The Lost Notebook

[ß In memory of Diane Disney Miller ß[

CONTENTS Foreword by Pete Docter Introduction

PART ONE: THE HERMAN SCHULTHEIS STORY

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PART TWO: INSIDE THE NOTEBOOK

Aachen to New York

Fantasia

Mediterranean Romance

Pinocchio

“I Know a Little of Everything”

Bambi

Changing Over

Dumbo

A Glorious Mess: Things on Top of Things

The Reluctant Dragon

112

All Over the Lot, and All Over Los Angeles Documenting Special Effects “He Took Credit for Everything”

PART THREE: RESOURCES

276

In Need of Allies “Our Precarious Condition”

Part One: Notes

Herman Vanishes

Part Two: Notes Index Acknowledgments Image Credits

Page 1: Herman Schultheis at Disney’s Hyperion studio in 1938. He is carrying a masking frame darkroom easel, a device used to make photo enlargements. The image on the easel is a trick photograph of a giant gun (seen in close-up on page 54) bursting through a window in the Process Lab, where Schultheis worked on photographic special effects. Page 2: A page from one of Schultheis’s notebooks shows him preparing a photo shoot for Disney’s Publicity Department using maquettes of characters on miniature sets from Fantasia’s “Dance of the Hours.” Page 3: A stand-in for conductor Leopold Stokowski poses with a few musicians on Stage One at the Disney Burbank studio, while technicians adjust lights in preparation for shooting a live-action scene in Fantasia’s “Toccata and Fugue” opening section. Opposite: Herman Schultheis shoots photos on location for the Walt Disney Studio.

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O pposite : Herman goes over Niagara Falls in a bathtub! A trick photograph by Herman Schultheis, possibly from the late 1920s. A bove left : Herman goes “fishing” in another trick photo. A bove r ight : Herman shows himself “on his way to lunch” in yet another photo he created. For this shot, he used the view from his office at Electrical Research Products Inc., 250 West 57th Street, showing Broadway north of Columbus Circle.

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In Schultheis’s notebook, we see jury-rigged horizontal multiplane arrangement setups for Fantasia, including “Clair de Lune,” a sequence ultimately cut from the film (see page 173); for its finale, “Ave Maria” (page 164); and for two scenes in Pinocchio: a subjective camera shot of Jiminy Cricket’s hop toward Geppetto’s toy shop (page 180) and one of the most elaborate and expensive uses of the horizontal multiplane camera in film, titled “Going to School” in the animation work draft (pages 182 to 185). The shot starts on a bell tower overlooking a sleeping Alpine village. The ringing bells disturb a flock of white doves, whose flight leads the camera downward into a gemütlich streetscape. Townspeople begin their day and children head for school as the camera swoops past trees, over rooftops, under an arch, into the main town square, and down a cobblestone street ending at Geppetto’s toy shop. The intricate scene lasts approximately forty seconds. When it was shot in early April 1939, it cost US$45,000, equivalent to approximately US$1.8 million today, accounting for current industry compensation standards. 17 It was a huge amount of money and labor to spend on a single scene of animation, albeit one of unprecedented complexity. Yet it was, wrote contemporary animator Michael Sporn, “a miracle of a shot that would be hard even for computers today.” 18 Schultheis’s scrapbook

photos, layout drawings, and written descriptions vividly record how this cinematic miracle was accomplished. Roaming the studio’s process and effects areas with his trusty camera, Schultheis was especially fascinated by the making of Fantasia. “Effects reached their full maturity with Fantasia,” wrote Hollywood reporter Bob Thomas. “It was virtually an effects picture. Here was a great burst of imagination and craft that produced a wealth of visual impressions.” 19 Schultheis had opportunities to directly contribute to these effects in addition to documenting their invention. In Fantasia’s “Nutcracker Suite” section, one of cinema’s most beautiful and exquisitely realized animated passages, Walt and his Story team scrapped the usual plot and characters (the nutcracker prince, toys, and rodents) associated with Tchaikovsky’s exquisite music in favor of a seasonal nature ballet in which a shimmering forest of dancing flowers, leaves, weeds, mushrooms, goldfish, and fairy folk evoke the ambience of Shakespeare’s A Midsummer Night’s Dream. In autumn 1939, Schultheis accompanied Disney artists Sylvia Moberly-Holland (story development), Ethel Kulsar (backgrounds), Curt Perkins (concepts), Bianca Majolie (concepts), and others on a field trip to the Idyllwild nature preserve in the San Jacinto Mountains. The artists drew while Schultheis photographed wildflowers, weeds, and fungi. The inspirational nature close-ups and artists’ concept sketches

