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Forgotten Disney Legends: Jack Bradbury

Wade Sampson takes a moment to honor the memory of a recently deceased member of the Disney team, Jack Bradbury.



John “Jack” Morin Bradbury was born in Seattle, Washington on December 27, 1914 and passed away on May 15, 2004 at the age of 89. Comic expert and nice guy Mark Evanier had a short tribute based on information supplied from animator and long time Bradbury friend, Dave Bennett. Thanks to Dave, I met Bradbury briefly while I was standing in line waiting to go into the San Diego Comic Book Convention and was at least able to tell Bradbury how much I enjoyed his work. While Disney fans may not recognize his name, if they grew up reading Disney comic books, his distinctive style was probably on many of their favorite stories.

“I first got interested in cartoons when I was in grammar school,” Bradbury revealed to Dave Bennett in 1986, “Because I liked cartooning, I started looking through all the fields. I wasn’t much interested in commercial art, but from what I had seen of the newspaper strips, I knew that was at least the direction I wanted to head. Then, about 1933, I saw Disney’s ‘Three Little Pigs’ which was playing at the Fifth Avenue theater in Seattle. It took the whole town by storm and this opened up another area of interest for me. The entire town was going around singing the theme song…..I heard through a friend that they were looking for new art talent at Disney’s. I wrote and sent down some of my work. They sent back an answer and said for me to come on down and take a two week tryout. Of course, they did that for everybody. They said to be sure to have enough money to take care of yourself and enough money to get back home if necessary. So I did. I had about $50.00 which was enough to get there and live on for a couple of weeks. I passed the test, and then went to work for Disney at the great high salary of $15.00 a week.”

At the age of twenty, he joined the Disney Studio and worked as an inbetweener from 1934-1938 on such cartoons as “The Band Concert,” “Through The Mirror” and even “Snow White and the Seven Dwarves.? He worked as Bob Wickersham’s assistant. (Wickersham’s nickname was “Wick” and he later did comic book work under the name “Bob Wick”.) Ken Hultgren, Don Lusk and Bradbury were the clean up men for the funny animal stuff being animated by Eric Larson, Milt Kahl, and Jim Algar. Those three animators did much of the animal animation in “Snow White.”

“When we were getting through with that, I started doing some personal tests for animating which you could do at any time. You had to draw, do some animation, set it up and have it filmed. Then you could run it on the movieola to see how it looked. It could then be corrected, changed, whatever. I did some stuff and gave it to Ham Luske, who was then directing. He took it up to Walt Disney who approved it, and that started me animating,” Bradbury told Bennett. (Bradbury worked with Ham Luske on “Ferdinand the Bull” and “Fantasia” and always said he considered him a major influence, “I loved working for Ham. One of my real joys of being at Disney was working for Ham.”)

Bradbury was soon made a full animator at the studio from 1938-1941 where he worked on several key scenes in Disney animated features, including the stag fight in “Bambi”, the Pegasus family gliding in to a watery landing in “Fantasia,” and Figaro walking across Gepetto’s bed in “Pinocchio.” He also continued to produce animation for the shorts including “Ferdinand the Bull” (the sequence where the young bulls were fighting in the field and the scene where Ferdinand sits on the bee) and “Barnyard Symphony.”

“I started working on ‘The Wind in the Willows.’ Jack Kinney was directing some of the sequences. I had just gotten started when the strike happened. We all went out on strike, and were out for about six or seven weeks. When it was all over, I got a telegram to come back. I came back to work for awhile, then Disney started to lay off a bunch of guys.” remembered Bradbury.

After a short time working in an aircraft factory, he worked in Friz Freleng’s unit at Warner Brothers from 1942-1944 on a variety of shorts including those featuring Bugs Bunny. In 1944, he started illustrating comic book stories featuring Fremont Frog, Spencer Spook and others for ACG and also providing artwork for Bagshaw Bear, Hucky Duck and others for Nedor/Standard. He continued working for these comic book companies until around 1951-52. (This work was done as part of the Jim Davis shop that utilized animators to moonlight doing comic book stories for extra money–roughly $15.00 to $25.00 a page to write, pencil and draw–and included such folks as fellow animators Al Hubbard, Hubie Karp, Bob Wickersham, Owen Fitzgerald, Ken Hultgren and Davis himself.)

