Bill Peet
| Bill Peet | |
|---|---|
| Born |
William Bartlett Peed January 29, 1915 Grandview, Indiana |
| Died | May 11, 2002 (aged 87) Studio City, California |
| Resting place | Forest Lawn Memorial Park, Hollywood Hills, California |
| Nationality | American |
| Education | Herron School of Art and Design |
| Occupation | Writer, screenwriter, illustrator, artist, storyboard artist |
| Spouse(s) | Margaret Brunst |
Bill Peet (born William Bartlett Peed; January 29, 1915 – May 11, 2002), was an American children's book illustrator and a story writer for Disney Studios. He joined Disney in 1937 and worked first on Snow White and the Seven Dwarfs (1937) near the end of its production. Progressively, his involvement in the Disney studio's animated feature films and shorts increased, and he remained there until early in the development of The Jungle Book (1967). A row with Disney over the direction of the project led to a permanent personal break. Other feature films that Peet worked on before he left include Pinocchio (1940), Fantasia (1940, The Pastoral Symphony sequence), Dumbo (1941), The Three Caballeros (1944), Song of the South (1946, cartoon sequences), So Dear to My Heart (1948, cartoon sequences), Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Sleeping Beauty (1959), 101 Dalmatians (1961), The Sword in the Stone (1963), and The Jungle Book (1967). Peet's subsequent career was a writer and illustrator of children's books.
Bill Peet was born in Grandview, Indiana, on January 29, 1915. Peet began drawing at an early age, and filled tablets full of sketches. Often, instead of doing lessons, Peet would draw in the margins of his textbooks—which were very popular for their added illustrations when he sold them back. Animals were always a love of Peet's. He and his friends would go traipsing through the woods looking for frogs, tadpoles, minnows and crawfish. Most of his adventures as a boy to catch animals were in the hope that he could capture them and sketch them. The young Peet would also sneak onto greeting parties at the train station as a boy just to see the train's mechanical workings. In addition, as a teen, he would try to sketch the circus big top, but he was always in the way of the set up crew. He memorized the scene and would reconstruct it from memory.
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