A bove : Examining story sketches of “Clair de Lune” (eventually cut from Fantasia) are (left to right) Walt Disney, director Sam Roberts, music critic Deems Taylor, and conductor Leopold Stokowski. Examining a maquette of a triceratops (featured in Fantasia’s “Rite of Spring” sequence) are (left to right) Walt Disney, astronomer Edwin P. Hubble, and biologist Sir Julian Huxley. O pposite , top left and r ight : Charles Philippi, art director, plans (with an unknown colleague) the tour de force multiplane camera “Going to School” scene in Pinocchio. O pposite bottom : A large layout drawing of the scene.

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Guatemalans to be of German nationality, so the American embassy had not been notified,” he said, and also stated that Guatemalan authorities had sent out three search parties “without favorable result.” 25 No remains had been found, so Schultheis was considered a missing person. This left Ethel with a desperate hope that he might still be alive. She also held fast to a die-hard conspiracy theory: Her husband, as a Librascope design engineer, had had a secret clearance from the Navy to work on contracts involving classified information. Ethel believed her husband had been followed to and from his home and office, and she also suspected her neighbors of “being jealous of her and her husband.” She said she had noticed, over the past thirty-six months, a “miniature ‘hate campaign’ being waged” against them. She believed her husband “was shadowed, duped & kidnapped starting in his immediate environs & possibly at the office. They could certainly use his vast knowledge.” Yet she never specified who “they” were. 26 Librascope reported the disappearance to the Industrial Security Office of the Inspector of Naval Material as a possible breach of security. “In the absence of proof of his death,” reports the August issue of the Librazette, “it is not impossible that Herman might have been detained against his will by elements interested in Navy ordinance.” 27 After months of waiting for positive news about her husband’s whereabouts, Ethel was in anguish, her paranoia at fever pitch. She wrote a plea directly to J. Edgar Hoover, head of the FBI, on December 31, 1955: “For 212 days I have been patient—please, won’t you come to my aid & find a definite tangible solution to this strange mystery? Please try every feasible angle. Institutions of all types. Even white slavery. Isn’t it probable, as natives the world over deal in both male & female slaves[?]” 28 Because of Schultheis’s Navy security clearance, Hoover arranged for Ethel to be interviewed “telephonically” at her parents’ New Jersey home on January 5, 1956. The agent who conducted the interview noted that Ethel Schultheis “appeared to be an intelligent person,” but also “nervous and flustered,” with a tendency to “jump from one subject to another totally unconnected.” At times she spoke in non sequiturs having no bearing on her husband’s disappearance. She stated that a friend told her that she might be imagining things since she was “going through the change of life.” Nonetheless, she “refused to believe her husband was dead,” but then “volunteered that the jungles in Guatemala were inhabited by many wild animals that could have destroyed Schultheis and that many pits of quicksand were in these jungles in which he could have disappeared.”

