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Countdown to Disney “Frozen” : How one simple suggestion broke the ice on the “Snow Queen” ‘s decades-long story problems

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So how long has Walt Disney Animation Studios been trying to bring “The Snow Queen” to the big screen? Would you believe 70 years?

Concept painting for the aborted Hans Christian Andersen bio pic that Walt Disney andSamuel Goldwyn once considered collaborating on. Copyright DisneyEnterprises, Inc. All rights reserved

Yep. As far back as 1943 (Which was when Walt was in discussions with Samuel Goldwyn about their two studios possibly collaborating on a feature-length biography of Hans Christian Andersen. With Goldwyn handling the live-action portion of this proposed co-production, while Disney artists would have created animated segments that would have then brought some of Andersen’s best-loved stories & characters to life), Walt was already taking a long, hard look at the Snow Queen. Trying to find a way to turn this character — who, when she initially appears in this classic tale, is described as being …

… a woman, dressed in garments of white gauze, which looked like millions of starry snow-flakes linked together. She was fair and beautiful, but made of ice — shining and glittering ice. Still she was alive and her eyes sparkled like bright stars, but there was neither peace nor rest in their glance.

— into someone that you could actually build a movie around.

A stamp honoring the 200th anniversary of Hans Christian Andersen’s birth showsthe Snow Queen flying over Kay’s house, listening as this small boy makes hisill-considered boast.

Even back in the mid-1940s, Disney artists saw the obvious cinematic possibilities in this source material. But the Snow Queen herself (as written by Hans Christian Andersen, anyway) was somewhat problematic. Given that she was the character who had spirited Kay away from his parent’s home all because this poor young boy had once idly boasted that he’d ” … set the Snow Queen on the stove and then she’ll melt.” And then given that icy sorceress used her snowy magic to turn this formerly sweet kid into a self-centered brat who …

… was quite blue with cold, indeed almost black, but (Kay) did not feel it; for the Snow Queen had kissed away (his) icy shiverings, and his heart was already a lump of ice.

… it was always easy to cast the Snow Queen as the villain of the piece. Especially since it was Gerda (i.e., the little girl who lived next door to Kay) who was the obvious hero of this tale. Given that it was poor, good-hearted Gerda who faced all sorts of dangers, traveling hundreds of miles and battling harsh winds & freezing temperatures before she finally reached the Snow Queen’s ice palace. Where Gerda eventually saves Kay by weeping …

… hot tears, which fell on (Kay’s) breast and penetrated into his heart, (which then)  thawed the lump of ice (that had formed there).

Given that this fairytale — as Hans Christian Andersen had originally written it — didn’t feature any final showdown / confrontation between Gerda & the Snow Queen (When this brave little girl eventually enters the Snow Queen’s icy castle, the Snow Queen herself is nowhere to be seen. She is — in fact — thousands of miles away, having flown to ” … the black craters at the tops of the burning mountains, Etna and Vesuvius, as they are called. I shall make them look white, which will be good for them, and for the lemons and the grapes”), this story had kind of a flat ending. With Kay & Gerda journeying back to their childhood homes when they are then magically transformed into these grown-ups who are children at heart.

You get what I’m saying yet? The setting of the Snow Queen (i.e., the frozen north) is certainly cinematic. Likewise this story’s title character (i.e., a beautiful, mysterious stranger who can magically manipulate ice & snow). But as for the actual storyline of this particular fairytale, there just wasn’t enough real character conflict to build a full length film around.

Copyright Disney Enterprises, Inc. All rights reserved

Which isn’t to say that Disney didn’t keep trying to find ways to turn the Snow Queen into … Well, something that could entertain the public in some way. In the early 1970s, Disney Legend Marc Davis designed the Enchanted Snow Palace, an elaborate ride-thru attraction for Disneyland Park which was to have been built where the Fantasyland Theatre is currently located. This elegant, air-conditioned, Audio-Animatronic-filled extravaganza was to have climaxed as your ride vehicle rolled through the Snow Queen’s throne room. Where (as Marc envisioned this Hans Christian Anderson character, anyway) she was supposed to have looked like one of those showgirls that Erté designed gowns for the Ziegfeld Follies and/or George White’s Scandals back in the early 1920s.

But that project for Disneyland Park never really made it past the concept art phase. Meanwhile over at Walt Disney Animation Studios, artists and storymen there (especially as the second golden age of Disney animation was getting underway in the late 1980s) made repeated runs at this Hans Christian Andersen fairytale. Trying to find a way to crack the Snow Queen’s passive & problematic storyline and then turn it into something that you could actually build a feature-length film around.

You’d be amazed at some of the talented folks who tried to make the Snow Queen into a Disney movie and ultimately failed. Take — for example — Harvey Fierstein. Back when he was recording the voice of Yao for “Mulan ,” this Tony Award winner reportedly pitched Mouse House execs a version of this Hans Christian Andersen story that the Company ultimately took a pass on.

Glen Keane working on the character of Rapunzel for Disney’s”Tangled.” Copyright Disney Enterprises, Inc.All rights reserved

Likewise Glen Keane. Before this master animator turned his full attention to adapting the tale of Rapunzel for the big screen, Glen supposedly spent months exploring the cinematic possibilities of this frozen fairytale. But in the end, Keane just couldn’t find a way to turn the Snow Queen into the sort of fully realized character that could actually support a feature-length story. Not without severely departing from the fairytale that Hans Christian Andersen had originally written, that is.

Next add to this list  the Brizzi brothers, Dick Zondag, and Dave Goetz. They all made attempts to translate “The Snow Queen” to the big screen only to eventually meet with failure. And yet executives at Walt Disney Studios just refused to give up on this project. As James B. Stewart recounted in his great behind-the-scenes-at-the-Mouse-House book, “DisneyWar ” (Simon & Schuster, February 2005), on …

… June 11, 2003, (Then-Disney CEO Michael) Eisner has invited me to a creative meeting of the feature animation team, led by (Thomas) Schumacher’s replacement, David Stainton. Eisner usually attends these meetings once or twice a month.

Copyright Simon & Schuster. All rights reserved

The discussion turns to Christmas 2007. Eisner has just read a script for Rapunzel. “Someone told me a woman with long hair is old-fashioned,” Eisner says. “That’s why this has to be a Legally Blonde -type comedy,” replies Mary Jane Ruggels, another creative vice president. Sleeping Beauty was 1938,” Eisner says. “The ending was forced. Like Treasure Planet — it just ended. It wasn’t funny or clever. Are you sure you can save this? Is Ice Queen better?”