In 1947, Bradbury also started doing work for Western Publishing where he illustrated coloring books, activity books, big little books (“Goffy in Giant Trouble”), and hundreds of comic books for the Dell/Gold Key labels. He drew practically all the Disney characters from Mickey Mouse and Goofy to Little Hiawatha, Gyro Gearloose and Li’l Bad Wolf not to mention all the Disney ducks. Bradbury also produced Disney material featuring Mickey, Goofy, the Ducks and Chip’n’Dale among others for overseas use.

As Mark Evanier wrote in his tribute, “He was the main artist on PLUTO stories but could and did draw almost every animated character they published. His renderings of the Disney characters were so ‘alive’ and so faithful to the source material that Walt Disney himself reportedly told the Western editors that they didn’t need studio approval of anything that Bradbury drew.”

In addition to the Disney characters, Bradbury also drew comic books featuring the Walter Lantz stable of characters, the Warner Brothers characters and Bob Clampett’s “Beany and Cecil.” Yet, Bradbury never wrote any of the stories that he illustrated. His characters, while on model, could often be distinguished by looking a little taller and thinner than some other artists.

“There was plenty of work over at (Western) but the only trouble was that you couldn’t write your own material. By only doing the drawing you couldn’t make as much money. Your work couldn’t be as fast either, because it all had to be okayed by some editor before you could ink it. Western’s comics also had eight panels to the page instead of six (like for the Davis Studio material). Tom McKimson was the art editor there. I continued to draw for Western until about 1969. Then I started having some eye trouble. Towards the end, I was only penciling with somebody else inking the stuff. So they asked me if I would prefer just getting into the writing. I had never written for Disney before, except I had contributed an occasional story to Western and sold a few. I had never gone into it seriously. So I said, ‘yes’ and wrote for awhile with sort of on and off success. Toward the end of that time, I was getting close to retirement age, so I got to the point where I quit. I was getting tired of everything, and just stopped,” Bradbury told Bennett.

Bradbury’s eye problem was called “macula degeneration” which is basically degeneration of the retina where “the little protein spots in the center of the retina move out and your center vision goes with it”.

If you are looking for a nice collection of Bradbury’s work, I would recommend tracking down the ACE Comics (Ron Frantz’s comic company from 1986-1987) which published ACE COMICS PRESENTS (No. 2)THE ANIMATED ART OF JACK BRADBURY which included cover art by Dave Bennett of a caricature of Bradbury surrounded at the drawing board by some of his characters. That issue also featured the following Bradbury illustrated comic stories: Butch O’Sparrow; reprinted from Coo Coo Comics #25; May 1946. Bagshaw Bear; reprinted from Coo Coo Comics #37; January 1948. Tuffy; reprinted from Coo Coo Comics #37; May 1947. Supermouse; script by Richard Hughes. Reprinted from Coo Coo Comics #37; January 1948. (And the inside back cover had “The Daisy Test” a previously unpublished cartoon by another Jack, Jack Kent.) Plus an extensive interview with Jack Bradbury by Bennett which was reprinted from “Ace Comics Spencer Spook” #4 which in addition to three reprinted Spencer Spook stories by Bradbury there was a fourth new story written by Bradbury and illustrated by Bennett in the Bradbury style. I believe copies of both issues and more can still be ordered from Frantz at this link for only a very little more than cover price. A great bargain!

Jim Korkis

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The Evolution and History of Mickey’s ToonTown



Disneyland in Anaheim, California, holds a special place in the hearts of Disney fans worldwide, I mean heck, it’s where the magic began after all.  Over the years it’s become a place that people visit in search of memorable experiences. One fan favorite area of the park is Mickey’s Toontown, a unique land that lets guests step right into the colorful, “Toony” world of Disney animation. With the recent reimagining of the land and the introduction of Micky and Minnies Runaway Railway, have you ever wondered how this land came to be?

