Theme Parks & Themed Entertainment

The Ant Bully: “We’re not making fun of it. We’re celebrating it”

In the second installment of JHM’s three-part series about this new Warner Bros. release, Roger Colton talks with Ken Mitchroney about many of the in-jokes & film influences that can be found in this animated feature

Published

18 years ago

July 26, 2006

Roger Colton

If you were looking for someone who has experience in story on animated productions at most of the players in Hollywood, then this guy would be well placed on the list. The name of Ken Mitchroney is found on the credits of many animated television and film productions. Usually as part of the story crew, but for “The Ant Bully,” he steps up to the plate as a utility fielder, as it were. It seemed as if he was there to help fill a number of roles on the production.

You’ve seen his work before as he was part of the story crew for Pixar’s “Toy Story 2” and “Monsters Inc.,” Dreamworks “Shrek 2” and Disney’s “Mickey’s Three Musketeers.” Prior to that he worked on animation productions for Disney, Warner Brothers and more as well as drawing for a number of comic book titles. For a brief period, he even had his own animation studio in Florida.

Branching out into other well-known art forms, he learned the art of pin striping and other gifts from classic car culture icon, Ed “Big Daddy” Roth. But he really seemed to find his stride working in Irving for DNA. It was the right place at the right time as he put all of his talent and experience together to be an integral part of the film’s crew. During a recent interview, he shared some thoughts on the production.

No, this isn’t a late night story conference …
Image courtesy of Warner Bros. Pictures

Roger: We chatted a bit about using traditional film making techniques for this animated film. Can you tell us about how that was helpful in this production?

Ken: Over the years, it’s becoming increasingly important to use filmmaking techniques in all facets of animated films. I mean, we ARE making a visual representation of the story.

The use of good staging, character placement and composition, and understanding of camera usage (lenses, dolly equipment and so forth) really are important tools in the telling of the story.

On “The Ant Bully” especially, I introduced our crew to the use of director’s viewfinders. We found these tools invaluable. I’ve been using them for years, but introducing it to the story crew helped them immensely.

If a storyboard artist is having trouble composing a shot, we would mock up a quick set, get a few story artists – or “victims” – whoever was standing around – and as you would on a live set, work your shot out from there, using the viewfinder. This way, the story artist can see the shot he needs to draw, and then can break it down mechanically in a down-shot overview and start placing cameras for preceding shots in his sequence.

Lucas takes out his anger on the ant colony
Image courtesy of Warner Bros. Pictures

When we launched the story artists on a sequence, I tried to give them a down shot of the set and where the actors were, so they could move their characters and compose their shots. We’d work it out as if you were shooting live action, so as they place cameras “on the down,” and as they place their actors, they’re using their natural story visual talents to draw what is actually being seen through the lens. This now gives all the departments in the production a road map of camera moves and character path, and it doesn’t waste the story artist’s time trying to guess what he wants.

Ken Mitchroney and his element of choice
Photo by Roger Colton

I have an old Mitchell viewfinder from a camera used in the late ’40s and ’50s, and when shots went through animation after being composed in layout, I brought that into the screening room for animation dailies. I could check and balance out shots after they were animated, using the cross hairs in the old Mitchell, which automatically shows you all four quadrants of the screen for balance. What started out as a gag prop turned into an incredibly useful tool.

The folks at Panavision in Irving were kind enough to bring cameras and equipment for a one-day seminar for layout and story departments. The artists were able to work with the cameras and dollies, and get a feel for what it’s really like to shoot and use cameras, as opposed to staring at their monitors and trying to imagine. That was eye opening for the whole crew.

One good use of just the plain viewfinder went as far as animation: In dailies, there was a problem with a scene because the camera moves seemed flat. I knew what the problem was, but the animator was the one who needed to fix it.

So I called him in my office, took out the viewfinder, and let him watch two or three camera moves from classic films off my monitor through the viewfinder. When he saw this, he could feel in the center of his chest the move.

Then we looked at his scene through the viewfinder, and he saw the flatness. So we worked on the move. I left him the viewfinder to double check and triple check his scenes, and when we both looked at it together when he was finished, you could feel it as well as see it. You gotta love these toys! . .

