“Your Guide to WALT DISNEY STUDIOS in Burbank”

“Prologue - Production Begins & Wraps for Hyperion Studios”

In 1926, the Disney Brothers Studio (then located in the back of a real-estate office, in “Holly-mont”), moved to a new location – at 2719 Hyperion Ave., North Hollywood, over the hills of Griffith Park. Once relocated, the name of the Disney Brothers Studio was historically, officially changed to the Walt Disney Studio (see the business card below). The rented facility was large enough to accommodate the Disney brothers and their ever-growing staff. As a result, many pioneering and progressive developments, and historically ground-breaking achievements in the fields of motion picture arts and sciences were performed at the Walt Disney Studio on Hyperion.

It was at the new Walt Disney Studio on Hyperion, where the first Oswald the Lucky Rabbit cartoon was produced. Then, Walt Disney’s first fully-synchronized sound cartoon “Steamboat Willie” starring Mickey and Minnie Mouse was completed there. The successful “Silly Symphonies” series was launched from Hyperion, as well as Mickey’s first color cartoon “The Band Concert”. One of the greatest inventions to influence animated motion picture science was the multi-plane camera, which gave a three-dimensional quality to animated films, and was developed for use at Walt Disney Studio.

These led to critically acclaimed productions which had one Walt Disney a total of six Academy Awards between 1932 and 1937.

Walt Disney Studio and Walt Disney Company letterheads from the address on Hyperion in Hollywood.

Back in 1929, Roy Disney had helped the Walt Disney Studio become incorporated (under the banner of Walt Disney Productions, Ltd.; see business card above) attain the financial stability to enlarge their studio, but this expansion was not fast enough for the ever-growing staff. A decade later, there were four major divisions for artists - Story, Layout, Background, and Animation Departments. A new studio was needed, a fact that was even talked about within the pages of several employee made gag journals that were printed off and passed around the small Hyperion Studio. An article composed for “Deadline” (below; published 1937) joked: “Not so long ago when a fellow in one department wanted to know how someone in another department was ‘coming along’, he hollered across the room to him. The whole plant was virtually in one room in those days.”

The fact that many departments were within one room, was alluded to in *“Deadline”*, January 1937.

“The Mousetrap” (another unsanctioned and irreverent journal created by uncredited staff of the Walt Disney Studios, was titled after the namesake little café that was located across the street from the Walt Disney Studio on Hyperion). On several pages, the author painted a picturesque description of a new, larger studio within a fictionalized story of Walt daydreaming:

“By surface boulevards, subterranean tubes, and overhead viaducts, they converged on the studio. Three hundred and eighty gatemen checked them in at the three hundred and eighty gates of the studio which now covered thirty blocks, with four levels of sub-basements for parking. Animators each had two parking spaces, one for their car and one for their bonus- truck. Story department men arrived with two cars per man. They came Roman-riding like circus equestrians… Arriving employees were shot directly from their parking lot to their rooms through pneumatic tubes. There they snatched the pencils from the hands of the night shift and took up where the latter left off… In his sumptuous office on the twelfth Boor of the administration building. Walt picked up a phone… “Six zeppelin loads of new boys will arrive from Yugoslavia this morning and I've reserved the Queen Mary for a batch that will come from Finland next week. By the way, you’d better hire another hundred art instructors and as many blonde models. I expect to give these new lads a run for their moncy”… The carpenter shop called Walt to announce that nine new buildings of 1200 rooms, each would be completed by ten o'clock. “How about those new sweatboxes?” asked Walt. “Are they big enough?” “They’re big enough to serve until more are fnished this afternoon. They seat seven thousand each. The one in Unit J-39X is all ready for your meeting on Scene B-8 of F-19405. But watch out for wet paint.”

Walt hung up, put his feet on his desk, relaxed with his hands behind his head. “Ah! we’re expanding,” he mused. “We're getting Big!” Another phone rang, snapping Walt from his reverie. “This is the sound stage,” said the speaker. “That last recording of Mickey’s dialogue didn’t jell. Can you come over right away and say “Nuts?”

An excerpt of *“Mousetrap”* a gag magazine published 1937 jokingly made reference to a new studio.

Meanwhile, back in the real world, the Disney Brothers had taken on their most ambitious project to date, that of their first full-length cartoon feature, Snow White and the Seven Dwarfs. Walt knew that “whatever we accomplish is due to the combined effort. The organization must be with you or you don't get it done.” So his own staff increased exponentially, swelling from an organization of over six hundred persons (in 1938), to more than 1000 artists, animators, story men and technicians. All of these individuals were spread across the diverse departments, handling various processes involved in the production schedules of both short and feature-length films.

Walt Disney’s Snow White and the Seven Dwarfs was a success, and critics praised it as “a significant screen innovation which has charmed millions and provided a great new entertainment field for the motion picture industry.” The Walt Disney Studio “heightened the bar” across the industry, but especially for its own animated productions.

The public had proven there was a world market for Walt Disney’s product. While many projects were in the dreaming stages, production schedules moved forward to include “The Ugly Duckling” (a short film with a release date of 1939), and two-feature length motion pictures - “Pinocchio” (with a release date of February 7, 1940) and a “concert feature” (to be released November 13, 1940), that would eventually be billed “Fantasia”.

Both Fantasia and The Reluctant Dragon teased on this Christmas card.

Larger production facilities were now suddenly necessary, with offices fitting for an impresario. So, Walt and Roy utilized the profits from his Snow White and the Seven Dwarfs, to meet the studio’s expansion needs by purchasing a 51-acre parcel of land in Burbank, California, and setting out to build the brand-new, $3 million Walt Disney Studio. A move to a larger studio was now imminent.

“Industrial Designer & Architect Kem Weber”

In 1939, a pioneering, forward-thinking, and pragmatic architect named Kem Weber was hired to design the brand-new Walt Disney Studio facility. Kem was already renown for shaping the aesthetic of American modernism and “West Coast style”, and would soon apply his talents to the architecture, industrial product design, interior design, and master craftsmanship of the Walt Disney Studios.

Walt looks over plans for the new location of the Walt Disney Studios in Burbank.

Some of Ken’s visions were more whimsical than pragmatic, as was “One of Kem Weber's proposals for the gate to the Disney studios [which] had an allosaurus-like light fixture looming over the gateway.“

But in the end, Ken’s “Streamline Moderne” style would win out, reshaping the Walt Disney Studio into a veritable model of versatility and efficiency that would effectually streamline film production, and define the worldwide corporate headquarters of Walt Disney Productions.

Some of Kem Weber’s practical furnishings designed for the Walt Disney Studios in Burbank.

For instance, Kem Weber’s Airline Chair (designed circa 1934-1935) was not just a “chair” but a dynamic art sculpture that evoked speed through streamlined contours. Kem suggested this chair to Walt, for his Walt Disney Studios in Burbank, and a large order of 300 was filled through the Airline Chair Company of Los Angeles.

Original plans for the Walt Disney Studios included completely original, and new structures, like a Machine Shop, Processing Lab, areas to accommodate Ink & Paint, Reception, the Cutting Room, Cameras, a Print Shop, a Library, and a brand-new three-floor, eight-wing Animation Building. These were ergonomically placed around the property to create a clean and efficient workspace, and comfortable environment.

Buildings were designed with air-conditioning and sealed windows to prevent flow of dust, but enough windows to ensure adequate natural light.

Walt Disney inspects some of the new furniture being built for the Walt Disney Studios.

Many of these would be furnished with custom furniture like modular drafting tables suited to the specific needs of the animator.

“Construction & ‘Moving Days’”

Construction of the new studio was scheduled for completion by January of 1940. There was a looming production deadline “just around the corner” for Walt Disney’s Pinocchio followed by Fantasia, and other projects, so it was necessary that construction of the new studio be completed by January of 1940.

A holiday card teased Walt’s next big project - Pinocchio!

On December 24, 1939, the staff of the Walt Disney Hyperion Animation Studio in Los Feliz, began their move to 500 South Buena Vista St. in Burbank.

By May 6, 1940, the move from Hyperion to Burbank was finally complete. This included the employees, equipment, and even three massive structures from the old Walt Disney Studio location on Hyperion.

*The Ropes at Disney’s,* published by Walt Disney Productions Personnel Dept., copyright 1943.

Cartoon production was streamlined at the new facility as depicted in the 1946 “Cartoon Continuity Through the Studio” Diagram, below.

Cartoon Continuity Through the Studio Chart; approved May 3, 1946. This new, simplified chart shows the progress of cartoon production through the studio. This helpful, interesting and easily understood picture would help those in the organization grasp how a cartoon idea develops into the finished product.

This was owing to new facilities which adequately housed necessary departments for management of productions.

A Walt Disney Studios Operations Chart; 1940s.

As a result, production deadlines were met for Walt Disney’s Dumbo, Fantasia, Bambi and other films.

The need for a larger Walt Disney Studio is reenforced by the number of forthcoming projects. Trade Ads promoted Walt Disney Productions scheduled for release in 1940.

Soon after the move was complete, a special live-action theatrical feature called The Reluctant Dragon (released June 20, 1941), was produced. The Reluctant Dragon starred actor Robert Benchley and was unique – filmed on locations around the studio lot. As a result, the motion picture and provided contemporary audiences with a special vantage of the scope of production carried out at the new, streamlined Walt Disney Studios in Burbank.

Robert Benchley explores the Ink & Paint Department in this storyboard prepared for *The Reluctant Dragon*.

