Bray Productions’ Koko the Clown was an exception, due to the brothers Dave and Max Fleischer.Ī passion for animation, a willingness to experiment and innovate, and partnering with their siblings were superficial parallels between Walt and Max, but the two men came from very different worlds. The movement of these films was often inconsistent and herky-jerky. While the original Gertie film shows a clear personality, many early cartoons were more concerned with simple gags predicated on animation’s ability to do anything.
Characters like Gertie the Dinosaur and Felix the Cat popularized animation as a novelty on a theatrical program, but they weren’t achieving much more than that. Early cartoon pioneers Winsor McCay, Pat Sullivan, and John Randolph Bray set up their studios there. To the extent that animation was a major business in the 1920s, it was centered in New York.
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Hollywood wasn’t yet the movie capital of the world when Walt Disney arrived in 1923, and it certainly wasn’t a magnet for cartoonists. And once, he forged a friendship out of an old and bitter rivalry. But Walt could also be a warm friend, a loyal employer, a quietly generous man, and someone prepared to mend fences. He was an easy mark for red baiters, and he wasn’t above holding a grudge. At various times in his life, Walt was a chain smoking, hard drinking, mood swinging, credit hogging workaholic who was intimidating, demanding, and unappreciative as a boss. Walt Disney was not always the avuncular figure he presented on his weekly television series nobody could be.
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