By Jimmy Johnson
In this never-before-published memoir from the documents of The Walt Disney files, Disney Legend Jimmy Johnson (1917–1976) takes you from his beginnings as a studio gofer throughout the days of Snow White and the Seven Dwarfs to the hole of Walt Disney international hotel. Johnson relates dozens of non-public anecdotes with recognized celebrities, cherished artists, and, after all, Walt and Roy Disney.
This ebook, additionally the tale of the way an empire-within-an-empire is born and nurtured, lines Johnson’s thoughts in promoting, publishing, and direct advertising and marketing, to the formation of what's now Walt Disney documents. This attention-grabbing autobiography explains how the files helped verify the process Disney topic Parks, tv, and movie via best-selling recordings through icons equivalent to Annette Funicello, Fess Parker, Julie Andrews, Louis Armstrong, and Leopold Stokowski and the Philadelphia Orchestra.
Through Jimmy Johnson’s amazing trip, the movie, television, and recording industries develop up jointly as alterations in tastes and applied sciences form the area, whereas the legacy of Disney is built in addition to rigorously sustained for the generations who cherish its tales, characters, and music.
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During this never-before-published memoir from the documents of The Walt Disney records, Disney Legend Jimmy Johnson (1917–1976) takes you from his beginnings as a studio gofer throughout the days of Snow White and the Seven Dwarfs to the hole of Walt Disney international hotel. Johnson relates dozens of private anecdotes with well-known celebrities, cherished artists, and, after all, Walt and Roy Disney.
Extra resources for Inside the Whimsy Works: My Life with Walt Disney Productions
Sammy, who has an enormous list of great Hollywood song credits, is an engaging little guy. He sat at a stubby little piano and played and sang the songs from Alice. He has no singing voice, but he worked magic and almost carried the day for Alice to go into production before Cinderella. The rest of us saw heart and warmth in the story of Cinderella and none at all in Alice. Cindy carried the day, and a good thing it was, too. Unfortunately, you just can’t rush animation and it was several years before Cinderella went before the public in 1950.
My earlier raves about Snow White being a new art form were certainly borne out with Fantasia. This was indeed a new art form and I knew the picture would be a tremendous success. Alas, it was not to be. While some critics gave high praise to the film, others panned it mercilessly. Look magazine praised it as a masterpiece. ” Pare Lorentz in McCall’s Magazine wrote: “I advise you to disregard the howls from the music critics; Fantasia is a Disney and not a classical conception of a concert, and even though the music is broader and more powerful than any you’ve ever heard from the screen, it is the imagery and not the scores you will follow during the show.
He had been skeptical of the project right from the start. Yet in 1956, when he authorized me to set up a record company, he gave me the green light to produce an elaborate three-LP set of the soundtrack of Fantasia packaged with a beautiful book of art from the film. There is no question that Fantasia was far ahead of its time when first released in 1940. But there were other reasons for the initial lack of success. World War II was uppermost in everyone’s mind and people were not looking for anything new and experimental.