Copyright Disney Enterprises, Inc. All rights reserved

“You mean Snow Queen,” Ruggels says.

“I love The Taming of the Shrew idea,” Eisner says. “Take Martha Stewart. She’s tough, smart — a worthy adversary. If she were a doormat of a woman, no one would go after her. Marlo Thomas used to call me about marketing ‘That Girl .’ She said, ‘If I were a man, I’d be president of the network.” Eisner expresses some reservation about the team assigned to Snow Queen, then adds, “John Lasseter. If we make a new deal with Pixar … “

Michael Eisner and John Lasseter talk on the red carpet at the world premiere of Pixar’s November 2004 release, “The Incredibles.”

Stainton jumps in: “You mean when we make a new deal with Pixar.”

“I said to John, you can have Snow Queen. He loved it. John said, ‘I want to do a princess movie.’ “ Eisner asks for the Snow Queen synopsis.

Storyboards from the aborted Eisner era version of Disney’s”The Snow Queen.” Copyright Disney Enterprises, Inc.All rights reserved

“The Snow Queen is a terrible bitch,” Ruggels says. “When her suitors try to melt her heart, the Snow Queen freezes them.” “Each one should be a phony, but different,” Eisner says of the suitors. “Then along comes a regular guy,” Ruggels continues.

Copyright Disney Enterprises, Inc. All rights reserved

“This is perfect!” Eisner exclaims. “I’m afraid to hear more.” “The regular guy goes up there, he’s not that great, but he’s a good person. He starts to unfreeze her … she melts.” “It’s great,” Eisner says. “Finally. We’ve had twenty meetings on this.”

Copyright Disney Enterprises, Inc. All rights reserved

“We’ll have a treatment in two weeks,” Ruggels promises. “Can we have this for 2006?” Eisner asks. “No way,” (Pam) Coats says.

Copyright Disney Enterprises, Inc.All rights reserved

More ideas are tossed around: Frog Princess , Rumpelstiltskin, You Don’t Know Jack about the Beanstalk, Hansel and Gretel (with a twist: the kids are obnoxious, the witch likable), Mother Goose as a sassy, Queen Latifah type; and something, maybe Aida, that would feature an African “princess.” Eisner worries that Aida is still too live-action. “What’s the Howard Ashman piece we can layer on?” he asks, one of several times Ashman’s name has come up in the meeting.

“This is good,” Eisner concludes, “a good start.” He gets up to leave. “I love Snow Queen.”

But even with Michael Eisner’s blessing, this 2003 version of “The Snow Queen” fell apart at some point. For the next time that this Hans Christian Andersen story comes up in a Disney-related way is March of 2006. Which is when Walt Disney Company officials announced that they had

Copyright Disney Enterprises, Inc. All rights reserved

…  signed composer Alan Menken, an eight-time Oscar winner and one of the driving forces behind “The Little Mermaid ” — which helped resuscitate Disney animation in the ’80s — to a nonexclusive, multi-picture deal.

For Disney Creative Entertainment, Menken is creating a stage musical of “The Snow Queen,” set to debut (next summer) at Tokyo DisneySea with Amon Miyamoto directing, John Weidman as (this show’s) bookwriter and Glenn Slater the lyricist.

And that version of “The Snow Queen” (which was supposed to have been presented in that theme park’s Broadway Music Theater as a replacement for “Encore!”) seemed to have some real momentum for a while (Not to mention a lovely score. Check out this ballad that Menken & Slater wrote for “The Snow Queen,” “Love Can’t Be Denied.” Which — on this recording, anyway — is performed by Tony Award nominee Brian D’Arcy James).

Copyright Tokyo Disney Resort. All rights reserved

But then in August of 2006, just months after Disney revealed that this live stage version of “The Snow Queen” was in the works for Tokyo DisneySea, the production was abruptly cancelled. As to why … Well, I’ve heard two different stories from Disney insiders. One version suggests that the theme park version of “Snow Queen” got cancelled because Oriental Land Company executives reportedly balked at what it would cost to shut “Encore!” down and then load this elaborate new, effects-filled stage show into the Broadway Music Theater.

The other explanation that I’ve heard was that WDAS execs suddenly had second thoughts about “The Snow Queen.” And that — rather than having this new take on Hans Christian Andersen’s fairytale debut as a theme park show — they now wanted WDAS to produce a movie version of this classic story. And once the big screen version of “The Snow Queen” had been released to theaters, THEN OLC would be allowed to produce a stage version of this project which could then be presented to TDS visitors inside of the Broadway Music Theater.

So Menken & Slater teamed with Mike Gabriel (i.e., the co-director of Disney’s “Pocahontas “) and begin developing a new animated version of “The Snow Queen.” But that production too eventually wound up getting tripped up by the same exact story problems that derailed all of the other, earlier versions of this Hans Christian Andersen story. Which Menken was somewhat philosophical about when he was interviewed by the Wall Street Journal in November of 2010:

Copyright Disney Enterprises, Inc. All rights reserved

For years, (Disney had been) working on “The Snow Queen,” first as a stage piece, and then as an animated film, but that got shelved. Clearly, animated films are big commitments and it takes a lot for Disney to greenlight one.

Now jump ahead to 2011. Walt Disney Animation Studios is making yet another stab at using Hans Christian Andersen’s “The Snow Queen” as the jumping-off point of a full-length feature. At this point, Chris Buck is the only director assigned to this WDAS production and Peter Del Vecho has just come on board as this project’s producer.

“In that earlier version of this story, the Snow Queen character really was more of a villain. But it was very hard to relate to her, to understand her and why she was doing what she was doing. She was sort of isolated up there in her castle,” Del Vecho said during a recent interview.

Peter Del Vecho addresses the press at last month’s “Frozen” long lead media event.Copyright Disney Enterprises, Inc. All rights reserved

So as WDAS does every 12 weeks or so when they have a new animated feature in development, they got all of its storyboards up on reels so that they could then show John Lasseter what sort of progress had been made on this project. And afterwards, the entire production team adjourned to a conference to hear John’s thoughts on this work-in-progress.

” That was the game changer. John sat down at this long table. And his first words were, I’ll never forget this, ‘You haven’t dug deep enough,’ ” recalled Michael Giaimo, “Frozen” production designer, during a September roundtable session. “And I remember John saying that the latest version of the Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn’t resonate. They aren’t multi-faceted. Which why John felt that audiences wouldn’t really be able to connect with them.”

