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A JimHillMedia.com exclusive: Your first look at the storyline for Disney / Pixar’s “Finding Nemo”

Just can’t wait ’til May 30th to find out what “Finding Nemo” is actually all about? Jim Hill brings you a detailed breakdown of the storyline for Pixar Animation Studio’s next sure-to-be smash.

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Are you the type of person who peeks at the end of novels? Who rattles wrapped Christmas presents for a hint at their contents? Who spends hours poking around the Internet, hoping to uncover cool inside info about major motion pictures months before they open?

(Look at whom I’m talking to here. What a question. Sheesh …)

ANYWAY … If that’s truly the type of person you are (sadly, I’m one too), have I got a treat for you! The Web’s first blow-by-blow breakdown of the storyline for Pixar Animation Studio’s next big release, “Finding Nemo.”

Where did I come across this truly cool information? Sorry, but that would be telling. Let’s just say that this month’s trip out to Southern California proved to be exhausting, but very informative.

Now, a brief word of caution here before we proceed: the following “Finding Nemo” story contains significant spoilers. It will give away virtually every major plot point in the picture.

So — if you really want to be surprised in May as you head out to your local multiplex — now might be a good time to stop reading this article.

I’m serious, people. There be spoilers ahead. So proceed with caution.

Consider yourself warned, okay?

Still there?

Okay. Let’s get started, shall we?

Putting it bluntly, “Finding Nemo” is going to be a delight. Another certified smash from those clever SOBs in Emeryville, CA. Plan now to buy at least two tickets for “Nemo” during its initial theatrical release. Based on the work-in-progress version of the picture that I recently got to see, this film is just too good to see just once.

More importantly, make sure that the movie theater that you see “Finding Nemo” in has a really large screen. Better yet, try and find a multiplex that will be projecting the picture digitally. That way, you’ll actually get to see all of the amazing imagery that Pixar’s artists have crammed into every frame.

A word of caution, though. Parents should be aware — right from the get-go — that “Finding Nemo” has some fairly intense sequences. Scenes that may startle and/or genuinely scare some of the smaller members of the audience.

One of those sequences comes at the very start of the picture as Coral and Marlin — a happily married pair of Clownfish — carefully stand watch over their soon-to-hatch clutch of eggs. Suddenly a barracuda appears and — in an instant — Coral and the bulk of the eggs are gone. Only the heartbroken Marlin (voiced by Albert Brooks) and a single, damaged, unhatched egg remains.

Such is life on Australia’s beautiful if brutal Great Barrier Reef. Which is how Marlin ends up being such an overly protective parent to the curious and adventuring Nemo. Forever fretting that his son’s damaged fin (a result of the barracuda attack that killed Nemo’s mother, brothers and sisters) will keep Nemo from being a strong swimmer, Marlin is constantly trying to safeguard his son. Holding him back. Even keeping him out of school (yes, a school of fish … one of the many water-based jokes that you’ll hear in this picture) with the hope that it will help keep his sole surviving child safe.

Nemo — of course — chafes under his overly cautious father’s too-tight control. So Marlin finally relents and allows his son to go off to school. Of course, Nemo’s father immediately regrets this decision. Particularly after he learns the school’s first field trip will be to the dangerous Drop-off (I.E. the very spot where Coral and the eggs were attacked by the barracuda).

In a panic, Marlin rushes after his son and unintentionally embarrasses Nemo in front of his new school-mates: Pearl (a Flapjack Octopus), Sheldon (a Sea Horse) and Tad (a Long-Nosed Butterfly Fish).

Nemo is so embarrassed by his father’s behavior in front of his new friends that the little Clownfish feels that he must now do something to show how brave he is. So Nemo brazenly swims out into the deep water and deliberately “tags” a nearby boat with his fin. This impresses Tad, Pearl and Sheldon … until a scuba diver swims up behind Nemo and nets him.

Marlin looks on in horror as the scuba diver clambers up into the boat with his son still trapped in the net. The frantic father then swims after the boat … but is unable to keep as the scuba diver motors away.

It’s at this point in the picture that daffy Dory makes her entrance. Voiced by Ellen DeGeneres, Dory is a Regal Blue Tang with a sweet personality but some real short term memory problems. This means that the well-intentioned fish can’t retain any information for more than a minute or so … which explains the film’s running gag of Dory constantly feeling like she has to re-introduce herself to poor, harried Marlin.

Still, Dory is relentlessly optimistic. Which is why — when the Regal Blue Tang discovers the scuba diver’s mask (which somehow got left behind as he and Nemo were motoring away from the area of the deep Drop-off) has the diver’s address inside (P. Sherman, 42 Wallaby Way, Sydney) Dory proposes that she and Marlin head off to rescue Nemo. Which is what they do.

It’s at this point in the picture that “Finding Nemo”‘s storyline basically splits in two. Marlin and Dory’s on-going quest to find Sydney Harbor and then rescue Nemo sort of plays out like an aquatic / neurotic version of “The Searchers.” At times comic (their encounter with Bruce, Anchor and Chum — three sharks who have formed their own support group in an effort to cut back on eating fish — is a highlight). At other turns, terrifying (the moment when Bruce falls back into his old habits, as the Great White relentlessly pursues Dory and Marlin through the hull of a sunken submarine, not to mention the pair’s far-too-close encounter with a hungry Anglerfish). Which makes this section of the story immensely entertaining.

But — if I had to pick my favorite part of this story — I think I’d have to go with Nemo’s half of the adventure. For the little Clownfish goes indeed get taken back to Sydney, where he winds up a prisoner in a dentist office aquarium. This portion of the picture then mutates into this brilliant comic riff on “The Great Escape.”

Once he’s been transferred to the dentist’s tank, Nemo finds that he’s surrounded by colorful characters: Gill, the tough but likable Moorish Idol (voiced by William Dafoe) who’s the leader of this motley crew; Bloat, the Blowfish who’s under a lot of pressure (voiced by Richard Kind); Peach, a Starfish (voiced by “The West Wing”‘s Allison Janney) who — thanks to the hours and hours of dental procedures she’s observed while being trapped in Dr. Sherman’s fish tank — has become something of a dental expert. Plus Bubbles, the obsessive Yellow Tang (voiced by Stephen Root) who just lives to retrieve the bubbles that come burbling out of the tank’s teeny-tiny treasure chest.