At “the crossroads of the Disney world” a special directional sign prop was constructed for a scene of The Reluctant Dragon.

The corner of **Mickey Avenue** and **Dopey Drive**.

Today, a reproduction of the sign reading “Mickey Avenue” and “Dopey Drive” stands at the famous intersection. While the names of the streets point in their true directions, many of the featured departments are inaccurate bu today’s layout.

We’re at the veritable “crossroads” of Walt Disney Studios! Since June of 1941, Mickey Avenue and Dopey Drive at Walt Disney Studios (Burbank, California), has become known for this film prop! This is thanks to its appearance in the Walt Disney Prod… — We’re at the veritable “crossroads” of Walt Disney Studios! Since June of 1941, Mickey Avenue and Dopey Drive at Walt Disney Studios (Burbank, California), has become known for this film prop! This is thanks to its appearance in the Walt Disney Production The Reluctant Dragon, and a certain photo featuring women of animation Eva Sinclair & Jackie Walker!

Pluto left his pawprints in the concrete near this fire hydrant at the corner of Mickey Avenue and Dopey Drive.

One of the oldest structures is actually the last remnant from the old Hyperion Studio facility. According to the Walt Disney Archives, the California Bungalow “was built in 1935 as the original home of the Disney Publicity and Comic Strip Departments. It was constructed at the Disney Studios on Hyperion Avenue in Hollywood and moved to the Burbank location as part of the construction in 1939-1940.”

The California Bungalow, received its name in later decades, after it’s ‘California Bungalow’ type architecture, which sets it apart from the prevailing “streamline modern” style around the rest of the Walt Disney Studio.

On the Walt Disney Studios Burbank lot, the Hyperion Bungalow housed many support services – Payroll, Publicity, Support, Traffic and finally the Post Office Mail Room, each located in this building at some time.

The entrance to the **Hyperion Room** of the **California Bungalow**.

“Its attractive style and utility, starting in the early years of the company, give it a special place in the history of the Disney Lot.”

The entrance to the **Silverlake Room** of the **California Bungalow**.

It appropriately houses two meeting rooms named the Hyperion Room and the Silverlake Room.

The Disney Employee Center Building is one of three structures from the old Hyperion Studio lot. It currently is home to the Disney Studio Store.

The Voice Casting Office Building was one of three buildings from the old Hyperion Studio. After it arrived on the Burbank lot, it was cast in a new role – as the Hyperion Health Club Building!

The top floor featured the “Penthouse Club” – a Men’s Club.

American-Swedish fitness coach Carl Johnson’s resume included Athletic Clubs in New York and Hollywood, before he was hired as the resident fitness coach of the Walt Disney Studio Penthouse Club, according to an expert of Dispatch at Disney’s, published 1943 (below). Carl was an inspiration to animators who pushed pencils and paper most of the day.

The old Shorts Building located at Dopey Drive and Minnie Boulevard. Many early short cartoons were produced out of this building including Mickey Mouse as well as feature-length film stars like Snow White.

The building is flanked by shady trees, and open streets, owing to the wise foresight of Walt Disney.

The wings of the newer buildings were constructed separately and connected with copper joints, allowing independent movement during earthquakes.

In the layout of the Original Animation Building, Walt’s older brother Roy O. Disney had an office suite on Floor 2, Wing “E”, and in Room 6 - known as Suite 2E6.

“INK & PAINT BUILDING”

Character Merchandising Offices, Second Floor,

These are the doors to Sound Stage A at the corner of Mickey Avenue and Dopey Drive, next to the theatre.

George Bruns’ and X. Atencio’s original musical soundtrack to the “Pirates of the Caribbean” at Disneyland was recorded here.

“Sound Stage A was constructed in the summer of 1939 for live orchestral recording. Because of the studio's location near the Burbank Airport, special priority was given to soundproofing the building with state-of-the-art acoustics, Including a ‘building within a building’ design for noise reduction, i it As an orchestra stage, “A” accommodated up to 68 musicians. During the years 1959-1986 nearly all of the music for Disney films was recorded here.

In the early years, Stage A housed ‘The Iron Pencil’ console originally designed for ‘Fantasia.’

In 1977 ‘Pete's Dragon’ tested & hew digital recording process, and two years later, ‘Black Hole’ was the first film to be fully recorded on 1” digital tape.

Other notable projects scored on Stage A include Mary Poppins, The Happiest Millionaire, Ben and Me, Sleeping Beauty, and The Living Desert, The Mickey Mouse Club also did much of their re-recording work on Stage A.

In 1987 ‘A’ was converted to a motion picture re-recording stage. In 1999 a major technical and architectural renovation was completed to provide the latest in technology for motion picture re-recording.”

Walt Disney Studios’ Soundstage 1 holds the title of the lot’s smallest production stage at 11,000 square feet, yet it packs a lot of “pixie dust” with its built-in 2,400-square-foot underwater tank.

Walt Disney Studios Stage 2 reigns as the largest production space on the Walt Disney Studios lot! Sound Stage 2 was constructed from 1947 to April 1949. The final product was 240 feet long, 130 feet wide, and 40 feet high – spanning a massive 30,099 square feet!

Memorable movies filmed on this location include 20,000 Leagues Under the Sea (1954), Mary Poppins (from June - September 1963), Something Wicked This Way Comes (1983), Armageddon (in 1998), The Princess Diaries (from October - December 2000), Pirates of the Caribbean (2003) and Pirates of the Caribbean: Dead Man’s Chest (2006).

Sound Stage 2 famously features floor hatches and a versatile 16,168-square-foot pit initially constructed for the production Armageddon, which was utilized for numerous other film productions (like Pirates of the Caribbean).

Sound Stage 2 wasn’t just utilized for television and film production. During the construction of Disneyland, the giant space inside SoundStage 2 had a weight capacity of 200,000 pounds – essential to support the construction the 108-foot superstructure of the Mark Twain Riverboat, before it was deconstructed and shipped to Disneyland for reassembly. At that same time, both the E.P. Ripley and C.K. Holiday Engines of the Santa Fe & Disneyland Railroad were constructed on an unknown stage of Walt Disney Studios.

Decades later, the unfinished, unedited “Wonders of China” premiered before “a handful of WED executives, project coordinators, and film technicians perched nervously on metal folding chairs in front of a series of giant screens”, within Walt Disney Studios Sound Stage 2 around September 1981.

In 2001, Stage 2 was rededicated in a grand celebration with Mickey Mouse, and bestowed this commemorative plaque.

By 1957, Walt Disney Studios covered 47 acres in Burbank, California. By that year, several developments were in progress, including the construction of Sound Stage 4.

As experimentation for The Land, a Sound Stage was used to house a mockup of a fog tunnel at the Walt Disney Studio in Burbank.

The former Hollywood location of the Disney Bros. Studios, had no dining facilities on the Lot. So when mealtimes occurred, Walt and company had to either bring their lunch to work, or search for local restaurants where they could find something to eat. At that time, many would go to The Mouse Trap cafe (located on Hyperion, right across the street), or nearby Tam O’Shanter (a unique Scottish restaurant and one of seven famous Lawry’s restaurants), or some other nearby dining establishment. This took some time to commute there on a lunch break.

However, the Walt Disney Studios in Burbank was different, equipped with its own counter-service “buffeteria” restaurant, appropriately named Walt Disney’s Studio Restaurant. What was good about it?

By the time that Van Arsdale France joined Disneyland, Inc. during Summer of 1954, he recollected, the “cafeteria… sold unbelievably… beer!” (See the Walt Disney’s Studio Restaurant counter service menu below)

The newly named Buena Vista Cafe features new spins on old favorites including a healthier version of Walt's recipe for Chili.

The new Walt Disney Studio in Burbank would enable Walt to complete two features at the same time (beginning with his adaptation of Pinocchio and musical Fantasia, which were both on the production slate at the time).

A sign featuring Stromboli advertises the grand opening of the **Walt Disney Studios Main Theater** on Wednesday, April 10, 1940.

Ahead of Pinocchio’s February release, the new Walt Disney Studio Main Theatre was scheduled to open its doors, on Wednesday, April 10th, 1940, premiering the new completed film for the studio staff. In the photo above, three Walt Disney Studio employees eagerly anticipate both the Grand Opening of the Main Theatre and Walt Disney’s Pinocchio.

The Walt Disney Studio Main Theater was streamlined with the geometry of Art Deco.

The delicate dandelions of the floral ballet from the “Nutcarcaker Suite” segment of *Fantasia* are memorialized in glass within the **Walt Disney Studios Main Theater Lobby**.

Eventually, the Walt Disney Studio came under the parent Company of Walt Disney Productions (formed by Walt and Roy Disney in 1923). Walt Disney Productions would continue to produce motion pictures for theatrical and television distribution and occasionally these would be screened at the Walt Disney Studio Main Theater.

The Walt Disney Studios Main Theater decorated for a showing of Star Wars: The Force Awakens.

The Walt Disney Studios Main Theater decorated for Disney Pixar Onward.

“Clubs & Activities”

In the early days after the move, Walt arranged for the women Ink & Paint Department employees to enjoy daily Tea Time in one of the quiet corridors of the Walt Disney Studios. By the time he was hired during the summer of 1954, Van Arsdale France observed how the Walt Disney Studio“was much more like a good-sized university.” He recalled that by that time the Studio was referred to as “the Campus.”

