General

Covering the Coverage

Looking back on how other folks handled this past Friday’s Big Thunder Mountain accident, Jim Hill gives high marks to MousePlanet and LaughingPlace.com, expresses some disappointment with his old boss, Al Lutz … then actually finds something nice to say about Disney Company management.

Published

21 years ago

September 7, 2003

Jim Hill

Let me say at the very start of this column that my intention here is NOT to make light of last Friday’s tragic events at Disneyland. After all, a man died. And 10 other tourists were injured. Some of them seriously. So there’s nothing fun or funny to be found in a subject like that.

But — that said — a lot of us Disneyana fans don’t live out in Southern California. So we weren’t able to get any decent up-to-date information about the Big Thunder Mountain accident from our televisions. To keep tabs on what was actually going on in Anaheim, we had to turn to the Internet.

Which wasn’t necessarily a bad thing. Thanks to all the hard work that the staff of MousePlanet and LaughingPlace.com put in last Friday, readers were kept up to date on the latest information as this terrible tragedy unfolded.

Me personally, I think that both of these websites did a really excellent job of covering the Big Thunder Mountain tragedy. From Adrienne Vincent-Phoenix actually going back into the Park that afternoon to get the first not-taken-from-a-totally-clueless-news-helicopter-operator-who-was-aimlessly-circling-overhead shots of the scene to the Moseleys typing up and then posting a full transcript of the Eisner/Rasulo press conference, MP and LP really rose to the challenge.

Last Friday afternoon, MousePlanet and LaughingPlace.com didn’t act like they were just some dweeby little Disney websites. They behaved like professional news organizations. By that I mean, they actually kept pace with the pros. Providing real-time coverage of the news surrounding the Big Thunder accident as it broke. And — in some cases — MP and LP actually scooped their supposedly-more-professional competition. Which is something that those of us who live thousands and thousands of miles away from Disneyland really appreciated

So — lest I forget — let me be the first to thank Adrienne Vincent-Phoenix, Andrew Rich, Lani Teshima and Alex Stroup over at MousePlanet.com for doing such an excellent job this past weekend with their coverage of the accident at Disneyland. Likewise kudos to Doobie and Rebekah Moseley over at LaughingPlace.com who also really busted their butts to make sure that LP readers were kept up-to-speed about what was unfolding in Anaheim. As well as keeping LP readers focused and on topic whenever they were talking about the accident on LaughingPlace.com’s discussion boards. Watching the way these folks worked last week actually made me proud that I write on the Web.

But you know who DIDN’T make me proud that I work on the Internet this past weekend? My old mentor, Al Lutz.

As I read the Big Thunder story that Lutz posted over on Miceage on Saturday, I couldn’t help but think “Al knows better than to write something like this.” What do I mean by that? Well, Lutz (for those of you who don’t already know this) was the guy who gave me my very first writing job on the Internet. ‘Way back when Al was running MousePlanet.

So Lutz was the guy who taught me a lot about what works (and — more importantly — what DOESN’T work) when you’re writing a story for the Web. Which is why I was surprised to see Al take what was a halfway decent article about how maintenance cutbacks at Disneyland may have contributed to Friday’s Big Thunder accident … and then suddenly turn that piece into a vicious, personal and completely over-the-top attack of Disney CEO Michael Eisner.

Which is why I keep thinking that … well … this has to be an act. That there’s no possible way that Al Lutz could actually hate Michael Eisner as much as he pretends to. Which is why I keep thinking that my old boss must be deliberately manufacturing these tidbits of seemingly rabid writing that he regularly drops into his Miceage stories. Just so we’ll all pay attention to his columns.

Which makes me sad. Why for? Because Al Lutz is a much better writer than this, people. He shouldn’t have to fall back on stupid writing tricks — like inserting deliberately inflammatory statements like “Unfortunately Michael Eisner was lying” into his stories — in order to hold his readers’ attention.

You know what I keep hoping? That Al Lutz will eventually stop relying on his patented “Bad News Travels Fast” technique in order to give all of his articles that extra added bit of oomph. If he just let go of that crutch, stop thinking that it was necessary to paint every single event that occurs at the Disneyland Resort in the blackest possible terms … Al would immediately become the top dog among Disneyana writers. Instead of regularly being dismissed as a not-so-harmless crank.

