Between Books - After Disney: Toil, Trouble, and the Transformation of America’s Favorite Media Company

There are a handful of great books that detail the fall of Ron Miller as the CEO of the Walt Disney Company and his replacement by Michael Eisner. These chronicles often include the role of Roy E. Disney in Miller’s removal and his chosen successor. These books often put Eisner front and center. What has really been missing is a book that outlines Miller’s career, the obstacles he sought to overcome, and the state of the Company during his time as CEO. Would it be cliche to say, until now?

After Disney: Toil, Trouble, and the Transformation of America’s Favorite Media Company by Neil O’Brien provides a study of Disney's corporate history through the Miller era. The text focuses heavily on animation and meets one of O’Brien’s stated goals of developing an oral history of Disney animation during this period. O’Brien walks us through the origins of Miller and Roy E. Disney, who were never close despite externally being seen as the faces of the company after the deaths of Walt and Roy O. Roy E. Disney early on leaves the stage as he sought to create new opportunities for himself creatively and in investments. Miller was faced with the challenge of leading a company in transition as the older animators that Disney films were based on aged but saw no one in-house to fill their creative leadership. The company then fostered the creation of a new Character Animation department at CalArts to mentor a new future Disney animation cadre, with members of that first class including legends like Brad Bird, Jerry Rees, and John Musker. The text gives us a case study, as we watch the old guard and new artists interacting in the development of animated features, especially the stalled The Black Cauldron. The book also discusses how Miller led the company and his attempt to evolve the studio, especially around live-action films with the creation of Touchstone Pictures which would allow more hard-hitting storytelling. Finally, the book discusses Roy E. Disney’s move to resign from the Board and leverage his shares to install Eisner and Frank Wells into Disney leadership. The book ends with the author noting the changes that went into effect during the Miller period, especially the training of new animators, which pushed forward an animation renaissance both internally and externally.

I have one minor gripe, the cover gives us the impression that this is a story of MIller vs Roy E. fighting for the soul of Disney. It’s really not, as Disney removed himself for much of this period as an employee. The real focus in this book is on culture and day-to-day under Miller. A more fitting cover to communicate what will occur in the book might have been Gurgi from The Black Cauldron as much of the tension around staffing, leadership, and storytelling are told through the lens of developing this movie It was the “Author’s Note” at the end that even more clarifies this, as O’Brien notes his desire to write an oral history of animation and his interest in the Lloyd Alexander stories. I will raise my hand and admit that I am of an age and fandom to have also been pulled into those books. I also find myself wanting to know more about why the film I wanted to see so badly didn’t work. So the recurring film and its development helped keep me engaged in Miller’s struggle in running a company and legacy left to him by his beloved father-in-law. But the story is not a duel between two businessmen, that I felt the cover provided me.

The discussion about The Black Cauldron is so strong, that I didn’t even mention the rise of Don Bluth’s star at the studio. This just shows that for readers there is not just one engaging story in this volume, but levels of complexity.

This really is a well-written and sourced book. I will argue that it’s also very well-balanced. While I did find a lot to admire about Miller as I read the book, I also felt like O’Brien didn’t attempt to romanticize him. And I personally think Miller, Eisener, and Roy E. are all figures that should be respected as Disney Legends as while they may not have always worked well together, they did all three leave important contributions to the company. They were people, and this is what O’Brien gives us, interesting people ranging from corporate leaders, to directors like Joe Hale, to even struggling animators like Glen Keane who lived through these interesting times of change. This is the type of story that reminds us that change happens, people are part of it, and we are people. 

 
After Disney: Toil, Trouble, and the Transformation of America’s Favorite Media Company by Neil O’Brien is one of my favorite Disney history books of 2025. O’Brien gives us a story about real people, with real feelings as they transition through changes in corporate culture and American storytelling. The use of The Black Cauldron as a story focus, really helped me stay engaged as it’s a movie release that confused me in its failure as someone who loved the Alexander stories as a child. And it allows the author through it’s long development to talk about the changing Disney corporate landscape. And I think best of all, it gives readers a well-balanced picture of Ron Miller who is often a quick note in Disney's corporate leadership history, hidden by the shadow of Walt Disney, Bob Iger, and Eisner. 

 

Review Copy Provided for Review

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Between Books - Dali and Disney: Destino

Dali and Disney: Destino: The Story, Artwork, and Friendship Behind the Legendary Film by David A. Bossert provides the history behind the famed short "Destino" including the relationship between artists Salvador Dali and Walt Disney before, during, and after the artistic development of the film.  Bossert goes beyond just this artistic pair to discuss the effort to complete the film led by Roy E. Disney which culminated in the short being assembled in 2005.  The book presents as a art of book for the short which includes Bossert's own personal efforts as a producer on the short.  And being a art of style book it is filled with wonderful Dali art and "Destino" concept images from Dali and John Hench. 

Bossert gives the readers what is expected from an art book.  He goes into how Walt Disney came to know Salvador Dali and how Dali came to work for Walt Disney, creating a never made short in "Destino".  And while Disney fans may be thrilled with pictures of Dali riding Disney's home hobby train, it is the Dali background that went above and beyond for me.  Bossert provides Disney fans, assuming we knew much of Disney's history, with a discussion of Dali and his role in surrealism.  This helps one to understand images of watches, Dali and even baseball seen within the film.  The numerous images of both Dali's work and story concept art come together to help one better understand the final images of what is truly a complicated visual short.