There is a fascinating backstory of how Mickey’s Toontown came into existence. It’s a tale of strategic vision, the influence of Disney executives, and a commitment to meeting the needs of Disney’s valued guests.

The Beginning: Mickey’s Birthdayland

The story of Mickey’s Toontown starts with Mickey’s Birthdayland at Walt Disney World’s Magic Kingdom. Opened in 1988 to celebrate Mickey Mouse’s 60th birthday, this temporary attraction was met with such overwhelming popularity that it inspired Disney executives to think bigger. The idea was to create a permanent, immersive land where guests could step into the animated world of Mickey Mouse and his friends.

In the early ’90s, Disneyland was in need of a refresh. Michael Eisner, the visionary leader of The Walt Disney Company at the time, had an audacious idea: create a brand-new land in Disneyland that would celebrate Disney characters in a whole new way. This was the birth of Mickey’s Toontown.

Initially, Disney’s creative minds toyed with various concepts, including the idea of crafting a 100-Acre Woods or a land inspired by the Muppets. However, the turning point came when they considered the success of “Who Framed Roger Rabbit.” This film’s popularity and the desire to capitalize on contemporary trends set the stage for Toontown’s creation.

From Concept to Reality: The Birth of Toontown

In 1993, Mickey’s Toontown opened its gates at Disneyland, marking the first time in Disney Park history where guests could experience a fully realized, three-dimensional world of animation. This new land was not just a collection of attractions but a living, breathing community where Disney characters “lived,” worked, and played.

Building Challenges: Innovative Solutions

The design of Mickey’s Toontown broke new ground in theme park aesthetics. Imagineers were tasked with bringing the two-dimensional world of cartoons into a three-dimensional space. This led to the creation of over 2000 custom-built props and structures that embodied the ‘squash and stretch’ principle of animation, giving Toontown its distinctiveness.

And then there was also the challenge of hiding the Team Disney Anaheim building, which bore a striking resemblance to a giant hotdog. The Imagineers had to think creatively, using balloon tests and imaginative landscaping to seamlessly integrate Toontown into the larger park.

Key Attractions: Bringing Animation to Life

Mickey’s Toontown featured several groundbreaking attractions. “Roger Rabbit’s Car Toon Spin,” inspired by the movie “Who Framed Roger Rabbit,” became a staple of Toontown, offering an innovative ride experience. Gadget’s Go-Coaster, though initially conceived as a Rescue Rangers-themed ride, became a hit with younger visitors, proving that innovative design could create memorable experiences for all ages.

Another crown jewel of Toontown is Mickey’s House, a walkthrough attraction that allowed guests to explore the home of Mickey Mouse himself. This attraction was more than just a house; it was a carefully crafted piece of Disney lore. The house was designed in the American Craftsman style, reflecting the era when Mickey would have theoretically purchased his first home in Hollywood. The attention to detail was meticulous, with over 2000 hand-crafted, custom-built props, ensuring that every corner of the house was brimming with character and charm. Interestingly, the design of Mickey’s House was inspired by a real home in Wichita Falls, making it a unique blend of real-world inspiration and Disney magic.

Mickey’s House also showcased Disney’s commitment to creating interactive and engaging experiences. Guests could make themselves at home, sitting in Mickey’s chair, listening to the radio, and exploring the many mementos and references to Mickey’s animated adventures throughout the years. This approach to attraction design – where storytelling and interactivity merged seamlessly – was a defining characteristic of ToonTown’s success.

Executive Decisions: Shaping ToonTown’s Unique Attractions

The development of Mickey’s Toontown wasn’t just about creative imagination; it was significantly influenced by strategic decisions from Disney executives. One notable input came from Jeffrey Katzenberg, who suggested incorporating a Rescue Rangers-themed ride. This idea was a reflection of the broader Disney strategy to integrate popular contemporary characters and themes into the park, ensuring that the attractions remained relevant and engaging for visitors.

