Jose Carioca!!!!!!!! My second favorite Disney character! You keep putting out great stuff. I love watching all of it. It’s so hard to find stuff about him.
Man, in a lot of ways Disney hasn’t always been kind to Ward. First, his soup eating scene from Snow White was cut and destroyed him and almost leaving the studio, through the late 40s and the 50s, the Disney style was becoming more straighter and streamlined and Ward was having trouble fitting into that type of style and basically being bossed around by Milt Kahl about it. And then the few fights Ward had with Walt about Babes In Toyland and politics. It almost makes me wonder if Ward would’ve been one of the artists that could’ve joined the 1941 strike or maybe just leaving the studio by the mid 50s or early 60s. Idk if Ward was thinking possibly about joining the strike. This is just a theory that I just thought of
It’s just when the Disney style was changing to be more straighter and more refined, it didn’t meet up with Ward’s wacky personality. The style was all Milt Kahl and was how Milt became basically Disney’s top animator by then because he developed that style and he was basically bossing around the other animators about doing it exactly how he did it
It’s certainly a dilemma. One wonders if Ward would’ve been more comfortable at Warner Brothers or (later) UPA with the way his style was developing. Maybe he would’ve been more free at the other studios. At the same time, I think Disney needed to have its rebels to push its style forward. The Disney style wouldn’t have been the same without Ward’s impact. And to the Disney studios’ credit, their design sensibilities evolved; you don’t get 101 Dalmatians without UPA influence. Speaking of Milt, he had his own dilemma because he liked being a more broad animator but he got pigeonholed as doing the “boring” human characters because he was a better draftsman. Design-wise, he helped shaped a more graphic style where the characters look like geometric drawings but still move with the principles of animation. I basically see Disney animation with trying to reconcile two different priorities; they wanted more realism and believability to generate emotional attachment and identification from the audience, but they also wanted the expressiveness and imagination of animation. It’s not an easy balancing act.
@@Dawnemperor1 I absolutely agree with all of that. I could see Ward being an animator at Warners. He definitely would’ve fit right in with Tex Avery and Bob Clampett. I could tell Clampett probably would’ve loved Ward. I know Ward was good friends with Chuck Jones. They were partners from Chuck’s short tenure at Disney in 1953, when Walt paired them to develop the first stages of Sleeping Beauty. And I think Ward would’ve been a great director at UPA too
6:09 Definitely i watched this excerpt of "Three Caballeros" (taken from a profile documentary of Clarence Nash alias "Donald Duck") on VHS when i was a 6-year old kid. In Sweden. As I recall.
4:04 You get to see Ward in work in The Reluctant Dragon. 4:09 Close up of Art Babbitts hands drawing Goofy. And voila, the aftermath is good at 4:49-4:52
Oh how I love José Carioca.
Jose Carioca!!!!!!!! My second favorite Disney character! You keep putting out great stuff. I love watching all of it. It’s so hard to find stuff about him.
Man, in a lot of ways Disney hasn’t always been kind to Ward. First, his soup eating scene from Snow White was cut and destroyed him and almost leaving the studio, through the late 40s and the 50s, the Disney style was becoming more straighter and streamlined and Ward was having trouble fitting into that type of style and basically being bossed around by Milt Kahl about it. And then the few fights Ward had with Walt about Babes In Toyland and politics. It almost makes me wonder if Ward would’ve been one of the artists that could’ve joined the 1941 strike or maybe just leaving the studio by the mid 50s or early 60s. Idk if Ward was thinking possibly about joining the strike. This is just a theory that I just thought of
It’s just when the Disney style was changing to be more straighter and more refined, it didn’t meet up with Ward’s wacky personality. The style was all Milt Kahl and was how Milt became basically Disney’s top animator by then because he developed that style and he was basically bossing around the other animators about doing it exactly how he did it
It’s certainly a dilemma. One wonders if Ward would’ve been more comfortable at Warner Brothers or (later) UPA with the way his style was developing. Maybe he would’ve been more free at the other studios.
At the same time, I think Disney needed to have its rebels to push its style forward. The Disney style wouldn’t have been the same without Ward’s impact. And to the Disney studios’ credit, their design sensibilities evolved; you don’t get 101 Dalmatians without UPA influence.
Speaking of Milt, he had his own dilemma because he liked being a more broad animator but he got pigeonholed as doing the “boring” human characters because he was a better draftsman. Design-wise, he helped shaped a more graphic style where the characters look like geometric drawings but still move with the principles of animation.
I basically see Disney animation with trying to reconcile two different priorities; they wanted more realism and believability to generate emotional attachment and identification from the audience, but they also wanted the expressiveness and imagination of animation. It’s not an easy balancing act.
@@Dawnemperor1 I absolutely agree with all of that. I could see Ward being an animator at Warners. He definitely would’ve fit right in with Tex Avery and Bob Clampett. I could tell Clampett probably would’ve loved Ward. I know Ward was good friends with Chuck Jones. They were partners from Chuck’s short tenure at Disney in 1953, when Walt paired them to develop the first stages of Sleeping Beauty. And I think Ward would’ve been a great director at UPA too
Keep your videos coming!
6:09 Definitely i watched this excerpt of "Three Caballeros" (taken from a profile documentary of Clarence Nash alias "Donald Duck") on VHS when i was a 6-year old kid. In Sweden. As I recall.
4:04 You get to see Ward in work in The Reluctant Dragon. 4:09 Close up of Art Babbitts hands drawing Goofy. And voila, the aftermath is good at 4:49-4:52
Fun fact; that's Art Babbitt's hand doing Goofy drawing on The Reluctant Dragon when Benchley meets Ward Kimball.
That is a fun fact!!! So cool! Thank you for sharing!
@@Dizographies No problem. I just learned that fact couple days ago in video of Anthony's Animation Talk.
J is zh as in zsa zsa gabor. Zhoh zay not Spanish Jose. Rio sounds like Hio. zhaneiro
Amazing 😎 👍👍 👍 👍 👍 👍
Amazing
Ward kimbal and artistic creative galatical universe