| Disney animators' strike | |||
|---|---|---|---|
 Striking Disney animators atWalt Disney Productions, Burbank, in May 1941 | |||
| Date | May 29 – September 21, 1941 (3 months and 26 days) | ||
| Location | |||
| Caused by | The unionization of animators byHerbert Sorrell and the firing of 17 unionized employees, includingArt Babbitt. | ||
| Goals | Increase pay for the unionized writers and animators who worked on Disney animated films. Fair treatment of union members, primarily against the retaliatory firing of union members. | ||
| Methods | Striking,picketing | ||
| Resulted in | Walt Disney and WDP management concede and sign a contract with the Screen Cartoonist's Guild. Many cartoonists refuse to be rehired and decide to work for other animation studios, shrinking the Disney talent pool significantly.(see Aftermath and notable departures) | ||
| Parties | |||
| Lead figures | |||
TheDisney animators' strike was a 1941 Americanfilm industry work stoppage where unionized employees ofWalt Disney Productions picketed and disrupted film production for just under four months.
The strike reflected anger at inequities of pay and privileges at Disney, a non-unionized workplace.Walt Disney responded to the five-weekstrike byfiring many of his animators, but was eventually pressured into recognizing theScreen Cartoonist's Guild (SCG) by signing a contract with them, which involved, amongst other concessions, rehiring those who wished to return.
In the 1930s, a rise of labor unions took place in Hollywood in response to theGreat Depression and subsequent mistreatment of employees by studios. Among these unions was theScreen Cartoonist's Guild (SCG), which formed in 1938 after the firststrike at an animation studio occurred, the1937 Fleischer Studios strike. By 1941, SCG presidentHerbert Sorrell had secured contracts with most of the major animation studios in California (includingMGM Cartoons,Walter Lantz Productions,Screen Gems andGeorge Pal Productions) except for Disney andLeon Schlesinger Productions.Schlesinger gave in to the SCG's requests to sign a contract after his own employees went on strike for six days, but upon signing reportedly asked, "What about Disney?"[1]
Disney's animators had the best pay and working conditions in the industry, but were discontented.[2] Originally, 20 percent of the profits from short cartoons went toward employee bonuses, but Disney eventually suspended this practice.[3] Disney's 1937 animated filmSnow White and the Seven Dwarfs was a financial success, allowing Disney to construct a new, larger studio inBurbank, California,[4] financed by borrowing.[5] At the Burbank studio, a rigid hierarchy system was enforced where employee benefits such as access to the restaurant, gymnasium, and steam room were limited to the studio's head writers and animators, who also received larger and more comfortable offices. Individual departments were segregated into buildings and heavily policed by administrators.
The box-office failures ofPinocchio andFantasia in 1940 forced Disney to make layoffs, although Disney rarely involved himself in the hiring and firing process with those who were not atop the pay chain. The studio's pay structure was very disorganized, with some high-ranking animators earning as much as $300 a week, while other employees made as little as $12. According to then-Disney animatorWillis Pyle, "there was no rhyme or reason as to the way the guys were paid. You might be sitting next to a guy doing the same thing as you and you might be getting $20 a week more or less than him". Staff were also forced to put their name to documents which stated that they worked a forty hour week, while their actual hours were much longer. In addition there was resentment at Walt Disney taking credit for their work, and employees wished to receiveon-screen credit for their art.[5]
The SCG and Sorrell started meeting on a regular basis at theHollywood Hotel from the start of 1941 to hear Disney workers' grievances and plan a unionization effort.[5] Many animators, includingArt Babbitt, grew dissatisfied and joined the SCG. Babbitt was one of Disney's best-paid animators, though he was sympathetic to low-ranking employees and openly disliked Disney.[4] Babbitt had previously been a senior official in the Disneycompany union, the Federation of Screen Cartoonists, but had become frustrated due to being unable to effect change in that position.[5] Disney saw no problem with the structure, believing it was his studio to run and that his employees should be grateful to him for providing the new studio space.[4]
Sorrell, along with Babbitt andBill Littlejohn,[6] approached Disney and demanded he unionize his studio,[1] but Disney refused. In February 1941, Disney gathered all 1,200 employees in his auditorium for a speech:
In the 20 years I've spent in this business I've weathered many storms. It's been far from easy sailing. It required a great deal of work, struggle, determination, competence, faith, and above all unselfishness. Some people think we have a class distinction in the place. They wonder why some people get better seats in the theatre than others. They wonder why some men get spaces in the parking lot and others don't. I have always felt, and always will feel that the men that contribute most to the organization should, out of respect alone, enjoy some privileges. My first recommendation to the lot of you is this; put your own house in order, you can't accomplish a damn thing by sitting around and waiting to be told everything. If you're not progressing as you should, instead of grumbling and growling, do something about it.[4]
The assembly was poorly received, and more employees joined the SCG. Tensions between Disney and Babbitt reached a peak when Disney began to see Babbitt as having personally betrayed him by becoming a union leader.[4] Disney fired Babbitt along with 16 other employees who were members of the SCG.