So Buck and his story team once again returned to the drawing board. They came up with several different variations on the Snow Queen story as they tried to address Lasseter’s main concern with this project. Which is that the audience really wouldn’t connect with these Hans Christian Andersen characters.

(L to R) Peter Del Vecho, Chris Buck and Jennifer Lee at the Disney “Frozen” long leadmedia event. Copyright Disney Enterprises, Inc. All rights reserved

“Mind you, this was before Jennifer (Lee, the co-director of “Frozen”)  joined Chris on this project. So the Anna character (EDITOR’S NOTE: This is what the Gerda character is called in Disney’s version of “The Snow Queen”) was there. And we knew that there would be a Snow Queen in the picture. That we knew,” Giaimo continued. “There was definitely a Kristoff character (EDITOR’S NOTE: This is the character that Hans Christian Andersen called Kay in the original version of this fairytale). So those three were in place. But that was about it.”

And then — no one remembers who exactly came up with this idea — someone on the story team said “What if Anna and Elsa (EDITOR’S NOTE: This is the first name of the Snow Queen in the Disney version of this story) were sisters?” From that moment forward, this WDAS project began to jell in some very exciting ways.

“Once we realized that these characters could be siblings and have a relationship, everything changed,” Del Vecho enthused. “I mean, you may not always like what Elsa does or the choices that she makes. But given that she could now have a real emotional connection with Anna, that these two characters — now that they were sisters — would obviously have some history … Well, you could now at least understand the whys behind this story.”

[View:http://www.youtube.com/watch?v=99NM2JqE4NU]

Lasseter also immediately saw the wisdom in taking this approach to adapting the story of “The Snow Queen” to the big screen. That a sibling dynamic like this had never been explored in an animated feature before. Which is why making this particular story change would definitely bring new to that table.

Mind you, John wanted to make the most of this new opportunity. Which is why Lasseter then ordered that Walt Disney Animation Studios hold a sisters summit.

“And what’s a sisters summit?,” you ask. Well, we’ll discuss that next week in the next installment of JHM’s “Countdown to Disney ‘Frozen’ ” series.

Copyright Disney Enterprises, Inc. All rights reserved

Your thoughts?

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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How Mattel’s “Men in Space” Toyline Lead to the Creation of Buzz Lightyear

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Buzz Lightyear Origin Story - images of Major Matt Mason, Buzz Lightyear, and Lunar Larry Concept Art
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Angus MacLane’s “Lightyear” is supposed to be … Well, not exactly an origin story for Buzz Lightyear, the action figure that we know from all of the “Toy Story” films. But Rather an explanation of why Andy is so excited at his birthday party in the first “Toy Story” movie when he gets that Buzz Lightyear toy.

You see, Andy’s seen the movie that this action figure was based on. Which is supposed to be this huge Summer blockbuster. Which is why Andy & his friends at that party react the way they do. As far as they’re concerned, the movie that spawned the Buzz Lightyear action figure line was the greatest film they’ve ever seen.

Credit: Disney

Of course, because I’m a nerd and an animation history buff, I can’t help but think about how Buzz Lightyear – the character from the “Toy Story” films, rather than the really-for-real space ranger that Chris Evans voices in “Lightyear” – really started out. Which honestly wasn’t supposed to be a spoof on Captain Kirk from “Star Trek” or Gil Gerad’s Buck Rogers from the TV show. But – rather – as a riff on a space-themed toy line that Mattel produced in the mid-1960s called “Men in Space” which was then built around a character called Major Matt Mason.

Now how we got to the “Men in Space” toy line is kind of convoluted. This story actually starts over 60 years ago when Mattel sent two dolls out into the world, Barbie & Chatty Cathy.

Doll’s For Boys – Mattel’s Space Action Figure

Mattel made money hand over fist from sales of these two products. Which then made Mattel’s competitors stand up and take notice. They too wanted in on this mass-produced plastic toy market. Which is what prompted Hasbro to do something bold in 1964. Which was to license a concept that Stanley Winston had been developing. Which is a military-themed doll for boys.

Hasbro’s G.I. Joe

Just so you know: The executives on the marketing side of Hasbro knew that that nomenclature – “dolls for boys” – wasn’t going to fly. Especially with the Dads of the 1960s. So this is why the phrase “action figure” came from.

credit: The Toys that made us

Anyway, Hasbro introduces G.I. Joe, “America’s movable fighting man” (because – again – you can’t call this toy what it actually is. Which is a poseable doll for boys) in 1964. And it’s a huge hit right out of the box.

Marx “Best in the West” Cowboy Dolls

And Hasbro & Mattel’s direct competition, Marx, sees what going on with G.I. Joe and decides that … Well, we want in on the “dolls for boys” market … So they come up with the “Best of the West” line. Which is this series of G.I. Joe-sized poseable cowboy dolls. Those arrive in the marketplace in 1965 and are also hugely successful.

Mattel Introduces “Men in Space” Toyline

So now here’s Mattel. Which has cornered the market when it comes to dolls for girls with its Barbie & Chatty Cathy lines. But now that Hasbro & Marx have blazed this brave new trail – poseable dolls for boys – with their G.I. Joe & “Best of the West” action figures, Mattel wants in too.

But now that soldiers & cowboys are the exclusive property of Hasbro & Marx, Mattel has to find some sort of hook for its new “dolls for boys” line. So rather than looking back to World War II or the glory days of the America West, Mattel decides to take a chance on what’s going on in the real world at that exact moment. Which is the space race.

Which is why – just in time for the holiday buying season of 1966 – Mattel rolls out its “Men in Space” toy line. Who is headlined by Major Matt Mason an astronaut-themed action figure “ … who lives and works on the Moon.”

Credit: Vintage Action Figures

Major Matt Mason – Astronaut-Themed Action Figure

Now what was kind of interesting about Major Matt Mason is that the toy line that he headlined was based in reality. As in: A lot of the outfits & ride vehicles that were created for Mattel’s “Men in Space” line were direct lifts of publicity images that NASA had already put out there of space vehicles that they envisioned building once man actually made it to the moon. Which brought up some interesting copyright-related issues at that time.

Now I have to tell you that Mattel’s “Men in Space” toy line had problems right from the get-go. Instead of the sturdy 12-inch-tall poseable action figures that G.I. Joe and Marx’s “Best of the West” toys were … Major Matt Mason was half that size. Also, instead of hard plastic, Mattel used a rubber-like substance called Plastizol when it was making its “Men in Space” toys. That material was poured into a mold that had a wire armature inside.

