Ward Kimball - Disney's Nine Old Men

Ward Kimball (March 4, 1914 - July 8, 2002) joined the Disney team on April 2, 1934. He spent about 6 months in the studio basement as an in-betweener before being promoted. When fellow "old man" Eric Larson moved up in the animation hierarchy, Ward took his place as assistant to Ham Luske. Here he honed his skills as Luske would often leave substantial bits of animation unfinished for him to complete. Kimball's first assignment as a solo animator was the Silly Symphony Woodland Cafe.














His skillful drawing along with his humorous personality seemed a perfect fit for the studio, although not all of the other animators appreciated his keen wit. "He was colorful, eccentric and inventive."

It was 1935 when work on Snow White began. It "was sort of a shock to all of us," he recalled about Walt Disney's decision to go forward with his first feature-length project, "because we knew how hard it was to do a seven-minute short." By 1936, Kimball was well into his animation on the film. What happened to his end product is well documented.

The bulk of his assignment was cut from the final movie. Two musical numbers with the dwarfs--the bed-building sequence and soup-eating scene--were both dropped late in the game. The animation for the soup-eating, in particular, was quite far along.

When all the sequences were put together and Walt saw the overall timing of the show, he could see that we didn't need those sequences 'cause they held up the progress of the story. [I was] not bitter, but discouraged because I had worked so hard. Ward Kimball via John Canemaker's Nine Old Men, p.101

Soup Eating scene

Some of Kimball's animation did make it into the movie...Snow White walking in the forest, the vultures that trail behind the witch, and the sequence with the nose of each dwarf appearing over the edge of the bed when Snow White is sleeping.

Vultures

Dwarf Noses

Kimball took the deletions hard, so much so that he decided to quit the studio. He made an appointment with Walt to tell him of his disappointment and to resign. Disney sensed what might be coming, but not wanting to loose one of his top animators, he...

...waxed eloquent about the next project. Pinocchio was going to be a wonderful picture, said Walt, and he wanted Ward to personally take charge of this cricket character. From Nine Old Men, p.101

"God, he did such a wonderful job," Kimball recalled, "that I walked out very happily and said, 'What a wonderful place this is!'"

Ward Kimball photos via John Canemaker's book, Walt Disney's Nine Old Men and the Art of Animation, 2001.

Image scans copyright Disney

Ward would go on to become one of the most distinctive animators at the studio as well as director of such Disney television episodes as Man in Space; Man and the Moon; and Mars and Beyond.

Further Reading:

• Ward Kimball remembered at Digital Media FX
• An interview with Michael Barrier
• Disney Legends: Bio
• 50 Most Influential Disney Animators: Ward Kimball

The Nine Old Men

1958 Photo: left to right, Kimball, Larson, Thomas, Davis, Johnston, Clark, Kahl, Lounsbery, Reitherman

Much has been written about the Nine Old Men and their larger-than-life animation achievements. These were not the first talented artists to work for the Disney Studio, yet they certainly became it's creative core for more than 40 years.

Probably the most definitive work on these 'conquistadors' of the Golden Age is John Canemaker's book, Walt Disney's Nine Old Men and the Art of Animation (Disney Editions, 2001, ISBN-10: 0786864966).

Front Cover

Canemaker recounts how Walt jokingly nicknamed this dream team after President Roosevelt's description of his contentious 1937 Supreme Court, "nine old men, all too aged to recognize a new idea."

Newspaper Cartoon, February 9, 1937, Brooklyn Citizen via New Deal Network.

Of course, the animators were neither old nor afraid of new ideas. Quite the opposite, they would be the leaders, taking the art of animation to new heights.

The Nine Old Men were:

• Les Clark (joined Disney February 23, 1927)
• Wolfgang Reitherman (May 21, 1933)
• Eric Larson (June 1, 1933)
• Ward Kimball (April 2, 1934)
• Milt Kahl (June 25, 1934)
• Frank Thomas (September 24, 1934)
• Ollie Johnston (January 21, 1935)
• John Lounsbery (July 2, 1935)
• Marc Davis (December 2, 1935)

1972 Photo: left to right, Kahl, Reitherman, Davis, Clark, Thomas, Kimball, Larson, Lounsbery, Johnston

Animator Les Clark was the first to be hired in early 1927. The rest of the group came in between 1933-35, just as things were heating up for the making of Snow White and the Seven Dwarfs. From 1935-37, all nine of the very young "old men" would be involved.

