You probably think you know Eric Goldberg because you’ve seen the Genie. That blue, fast-talking, shape-shifting whirlwind from Aladdin is usually the first thing people mention. Honestly, it makes sense. It’s a masterclass in how to match a line drawing to the chaotic energy of Robin Williams. But there is a massive misconception that Goldberg is just "the Genie guy" or a relic of a hand-drawn era that Disney supposedly moved past.
Actually, he’s still there. He’s arguably the most important bridge between the "Old Disney" and whatever is coming next.
The Robin Williams Connection
Let’s be real for a second. In 1990, the idea of Robin Williams doing a Disney voice was a gamble. Animators back then were used to controlled, scripted performances. Goldberg was the one who proved it could work. He took a recording of Williams’ stand-up—specifically a bit about being a surgeon—and animated the Genie to it.
When the studio bigwigs saw that test, the deal was sealed.
Goldberg didn't just animate a character; he pioneered a style that was incredibly "rubbery" and caricatured. He was heavily influenced by the theatrical drawings of Al Hirschfeld. If you look at the Genie, or even Phil from Hercules, you’ll see those clean, swooping lines that feel more like Broadway posters than traditional 1940s cartoons.
Why Eric Goldberg Still Matters in 2026
You’d think a guy who specializes in pencils and paper would be out of a job in an industry obsessed with CGI. Nope.
Goldberg is currently spearheading a massive revival of 2D training at Disney. A couple of years ago, the studio finally realized they’d let a whole generation of hand-drawn talent vanish. Goldberg was the guy they called to fix it. He’s been mentoring a new crop of trainees, some of whom are working on the 2D elements for upcoming projects like Zootopia 2 and the latest Moana spin-offs.
It’s Not All Disney
It’s easy to forget that Goldberg has a wild history outside of the mouse house.
- He worked for the legendary Richard Williams (of Roger Rabbit fame) in London.
- He did time at Warner Bros., directing the animation for Looney Tunes: Back in Action.
- He’s even voiced characters like Tweety Bird and Marvin the Martian.
The guy isn't just a drawer. He's a voice actor, a director, and a historian.
The "Mini Maui" Genius
If you want to see how Eric Goldberg stayed relevant during the 3D revolution, look at the tattoos on Maui in Moana. That character, "Mini Maui," is entirely 2D.
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Basically, Goldberg had to coordinate with the 3D team to make sure a hand-drawn character could move across a 3D model’s muscles without looking like a glitchy mess. It was a weird, technical nightmare involving "eyelines" and contact points. If Mini Maui fist-bumps the 3D Maui, those two frames have to align perfectly. It’s probably the most sophisticated use of 2D animation in a 3D space ever attempted.
What’s He Doing Now?
Right now, Goldberg is focused on "Creative Legacy." That’s a fancy way of saying he’s the gatekeeper. When Disney wants to bring back an old character for a short or a park attraction, they go to him to make sure the character still feels right.
He’s been working on stuff for Disney+ and special projects like Once Upon a Studio, where he supervised the hand-drawn versions of nearly every classic character you grew up with. He’s essentially the human database for how Mickey, Genie, and the rest are supposed to move.
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How to Follow the Goldberg Path
If you're an aspiring animator or just a fan of the craft, there are a few things you can actually do to learn from his style.
- Study Al Hirschfeld: Goldberg’s "line of action" comes from caricature, not just anatomy.
- Watch 'Rhapsody in Blue': This segment from Fantasia 2000 is Goldberg at his most pure. It's all about timing and music, with zero dialogue.
- Check out 'Sketchbook' on Disney+: He has an entire episode where he breaks down his process for drawing the Genie.
- Practice "Squash and Stretch": This is basic, but Goldberg takes it to the extreme. His characters don't just move; they elasticize.
The real Eric Goldberg isn't a museum piece. He's a working director who is currently proving that hand-drawn art isn't a "dead" medium—it’s just a specialized one. Whether he's animating a tattoo on a demigod's chest or teaching a 22-year-old how to flip a piece of paper, he's the reason the "Disney look" still exists today.
To dive deeper into his actual techniques, you should track down his book Character Animation Crash Course!. It’s widely considered the "bible" for anyone trying to understand how to make a drawing feel like it has a soul.