Which wasn’t the sturdiest thing on the planet. Typically, after a few months of playing with your Major Matt Mason, the wire armature inside of this “Men in Space” action figure would break and it would then no longer be poseable.

Mind you, this was a deliberate choice on Mattel’s part. Their thinking was – by making Major Matt Mason half the size of G.I. Joe and then making this action figure out of cheaper material – … Well, that could then help them keep the cost of their “Men in Space” toy line down. Which would then – in theory, anyway – make these action figures far more affordable and make it possible for consumers to eventually purchase the entire playset.

Major Matt Mason’s Astronaut Friends

Oh, yeah. Did I forget to mention that Major Matt Mason had friends? Well, co-workers really. Sgt. Storm, Chip Davis, and Jeff Long (who was an African-American astronaut). Who could all lived & worked together with Matt inside of a three-level lunar base and then got around the moon’s surface by using space sleds and jet propulsion packs.

Credit: Mattel

“Men in Space” Toy Sales

Mind you, Mattel’s “Men in Space” action figures didn’t sell nearly as well as that toy company had hoped they would over the 1966 holiday shopping season. And the thinking initially was that this was because Major Matt Mason & Co. didn’t have anyone that they could battle with. So – in much the same way that Buzz Lightyear has his evil nemesis, Emperor Zurg – the “Men in Space” team then found themselves (just in time for the 1967 holiday shopping season) dealing with evil aliens like Captain Lazer, Callisto, Scorpio and Or.

Unfortunately for Mattel, interest in the space program began to wane as the 1960s gave way to the 1970s. Which is why they decided to discontinue their “Men in Space” toy line in 1970.

Lunar Larry – The Original Buzz Lightyear

So when it comes to Buzz Lightyear, where’s the Major Matt Mason / “Men in Space” connection? Well, if you take a look back at the original concept art for Woody’s nemesis in the first “Toy Story” movie, he isn’t this G.I. Joe sized action figure. But – rather – a six-inch-tall poseable astronaut doll who (I kid you not) is called Lunar Larry.

Credit: Disney
Credit: Disney
Credit: Disney
Credit: Disney

Tom Hanks, Robert Zemeckis, & “Men in Space” Film

FYI: If all had gone according to plan back in 2011, there would have been an even stronger “Toy Story” / “Major Matt Mason” connection. This was when it was announced in the Hollywood trades that Tom Hanks (that’s right. The voice of Woody) had co-written a movie based on Mattel’s “Men in Space” toy line. Not only that, but Hanks was trying to persuade Robert Zemeckis (who Tom had worked with on “Forest Gump,” “Cast Away,” “The Polar Express,” and Disney+’s live-action “Pinocchio”) to come direct the “Major Matt Mason” – the man who lived & worked on the Moon – movie.

Wait. It gets better, Hanks himself reportedly wanted to play Major Matt Mason.

I’m not entirely sure whatever became of Tom Hanks’ “Men in Space” movie. This past February, Hanks & Zemeckis announced that they’ll be re-united with Eric Roth, the writer of “Forest Gump,” on a film adaptation of “Here.” Which is Roth’s graphic novel.

Supposedly sometime over the past 10 years, Paramount Pictures acquired the rights to make a “Men in Space” movie. Hanks is still allegedly attached as a producer for this project. But given that Tom will be turning 66 next month, I doubt that he still wants to play Major Matt Mason.

Which is kind of a shame. Given what Woody once said to Buzz in the original “Toy Story” …

YOU ARE A TOY!!!  You aren’t the real Buzz Lightyear, you’re an action figure!!  You are a child’s plaything!!!

… I would pay good money to see Tom Hanks play one of the original action figures: Major Matt Mason, the man who lived & worked on the Moon as part of Mattel’s “Men in Space” toy line.

Credit: New York Times

This article is based on research for Fine Tooning with Drew Taylor “Episode 178”, published on June 16, 2022. Fine Tooning with Drew Taylor is part of the Jim Hill Media Podcast Network.

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“Honey, I Shrunk the Audience!”: Sequel Troubles and New Attractions

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Honey I Shrunk the Audience
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This article is part of a series documenting the story of “Honey, I Shrunk the Kids” and Disney Science-Based movies. Be sure to check out our additional research on the “Honey, I Shrunk the Kids”.

On the heels of the enormous success of the original “Honey, I Shrunk the Kids” movie (which was released to theaters in June of 1989) — Disney Studios made plans to release a whole series of science-based gimmick comedies based on the “Honey” characters. A number of the titles that the Studio copywrote as possible follow-ups to that film:

  • “Honey, I Sent the Kids to the Moon”
  • “Honey, I Swapped Brains with the Dog”

With the plan here being that — from here on in — every two years, just like clockwork, a brand-new “Honey” movie would arrive in theaters (ideally in early June) and then clean up at the box office. Just like the original “Honey, I Shrunk the Kids” did in June of 1989.

“Honey, I Blew Up the Baby”

We now jump ahead to June of 1992. Which is when “Honey, I Blew Up the Baby” finally arrived in theaters.

Now if you’re halfway decent at math, you’ll immediately notice that — hey — the follow-up to the original “Honey, I Shrunk” film didn’t arrive in theaters two years later (like Disney originally planned) but three years later.

“And why was that?,” you ask. Well, at it turns out, it was a lot harder to develop a suitable sequel to the original “Honey, I Shrunk the Kids” than anyone at Disney had thought it would be. The Studio went through dozens of drafts before executives at Disney finally threw up their hands and said “We give. Let’s just go buy someone else’s script and then turn it into a ‘Honey, I Shrunk’ movie.”

And that’s exactly what Disney did. They found this script called “Big Baby.” Which was originally supposed to be a parody of all those Godzilla movies. Only — in this case — instead of a giant radioactive lizard rising up out of Tokyo Bay and then laying waste to the city, the monster in this movie was a toddler who’d accidentally been made 200 feet tall. And who was now disrupting Rush Hour because he kept picking up cars off of the freeway and then making them go “Vroom Vroom.”

Very cute idea for a movie. Definitely something there that could then be used for a “Honey, I Shrunk” story. But here’s the thing: At this time, the State of Nevada was offering movie studios in Hollywood a huge tax break if they came and shot movies in that state.