One of my favorite discussions of the short's development is the role of John Hench.  This Disney legend worked beside Dali in the development stage.  And the two were in such collaboration that when Hench was asked years later to attribute if he or Dali were the creator of key art pieces, some he could never distinguish authorship for.  

While Bossert does pick up on how Roy E. Disney shepherded the effort to resurrect the never completed short, including using Dali's concept art, test footage and the adapted song, what fascinated me the most was the story of stolen Dali concept art from Disney.  While we today see the Disney Archives as a top notch department, concept art was not as closely protected as it is now.  And an employee stole and sold art completed for "Destino".  Bossert outlines how Disney discovered this theft, how the art was found and Disney's efforts to recover it.  And even the efforts to recover the art can be interesting to the non-art expert 

Dali and Disney: Destino: The Story, Artwork, and Friendship Behind the Legendary Film by David A. Bossert is a visually stunning art book.  It is one that goes beyond restating Disney history, but provides readers with the background needed for Disney fans to better understand Dali.  The text is filled with incredible Dali images both for the short and those key to surrealism.  And most surprising, it provides a somewhat exciting crime thriller as Bossert tells his readers of stolen Dali art.

Between Books - Walt's People: Volume 10 Talking Disney with the Artists who Knew Him

I honestly cannot say enough how awesome it is as a Disney history fan to have a series like Walt’s People. There are archives and people that I will never have access to in Betweenland. And as a bonus in the series’ 10th volume I feel like I am getting annotated notes to one of my favorite books.

Walt’s People: Volume 10 Talking Disney with the Artists who Knew Him edited by Didier Ghez collects the interviews used by biographer Bob Thomas in his writing of Walt Disney: An American Original. The book opens with an essay discussing Thomas’ book written by Jim Korkis. The essay discusses the quest for an official biography of Walt Disney and the attempts by other authors to fulfill the request. It also highlights the intellectual freedoms Thomas had. The first oral history is Ghez interviewing Thomas about his experiences with Walt Disney and writing the book. The majority of the rest of the volume consists of Thomas’ interviews which include a list of Disney legends including Lillian Disney, Roy O. Disney, Ub Iwerks, Ward Kimball, Frank Thomas, Roy E. Disney, Marc Davis, and so many more. Oh, and there is an interview with Walt Disney himself. Additional information includes an essay on Walt Disney’s secretaries which is an interesting read.

I really do feel like this volume is the annotated notes of Thomas’ Walt Disney: An American Original and Building a Company: Roy O. Disney and the Creation of an Entertainment Empire. There were several moments I thought to myself; hey I have heard this before. And in many cases it is because I have read some of the stories before in Thomas’ books and in their use by other historians and biographers afterwards. However, I really like seeing the original notes and contexts of the interviews that Thomas used. And now, I and others can use them for our own writings even if we never met any of these legends, many of which have passed away.

Walt’s People: Volume 10 Talking Disney with the Artists who Knew Him is likely my favorite volume of the series to date due to the connecting theme. I bought my copy as a Kindle book for under $5. And that may have been the best value of the year based simply on the number of notes in my copy.

Between Books - Walt's People Volume 13: Talking Disney with the Artists Who Knew Him

For a few years now I have had Dider Ghez's Walt's People series on my radar.  These oral history collections seemed like a good fit with my educational background.  So when Theme Park Press asked if I would be interested in reviewing the latest volume I immediately jumped on the the request.  But what I did not realize was that a simple book review was a intense journey into Disney's past.

Walt's People Volume 13: Talking Disney with the Artists Who Knew Him edited by Didier Ghez is over 550 pages of oral history.  The volume contains 27 separate interviews of former Disney employees in areas ranging from animation, live-action films and Imagineering.  There are plenty of voices that Disney fans would recognize from Tony Baxter, Roy E. Disney, Fess Parker, Blaine Gibson,  and Don Iwerks.  But the interviewers also introduce us to less familiar names like Becky Fallberg and Paul Kenworthy, who while perhaps not commonly known figures shed light into working at Disney in their interviews.  Ghez collects the interviews, and his collaborators who interviewed the subjects include well-known Disney historians such as John Canemaker, Michael Broggie, Dave Smith, and Paul F. Anderson.  Along with the interviews there are also two essays included.  The first on John Parr Miller is written by Canemaker, while the second on John Sibley was completed by Peter Docter.

Alright, let me put in my complaint!  I really want an index.  Yeah, that's it that's my one complaint.  That is a pretty weak criticism!   I get why it's not there, with over 550 pages of rich text that endeavor itself would be highly time consuming and add considerable length to this alright large book.  So I would love one to help ease the searching of the researcher in me.  But, I will pick up other volumes without one.  Because honestly, these pages are full!  

I expected to breeze through this book.  I will be honest, I was kind of cocky about it.  But instead it has taken me four weeks to complete the volume.  Quite simply, this is not a vacation book.  No this is a fact packed journey, actually journeys, into Disney's past.  And even the speech patterns and the vocabulary of the subjects become part of one's reading as you try to get to know these Disney artists in more depth.  In short these interviews are treasures and they should not be ran through, one needs to stroll.