She repeated her suspicions regarding her husband being followed and their neighbors being “Peeping Toms,” but was “unable to furnish any concrete information,” although she “described in detail” how she and her husband had taken nude sunbaths on the roof of their home. The FBI concluded that there was “no indication that any classified material is missing” and therefore “no further investigation is contemplated.” 29 However, questions still remain. Schultheis crossed the Mexican border and entered Guatemala on May 17 bearing a tourist card issued in Los Angeles, but his name does not appear in the registered list of foreigners in the Office of Control of Foreigners. When he left Guatemala City on the morning of May 20 by Aviateca Airlines, he purchased a ticket at the airport but left no local address. “Since he left the airstrip at Tikal carrying only [a] camera and other photographic equipment,” wrote American consul James W. Boyd, “the question arises as to where he left his luggage.” Further, a report by José Bernabe Linares, chief of the Guatemalan Guardia Judicial, noted that all the register books of Guatemala City hotels and boardinghouses had been “searched carefully, but have found no trace of Mr. Schultheis.” 30 Ethel stayed in New Jersey for three years and ten months after Herman vanished. She later described the year 1955 as “a nightmare to live thru [sic] as I lost my father, husband[,] and [Herman’s mother in Germany] in sixteen weeks.” 31 Eighteen months after Schultheis disappeared, a camp foreman in a Petén forest of chiclé (a tropical gum tree) found his remains and personal effects. 32 The place of death was Campamento “La Pita,” San José, Petén, Guatemala; the cause of death was undetermined. Here is the American Embassy’s translation of the report of the camp foreman, Guercindo Rogelio Mendez: On November 17, 1956[,] at 6:00 A.M. as was customary I, a chicle foreman, went to work to the north of La Pita camp. About a kilometer further on I reached the spot where my men were working and there my attention was attracted by an object which, as I approached it, I noticed was of value although it had been there for years; a yard [91 cm] away was a camera[,] near which were some bones which I believed to be those of a goat or a wild pig. Three yards [2.7 m] to the east of the camera [was] a shoe of sewn leather with a rubber sole. Three yards [2.7 m] to the northeast I saw another shoe and other bones[,] which attracted my attention [and] convinced me that it was nothing less than a human skeleton scattered about. In order to be sure I started to look for the skull. Five yards [4.6 m] to the south of

O pposite top : Two Schultheis photographs: the famed “Hollywoodland” sign and Ethel, alone, overlooking Los Angeles. O pposite (which also served as a showcase for Herman’s photos of Los Angeles), the couple have an exhausted quality about them.

bottom :

In their 1954 Christmas greeting

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A Technicolor film frame and a concept watercolor (painted by an unknown artist in the Character Model Department) offer a glimpse into Fantasia’s “Toccata and Fugue” sequence. Multiple photographic exposures of an orchestra in live action morph into hand- drawn abstractions that symbolize the scene’s soundtrack, as seen in the film frame at bottom right. The imagery was animated by Cy Young, a specialist in hand- drawn special-effects animation. On the following pages, Schultheis demonstrates some of the mechanics behind these beautiful pictures.

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FA N TA S I A Toccata and Fugue

Seen here are three concept paintings of “soundtracks in ‘Fugue’ ” and a “soundtrack montage” by an unnamed artist or artists. The artwork strongly reflects film imagery used by Oskar Fischinger, the abstract animation filmmaker, in his independently made experimental short films. In Germany in 1932, Fischinger became intrigued with the ornamental patterns of film’s optical soundtracks. According to his biographer, William Moritz, Fischinger wondered what kind of sounds or “new music” might be “inherent in the different primary geometric shapes, such as undulating wavy and sharp diamond shapes.” 3 Fischinger worked briefly as a designer and special- effects animator on Fantasia. His abstract films were screened for Disney’s staff during lunch breaks, and although his imagery suggestions were severely altered (to his dismay), Fischinger’s influence can still be seen in the “Toccata and Fugue” sequence. Numerous tests were made of the intricate color schemes in the “Toccata” sequence by first using life-size dummies, small maquettes, and a few real-life musicians. It is assumed that Schultheis recorded the color tests and the off- camera setups with his still and movie cameras. Film frames her e show tests using the maquette of Leopold Stokowski with various color backgrounds and special lighting.

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In this section, Schultheis reveal the dedicated artistry and ingenuity behind Fantasia. A film frame on this page shows a procession of worshippers carrying lighted tapers in a cathedral-like forest of trees, one of the extended multiplane camera scenes in the “Ave Maria” scene. At top right, a pastel of a shimmering cobweb (likely by Bianca Majolie) is lit by incandescent dewdrop fairies in the “Nutcracker Suite.” At bottom right, a film frame shows Chernabog, the devil, erupting from Bald Mountain to cast an evil spell.

