1. Early life and education
Wolfgang Reitherman's formative years were shaped by his family's transnational moves and his developing artistic inclinations, which eventually led him to a career in animation.
1.1. Birth and childhood
Wolfgang Reitherman was born on June 26, 1909, in Munich, German Empire, to Philip Reitherman and Marie Keuhner. He was the youngest of their seven children. His parents had eloped and married in London, briefly residing in France before returning to Munich. In 1911, due to prevailing political unrest, the family relocated to the United States when Wolfgang was a child. They initially settled in Kansas City, Missouri, where one of Philip's brothers resided. At home, English was the preferred language, and as a result of his parents' assimilation into American culture, Wolfgang understood very little German. The family later moved to Sierra Madre, California. As a young man, Reitherman developed a strong passion for flying and initially aspired to become an aeronautical engineer. Alongside this ambition, he cultivated a hobby of drawing cartoon gags.
1.2. Education and early career
Reitherman attended Pasadena Junior College. However, he left his studies to take on a position as a draftsman for the Douglas Aircraft Company. By 1931, Reitherman decided that his true calling was in the visual arts rather than engineering. He subsequently enrolled in the Chouinard Art Institute, a prominent art school. While studying there, his paintings caught the attention of Philip L. Dike, one of his drawing and painting instructors. Impressed by Reitherman's artwork, Dike showed them to Walt Disney, which led to Reitherman being invited to the Disney studio. Although Reitherman initially expressed a desire to work as a watercolorist, Walt Disney himself suggested that he pursue a career as an animator.
2. Career at Walt Disney Productions
Wolfgang Reitherman's career at Walt Disney Productions spanned nearly five decades, during which he transitioned from a skilled animator to a leading director and producer, significantly influencing the studio's output.
2.1. Early animation career (1933-1941)
Wolfgang Reitherman was officially hired at Walt Disney Productions on May 21, 1933. His first project as an animator was the Silly Symphonies cartoon Funny Little Bunnies, released in 1934. He subsequently worked on numerous other animated shorts, including The Band Concert (1935), Music Land (1935), Elmer Elephant (1936), The Worm Turns (1937), Hawaiian Holiday (1937), and Clock Cleaners (1937). His contributions extended to feature films, where he animated the iconic Slave in the Magic Mirror in Snow White and the Seven Dwarfs (1937).
His next significant assignments included animating the monstrous whale Monstro in Pinocchio (1940) and the climactic dinosaur fight sequence in the "Rite of Spring" segment of Fantasia (1940). Reitherman recounted an amusing anecdote from the production of Fantasia: the night he finished his animation for the segment, he attended a Christmas staff party and played a tape recording of Igor Stravinsky's piece in reverse. He recalled that Walt Disney then arrived with Stravinsky, who, upon hearing the reversed music, remarked, "Sounds good backwards, too." Following these projects, Reitherman animated several scenes featuring Timothy Q. Mouse in Dumbo (1941).
2.2. Military service (1941-1946)
In December 1941, following the Attack on Pearl Harbor, the United States entered World War II. At the age of 32, Wolfgang Reitherman enlisted in the United States Army Air Forces (USAAF) as a pilot. During his military service, he participated in the Air Transport Command, flying combat missions across various theaters, including Africa, China, India, and the Philippines. Reitherman fondly remembered his time living in China, describing it as "a wonderful country. Wonderful people." He was honorably discharged in February 1946, having attained the military rank of Major. For his service, Reitherman was awarded the Distinguished Flying Cross and the Air Medal with one bronze oak leaf cluster.
2.3. Return to Disney and "Nine Old Men" (1947-1955)
Wolfgang Reitherman rejoined the Disney studios in April 1947. One of his initial projects upon returning was animating the intense Headless Horseman chase sequence in The Legend of Sleepy Hollow section of The Adventures of Ichabod and Mr. Toad (1949), where he collaborated with John Sibley. Around this period, Reitherman claimed to have played a crucial role in encouraging Walt Disney to commit to producing Cinderella (1950) as an animated feature. After glancing at some storyboards, Reitherman recalled approaching Disney's office-a rare occurrence for him-and stating, "Gee, that looks great. We ought to do it." He believed this might have been "a little nudge to say, 'Hey, let's get going again and let's do a feature'." On Cinderella, Reitherman served as the directing animator for the memorable sequence where the mice Jaq and Gus laboriously push and pull the key up the stairs to Cinderella.