One of the things I found interesting, and perhaps it was intentional, was reoccurring themes in the book.  So for example, early in the book labor relations at the studio and the 1941 animators strike continually resurfaced.  And with numerous animation staff discussing the incident, the reader can begin to exam it in other angles.  Another reoccurring theme that stood out to me was the True-Life Adventure film series.  A reader can walk away from Walt People Volume 13 after reading Roy E. Disney's, Kenworthy's and other interviews the process, time commitment and staging involved with capturing nature on film.  I found the Don Iwerks interview  extremely exciting, especially since the interviewer Michael Broggie's father was once Iwerks manager and mentor.  The interchange is fascinating since they share a common foundation of understanding.  And it is highly interesting to read an interview with the son of the man who drew Mickey Mouse.  

Walt's People Volume 13 confirmed for me this is a series I must complete. But I also know this is not a series to be trifled with.  These pages are jam packed with events and perspectives from the viewpoint of artists who lived them.  So as one would recommend that you don't rush to your favorite ride in the park you should not rush straight to Tony Baxter without visiting with his other colleagues and their stories also.  And as you research your favorite Disney topics, you should expect to look into these volumes to find new insights.  Walt's People Volume 13 is a must have in a Between Books library dedicated to Disney history!  

Review Copy Provide by Theme Park Press

Between Books - Remembering Roy E. Disney

I will admit, with all my reading on the Eisner Era, one of the personalities that I have become very interested in is Roy E. Disney.  So, seeing that a book about the younger Disney was being released, it was a must own for me.  I really looked forward to reading a book that was focused on him instead of just seeing him as a supporting actor.

Remembering Roy E. Disney: Memories and Photos of a Storied Life by David A. Bossert is an account of Roy E. Disney written by a close colleague and admirer.  Bossert had worked with Disney on several projects and I believe honestly could say they were friends.  Bossert travels through Disney's life topically with chapters on sailing, Shamrock Air (Disney's private plane), Destino, and his late life divorce from Patty Disney and marriage to Leslie Disney.  The chapters are largely narrated by Bossert but also include personal accounts from figures like Stanley Gold and John Lasseter.  The book is also fully packed with personal photos from Disney's life, with nearly every page including an image.

I find this book mixed for me.  So, lets start with those things I did not enjoy.  When you include the forward the bulk of the first 39 pages explain how the book got written.  I understand that Bossert wanted to establish his personal view about Roy E. Disney and wanted to tell the story of publication.  But for a book that is only around 200 pages this was just too much explanation for me.  I wanted to get into the heart of the text, which really does do a good job of showing the relationship between Bossert and Disney.  Additionally, for a book that is very picture focused and with a Disney label some of the pictures are fuzzy.  The picture of Disney on page 38 is especially fuzzy and I have seen independent publishers do better.  It was really not what I expected from a Disney Editions book.  

The good is really the discussion of Bossert's relationship with Disney.  Disney mentored Bossert.  So it is an account of one man's relationship with Disney for the majority of the book and not a historical biography.  The many stories of Disney's genorcity towards others including Bossert really makes one understand what kind of man Disney was.  And since Bossert often worked close with Roy E. Disney, one feels like you are getting an insider's view of Disney.  You feel like you were included in Disney's inner circle.  Bossert clearly admired Roy E. Disney and based on Bossert's accounts you can understand why.  Bossert really paints Disney as a regular down to earth guy who liked Costco hot dogs (one begins to wonder if his father and uncle's culianry choices rubbed off).

A storied life is a theme explored in the book.  Bossert shows Disney at work and discusses how he contributed to the production of animated features early in the Eisner era.  Bossert witnesses and recounts Disney rolling up his sleeves and working arm-in-arm with the story staff, pitching ideas and providing valuable and frank feedback.  As I think about the Marty Sklar comments that Disney was never in story meetings, it becomes clear that Disney was at least for a part of his Disney career.  A good example is Lilo & Stitch, where Disney's feedback saw a reworking of the story.  In the tradition of story, Roy followed his uncle more than his father in this aspect.

Remembering Roy E. Disney brings the reader close to the life of Roy E. Disney.  Author David A. Bossert worked closely with Disney and grew to admire him in these interactions.  As a reader it is hard to not get caught up in the feeling of respect that falls from these pages.  

Between Books - Dream It! Do It!

Disney fans have long anticipated the collection of legendary Imagineer Marty Sklar’s memories into a book. Sklar having a career that spanned the opening of Disneyland to retirement in 2009, has literally seen it all. And in many cases he was a participant. Yes, this is a book that Disney fans wanted and called for!

Dream It! Do It!: My Half-Century Creating Disney Magic Kingdoms by Marty Sklar captures the legend’s Disney memories. Sklar’s memoir covers his pre-Disney life and his long and distinguished Disney career. He is not able to cover every aspect of his Disney years, but he does give significant time to parks development including Walt Disney World, Epcot, and Euro Disney (or Disneyland Paris). He gives an insider look at presentations and creative sessions that helped build the parks we love. And most excitedly for Disney fans some reminisces include Walt Disney, for who Sklar wrote. Along with his memories, Sklar also includes business insights with a selection of quotes from Imagineering’s Conference Room walls and Mickey’s Ten Commandments and its expansion.

