Ub Iwerks

Ub Iwerks
A publicity photograph (c. 1929) of Iwerks and his most famous co-creation, Mickey Mouse
Born	Ubbe Eert Iwwerks (1901-03-24)March 24, 1901 Kansas City, Missouri, U.S.
Died	July 7, 1971(1971-07-07) (aged 70) Burbank, California, U.S.
Resting place	Forest Lawn - Hollywood Hills Cemetery
Occupation	Animator, cartoonist, film producer, special effects technician
Years active	1920–1971
Employer	Walt Disney Animation Studios (1923–1930, 1940–1965) Leon Schlesinger Productions (1937) Columbia Pictures (1937–1940) Cartoon Films Limited (1940)
Notable work	Oswald the Lucky Rabbit Mickey Mouse
Spouse(s)	Mildred Sarah Henderson ​ ​ (m. 1927⁠–⁠1971)​
Children	Don Iwerks David Iwerks
Relatives	Leslie Iwerks (granddaughter)

Ub Iwerks (/ˈʌb ˈaɪwɜːrks/; March 24, 1901 – July 7, 1971) was an American animator, cartoonist, character designer, inventor, and special effects technician, who designed Oswald the Lucky Rabbit and Mickey Mouse. Iwerks produced alongside Walt Disney and won numerous awards, including multiple Academy Awards.

Early life[]

Iwerks was born in Kansas City, Missouri. His father, Eert Ubbe Iwwerks, was born in the village of Uttum in East Frisia (northwest Germany, today part of the municipality of Krummhörn) and immigrated to the United States in 1869. The elder Iwwerks, who worked as a barber, was 57 when Ub was born and had fathered and abandoned several previous children and wives. When Ub was a teenager, he abandoned him as well, forcing the boy to drop out of school and work to support his mother. Iwerks despised his father and never spoke of him; upon learning that he had died, he reportedly said, "Throw him in a ditch."^[1] Ub's full name, Ubbe Ert Iwwerks, can be seen on early Alice Comedies that he signed. Several years later he simplified his name to "Ub Iwerks", sometimes written as "U. B. Iwerks".^[2]

He is the father of Disney Legend Don Iwerks and grandfather of documentary film producer Leslie Iwerks.

Career[]

Iwerks spent most of his career with Disney. The two met in 1919 while working for the Pesmen-Rubin Art Studio in Kansas City,^[3] and eventually started their own commercial art business together.^[4] Disney and Iwerks then found work as illustrators for the Kansas City Slide Newspaper Company^[5] (which was later named The Kansas City Film Ad Company).^[6] While working for the Kansas City Film Ad Company, Disney decided to take up work in animation,^[7] and Iwerks soon joined him.

He was responsible for the distinctive style of the earliest Disney animated cartoons, and was also responsible for designing Mickey Mouse.^[8] In 1922, when Disney began his Laugh-O-Gram cartoon series, Iwerks joined him as chief animator. The studio went bankrupt, however, and in 1923 Iwerks followed Disney's move to Los Angeles to work on a new series of cartoons known as “the Alice Comedies” which had live-action mixed with animation. After the end of this series, Disney asked Iwerks to design a character that became Oswald the Lucky Rabbit. The first cartoon Oswald starred in was animated entirely by Iwerks. Following the first cartoon, Oswald was redesigned on the insistence of Oswald's owner and the distributor of the cartoons, Universal Pictures. The production company at the time, Winkler Pictures, gave additional input on the character's design.

In spring 1928, Disney was removed from the Oswald series, and much of his staff was hired away to Winkler Pictures. He promised to never again work with a character he did not own.^[9] Disney asked Iwerks, who stayed on, to start drawing up new character ideas. Iwerks tried sketches of frogs, dogs, and cats, but none of these appealed to Disney. A female cow and male horse were created at this time by Iwerks, but were also rejected. They later turned up as Clarabelle Cow and Horace Horsecollar.^[10] Ub Iwerks eventually got inspiration from an old drawing. In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. Then, on a train ride back from a failed business meeting, Walt Disney came up with the original sketch for the character that was eventually called Mickey Mouse.^[11] Afterward, Disney took the sketch to Iwerks. In turn, he drew a more clean-cut and refined version of Mickey, but one that still followed the original sketch.

The first few Mickey Mouse and Silly Symphonies cartoons were animated almost entirely by Iwerks, including Steamboat Willie, The Skeleton Dance and The Haunted House.^[8] However, as Iwerks began to draw more and more cartoons on a daily basis, he chafed under Disney's dictatorial rule.^[12] Iwerks also felt he wasn't getting the credit he deserved for drawing all of Disney's successful cartoons.^[13] Eventually, Iwerks and Disney had a falling out; their friendship and working partnership were severed in January 1930. According to an unconfirmed account, a child approached Disney and Iwerks at a party and asked for a picture of Mickey to be drawn on a napkin, to which Disney handed the pen and paper to Iwerks and stated, "Draw it." Iwerks became furious and threw the pen and paper, storming out.^{[citation needed]} Iwerks accepted a contract with Disney's former distributor, Pat Powers to leave Disney and start an animation studio under his own name. His last Mickey Mouse cartoon was The Cactus Kid.^[14] (Powers and Disney had an earlier falling-out over Disney's use of the Powers Cinephone sound-on-film system—actually copied by Powers from DeForest Phonofilm without credit—in early Disney cartoons.)

Sinbad the Sailor

The Iwerks Studio opened in 1930. Financial backers led by Pat Powers suspected that Iwerks was responsible for much of Disney's early success. However, while animation for a time suffered at Disney from Iwerks' departure, it soon rebounded as Disney brought in talented new young animators.

