A behind the scenes documentary on how Walt Disney’s Peter Pan was made.
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TVTranscript
00:03Don't worry, there's nothing wrong with your television set.
00:06This is a pixie bell.
00:08The sound is much too high for human ears.
00:11Oh, there you are, Tink.
00:13Hey, get that stuff off of me.
00:18If you're familiar with the story of Peter Pan,
00:20you know that a little sprinkling of Tinkerbell's fairy dust can make you fly.
00:27Now, Tink.
00:28Tink, wait a minute.
00:31Haven't you forgotten something?
00:33Aren't you going to take the audience along?
00:37Come on, everybody.
00:39Here we go.
00:42Up to Neverland.
00:44Fly away with us.
00:45Second star to the right and straight on till morning.
00:49And discover the behind-the-scenes story
00:51of how the timeless tale of Peter Pan
00:54was transformed into a soaring Disney classic.
01:01The story of Peter Pan began its life on the London stage in 1904.
01:06It was written by Scottish novelist and playwright James Matthew Barry.
01:11Sir James Barry was inspired.
01:13I guess he was visited by the muse when he created Peter Pan.
01:17It was just a marvelous idea.
01:20And the testament is the fact that it's lived all these years and had so many incarnations.
01:26He created something that I guess will be immortal.
01:29In 1913, a touring company of Peter Pan was seen by this youngster.
01:38The boy was Walt Disney.
01:40He never forgot this epic of boyhood and its unique combination of fantasy and swashbuckling adventure.
01:50In 1924, Walt also saw a silent film version of Peter Pan, starring Betty Bronson as Peter.
01:59The film contained many innovations, such as a live actress playing Tinker Bell
02:06and special effects that were the state-of-the-art for their day.
02:13The silent film, however, adhered to many of the conventions of the stage version of Peter Pan,
02:19including the stars, rather obviously, flying on wires,
02:27a performer in a dog suit as Nana,
02:33and a costumed actor as the crocodile.
02:38Walt Disney's efforts to make Peter Pan as an animated feature
02:42actually began in the late 1930s,
02:45during the production of Snow White and the Seven Dwarfs,
02:48in an era when Disney's filmmaking imagination was at its peak.
02:53Animation was, in many ways, the ideal medium for Peter Pan,
02:57because it's a fantasy.
03:00Walt Disney himself noted,
03:02the cartoon method gave us many advantages over the stagecraft of Barry's day,
03:07which no amount of pixie dust could cure.
03:09Here, for the first time, was a medium where the imagination is limited.
03:15Animation could do anything.
03:16You're so free to do things, to picture things,
03:20to show people things that you couldn't do on stage.
03:23In 1939, Disney acquired the screen rights,
03:27and by early 1940, storyboards were begun.
03:31These never-before-seen watercolor illustrations by renowned British artist David Hall
03:36were part of Disney's initial work.
03:39Hall had also done extensive visual development of Alice in Wonderland for Disney in 1938.
03:47In this early version of the story,
03:50Nana traveled with Peter and the children to Neverland,
03:53as seen in these rare, original story sketches.
04:03Much of the art created at this time was also darker than the original play,
04:09and far more sinister than a typical Disney effort.
04:20Now, my dear princess, this is my proposition.
04:24You tell me the hiding place of Peter Pan,
04:29and I shall set you free.
04:31You talk.
04:32You'd better talk, my dear.
04:36This is your last chance, Tiger Lily!
04:47This is your last chance, Tiger Lily!
05:08Another part of this early work was an elaborate musical number for Captain Hook's pirate crew,
05:14which was ultimately replaced by a different song,
05:16the elegant Captain Hook.
05:18An attempt to persuade the Lost Boys to join the pirates' ranks,
05:22this earlier song, written by studio music director Frank Churchill,
05:25along with Ray Kelly,
05:27is reconstructed here using a rare song demo recording,
05:31coupled with never-before-seen storyboard drawings of the original sequence.
05:35Aye, pirates, the only life for red-blooded men.
05:40If you're thinking of the future, and you'd like a life of peace,
05:44if you'd like to make a fortune for your true,
05:48if you've ever had a hangar run to sail a seven seas,
05:52then a pirate's life is just a life for you.