I am going to call this a mixed review for me. Honestly, I found the text hard for me to get into. And this made me more frustrated as I read. I really wanted to be drawn into it. The sad thing is I cannot explain why it was hard for me to break into book, which also frustrates. In the end all I can say is it did not draw me in the way I wanted it to. Also, the book reprints several stories that many Disney fans have already read or heard elsewhere. So every page does not provide new content to mull over, with some being Sklar putting in his pages stories told by others about him or by him elsewhere. But on the flip side there is plenty of new content for a Disney fan to enjoy. And it is amazingly honest content. I am shocked about the characterizations made about other Disney figures such as Dick Nunis and Roy E. Disney in the pages of a Disney Editions offering. Honestly, it makes one wonder why Disney Legal blocked the Ward Kimball biography! And the honesty is refreshing and good.

As I said, this text gives Sklar’s very honest opinions. And with Sklar having been on the the creative side it should not be shocking that he felt tension with Dick Nunis in Operations. But what was shocking to me was how far Sklar’s editors let him go in painting of Nunis of well…a bully! A comment about how Nunis abandoned Ron Miller definitely caught my attention though it was only a small line. And Sklar definitely chooses Michael Eisner in the struggle between the CEO and Roy E. Disney. But Sklar’s insights into Disney’s lack of creative input will make one think.

One thing I am glad that Sklar weighed in on was the Walt/Roy comparisons with the Eisner/Frank Wells relationship. Sklar interacted with both pairs. And he argues the relationship was not the same. With the Walt and Roy O. Disney dynamic, Roy provided little to no feedback on creative issues. Roy did not attend story meetings. Roy stayed within his business sphere. For Eisner’s tenure however it was a frequent occurrence that Wells attended creative meetings and would provide creative input. So the comparison breaks down as Wells used his years in Hollywood to serve as a sounding board on matters beyond the business. In short with Eisner and Wells the lines were more fuzzy.
Dream It! Do It! by Marty Sklar is a Between Books must have for Disney fans. And it is for the insights, opinions and perceptive that this Disney Legend brings. However, this is a book you need for the content, not because you cannot put it down.

Dreaming Disney - Mickey Through the Decades

I live Between Disney. And in Betweenland there are some things that are just not going to happen. Though I will admit that I have lucked out and been able to schedule our family vacation to Disneyland over the last few years, so I ask for no fan pity. Some things are just pipe dreams for me. For example, I doubt I would ever be able to go to a D23 Studio Tour. I simply cannot imagine timing my vacation perfectly to match up with the schedule. But hey, I am still a lucky guy and having my schedule coincide with a D23 Expo once was probably as lucky as I was going to get.

But lightening struck again when D23 put out notice for sign-ups to attend Old Navy’s Mickey Through the Decades Collection at the Walt Disney Studios event. And best of all, it was scheduled for a day where the Between Family would not be going into Disneyland on a already scheduled vacation!

The day started with us renting a car and gulp driving through the LA area traffic. We left early to give ourselves plenty of time. This meant we had time to explore. We drove around Griffith Park, where Disneyland as an idea was germinated. And after we found the studio I searched the GPS for close by attractions and found the Hollywood Sign. With the sign adventure in our rear view mirror the Between Family was in full tourist mode when we checked in at the studio.

The event itself was somewhat of a free for all, with you choosing between several activities. There was one area where press photographed the three celebrities sporting Old Navy’s new Mickey Mouse tees. The three celebrities Jennifer Love Hewitt, Constance Marie and Brooke Burke mingled with the press, but really did not spend time with the other invitees. Though I did see some of their kids enjoying the offered activities. They took photos, answered press questions, but really did not interact with the fans. In fact I never saw anyone ask any of them for their autographs.

Old Navy's Mickey Collection

It was everyone else, like us, who got to have fun. The invited guests were given a voucher for a free t-shirt. Since Jeffrey and other staff pointed out there were plenty of t-shirts we skipped over the crowd of people at the Old Navy tent. Honestly, this may have been a mistake since there were a limited number of shirts in each style and the Between Family had to chose from the picked over remains. We instead went first to have our photo taken with Mickey, in a 50’s costume. He would be relieved by Minnie throughout the event with her 50’s themed dress also.

After our picture with the main mouse we jumped into the line to get a Disney artist to draw a custom Mickey sketch for us. You could get Mickey or Minnie. As I stood with the Between Kid, the artist asked him what picture was desired. The response was baby Mickey, which the child ahead of us had gotten. The artist instead described a Star Wars Mickey Mouse. The Between Kid said no, baby Mickey please. So the artist laughed and said let’s do baby Mickey for you but Luke Skywalker Mickey for dad! He saw the gleam in my eye! So of course I loved it and was thrilled to get my own custom Mickey/Star Wars mash-up. (Note, I did ask later a character artist in the park if they could make me an Agent Coulson Mickey. He stated currently Marvel is not included in what they can produce).