The next day, on May 29, more than 200 members of the studio staff went on strike, during the production of the 1941 filmDumbo, against the advice of Sorrell, who wanted more time to organize workers before striking.[5] Other studios' animators, such as those from Schlesinger, offered their support during the strike. Disney retaliated by depicting some of the striking employees in caricature inDumbo as antagonistic circus clowns, and on one occasion even attempted to "attack" a picketing Babbitt, but was stopped by studio guards.[6][unreliable source?] In turn, the strikers maintained a carnival-esque atmosphere on the picket line, using humor and artistic skills in producing signs, and at one stage carrying a mock guillotine in a march and using it to behead a mannequin of Walt Disney. They also received support from other unions, with unionized staff atTechnicolor, Williams andPathé refusing to process Disney films, and consumer advocacy group theLeague of Women Shoppers picketed theaters exhibiting them. The Disney strikers also extended solidarity to strikes in other sectors, such as producing signs for aUnited Auto Workers strike atNorth American Aviation in Los Angeles.[5]
The strike was resolved when theNational Labor Relations Board asked Disney to sign a union contract and he agreed. Disney was returning from a goodwill tour of Latin America to produce animated films as part of theGood Neighbor policy, allowing tensions to cool in his absence - although the SCG kept up pressure in the run-up to Disney's departure: the union's business agent Bill Pomerance obtained details of union leaders in the cities that were on Disney's itinerary via theNational Maritime Union. He then contacted theState Department to inform them that pickets of Disney and his films were being organized in South America, arguing that "the Disney company (should) comply with American standards of fair treatment of labor" as a condition of Walt Disney being allowed to represent the United States as a goodwill ambassador. As a result theU.S. Conciliation Service brought both sides together in talks in Washington DC: an agreement was struck, which included the reinstatement of employees fired before the strike, equalization of pay, a clearer salary structure and a grievance procedure.[5]
The strike left the studio with only 694 employees.[7][unreliable source?] In addition to Babbitt, the studio lost the following staff:
Fleischer Studios (later transitioned toFamous Studios) andTerrytoons are the only major animation studios that did not benefit from hiring displaced Disney personnel immediately after the strike, mainly due to them being located on the East Coast. However, they still were able to gain some talent in the following years, includingBill Tytla, Isadore Klein, Morey Reden, T. Hee and Paul Busch.[46]
In the years followingWorld War II, Lusk, Hee, Jones, Weeks, Marsh, Duncan, Schaffer, Hawkins, Salkin, Patin, Davidovich, Lokey, Battaglia, and Bradbury returned to the studio for varying lengths of time. Disney was forced to rehire Babbitt after he brought an unfair labor practices suit against the studio, though Babbitt eventually left for good in 1946.
Disney never forgave the participants and subsequently treated union members with contempt,[6] arguing in a letter that the strike "cleaned house at our studio" and got rid of "the chip-on-the-shoulder boys and the world-owes-me-a-living lads".[47] Testifying to theHouse Un-American Activities Committee, Disney alleged thatcommunism had played a major role in the strike, and many of the participants wereblacklisted, including Art Heinemann, an art director onFantasia. Heinemann went out on strike in sympathy with the animators and was subsequently fired and blacklisted, his name removed fromFantasia's credits.[6][failed verification]
...he was hired at Walt Disney's studio but left during the strike two years later. He spent a brief period at Screen Gems when Frank Tashlin (who later moved to Warner Bros.) was its creative head. Patterson soon moved to MGM, assigned to the Hanna-Barbera unit.
I hired the picketers, and I built a new studio out of all the people who worked at Disney's. John Hubley...Bob Wickersham...I can't think of [all] their names, but they were good Disney animators, so they all came over and we had a studio.
