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Adam Shell & Nicholas Kraft traveled from Disneyland to Detroit “Pursuing Happiness”

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Pursuing happiness. that’s a universal quest for people
around the United 
States and around the world. Who doesn’t want to live a
meaningful, happy life? 
But what exactly is happiness?

Documentary filmmaker Adam Shell and producer Nicholas Kraft
decided to investigate the subject a short time after Shell completed
an earlier documentary, 
“Finding Kraftland,” that featured Nicolas Kraft and his
father, Richard Kraft, a 
major globetrotting Disney collector, music fan and pop
culture enthusiast.

“Pursuing Happiness” will be screened at 5 p.m. Saturday, May 2, at The Delta King as part of the Sacramento Film Festival. Tickets for
this “ultimate feel good” 
documentary can be purchased at www.SacramentoFilmFestival.com.


The following is a Q&A session with the filmmakers:

Tell me a bit about your friendship. Did it start with “Finding
Kraftland” or before? What did you learn doing that project that helped you on “Pursuing
Happiness”?

Shell: Nicholas’ father asked me to edit and co-direct the
most overproduced home movie of all time, ‘Finding Kraftland,

despite only
being an acquaintance of his. You don’t spend months going through someone’s home
videos and interviewing all their friends without becoming a close friend
yourself and, ever since, I’ve been very close with both Richard and Nicholas.

What made you interested in tackling the topic of happiness?


Shell: In part, it grew out of touring Finding Kraftland at
festivals: time and again people would tell me that Richard’s lust for life attitude
inspired them 
to bring more joy into their own lives. That planted a seed
for me.

The real inspiration though came from being fed up with the
onslaught of bad news that dominates the media. It seemed everything was
sensationalized tragedy and that constant focus on what was
wrong in our 
world had a tangible effect on my life – the conversations I
was having, the 
attitude of those around me, it was all so negative.

Kraft: For me, there is nothing more interesting in the
world than people – why are we the way we are? When Adam asked me to help him
with this 
kooky idea of making a documentary about happiness, it
sounded like an 
amazing opportunity to learn more about people in a truly
unique way.


Disney Legend Richard Sherman

Tell me about your interview with Disney Legend Richard
Sherman
.

Kraft: What an honor. We should have called off our search
for the happiest people in America
after spending the day with Richard – the search was 
over, we found him!

Shell: As a musician myself, I wanted to know how it was
possible for someone to make a career out of writing truly happy songs. We
have this 
trope in our culture of the “tortured artist” and The
Sherman Brothers, who 
have written some of the most recognizable, beloved, and
fantastic songs 
in American history are anything but that. And he admitted
that writing 
happy songs isn’t easy, “writing a really originally happy
tune … you’ve 
gotta dig for that.” I think that’s a great metaphor for
happiness itself; it’s 
so easy to go to the dark side and give in to negativity,
but to lead a happy 
life … you’ve gotta dig for that.

Did Richard Sherman discuss Walt or Disneyland
being the “Happiest Place
on Earth”?


Kraft: You can’t make a documentary about happiness in America
without talking about Disneyland – especially
when someone from the Kraft family 
is involved in the making of the film. Richard Sherman
described Walt as a 
“purveyor of joy” and one of the things we ended up
discussing with him 
was the power of giving. You think you’re going to interview
this Disney 
Legend about his music – and we did – but the real heart of
Richard 
Sherman, and Walt of course, is that these men derive so
much pleasure 
from doing things for others.

In Walt’s case, that was providing a place for families to
have a truly memorable experience together. For The Sherman Brothers,
that was 
giving the gift of song – fun, uplifting, sweet songs – to
millions of people.

Shell: I have two young children and there is nothing more
fun than spending a day at Disneyland with
them. There is this unrivaled joy they 
experience that is truly infectious. It’s the same joy I
experienced as a kid 
and so many millions of people experience every year. Truth
be told, I still 
experience it even when I visit without my kids. Is it the
rides? Sure. Is it 
the music and the costumes and the thrill of meeting Mickey (or
Elsa if 
you’re my daughter)? Absolutely. But the real heart of it is
that shared 
experience we’re having together. The “stuff” isn’t so much
making us 
happy as it is providing an environment that’s conducive to
laughing, 
having fun, and sharing that together.