Gill, you see, has a plan which will allow all of the fish that are trapped in the doctor’s tank to return safely to the ocean. (Why is it so urgent that Gill and Co. get back to the sea? Well, as it turns out, Dr. S has this niece called Darla. And Doctor Sherman periodically gifts some of the fish he catches to his niece as pets. The only problem is … Darla is really rough on her pets. She reportedly likes to shakes fish to death … which is why Gill and Co. must find a way to escape their aquarium prison before Dr. S finds himself in a giving mood again.)

Toward this end, Gill has hatched a simple but ingenious plan. The imprisoned fish will deliberately try to make their fish tank as dirty as possible, which will force Dr. Sherman to clean the aquarium. This means that Dr. S will have to place Gill et al in little plastic bags along the countertop as he cleans out the inside of the tank.

From there … well, given that Dr. Sherman’s office directly overlooks Sydney Harbor, all the fish have to do is “hop” in their little plastic bags along the countertop over to the open window and then … jump out the window into the harbor to freedom.

It sounds like a fool-proof plan, doesn’t it? Well, it is … until Dr. S installs a brand-new filter in the fish tank. Then — try as they might — Gill and Co. just can’t get their aquarium dirty. This new super-efficient filter just sucked all the dirt and debris out of the water.

Meanwhile … back out in the open water, Marlin and Dory have survived encounters with swarms of jellyfish, not to mention almost getting swallowed by a whale. They’ve even lived through a trip through the “swirling vortex of death” as they tagged along with a squadron of thrill-seeking sea turtles (who sound suspiciously like a bunch of Southern Californian surfer dudes).

Eventually, Marlin and Dory wind up befriending a pelican named Nigel (voiced by Geoffrey Rush) who agrees to take the concerned Clownfish and absent minded Regal Blue Tang inside his bill and fly them straight to Dr. Sherman’s office.

Little do Marlin, Dory and Nigel realize — as they’re en route to the dentist — things have come to a head at Dr. Sherman’s. Darla had arrived and is now insisting that her uncle hand over his latest prize, the little Clownfish. So Dr. S reluctantly scoops up Nemo with a net and places him in a plastic bag. All seems lost …

When Nemo decides to pull a fast one on Dr. Sherman and his niece. Rolling over on his bank, the little Clownfish plays dead. Watching closely from inside the aquarium, Gill and the other fish immediately realize what Nemo is attempting: the old toilet escape. Nemo’s hoping that — if Dr. S thinks he’s dead — he’ll just flush the little Clownfish down the toilet … which will eventually allow Nemo to return to the sea.

The only problem is … Dr. Sherman doesn’t immediately decide to dispose of this alleged corpse by pouring the contents of the little plastic bag in the toilet. Distracted by his niece’s tantrums, he sets Nemo’s plastic bag down on the counter by the window on top of a dental mirror.

It’s at this exact moment that Marlin, Dory and Nigel come flying up to the open window of Dr. S’s office. And — peering out of Nigel’s bill — Marlin sees Nemo floating upside down inside the plastic bag and (understandably) mistakenly thinks that his son is now dead. Grief stricken, the father Clownfish asks Nigel to take he and Dory back to Sydney Harbor.

Meanwhile, Dr. S shuts the open office window (to prevent the pelican from getting back in). Now all of Nemo’s possible avenues of escape seem to be cut off. The little Clownfish seems doomed to end up in the trash …

Until Gill — with the help of all the other fish in the aquarium — launches himself out of the tank in a last gasp effort to save Nemo. The Moorish Idol lands on the same dental mirror that Nemo’s plastic bag is resting on. This impact then sends the little Clownfish soaring through the air, with Nemo’s plastic bag eventually landing in the dentist office’s spit sink. The plastic bag bursts open upon impact, leaving Nemo free to swim down the drain and eventually make his way back to the sea.

Dr. Sherman then scoops up Gill and places him back in the aquarium … where all the other fish congratulate the Moorish Idol on his daring rescue of the little Clownfish.

Meanwhile, back in Sydney Harbor … the grief stricken Marlin has already made his goodbyes to Dory and Nigel. Wishing to left alone in his time of sorrow. Literally moments later, the forgetful Regal Blue Tang runs into Nemo! Given all of her memory problems, it — of course — takes Dory a few minutes to recognize Marlin’s son. But — as soon as she does — these two take off in search of Nemo’s father.

Eventually, Dory and Nemo find Marlin. And there is — of course — a heartfelt reunion. But — since this is a Pixar Animation Studio production (I.E. The studio that believes “Why settle for a climax when you can have a climax on top of a climax on top of a climax?”) — the story can’t just end there.

Which is why an enormous fishing net suddenly descends into Sydney Harbor and scoops up a group of fish, including Dory! All seems lost … Until Nemo has an idea. Using some of the lessons that he learned in the aquarium in Dr. Sherman’s office (I.E. when a group works together, it can accomplish almost anything), the little Clownfish tells all of the fish trapped in the net that if they all work together and “swim down,” their combined force could possibly tear a hole in the net. Giving the terrified group of groupers an avenue of escape.

The only problem is … the panicked fish in the net don’t exactly understand what Nemo is trying to say to them. So — in order for his plan to succeed — the little Clownfish is going to actually have to get inside the rapidly rising net and show the fish what he wants them to do.

Of course, when Marlin hears about what Nemo wants to do, the father Clownfish is beside himself. Here, he’s just found his son again, only to have Nemo immediately risk his own life in an attempt to rescue Dory. Still — sensing a new strength and a sense of purpose in his son (not to mention a change in Marlin’s own once overly-protective nature) — Marlin agrees to let Nemo go into the net and try and save the other fish.

Once inside the net, Nemo convinces the group of frightened fish to work together and … Well, whaddaya know? The little Clownfish’s plan works! The fish all escape through a hole in the net and Marlin, Nemo & Dory all have a very happy reunion.

As the trio now make their way back to their home in the Great Barrier Reef, Nemo tells his father that he can’t wait to go back to school to tell all of his friends about his exciting adventures. And Marlin — who’s obviously also grown up a little bit because of his ordeal — is now finally willing to let go of his son. To allow his child to grow up and venture out into the world.

