Ginny’s vocal work gradually moved from just narration to character voices for Disney; she played two amorous female squirrels in The Sword in the Stone and sang for several of the barnyard animals in the “Jolly Holiday” sequence of Mary Poppins.
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Of a childhood in the public eye, Tim once said, “It was generally a pretty good experience for me. What I missed, I’m sure I missed, but I’m not too unhappy about what I did. I’ve had the opportunity to screw up all kinds of things, and not just in that one career!”
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“I liked David right away,” co-star Tim Considine remembered, “because, although very conscientious about his work, he wasn’t loud or at all show-offy.”
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Tommy fondly remembers Walt Disney, and recalls once bumping into him at a Beverly Hills hotel. “He was with Hedda Hopper, the legendary columnist. He put his arm around me, and he said, ‘This is my good-luck piece here,’ to Hedda Hopper. I never forgot that. That’s the nicest compliment he ever gave me.”
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It was literally impossible during the 1960s and most of the 1970s to turn on the TV on any given night and not hear the ineluctable Mr. Frees.
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Walt took special care of his office staff, and Lucille remembered many kindnesses: “I had never flown on a plane, and one day when Walt was going to San Diego with a press group, he closed the office so I could have my first plane ride.”
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As early as the 1942 publication of the first scholarly study of animation, The Art of Walt Disney by Dr. Robert Feild, Art Babbitt had gained a reputation as “The Greatest Animator Ever.”
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“He was with animation through all its growing pains. Whatever animation became, he helped to shape it, drawing by drawing, idea by idea.” —Animation great Grim Natwick
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“I’m sort of a Disney… kind of a troublemaker. A story artist, animator—tried to be an animator. But mainly writer, artist, and a guy who’s trying to learn his craft. Been doing it now for about 40 years and, just beginning to get the hang of it.” —Floyd Norman
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Marge was the live-action reference model for the heroine of Disney’s feature-length cartoon Snow White and the Seven Dwarfs, performing dances, scenes, and special movements so the animators could caricature her actions and make their princess as human as possible.
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