Filming in Las Vegas, Nevada

And given that the movie that Disney was then calling “Honey, I Blew Up the Baby” was going to be hugely expensive to make (what with all of these elaborate special effects scenes of that giant toddler wandering around that regular-sized cityscape) … Well, Mouse House executives then began to think “Could we switch the location of ‘Honey, I Blew Up the Baby’ from a generic Southern Californian suburb to — say — the Las Vegas Strip? Which has all sorts of famous, recognized-around-the-globe super-sized icons like Vegas Vic, that giant neon Cowboy who’s been a fixture on the Las Vegas Strip since 1951.

The only problem is that a story that’s set in Las Vegas doesn’t exactly scream “Family friendly.” Of course, the real irony here is that — while “Honey, I Blew Up the Baby” was actually in production in June of 1991 was when Las Vegas was beginning its initial flirtation with becoming a more family-friendly destination resort. This is when we saw resorts like the Luxor first announced. Heavily themed hotels & casinos which would also have rides & attractions incorporated into their designs that would then appeal to kids.

Credit: Walt Disney Company

From Blowing up the Baby to Blowing up the Kid – Movie Name Change

Disney didn’t initially realize that setting “Honey, I Blew Up the Baby” in Las Vegas would then have an impact on this “Honey, I Shrunk the Kids” sequel. They were more concerned with what focus groups were telling them about the title of this “Honey” sequel. As is: They didn’t want to take their children to see a Disney movie where babies got blown up. That was cruel & gross sounding.

Disney’s marketing team tried to explain to the people in these focus groups that no babies would actually be harmed over the course of this sequel. That — when they said “Blew Up” — they didn’t mean “exploded.” But — rather — made bigger.

It didn’t matter. According to what Disney learned from all those focus groups, “Honey, I Blew Up the Baby” was the sort of film title that turned people off. It sent the wrong message to would-be movie-goers. So they would up trashing the thousands of teaser posters that had already been printed for this project as a new title was crafted for this “Honey, I Shrunk” sequel. Which would now be known as “Honey, I Blew Up the Kid.”

Credit: Walt Disney Company

Box Office Troubles for Franchise

The new title didn’t matter. To this day, no one at Disney knows what exactly went wrong here. Whether it was the movie’s title or that decision to take advantage of the tax credit that the State of Nevada was offering and changing the story’s location to Las Vegas … But long story short, “Honey, I Blew Up the Kids” cost almost twice as much as the original “Honey,  I Shrunk” did to shoot and only did 2/3rds of the original film’s ticket sales.

Which then sent the message to Disney film executives that perhaps this was NOT the studio’s next big film franchise. More to the point, that the enormous success of the first “Honey, I Shrunk “ movie may have had more to do with “Tummy Trouble” (the new Roger Rabbit short that had been placed in front of this film when it went out into theaters back in June of 1989) more than audiences falling in love with the antics of Wayne Szalinski.

So the idea of creating any further theatrical releases based on the “Honey, I Shrunk” characters was temporarily tabled as execs at the Mouse House regrouped. Debated about what should happen next with this franchise.

More “Honey, I Shrunk…” in the Disney Theme Parks

Whereas the Imagineers, they had no such qualms when it came to the “Honey, I Shrunk” franchise. They had seen how popular the “Honey, I Shrunk the Kids: Movie Set Adventure” was with Guests at Disney-MGM Studios. Likewise the Flying Bumble Bee vignette in the Special Effects Workshop of the Backstage Tour at this theme park.

And given that — starting in August of 1993 — accusations had begun to surface about Michael Jackson and some of his younger fans, the thinking at Imagineering (at that time, anyway) was that maybe it was time to start working on a replacement for “Captain EO” (which had first opened at the Parks in the Fall of 1986).

And given that “Captain EO” was being presented in 3D theaters that were located in Future World at EPCOT and in Tomorrowlands at Disney Parks around the globe, the thinking was that a new movie that featured characters from a Disney-produced science-based gimmick comedy would be the perfect replacement for this Michael Jackson movie.

“Honey, I Shrunk the Audience” – Hiring Eric Idle

So production began in earnest in the Fall of 1993 on this new 3D movie. But “Honey, I Shrunk the Audience” almost stopped before it even began. Monty Python vet Eric Idle likes to tell the story about how — one afternoon — he walked into a hotel bar in Los Angeles and found actress Marcia Strassman sitting there, nursing a drink. Eric noticed that Marcia looked a little down and asked if he could join her.

Anyway, Idle eventually asked Strassman why she looked so depressed. And Marcia — who played Diane Szalinkski, Wayne’s wife in the “Honey, I Shrunk” film — explained that they were supposed to begin shooting “Honey, I Shrunk the Audience” (a new 3D movie for the Disney Parks) that morning. But that — just before shooting was to begin — the actor who was supposed to play Nigel Channing in that film had dropped out. And now the whole project was on hold while Disney scrambled to find a new actor to play the host of that show’s “Inventor of the Year” ceremony.

It was then that Eric Idle supposedly said “Well, I’m not doing anything for the next couple of days. Do you think that Disney would consider me for this part?” And Marcia said “Let’s find out,” and then asked the bartender for the house phone.

And the very next day, Eric Idle is on the set for “Honey, I Shrunk the Audience.” As director Randall Kleiser walked this Monty Python vet through this hugely-difficult-to-shoot / FX-filled production. Kleiser — by the way — got this gig because the Imagineers thought that he’d done an amazing job with the direction of that “Honey, I Blew Up the Kid.”

And speaking of doing a great job, the Imagineers were so pleased with Eric Idle’s performance as Nigel Channing, the MC of the “Inventor of the Year” Awards that — when it came time to redo the “Journey into Imagination” ride — they reached out to Idle again and asked if he’d be willing to reprise that character. Which he was. So now Eric Idle is an established fixture at Future World … I mean, World Nature.

“Honey, I Shrunk the Audience” – Attractions Around the World

“Honey, I Shrunk the Audience” finally opened at EPCOT in November of 1994. And it proved to be so popular with WDW visitors that Oriental Land Company execs (They’re the folks who operate Tokyo Disneyland & Tokyo DisneySea) insisted that they get a clone of this 3D movie for the Tomorrowland theater at their Disneyland.

Honey, I shrunk the audience Epcot sign
Credit: Flickr Gary Burke

The Tokyo version — which went by the name of “MicroAdventure!” There’s an exclamation point at the end of that attraction’s name, by the way) opened in April of 1997. It was so well received that the original Disneyland Park in Anaheim — which was in the process of designing its second New Tomorrowland (which would open for the Spring of 1998) — said “Hey, we want a clone too.”