By this time, Walt Disney began to dedicate less of his time and energy to animation, as he increasingly focused on expanding into developing the Disneyland amusement theme park and various television projects. As a result, nine veteran animators-Les Clark, Marc Davis, Ollie Johnston, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, Reitherman, and Frank Thomas-began to consolidate their influence and became collectively known as the "Nine Old Men." This moniker was a playful reference to U.S. President Franklin D. Roosevelt's denigration of the Supreme Court. With Disney's reduced involvement in story meetings, animation responsibilities were increasingly entrusted to the creative judgment of these nine animators.
Reitherman continued to animate key sequences in subsequent films. On Alice in Wonderland (1951), he animated the scene where the White Rabbit's home is comically destroyed by an enlarged Alice. For Peter Pan (1953), he animated the scene depicting Captain Hook's desperate attempt to escape the menacing crocodile. In Lady and the Tramp (1955), Reitherman animated the intense alley dog fight sequence and Tramp's perilous confrontation with the rat in the nursery room. Animation historian Charles Solomon lauded the alley sequence as "a textbook example of a Reitherman fight scene: Tramp defeats a pack of vicious mongrels to save Lady, helpless in her muzzle." Reitherman also made an appearance as himself in a Disneyland episode titled "A Story of Dogs," which aired on December 1, 1954. In this segment, he reenacted a production meeting discussing the alley dog fight sequence, offering a glimpse into the creative process.
2.4. Directorial debut and early features (1955-1961)
In 1957, Wolfgang Reitherman made his directorial debut with the short film The Truth About Mother Goose. The film received critical recognition, earning a nomination for the Academy Award for Best Animated Short Film, though it ultimately lost to the Merrie Melodies cartoon Birds Anonymous. He subsequently joined the production team for Sleeping Beauty (1959). While Eric Larson, another of the "Nine Old Men," had initially been the film's sole director, he was removed from the project by 1957, and Clyde Geronimi became the new supervising director. Reitherman joined the project as a sequence director, notably for Prince Phillip's climactic and intense fight against Maleficent in her dragon form. In a 1981 interview with the Los Angeles Times, Reitherman stated, "We took the approach that we were going to kill that damned prince!" Despite the film's underperformance at the box office and mixed reviews upon its 1959 release-with Bosley Crowther of The New York Times warning that the dragon fight "will make a few adults groan. Mr. Disney here reaches the apex of his build-up of animated horror"-the fight sequence has since been widely praised as one of the finest in Disney animation history.
Reitherman went on to direct the 1960 short film Goliath II, which holds the distinction of being the first Disney animation project to fully utilize the Xerox process, allowing animators' drawings to be transferred directly onto transparent cels. Concurrently, Reitherman directed the "Twilight Bark" sequence for One Hundred and One Dalmatians (1961), serving as a sequence director alongside Geronimi and Hamilton Luske. In the same year, he took on the sole directorial role for a Goofy cartoon short, Aquamania (1961). These experiences laid the groundwork for his transition into directing feature-length animated films.
2.5. Sole director era (1961-1977)
This period marked Wolfgang Reitherman's most influential years at Walt Disney Productions, where he became the primary director for the studio's animated features. He was initially reported as the first sole director of a Disney animated feature, a departure from the studio's previous practice of having multiple directors. However, later research indicated that David Hand had previously served as a supervising director in a similar capacity. Animator Ward Kimball noted that Reitherman was chosen for this role due to his strong work compatibility and his willingness to accept any project "with a smile." Animator Bob Carlson quoted Walt Disney as saying, "Whenever I want to know what the public thinks about a film I'm making, I ask Woolie, because in a way he's the All-American boy." During this era, the animation staff was streamlined, typically consisting of one director (Reitherman), one art director (Ken Anderson), one story director (Bill Peet), and four supervising animators (Ollie Johnston, Milt Kahl, John Lounsbery, and Frank Thomas).
