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The Roots of Animation in Kansas City by Ron Green T the Turning Point of the a Recent Disney Movie “Saving Mr

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The Roots of Animation in Kansas City by Ron Green T the Turning Point of the a Recent Disney Movie “Saving Mr JCHS Journal — Summer 2014 15 The Roots of Animation in Kansas City By Ron Green t the turning point of the A recent Disney movie “Saving Mr. Banks,” Tom Hanks (who plays Walt Disney) recalls Kansas City boyhood memories. Ever been to Kansas City, Mrs. Travers? Do you know Missouri at all? It’s mighty cold there in the winters. Bitter. My dad, Elias Disney, he owned a newspaper delivery route in Kansas City. Thousand papers. Twice daily. Morning and evening edition. Walt Disney drawing at his Laugh-O-Gram animation studio. Elias, he was a tough Star, Walt would hang around the Gray) decided to form their own businessman. A save-a-penny staff cartoonists. They would give commercial art shop The Iwerks- anywhere you can type of fella so him old drawings, which he would Disney studio. he wouldn’t employ any delivery take home for study and practice. boys, he just used me and my big This first studio was located in brother Roy. Disney’s fascination with “…an unused bathroom in the animation intensified. In 1919, at headquarters of the National Harsh as this experience was for age 17, he took an art apprentice Restaurant Association” located at the young boy, the work ethic it job at the Pesmen-Rubin the southeast corner of 13th and established would serve Walt Commercial Art Studio, a studio Oak Streets. They later moved Disney well when he set out to within the Gray Advertising their studio to the Railway make his mark in the animation Company at 14th and Oak in Exchange Building located at the world. Kansas City. southeast corner of 7th and Walnut Disney’s illustrious animation Although this job only lasted for Avenues. career was significantly shaped by about six weeks, this was Disney’s The Iwerks-Disney studio was off his Kansas City experiences and first pay for cartooning work in a to a good start when Disney and connections he made as he real job. He was thrilled to be Iwerks noticed a help wanted ad in launched his career in animation. offered $50 a month, twice what the Kansas City Star. This resulted From his early boyhood days in he hoped to earn in the job. in Disney taking an animation Marceline, Mo., Walt was There he met Ubbe Iwerks, a year- position at the Kansas City Slide fascinated with drawing and older than Disney, who would Company in February 1920. cartoons. Any print material with become a lifelong partner in Iwerks joined him there a month cartoons that passed through the Disney’s animation career. Iwerks later. Disney home became training was a very talented artist and had his was a key career move for templates for young Walt. a knack for solving technology T Disney as the connections he His father, Elias, subscribed to the challenges. made there would provide the Appeal to Reason, a socialist Although Walt’s work at Gray animation leadership needed for newspaper published in Kansas. Advertising was short-lived, his many of his future ventures. In Walt would copy Ryan Walker’s relationship with Iwerks paid off fact, Kansas City Film Ad Service, cartoons from the newspaper for in February of 1920 when Disney as it was renamed shortly practice. When he delivered and Iwerks (also laid off from afterwards, became the training newspapers for the Kansas City ground for many of the founders 16 JCHS Journal — Summer 2014 of today’s leading animation studios. Here Disney met Fred Harman, Hugh Harman (his young brother), William McAtee (Red) Lyon, Friz Freleng, Carmen Griffin (Max) Maxwell, and George E. “Jimmy” Lowerre. All of these would be influential in Disney’s later success. Disney’s time at Kansas City Film Ad was also important because it helped him shift his skills from commercial art and still cartoons to animation. Walt was hired by the Show Card and Title Men group where he learned rudimentary animation skills. Walt Disney’s young staff working away in the Laugh-O-Gram studio. Disney was trained in stop-motion filming there by George E. Cartoons: How They Are Made, animation projects in the family "Jimmy" Lowerre, who later Their Origin and Development as garage. It was here that Walt worked at the Walt Disney Studios well as Eadweard Muybridge’s developed some local notoriety by for 28 years as a film editor. book Animals in Motion and pored creating his Newman Laugh-O- Disney worked with jointed paper over the pages to absorb as much Grams. These were filmed figures that were photographed learning as possible about editorial cartoons that poked fun at with successive changes in achieving natural looking police practices, bumpy roads and position to create animations. movement. other local