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.

Television & Shows

How the Creators of South Park Tricked A-List Celebrities to Roast Universal – “Your Studio & You”

Published

10 hours ago

January 12, 2025

Jim Hill

Universal Studios has a rich and storied history, but few moments are as peculiar—and as hilariously cutting—as the creation of Your Studio & You. This 14-minute parody film, commissioned in 1995 to celebrate Universal’s new ownership under Seagram’s, brings together an all-star cast, biting humor, and the unmistakable comedic fingerprints of Matt Stone and Trey Parker.

Long before South Park debuted on Comedy Central in 1997, Stone and Parker were already carving out a reputation for their irreverent style, and Your Studio & You perfectly encapsulates their knack for turning even the most corporate project into something delightfully subversive.

Matt Stone & Trey Parker Before South Park

Stone & Parker were already known out in Hollywood as funny guys. Thanks largely to “The Spirit of Christmas,” which was this video greeting card that they’d crafted for a Fox executive – who then distributed this infamously funny thing (which had Our Lord Jesus Christ & Santa Claus literally duking it out for the holiday affections of Cartman, Kenny, Stan & Kyle) to friends & family.

This was the early 1990s. No internet. Each copy of “The Spirit of Christmas” was made on VHS tape and then mailed. Went viral the old-fashioned way. It’s rumored that George Clooney made over 300 copies of “The Spirit of Christmas” and passed these VHS taps along to friends and family.

Things didn’t move as fast as they do today. “The Spirit of Christmas” still became a sensation out West.

Zucker Brothers

Matt & Trey also had other supporters in the entertainment industry. Among them David Zucker, who was one of the members of ZAZ (i.e., Zucker Abrahams Zucker), the talented trio that made “Airplane!” in 1980, “Top Secret!” in 1984 and the three “Naked Gun” movies.

The original “Naked Gun” in 1988
“Naked Gun 2 & 1/2 : The Smell of Fear” in 1991
and “Naked Gun 33 & a 1/3: The Final Insult” in 1994

All five of these parody films had been made for Paramount Pictures. But in the Late Winter / Early Spring of 1995, Universal had persuaded the Zucker Brothers to come over and set up shop in a bungalow on their lower lot. With the hope that – at some point further on down the line – David & his brother Jerry would start making funny films for Universal.

Zucker Brothers featured in "Your Studio and You"

And it’s during this same window of time (We’re now talking April of 1995) that news breaks that Seagrams (Yep, the adult beverage company. Who – at the time – was making an absolute fortune on the sales of wine coolers) was about to buy a majority stake in MCAUniversal. We’re talking control of 80% of that company’s stock. Which would effectively make Seagrams the new owners of Universal Studios.

Edgar Bronfman

And Edgar Bronfman – the owner of Seagrams – knew that Universal had had a tough time with its previous owners – which had been the Matsushita Electric Industrial Co. of Japan. Matsushita had bought MCA back in November of 1990 for $7.5 billion but had never really understood the entertainment industry.

This is why – after repeatedly butting heads with Lew Wasserman & Sidney Sheinberg (i.e., the heads of Universal Studios & the Universal theme park respectively) when it came to creative control of this company – Matsushita decided to wash it hands of the entire enterprise. Agreeing to sell their holdings in MCA to Seagrams for $5.7 billion (effectively taking a nearly $2 billion loss on this investment).

And Bronfman … He knew that some bad feeling had developed between Hollywood’s creative community and the Japanese owners of Universal. The thinking was that executives at Matsushita Electric had just not gotten what it took to make movies & TV shows.

And Edgar? Right from the get-go, he wanted to show that Seagrams was NOT going to be Matsushita Electric Redux. Bronfman was looking for a way to send a clear message to Hollywood’s creative community that Universal’s new owners got it. That they were willing to work with Hollywood to make the best possible movies & TV shows at Universal.

And how did Edgar decide to get this message across? By making a funny movie.

Zucker Commissions Trey Parker for “Your Studio & You”

Mind you, Bronfman himself didn’t make this film. The owner of Seagrams reached out to David Zucker. Who – after initially agreeing to produce this introduction-to-Universal film – then farmed out the production of the actual project to Trey Parker. Who – just two days before shooting was supposed to star on the Universal Lot – persuaded Matt Stone to come help him on this project.

Which brings us to “Your Studio and You.” Which is a parody of an educational film from the 1950s, right down to being shot in black & white and featuring a very generic soundtrack.

Now what’s amazing about watching “Your Studio and You” today is that this 14-minute-long film features some of the biggest names working in Hollywood back in the mid-1990s. We’re talking about people like recent Golden Globe winner Demi Moore, Sylvester Stallone, Michael J. Fox and Angela Lansbury. Not to mention two of the most powerful men in all of Hollywood, Steven Spielberg & Jeffrey Katzenberg.

And what’s especially interesting about watch “Your Studio and You” is that – as you watch these performers go through their paces in this motion pictures (which – most of the time – involves doing some innocuous task while holding a Seagram’s wine cooler) – you often get the feeling that this star is not in on the gag.

So how did Matt & Trey get away with this? Simple. There was never actually a script for “Your Studio and You.”

Filming “Your Studio & You” at Universal Studios Hollywood

Mind you, David Zucker would always insist that there was. Especially when he’d phone up celebrities on the Universal Lot and say “Hey, I’m sending over a couple of college kids later today. They’re working with me on a new parody film. It’s something that we’re doing for the new owners of Universal. I need just a half hour of your time. We’re shooting something special for the party we’ll be holding when the Seagrams people first arrive at the Studio. Absolutely. You’ll definitely get an invite to that party. So can I count on you to help these kids out? Beautiful. They’ll be over there later this morning.”