Roger: Within that context, we discussed how a frame is set to provide emphasis on a particular element within the frame, be it a character, characters or objects. Can you tell us a bit about why that was important?

Ken: Composing a frame is key to making the point of that shot. Where should we be looking? Which way is the action going? What is the point of the shot? Using set dressing to help eye-line and using character placement for emphasis are all part of composing one shot.

Every shot in the film is important. There are no “bridges.” If you’re recording a shot on film, it should not be wasted as a “transitional element.” It exists because it’s important. Using compositional skills helps make that point clearer.

It’s said I have an unhealthy obsession with the Warner Bros. films of the late ’30s, ’40s and ’50s. Sadly, it’s true. But learning early on – and even today – from compositional greats like Mike Curtiz, John Huston and Raoul Walsh, just to name a few, helped me when I was in film school (and even now) to realize just what a good looking, useful tool good staging composition is to move your story forward.

Roger: Over the course of the production, you mentioned showing the crew various scenes from classic films to give them examples of some of these techniques. Was there one scene from a particular film or director that somewhat got the message across what you wanted them to find?

Ken: Here’s something silly I did, just to sort of give an on-the-nose example:

In the 1941 Errol Flynn film, “Footsteps in the Dark,” Errol and his sidekick, Allen Jenkins, are having a conversation. They are standing and having a conversation in a room full of paintings.

Errol stands up in the shot with an idea to tell Allen Jenkins. He turns and looks at Allen and gives him the information. Now, Flynn is taller than Jenkins, which gets your attention. He’s the one with the power and the information. Jenkins is lower than him, and is receiving the information.

And placed between them, to help Errol Flynn’s eye-line connect with Allen Jenkins’ eye-line, is a rather large, Erte-esque painting of a woman pointing in the direction of Allen Jenkins, with her shoulder off Flynn’s eye-line but her finger pointing at Jenkins’ eye-line.

It’s so on the nose it’s hilarious.

But I blew that frame up and put it in layout and story, and I put it on my door with a note that says, “It’s not just us.” Meaning that it may sound like nit-picking to compose shots by moving the set dressing or the actors or what have you, but I just wanted to let them know that this is what filmmakers do.

“It’s not just us”
Photo by Roger Colton

I tried to show the crew as many good, classic films as possible, and I constantly hounded them to watch Turner Classic Movies. “American Idol” is nice, but it’s not going to show you how to shoot a boardroom scene.

The film I used the most to show them what we wanted in “The Ant Bully” was “Lawrence of Arabia.” We wanted the scale, scope and depth that David Lean achieved in this great film.

This also suggested our lens theories for our film, which was 20mm and below lenses for the ant world, to make it huge in scale, and 50 mm and above lenses for the human world, which is our standard eye forward, keeping the human world as cramped as possible. This worked out great, and gave us a visual language for the film. All I can say is, “God Bless Lawrence!” It really helped in the pre-visualization stage.

The Queen speaks to her colony
Image courtesy of Warner Bros. Pictures

Roger: The concept of work booking was something I found rather interesting. Can you explain a bit about the concept and how helpful was it to everyone working on the various elements of the production?

Ken: Work booking is the visual conduit from the storyboard drawings to the layout department that is composing the movie on computer screen. Early on, I suggested work booking to help speed up production and to take the pressure off the layout department somewhat, and to give Director John Davis and myself one more chance to change the visualization before things went down the pipeline.

What our version of work booking entails was copies of the sequence in storyboards printed on a page; the key frames were blown up and next to those key frames was a down shot of camera placement and character, and the lenses to be used. This also included art department previsualization of the scene. These were pinned up and the editor, the director of photography and the director, with the help of the head of work booking, could walk through the entire sequence, agree on everything from camera to lenses, etc., sign off on it, and send it to layout.

This provided a no-questions-asked road map for the layout artists. So, what would take six hours to try to figure out on the fly would take three hours for first-pass layout. It saved us a ton of time.

Personally, I had not used work booking before, but the production needed it. I’d seen it in operation at Disney, and it eliminated any guesswork. You could put it in front of the layout artists, and BANG, you had everything you needed to get the first shot together.

Roger: And yes, thank you, what homages to other sources should people notice or not notice?