So the Anaheim version of “Honey, I Shrunk the Audience” opened in May of 1998, going into the exact same theater that Disneyland’s version of “Captain EO” had been screened in. And then — the following year — Disneyland Paris got its own version of “Honey, I Shrunk the Audience.” Which opened at that theme park in March of 1999.

Closing for “Captain EO”

All four versions of “Honey, I Shrunk the Audience” then screened at theme parks around the globe the next 11 years. Until May of 2010 arrived. Which was when — within one month’s time — all four versions of this 3D attraction shuttered.

Michael Jackson had died back in June of 2009. And since Disney believes firmly in death being the ultimate disinfectant, the Summer of 2010 was deemed to be the perfect time to begin screening “Captain Eo” at the Parks again.

“Honey, We Shrunk Ourselves” & “Honey, I Shrunk the Kids: The TV Show”

In May of 1997 — Walt Disney Studios Home Entertainment releases “Honey, We Shrunk Ourselves.” Which was a home premiere extension of that film series which marked Rick Moranis’ last appearance as Wayne Szalinksi.

In September of 1997, “Honey, I Shrunk the Kids: The TV Show” debuts in syndication. This hour-long adventure comedy series ran for three season. With Peter Scolari (formerly Tom Hanks’ co-star on “Bosom Buddies”) now playing the role of Wayne Szalinski.  A total of 66 episodes were produced, with the last one airing May 20, 2000.

Next Steps for “Honey, I Shrunk” Film Franchise

On May 13, 2019 , a“Honey, I Shrunk” reboot was announced. To star Josh Gad playing Wayne Szalinski’s son Nick. Josh persuaded Rick Moranis to come out of retirement to play Wayne again & recruited Joe Johnston — the guy who directed the original “Honey, I Shrunk the Kids” more than 30 years earlier to come back and direct the sequel.

Joe was done in Atlanta in March of 2020 directing the construction of the sets for “Shrunk.” That’s what this sequel (which will air of Disney+) will be called. Just “Shrunk.” When the pandemic happened. Production suspended.

Good news. “Shrunk” is now back on. Can’t reveal where it’s going to be shot. But Josh & Rick are slated to go before the cameras next year. Can’t wait.

This article is based on research for The Disney Dish Podcast “Episode 375”, published on May 23, 2022. The Disney Dish Podcast is part of the Jim Hill Media Podcast Network.

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“Honey, I Shrunk the Kids”: The Movie & Early Attractions

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This article is part of a series documenting the story of “Honey, I Shrunk the Kids” and Disney Science-Based movies. Be sure to check out our additional research on the “Honey, I Shrunk the Kids”.

When Michael Eisner came on board as Disney’s new CEO in the mid-1980s, he had gone over the company’s books and learned that there was this certain type of film (a science-based gimmick comedy) that the Studio used to release that had done very well at the box office over the past 25 years or so.

We’re talking about Disney-produced comedies like “The Absent-Minded Professor,” “The Computer Wore Tennis Shoes,” “The Misadventures of Merlin Jones.” FX-filled films where college kids accidentally a paint that could then make them invisible.  Or a family pet — in this case, a duck — gets exposed to radiation and then starts laying solid-gold eggs. You know, things that could happen to anyone in every day life. Provided — of course — your name is Dean Jones or Kurt Russell.

Flight of the Navigator and Rebirth of Science-Based Movies

So Eisner decides that it’s high time that Walt Disney Pictures gets back in the science-based gimmick comedy business again. Which is why he greenlights production of “Flight of the Navigator,” which arrives in theaters in July of 1986. The only problem is … This Randall Kleiser film (Remember that name. It’s going to come up again) suffers from “This-movie-really-wants-to-be-E.T.-instead” syndrome. Which means that it’s heartfelt and has some wonderful, sincere moments as well as some killer visual effects.

Credit: Disney

 But “Flight of the Navigator” is not long on laughs. And remember that the reason that Eisner put this Randall Kleiser film into production in the first place is because he wanted to revive the science-based gimmick comedy genre at Disney Studios.

But “Flight of the Navigator” (while it didn’t exactly set the box office on fire when it was released to theaters in the Summer of 1986) did well enough when the VHS version of this movie hit store shelves in January of 1987 that Eisner thought “Okay. We can take another stab at this. Get me a script for another science-based gimmick comedy.”

Which is when the script for “Teenie Weenies” shows up on his desk.

Teenie Weenies – Origins of “Honey, I Shrunk the Kids”

Now “Teenie Weenies” has kind of an interesting pedigree. Because it came to Disney by way of Stuart Gordon. Who — back in the mid-1980s, anyway — was best known for having written & directed some pretty out-there horror comedies, 1985’s “Re-Animator” and 1986’s “From Beyond.” But Stuart also had a love for cheesy 1950s sci-fi films like “The Incredible Shrinking Man” (which Universal Pictures first released to theaters in April of 1957).

And one day Gordon had a brainstorm: What if — instead of some earnest white guy scientist in a lab coat who gets shrunk down to the size of a bread crumb — it’s a kid instead? Or — better yet — kids? What would happen in that case?

So Gordon and his frequent collaborators — Ed Naha & Brian Yuzna — work up a screenplay that explores this idea. And it eventually makes its way to Disney. And Eisner likes what he sees. But even so, Michael doesn’t want to spend a whole lot of money on this movie. Plus he’s not crazy about that title, “Teeny Weenies.” Can we please come up with a better title for this movie? Which is why — for a time — this film is called “Grounded,” then “The Big Backyard.”

Credit: Worthpoint

So Stuart is initially supposed to direct this movie for Disney. Which — I know — given that this guy previously directed really out-there horror comedies (Trust me, folks. If you’ve ever seen “Re-Animator,” you’ll know what I’m talking about) seems like a weird choice for the Mouse House.

But Michael’s thinking at the time was … Well, “The Big Backyard” is going to be full of visual effects shots. And given some of the scenes in “Re-Animator” & “From Beyond,” this guy already knows how to do this stuff. So better to stick with the devil you know.

So — to keep production cost down — Disney decides to shoot “The Big Backyard” down in Mexico City at Churubusco Studios. So Stuart casts up the project.

FYI: The role of inventor Wayne Szalinski was originally written with Chevy Chase in mind. But since he was shooting “National Lampoon’s Christmas Vacation” around this same time, he wasn’t available. So Disney then offer this part to John Candy. Who — when he passed on the role — suggested that the Studio consider Rick Moranis, his old pal from “SCTV,” for the part. Which is how Moranis became Szalinksi.

