Imaginary Worlds - Milicent Patrick: Disney Magic to Monster Mayhem

Episode Date: March 12, 2025

In honor of Women’s History Month, we’re producing a two-part series about two visionary and trailblazing artists: Mary Blair and Milicent Patrick. They went to the same art school. They each began working at Disney during the Depression. They were both singled out for their talents but left in 1941. From there, they went on to have wildly different careers, but each had a lasting impact on pop culture. In part one, I talk with authors and historians Mindy Johnson and Mallory O’Meara about Milicent Patrick. She started as a special effects animator on Fantasia before designing the Gill-man from Creature from the Black Lagoon. Plus, I talk with makeup and effects artist Steve Wang about why the Gill-man is a horror icon. Mallory O’Meara’s book is The Lady From The Black Lagoon, and Mindy Johnson’s book is Ink & Paint: The Women of Walt Disney Animation. This episode is sponsored by Hims. Start your free online visit today at Hims.com/IMAGINARY Learn more about your ad choices. Visit podcastchoices.com/adchoices

TD Direct Investing offers live support. So whether you're a newbie or a seasoned pro, you can make your investing steps count. And if you're like me and think a TFSA stands for Total Fund Savings Adventure, maybe reach out to TD Direct Investing. You're listening to Imaginary Worlds, a show about how we create them and why we suspend our disbelief. I'm Eric Malinsky. In the late 1920s, not long after Steamboat Willie came out, Walt Disney had a problem. He

was inventing something brand new and he wanted to keep pushing the art form further, but there weren't enough artists to hire with the skills that he needed. So he realized that the best way to do that was to train them. And he went to all these different art schools in Los Angeles. And he's like, hey, I don't have any money, but this is what I need. This is what I'm hoping to do. And they all turned him away except for Miss Chouinard. That is the writer and historian Mallory O'Meara. The Chouinard Art Institute eventually became CalArts, my alma mater.

The school has been a pipeline to Disney and eventually Pixar for generations. During the Great Depression. Disney literally drove in his Buick down the Chouinard Institute. He would bring the animators to those classes and while they were in class, he would look at the other artists that were there.

Mary Blair and Millicent Patrick were both graduates of Chouinard who worked for Disney. I don't know if they knew each other, but they were on a parallel track for years. They each stood out for their talent early on, but they each decided to leave the studio in 1941. From there, their paths diverged wildly. Mary Blair returned to the studio. She not only thrived,

but she changed how Walt Disney wanted his movies to look. Millicent Patrick became an actress. Then she moved to makeup and special effects. She was a key designer on the creature from the Black Lagoon. For Women's History Month, we're doing a two-part mini-series about Mary Blair and Millicent Patrick.

You might not know their names, but you know their work. In many ways, the choices they made in their careers were defined by the times they lived in, but the issues they struggled with are timeless. Let's start with Millicent. From the outset, her childhood looked like a fairy tale. Her father was the superintendent in charge of building Hearst Castle. This was the famous estate of William Randolph Hearst, the super wealthy and powerful media mogul. Millicent grew up on the grounds of the castle in California.

Because it was William Randolph Hearst, He entertained all kinds of celebrities and politicians. So there were all sorts of very famous people there all of the time. But on top of all of that, it was a little bit isolated. It's several hours away from Los Angeles. So it's almost like being in this sort of little magical bubble away from the rest of the world. Yeah, and aren't there like zebras and stuff there, giraffes?

Yes, he did have a zoo there. The zebras actually do run wild now, which is very interesting. Sometimes you can see them if you drive by. She must have had fond memories of living there because when she grew up, she chose the name Millicent. Her first name was originally Mildred. It was William Randolph Hearst's wife named Millicent

and that really inspired her. And she just thought this woman was so noble and so elegant, and it really made an impact on her. And she decided to call herself Millicent. When she was a teenager, the family moved to Los Angeles. She got several scholarships to attend the Chouinard Art Institute. And that's where she was discovered by Disney.