In addition to Katzenberg’s influence, Frank Wells, the then-President of The Walt Disney Company, played a key role in the strategic launch of Toontown’s attractions. His decision to delay the opening of “Roger Rabbit’s Car Toon Spin” until a year after Toontown’s debut was a calculated move. It was designed to maintain public interest in the park by offering new experiences over time, thereby giving guests more reasons to return to Disneyland.

These executive decisions highlight the careful planning and foresight that went into making Toontown a dynamic and continuously appealing part of Disneyland. By integrating current trends and strategically planning the rollout of attractions, Disney executives ensured that Toontown would not only capture the hearts of visitors upon its opening but would continue to draw them back for new experiences in the years to follow.

Global Influence: Toontown’s Worldwide Appeal

The concept of Mickey’s Toontown resonated so strongly that it was replicated at Tokyo Disneyland and influenced elements in Disneyland Paris and Hong Kong Disneyland. Each park’s version of Toontown maintained the core essence of the original while adapting to its cultural and logistical environment.

Evolution and Reimagining: Toontown Today

As we approach the present day, Mickey’s Toontown has recently undergone a significant reimagining to welcome “Mickey & Minnie’s Runaway Railway” in 2023. This refurbishment aimed to enhance the land’s interactivity and appeal to a new generation of Disney fans, all while retaining the charm that has made ToonTown a beloved destination for nearly three decades.

Dive Deeper into ToonTown’s Story

Want to know more about Mickey’s Toontown and hear some fascinating behind-the-scenes stories, then check out the latest episode of Disney Unpacked on Patreon @JimHillMedia. In this episode, the main Imagineer who worked on the Toontown project shares lots of interesting stories and details that you can’t find anywhere else. It’s full of great information and fun facts, so be sure to give it a listen!

Jim Hill

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

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Unpacking the History of the Pixar Place Hotel



Pixar Place Hotel, the newly unveiled 15-story tower at the Disneyland Resort, has been making waves in the Disney community. With its unique Pixar-themed design, it promises to be a favorite among visitors.

However, before we delve into this exciting addition to the Disneyland Resort, let’s take a look at the fascinating history of this remarkable hotel.

The Emergence of the Disneyland Hotel

To truly appreciate the story of the Pixar Place Hotel, we must turn back the clock to the early days of Disneyland. While Walt Disney had the visionary ideas and funding to create the iconic theme park, he faced a challenge when it came to providing accommodations for the park’s visitors. This is where his friend Jack Wrather enters the picture.

Jack Wrather, a fellow pioneer in the television industry, stepped in to assist Walt Disney in realizing his dream. Thanks to the success of the “Lassie” TV show produced by Wrather’s company, he had the financial means to build a hotel right across from Disneyland.

The result was the Disneyland Hotel, which opened its doors in October 1955. Interestingly, the early incarnation of this hotel had more of a motel feel than a hotel, with two-story buildings reminiscent of the roadside motels popular during the 1950s. The initial Disneyland Hotel consisted of modest structures that catered to visitors looking for affordable lodging close to the park. While the rooms were basic, it marked the beginning of something extraordinary.

The Evolution: From Emerald of Anaheim to Paradise Pier

As Disneyland’s popularity continued to soar, so did the demand for expansion and improved accommodations. In 1962, the addition of an 11-story tower transformed the Disneyland Hotel, marking a significant transition from a motel to a full-fledged hotel.

The addition of the 11-story tower elevated the Disneyland Hotel into a more prominent presence on the Anaheim skyline. At the time, it was the tallest structure in all of Orange County. The hotel’s prime location across from Disneyland made it an ideal choice for visitors. With the introduction of the monorail linking the park and the hotel, accessibility became even more convenient. Unique features like the Japanese-themed reflecting pools added to the hotel’s charm, reflecting a cultural influence that extended beyond Disney’s borders.

