring performance, boys.

RAY: I'll take them the rest of the way.

HAPPY: Never say die. Never say die.

ESMERALDA: You've done this before?

_________________________________

00:50:00–00:59:59

_________________________________

DAVID: Nani!

SPLAT: Ta-da!

GO GO: Mmm.

LASZLO: Yeah!

FRANCIS: Goodness!

FRIAR TUCK: Surprise!

SHERIFF: Howdy, Friar.

ARCHIMEDES: Wart! Wart!

RATIGAN: Goodbye so soon

ELSA: Why is their ship here?

FRED: (GASPS) He's glorious.

JOE: Watch your step, Donald.

MIRABEL: (IN ENGLISH) Wait.

BELLE: New and a bit alarming

LADY: Where is he taking him?

ALLAN-A-DALE: Man, oh, man.

IDUNA: The waves are too high!

HUGO: And since you're shaped

CAPTAIN AMELIA: Mr. Hawkins,

SCUTTLE: Nothing is happening.

MALEFICENT: Touch the spindle.

TARAN: They're only frogs, Eilonwy.

MAGGIE: Stallion of the Sim-moron.

TITO: Go, go, go, go, go, go, go, go!

DOC: Now don't you worry about us.

JASMINE: Just go jump off a balcony!

FAUNA: (CRYING) We're all to blame.

VANELLOPE: Okay, good. Little more.

KUZCO: So this is where you came in.

CLAYTON: Now, be careful, Professor.

DONALD: Am I going to like this place!

BOWLER HAT GUY: What's going on?

McLEACH: Get out of here! Go on! Get!

_________________________________

01:00:00–01:39:59

_________________________________

BOLT: Penny.

JAFAR: Shut up!

AUDREY: Milo, no!

LUCKY: Mother, Dad,

HONEY LEMON: Hiro.

LOUIS: Tiana! Naveen!

YOUNG TOD: Copper?

ANTONIO: Use my room.

VICTOR: Ready, aim, fire!

RABBIT: The March Hare.

PHOEBUS: No, you're not.

CRUELLA: Jasper! Horace!

BRUNO: Oh... Almost there.

TIGGER: Come on, bounce.

NICK: Mission accomplished.

ALADDIN: Look, I... I'm sorry.

SMEE: Oh, captain, you did it.

TIANA: Where you taking me?

SLIGHTLY: Yea for Bear Killer!

BOUN: I know what you mean.

WILBUR: Girls? Girls, I'm here!

JUDY: (WHISPERS) Come on.

RHINO: Superbark. Superbark!

MAUI: I wasn't born a demigod.

TONG: There's too much spice.

ETHAN: We can be resourceful.

GAZELLE: Wow! I'm impressed.

JIM: Whoa. What is all this stuff?

COGSWORTH: Now it's too late.

YOUNG COPPER: Yeah, forever.

RAYA: Where are you taking me?

PRINCE: That has possessed me

NARRATOR: And so they all lived

SEBASTIAN: Ariel, grab onto that.

ERIC: Whoa! Hang on, I've got ya.

RUNT: Don't go breaking my heart

NAMAARI: But you didn't trust her.

EDGAR: Now, my little pesky pets,

SHANTI: (SINGING) My own home

FROLLO: The prisoner, Esmeralda,

LAVERNE: Don't you ever migrate?

ARTHUR: Kay, Kay, here's a sword.

BELLWETHER: Come on out, Judy.

TINKER BELL: Just tie this off here.

TOULOUSE: I told you it was Edgar.

FACILIER: Shame all that hard work

JANE: Father passes that every day.

CHARLOTTE: Cheese and crackers!

B.E.N.: Laser cannons disconnected,

PINOCCHIO: Father? Father, it's me.

SWEET: Milo, you better get up here.

PERDY: Shh, children. Children, shh.

RAPUNZEL: What did you do to him?

STEPMOTHER: You clumsy little fool.

NAVEEN: Ray! Get me out of this box!

SNOOPS: Welsher! Swindler! Chiseler!

JIMINY: I gotta get in! My pal's in there.

EILONWY: Come on, Fflewddur! Hurry!

BERNARD: No, no! Back! Back, Penny!

CHRISTOPHER: You can let go, Tigger.

SULTAN: Find him! Search everywhere!

LITTLE: He's all right! Stop the invasion!

GEPPETTO: It's no use. We're done for!

HOOK: Don't stand there, you bilge rats!

YAO: Does this dress make me look fat?

_________________________________

The Story of Tinker Bell and Periwinkle's Sisterhood and Anna and Elsa's Childhood
_
Vuelie (00:00:00—00:01:36)
_
Anna and Elsa's Childhood Bedtime Story (00:00:57—00:07:47)
_
Frozen Heart (00:01:38—00:03:15)
_
Tinker Bell and Periwinkle (00:37:22—00:40:32)
_
Anna and Elsa's Childhood Accident (00:03:40—00:08:12) / Tinker Bell and Periwinkle (00:40:35—00:47:23)
_
Queen Clarion and Lord Milori (00:48:07–00:50:05)
_
Do You Wanna Build a Snowman? (00:08:17—00:11:25)

_________________________________

On the edge of a fjord, a deep mountain lake ringed by majestic peaks, the kingdom of Arendelle was a happy place. During the day, shopkeepers, fishermen, and ice sellers kept the city bustling. At night, the northern lights often lit up the sky in beautiful patterns. The rulers of Arendelle, King Agnarr and Queen Iduna, were kind. Their young daughters, Elsa and Anna, were the joy of their lives.

_________________________________

Tinkers' Nook was bustling with activity. The tinker fairies were making snowflake baskets for the fairies of winter. A flock of snowy owls soon arrived for the baskets, bringing a final shipment order for Fairy Mary with them. "Goodness," Fairy Mary said. "They need twenty more baskets for tomorrow's pickup!" Tink watched as the magnificent birds headed off toward the Winter Woods. "There's a whole other world over there," she said to herself.

_________________________________

Later that day, Tink volunteered to help her friend Fawn take animals to the Winter Woods to hibernate. But Fawn told Tink that they could only bring animals to the border, and weren't allowed to go into the Winter Woods. Then she got distracted by a sleeping marmot. "No hibernating yet!" she called into the animal's ear. "You do that in winter!"

Even though she knew it could be dangerous, Tink was very curious about the Winter Woods. With Fawn distracted, Tinker Bell jumped across the border!