Disney himself noticed early on that Millicent's particular art style was suited for animation. She was extremely, extremely good at conveying movement and expression, which is all animation is. Women at Disney typically worked in the ink and paint department.

That means when the predominantly male animators finished their work using pencil and paper, the women traced over the drawings with the ink onto transparent sheets of celluloid. Then they would paint colors in the back of the cells. Ink and paint was thought of as sort of like a repetitive task. And anything that was like a repetitive task

was thought of as women's work. They had to be very, very precise. They weren't even allowed to drink coffee. They could only have tea because they could not have a certain amount of caffeine in their system so they wouldn't be shaky. Mindy Johnson teaches animation at CalArts, and she wrote a book about the unsung women who worked at Disney. She says the work that the women were given may have been technical, but it

required a lot of talent and there was room for innovation. There were articles showing up in the local papers and women's magazines about the girls who work at Disney and how glamorous it was. They always had a hard time finding trained, qualified, talented artists for inking and painting. And it was highly competitive, very, very tough. They'd train dozen or more women and one or two would make the cut. She recommended that I watch a 1941 film called The Reluctant Dragon.

It's a behind the scenes look at how Disney cartoons are made. And at one point you can see Millicent Patrick in the background. The premise is that the actor Robert Benchley And at one point, you can see Millicent Patrick in the background. The premise is that the actor Robert Benchley is getting a tour of the studio in Burbank, including the color department. The girls add a couple hundred different chemicals to it and it all goes through the paint mill.

The paint mill? Well, that looks very tasty. The film is produced by Disney, so it's softened and glamorized. But you can see the lab, and it's really impressive. The women are wearing lab coats and sometimes gas masks. We see them measuring very colorful powders on scales, mixing chemicals and bubbling beakers, and spinning paints on whirling machines. They weren't just mixing paint.

I typically say this was not Betty Crocker's kitchen. This was Madam Curie's lab. The Disney Paint Lab was the first and only one of its kind in the world, creating paints exclusively for cell-based animation. We're working with over 1,500 shades of custom-created color, created exclusively at Disney Studios. Sometimes, Disney had the women do the work of journeyman animators, drawing the in-between poses of the characters directly onto the cells.

It was a cost-cutting measure, and their draftsmanship was more precise when it came to something like Bambi's legs. In her research, Mindy even found a married couple at Disney where the wife was paid more than her husband. She says this was one of the many reasons why the animators at Disney went on strike in 1941. In many ways, there were a number of reasons behind the strike, but one of them was

Walt had initiated this training program to get the women involved in animation. The male animators were a little tweaked about that, thinking, oh, you're going to train women to undercut our pay. And that's how Millicent Patrick got a big break at the studio. The first officially credited female animator at Disney was a woman named

Reda Scott, but Mindy says Millicent was the first unofficial female animator. While they're in production on Fantasia, Walt wants to push boundaries visually. Many of the conceptual design artists are working with chalk pastels, which is a very kind of a volatile medium. Typically, if you've ever worked with them, it goes everywhere but where you want it sometimes. So how do we get that quality? Well, the women in Inca Painted

developed dry brush techniques to get sort of a textured feel on the cells, but that still wasn't quite, you couldn't cover an entire cell with that. So the women developed a clear spray adhesive, which allowed Millicent to draw with chalk pastels that would stick to the cells and not smudge. The big sequence she worked on was the monster Chernobog from Night on Bald Mountain. Walt wants the creature Chernobog, creature of darkness.

How do you defeat the creature of darkness? Through light. So how do we convey this in a visual context with light? By the way, Mindy refers to Millicent as Mildred Rossi, since that was her name back then. When you watch that sequence, you will never see it again once we point this out, but each time the bell tolls and the light is emanating, we think it's lighting,

but it's not, it's the chalk pastel artistry of Miltred Rossi. You can see Chernobog recoil and cringe and kind of run fearfully, turn away from that light. It's powerful. Even when you just isolate that segment and you now know what you're looking for, you will never see that sequence the same way again. It's incredible. And that's Mildred's work.