Van France went on to describe aspects that he called “unbelievable” - “People playing ping pong, volleyball, basketball, softball, or just lying around the grass.” There was a gym for male employees and there were clubs formed. Below, an adhesive sticker promoting the Walt Disney Studios Gem and Mineral Society.

The Walt Disney Studio Gem & Mineral Society was just one of several clubs that employees enjoyed. Pictured above is an official sticker promoting the Gem & Mineral Society.

“WALT DISNEY’S OFFICIAL OLYMPIC FLAGPOLE of THE VIII WINTER GAMES”

You can’t have a campus without a flag, and this flag pole is one of 43 that was produced for the 8th Winter Olympic Games in Squaw Valley California, from February 18-28, 1960. It was presented to Walt Disney as a gift, when he served as Chairman of Pageantry, and currently stands in front of the Walt Disney Studio Commissary in Burbank.

Flown at the top is the official Walt Disney Company Flag. This is the only place in the world where you can view the Walt Disney Company flag, featuring Mickey Mouse!

Construction of the Walt Disney Studios Water Tower began in 1938, and was completed in 1939. It was erected near a “Utility Building” (which would become the Mill), along what would be “billed” as Donald Duck Drive, near the Alameda Berm.

While most studio water towers had four legs, Walt’s brother suggested a unique six-legged design for the Walt Disney Studios Water Tower.

The Walt Disney Studios Water Tower stands at 135’ 6” (that’s 11’ 6” shorter than the Matterhorn Mountain at Disneyland). The tower had the capability of holding an impressive 150,000 gallons of water, which was very important for controlling any fires that may occur on the studio property, but especially for heating and cooling the air circulated through the studio buildings on a daily basis.

During the first few years of Disneyland’s operation, WED was still located on the Walt Disney Studios lot. As a result, many Disneyland ride vehicles were constructed here - close to the water tower. Around 1958, a Submarine Voyage Test Tank - a forty-foot concrete pool - was constructed on the Walt Disney Studios backlot. The water from the Walt Disney Studios Water Tower was no doubt used to provide water towers the pool. According to Claude Coats, the pool was covered with the “strangest crisscross of pipes, planks, ropes, wires, and at one side a waterproof tarp on a trestle that leads down into a full-sized mockup of the submarine.” The subs were checked for leaks. But even more – Coats continued: “So we… began to experiment with water, and lights, and bubbles, and how to make chemicals work underwater, and play with the fish, what kind of-find out about color, and all the different things began to come into it.” At the end of the test, the hole was filled in.

In 1984, the Mickey Mouse was added to the exterior of the structure. Today the water tower no longer functions but stands as a symbol of the studio! The Studio Water Tower has gone on to inspire two faux water towers (one at Walt Disney Studios theme park in Florida and at Euro Disney, Paris).

“THE ZORRO BACKLOT”

By 1957, Walt Disney Studios covered 47 acres in Burbank, California. By that year, several developments were in progress, including a Wooded Area for filming outdoor scenes and Exterior Sets for filming the Zorro TV series.

Necessity dictated a parking lot being put in its place eventually. As a tribute to filming on this site (from 1957-1959), the parking lot has been dubbed the Zorro Parking lot.

“THE WALT DISNEY PRODUCTIONS, HUEY MOBILE GENERATOR”

Whether you are a Cast Member or an honored VIP Guest, you may have noticed this gigantic artifact hanging out near the parking garage.

You may have visited Walt Disney Studios, and noticed this gigantic DC “Huey” Portable Generator hanging out near the parking garage! This early form of a direct current generator would provide much needed power to studio equipment (like lighting, c… — You may have visited Walt Disney Studios, and noticed this gigantic DC “Huey” Portable Generator hanging out near the parking garage! This early form of a direct current generator would provide much needed power to studio equipment (like lighting, cameras, and tools) during the 1950s. It may surprise you to know that this “larger than life” generator derives its nickname “Huey” (not from Donald Duck’s Walt Disney Productions co-star nephew, but) from the Paramount Pictures’ popular animated star - “Baby Huey”!

This Walt Disney Productions Huey Mobile Motor Generator is a distinguished, technological innovation – the historic first of three mobile generators to be designed by WDP! It would provide much needed power to studio equipment (like lighting, cameras, and tools) during filming.

In 1949, the mobile generator was designed by Disney technicians, who created a full-scale mock-up. Next, parts were fabricated by Westinghouse Corporation. When the parts were manufactured and received, the massive generator was constructed on the Walt Disney Studios lot. The final, first product was the Walt Disney Productions “Huey” Mobile Motor Generator – a “larger-than-life”, 48,500 lb., state-of-the-art, silent generator, which appropriately derives its nickname (not from Donald Duck’s nephew, but) from Paramount Pictures’ popular animated star - “Baby Huey”!

The Walt Disney Productions Huey Mobile Motor Generator itself, operated on an input power of 2300/4000/4600 AC volts, at 50 or 60 cycles. It featured an automatic, thermal overload system, which shut the plant down if bearing temperatures climbed too high, or other components exceeded operating limits. The result was an output of 300 kW of power at 120/240 volts DC.

The Walt Disney Productions Huey Mobile Motor Generator operating so silently within its insulated trailer, that it did not disturb the sound apparatus or cameras operating, just a few feet of away. This was due to soundproof housing, constructed of aluminum, fiberglass, plywood, and other soundproofing materials. In addition, its motor generator set was mounted on rubber pads to dampen out and absorb vibrations.

In 1990, this historic first Walt Disney Productions Huey Mobile Motor Generator wasrestored to operating standards for the 50th anniversary of the Walt Disney Studios!

The Walt Disney Productions “Huey” DC Generator.

The original Walt Disney Studios Animation Building was constructed in 1940, using the profits from Snow White and the Seven Dwarfs.

“Walt Disney’s Working & Formal Offices”

Walt had two special offices on the Walt Disney Studios Backlot, both located on the 3rd Floor, of the “H” Wing, of the Animation Building – inside Suite 3H. Walt used his “Formal Office” for appointments with special guests visiting the Disney Studio. However, his “Working Office” was used for conferences with directors, writers, artists, and almost anyone involved in creating Walt Disney Productions. A third room functioned as a Receptionist’s Formal Office where Walt’s secretaries worked.

Inside, the door between Walt Disney’s Working Office and his assistant’s office was always open, with animators constantly in and out. Those who knew Walt observed that “loud noises and occasional disturbances did not bother Walt Disney-he had fantastic powers of concentration.”

Walt Disney’s Working Office was where Walt transacted his day-to-day business, with his brother, business partner and company co-founder Roy O. Disney. Walt also held most of his meetings here. Walt Disney Archivists described a typical day :

“Walt arrived here at 8:30 a.m. each day, and from then on, people were ‘in and out’ almost constantly - including producers, directors, writers, artists, and marketing and merchandising advisors. Walt also conducted day-to-day business affairs here… Meetings in this space sometimes were attended by ‘wall to wall’ people, as Walt’s secretary Tommie Wilck remembered. On occasion, visitors were known to have taken seats on the floor! Walt’s last scheduled meeting was usually at 4:30 or 5:00 p.m. - but then he would read and edit scripts here until he left for home, usually around 7 p.m. Behind his desk were scripts, treatments and project outlines for then-current projects that were in the works around the studio. From film productions to preliminary work on EPCOT, inspiration for many of the company’s endeavors at that point occurred in this very room.”

“The Receptionist’s Office”

Even before heading into Suite 3H, we'll enter the same way that most Guests would! From the stairs, we make a quick turn to the left, and enter a hallway toward the Suite 3H Receptionist’s Office Waiting Room. On the way, we pass a number of familiar, framed artifacts.

We see the stunningly vibrant, “Disneyland, Anaheim, California (Near Los Angeles)” by Millard Sheets. The mixed media composition of paint, graphite and watercolor on paper was prepared for a 1965 promotional campaign for United Airlines.

“Disneyland, Anaheim, California (Near Los Angeles)” was created in paint and graphite by California watercolor artist Millard Sheets for a c.1965 United Airlines advertising campaign.

A lithograph print of the famous War Engine "General" presented to Walt by the cast of The Great Locomotive Chase, 1955.

A lithographic print of the famous General War Engine was presented to Walt by the cast of The Great Locomotive Chase, c.1955.

Just outside the a door hangs a reproduction of the 1960 Olympic Torch that was designed by John Hench when Walt Disney was Chairman of Pageantry for the Squaw Valley Winter Olympics. We take it all in, and open the doorway to the Receptionist’s Office.

Through the doors, we enter the Receptionist’s Office that was used by Walt’s secretaries & assistants. Just as with other aspects of the studios, the Small Office Desk was designed by Kem Weber. The telephone and lamp are similar to those of the era, but are actually props used in the production of Saving Mr. Banks.

Here, Guests would wait and relax, until their scheduled appointment with Walt.

Many of Walt’s Awards were put into cabinets, which were mounted to the wall of the Waiting Room of the Receptionists’s Office. Today, the room is furnished with prop reproductions that were prepared as set decoration for Saving Mister Banks. These include a stunning replica of Walt Disney’s Snow White and the Seven Dwarfs Honorary Academy Award®.

Atop the display is what appears to be a facsimile of the 1957 Academy Award Nomination for his Best Short (Two-reel) Subject “Samoa” (below). The documentary film presented the life and culture of Samoa with a runtime of 26-32 minutes long.

