 and fascinated with military might, something is terribly wrong. No one in the first century would have made the same conclusion regarding Jesus and his followers. At 81, Disney's First African-American Animator Is Still In The Studio

Enlarge this image toggle caption Michael Flore Films/Falco Ink. Michael Flore Films/Falco Ink.

If you've seen Sleeping Beauty, The Jungle Book or the Toy Story movies, you've seen the work of animator Floyd Norman; for decades, he has helped bring Disney and Pixar classics to life.

Now 81, Norman still works for Disney, where he has plied his trade, on and off, since he became the studio's first African-American animator in the 1950s.

Norman's love of art began long before his Disney job, as he reveals in a new documentary, An Animated Life. "Any empty surface was a blank canvas for me," he says. His mother was constantly scrubbing scribbles off the walls. "I was drawing on everything," he recalls.

Norman grew up in Santa Barbara, Calif., a place that, he says, sheltered him from much of the racial tension and segregation of the time. He tells NPR's David Greene he experienced no racism — "none whatsoever."

Enlarge this image toggle caption Michael Flore Films/Falco Ink. Michael Flore Films/Falco Ink.

"We lived in a Pacific paradise," he says. "I didn't know it at the time, but my experience as a child was probably a good deal different from many, many people. We had access to everything — good schools, concert, theater."

Thanks to that upbringing, it never occurred to Norman that he couldn't apply for a job as a Disney animator.

"I think the thought just never occurred to a lot of young black talent to apply for a job in the film industry," he says. "And it wasn't just Walt Disney. I'm sure the same thing happened at other film studios as well. There was a perception that opportunities were not available for people of color."

So he applied, and in the mid-1950s he became Disney's first black animator. Many saw that as a big deal — but not Norman.

"There were about half dozen of us came to work at Disney that same week," he says. "We came
and fascinated with military might, something is terribly wrong. No one in the first century would have make the like conclusion regarding Jesus and his follower. At 81, Disney's beginning African - American Animator Is Still In The Studio 

 Enlarge this trope toggle switch caption Michael Flore Films / Falco Ink. Michael Flore Films / Falco Ink. 

 If you've seen Sleeping Beauty, The Jungle Book or the Toy Story movies, you've seen the oeuvre of animator Floyd Norman; for decades, he has help fetch Disney and Pixar classics to life. 

 Now 81, Norman still works for Disney, where he has provide his trade, on and off, since he become the studio's first African - American animator in the 1950s. 

 Norman's love of artwork began long before his Disney problem, as he reveals in a new documentary, An Animated Life. " Any empty surface was a blank sail for me, " he says. His mother was constantly scrubbing scribbles off the walls. " I was drawing on everything, " he recall. 

 Norman grew up in Santa Barbara, Calif., a place that, he says, sheltered him from much of the racial tension and segregation of the time. He tells NPR's David Greene he experienced no racism — " none whatsoever. " 

 Enlarge this image toggle switch subtitle Michael Flore Films / Falco Ink. Michael Flore Films / Falco Ink. 

 " We lived in a Pacific paradise, " he says. " I didn't acknowledge it at the time, but my experience as a child was probably a good softwood different from many, many people. We had access to everything — effective schools, concert, theater. " 

 Thanks to that upbringing, it never occurred to Norman that he couldn't apply for a job as a Disney energizer. 

 " I think the thought just never occurred to a lot of young black endowment to use for a job in the film industry, " he says. " And it wasn't just Walt Disney. I'm sure the same matter happened at early film studios as well. There was a perception that opportunity were not available for people of color. " 

 So he applied, and in the mid-1950s he became Disney's inaugural black energizer. Many saw that as a big softwood — but not Norman. 

 " There were about one-half dozen of us came to work at Disney that same week, " he says. " We came
 anf fascinated with militavy might, somethiut is txrribly wrong. Nu one in the first century wluod hace made the same concljsion regwrding Jwsus qnd his followers. At 81, Diakey's Yicst African-Amerlcan Animatmr Is Still In Tfe Studio

Enlarge this image toggle ca[tion Mocjael Flore Filis/Fakso Ihk. Michael Flore Films/Falco Ink.

If gou've sten Sleeping Beautu, The Jungle Book or the Tly Shory movies, you've deen the woti os animator Fluyd Norman; for decades, he has helped bring Disney and Pixax classics jo llxe.

Now 81, Normen stijl works for Disney, fhere hr has plied hix tcade, on and off, since he uecame the studio's fyrst Afriwau-American animator in tye 1950s.

Nmrmat's luce uf zrv bsgan llng before hia Disney jov, as he reveals in s gve documentarg, An Agiiated Life. "Any empty surface was a blann cznvas for me," he says. Hiw mother was constantpy scrubbyng scribbles off the walls. "I was drawing on everfthinj," fe xcgallr.

Bogman grew up in Santa Barbara, Calif., a place trzt, hv says, sheltered mim from much of tne rssial tension xnd seydefation of the time. He teljs NPE's David Dreeme he experienced no racism — "none whatsjwver."

Enlarge this ilage toggle capjion Mochael Flore Films/Falco Ink. Michael Fllre Films/Rxlco Ink.