2.5.1. The Sword in the Stone
The Sword in the Stone had been a film project Walt Disney first acquired in 1939, following the success of Snow White and the Seven Dwarfs. However, its development was significantly delayed for over two decades. With a new studio policy in place, it was decided that one feature-length animated film would be released every three or four years, with occasional special projects. An attempt to adapt the medieval fable Chanticleer and the Fox was ultimately rejected in favor of The Sword in the Stone.
As director, Reitherman was deeply involved in the casting and direction of the voice talent. In 1963, he emphasized the importance of voice acting, stating, "After the story man or artist has made the original concept of a character, the voice comes next. It is of upmost importance, because the animator has to be stimulated by the voice; he has little else to work with." A notable challenge during the film's production arose when Rickie Sorensen, who had been cast as the voice of Arthur (Wart), entered puberty, causing his voice to change. This necessitated Reitherman casting two of his own sons, Richard and Robert, to record the remaining dialogue for the character. The film was released in December 1963 and earned an estimated 4.75 M USD in box office rentals in the United States and Canada.
2.5.2. The Jungle Book and Winnie the Pooh shorts
Walt Disney had first considered making an animated version of Rudyard Kipling's 1894 collection of stories, The Jungle Book, during the late 1930s. Bob Thomas's 1958 book The Art of Animation publicly revealed Disney's intentions to adapt The Jungle Book into an animated feature film. In 1962, Disney acquired the film rights to Kipling's original short stories, but decided to concentrate specifically on the stories involving Mowgli. Bill Peet was once again assigned to handle the storyboards, with Reitherman directing. By the end of 1963, Disney expressed dissatisfaction with Peet's story outline and overall vision for The Jungle Book, citing a perceived lack of warmth in the characters. One of the crucial disagreements concerned the casting of Phil Harris as the character Baloo. On January 29, 1964, his 49th birthday, Peet had his final, contentious meeting with Disney and subsequently left the studio to pursue a career as a children's author. Reitherman, reflecting on Disney's approach, stated, "Walt had developed this style of personality animation and that's what he always worked to exploit to the fullest. If something had to give between story and character, it has to be story."
Meanwhile, Walt Disney selected Reitherman to direct the short film Winnie the Pooh and the Honey Tree (1966), with the expectation that he would Americanize the characters and incorporate more humor. According to film historian Christopher Finch, Reitherman was initially "less than thrilled" to direct the project. Nevertheless, he cast his son, Bruce Reitherman, who was also voicing Mowgli in The Jungle Book, to voice Christopher Robin and introduced an original character named Gopher. Released in 1966, Winnie the Pooh and the Honey Tree was shown as a supplemental feature with The Ugly Dachshund. It was well received by audiences, prompting Disney to approve the production of a follow-up sequel.
During the production of The Jungle Book (1967), Reitherman adhered to procedures aimed at keeping production costs low, recalling Disney's advice to "keep the costs down because [feature cartoons are] going to price themselves out of business." On December 15, 1966, Walt Disney died from lung cancer at the age of 65. Less than two weeks later, Reitherman, art director Ken Anderson, story artists Don DaGradi and Vance Gerry, and studio executives Bill Anderson, Winston Hibler, and Bill Walsh held a meeting to discuss work on the next animated feature, The Aristocats (1970). By April 1967, they had arrived at a simplified plot outline by paring down the number of characters. The Jungle Book was released in October 1967 to critical acclaim, particularly for its musical sequences and voice performances, despite some criticism regarding a meandering storyline. Within three years, by 1970, the film had earned 23.80 M USD in worldwide box office rentals, becoming the most successful animated film released during its initial run.
