General

A rather Spacey Monday Mélange

Ever wonder what Ray Bradbury’s original concept for Epcot’s “Spaceship Earth” attraction would have been like? Jim Hill shares a few highlights from the author’s own script for this Future World ride.

Published

20 years ago

March 6, 2005

Jim Hill

Every decent Disney dweeb out there can probably tell you the story. About how — when WED was struggling to get a handle on how to do “Spaceship Earth” (I.E. The thesis attraction for EPCOT Center) — the Imagineers finally turned to Ray Bradbury. The author of such beloved books at “Dandelion Wine,” “The Illustrated Man” and “Something Wicked This Way Comes.” And it was Ray who finally broke the back of all this attraction’s story problems.

You see, Ray (Like the Old Mousetro himself, Walt Disney) had the ability to dream big. To take a far-reaching concept like:

“Man and his Spaceship Earth”

Theme Show
Epcot Center Future World

Concept by Ray Bradbury
July 22, 1977

And then whittle it down to workable size. Using his gift of language to paint a picture that was so vivid, so vibrant … After reading this author’s concept for Epcot’s signature attraction, you’d want to immediately fly down to Orlando and go ride this thing right now!

Mind you, the version of “Spaceship Earth” that Bradbury wanted to build didn’t actually get built. Why for? Because WED wasn’t working with an infinite budget. And some of the ideas that Ray proposed for this Future World show would have really cost big bucks. Not to mention being somewhat impractical.

What am I talking about? Here, take a gander at Act One of “Man and his Spaceship Earth.” What Ray liked to call the attraction’s “Descent into the Past.”

As the audience enters the Domed Theater, vague faces float in and out of mists and vapors, coming clear then dissolving into others.

We hear the voices of KENNEDY dedicating us to SPACE TRAVEL. MARTIN LUTHER KING speaking of his dream. TRUMAN giving them Hell. ROOSEVELT speaking of the Day that will live in infamy …

Mingled with other voices, traveling us slowly back in time, we hear:

CHURCHILL speaking of Blood, Sweat and Tears.
HITLER shouting to his mobs.
MAHATMA GHANDI — CHARLES LINDBERG —
WOODROW WILSON — TEDDY ROOSEVELT —

Then shifting from real voices, swiftly we move back to hear the simulated words of:

QUEEN VICTORIA
LINCOLN
NAPOLEON being crowned Emperor
COLUMBUS telling his sailors to “Sail on …”
The crowds crying HAIL CAESAR!

More swiftly and more swiftly, names, sounds, bells, impulses of light, as suns and moons glide over, stars wheel.

The voices and sounds are multitudinous as if made of all the reverberations and thunders of the past. Gradually, all the voices of time and history blend into a single voice, like a wave on the shore. It is the voice of UNIVERSAL MAN — asking us to speculate on our past.

VOICE:

What are we?
Where did we come from and where go?
What is our past that lies beneath us like the dust?

Let us sink into the past, that dust, to find —
Ourselves!
Let us bury ourselves like the Five Billion Year Locust
and then burst forth with wings –
to plan tomorrow’s noon!

Now! Suns reverse! All moons, rephase!

As they listen to Universal Man speak, the audience becomes involved in a physical experience that seems to sink them into layers of the past.

The cities begin to unbuild themselves and we see in these sculpted pieces of antiquity the historical remnants of man through the ages.

VOICE:

We are all of Mankind that ever existed.
All of Time that ever was.
All of the Dreams and Myths that fill the heavens.
All of the Dust from which we are formed.

The Rhodes Colossus dismantles itself. The Roman Forum, with its pillars, falls, stone by stone. We see the Sphinx return to the dust from which it came. We glide through layers of Angkor-Vat, see Incan sculptures and Mayan rocks, chisled with blunt suns, uncarve themselves, until at last the ancient caves surround us.

The first leg of our journey terminates at the beginning of time. We sit in darkness.

Isn’t that some amazing writing? I just love how even Bradbury’s prose has this element of poetry to it.

But — the same time — you can see why the Imagineers used just Ray’s basic premise here as their leaping-off point. I mean, can you imagine trying to physically duplicate what Bradbury wrote here? What ride system would ever allow you to have “ … a physical experience that seems to sink (WDW visitors) into layers of the past.”

