This historic short is now in the public domain in the United States. Of course, only this version of Mickey Mouse is in the public domain. I call him Mickey Mouse version 1.0. He doesn't have gloves in this short, and he doesn't talk, just some whistling and funny sounds.

If you're making a horror movie with Mickey Mouse in it, you got to use this specific version of Mickey Mouse, and his girlfriend, Minnie Mouse, as depicted in this short.

It's still blocked in some territories, only 7, due to copyright laws over in those other territories, but in the United States, Mickey Mouse 1.0 is now ours!

Welcome to the public domain, Mickey Mouse!

Frosty the Snowman from the 1969 Rankin Bass TV Special Frosty the Snowman comes out and tells everyone the true meaning of Christmas from Luke Chapter 2 in the Bible, despite his commercial credibility.

Actually, this is just me talking through a special AI voice changer application called RVC Web UI. It's been known to change people's voices to any character that they train the voices on. That would mean that you can now make Spongebob swear in the episode where all the swear words are censored by funny sound effects, Sailor Mouth.

From me to you, Merry Christmas and Happy Holidays! See you in 2024!

Elf from 2003 starring Will Ferrell is 20 years old today.

In this video, I talk with Elf Special Effects Coordinator Tony Lazarowich about how some of the unique props and illusions were brought to life in this treasured holiday classic.

He even shows us photos of the sea of swirly twirly gumdrops, something that was actually filmed but did not make the movie. A Jordan White Channel Exclusive!!

May every day be like Christmas this season! Don't be a cotton headed ninny muggins!

Bing Crosby (1903-1977) returns from the dead to upstate Mariah Carey before she wakes up.

This time, I finally found an AI program that precisely duplicates the voice of a deceased person when the speaker speaks or sings or acts through the program, like a very advanced voice changer.

Today, I'm proud to announce that dpw Creative LLC will be the first company ever to offer AI voice duplication services on a consumer level for your family's deceased loved ones. Now you can have your son or daughter's late grandma or grandpa read a new bedtime story to your son or daughter for the first time in years. All we need is audio samples from both you and audio samples of the one you lost.

https://dpw-creative.com/

DISCLAIMER: This is merely a test to show off what we can do. We will not duplicate voices of currently living actors and actresses in Hollywood under copyright, any character under copyrighted law, or duplicate voices of other people without the consent of the families, agents, rightholders, or any and all third parties involved.

Happy 30th Anniversary to cartoon characters who have made our world a zanier place since 1993.

In this video, I am joined by my father, David White Sr., to talk with Animaniacs showrunner and co-creator Tom Ruegger about what Animaniacs is for those who are not familiar and some behind the scenes bits on how the show got made. Plus, I tell him what I do for a living, and learn that AI art, when creating completely new characters, is actually meant to be a good thing instead of scraping and stealing other art and other characters from other people like the Internet is accusing companies of right now.

It's also my coming birthday, tomorrow! Happy Birthday to me!

Happy 30th Anniversary to cartoon characters who have made our world a zanier place since 1993.

In this video, I am joined by my father, David White Sr., to talk with Animaniacs showrunner and co-creator Tom Ruegger about what Animaniacs is for those who are not familiar and some behind the scenes bits on how the show got made. Plus, I tell him what I do for a living, and learn that AI art, when creating completely new characters, is actually meant to be a good thing instead of scraping and stealing other art and other characters from other people like the Internet is accusing companies of right now.

It's also my coming birthday, in 3 days. Happy Birthday to me!

Happy 30th Anniversary to cartoon characters who have made our world a zanier place since 1993.

In this video, I am joined by my father, David White Sr., to talk with Animaniacs showrunner and co-creator Tom Ruegger about what Animaniacs is for those who are not familiar and some behind the scenes bits on how the show got made. Plus, I tell him what I do for a living, and learn that AI art, when creating completely new characters, is actually meant to be a good thing instead of scraping and stealing other art and other characters from other people like the Internet is accusing companies of right now.

It's also my coming birthday, in 3 days. Happy Birthday to me!

Film: Toy Story 1995
Director(s): John Lasseter

In this video, we get to hear from one of the co-founders of Pixar, Alvy Ray Smith, and not only does he tell his side of the story about how the first all CG animated feature got made, but also his honest and knowledgeable views about AI, which is growing even more by the day, and the fears of AI are also growing more by the day as well.