There is something else about Disneyland
that I only really began to appreciate after making this film. Disneyland
takes extreme care in 
ensuring that everything is always presented with perfection:
The perfectly 
manicured flowers to the smiles and gracious attitudes of
all the cast 
members. They make the effort to present themselves in the
light they 
want to be remembered for and, as a result, that is the way
the world thinks 
of Disneyland. The metaphor for me as
it relates to happiness is that we all 
have the ability to present ourselves in whatever way we
choose and in that 
presentation that is our experience. If we take the time and
effort to put on 
a smile and show our very best to the world our experience
then will be just 
that.

We can’t all live in Disneyland – unless
of course you’re Nicholas’ father – but we can all create environments that are conducive to
connecting with 
one another and being happy.

Tell me a bit about your own relationship with happiness and
how you personally define it?

Shell: Happiness and I have an open relationship – sometimes
we’re together, and sometimes I’m sad. Sometimes I’m hurt. Sometimes
my kids 
are kicking and screaming and driving me up a wall and I
just want to run 
away to a tropical island.


You’ll see in the film that we define happiness in two parts
– Hedonic and Eudaimonic. The first is what we typically think of as
happiness – a smile, a 
great meal, laughing with friends. The latter is about
fulfillment and 
purpose. So for me, I define it as a healthy balance of both
of these things: 
I want a life filled with Hedonic pleasures but I also know
that the richness 
of life – the ups and the downs – is what really makes it
all worth living. We 
explore this in great depth in the film.

How challenging was it to edit the several hours of material
you gathered into the final 80 minute film? Are you satisfied with “Pursuing
Happiness” and the 
response you’ve received from those who’ve seen it? How have
the people you 
interviewed responded to the film?

Shell: When you spend nearly two years gathering hundreds of
hours of footage from more than 400 people and no real road map of
what it all 
means, the most difficult task is making sense of it all. For
me this is one of 
the best parts of documentary filmmaking. Unlike a narrative
film where a 
writer spends a significant amount of time writing and
rewriting a 
screenplay to flesh out characters and story before a single
frame of 
footage is shot, the thing I like best about documentaries
is working the 
exact opposite way. It’s kind of like doing an intense
research paper in 
school. You go out and gather a ton of information on a
subject or a person 
and then have to weave it all together in a way that make
sense and is 
entertaining. And, usually you become an expert on the
subject in the 
process. I never had much of an agenda with what the final
product was 
going to look like, but I always knew what I wanted it to
achieve and what I 
wanted audiences to feel when watching the film. I always
say, if you have 
to, make them laugh and cry and then you can make them think
… I think 
we achieved that. One of the best comments we have received
during a 
Q&A was when a woman said “this should be required
viewing to be a 
human.” I think that says it all.


As for the people in the film, the ones who have seen it
have responded very favorably. John Lawson, one of our interviewees who
lost both of his 
arms, has seen it twice now. When we interviewed him he was
joking 
around with me about how challenging difficult it was going
to be to make 
something interesting out of this project and, kind of
sarcastically, he 
wished me luck. After the first screening, he said he just
didn’t believe how 
we were able to make such an impactful film and he was
honored to be a 
part of it.

Kraft: One of the greatest lessons for me in making this
film was to just go for it. We set out with a very loose concept and no story
whatsoever. We 
had cameras, hundreds of referrals, and a great passion for
making this 
film. Of course, that means that we faced some great
challenges after 
collecting 300 hours of footage – how did any of this fit
together?

Editing the film was like putting together a puzzle with an
infinite number of pieces and no picture on the front of the box to go off of. What
was helpful 
was giving ourselves some limits: it has to be under 90
minutes, it needs to 
include these people and these concepts, and well that’s it,
really, ha! It 
was a tough process to have to leave out so much great
footage, but our 
goal for the film was to create a platform for discussion
and the film is only 
one aspect. We hope to release as much of the additional
footage as 
possible – perhaps online – because it deserves to be seen.


The film includes several experts – from doctors to
theologians – talking about happiness and it seems like happiness is defined by two well
represented 
groups in the film. Tell me a bit more about both groups: The
people who choose to live 
in the present as much as possible because of illness,
tragedy or it’s their nature 
and those who derive their pleasure from making others happy
as a key part of 
their lives.

