All of the whereas Disney was in New York Metropolis working with Powers on “Steamboat Willie,” he was additionally hitting the pavement, making an attempt desperately to safe a distribution deal for his current Mickey Mouse shorts, “Airplane Loopy” and “The Gallopin’ Gaucho.” Days stretched into weeks, stretched into months — and though he acquired loads of constructive suggestions, nobody was shopping for. Audiences have been cooling on the rubber hose cartoons, and the silent Mickeys weren’t actually doing something Oswald, Koko the Clown, and Felix hadn’t already finished. 

As soon as he had the music finished for “Steamboat Willie,” Walt (and Powers) knew they’d one thing particular. This was contemporary and thrilling. But, distributors weren’t so positive. The third look of Mickey Mouse was patently higher — I might argue even with out the innovation of sound, the animation is a bit cleaner and the characters extra charming — however would audiences purchase it? As Neal Gabler discusses in his Walt Disney biography, the timing was awkward. After “The Jazz Singer,” everybody knew change was coming. Distributors did not need to spend money on silent cartoons as a result of they felt outdated. On the identical time, nobody had fairly found out how you can do sound cartoons both, so it felt like a big gamble. 

Walt did have an in at Common, and even loved the prospect to stay it to his previous frenemy Charles Mintz who additionally was making an attempt to get a take care of the studio; nevertheless, the provide … sucked. The chief (a man named Metzger) mentioned they might order a collection of Mickey Mouse cartoons if they might bundle “Steamboat Willie” with the movie “Melody of Love,” set to play at Colony Theater, and audiences preferred it. Disney wouldn’t be compensated for this preliminary screening. There was some extra backwards and forwards, however in the end, no deal was reached.

Finally, Walt met a guardian angel in Harry Reichenbach, a person Gabler describes as a “self-professed ballyhoo artist and pleased with it.” Reichenbach managed the very Colony Theater Common had wished to display “Steamboat Willie” in. Disney wished $1,000 and, regardless of that being steep for the time, Reichenbach agreed. “Steamboat Willie” debuted on November 18, 1928. The response was each speedy and overwhelming. 

In a single night, Disney revolutionized the world of cartoons.