Next film after Toy Story: The Hunchback of Notre Dame

Film: The Rescuers Down Under (1990)
Directed by Hendel Butoy and Mike Gabriel

Me, plus one of the film's story artists, Gary Trousdale, lay down the story of how Disney ended up making Hollywood's first ever all-digital movie. The Rescuers is an odd choice for a sequel, but Gary simply rolled with the punches. Meanwhile, Disney paid $10 million for a computer system from a company that would become important later on in our story: Pixar. Digital would aspire Disney to shoot for the stars, even shoot for the gold.

Next week: Beauty and the Beast

Film: The Little Mermaid (1989)
Directed by Ron Clements and John Musker

The Disney Renaissance begins properly with this tale about a red haired sea creature who dreamt of life on the land. One of the film's animators, Nik Ranieri, relays his story of working on one of the film's characters, the lead villain Ursula. He also hands out his opinion of this year's Little Mermaid remake.

Next week: The Rescuers Down Under

CHRISTMAS IN JULY SPECIAL!!

Bing Crosby (an AI version) sings All I Want For Christmas Is You as made famous by Mariah Carey.

Custom model trained by me with RVC WebUI

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

The Great Mouse Detective was the first animated feature made under the new leadership of Michael Eisner and Jeffrey Katzenburg at Disney. It was also the first notable Disney feature to have a whole sequence with CG graphics. I tell the story of how this feature came to be the best I can in this video.

Gonna be uploading more of the other videos I have made, so bear with me.

Next: The Little Mermaid

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Our guest star Ron Husband (veteran ex-Disney animator) lays down the his experiences of working on the troubled production of The Black Cauldron, and I lay down the story of the sudden new management change that came in during this time and the new culture that arrived because of it.

Next week, the first movie made under Disney's new management.

Happy 35th Anniversary, Who Framed Roger Rabbit from 1988!

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Our guest star Gary K. Wolf (the author of Who Censored Roger Rabbit, the book on which Who Framed Roger Rabbit is based on) lays down the story of how Who Framed Roger Rabbit came to be, starting with the book's publication. A significant moment in Disney history that would lead to the Disney Renaissance.

Next week, the Disney Renaissance begins with an undersea adventure.

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Jerry Rees (our guest star), gives us insights into the making of The Fox and the Hound and some of the transition that was going on at Disney once the Reagan years kicked into high gear.

The Fox and the Hound from 1981 was the point where the Nine Old Men decided that they were finally gonna hang up their pencils and paintbrushes and pass the torch on to the young animators that they've trained to make animated features, so this was their last go round. It has probably the best character dynamic of any animated film to date, by the early 1980s. Here we have a fox and a hound dog who end up becoming friends not knowing that they're supposed to hate each other, then something happens between them that makes them hate each other, until one suddenly shows compassion for his former friend and then saves him, leading the other friend to stand up for his former friend even if they're supposed to hate each other. The closest kind of character dynamic I can think of in animated features that comes this close is between Moses and Ramses in The Prince of Egypt from 1998.

Transition was going on at Disney during the beginning of the 80s. Frank Thomas and Ollie Johnston would retire and have an office dedicated to writing a book dedicated to the craft of animation. Eric Larson would retire and instead be an animation consultant from this point. During production on The Fox and the Hound, Ron Miller, who was now the head of Disney, attempted to put Don Bluth in charge of the animation department, but even Don saw that the upper management was so risk adverse in making animated films, so on his birthday in 1979, he left the studio and took many of the animators, including John Pomeroy, with him so he can start his own studio. Their first production was Banjo the Woodpile Cat, and their second production was The Secret Of NIMH, the..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

By the time Disney's 23rd animated feature rolled around, The Rescuers, in 1977, the next generation of Disney animators have progressed from being mere trainees to actual character animators, and Don Bluth had progressed from character animator to full animation supervisor, alongside Frank Thomas, Ollie Johnston, and Milt Kahl. Glen Keane was given the ask of animating several shots of the character Bernard, voiced by Bob Newhart.

The Rescuers was adapted from Margarey Sharp's books of the same name, and were optioned for film rights by Disney in 1959. The film would go through phases of development before finally getting around to production in 1975. Originally they were gonna have the story set in the Arctic, that was scrapped, then they tried to make a story with a lion, so that was also scrapped, then Wolfgang Reitherman, the director, suggested that the story should be simple. Little girl gets kidnapped, and the mice go out and rescue her. Also wild to know is that originally the villain was gonna be Cruella de Vil again, but the animators felt that Marc Davis' character wouldn't be justified for a sequel, so instead, they created a new villain based on The Diamond Duchess in one of the books, and called her Madame Medusa. The character of Snoops was heavily inspired by journalist John Culhane, who went around interviewing many of the Disney animators at the time, but never dreamed he would become a Disney character himself. Milt Kahl would retire from animation after this movie, and wanted to go out with a truly knockout performance for Madame Medusa, so much so that he did almost all of the animation on the character himself, pencil tests of which are still viewable today online for study.

