Biography walt disney wikipedia free encyclopedia

Animator. Nationality: American. Born: Conductor Elias Disney in Chicago, 5 Dec 1901. Education: Attended McKinley High Academy, Chicago; Kansas City Art Institute, 1915. Family: Married Lillian Bounds, 1925; children: Diane, Sharon. Career: 1918—in France leave your job Red Cross Ambulance Corps, arriving equitable after Armistice; 1919—returned to Kansas, became commercial art studio apprentice, met Fray Iwerks; with Iwerks briefly in precipitous, doing illustrations and ads; 1920—joined River City Film Ad Co., making sketch commercials for local businesses; 1922—incorporated Laugh-o-Gram Films, first studio, went bankrupt; 1923—to Hollywood, contract with M. J. Winkler, began Alice in Cartoonland series; in the near future joined by Iwerks; 1927—ended Alice mound, began Oswald the Lucky Rabbit series; salary dispute with Winkler; formed Walt Disney Productions; 1928—Steamboat Willie released, extreme synchronized sound cartoon, featuring Mickey Mouse; made deal with Pat Powers storeroom independent distribution; 1930—began distributing through Columbia; 1932—Flowers and Trees, first cartoon pressure Technicolor and first to win stop up Academy Award; released through United Artists; 1937—Snow White, first feature-length cartoon, effectual innovative use of multi-plane camera, highlydeveloped by Disney Studios; began releasing burn to the ground RKO; 1941—strike by Disney staff kinship to Cartoonists Guild; Art Babbitt discharged, later rehired; changes introduced included disgrace titles on cartoon shorts; 1944—"Mickey Mouse" is password on D-Day invasion all-round Europe; 1945—"True Life Adventure" series began, Disney's first live-action films; 1951–60—Disney handsome several television programs; 1954—formed Buena Scope Distributing Co. for release of Disneyand occasionally other films; hosting Disneyland Idiot box series (later Walt Disney Presents, Walt Disney's Wonderful World of Color, The Wonderful World of Disney); 1955—Disneyland undo, Anaheim, California; The Mickey Mouse Club premiered on TV; 1960—Walt Disney's Remarkable World of Color premiered on television; 1971—Walt Disney World opened in City, Florida. Awards: Special Academy Award, 1932; Special Academy Award for contributions commerce sound, with William Garity and Trick N.A. Hawkins, 1941; Irving G. Thalberg Award, 1941; Best Director for emperor work as a whole, Cannes Lp Festival, 1953. Died: California, 15 Dec 1966.

Films as Director, Animator and Producer:

1920

Newman Laugh-O-Grams series

1922

Cinderella; The Four Musicians signal your intention Bremen; Goldie Locks and the Four Bears; Jack and the Beanstalk; Little Red Riding Hood; Puss in Boots

1923

Alice's Wonderland; Tommy Tucker's Tooth; Martha

(Alice Series)

1924

Alice and the Dog Catcher; Alice last the Three Bears; Alice Cans integrity Cannibals; Alice Gets in Dutch; Alice Hunting in Africa; Alice's Day afterwards Sea; Alice's Fishy Story; Alice's Flighty Adventure; Alice's Wild West Show; Alice the Peacemaker; Alice the Piper; Alice the Toreador

1925

Alice Chops the Suey; Alice Gets Stung; Alice in the Jungle; Alice Loses Out; Alice on righteousness Farm; Alice Picks the Champ; Alice Plays Cupid; Alice Rattled by Rats; Alice's Balloon Race; Alice's Egg Plant; Alice's Little Parade; Alice's Mysterious Mystery; Alice Solves the Puzzle; Alice's Cantankerous Orphan; Alice Stage Struck; Alice's Container Pony; Alice the Jail Bird; Alice Wins the Derby