Ken: I’ve always considered this to be a film made by fans. I mean this in a GOOD way. We’ve been to the conventions. We’ve done the panels. We’ve watched the same science fiction movies, the same junky old TV. We can talk “Star Trek” with the best of them. We know all the Ray Harryhausen movies, chapter and verse. And it was just fun to tip our hat to some of our “obsessions” and inspirations.

There’s a “Talos” bowling trophy in the Nickles’ living room (Talos is the statue from “Jason and the Argonauts.”) The sound effect of the ants in the Warner Bros. movie, “Them!” runs throughout the film. There are homages to my favorite filmmakers in various shots. Even Ricardo Montalban (Head of Council) speaks lines reminiscent of lines from “Fantasy Island” and “Wrath of Khan.”

It’s just the Joe Dante in us, I guess, that causes us to add these elements and keep all of us fans in the loop. Things like that make it a hell of a lot more fun. And you can’t do it anywhere else except at DNA Productions. We’re not making fun of it – we’re celebrating it!

Lucas takes to the air along with his newfound friends
Image courtesy of Warner Bros. Pictures

Roger: On the subject of story, with the book as a starting point, how much freedom did the story crew have to work with?

Ken: When John Davis delivered his adaptation of the book – his script – what I did was launch the artists on their sequences, with the understanding that they were allowed to expand only after they did what John had on the script. Visually play with it, but don’t wander too much. If you want to do something different, offer it as an alt (alternative) and we’ll pitch it to John. I never say no, no matter how weird it is. Just do what John wants, and offer the alt after the story pitch.

The thing I love about working with John Davis is he always allows you to challenge him. He may not like the idea, but he’s always open to hear new material. I think that’s one of his strong points. He’s just so open to anything, and that allows me to be the same with my crew.

In the third & final installment of JHM’s look at “The Ant Bully,” Roger Colton sits down with the film’s director, John A. Davis.

Theme Parks & Themed Entertainment

Disney’s Forgotten Halloween Event: The Original Little Monsters on Main Street

Published

2 months ago

September 22, 2024

Jim Hill

When most Disney fans think of Halloween in the parks, they immediately picture Mickey’s Not-So-Scary Halloween Party at Walt Disney World or the Oogie Boogie Bash at Disneyland Resort. But before those events took over as the must-attend spooky celebrations, there was a little-known event at Disneyland called Little Monsters on Main Street. And its origins? Well, they go all the way back to the 1980s, during a time when America was gripped by fear—the Satanic Panic.

You see, back in the mid-1980s, parents were terrified that Halloween had become dangerous. Urban legends about drug-laced candy or razor blades hidden in apples were widespread, and many parents felt they couldn’t let their kids out of sight for even a moment. Halloween, which was once a carefree evening of trick-or-treating in the neighborhood, had suddenly become a night filled with anxiety.

This is where Disneyland’s Little Monsters on Main Street came in.

The Origins of Little Monsters on Main Street

Back in 1989, the Disneyland Community Action Team—later known as the VoluntEARS—decided to create a safe, nostalgic Halloween experience for Cast Members and their families. Many schools in the Anaheim area were struggling to provide basic school supplies to students, and the VoluntEARS saw an opportunity to combine a safe Halloween with a charitable cause. Thus, Little Monsters on Main Street was born.

This event was not open to the general public. Only Disneyland Cast Members could purchase tickets, which were initially priced at just $5 each. Cast Members could bring their kids—but only as many as were listed as dependents with HR. And even then, the park put a cap on attendance: the first event was limited to just 1,000 children.

A Unique Halloween Experience

Little Monsters on Main Street wasn’t just another Halloween party. It was designed to give kids a safe, fun environment to enjoy trick-or-treating, much like the good old days. On Halloween night in 1989, kids in costume wandered through Disneyland with their pillowcases, visiting 20 different trick-or-treat stations. They also had the chance to ride a few of their favorite Fantasyland attractions, all after the park had closed to the general public.

