Walt Disney: The Triumph of the American Imagination

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Greatest Disney Book Ever!!!!!
The Ultimate Disney Biography
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Walt Disney: The Triumph of the American Imagination
Neal Gabler
Manufacturer: Knopf
ProductGroup: Book
Binding: Hardcover

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ASIN: 067943822X
Release Date: 2006-10-31

10 Second Interview: A Few Words with Neal Gabler

Q: Why Walt Disney?
A: When you write about someone as grandiose as Walt Disney, you may tend to get a little grandiose yourself, so forgive me. But I had always set the task for myself to examine the forces that helped define American culture in the twentieth century and those individuals who might be regarded as the architects of the American consciousness. Walt Disney was certainly one of those forces and one of those architects. His visual sensibility is arguably one of the two most important in the last century, along with Picasso's, yet Picasso has received dozens of biographies and Walt Disney had, when I began, not received a single full-scale, fully-annotated biography. I wanted to fill that gap in our cultural studies. I thought that if one could understand Walt Disney, one could go a long way to understanding American popular culture.

Q: One thing that strikes you when reading the book is that Walt Disney never had any money. With all his success how is that possible?
A: It is astonishing that Walt Disney was always--and I do mean always--in dire financial straits until the opening of Disneyland. The primary reason wasn't that his cartoons weren't making money, because they were--at least until the war in Europe when the loss of that market meant disaster for the features. But even as they were making money, the studio was losing money because Walt was constitutionally incapable of cutting corners, enforcing economies, laying off staff. The only thing about which Walt Disney cared was quality. He thought that quality was the way to maintain his preeminence, though quality also had the psychological advantage of letting him perfect his world. The problem was that quality was expensive. To cite just one example, Walt spent more than a hundred thousand dollars setting up a training program for would-be animators, though even then the return was small because Walt was so picky that very few of the candidates actually qualified to work at the studio. Money meant very little to Walt Disney. It was only a means to an end, never an end in itself.

Q: When did Walt first conceive of the idea for Disneyland and what were the initial reactions to the idea?
A: It is very difficult to determine exactly when Walt hatched the idea for Disneyland, though he seems to have been thinking about it for a long time, at least since the early 1930s. Certainly by the time he was taking his daughters, Diane and Sharon, to amusement parks on Sunday afternoons in the late 1940s, he had formulated the idea to establish a park that was clean and wholesome and where parents wouldn't be afraid to take their children. The original plan was to build the park on a plot adjacent to the studio in Burbank, where there would be a train, a town square, an Indian village and kiddieland rides, but as Walt's ideas expanded, so did the need for a bigger plot. As for the reactions to his idea, Roy was initially reluctant, as usual, and Walt's wife, Lillian, was firmly opposed, though she had also been opposed to his making Snow White. Still, Walt exaggerated the opposition as a way, I think of elevating his own foresight and determination. In fact, as the plan grew closer to realization, corporations sought to be included as lessees, and even banks, that had been skeptical, became more receptive. When the park opened, it was an instant success.

Q: What do you think has been Walt's most lasting impact/legacy on American culture?
A: One could answer this question in a dozen different ways depending on one's priorities, but I think his largest bequest is a matter of the American mind. Walt Disney helped change the national consciousness. He got people to believe in the power of wish fulfillment--in their own ability to impose their wills on a recalcitrant reality. That's what Walt Disney did all his life. He managed to replace reality with his illusions--what some people now refer to disparagingly as Disneyfication. He sold us on the idea of control because Walt Disney was himself a master of control. We see the results everywhere--from film to theme parks to virtual reality to virtual politics.

You Don't Know Disney: 10 Things That May Surprise You

1. He is not frozen. His body was cremated, and his ashes are interred at the Forest Lawn Cemetery in Glendale, California, near his studio.
2. Mickey Mouse's original name allegedly was Mortimer but Disney's wife Lillian objected because she thought it too "sissified."
3. Some of the names originally considered for the dwarfs in Snow White were: Deafy, Dirty, Awful, Blabby, Burpy, Gabby, Puffy, Stuffy, Nifty, Tubby, Biggo Ego, Flabby, Jaunty, Baldy, Lazy, Dizzy, Cranky and Chesty.
4. Walt Disney suffered a nervous breakdown in 1931 and descended into depression after the war, concentrating his attention on model trains rather than on motion pictures.
5. Fantasia was the result of a chance meeting between Walt Disney and symphony conductor Leopold Stokowski at Chasen's restaurant.
6. During World War II the Disney studio became a war factory with well over 90% of its production in the service of government training, education and propaganda films.
7. The studio stopped production for six months on Pinocchio because Walt felt the title character wasn't likable enough. During this time he devised the idea of introducing Jiminy Cricket as Pinocchio's conscience.
8. Walt Disney received more Academy Awards than any other individual--32.
9. Disney modeled Mickey Mouse on Charlie Chaplin and that Chaplin later assisted the Disneys by loaning them his financial books so they could determine what kind of proceeds they should be getting from their distributor on Snow White.
10. MGM head Louis B. Mayer once rejected the opportunity to distribute Mickey Mouse cartoons shortly after Walt had invented the character because Mayer said that pregnant women would be frightened by a giant mouse on screen.

From Neal Gabler, the definitive portrait of one of the most important figures in twentieth-century American entertainment and cultural history.