Originally Louis Prima and Phil Harris were gonna be in the movie, but both of their characters and parts were scrapped. ..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Entering into the 50th year of the Disney company's history, and entering the 1970s after the Space Race had ended, Disney seemed to be on a good streak with the recent opening of Walt Disney World and a number of live action productions such as Bednobs and Broomsticks, but on the feature animation side, despite being only limited to one animated feature every 4 years, both The Aristocats and Robin Hood would come out three years apart from each other. The Nine Old Men animators were still animating on these features, but now these films were being produced by Wolfgang Reitherman, one of the Nine Old Men who was solely producing and directing on these films, and they were being executive produced by Walt Disney's son-in-law, Ron Miller, who was the head of the film division at Disney during this time.

Robin Hood began initially as an adaptation of Reynard the Fox during the Walt Disney days, but constraints regarding real world events prevented Disney from moving forward with the adaptation. During production on Aristocats, Ken Anderson suggested the classic tale Robin Hood should be the studio's next animated feature, and he wanted to do it with an all-animal cast. Ken Anderson adapted the story, but he was more inspired by the success of Butch Cassidy and the Sundance Kid to make a buddy picture out of Robin Hood, meaning Little John was the only Merry Man kept on, Friar Tuck turned into a friend of Robin Hood's, and Allan A. Dale was turned into the narrator. Frank and Ollie wanted to make The Sheriff of Nottingham into a goat to seemingly subvert expectations (in a good way), but Wolfgang Reitherman insisted that the Sheriff of Nottingham be a wolf to fit the villain stereotype. Since the production was behind schedule because of the casting for the role of Robin Hood himself, the animators had nearly the whole Ph..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Walt Disney Animation was about to face quite a challenge ahead. The Jungle Book was put into production around 1965, with Ken Anderson's story treatment as the basis for the film. Based on Rudyard Kipling's book of the same name, the film took a consistent narrative compared to episodic interstitials that made up the book. Most of the crew haven't even read the book, one time Walt Disney asked the story crew, "How many of you read The Jungle Book?" none of them raised their hands. As consistent with many Disney adaptations, Disney took a rather dark source material and turned it into something more lighthearted.

Being on a schedule that now limited animated features to one every four years, Walt Disney focused much of his precious time on his big Florida project, which would become Disney World. Unfortunately, his health was deteriorating. During filming where he was explaining about Epcot, he had to have one of those health asthma things in between the takes. Frank Thomas and Ollie Johnston somehow managed to animate half the movie themselves. As for Richard and Robert Sherman, they wrote such classic songs for the movie that they ought to be commended for The Bare Necessities. With both of these groups of people, they visited Walt Disney to get some ideas for how they were going to take on The Jungle Book, but they noticed that Walt was not quite feeling himself. Would it have been too much to get as much additional input from such a great master as possible. It wouldn't have mattered anyway, because on December 15, 1966, Walter Elias Disney, family entertainment icon and American folk hero, died at age 65 of lung cancer. The papers were full of it. Rumors floated around that Walt was cryogenically frozen and placed under the pirate ship at Disneyland so he can later be thawed out at a point in the future. I never ..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Walt Disney had always envisioned making Mary Poppins into a movie ever since the success of Snow White back in 1937-1938, ever since his two daughters suddenly got him interested in the idea when they were reading one of the Mary Poppins books by P.L. Travers. He loved the idea, and approached P.L. Travers, real name Helen Gogh, for the rights to make the movie, but P.L. Travers was dragged into this kicking and screaming. She did not think Walt Disney was capable of such a feat, that of a live action production, which Walt Disney wanted to make it as. I guess if you make cartoons in Hollywood for so long, people are gonna look at you as just the guy who makes cartoons. P.L. Travers didn't like what Walt Disney stood for, the chipperness, all-American innocence, cartoons, songs, she didn't want to be involved in this. It wasn't until Walt went to her apartment in London and told her his life's story in a way that would connect with her, matching his own childhood struggles with that of P.L. Travers, that she finally caved in and gave him the rights to make the movie. Inevitably, she hated the final product. She must have gone around in the press telling everyone how much she hated the film.