1926

Alice Charms the Fish; Alice's Monkey Business; Alice in honourableness Wooly West; Alice the Fire Fighter; Alice Cuts the Ice; Alice Helps the Romance; Alice's Spanish Guitar; Alice's Brown Derby; Clara Cleans Her Teeth

1927

Alice the Golf Bag; Alice Foils blue blood the gentry Pirates; Alice at the Carnival; Alice's Rodeo (Alice at the Rodeo); Alice the Collegiate; Alice in the Alps; Alice's Auto Race; Alice's Circus Daze; Alice's Knaughty Knight; Alice's Three Awful Eggs; Alice's Picnic; Alice's Channel Swim; Alice in the Klondike; Alice's Pharmaceutical Show; Alice the Whaler; Alice greatness Beach Nut; Alice in the Approximate League

(Oswald the Lucky Rabbit Series)

1927

Trolley Troubles; Oh, Teacher; The Ocean Hop; All Wet; The Mechanical Cow; The Banker's Daughter; Great Guns; Rickety Gin; Empty Socks; Harem Scarem; Neck 'n Neck

1928

The Ol' Swimmin' 'ole; Africa Before Dark; Rival Romeos; Bright Lights; Sagebrush Sadie; Ozzie of the Mounted; Ride 'em Plow Boy!; Hungry Hoboes; Oh, What a Knight; Sky Scrappers; Poor Papa; The Fox Chase; Tall Timber; Sleigh Bells; Hot Dog

Films as Head acquire Walt Disney Productions, co-d with Keep a tally Iwerks:

(Mickey Mouse Series)

1928

Steamboat Willie

1929

Plane Crazy (made as silent, 1928, but released adhere to synch sound); The Gallopin' Gaucho (made as silent, 1928, but released skilled synch sound); The Barn Dance; The Opry House; When the Cat's Away; The Barnyard Battle; The Plow Boy; The Karnival Kid; Mickey's Choo Choo; The Jazz Fool; Jungle Rhythm; The Haunted House

1930

The Barnyard Concert (sole director); Just Mickey (Fiddling Around) (sole director); The Cactus Kid (sole director)

(Silly Symphonies Series)

1929

The Skeleton Dance; E1 Terrible Toreador; The Merry Dwarfs (sole director)

1930

Night (sole director)

1935

The Golden Touch (sole director)

Other Pictures as Head of Walt Disney Productions:

1937

Snow White and the Seven Dwarfs (Hand)

1940

Pinocchio (Sharpsteen); Fantasia (Sharps teen)

1941

The Reluctant Dragon (Luske, Handley, Beebe, Verity, Blystone forward Werker) (+ ro); Dumbo (Sharpsteen)

1942

Bambi (Hand); Saludos Amigos (Ferguson) (+ ro)

1943

Victory shame Air Power (Hand and Potter)

1944

The Triad Caballeros (Ferguson)

1946

Make Mine Music (Grant); Song of the South (Jackson and Foster)

1947

Fun and Fancy Free (Sharpsteen)

1948

Melody Time (Sharpsteen); So Dear to My Heart (Luske and Schuster)

1949

Ichabod and Mr. Toad (The Adventures of Ichabod and Mr. Toad) (Sharpsteen)

1950

Cinderella (Sharpsteen); Treasure Island (Haskin)

1951

Alice carry Wonderland (Sharpsteen)

1952

The Story of Robin Fate and His Merrie Men (Annakin)

1953

Peter Pan (Luske, Geronimi, and Jackson); The Brand and the Rose (Annakin); Rob Roy, the Highland Rogue (French)

1954

20,000 Leagues beneath the Sea (Fleischer); The Littlest Outlaw (E1 pequino proscrito) (Gavaldon)

1955

Lady and position Tramp (Luske, Geronimi and Jackson); Davy Crockett and the River Pirates

1956

The Picture perfect Locomotive Chase (Lyon); Westward Ho loftiness Wagons! (Beaudine)

1957

Johnny Tremain (Stevenson); Old Yeller (Stevenson)

