Walt Disney

Walter Elias Disney was born on December 5, 1901, at 1249 N Tripp Avenue in the Hermosa neighborhood of Chicago, Illinois, United States. He was the fourth son of Elias Disney, who was born in the Province of Canada to Anglo-Irish parents, and Flora (née Call), an American of German and English descent. Aside from Walt, the sons of Elias and Flora were Herbert, Raymond and Roy; and the couple had a fifth child, Ruth, in December 1903. In 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor. Elias was a subscriber to the Appeal to Reason newspaper, and Disney practiced drawing by copying the front-page cartoons of Ryan Walker. He also began to develop an ability to work with watercolors and crayons. He lived near the Atchison, Topeka and Santa Fe Railway line, and became enamored with trains. In late 1909, Disney and Ruth started school at the same time at the Park School in Marceline. The Disney family were active members of a Congregational church. Disney later described his childhood in Marceline as one of the happiest and most formative periods of his life, and drew inspiration from the town for several of his future projects.

In 1911, the Disneys moved to Kansas City, Missouri. There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced him to the world of vaudeville and motion pictures. Before long, Disney was spending more time at the Pfeiffers' house than at home. Elias had purchased a newspaper delivery route for The Kansas City Star and Kansas City Times. Disney and Roy woke up at 4:30 every morning to deliver the Times before school, and repeated the round for the evening Star after school. The schedule was exhausting, and Disney often received poor grades after falling asleep in class, but he continued his paper route for more than six years. He attended Saturday courses at the Kansas City Art Institute and also took a correspondence course in cartooning.

In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, and moved back to Chicago with his family. Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I; he also took night courses at the Chicago Academy of Fine Arts.

In mid-1918, Disney attempted to join the United States Army to fight the Germans, but he was rejected as too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver. Disney was shipped to France but arrived in November, after the armistice. He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes.

1919–1928: Early career

He returned to Kansas City in October 1919, where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio, where he drew commercial illustrations for advertising, theater programs and catalogs, and befriended fellow artist Ub Iwerks. In January 1920, as Pesmen-Rubin's revenue declined after Christmas, Disney, aged 18, and Iwerks were laid off.

They started their own business, the short-lived Iwerks-Disney Commercial Artists. Failing to attract many customers, Disney and Iwerks agreed that Disney should leave temporarily to earn money at the Kansas City Film Ad Company, run by A. V. Cauger; the following month Iwerks, who was not able to run their business alone, also joined. The company produced commercials using the cutout animation technique. Disney became interested in animation, although he preferred drawn cartoons such as Mutt and Jeff and Max Fleischer's Out of the Inkwell. With the assistance of a borrowed book on animation and a camera, he began experimenting at home. He came to the conclusion that cel animation was more promising than the cutout method. Unable to persuade Cauger to try cel animation at the company, Disney opened a new business with a co-worker from the Film Ad Co, Fred Harman. Their main client was the local Newman Theater, and the short cartoons they produced were sold as "Newman's Laugh-O-Grams". Disney studied Paul Terry's Aesop's Fables as a model, and the first six "Laugh-O-Grams" were modernized fairy tales.

In May 1921, the success of the "Laugh-O-Grams" led to the establishment of Laugh-O-Gram Studio, for which he hired more animators, including Fred Harman's brother Hugh, Rudolf Ising and Iwerks. The Laugh-O-Grams cartoons did not provide enough income to keep the company solvent, so Disney started production of Alice's Wonderland‍—‌based on Alice's Adventures in Wonderland‍—‌which combined live action with animation; he cast Virginia Davis in the title role. The result, a 12½-minute, one-reel film, was completed too late to save Laugh-O-Gram Studio, which went into bankruptcy in 1923.