Production & Filming “Honey, I Shrunk the Kids”

Production is just about to get underway on “The Big Backyard.” But then Stuart Gordon gets sick and has to withdraw from this project. Michael Eisner now starts freaking out. I’ve got a big new visual-effects-drive comedy for Disney Studios all set to start shooting and — days before production is supposed to begin — I don’t have a director.

Enter Academy Award-winning visual effects guy Joe Johnston. This is the guy who started as a concept artist on the first “Star Wars” film, went on to design Boba Fett for “The Empire Strikes Back,” and — by the time “Willow” rolled around — George Lucas had promoted Joe to associate producer. More to the point, Johnston was the production designer on those two “Ewok” TV movies that ran on ABC in 1984 & 1985.

So Joe had come up through the ranks at Lucasfilm. Yet, he hadn’t actually directed a movie up until that time. But he’d basically done everything else you could do behind-the-camera on a big visual effects film. Johnston was the right guy in the right place at the right time when Disney desperately needed a director for “The Big Backyard.” So tag. You’re it.

And Joe — to his credit — delivered. Disney was so pleased with the work that he did on “The Big Backyard” that — after this science-based gimmick comedy officially opened at the box office in June of 1989 and did really, really well, the Studio immediately offered Johnston another FX-fille project. This one being a big screen adaptation of Dave Stevens’ cult classic comic book, “The Rocketeer.”

Joe Johnston, Thomas Wilson Brown, Amy O’Neill, and Robert Oliveri in Honey, I Shrunk the Kids (1989) Credit: iMDB

From “The Big Backyard” to “Honey, I Shrunk the Kids”

But that title. “The Big Backyard.” Michael still hated it. He wanted something punchy & fun like the titles of those earlier Disney science-based gimmick comedies from the 1960s & the 1970s. Something like “Now You See Him, Now You Don’t” or “The Monkey’s Uncle.” A title that tells you right up front that this is a family comedy.

There was a line in the movie that always got a big laugh at test screenings. It was when Rick Moranis turned to his wife Marcia Strassman and then reluctantly admitted “Honey, I Shrunk the Kids.” Eisner said “That gets a laugh. Let’s go with that.” Which is how “The Big Backyard” became “Honey, I Shrunk the Kids.”

“Honey, I Shrunk the Kids” Box Office Success

And “Honey, I Shrunk the Kids” did crazy business at the box office in the Summer of 1989. We’re talling $222 million in ticket sales worldwide. Which is the equivalent of nearly a half a billion dollars in today’s money. Which then made “Honey, I Shrunk the Kids” the highest grossing live-action Disney film of all time. A title it retained for five years, only to then be dethroned by “The Santa Clause.”

Now it’s worth noting here that one of the reasons that “Honey, I Shrunk the Kids” did so well at the box office in the Summer of 1989 was that — right in front of this Joe Johnston movie — was the very first “Roger Rabbit” short, “Tummy Trouble.” The film that inspired this short — “Who Framed Roger Rabbit” — had come out the previous summer and done very well at the box office. That Robert Zemeckis movie had taken home four Oscars at the 61st Academy Awards, which had been held just three months previous in late March of 1989.

So there are some folks even today who say “Well, ‘Honey, I Shrunk the Kids’ wasn’t really this monstrous hit back in the Summer of 1989. It was more a case that ‘Honey, I Shrunk the Kids’ — when it was paired with “Tummy Trouble” — was such a tempting combo that moviegoers just could not resist this double bill. Especially on the heels of “Who Framed Roger Rabbit” and how well that movie had done the previous Summer.

“Honey, I Blew Up the Kid”

This would become painfully clear in the Summer of 1992 when the sequel to “Honey, I Shrunk the Kids” — “Honey, I Blew Up the Kid” — finally arrived in theaters. Only instead of a new “Roger Rabbit” short, this Randall Kleiser film (See. I told you that name would come up again) had a Disney-produced CG short in front of it called “Off Your Rocker.” And that Barry Cook cartoon — while fun — just wasn’t the box office draw that “Tummy Trouble,” “Roller Coaster Rabbit” or “Trail Mix-Up” had been.

Consequently, “Honey, I Blew Up the Kid” only did about 2/3rds of the business that “Honey, I Shrunk the Kids” did domestically. We’re talking $96 million in ticket sales in North America versus $130 million in North American ticket sales back in 1989.

Which — when you factor in that the original “Honey, I Shrunk the Kids” cost $18 million to make versus the $32 million it cost to make “Honey, I Blew Up the Kid” — isn’t a great place to be. Especially in a Hollywood where — increasingly — the Studio’s accountants are the ones calling the shots. Rather than the creatives.

Honey I Blew Up the Kid Movie Poster

Potential “Honey” Sequels

It’s the Summer of 1989 and “Honey, I Shrunk the Kids” is still this enormous hit. Which Disney immediately wants to make all sorts of sequels to.

Which is why — as the Wall Street Journal reported in August of that same year — the Studio pre-emptively trademarked a bunch of possible titles for follow-ups to the original “Honey, I Shrunk the Kids” movies. These titles included:

  • “Honey, I Sent the Kids to the Moon”
  • “Honey, I Made the Kids Invisible”
  • “Honey, I Xeroxed the Kids”
  • and “Honey, I Switched Brains with the Dog”

“Honey, I Shrunk the Kids” Attractions at Disney MGM Studio Theme Park

Now where this gets interesting is that — even before “Honey, I Shrunk the Kids” had opened in theaters (on June 23, 1989) — Michael Eisner was insisting that this Joe Johnston movie be folded into the Disney theme parks somewhere.

Luckily in the Late Winter / early Spring of that same year, the Imagineers were readying the Disney MGM Studio theme park for its May 1st opening.

Tram Tour Blue Screen Bumble Bee Experience

Since WDW’s 3rd gate was supposed to help promote the Studio’s latest releases … Well, WDI decided that — as part of the Visual Effects portion of that theme park’s Backstage walking tour (which used to be the second half of the Tram Tour at Disney MGM) — they’d use Blue Screen as a way to recreate that moment from “Honey, I Shrunk the Kids” when the boys accidentally fall onto the back of a bumble bee and then get flown all around the backyard.

This experience selected two kids to demonstrate how blue screen technology worked. They were then strapped by Cast Members to this huge fake bumble bee. These kids were then told to flail about as a camera moved in and out, capturing their expressions.

Then — seconds later — this just-captured footage was inserted into a clip from “Honey, I Shrunk the Kids.” Which then showed these same kids — now miniaturized — buzzing around a backyard on the back of a giant bumble bee.