But on a personal level, things weren't going as well. Again, Mallory O'Meara. There was the animator strike at Disney and a lot of people left after that. But she also had an extremely turbulent marriage at the time and that was not going well. It was with another animator at Disney. Also on top of all of that, she developed migraines, which she would have for the rest of her life and staring literally at a box of light all day while doing very, very precise artwork was very, very difficult when she had migraines and she decided that it was time to leave.

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with a healthcare provider who will determine if a prescription is appropriate. Restrictions apply. See website for full details and important safety information. details and important safety information. In the late 40s, Mildred Rossi changed her name to Millicent Patrick. She began working as an actress, getting minor roles in movies and early TV shows. So while she was on set, if you've ever been on set, you know there's a lot of downtime,

especially for the actors. So while she was sitting around getting her makeup done, waiting for her scene, she would sketch portraits of her co-stars. Eventually somebody noticed and that man was a man named Bud Westmore who was the head of the makeup department at Universal Studios. Bud Westmore was a big deal. He was the son of the legendary makeup designer George Westmore. And when George Westmore came to Hollywood, he was very great at makeup and he was also

very great at hair. He was a very talented wig maker. And he started going to some of these studios and saying, hey, you know, I'm noticing that you're having your actors do your own makeup, but you're shooting similar scenes on different days. That makeup is going to be different from scene to scene, sometimes from shot to shot. actors do your own makeup, but you're shooting similar scenes on different days, the makeup's going to be different from scene to scene, sometimes from shot to shot. And to keep that consistent, you should have one person in charge of the makeup.

And he invented the idea of a makeup department. Wow. So Bud Westmoreland is practically like Hollywood makeup royalty as the son of the guy that invented the modern makeup department. Yes. as the son of the guy that invented the modern makeup department. Yes, him and all of his brothers truly were the most famous family in makeup design in Hollywood. They had their own very, very popular salon

called the House of Westmore. They truly were big players in the Hollywood scene. She began by doing makeup for actors. Nothing fantastical, just regular makeup. Then she moved to creature design. She worked on a film called It Came From Outer Space. I know that sounds like a lowbrow B-movie, but this was an important film for Universal.

They used to be known for doing monster movies. They had drifted away from that legacy. Now they were coming back. This was gonna be in 3D, and Ray Bradbury had written the treatment for the screenplay. She had never done any sort of monster creation. And again, Universal hadn't done a monster movie

for quite a long time, and it was their first ever science fiction film. They had no idea what to do, how to design it, especially because Ray Bradbury did not give them anything particularly concrete to go on. Like the description literally has the word nebulous in it, if I'm recalling correctly. And they just decided to give it to this woman in the department who was incredible at designing makeups, and she did a bunch of different designs.

And the final version, I mean, if you watch the movie now, it looks very cheesy and silly. It looks like food that's been left in a sandwich bag in the fridge for way too long. But back then, it was very terrifying. It was so new, it was so fresh. Audiences had never really seen anything like that, and the American culture at the time, in horror in general, had moved from being afraid of ghosts and monsters to being afraid of nuclear war and space and aliens. So seeing all these brand new fears personified was pretty intense and it's a very important

film. Then, she got the opportunity to design The Gill Man, which is the name of the creature from the Black Lagoon. Well, the makeup department was not supposed to be involved with the creature from the Black Lagoon? Well, the makeup department was not supposed to be involved with the creature from the Black Lagoon at all. The really interesting thing about creature design is that it kind of falls in between the cracks because it's sort of a costume because it goes on the actor

and it's more than makeup because it is a suit, but it's also kind of a prop because it actually has to be fabricated. It was confusing for Universal at the time, especially because Creature from the Black Lagoon is the first Universal monster that is a full body suit. Up until that point, you know, Frankenstein, Dracula, all of these things were even the mummy, you know, his body is mostly covered in just in bandages.

They had never had to fabricate an entire suit before. It was either just like a head makeup and then hands or clothes. So they, uh, they weren't quite sure what to do with it. And the first thing they did was send it to the props department who created a very weird, very failed design. That was like, uh, it looks like a frog head and a spandex body, like flappy flippery feet. And it just, it looked, it didn't look scary.