_________________________________

Tink gazed in wonder at the beautiful wintry landscape, enchanted by the delicate snowflakes that drifted down all around her. Suddenly, her wings began to sparkle in a burst of colorful light–and she heard the faint sound of a baby's laugh!

_________________________________

The magical moment ended when Fawn yanked Tinker Bell back into autumn. Fawn touched Tink's wings and gasped. They were freezing! Fawn rushed Tink straight to the fairy hospital. A healing-talent fairy examined Tink's wings. Then she warmed them until they were back to normal again.

_________________________________

Tink was on a mission to find out what had made her wings sparkle. She flew off to the Book Nook, where she found a wing-shaped book she hoped would give some answers. Unfortunately, a bookworm had chewed through the pages. A fairy told Tink that the author of the book–the Keeper—might be able to help her. But he lived in the Winter Woods.

_________________________________

Tinker Bell put on a warm outfit, packed the book in a bag, and snuck into the tinkers' workshop. Then the adventurous fairy climbed inside a snowflake basket. Tink's fairy friends watched closely.

In a moment, Tink was soaring through the air. The young owl that had picked up the basket had no idea there was a stowaway inside!

_________________________________

As the owl crossed into the Winter Woods, Tinker Bell felt a cold blast of air. She peeked out of the basket and saw a majestic valley spread before her!

_________________________________

Suddenly, the owl accidentally let go of Tink's basket! She crashed onto the landing area, sending snowflakes scattering everywhere. Tinker Bell ducked behind the basket to hide–then realized that her book had been flung onto the ice. She had to get it back before a winter fairy found it!

Just then, Lord Milori, the Lord of Winter, arrived. "Now, that is odd," he said, grabbing the book from Sled, a winter fairy who had spotted it. Lord Milori asked Sled to return the book to the Keeper.

_________________________________

Tinker Bell secretly followed Sled to the Hall of Winter. When she arrived, she spotted the Keeper, whose name was Dewey. Then another winter fairy rushed into the room and asked Dewey why her wings were sparkling! Suddenly, Tinker Bell's wings began to sparkle, too–just like when she had crossed the border the other day! An irresistible force pulled her toward the fairy. The fairy's name was Periwinkle.

_________________________________

The girls hoped Dewey could explain what was happening to their wings. He brought Tink and Peri over to a giant snowflake. "Just put your wings into the light," he told them.

A few seconds later, the chamber filled with images showing the journey of a baby's first laugh–a laugh that split in two and landed on a dandelion! One half traveled to the Pixie Dust Tree on the warm side of Pixie Hollow, and Tinker Bell was born. The other half blew into the Winter Woods, and baby Periwinkle arrived. That meant Tink and Peri were sisters!

_________________________________

Suddenly, Lord Milori arrived. He was concerned about the book Sled had found. "What if a warm fairy brought it here?" he asked Dewey. "If a warm fairy comes here, you will send them back."

Peri and Tink, who had been hiding behind the snowflake, gasped. Did this mean that Tinker Bell would have to go home already?

_________________________________

Dewey told the girls they could have a little time to visit before Tink had to go home. Tink put on her coat and earmuffs to keep warm. When they got to Periwinkle's house, Peri showed Tink a bundle of items she had been collecting. "You collect Lost Things, too?" asked Tink. "I called them Found Things," Periwinkle replied, smiling.

_________________________________

Next, they went to the Frost Forest, where Peri introduced Tinker Bell to her friends Gliss and Spike. They went ice-sliding, which was like sledding on a frozen roller coaster. Tink had a wonderful time!

_________________________________

Agnarr loved telling Elsa and Anna, stories of long ago. One night he told them about the Northulara, a people who lived in harmony with the spirits of nature. The story left Anna and Elsa with many questions. But it was late, so Iduna lulled them to sleep with a lullaby. She sang of a river called Ahtohallan, which held all the answers to the past.

Elsa wondered if Ahtohallan knew why she had magical power. "Someone should really try to find it," she said before dozing off.

_________________________________

That night outside Periwinkle's house, after Tinker Bell had built a fire to stay warm, she had a thought. "I made it warmer over here," she said. "Maybe I could make it colder over there." Tink wanted her sister to be able to visit her on the warm side of Pixie Hollow.

Suddenly, the snow floor crumbled beneath them. It was melting from the fire! A lynx brought them to safety. Dewey told the girls that now it was really time for Tink to go back home.

_________________________________

The girls realized that they might never see each other again. Tinker Bell had to come up with a plan. When the three fairies reached the border, Tinker Bell broke into fake sobs. "I can't watch!" Dewey cried. "Meet me here tomorrow. There's something I need you to bring," Tink whispered to Peri.

_________________________________

A little while later, Tinker Bell arrived back on the warm side of Pixie Hollow. She asked her friends Clank and Bobble for help. The three fairies were hard at work when a few of Tinker Bell's other friends stopped by. Clank had told them about Tink's newfound sister, and everyone couldn't wait to find out more about her!

_________________________________

The next day, Tinker Bell arrived at the border with Bobble and Clank, who were pulling a strange-looking contraption. It was a snowmaker! Periwinkle and her friends gasped in surprise. "How does it work?" Peri asked.

_________________________________

A few seconds later, the snowmaker started to grate a block of ice and turn it into snow. Peri was delighted!

_________________________________

The older daughter, Princess Elsa, had a magical secret–she had the power to create snow and ice!

Anna adored her big sister and wanted to spend every minute with her. One night, Anna convinced Elsa to turn the Great Hall into a winter wonderland. They made a snowman together, and then Elsa created ice slides so Anna could soar through the air!

_________________________________

Peri's journey through the warm seasons was filled with one amazing sight after the next. She saw a fast-moving rainbow and a field of blooming flowers. She thought everything was so beautiful.

Soon, Fawn, Iridessa, Rosetta, Silvermist, and Vidia got to meet the frost fairy face to face. "Everyone ... this is Periwinkle, my sister!" Tinker Bell announced.

_________________________________

Peri was continuing her tour of the warm side of Pixie Hollow when Tink noticed that Peri's wings had started to wilt. The snowmaker was running out of ice, and there wasn't enough snow to keep Peri cold! Elsa accidentally hit Anna with a blast of icy magic. Anna fell to the ground, shivering. A streak of white appeared in her hair.