Shell: I kinda co-opted the phrase “aha moment,” but it’s
what I we strove to create in this film: a combination of technical
information provided by 
experts in various fields and then real life examples from
everyday people. 
I think it’s very easy to learn something, but to actually
have it make an 
impact and inspire change, it needs to strike an emotional
chord and that is 
what the everyday people provide.

For example: if I explain to you that being selfless is one
of the best ways to be happier, you probably understand that – chances are
you already 
know that! But if you then seen a beautiful example of
selflessness that 
really resonates with you, you’re more likely – I think – to
remember that 
down the line and implement it into your own life. It is
very similar to how 
we imitate people we admire. We might not do it consciously,
but we do it.


Tell me a little more about Gloria Borges’ story and her
cancer fight. Was there a friendship that preceded the filming? What made her story
so intriguing and 
how did she inspire you as filmmakers?

Shell: I knew Gloria prior to making the film because she
worked with my wife. She was my referral for the happiest person I know,
and anyone who 
sees the film will immediately understand why. Nicholas has
the more 
interesting story as it relates to Gloria, and his
experience for me was proof 
that this project was going to work.

Kraft: Gloria was one of the first people we interviewed,
and while I was certainly excited by the project, I wasn’t gung-ho, all in, 100%
sold until we 
met Gloria. That was a life-changing experience for me,
which is crazy 
because we only spent two hours with her. But that’s all it
took; two hours 
hanging at her house and I was forever changed – she was all
I could talk 
about for weeks on end, “I met the most amazing, inspiring,
and awesome 
person the other day and I have to tell you about her.”

Shell: That was it. When we walked out of her house I was
kind of amazed at Nicholas’ reaction. For me it was just another day
hanging out with 
someone I had known for years and I wasn’t that phased by it.
But seeing 
how someone new reacted to her, that is when I knew that if
we could find 
more people like Gloria and share their stories, this film
would hopefully 
have a profound impact on audiences and really ignite
conversations.


Tell me a little more about Kyle Bartell and Charles Molnar
and their “Sit On It, Detroit” bus
benches/public library efforts.

Shell: Whenever we told people we were going to Detroit
for the film, they all said the same thing: good luck! Again, the news is so
negative – all you 
hear about Detroit is that it’s bankrupt, corrupt, and in
shambles. But of 
course, all of the time we spent there was with incredibly
happy, 
empowered, and helpful people, such as the Sit On It Detroit
guys.

Kraft: What I love about them is that if I were to tell you
I met two people who had taken it upon themselves to rebuild the city of
Detroit one bus 
stop at a time, you would never in a million years guess
that they were 
those two characters.

Why do you think the U.S.
is ranked 23rd in the U.N. happiness report? Is there growing pessimism because of political gridlock, the
growing 
income inequality gap, self-imposed or societal pressures – the
mild to 
moderate day-to-day stress that keeps people “in the red
zone”? Were you 
surprised by the evidence that after $75,000 in annual
income, there’s little 
correlation between wealth and happiness? (Money may not buy
happiness, but 
for people living near poverty, more money can make a
difference in their lives 
and their loved ones).


Shell: I’ll answer the second question and leave the first
for Nicholas. No, I was not surprised by the correlation (or lack thereof) between
income and 
happiness. Does anyone truly believe money can buy
happiness? I don’t 
think so, and yet we can’t get out of the habit of acting as
though it can. 
What I was surprised to learn though is that you can use
your money to 
“buy” happiness; we just go about it completely backwards.

Kraft: Why do we rank 23rd? That’s a tough question because
you have to 
take into account the ways in which they measure happiness
as well as ask 
yourself how effective it is to measure something subjective
across such 
varied cultures. But I can tell you something that’s
certainly not helping us 
in the rankings: we are the most individualistic country on
the planet. In the 
galaxy. In the universe!!! Doesn’t it sounds more intense
when I say “in the 
universe!!!”?

There are plenty of positive things about being
individualistic, but much like income, at a certain point, being more self-centered doesn’t
make us 
any happier and – I think – actually starts to impede on our
well being.

What is it that you hope viewers take away from seeing “Pursuing
Happiness”?