Sounds like a pretty happy ending, doesn’t it? Well, what about Gill and all of the other fish who are still trapped in Dr. Sherman’s aquarium? Well, I’m pleased to report that — just before fade-out — we get to see Gill and Co. in little plastic bags floating free across Sydney Harbor. So I guess that we can say that the “Great Escape” portion of the story ended happily as well.

Sounds like a fairly convoluted but pretty entertaining story, doesn’t it? Well, I should warn you that the version of “Finding Nemo” that I got to see was an early work-in-progress print. And (as often happens in Hollywood) films are subject to change right up ’til their release date. So — when you finally get to see this Pixar production at the end of May — that version of the film maybe somewhat different from the synopsis you just read.

I only wish that this bare bones description of “Finding Nemo”‘s plot that I’ve cobbled together to could do justice to the great quirky pieces of the picture. The weird little character bits (Like poor Deb. The Black-and-White Humbug fish in Dr. Sherman’s tank that’s voiced by Vickie Lewis. You see, Deb is convinced that the reflection that she sees in the aquarium’s glass is actually another Black-and-White Humbug fish named Flo. [Deb and Flo. Get it?] So Deb spends hours laughing and talking with this fictitious fish) which add so much to the fun of the film.

Then when you add in “Finding Nemo”‘s amazing art direction and how effortlessly the production team tosses off eye popping setting after setting … not to mention the great job that Pixar’s animators did with “Finding Nemo”‘s human characters (if this is the level of work that Pixar can do now with human figures, I can’t wait ’til next summer to get to see what the studio does with Brad Bird’s “The Incredibles”).

So where does this film fit into the grand scheme of things, Pixar-wise? Is “Finding Nemo” as good as “Toy Story” and “Toy Story II?” Sadly, no. Those two films (at least for me) are the gold standard by which all Pixar productions are to be judged. And “Finding Nemo” doesn’t quite reach that very high bar.

Nor is “Finding Nemo” really in the same class as Pixar’s 2001 release, “Monsters, Inc.”

(Again, my opinion. Your mileage may differ.) Why for? Well, “Nemo”‘s somewhat episodic nature (with the story stopping and starting whenever Marlin and Dory encounter another group of kooky characters) sometimes undercuts the film’s emotional momentum. Which prevents this picture from having the same sort of extremely satisfying emotional pay-off that “Monsters, Inc.” had (I.E. that moment when Sulley finally got to see Boo again).

Which (to my way of thinking, anyway) puts “Finding Nemo” in the same class as “A Bug’s Life.” Which — as you’ll remember — was also a visually ambitious film with a very large cast of characters. And — given that “Nemo”‘s director Andrew Stanton also helmed “A Bug’s Life” — it just makes sense that these two projects share some of the same virtues.

So, okay. “Finding Nemo” isn’t exactly “Toy Story” redux. It’s still miles ahead of the competition. A beautiful looking film with a genuinely entertaining story. Tons of colorful characters. If you’re in need of an entertaining night out at the movies, make plans now to go out to your local multiplex on May 30th to go see “Finding Nemo.”

That’s the only downside to the whole situation. Disney and Pixar have this great picture in the pipeline. But we’ve all still got to wait two more months before we finally get to see the finished version.

They’re actually just now putting the finishing touches on “Finding Nemo.” Thomas Newman (cousin to Academy Award winner Randy Newman, the guy who usually scores all of Pixar’s pictures) is waving the baton this time around. Earlier this month, Newman and an elite group of Hollywood’s best studio musicians trooped over to Culver City to record the film’s score on one of Sony’s soundstages.

Once the score and all the sound effects for this picture are finally in place, “Finding Nemo” should go from being merely a very entertaining film to something truly extraordinary. Based on what I’ve been able to see of this film to date, Pixar appears to have another huge hit on its hand.

But just how huge a hit? Given that this will be the very first Pixar Animation Studio release that Walt Disney Pictures has seen fit to release during the extremely lucrative but highly competitive summer season, it’s going to be really interesting to see how this film actually does at the box office. Will “Finding Nemo” go on to become the highest grossing picture that Pixar’s ever released? Or will “Nemo” — like so many of last year’s seemingly sure-fire blockbusters — end up under-performing as its legs get cut out from under it as the next box office behemoth (EX: “The Hulk,” “X-Men 2,” “Terminator 3,” “Tomb Raider 2,” and “The Matrix Reloaded” et al) comes rumbling in to your local multiplex.

Provided (of course) that the promotional campaign that Walt Disney Pictures has put in place for “Finding Nemo” can get the word out, I would imagine that this Pixar production will have no trouble pulling in at least $100 million. But how much bigger a blockbuster this fish story will turn out to be … that all depends on the vagaries of the summer movie-going season. When even well-received traditionally animated films like “Lilo & Stitch” have had to struggle to pull in $145 million.

So how will “Finding Nemo” ultimately end up doing at the box office? Check back in with JimHillMedia.com come late June / early July and we’ll discuss whether this CG project actually sank or swim.

But — in the meantime — if you’re an animation fan (or just someone who likes good movies), I strongly recommend that you make plans now to seek out “Finding Nemo.”

“Finding Nemo” images © Disney/PIXAR

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Film & Movies

“Indiana Jones and the Search for Indiana Jones”

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News came late last week that NBC was cancelling the “Magnum PI” remake. This series (which obviously took its inspiration from the Tom Selleck show that originally debuted on CBS back in December of 1980 and then went on run on that network for 8 seasons. With its final episode airing on May 8, 1988).

Anyway … Over 30 years later, CBS decided to remake “Magnum.” This version of the action drama debuted on September 24, 2018 and ran for four seasons before then being cancelled. NBC picked up the “Magnum” remake where it ran for one more season before word came down on June 23rd that this action drama was being cancelled yet again.

FYI: The second half of Season 5 of “Magnum” (10 episodes) has yet to air on NBC. It will be interesting to see when that final set of shows / the series finale gets scheduled.

This all comes to mind this week – out ahead of the theatrical release of “Indiana Jones and the Dial of Destiny” because … Well, if CBS execs had been a bit more flexible back in 1980, the star of the original version of “Magnum PI” (Tom Selleck) would have played the lead in “Raiders of the Lost Ark.” Which was released to theaters back on June 12, 1981.

That’s the part of the Indiana Jones story that the folks at Lucasfilm often opt to skim over.