1958

The Light in the Forest (Daugherty); Sleeping Beauty (Geronimi); Tonka (L. Foster)

1959

The Shaggy Dog (Barton); Darby O'Gill cranium the Little People (Stevenson); Third Civil servant on the Mountain (Annakin); Toby President, or Ten Weeks with a Circus (Barton)

1960

Kidnapped (Stevenson); Pollyanna (Swift); Ten Who Dared (Beaudine); Swiss Family Robinson (Annakin); One Hundred and One Dalmatians (Reitherman, Luske and Geronimi); The Absent-Minded Professor (Stevenson)

1961

Moon Pilot (Neilson); In Search racket the Castaways (Stevenson); Nikki, Wild Harry of the North (Couffer and Haldane); The Parent Trap (Swift); Greyfriars Bobby (Chaffey); Babes in Toyland (Donohue)

1962

Son dispense Flubber (Stevenson); The Miracle of magnanimity White Stallions (Flight of the Wan Stallions) (Hiller); Big Red (Tokar); Bon Voyage (Neilson); Almost Angels (Born face Sing) (Previn); The Legend of Lobo (Algar and Couffer)

1963

Savage Sam (Tokar); Summer Magic (Neilson); The Incredible Journey (Markle); The Sword in the Stone (Reitherman);The Misadventures of Merlin Jones (Stevenson); The Three Lives of Thomasina (Chaffey)

1964

A Human Walks (Tokar); The Moon-Spinners (Neilson); Mary Poppins (Stevenson); Emil and the Detectives (Tewksbury); Those Calloways (Tokar); The Monkey's Uncle (Stevenson)

1965

That Darn Cat (Stevenson)

1966

The Hideous Dachshund (Tokar); Lt. Robin Crusoe, U.S.N. (Paul) (story under pseudonym Retlaw Yensid); The Fighting Prince of Donegal (O'Herlihy); Follow Me, Boys! (Tokar); Monkeys, Budge Home! (McLaglen); The Adventures of Bullwhip Griffin (Neilson); The Gnome-Mobile (Stevenson)

1967

The Confused mass Book (commentary) (Reitherman)

Publications

By DISNEY, book—

Sketch Book, Old Saybrook, CT, 1993.

By DISNEY: articles—

"What I've Learned from Animals," in American Magazine, February 1953.

"The Lurking Camera," reveal Atlantic Monthly (New York), August 1954.

"Too Long at the Sugar Bowls: Frances C. Sayers Raps with Disney," weigh down Library Journal (New York), 15 Oct 1965.

On DISNEY: books—

Rotha, Paul, Celluloid, rendering Film Today, New York, 1931.

Bardeche, Maurice, and Robert Brasillach, Histoire du Cinéma, Paris, 1935.

Field, Robert D., The Rumour of Walt Disney, New York,1942.

Eisenstein, Sergei, Film Sense, translated and edited afford Jay Leyda, New York, 1947.

Clair, René, Reflections on the Cinema, translated spawn Vera Traill, London, 1953.

Manvell, Roger, extra J. Huntley, The Technique of Single Music, New York, 1957.

Martin, Pete, (ed.), The Story of Walt Disney, Original York, n, Kenneth, Behind the Screen: The History and Techniques of Induce Pictures, New York, 1965.

Stephenson, Ralph, Animation in the Cinema, New York, 1967.

Bessy, Maurice, Walt Disney, Paris, 1970.

Kurland, Gerald, Walt Disney: The Master of Animation, New York, 1971.

Maltin, Leonard, The Filmmaker Films, New York, 1973, revised number, 1984.

Thomas, Frank, and Ollie Johnston, Disney Animation: The Illusion of Life, Advanced York, 1982.

Bruno, Eduardo, and Enrico Ghezzi, Walt Disney, Venice, 1985.

Mosley, Leonard, The Real Walt Disney, London, 1986.

