#john canemaker

WHAT DO CHILDREN THINK OF WHEN THEY THINK OF THE BOMB? (1983).

Photos of Milt Kahl with dialogue balloons added by studio associates as gags for one of Kahl’s birthdays, poking fun at his temperamental, opinionated personality and colorful language

“Throughout the years, a steady stream of people came to Kahl’s door for help with their drawings; some were top animators, many were assistant animators or layout artists sent by a director. At the studio, a mystique grew around Kahl: ‘If you want your scene to look good,’ said John Lounsbery, ‘go get one drawing from Milt.’ ‘He could do one drawing for a scene and it would set you up for days to come,’ says assistant animator Dale Oliver...

“Everyone was in awe of what Milt did; seeking his guidance became a ritual, like entering the cave of the oracle. He even had his own guards: first, a corridor secretary passed you on to one of his assistants, who always knocked timidly on his closed door...

“‘Yah, c’min!’ Kahl would holler impatiently from his desk...

“‘Whatizit?!’ he’d demand.

“‘Milt was always out of patience,’ says (Don) Bluth. ‘‘Just go draw the damn thing!’ [he’d say.] As if everybody could do it...’

“‘Milt was very, very tough to talk with,’ says Dale Oliver. ‘He was a moody gentleman. Sometimes you’d walk in and he’d be just marvelous, helpful. Other times you’d be met with expletives and four-letter words. You knew you better get out...’

“John Ewing experienced the two sides of Kahl. On The Sword in the Stone, Ewing did ‘minimal touch-ups’ in a scene that... contained one of Kahl’s characters, so director Reitherman suggested Ewing pass the drawings by the master. When he did, a ‘mini-tornado’ took place in Kahl’s room. ‘It is best to say he was disappointed in what I had done,’ says Ewing. When he tried again, the scene passed muster, ‘due entirely to the things Milt pointed out to me.’ Later, he and Kahl rode the same elevator to lunch. ‘Listen, John,’ said Kahl, ‘I really got a lift out of how you fixed up that scene. And I’m sorry if I seemed a bit rough.’ Ewing, an ex-Navy man, laughed and said he’d had stripes torn off during admiral’s inspections. Kahl smiled and ‘for me, on that occasion,’ says Ewing, ‘there was never a more beautiful smile.’“

excerpt and photos from Walt Disney’s Nine Old Men & The Art of Animation by John Canemaker

Animation historian John Canemaker on Fred Moore’s redesign of Mickey Mouse for Fantasia

Walt Disney’s Son-in-Law and Former Disney CEO Ron W. Miller Dies at 85

Today, Ron William Miller passed away at the age of 85. This is never good news, as it’s always hard to say goodbye to prominent people in our life. We want to take a moment to celebrate the life and legacy he has left behind as well as the impact he had on the Walt Disney Company. This sad news comes from John Canemaker’s Facebook earlier today.

When Miller was 21 years old and playing in…

The great Cocker Spaniel/Spring Spaniel debate, featuring historians John Canemaker and John Culhane and animators Mike Gabriel, Andreas Deja, Randy Cartwright, and Eric Goldberg

Andreas Deja: It's especially difficult now to find out the truth (about the story origins of Lady and the Tramp) because it was made so long ago.

Eric Goldberg: What we really do know for sure is that the story of Lady and the Tramp started in the late 1930s with the legendary Joe Grant.

John Canemaker: Walt really trusted Joe Grant, and he was a great influence on many, many films at Disney.

Mike Gabriel: He'd be the igniter of films. Little ideas that would start entire features... Joe Grant did a single drawing of his dog, and he had Walt over for dinner one night, and Walt was charmed by it. He just loved the way the Spaniel's coat was sort of like a little skirt on the dog.

Carol Grubb, Joe Grant’s daughter: And he said, Joe, why don't you do a storyboard on that?

Effects animation for Fantasia