Mickey Skywalker

After the Between Kid got a Mickey temporary tattoo and grabbed some coloring sheets, we ate. And we ate in the Commissary! The food itself was burgers and hotdogs from a caterer. But it was super fun to be able to say that we were eating inside the Disney Commissary. And sitting inside away from the heat, we saw the Saving Mr. Banks trailer for the first time.

After eating, we went into a conference room to watch some of the new Mickey Mouse shorts. We were given popcorn, candy and bottled water. They were bragging that one of the shorts had not been seen yet. But I could not tell you which one since we had not seen around three of them.

Oh, and now the real fun began. When we left the Commissary building we noticed some guests walking around. So we tested our limits. We walked down to Pluto’s Corner and snapped some pictures. And since we made it that far, we took some pictures of the Animation Building. The Between Wife shook her head as I pointed out to the kids that this was the building that Walt Disney worked in. And then we walked a little further to get good pictures of the Team Disney Building. And since we were there we wandered around Legends Plaza, with me in full geek mode as I put my hand in the impressions left by Marc Davis, Roy E. Disney and others. So we may never be able to go on the official Disney tour. But it our unofficial self guided tour made the trip to Burbank.

The Team Disney Building

Reaching Out to a Legend

After we left the Studio and went to the beach. So it was an awesome day overall.

Yes I live Between Disney. But you never know what you may find Disney Adjacent until you open yourself up!

Oswald Opines - End of the Einser Era

For me my Between Book obsession started with Disney War. And it is also a book that helped open my eyes to the story behind the story within Disney. In the end, Disney is a business no matter how much we want to vilify or glorify the magic. The following are just a few of the insights I have picked up on my reading of the Eisner era:

• It’s Never Just Business: When reviewing the business choices made by Disney Board Members, staff and stockholders it becomes clear that emotions are an equation that has to be taken into consideration. I think one incident that brought this forward to me is Roy E. Disney’s agreement to return to the Board after his first resignation if Card Walker was moved off of the Executive Committee of the Board. Walker, a Walt man, was someone who had criticized Disney in the past behind his back and had marginalized him. As part of the agreement to bring the Roy side of the family back to the Board, Disney agreed but required that Walker’s influence would be lessened. The idiot nephew had a hard time forgetting the mockery of the past. And so this business decision was made exclusively on emotion not business needs. This is just one of the many decisions during the Eisner era based on emotions not logic. Another great example would be Michael Eisner’s refusal to not pay Jeffrey Katzenberg his bonus instead of settling for a much lower price.

• Team of Rivals: Disney’s success during the Eisner ear was not built on the backs of one man but several. Michael Eisner may have been a creative genius, but he needed a Frank Wells to provide business know how. And despite any faults he may have displayed, Eisner needed Katzenberg to push and harass the studio staff to complete quality productions. Katzenberg was a force of nature that no one fully replaced at the Studio. And it took Roy E. Disney to help preserve animation as a unit within the company in the face of new leaders who did not see the business sense to retain animation. Much like the Allied high command during World War II, a group that distrusted each other but mostly retained their posts during the war, the Disney team was one based on tension, genius and stability. And once the stability was rocked by Wells’ death the tension increased and the genius evaporated. Disney was very lucky that during half of the Eisner era they had a hard working smart leadership who did not self-destruct sooner because all of the ingredients were needed to move the company forward.

• Pointing Fingers: Everyone was to blame, and I mean everyone. There is a tendency to paint Wells as a saint. But it is his lack of documentation that lead to the debacle of the Katzenberg law suit. Likewise as prickly a personality as Katzenberg could be, Eisner was unclear and failed to provide proper praise to his Studio head (a tendency Katzenberg also shared). I grew up seeing Uncle Mike as a hero. I did not see the Eisner, until now, who ruined a friendship with Michael Ovitz through poor communication and lack of purpose. Now I realize that he was human and should be both praised and criticized for the decisions he made.

• Fingerprints: Eisner’s fingerprints are all over the company today. Before the Eisner/Wells era the company was seen as a family studio with some theme parks. During the Eisner era movie production was expanded, new theme parks were built in the United States and abroad, property management became a key business, and the first acquisitions were added in companies like ABC. The Disney that we have today that is strong and diverse must be attributed to the foundational leadership of Micheal Eisner.

• Teammates: Disney leadership works best when there is a strong creative leader and a strong business leader. This is the model that Walt and Roy O. established. And Disney’s renaissance during the Eisner Era, even with their failures, was kicked off again by the partnership of Eisner and Wells. I ask myself if we are there today and if the model has changed with Bob Iger as the business leader and John Lasseter, Kathleen Kennedy, and Kevin Fiege as creative leaders?

For me the Michael Eisner Era is still a special time in Disney history. I never had Uncle Walt! But Eisner did fill that role for my generation. I am not ready, even reading about all of his warts, to jettison Eisner’s place in Disney history. Instead, I think I will continue to enjoy the advancements Michael Eisner brought to Disney, while attempting to avoid as much as possible the mistakes he made.

Nobody is perfect after all!