05:56Yo-ho-ho-ho, a good airing you must go,
06:00so you might as well make up your minds to sign.
06:04If you'd like a share of plunder,
06:06if you care for blood and thunder,
06:08simply step right up and sign a dotted line.
06:12By 1941, a basic story structure was completed.
06:16However, the onset of World War II stopped the development.
06:20After the war, Walt Disney brought Peter Pan back into development.
06:25Progress continued throughout the 1940s,
06:28including extensive concept art by renowned color stylist Mary Blair.
06:33Finally, in 1950, he said,
06:36now's the time, let's do it.
06:38And they did.
06:39The Disney version of Peter Pan has another interesting first.
06:42It's the first time a boy was shown as Peter Pan.
06:46There had been a tradition from the time of Maude Adams on the stage
06:50and right through Mary Martin and in recent years,
06:53Kathy Rigby, Sandy Duncan, many others have done it,
06:55a tradition of women playing Peter Pan.
06:59But it was something that was broken,
07:01a tradition that was broken by Walt Disney
07:04by showing Peter Pan as a boy.
07:05Now, it's an animated boy,
07:07but it was really a boy's voice,
07:09and he was depicted as a boy,
07:10which is what he's supposed to be.
07:18Walt assigned the character of Peter Pan
07:20to animator Milt Kahl.
07:22I remember hearing Milt Kahl lecture about animation one time,
07:26and he said that one of the real challenges for him
07:29was animating weightlessness,
07:33animating a character who is sort of floating in midair,
07:36not flying, but just sort of floating.
07:39It's details like that that we in the audience
07:42are not supposed to think about.
07:43Of course, we shouldn't.
07:44We're involved in the story.
07:45Young Bobby Driscoll was assigned to the role of Peter.
07:57I guess Bobby Driscoll was an obvious choice for Walt to make
08:01because he was the resident juvenile star at the studio.
08:05Driscoll had debuted in Song of the South,
08:07after which Disney cast him in several projects,
08:10including So Dear to My Heart
08:20Walt also didn't have to look far for the voice of Wendy.
08:24He found what he called
08:25the gentle and gracefully feminine voice
08:28in the same actress who had played Alice in Wonderland,
08:32Catherine Beaumont.
08:33I heard about Peter Pan
08:36because the studio had started working on the writing part of it.
08:42I went directly from finishing Alice
08:45and immediately started working on the voice for Wendy.
08:51Oh, slave in the mirror, come from the farthest space.
08:57Through wind and rain I...
09:00I am here, young mistress.
09:02Oh, my goodness, you got here in a hurry.
09:05I didn't get to finish the magic words.
09:08Well, it so happened that I was in the neighborhood.
09:11Hans Conrad, seen here as the face in the magic mirror,
09:15was cast in the tradition of the stage play
09:17as both Captain Hook...
09:19Bluff!
09:20That Peter Pan!
09:22...and Mr. Darling.
09:24Ouch!
09:25Ouch, I say!
09:27Hans Conrad was inspired casting.
09:30You'd have to say, as Captain Hook.
09:31He was a consummate actor
09:33and had been one of the busiest and best radio actors
09:38throughout the 30s and 40s.
09:40So he was well-schooled in how to act a part vocally.
09:46Peter Pan!
09:47Will be blasted out of Neverland forever!
09:53To bring the villainous Captain Hook to animated life,
09:57Walt assigned veteran animator Frank Thomas.
10:00So I was wondering who was going to get the juicy assignment
10:03of doing Captain Hook,
10:05and then I heard that Walt wanted me to do it.
10:08I thought, gee, putting me on that kind of a villain,
10:11a comic thing?
10:12The story man, Ed Penner,
10:14had seen him as a foppish guy, grand manners,
10:17thought this is the way to live, midnight suppers, wine,
10:23all these gourmet connoisseur-type things.
10:26While the director saw him as a tough, mean guy
10:29who'd shoot the cannon and shoot his own crew on the ship,
10:33and he was a menacing villain.
10:36He was a menacing opponent for Peter Pan.
10:40Now let me see.
10:41Where was I?
10:42Walt knew that for his version of Peter Pan,
10:46Tinkerbell would have to be developed
10:47as a fully realized character.