Shell: Pursuing Happiness, to me, is a conversation starter.
What people take away depends completely on who they are and I believe
there’s a lot in 
this film for everyone. But my greatest hope is that this
film starts 
meaningful conversations about fulfillment and happiness. To
get back to 
your first question: we spend a lot of time discussing what’s
wrong in the 
world or being distracted by the latest celebrity gossip. I
hope this inspires 
some people to start different conversations at dinner with
their families.

Kraft: Ditto!

For more information about the film and additional film
festival screenings, visit: http://www.pursuinghappiness.com/aboutthefilm.html 

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History

The Super Bowl & Disney: The Untold Story Behind ‘I’m Going to Disneyland!’

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One of the highlights of the Super Bowl isn’t just the game itself—it’s the moment when the winning quarterback turns to the camera and exclaims, “I’m going to Disney World!” This now-iconic phrase has been a staple of post-game celebrations for decades. But where did this tradition begin? Surprisingly, it didn’t originate in a stadium but at a dinner table in 1987, in a conversation involving Michael Eisner, George Lucas, and aviation pioneers Dick Rutan and Jeana Yeager.

Credit: AP News

The Unlikely Beginning of a Marketing Sensation

To understand the origins of this campaign, we have to go back to December 1986, when the Rutan Voyager became the first aircraft to fly around the world without stopping or refueling. Pilots Dick Rutan and Jeana Yeager completed the nine-day journey on December 23, 1986, flying over 26,000 miles before landing at Edwards Air Force Base. Their historic achievement earned them national recognition, and just days later, President Ronald Reagan awarded them the Presidential Citizen Medal at the White House.

Meanwhile, Disney was gearing up for the grand opening of Star Tours at Disneyland, set for January 12, 1987. Following its usual playbook of associating major theme park attractions with real-world pioneers, Disney’s PR team invited astronauts Gordon Cooper and Deke Slayton to the launch event. But in a twist, they also invited Rutan and Yeager, who were still making headlines.

Credit: Endor Express

A Dinner Conversation That Changed Advertising Forever

After the Star Tours opening ceremony, a private dinner was held with Disney CEO Michael Eisner, George Lucas, and Eisner’s wife, Jane. During the meal, Eisner asked Rutan and Yeager, “You just made history. You traveled non-stop around the planet on a plane without ever refueling. How are you ever going to top that, career-wise? What are you two gonna do next?”

Without hesitation, Jeana Yeager replied, “Well, after being cramped inside that tiny plane for nine days, I’m just glad to be anywhere else. And even though you folks were nice enough to fly us here, invite us to your party… Well, as soon as we finish eating, I’m gonna go over to the Park and ride some rides. I’m going to Disneyland.”

Jane Eisner immediately recognized the power of Yeager’s statement. On the car ride home, she turned to Michael and said, “That’s a great slogan. I think you should use that to promote the theme parks.” Like many husbands, Michael initially dismissed the idea, but Jane persisted. Eventually, Eisner relented and pitched it to his team.

The Super Bowl Connection

With Super Bowl XXI just around the corner, Disney’s PR team saw an opportunity. The game was set for January 25, 1987, at the Rose Bowl in Pasadena—just miles from Disney Studios. What if they convinced the winning quarterback to say, “I’m going to Disneyland” live on-air?

Disney quickly struck a deal with both quarterbacks—Phil Simms of the New York Giants and John Elway of the Denver Broncos—offering each $75,000 to deliver the line if their team won. Simms led the Giants to victory, making history as the first athlete to say, “I’m going to Disney World!” on national television.

A Marketing Triumph

That year’s Super Bowl had the second-highest viewership in television history, with 87 million people watching Simms say the famous line. The next day, Disney turned the clip into a national commercial, cementing the phrase as a marketing goldmine.

Since then, “I’m going to Disneyland” (or Disney World, depending on the commercial) has been a staple of championship celebrations, spanning the NFL, NBA, and even the Olympics. What started as a casual remark at dinner became one of the most successful advertising campaigns in history.

A Lasting Legacy

Jane Eisner’s keen instinct and Disney’s ability to act quickly on a great idea created a tradition that continues to captivate audiences. The “I’m going to Disneyland” campaign remains a testament to the power of spontaneous inspiration and smart marketing, proving that sometimes, the best ideas come from the most unexpected places.