Seven years in the making and meticulously researched—Gabler is the first writer to be given complete access to the Disney archives—this is the full story of a man whose work left an ineradicable brand on our culture but whose life has largely been enshrouded in myth.

Gabler shows us the young Walt Disney breaking free of a heartland childhood of discipline and deprivation and making his way to Hollywood. We see the visionary, whose desire for escape honed an innate sense of what people wanted to see on the screen and, when combined with iron determination and obsessive perfectionism, led him to the reinvention of animation. It was Disney, first with Mickey Mouse and then with his feature films—most notably Snow White, Pinocchio, Fantasia, Dumbo, and Bambi—who transformed animation from a novelty based on movement to an art form that presented an illusion of life.

We see him reimagine the amusement park with Disneyland, prompting critics to coin the word Disneyfication to describe the process by which reality can be modified to fit one’s personal desires. At the same time, he provided a new way to connect with American history through his live-action films and purveyed a view of the country so coherent that even today one can speak meaningfully of “Walt Disney’s America.” We see how the True-Life Adventure nature documentaries he produced helped create the environmental movement by sensitizing the general public to issues of conservation. And we see how he reshaped the entertainment industry by building a synergistic empire that combined film, television, theme parks, music, book publishing, and merchandise in a way that was unprecedented and was later widely imitated.

Gabler also reveals a wounded, lonely, and often disappointed man, who, despite worldwide success, was plagued with financial problems much of his life, suffered a nervous breakdown, and at times retreated into pitiable seclusion in his workshop making model trains. Gabler explores accusations that Disney was a red-baiter, an anti-Semite, an embittered alcoholic. But whatever the characterizations of Disney’s personal life, he appealed to the nation by demonstrating the power of wish fulfillment and the triumph of the American imagination. Walt Disney showed how one could impose one’s will on the world.

This is a masterly biography, a revelation of both the work and the man—of both the remarkable accomplishment and the hidden life

John Harlin III was nine years old when his father made another attempt on a direct ascent of the notorious Eiger. Harlin had put together a terrific team, and, despite unending storms, he was poised for the summit dash. It was the moment he had long waited for. When Harlin's rope broke, 2,000 feet from the summit, he plummeted 4,000 feet to his death. In the shadow of tragedy, young John Harlin III came of age possessed with the very same passion for risk that drove his father. But he had also promised his mother, a beautiful and brilliant young widow, that he would not be an Alpine climber.

Harlin moved from Europe to America, and, with an insatiable sense of wanderlust, he reveled in downhill skiing and rock-climbing. For years he successfully denied the clarion call of the mountain that killed his father. But in 2005, John Harlin could resist no longer. With his nine-year-old daughter, Siena -- his very age at the time of his father's death -- and with an IMAX Theatre filmmaking crew watching, Harlin set off to slay the Eiger. This is an unforgettable story about fathers and sons, climbers and mountains, and dreamers who dare to challenge the earth.

A SON FACES HIS FATHER'S DEATH, OBSESSION, & HISTORY ON THE EIGER DEATH WALL.......2007-03-27

The Cultural Revolution was a watershed event in the history of the People's Republic of China, the defining decade of half a century of communist rule. Before 1966, China was a typical communist state, with a command economy and a powerful party able to keep the population under control. But during the Cultural Revolution, in a move unprecedented in any communist country, Mao unleashed the Red Guards against the party. Tens of thousands of officials were humiliated, tortured, and even killed. Order had to be restored by the military, whose methods were often equally brutal.

In a masterly book, Roderick MacFarquhar and Michael Schoenhals explain why Mao launched the Cultural Revolution, and show his Machiavellian role in masterminding it (which Chinese publications conceal). In often horrifying detail, they document the Hobbesian state that ensued. The movement veered out of control and terror paralyzed the country. Power struggles raged among Lin Biao, Zhou Enlai, Deng Xiaoping, and Jiang Qing--Mao's wife and leader of the Gang of Four--while Mao often played one against the other.

After Mao's death, in reaction to the killing and the chaos, Deng Xiaoping led China into a reform era in which capitalism flourishes and the party has lost its former authority. In its invaluable critical analysis of Chairman Mao and its brilliant portrait of a culture in turmoil, Mao's Last Revolution offers the most authoritative and compelling account to date of this seminal event in the history of China.

The poet prefaced each letter with an evocative notation of the city in which he wrote, including Paris, Rome, and the outskirts of Pisa. Yet he spends most of the time encouraging the student in his own work, delivering a sublime, one-on-one equivalent of the modern writing workshop:

In 1966 Ji–li Jiang turned twelve. An outstanding student and leader, she had everything: brains, the admiration of her peers, and a bright future in China's Communist Party. But that year China's leader, Mao Ze–dong, launched the Cultural Revolution, and everything changed. Over the next few years Ji–li and her family were humiliated and scorned by former friends, neighbors, and co–workers. They lived in constant terror of arrest. Finally, with the detention of her father, Ji–li faced the most difficult choice of her life.

Told with simplicity and grace, this is the true story of one family's courage and determination during one of the most terrifying eras of the twentieth century.

"Colors of The Mountain" is full of unforgettable scenes of rural Chinese life, as Chen recalls feasting on oysters and fried peanuts on New Year's Day, studying fifteen hours a day for ten months to prepare for the arduous college-entry exams, or praying before a hidden Buddha statue since Communism has outlawed religion. By turns funny, moving, and inspiring, this memoir has a universal appeal and a deep humanity.