History

One Mouse, two Floyds

JHM favorite Floyd Norman looks back fondly on the days when he helped steer the comic book career of a certain rodent.

Published

20 years ago

July 20, 2004

The old battered drawing table sat in the corner of my office at the Walt Disney Studio. Though it occupied the corner for a number of years, I never worked on it. I considered it a priceless relic. A special piece of Disney history that had been rescued from the dumpster by a few hardy souls who knew the significance of this well worn item. It was the drawing table used by Floyd Gottfredson.

If you’re not up on your Disney history, you may not know the name, Floyd Gottfredson. Floyd was the artist Walt Disney chose to write and draw the Mickey Mouse comic strip. Back in the thirties, Mickey mouse was beginning to grow in popularity, and Disney borrowed Floyd from his animation department until he could find a permanent artist to draw and write the strip. This “temporary job” lasted forty five years. Guided by Gottfredson, Mickey Mouse became one of the most entrancing adventure strips of the era. While the animated cartoon Mickey became more of a wimp, Floyd’s Mickey was put through every adventure imaginable. Whether it was detective stories, westerns, or science fiction, Mickey Mouse could always deliver the goods.

When my pals and I were young animation artists learning the ropes at the Walt Disney studio back in the fifties, we spent our breaks and lunch hours exploring our new place of employment. Every wing, hallway, or building provided a new learning experience. There was much to see, and many talented people to meet. Keep in mind this was the Disney of the fifties, and artists were everywhere.

One day, we wandered into a structure called the Production Building, located near Stage One on the Disney lot. As we explored the second floor of the building, we were pleasantly surprised to find a group of artists working away at their drawing boards. Without knowing it, we had stumbled into Walt Disney’s Comic Strip department. I can’t remember all the names of the artists we met, but two of them were special. Al Taliafero, was drawing Donald Duck, and the other gentleman was Floyd Gottfredson, the artist who drew the Mickey Mouse comic strip from it’s beginning in the nineteen thirties, to his retirement in the seventies. It was a thrill for all of us to meet the guys who had been entertaining us since we were kids with these wonderful Disney strips.

Years passed, and I forgot about the special day when we met Disney’s comic strip artists. My interest was animation, and there was little time for anything else. I never gave Disney comics another thought until the late seventies when I was pleased to have lunch at the Disney commissary with the veteran Disney writer, Cal Howard. Apparently, Cal had heard I had a knack for writing funny gags, and he wondered why I was not working for Disney Comics. I confess I was flattered to be considered as a writer in Disney’s comic strip department, but I was about to begin work as a story artist on another animated feature, and writing comics just didn’t compare to working in film. As luck would have it, my feature animated project crashed and burned leaving me unemployed, with the Disney offer still standing.

In December 1983, I found myself back at the Disney studio working as a writer in the comic strip department. The move from movies to comics had been surprisingly easy. I was still working with all the lovable Disney characters I had come to know over the years, and I was given free reign to write whatever stories I wanted. I soon realized that because of comics’ low profile, the artists and writers had tremendous freedom to create all kinds of material unencumbered by Disney’s management. It wasn’t long before I realized this was probably the best job I’d ever had.

Besides writing comic stories, I was often called upon to fill in for the staff writers of the Disney comic strips when they were ill or were on vacation. I bounced from strip to strip as my services were needed. This could be anything from “Scamp,” “Winnie the Pooh,” or the venerable “Donald Duck” and “Mickey Mouse” comic strips. Probably the most fun during this time was the weekly writers meetings with old timers, Cal Howard, Del Connell, and Bill Berg. These guys had seen or already written every gag there was, so they never laughed at anything. You knew you had scored a hit when Cal would casually remark, ‘that’s funny.’ The other writers included veteran gag men, Don Ferguson, Tom Yakutis and Bob Foster. Our boss, Greg Crosby, had been a writer on the Disney strips himself before moving into management.