To learn more about Disney’s ties to the world of sports, check out I Want That Too: A Disney History and Consumer Product Podcast.

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Television & Shows

How the Creators of South Park Tricked A-List Celebrities to Roast Universal – “Your Studio & You”

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Your Studio and You

Universal Studios has a rich and storied history, but few moments are as peculiar—and as hilariously cutting—as the creation of Your Studio & You. This 14-minute parody film, commissioned in 1995 to celebrate Universal’s new ownership under Seagram’s, brings together an all-star cast, biting humor, and the unmistakable comedic fingerprints of Matt Stone and Trey Parker.

Long before South Park debuted on Comedy Central in 1997, Stone and Parker were already carving out a reputation for their irreverent style, and Your Studio & You perfectly encapsulates their knack for turning even the most corporate project into something delightfully subversive.

Matt Stone & Trey Parker Before South Park

Stone & Parker were already known out in Hollywood as funny guys. Thanks largely to “The Spirit of Christmas,” which was this video greeting card that they’d crafted for a Fox executive – who then distributed this infamously funny thing (which had Our Lord Jesus Christ & Santa Claus literally duking it out for the holiday affections of Cartman, Kenny, Stan & Kyle) to friends & family.

This was the early 1990s. No internet. Each copy of “The Spirit of Christmas” was made on VHS tape and then mailed. Went viral the old-fashioned way. It’s rumored that George Clooney made over 300 copies of “The Spirit of Christmas” and passed these VHS taps along to friends and family.

Things didn’t move as fast as they do today. “The Spirit of Christmas” still became a sensation out West.

Zucker Brothers

Matt & Trey also had other supporters in the entertainment industry. Among them David Zucker, who was one of the members of ZAZ (i.e., Zucker Abrahams Zucker), the talented trio that made “Airplane!” in 1980, “Top Secret!” in 1984 and the three “Naked Gun” movies.

  • The original “Naked Gun” in 1988
  • “Naked Gun 2 & 1/2 : The Smell of Fear” in 1991
  • and “Naked Gun 33 & a 1/3: The Final Insult” in 1994

All five of these parody films had been made for Paramount Pictures. But in the Late Winter / Early Spring of 1995, Universal had persuaded the Zucker Brothers to come over and set up shop in a bungalow on their lower lot. With the hope that – at some point further on down the line – David & his brother Jerry would start making funny films for Universal.

Zucker Brothers featured in "Your Studio and You"

And it’s during this same window of time (We’re now talking April of 1995) that news breaks that Seagrams (Yep, the adult beverage company. Who – at the time – was making an absolute fortune on the sales of wine coolers) was about to buy a majority stake in MCAUniversal. We’re talking control of 80% of that company’s stock. Which would effectively make Seagrams the new owners of Universal Studios.

Edgar Bronfman

And Edgar Bronfman – the owner of Seagrams – knew that Universal had had a tough time with its previous owners – which had been the Matsushita Electric Industrial Co. of Japan. Matsushita had bought MCA back in November of 1990 for $7.5 billion but had never really understood the entertainment industry.

This is why – after repeatedly butting heads with Lew Wasserman & Sidney Sheinberg (i.e., the heads of Universal Studios & the Universal theme park respectively) when it came to creative control of this company – Matsushita decided to wash it hands of the entire enterprise.  Agreeing to sell their holdings in MCA to Seagrams for $5.7 billion (effectively taking a nearly $2 billion loss on this investment).

Edgar M. Bronfman
Credit: NYTimes

And Bronfman … He knew that some bad feeling had developed between Hollywood’s creative community and the Japanese owners of Universal. The thinking was that executives at Matsushita Electric had just not gotten what it took to make movies & TV shows.

And Edgar? Right from the get-go, he wanted to show that Seagrams was NOT going to be Matsushita Electric Redux. Bronfman was looking for a way to send a clear message to Hollywood’s creative community that Universal’s new owners got it. That they were willing to work with Hollywood to make the best possible movies & TV shows at Universal.

And how did Edgar decide to get this message across? By making a funny movie.

Zucker Commissions Trey Parker for “Your Studio & You”

Mind you, Bronfman himself didn’t make this film. The owner of Seagrams reached out to David Zucker. Who – after initially agreeing to produce this introduction-to-Universal film – then farmed out the production of the actual project to Trey Parker. Who – just two days before shooting was supposed to star on the Universal Lot – persuaded Matt Stone to come help him on this project.