Disney moved to Hollywood in July 1923 at 21 years old. Although New York was the center of the cartoon industry, he was attracted to Los Angeles because his brother Roy was convalescing from tuberculosis there, and he hoped to become a live-action film director. Disney's efforts to sell Alice's Wonderland were in vain until he heard from New York film distributor Margaret J. Winkler's Winkler Pictures, whose services was recommended by her former employer, Harry Warner, then president of Warner Bros. Pictures, in response to a letter by Disney. She was losing the rights to both the Out of the Inkwell and Felix the Cat cartoons, and needed a new series. In October, they signed a contract for six Alice comedies, with an option for two further series of six episodes each. Disney and his brother Roy formed the Disney Brothers Studio‍—‌which later became the Walt Disney Company‍—‌to produce the films; they persuaded Davis and her family to relocate to Hollywood to continue production, with Davis on contract at $100 a month. In July 1924, Disney also hired Iwerks, persuading him to relocate to Hollywood from Kansas City. In 1926, the first official Walt Disney Studio was established at 2725 Hyperion Avenue; the building was demolished in 1940.

By 1926, Winkler's role in the production and distribution of the Alice series had been handed over to her husband, the film producer Charles Mintz, and her brother George Winkler; Winkler had dropped their distribution services at this point, finding distributors in FBO and Universal Pictures. The series ran until July 1927, by which time Disney had begun to tire of it and wanted to move away from the mixed format to all animation. After Mintz requested new material to distribute through Universal Pictures, Disney and Iwerks created Oswald the Lucky Rabbit, a character Disney wanted to be "peppy, alert, saucy and venturesome, keeping him also neat and trim". The series was a critical and commercial success for Winkler and Disney, effectively positioning them as a major force in American animation.

In February 1928, Disney hoped to negotiate a larger budget for producing the Oswald series, only to be refused by Mintz after Disney travelled to New York City to confront him. Mintz had also persuaded many of the artists involved to work directly for him, including Harman, Ising, Carman Maxwell and Friz Freleng. Disney also found out that Universal owned the intellectual property rights to Oswald. Mintz threatened to start his own studio and produce the series himself if Disney refused to accept the reductions. Disney declined Mintz's ultimatum and lost most of his animation staff, except Iwerks, who chose to remain with him. Universal boss Carl Laemmle later terminated Mintz's contract and allowed Winkler employee Walter Lantz to form an in-house animation studio after Harman and Ising failed to gain control over the series. Disney reacted positively to his news due to his high respect of Lantz's work; the two Walts formed a friendly rivalry that lasted until Disney's death.

Early in 1925, Disney hired an ink artist, Lillian Bounds. They married in July of that year, at her brother's house in her home town of Lewiston, Idaho. The marriage was generally happy, according to Lillian, although according to Disney's biographer Neal Gabler she did not "accept Walt's decisions meekly or his status unquestionably, and she admitted that he was always telling people 'how henpecked he is'." Lillian had little interest in films or the Hollywood social scene and she was, in the words of the historian Steven Watts, "content with household management and providing support for her husband". Their marriage produced two daughters, Diane (born December 1933) and Sharon (adopted in December 1936, born six weeks previously). Within the family, neither Disney nor his wife hid the fact Sharon had been adopted, although they became annoyed if people outside the family raised the point. The Disneys were careful to keep their daughters out of the public eye as much as possible, particularly in the light of the Lindbergh kidnapping; Disney took steps to ensure his daughters were not photographed by the press.

In 1949, Disney and his family moved to a new home in the Holmby Hills district of Los Angeles. With the help of his friends Ward and Betty Kimball, who already had their own backyard railroad, Disney developed blueprints and immediately set to work on creating a miniature live steam railroad for his back yard. The name of the railroad, Carolwood Pacific Railroad, came from his home's location on Carolwood Drive. The miniature working steam locomotive was built by Disney Studios engineer Roger E. Broggie, and Disney named it Lilly Belle after his wife; after three years Disney ordered it into storage due to a series of accidents involving his guests.

