Jeffrey Katzenberg Eroded Animation with Celebrities

Jeffrey Katzenberg

It’s no wonder that Jeffrey Katzenberg and the entire DreamWorks team were weary of Nicole LaPorte’s new book, The Men Who Would Be King: An almost epic tale of moguls, movies, and a company called DreamWorks, a sweeping look at the tumultuous creation of Hollywood’s wunderkind studio. Just five years earlier, Katzenberg’s meteoric rise to success at Disney was chronicled in James Stewart’s book DisneyWar. And earlier this year, moviegoers were treated to yet a further look at the one-time studio chairman of the Walt Disney Company in the insider-documentary Waking Sleeping Beauty, a look back at the rebirth of Disney’s animation franchise.

Katzenberg, with the soft-spoken help of Roy Disney, injected new life into the animation arm of the studio following a drought that lasted more than 30 years — it wasn’t until the Katzenberg-led Little Mermaid took Hollywood by storm that critics paid attention to the integral part of Disney that birthed Mickey Mouse. Neither leaders Michael Eisner nor Frank Wells saw any life left in drawings, rather they hoped to boost the performance of live-action movies and expand Disney’s theme parks and hotels.

Following a bitter, and soon-to-be court contested departure from Disney, Katzenberg found himself trying to kick start animation at DreamWorks SKG, the studio he created with David Geffen and Steven Spielberg. If he could usher in a new era at Disney, certainly he could work the same magic across town. Or so he thought.

Antz, the first animated release under the DreamWorks banner, only made $90 million in the U.S., or as LaPorte reports, “about as much as it had cost, thanks to high-profile voice talents… no longer were actors always agreeing to make animated films on the cheap.” Then came the traditionally animated films The Prince of Egypt and The Road to El Dorado, both failing to find expected critical praise. Spirit, Sinbad and Shark Tale rounded out the list of less than stellar pieces under the one-time animation Midas’ oversight.

Despite Katzenberg being a cheerleader of traditional animation, he ignored the rest of his Disney schooling, opting instead to fill animated films with celebrities rather than heart — none of Disney’s classics relied on star power. It was the magic of fantastical storytelling, beautiful music, and even the Disney brand that made audiences fall in love with Snow White, Cinderella and the pantheon of animated masterpieces making up the studio’s rich library.
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Where Are the Jews, Disneyland?

Small World Holiday

Being born and raised in Southern California can mean many things: spotting movie stars at concerts, spending more than half the year under sunny skies, and visiting Disneyland more times than can be remembered. All three of these stereotypes ring true for me, especially the last bit.

I often joke about my being a Disney baby, seeing how my father was working behind-the-scenes on Disney’s ‘Something Wicked This Way Comes‘ around the time I was born. So began my lifelong love of all things Mickey Mouse and friends.

Summer breaks from school were filled with frequent trips to the “happiest place on earth,” Disneyland. Sitting in wonderment in front of our television as one animated Disney classic after another came across the screen was always a joy for me. Take one look at my DVD collection and you might think I’m obsessed — I prefer to think of it as collecting movies I hope to show to my children one day, or at least that’s what I tell people.

I’m also Jewish. How exactly is that relevant in a nostalgic trip down Disney lane? Well, it happens to factor into a discovery I made a couple holiday seasons ago while riding on the cherished Disneyland attraction ‘It’s a Small World.’

Starting in 1997, Disneyland began giving a holiday makeover to ‘It’s a Small World’ complete with seasonal music like “Jingle Bells” and “Deck the Halls” playing in between bits of the often infectious and sometimes annoying iconic theme song. Disneyland.com describes the holiday attraction as showcasing “different holiday customs and traditions throughout the world.” Just don’t expect any of the more than 300 somewhat creepy audio-animatronics to be celebrating Chanukah.

While exiting the ride a few seasons ago it dawned on me that I didn’t remember seeing a Star of David, menorah or dreidle. The line was far too long to hop back on, but I made it a point to disprove my casual observation upon my next visit. This year I brought my Flip camera along and documented the ride from start to finish. Low and behold, no Jewishness to be found, at least not to my eyes nor the camera’s lens.

So, what gives?

Anti-semitism is by no means unknown to the Disney empire, as highlighted by author Neal Gabler in his well-researched biography, Walt Disney: The Triumph of The American Imagination. In the book, Gabler writes of Jew hating rumors surrounding Walt and Roy Disney throughout their lives.

There were unsubstantiated accounts from disgruntled Jewish employees, including animator and director David Swift, who said at the time he left Disney to work for another studio Walt told him, “Okay, Davy Boy, off you go to work with those Jews. It’s where you belong, with those Jews.”

From all accounts presented in Gabler’s book — they fall on both sides of the argument — there is no telling whether or not Walt was anti-semetic, especially since he often donated to various Jewish organizations.

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