One day, Crosby called me into his office on the third floor of the Roy O. Disney Building. I was told that Del Connell had announced his retirement, leaving the Mickey strip without a writer. The creator of the Mickey Mouse comic strip, Floyd Gottfredson, had already retired some years earlier, and Del had taken on the job until his retirement. Since I had already filled in on occasion for Del, I was the logical choice to take up the reigns. I had my doubts. Filling in for a writer meant a few days of writing, maybe a week at most. The thought of having to write six daily strips and a Sunday page every week was a daunting task, and I seriously wondered how long I would last before being totally drained of material. Finally, I would be following in the footsteps of Disney writers and artists like Bill Walsh, Del Connell, and the great Floyd Gottfredson. Filling the shoes of these Disney guys whose stuff I had read since I was a kid, was not something I took lightly.

I honestly believed I would be out of ideas in a couple of weeks, but somehow I managed to write the Mickey Mouse comic strip for nearly six years before the contract with King Features Syndicate ran out in the early nineties. Most of what I wrote was called “gag a day” because the syndicate believed that kind of material sold best. However, I longed for the day when I could write the kind of Mickey Mouse adventures I had read as a kid. I hated the “gag a day” concept, because, quite frankly, Mickey Mouse is not really a funny guy. He is, however, a great character, and can be wonderful in stories. Writing Mickey Mouse was not always fun because I was well aware I was no longer dealing with the feisty little character Walt had created. Mickey was now Disney’s corporate symbol with all the baggage that came with that image. I can’t tell you how many times I found myself in hot water with Disney’s legal people because of my gags. One organization thought the Disney company was taking a jab at satellite companies, because I had Goofy using a satellite dish as a bird bath. The assumption was that Disney was taking a swipe at their industry. In reality, it was simply a stupid gag. Over time, I continued to be called before Disney’s corporate attorneys for one screw up or another. Though I’m no fan of lawyers, I came to respect Disney’s legal guys for all I put them through.

After much pleading and begging, King Features Syndicate allowed me to change the gag format to an adventure format as long as the continuity did not exceed four weeks. Finally, I was able to bring back the good old Mickey Mouse I loved as a kid. I wrote adventure stories and ghost stories. I sent Mickey to exotic locations around the world to fight new bad guys, as well as battle my old favorite, Black Pete. I saw Mickey Mouse as a cartoon version of George Lucas’ Indiana Jones. Come to think of it — maybe that’s where George got the idea in the first place. Mickey Mouse was always the scrappy little guy who never gives up. The Mickey adventure stories were a joy, and now I knew why Floyd Gottfredson must have loved his job so much.

Sadly, time was running out for both Mickey and me. King Features Syndicate had been home for Mickey Mouse since the thirties, but now newer, more trendy strips had caught the public’s eye, and the contract between King and Disney was coming to an end. With Mickey Mouse in fewer than thirty newspapers, both companies realized that Mickey’s time was nearing the end of a long and successful run. I thought long and hard about the final strip I would write. I couldn’t help but wonder what Floyd Gottfredson might have written were he still around. I was lucky enough to spend nearly six years with Walt’s famous mouse. I only hope I was worthy of this stewardship. Guys like Gottfredson, Walsh and others kept me entertained when I was a kid. Hardly in the same class as these great Disney old timers, I only hope I didn’t disappoint them.

What about Mickey? I continue to think he must have retired and moved to Palm Springs. I can almost see him cooling it by the pool with Minnie and his pal, Goofy. As for myself, I was lucky enough to get a call to return to Disney Feature Animation where I would enjoy another ten year run working on animated films. This included moving north to the Bay Area to work on “Toy Story2” and “Monsters, Inc.” at Pixar Animation Studios.

Finally, what happen to Floyd Gottfredson’s old drawing board? I’m pleased to say it occupies a corner in a special room at Disney’s Publishing department in Burbank, along with a treasure trove of original Disney art. Floyd Gottfredson original Mickey Mouse comic strips adorn the well-worn desk, and visitors in the know, are able to look at a genuine piece of Disney history.

Do you want to learn more about Floyd’s days at Disney? Then JHM suggests that you pick one (or both!) of the two great collections of Norman’s writings & cartoons that are currently on the market: his original collection of cartoons and stories — “Faster! Cheaper! The Flip Side of the Art of Animation” (which is available for sale over at John Cawley’s excellent www.cataroo.com web site) — as well as the follow-up to that book, “Son of Faster, Cheaper.” Which you can purchase by clicking on that the image on to the right, which will take you straight over to Afrokids.com.