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PINOCCHIO

FA N TA S I A

Multiple-Level Viewer

Pastoral Symphony

Pan Motion

This page of photos and engineering drawings shows an “experimental viewer,” a method of testing panoramic (pan) movements of different levels of backgrounds before they are shot by a multiplane camera. As per the notations on the drawings, the contraption appears to be Schultheis’s own invention (created in 1939), melding his extensive knowledge of optics and electrical mechanics. For this special camera, the components of a background might be on a number of different levels, each of which moves at a different speed. In real life, objects in our sight move at different speeds past our eyes—that is, in a forest, close trees move rapidly, while those in middle distance move at a slower speed, and trees in the deep background move slowest of all. The pan drawings could be reduced in size photographically (a Schultheis specialty) and moved at varying speeds by foot pedals (such as those used in a Moviola, a device film editors used to cut film scenes) in order to test the desired pan before the real scene was shot. The artwork being tested in the two photos shown her e appears to be an undersea scene, probably from Pinocchio. The two technicians are unidentified.

Ludwig van Beethoven’s “Pastoral Symphony” follows the “Rite of Spring” segment in Fantasia. Illustrated as a colorful romp on Mount Olympus, it features creatures from Greek and Roman myths: centaurs, fauns, Pegasus, unicorns, cupids, Morpheus, Bacchus, Vulcan, Apollo, Diana, and Zeus. The final scene is a multiplane camera truck- out of Mount Olympus set against a crescent moon and twinkling stars, shown at center . Schultheis’s caption (“Star twinkle produced by special gag”) suggests he shot a test or the final version of the gag. One option for creating the scene would have been to shoot backlit black paper perforated with pinholes on a standard animation camera stand. Two cels containing black lines would then pan in opposite directions over the holes frame by frame, resulting in “twinkling” stars. This would be matted into the sky in the final multiplane shoot. Also evident on the page is Schultheis’s selfpromotion, seen at center left : Zeus photographing his domain, shooting a frame blowup of Mount Olympus. The four photos at bottom show Schultheis’s study of cumulus clouds. Like the two artists’ sketches above them, these were used as research for “Pastoral Symphony.” The rain effect in the film’s scene was hand- drawn, as can be seen in the transparent cutout cel of black lines at top r ight. Processed on wash- off cels, the raindrops were recolored as white. His caption explaining different “levels” and the use of “distortion” glass may have been for a test, since the rain in the final film sequence is much simpler. A centaurette rescuing a baby unicorn during a Zeus-induced tempest is seen in a now -yellowing newspaper ad in the upper r ight corner . It notes Fantasia playing at Los Angeles’ Carthay Circle where, on January 29, 1941, Schultheis photographed the premiere for Disney’s Publicity Department, one of his last jobs at the studio.

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FA N TA S I A

FA N TA S I A

Clair de Lune

Clair de Lune

This page and opposite page , Schultheis offers a look at the complexity of camera configurations and art overlays that went into Fantasia’s “Clair de Lune” sequence, a tour de force of multiplane camera mechanics. The  Fantasia version of “Clair de Lune” had only four cuts in its entire six minutes to separate the long, extremely complex camera moves, background and cel pans, distortion glass, and lighting effects. In the first section, captured in the photo at top left, the camera trucks in through levels of plants and trees toward a lone bird—a white heron— standing in water. In the second segment, the bird walks slowly, flies above the trees briefly, and lands. The third section of the sequence is a lovely abstraction: ripples breaking up the moon’s reflection into small, shimmering coin shapes and then reforming into a round moon shape. (See Schultheis’s reference photo for this shot at thir d row center). In the final and fourth cut, the heron joins another, and the two birds fly off toward the moon.

Photos on this page continue to explore the complex mechanical means involved in bringing the idyllic “Clair de Lune” sequence to life. A large makeshift, horizontal multiplane camera setup was hammered together out of wood and steel gears to produce “a great number of intricate effects,” wrote Schultheis, “by combining various types of pan moves with camera tricks, overlays[,] and many levels of different speeds. Higher mathematics are require[d] here.” Indeed. And ingenuity, patience, and concentration from all concerned. In the photo at bottom r ight, a crew of five men operates different levels for a shoot in a confined brick-walled space. Their intense concentration and focus on the formidable task at hand are apparent: The man sitting on the stool is smoking a pipe—in an area filled with flammable nitrate cels.