That Harrison Ford wasn’t George Lucas’ first choice to play Doctor Jones.

Auditions for Indiana Jones – Harrison’s Not on the List

Mind you, Steven Spielberg – right from the get-go – had pushed for Ford to play this part. The way I hear it, Lucas showed Spielberg a work-in-progress cut of “The Empire Strikes Back.” And Steven was so taken with Harrison’s performance as Han Solo in that Irwin Kershner film that he immediately began pushing for Ford to be cast as Doctor Jones.

Whereas Mr. Lucas … I mean, it wasn’t that George had anything against Harrison. What with Ford’s performances first in “American Grafitti” and then in “A New Hope,” these two already had a comfortable working relationship.

But that said, Lucas was genuinely leery of … Well, the sort of creative collaboration that Martin Scorcese and Robert DeNiro. Where one actor & one director repeatedly worked together. To George’s way of thinking, that was a risky path to follow. Hitching your wagon to a single star.

Which is why – when auditions got underway for “Raiders of the Lost Ark” in 1979 — Mike Fenton basically brought in every big performer of that era to read for Dr. Jones except Harrison Ford. We’re talking:

  • Steve Martin
  • Chevy Chase
  • Bill Murray
  • Jack Nicholson
  • Peter Coyote
  • Nick Nolte
  • Sam Elliot
  • Tim Matheson
  • and Harry Hamlin

Casting a Comedian for Indiana Jones

Please note that there are a lot of comedians on this list. That’s because – while “Raiders of the Lost Ark” was in development — Spielberg was directed his epic WWII comedy, “1941.” And for a while there, Steve & George were genuinely uncertain about whether the movie that they were about to make would be a sincere valentine to the movie serials of the 1930s & the 1940s or more of a spoof.

It’s worth noting here that three of the more ridiculous set pieces found in “Temple of Doom” …

  • the shoot-out at Club Obi Wan in Shanghai
  • Indy, Willie & Short Round surviving that plane crash by throwing an inflatable life raft out of the cargo hatch
  • and that film’s mine cart chase (which was not only inspired by Disney theme park favorites the Matterhorn Bobsleds & Big Thunder Mountain Railroad but some of the sound effects that you hear in this portion of “Temple of Doom” were actually recorded after hours at Disneyland inside of these very same attractions)

…  all originally supposed to be in “Raiders of the Lost Ark.” I’ve actually got a copy of the very first version of the screenplay that Lawrence Kasdan wrote for the first “Indy” movie where all three of these big action set pieces were supposed to be part of the story that “Raiders” told. And I have to tell you that this early iteration of the “Raiders” screenplay really does read more like a spoof of serials than a sincere, loving salute to this specific style of cinema.

Casting Indiana Jones – Jeff or Tom

Anyway … Back now to the casting of the male lead for “Raiders” … After seeing virtually every actor out in LA while looking for just the right performer to portray Indiana Jones, it all came down to two guys:

  • Jeff Bridges
  • and Tom Selleck

Jeff Bridges as Indiana Jones

Mike Fenton was heavily pushing for Jeff Bridges. Having already appeared with Clint Eastwood in 1974’s “Thunderbolt & Lightfoot” (Not to mention that “King Kong” remake from 1976), Bridges was a known quantity. But what Fenton liked especially liked about Bridges when it came to “Raiders” was … Well, at that time, Jeff was just coming off “Heaven’s Gate.”

Mind you, nowadays, because we’ve all now had the luxury of seeing the director’s cut of this Michael Cimino movie, we recognize “Heaven’s Gate” for the cinematic masterpiece that it is. But 40+ years ago, that honestly wasn’t the case. All audiences had to judge this movie by was the severely truncated version that United Artists sent out into theaters. Which – because “Heaven’s Gate” had cost $44 million to make and only sold $3.5 million of tickets – then became the textbook example of Hollywood excess.

Credit: Indiewire.com

Long story short: Given that being associated with “Heaven’s Gate” had somewhat dinged Bridges’ reputation for being a marketable star (i.e., a performer that people would pay good money to see up on the big screen), Jeff was now looking to appear in something highly commercial. And the idea of playing the lead in a film directed by Steven Spielberg (the “Jaws” & “Close Encounter” guy) and produced by George Lucas (Mr. “Star Wars”) was very, very appealing at that time. Bridges was even willing to sign a contract with Spielberg & Lucas that would have then roped him into not only playing Indiana Jones in “Raider of the Lost Ark” but also to appear as this very same character in two yet-to-be-written sequels.

Better yet, because “Heaven’s Gate” had temporarily dimmed Bridges’ star status, Jeff was also willing to sign on to do the first “Indy” film for well below his usual quote. With the understanding that – should “Raiders of the Lost Ark” succeed at the box office – Bridges would then be paid far more to appear in this film’s two sequels.

That seemed like a very solid plan for “Raiders.” Landing a known movie star to play the lead in this action-adventure at a bargain price.

Ah, but standing in Mike Fenton’s way was Marcia Lucas.

Tom Selleck as Indiana Jones

Marcia Lucas, who had seen Tom Selleck’s audition for “Raiders” (And you can see it as well. Just go to Google and type in “Tom Selleck” and “Indiana Jones.” And if you dig around for a bit, you’ll then see a feature that Lucas & Spielberg shot for “Entertainment Tonight” back in 2008 [This story was done in support of the theatrical release of “Indiana Jones and the Kingdom of the Crystal Skull”]. And as part of this piece, George and Steve share Tom’s original audition for “Raiders.” And what’s genuinely fascinating about this footage is that Selleck’s scene partner is Sean Young. Who – at that time, anyway – was up for the role of Marion Ravenwood) and kept telling her husband, “You should cast this guy. He’s going to be a big star someday.”

And given that George was smart enough to regularly heed Marcia Lucas’ advice (She had made invaluable suggestions when it came to the editing of “American Graffiti” and the original “Star Wars.” Not to downplay George Lucas’ cinematic legacy, but Marcia Lucas was a world-class storyteller in and of her own right), Lucas then reached out to Spielberg and persuaded him that they should cast relative unknown Tom Selleck as Doctor Jones over the already well-known Jeff Bridges.

