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“I have a feeling that if Eric had stayed and done that, I'll bet you Brad and Rebecca and me, and maybe Henry Selick and who knows…a bunch of people probably would have stayed at the Studios,” Jerry said. He recalled the difficult time at the Studios when Larson was removed as director from the animated short The Small One (1978) and replaced by up-and-coming animator Don Bluth. Jerry Rees knew all too well about Larson’s significance. Without his important involvement as a teacher and motivator, the film medium that Walt Disney had pioneered for many decades would have died in the 1970s.” “He made sure that a new generation of animators saw the significance, the potential, and the challenge of Disney personality animation. “Eric Larson’s final contribution to the art of animation was enormous,” Deja declared. In his book The Nine Old Men: Lessons, Techniques, and Inspiration from Disney's Great Animators, published by Taylor & Francis, former Larson trainee Andreas Deja lauded Larson’s efforts in, and importance to, animation. For Hahn and his fellow artists, Larson was “really the heart and soul of the place.”
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Zielinski reiterated this, saying, “I genuinely feel he enjoyed being there around the students and the new hires and passing his knowledge on to us.” Not only did Larson have this gentle, patient, and personable temperament, but, as Jerry described, he was like the “mother hen,” and he had “the skills and that whole entire archive of history” to share.
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That is, for a new artist working at the most successful animation studio of all time, the experience could become very daunting very fast, but Larson’s tutelage went beyond simply teaching young artists how to hold a pencil-he made them comfortable, with themselves and their skills. As Baer said during his lecture, he was truly a “very kind and very patient mentor,” especially for an artist who was getting their feet wet. When it came to mentoring, however, Larson was by far the most capable. When it came to talent, all of the Nine Old Men were more than qualified to teach a master-class in animation. Of course, Rees was still in high school, so, as he recalls, Larson said, “Well, you know, we got an extra desk over here, so when you get breaks from high school, if you want to come in, you can use this desk and I'll give you some pointers and stuff.” Rees brought his portfolio, which was “portrait work, and…super-8 animation and some of flipping scenes,” and Ed Hansen, administrator of the animation training program, took him to see Larson. Jerry Rees’s first experience with Larson occurred when he was just 16 years old, visiting the Studios with his father.
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“They hired me from the sketchbook,” she said. If they see those, they’re going to put you in layout.” Larson, with such generosity, guided Rebecca Rees even before she was reviewed for the hiring process, and she listened to his advice. As Larson removed the pieces, Rees asked him why he was doing so Larson said, “You said you wanted to go into character animation,” and, when she confirmed that was true, Larson went on to say, “Well, highly rendered. During a portfolio review, Larson started taking out what she considered to be some of her best work. Rebecca Rees recalled that, as a young person, she wanted to get into character animation. In fact, both Rebecca and Jerry Rees experienced this same generosity before either of them worked at The Walt Disney Studios. Others who came into contact with Larson also benefited from these small acts of kindness and deeply personal gestures.