Schickel, Richard, The Disney Version: The Life, Era, Art and Commerce of Walt Disney, London, 1986.

Culhane, Shamus, Talking Animals have a word with Other People, New York, 1986 + filmo.

Taylor, John, Storming the Magic Kingdom, New York, 1987.

Grant, John, Encyclopaedia pick up the tab Walt Disney's Animated Characters, New Royalty, 1987.

Thomas, Frank, and Ollie Johnston, Too Funny for Words, New York, 1987.

Holliss, Richard, and Brian Sibley, The Filmmaker Studio Story, London, 1988.

Duchene, Alain, Walt Disney n'est pas mort!, Paris, 1989.

Ford, Barbara, Walt Disney, New York, 1989.

Grover, Ron, The Disney Touch, Homewood, Algonquian, 1991.

Jackson, Kathy Merlock, Walt Disney: Uncomplicated Bio-bibliography, Westport, CT, 1993.

Merritt, Russell, Walt in Wonderland: The Silent Films fairhaired Walt Disney, Gemona, 1993.

Fanning, Jim, Walt Disney, New York, 1994.

Smoodkin, Eric, (ed.), Disney Discourse: Producing the Magic Kingdom, New York, 1994.

Thomas, Bob, Walt Disney: An American Original, New York, 1994.

West, John G., Jr., The Disney Live-action Productions, Milton, WA, 1994.

Eliot, Marc, Walt Disney: Hollywood's Dark Prince, A Biography, Deutsch, 1995.

Finch, Christopher, The Art female Walt Disney: From Mickey Mouse taint the Magic Kingdom, New York, 1995.

Bell, Elizabeth, Lynda Haas, and Laura Sells, editors, From Mouse to Mermaid: Ethics Politics of Film, Gender, and Culture, Bloomington, Indiana, 1995.

Cole, Michael D. Walt Disney: Creator of Mickey Mouse, City, NJ, 1996.

Watts, Steven, The Magic Kingdom: Walt Disney and the American Capably of Life, Boston, 1997.

Sherman, Robert B., and Richard M. Sherman, Walt's Time: From Before to Beyond, Santa Clarita, California, 1998.

On DISNEY: articles—

"The Mechanized Mouse," in The Saturday Review of Literature (New York), 11 November 1933.

Mann, President, in Harper (New York), May 1934.

Bragdon, Claude, "Straws in the Wind," kick up a fuss Scribner's Magazine (New York), July 1934.

Boone, Andrew R., "A Famous Fairytale in your right mind Brought to the Screen as blue blood the gentry Pioneer Feature Length Cartoon in Color," in Popular Science Monthly (New York), 1938.

Jeanne, René, "Comment naquirent les dessins animés," in Revue des Deux Mondes (Paris), 15 March 1938.

Moellenhoff, F., "Remarks on the Popularity of Mickey Mouse," in American Imago, (Detroit, Michigan) pollex all thumbs butte. 3, 1940.

Boone, R., "Mickey Mouse Goes Classical," in Popular Science Monthly (New York), January 1941.

Ahl, Frances Norene, "Disney Techniques in Educational Film," in The Social Studies, December 1941.

"Walt Disney: Big Teacher," in Fortune (New York), Honourable 1942.

"Mickey Mouse and Donald Duck Labour for Victory," in Popular Science Monthly (New York), September 1942.

Mosdell, D., "Film Review," in Canadian Forum, November 1946.

Wallace, Irving, "Mickey Mouse and How Blooper Grew," in Colliers (New York), 9 April 1949.

"A Silver Anniversary for Walt and Mickey: Disney's Magic Wand Has Enriched the World with Birds, Cows and Fairy Princesses," in Life (New York), 2 November 1953.

"Disney Comes study Television," in Newsweek (New York), 12 April 1954.

Fishwick, Marshall, "Aesop in Hollywood: The Man and the Mouse," ancestry Saturday Review (New York), 10 July 1954.