Which brings us to “Your Studio and You.” Which is a parody of an educational film from the 1950s, right down to being shot in black & white and featuring a very generic soundtrack.

Now what’s amazing about watching “Your Studio and You” today is that this 14-minute-long film features some of the biggest names working in Hollywood back in the mid-1990s. We’re talking about people like recent Golden Globe winner Demi Moore, Sylvester Stallone, Michael J. Fox and Angela Lansbury. Not to mention two of the most powerful men in all of Hollywood, Steven Spielberg & Jeffrey Katzenberg.

And what’s especially interesting about watch “Your Studio and You” is that – as you watch these performers go through their paces in this motion pictures (which – most of the time – involves doing some innocuous task while holding a Seagram’s wine cooler) – you often get the feeling that this star is not in on the gag.

So how did Matt & Trey get away with this? Simple. There was never actually a script for “Your Studio and You.”

Filming “Your Studio & You” at Universal Studios Hollywood

Mind you, David Zucker would always insist that there was. Especially when he’d phone up celebrities on the Universal Lot and say “Hey, I’m sending over a couple of college kids later today. They’re working with me on a new parody film. It’s something that we’re doing for the new owners of Universal. I need just a half hour of your time. We’re shooting something special for the party we’ll be holding when the Seagrams people first arrive at the Studio. Absolutely. You’ll definitely get an invite to that party. So can I count on you to help these kids out? Beautiful. They’ll be over there later this morning.”

And then Matt & Trey would show up and say “… Dang, Miss Lansbury. We’re sorry. We must have left our copy of the ‘Your Studio and You’ script back in our office. Which is clear on the other side of the Lot. So – rather than waste your time – why don’t we do this instead? Follow us over to the Psycho House. Where we’re then going to get footage of you painting the front porch on Mother Bates’ house while you say ‘Gosh, with all of the wonderful improvements going on around here, everyone is going to want to work at Universal.’ Oh, and can we also get you to wear this button on the front of your blazer which reads ‘Universal is A-OK’ ? “

And over & over again, the biggest names who were working for Universal at that time took part in the production of “Your Studio & You” because A) David Zucker vouched for Matt Stone & Trey Parker and B) this was something that was being made for the new owners of Universal. And it’s just natural to want to get in good with the new boss.

Steven Spielberg, Jeffery Katzenberg, and Jaws

But no one at Universal anticipated that “Your Studio & You” would wind up being as sharp edged as the finished product turned out to be. I mean, it’s one thing to bite the hand that feeds you. But “Your Studio & You” ? It doesn’t just bite the hand. It takes the hand off at the wrist.

It’s a brutally funny film. With one of the meanest moments reserved for Steven Spielberg, who plays a driver on the Universal Studio Tour who’s trying to persuade a tram full of bored tourists (one of whom is played by Jeffery Katzenberg) that the “Shark Attack” scene down by Jaws Lagoon is actually exciting.

Spielberg actually says lines like “ … Whoa, whoa. What is going on here? Ladies and gentlemen, this never happens. Look out! It’s a shark! Whoa, that is one big scary shark.”


Mind you, as footage of this mechanical shark repeatedly coming up out of the water is shown, “Your Studio & You” ‘s off-screen narrator (who is voiced by Trey Parker says):

“But what about tomorrow? If we don’t keep in step with the times, things that were once neat and thrilling can become old and stupid.”

“Your Studio & You” Reception

This film was supposed to be shown only once at the welcoming party for Seagrams executive on the Universal Lot. And I’m told that – when Edgar Bronfman saw the finished product at that party – he reportedly turned to David Zucker and said “ … That’s a little more mean-spirited that I think it needed to be.”

And with that, “Your Studio & You” was supposed to go back into the Universal vault, never to be seen again. But when “South Park” debuted on Comedy Central in August of 1997 and then became a sensation for its biting humor, there was suddenly a lot of interest in what else Matt & Trey had done. Which is why copies of “The Spirit of Christmas” began to circulate. And – over time – copies of “Your Studio & You” began to bubble up.

