Marc Davis
Marc Davis
Marc Fraser Daviswas a prominent American artist and animator for Walt Disney Studios. He was one of Disney's Nine Old Men, the famed core animators of Disney animated films, and was revered for his knowledge and understanding of visual aesthetics...
ProfessionCartoonist
Date of Birth30 March 1913
CityBakersfield, CA
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Racing has been in my family. I used to see the bikes down in the basement and I always wanted to try it.
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We didn't like it when they bid $72 a share and like it even less at $80 a share.
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Before I got through high school I had attended 22 different schools. In the time before I was well acquainted with the latest school, I would amuse myself by drawing and found that I was pretty good at it.
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At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.
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Disney had made such a great deal of money on Snow White that the banks gave him the go-ahead on the next three films. But he was heavily dependent on the foreign market.
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There's nothing like it that can combine the things that are there, ... The art of drawing and painting ... music, dance, storytelling. All of these things in one package.
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I think live action was something Walt always wanted to do and it took a long time for people to come around to letting him do that.
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What we were in on, really, was the invention of animation.
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We want to enable the billions of media consumers to become producers, ... And clearly, Yahoo is poised as a company to make significant changes in the world of social media.
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There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.
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Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.
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It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.
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It wasn't that you had to do these things, you wanted to do them. You were so proud. Every write-up the studio got, everybody went out and got it.
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What we do here is focus on socio-technical design, ... The fundamental problems can't be solved by technology alone.