Now don’t feel too bad for Jeff Bridges. When he lost out on playing the lead in “Raiders of the Lost Ark,” Jeff then accepted a role in the very next, high profile, sure-to-be-commercial project that came along. Which turned out to be Disney’s very first “TRON” movie. Which was eventually released to theaters on July 9, 1982.

Back to Tom Selleck now … You have to remember that – back then – Selleck was the handsome guy who’d already shot pilots for six different shows that then hadn’t gone to series. Which was why Tom was stuck being the guest star on shows like “The Fall Guy” and “Taxi.” Whereas once word got out around town that Selleck was supposed to play the lead in a project that Spielberg was directed & Lucas was producing … Well, this is when CBS decided that they’d now take the most recent pilot that Tom had shot and then go to series with this show.

That program was – of course – the original “Magnum PI.” And it’s at this point where our story started to get complicated.

“Magnum PI” – Two Out of Three Say “Yes”

Okay. During the first season of a TV show, it’s traditionally the network – rather than the production company (which – in this case – was Glen A. Larson Productions. The company behind the original versions of “Battlestar Galactica” & “Knight Rider”) or the studio where this series is actually being shot (which – in this case – was Universal Television) that has all the power. And in this particular case, the network execs who were pulling all the strings behind-the-scenes worked for CBS.

And when it came to the first season of “Magnum PI,” CBS had a deal with Glen A. Larson Productions and Universal Television which stated that the talent which had been contracted to appear in this new action drama would then be available for the production of at least 13 episodes with an option to shoot an additional 9 episodes (This is known in the industry as the back nine. As in: the last nine holes of a golf course).

Anyway, if you take those initial 13 episodes and then tack on the back nine, you then get 22 episodes total. Which – back in the late 1970s / early 1980s, anyway – was what a full season of a network television show typically consisted of.

Anyway … The contract that Selleck had signed with Glen A. Larson Productions, Universal Television & CBS stated that he had to be available when production of Season One of “Magnum PI” began in March of 1980. More to the point, Tom also had to be available should CBS exercise its option to air 22 episodes of this new series on that television network over the course of “Magnum PI” ‘s first season.  

Which then made things complicated for George Lucas & Steven Spielberg because … Well, in order for “Raiders of the Lost Ark” to make its June 12, 1981 release date, that then meant that production of the first “Indy” movie would have to get underway no later than June 23, 1980.

But here’s the thing: Production of Season One of “Magnum PI” was scheduled to run through the first week of July of that same year (1980). So in order for Tom Selleck to play Indiana Jones in “Raiders,” he was going to need to be wrapped on production of “Magnum PI” by June 22, 1980 at the absolute latest.

So Spielberg & Lucas went to Glen A. Larsons Productions and asked if Selleck could please be sprung from his “Magnum PI” contractual obligations by June 22nd. And they said “Yes.” Then Steven & George went to Universal Television and asked executives there for their help  in clearing Tom’s schedule so that he’d then be available to start work on “Raiders.” And they say “Yes” as well.

Spielberg & Lucas now go to CBS. But instead of the quick “Yeses” that they got from officials at Glen A. Larson Productions and Universal Television, it takes those suits at the Tiffany Network weeks before they then decided to say “No, they couldn’t release Tom Selleck early to go work on ‘Raiders’ “ because …

I’ve never really been able to get a straight answer here as to why CBS execs dug in their heels here. Why they flat-out refused to release Selleck early from his “Magnum PI” contractual obligation and allow him to go shoot “Raiders.”

Payback from “The Star Wars Holiday Special” Trash Talk

That said, it is worth noting that “The Star Wars Holiday Special” aired on CBS back in November of 1978. And given that – in the years that followed —  Lucas wasn’t exactly shy when it came to saying how much he hated that two hour-long presentation (Or – for that matter – how George really regretted caving into the requests of CBS execs. Who had insisted that television stars long associated with the Tiffany Network – people like Art Carney, Harvey Korman & Bea Arthur – be given prominent guest starring roles in “The Star Wars Holiday Special”). And I’ve heard whispers over the years that CBS executives preventing Tom Selleck from appearing in “Raiders” could be interpreted as the Tiffany Network getting some payback for what George had said publicly about the “Star Wars Holiday Special.”

Harrison Ford Comes to Rescue “Indiana Jones”

Anyway … It’s now literally just weeks before production of “Raiders of the Lost Ark” is supposed to begin and Spielberg & Lucas have just learned that that they’ve lost their film’s star. CBS is flat-out refusing to release Tom Selleck early from his “Magnum PI” contractual obligation. So Steven & George now have to find someone else to play Indy … and fast.

The real irony here is … The American Federation of Television and Radio Artists would go on strike in the Summer of 1980. Which then shut prematurely shut down production of the first season of “Magnum PI.” (As a direct result, the first full season of this action drama to air on CBS only had 18 episodes, rather than the usual 22). And because this job action lasted ‘til October 23rd of that same year … Well, this meant that Tom Selleck would have actually been free to start shooting “Raiders of the Lost Ark” on June 23, 1980 because production of Season One of “Magnum PI” was already shut down by then due to that AFTRA strike.

But no one knew – in May of 1980, anyway – that this job action was going to happen in just a few weeks. All that Steven Spielberg & George Lucas knew was that they now needed a new lead actor for “Raiders.” And circling back on Jeff Bridges was no longer an option. As I mentioned earlier, Jeff had agreed to do “TRON” for Disney. And – in the interim – Bridges gone off to shoot “Cutter’s Way” for MGM / UA.

Credit: EW

So this is where Harrison Ford enters the equation. As he recalls:

In May of 1980, I get a call from George Lucas. Who says ‘I’m messaging a script over to you this morning. As soon as it gets there, I need you to immediately read this script. Then – as soon as you’re done – I need you to call.

So the script arrives and it’s for ‘Raiders.’ I read it and it’s good. So I call George back and say ‘It’s good.’ And he then says ‘Would you be interested in playing Indy?’ I say that it looks like it would be a fun part to play.

George then says ‘ That’s great to hear. Because we start shooting in four weeks. Now I need you to meet with Steven Spielberg today and convince him that you’re the right guy to play Indy.’