At the sequence’s halfway point, a heron glides in for a water landing. But the bird’s smooth flight jitters for two frames before continuing. Someone forgot to properly change cels, or the camera operator(s) mistook the order of the cels—probably as a result of long workdays and the resulting lack of sleep. One can imagine that when the nearly imperceptible error was discovered in dailies (the unedited footage viewed the day after it is shot), the scene was considered too complicated and expensive to reshoot. The error remains in prints of the film today—that is, in Make Mine Music, re-edited (most of the moon abstractions were cut) to fit the new music.

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PINOCCHIO

FA N TA S I A

Publicity Photos

Clair de Lune and Nutcracker Suite

In January 1940, Popular Mechanics magazine published a color section on the making of  Pinocchio (“Color-Shooting in Fairyland”) using photographs taken by Schultheis. “On July 21, 22[,] and 24, I was called back to the Process Lab,” he writes, “to shoot black and white as well as Kodachrome of studio set-ups to be used in the Popular Mechanics magazine” (see page 191). The resulting eight-page spread was a part of the film’s publicity campaign prior to the February premiere. On this page , Schultheis proudly displays the magazine article along with other “publicity shots showing studio at work, used in different magazine layouts.” The magazine’s color cover shows three story men—Ted Sears (left) and Webb Smith (right) with Otto Englander (middle)— pondering idea sketches for Pinocchio’s marionette show characters. A bove it is a yellowed clipping of four Disney artists in one cramped room. Jack Hannah is at left; two of the other three men may be Nicholas George and Ted Bonnicksen.12

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Schultheis’s captions for the top two photos her e note two research trips he made to the East Coast in 1938 and 1939. These efforts, he says, yielded “[2,000] shots of landscapes, animals, buildings, etc. and New York World’s Fair.” He mixes in photos taken during a trip down south for the“Clair de Lune” sequence (“Louisiana swamps and Spanish moss,” “New Orleans sunset”) with “dew drops on leaves [in] New York State” for the “Nutcracker Suite.” As on previous pages, Schultheis includes a photo of himself. H er e , squinting in bright sunlight outside the Process Lab, he holds a “miniature file of photographs” taken on one of his East Coast “expeditions.”

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FA N TA S I A

FA N TA S I A

Dance of the Hours

Dance of the Hours

It was at the San Diego Zoo that Schultheis encountered four-year-old Puddles, a huge, temperamental female hippopotamus, the first ever exhibited in a West Coast zoo. Schultheis was fascinated by her glamour and got this expressive open-mouthed “smiling” portrait of her (top). Photographs of Puddles later helped animators craft whirling hippo danseuses in Fantasia’s “Dance of the Hours” segment.

As with the photos of the hippo allegedly smitten with Schultheis, the Disney artists found ingenious ways to “plus” the photographic research of real animals, turning them into caricatures with highly expressive poses that beg to be animated.

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At top, these beautiful rough blue-andorange pencil studies of elephants (by an unknown artist) show the influence of the aforementioned Heinrich Kley. Though the graphite lines are wispy and tentative, they convey dimensionality and weight, and in one drawing at top right a dainty and haughty personality emerges.

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FA N TA S I A

PINOCCHIO

The Pastoral Symphony

Searching for Geppetto

This page on the “Pastoral Symphony” is a mix of concept pastels, mostly by Model Department artist James Bodrero. At center is an animation drawing of Bacchus by Ward Kimball next to Schultheis’s photo of a Bacchus maquette sitting on a pile of real grapes (center left). In the top right corner , a bathing beauty poses with bow and arrow on a parade float. She stands in a pose similar to that of the goddess Diana in the finale of Disney’s “Pastoral,” where she shoots a comet from her bow that scatters stars across the horizon in the night sky over the Elysian Fields and Mount Olympus (shown at bottom lef t).

Amid more photographs for both environment and animal studies for the underwater scenes in Pinocchio, Schultheis includes a photograph of a charming model sheet of anthropomorphic lobsters (bottom r ight). Gifted concept artist Albert Hurter created the drawings.