Between Books - Work in Progress

Work in Progress: Risking Failure, Surviving Success by Michael Eisner with Tony Schwartz covers the life and career of the former Disney CEO and President up until 1998 when Eisner was still under Disney employment. The book covers Eisner’s family and childhood, college years, and his early days in the entertainment business. The text outlines Eisner’s career at ABC and how he rose to a place of prominence where he caught the eye of key Disney stakeholders who proposed the partnership of Eisner as CEO and Frank Wells as President to help revive the Walt Disney Company in 1984. The authors then detail the key decisions that Eisner and Wells made in film, television, and theme parks to spark a renaissance of Disney creative content. Eisner describes his reaction to Wells’ death in 1994 and the interpersonal problems that emerged with head of Disney film production Jeffrey Katzenberg and Wells’ replacement Michael Ovitz. The book closes with Disney acquiring its own television network ABC and a statement by Eisner that he was entering a period of remaking Disney again. Ironically, one of the executives mentioned in those final pages Bob Iger would have a key role in this revisioning and leadership after Eisner’s departure.

The first question as one looks at the cover is what does “with” mean for the authorship of this book. The book is written from Eisner’s point of view. And Eisner recorded tapes of himself speaking on his life for Schwartz to use when crafting the book. Additionally, Schwartz both interviewed Eisner and Eisner associates, even following Eisner around as he went through his daily Disney duties. The heavy lifting of crafting the paragraphs and sentences was completed by Schwartz. But this is still Eisner’s book. The book contains his opinions, his memories and his perspective. And it is Eisner who had final approval.

Work in Progress is a very straight forward narrative that is shaped by Eisner’s opinions. So as a historian, one must note that pro-Eisner bias the book contains. The book was relatively slow reading for me as it moved from event to event. But I think a big part of the pacing was the formatting. The type is relatively small and each page is packed with words. So, I would warn you do not expect to go racing through this book.

Yes, this is Eisner’s book. So in those disagreements that he had with Katzenberg and Ovitz, it is his side of the story that makes the pages. I have my own opinions with both circumstances whom was more to blame in each of these dysfunctional relationships. But I think almost everyone would have to agree all parties had some blame. The sad thing is Eisner makes it clear throughout the book that his partnership with Katzenberg and his friendship with Ovitz were relationships he valued. Yet they were shattered. I do believe from my reading that Eisner did have a roll in these relationships moving into a downward spiral, but Eisner presents himself as relatively blameless. For example, I would find it difficult to present Katzenberg as the good guy in their disagreement due to his prickly and driven personality. But perhaps Eisner did not clearly communicate, which is not found in these pages. Additionally, Eisner clearly in Katzenberg’s settlement after leaving the company exhibited resentment. But these interchanges are not found in Work in Progress.

I do find that one figure that Eisner provides full praise for is the late Frank Wells. As a kid, I had no idea who Frank Wells was. Unlike Eisner, Wells did not enter my home on a weekly basis. He truly was the silent partner of a vibrant partnership, one that left a lasting mark on Disney’s legacy. If Eisner was attempting to fill the role of Walt Disney as a creative voice, Wells was filling the shoes of Roy O. Disney providing the financial and business expertise. Eisner makes it clear that he relied on Wells and was devastated by his death. And the neutral reader can wonder if Eisner was able to react professionally appropriate to his death as he attempted to balance stock holder needs with his own personal grieving. Readers must wonder if the negative picture of Eisner that some have today would have been different if the Eisner/Wells team had continued into the future as the two planned.

Another figure who receives praise through the book is Roy E. Disney. Eisner and Wells would have looked to Disney as one of the figures who helped land them the jobs of a lifetime. And professionally, he was a figure who helped link their leadership team to the Disney brothers. Eisner argues throughout the book that Roy E. Disney was a key figure in understanding both the Disney culture and animation. But one must wonder if the praise would be tempered by Eisner due to Disney’s role in pushing him out of Disney management after the publication of this book.

There are two projects that Eisner provides deep detail on that were failures. First, Eisner discusses in depth, often justifying, the development of Euro Disneyland. While Eisner’s early Disney career may have been marked by successes, Euro Disneyland was clearly an early financial failure due to cost overruns. Eisner makes the case for why Disney needed to pursue the European Park and notes some of the obstacles like French thoughts on the American park that they had to overcome. Though many of us Disney fans may dream of visiting this park and its take on classic Disney attractions, we must remember that it was a huge financial risk. Probably more interesting for me is his discussion of Disney’s America. For a park that was never built, Eisner shares much of the planning of this failed park. Eisner clearly believed in the concept and wished to see the Virginia park make it past the blue sky stage. The reaction from the affluent community and historians to Disney’s potential treatment of history is a fascinating tale for those who have immersed themselves in this discipline.

Work in Progress is not a quick read. It is a biased read. And regardless of the marketing blurbs on the book cover, it’s not a business how to book. For fans of biography and Disney, this is probably a must read. And those who were kids during Eisner’s years as Disney CEO may find this interesting. But it is probably not something that the general public would find great interest in. It cannot stand alone as the definitive work of the Eisner regime, though it does an excellent job of representing the Eisner viewpoint of these vibrant years.

Between Books - Disney War

I think it is pretty safe to say that I enjoy the book Disney War by James B. Stewart. Disney War was my gateway book that opened the door to all my Disney book craziness. And it is one of my top five Disney books, one that recommend to even non-Disney fans on a constant basis.