Before The Aristocats entered production, a Winnie the Pooh follow-up short, subtitled Blustery Day, was decided to be the first animation project produced entirely after Walt Disney's death. Under these new circumstances, the "Nine Old Men" animators Frank Thomas, Ollie Johnston, and Milt Kahl joined the project. Reitherman remained as director, but his approach to the series evolved; he decided to be more faithful to the source material. He encouraged the animators to draw more inspiration directly from the original stories. Johnston observed that "Woolie was sometimes reluctant to accept fresh ideas. You'd have to work hard to persuade him to try something new, but once you'd demonstrated that your idea made sense he'd back up one hundred percent." Released in December 1968, Winnie the Pooh and the Blustery Day was attached to the live-action film The Horse in the Gray Flannel Suit and was widely considered the superior Winnie the Pooh short by both American and British film critics. At the 41st Academy Awards, Blustery Day received the Academy Award for Best Animated Short Film. Reitherman accepted the award on behalf of Walt Disney.
2.5.3. The Aristocats
Following Walt Disney's death, there was significant discussion among studio executives about the possibility of closing the animation department entirely. Reitherman credited film producer Bill Anderson for understanding "the value of animation" and allowing him and the animators considerable creative freedom over The Aristocats. Production on the film continued with the team often reflecting, as Ken Anderson put it, "we would find ourselves asking, 'How would Walt react to this?' or 'What would Walt do?'"
Reitherman himself acknowledged the challenges of working without Walt's final say. In an interview with the El Paso Times, he explained, "Walt wasn't there to make the final decisions. You didn't know whether you were right or not in your creative judgment. Walt left no doubt. He always let you know. Consequently, there were more story problems on this show than any other." According to animation historian Jim Hill, Reitherman was not sympathetic to Walt Disney's earlier, more heartfelt approach to the story, which envisioned Duchess finding suitable human owners befitting her kittens' talents. Instead, Reitherman had the story retooled into an adventure comedy, reminiscent of One Hundred and One Dalmatians (1961). To save on production costs and ensure the film was delivered on time, Reitherman made significant story changes that alienated some of the production staff, most notably the Sherman Brothers. For instance, Thomas O'Malley's character design was altered from an orange-colored striped calico cat to a brown-and-white alley cat. Additionally, a maid character named Elvira was removed from the story, placing Edgar as the central villain to simplify the narrative.
With The Aristocats, Reitherman heavily relied on the remaining four of the "Nine Old Men" animators (Frank Thomas, Ollie Johnston, Milt Kahl, and John Lounsbery) to visualize each scene, as he found the responsibility challenging and disliked reviewing storyboard reels. In 1987, Frank Thomas explained, "Woolie never liked story reels because he said they gave you the wrong idea. You can have one concept in your mind and the story reel will seem to support that, and yet the guy who made the story reel has an entirely different concept." There was also a noticeable softening of Disney villains during this period, with most becoming more comical or pitiful rather than genuinely scary. According to animator Andreas Deja, Reitherman stated that "if we lose the kids, we lose everything," indicating a clear focus on maintaining broad appeal for younger audiences. Released in December 1970, The Aristocats was a box office success, earning over 10.00 M USD in box office rentals from the United States and Canada, and an additional 16.00 M USD from international markets, against a production budget of 4.00 M USD.
2.5.4. Robin Hood
In October 1968, Ken Anderson accompanied then-Disney president Card Walker on a fishing trip, during which Walker suggested that a classic tale should be the subject for the next animated film. Anderson proposed the Robin Hood legend, to which Walker responded positively. Anderson relayed the idea during an Aristocats story meeting and was quickly assigned to create character designs. Anderson initially had an entirely different vision for Robin Hood (1973), loosely adapting the film to be set in the American Deep South. He also intended to include Robin Hood's entire outlaw group, the Merry Men. However, Reitherman disagreed with this approach. He insisted on setting the film in its traditional English setting and further pared down the number of outlaws to just Robin Hood and Little John, envisioning the film as a "buddy picture" similar to Butch Cassidy and the Sundance Kid (1969), which had been released during Robin Hood's production.