On November 28, 1956, the 38th annual convention of the National Association of Amusement Parks, Pools and Beaches is held in Chicago. Prior to this, representatives of the NAAPPB were given a VIP tour of Disneyland followed by brunch in the Disneyland Hotel. It was unanimous - only a year after Disneyland's opening, Walt Disney would be honored for raising industry standard with his new themed amusement park! An NAAPPB Award Plaque was given to Walt in appreciation for hosting the meeting.

According to National Geographic (published August, 1963), Walt’s Formal Office had “become so crowded [with awards] that recently four cabinets of awards were placed in the Studio Commissary. Some of the employees promptly nicknamed the commissary the ‘Awards Room,’” adding that “He is proudest, perhaps, of the Audubon Society Medal awarded in 1955.”

The group shot below depicts some of those awards and features three of Walt’s secretaries in one single photograph. According to curators of the Walt Disney Archives: “Nearly every day brings a new award of one kind or another to master of merriment, Walt Disney, seen here with his trio of secretaries who ‘keep the coast clear so I can do my work,’ Disney declares. From left Eunice Combs, assistant secretary of the interior; Lucille Hoey (Martin), secretary of the ‘exterior’; Disney, and Tommie Wilck, secretary of the ‘interior.’ Disney is holding his latest ‘gang dinner’ award from the San Francisco Press Club. November 10, 1965. Herald-Examiner Collection.”

Lucille Martin, was Walt’s (6th and final) personal secretary and assistant starting in 1964. She was one of three executive assistants and worked in Walt’s office for over a two-year period. Lucille remembered her role involving surprisingly little dictation: “He seldom gave dictation. He'd tell us what he wanted to say and we’d compose the correspondence. His other secretaries knew speedwriting, but I took my notes in shorthand. So when he saw my letters he’d say, ‘That’s exactly what I meant. It sounds just like me.’ Of course it did-I used his words!”

Lucille especially recalled how despite all the awards he’d received, Walt Disney has retained his friendliness and humility: “Walt made me feel comfortable right away. He saw himself as an ordinary guy. Still, I had a hard time not calling him ‘sir.’ I’d say, ‘Yes, sir,’ and he’d say, smiling, ‘Yes, Walt.’ After about a week he gave me a drawing of a girl carrying a sign that read ‘DOWN WITH SIR!’ I kept it on my intercom the whole time I worked for him.”

After Walt’s passing, Lucille continued with the company for 42 years. She first moved onto the role of executive secretary to Ron Miller as he ascended to President and CEO of the Walt Disney Productions.

In 1984, the new Walt Disney Company CEO Michael Eisner asked her to stay on in that role to assist him with administration. As to working with Michael Eisner, Lucille recalled: “Walt was businesslike; he didn't make small talk. He might raise his voice in impatience occasionally, but he never made you feel he was criticizing, just making suggestions for improvement. Michael Eisner has that same way about him.” Lucille added: “It was a very special time. But I have enjoyed all my days at Disney. When Michael came, I was surprised he wanted to me to stay on as his assistant. When I got my 20-year-service award, he made a speech about how glad he was to be at Disney. Then he twinkled-like Walt-and added, ‘And I got Lucille!’ Everyone applauded, and I felt wonderful!”

In 1995, Lucille was promoted to Vice President and special assistant to The Walt Disney Company Board of Directors, where she served as a liaison between the Company and the Board. She held that post up until her retirement from the Company in January 2006.

Now, it seems our appointment has come Please step this way into Suite 3H, as we provide Your Guide to Walt’s Offices!

Amidst the excitement of entering and standing inside Walt Disney’s Formal Office, one can’t help but be enchanted by the sheer volume of gifts, documents, office furnishings, and awards, and personal memorabilia.

One of the first things we pass after entering is a Photograph of the Disney Brothers, Walt and Roy.

The hand-carved wooden figure was a souvenir purchased by Walt Disney on a visit to New Zealand. In the center of the cabinet is an electric Praxinoscope gyroscope sent to Walt by the company, as a sample of early animation technology. Walt was so proud of it that he used it in an episode of Disneyland.

Underneath the framed photo is a cabinet in which Walt stored scripts for movies. On top or a number of interesting things with storied histories. To the right is a Crystal. To the left (among other things) is a souvenir wood-carved “Tiki” figure which Walt purchased on a trip to New Zealand. The tray leaning against the wall is an award for Lawn Bowling.

But in the center sits a most-fascinating Praxinoscope, a gift from the manufacturer. The Praxinoscope was invented by Charles-Émile Reynaud in 1877, as an improvement on the zoetrope. Instead of viewing the animated action through the narrow viewing slits found on a zoetrope, the animated action inside a praxinoscope was meant to be viewed through a series of inner angled mirrors in the center of the drum. Walt would have used to the Praxinoscope to show Guests how animation has progressed.

Walt Disney’s Formal Office was conducive to meetings – there were plenty of chairs.

Walt Disney’s Formal Office was also well-lit, by plenty of windows and electric illumination.

Walt Disney had a growing passion for miniatures ever since laying eyes on the Thorne Miniature Collection on display at the San Francisco Golden Gate International Exhibition of 1939. During the 1950s, Walt Disney made several trips to Europe, where he came across many fascinating, intricate miniature models, and figures, which were either purchased outright and brought home, or gifted by friends.

Walt’s tiny collection grew and when it was inventoried in the mid-1960s, the catalog exceed a thousand pieces. Some historians believe that Walt's strong enthusiasm for miniatures inspired not just the creation of Disneyland, but aided the development of specific attractions like Storybook Land and “It's a small World” and even some of the inventory purchased for the Decorative Gifts department of the Disneyland Emporium.

At home, Walt toyed with his small-scale trains. Around the Studio Shop, he made tiny pot-bellied stoves. In his Formal Office, he was surrounded by a small portion of his own miniature collection, which he proudly displayed in neat rows, behind his desk. Among those identified are Murano/Venetian-Style “Donald Duck”, “Pluto”, and “Tinker Bell” Hand-Blown Glass Figures, possibly a Sorelle Crystal “Cinderella Carriage”, a possible Hagen-Renaker Figure of Donald’s Nephew inside a geode, a Dormouse Doll, a 1960s Gund Rabbit Doll and miniatures of chairs, paintings on easels, and other furnishings.

Walt also routinely kept pieces of his personal projects in his Formal Office, some of which were not replicated for display. For instance, according to Designing Disney's Theme Parks: The Architecture of Reassurance, edited by Karal Ann Marling, “Walt set up cardboard dollhouses on his desk and fiddled with the furnishings: the inventory of the contents of his office taken at the time of his death in 1966 includes blueprints for twenty-seven such shoebox-style rooms.”

After Walt, much of his collection was preserved through Walt’s Family and can still be viewed at the Walt Disney Family Museum in San Francisco. Here in Walt Disney’s Formal Office, visitors can view a small representation of own Walt’s small world.

Walt’s Formal Office is decorated with photographs and Norman Rockwell sketches of his daughters - Diane and Sharon. — Walt’s Formal Office is decorated with many photographs of Diane and Sharon Disney as children and Norman Rockwell sketches of them. Behind Walt’s desk are drawings of Sharon on the left and Diane on the right.

On the wall, behind Walt’s desk are Four Photographs and Two Drawings of his two daughters of Diane Marie and Sharon Mae Disney. The photos and drawings of Diane and Sharon were originally mounted to the left and right of the shelf. Those of Sharon hung to the left, while those of Diane were displayed to the right.

The drawings of his daughters were accomplished by Norman Rockwell, drawn when Diane was about ten years old. As a sidelight, Walt Disney and Norman Rockwell regarded each other highly. They were personally acquainted, corresponded regularly, and even traded gifts of art and memorabilia.

Walt loved his girls and his office is full of keepsakes from their lives. Throughout his Formal Office, you’ll notice other mementos of Diane and Sharon on shelf behind the desk, on the walls, and atop the piano. Another sits to the right of Walt’s desk – Diane’s Baby Shoes, the pair of which he had “bronzed” as Bookends.

Turning to Walt’s desk, is another outstanding memento – an outstanding bell prominently positioned at the “bow”. Please CLICK the following gallery for a closer look.

Walt's Formal Office Coast Guard Bell Award.

Upon inspection, you’ll notice a plaque inscribed that it was a gift from the Coast Guard to Walt, after his completion of “Men Against the Arctic.”

Walt’s True-Life People and Places Adventure: “Men Against the Arctic” was a 30-minute-long documentary directed by Winston Hibler, in which photographer Elmo Jones chronicled routines of U.S. Coast Guard icebreakers. The completed film was part of “the big entertainment parade” of 13 motion pictures that were scheduled for release during the 1956 theatrical season. In the end, the exciting, factual film won the 1956 Academy Award for Best Documentary Short. While the Academy Award was displayed elsewhere at the studio, this Men of the Arctic Bell Award gift was placed at the forefront of the desk in Walt Disney’s Formal Office.

Walt’s personal secretary Lucille Martin recalled: “Walt usually arrived in the office at 8:30, and had meetings throughout the day. We always made his luncheon appointments for noon, but since he liked to chat, we’d serve juice first. He didn’t want to interrupt his guests, so at 12:30 one of us would ring a big ship's bell. ‘The girls say it’s time to go!’ he’d laugh.” This is the “Men of the Arctic” Bell Award that his secretary would ring when it was time for Walt to go to lunch.