Julie Andrews was approached by Walt Disney after a performance of the hit play Camelot to star in Mary Poppins in the lead role. Julie might have been skeptical, but not quite as snobbish or snooty as P.L. Travers was. She ended up coming on board because her husband at the time, Tony Walton, was hired to not only design the costumes, but also be the defacto production designer, and she couldn't bear separation. While other leading men in Hollywood were considered for the role of Bert, Dick Van Dyke was given the role because he was such a hilarious knock-out on his hit TV show The Dick Van Dyke Show. Instead of traditional scrip..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Continuing into the 1960s, Walt Disney was the premiere provider of all American family entertainment, yet still made those animated films every so often. Following One Hundred and One Dalmations, Disney would begin work on two different animated films, Chanticleer, and The Sword in the Stone, based on T.H. White's book of the same name. Walt had purchased the rights to the book in 1939, and finally got around to making it around 1960. Chanticleer moved steadily in development and pre-production, but after several disagreements between the top animators, storymen, and Walt Disney himself, Chanticleer was shut down and they caved into to The Sword in the Stone instead. Chanticleer would later be picked up by Don Bluth and repurposed into the animated feature Rock-A-Doodle by 1990.

Walt wasn't very involved so much in the production of The Sword in the Stone, yet according to Floyd Norman, he was involved in every movie that was produced at Walt Disney Productions throughout his entire life. This marked a significant moment in Disney history, because it's the first animated Disney feature that had songs from Richard Sherman and Robert Sherman, the Sherman Bros. According to Richard, anytime you ever did something that pleased Walt for any given production, he wouldn't really say, "That's great!" or anything like that, he just simply said to you, "That'll work." The Sherman Bros are given very little to do in this film, and it does show. Also, this animated feature just happens to be @JamesNintendoNerd's favorite of the Disney classic features. He is known as the Angry Video Game Nerd on YouTube.

As the 60s dragged on, people may have felt that Disney was creating an ideological image ignorant of somehow evolving with the times. They may have dismissed his films as kitschy or corny or something. They must have felt the ..

ERROR: The Time Machine is based on an H.G. Wells book, not a George Orwell book.

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

After the initial box office failure of Sleeping Beauty, Walt was forced to scale back on how he was gonna make his animated films. He was facing competition from the newly emerging medium of Saturday morning cartoons, as well as numerous animated commercials on TV. He couldn't make his movies in fancy widescreen or large format 70mm anymore, so he went back to spherical filming. Yet as he focused more on Disneyland and the live action stuff, Walt found different ways to save money on creating animated films.

One of those ways was a process called Xerox, invented by the Xerox corporation for the use of taking pictures of anything on a sheet of paper and then transferring that image onto another sheet of paper, any that could fit in the paper tray. Initially designed for business and office work, the Xerox 914 was for its day, a revolutionary machine. Walt Disney figured that if Xerox could make perfect copies of printed and written documents onto other sheets of paper, he could do the same thing with animation drawings and then transfer them to standard acetate cels so he could take the ink out of the ink and paint process. This would be how Disney films would end up being made for a while.

The first film to utilize this process was One Hundred and One Dalmatians, based on the book by Dodie Smith. It was rather difficult to animate all those individual spots on all the puppies, but they pulled it off. Yet to save even more money, for the sequence involving the Twilight Howl, they recycled character models and designs from Lady and the Tramp and incorporated them as background characters. Also noteworthy is that rather than going through any licensing issues to show a clip from someone else's show playing on TV, they were like, you know..

Disney's 62nd animated feature, Wish, has finally broken cover, and the style and the plot are such a breath of fresh air compared to what we have been getting over the past decade. Disney has finally started to take some cues from Spider-Man: Into the Spiderverse and Puss in Boots: The Last Wish and applied non-photorealistic rendering to this film. Not only that, but they have a real villain this time. Not a twist villain, not a generational trauma villain, but a classic bonafide real villain like the classic Disney villains I grew up with in the past. This is coming from a lifelong Disney fan.

This film commemorates 100 years of Disney, and you can tell they put effort into it.

In the second part of this trailer reaction, you will hear an interesting story from my end about me and this movie. Stay tuned!