Disney War tells the story of the rise and fall of the Eisner era at the Walt Disney Company. Stewart details the roll of Roy E. Disney in rebelling against Disney leadership which had been under his cousin by marriage, Ron Miller, and advocated for new leadership in Michael Eisner and Frank Wells. Stewart then details the rise of Disney under the new leadership team. With the death of Frank Wells and the disruption of the relationship between Eisner and Katzenberg and the legal proceedings that followed, Eisner began to lose his shine with Disney stockholders including Roy E. Disney. Stewart then outlines Roy E. Disney’s Save Disney campaign which would eventually lead to Eisner stepping down. Ironically the man who helped orchestrate the Eisner Era would also help to close it.

Disney War is one of my top five Disney history books. One of the biggest reasons for this is Stewart does an excellent job of weaving a story. It is as story that involves both the artistic nature of the company, including Howard Ashman’s impact, building of a movie slate, acquisition of ABC, tales of board meetings and the fight between Eisner and Katzenberg. Stewart draws you into the story and I found it difficult to put it down! And it is a book that I have recommended several times and have found even casual Disney fans to enjoy!

I read this book before I was Between Disney. So for me it was an eye opener. I had an impression of Eisner in my mind that this book rocked. I had heard on podcasts some criticizing Eisner but did not understand that potshots they sent his direction. While I did not come to share their opinion, I did begin to understand why Eisner’s decision –making was being criticized. And it introduced me to the silent partner of Frank Wells, who I found attractive to me in the same way I was attracted to the personality of Roy O. Disney when reading books about Walt Disney. And the story of how the relationship between Eisner and Katzenberg disintegrated into chaos is fascinating.

The hero of this book to me in many ways is Roy E. Disney. It is he who would “save” the company his father helped found. And with the rise of a new leadership hierarchy, it is his voice that helped preserve animation. I think that fans are not aware of how close Eisner was of shuttering that unit. And in the end it was Disney again whose voice led to the end of the Eisner era. Though he never held the top post himself within the company, Roy E. Disney’s voice was one that could not be ignored.

Disney War continues to remain one of my favorite Disney books. And I will continue to recommend this text which can be purchased at a Between Books friendly price on the secondary market. If you are a Disney fan, you need to read this book!

Between Books - Storming the Magic Kingdom

Storming the Magic Kingdom: Wall Street, the Raiders, and the Battle for Disney by John Taylor outlines a time when Disney’s fortunes did not look as bright as they do today. The long-term future of Walt Disney Productions in 1984 was in fact very much in doubt with questions of leadership and even if the company could be held together. And at the center of it all was the struggle between the heirs of Walt and Roy O. Disney and the future of their creation.

The majority of the action takes place in the board and conference rooms of 1984. With an undervalued stock and questions of leadership, corporate raider Saul Steinberg saw an opportunity in Disney stock. Steinberg potentially could have considered purchasing the company and liquidating the component parts for a massive profit. In an effort to defend the Disney legacy the company leadership explored a number of options including increasing the amount of stock available, a stock purchase of the land development company Arvida and the eventual paying of Greenmail (purchasing stock at above the market price) to Steinberg to eliminate his desires to purchase Disney. With the threat of a takeover eliminated however the company became embroiled in a leadership tug of war between the supportors of Walt’s corporate heir and son-in –law Ron Miller and Roy’s heir Roy E. Disney. In the end, the Roy side of the family would win out with the removal of Miller as Disney’s CEO and the hiring of Michael Eisner as CEO and Frank Wells as President.

This is a really enjoyable book. Now, it’s a book filled with behind the scenes details about stock purchases, proxy votes and board meetings. But Taylor does a good job in making those of us who do not discuss corporate finance on a daily basis educated to the realities of this world. And despite the fact that Storming the Magic Kingdom is an institutional history, Taylor helps bring the personalities of those in his pages alive. I could not help but feel saddened as Ron Miller faced the harsh reality that a company that he had spent his entire adult life at, that was his family’s legacy, no longer wished him to lead them into the future. Any Disney fan, regardless of business background, can pick up this volume, understand it, and might even find themselves learning better how the stock market works!

Really a big lesson for me in this book is that business is about people and personalities. I think that Roy E. Disney, who I do admire, is a good example of this fact. Throughout his Disney career he was marginalized by others. Some spoke of him as the idiot nephew. And I believe some may have forgotten that his father was a co-found of Disney. The fact that Roy E. Disney had a long history of being around and working in entertainment did make him comfortable with forming his own ideas for the company. These ideas were largely ignored! The fact that he was soft-spoken also led some to think that he was unintelligent. Instead he, and I, believed himself to be an intelligent man and a guardian of the Disney tradition. And Roy E. Disney believed change was part of his Uncle’s legacy. What one wonders is what could have happened if Roy E. Disney’s voice had been heard instead of mocked in the 1970s. Additionally, his cousin by marriage was seen by some as the handsome and entitled heir. Instead, in these pages he comes off as a man who has not been fully prepared for the role he has, but also another man who saw innovation as part of the Disney tradition and was concerned with expanding the business of his late father-in-law’s creation. Again, one can play what if’s if the Walt and Ron sides of the family could have come together. Disney history shows that the company runs best with two leaders with clear roles (Walt and Roy, Michael and Frank), could Ron and Roy E have led the company into a new renaissance together instead of waiting for the Eisner Era? Instead we now study a bad situation where all sides honestly must take a share of the blame.