Of all the knick knacks in **Walt’s Formal Office** (including the large collection of miniatures acquired from travels and friends), I would like to direct your attention toward the small **Grumman Gulfstream II** **Model Airplane**. This was an aircraft that Walt considered purchasing at the time of his passing, and the Company purchased in 1985.

In his lifetime, Walt Disney supported aviation transportation, hired personal pilot Chuck Malone, and established the Walt Disney Productions Flight Department. Through the years, Walt’s pilot was familiar with a number of aircraft including the 1956 Cessna 182 Skylane, the 1960 Beechcraft M35 Bonanza, Bonanza P-35, the 1962/1963 Beechcraft P35 Bonanza, and others.

But in 1962, Walt went “plane crazy” and ultimately ordered his first aircraft, at the price of $135,000 – a new 1963 Beechcraft Queen Air Model 80 (with an FAA-assigned tail number of N123MM; the “MM” in reference to Mickey Mouse). This airplane was followed by a new Grumman Gulfstream 159 (initially registered with the tail number of N732G; changed to N234MM) which was ferried from Bethphage to Burbank, from December 6-7, 1963, and ready by Spring 1964. Next, in August 1965, Walt bought a Beech King Air 90 to replace the Beech Queen Air 65. Last of all, in 1966, Walt ordered the Gulfstream II (GII59).

To the left of the bell you will notice the small Grumman Gulfstream II Model – a gift of the Grumman Aircraft Engineering Corporation. In letters to the Grumman Aircraft Engineering Corporation, Walt expressed his thoughts about the Gulfstream. He heard that it was “one of the finest aircraft built” and his pilots were happy with it. As a passenger, he remarked how “the comfort, the quiet and the beauty of this plane make it an outstanding one.” The fact that Walt loved the quality of Grumman is clearly seen through the four airplanes purchased within the final five years of his life – two of them, were engineered by Grumman!

When Walt purchased the Gulfstream II, he could not resist displaying a beautiful miniature model of the aircraft that he referred to as “one of the most beautiful and practical Gulfstreams that we have seen.” While two other model planes were displayed on a table in his Working Office, and near his Formal Office desk, his Grumman Gulfstream II Model was positioned near the forefront of his desk, a reminder of the gift that accompanied his proud purchase from the Grumman Aircraft Engineering Corporation.

The large windows permitted natural sunlight to permeate office throughout the day, filtered by the blinds.

Walt Disney wisely said: “There is more treasure in books than in all the pirates' loot on Treasure Island and at the bottom of the Spanish Main and best of all, you can enjoy these riches every day of your life.”

Proving this belief are the sheer volume of literary works found within Walt Disney’s “Formal” Office 3H.

This office of Walt Disney Studios contains a library of books on a variety of subjects, by numerous writers. Many books on the shelf were sent by people who thought their work would make a great film. The cherished collection of tomes, which includes signed copies of works from C.S. Lewis and Upton Sinclair.

P.L. Travers signed this copy of “Mary Poppins in the Park”, published by Collins, 1958.

Some books inspired Walt Disney Productions like (“Mary Poppins” and “The Swiss Family Robinson”), while others were autobiographical and historic works of non-fiction. Many of these were autographed by their author, like the 1958 edition of “Mary Poppins in the Park” published by Collins (above), which was signed by P.L. Travers, along with a personalized message to Walt Disney, back in 1961.

The books on the shelves were meticulously placed back in their correct order as detailed by Dave Smith's catalog and photos. Nothing on the shelves (even behind the piano) is “out of place”, but placed exactly as Walt left it, down to the direction each book was facing.

The shelves were filled with more than books – keepsake figures. Not pictured, is a Japanese Doll Gift presented by Nikon Hogaku, under the auspices of the Professional Photographers of America, to Walt for his “outstanding achievement in fostering international understanding through photography” gifted by a Japanese organization in 1961. This was in reference toward Walt Disney’s People and Places released the short film “Japan”.

A small Lincoln Bust was one of six bronze replicas produced to commemorate the opening of the State of Illinois Pavilion at the 1964/1965 New York World's Fair.

Walt Disney’s “Formal” Office 3H, Walt Disney Studios contains a library of books on a variety of subjects, by numerous writers. Some books inspired Walt Disney Productions like (“Mary Poppins” and “The Swiss Family Robinson”), while others were autobiographical and historic works of non-fiction. — **Walt’s Formal Office Bookcase:** The figures on top of Walt Disney’s Formal Office bookshelf consist of (1) Lincoln Bronze Bust (1 of 6 created to commemorate the opening of the Illinois Pavilion at the New York World's Fair of 1964-1965), (2) a German ceramic ice skater (perhaps related to his work with the Olympics), (3) a head of a boy, and (4) Johann Strauss.
Lower Shelf (out of sight): Fiat - silver; Aztec runner on pyramid - labeled "Homehaje postumo, 1966," Mexican.

The lower shelf of the bookcase holds an artifact described in records as a “Fiat” of silver and an Aztec Runner on Pyramid (a seemingly posthumous award labeled “Homehaje postumo, 1966,” Mexican.

Other bric-a-brac on the bookshelf includes an Ice Skater Figurine of a boy’s head produced in Germany, a Johann Strauss Ceramic, what is described in records as an “Oriental” Woman Figurine comprised of ivory on a wood base, a Horse with Rider Figurine of fine Danish ceramic, and a Mexican Doll of pottery and tin.

Kem Weber had purchased the c.1914 Knabe Piano and then took it apart and put it back together (after making some alterations). The result was a Custom Knabe Piano created for the office of Walt Disney. It was designed to fit into the tight office space, as well as blend in with the office decor.

**Walt’s Formal Office Grand Piano:** Pianists like Leopold Stokowski and the Sherman Brothers have sat at the bench in Walt Disney’s Formal Office. Atop the piano is a **Mousecar**, a photograph of Diane (resting on a red scrapbook presented at the Banshee’s testimonial luncheon in New York, October 2, 1947), another photograph of Diane holding a teddy bear, and a photograph of Sharon (just out of shot, to the right).

Now, Walt never learned to play the piano. But artists like Leopold Stokowski played some of the music from Fantasia on this piano.

On top of the Custom Knabe Piano is the “Strummin’ Song” Sheet Music, the first song that Richard M. Sherman played on this piano. Richard (along with his brother Robert B. Sherman) composed the scores for live action and animated television shows and feature-length theatrical Walt Disney Productions.

Richard Sherman fondly recalled some evenings, when Walt Disney would offer him a drink, and would simply say, “play it,” and Sherman knew just what Walt meant. He would then play “Feed the Birds” from Walt Disney’s Mary Poppins (Walt’s favorite tune).

Next to the “Strummin’ Song” Sheet Music is a Replica of Edvard Eriksen’s the Little Mermaid Statue (more on that later), and more Photographs of Walt’s Daughters – Diane Disney holding teddy bear and her sister Sharon. On the left is a Walt’s Mousecar (the prestigious Disney equivalent of the Oscar), and this one was presented to Walt by his brother Roy. Unseen, on top of the piano is also a Red Box, containing Scrapbook that was presented to Walt at the Banshee’s Testimonial Luncheon in New York, October 2, 1947, which honored Walt and the 20th anniversary of Mickey Mouse.

When Walt Disney’s Offices were on display at Disneyland for many years, the area where the couch sits, was where protective ropes and a glass wall were in place, enabling visitors to glance into the exhibit. For the exhibit, Walt Disney Company Archives had to rebuild the wall and reproduce the sofa to re-create this space...

Suspended above the couch and on the coffee table are two Automatons that many believe to have influenced the Imagineering of Audio-Animatronics. The one on the right was manufactured by Bontems during the early 1900s.

The one on the table no longer works, owing to the grandkid’s fascination with it (or so the story goes). You may have seen it on display in locations like Disney-MGM Studios in 2005.

In the center of the table is a Silver Bowl – a TV Guide Award, 1961-1962, for his best single dramatic program, The Prince and the Pauper.

**Walt’s Formal Coffee Table:** Ashtray of forged metal with the figure of a dog’s head ; Program Banshee’s Testimonial Luncheon for the 20th anniversary of Mickey Mouse, 1947 silver bowl; the native son award, presented to Walt by the Greater San Francisco Chamber of Commerce in 1965; Cigarette Box “To Walt Disney, an early 1900s Bontems cage - mechanical bird which perhaps led to Walt’s interest in Audio-Animatronics (one of Walt’s grandchildren broke it) ; Kabuki Dancers - fine Japanese figurines (Walt never visited Japan, but the Company did much business there).

Also on the Coffee Table is an Ashtray of forged metal with the figure of a dog's head, a Banshee’s Testimonial Luncheon Program celebrating the 20th anniversary of Mickey Mouse, a 1947 Native Son Award Bowl of silver, which was presented to Walt by the Greater San Francisco Chamber of Commerce in 1965. There is also a Cigarette Box inscribed “To Walt Disney” and a Mechanical Bird Cage which was broken by one of Walt's grandchildren.

There are two Japanese Ningyo (Dolls) in this area – On the floor is a Costume Doll and on the coffee table is a Clay Doll. In archival records, these were referred to in records as fine “Japanese Kabuki Dancers Figurines”, with a note that though “Walt never visited Japan… the company did much business there.”

In 1961, Walt Disney had flown to Europe, to view a rough cut of The Castaways starring the veteran actor Maurice Chevalier. On that trip, Walt purchased the rights to G. K. Wilkinson's novel, The Monkeys, which he adapted for the film “Monkeys Go Home” (in which Maurice Chevalier would also appear). As a gift, Mauriceautographed a photograph with a personal personalized message to Walt. When he returned to his Formal Office, Walt hung the Maurice Chevalier Photograph, representative of their budding relationship in 1961.