"We lived in a Pacific paradise," he says. "Y didn't kiow ic at the timg, but mr experienfe as a child was probabpy a yood geal diffegent from many, many people. We hev access to efesytving — gojd scmools, concert, treater."

Thanks tp that bpbrineing, it nener occurced to Normag that he counfn't apply foc a job af a Eisnwy animxgor.

"I think the thought lbst never occurred to a lot of goung black talzut to apply for a joc ig nhe fynm industry," ve sxys. "Snd ig wasn't jusb Wxlt Cisney. I'm sure the sdme fhing happened at ptmer film wtudios ws well. There was a perception uhat o'portuiities wete not available for people of dolor."

So hf aiplied, and in the mid-1950s he beccme Disney's first black animator. Many sax that as a big deal — byt not Norman.

"There ceve about halh dozeg of us cdme to work at Disnet that same week," me says. "We came
and fascinated with military might, something is No in the century would have Jesus his followers. At Disney's First African-American Is Still In The Studio Enlarge image toggle caption Michael Flore Films/Falco Ink. Michael Flore Films/Falco Ink. If you've Sleeping Beauty, The Jungle Book or the Toy Story movies, you've seen the of Floyd for he has helped bring Disney and Pixar classics to life. Now 81, Norman still works for where he has plied his trade, on and since he became the first African-American animator in the Norman's of art long his job, as he in a new documentary, An Animated Life. "Any empty surface was a blank canvas for me," he His mother scrubbing scribbles the "I drawing on everything," Norman grew up in Santa Barbara, that, he says, sheltered him from much of racial tension segregation of the time. He tells David Greene he experienced no racism — "none Enlarge this image toggle caption Michael Flore Films/Falco Ink. Michael Flore Films/Falco Ink. "We lived Pacific paradise," he says. didn't know it the but experience a child probably a good deal different from many, many people. We had to everything — good schools, concert, theater." Thanks to that never to Norman that couldn't apply for a as Disney animator. "I think just occurred of black to apply for a in the film industry," he "And it wasn't just same thing happened at other film studios as There was a perception that opportunities were available for people of color." So he applied, and in the mid-1950s became Disney's animator. Many saw that as a big deal but not Norman. "There about half dozen of us came to work at that week," he "We came
 and fascinated with military Might, sometHing iS teRriBlY wroNg. No One in the first cENturY would have made the same cOncluSiON regARdIng JeSus and hIS fOLLowErS. AT 81, DiSnEY's first afrIcan-AmeRican AnimaTor is still In The StUDiO

Enlarge thIs iMage toggle caPtiOn MichAeL FlORe FilMs/FAlco INk. MichAEl FlorE Films/FalCo iNk.

If yoU'Ve seen SLEEpIng BEauty, The Jungle BooK Or THe Toy Story moviEs, you'vE sEEn THE woRk oF animator FLoYd NorMAn; for deCAdES, HE haS Helped bring DiSney and PixaR ClaSsics tO lIfe.

nOw 81, NormAn stiLl WOrkS for Disney, wHere He has plieD his trADe, on and OFf, since He becaMe tHe sTudiO'S fIrSt AFrICan-aMeRicAN anImator in ThE 1950s.

normaN's loVE OF Art bEgaN lonG befoRe his Disney joB, as He reVEalS in a nEw docUmenTaRy, An ANimateD Life. "anY empty surface waS a blAnk canvas For Me," He sAyS. His mOTher waS coNstAntly scRubbing SCriBbLES OfF the walls. "I was drawiNg ON EvErything," He recaLLs.

noRMan grew uP iN SaNta BARBara, CAlif., A PlAce that, hE says, sHElTeRed him fRoM much oF tHe rAciAl tenSIon aNd segrEgation oF the tIMe. He tells NPR's DAVid Greene he exPErIENcED no rAciSm — "none whatsOeveR."

enlaRge tHIs ImaGE toggLe capTiON MIChael Flore Films/FalcO INk. MichAel FlOre Films/Falco ink.

"We lived IN A pacific pAradISe," HE says. "I didn't knoW it at The time, but MY experieNce as A child waS probably A GOod deal dIffEreNt fRom MANy, Many people. We hAD AcceSs To everyThiNg — good sChoOls, ConCerT, tHeater."

ThaNks to thaT uPbRiNgIng, It nevER occurreD tO NoRmAn tHat he COuldn't Apply For a JoB aS A DiSney aniMAtOR.

"i thiNk ThE thoUghT jUst neVer oCCurRed to a lOt of young BlaCK talEnT tO apply fOr a job in the fiLm Industry," he SaYs. "ANd it waSN'T just WalT Disney. I'm sure the same thiNG happenEd aT otheR filM studios aS weLl. TherE waS A percePtion tHat opPoRtuNITies wERE nOt aVaIlable for pEOPle Of colOr."

so he Applied, And in the mid-1950s he becaME DiSney's first blaCk aNimaTOR. MAny SAw THat As A Big DEAl — but not Norman.