I mean, this guy’s got some truly killer sources. People who are extremely high up in the Disney food chain who regularly feed Al some great inside information about the parks. Lutz has access to stuff that no one else on the Web has access to.

But Al repeatedly squanders these gifts. He takes these great pieces of info, really-for-real scoops, then drops them haphazardly into columns that are loaded with unnecessary venom. Whether it’s real venom or pretend venom … who can say? But what I do know is — because Lutz insists on taking his often-well-written, well-researched stories and loading them up with unnecessary theatrics — very few people take what Al says seriously anymore.

Which is really a shame. Why for? Because there may actually be some truth to what Lutz was reporting in this past Saturday’s “Miceage” column. That the past five years of maintenance cutbacks at the Disneyland Resort may have indeed been a contributing factor in Friday’s Big Thunder accident.

But let’s not get ahead of ourselves, shall we? Let’s let the Anaheim Police and Fire Departments and the California Division of Occupational Safety and Health (DOSH) complete their initial investigation of the accident before any of these other allegations actually get aired, okay?

Getting back to the more positive aspects of this truly terrible event … was I the only one who was kind of impressed with the way Disney CEO Michael Eisner, President of Disney Parks and Resorts Jay Rasulo and Disneyland Resort President Cynthia Harris handled themselves last Friday?

I mean, think about it. This awful accident has just happened at Disneyland. One man dead, 10 other people injured. And you just know that — in our era of “If it bleeds, it leads” journalism — the media is absolutely licking its chops over a story like this. A tragedy at Disneyland? Here’s an event that’s sure to generate headlines without even trying.

So what member of Disney upper management in their right mind would deliberately open themselves up to this sort of attack? Step in front of the press and have to deal with all those difficult questions? Wouldn’t it have just been much easier for Eisner, Rasulo and Harris to get someone else — like Disneyland’s Director of Press and Publicity Tom Brocato, for example — to take the heat? Let Tom be the poor slob who stood behind the podium, trying to answer all of those tough questions? (After all, isn’t that what Brocato is paid the medium-sized bucks for?)

But that’s not what happened, people. One by one, when it finally came time for the Walt Disney Company to put a human face on how the corporation was feeling about and/or dealing with the Big Thunder accident, all of these suits came forward. First Cynthia (who really did look shaken by what had just happened in her park) as — earlier that afternoon — she read that prepared statement which directly acknowledged the horrible accident that had just happened in Frontierland. And then Eisner and Rasulo stepped up during their late afternoon press conference.

Now some might argue that Michael, Jay and Cynthia weren’t actually behaving this way because it was the decent and right thing to do. That Eisner, Rasulo and Harris were just doing what Disney’s crack PR staff had ordered them to do. That the Mouse — having learned from all the mistakes that the company made in the wake of the Columbia tragedy and the Roger Rabbit accident — had to immediately begin damage control. Which is why Mickey put the corporation’s big guns out in front of the press as quickly as possible. To show their sincerity and concern. To quickly reinforce the idea that the Walt Disney Company really does consider the safety and well-being of its guests/customers to be a top priority.

Well, the cynics may choose to look at how events played out at Disneyland last Friday afternoon and opt to interpret them that way. That Michael, Jay and Cynthia were just doing what Disney’s damage control experts told them to do. Me? I’m not going to do that. I was actually really impressed with the way Eisner, Rasulo and Harris handled themselves. When it would have so much easier just to run and hide, these three stood in the spotlight and took the heat.

Which why I’ve decided to postpone that “Post Eisner Era” story. At least for a week or two. My apologies to those of you who may have dropped by JHM today just to read that article. But — given that the Walt Disney Company is already dealing with one black eye — I wasn’t really in the mood to give the Mouse another one right now.

You see, I’m not one of these guys who thinks that there’s a lot of sport to be had in kicking someone when they’re down.

Whereas Al Lutz … well, you can figure that one out for yourselves, can’t you?

Your thoughts?

General

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

Published

10 years ago

June 23, 2015

Jim Hill

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

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

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

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

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

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

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

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

General

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

Published

10 years ago

June 10, 2015

Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Your thoughts?

General

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

Published

10 years ago

June 9, 2015

Jim Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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