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and Escape to the Sea

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FA N TA S I A Fantasound

This page moves into soundtrack recordings, spotlighting Fantasia’s innovative dimensional sound system, known as Fantasound. Music for the concert feature, with the exception of “The Sorcerer’s Apprentice,” was recorded at the Academy of Music in Philadelphia from April 3 to 7, 1939, with Leopold Stokowski conducting the Philadelphia Orchestra. (“Sorcerer” was recorded in Hollywood on January 9, 1938, with local Hollywood musicians.) At top is an array of photos of Stokowski conducting, part of a series taken during the Philadelphia sessions, one of which (not shown) landed on the November 18, 1940, cover of  Time magazine. It is doubtful that Schultheis took these pictures, for he certainly would have touted the fact that one of his photos had graced the cover of the prestigious publication. More likely, he shot other photos on the page: the “first Fantasound unit built in our studio” at center left ; sound editor Stephen Csillag at center r ight ; and music director and composer Ed Plumb with Deems Taylor at bottom r ight. Text from various uncredited publications dots the page, with Schultheis’s handwritten explanation of Fantasia’s “road-show equipment”; he is seen wearing earphones (center , second from r ight), tacitly suggesting that he was part of  Fantasia’s sound-recording team, which he was not.

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Leslie Iwerks; Eugene Salandra; Sue Perrotto; Vivian Procopio; Donald and Patty Morgan; Bob Swarthe; Edward E. Stratmann, associate curator of Preservation, George Eastman House International Museum of Photography and Film; Dana Hawkes; Lisa Philpott; Charles Solomon; Michael Barrier; and Sheila M. Saxby. My thanks to Pete Docter for taking time from his directorial duties at Pixar to write a succinct foreword. Diane chose well when she brought this project to Weldon Owen Publishing. The creativity of its team, lead by vice president and publisher Roger Shaw, is extraordinary, and everyone was a joy to work with. Lucie Parker, senior lifestyle editor, brought a charming can-do friendliness and

an energetic organizational expertise to the project’s many tasks; creative director Kelly Booth, art director Lorraine Rath, and artful designer Iain Morris made the book an elegant feast for the eyes. I was most fortunate to have benefited from the astute comments and cogent suggestions of two excellent editors: Laura Harger and Amy Bauman. Conor Buckley proved a most efficient permissions coordinator. For almost twenty-five years I have been represented by wonderful Robert Cornfield, whose wise guidance and friendship I rely on and treasure. This book would not have been possible without the creative advice, critiques, suggestions, and loving guidance of Joseph Kennedy, my dear husband and best friend. —John Canemaker

OTHER  BOOKS  BY  JOHN CANEMAKER The Animated Raggedy Ann & Andy (1977) Treasures of Disney Animation Art (1982), with Robert E. Abrams Winsor McCay: His Life and Art (1987; revised 2005) Felix: The Twisted Tale of the World’s Most Famous Cat (1991) Vladimir Tytla: Master Animator. Katonah Museum of Art catalog (1994) Tex Avery: The MGM Years (1997) Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists (1997) Lucy Goes to the Country (1998), with Joseph Kennedy Paper Dreams: The Art and Artists of Disney Storyboards (1999) Walt Disney’s Nine Old Men and the Art of Animation (2001) The Art and Flair of Mary Blair (2003; revised 2014) Two Guys Named Joe: Master Animation Storytellers Joe Grant and Joe Ranft (2010) Magic Color Flair: The World of Mary Blair. Walt Disney Family Museum catalog (2014)

Published by The Walt Disney Family Foundation Press®, LLC. 104 Montgomery Street in the Presidio San Francisco, CA 94129 No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, by any information storage and retrieval system, or by any other means, without written permission from the publisher. A production President, CEO Terry Newell VP, Sales Amy Kaneko VP, Publisher Roger Shaw Creative Director Kelly Booth Senior Editor Lucie Parker Art Director Lorraine Rath Project Editors Laura Harger, Amy Bauman Designer Iain Morris Image Coordinator Conor Buckley Production Director Chris Hemesath Production Manager Michelle Duggan Weldon Owen is a division of www.weldonowen.com All rights reserved, including the right of reproduction in whole or in part in any form. Copyright © 2014 The Walt Disney Family Foundation Press®, LLC. The Walt Disney Family Foundation Press is not affiliated with The Walt Disney Company or Disney Enterprises, Inc. Library of Congress Control Number: 2013955449 ISBN-13: 978-1-61628-632-3 ISBN-10: 1-61628-632-6 10 9 8 7 6 5 4 3 2 1 2014 2015 2016 2017 2018 Printed in China by Toppan Leefung.