Maurice sure admired Walt’s creative visions as much as Walt appreciated Maurice’s artistic contributions to cinema and musical culture. After wrapping the latter motion picture in 1967, Maurice Chevalier divulged that he had never visited Disneyland, and a trip was arranged to Walt Disney’s Magic Kingdom along with his “Monkeys” costar Yvette Mimieux.

In Walt Disney’s formal office, there is a Chart (in rack at left of desk) containing the weekly schedule and cost report of production in progress at the Studio, a Briefcase (behind the desk) used by Walt to carry scripts home for study, a Phonograph (in drawers behind the desk) with speakers in the walls, a Winged Victory Award presented to Walt Disney for Cinderella, a Milestone Award presented to Walt by the Screen Producer’s Guild in 1957 for Walt’s historical contribution to motion picture history, an a trophy presented to Walt for Snow White and the Seven Dwarfs by the Venice festival of 1938.

While Walt met most of his Guests in his Formal Office, he transacted most of his day-to-day business in his Working Office. This was where he held most of his meetings.

You may notice that Walt’s Working Office Desk is really more of a table. Walt had it built “without drawers and lower than a conventional desk, which he liked to put his feet up on while reading screen plays.” Around Walt’s Working Office Desk were many additional chairs enabling studio artists and others to sit comfortably while working on various projects with Walt.

On his desk, was a small Letter Opener shaped like an aircraft propeller, inscribed “Walt Disney” and “QRS Neon” – the name of the company that manufactured the iconic neon “Mickey Mouse Sound Cartoons” sign for the original Walt Disney Studios located at 2719 Hyperion Avenue in Los Angeles.

Behind his desk and to the left, there was a Grumman Gulfstream I Model Airplane (above) – a gift from Henry J. Schiebel, Jr. Vice President of the Grumman Aircraft Engineering Corporation in Bethpage, New York. Walt displayed the model near a photograph of a Grumman Gulfstream I in flight.

After receiving the model plane, Walt wrote Mr. Schiebel (on March 15, 1964): “Thank you for the beautiful model of the 732 Gulfstream. It sits on the bookcase behind my desk where I can - and frequently do point to it with pride. We just completed our first round trip to the East coast and it was a wonderful trip. As they say... ‘It's the only way to fly.’ From all I hear the Gulfstream is one of the finest aircrafts built. I know my pilots are very happy with it and, speaking strictly as one of the passengers, the comfort, the quiet and the beauty of this plane make it an outstanding one. I'm sure you can see we're very pleased.”

Walt often flew aboard his Grumman Gulfstream I during the 1960s, as when he historically surveyed the land that would later be used for the development of Walt Disney World in Florida.

The important documents and publications outweigh the trinkets in Walt’s Formal Office. To the right of the Grumman Gulfstream I Model Airplane are weekly Scheduling Charts and Studio Cost Reports.

Behind Walt’s Working Office Desk were many awards which he cherished. There was a Trophy presented to Walt for Snow White and the Seven Dwarfs by the Venice festival in 1938. The Milestone Award presented by the Screen Producer’s Guild in 1957 for Walt’s “historical contribution to the American motion picture.” The Winged Victory behind his desk, was presented to Walt Disney for Cinderella by a French magazine.

But there was one award, which he always valued as the finest he ever received. In the center, one cannot miss a replica of Walt’s prestigious 1942 Irving G. Thalberg Memorial Award, a honor only periodically bestowed upon individuals for a body of work, by the Academy of Motion Pictures Arts and Sciences. As a film producer and pioneer, Walt Disney held the record in the motion picture industry for personally winning the most Academy Awards. In addition to many nominations, Walt received 32 Oscars total, and at the 14th Academy of Motion Pictures Arts and Sciences Awards Ceremony, he wasfurtherdistinguished by the exceptional 1942 Irving G. Thalberg Memorial Award“for consistent high quality productions.”

The true-life award is currently in the care of The Walt Disney Family Museum.

There are so many more miniature trinkets in Walt’s Working Office. To the right is a small Hand-carved Deer, which Walt fashioned by himself.

Behind Walt’s Working Office Desk, and below Walt’s 1942 Irving G. Thalberg Memorial Award are several books which he kept much closer to him, than the others on his bookshelf. These included The International Motion Picture Almanac, 1965 ; The Magic Bed-Knob, by Mary Norton (became Bedknobs and Broomsticks); Blackbeard’s Ghost, by Ben Stahl; The Heart of Our Cities by Victor Gruen (early Epcot research); The Year of the Horse, by Eric Hatch (became The Horse in the Gray Flannel Suit); Little Britches by Ralph Moody (became The Wild Country); Travels with Charley, by John Steinbeck; Abraham Lincoln, a play by John Drinkwater; The Modern Service of Commercial and Railway Telegraph by J.P. Abernathy, 1891.

The box located under (and to the right of) Walt’s Thalberg Award was a gift used to store Walt’s glasses. It was a Gift from General Electric for his work with the Progressland Pavilion at the 1964-1965 New York World’s Fair.

**Walt’s Working Office Pigeon-Hole Cabinet** - Walt kept his current scripts in the **Pigeon-hole Cabinet**.

The Pigeon-hole Cabinet (located to the right of Walt’s Working Office Desk) was used to store current scripts. Among the screenplays in Walt’s Pigeon Hole Cabinets was “The Happiest Millionaire”, the last film Walt worked on.

To the left, in front of the Pigeon-hole Cabinet is Walt’s Pacific Bell Phone. “After Walt’s passing”, it was hidden by his receptionist and later donated to the archives.

Under the Pigeon-hole Cabinet was Walt’s Briefcase (on the floor, to the right). It usually contained scripts that he would carry home to study. The initials on the bag “WED” are an acronym for his design and development group – Walter Elias Disney, which was formed to create Disneyland.

On the window ledge, over the Pigeon-hole Cabinet to the right, are several miniatures including a hippopotamus that looks similar to a model used for the Jungle Cruise.

You may have noticed another figurine on the window ledge – a ceramic Replica of Edvard Eriksen’s the Little Mermaid Statue in Copenhagen, Denmark. This was a gift to Walt Disney, presented by Hanne Plath (a Tivoli Gardens Tour Guide, who took part in the 1964 Disneyland Tour Guide Program).

The Royal Copenhagen Porcelain Factory was renowned for their porcelain authorized reproductions of Edvard Eriksen’s the Little Mermaid statue in Copenhagen, Denmark. Walt (who had an affinity for the works of Hans Christian Andersen) no doubt cherished the hand-crafted replica, showing it off inside his “Working Office” at the Walt Disney Studios in Burbank! And a replica of this statue would even come to rest near Walt’s final resting place.

There are a number of Animators Models (of Pinocchio, the Queen & King of Hearts and Lady) - sculptures that were used by Walt Disney Studio animators, to draw the different characters in various poses and bring them to life through the magic of animation!

Lamp and Curtains Walt Disney's Office.JPEG — Walt’s Working Office.

The carpeting and blinds are not original, but were sourced from the era, to simulate those which may have decorated Walt’s Working Office.

Over the couch is an framed image of the Disney Family Crest, and more photos of Sharon Disney.

To recognize those with the sweetest disposition, there was the Duckster Award. Walt Disney was the first recipient of the distinguished duck-shaped award in 1952, and it sits to the right of those other mementos.

What can’t be missed is a large-scale Bulletin Board and an impressive “blow up” of a 1966 aerial photograph depicting New Orleans Square under construction at Disneyland Park. This is the one that appeared in Walt’s appearance on The Jack Benny Hour, first aired November 3, 1965 (CLICK to WATCH).

Looking over it you note the land parcels around its periphery and other areas coded with yellow and red placards, which were under development. The red identified “recently opened” attractions like the Swiss family Robinson Treehouse and Tahitian Terrace, while the yellow represented “future attractions” like the New Tomorrowland and the Haunted Mansion.

Disney World Map Walt's Office.JPEG — **Walt’s Working Office Bulletin Board**: Disneyland map, 1966 (shows New Orleans Square under construction); Ed Wynn - portrait by Dave Iwerks; Disney plane - four photograhs of the interior
Documents relating to Disneyland, a list of big rental pictures of 1965, with note from Card Walker, dated September 1966; photo of Mr. Lincoln Audio-Animatronics figure; a Cal Arts Campus - artist's sketch; Walt Disney World - third preliminary plot plan of the “Florida Project” - Walt Disney World Epcot Center.

The Aerial Photograph is flanked by Four Photographs of Walt Disney’s Plane Interior, a Photographic Portrait of Ed Wynn by Dave Iwerks, a “Third Preliminary Plot Plan of Walt Disney World”, an Artist’s Sketch of Cal Arts Campus, a List of “Big Rental Pictures of 1965”, with Note from Card Walker, September 1966.

**Walt’s Working Office:** Beechcraft King Air 90 Model Airplane - the Disney plane prior to the current ones.

Below, is a model of the Beechcraft King Air 90, Walt Disney’s plane prior to the current models.

To the right of the Bulletin Board is Walt’s Screen Director’s Guild Honorary Life Membership, 1955.

