Gerry Geronimi interview
Ross Care: The studio comments indicate you worked as an animator on many of the shorts in the late ’30s. Could you offer some ideas on what particular qualities an animator had to possess to move on to being an animation director?
Gerry Geronimi: An animation director usually comes from the ranks of Animation or Story. A good director must be able to handle his staff efficiently. Animation is a medium that requires the efforts of a lot of people working together. [The director must] be able to handle different types of personalities and have the respect of his complete staff. Some animators, like actors, are a rare breed. Naturally, they think they know more than the director. I have had my share of that kind, but with patience and flattery I bring them around to my way of thinking. Walt usually assigned certain animators with directors whom he felt could handle them. (Ah, such is the life of a director.)
Parent contents
- Parent entry
- 1 - The Mique Nelson letters (Mique Nelson)
- 2 - Katherine Kerwin interview (Dave Smith)
- 3 - Gerry Geronimi interview (Michael Barrier, Milton Gray)
- 4 - Gerry Geronimi interview
- 5 - Ward Kimball interview (Ross Care)
- 6 - Ward Kimball interview (John Culhane)
- 7 - Dick Huemer interview (John Culhane)
- 8 - Ken O'Connor interview (Ron Merk)
- 9 - Chaperone for Donald Duck (Janet Martin)
- 10 - Herb Ryman interview (Kathy Greene, Richard Greene)
- 11 - Five Years with Walt (Don Douglass)
- 12 - Ken Peterson interview (Bob Thomas)
- 12 - Ken Peterson interview (Bob Thomas)
- 13 - Kay Wright interview (Alberto Becattini)
- 14 - Dell Conell interview (Bill Spicer)
- 15 - Elma Milotte interview (MICA Productions)
- 16 - Bob Gurr interview (Doobie Moseley)
- 17 - Bob Gurr interview (Jim Korkis)
- 18 - Bob Gurr interview (Didier Ghez)
- 19 - Barbara Palmer interview (Michael Broggie)
- 20 - Hani El-Masri interview (Julie Svendsen)