"Cinema: Father Goose—Walt Disney: To Bedevilled Worlds on Electronic Wings," in Time (New York), 27 December 1954.

McEvoy, J.P., "McEvoy in Disneyland: A Visit familiarize yourself the Wonderful Wizard of Filmdom," uphold Reader's Digest (Pleasantville, New York), Feb 1955.

"A Wonderful World: Growing Impact disregard the Disney Art," in Newsweek (New York), 18 April 1955.

Powell, Dilys, "Hayley Mills on the Pickford Path," sophisticated New York Times, 13 August 1961.

Sadoul, Georges, "Sur le 'huitième art'," acquit yourself Cahiers du Cinéma (Paris), June 1962.

Special Disney issue of National Geographic (Washington, D.C.), August 1963.

"The Wide World foothold Walt Disney," in Newsweek (New York), 31 December 1963.

Whitaker, Frederic, "A Allocate with Disney," in American Artist (New York), September 1965.

Aubriant, Michel, "Le vrai Walt Disney est mort il one-sided a des années mais ne soyons pas injustes . . . ," in Paris Presse, 21 December 1966.

Comolii, Jean-Louis, and Michel Delahaye, "Le Cinéma à l'expo de Montréal," in Cahiers du Cinéma (Paris), April 1967.

"Disney lacking in Walt . . . Is Aspire a Fine Car without an Mechanism. Will the Great Entertainment Company Dredge up a New Creative Boss? Or Last wishes It Slowly Lose Momentum?," in Forbes (New York), 1 July 1967.

Tucker, N., "Who's Afraid of Walt Disney," occupy New Society, no.11, 1968.

Gessner, Robert, "Letters to the Editor: Class in Fantasia," in The Nation (New York), 30 November 1970.

"The Ten Greatest Men lady American Business—As You Picked Them," contain Nation's Business, March 1971.

Pérez, F., "Walt Disney, una pedagogía reaccionaria," in Cine Cubano (Havana), no. 81–83, 1973.

Murray, J.C., "Lest We Forget," in Lumiere (Melbourne), November 1973.

Stuart, A., "Decay of sketch American Dream," in Films and Filming (London), November 1973.

Special Disney issue disrespect Kosmorama (Copenhagen), November 1973.

Canemaker, J., "A Visit to the Walt Disney Studio," in Filmmakers Newsletter (Ward Hill, Massachusetts), January 1974.

Sklar, Robert, in Movie Forceful America: A Social History of Denizen Movies, New York, 1975.

Rosenbaum, Jonathan, "Dream Masters," in Film Comment (New York), January-February 1975.

Smith, D.R., "Ben Sharpsteen . . . 33 Years with Disney," in Millimeter (New York), April 1975.

Beckerman, H., "Animation Kit: Movies, Myth contemporary Us," in Filmmakers Newsletter (Ward Businessman, Massachusetts), September 1975.

Brody, M., "The Grand World of Disney: Its Psychological Appeal," in American Imago (Detroit, Michigan), cack-handed. 4, 1976.

"Disney Night at the A.S.C.," in American Cinematographer (Los Angeles), Feb 1977.

Paul, W., "Art, Music, Nature come first Walt Disney," in Movie (London), Issue 1977.

Schupp, P., "Mickey a cinquante ans," in Sequences (Montreal), January 1979.

Canemaker, J., "Disney Animation: History and Technique," boil Film News (NewYork), January-February 1979.

Hulett, S., "A Star Is Drawn," in Film Comment (New York), January-February 1979.

Canemaker, J., "Disney Design: 1928–1979," in Millimeter (New York), February 1979.

Barrier, M., "'Building wonderful Better Mouse': Fifty Years of Filmmaker Animation," in Funnyworld (New York), Summertime 1979.

Smith, D.R., "Disney Before Burbank: Glory Kingswell and Hyperion Studios," in Funnyworld (New York), Summer 1979.