_________________________________

Immediately, Tink brought Peri back to the border. The worried Agnarr and Iduna rushed their daughters to the trolls. They were mysterious healers who knew all about magic. At the moment, Lord Milori appeared. "Lift your wings," he told Peri. "Let the cold surround them." A wise old troll named Grand Pabbie was able to cure Anna by helping her to forget the injury–and the magic. He also had a warning. "Elsa's power will grow," he said. "She must learn to control it." Suddenly Queen Clarion, the Queen of Pixie Hollow, arrived. She looked at the girls sadly. "This is why we do not cross the border," Lord Milori told Tinker Bell and Periwinkle. "I'm sorry. You two may never see each other again."

_________________________________

Elsa was afraid that she would hurt her sister again. She spent her time practicing to keep her magic under control. It was difficult, especially when she became upset. As a precaution, Agnarr decided to keep the castle gates closed. As the girls went their separate ways, Lord Milori mounted his owl and flew off–but not before he knocked the snowmaker into a stream. The contraption goes over the waterfall as Lord Milori had intended, instead of the contraption getting caught on a ledge.

_________________________________

Later that day, Queen Clarion tried to make Tinker Bell understand why the rule about not crossing the border was so important. She told the story of two fairies who fell in love. One was from the warm seasons and one was from the Winter Woods. One of the fairies crossed the border and broke a wing–an injury for which there was no cure. The queen finished her sad tale.

Anna couldn't remember Elsa's magic, but she still wanted to play with Elsa. No matter how much Anna pleaded, Elsa refused to open her door. Years passed, but the girls didn't grow any closer, even when their parents were lost at sea.

_________________________________

Many years and adventures later, Arendelle was flourishing. Elsa was the new ruler, and she and Anna surrounded themselves with a friendly group–composed of a snowman, a reindeer, and a mountain man–they called family. One evening, they were all playing charades. Olaf and Kristoff made a great team.

"Teapot! Unicorn!" – Kristoff

Kristoff guessed correctly every time. Olaf rearranged himself into a new shape.

It was Elsa and Anna's turn. As Elsa stood before the group, she heard a haunting melody sung by a voice that no one else seemed to hear. It took her focus off the game.

When the round was over, Elsa abruptly excused herself, saying she was tired.

_________________________________

Anna knew her sister wasn't just tired. She opened the door to Elsa's room and saw that she had wrapped herself in their mother's scarf.

"You do that when something wrong, said Anna. "What is it?"

Elsa wanted to tell Anna about the voice but decided against it. Instead, she said she was worried about messing things up.

"You're doing great," Anna assured her.

Elsa smiled. "What would I do without you?" she asked. "You'll always have me," replied Anna.

_________________________________

Later that night, the voice woke Elsa, louder and more insistent than before. She followed it to the fjord. She needed to know more about it.

Elsa began to sing along with the voice's call. As she did, she felt her magic getting stronger. The voice encouraged her to use her power in new ways.

Elsa found she could pull moisture out of the air and create wonderful fleeting images made of snow. How can this be happening? she thought.

_________________________________

Then Elsa felt the voice pull away from her. She reached for it and a shock wave of magic blasted from her in every direction. The moisture in the air froze into crystals that dotted the sky as far as she could see. Suddenly, an explosion of light came from the north.

_________________________________

The shock wave woke Anna. When she saw that Elsa was not in her bedroom, she raced for the castle doors. Just as she stumbled into the courtyard, the frozen crystals fell from the sky.

The sound of crashing ice crystals brought the villagers out of their homes as well. All around them, lanterns suddenly flickered out, and the water in the fountains began to dry up.

The sisters found each other, and it was clear to them that something was very wrong. The ground shook and the wind blew the villagers, pushing everyone toward the cliffs.

After they were all safe, Elsa told her sister about the voice.

"A voice?" asked Anna. "What kind of voice? What did it say?"

_________________________________

Elsa revealed that the voice hadn't said anything it had simply shown her the Enchanted Forest. She knew she needed to travel there.

"Not without us, you don't," Anna said.

The ground rumbled again, but this time it was the mountain trolls rolling through the pass. Grand Pabbie went straight to Elsa.

"Much about the past is not what it seems," Pabbie said. "When one can see no future, all one can do is the next right thing."

Elsa had to find the voice. "And this time, Anna, I am not afraid," she said.

Grand Pabbie told Anna he would take care of the villagers but she needed to watch over Elsa.

"I won't let anything happen to her," Anna promised.

_________________________________

At dawn, Elsa, Anna, Olaf, Kristoff, and Sven left Arendelle, headed due north. They traveled day and night. Their mission was too important–the stakes too high–to stop for rest.

Olaf tried to lighten the mood. "Who's into trivia?" he asked, but he didn't wait for a response. "I am! Okay!"

The snowman kept up a never-ending chatter, revealing fun facts he had discovered since learning to read. "Did you know that water has memory?" Olaf said. "Did you know men are six times more likely to be struck by lightning? Sorry, Kristoff!"

_________________________________

As they went over a small hill, Elsa heard the voice again. She asked Kristoff to stop the wagon. Straight ahead, the sun revealed the Enchanted Forest, shrouded in a heavy mist.

Elsa raced across the plain with Anna right behind her, but they stopped before reaching the mist. "We do this together, okay?" Anna said.

"Together," Elsa replied.

At once, the mist began to part.

_________________________________

Kristoff, Olaf, and Sven hurried to join Anna and Elsa. The group stared as four giant stone columns were revealed.

The friends moved slowly toward the monoliths. But once they were inside the mist, it closed around them. They were trapped!

They didn't have time to be concerned, as the mist began to push the friends into the unknown!

_________________________________

They eventually stumbled into a wooded area. Everyone looked around in amazement. They had entered the Enchanted Forest!

Suddenly, the snowman was swept up by a gust of air.

"Olaf! Elsa cried, rushing toward him.

It was the Wind Spirit! Moments later, the whole group was caught in its vortex.

_________________________________

Elsa sent a blast of magic that pushed everyone out of the whirlwind–except her. She filled the vortex with a steady stream of snow and slowed its spinning. Then she threw her arms open and snow flew everywhere.

Elsa was free. And she was surrounded by ice sculptures depicting beautiful moments frozen in time.

"What's that thing you say, Olaf?" Anna asked.

"Water has memory," he said.

As Anna and Elsa walked among the sculptures, one in particular caught their attention. It showed their father as a teenager. He was being rescued by a girl who wore a scarf that was just like their mother's.

_________________________________

They suddenly heard a loud banging. Reindeer quickly surrounded Elsa and the others as people emerged from the bushes. They were the Northuldra! Anna grabbed an ice sword from one of the sculptures.