**Walt’s Working Office:** Note the Fireman’s hat on the end table. It is labelled *“Honorary Chief, California Fire Chief’s Association, Walt Disney.”* On the wall beside the bulletin board, is a photograph commemorating Walt’s honorary life membership of the Screen Actor’s Guild, awarded in 1955.

Underneath the Bulletin Board was a large Sofa. The original couch from Walt’s era went missing many years ago, and was replaced by a reproduction. When the office was on display at Disneyland (for a number of years), the area where the couch would have been situated was replaced with a glass wall, ropes and barrier, by the Walt Disney Archives.

Behind Walt’s Working Office Desk were many awards and books which he valued. There was a Trophy presented to Walt for Snow White and the Seven Dwarfs by the Venice festival in 1938. The Milestone Award presented by the Screen Producer’s Guild in 1957 for Walt’s “historical contribution to the American motion picture.” The Winged Victory behind his desk, was presented to Walt Disney for Cinderella by a French magazine.

**Walt’s Working Office Bulletin Board -** To the right of the bulletin board is Walt’s Screen Director’s Guild honorary life membership, 1955.

“Walt's Private Kitchen”

Few things may be more intriguing than the secretive cooking space connected to Walt's Working Office. The entire kitchen could be illuminated, and entirely concealed or revealed behind an electronically sliding door, with the push of a button.

Walt’s Private Kitchen was designed with the most modern sensibilities in mind - cabinets with illuminating pantry areas; and the best range, sink, and refrigerator that General Electric had to offer in 1940.

These were installed more than two decades before Walt Disney collaborated with General Electric for the presentation of Progressland at the 1964/1965 New York World’s Fair.

The cabinets may have held popular dining ware of the era, like Tom & Jerry Punch Bowls and Mug Sets.

The circa 1940 photo on the wall of Walt’sPrivate Kitchen captures a young Walt in a rare “hands-on” moment of salad preparation, as his mealtime routines often included choices like sandwiches and canned chili.

Disneyland Foods Employee Dean Penlick recalled: “Walt's appetite was very plain, American. He liked hot dogs, hamburgers, chill.” Around his Walt Disney Studios Walt’s Private Kitchen was usually stocked with some of those same favorite foods and beverages which Walt preferred.

There were Bird’s Eye Green Peas, and packages of JELL-O. There were cans of SPAM, Gebhardt’s Chili & Hormel Chili, and V-8 Vegetable Juice. Walt was such a big V-8 fan that it became a tradition to serve him a glass everyday at noon.

**Walt’s Working Office Kitchen:** featured c.1940s General Electric appliances (including a range, sink, and refrigerator), completely concealed by sliding shutter doors, electrically operated with the push of a button. Walt was a big fan of V-8, that it became a tradition to serve a glass at noon.

“Walt’s Private Quarters”

Departing Walt’s Working Office, Guests pass through a closet space which connects Walt’s Working Office with Walt’s Private Quarters.

Walt Disney once lived only for his studio, working throughout the day and night. His new office at the Walt Disney Studios was designed with a Private Quarters. This was an area where, Archivists explained, “Walt would… sometimes get massages to relieve pain in his back so he could drive home.” Walt’s Private Quarters was also a space where he could relax and catch a few hours’ sleep in a small bedroom.

Walt didn’t just sleep in his Private Quarters. According to one account an elaborate train layout once filled this entire room that adjoined his office.

Above, you can see the north wall of Walt’s Working Office circa 1940, with some Kem Weber-designed furniture intended for Walt’s Private Quarters. Inside was an moderne Airline Chair (1934-1935) and a Small Table (1939-1940).

Kem also custom designed a General Electric Wall Clock, which was constructed by General Electric, for Walt’s Private Quarters, around August 9, 1939-1940.

A General Electric Clock custom designed by Kem Weber (c.1939-1940) for Walt’s Private Quarters. A facsimile of a design for the clock is on display nearby. Kem also designed the Airline Chair (c.1934-1935) and a Small Table (c.1939-1940) which also decorated Walt’s Private Quarters. Similar tables were often “paired” to create larger workspaces.

A facsimile of a developmental painting originally created by Artist J. Siegel for the Fantasia Pastoral Symphony, accomplished in graphite, gouache and watercolor on paper, c.1939.

Here, some of Walt’s personal effects are also on display. We observe seemingly common things – a c.1936-1941 Bank of America Deposit Book, a California Association of Highway Patrolman Sponsor Card, a c.1930s chrome Penlight made by Everyready, a c.1950s Edaville Railroad Pass (from South Carver, MA), a c.1930s Polo Mallet, a c.1960s pair of Reading Glasses, a Remington 60 DeLuxe Electric Shaver, a Seattle World’s Fair Gold Pass, a Straw Hat, and more items. These things both humanize, and give dimension to the legendary man, whom many of us only know only by the work that defined his name.

On “Walt’s Role,” the “Walt Disney Productions Annual Report to Shareholders and Employees” for the fiscal year ending October 2, 1965, shared an interesting answer from Walt. “Responding to a question posed by the National Geographic, Walt Disney described in this way his role as the company’s creative catalyst. ‘You know, I was stumped one day when a little boy asked, ‘Do you draw Mickey Mouse?’ I had to admit I do not draw anymore. ‘Then you think up all the jokes and ideas?’ ‘No,’ I said, ‘I don’t do that.’ Finally he looked at me and said, ‘sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody.’ I guess that’s the job I do.’”

During 26 years (1940-1966), Walt “buzzed along”, creating Disneyland, developing plans for Walt Disney World and EPCOT, overseeing television programming like The Mickey Mouse Club, and making animated classics including Cinderella, Lady and the Tramp, and Sleeping Beauty-all from within the walls of Suite ЗН!

“Suite 3H ‘After Walt’”

After Walt’s passing in 1966, the office doors were shut (allowing only brief entrance by the immediate family members to procure select mementos). Some items were procured by employees. For instance, the Rotary Telephone which sits near Walt’s Formal Office Desk was owned by Pacific Bell and hidden by one of his former receptionists.

Now after some time, the Walt Disney Studios was approached with a proposal by Dave Smith, to thoroughly archive the contents of the Walt Disney’s Formal & Working Offices. This proposal was accepted and the “Chief Archivist Emeritus” became the first person to enter, preserving and taking inventory of every item in the office, right down to the number of pencils on Walt’s desk.

Many new treasures were discovered, like one of Walt’s 1960s Eláan Neckties, which had found it’s way to the back of his desk drawer. There was a copy of a script for Walt’s first synchronized sound cartoon “Steamboat Willie”, which featured illustrations by Ub Iwerks. As Walt was known to always look at the future, he was likely sentimental over his historic cartoon, as the script was found in Walt’s office desk, in his possession for nearly 35 years.

Also, around this time, that Rotary Telephone that was hidden and preserved by one of his former receptionists was donated back to the Walt Disney Archives.

After Dave “moved out” of Suite 3H, it was reopened, and first used by Ron Miller (Walt’s son in law and bridge to Walt and Roy during the mid to late 1970s). He was followed by Roy E. Disney, and some who worked on the studio lot, may have fond memories of the rarest privilege of all - to have been invited to the third floor (on the corner) and into Walt’s Working Office for a meeting.

After Roy E. Disney, the offices were closed yet again for a few years. But when the Suite 3H reopened, it was offered to Shaun Cassidy, then ABC, Cherry/Wind Productions CEO Marc Cherry (producer of The Golden Girls and Desperate Housewives).

“New Magical Opportunities for Walt’s Offices”

As for the contents of Walt Disney’s Working & Formal Offices, they were occasionally the subject of curated, museum exhibits. For instance, if you visited Disneyland beginning in 1973, you may recall seeing a recreation of Walt Disney’s Working & Formal Offices on display in “The Walt Disney Story” Exhibit at the Main Street Opera House. If you were a Disneyland Cast Member during the early 1980s, you may have also seen glimpses of Walt Disney’s Working Office inside the pages of the “Welcome to Disneyland” Orientation Book.

Walt Disney Archives arranged for the five-year display of Walt Disney’s Offices, as a part of the “Walt Disney Presents” exhibit in Disney-MGM Studios, at Walt Disney World, from 2001 to 2005. Following that period, Walt Disney’s Offices continued on display until 2015. During that time, they made an appearance at the Reagan Presidential Library, from July 6, 2012, through April 2013, as a part of the special exhibition “D23 Presents: Treasures of the Walt Disney Archives”.

In 2015, the 75th anniversary of Walt Disney Studios offered a magical opportunity to reinstall Walt’s office belongings. Though portions of Walt's office had previously appeared within Disney Theme Parks in the past, his complete offices had never appeared in full, and in its place of origin.

This proved to be a monumental the task for the team of the Walt Disney Archives. The curtains smelled like smoke and required dry cleaning. The carpeting and blinds had been replaced by other tenants, and needed to be “sourced” from the era. And so began the refurbishment of the office rooms.

A few accurate reproductions of Walt’s possessions needed to be crafted. Some examples are Walt’s numerous awards which populated the Receptionist’s Office, and which are currently in the care of the Walt Disney Family Museum. Other items which were lost to time or too sensitive to display, and required a master replica.

Using photographic documentation and Dave Smith’s catalogues as a guide, the archivists began the meticulous placement of nearly everything else that was authentically Walt’s – working scripts, calendars, hand-written notes. Each one was placed exactly where Walt left them, and as they were found by Walt Disney Company Archivist Dave Smith, in 1970. After all the efforts, this would be the first time that Walt’s materials were back in his office since 1973. The result is that in the present, Walt’s offices appear to be filled with many of their authentic contents!