In both of these two volumes, you’ll find cartoons & stories that talk about what it was like to work at the Mouse House back in Walt’s day, feature animation’s second Golden Age (I.E. The late 1980s – the mid-1990s) as well as the current dark times. All served up with that patented Floyd Norman style.

If you don’t have these books yet, you really don’t know what you’re missing. So go and pick up a copy of “Faster! Cheaper! The Flip Side of the Art of Animation” and/or “Son of Faster, Cheaper” today!

History

The Evolution and History of Mickey’s ToonTown

Published

11 months ago

February 7, 2024

Jim Hill

Disneyland in Anaheim, California, holds a special place in the hearts of Disney fans worldwide, I mean heck, it’s where the magic began after all. Over the years it’s become a place that people visit in search of memorable experiences. One fan favorite area of the park is Mickey’s Toontown, a unique land that lets guests step right into the colorful, “Toony” world of Disney animation. With the recent reimagining of the land and the introduction of Micky and Minnies Runaway Railway, have you ever wondered how this land came to be?

There is a fascinating backstory of how Mickey’s Toontown came into existence. It’s a tale of strategic vision, the influence of Disney executives, and a commitment to meeting the needs of Disney’s valued guests.

The Beginning: Mickey’s Birthdayland

The story of Mickey’s Toontown starts with Mickey’s Birthdayland at Walt Disney World’s Magic Kingdom. Opened in 1988 to celebrate Mickey Mouse’s 60th birthday, this temporary attraction was met with such overwhelming popularity that it inspired Disney executives to think bigger. The idea was to create a permanent, immersive land where guests could step into the animated world of Mickey Mouse and his friends.

In the early ’90s, Disneyland was in need of a refresh. Michael Eisner, the visionary leader of The Walt Disney Company at the time, had an audacious idea: create a brand-new land in Disneyland that would celebrate Disney characters in a whole new way. This was the birth of Mickey’s Toontown.

Initially, Disney’s creative minds toyed with various concepts, including the idea of crafting a 100-Acre Woods or a land inspired by the Muppets. However, the turning point came when they considered the success of “Who Framed Roger Rabbit.” This film’s popularity and the desire to capitalize on contemporary trends set the stage for Toontown’s creation.

From Concept to Reality: The Birth of Toontown

In 1993, Mickey’s Toontown opened its gates at Disneyland, marking the first time in Disney Park history where guests could experience a fully realized, three-dimensional world of animation. This new land was not just a collection of attractions but a living, breathing community where Disney characters “lived,” worked, and played.

Building Challenges: Innovative Solutions

The design of Mickey’s Toontown broke new ground in theme park aesthetics. Imagineers were tasked with bringing the two-dimensional world of cartoons into a three-dimensional space. This led to the creation of over 2000 custom-built props and structures that embodied the ‘squash and stretch’ principle of animation, giving Toontown its distinctiveness.

And then there was also the challenge of hiding the Team Disney Anaheim building, which bore a striking resemblance to a giant hotdog. The Imagineers had to think creatively, using balloon tests and imaginative landscaping to seamlessly integrate Toontown into the larger park.

Key Attractions: Bringing Animation to Life

Mickey’s Toontown featured several groundbreaking attractions. “Roger Rabbit’s Car Toon Spin,” inspired by the movie “Who Framed Roger Rabbit,” became a staple of Toontown, offering an innovative ride experience. Gadget’s Go-Coaster, though initially conceived as a Rescue Rangers-themed ride, became a hit with younger visitors, proving that innovative design could create memorable experiences for all ages.

Another crown jewel of Toontown is Mickey’s House, a walkthrough attraction that allowed guests to explore the home of Mickey Mouse himself. This attraction was more than just a house; it was a carefully crafted piece of Disney lore. The house was designed in the American Craftsman style, reflecting the era when Mickey would have theoretically purchased his first home in Hollywood. The attention to detail was meticulous, with over 2000 hand-crafted, custom-built props, ensuring that every corner of the house was brimming with character and charm. Interestingly, the design of Mickey’s House was inspired by a real home in Wichita Falls, making it a unique blend of real-world inspiration and Disney magic.