"Lower your weapon," said a Northuldra woman named Honeymaren.

Seconds later, soldiers from Arendelle, in faded and tattered uniforms, appeared.

"And you lower yours," Lieutenant Mattias of the Arendellians said to Honeymaren.

But another Northuldra, Yelana, sneaked up behind them. "Threatening my people again, Lieutenant?" she said.

_________________________________

The two groups charged, both wanting to be the first to capture the sisters and their friends. Elsa used her magic to make the ground slick, causing the Northuldra and the Arendellian soldiers to slip and fall.

"That was magic!" Mattias cried.

_________________________________

As Mattias got to his feet, Anna asked, "Do I know you?" She and Elsa walked over to him.

Then it hit her. His portrait was in the castle. "You were our father's official guard!" Anna exclaimed.

"I see him. I see him in your faces," Mattias said.

The young Northuldra were also eager to meet Anna and Elsa. Honeymaren approached them and asked about the scarf Anna was carrying. Anna explained that it had been given to her father, who had then given it to her mother.

It was remarkable to all that a traditional Northuldra scarf was cherished by an Arendellian queen. Maybe the two sides were more alike than different.

_________________________________

Without warning, a bright light shot out from behind a tree. It was the Fire Spirit! Everything it touched burst into flame. People scattered, but Elsa stayed to battle the blaze with her magic.

The Northuldra reindeer panicked and ran. Kristoff jumped onto Sven and took off after them.

Elsa spotted the tiny Fire Spirit, a salamander, under a rocky overhang.

Elsa held out her hand and the spirit cautiously climbed onto it. She smiled and sprinkled the salamander with snowflakes.

All of a sudden, Elsa heard the voice and so did the Fire Spirit! The two of them turned toward its calling.

"We have to go north," Elsa said. It was time to move on.

_________________________________

Elsa started walking. Even though Kristoff and Sven were away from the camp, Anna and Olaf knew they had to leave immediately with Elsa.

It felt as if they had been walking for hours when a distressing sight came into view–the wreckage of an Arendellian ship.

When they got closer, Elsa and Anna realized it was their parents' ship! Inside, Anna found a map. Ahtohallan, the river from their mother's lullaby, was clearly marked on it.

Elsa was devastated. "This was my fault. They were looking for answers about me!"

"Hey, you are not responsible for their choices," said Anna.

_________________________________

Elsa let that sink in. She knew Anna was right. But she also knew that the next part of the journey would be the most dangerous. She had to go alone. If anything happened to Anna, she wouldn't be able to bear it.

She conjured up an ice boat beneath Anna and Olaf and sent them down a dry riverbed.

Anna reached for something, anything, to stop their boat. But they slipped into a quickly flowing river that took them farther from Elsa.

As their ice boat continued downstream, Anna spotted Earth Giants sleeping along the shore. The giants stirred as Anna and Olaf drifted silently by. As perilous as the moment was, Anna couldn't help wondering what dangers Elsa was facing.

_________________________________

Elsa had, in fact, reached the Dark Sea. Its ferocious waves made it nearly impossible for her to cross. Elsa was determined, but time and time again the sea pushed her back, and then it pulled her under!

She managed to reach the surface and create an ice slide, but when the waves broke it, she dove straight into the water, not noticing an enormous creature watching her.

Below the waves, Elsa was confronted by a looming spirit that took the form of a horse–the Water Nokk!

The spirit charged at Elsa over and over, but Elsa didn't surrender. She summoned all her power to create an ice bridle, which she hooked onto the massive horse.

At last, the Water Nokk responded to Elsa's commands. Together, they galloped to the other side of the Dark Sea.

_________________________________

Elsa had reached Ahtohallan–and the voice that had been calling to her. The answers to all her questions were there, just as her mother's Iullaby had promised. But more than the truth about her magic, Elsa also discovered peace–a peace she couldn't wait to share with her sister, the spirits, and spread throughout the kingdom.

Meanwhile, Anna and Olaf had found refuge in a cave. A twinkle of snowflakes rushed in and formed an ice sculpture. It was a signal from Elsa that she was safe, and soon they would all be together again.

_________________________________

Walt Disney's Last Productions

Walt was dedicated to his dream of being a cartoonist since he was in high school. He drew cartoons for the newsletter at McKinley high school in Chicago. Once he got his first job as an animator, it was the catalyst that set off his dream of opening his own studio. Laugh-o-grams studios was this for him, until it went bankrupt. He was faced with having to start all over again, but with his brother Roy and best friend Ub at his side, they eventually created the icon that is Mickey Mouse. The rest is history.

Walt Disney passed away on December 15th, 1966, just 10 days after his 65th birthday. Even though most people retire once they've reached a certain point in their 60s, Walt was still working just as hard as he used to. The studio was on a high during the Silver Age era, producing films like Sleeping Beauty, 101 Dalmatians, and Lady and the Tramp. Disneyland was approaching its 10 year anniversary, and was still a massive success. Walt was also working on his Disneyland anthology TV series. Let's take a look at some of the last films and TV shows Walt was personally involved in.

_________________________________

Films

_________________________________

The AristoCats

The production for The Aristocats began in 1962. The script development had seen many challenges through that year and into 1963, with disapproving writers, differing opinions, and it was starting to become complicated. The original idea for the story was to have it as a 2-part Wonderful World of Color special, rather than a whole film itself. But when it was suggested to Walt that all of the elements would make for a great movie, he approved it. He left Ken Andersen in charge of overseeing the writing. It was shelved though until 1966, as Walt felt that The Jungle Book's production would progress faster.

_________________________________

The Jungle Book

The Jungle Book is famously known as the last full movie that Walt worked on. The film previously released to it, The Sword and the Stone, had not done so well. Walt wanted to be sure that The Jungle Book was done right, and had a sense of magic to it. Though it is adapted from Rudyard Kipling's novel from 1894, according to Sense of Cinema, he actively tried to make sure that the writers were not reading the book.

After some disagreements with the initial writer for the film, Bill Peet, Walt decided to scale back his team and choose a group of people he knew he could trust and who could naturally see his vision. Ollie Johnston and Frank Thomas, two of the Nine Old Men, were responsible for the friendship that came through between Baloo and Mowgli. Other people included in the making of the film include Wolfgang Reitherman, Ken Andersen, Milt Kahl, and John Lounsbery.