Japanese Tourism and Its Impact

During the 1960s and 1970s, Disneyland was attracting visitors from all corners of the world, including Japan. A significant number of Japanese tourists flocked to Anaheim to experience Walt Disney’s creation. To cater to this growing market, it wasn’t just the Disneyland Hotel that aimed to capture the attention of Japanese tourists. The Japanese Village in Buena Park, inspired by a similar attraction in Nara, Japan, was another significant spot.

These attractions sought to provide a taste of Japanese culture and hospitality, showcasing elements like tea ceremonies and beautiful ponds with rare carp and black swans. However, the Japanese Village closed its doors in 1975, likely due to the highly competitive nature of the Southern California tourist market.

The Emergence of the Emerald of Anaheim

With the surge in Japanese tourism, an opportunity arose—the construction of the Emerald of Anaheim, later known as the Disneyland Pacific Hotel. In May 1984, this 15-story hotel opened its doors.

What made the Emerald unique was its ownership. It was built not by The Walt Disney Company or the Oriental Land Company (which operated Tokyo Disneyland) but by the Tokyu Group. This group of Japanese businessmen already had a pair of hotels in Hawaii and saw potential in Anaheim’s proximity to Disneyland. Thus, they decided to embark on this new venture, specifically designed to cater to Japanese tourists looking to experience Southern California.

Financial Challenges and a Changing Landscape

The late 1980s brought about two significant financial crises in Japan—the crash of the NIKKEI stock market and the collapse of the Japanese real estate market. These crises had far-reaching effects, causing Japanese tourists to postpone or cancel their trips to the United States. As a result, reservations at the Emerald of Anaheim dwindled.

To adapt to these challenging times, the Tokyu Group merged the Emerald brand with its Pacific hotel chain, attempting to weather the storm. However, the financial turmoil took its toll on the Emerald, and changes were imminent.

The Transition to the Disneyland Pacific Hotel

In 1995, The Walt Disney Company took a significant step by purchasing the hotel formerly known as the Emerald of Anaheim for $35 million. This acquisition marked a change in the hotel’s fortunes. With Disney now in control, the hotel underwent a name change, becoming the Disneyland Pacific Hotel.

Transformation to Paradise Pier

The next phase of transformation occurred when Disney decided to rebrand the hotel as Paradise Pier Hotel. This decision aligned with Disney’s broader vision for the Disneyland Resort.

While the structural changes were limited, the hotel underwent a significant cosmetic makeover. Its exterior was painted to complement the color scheme of Paradise Pier, and wave-shaped crenellations adorned the rooftop, creating an illusion of seaside charm. This transformation was Disney’s attempt to seamlessly integrate the hotel into the Paradise Pier theme of Disney’s California Adventure Park.

Looking Beyond Paradise Pier: The Shift to Pixar Place

In 2018, Disneyland Resort rebranded Paradise Pier as Pixar Pier, a thematic area dedicated to celebrating the beloved characters and stories from Pixar Animation Studios. As a part of this transition, it became evident that the hotel formally known as the Disneyland Pacific Hotel could no longer maintain its Paradise Pier theme.

With Pixar Pier in full swing and two successful Pixar-themed hotels (Toy Story Hotels in Shanghai Disneyland and Tokyo Disneyland), Disney decided to embark on a new venture—a hotel that would celebrate the vast world of Pixar. The result is Pixar Place Hotel, a 15-story tower that embraces the characters and stories from multiple Pixar movies and shorts. This fully Pixar-themed hotel is a first of its kind in the United States.

The Future of Pixar Place and Disneyland Resort

As we look ahead to the future, the Disneyland Resort continues to evolve. The recent news of a proposed $1.9 billion expansion as part of the Disneyland Forward project indicates that the area surrounding Pixar Place is expected to see further changes. Disneyland’s rich history and innovative spirit continue to shape its destiny.

In conclusion, the history of the Pixar Place Hotel is a testament to the ever-changing landscape of Disneyland Resort. From its humble beginnings as the Disneyland Hotel to its transformation into the fully Pixar-themed Pixar Place Hotel, this establishment has undergone several iterations. As Disneyland Resort continues to grow and adapt, we can only imagine what exciting developments lie ahead for this iconic destination.