Which – as Stone & Parker have repeatedly pointed out – was just not supposed to happen. Largely because none of the celebrities who appeared in “Your Studio & You” had never signed releases for Universal’s legal department. Because – again – this was for a movie that was only going to be shown once at a private function on the Universal Lot.

Matt mentioned (as part of a career retrospective at the Paley Center in LA back in 2000) that “ … they wouldn’t even let us keep a copy of the finished film.”

It’s a funny but brutal movie. And worth taking a look at today especially if you’re a theme park history buff because it shows Universal Studios Hollywood’s “Jurassic Park: The Ride” still under construction on the Lower Lot. That attraction would finally open to the public in June of 1996.

“Your Studio & You” became a lot easier to see after Seagrams sold off its share of Universal to Vivendi in 2000. Copies began propagating online after that. Though Universal Legal will periodically make an effort to get the latest copy of “Your Studio & You” taken off the Internet because – again – none of the performers who appear on camera ever signed the proper releases and/or were paid for their efforts.

That said, if you’re up for a mean-spirited laugh, “Your Studio & You” is well worth 14 minutes of your time. That said, once you watch this thing, be warned:

  1. You’re immediately going to be thirsty for a Seagram’s wine cooler
  2. And you’re going to have a sudden desire to go out & buy a porcelain deer.
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Theme Parks & Themed Entertainment

Disney and Macy’s 90-Year Thanksgiving Day Parade Partnership: From Mickey’s First Balloon to Minnie’s Big Debut

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Now, folks, if you’re like me, Thanksgiving just wouldn’t be the same without a coffee, a cozy seat, and Macy’s Thanksgiving Day Parade on the TV. And if you’re really like me, you’re watching for one thing: Disney balloons floating down 34th Street. Ever wondered how Mickey, Donald, and soon Minnie Mouse found their way into this beloved New York tradition? Well, grab your popcorn because we’re diving into nearly 90 years of Disney’s partnership with Macy’s.

The Very First Parade and the Early Days of Balloons

The Macy’s Thanksgiving Day Parade goes way back to 1924, but if you can believe it, balloons weren’t part of the festivities until 1927. That first lineup included Felix the Cat, a dragon, and a toy soldier, all towering above the crowds. Back then, Macy’s had a pretty wild idea to end the parade: they would let the balloons drift off into the sky, free as birds. But this wasn’t just Macy’s feeling generous. Each balloon had a message attached, offering a $100 reward (about $1,800 in today’s dollars) for anyone who returned it to the flagship store on 34th Street.

And here’s where it gets interesting. This tradition carried on for a few years, right up until 1932, when Felix the Cat almost took down a plane flying over New York City! Imagine that—you’re flying into LaGuardia, and suddenly, there’s a 60-foot balloon drifting toward your wing. Needless to say, that was the end of Macy’s “fly away” stunt, and from then on, the balloons have stayed firmly grounded after the parade ends.

1934: Mickey Mouse Floats In, and Disney Joins the Parade

It was 1934 when Mickey Mouse finally made his grand debut in the Macy’s parade. Rumor has it Walt Disney himself collaborated with Macy’s on the design, and by today’s standards, that first Mickey balloon was a bit of a rough cut. This early Mickey had a hotdog-shaped body, and those oversized ears gave him a slightly lopsided look. But no one seemed to mind. Mickey was there, larger than life, floating down the streets of New York, and the crowd loved him.

Mickey wasn’t alone that year. He was joined by Pluto, Horace Horsecollar, and even the Big Bad Wolf and Practical Pig from The Three Little Pigs, making it a full Disney lineup for the first time. Back then, Disney wasn’t yet the entertainment powerhouse we know today, so for Walt, getting these characters in the parade meant making a deal. Macy’s required its star logo to be featured on each Disney balloon—a small concession that set the stage for Disney’s long-standing presence in the parade.

Duck Joins and Towers Over Mickey

A year later, in 1935, Macy’s introduced Donald Duck to the lineup, and here’s where things got interesting. Mickey may have been the first Disney character to float through the parade, but Donald made a huge splash—literally. His balloon was an enormous 60 feet tall and 65 feet long, towering over Mickey’s 40-foot frame. Donald quickly became a fan favorite, appearing in the lineup for several years before being retired.