"[Walt] obviously got hooked on the jungle and the characters that lived there." — Roy E. Disney

During the production of The Jungle Book is when Walt began feeling weak and tried to hide his frequent pain. Animators believed he was suffering the effects from an injury sustained while playing polo several decades earlier. Diagnosed with lung cancer, Walt scheduled a doctor's appointment in October of 1966 for some neck pain he was in. During the x-ray, doctors noticed the spot on his lung. He went in a month later on November 7th to get surgery done to remove it. However, the tumor had gotten so big that he was only given another six months to two years. He passed away one month later on December 15th.

"Nobody at the studio was aware that Walt was as sick as he was." — Richard Sherman

During that one month period between his surgery and his death, Walt made one final visit to the studio, though his staff had no idea how sick he truly was. They could see it in his face, but they were happy to see him regardless as they continued to work on The Jungle Book. Walt called Wolfgang Reitherman, the director of The Jungle Book, to the hospital and personally asked him to help lead the feature film animation program, letting him know that he would be the one to continue the legacy of animated films and the Disney Fairies film series (including the streaming of the trilogy at Disney Plus and one attraction (Fairy Tinker Bell's Busy Buggies) at Fantasy Springs at Tokyo DisneySea at Tokyo Disney Resort featuring Tinker Bell (which she speaks in a Japanese language instead of English) and some of her animals friends, including Cheese the mouse, the firefly, and the NeverBeast seen as an Easter egg at the winter section), so Reitherman pushed back against the shutdown and the discontinuation of the Tinker Bell franchise (which was popular at every web page and site, including YouTube and Disney.com). He and the other artists wanted the complete story of Anna and Elsa's childhood and the era of King Agnarr and Queen Iduna to be completed the way Walt wanted, and they were ultimately able to continue production.

"He walked down the hall and said goodbye. He never said goodbye to anybody in his life, he'd say "I'll see you next week" or something." — Marc Davis

_________________________________

Kristen Bell on Anna's devastating moment in Frozen II

About three-quarters of the way into Frozen II, just before the film's final original song, princess protagonist Anna (Kristen Bell) finds herself stranded in a dark cave and an even darker state of mind. Elsa (Idina Menzel) is all but considered dead, Olaf (Josh Gad) has disintegrated like an extra Avenger in Endgame, and any wisp of hope that the princess ever felt has vanished like an icicle in August. It's a shocking nadir for the habitually optimistic Anna, who now joins Bambi and Simba in the subsection of Disney characters who have just absolutely gone through it on screen.

It also inspires over a Disney story idea to have everyone believe that Baloo the bear from The Jungle Book had been killed. Over fifty years later in Frozen II, when Elsa risked her life to deliver the truth beyond the Arendelle past to her sister Anna so she can free the Enchanted Forest and save the kingdom, causing her happy-go-lucky snowman sidekick Olaf to disappear and Anna singing "The Next Right Thing" desperately. Believing two deaths have struck her world, Anna does what a Disney princess in mourning is want to do: She sings.

"I've seen dark before, but not like this.
This is cold, this is empty, this is numb.
The life I knew is over, the lights are out.
Hello darkness, I'm ready to succumb.

I follow you around, I always have.
But you've gone to a place I cannot find.
This grief has a gravity, it pulls me down,
But a tiny voice whispers in my mind."

Fortunately, what follows is a moment of inspiring resolve, even for young viewers who have been left shaken by the drama (and/or possible introduction of the word "succumb"). "You are lost, hope is gone, but you must go on and do the next right thing," Anna sings. "Take a step, step again, it is all that I can to do the next right thing."

What ultimately happens here is Anna finds a way to literally scrape herself off the floor and continue living, despite no longer having two of the people she's been living for. It's that difficult duality — of crippling uncertainty and the loss of co-dependency, in this moment and throughout Frozen II itself — that Bell, who voices Anna, was eager to explore.

"Before [writer/director] Jennifer Lee wrote the script, we sat down for a while and she said, 'What do you think Anna is struggling with? What's the next big hurdle in her life?' and it honestly took me a while to come up with it, but I think whereas Anna in the first one is ultimately optimistic and believes in everyone around her, I wanted to talk about, what you do when you don't know what to do, which I think is a really dark question for a lot of us," Bell tells EW. "What do you do when you don't know what to do?"

It's certainly not an easy issue to unpack, and Anna's song "The Next Right Thing" is an objectively tough one to listen to (not only for its lyrics, but for Bell's performance and decision to not sacrifice emotion for the sake of making a song minivan-appropriate). But Anna's uncertainty over what to do (after so confidently proclaiming that some things never change) is greatly worsened by a loss of who to even do it for — and Anna, more than any other character, is wayward when left without a tribe.

There is a chasm of difference between the loss of life and the loss of co-dependency — you don't have to have been intensely co-dependent to meaningfully grieve a death — but Anna's personality has always been calibrated toward an optimism that manifests in an allowance of needing others to fulfill her. That sounds pretty harsh, but recall that the first 20 minutes of Frozen introduce Anna as a person whose entire worldview was created in the absence of human interaction; the rest of the film presents a wonderfully layered adult full of wit and warmth, but one who nevertheless has outsourced a large portion of her own sense of self-completion to the new affections of other people (like Hans, Elsa, and Kristoff). Add another layer to this: Anna is, according to the directors, an archetype of fairy tale — as opposed to Elsa, an archetype of myth — and so her motivations have been purposefully crafted to follow north stars of love, harmony, and happy endings. None of those are bad things to believe in, but the reason Anna's moment of mourning feels so disarmingly dark is because such sunny dogma exacerbate the fall from grace when you're suddenly miles away from your castle alone in a cave grieving her sister and snowman.

Watching Anna go to her darkest depth is no easy scene to swallow, certainly not for younger audience members who didn't exactly have "Olaf dies" on their Frozen II bingo card. But if the moment can spur a meaningful dialogue about determination after the film, then it holds the same power that, for decades, has made animated films a consequential medium for fostering maturity.

"We waited around to find the story lines that were important enough to talk about, ones that we felt were necessary and things that hadn't been discussed before," says Bell. "This film definitely grew with its audience, and it took so long to make because everyone was hell-bent on not just making episode 2 of Frozen." In the six years since Frozen first made landfall in the world, the actress has always spoken about her "otherworldly connection" to Anna — to her humor, her idiosyncrasies, to proudly wearing her heart on her sleeve — and Anna's development here only furthers their bond. "I am very co-dependent, and that's part of where my people-pleasing and optimism comes from, and we really dug deep with Anna about the good and the bad parts of being all those things in a melting pot," she continues. "But what do you do when you can't live for someone else anymore? I think our children deserve that conversation."

