Fast Food Nation - Eric Schlosser [19]
Walt Disney sent Kroc a cordial reply and forwarded his proposal to an executive in charge of the theme park’s concessions. Disneyland was still under construction, its opening was eagerly awaited by millions of American children, and Kroc may have had high hopes. According to one account, Disney’s company asked Kroc to raise the price of McDonald’s french fries from ten cents to fifteen cents; Disney would keep the extra nickel as payment for granting the concession; and the story ends with Ray Kroc refusing to gouge his loyal customers. The account seems highly unlikely, a belated effort by someone at McDonald’s to put the best spin on a sales pitch that went nowhere. When Disneyland opened in July of 1955 — an event that Ronald Reagan cohosted for ABC — it had food stands run by Welch’s, Stouffer’s, and Aunt Jemima’s, but no McDonald’s. Kroc was not yet in their league. His recollection of Walt Disney as a young man, briefly mentioned in Grinding It Out, is not entirely flattering. “He was regarded as a strange duck,” Kroc wrote of Disney, “because whenever we had time off and went out on the town to chase girls, he stayed in camp drawing pictures.”
Whatever feelings existed between the two men, Walt Disney proved in many respects to be a role model for Ray Kroc. Disney’s success had come much more quickly. At the age of twenty-one he’d left the Midwest and opened his own movie studio in Los Angeles. He was famous before turning thirty. In The Magic Kingdom (1997) Steven Watts describes Walt Disney’s efforts to apply the techniques of mass production to Hollywood moviemaking. He greatly admired Henry Ford and introduced an assembly line and a rigorous division of labor at the Disney Studio, which was soon depicted as a “fun factory.” Instead of drawing entire scenes, artists were given narrowly defined tasks, meticulously sketching and inking Disney characters while supervisors watched them and timed how long it took them to complete each cel. During the 1930s the production system at the studio was organized to function like that of an automobile plant. “Hundreds of young people were being trained and fitted,” Disney explained, “into a machine for the manufacture of entertainment.”
The working conditions at Disney’s factory, however, were not always fun. In 1941 hundreds of Disney animators went on strike, expressing support for the Screen Cartoonists Guild. The other major cartoon studios in Hollywood had already signed agreements with the union. Disney’s father was an ardent socialist, and Disney’s films had long expressed a populist celebration of the common man. But Walt’s response to the strike betrayed a different political sensibility. He fired employees who were sympathetic to the union, allowed private guards to rough up workers on the picket line, tried to impose a phony company union, brought in an organized crime figure from Chicago to rig a settlement, and placed a full-page ad in Variety that accused leaders of the Screen Cartoonists Guild of being Communists. The strike finally ended when Disney acceded to the union’s demands. The experience left him feeling embittered. Convinced that Communist agents had been responsible for his troubles, Disney subsequently appeared as a friendly witness before the House Un-American Activities Committee, served as a secret informer for the FBI, and strongly supported the Hollywood blacklist. During the height of labor tension at his studio, Disney had made a speech to a group of employees, arguing that the solution to their problems rested not with a labor union, but with a good day