It just looked kind of weird and sad They realized that they needed they needed something else. They gave it they just they were like, oh, well, let's give it to the makeup department and after her success on it came from outer space the obvious choice was Millicent and She did a bunch of research She went to the library and researched because the in the film creature from the Black Lagoon is meant to come from the Devonian Age which is a real age so she researched Devonian Age fossils and fish and amphibians and got an idea of what the real creatures

Looked like at that time. It was something that was very important to her to have an air of truth And so she does not design the creature There was a couple different design elements that were changed around the head of the department at the time, as I said before, Bud Westmore. He wanted it to have a tail and she took that off because it looked really silly. There was a brief design where he had some sort of like head protrusion that looked like anglerfish. Yeah, it had like a, it looked kind of like an anglerfish and she took that off.

And then it went to the rest of the fabrication department. Chris Mueller was the sculptor on that. Jack Kevin helped work on some of the tech stuff, and they made it into Creature from the Black Lagoon. So what is it that she's handing off to them? Drawings. Their drawings, okay. It's not like a maquette or something like that.

No, she did not do any sculpting. It was all drawings. Wow! Get back, Katie, get back. In 1954, when the movie came out, the studio sent Millicent on a publicity tour. I was surprised they singled her out, because several people worked on that character.

But Mallory says the studio knew. It came from her brain. It was her design. And also there was a big interest because she was so beautiful and she was an actor and she was a model and she was very charming. And the dichotomy between this terrifying creature and this beautiful designer was very,

it was catnip for the publicity team. And they thought it would be really fun to do a, you know, a Beauty and the Beast tour for it. And what was the tour like for her? Well, it changed quite significantly from what it was supposed to be to what it was. Because once Bud Westmore got wind of the type of tour that they wanted to do, he got very angry.

Because back then, even though he had a whole team of people doing designs, he got all the credit for it. There was no IMDB. There was no internet. And the credits back then were not as comprehensive as they are today. It was really just a few cards at the beginning

or end of a film, and it just said, make up by Bud Westmore, even though he had a massive team of people helping him, and he did not work on these designs. In fact, as I said, the ideas that he did have were terrible, and Millicent had to take them off. He was very uncomfortable, very insecure at, for the first time in his career, somebody else getting to take rightful credit for the work that they did that he had been taking credit for up until this point.

And he got in a big fight with the publicity team at Universal and he pulled his weight because getting a Westmore in your makeup department was, they were royalty, they were, they were very influential, they were very famous, they were very well known in was, they were royalty. They were very influential, they were very famous, they were very well known in town, they were very well connected. He threw that weight around and got them to change the tour from the beauty and the beast and the beauty who created the beast to the beauty who lives with the beast. So it was supposed to be a tour where Millicent got to talk about her work and her design and how she created it. And then it became her just showcasing the design that she had to say that somebody else did. And she did everything that was asked of her.

Even they gave her a chaperone to make sure that she was telling her the lie that that she was instructed to tell correctly. Even though the tour was very successful, she did an incredible job of promoting the movie. The movie was a huge success, but Westmore was not happy about it. He would get a list of all of the magazines and newspapers and radio stations that she was going to interview and he would call them up after she had been there and demand to know what she had said. Reporters and journalists figured out pretty quickly that Millicent had to have been involved in the design in some way. It was pretty hard to hide. I mean, she had this incredible background as an artist. They knew she worked at Universal as a designer. It wasn't hard to connect the dots. So people started referring to her as the designer of the creature.

And even though she didn't say anything, she followed her script. She did not deviate, not one single time during the entire tour. Did she take credit? It made him angry. So while she was out on tour, he demanded that she be fired. Wow. So by the time when she returned to Universal, she no longer had a job.