Bell volunteers a link to another current project of hers that has also sparked its share of provocative conversation: NBC's The Good Place, the four-season-long sitcom on which Bell plays a reformed sinner whose near-death — or, actual-death — experience galvanizes her to be a better human being. "I'm proud to be a part of a show like The Good Place because I play a girl who lives in isolation and was an island, and then only when she got to the afterlife did she realize she needed people, and she grew because of it," Bell says. "I think Anna is sort of the opposite. She lives for everyone around her, she's seemingly happy, but even she has to find her strength and depend on herself. And I think Jen and everyone found a beautifully poignant way to have Anna discover that and look inward." When viewed that way, Anna's moment of mourning doesn't have to be something terrifying, but something teachable.

And it certainly doesn't hurt that, for the second time in forever, a happy ending still does manage to work out in the long run.

_________________________________

This tragic but very emotionally touching scene when Anna griefs her sister (Elsa) and snowman (Olaf) after they die, singing "The Next Right Thing", will definitely help me let Mike Greenholt and the filmmakers tell the truth about the death of Pixie Hollow had there not first been a Peter Pan and realizing that Anna's decision of destroying the dam was a hard one. It would flood her beloved home of Arendelle, becoming the reason why the Frozen franchise will be discontinued like the Tinker Bell franchise and that Walt Disney Animation Studios will be shut down like DisneyToon Studios, unless the childhood version of Anna and Elsa was more popular than adulthood. And it also will definitely help me let go of the fact that the Tinker Bell film soundtrack collection was almost completed.

_________________________________

Dedicated to the work by Walt Disney V's best friend and partner, John Lasseter, one of the key members of their executive team, who left the Disney company at the end of 2018 in a cloud of controversy and allegations of unwanted touching (Lasseter acknowledged "missteps" in a company-wide memo responding to the allegations). Ralph Breaks the Internet was the last animated cartoon feature production that Lasseter was involved with as executive producer and, like its predecessor, Disneywiz's reviews were mixed-to-negative.

_________________________________

His sabbatical letter

I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It's built on trust and respect, and it becomes fragile if any members of the team don't feel valued. As a leader, it's my responsibility to ensure that doesn't happen; and I now believe I have been falling short in this regard.

I've recently had a number of difficult conversations that have been very painful for me. It's never easy to face your missteps, but it's the only way to learn from them. As a result, I've been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It's been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected. In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios' success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it's the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve. I'm immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.

John

_________________________________

When Encanto takes over Frozen II as the winner of the Academy Award for Best Animated Feature, Disneywiz's reviews were mixed-to-negative. Strange World followed, and due to the same musical score as the Wreck-It Ralph franchise, his reviews were also mixed-to-negative.

_________________________________

And of course, the filmmakers all acknowledge there would be no Pixie Hollow had there not first been a Peter Pan. "One of the reasons I took this job was because growing up, I loved Peter Pan," Greenholt states, adding, "Every time we do a new project—and even in the midst of it—I'm constantly watching Peter Pan, over and over again, trying to stay in that world, to try and keep the animation and the acting as close to those sensibilities as I can." Wigert also stresses, "Peter Pan was such a fun character in that film. We absolutely respect that and want to live up to that legacy."

_________________________________

After the sequel to Wreck-It Ralph was announced and thinking that Frozen Ever After or the story of Anna and Elsa's childhood and the era of Queen Iduna and King Agnarr was a better hit than the first film or the rest of Anna and Elsa's adulthood, Disneywiz acknowledges there would be nothing new at Disney Animation and became tired of anything new at every new animated feature with any lackluster reviewer had there not first been a Alice from Wonderland, Disney's famous mermaid with her beautiful feminine voice, and the rest of Anna and Elsa's childhood and the era of Queen Iduna. "One of the reasons I took this job was because I loved Anna and Elsa's childhood and Queen Iduna, I loved Alice in Wonderland, The Little Mermaid, or Enchanted," Disneywiz states, adding, "Every time we do a new Disney feature project or sequel (especially for Moana 2) which will do better than Frozen II or Disenchanted (a sequel to Enchanted, which the reviews saying that it lacked the charm of the predecessor), except for every new Frozen film with every nostalgic childhood scene (especially with rave reviews, a boo-boo, or one that is about to enter and win the awards at the Oscars) or any different movie with a C or D grade—and even in the midst of it—I'm constantly going back to visit Anna and Elsa's childhood and seeing their parents (in the first and second films), and watching Alice in Wonderland, The Little Mermaid, or Enchanted, over and over again, trying to stay in that world, to try and keep the animation and the acting as close to those sensibilities as I can." "Alice, Ariel, and Giselle were such feminine characters in those films. You think it's better than Tinker Bell or her other fairy friends until further notice. We absolutely respect that and want to live up to that legacy."

_________________________________

Despite being 16 years old, Enchanted is a better tribute to Walt Disney and Tinker Bell film series than Frozen ever could.

Because of how sad and disappointing Frozen II (or Disenchanted) turned out, despite being seen as the dedication to the fact that the filmmakers all acknowledge there would be no Pixie Hollow had there not first been a Peter Pan, I then remembered that in 2007, there was a movie Disney did that in hindsight, makes for a better tribute to the Tinker Bell movies than the Frozen movies or the sequel to Enchanted ever could (in which the reviews saying that it lacked the charm of the predecessor).

Of course, as said in the title, I, believe Enchanted makes for a better tribute to the Tinker Bell movies and Anna and Elsa's childhood and Queen Iduna as it not only offers tributes and Easter eggs to past Disney movies, along with spoofing them, at least the story holds on it's own with some semblance of originality, along with the plot making sense and having fun characters and the references and Easter Eggs aren't so overabundant and the 2D animation was a nice touch.

To me, this should've been released every time we do a new Disney feature project or sequel (especially for Moana 2) which will do better than Frozen II or Disenchanted, except for every new Frozen film with every nostalgic childhood scene (especially with rave reviews, a boo-boo, or one that is about to enter and win the awards at the Oscars) or any different movie with a C or D grade), not every new Disney feature project as every new Disney feature project didn't even try to make a good movie that was a tribute to the Tinker Bell movies and Anna and Elsa's childhood and Queen Iduna.