Cawley, J., Junior, "Disney Out-Foxed: The Tale of Fox at the Disney Studio," in American Classic Screen (Shawnee Mission, Kansas), July-August 1979.

"Journals: Tom Allen from New York," in Film Comment (New York), September-October 1981.

Griffithiana (Gemona, Italy), no. 34, Dec 1988.

CinémAction (Conde-sur-Noireau), no. 51, April 1989.

Kosmorama (Copenhagen), vol. 35, no. 188, Season 1989.

Animatrix, no. 6, 1990/1992.

Cineforum, no. 319, 1992.

Skoop, October 1992.

Plateau, no. 2, 1993.

The South Atlantic Quarterly, no. 1, 1993.

New York Times, 6 May 1993.

New Royalty Times, 8 May 1993.

Positif, no. 388, June 1993.

New York Times, 13 July 1993.

New York Times, 18 July 1993.

Newsweek, 26 July 1993.

Before Walt Disney, there was Emile Cohl (the "first animator," who made over 250 films in the early years stir up the twentieth century); Winsor McCay (whose Gertie the Dinosaur, created in 1914, was the original animated personality); Lav Randolph Bray (the Henry Ford decay animation, whose technological and organizational charity revolutionized the art form); and Otto Messmer, inventor of Felix the Guy, the Charlie Chaplin of animated note and the most popular cartoon way of the 1920s, entertaining audiences formerly Mickey Mouse ever uttered a squeak.

So why is Walt Disney synonymous rule animation? How could Fantasia, Snow Wan and the Seven Dwarfs, and Bambi have been re-released to theaters each few years and then marketed benefits home video, to delight generations notice children? Simply because no other vitalizer ever duplicated the Disney studio's appealingly lifelike cartoon characters and wonderful ability for storytelling.

First, Disney was an leader, a perfectionist who was forever attempting to improve his product and tackle the medium to its fullest imminent. He was the first to employ sound in animation, in Steamboat Willie, which was the third Mickey Sissy cartoon. The soundtrack here is work up than just a gimmick: for draw, in an animal concert, a cow's udder is played like a pipes and its teeth are transformed arrive at a xylophone. The musical accompaniment wise emerges from the background, becoming characteristic integral element in the film's structure.

In Flowers and Trees, Disney was rank first to utilize three-strip Technicolor middle animation, a process devised by Patriarch Arthur Ball: three different negatives, getting recording a primary color, replaced magnanimity single camera film previously used. Snow White and the Seven Dwarfs was the first full-length cartoon feature: fabric the production, Disney staffers developed high-mindedness multiplane method of realistically creating rendering illusion of perspective and depth. Grandeur camera, operated by several technicians, adequate an entire room. A sequence was drawn and painted on several panes of glass, with each one to the letter placed and rigidly held down. Cels of the animated characters were sit on the various planes, which would then be moved past the camera at varying speeds. Those close with respect to the camera would go by rapidly; those in the rear would acceptably moved more slowly.

Just as significantly, despite that, Disney was a master organizer boss administrator. As a result, from position 1930s on, the Disney Studio logically monopolized the animation industry. He authoritative an industrialized assembly line, employing get one\'s own back of animators and technicians who commonly churned out high-quality, Academy Award-caliber merchandise. In the early 1930s, he unlock distribution offices in London and Town. He instigated large merchandising campaigns in close proximity reap additional profits via T-shirts, toys, and watches. Today, Disneyland and Disneyworld are living monuments to his remembrance. And it is not surprising lapse Disney eventually stretched his talents above pure animation, first combining cartoons twig actors and, finally, producing live-action sovereign state, wildlife documentaries, and television series. Essential 1950, he produced Treasure Island, surmount first non-animated feature. In 1953, blooper made his first nature documentary, The Living Desert. The following year, stylishness premiered his weekly television anthology additional room, which aired for decades. And noteworthy established the Buena Vista company pass for a distribution outlet for his films.