During his directorial tenure, Reitherman allowed for the use of "recycled" or "limited" animation from prior animated films. These drawings were stored in a makeshift archive known as the "Morgue," located near the basement of the Ink and Paint department. While this practice was often presumed to be a method for saving time and production costs, it was, in fact, often more labor-intensive. Floyd Norman, an animator who worked under Reitherman, explained that it was actually easier and less time-consuming for character animators to create original drawings. Nevertheless, Reitherman's use of recycled animation proved controversial within the studio. In a 1976 interview, animator Milt Kahl recalled an incident during a publicity tour for Robin Hood: a publicist for Paramount Pictures recognized repurposed animation from Snow White and the Seven Dwarfs being used in Robin Hood. Kahl later lamented, "This is our Woolie, and it drives me crazy." Despite some similarities in technique, this animation process is distinct from rotoscoping. Released in November 1973, Robin Hood was a box office success, earning 9.60 M USD in rentals in the United States and Canada.
2.5.5. The Rescuers
In 1973, Wolfgang Reitherman expressed his openness to recruiting younger animation artists to journalist John Culhane, stating, "We wanted to get talented guys in here and give them a well-rounded experience. Let them spend time with us. Then, if they can learn to get good personalities on their characters, find good voices, develop a storyline you can follow and situations that are sparkling-that's all we can hand off to them." By 1970, Eric Larson, one of the "Nine Old Men" animators, was selected to head the animation training program. He toured various art schools and colleges across the United States, scouting for art students to become animators. Eventually, more than 60 artists were brought into the training program, signaling a generational shift at the studio.
As a project for these new animators, the 1974 short film Winnie the Pooh and Tigger Too went into production. Frank Thomas, Ollie Johnston, Milt Kahl, and John Lounsbery returned to animate, joined by younger animators including Don Bluth and Andy Gaskill. This time, Lounsbery served as the director for the film. According to Ron Clements, Ron Miller, Walt Disney's son-in-law and then senior vice president, had concerns about Reitherman assuming too much creative autonomy. Clements stated, "John Lounsbery was sort of imposed just to break up Woolie's control of everything." According to Mel Shaw, Miller had intended for Lounsbery to succeed Reitherman as director upon his retirement. Tigger Too was nominated for another Academy Award for Best Animated Short Film, but it lost to Closed Mondays.
The Rescuers tells the story of two mice, Bernard and Bianca, members of the Rescuers Aid Society, who are enlisted to rescue Penny, a young girl, from captivity in the southern bayous by the villainous Madame Medusa, who desires a prized diamond hidden inside a cave. Reitherman initially co-directed the film alongside Lounsbery. However, on February 13, 1976, Lounsbery died of a heart attack during production at the age of 64. Art Stevens, another animator, was then selected as the new co-director. Frustrated by Reitherman's leadership and creative decisions, Milt Kahl completed his animation scenes for the film and retired on April 3, 1976. Released in June 1977, The Rescuers was widely heralded as a creative comeback and a valediction for the senior Disney animators. It earned 15.00 M USD in distributor rentals from the United States and Canada at the box office.
2.6. Later career and retirement (1977-1981)
Following The Rescuers, Wolfgang Reitherman was initially slated to direct The Fox and the Hound (1981). This film was a loose adaptation of Daniel P. Mannix's 1967 novel of the same name, telling the story of the unlikely friendship between Tod, a red fox, and Copper, a bloodhound dog, who eventually become natural enemies as they mature into adults. Reitherman had read the original novel and initiated its active production, partly because one of his sons had owned a pet fox years prior. Frank Thomas and Ollie Johnston, the last two remaining "Nine Old Men" animators, contributed animation to the film before retiring to publish their influential 1981 joint book, Disney Animation: The Illusion of Life. During production, Reitherman was assisted by Art Stevens, who served as co-director. However, Reitherman largely excluded Stevens from creative responsibilities, leading to internal tensions.
The animators working on the film became divided into two factions, with some supporting Reitherman and others supporting Stevens. Reitherman, looking to retool the film's second half, decided to add a whimsical musical sequence featuring two swooping cranes, voiced by Phil Harris and Charo, intended to cheer up Tod after he was left at a game reserve. Stevens strongly objected, arguing that the sequence felt out of place, and it was eventually removed. Stevens further escalated his complaints to Ron Miller, who ultimately told Reitherman, "You're over 70 years old, back off and leave it to the young guys." Consequently, Reitherman decided to step down as director and remained on as co-producer, with Ted Berman and Richard Rich joining The Fox and the Hound as the new co-directors.
