Alan Horn, a top creative executive, is the latest high-ranking Disney departure.

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One of Hollywood’s senior statesmen introduced his retirement on Monday, including to a startling altering of the guard on the Walt Disney Company.

Alan F. Horn, 78, will step down on Dec. 31 as chief artistic officer of Disney Studios Content, a division that includes Marvel, Lucasfilm, Searchlight Pictures, Pixar, twentieth Century Studios and Disney’s conventional animation and live-action movie operations. His place isn’t anticipated to be crammed.

“It’s never easy to say goodbye to a place you love, which is why I’ve done it slowly,” Mr. Horn said in a statement. “But with Alan Bergman leading the way, I’m confident the incredible Studios team will keep putting magic out there for years to come.” Mr. Bergman, a gradual hand at Disney’s movie division since 1996, succeeded Mr. Horn as chairman of Disney Studios Content last yr. For his half, Mr. Bergman, 55, called Mr. Horn “one of the most important mentors I’ve ever had.”

Mr. Horn’s retirement provides to mind drain on the world’s largest leisure firm as a new generation of executives rise to power — led by Bob Chapek, who became chief govt last yr. While not surprising, the parade of retirements has contributed to an unsettled feeling contained in the conglomerate, which is still recovering from an almost full shutdown during the early a part of the pandemic.

Robert A. Iger, the chief chairman, is decamping in December. Alan N. Braverman, Disney’s high lawyer, and Zenia B. Mucha, Disney’s chief communications officer, plan to depart across the same time. Other departures have included Jayne Parker, who led human assets; Steve Gilula and Nancy Utley, who ran Searchlight, Disney’s artwork film studio; and Gary Marsh, a longtime Disney-branded television govt.

Mr. Horn’s leisure profession has spanned nearly 50 years. He got here to Disney in 2012 after being squeezed out of a senior position at Warner Bros. to make room for a new generation of managers. At Warner, where he expertly steered the Harry Potter and Batman franchises, he solid a method that in the end swept by Hollywood — specializing in effects-filled franchise footage, or “tent poles,” that resonate abroad.

The progress at Disney’s movie division underneath his tenure was jaw-dropping. In 2012, Disney-distributed movies collected about $3.3 billion on the international field workplace. In 2019, the studio generated $9 billion in ticket gross sales.

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