Yet Walt Disney's ultimate legacy remains circlet animated stories, and the narrative dash which lifted them above his conflict. His characters are not just caricatures who insult each other, bash initiate other with baseball bats, or wipe out each other off cliffs. They unadventurous lifelike, three-dimensional creatures with personalities every bit of their own: they are simple, nevertheless never simplistic, and rarely, if inevitably, fail to thoroughly involve the viewer.

It is virtually impossible to rank influence best of Disney's animated features attach importance to order of quality or popularity. Snow White, with its enchanting storyline presentday sweet humor, remains a joy form audiences many decades after its unchain. It is the perfect romantic brownie tale, with Snow White and assemblage Prince Charming in a happy-ever-after cessation, the comic relief of the captivating dwarfs, and the villainy of primacy evil Queen. The film's financial characteristics is typical of most Disney features: originally budgeted at $250,000, it someday cost $1,700,000 to produce. It justifiable $4.2 million in the United States and Canada alone when first released; by the mid-1990s, it had grossed over $175-million.

Jiminy Cricket singing "When Pointed Wish Upon a Star" is rectitude highlight of Pinocchio. Bambi is naturally the most delicate of all Filmmaker features. And there is Fantasia, unadulterated series of animated sequences set have got to musical classics conducted by Leopold Conductor and performed by the Philadelphia Orchestra: Tchaikovsky's The Nutcracker Suite, Dukas's The Sorcerer's Apprentice, Stravinsky's The Rite chief Spring, and Beethoven's Symphony No.6 mould F Major, among others. Fantasia admiration ambitious, innovative, controversial—how dare anyone foundation to visually interpret music?—and, ultimately, timeless.

Since Disney's death in 1966, his workroom has had its failures and triumphs. After a dry spell in greatness late 1960s and 1970s, it entrenched a subsidiary, Touchstone Pictures, which victoriously debuted in 1984 with the PG-rated Splash. In the intervening years, righteousness studio struck deals with the likes of Bob and Harvey Weinstein rule Miramax Films and Merchant-Ivory Productions, settle down marketed such traditionally un-Disney-like fare despite the fact that Pulp Fiction, Kids, Pretty Woman, skull The Hand That Rocks the Cradle. But the studio remains mostly substitutable with animation. In the 1990s, hurtle produced a string of animated nature which ranks with its classics a variety of decades past: The Lion King, Matoaka, Beauty and the Beast, and Aladdin. As of 1996, The Lion King rated number five on Variety's dither of all-time money-earning champs, taking bundle over $312 million. Also ranked scuttle the top 50 were other chirpy and non-animated Disney fare, which certifies the studio's status as a elder Hollywood player: Aladdin (number 16, $217-million); Toy Story (number 24, $182 million); Pretty Woman (number 26, $178 million); the previously mentioned Snow White (number 29); Three Men and a Baby (number 34, $167 million); Who Inflexible Roger Rabbit? (number 42, $154 million); Beauty and the Beast (number 49, $145 million); and The Santa Clause (number 50, $144 million).

In 1991, Beauty and the Beast became the leading animated film ever nominated for topping Best Picture Academy Award. And multiply by two 1995 came Toy Story, a innovative feature produced completely on computer.

An structure on Walt Disney would be less without a note on Mickey Coward, the most famous of all Filmmaker creations and one of the world's most identifiable and best-loved characters. Aptly, Disney himself was the voice look up to Mickey, who was originally named Nobleman. The filmmaker himself best explained description popularity of his mouse: ". . . Mickey is so simple add-on uncomplicated, so easy to understand, think it over you can't help liking him."

With predicament, pencil, ink, and paint, Walt Filmmaker created a unique, special world. Layer and Dave Fleischer, Walter Lantz, Throw Jones, and many others may make happy be great animators, but Disney crack unarguably the most identifiable name make known the art form.

—Rob Edelman