A quick trip down memory lane, courtesy of TAG member Hank Tucker.
The above is part of a page from Disney's "Come Work For Us!" pamphlet from the mid-seventies. The top photograph shows effects animator Ted Kierscey with animator Jim George. (Ted on the left, Jim on the right.)
Ted started at Disney in 1970, and is still there to this day. Jim I've lost track of. He directed Rover Dangerfield a bunch of years ago; I don't know what he's been doing lately.
The photograph on the lower right is of Pete Young, a story artist who started at Disney in '71 and passed away prematurely in 1985. The young woman on the left is Carmen I've-Got-Her-Last-Name-On-The-Tip-Of-My-Tongue. She worked with Don Bluth for many years.
Here's another page from that Disney book. Lots of photographs, lots of folks.
Photograph on the upper left shows Gary Goldman -- a longtime Bluth collaborator -- looking at film (and I don't know who the girl in the shot is.)
The picture in the upper right is from the Disney Morgue (as it was then called), where there were shelves and shelves of animated scenes from Disney shorts and features going back to the beginning of time. It was down in the basement of the old Animation Building, and an eerie place to visit. I can only guess who that is on the ladder, so I won't.
The photo right beneath it shows the 2-F wing of the original animation building. Tad Stones -- a Disney veteran now working as a producer at Starz Media -- on the left, and a bearded punk named Hulett on the right. Naturally I draw a partial blank on the young woman standing between us, except that she later married Dale Alexander, the head of Disney Art Props.
And that fellow waving behind the yellow sheet and stop watch? That's Glen Keane, now the director of Rapunzel.
Enough already. I'll roll out more of Disney circa 1977 next week, when my batteries are recharged.
(pages copyright 1977 - Walt Disney Productions)
Posts
6 comments:
I remember that promotional brochure vividly . I think that like every other aspiring young animator in the late 70's I sent a letter (more than one actually) to Disney trying to find out how to get in . With the usual form letter full of good advice ("attend art school; concentrate on figure drawing" ,etc) they also sent this brochure. I've lost it somewhere along the way.
Thanks for the memories.
"The young woman on the left is Carmen I've-Got-Her-Last-Name-On-The-Tip-Of-My-Tongue. She worked with Don Bluth for many years."
The color stylist's last name is Oliver. Carmen Oliver.
The color stylist's last name is Oliver. Carmen Oliver.
Yes, of course. Thanks.
I've lost track of myself too. I'm still here at Disney and trying to keep up with the new digital generation. The people here are, overall, a lot nicer and more serious about their work than I remember in the mid 70's. Don't ask me why, I don't understand it myself, but it's true. I sure wish that I
still had all of that hair as pictured
in the photo of me rolling the animation
paper by the old Moviola with Jim George. Oh well, what's a mother to do? By the way, Carmen Oliver was a beautiful and charming woman who set
all of our hearts on fire then. I have
no idea where she is now. Ted Kierscey
The beautiful Artist next to Hulett and Tad Stones, that married Dale Alexander of Art Props, was Lynne McClish.
Down in the morgue on the ladder pulling a scene is Randy Cartwright. Posing nearby with another scene is a young Dave Spafford (still in traffic at the time, but working on Bluth's "Banjo" during off-hours...)
Post a Comment