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Disney first tried to make a full-length film in 1931: Alice in Wonderland. He gave that up in 1932 when an English studio came out with a live-action version. It would have been too much competition. Disney s Alice would have combined a real-live Alice with animation for everything else. That was the formula that he had used in Alice in Cartoonland, a series of shorts that he made between 1923 and 1926. Was that the vision Disney had in Paris, to turn his Alice shorts into a full-length film If so, the quality of the film would have been quite low. It was only in 1988, with Who Framed Roger Rabbit, that the Disney studios solved the technical problems of combining animation and live characters. Thus Disney might have had a vision for a low-quality Alice film in 1928, but he certainly did not have a vision of making Snow White. Alice and Snow White were very different. There was no live character in Snow White, and the technology to make Snow White did not exist in 1928, or even in 1931. It was only in 1932 that a technical breakthrough greatly improved Technicolor. Right away, Disney bought the exclusive rights to use the new process in animation. He added a whole color department, including crew, materials, and laboratory. The Technicolor company itself owned the only other color lab in Hollywood and rented it out film by film to live-action studios. Its monopoly lasted until 1949, when Eastman Kodak produced a rival product. So before 1932, Disney had no vision of producing a film like Snow White. In 1931, he had set out to combine animation and live action in his first full-length feature, whereas Snow White was all animation. And it was the Technicolor breakthrough in 1932 that took Disney into color production. In 1932, Disney made his first full-color animation short, Flowers and Trees. It won an Academy Award. Again: success. Disney had mastered full-color animation in less than a year. He built on that success with more color shorts. At about the same time, in 1932, Disney started using a new technique for planning out stories: the storyboard. One of his cartoonists, Webb Smith, adapted it from cartoon strips. Disney s shorts now included color and sound, singing and dancing, so the
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118 T H E A D V A N T A G E O F E X P E R T I N T U I T I O N
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task of developing all the pieces and keeping them together had become daunting. With a storyboard, artists made preliminary drawings of every scene and clipped them on a board in sequence. It was like a newspaper cartoon strip the industry in which both Webb and Disney had started their careers. So Disney adapted an old craft to planning out animated films. Suddenly, a complicated story was easy to follow. That meant that the story line could become more complex. Disney s first storyboard short was Father Noah s Ark in 1933. Right after this, in 1934, he wrote a memo to announce the technique to the whole studio. That was the year the studio began to work on Snow White. Coup d oeil. Snow White combined all Disney s previous achievements: synchronized sound and action, Technicolor, singing and dancing, and a complex story line developed on a storyboard. Thanks to his Paris visit, Disney knew that at least some audiences would pay to sit through a full-length cartoon. And the Snow White story was hardly new: It was a successful fairy tale that had remained popular through the ages. During 1937, the last year of work on Snow White, Disney tried using a multiplane camera in a cartoon short, The Old Mill, to give scenes greater depth. It worked. That was the last element Disney added in making Snow White. From its first release at the end of 1937, the film was an instant success. It took Disney from the brink of bankruptcy to being a major Hollywood studio. He went on to repeat the formula year after year. Full-length animated features became his signature product. Disney was an artist of what works. As we see from Apple, the Manhattan Project, and Disney, the art of what works takes nothing away from the insights that Organizing Genius offers. We simply add the element of expert intuition to complete the picture of what explains success. The same is true with other books that promote teamwork over command and control, such as Stewardship, by Peter Block, or The Radical Team Handbook: Harnessing the Power of Team Learning, by John Redding.7
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