Of course, given that Spielberg had been pushing for Ford to pay Indy ever since he had first seen that work-in-progress version of “The Empire Strikes Back” … Well, Harrison’s meeting with Steven was very, very short. And just a few weeks later, Spielberg, Lucas & Ford were all at the Port de la Pallice in La Rochelle. Where – on the very first day of shooting on “Raiders” (which – again – was June 23, 1980)– the scene that was shot was the one where that Nazi sub (the one that Indy had lashed himself to its periscope by using his bullwhip as a rope) was arriving at its secret base.

And all of this happened because Harrison immediately agreed to do “Raiders of the Lost Ark” when the part of Indy was first offered to him in mid-May of 1980.  

Before “Star Wars” was “Star Wars”

So why such a quick yes? Well, you have to remember that “Empire Strikes Back” wouldn’t be released to theaters ‘til May 21, 1980. And no one knew at that time whether this sequel to the original “Star Wars” would do as well at the box office as “A New Hope” had back in 1977 (FYI: “Empire” would eventually sell over $500 million worth of tickets worldwide. Which is roughly two thirds of what the original “Star Wars” earned three years earlier).

More to the point, the four films that Harrison had shot right after “A New Hope” / prior to “Empire Strikes Back” (i.e., “Heroes” AND “Force 10 from Navarone” AND “Hanover Street” AND “The Frisco Kid”) had all under-performed at the box office. So to Ford’s way of thinking, taking on a role that Tom Selleck was no longer available to play – one that had the potential of spawning two sequels – seemed like a very smart thing to do. Especially after three years of cinematic stumbles.

By the way, whenever this topic ever comes up, Harrison Ford is very gracious. He always makes a point of saying that he’s grateful to have gotten this career opportunity. More to the point, that he still feels kind of bad that Tom Selleck never got the chance to play this part.

Tom Selleck After “Indiana Jones”

That said, we shouldn’t feel too bad for Tom Selleck. After all, the original “Magnum PI” proved to be a long running hit for CBS. And in an effort to smooth over any residual bad feelings that may have resulted from Tom being forced to give up “Raiders” back in May of 1980, Selleck was eventually allowed to create his own production company (i.e., T.W.S. Productions, Inc. As in Thomas William Selleck Productions). Which – after the fact – was then cut in on some of those “Magnum PI” -related revenue streams.

More to the point, while “Magnum PI” was on hiatus following its second year in production, Selleck flew off to Yugoslavia. Where he then shot his own Indiana Jones-esque film for theatrical release. Which was called “High Road to China” in the States, but – overseas – was promoted as “Raiders of the End of the World.”

FYI: Warner Bros. released “High Road to China” stateside 40 years ago this year. On March 18, 1983, to be exact. It didn’t do all that great at the box office. $28 million in ticket sales versus $15 million in production costs.

And over the years, there’s even been some talk of finding a way to maybe set things right here. By that I mean: Finally finding a way to officially fold Tom Selleck into the world of Indiana Jones.

Could Tom Selleck Work with Indiana Jones?

The way I hear it, between the time when “Indiana Jones and the Last Crusade” was theatrically released in May of 1989 and when “Indiana Jones and the Kingdom of the Crystal Skull” debuted in May of 2008, there were a number of ideas for Indiana Jones sequels tossed around. And from what I’ve been told, there was at least one treatment for a fourth Indiana Jones film written that proposed pairing up Harrison Ford & Tom Selleck. With the idea here being that Selleck was supposed to have played Ford’s brother.

Obviously that film was never made. And – no – I don’t know what state Indiana Jones’ brother was supposed to be named after.

This article is based on research for Looking at Lucasfilm “Episode 80”, published on June 29, 2023. Looking at Lucasfilm is part of the Jim Hill Media Podcast Network.

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Will “Metro” – that “Cars” Spin-Off Which Disney Developed – Ever Get Made?

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Will Metro Ever Get Made?

First came “Cars” in June of 2006.

This Pixar Animation Studios production did so well (Of all the high grossing films released that year, “Cars” was No. 2 at the box office. Only “Pirates of the Caribbean: Dead Man’s Chest” sold more tickets in 2006) that Disney execs asked John Lasseter to develop a sequel.

“Cars 2” came out in June of 2011 and also did quite well at the box office (It took the No. 7 slot in the Top-Ten-for-ticket-sales that year). Which is why Disney then asked Pixar to prep a follow-up film.

“Cars 3” would eventually arrive in theaters in June of 2017. But in the meantime, Disney & Pixar began exploring the idea of expanding this film franchise. Largely because the amount of money that the Mouse was making off of the sales of “Cars” -related merchandise was … To be blunt here, mind boggling.

Don’t believe me? Well, then consider this: In just the first five years that the “Cars” film franchise existed, global retail sales of merchandise related to these Pixar movies approached $10 billion. That’s billion with a “B.”

So is it any wonder that – while Pixar was still trying to get a handle on what “Cars 3” would actually be about – the Mouse (through its DisneyToon Studios arm. Which produced home premieres like those “TinkerBell” movies) began actively looking into ways to expand this lucrative franchise?

“Planes” – The First “Cars” Spin-Off

The first “Cars” spin-off to arrive in the marketplace was “Planes.” This Klay Hall film (which was set in “The World Above Cars”) was released theatrically in August of 2013, with the Blu-ray & DVD version of “Planes” hitting store shelves in November of that same year.

“Planes: Fire and Rescue” followed in the Summer of 2014. And while a “Planes 3” was definitely put in development (At the Disney Animation panel at the 2017 D23 Expo, John Lasseter not only shared a clip from this film. But he also revealed that this project – which, at that time, was entitled “Space” – was slated to be released theatrically in April of 2019) … This animated feature was abruptly cancelled when DisneyToon Studios was shuttered in June of 2018.

But wait. There’s more … In addition to the aborted “Planes 3,”  Disney had other “Cars” spin-offs in the works. One was supposed to be built around boats. While yet another was supposed to have shined a spotlight on trucks.

“Metro” – The World Below Cars

And then there was “Metro.” Which was supposed to have been set in the inner city and focused on what went on in “The World Below Cars.” As in: Down in the subway system.

Just in the past week or so, a few pieces of concept art for “Metro” have surfaced online. Giving us all an intriguing look at what might have been. These preproduction paintings suggest that this “Cars” spin-off would be far grittier than … Say … the sort of adventures that Lightning McQueen & Mater would typically have out in Radiator Springs.