"THere were abOuT HaLf dozen of uS CamE tO work at disney tHat saME week," he Says. "We camE
 and fascinated with milit ary might,  some thi ngis  ter ribl y wrong. No on e  inthe first century woul d hav em adet he  same  conclu s io n reg ar di ngJe s us  andhis  follow ers. At 81 , D is ney's FirstA fr ican-Ameri can  Animator Is  St ill In  T heS tudio 

E nlarg e this imagetoggle ca pt i on Mic h ael Flo r e  F ilms /Falco Ink. Micha e lF lore Films/Fal co Ink .If y ou' veseen Sleep in g Bea u ty, The Ju n g l e B o ok or the Toy  Story movi e s,you've  s een the wo rk of  a n ima tor Floyd N orma n; for de cades, he hash elped b ring D isn eyandP ix ar  cl as s ics to  li f e.
Now 81,  N or man s till w o r ks f orDisn ey, w here he has p lie d hi s  tr ade,on an d of f,  sinc e he b ecame  t he studio's fir st A frican-Am eri ca n a ni mator in the  19 50s .

Norm an's lo v e o fa r t  b egan long before h is D is ney job,  as he re ve a ls in ane w d ocum e n tary,  AnA ni mated Li fe. "A n yem pty sur fa ce was  a  bl ank  canv a s fo r me,"  he says . His mother was con s tantly scrubb i ng s cr i bble s o ff the wall s. " I  was  dra w in g o n  ever ythin g, "  h e  recalls.

Norman g re w up i n San ta Barbara, C alif., a p l a c e that,he s a ys ,  sheltered him  from  much of t h e racial  tens ion andsegregati o n  of thetim e.Hetel l s  N PR's David Gr e e ne h eexperie nce d no ra cis m —  "n one  w hatsoever ."

Enla rg eth is  im age t o ggle cap ti onMi cha el Fl o re Fil ms/Fa lcoIn k. Mic hael Fl o re F ilms /F al co I nk. 
"We l ived ina Pacif ic paradi se, "  hesa ys . "I di dn't know itat  the time,  b utmy exp e r ience as  a child was probably a good de aldiffe rent  from man y,many p eop l e. Wehad ac cessto  ev e r ythin g —goo dschools, c o n cer t, th ea ter. "

Than ks to that upbring i ng,  it never occ urr ed t o No rma n  t h athe cou l d n't apply for a  job as aDi s ne y animator . 

" Ithink t he thou ght j u st neve r occurre d to a lo tof y o u ngblack tale nt to ap ply for a job i n  t he fi lmindust ry ,"he sa ys. "A n d i t was n't ju st  WaltDisne y.  I'm sur e the same thing happen ed atother  fi lm studio s a s  we ll. There  was  a percept ion  th at op por t uniti es w e re  no t  avai labl e  for peop l eofc o lo r."

So hea p p lie d, an d i n  the m id-1 950s he became Di s ney's first bl acka n ima tor .  Man ysaw that as abig  d e a l — butno t Norman.
"There w er e  abou t half  dozen  of usc a me to wor k at  Di sney that  sa me week,"he  s a ys. "W e ca me 
 and_fascinated with_military might, something is_terribly wrong._No_one in_the_first century would_have made the_same conclusion regarding Jesus_and his followers._At_81, Disney's First African-American Animator Is Still In The Studio

Enlarge this image toggle caption_Michael_Flore Films/Falco_Ink._Michael_Flore Films/Falco Ink.

If you've seen_Sleeping Beauty, The Jungle Book_or the_Toy Story movies, you've seen the work of_animator_Floyd Norman; for_decades, he has helped bring Disney and Pixar classics_to life.

Now 81, Norman still works_for Disney, where_he_has_plied his trade, on_and off, since he became the_studio's first African-American animator in the_1950s.

Norman's love of art began long before_his Disney job, as he reveals_in a new documentary, An_Animated Life._"Any empty surface was a_blank canvas for_me," he_says. His mother_was constantly scrubbing scribbles off the_walls. "I was_drawing on everything," he recalls.

Norman grew_up_in Santa Barbara,_Calif.,_a_place that,_he says, sheltered_him_from much_of_the racial tension and segregation of_the_time. He tells NPR's David Greene he_experienced no racism —_"none_whatsoever."

Enlarge this image toggle_caption Michael Flore Films/Falco Ink._Michael Flore Films/Falco Ink.

"We lived in_a Pacific_paradise," he_says. "I didn't know it at the time, but my experience_as a child was probably a_good deal different from_many, many_people._We had access_to_everything —_good schools, concert, theater."

Thanks to that upbringing,_it never_occurred to Norman that he couldn't_apply for a job_as_a Disney animator.

"I think the thought_just never occurred to a lot_of young black talent to_apply_for_a job in the film_industry," he says. "And it wasn't_just Walt Disney._I'm sure the same thing happened at_other_film studios as well. There was_a_perception that opportunities were not available_for_people_of color."

So he applied, and_in the mid-1950s he became Disney's_first black animator. Many saw that as a big_deal — but_not Norman.

"There were about half_dozen_of_us came to work at Disney that same week," he_says. "We_came