As Drew Taylor writes in Vulture, “in an anonymous block of Glendale, California, sits a nondescript beige building free of signage or distinction. The only thing that would even alert you to the fact that this is the Disney equivalent of Fort Knox is the abundance of insane security procedures stationed around the building.
Even for employees of the company, the building remains elusive and hard to gain entry to. (Full disclosure: I worked for the company for almost two years and never once got to go.) Unlike the main studio archives down the street, which are housed in an inviting glass building with ample signage — it’s this location that appears on-camera whenever the company makes documentaries about the Disney Vault — this place feels like a mirage . . .
Just in terms of size, the vault is insane — there are 12 vaults, each organized by project. This includes everything from the original sketches for Snow White and the Seven Dwarfs to larger-scale items like all of the puppets from The Nightmare Before Christmas and Frankenweenie.
Each room is climate controlled and meticulously catalogued, with state-of-the-art security and fire-suppression systems in place. By the library’s own estimates, there are something like 65 million pieces of art in the collection, which makes it the largest collection of animation artwork in the entire world.
The vaults look like what you’d think something like this might — the rows of stuff are located in cabinets which can be moved with a big spinning handle (like a vault), so you can easily get to them. As for the artwork, it’s filed in a way that it should be, with cells or production artwork stacked horizontally, while other, less sensitive items are filed vertically, in accordion-style folders.
Oversize items like large background paintings are housed in separate flat files. The sensation of walking into one of the vaults is like stumbling into the warehouse at the end of Raiders of the Lost Ark . . .
I was there as part of a small group of journalists who had been brought to the building ostensibly to celebrate Pinocchio leaving the Disney Vault with a digital rerelease. While there, I got to chat with Fox Carney, the manager at the Animation Research Library, and he told me that the archives contained ‘over a million’ pieces of artwork for Pinocchio alone.” And that’s just for starters . . .