Metro - Cars Spin-Off Movie Poster
Credit: Disney
Metro - Cars Spin-Off Concept Art
Credit: Disney
Metro - Cars Spin-Off Concept Art
Credit: Disney
Metro - Cars Spin-Off Concept Art
Credit: Disney

That said, it’s worth noting here that – just in the past year or so – we’ve seen Disney & Pixar attempt to expand the turf that these two characters could comfortably cover. Take – for example — “Cars on the Road,” that nine-part series which debuted on Disney+ back in September of last year. This collection of animated shorts literally sent Lightning McQueen & Mater off on a road trip.

So who knows?

Given that Bob Iger (at Disney’s quarterly earnings call held earlier this week) revealed that the Company now has sequels in the works for “Frozen,” “Toy Story,” and “Zootopia” … Well, is it really all that far-fetched to think that – at some point further on down the road – Disney & Pixar will put yet another sequel to “Cars” in the works?

One that might send Lightning McQueen & Mater off to explore the gritty inner-city world that we glimpsed in all that concept art for “Metro,” that never-produced “Cars” spin-off.

Time will tell.

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Park’s Closed: “Vacation ’58” Inspired by Seasonal Closing at Disneyland

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This year is the 30th anniversary of the release of National Lampoon’s “Vacation.” Warner Bros. released this Harold Ramis movie to theaters back in July of 1983.

John Hughes adapted his own short story (i.e., “Vacation ’58,” which had run in “National Lampoon” magazine less than four years earlier. The September 1979 issue, to be exact) to the screen.

Key difference between “Vacation ‘58” and “National Lampoon’s Vacation” is that the movie follows the Griswold family on their epic journey to Walley World. Whereas the short story that Hughes wrote (i.e., “Vacation ‘58”) follows an unnamed family to a different theme park. The actual Disneyland in Anaheim.

Let me remove any doubt here. Here’s the actual opening line to John Hughes’ “Vacation ’58.”

If Dad hadn’t shot Walt Disney in the leg, it would have been our best vacation ever.

What’s kind of intriguing about the plot complication that sets Act 3 of “National Lampoon’s Vacation” in motion (i.e., that – just as the Grisworld arrive at Walley World [after a harrowing cross-country journey] – they discover that “America’s favorite family fun park” is closed for two weeks for cleaning and to make repairs) is that … Well, it’s based on something that Hughes learned about the real Disneyland. That – from 1958 through 1985 [a total of 27 years] the Happiest Place on Earth used to close two days a week during the slower times of year. To be specific, Mondays & Tuesday in the Fall & early Winter as well as in the late Winter / early Spring.

Want to stress here: Two days a week versus the two weeks each year in “National Lampoon’s Vacation.”

Sorry folks. Park’s closed. Moose out front shoulda told ya.

When Did Disneyland Start Opening 7-Days a Week?

It wasn’t ‘til February 6, 1985 that Disneyland Park formally switched to being a seven-day-a-week operation. This was just four months after Michael Eisner had become Disney’s new CEO. And part of his effort to get as much profit as possible out of Disney’s theme parks.

Which is a trifle ironic. Given that – back in December of 1958 – Disneyland deliberately switched over to an open-five-days-a-week-during-the-off-season schedule in an effort to get Anaheim’s operating costs under control. But I’m getting ahead of myself here.

Early Disneyland Operations – Ticket Books and Ticket Booths

So let’s start with the obvious: When Disneyland Park first opened in July of 1955, there had never been one of these before. So the Happiest Place on Earth was a learn-as-you-go operation.

So things that are now closely associated with a visit to Disneyland back in the day (EX: Having to purchase a book of tickets before you entered that theme park. Which then pushed Guests to go seek out various A, B, C & D Ticket attractions around the grounds) … Well, that form of admission media didn’t come online ‘til October 11, 1955. Some three months after Disneyland Park first open.

Prior to this, if you wanted to go on a ride at Disneyland, you had to first get on line at one of the Park’s omni-present ticket booth. Once you got to the front of that line, you then had to open your wallet and purchase enough tickets for your entire family to enjoy that attraction. Only then could you go over to the actual attraction and get in line for that experience. Where – just before boarding that ride – you then surrendered that ticket.

Disney Parks Getting Too Expensive

Interesting side note: It’s now an established part of the on-going Disney theme park narrative that “Going to the Parks has just gotten to be too expensive and/or complicated,” what with the institution of Lightning Lane and then forcing people to use virtual queues if they want to experience newer attractions at the Parks like “Guardians of the Galaxy: Cosmic Rewind” at Epcot or “Mickey & Minnie’s Runaway Railway” out in Anaheim.

Walt Fixes “Expensive” Impression

What fascinates me about the parallels here is that … When Walt began to see the same thing bubble up in press coverage for his new family fun park (i.e., All of those Summer-of-1955 stories in newspapers & magazines about how expensive it was to visit Disneyland. How – whenever a Guest visited this place – they were constantly being forced to repeatedly open their wallet), his immediate reaction was “We need to fix this now. I don’t want people coming away from their visit to Disneyland with this impression.” And by October 11, 1955 (less than 3 months after Disneyland Park first opened), they had a fix in place.

Lightning Lane – Raising Prices

Counter this with Lightning Lane. Which was first introduced at Walt Disney World in October of 2021. Which has gotten miserable press since Day One (and is a large part of people’s growing perception that it’s just gotten too expensive to take their family on vacation to WDW). Disney Corporate knows about this (hence the number of times questions about this perception has bubbled up in recent surveys that Resort has sent out).

And what does the Company do with this info? During the 2022 holiday season, Disney Parks actually raised the prices on individual Lightning Lanes for popular attractions like “Rise of the Resistance” to $22 a person.

Conclusion: Disney knows about all the bad press the Resort is getting lately but doesn’t care. They like all of the short-term money that Lightning Lane is pulling in right now and are deliberately overlooking all of the long-term implications of the narrative getting out there that going to WDW is getting too expensive.

“Spend Dollars to Get People Back” – Disney Cutting Corners on Projects

Which reminds me of something Walt once said when an Imagineer suggested that the Company could save a few bucks by cutting corners on a particular project: “If people ever stop coming to the Park because they think we cut corners on a project, the few cents we saved ultimately aren’t going to matter. We’re then going to have to spend dollars to get those people back.”