Shortly thereafter, Reitherman began developing a film adaptation of Catfish Bend, based on the book series by Ben Lucien Burman. In 1980, the Los Angeles Times reported that Reitherman and artist Mel Shaw were developing Musicana, an anthology project intended as a follow-up to Fantasia (1940). That same year, Reitherman also developed an adaptation of the children's novel The Little Broomstick by Mary Stewart. However, this project was perceived as being too similar to Bedknobs and Broomsticks (1971) and was ultimately discontinued by then-president Ronald W. Miller, as The Black Cauldron (1985) was advancing into production. This rejection by Miller was a significant factor in Reitherman's decision to leave the studio.
In 1981, after The Fox and the Hound had been released, Reitherman informed the Los Angeles Times of his retirement from Disney, stating, "They asked me not to say I quit. It made it sound like I was mad. The studio has been good to me. And I'm awfully happy to have been part of it." In 1983, he was honored with the Winsor McCay Award for his significant contributions to animation.
3. Personal life
In 1946, while Wolfgang Reitherman was piloting for the Far East Air Transport, he met Janie Marie McMillan, who was serving as the chief air stewardess. After his honorable discharge from military service in February 1946, Reitherman married McMillan on November 26, 1946, in Manila, just three months after their meeting.
All three of Reitherman's sons-Bruce, Richard, and Robert-followed in their father's footsteps by providing voices for various Disney characters. Bruce notably voiced Mowgli in The Jungle Book and Christopher Robin in Winnie the Pooh and the Honey Tree, while Richard and Robert both contributed to the voice of Arthur (Wart) in The Sword in the Stone. In 1971, Janie Reitherman established her own travel agency in Burbank, California, which operated for more than two decades and specialized in trips to Asia. With a staff of five in her office, Wolfgang Reitherman occasionally assisted his wife in the agency's operations.
4. Death
Wolfgang Reitherman died on May 22, 1985. On the day of his death, he and his wife were making preparations for a three-week vacation to Maui. Just two blocks away from his Burbank, California residence, Reitherman reportedly suffered a cardiac arrest while driving from a bank. His vehicle veered to the right and collided with a tree. He was immediately rushed to the nearby St. Joseph Medical Center, where he was pronounced dead from injuries sustained in the single-car accident. He was 75 years old at the time of his passing.
5. Legacy and honors
Wolfgang Reitherman left a significant and enduring legacy in the field of animation, particularly within Walt Disney Productions, where his work earned him notable accolades and sparked ongoing discussion about his artistic impact.
5.1. Disney Legend and awards
For his extensive contributions to animation and the Walt Disney Company, Wolfgang Reitherman received several prestigious honors. In 1983, he was awarded the Winsor McCay Award, an accolade presented by ASIFA-Hollywood to individuals who have made significant contributions to the art of animation. Four years after his death, in 1989, Reitherman was posthumously inducted as a Disney Legend, recognizing him as a key figure in the history of The Walt Disney Company.
5.2. Impact and reception
Wolfgang Reitherman is widely known for his action-oriented animation style, which brought a dynamic energy to the sequences he animated and later directed. His directorial approach, particularly during his tenure as the sole director of Disney animated features, was characterized by a focus on strong character personalities and maintaining the studio's output after Walt Disney's death. He was pivotal in continuing the tradition of animated features at a time when the studio's animation department faced uncertainty.
However, his work also drew criticism, particularly regarding his frequent use of "recycled animation," where previously animated sequences were reused in new films. This practice, while sometimes attributed to cost-saving measures, was viewed by some, including prominent animators like Milt Kahl, as detrimental to artistic integrity. Kahl famously bemoaned the practice, stating, "This is our Woolie, and it drives me crazy," when repurposed animation was recognized by a publicist. While some sources suggested it was to save time and costs, others, like animator Floyd Norman, indicated that creating original drawings was often less time-consuming.