The event was run entirely by the VoluntEARS—about 200 of them—who built and set up all the trick-or-treat stations themselves. They arrived at Disneyland before the park closed and, as soon as the last guest exited, they began setting up stations across Main Street, Adventureland, Frontierland, Fantasyland, and Tomorrowland. The event ran from 7:30 to 9:30 p.m., and by the time the last pillowcase-wielding kid left, the VoluntEARS cleaned everything up, making sure the park was ready for the next day’s operations.

It wasn’t just candy and rides, though. The event featured unique entertainment, like a Masquerade Parade down Main Street, U.S.A., where kids could show off their costumes. And get this—Disneyland even rigged up a Cast Member dressed as a witch to fly from the top of the Matterhorn to Frontierland on the same wire that Tinker Bell uses during the fireworks. Talk about a magical Halloween experience!

The Haunted Mansion “Tip-Toe” Tour

Perhaps one of the most memorable parts of Little Monsters on Main Street was the special “tip-toe tour” of the Haunted Mansion. Now, Disneyland’s Haunted Mansion can be a pretty scary attraction for younger kids, so during this event, Disney left the doors to the Stretching Room and Portrait Gallery wide open. This allowed kids to walk through and peek at the Haunted Mansion’s spooky interiors without actually having to board the Doom Buggies. For those brave enough to ride, they could, of course, take the full trip through the Haunted Mansion—or they could take the “chicken exit” and leave, no harm done.

Growing Success and a Bigger Event

Thanks to the event’s early success, Little Monsters on Main Street grew in size. By 1991, the attendance cap had been raised to 2,000 kids, and Disneyland added more activities like magic shows and hayrides. They also extended the event’s hours, allowing kids to enjoy the festivities until 10:30 p.m.

In 2002, the event moved over to Disney California Adventure, where it could accommodate even more kids—up to 5,000 in its later years. The name was also shortened to just Little Monsters, since it was no longer held on Main Street. This safe, family-friendly Halloween event continued for several more years, with the last mention of Little Monsters appearing in the Disneyland employee newsletter in 2008. Though some Cast Members recall the event continuing until 2012, it eventually made way for Disney’s more public-facing Halloween events.

From Little Monsters to Mickey’s Not-So-Scary and Oogie Boogie Bash

Starting in the early 2000s, Disney began realizing the potential of Halloween-themed after-hours events for the general public. These early versions of Mickey’s Halloween Party and Mickey’s Halloween Treat eventually evolved into today’s Mickey’s Not-So-Scary Halloween Party and Oogie Boogie Bash. Unfortunately, this also marked the end of the intimate, Cast Member-exclusive Little Monsters event, but it paved the way for the large-scale Halloween celebrations we know and love today.

While it’s bittersweet to see Little Monsters on Main Street fade into Disney history, its legacy lives on through these modern Halloween parties. And even though Cast Members now receive discounted tickets to Mickey’s Not-So-Scary and Oogie Boogie Bash, the special charm of an event created specifically for Disney’s employees and their families remains something worth remembering.

**The Merch: A Piece of Little Monsters History**

For Disney collectors, the exclusive merchandise created for Little Monsters on Main Street is still out there. You can find pins, name tags, and themed pillowcases on sites like eBay. One of the coolest collectibles is a 1997 cloisonné pin set featuring Huey, Dewey, and Louie dressed as characters from Hercules. Other sets paid tribute to the Main Street Electrical Parade and Pocahontas, while the pillowcases were uniquely designed for each year of the event.

While Little Monsters on Main Street may be gone, it’s a fascinating piece of Disneyland history that played a huge role in shaping the Halloween celebrations we enjoy at Disney parks today.

Want to hear more behind-the-scenes stories like this? Be sure to check out I Want That Too, where Lauren and I dive deep into the history behind Disney’s most beloved attractions, events, and of course, merchandise!

Theme Parks & Themed Entertainment

The Story of Mickey’s Not-So-Scary Halloween Party: From One Night to a Halloween Family Tradition

Published

2 months ago

September 7, 2024

Jim Hill

The spooky season is already in full swing at Disney parks on both coasts. On August 9th, the first of 38 Mickey’s Not-So-Scary Halloween Party (MNSSHP) nights for 2024 kicked off at Florida’s Magic Kingdom. Meanwhile, over at Disney California Adventure, the Oogie Boogie Bash began on August 23rd and is completely sold out across its 27 dates this year.

