Art Babbitt: A Class of His Own
Still, he never forgot that he was Art Babbitt. “Your notes from Dick Williams’ seminar are being passed about here as if they were Galileo’s,” said Canemaker to him in 1975. Babbitt answered wryly, “Just so they won’t burn me at the stake.”[30]
Jake Friedman is a New York-based animator, freelance writer, and the authorized biographer of Art Babbitt.
[1] Frank Thomas and Ollie Johnston, The Illusion of Life (New York: Disney Editions, 1981), 71.
[2] Frank Thomas, at Art Babbitt’s memorial service, March 28, 1992.
[3] Ward Kimball, interview with John Canemaker, 1975. [Babbit, Art, Canemaker Collection, Accretions 2001, Series 1, subseries B, Box 2, Folder10, Bobst Library, New York University.]
[4] Art Babbitt, interview with John Canemaker, June 4, 1975. [Babbitt, Art, Canemaker Collection, Series I, subseries B, Box 5, Folder 3, Bobst Library, New York University.]
[5] This story has been re-told many times, including: Babbitt interview, 1975.
[6] Their third model was a woman named Doris Harman whose mother’s social activism in Kansas City inspired Babbitt. Art Babbitt, transcript of audio letter to John Canemaker, 1979. [Babbitt, Art, Canemaker Collection, Series I, subseries B, Box 5, Folder 3, Bobst Library, New York University.]
[7] Babbitt’s copy of Graham’s book is inscribed, “To Art – who started me out in the Animation Business / My great appreciation – Graham 1971.” Collection of Barbara Babbitt.
[8] Thomas and Johnston, 538-9
[9] Shamus Culhane, Talking Animals and Other People (New York: Da Capo Press, 1986) 137.
[10] Donald Graham, Composing Pictures (Los Angeles: Silman-James Press, 1970), 375.
[11] Art Babbitt, letter to Bill Tytla, November 27, 1933. [Babbitt, Art, Canemaker Collection, Accretions 2001, Series 1, subseries B, Box 3, Folder 11, Bobst Library, New York University.]
[12] Culhane, 133.
[13] R. C. Harvey, “Only Minor Scathing: The Disney Influence,” Pogo, vol. 3 (New York: Fantagraphics, 1995), v.
[14] Willis Pyle, interview with author, April 14, 2010.
[15] Culhane, 128. (This specific occurrence happened soon after Babbitt’s development of the Goof, but I believe Graham certainly must have discussed this prior, as well.)
[16] Art Babbitt, letter to John Canemaker, February 21, 1979. [Babbitt, Art, Canemaker Collection, Accretions 2001, Series 1, subseries B, Box 3, Folder 11, Bobst Library, New York University.]
[17] Babbitt interview, 1975.
[18] Animation Program and Department of Cinema Progress Report, 1961. [Doheny Memorial Library 220, University of Southern California]
[19] In 1963 at Chuck Jones’ studio, Hal Ambro generously shared information with Bell, as Frank Thomas had done with Ambro. Carl Bell, interview with author, June 29, 2010.
[20] Maggie Julian Wisdom, interview with the author, May 1, 2011.
[21] Bell interview, 2010.
[22] Imogen Sutton, Director, Animating Art, 1987.
[23] Richard Williams, fax to Barbara Babbitt, March 27, 1992.
[24] Tom Sito, Introduction, The Babbitt Notes, circa 1973. Courtesy of Barbara Babbitt.
[25] Art Babbitt, Training Course Lecture Series, Walt Disney Studios, September 23, 1936. [Babbitt, Art, Canemaker Collection, Accretions 2001, Series 1, subseries B, Box 3, Folder 11, Bobst Library, New York University.]
[26] Art Babbitt, Lecture to Richard Williams Studio, July 2, 1973. [Babbitt, Art, Canemaker Collection, Series I, subseries B, Box 5, Folder 4, Bobst Library, New York University.]
[27] Babbitt interview, 1975.
[28] Williams fax, 1992.
[29] Chuck Jones, at Art Babbitt’s memorial service, March 28, 1992.
[30] Babbitt interview, 1975.
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I thought about it and had to come back to point out that Art animated the Mushroom Dance, not Jules Engel. That is what Art would have wanted said here.
I really appreciate this article lauding Art Babbitt's accomplishments as an animator and an educator . His methods of teaching animation (disseminated via Richard Williams and the notes of various Williams studio animators who studied under Babbitt during those years) have had a major impact on how animation principles are taught .
One thing you should correct about this article is a rather off-handed , somewhat dismissive remark about Lester Novros on page 5: "Before Babbitt joined the staff of the University of Southern California, a single animation class was taught by ex-Disney inbetweener Lester Novros. "
The phrase "ex-Disney inbetweener" is a gross understatement about Les Novros's career and doesn't do the man justice. Google for Les Novros's screen credits on IMDB or on the "History" section of his company Graphic Films .com .
Les Novros , like everyone else , including "star animators" like Art Babbitt and Fred Moore , or Frank Thomas , started at Disney serving an apprenticeship on the lower rungs of the ladder as an assistant animator , so it would be just as accurate to refer to "ex-Disney inbetweener Frank Thomas" or "ex-Terrytoons assistant Art Babbitt" , but does that sort of description accurately sum up Frank Thomas's or Art Babbitt's subsequent careers and positions in the industry ? Not at all. Novros started off as an assistant at Disney, but by 1940 was credited as an animator on Fantasia ("Night on Bald Mountain / Ave Maria" sequence) . He left Disney during the 1941 strike and established his own independent animation studio, Graphic Films, which produced hundreds of educational , documentary, and advertising films in animation and live-action over the years. Novros was a central figure in establishing the Cinema Department of the University of Southern California .
Art Babbitt was a great inspiration for me. As an animator, as a teacher and most importantly on how you to live your life as an artist. He could have remained one of Walt's kiss-asses and done very well for himself. But he spoke out constantly on behalf of the low-paid and unappreciated of our field.
There are those became better animators than he, many became more rich and famous than he, but no one could deny Art Babbitt was a man who lived by his principles. I am ever thankful for his and Barbara's friendship, and all who ply the trade of animator should be thankful for all that he did for us.
I worked with Art at FilmFair at the end of his career and spent lunch hours with him every day. He was an old lion, but he was still a lion. He was very good to me.
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