issues. The latter The Kansas City Public Library versions of these were Walt’s first isney described this process efforts in true animation, and they in Timothy S. Susanin’s still has the Muybridge book in its D special collection that was most include some of the few examples book, Walt Before Mickey: of animation completed Disney’s Early Years, 1919-1928. likely checked out by Walt Disney. Iwerks applied his exclusively by Disney. “Of course,” said Walt, “they were technical prowess to make Disney’s local success with the very crude things then and I used immediate improvements to Newman Laugh-O-Grams …oh sort of little puppet things Kansas City Film Ad’s encouraged him to establish his …. I used to make little cut-away photographic process. own studio. In the fall of 1921, he things and joints were pinned and partnered with his Kansas City we’d put them under the camera Disney literally worked day and night to learn his new craft. He Film Ad co-worker Fred Harman and we’d maneuver them and to start the KayCee Studio. we’d make him do things.” impressed Arthur Vern Cauger, the company’s owner, with his oth retained their jobs at Film Walt and Iwerks set out to learn clever innovations and convinced B Ad and worked on KayCee all they could about animation. Cauger to let him borrow a film and animation projects nights Disney wanted to learn more company camera to experiment and weekends. As he had done in about animating drawn with illustrated animations in the the family garage, Disney illustrations to create a more garage at the Disney home at 3028 recruited teens to work with them natural looking movement. Bellefontaine Ave. at no pay in return for learning the They checked out E.G. Lutz’s After work, Disney would spend cartooning trade. The KayCee recently published book Animated hours late into the evening on Studio moved at least a few times JCHS Journal — Summer 2014 17 in its year of existence, from a room above the Kansas City streetcar barn at 30th & Holmes to a second-floor location above the Standard Phonograph Company at 3239 Troost Ave. Job ad that ran in March 1922 in the Kansas City Star. Walt’s KayCee Studio experience was noteworthy in that he O-Grams and the new Laugh-O- already developed himself, Iwerks, advanced his animation abilities in Gram fairy tales convinced him it Harmon and Ising. his work on the first of his Laugh- was time to leave Kansas City To fill those openings, he selected O-Grams: Little Red Riding Hood. Film Ad and work full time an odd lot of young men whose Walt’s Laugh-O-Grams were establishing a new studio. On May experience included a trolley modern versions of fairy tales 18, 1922, Disney incorporated motorman, a baker, and a Laugh-O-Gram Films, Inc. He loaded with gags and fashioned draftsman. Three of the five along the lines of the popular raised $15,000 from local animators he hired had drawn Aesop’s Fables animated by Paul investors and purchased cartoons for their high school equipment and furnishings for Terry, a popular cartoonist in the yearbooks. their new studio on the second 1920s. floor of the new McConahy These five new animators, most The KayCee Studio is also where Building at 1127 East 31st Street. under 25 years old, were: Disney hired Rudy Ising and Hugh Harmon – (19) apprenticed Hugh Harman, Fred Meanwhile, Disney worked on Harman’s younger brother. These building up his own staff for his Hugh was Fred Harman’s younger two would later join forces to new Laugh-O-Gram Studio. With brother. He developed an interest establish new animation studios the prospect of getting distribution in animation due to his brother’s that remain major production on his new Laugh-O-Gram series, work at the Kansas City Film Ad he needed animators. This posed a studios today. Service. He had done cartooning significant challenge because at for his high school yearbook, and t the KayCee Studio, Walt this time there was very little he worked after school and A continued to borrow A.V. going on in animation outside of weekends with Disney, Ising and Cauger’s camera, although by New York. Lyon at the KayCee Studios. now, Cauger sensed Walt was becoming something of a Disney quickly pulled in his Lorey L. Tague – (25) competitor during his off-the- KayCee Studio colleagues, Rudy Ising and Red Lyon. For additional Tague had been a trolley clock times. Ising recalled that motorman before being hired as an using Cauger’s camera wasn’t staff, he ran a want ad for animators in the Kansas City Star animator at Laugh-O-Gram. always on the “up and up.” newspaper that read: Carman “Max” Maxwell – (19) Ising recalled: “Disney used to sneak the camera out at night and CARTOONISTS—Animators wanted Maxwell had done cartooning for we’d shoot at night and then take for moving picture cartooning; expe- his high school yearbook and had rienced or inexperienced.
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