That’s what worries me about Disney’s current situation. What’s the Company ultimately going to have to do convince those people who now think that a trip to WDW has just gotten too expensive for the family to come back.

Disneyland Parking Closing on Mondays & Tuesdays

Back to Disneyland Park closing on Mondays & Tuesdays during the off-season … When did this practice start? Let me share something that I just found in the 1958 edition of Walt Disney Productions’ annual report. This document (which was published on December 23, 1958) states that:

While the gross income of Disneyland was greater this year than in any prior year, the operating expenses for this family fun park were likewise up substantially primarily to two factors.
(1) Operating a seven-day week throughout the 1957 – 1958 week against a six-day week the year before.

(2) Increased costs due to rising salaries and the
inauguration of a 40-hour week. This resulted in lower net profits compared to the prior year.

So – reading between the lines here – in Disneyland’s second year of operation (July 1956 – June 1957), the folks down in Anaheim experimented with keeping Walt’s family fun park open six days a week during the slower times of the year. Which – I’m told – resulted in all sort of angry people at the entrance of Disneyland’s parking lot. Who had to drive down to Anaheim for the day to experience the Happiest Place on Earth only to find said place closed.

Okay. So for Disneyland’s third year of operation (July 1957 – June 1958) on Walt’s orders, Disneyland is then kept open seven days a week all year long. Which proves to be a problem on the off-season, given that there are days in the late Fall / early Spring when there are more Cast Members working in the Park than there are Guests coming through the turnstiles.

Which explains this line in the 1958 version of Walt Disney Productions’ annual report. Which – again – I remind you was published on December 23rd of that year:

This current year, we are operating the park during the winter months on a five-day schedule with resulting savings in operating costs and in the hope that a full week’s business can be compressed within the five days.

So did this change in the way that Disneyland Park ultimately operated off-season ultimately work out? Let’s jump ahead to the 1959 version of Walt Disney Productions’ annual report. In that document (which was also published on December 23rd of that year) states that:

Again this year, as in each year since Disneyland Park first opened in 1955, new records were set for total attendance and per capita spending of park visitors.
The change to a five-day operating week during the 1958 – 1959 winter season from the seven-day schedule in effect the previous year has worked out very well. Reduced operating hours helped to control operating costs in the face of increased wage rates and other rising costs.

Making it Right for the Disneyland Hotel

Okay. So this change in the way that Disneyland Park operated during the off-season made things easier for Walt and Disney’s book-keepers back in Burbank. But what about Jack Wrather, the guy that Walt went to back in the Late Winter / Early Spring of 1955 and begged & pleaded for Wrather to build a hotel right next to Disneyland Park?

What happened to the Disneyland Hotel in late 1958 / early 1959 when – in the off-season – Disneyland Park goes to just a five-day-a-week operating schedule? At this point, the Disneyland Hotel is the largest hotel in all of Orange County with over 300 rooms.

It’s at this point that Walt personally reaches out to Jack and says “I know, I know. This operational change at the Park is going to affect your bottom line at the Hotel. Don’t fret. I’m definitely going to make this worth your while.”

Extending the Monorail to the Disneyland Hotel

And Walt followed through on that promise. In June of 1961, he extended Disneyland’s monorail system by a full 2 & a half miles so that this futuristic transportation system rolled right up to the Disneyland Hotel’s front door. Which was a perk that no other hotel in Orange County had.

And just in case you’re wondering: The cost of extending Disneyland’s monorail system over to the Disneyland Hotel was $1.9 million (That’s $19 million in 2023 money).

Credit: Ultraswank.net

Magic Kingdom Golf Course at Disneyland Hotel

That very same year, Walt had some of his staff artists design a miniature golf course that could then be built on the grounds of the Disneyland Hotel. This kid-friendly area (called the Magic Kingdom Golf Course) featured elaborately themed holes with recreations of attractions that could be found right next door at Disneyland Park.

  • Hole No. Three was Sleeping Beauty Castle
  • Hole No. Five was Matterhorn Mountain

Other holes featured recreations of popular Disneyland attractions of the 1960s. Among them the TWA Moonliner, the Submarine Voyage, the Painted Desert from Frontierland (this is the area Guests traveled through when they experienced Disneyland”s “Mine Train thru Nature’s Wonderland” attraction), Tom Sawyer Island, the Fort in Frontierland, not to mention Skull Rock as well as Monstro the Whale from Disneyland’s Fantasyland.

This area was specially illuminated for night-time play. Which meant that the Magic Kingdom Golf Course at the Disneyland Hotel could operate from 10 a.m. in the morning ‘til 10 p.m. a night seven days a week.

Additional Disneyland Hotel Expansion and Offerings

It’s worth noting here that – from the moment the monorail was connected to The Disneyland Hotel – that hotel achieved 100% occupancy. Which is why – even after Disneyland Park switched to a 5-day-a-week operating schedule during the off-season – Disneyland Hotel launched into an aggressive expansion plan. With its 11 story-tall Sierra Tower breaking ground in 1961 (it opened the following year in September of 1962). Not to mention adding all sort of restaurants & shops to the area surrounding that hotel’s Olympic-sized pool.

All of which came in handy during those Mondays & Tuesdays during the Winter Months when people were staying at the Disneyland Hotel and had nowhere to go on those days when the Happiest Place on Earth was closed.

It’s worth noting here that the Disneyland Hotel (with Walt’s permission, by the way) on those days when Disneyland was closed would offer its Guests the opportunity to visit Knott’s Berry Farm as well as Universal Studios Hollywood. A Gray Line Bus would pull up in front of that hotel several times a day offering round-trip transportation to both of those Southern California attractions.

Likewise the Japanese Village and Deer Park over Buena Park. It was a different time. Back when Disney prided itself in being a good neighbor. Back when the Mouse didn’t have to have ALL of the money when it came to the Southern California tourism market. When there was plenty to go around for everyone.

Walley World Shooting Locations

And back to “National Lampoon’s Vacation”… The Walley World stuff was all shot at two Southern California attractions.

The scenes set in the parking lot at Walley World as well as at the entrance of that fictious theme park were shot in the parking lot & entrance of Santa Anita Race Track (Horse Track).

Any scene that’s supposed to be inside of the actual Walley World theme park was shot at Six Flags Magic Mountain.

Jim Hill

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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