Michael Peraza | |
---|---|
Born | Michael Arthur Peraza Jr. (1955-11-15)November 15, 1955 (age 69) New Orleans, Louisiana, U.S. |
Education | California Institute of the Arts |
Known for | Animation & fine art |
Notable work | The Little Mermaid,[1]Goof Troop,DuckTales,Anastasia |
Spouse | Patty Peraza |
Awards | Friz Freleng Lifetime Achievement Award,Disneyana Fan Club Legend Award, 2018[2] |
Website | michaelperaza |
Michael Arthur Peraza Jr. (born November 15, 1955) is aCuban-Americananimator,art director, conceptual artist and historian of animation, who has worked forThe Walt Disney Company,Fox Feature Animation, andWarner Bros.[3] As a Disney Master Artist,[4] he speaks at special events as a panelist with his wife and fellow Disney Master Artist, Patty Peraza,[5] about experiences in the entertainment field. He received the Friz Freleng Lifetime Achievement Award from the International Family Film Festival in 2014,[6] and theDisneyana Fan Club Legend Award in 2018.[2] Currently, he continues his work with Warner Bros and Disney Television Animation.
Peraza was born inNew Orleans,Louisiana. He became interested in Disney animation after watchingSleeping Beauty,Pinocchio andWalt Disney's Wonderful World of Color. As a young man, he experimented with various types of mediums and styles, getting the attention of local filmmakers. His first job was working for Max Goodman in local television stationWKRG, where he learned how to work behind the camera, animated special effects and use paper cutouts for characters to create station breaks.[7] After graduating high school, he continued his education at theCalifornia Institute of the Arts (CalArts), an art college that was established byWalt Disney.
Peraza was accepted at CalArts in 1973 before Disney had begun their Character Animation program. He later became one of the first people to join the program once it was started.[8] His peers include the animatorsTim Burton,John Lasseter andJohn Musker.[9] Once an established student at CalArts, he studied under the guidance ofDisney Legends includingJack Hannah (the Dean of the Disney program) and Ken O’Conner. As ateacher's assistant (TA), Peraza was given a full scholarship offered by the Disney Family, making it possible for him to continue his study.[5]
Directly after CalArts, Peraza accepted a full-time career inWalt Disney Feature Animation, where he worked alongsideDisney's Nine Old Men, includingMarc Davis,Ollie Johnston,Milt Kahl,Ward Kimball,Eric Larson,John Lounsbery,Wolfgang Reitherman andFrank Thomas. While working for Disney Features, he became known for his advanced integration ofcomputer animation.[10] and designing multiplane shots forThe Fox and the Hound.[3] Afterward, he went on to contribute to animated Disney films,[3] includingThe Little Mermaid,[11]The Great Mouse Detective,[12]Beauty and the Beast,Mickey's Christmas Carol,Aladdin andWho Framed Roger Rabbit as well as visual development for live-action movies such asWatcher in the Woods,Tron andReturn to Oz. When approached by Ken Anderson, Peraza helped start the newDisney Television Animation unit. There he started theCGI animation department while developing Disney afternoon shows, includingDuckTales,Darkwing Duck andTaleSpin, as well as creating the characterMax Goof, and the seriesGoof Troop, which were adapted for the animated filmsA Goofy Movie andAn Extremely Goofy Movie. During thepre-production ofDuckTales,Carl Barks called Peraza "the Fourth Duckman."[4] After transferring to Disney Direct to Video, Peraza worked asart director and conceptual artist for the production ofsequels, includingJungle Book 2,Tarzan 2 andReturn to Never Land.
Peraza has also worked on projects forMiramax,[13]Fox Features andDon Bluth Entertainment, where he worked as art director forAnastasia.[14] The movie about the Russian princess was praised for the execution of advanced computer graphics of the time.[15] During itspremiere, Disney re-releasedThe Little Mermaid in theaters, making Peraza one of few art directors who had two films out in theaters at the same time.[16][17]
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