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In August 2024, we had the opportunity to interview Mark Henn, the legendary Disney animator behind some of Disney’s most iconic characters. With over four decades of experience, Henn has had a profound influence on Disney animation, contributing to films from “The Little Mermaid” to “The Princess and the Frog”. Now retired, Henn reflects on his career, from his early days in hand-drawn animation to his role in the transition to CGI.
About Mark Henn
Mark Henn is a celebrated Disney animator known for his work on some of the studio’s most iconic characters, including Ariel from “The Little Mermaid”, Belle from “Beauty and the Beast”, and Jasmine from “Aladdin”. A key figure during the Disney Renaissance, Henn has been at the forefront of animation for over four decades. His influence extends beyond character animation, as he helped establish Disney’s Florida studio and later played a crucial role in mentoring the next generation of animators.
Despite Disney’s transition to CGI, Henn remained committed to hand-drawn animation. His contributions have left an indelible mark on the animation industry, making him a respected mentor and a symbol of the enduring art of traditional animation.
Mark Henn Interview
1. You’ve animated some of Disney’s most iconic characters, including Ariel, Belle, and Jasmine. How did you approach the challenge of giving each character a unique personality while staying true to the film’s overall tone?
“It was a challenge at times. I familiarized myself with the story and look at all the available art that has been created during pre-production.”
2. Your work on “The Little Mermaid” involved creating Ariel’s distinctive lip-bite. Can you tell us how you came up with this specific gesture and why you felt it was important for her character?
“A lot of these ‘quirks’ come from meeting with the voice talent and observations of the world around me.”
3. During the Disney Renaissance, you were a key figure in reviving the studio’s success. What was the atmosphere like at Disney during that period, and how did you and your team handle the pressure of creating films that became instant classics?
“It was exciting! We all just tried to make the best film that we could.”
4. You played a significant role in the establishment of Disney’s Florida studio. How did working in Florida differ from working in Burbank, and what impact did this have on the films produced there?
“Florida started as a small shorts production studio. It quickly grew to become an aid to production in Burbank. Eventually, we branched out to create “Mulan”, our first feature film.”
5. Transitioning from hand-drawn animation to CGI can be challenging. What was your experience like working on “Meet the Robinsons”, and how did you navigate the shift from traditional animation to digital techniques?
“The transition was tough. I almost lost my job, but the good Lord had more for me to do. I had to work on “Meet the Robinsons”. The principles are the same in my mind. The tool is more complicated.”
6. As someone who has spent over four decades in animation, what are your thoughts on the current state of the animation industry, especially regarding the future of hand-drawn animation?
“It is difficult to say what the future will hold. There seems to still be a need for hand-drawn animation. The likelihood of a feature will depend on the studio’s commitment. Never say never.”
7. You’ve mentored many young animators during your career. What key advice do you give to the new generation of animators, and what do you hope they carry forward in their work?
“Focus on creating believable characters. Tell compelling stories. Be observers of the world around you.”
8. Looking back at your extensive career, which character or project do you hold closest to your heart, and what made it special to you?
“They have all been very special. “Mulan”, as our first feature out of the Florida studio, has special memories.”
9. Now that you’ve retired from Disney, what are some personal or creative projects you’re excited to explore, and how do you plan to stay connected to the world of animation?
“I hope to get back into my studio and paint. I have some more episodes of “Pups of Liberty” to work on later this fall.”
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