Mickey’s House also showcased Disney’s commitment to creating interactive and engaging experiences. Guests could make themselves at home, sitting in Mickey’s chair, listening to the radio, and exploring the many mementos and references to Mickey’s animated adventures throughout the years. This approach to attraction design – where storytelling and interactivity merged seamlessly – was a defining characteristic of ToonTown’s success.

Executive Decisions: Shaping ToonTown’s Unique Attractions

The development of Mickey’s Toontown wasn’t just about creative imagination; it was significantly influenced by strategic decisions from Disney executives. One notable input came from Jeffrey Katzenberg, who suggested incorporating a Rescue Rangers-themed ride. This idea was a reflection of the broader Disney strategy to integrate popular contemporary characters and themes into the park, ensuring that the attractions remained relevant and engaging for visitors.

In addition to Katzenberg’s influence, Frank Wells, the then-President of The Walt Disney Company, played a key role in the strategic launch of Toontown’s attractions. His decision to delay the opening of “Roger Rabbit’s Car Toon Spin” until a year after Toontown’s debut was a calculated move. It was designed to maintain public interest in the park by offering new experiences over time, thereby giving guests more reasons to return to Disneyland.

These executive decisions highlight the careful planning and foresight that went into making Toontown a dynamic and continuously appealing part of Disneyland. By integrating current trends and strategically planning the rollout of attractions, Disney executives ensured that Toontown would not only capture the hearts of visitors upon its opening but would continue to draw them back for new experiences in the years to follow.

Global Influence: Toontown’s Worldwide Appeal

The concept of Mickey’s Toontown resonated so strongly that it was replicated at Tokyo Disneyland and influenced elements in Disneyland Paris and Hong Kong Disneyland. Each park’s version of Toontown maintained the core essence of the original while adapting to its cultural and logistical environment.

Evolution and Reimagining: Toontown Today

As we approach the present day, Mickey’s Toontown has recently undergone a significant reimagining to welcome “Mickey & Minnie’s Runaway Railway” in 2023. This refurbishment aimed to enhance the land’s interactivity and appeal to a new generation of Disney fans, all while retaining the charm that has made ToonTown a beloved destination for nearly three decades.

Dive Deeper into ToonTown’s Story

Want to know more about Mickey’s Toontown and hear some fascinating behind-the-scenes stories, then check out the latest episode of Disney Unpacked on Patreon @JimHillMedia. In this episode, the main Imagineer who worked on the Toontown project shares lots of interesting stories and details that you can’t find anywhere else. It’s full of great information and fun facts, so be sure to give it a listen!

History

Unpacking the History of the Pixar Place Hotel

Published

11 months ago

January 30, 2024

Jim Hill

Pixar Place Hotel, the newly unveiled 15-story tower at the Disneyland Resort, has been making waves in the Disney community. With its unique Pixar-themed design, it promises to be a favorite among visitors.

However, before we delve into this exciting addition to the Disneyland Resort, let’s take a look at the fascinating history of this remarkable hotel.

The Emergence of the Disneyland Hotel

To truly appreciate the story of the Pixar Place Hotel, we must turn back the clock to the early days of Disneyland. While Walt Disney had the visionary ideas and funding to create the iconic theme park, he faced a challenge when it came to providing accommodations for the park’s visitors. This is where his friend Jack Wrather enters the picture.

Jack Wrather, a fellow pioneer in the television industry, stepped in to assist Walt Disney in realizing his dream. Thanks to the success of the “Lassie” TV show produced by Wrather’s company, he had the financial means to build a hotel right across from Disneyland.

The result was the Disneyland Hotel, which opened its doors in October 1955. Interestingly, the early incarnation of this hotel had more of a motel feel than a hotel, with two-story buildings reminiscent of the roadside motels popular during the 1950s. The initial Disneyland Hotel consisted of modest structures that catered to visitors looking for affordable lodging close to the park. While the rooms were basic, it marked the beginning of something extraordinary.

The Evolution: From Emerald of Anaheim to Paradise Pier

As Disneyland’s popularity continued to soar, so did the demand for expansion and improved accommodations. In 1962, the addition of an 11-story tower transformed the Disneyland Hotel, marking a significant transition from a motel to a full-fledged hotel.