Siskel and Ebert Cameo

Roger Ebert & Gene Siskel (who — at the time — were the hosts of the hugely popular “At the Movies” show) suddenly came onscreen. Roger & Gene then seemingly began to criticize the performance of the two kids who had just volunteered to demonstrate how blue screen technology worked. With Roger Ebert (he was the heavy-set grumpier member of this duo. Siskel was the more even-tempered, bald-headed guy) complained that “ … it looked like those two were hanging onto a huge fuzzball.”

This cameo was made possible by a deal that Disney had made with Roger & Gene back in 1986. Prior to that, Ebert & Siskel’s movie review show — which began life as a one-time-only TV special on Chicago Public Television back in 1975 — had been shown on various PBS stations around the country. Disney offered to make “At the Movies” the very first syndicated show offered by Buena Vista Television and to then take Ebert & Siskel nationally.

Roger & Gene agreed to this deal with one condition: That Disney execs wouldn’t then interfere in any way with the production of “At the Movies.” More to the point, if Walt Disney Studios made a stinker of a movie, that Ebert & Siskel would then be allowed to state that opinion — loud & clear — on a TV show that the Mouse himself produced.

Michael Eisner personally guaranteed that Roger & Gene would be free to say whatever they liked about Disney-produced films. And because Disney execs made a point of being completely hands-off when it came to “At the Movies” …

Well, that’s why — when the Imagineers came a-calling and said “Would you please shoot this 30 second bit for the Special Effects Workshop. Which will be part of the Backstage Tour thing we’re now building at Disney-MGM Studios,” Ebert & Siskel said “Sure.”

I mean, these two guys took their film criticism jobs seriously. They were total pros. But at the same time, Roger & Gene didn’t take themselves all that seriously. They got the gag, I mean.

“Honey, I Shrunk the Kids” Playground

When “Honey, I Shrunk the Kids” finally opened in theaters and then became the fifth highest grossing film of the year (behind “Batman,” “Indiana Jones and the Last Crusade,” “Lethal Weapon 2” and “Rain Man”), Eisner insisted that something of size that celebrated the “Honey, I Shrunk the Kids” be built at Disney MGM. Which is why — between New York Street and the Studio Catering Company — a brand-new playground began to rise up.

The gimmick of the “Honey, I Shrunk the Kids: Movie Set Adventure” was — as soon as Guests enterted this space — they were shrunk down to the size of an ant. This enclosed space (which was designed to look like a teeny tiny chunk of the Szlanski’s backyard that was now writ huge) featured 30-foot-tall blades of grass that were built out of metal & fiber glass. Which — prior to installation — had to (in model form, mind you) go through a wind tunnel test to prove that these faux enormous blades of grass could withstand 300 MPH winds and still stay in place. Because … Well, Florida. Hurricanes. You do the math.

And since this “Honey, I Shrunk the Kids” play area was being built in Florida … Well, keeping Guests cool was a major consideration. So the Imagineers have people choices. They could either stand under a 52-foot-long nozzle of a giant garden hose and periodically get dripped. Or they could stand in front of a giant dog nose. And — every so often — that enormous canine would sneeze. But instead of snot, a cool mist of water would come shooting out of those enormous nostrils.

By the way, both of these enormous props — the leaky nozzle of that garden hose AND that giant dog nose — were manufactured out in California at WDI’s Tujunga facility and then shipped cross country. You gotta wonder what motorists in the Midwest thought of that as they saw a flatbed with a giant dog nose on it rolling by them on the interstate.

A lot of folks — when talking about the “Honey, I Shrunk the Kids: Movie Set Adventure” — remember that soggy material which covered the ground. It sort of looked like dirt. That was Safe Deck, a material that the Imagineers found which was made up of ground-up old truck tires. Mind you, to make it actually look like the dirt you have in your own backyard, the Imagineers had to scatter little handfuls of ground up green truck tires & red truck tires & blue truck tries. Which brings us to the real important question: Where do you get green & blue truck tires?

Kodak-themed Slide: Was Kodak the Sponsor of “Honey, I Shrunk the Kids: Movie Set Adventure”?

One of the most popular and famous props in the play area was a slide that was shaped as an enormous, partially opened cannister of Kodak film.

Because that huge cannister of Kodak film was so obviously on display in the “Honey, I Shrunk the Kids: Movie Set Adventure” — did that then mean that Kodak was the sponsor of this Disney-MGM attraction?

And the answer to that question is actually “No.” Eastman Kodak Co. signed a 15-year-long promotional agreement with The Walt Disney Company the year previous (On April 27, 1989. Just days before Disney-MGM officially opened to the public). And this was a deal that linked Disney & Kodak in multiple ways. On television, at the movies and in the Disney theme parks.

The Kodak-themed slide was actually something of a freebie. I mean, you have to understand that the “Honey, I Shrunk the Kids: Movie Set Adventure” was one of the very first projects that Walt Disney Imagineering put into development after the Mouse House signed that new 15-year-long deal with Eastman Kodak.

And what better way to tell all of those Kodak executives back in Rochester, NY that we really appreciate you sticking with us for the long haul and being a participant at Disney Parks & Resorts but then surprise them with a slide that was shaped like an enormous cannister of Kodak film.

Mind you, all of this goodwill would evaporate just a few years later when the Imagineers went to Kodak and said “Hey. It’s time to redo the ‘Journey into Imagination’ ride at Epcot.” To which Kodak executives replied “Film sales are falling through the floor because of the rise of digital photography. We have no money available to fund a redo of the ‘Imagination’ ride. You’re on your own, Disney.”

Closing “Honey, I Shrunk the Kids: Movie Set Adventure”

The “Honey, I Shrunk the Kids: Movie Set Adventure” had a good long run at the Studio theme park. It officially opened on December 17, 1990 and then closed on April 2, 2016 to make way for an entirely different sort of movie set adventure. Maybe you’ve heard of the place? “Star Wars: Galaxy’s Edge” ?

Up Next: Sequel Challenges and 3D Movie Experiences.

Anyway … On the next installment of this series (The third & final chapter of the “Honey, I Shrunk the Kids” story), we’ll discuss Disney’s troubles when it came to developing a suitable sequel to the first film in this series. Not to mention the challenges that the Imagineers faced when they decided to build a new 3D movie experience around Wayne Szalinski’s shrink ray.

Get ready for way too many mice.

This article is based on research for The Disney Dish Podcast “Episode 374”, published on May 16, 2022. The Disney Dish Podcast is part of the Jim Hill Media Podcast Network.

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