Another proof of personality winning out or at least equaling is Roy E. Disney’s lawyer Stanley Gold and Arvida owner Sid Bass. With the purchase of Arvida, Bass became a substantial Disney stockholder. The fact that the two men found common interests allowed the two to build a friendship. That friendship would be a key to the alliance lead by Roy E. Disney to remove Miller and put their chosen management team into place.

Storming the Magic Kingdom is a fascinating story of the evolution of the Walt Disney Company. At the beginning of the tale the company was firmly in the hands of the intellectual heirs of Walt Disney. After attempts to raid the company and then placing through stockholder pressure a new leadership team was put into place with outsiders Eisner and Wells. That change led to a new peak of Disney entertainment and financial gains. But most of all Storming the Kingdom is a story about how business is really about people.

Between Books - Building a Company

Almost anyone with a television in the world is aware of some of the entertainment contributions of one founder of the Walt Disney Company, Walt Disney, but often it is forgotten that the company began in 1923 as the Disney Brothers Studio.  Often forgotten is the legacy of the older brother in the Disney partnership, Roy O. Disney.  When I originally read Bob Thomas’ Walt Disney: An American Original I was struck by the loyalty that Roy O. Disney showed his brother and the essential though often invisible role he played in the success of Walt Disney by overseeing the business side of Disney endeavors.  This lead me to seek out more on the life of Roy O. Disney and the first and most prominent source I reached for was a lesser know book by Thomas, Building a Company: Roy O. Disney and the Creation of An Entertainment Empire.

Thomas outlines Roy O. Disney’s life from birth on June 24, 1893 to his death on December 20, 1971.  As a youth he developed a strong relationship with his much younger brother Walter.  The two boys often worked and played together despite a sizable age difference.  Disney left his job as a bank teller to serve in the U.S. Navy during World War I.  Having acquired tuberculosis during his naval service, Disney relocated to a veteran’s hospital in the Los Angeles area.  His brother Walt followed soon after his Kansas City cartoon studio became bankrupt.  Walt asked for Roy’s assistance and the next morning Roy checked out of the hospital never to return for his wartime affliction.  Forming a partnership called the Disney Brothers Studio, Walt oversaw the creative endeavors while Roy guided their business interests and occasionally operated a camera.  Over the next 50 years Roy oversaw the growth of the Walt Disney Company, his suggestion for a  name change, that transitioned from cartoon shorts to animated features, live-action movies, television programs and two theme parks.  During all of these projects Thomas makes it clear that Roy O. Disney dutifully supported the dreams of Walt Disney, though not always in agreement, and acquired the resources and funding needed to make Walt Disney’s ideas come alive. 

I really found this book a delight and helped fill my need to know more about this great man and co-founder of the Walt Disney Company.  Thomas does an excellent job of introducing us to Roy O. Disney the man.  We get the picture a loyal man who followed his younger brother into a questionable future based on his faith in that brother’s ability.  Roy O. Disney was also the man who finished Walt Disney’s dream of Walt Disney World, admittedly not as ambitious as Walt may have dreamed but one that was still made available for public enjoyment.  It is the picture of the Walt and Roy O. Disney relationship that captures my imagination the most.  The two men were in many ways different yet thoroughly attached to each other.  And we see Roy O. Disney as the quieter brother, coming home after work for time with his wife and son while Walt was the public face of the company and in the eye of the fans.  Especially gripping for me is the retelling of Roy O. Disney’s last visit with his dying brother as Walt dreamed one last time with his older brother.

Along with Roy O. Disney the brother we also get a picture of the business man.  Roy O. Disney was very personal in his interactions with associates.  For example his trips to Europe included his wife Edna, who would entertain the wife’s of Disney staff members and contacts abroad.  He was a man who put a personal touch on a growing company.  And these personal relationships greatly benefited the company’s bottom line as it expanded into new markets.  Additionally in the personal area we see his interactions with his family including his long relationship with Edna and his love for his son Roy E. Disney.  It would be easy to write a book about the business choices of Roy O. Disney from founding a start-up to evolving into a publicly traded company.  But instead Thomas does an excellent job of showing Roy O. Disney the man. 

Thomas yet again provides solid readable writing that Betweenlanders will enjoy.  Additionally as a historian his book is very well researched including interviews with prominent Disney personalities and legends and use of documents found in the Disney Archives, including Roy O. Disney’s personal and business correspondence.  Building a Company is the most extensive profile of Roy O. Disney available to the public.   

As someone who has become a fan of Roy O. Disney’s life and legacy I highly recommend this book for all Between Book libraries.   

Mousey Movies - Destino

Still From "Destino"

One of the topics discussed in Jim Korkis' The Vault of Walt is the short film "Destino".  This film was a collaboration between Walt Disney and famed artist Salvador Dali which began in the 1940s and was not completed until 2003 by Walt's nephew Roy E. Disney.

Salvador Dali

To say the film is visually interesting is an understatement!  So instead of trying to describe the film, ladies and gentlemen, "Destino": 

That is the most interesting baseball game I have ever seen!

What did you think of "Destino"?