The addition of the 11-story tower elevated the Disneyland Hotel into a more prominent presence on the Anaheim skyline. At the time, it was the tallest structure in all of Orange County. The hotel’s prime location across from Disneyland made it an ideal choice for visitors. With the introduction of the monorail linking the park and the hotel, accessibility became even more convenient. Unique features like the Japanese-themed reflecting pools added to the hotel’s charm, reflecting a cultural influence that extended beyond Disney’s borders.

Japanese Tourism and Its Impact

During the 1960s and 1970s, Disneyland was attracting visitors from all corners of the world, including Japan. A significant number of Japanese tourists flocked to Anaheim to experience Walt Disney’s creation. To cater to this growing market, it wasn’t just the Disneyland Hotel that aimed to capture the attention of Japanese tourists. The Japanese Village in Buena Park, inspired by a similar attraction in Nara, Japan, was another significant spot.

These attractions sought to provide a taste of Japanese culture and hospitality, showcasing elements like tea ceremonies and beautiful ponds with rare carp and black swans. However, the Japanese Village closed its doors in 1975, likely due to the highly competitive nature of the Southern California tourist market.

The Emergence of the Emerald of Anaheim

With the surge in Japanese tourism, an opportunity arose—the construction of the Emerald of Anaheim, later known as the Disneyland Pacific Hotel. In May 1984, this 15-story hotel opened its doors.

What made the Emerald unique was its ownership. It was built not by The Walt Disney Company or the Oriental Land Company (which operated Tokyo Disneyland) but by the Tokyu Group. This group of Japanese businessmen already had a pair of hotels in Hawaii and saw potential in Anaheim’s proximity to Disneyland. Thus, they decided to embark on this new venture, specifically designed to cater to Japanese tourists looking to experience Southern California.

Financial Challenges and a Changing Landscape

The late 1980s brought about two significant financial crises in Japan—the crash of the NIKKEI stock market and the collapse of the Japanese real estate market. These crises had far-reaching effects, causing Japanese tourists to postpone or cancel their trips to the United States. As a result, reservations at the Emerald of Anaheim dwindled.

To adapt to these challenging times, the Tokyu Group merged the Emerald brand with its Pacific hotel chain, attempting to weather the storm. However, the financial turmoil took its toll on the Emerald, and changes were imminent.

The Transition to the Disneyland Pacific Hotel

In 1995, The Walt Disney Company took a significant step by purchasing the hotel formerly known as the Emerald of Anaheim for $35 million. This acquisition marked a change in the hotel’s fortunes. With Disney now in control, the hotel underwent a name change, becoming the Disneyland Pacific Hotel.

Transformation to Paradise Pier

The next phase of transformation occurred when Disney decided to rebrand the hotel as Paradise Pier Hotel. This decision aligned with Disney’s broader vision for the Disneyland Resort.

While the structural changes were limited, the hotel underwent a significant cosmetic makeover. Its exterior was painted to complement the color scheme of Paradise Pier, and wave-shaped crenellations adorned the rooftop, creating an illusion of seaside charm. This transformation was Disney’s attempt to seamlessly integrate the hotel into the Paradise Pier theme of Disney’s California Adventure Park.

Looking Beyond Paradise Pier: The Shift to Pixar Place

In 2018, Disneyland Resort rebranded Paradise Pier as Pixar Pier, a thematic area dedicated to celebrating the beloved characters and stories from Pixar Animation Studios. As a part of this transition, it became evident that the hotel formally known as the Disneyland Pacific Hotel could no longer maintain its Paradise Pier theme.

With Pixar Pier in full swing and two successful Pixar-themed hotels (Toy Story Hotels in Shanghai Disneyland and Tokyo Disneyland), Disney decided to embark on a new venture—a hotel that would celebrate the vast world of Pixar. The result is Pixar Place Hotel, a 15-story tower that embraces the characters and stories from multiple Pixar movies and shorts. This fully Pixar-themed hotel is a first of its kind in the United States.

The Future of Pixar Place and Disneyland Resort

As we look ahead to the future, the Disneyland Resort continues to evolve. The recent news of a proposed $1.9 billion expansion as part of the Disneyland Forward project indicates that the area surrounding Pixar Place is expected to see further changes. Disneyland’s rich history and innovative spirit continue to shape its destiny.