Disney grew more politically conservative as he got older. A Democratic Party supporter until the 1940 presidential election, when he switched allegiance to the Republican Party, he became a generous donor to Thomas E. Dewey's 1944 bid for the presidency. Disney engaged in red-baiting in response to organized labor actions against his company. In 1941, he paid for a full-page ad in Variety claiming that "Communistic agitation" was responsible for a cartoonist strike against him. In 1946, he was a founding member of the Motion Picture Alliance for the Preservation of American Ideals, an organization who stated they "believ[ed] in, and like, the American Way of Life... we find ourselves in sharp revolt against a rising tide of Communism, Fascism and kindred beliefs, that seek by subversive means to undermine and change this way of life". In 1947, during the Second Red Scare, Disney testified before the House Un-American Activities Committee (HUAC), where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, as communist agitators; Disney stated that the 1941 strike led by them was part of an organized communist effort to gain influence in Hollywood.

The New York Times reported in 1993 that Disney had been an FBI informant passing secret information to J. Edgar Hoover about communist activities in Hollywood. However, while Walt Disney was made a "Special Agent in Charge Contact" in 1954, FBI officials claim this was largely an honorary title regularly awarded to members of a community who might be of use to the bureau. The FBI declassified and released Walt Disney's file on their website, and revealed that much of Disney's correspondence with the bureau (via studio personnel) was in relation to the production of educational films; such as a certain installment of the "Career Day" newsreel segments on The Mickey Mouse Club focusing on the bureau (which aired in January 1958), as well as an unmade 1961 educational short warning children about the dangers of child molestation.

Disney's public persona was very different from his actual personality. Playwright Robert E. Sherwood described him as "almost painfully shy... diffident" and self-deprecating. According to his biographer Richard Schickel, Disney hid his shy and insecure personality behind his public identity. Kimball argues that Disney "played the role of a bashful tycoon who was embarrassed in public" and knew that he was doing so. Disney acknowledged the façade and told a friend that "I'm not Walt Disney. I do a lot of things Walt Disney would not do. Walt Disney does not smoke. I smoke. Walt Disney does not drink. I drink." Critic Otis Ferguson, in The New Republic, called the private Disney: "common and everyday, not inaccessible, not in a foreign language, not suppressed or sponsored or anything. Just Disney." Many of those with whom Disney worked commented that he gave his staff little encouragement due to his exceptionally high expectations. Norman recalls that when Disney said "That'll work", it was an indication of high praise. Instead of direct approval, Disney gave high-performing staff financial bonuses, or recommended certain individuals to others, expecting that his praise would be passed on.

Politics and allegations of prejudice

Disney has been accused of antisemitism for having given Nazi propagandist Leni Riefenstahl a tour of his studio a month after Kristallnacht. Riefenstahl's invitation was solicited to Disney by painter and ballet dancer Hurbert "Jay" Stowitts, a close friend of Riefenstahl, and a former colleague of Leopold Stokowski who at the time was collaborating with Disney on Fantasia. A month later a spokesperson for Disney told the New York Daily News: "Miss Riefenstahl got into the studio, but she crashed the gate. A Los Angeles man who is known to Disney obtained permission to take a party through the plant. Leni was in the party. If we had known it in advance she wouldn't have got in." Animation historian Jim Korkis theorizes that Disney may have also met with Riefenstahl for financial reasons: as an attempt by Disney to recover over 135,000 Reichsmarks owed from his German film distributor and to get the ban on Disney films lifted in Germany. Animator Art Babbitt, organizer behind the 1941 strike at the studio and who held a well-known grudge against Disney, claimed in his later years that he saw Disney and his lawyer attend meetings of the German American Bund, a pro-Nazi organization, during the late 1930s. However, according to Disney biographer Neal Gabler: "...that was highly unlikely, not only because Walt had little enough time for his family, much less political meetings, but because he had no real political leanings at the time." Disney's office appointment book makes no mention of him attending Bund rallies, and no other employee ever claimed he attended such meetings.

