Celebrity Net Worth 2018

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Walt Disney Net Worth Income Profile and Salary

Walt disney Net Worth Income Profile and Salary. Despite the efforts of his biographers, a fund of legend is still planning on the figure of Walt Disney. A repeated rumor asserts that Disney was a European emigrant, probably Spanish, that arrived at the United States and that, later, for fear of suspicions, falsified its origin. The circumstances of his death have also been mythified: many believed that Disney had been frozen with modern hibernation techniques. His body would still remain so with suspended vital signs, waiting for a future in which he could wake up and new surgical procedures to repair his health.

But the prosaic reality is that the corpse Disney was cremated by desire of its relatives. No wonder, however, all this mixture of reality and fantasy around who passed into the history of Western culture as one of the most prolific, contradictory and influential cultivators of children’s imagination.

Walt Disney net worth

Walt Disney

Walter Elias Disney was born on December 5, 1901 in Chicago, Illinois. Fourth of the five children who had Elijah and Flora Disney, his childhood was spent in economic hardship and under the severity of his father, carpenter by profession, who tried his luck in all kinds of business without ever improving his battered economy. Eternally despised by his father, Walt grew very attached to his mother, a former teacher descended from Germans, and to his brother Roy, eight years his senior.

In 1906, Elias Disney decided to start a new life on a farm near the small town of Marceline, Missouri, where Walt discovered nature and animals. Also then was born his interest in drawing, which he shared with his younger sister, Ruth. Elias Disney worked so hard for his children to maintain the farm that the two older men, Herbert and Raymond, decided to leave home to settle on their own again in Chicago.

The precarious situation in which the family stayed with the two young men worsened in the winter of 1909, when the father contracted typhoid fevers and the disease forced him to sell the farm and move to Kansas City, Missouri, where he found a job as A newsboy, a task in which Roy and Walt helped him. This meant little performance of little Walt in school, where he was never a better student. After a couple of years, Walt, who occasionally made some money selling his cartoons, enrolled at the Kansas City Art Institute, where he learned the first notions about drawing technique. In those years of its adolescence discovered the cinema, an invention that it impassioned to him from the first moment.

In 1917, five years after Roy Disney also left his paternal home, Elias Disney moved with his wife and two young children back to Chicago, where he tried his luck setting up a small jam factory. In the spring of 1918, Walt, at only seventeen, forged his birth certificate and enlisted as a soldier in the Red Cross to fight in World War I. He arrived in Europe when there was peace, but he was destined in France and Germany until September 1919. Once he graduated, he went to live with his brother Roy to Kansas City, where he sought employment as a draftsman.

His dream was to become a Kansas City Star artist, the newspaper he had distributed in his childhood, but he found work as an apprentice in an advertising agency, the Pesmen-Rubin Commercial Art Studio. With a salary of $ 50 a month, he met Ub Iwerks, a young man of the same age who was exceptionally gifted with drawing, with whom he became friends. When the two were out of work they set up their own company, the Iwerks-Disney Commercial Artists. The company lasted barely a month, as Walt preferred to take safe employment, though he persuaded his new bosses to hire Iwerks. In that work both learned the techniques, still very rudimentary, of the cinematographic animation.

Restless and innovative by nature, Disney asked for a borrowed camera and set up a modest studio in the garage of his house, where with the help of Iwerks and working at night, they produced their first cartoon film. The film was accepted and got new orders until Disney, who was not yet twenty-one years old, convinced Iwerks to return to try their luck as entrepreneurs with a company they called Laugh-O-Gram Films. With a production based on traditional stories, things went well until the bankruptcy of their main client also dragged them to bankruptcy

In 1923, after trying uselessly to overcome the bump, Disney emigrated to Hollywood. The burgeoning film industry had made Hollywood a land of promise. Disney believed that with his experience as a camera he would obtain directorial work, but no studio wanted to have his services, so he decided to re-set up his own company with his brother Roy as a partner. On October 16, 1923, the Disney Brothers Studio signed its first major contract, but still insufficient to deal with its financial difficulties. Already then, Walt revealed what would later be a constant in his company: that he was able to resort to any stratagem to get the business forward. In 1924, Ubbe Iwerks joined them and Walt was able to stop working as an animator to devote himself to the area for which he was always more skilled: the creation of characters and arguments and management.