In conclusion, the history of the Pixar Place Hotel is a testament to the ever-changing landscape of Disneyland Resort. From its humble beginnings as the Disneyland Hotel to its transformation into the fully Pixar-themed Pixar Place Hotel, this establishment has undergone several iterations. As Disneyland Resort continues to grow and adapt, we can only imagine what exciting developments lie ahead for this iconic destination.

If you want to hear more stories about the History of the Pixar Place hotel, check our special edition of Disney Unpacked over on YouTube.

Stay tuned for more updates and developments as we continue to explore the fascinating world of Disney, one story at a time.

History

From Birthday Wishes to Toontown Dreams: How Toontown Came to Be

Published

11 months ago

January 14, 2024

Jim Hill

In the latest release of Episode 4 of Disney Unpacked, Len and I return, joined as always by Disney Imagineering legend, Jim Shull. This two-part episode covers all things Mickey’s Birthday Land and how it ultimately led to the inspiration behind Disneyland’s fan-favorite land, “Toontown”. But let’s not get ahead of ourselves here. It all starts in the early days at Disneyland.

Early Challenges in Meeting Mickey

Picture this: it’s the late 1970s and early 1980s, and you’re at Disneyland. You want to meet the one and only Mickey Mouse, but there’s no clear way to make it happen. You rely on Character Guides, those daily printed sheets that point you in Mickey’s general direction. But let’s be honest, it was like finding a needle in a haystack. Sometimes, you got lucky; other times, not so much.

Mickey’s Birthdayland: A Birthday Wish that Came True

Fast forward to the late 1980s. Disney World faced a big challenge. The Disney-MGM Studios Theme Park was under construction, with the company’s marketing machine in full swing, hyping up the opening of Walt Disney World’s third theme park, MGM Studios, in the Spring of 1989. This extensive marketing meant that many people were opting to postpone their family’s next trip to Walt Disney World until the following year. Walt Disney World needed something compelling to motivate guests to visit Florida in 1988, the year before Disney MGM Studios opened.

Enter stage left, Mickey’s Birthdayland. For the first time ever, an entire land was dedicated to a single character – and not just any character, but the mouse who started it all. Meeting Mickey was no longer a game of chance; it was practically guaranteed.

The Birth of Birthdayland: Creative Brilliance Meets Practicality

In this episode, we dissect the birth of Mickey’s Birthdayland, an initiative that went beyond celebrating a birthday. It was a calculated move, driven by guest feedback and a need to address issues dating back to 1971. Imagineers faced the monumental task of designing an experience that honored Mickey while efficiently managing the crowds. This required the perfect blend of creative flair and logistical prowess – a hallmark of Disney’s approach to theme park design.

Evolution: From Birthdayland to Toontown

The success of Mickey’s Birthdayland was a real game-changer, setting the stage for the birth of Toontown – an entire land that elevated character-centric areas to monumental new heights. Toontown wasn’t merely a spot to meet characters; it was an immersive experience that brought Disney animation to life. In the episode, we explore its innovative designs, playful architecture, and how every nook and cranny tells a story.

Impact on Disney Parks and Guests

Mickey’s Birthdayland and Toontown didn’t just reshape the physical landscape of Disney parks; they transformed the very essence of the guest experience. These lands introduced groundbreaking ways for visitors to connect with their beloved characters, making their Disney vacations even more unforgettable.

Beyond Attractions: A Cultural Influence

But the influence of these lands goes beyond mere attractions. Our episode delves into how Mickey’s Birthdayland and Toontown left an indelible mark on Disney’s culture, reflecting the company’s relentless dedication to innovation and guest satisfaction. It’s a journey into how a single idea can grow into a cherished cornerstone of the Disney Park experience.

Interested in learning about Jim Shull’s original idea for a Winnie the Pooh ride? Here’s concept art of the attraction proposed for the original Toontown in Disneyland. More on [Disney Unpacked].

Unwrapping the Full Story of Mickey’s Birthdayland

Our two-part episode of Disney Unpacked is available for your viewing pleasure on our Patreon page. And for those seeking a quicker Disney fix, we’ve got a condensed version waiting for you on our YouTube channel. Thank you for being a part of our Disney Unpacked community. Stay tuned for more episodes as we continue to “Unpack” the fascinating world of Disney, one story at a time.