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of ten or so. They think up new ideas, re-work old tales (Disney's re-creations from old legends — Jaok the Giant Killer, Little Red Riding Hood, Gulliver's Travels, etc. — is reminiscent of the practice of the Greek dramatists and Shakespeare), and develop stories already accepted. Disney's greatest influence is felt in this department. It is the quality of the story and the plot detail which is one of the most distinguishing features of the Disney cartoon. Many animators have left the Disney studio for other cartoon work, and yet their artistic effort, clever and imaginative as it may be, is usually lost in second-rate material. Disney's suggestions for stories and gag incidents in the stories are those most often accepted. But he is in no way dictatorial. It is the studio as a group which decides on the stories, and when Disney has a story which the other members of the studio disfavour, it is either shelved or discarded. For instance, Three Little Pigs was submitted by Disney for a year before the studio finally approved of it.
When a story is accepted, Disney and the story department scrutinise its possibilities, and then one of its members writes it up in a page synopsis. This synopsis is circulated to about ninety members of the studio, animators, gag men, musical composers, etc., who, incited by the story possibilities, during two weeks create gags, little actions, and other embellishments for the plot. At a luncheon conference lasting three hours or more, the pile of suggestions (mostly quick drawings on paper accompanied by written annotations) are presented, criticised, and discussed by Disney, some members of the story department, the director who is assigned to the cartoon, the layout man (he is the co-ordinating artist, a sort of continuity animator who works out the detailed action which the forty or more animators will follow) , the musical director, and several animators. The conference is exciting, animated, and often quite humorous. Hurried sketches are created and passed round. A composer rattles off a theme while another person rhythmically enacts an animal action. When Disney acts out a Mickey Mouse sequence he seems to be the very mouse he has created.
Next, a story-writer completes a detailed scenario, which is illustrated by about fifty sketches of the main incidents in the action. The scenario is then handed over to the director, who, with the aid of Disney, the musical director, and the layout man, forms a detailed time-sheet for every minute movement. This time-sheet is developed on a principle of beats in synchronisation with the musical score, which has been composed coincidently with the working out of the scenario. Thus each action has been synchronised with the music before either the music is recorded or the action animated. This simultaneous creation of music and action is one of Disney's significant contributions to the progress of the animated cartoon. When the
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