On July 13, 1925, three months after her brother Roy married, Disney married Lillian Bounds, a young female employee of her studio, with whom she had two daughters: Diane Marie, born on December 18, 1933 when The marriage already ruled that they could have offspring, and Sharon Mae, which they adopted in 1936. In the spring of 1926, and having had to move premises because the company grew, the two brothers changed the name of their company, Which happened to be called Walt Disney Studio. But the studio suffered a major setback when its main client was left with the rights of the Oswald rabbit, a character created by Disney who had starred in several short films.

Determined to eliminate intermediaries in the future, Disney conceived (during a train ride from Hollywood to New York) Mortimer, a little mouse later renamed Mickey at the suggestion of his wife and to which Iwerks gave shape. This is what Disney said, but in fact the paternity of Mickey Mouse has always been a source of controversy, and now tends to be attributed to Iwerks himself. In October of 1928, when Disney looked for distributor for the two films that had produced with Mickey Mouse like protagonist, the first film of the sonorous cinema was projected. Going ahead of other producers who thought that innovation was passing, Walt quickly added the sound to Mickey’s third film, Willie on the Steamship (1928). Good mimic of voices and accents, Disney made the little mouse and his girlfriend, Minnie, speak with their own voice to lower costs. The film, released on November 18, 1928 in a theater in New York, obtained a resounding success of public and critic.

In 1929, with his exceptional sixth sense for business, he authorized several companies to reproduce in their products the image of Mickey Mouse, which incorporated gloves and white shoes to prevent hands and feet from disappearing on dark backgrounds. On Jan. 13, 1930, a cartoon of the popular character (with Disney as a scriptwriter and Iwerks as a cartoonist) began to be published in several US newspapers, and that same year a book of drawings of Mickey was published that was reedited in numerous occasions.

Addicted to work, for which he stole many hours of sleep, Disney had a serious health crisis that forced him, at the end of 1931 and when the club of Mickey Mouse already had a million members, to take a long vacation with his wife . Back in Hollywood, he signed up for a sports club where he practiced boxing, calisthenics, wrestling and golf. Shortly after he discovered the equestrian and, finally, the pole, of which he was a fanatic during the rest of his life. A hobby he cultivated with as much passion as his fascination for trains and miniatures.

With Mickey Mouse as the flagship of a rising company, Disney believed he should not rest on his laurels or get bored making only movies of the famous mouse, which in 1932 was the first of the Oscars he would receive during his career. Backed by a team of excellent draftsmen and illustrators, he displayed all his creative spirit in the first series of his silly Symphonies (1932). Made in technicolor, the various shorts that made up this production meant in his time an experiment on the expressive use of color. In November of that same year, the study Disney became the first one that had its own school of drawers and entertainers.

A year later, on May 27, 1933, he premiered the silly symphony that made the number thirty-six and was going to have an unexpected success: The Three Little Pigs. Without pretending, his famous song Who fears the ferocious wolf? Became a song of hope for millions of Americans who tried not to be devoured in real life by the Great Depression. In 1934, when his study counted on 187 people, Donald Duck was born, a personage of irascible character and perverse, that came to join to the dogs Pluto and Goofy.

When he had already made a name for himself in the Hollywood industry, Walt Disney undertook a risky and unprecedented initiative: to produce the first animated feature in the history of cinema. Snow White and the Seven Dwarfs (1937) demonstrated not only that Disney and his team were virtuosos of animation, but that the cartoons could be a whole cinematographic genre. The film grossed four million dollars, a record for the time, but left it indebted to Disney until 1961 because of the repayment of the credits that had to request, since the initial budget of 500,000 dollars of the film had finished tripling.

