Who hasn’t grown up with a love for animated films, particularly Disney classics?
An originator and innovator, legendary Disney animator and writer Floyd Norman had the talent to join Walt Disney Studios and work on films such as “The Hunchback of Notre Dame,” “Sleeping Beauty,” “101 Dalmatians,” “Mulan,” and “The Jungle Book.” I spoke with Norman about his work as an animator and what it was like working with Walt Disney himself.
Have you always known you wanted to do animation?
“Oh, yes — ever since I was a child. This desire goes way, way back to when I was probably 6-years-old.”
Did you go to school for animation?
“No. Believe it or not, back in the olden days, nobody taught animation. That may seem hard to believe today where many, many schools have courses in animation, but back when I was a kid, there was nobody teaching animation. Going to art school is all about learning the basics anyway, so when I attended art school I learned design and composition and color. Animation was something you learned on the job.”
What was it like working with Walt Disney on “The Jungle Book”?
“Well, it was not necessarily a bad experience. Walt was probably the toughest boss you could work for. But having said that, it didn’t mean that he was a man who was difficult to work for. He was extremely demanding, focused, and expected that everybody gave him their best and he expected no less than your best.
“However, I would never characterize Walt Disney as being a difficult boss or a boss who was difficult to deal with and work with. In many ways, he could be very kind and gentle, especially to us young kids who were inexperienced.”
What was it like being so young and having a job as demanding as a Disney animator?
“In many ways, it’s the job I’d always wanted, the job I’d have dreamed of. It maybe came along sooner and faster than I expected, but that’s all good. I just embraced the opportunity. The key thing is when opportunity comes, you best be ready for it. I had done my homework; I had become a real student of Disney — Disney art, Disney filmmaking — and sort of embraced Disney in every way I could. But when the opportunity came to be a Disney storyteller, I think I was well on my way; it wasn’t something that was foreign to me or new to me. I think deep down inside I knew how to do it, and that made that transition a good deal easier.”
What has been your favorite project you’ve worked on?
“Too many favorite projects to list. Many favorites, including the Pixar films, which were just fun to work on: ‘Toy Story 2’ and ‘Monsters, Inc.’ But going back to real hand-drawn films, ‘Sleeping Beauty’ was a masterpiece. I loved ‘Dalmatians’ for breaking the mold and being a totally new kind of Disney film. But probably ‘The Jungle Book’ is the unique experience because it was the one film where I worked with Walt Disney personally.
How would you describe the animation industry, from when you first started out to now?
“Very different, extremely different. Back when I started, animation was barely considered a profession. A lot of people didn’t even think one could earn a living being an animator. I think people saw it as kind of a goofy hobby.
“But today animation is a real job and, oftentimes, a well-paying job. Eager kids are at school today across the country learning to be animation filmmakers, and there’s more animated films being made today than I could ever have imagined. So animation is big-time today, and not only that, it’s big business as well.”
What is the process like to create storyboards for movies?
“The process is simply writing. We face the same challenge every writer faces. That is, sitting down with a blank sheet of paper. I think every writer has to deal with that. Whether you put words on it or pictures, it’s the same challenge, but you got to make something happen on that page. Every creative person faces that same challenge: what can you contribute? Can you do something unique or creative?
“Yeah, even though it may seem kind of fearful, I welcome that challenge and it’s what keeps me going. I love the fact that when I’m handed a new story assignment, be that a film or a print story, it’s still exciting and it’s still challenging and it’s sort of like breaking new ground every time. No matter how many times you do it, it always feels like the first time.”
What’s something people would be surprised to learn about animation?
“That there’s a lot of hard work. I think a lot of kids who want to get in animation don’t always understand the homework that must be done, the fact that you have to put in your time, you have to pay your dues, you have to learn how to become good at what you do — that is not learned overnight. Many a time, I’ve had young kids come here to Disney with a portfolio and they’ll think they’re ready for a job at Disney. And I’ll have to look at their portfolio and say, ‘You know, we appreciate your effort, but you’re not ready. You’re not ready to be a Disney artist; you haven’t done your homework. You haven’t put in the time to be a professional. You’re going to have to go back and work harder. And then come back and show us what you’ve done, what you can do.’
“I think that’s a very important lesson is that, if you want this job, you’re going to have to work for it, because it’s not an easy one. And I’ll admit it can be a fun job. It can be a lot of fun because I think creativity is always fun but you got to be able to do the job. You simply cannot walk in off the street and do it. You have to prepare yourself, and I continually talk to young students in art schools and colleges and talk to them about doing the preparation and being ready for that day they apply for a job to be sure they know how to do the job.”
You’ve accomplished so much so far in your life. What’s next for you? What is something that you still dream of doing?
“It’s always the next movie or the next book, doesn’t matter which because it all involves the creative process. I get just as excited working on a book as I do working on a new movie. The key thing is to stay busy and to stay creative and to never give up learning. That’s the key thing I try to pass on to students, too, is that your education is never completed; you have to continue to learn. And in many ways, that’s what will keep you young, you’ll never get old if you continue to learn.”
You were named a Disney Legend in 2007. How does it feel to be considered a legend?
“To me, it feels funny. It’s difficult to process that. I often tell people I’ve had the honor of working with the Disney legends. I find it odd to be one of that number. I really don’t see myself as being a Disney legend, but I will graciously accept the title. Maybe it’s the way an actor feels when he or she wins an Oscar, but it’s a great honor, and I appreciate it even though I still feel it’s undeserved.”