Fast-forward a few decades, and Donald was back for a special appearance in 1984 to celebrate his 50th birthday. Macy’s dug the balloon out of storage, re-inflated it, and sent Donald down 34th Street once again, bringing a bit of nostalgia to the holiday crowd.

A Somber Parade in 2001

Now, one of my most memorable trips to the parade was in 2001, just weeks after the 9/11 attacks. Nancy and I, along with our friends, headed down to New York, and the mood was something I’ll never forget. We watched the start of the parade from Central Park West, but before that, we went to the Museum of Natural History the night before to see the balloons being inflated. They were covered in massive cargo nets, with sandbags holding them down. It’s surreal to see these enormous balloons anchored down before they’re set free.

That year, security was intense, with police lining the streets, and then-Mayor Rudy Giuliani rode on the Big Apple float to roaring applause. People cheered his name, waving and shouting as he passed. It felt like the entire city had turned out to show their resilience. Even amidst all the heightened security and tension, seeing those balloons—brought a bit of joy back to the city.

Balloon Prep: From New Jersey’s MetLife Stadium to California’s D23 Expo

Each year before the parade, Macy’s holds a rehearsal event known as Balloon Fest at MetLife Stadium in New Jersey. This is where handlers get their first crack at guiding the balloons, practicing with their parade masters, and learning the ropes—literally. It’s an entire production unto itself, with dozens of people rehearsing to make sure these enormous inflatables glide smoothly down the streets of New York on parade day.

In 2015, Macy’s took the balloon show on the road, bringing their Buzz Lightyear balloon out to California for the D23 Expo. I was lucky enough to be there, and watching Buzz get inflated piece by piece in the Anaheim Convention Center parking lot was something to behold. Each section was filled with helium in stages, and when they got around to Buzz’s lower half, well, there were more than a few gas-related jokes from the crowd.

These balloons seem to have a personality all their own, and seeing one like Buzz come to life up close—even outside of New York—had all the excitement and anticipation of the real deal.

Mickey’s Comeback as a Bandleader and Sailor Mickey

After a long hiatus, Mickey Mouse made his return to the Macy’s parade in 2000, this time sporting a new bandleader outfit. Nine years later, in 2009, Sailor Mickey joined the lineup, promoting Disney Cruise Line with a nautical twist. Over the past two decades, Disney has continued to enchant parade-goers with characters like Buzz Lightyear in 2008 and Olaf from Frozen in 2017. These balloons keep Disney’s iconic characters front and center, drawing in both longtime fans and new viewers.

But ever wonder what happens to the balloons after they reach the end of 34th Street? They don’t just disappear. Each balloon is carefully deflated, rolled up like a massive piece of laundry, and packed into storage bins. From there, they’re carted back through the Lincoln Tunnel to Macy’s Parade Studio in New Jersey, where they await their next flight.

Macy’s Disney Celebration at Hollywood Studios

In 1992, Macy’s took the spirit of the parade down to Disney-MGM Studios in Orlando. After that year’s parade, several balloons—including Santa Goofy, Kermit the Frog, and Betty Boop—were transported to Hollywood Studios, re-inflated, and anchored along New York Street as part of a holiday display. Visitors could walk through this “Macy’s New York Christmas” setup and see the balloons up close, right in the middle of the park. While this display only ran for one season, it paved the way for the Osborne Family Spectacle of Dancing Lights, which became a holiday staple at the park for years to come.

Minnie Mouse’s Long-Awaited Debut in 2024

This year, Minnie Mouse will finally join the parade, making her long-overdue debut. Macy’s is rolling out the red carpet for Minnie’s arrival with special pop-up shops across the country, where fans can find exclusive Minnie ears, blown-glass ornaments, T-shirts, and more to celebrate her first appearance in the Thanksgiving Day Parade.

For those lucky enough to catch the parade this year, you’ll see Minnie take her first float down 34th Street, decked out in her iconic red bow and polka-dot dress. Macy’s and Disney are also unveiling a new Disney Cruise Line float honoring all eight ships, including the latest, the Disney Treasure.

As always, I’ll be watching from my favorite chair, coffee in hand, as Minnie makes her grand entrance. The 98th annual Macy’s Thanksgiving Day Parade airs live on NBC, and it’s a tradition you won’t want to miss—whether you’re on 34th Street or tuning in from home.

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