Reitherman's leadership during a transitional period for Walt Disney Animation Studios also involved navigating creative differences, as seen in his collaborations and conflicts with story artists like Bill Peet and co-directors like Art Stevens. His decision to soften the portrayal of villains in films, driven by his belief that "if we lose the kids, we lose everything," marked a shift in the studio's approach to character development, prioritizing broad appeal for younger audiences. Despite these criticisms and creative tensions, Reitherman's unwavering commitment ensured the continuity of Disney's animated feature film output, making him a crucial figure in the studio's post-Walt Disney era.
6. Filmography
Wolfgang Reitherman participated in numerous films and television programs throughout his career at Walt Disney Productions, serving in various capacities from animator to director and producer.
| Year | Title | Role | Notes |
|---|---|---|---|
| 1934 | Funny Little Bunnies | Animator | |
| 1934 | The Wise Little Hen | Animator | |
| 1934 | Two-Gun Mickey | Animator | |
| 1935 | The Band Concert | Animator | |
| 1935 | Music Land | Animator | |
| 1935 | Cock o' the Walk | Animator | |
| 1935 | Broken Toys | Animator | |
| 1936 | Elmer Elephant | Animator | |
| 1937 | The Worm Turns | Animator | |
| 1937 | Hawaiian Holiday | Animator | |
| 1937 | Clock Cleaners | Animator | |
| 1937 | Snow White and the Seven Dwarfs | Animator | Credited as Woolie Reitherman |
| 1939 | Goofy and Wilbur | Animator | |
| 1939 | Donald's Cousin Gus | Animator | |
| 1940 | Goofy's Glider | Animator | |
| 1940 | Pinocchio | Animation Director | Credited as Woolie Reitherman |
| 1940 | Fantasia | Animation Supervisor | For the "Rite of Spring" segment |
| 1941 | The Reluctant Dragon | Animator | |
| 1941 | Dumbo | Animation Director | Credited as Woolie Reitherman |
| 1941 | The Art of Skiing | Animator | |
| 1942 | The Vanishing Private | Animator | |
| 1942 | How to Swim | Animator | |
| 1942 | How to Fish | Animator | |
| 1943 | Saludos Amigos | Animator | Credited as Wooly Reitherman |
| 1943 | El Gaucho Goofy | Animator | |
| 1947 | Fun and Fancy Free | Directing Animator | |
| 1949 | Goofy's Tennis Racquet | Animator | |
| 1949 | Goofy Gymnastics | Animator | |
| 1949 | The Adventures of Ichabod and Mr. Toad | Directing Animator | For The Legend of Sleepy Hollow segment |
| 1950 | Cinderella | Directing Animator | |
| 1951 | Alice in Wonderland | Directing Animator | |
| 1953 | Peter Pan | Directing Animator | |
| 1953 | Ben and Me | Animator | |
| 1954 | Disneyland | Directing Animator | TV series, for "A Story of Dogs" episode |
| 1955 | Lady and the Tramp | Directing Animator | |
| 1957 | The Truth About Mother Goose | Director | Documentary short |
| 1959 | Sleeping Beauty | Sequence Director | |
| 1959 | Donald in Mathmagic Land | Sequence Director | Short film |
| 1960 | Goliath II | Director | Short film |
| 1961 | One Hundred and One Dalmatians | Director | |
| 1961 | Aquamania | Director | Short film |
| 1963 | The Sword in the Stone | Director | |
| 1966 | Winnie the Pooh and the Honey Tree | Director | Short film |
| 1967 | The Jungle Book | Director | |
| 1968 | Winnie the Pooh and the Blustery Day | Director | Short film |
| 1970 | The Aristocats | Director and Producer | |
| 1973 | Robin Hood | Director and Producer | |
| 1974 | Winnie the Pooh and Tigger Too | Producer | Short film |
| 1977 | The Many Adventures of Winnie the Pooh | Director and Producer | Compilation film |
| 1977 | The Rescuers | Director and Producer | |
| 1981 | The Fox and the Hound | Co-Producer | Final screen credit |