Throughout this month, we'll take a closer look at what each contributed to the film and in what capacity they served the animation factory that was the Disney Studio of the late 1930s.

Further reading:

• "2002 Interview with John Canemaker" at The Laughing Place
• "Walt's Nine Old Men" from A Day in Disney History

"An Art in Its Making" - The Book

Front Cover and Spine

Stephen Ison's animation art collection is beautifully reproduced in the 1994 Walt Disney's Snow White and the Seven Dwarfs: An Art in Its Making. The 192-page hardcover features loads of stunning full-color images of the artwork along with an introduction written by Steve and text by Martin Krause and Linda Witkowski.


Synopsis by Gordon Flagg of Booklist magazine...

Krause provides a critically incisive account of making the film, from its inception through its three years in production to its wildly enthusiastic reception by audiences and critics. Witkowski supplies a detailed, fairly technical explanation of the animation process as well as a guide to the preservation and handling of animation art designed to appeal to serious students of the genre. The heart of the volume is a retelling of the famous story scene-by-scene by means of cel reproductions, pencil drawings, and other production art.

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From an email correspondence with Steve earlier this year...

Filmic Light: How did the Snow White...An Art in Its Making book come about?

Stephen Ison: It started out to only be a catalogue for the exhibition. I kept pounding on the museum “powers that be” that it needed to be a book. I won...especially after Hyperion Press wanted to publish it.

FL: Did you know authors Martin Krause or Linda Witkowski before the book?

SI: Yes. Linda Witkowski was the person I had known who helped/taught me about conservation and preservation of animation art. She had actually done her college Masters thesis on cel restoration and conservation. Linda introduced me to Marty who helped me convince the IMA that an exhibition of art from Snow White could be successful.

FL: How much were you involved with it?

SI: Pretty much, every aspect, whether they always welcomed it or not.

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The opening of the 1994 Indianapolis Museum of Art exhibit featuring Steve's collection was quite an event. Diane Disney Miller attended along with animator greats Ward Kimball (along with his wife Betty), Marc Davis, Joe Grant, Ken O'Connor, Maurice Noble, and Bill Justice. What an opportunity it was for the attendees to meet and chat with these legends...and to get autographs.

The title page from the book below comes from the Phil Sears Collection. It features the signatures of all of the animators mentioned above. In addition, it's signed by Frank Thomas and Ollie Johnston who could not attend the Indianapolis event due to an illness that Ollie’s wife was suffering from.

Signed Title Page. Book sold for $499 (USD) on August 30, 2010. Image via Phil Sears Collectibles.

[CLICK IMAGES FOR A BETTER VIEW]

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Steve's collection encompassed a wide range of animation art including "master backgrounds, concept art, cels, drawings, studio notes, character models, and various other items associated with the film." Here's a just a few of the dynamic images found within this handsome book.

Layouts and storyboard drawings...

Backgrounds and watercolors...

Cel set-ups...

Images copyright Disney/Hyperion Press/Stephen Ison

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In 1995, a "Disney Miniature Edition" was published. Same book, same number of pages, just smaller in size.

Front Cover, miniature edition

While both the original and miniature versions are no longer found via new bookstore channels, they are available from online resellers, often for a decent price. On a side note, it was about a decade ago that I stumbled upon a stack of 15 to 20 brand new shrink-wrapped copies of the full-size original, all dramatically reduced in price at a Barnes and Noble. I couldn't resist...I bought them all.

Original Edition:
Hardcover, 192 pages
Published by Hyperion Press (September 23, 1994)
ISBN-10: 0786861444
ISBN-13: 978-0786861446
Measures 10.9" x 9.6"

Miniature Edition:
Hardcover, 192 pages
Published by Hyperion Press (November 3, 1995)
ISBN-10: 0786861878
ISBN-13: 978-0786861873
Measures 5.5" x 4.7"