Olympia artist Lynette Charters reflects on her time as FX animator on Disney's ‘A Goofy Movie’
Originally published on The JOLT News on June 11, 2026
Beloved Olympia artist, Harlequin Productions Gallery curator, and someone I feel very lucky to call a friend, Lynette Charters, has led an extraordinary life that continues to make our little corner of the world a better place (read when I interviewed her here).
Did you know that one of the chapters of her life included being a traditional effects (referred to as FX) animator on Disney’s “A Goofy Movie?” I’m so honored and grateful that Charters decided to share her story from that time with us.
Working on ‘A Goofy Movie’
Benton: What was your role in the Goofy Movie production? What scenes did you contribute to?
Charters: "I was an FX animator on the movie. It was all hand drawn with pencil and paper in those days, anchored with a peg bar on a light box desk.
"I animated mostly water scenes where they’re floating down the river. I remember animating the sparks where their car runs into the road barrier, also dust clouds and such. They credited me as assistant animator and I’m not sure why they did that, as I didn’t do assistant work the whole time I was there. Maybe it was because I left a couple of weeks early to work on 'Balto.'"
Benton: I recently learned that this film did not have quite as good of a reception when it was released as it does today.
Charters: "I thought the film deserved a lot better than the critics had summarized (ha-ha what do they know?) It was a lot less slick than the films Disney usually produces, but it turns out, that was its strength. It was like the ‘Mr. Rogers’ of Disney films. Slick isn’t everything and I wish Disney wasn’t always chasing the super polished product, but I guess that’s its trademark.
"I was thrilled though when I learned much later that the nuances in the film had connected with people. How it is slightly awkward fits in with the Goofy sensibility. Vulnerability can be awkward, but we can’t form true relationships without being vulnerable, and the movie speaks well to this."
Benton: Do you have any specific memories from your time of working on that film?
Charters: "The people I worked with in the studio were lovely. Among the original hugely talented French crew, there were a large group of talented American, English and Canadian animation professionals. The Paris studio had expanded rapidly from the one Disney bought and moved into, and the movie was being made in so many different locations, I remember it was a little chaotic.
"The two directors who owned the original studio would make decisions, (often separately), when film director, Kevin Lima wasn’t in Paris. Animation is mostly a visual language, but understanding direction notes can be hard when vocabulary is limited, and you have more than one director, and they appear at different times with different notes. It was interesting to see how these issues were resolved. It could get a little frustrating at times for everyone, but there were some great Parisian artists working there who were also wonderful at stepping in and translating. I made some good friends there, and many of them I ended up working with again in LA on other movies.
"I encourage you to watch the documentary 'Not Just A Goof' to learn more about some of the challenges this production faced. When I look back on movies I worked on, I’m always reminded of how much goes into these films. A whole army of people work on scenes, which fly by in seconds. It’s mind-boggling to me, even now. I miss the teamwork, which goes into them."
Charters today
Last year, Charters did a solo show in Tacoma where there was a performance of the theatre production of her “The Missing Women Docent Tour” (written and performed by John Serembe) with “The Missing Women’s Voices” (written and performed by Kate Ayers, also performed by actors from Theater Artists Olympia). All these performances supported the message of Charters work.
About 100 people attended and it was well received, but many local people missed it and requested it be done here.
Also, Charters art group “Beauty Shop” is looking for an Olympia venue for their show “Party Mix.” The group consists of Charters’ studio buddy, local artist Lucy Gentry, along with Seattle artists.
If anyone knows of a lead on a gallery venue for the above mentioned events, contact Charters.
Charters will also be showing pieces in:
Juried show at The Art Gallery at Tacoma Community College, June 30 – Aug 20, Reception July 16, 4-6 p.m. Artist talk June 30 from noon to 12:30 p.m.
Contemporary Reliquaries at Kirkland Arts Center, Aug 21 – Sept 17. Reception Aug 22, 6-8 p.m., where there will be a poetry reading by Paul E. Nelson.
My art group Beauty Shop will be showing at Fogue Studios and Gallery in Georgetown, Seattle, in 2027 (dates to be determined).