Looking back, it’s incredible to think about how these Halloween-themed events have grown. But for Disney, the idea of charging guests for Halloween fun wasn’t always a given. In fact, when the very first Mickey’s Not-So-Scary Halloween Party debuted on October 31, 1995, it was a modest one-night-only affair. Compare that to the near month-long festivities we see today, and it’s clear that Disney’s approach to Halloween has evolved considerably.

A Not-So-Scary Beginning

I was fortunate enough to attend that very first MNSSHP back in 1995, along with my then 18-month-old daughter Alice and her mom, Michelle. Tickets were a mere $16.95 (I know, can you imagine?), and we pushed Alice around in her sturdy Emmaljunga stroller—Swedish-built and about the size of a small car. Cast Members, charmed by her cuteness, absolutely loaded us up with candy. By the end of the night, we had about 30 pounds of fun-sized candy bars, making that push up to the monorail a bit more challenging.

Mickey’s Halloween Treat 1996 – Photo: Disney

This Halloween event was Disney’s response to the growing popularity of Universal Studios Florida’s own Halloween hard ticket event, which started in 1991 as “Fright Nights” before being rebranded as “Halloween Horror Nights” the following year. Universal’s gamble on a horror-themed experience helped salvage what had been a shaky opening for their park, and by 1993, Halloween Horror Nights was a seven-night event, with ticket prices climbing as high as $35. Universal had stumbled upon a goldmine, and Disney took notice.

A Different Approach

Now, here’s where Disney’s unique strategy comes into play. While Universal embraced the gory, scare-filled world of horror, Disney knew that wasn’t their brand. Instead of competing directly with blood and jump-scares, Disney leaned into what they did best: creating magical, family-friendly experiences.

Thus, Mickey’s Not-So-Scary Halloween Party was born. The focus was on fun and whimsy, not fear. Families could bring their small children without worrying about them being terrified by a chainsaw-wielding maniac around the next corner. This event wasn’t just a Halloween party—it was an extension of the Disney magic that guests had come to expect from the parks.

Disney had some experience with seasonal after-hours events, most notably Mickey’s Very Merry Christmas Party, which had started in 1983. But the Halloween party was different, as the Magic Kingdom wasn’t yet decked out in Halloween decor the way it is today. Disney had to create a spooky (but not too spooky) atmosphere using temporary props, fog machines, and, of course, lots of candy.

A key addition to that first event? The debut of the Headless Horseman, who made his eerie appearance in Liberty Square, riding a massive black Percheron. It wasn’t as elaborate as the Boo-to-You Parade we see today, but it marked the beginning of a beloved Disney Halloween tradition.

A Modest Start but a Big Future

That first MNSSHP in 1995 was seen as a trial run. As Disney World spokesman Greg Albrecht told the Orlando Sentinel, “If it’s successful, we’ll do it again.” And while attendance was sparse that night, there was clearly potential. By 1997, the event expanded to two nights, and by 1999, Mickey’s Not-So-Scary Halloween Party had grown into a multi-night celebration with a full-fledged parade. Today, in 2024, it’s a staple of the fall season at Walt Disney World, offering 38 nights of trick-or-treating, character meet-and-greets, and special entertainment.

Universal’s Influence

It’s interesting to reflect on how Disney’s Halloween event might never have existed without the competition from Universal. Just as “The Wizarding World of Harry Potter” forced Disney to step up their game with “Star Wars: Galaxy’s Edge,” Universal’s success with Halloween Horror Nights likely spurred Disney into action with MNSSHP. The friendly rivalry between the two parks has continually pushed both to offer more to their guests, and we’re all better off because of it.

So the next time you find yourself trick-or-treating through the Magic Kingdom, watching the Headless Horseman gallop by, or marveling at the seasonal fireworks, take a moment to appreciate how this delightful tradition came to be—all thanks to a little competition and Disney’s commitment to creating not-so-scary magic.

For more Disney history and behind-the-scenes stories, check out the latest episodes of the I Want That Too podcast on the Jim Hill Media network.

History

The Evolution and History of Mickey’s ToonTown

Published

9 months ago

February 7, 2024

Jim Hill

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!