That was the other problem with Ray’s take on “Man and his Spaceship Earth.” The way he saw this EPCOT attraction playing out:

The audience will, of course, load in the Present.
They will then descend into the Past.
They will move along into prehistoric, ancient, medieval, and then modern times.
And in the finale, they will be summoned, called, raised up beyond into the Future.

You understand the problem, right? Were the Imagineers to have followed Bradbury’s script to the letter, that would have meant digging this rather large hole under Spaceship Earth to create a space where all of the show’s sequences that were set in the past could be staged. And — given Central Florida’s high water table — that just wasn’t going to happen.

And yet … I can’t help but think how much more emotionally moving “Spaceship Earth” would have been if the Wizards of WED had actually found a way to duplicate that sensation. That — as you went to enter the attraction’s scenes that were set in the Future — you physically rose up in the show building. Ascending to a better time, a better place.

Mind you, I’d love to put all of Bradbury’s elegant script for “Man and his Spaceship Earth” up on the Web. But — to be honest — that wouldn’t be fair to Ray. This concept is his property, not mine.

More to the point, I have concerns that — were I to put this entire treatment up on the Internet — that Disney’s legal department would immediately descend upon me and take away my house.

But — that said — how’s about we press our luck a just bit further? I’ve already shown you all of Act I. So how’s about I let you read Act II, “Journey Out of the Past” ?

As you’ll recall, as Act I ended, we were sitting in darkness. After a moment, we again hear the Voice of Universal Man:

VOICE:

Where are we now?
In the time before all Time.
In the night that is endless night.
In the unlit waiting Dawn.
Where vast things stir and breath.

Out of the blackness comes an explosion of color, light and sound. The Great Andromeda Nebula spirals by, tossing out new suns and planets. The Horsehead Nebula spins up. The Orion Nebula goes over and around, in heartbeats of Universal push and shove.

And as we move we see the fireball comet nearest us cool down into a sphere and form before our eyes. Its fires fill our vision. It is … EARTH!

The seas pull back and the walls of Earth rear up. Shadows form and move along the walls, and suddenly become — the DINOSAURS. We move now in a parade of beasts, on left and right, led by a flight of Pterodactyls overhead. These, with other flying reptiles, surge toward the blind future. Everywhere, the beasts who shared the Earth long before man, move on the long march into time.

The dinosaurs fall … Great tonnages of nightmare flesh knock together … concussions of vapor, water, fire, from which rise shadows, shapes, simian evolutions. Half-dreamed-on preconcepts of ape and man. No sooner seen, they run to hide in grass — in trees — in caves.

Isn’t this just terrific writing? Not the usual predestrian crud that you find here at JHM. Bradbury’s an absolute master when it comes to working with words. He just paints these pictures with his prose that really stoke the fires of your imagination.

That’s actually why I’m putting these excerpts up on JHM. For almost 30 years now, Ray Bradbury’s “Man and his Spaceship Earth” concept — with all its beautiful writing — has been locked away in a drawer at Walt Disney Imagineering. And writing this good isn’t meant to be locked away. It should be shared with the public.

Which is why I’m hoping that — by calling attention to this particular piece of material — that some enterprising soul will think to fold this intriguing item into the very next Ray Bradbury anthology. So that it won’t be just the occassional Imagineer who stumbles upon the right file drawer who then gets to savour the “Man and his Spaceship Earth” concept paper.

Still hungry for more? Okay. Just one more little quick taste of the attraction’s Act III, “Man — His Struggle to Survive Begins.”

A flash of lightning! A mighty roll of thunder! A great volcanic eruption! In the fiery light we see revealed a half-naked ape/man … approaching a tree set afire by the flowing lava. Cautiously he touches a burning branch — holds it high with awe and surprise — carries it off into the black darkness of night.

Man, that’s good writing.

Anyway … If you’re now feeling somewhat more enlightened & informed than you were at the start of this dreary Monday morning … Well, don’t thank me. Thank Ray Bradbury. Arguably one of America’s greatest living authors.

Here’s hoping that someday soon that it’s not just fat bearded Disney dweebs with very generous friends who get to read the complete concept for Ray’s version of “Man and his Spaceship Earth.” But — rather — it’s everyone who gets a chance to savour this extremely poetic & optimistic take on the history of man.

Your thoughts?

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

9 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

10 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

10 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015