Wow. And was she able to work at all anywhere? She never worked as an artist professionally ever again. I mean, the Westmoors had a very, very strong network. If you were out with the Westmoors, you were out with Hollywood. There was a Westmoor brother heading the makeup department of almost every single major studio in Hollywood

at the time. This was not out of character for Bud Westmoor. He was notorious for treating artists terribly, or firing them if he thought they were upstaging him. But this hit Millicent particularly hard. The time that it came, Millicent was 39 when all of this was happening. And as everyone knows, turning 40 is such a big deal

as an actor. So she knew that if she hadn't made it as an actor at that point, she probably wasn't going to. And I think there is an alternate universe where she continued on and made more amazing designs and worked on incredible stuff and stayed in that makeup department until she retired. But because of one man's insecurity, she never got to do it again. They used some of her designs that she had already been working on for the metaluna mutant in this island earth and the mole people, but that was it.

She never got to actually actively work on a design for a film ever again. Millicent Patrick's personal life was also tumultuous. She has one of the spiciest Wikipedia entries that I've read. She had several marriages and affairs and affairs with married men, and there were deadly consequences for some of the people caught in her love triangles. You can learn more about the tragic details in Mallory's book, The Lady from the Black Lagoon.

She got this sort of reputation as sort of this like this black widow, you know, this evil woman. The femme fatale. Yeah, that's a better term for it. But it just wasn't her. She really she had a lot of problems with her family. She was estranged from her family. She was just her father was not a good guy and thought very badly of her. And she she always wanted to fall in love and to really be able to escape from all of that.

And she did not pick him well. She is finally getting the respect she deserves, even if it's posthumous. Mallory has played a big part in spreading the word. One of the one of the most heartbreaking things is she never got this. I mean, now people know it was her, you know, it's her credit online on IMDB, but she never got to see any of that. She died in obscurity. She says it's easy to take for granted that the creature from the Black Lagoon is part

of the Universal Monsters, which you can buy as mugs, bobbleheads, plushies, and action figures. It's very interesting because Frankenstein, Dracula, Bride, all of those classic Universal Monster movies, they have these deep, long legacies and pedigrees. Some of them come from books. There's many, many different versions of them. And Creature doesn't have any of that. Creature does not come from a book. There is not like an early play or like early, it was not like an early silent

version of Creature from the Black Lagoon. It's just that one movie. I mean, there were two other films that obviously used used her design, but it's just Creature. And he came decades after these other movies like 20 years later. But he became part of that monster group just as important, just as iconic. and that's all because of Millicent. You can see her influence in the shape of water. The Oscar-winning film portrayed a fishman as a misunderstood romantic lead. The director Guillermo del Toro said in an interview that he was inspired by the creature from the Black Lagoon.

He saw it when he was seven years old and he said the Gill Man was quote the most beautiful design I'd ever seen. Steve Wang is a makeup and creature designer in Hollywood. I asked if he was also a lifelong fan of the Gill Man. Oh, are you kidding me? That's like my favorite monster of all time still. of the Gill Man. Oh, are you kidding me? That's like my favorite monster of all time still. You know, I just remember as a kid that it just blew me away. And I just at that point just fell in love with that thing. And that has always just influenced me in everything that I've done.

One of the things that stands out to me about the Gill Man is that there's an aspect of vulnerability in his eyes. Also, his skin is layered in overlapping tiles that flow down his body, but they're not uniform, they're jagged and scaly. They're also separated into several distinct waves, which give the actor flexibility to move. It's a very modern look, and I've seen it on contemporary costumes of monsters and even superheroes. I asked Steve to tell me from a design perspective what he likes about the character. I think his face is actually very graceful. You know the first impression you get looking at the

creature is that he kind of looks like a combination of a frog and a fish and the frog primarily because of the the wattle on his neck, you know But the thing that I really love about about the creature is the the flow lines If you look at the brow and how graceful the brows go up into the back of the head and then his fins his gills How they kind of all flare out in a very kind of nice rhythmic Motion and all kind of I echo each other from layer to layer. Just the balance and the sharpness, like the movement of the back of the head fin and everything. So when did you find out about Millicent Patrick's contribution?