“The Roy O. Disney Marketing Building”

In September of 1976, Walt Disney Productions dedicated the new Roy O. Disney Marketing Building (shown in the pages of “Walt Disney Productions Annual Report 1976”).

“The Walt Disney Feature Animation Studios Building (Roy E. Animation Building)”

The Walt Disney Feature Animation Studios Building was designed by Robert A.M. Stern Architects, as a four-floor, 240,000 square-foot animation facility that served as the headquarters for Walt Disney Picture's Feature Animation Studios.

Marvel at what is tucked away inside the iconic ROY E. ANIMATION building!

Until construction was completed in 1994, animation production was virtually non-existent on the Walt Disney Studios’ Burbank lot for nine years. According to curators of The Walt Disney Archives: “The Animation Building opened in 1994, and followed on the heels of the worldwide success of ‘The Lion King.’” The official dedication and ceremonious champagne toast took place on December 9, 1994.

The Feature Animation Building would become home to many departments like Communications (located in the basement),

After fifteen years, the building was renamed the ROY E. ANIMATION Building in May 2010, in honor of the late leader who helped usher in a new golden age of Disney Animation.

The “A” on display at a previous D23 Expo, signed by many of the Studio's talents, is from the original signage, which was replaced when the building was renamed. The building no longer holds animation facilities, but it currently serves as one beautifully rendered and iconic Burbank City landmark!

The camera had the ability to zoom (that is, to move up or back on a camera image by using a zoom lens).

By some accounts, the Walt Disney Studios previously lacked sufficient space to house an extensive archive. Walt Disney Studio animator Ward Kimball was a known collector of “Disneyana” and addressed this in a letter to Roger C. Nelson, proprietor of Remember When Nostalgia Shop in New Orleans, Louisiana: The “Merchandise Department says that if they had kept just one, repeat ONE, of each franchised Mickey item, the combined collection would fill our entire 3-floored animation building!” Thisletter is dated July 16, 1970 – less than a month after the Walt Disney Archives was founded. Ward may have made this statement, firmly believing that “all of this accumulation” (of Mickey Mouse watch variations and toys) “will some day find its way into our contemplated museum at either the studio or at Disneyland.”

A version of this graphic (above) appeared perhaps for the first time in publication, on page 12 of Los Angeles Times WEST magazine, published October 13, 1968.

Within a few days of Ward Kimball composing his aforementioned letter, The Walt Disney Archives was first established under Director David R. Smith, on June 22, 1970. The goal of The Walt Disney Archives was to “collect and preserve the historical materials relating to the Walt Disney and the company he founded, and to make these materials available for researchers,” according to one Walt Disney Archives souvenir brochure produced during the early 1980s.

The Walt Disney Archives Reading Room proudly showcases a number of artifacts related to Walt Disney Productions and Disney Parks. Here, we can see a few of the Archives’ oldest artifacts, related to the original 1937 release of “Snow White and the … — The Walt Disney Archives Reading Room proudly showcases a number of artifacts related to Walt Disney Productions and Disney Parks. Here, we can see a few of the Archives’ oldest artifacts, related to the original 1937 release of “Snow White and the Seven Dwarfs” - including these “standees” (believed to be created for a European release of the film), and (one of the oldest Walt Disney Archives costume pieces) a bodice worn during production, by Snow White live-action reference model, Marge Champion! You may recall that the Walt Disney Studios in Burbank (as well as the Walt Disney Archives) owes its very existence to the profits from the theatrical release of Walt Disney’s first animated full-length feature film - Snow White and the Seven Dwarfs!

Six years later (in 1976), the Walt Disney Archives appropriately moved into a two-floor office of the Roy O. Disney Building in order to accommodate the collection, its offices, and services. Therein the Walt Disney Archives Reading Room, temporary exhibits could be displayed and study could be performed. Unseen to most, the Walt Disney Archives would also contain Audio-Visual Rooms, an Office, a temperature and humidity climate-controlled Storage Area (for the preservation of artifacts and other historic materials), and a Workroom.

Some of the historic materials preserved within the Walt Disney Archives include, but are not limited to a collection of :

•Character Merchandise Samples (featuring the likenesses of Mickey Mouse and other Disney characters) and Facsimiles (as well as related catalogues, contracts, and photographs of items not currently part of the collection) dating from the 1920s to the present. This illustrious collection of vintage Disneyana has enabled the Archivists to answer questions for collectors and provide valuable information company-wide.

•a Film Collection which is housed in another facility. By 1959, master negatives of Sleeping Beauty and other Disney films were kept in a specially built, two story concrete “vault” at the Disney Studios. In this valuable vault inventory were some 17 cartoon features; 11 full-length live-action features; 4 full-length “True-Life” pictures; and nearly 500 short subjects, mostly cartoons and travel pictures from Disney's People and Places series.

•Music in the form of a collection of over 1,300 records produced by the Walt Disney Music Company, and “several hundred singles and albums of Disney songs by other recording companies, such as the first records put out in 1934 by RCA Victor along with tape recordings and sheet music.”

•“Oral Histories” or, “taped interviews with Disney employees, covering many different topics”, and “taped transcripts of… most interviews and speeches”.

•Original Artwork including animation drawings, backgrounds, layouts, renderings, story sketches, and some cels related to film production.

•Photographs (of both publicity and movie stills) and more than half-a-million Negatives

•Production Files including drafts and scripts (as well as many props and costumes related to Walt Disney Studio productions thru the decades)

•Publications (by some time in the 1970s, the “complete” and archived collection included “more than 900 titles of Disney books published in the United States, as well as some “foreign Disney books published in over 35 languages”, “domestic Disney comic books and magazines, along with most of the foreign ones, dating back to 1932”)

•Publicity Materials (both “clippings” and materials prepared for press release and publishing in newspapers and magazines).

•Theme Park Materials including Audio-Animatronic figures and materials, correspondence files (i.e. Inter-Office Communications and letters), models, photographs, plans (as elevations, floor plans, details, and much more), ticket and coupon media, restaurant menus, Park souvenir merchandise!

The Walt Disney Archives established the Anaheim Public Library as a depository of material on Disneyland. “‘Since Disneyland is located in Anaheim,’ says company archivist Dave Smith, ‘there has long been felt a need for a nearby location where students and others could obtain accurate information on the Park and on Walt Disney Productions in general.’ (In Orlando, Florida, near where Walt Disney World is located, the Orlando Public Library has been designated as a depository of material on Walt Disney World.) The material to be supplied to these libraries will include books, press releases, operating manuals, guidebooks, employee newsletters, periodicals, photographs, and examples of ephemeral material such as tickets, handbills, and advertising matter. Both libraries will maintain close contact with the Disney Archives.”

•Walt Disney “Office Correspondence Files” (spanning more than three decades, from 1930 until his death in 1966), including awards, gifts, office furnishings, personal effects, photographs, recordings, transcripts, and much more related to Walt Disney!

“The Team Disney Building”

The Team Disney Building with its Seven Dwarfs holding top the pediment opened in 1990. It is a reminder of Walt Disney’s first theatrical success, which the studio is founded on.

The structure was designed by Michel Graves (the same designer responsible for the Swan and Dolphin. The wooden model used for architectural renderings was created by Walt Disney Imagineer John Horny.

When Walt made motion picture history and he also made enough money to build his Walt Disney Studios, which is why you’ll see Seven Dwarfs holding up the roof of the Team Disney Building!

“The Partners Statue”

The Partners Statue was installed on the Walt Disney Studio Lot in 2003.

Other Sound Stages were added (Sound Stages 6 & 7 and a Support Building submitted for Walt Disney Studios development on December 7, 1995).

Today, the Walt Disney Studios are located at 500 South Buena Vista, Burbank, California.

Leonard Nimoy had previously visited the studio regarding the production of “Standby… Lights! Camera! Action!” for Nickelodeon. One episode of the series took viewers behind the scenes of The Black Cauldron. Below, Leonard visits The Walt Disney Studios yet again, perhaps in relation to host “The Challenger Spirit Salute” at the Magic Kingdom on February 25, 1989.

Leonard Nimoy visits Walt Disney Studios during the 1980s.

*Walt Disney Productions Direction Maps* were featured on the reverse of these circa 1950s Studio Guest Pass media. Many main streets of the **Walt Disney Studios** (like **Minnie Avenue** and the well-travelled **Donald Avenue**) were named after Disney Standard Characters.

“GROWTH”

By 1957, Walt Disney Studios covered 47 acres in Burbank, California. By that year, several developments were in progress, including an “Expansion Area”, located on the other side of Riverside Drive, and which is usually not labeled on maps or included on studio tours.

By 1957, an “Office and Warehouse Building” was nearing completion. Through the years, this structure would simultaneously house the “Art Department Warehouse” and “EDP Accounting” Offices, and also used for “Production”.

After Walt, by 1972, the Walt Disney Studio was 1 of 24 companies operating under the parent company of Walt Disney Productions. Its 1,500 employees were involved primarily in producing motion pictures and television entertainment.

By the 40th anniversary of Walt Disney Studios, there were a total of 77 structures on property. At that time, the author of one “Disney Newsreel” article (Volume 13, Number 41, published for October 12, 1984) compared it to a small city in itself, complete with “its own network of streets, storm drains and sewers,… it’s an emergency power generators c and water supply.”

Walt Disney Studio Tour Pin featuring the original studio logo.

STUDIOS