According to Gabler, Disney was apolitical and "something of a political naïf" during the 1930s and he had previously told one reporter – as tensions in Europe were brewing – that America should "let 'em fight their own wars" claiming he had "learned my lesson" from World War I. Gabler also noted that in late 1939, Disney was going over a scale model of a new studio to be built in Burbank, when one animator suddenly asked him how the recently begun war in Europe would affect its construction, to which Disney responded by asking, "What war?" During World War II, Disney was actively involved in making propaganda films against the Nazis, both for the general public (such as Der Fuehrer's Face and Education for Death), as well as educational and training films exclusively for the United States Government. As early as October 1940 (over a year before America's entry into the war), Disney began enlisting contracts from various branches of the United States Armed Forces to make training films, and in March 1941 he held a luncheon with Government representatives formally offering his services "...for national defence industries at cost and without profit. In making this offer, I am motivated solely by a desire to help as best I can in the present emergency." These training films contained highly classified information and required the highest level of security clearance to be viewed. If Disney had any previous sympathies toward Nazism, the U.S. Government would have disqualified him from making these films.

The Walt Disney Family Museum acknowledges that ethnic stereotypes common to films of the 1930s were included in some early cartoons but also points out that Disney donated regularly to Jewish charities and was named the 1955 "Man of the Year" by the B'nai B'rith chapter in Beverly Hills. The organization itself found no evidence of antisemitism on Disney's part. The plaque read: "For exemplifying the best tenets of American citizenship and inter-group understanding and interpreting into action the ideals of B'nai B'rith." Disney had numerous Jewish employees, many of whom were in influential positions. None of Disney's employees – including animator Art Babbitt, who disliked Disney intensely – ever accused him of making antisemitic slurs or taunts. Jewish story man Joe Grant, who worked closely with Disney throughout the 1930s and 1940s stated, "As far as I'm concerned, there was no evidence of antisemitism. I think the whole idea should be put to rest and buried deep. He was not antisemitic. Some of the most influential people at the studio were Jewish. It's much ado about nothing. I never once had a problem with him in that way." In addition songwriter Robert B. Sherman recalled that when one of Disney's lawyers made antisemitic remarks towards him and his brother Richard, Disney defended them and fired the attorney. Gabler, the first writer to gain unrestricted access to the Disney archives, concludes that the available evidence does not support accusations of antisemitism and that Disney largely got that reputation due to his association with Motion Picture Alliance for the Preservation of American Ideals – an anti-Communist organization formed in 1944, that was rumored to have antisemitic undertones. Gabler concludes that "...though Walt himself, in my estimation, was not antisemitic, nevertheless, he willingly allied himself with people who were antisemitic, and that reputation stuck. He was never really able to expunge it throughout his life." Disney distanced himself from the Motion Picture Alliance, and had no involvement with the organization after 1947.

According to Disney's daughter Diane Disney-Miller, her sister Sharon dated a Jewish boyfriend for a period of time, to which her father raised no objections and reportedly said, "Sharon, I think it's wonderful how these Jewish families have accepted you."

Disney has also been accused of other forms of racism because some of his productions released between the 1930s and 1950s contain racially insensitive material. Gabler argues that "Walt Disney was no racist. He never, either publicly or privately, made disparaging remarks about blacks or asserted white superiority. Like most white Americans of his generation, however, he was racially insensitive." The feature film Song of the South was criticized by contemporary film critics, the NAACP, and others for its perpetuation of black stereotypes, but during filming Disney became close friends with its star, James Baskett, describing him in a letter to his sister Ruth as "the best actor, I believe, to be discovered in years." Disney and Baskett stayed in contact long after the film's production, with Walt sending him gifts. When Baskett was in failing health, Disney not only began financially supporting him and his family, but also campaigned successfully for an Honorary Academy Award for his performance, making Baskett the first black actor so honored. Baskett died shortly afterward, and his widow wrote Disney a letter of gratitude for his support claiming he had been a "friend in deed and [we] certainly have been in need." Floyd Norman, the studio's first black animator who worked closely with Disney during the 1950s and 1960s, said, "Not once did I observe a hint of the racist behavior Walt Disney was often accused of after his death. His treatment of people‍—‌and by this I mean all people‍—‌can only be called exemplary."