I don't think I found out about her until I was a teenager because for the longest time I always thought oh you know it's Bud Westmore he's the the one that made the creature. But then when I was about 18, I had met Bob Burns. And Bob Burns is a very well-known film historian, primarily, you know, within the genre, because I had seen in this book called Making a Monster with Sue Roy and Al Taylor. And there was a picture of a guy sculpting on the creature head, But then you had Bud Westmore standing next to him with the tool as well. And that photo always confused me. I thought, huh, two people sculpting on a head? That's kind of weird.

You know, and who's this guy? Well, then I found out that was actually Chris Miller Jr. So when I met Bob Burns, Bob just kind of told me the whole story. He just said, yeah, you know, there's a woman named Millicent Patrick, and she was the one that designed the creature, even though she was largely uncredited. Not a whole lot of people knew about that. But according to Bob, I just asked Bob point blank, I said, Bob, who designed the creature? And Bob said, Millicent Patrick designed it. And according to Chris Miller Jr., who was there, Chris Miller also said that was Millicent's creature.

HOFFMAN So how could that design have gone wrong? Because now we know exactly what the creature looks like. What were some ways that it could have screwed it up? Well if you look at some of the behind the scenes photos of the earlier incarnations of it, that's how it could have gone wrong. In fact there was a head that Bob Burns had shown me, which I subsequently saw in photos of an earlier creature head, and it was much more slender. The head was very kind of pointy and small, and then the

gills were really tiny on it. It didn't look very alive. It looks more like an incomplete sculpture or an incomplete thought. And so they had put that on, which totally did not work. And then at one point, I believe they had, half the suit was made of spandex, I think. And that didn't look real. And I think they knew that as well from way back. Had they not gone the extra mile and really kind of know what they were looking at, I think this whole thing could have gone wrong.

Because you feel at all the monsters that came out from the 50s, there were some pretty kind of awful ones. You know, the heads too big, or they had big ping pong ball eyes, or something that just didn't quite look real. I think that's what made the creature so ahead of its time. So yeah, speaking of being ahead of its time, where do you see the Gill Man's influence in other creatures that came afterwards?

Oh, I think it's like everywhere. First and foremost, I believe the whole notion of a monster suit that's done well, I think has really inspired a lot of people, including myself. You know, I've made so many types of monster suits over the years, and it always comes back to the creature, like how just the creature came together. And you always want to create the sense of textures

and colors and form and flow and everything that makes it a very believable creature. In 2004, Steve worked with Guillermo del Toro on a live-action movie of Hellboy. Steve got to design his own fishman costume for the character Abe Sapien, who comes from the Hellboy comics. Remind me why I keep doing this. Rotten eggs and the safety of mankind. Yeah, certainly it had a lot of influence. Abe was a completely different creature all in itself

in the sense that it was much more human-like. The body and the shape was more human. But if you look at like, again, like the gills and the flow of the lines and everything, it was all very heavily inspired by the creature. And that one I can say for sure because, you know, I built that thing. As I mentioned earlier, Millicent Patrick died in obscurity. But she wasn't destitute. She lived a quiet and comfortable life in Los Angeles. She may not have gotten the recognition that she deserved in her lifetime, but her work has taken on a life of its own. She is no longer seen as the beauty who lived with the beast. She is

remembered as an artist and a creator. In the next episode, we will rewind the clock to see what happened when Mary Blair took the opposite path. Like Millicent, Mary left Disney in 1941, but she came back to the studio and had enormous success. But there were darker shades lurking beneath her iconic, colorful artwork. That's it for this week. Thank you for listening.

Special thanks to Mallory O'Meara, Mindy Johnson, and Steve Wang. In the show notes, I have links to Mallory's book, The Lady from the Black Lagoon, and Mindy's book, Ink and Paint, the Women of Walt Disney Animation. We have another podcast called Between Imaginary Worlds. It's a more casual chat show that is only available to listeners who pledge on Patreon.

I recently talked with Sean C. Jackson, who designs maze books of Disney theme parks, Marvel, and Star Wars. He also created an unofficial fan fiction maze about what happens to the character of Rey after the sequel trilogy. You know, she's doing the whole Jedi living by herself kind of thing, studying the texts,

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