10:50From the late 1930s on,
10:53character sketches trace Tinkerbell's development,
10:55and each reveals the then-current conception
10:58of feminine beauty.
11:00The character that I worked on was Tinkerbell,
11:04and Tinkerbell was visualized as a spot of light,
11:07which no doubt was something like a strong flashlight
11:10that moved around on the background of the stage.
11:14In our medium, you couldn't just use a spot of light,
11:18so I came up with the design that you see here.
11:24She's a pure pantomime character,
11:28which in itself I think is very interesting,
11:31that she didn't talk, but you know what she's thinking.
11:35There's been a rumor for years
11:36that she was patterned after Marilyn Monroe.
11:39It's the kind of likable story people will repeat
11:42because it sounds good, but it doesn't really wash
11:44because she was not a star yet.
11:46She was not a superstar or a pop culture icon.
11:49She was in Hollywood,
11:50but the designers and animators at Disney
11:52wouldn't have known who she was.
11:54I was Tinkerbell.
11:55I got this call to come over to Disney
11:58to do this audition,
12:00and they said,
12:00we want her to step on a mirror,
12:04a hand mirror that's on a dresser,
12:06look down, preen herself,
12:08and then suddenly see her hips
12:11and be very uncomfortable with the size of them.
12:14So I did.
12:15I said, certainly.
12:17And I stepped on, and I looked down,
12:19and I saw my hips, and I measured them.
12:21I stamped my foot and marched away,
12:24and they said,
12:24would it be convenient for you to come next Tuesday?
12:28So they knew that I had the imagination that they needed.
12:32The use of Margaret Carey as a live model for Tinkerbell
12:35was only part of the considerable reference
12:38used by Disney animators
12:40to bring Peter Pan to the screen.
12:42The second part of my performance
12:45after the recording was done
12:47was what was really making the film,
12:51although in this situation,
12:53it wasn't a film the audience saw.
12:57It was only for the animators,
12:59and it basically was done
13:01so that the animator could watch the action taking place.
13:05The audience always got confused,
13:08and we talked about live-action help.
13:10We'd say, well, an artist needs a model.
13:13You've got to have something to guide you.
13:16But it was also very helpful in little ways
13:19of a guy turning and looking back over his shoulder,
13:24how far do you turn his head,
13:26and you find if you've got the real person to do it,
13:29this other arm here would come out as it turned,
13:31or something would come up to his chin,
13:33or some little thing you hadn't thought of.
13:36And very often, that would make the scene come alive.
13:40A codfish on a hook.
13:42I'll get you for this, Pan,
13:44if it's the last thing I do.
13:46If America has an art form,
13:50I'd say it's the Disney feature cartoon.
13:54After nearly two decades of work,
13:57dozens of story treatments,
13:59and thousands of drawings,
14:00Walt Disney's Peter Pan
14:02was finally finished.
14:04It was first released on February 3rd, 1953,
14:07and was an immediate audience favorite.
14:11It has remained one of Disney's greatest animated achievements,
14:15and a beloved classic.
14:17When we watch Peter Pan, guess what?
14:19It's all safe.
14:20We all come back all right.
14:22It's a story that has meaning for everybody.
14:26Adults, you know,
14:27looking back and seeing the boy who doesn't want to grow up.
14:31The idea of keeping that youthful spirit,
14:34not surrendering your childhood,
14:37well, that's a very strong idea,
14:39and a very magical one that has enormous appeal.
14:43And then, of course,
14:44it was sprinkled with that Disney magic.
14:46I mean, talk about, you know,
14:48a perfect marriage.
14:50Peter Pan and Disney.
14:52You know, I have the strangest thing
14:55that I've seen that ship before,
14:57a long time ago,
14:59when I was very young.
15:16I remember that ship was really fine,
15:17but I never told be as Yetimbus.
15:18I never told you었어요.
15:18I never told you about it,
15:19but I realized that ship has a lot of things in the best 편.
15:19I never told you I was going to be landishing."
15:19I never told you about that.
15:20You know, it's been the best place for some of our dreams you and ever.
15:20And not knowing you.
15:24That's because it's been the best place for,
15:25is that something that I'm going to do with you.
15:29that you belong to our super puts them around today.
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