How a long-abandoned collaboration begun by Walt Disney fed his nephew's corporate battles decades later. The Big Picture Animated shorts haven't been The Walt Disney Company's bread and butter since the 1940s, but they've always loomed large in the company's history. They were all that Walt Disney and his artists made for years.
The Big Picture Animated shorts haven't been The Walt Disney Company's bread and butter since the 1940s, but they've always loomed large in the company's history. They were all that Walt Disney and his artists made for years. They launched the career of Mickey Mouse, gave Disney its first runaway hit song, and gave Walt a laboratory for new techniques and approaches to animation even after he shifted his focus to feature films.
What Is 'Destino' About? Destino was, for decades, one of the many might-have-been projects of Walt Disney’s career. Flush with the success of Snow White and the Seven Dwarfs and impassioned by the experience of making Fantasia, Walt was determined to take animation to new heights. To that end, he pursued a number of unusual collaborations in the 1940s with a range of artists from Aldous Huxley to Marc Connolly.
Work continued despite the gap between visions, with Dalí and Hench producing some 200 pieces of artwork and a small piece of surrealist animation. But if artistic differences clouded “Destino’s” production, financial realities killed it. The 1940s was one of the bleakest in the Disney studio’s history. Expensive bombs, lost markets, and an animators’ strike frustrated many of Walt’s hopes, “Destino” among them. Fantasia’s underperformance also soured him on aiming too high with animation.
Whatever he might have thought about his uncle as a boss, Roy recognized his brilliance. During his years as chairman of the animation department and vice chairman of the board, Roy devoted considerable energies to promoting and protecting the family legacy through interviews, TV, and home video documentaries, and contentious battles over marketing, rejecting the phrase “branding” as fit for cattle, not characters. He also revived several of his uncle’s aborted projects.
Roy was undeterred by such dismissal. He'd worked for his hypercritical uncle, endured mocking as the "idiot nephew" by rival executives in the 1970s, and put up with Jeffrey Katzenberg. Seeing no reason to go all the way to the CEO over one short subject, he and his team went ahead with “Destino” without clearing it with the big boss.
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