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Walt Disney envisioned his third fairy tale adaptation, Sleeping Beauty, to be a great epic, so much so that he started developing the film in 1953 and even incorporated Sleeping Beauty's castle into Disneyland when it first opened in 1955, which to me is Disney's version of the Statue of Liberty, in that it is the ideal symbol for all things Disney and what Disney represents. A true monument if there ever was one. However, it took a long time for Sleeping Beauty to finally get going because there were production delays. Once they did get going, all the tricks they learned in pushing the envelope of animation were rolled into this one production. And it was going one step above Lady and the Tramp, in filming in Super Technirama 70, or just a fancy large format name. Simply put, Walt Disney made Sleeping Beauty in IMAX.

Technirama was a technology licensed out by Walt Disney's longtime supplier of color film processing, Technicolor. The technology operated very similarly to Paramount's VistaVision process, but had a wider aspect ratio. Both processes used 35mm film, yet instead of having the film run vertically through the camera like normal, they run the film horizontally through the camera, exposing more of the image onto the film, giving you a sharper image and more detail, which allows for large format photography.

Sleeping Beauty would adapt both from Charles Perrault's fairy tale as well as Tchaikovsky's Sleeping Beauty ballet, which the film's music would be based on, so the usual composer, Frank Churchill, was dumped for another composer who would be with the studio for at least two decades, one that would conduct the adaptation of Tchaikovsky's music. Many ideas that were scraped for Snow White would be resurrected in Sleeping Beauty, such as the prince being captured by the evil villainess, the prince's hors..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

By 1955, there would come not only a radically different Disney, but a radically different America. In the post war era, Americans had a bunch of disposable income that they could blow on a new thing from Disney, a monument to Disney, namely Disneyland. They could spend to see a new kind of Disney movie in theaters, namely one made in live action instead of animation. They now had television, which was taking the Western world by storm, so they could now watch Disney shows in their own living rooms, and with the post war optimism, Disney promised a bright future as seen from a mid-century perspective. Yet the animated films still remained, and to stand out from the competition, Disney animation would now have to provide an experience consumers could not get in their own homes. Lady and the Tramp would be the first animated feature in CinemaScope, or in layman's terms, WIDESCREEN!

CinemaScope was a widescreen process invented by 20th Century Fox for a movie called The Robe, and it proved to be so successful that other movies and other studios wanted to shoot in CinemaScope as well, so Fox began licensing CinemaScope out to other studios, Disney included. As our special guest star Willie Ito recalls, the animation paper was rather large to accommodate the new widescreen format, 16 field paper to be precise.

Both Lady and the Tramp and Disneyland Main Street U.S.A. have the same time and place setting, a turn of the century Midwest American town where the gas lamp is giving way to the electric lamp and the horse cart is giving way to the automobile. This was an era and place Walt Disney fondly remembered from when he was growing up in the small town of Marceline, MO. He wanted to provide that same experience for future Americans because going forward, America was only gonna expand and not be what it once was. Even the y..

Disney's 100th anniversary is this year, and to celebrate, I'm going to tell the story of this legendary animation company over a yearlong period.

Disney's last movie with RKO was an adaptation of Peter Pan, which still amazes me 70 years after it's debut. As usual, Disney had to get the rights to Peter Pan, but he got them from an unusual place, the hospital in London where J.M. Barrie, the creator of Peter Pan, donated the rights to his property to after his death, and Paramount Pictures, who had the live action rights to Peter Pan but didn't know nothing about making cartoons like Walt Disney did, gave Disney the rights to make an animated feature.

Mary Blair once again provides visual design, ace in the hole, Kathryn Beaumont, who played Alice in Alice in Wonderland, plays Wendy, Bill Thompson, who played the White Rabbit in Alice in Wonderland, plays Mr. Smee, and the Nine Old Men are on their A game animating the feature, only it was their last feature where they were all directing animators all at once.

Peter Pan made $8.6 million worldwide on a budget of $4 million in its first run, just about a good amount to break even, because Disney was not only planning a live action adaptation of 20,000 Leagues Under The Sea, he was also planning a monument to himself, only instead of being a private playground for the rich, this monument was going to be open to the public. It was called Disneyland. He was also making a big move into television, one of the few Hollywood people to really embrace the disruptive medium of television, where he would tell people about Disneyland and promote his films. Yet despite this other attention, he kept his artists on because they brought him success, and the artists were also used to help out with Disneyland, and to keep their skills sharp, more animated films needed to be made. He also needed to break away from the now failing RKO Radio Pictures, under the leadership of one Howard Hughes, who was driving the studio into the gro..