In Snow White and the Seven Dwarfs the multi-plane camera was used for the first time, capable of suggesting depth of field thanks to an ingenious system of superposition of five films filmed in the same plane to simulate remoteness, and a new system of technicolor. The film was the first example that Disney’s animated film had a strong narrative procedure, in which human characters were described from the “look” of humanized animals or fantastic beings. Also evident in the film was Disney’s taste for the dark and its style of suggesting more than openly showing terror.

The forties were a period of great activity at Disney, characterized by the consolidation of the style initiated with Snow White and the Seven Dwarfs, as well as the contradiction that Walt felt between his artistic tendency to innovation and risk and the need for Attend a market given nothing to the novelties and experiments. A reflection of this was the warm response of the public to the following films coming out of their “factory” of dreams. Pinocchio (1940), considered one of the masterpieces of the cinema of animation by the critics and in which $ 2,600,000 was invested, was a commercial disaster.

The same thing happened with Fantasy (1940), which cost $ 2,300,000. In it cartoonists and entertainers combined the evolutions of the cartoon characters with the music of Stravinsky, Dukas, Beethoven, Ravel, Bach or Chaikowski. Considered a masterpiece by some and an insulting caricature of classical music by others, Fantasia was not the “total work” that Walt Disney had imagined and desired. These commercial failures opened a significant economic gap in the company, which was soon followed by the successes of Dumbo (1941) and Bambi (1942).

After the sketch on The Dance of the Hours by Ponchielli, co-directed with Norman Ferguson in Fantasia using the pseudonym T. Hee, Walt Disney left the field of realization to dedicate almost exclusively to the task of directing the incipient cinematographic empire In which he had become the company he had so modestly begun fifteen years earlier. On May 6, 1940, he completed the construction of his new studios in Burbank, which earned him the nickname “Mage of Burbank”.

Designed by himself with the aim of facilitating the work of his employees, those studios had twenty large buildings, separated by streets that were named after their characters. The company’s workforce was around 2,000 employees, who Disney required a high level of creativity and production in exchange for very low salaries, although he never noticed expenses in making his films and always took personally a life without luxuries Nor ostentations.

On November 10, 1940, he began collaborating with the FBI, after the then director of the federal investigative agency, J. Edgar Hoover, had repeatedly attempted to recruit the film producer as agent to provide him with any information or details On the presence of subversive elements (communists, syndicalists or anarchists) in Hollywood. Nevertheless, the first political dreams of Disney took a more progressive aspect and go back to 1938, when it joined the Society of Independent Motion Picture Producers, association of producers and independent filmmakers opposed to the absolute dominion of the great studies of Hollywood. From that group, which counted on figures like Orson Welles or Charlie Chaplin, Disney was drifting towards an ideology close to the North American party nazi and a strongly anti-Marxist sentiment.

In 1941, a newly created illustrator’s union threatened the “Burbank Magician” with a strike to demand better wages. Disney intended to avoid the conflict by directing a speech to its employees, but, to his amazement, since he conceived the company as a large family, they did not let him pass the first few sentences. On May 29 of that year, Disney Studios were almost paralyzed by a strike in which most of the workers participated and lasted a whole year. The conflict settled when the company agreed that workers could freely choose their union, including the left-wing Screen Cartoonists Guild.

The agreements that led to the end of the strike were signed by Roy Disney, as Walt was traveling through various South American countries. From that long trip came several films aimed basically at the Latin American audience. Among them, Greetings, friends (1943) and Los tres caballeros (1945), in which he combined cartoons and actors of flesh and bone. In 1943, many of his best artists abandoned him to found the UPA (United Productions of America), where he would be born, among others, the short-sighted character of Mister Magoo.