Despite a contract with MGM to distribute his cartoons, and the introduction of a new character named “Flip the Frog”, and later “Willie Whopper”, the Iwerks Studio was never a major commercial success and failed to rival either Disney or Fleischer Studios. Newly hired animator Fred Kopietz recommended that Iwerks employ a friend from Chouinard Art School, Chuck Jones, who was hired and put to work as a cel washer.^[8] The Flip and Willie cartoons were later distributed on the home-movie market^{[clarification needed]} by Official Films in the 1940s. From 1933 to 1936, he produced a series of shorts (independently distributed, not part of the MGM deal) in Cinecolor, named ComiColor Cartoons. The ComiColor series mostly focused on fairy tales with no continuing character or star. Later in the 1940s, this series received home-movie distribution by Castle Films. Cinecolor produced the 16 mm prints for Castle Films with red emulsion on one side and blue emulsion on the other. Later in the 1970s Blackhawk Films released these for home use, but this time using conventional Eastmancolor film stock. They are now in the public domain and are available on VHS and DVD. He also experimented with stop-motion animation in combination with the multiplane camera, and made a short called The Toy Parade, which was never released in public.^[15] In 1936, backers withdrew financial support from the Iwerks Studio, and it folded soon after.

In 1937, Leon Schlesinger Productions contracted Iwerks to produce four Looney Tunes shorts starring Porky Pig and Gabby Goat. Iwerks directed the first two shorts, while former Schlesinger animator Robert Clampett was promoted to director and helmed the other two shorts before he and his unit returned to the main Schlesinger lot. Iwerks then did contract work for Screen Gems (then Columbia Pictures' cartoon division) where he was the director of several of the Color Rhapsodies shorts before returning to work for Disney in 1940.

After his return to the Disney studio, Iwerks mainly worked on developing special visual effects. He is credited as developing the processes for combining live-action and animation used in Song of the South (1946), as well as the xerographic process adapted for cel animation. He also worked at WED Enterprises, now Walt Disney Imagineering, helping to develop many Disney theme park attractions during the 1960s. Iwerks did special effects work outside the studio as well, including his Academy Award nominated achievement for Alfred Hitchcock's The Birds (1963).

Iwerks' most famous work^{[citation needed]} outside creating and animating Mickey Mouse was Flip the Frog from his own studio. According to Chuck Jones, who worked for him, "He was the first, if not the first, to give his characters depth and roundness. But he had no concept of humor; he simply wasn't a funny guy."^{[citation needed]}

Death[]

Iwerks died in 1971 of a heart attack in Burbank, California, aged 70, and his ashes are interred in a niche in the Columbarium of Remembrance at Forest Lawn Memorial Park, Hollywood Hills Cemetery.

Influence and tributes[]

The Ub Iwerks Award for Technical Achievement, as part of the Annie Awards, is named in his honour.

A rare self-portrait of Iwerks was found in the garbage bin at an animation studio in Burbank. The portrait was saved and is now part of the Animation Archives in Burbank, California.

After the Second World War, much of Iwerks' early animation style was imitated by legendary manga artists Osamu Tezuka and Shōtarō Ishinomori.

In 1989, Iwerks was named a Disney Legend.

In the 1996 The Simpsons episode "The Day the Violence Died", a relationship similar to Iwerks' early relationship with Walt Disney is used as the main plot.

A documentary film, The Hand Behind the Mouse: The Ub Iwerks Story, was released in 1999, followed by a book written by Iwerks' granddaughter Leslie Iwerks and John Kenworthy in 2001. The documentary, created by Leslie Iwerks, was released as part of The Walt Disney Treasures, Wave VII series (disc two of The Adventures of Oswald the Lucky Rabbit collection).

A feature film released in 2014 Walt Before Mickey, showed how Ub Iwerks, portrayed by Armando Gutierrez, and Walt Disney, portrayed by Thomas Ian Nicholas, co-created Mickey Mouse.

The sixth episode from the second season of Drunk History ("Hollywood"), tells about Ub's work relationship with Disney, with stress on the creation of Mickey Mouse. Iwerks was portrayed in the episode by Tony Hale.

Filmography[]

1930[]

1931[]

1932[]

1933[]

1934[]

1935[]

All Comicolor shorts

1936[]

All Comicolor shorts

1937–1941[]

• Contract work to Leon Schlesinger Productions – two cartoons
• Contract work to Screen Gems/Columbia Pictures – 17 cartoons (Iwerks was only personally involved with 16 of the Color Rhapsody series, the last cartoon in the deal was completed by Paul Fennell after Iwerks had left his own studio)
• In 1940, Iwerks produced his last series, Gran'pop Monkey, featuring the art of British illustrator Lawson Wood.^[17] Three cartoons were made: "A Busy Day", "Beauty Shoppe" and "Baby Checkers".^[18]

See also[]

• Walt Disney (2015 PBS film)

References[]

Further reading[]

• Leslie Iwerks and John Kenworthy, The Hand Behind the Mouse (Disney Editions, 2001) and documentary of the same name (DVD, 1999)
• Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons (Penguin Books, 1987)
• Jeff Lenburg, The Great Cartoon Directors (Da Capo Press, 1993)
• Don Iwerks, Walt Disney’s Ultimate Inventor (Disney Editions, 2019)

External links[]

• Ub Iwerks at IMDb 
• Ub Iwerks at Inducks
• Ub Iwerks at Find a Grave