At Disney there was even talk of shutting down the animation department altogether. In a country roiled by anti-Vietnam War protests and tremendous social upheaval, animation seemed irrelevant, relegated to commercials and Saturday-morning cartoon programs for children, though animation as an art form had not been originally intended just for kids. That would be way more impressive than being mentored by Disney animators.” You would get a lot more attention if you were the backup quarterback for a junior-college football team. But no one was really interested in that in my town. “There was a point where I was probably one of a handful of young animators in the world.
#Disney wall paper taiwanese animationist juan full#
“Nobody was being trained in full animation anymore except Disney-it was literally the only game in town,” recalls Bird. But as the 60s waned, it became apparent, as Burton later noticed, that Disney had not gone out of its way to train new people. The next two decades would bring Cinderella, Peter Pan, Lady and the Tramp, Sleeping Beauty, and 101 Dalmatians. As Neal Gabler, Disney’s biographer, observed, “After Snow White, one could not really go back to Mickey Mouse and Donald Duck.” Snow White ushered in Disney’s golden age of animation over the next five years there was a veritable parade of beautifully crafted animated films, all now classics: Pinocchio, Dumbo, Fantasia, and Bambi. That 1937 classic, Disney’s first animated feature film, had been given an honorary Academy Award and was beloved by children, adults, critics, artists, and intellectuals everywhere. In the early years, starting in the late 30s, Disney animation had been gloriously realized by the Nine Old Men: Les Clark, Marc Davis, Ollie Johnston, Frank Thomas, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, and Wolfgang Reitherman-all of whom had worked with Walt on Snow White and the Seven Dwarfs. Its animated films had lost much of their luster, and Disney’s original supervising animators, nicknamed the “Nine Old Men,” were heading for that Palm Springs at the end of the mind, either retiring or dying. Disney, as the Disney Brothers Studio, in 1923, was beginning to lose its way. The Walt Disney Studios, the wildly successful entertainment empire he had founded with his brother, Roy O. One of his last acts before succumbing to lung cancer was looking over the storyboards for The Aristocats, an animated feature he would not live to see. But it was the new generation of animators, mostly from CalArts. As director and writer Brad Bird ( The Incredibles, Ratatouille) observes, “People think it was the businessmen, the suits, who turned Disney Animation around.
![disney wall paper taiwanese animationist juan disney wall paper taiwanese animationist juan](https://i.pinimg.com/736x/84/0d/4a/840d4a75fad89e736ab673c2572e66e9--disney-quiz-disney-art.jpg)
Their journey begins, and ends, with the Walt Disney Studios.
![disney wall paper taiwanese animationist juan disney wall paper taiwanese animationist juan](https://i.pinimg.com/originals/b9/ab/50/b9ab50b1421403288d9ea94410d04603.jpg)
![disney wall paper taiwanese animationist juan disney wall paper taiwanese animationist juan](https://i.pinimg.com/originals/88/f5/e2/88f5e2aae77e3e9f258393fb273b35fd.jpg)
Even more remarkable was that so many of the animators not only went to the same school but were students together, in the now storied CalArts classes of the 1970s.
![disney wall paper taiwanese animationist juan disney wall paper taiwanese animationist juan](https://i.pinimg.com/originals/e6/b1/90/e6b190429a4334d963ff623bc3bb72d5.jpg)
The list of their record-breaking and award-winning films-which include The Brave Little Toaster, The Little Mermaid, Beauty and the Beast, Aladdin, The Nightmare Before Christmas, Toy Story, Pocahontas, Cars, A Bug’s Life, The Incredibles, Corpse Bride, Ratatouille, Coraline-is remarkable. In November 2012, the Los Angeles Times reported that directors who had been students in the California Institute of the Arts’ animation programs had generated more than $26 billion at the box office since 1985, breathing new life into the art of animation.