Okay. What’s left to do? Take the laundry out of the dryer. Fold the clothes. Finish packing the suitcase. Don’t forget all the crud that I have for Z …
Oops. Sorry. You’re going to have to forgive me, gang. I’m getting ready to leave for the airport in — Yikes! — 45 minutes!? I’m flying down to Orlando to spend the next five fun-filled days attending Mousefest 2003.
“And what’s Mousefest 2003?,” you ask. It’s this gathering of Disneyana webmasters, authors and fans. A five day long schmoozefest. And — given what’s being going on at the Mouse House over the past five days — it looks like we’re going to have plenty to schmooze about.
EISNER UPDATE: I am just amazed to see how the support for Michael Eisner within the entertainment community has begun to erode. It seems like — these days — nobody has a kind word to say about the guy. Take — for example — this quote from Harvey Weinstein, the co-chairman of Miramax Pictures. When asked to describe what it’s like to work with the Walt Disney Company in general (and Michael Eisner in particular) these days, Harvey had this to say:
“All the great executives have been driven from the company. I think there is no camaraderie anymore, no great esprit de corps that I found earlier. I think there was more risk-taking, a more fun company. I don’t know why, and it’s sad that it is.”
And even formerly loyal lieutenants like Marty Sklar, Vice Chairman and Principal Creative Executive of Walt Disney Imagineering, have begun openly carping about how terrible it is to work at the Walt Disney Company during the waning days of the Michael Eisner era.
Want proof? Take a gander at this Marty quote that an unnamed someone sent from an IAAPA seminar Sklar spoke at last month. When asked about what his thoughts were about Disney’s California Adventure. Marty replied:
“I think that you’re nuts to build a park next to Disneyland that’s half the size and charge the same amount of money.”
When people like Harvey Weinstein and Marty Sklar — men that Michael Eisner helped make rich and powerful — start complaining about how tough things are nowadays at the Walt Disney Company these days, you know that Eisner’s REALLY in trouble.
But — you know what? After three solid days of this Roy / Stanley / Michael crud, I need a break. I need to clear my mind of backroom deals and plans that have allegedly been months in the making. Which is why — once I get on the plane — I’m going to crack open my copy of Rick Goldschmidt’s excellent book, “Rudoplh the Red-Nosed Reindeer: The Making of the Rankin/Bass Holiday Classic” (Miser Bros. Press, September 2001).
I have to tell you guys that — given that I’m a dyed-in-the-wool baby boomer — I’m a huge fan of the “Rudolph the Red-Nosed Reindeer” TV special. I actually caught the thing on its very first airing. Which was on Sunday, December 6, 1964. At 5:30 p.m. in the evening, if you can believe it.
And that Christmas special had a profound impact on me. I remember vividly how that very first appearance in the show of the Abominable Snow-Monster — as the seemingly huge creature peered over those snow covered mountains — fried my little brain. And all the great songs that Johnny Marks wrote for this TV special got burned into my skull as well. (But I think that’s because my Mom actually sent away for the soundtrack LP. Which was available in 1965 as a mail-in premium with the purchase of any General Electric products and one dollar.)
Well, Rick Goldschmidt’s is clearly a huge fan of the “Rudolph the Red-Nosed Reindeer” TV special. For he’s assembled this wonderful book that’s full of great stories and photos about the production. You’ll even find a copy of the original 1963 draft of Romeo Muller’s script for the show. Back when Sam the Snowman wasn’t played to be played by Burl Ives, but was actually envisioned as more of a “Guys and Dolls” Nicely-Nicely Johnson kind of character (Which suggests that — perhaps — Muller had Stubby Kaye in mind when he initially wrote the role).
I’ve read this book a number of times already. But “Rudolph the Red-Nosed Reindeer: The Making of the Rankin/Bass Holiday Classic” is so chock full of great stories about the Animagic process, changes that were made to the show over the years (Never mind about “Fame and Fortune.” How many of you out there recall when Yukon Cornelius actually found that peppermint mine right in front of Santa’s castle?). There’s pages and pages of good stuff here …
And — speaking of good stuff — if you live in the New York City area and are a big “Rudolph the Red-Nosed Reindeer” fan, have I got a treat for you! Tonight — at the Museum of Television and Radio — they’re actually having an event to honor Arthur Rankin, Jr. and Jules Bass, the two gentlemen who actually created this wonderful show. To quote from the MT&R press release I now have in my hot little hand:
“Have a Holly Jolly Christmas” with the Animation of Rankin and Bass
Thursday, December 4, 2003
6:00 to 7:30 p.m.Pioneering producers Arthur Rankin, Jr., and Jules Bass presented their groundbreaking stop-motion animation television special Rudolph the Red-Nosed Reindeer in 1964 and have entertained every generation since with over thirty animated television specials. TV Guide included three of their Christmas specials, Rudolph the Red-Nosed Reindeer, Santa Claus Is Comin’ To Town, and Frosty the Snowman in their “Ten Best Classic Family Holiday Specials” list. Arthur Rankin, Jr., will discuss his early work with stop-motion animation, his relationship with partner Jules Bass, and how the pair created such enduring programs.
In Person: Arthur Rankin, Jr.
If I could be in two places at the same time, tomorrow night, I’d be in Orlando as well as NYC. So that I could enjoy both the kick-off of the Orlando-based leg of “Mousefest 2003” as well as the Rankin/Bass event at the Museum of Television and Radio.
And — speaking of needing to be in two places at the same time — it’s time for me to leave for the airport. But I haven’t finished packing yet!? Eeep!
I’ll talk to you guys tomorrow, once I get settled in Kissimmee, okay?
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