If you want to hear more stories about the History of the Pixar Place hotel, check our special edition of Disney Unpacked over on YouTube.

Stay tuned for more updates and developments as we continue to explore the fascinating world of Disney, one story at a time.

Jim Hill

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

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From Birthday Wishes to Toontown Dreams: How Toontown Came to Be



Mickey's Birthday Land

In the latest release of Episode 4 of Disney Unpacked, Len and I return, joined as always by Disney Imagineering legend, Jim Shull. This two-part episode covers all things Mickey’s Birthday Land and how it ultimately led to the inspiration behind Disneyland’s fan-favorite land, “Toontown”. But let’s not get ahead of ourselves here. It all starts in the early days at Disneyland.

Early Challenges in Meeting Mickey

Picture this: it’s the late 1970s and early 1980s, and you’re at Disneyland. You want to meet the one and only Mickey Mouse, but there’s no clear way to make it happen. You rely on Character Guides, those daily printed sheets that point you in Mickey’s general direction. But let’s be honest, it was like finding a needle in a haystack. Sometimes, you got lucky; other times, not so much.

Mickey’s Birthdayland: A Birthday Wish that Came True

Fast forward to the late 1980s. Disney World faced a big challenge. The Disney-MGM Studios Theme Park was under construction, with the company’s marketing machine in full swing, hyping up the opening of Walt Disney World’s third theme park, MGM Studios, in the Spring of 1989. This extensive marketing meant that many people were opting to postpone their family’s next trip to Walt Disney World until the following year. Walt Disney World needed something compelling to motivate guests to visit Florida in 1988, the year before Disney MGM Studios opened.

Enter stage left, Mickey’s Birthdayland. For the first time ever, an entire land was dedicated to a single character – and not just any character, but the mouse who started it all. Meeting Mickey was no longer a game of chance; it was practically guaranteed.

The Birth of Birthdayland: Creative Brilliance Meets Practicality

In this episode, we dissect the birth of Mickey’s Birthdayland, an initiative that went beyond celebrating a birthday. It was a calculated move, driven by guest feedback and a need to address issues dating back to 1971. Imagineers faced the monumental task of designing an experience that honored Mickey while efficiently managing the crowds. This required the perfect blend of creative flair and logistical prowess – a hallmark of Disney’s approach to theme park design.

Evolution: From Birthdayland to Toontown

The success of Mickey’s Birthdayland was a real game-changer, setting the stage for the birth of Toontown – an entire land that elevated character-centric areas to monumental new heights. Toontown wasn’t merely a spot to meet characters; it was an immersive experience that brought Disney animation to life. In the episode, we explore its innovative designs, playful architecture, and how every nook and cranny tells a story.

Impact on Disney Parks and Guests

Mickey’s Birthdayland and Toontown didn’t just reshape the physical landscape of Disney parks; they transformed the very essence of the guest experience. These lands introduced groundbreaking ways for visitors to connect with their beloved characters, making their Disney vacations even more unforgettable.

Beyond Attractions: A Cultural Influence

But the influence of these lands goes beyond mere attractions. Our episode delves into how Mickey’s Birthdayland and Toontown left an indelible mark on Disney’s culture, reflecting the company’s relentless dedication to innovation and guest satisfaction. It’s a journey into how a single idea can grow into a cherished cornerstone of the Disney Park experience.

Interested in learning about Jim Shull’s original idea for a Winnie the Pooh ride? Here’s concept art of the attraction proposed for the original Toontown in Disneyland. More on [Disney Unpacked].

Unwrapping the Full Story of Mickey’s Birthdayland

Our two-part episode of Disney Unpacked is available for your viewing pleasure on our Patreon page. And for those seeking a quicker Disney fix, we’ve got a condensed version waiting for you on our YouTube channel. Thank you for being a part of our Disney Unpacked community. Stay tuned for more episodes as we continue to “Unpack” the fascinating world of Disney, one story at a time.

Jim Hill

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

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