After World War II, in which Disney had agreed to film for the US government propaganda films, he left the presidency of his company, handing over the charge to his brother Roy, but only maintained that decision for a few months and in late 1945 he returned To occupy the presidential chair. As soon as he returned, he dismissed more than 400 employees, asserting that the company was going through a crisis and had to comply with the agreement with the Screen Cartoonists Guild to grant the 25% salary increase to the draughtsmen.

Reaffirmed in his anti-Marxism and collaborator of the FBI until his death, Disney promised to abort everything that attacked the American nation at the meeting held on November 24 and 25, 1947 at the Waldorf Astoria Hotel in New York, culminating in The so-called Waldorf Declaration, in which many film producers pledged to collaborate with the Commission on Un-American Activities in the “witch-hunt”.

In August of 1948 it made a trip with its daughter Sharon to film images in Alaska, and with the material realized the series of short titled Adventures of the real life. Their brother Roy opposed the project (by then they were already so far apart that they were only seen after requesting appointment to their respective secretaries) and it augured an uncertain destiny to this type of documentaries. He was wrong, since the first of them, titled Island of the Seals (1948), not only was profitable, but was awarded an Oscar in the category of short films.

Workaholic and perfectionist, the film producer designed every last detail of Disneyland, which opened its doors on July 17, 1955 in Anaheim, California. The 120-hectare park cost $ 17 million, and Main Street USA, its main street, where hundreds of actors dressed as characters traveled, recreated the main street of Marceline, the village where he lived his childhood Disney, that summer of 1955 already was grandfather of the first of the ten grandchildren that had.

A billionaire and awarded twenty-nine Oscars, in the sixties he had established himself as one of the most well-known and beloved characters in the world, but his health faltered, and his entire empire entered a struggle for succession. He was a heavy smoker and alcohol buff, who died in Los Angeles, California, on December 15, 1966, after having supervised the sketches of Disney World, Disneyland-style theme park but more focused on adults, Which opened its doors in 1971 in Orlando, Florida (in 1983 the company opened Tokyo Disneyland in Japan and in 1992 opened the Euro Disney in Paris).

The “Burbank Magician” had passed away without ever seeing The Jungle Book (1967), Disney’s second most commercial film since the time of Snow White and directed by Wolfgang Reitherman, who took on the production of Disney animated feature films Until 1981. After years of great production and few notable successes, Disney Studios returned to be the kings of the cartoon genre with Aladdin (1992) and The Lion King (1994). With the demise of Disney, entered into the legend one of the fundamental names of popular culture of the twentieth century. With varying fortune, they would try to replace him with figures as diverse as his brother Roy O. Disney, his nephew Roy E. Disney and his son-in-law Ron Miller. But only executive producer Michael Eisner proved to be a worthy successor to him.

1901 Born in Chicago, Illinois.

1909 Moves with his family to Kansas City.

1911 He studied drawing at the Kansas City Art Institute.

1918 He departs for Europe and participates in World War I as conductor of Red Cross ambulances.

1919 Return to Kansas City. He works at an advertising agency, where he meets Ubbe Iwerks.

1921 Along with Iwerks, he produced his first animated films and founded Laugh-O-Gram Films.

1923 After the failure of the company, it goes to Hollywood. He creates with his brother Roy the studio Disney Brothers, to which he incorporates a year later Ubbe Iwerks.

1925 Marries Lillian Bounds.

1926 The studio is renamed Walt Disney Studio.

1927 Creates the character Oswald, a cute bunny who stars in a series of short films.

1928 Gets a big hit with the mouse character Mickey Mouse in the movie Willie on the steamboat.

1929 Begins to profit from the marketing of products with the image of Mickey Mouse.

1930 The first book of drawings of Mickey Mouse is published.

1932 Starts the series Symphonies silly, in technicolor.

1934 Creates the character of the Donald Duck.

1937 Produces the first animated feature in the history of cinema: Snow White and the Seven Dwarfs.

1940 Produces Pinocchio and the innovative Fantasia. He completed construction of his new studios in Burbank. He begins to collaborate with the FBI as an anti-communist informant.