If there was a movie good enough to dedicate the Tinker Bell movies and Anna and Elsa's childhood and Queen Iduna, it's Enchanted and it's a shame Disney didn't make Giselle a princess as despite being a parody, she's better princess material than Anna, Elsa, or Moana.

_________________________________

Before its official release, the film (The Jungle Book / Frozen II) was screened at the studio in February of 1967. The audience included Hazel George, Walt's personal nurse, one of his closest confidantes, and the songwriter in Disney's From All of Us to All of You. Some of the animators and other staff who worked on the film liked to think that the very last scene of The Jungle Book that Ollie Johnston did, when Baloo and Bagheera are dancing off into the sunset, was Walt's final scene of his life too. This will help the Frozen franchise and Walt Disney Animation Studios continue their careers.

_________________________________

The Happiest Millionaire

Disney was on a streak of live-action films during the 1960s, having only 3 total animated films during the entire decade produced. A lot of them did phenomenally, while others fell flat. Some of the most successful ones were Swiss Family Robinson, The Absent-Minded Professor, The Parent Trap, and Mary Poppins. The last live-action film that Walt was involved with and produced was The Happiest Millionaire. Production began at the beginning of 1966 and the film was released June 23rd, 1967.

Follow Me, Boys! was the last film that was released by the studio before Walt's death, on December 1st, 1966. The first film released after his death was Monkey's, Go Home! on February 8th, 1967.

_________________________________

Television Shows

_________________________________

Walt Disney's Wonderful World of Color

Beginning in 1954 during the time of the development and construction of Disneyland, Walt wanted to document the process while simultaneously marketing the park to a young audience. He began an anthology television series called Walt Disney's Disneyland. It was called this until 1958, then it was changed to Walt Disney Presents. During his final run hosting the show, it was called Walt Disney's Wonderful World of Color. This was the debut of the series to be in color for the first time. On this series, Walt would introduce new, fun animated characters like Professor Ludwig Von Drake. He would also have guests, sing songs, and telecast his movies.

Just a month before Walt's surgery in November, he filmed an introduction called An Evening with Walt Disney, where he talks about how he couldn't make it to the Follow Me, Boys! premiere, and discusses The Happiest Millionaire. It never aired due to his passing.

Walt filmed several introductions for the series before his passing, which continued to be aired until they ran out. Chet Huntley and Dick Van Dyke hosted a memorial tribute to Walt after his death. This version of the anthology series went on until 1969.

I believe these projects hold a special place in history as being the last touched pieces of Walt's life. He was going up to the studio just 2 weeks after his major lung surgery just to ensure everything was going the way it should be. He even talked about his future plans for Disney World with Roy the night before he passed away. I'll be making a post soon about his last theme park projects, so stay tuned for that.

_________________________________

How did the company release the Secret of the Wings soundtrack when Disney has to discontinue the Tinker Bell series and that the first Frozen or the other new Disney films will do better than Frozen II (with the exception of the song "Into the Unknown") at the Academy Awards?

_________________________________

Disneywiz's wish gift

Shipped from eBay to Traverse Town on Wednesday, December 6, 2017
Delivered on Sunday, December 24, 2017
_
To: The fan of Walt Disney's most popular fairy with her voice and sibling in Pixie Hollow with her name based on a purple flower and Arendelle's enchanted sisters as they were juniors and the Academy Award-winning team behind Zootopia and Frozen, including the father of the deceased guardian angel: Chris Buck.
—with Christmas kisses—
From: The studio staff and the cast of Peter Pan (including the surviving members: Margaret Kerry, Kathryn Beaumont, and Paul Collins), Tinker Bell's animation supervisor Michael Greenholt, Gary and Lyn Geronimi, two sons of a gifted director and a new Disney Legend: Clyde Geronimi, costume designer Alice Davis† (wife and widow of Marc Davis), filmmaker Ted Thomas (son of legendary animator Frank Thomas), most of the crew (some of the surviving cast members) who worked on Walt's last picture: actors Darleen Carr, Bruce Reitherman (son of director-producer Woolie Reitherman), and Lord Tim Hudson; songwriter Richard Sherman†, and story artists Floyd Norman and Burny Mattinson†; former studio executive Ron Miller† (Walt Disney's son-in-law and Diane's husband), the PhilharMagic orchestra, most of the surviving Disney Legends (some of them who knew Walt Disney), including Dick Van Dyke, Dick Nunis†, Rolly Crump†, Karen Dotrice, Bob Gurr, Dave Smith†, Don Iwerks, Betty White†, and Tony Baxter; and the old Disney Legends team, including actor Fred MacMurray; Donald Duck's animation director: Jack Hannah; Disney musician: Paul J. Smith; television director: Les Clark; Imagineers: John Hench, Roger Broggie, Richard Irvine, and Bill Justice; director: Ben Sharpsteen; co-director: Robert Stevenson; co-producer: Bill Walsh; writer: Winston Hibler; famed television host Art Linkletter; a successor for Tinker Bell's voice: Jimmy Macdonald, and especially, one of King Arthur character designers and story man: Bill Peet who left the Studio in over fifty years.
_
Dedicated to:
Ollie Johnston – Animation
Eric Larson – Animation
Joe Fowler – Attractions
Ken Anderson – Animation & Imagineering
Mary Blair – Animation & Imagineering
Annette Funicello – Film & Television
Ken O'Connor – Animation & Imagineering
Buddy Ebsen – Film & Television
Harper Goff – Film & Imagineering
Donn Tatum – Administration
Marvin Davis – Film & Imagineering
Edward Meck – Attractions
Mario Gentilini – Publishing
Poul Brahe Pedersen – Publishing
Joe Potter – Attractions
James Algar – Animation & Film
Wilfred Jackson – Animation
Norman "Stormy" Palmer – Film
Bill Tytla – Animation
Yale Gracey – Animation & Imagineering
Hamilton Luske – Animation
Grace Bailey – Animation
Harriet Burns – Imagineering
Joyce Carlson – Animation & Imagineering
Dodie Roberts – Animation
George Bruns – Music
Buddy Hackett – Film & Television
Mary Jones – Parks & Resorts
Cicely Rigdon – Parks & Resorts
Oliver Wallace – Music
Estelle Getty – Television
Bonita Wrather – Parks & Resorts
Manuel Gonzales – Publishing

_________________________________

The introductions of the beloved wooden puppet who risked his life to save his father, the trio between Donald Duck and his friends from South America, Disney's retelling of Tchaikovsky's fairy tale, and especially, the young boy who wouldn't grow up – developed by King Arthur legend enthusiast Milt Kahl, Alice's Wonderland specialist Ward Kimball, and Tinker Bell's godfather Marc Davis – will make both the Frozen and Tinker Bell franchises stick together for the first time in forever.