O verleaf : Herman Schultheis and a 1937 Packard Coupe, across the street from NBC Radio City Studios at Sunset and Vine in Hollywood.

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Publisher Acknowledgments Weldon Owen would like to thank Emily Clark, Andrew Joron, Gail Nelson-Bonebrake, Katie Schlossberg, Hilary Seeley, and Marisa Solís for editorial assistance and Rachel Lopez Metzger for design expertise. We would also like to thank Jonathan Rinzler.

IMAGE CREDITS All images courtesy the Walt Disney Archives © Disney. 1938–1940 Camera Department Process Lab Notebook compiled by Herman Schultheis © The Walt Disney Family Foundation. Dumbo: Color Stereo Book Proposal by Herman Scultheis © The Walt Disney Family Foundation. Fantasia: Herman Schultheis Photographic Scrapbook of Los Angeles Premier © The Walt Disney Family Foundation. Alamy: 19 (top), 23 (left) Art Babbitt/Courtesy of the Walt Disney Archives: 67 (bottom left three) Aurelius Battaglia/Courtesy of the Walt Disney Archives: 83 (bottom left) ©Bonhams: 69 Bundesarchiv: 20 (bottom) Simon Burchell: 106 (bottom) Disney Concept Artist/Courtesy of the Walt Disney Archives: 9 (top left), 43 (middle right), 54 –55, 74 (top right),  83 (bottom center), 99 Jules Engel/ Courtesy of the Walt Disney Archives: 68 (bottom row) Courtesy of Didier Ghez: 51 Campbell Grant/Courtesy of the Walt Disney Archives: 68 (top) Milt Kahl/Courtesy of the Walt Disney Archives: 80 Ward Kimball/Courtesy of the Walt Disney Archives: 96 (bottom two) Paul Kossoff/Courtesy of the Walt Disney Archives: 58 (top row) Los Angeles Public Library Photo Collection: 1, 4, 13 (bottom left), 14 –17, 19 (bottom left and right), 24, 25 (left), 26 (right), 29, 31, 33, 34 –35, 41 (top row), 52–53, 72 (bottom left), 87, 90 (bottom), 97, 100 –101, 104, 106 (top), 108 (top row), 111, 276 –277, 283, 292 Howard & Paula Lowery: 10, 25 (right), 26 (left), 27, 37, 103, 108 (bottom) Harold Miles/Courtesy of the Walt Disney Archives: 81 Courtesy of Sylvia Moberly -Holland: 67 (top) Max Morgan/Courtesy of Robert Swarthe: 41 (bottom) Kay Nielsen/Courtesy of the Walt Disney Archives: 70 Picture Collection, The New York Public Library, Astor, Lenox and Tilden Foundations: 20 (top) Martin Provensen/Courtesy of the Walt Disney Archives : 83 (bottom right), 98 (top) George Rowley/Courtesy of the Walt Disney Archives : 43 (middle left) William Shull/Courtesy of the Walt Disney Archives: 43 (bottom row) Gustaf Tenggren/ Courtesy of the Walt Disney Archives: 61, 64, 65 Don Tobin/ Courtesy of the Walt Disney Archives: 43 (top row), 72 (bottom right) Bill Tytla/Courtesy of the Walt Disney Archives: 98 (bottom row) ©Disney/Courtesy of The Walt Disney Family Foundation: 7, 13 (bottom right), 38 (right), 39, 71, 77, 82, 83 (top), 89, 91 (all but bottom left), 94, 95 ©Disney/ Courtesy of the Walt Disney Archives: 3, 9 (bottom left), 38 (left), 44  –  47, 49 –50, 54  –55, 57, 58 (bottom), 60, 62–  65, 67 (bottom far right), 72 (top), 74 (top left and bottom), 75, 78 (top row and bottom right), 81, 85, 90 (top), 96 (top), 112–113, 116 –117, 134  –135, 152 –153, 176 –177, 202–203, 218  –219, 232 –233,  236 –237, 288 

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