1941 A strike caused by low salaries paralyzes studies for a year.

1943 Combines for the first time cartoons and real actors in Greetings, friends.

1947 He collaborates openly in the “witch-hunt” of the Committee on Un-American Activities.

1948 Starts the production of documentaries with the series of short Adventures of real life.

1954 Starts producing cartoons for television.

1955 Inaugurates the Disneyland amusement park in Anaheim, California.

1964 Produces Mary Poppins, first feature film with real actors.

1966 Dies in Los Angeles, California.

Walt Disney occupies by its own merits a prominent place in the history of the cinema. The personality of this cartoonist, director and film producer in the United States was decisive in order to make cartoons a film genre with its own entity and a mass phenomenon. Movies such as Snow White and the Seven Dwarfs (1937), Dumbo (1941) and Cinderella (Cinderella, 1950) contributed to popularizing animated films among the general public. Endowed with a great capacity of work and an enterprising spirit, Disney realized that it was possible to make animated films with industrial procedures and with big budgets.

The humanized fauna

Cartoon cinema was born in France by Émile Cohl and reached its greatest development in the United States, where the same cartoonist made, in 1914, the first series of the world, with the mythical Snookum. Between 1920 and 1930, the Fleischer brothers made short films starring Clown Koko, the seductive Betty Boop, or Popeye, a character originally devised by Segar to announce spinach from Crystal City. During these same years, Disney gave life to its most famous personages.

Disney had been very interested in drawing; In 1919 had entered to work in a small publicity studio, where realized its first animated film for the publicity of a brand of chocolates. The recognition obtained impelled to him to mount his own cinematographic company and to produce the first series: Alice Comedies (1924) and the Oswald, the lucky rabbit (1927).

His style was acquiring personality and soon found its most genuine expression in the creation of an entire quaint humanoid fauna of rounded anatomy, which defined the psychology of humans under their animal traits. Many were characters full of ethical and moral meanings, examples of American ways and ideals of life. The upbeat Mickey Mouse (1928) represents the triumph of the weak; Donald Duck (1934) caricature the average American, bold and enterprising, who can achieve success at any time. Each humanized animal embodies a certain psychological profile: the naive Goofy dog, the flirty little mouse Minnie, or the tender elephant Dumbo. The working piglet of the Three Little Pigs (1935), which raises a house to defend itself against the attacks of the Ferocious Wolf and is not devoured, invites to build with optimism a new future, transmitting the political slogans of the New Deal.

Thus, the productions of Disney were fundamental to consolidate a typology of personage that has been used of recurring form in the films of animation. Nevertheless, his films were based on a Manichaean and conservative vision of reality, perhaps not alien to the ideological conservatism of its creator. In this sense, characters like Mickey or Goofy, innocent and asexual, are in the antipodes of the anarchic duck Lucas and the rogue Bugs Bunny, created by the Warner Brothers, and no longer say of the protagonists of series of cartoons more recent , As the irreverent Bart Simpson. However, Disney films had exceptional narrative solidity that made them a role model for later filmmakers.

Although his fables lacked novel messages, in the technical field Walt Disney was always in search of the innovation. His most important contributions, in fact, must be placed in the field of animation technique. In his studies, the movements of each character were reproduced with the greatest possible authenticity, reaching the point where an artist could specialize in a particular movement or character. This delicacy in the treatment of the cartoon has been giving way, in the current animation, to a more mass production, that makes the characters appear stereotyped and repetitive.

Net Worth of Walt Disney.

The Net Walt Disney in 2017 is $ 180 Billion.

In this aspect it marked a milestone the production of Snow White. Walt Disney Studios made in 1937 Snow White and the Seven Dwarfs, the first animated feature in the history of cinema, inspired by the well-known fable of the brothers Grimm. Shooting was very expensive: it was necessary to produce more than four hundred thousand drawings. Success, however, offset the effort and investment made, raising a total of two million dollars.

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