_________________________________

In Memoriam (We salute the following Disney Legends and members at the Walt Disney Family Foundation who have passed away since the last two Tinker Bell soundtracks released in February 2015)

_________________________________

Marty Sklar
Imagineering

_________________________________

Charlie Ridgway
Attractions

_________________________________

X Atencio
Animation & Imagineering

_________________________________

Blaine Gibson
Animation & Imagineering

_________________________________

Jack Lindquist
Attractions

_________________________________

Al Konetzni
Consumer Products

_________________________________

Tyrus Wong
Animation

_________________________________

Harry Archinal
Administration

_________________________________

Carson Van Osten
Consumer Products

_________________________________

Frank Gifford
Television

_________________________________

Dean Jones
Film

_________________________________

Kevin Corcoran
Television

_________________________________

John Culhane
Author & Historian

_________________________________

To our guardian angel, Ryder Buck (1990—2013)

_________________________________

It's not surprising that all six of the Tinker Bell feature films always had a special place in their heart for the Disney Fairies library at Disney Plus. It helped save their franchise, along with the superior critical success of Frozen II. It was a new beginning. To see Tinker Bell's special animation, click 00:42:43–44.

_________________________________

To see Frozen II's superior success, click Frozen II's Film Release and Success.

_________________________________

In Memoriam (We salute the following Disney Legends and members at the Walt Disney Family Foundation who have passed away during Tinker Bell's absence from Pixie Hollow until its recognition (March 3, 2015 – June 6, 2024)

_________________________________

Stan Lee
Film & Publishing

_________________________________

Jim Cora
Parks & Resorts

_________________________________

Carl Bongirno
Imagineering

_________________________________

Marty Sklar
Imagineering

_________________________________

Charlie Ridgway
Attractions

_________________________________

Dick Nunis
Attractions

_________________________________

Ron Logan
Parks & Resorts

_________________________________

X Atencio
Animation & Imagineering

_________________________________

Blaine Gibson
Animation & Imagineering

_________________________________

Rolly Crump
Imagineering

_________________________________

Charles Boyer
Parks & Resorts

_________________________________

Ron Dominguez
Parks & Resorts

_________________________________

Alice Davis
Imagineering

_________________________________

Jack Lindquist
Attractions

_________________________________

Regis Philbin
Television

_________________________________

Burny Mattinson
Animation

_________________________________

Ruthie Tompson
Animation

_________________________________

Marge Champion
Animation

_________________________________

Richard Sherman
Music

_________________________________

Al Konetzni
Consumer Products

_________________________________

Tyrus Wong
Animation

_________________________________

Harry Archinal
Administration

_________________________________

Carson Van Osten
Consumer Products

_________________________________

Frank Gifford
Television

_________________________________

Tim Considine
Television

_________________________________

Dean Jones
Film

_________________________________

Glynis Johns
Film

_________________________________

Angela Lansbury
Film

_________________________________

Betty White
Television

_________________________________

Barbara Walters
Television

_________________________________

Tommy Kirk
Television

_________________________________

Kevin Corcoran
Television

_________________________________

Tim Conway
Film

_________________________________

Russi Taylor
Voice

_________________________________

Tom Murphy
Administration

_________________________________

Dave Smith
Administration

_________________________________

Ron Miller
Family & Film

_________________________________

John Culhane
Author & Historian

_________________________________

To learn more about the Disney Legends, click here.

_________________________________

Disneywiz's family

Joe Walker (February 13, 1939 — June 24, 2023)

Olympia "Ollie" Joelle Walker (nicknamed Belle) (October 8, 2024 —)

_________________________________

Sunday, June 11, 2023

Getting to Know Walt Disney's Tinker Bell and the Nostalgic Art of Animation and NeverEnding Christmas PhilharMagic

Marc Davis (1913–2000)

Legends Award Category: Animation & Imagineering

Year Inducted: 1989

Frank Thomas (1912–2004)

Legends Award Category: Animation

Year Inducted: 1989

Les Clark (1907–1979)

Legends Award Category: Animation

Year Inducted: 1989

Eric Larson (1905–1988)

Legends Award Category: Animation

Year Inducted: 1989

Ward Kimball (1914–2002)

Legends Award Category: Animation & Imagineering

Year Inducted: 1989

The Cast and Crew of Babes in Toyland (1961)

Ollie Johnston (1912–2008)

Legends Award Category: Animation

Year Inducted: 1989

John Lounsbery (1911–1976)

Legends Award Category: Animation

Year Inducted: 1989

Wolfgang Reitherman (1909–1985)

Legends Award Category: Animation

Year Inducted: 1989

Milt Kahl (1909–1987)

Legends Award Category: Animation

Year Inducted: 1989

Paul J. Smith; lyrics by Gil George

The Cast and Crew of From All of Us to All of You (1958)

Memorable Moments

You Can Fly – Sammy Fain; lyrics by Sammy Cahn

Fun on the Ice – Frank Churchill

I've Got No Strings – Leigh Harline; lyrics by Ned Washington

Bella Notte – Peggy Lee & Sonny Burke

The Work Song / A Dream Is a Wish Your Heart Makes – Mack David, Jerry Livingston, and Al Hoffman

The Silly Song – Frank Churchill; lyrics by Larry Morey

When You Wish Upon a Star – Leigh Harline; lyrics by Ned Washington

Mickey Mouse March – Jimmie Dodd

Be Our Guest – Alan Menken; lyrics by Howard Ashman

The Sorcerer's Apprentice – Paul Dukas

Part of Your World – Alan Menken; lyrics by Howard Ashman

I Just Can't Wait to Be King – Elton John; lyrics by Tim Rice

Happy Working Song – Alan Menken; lyrics by Stephen Schwartz

Fly to Your Heart – Michelle Tumes

If You Believe – Brendan Milburn & Valerie Vigoda of GrooveLily

Summer's Just Begun – Brendan Milburn & Valerie Vigoda of GrooveLily

The Great Divide, Part 1 – Brendan Milburn & Valerie Vigoda of GrooveLily

The Great Divide, Part 2 – Brendan Milburn & Valerie Vigoda of GrooveLily

A Whole New World – Alan Menken; lyrics by Tim Rice

No comments:

Post a Comment