And then Matt & Trey would show up and say “… Dang, Miss Lansbury. We’re sorry. We must have left our copy of the ‘Your Studio and You’ script back in our office. Which is clear on the other side of the Lot. So – rather than waste your time – why don’t we do this instead? Follow us over to the Psycho House. Where we’re then going to get footage of you painting the front porch on Mother Bates’ house while you say ‘Gosh, with all of the wonderful improvements going on around here, everyone is going to want to work at Universal.’ Oh, and can we also get you to wear this button on the front of your blazer which reads ‘Universal is A-OK’ ? “

And over & over again, the biggest names who were working for Universal at that time took part in the production of “Your Studio & You” because A) David Zucker vouched for Matt Stone & Trey Parker and B) this was something that was being made for the new owners of Universal. And it’s just natural to want to get in good with the new boss.

Steven Spielberg, Jeffery Katzenberg, and Jaws

But no one at Universal anticipated that “Your Studio & You” would wind up being as sharp edged as the finished product turned out to be. I mean, it’s one thing to bite the hand that feeds you. But “Your Studio & You” ? It doesn’t just bite the hand. It takes the hand off at the wrist.

It’s a brutally funny film. With one of the meanest moments reserved for Steven Spielberg, who plays a driver on the Universal Studio Tour who’s trying to persuade a tram full of bored tourists (one of whom is played by Jeffery Katzenberg) that the “Shark Attack” scene down by Jaws Lagoon is actually exciting.

Spielberg actually says lines like “ … Whoa, whoa. What is going on here? Ladies and gentlemen, this never happens. Look out! It’s a shark! Whoa, that is one big scary shark.”

Mind you, as footage of this mechanical shark repeatedly coming up out of the water is shown, “Your Studio & You” ‘s off-screen narrator (who is voiced by Trey Parker says):

“But what about tomorrow? If we don’t keep in step with the times, things that were once neat and thrilling can become old and stupid.”

“Your Studio & You” Reception

This film was supposed to be shown only once at the welcoming party for Seagrams executive on the Universal Lot. And I’m told that – when Edgar Bronfman saw the finished product at that party – he reportedly turned to David Zucker and said “ … That’s a little more mean-spirited that I think it needed to be.”

And with that, “Your Studio & You” was supposed to go back into the Universal vault, never to be seen again. But when “South Park” debuted on Comedy Central in August of 1997 and then became a sensation for its biting humor, there was suddenly a lot of interest in what else Matt & Trey had done. Which is why copies of “The Spirit of Christmas” began to circulate. And – over time – copies of “Your Studio & You” began to bubble up.

Which – as Stone & Parker have repeatedly pointed out – was just not supposed to happen. Largely because none of the celebrities who appeared in “Your Studio & You” had never signed releases for Universal’s legal department. Because – again – this was for a movie that was only going to be shown once at a private function on the Universal Lot.

Matt mentioned (as part of a career retrospective at the Paley Center in LA back in 2000) that “ … they wouldn’t even let us keep a copy of the finished film.”

It’s a funny but brutal movie. And worth taking a look at today especially if you’re a theme park history buff because it shows Universal Studios Hollywood’s “Jurassic Park: The Ride” still under construction on the Lower Lot. That attraction would finally open to the public in June of 1996.

“Your Studio & You” became a lot easier to see after Seagrams sold off its share of Universal to Vivendi in 2000. Copies began propagating online after that. Though Universal Legal will periodically make an effort to get the latest copy of “Your Studio & You” taken off the Internet because – again – none of the performers who appear on camera ever signed the proper releases and/or were paid for their efforts.

That said, if you’re up for a mean-spirited laugh, “Your Studio & You” is well worth 14 minutes of your time. That said, once you watch this thing, be warned:

You’re immediately going to be thirsty for a Seagram’s wine cooler
And you’re going to have a sudden desire to go out & buy a porcelain deer.

Theme Parks & Themed Entertainment

Disney and Macy’s 90-Year Thanksgiving Day Parade Partnership: From Mickey’s First Balloon to Minnie’s Big Debut

Published

2 months ago

November 15, 2024

Jim Hill

Now, folks, if you’re like me, Thanksgiving just wouldn’t be the same without a coffee, a cozy seat, and Macy’s Thanksgiving Day Parade on the TV. And if you’re really like me, you’re watching for one thing: Disney balloons floating down 34th Street. Ever wondered how Mickey, Donald, and soon Minnie Mouse found their way into this beloved New York tradition? Well, grab your popcorn because we’re diving into nearly 90 years of Disney’s partnership with Macy’s.

The Very First Parade and the Early Days of Balloons

The Macy’s Thanksgiving Day Parade goes way back to 1924, but if you can believe it, balloons weren’t part of the festivities until 1927. That first lineup included Felix the Cat, a dragon, and a toy soldier, all towering above the crowds. Back then, Macy’s had a pretty wild idea to end the parade: they would let the balloons drift off into the sky, free as birds. But this wasn’t just Macy’s feeling generous. Each balloon had a message attached, offering a $100 reward (about $1,800 in today’s dollars) for anyone who returned it to the flagship store on 34th Street.

And here’s where it gets interesting. This tradition carried on for a few years, right up until 1932, when Felix the Cat almost took down a plane flying over New York City! Imagine that—you’re flying into LaGuardia, and suddenly, there’s a 60-foot balloon drifting toward your wing. Needless to say, that was the end of Macy’s “fly away” stunt, and from then on, the balloons have stayed firmly grounded after the parade ends.

1934: Mickey Mouse Floats In, and Disney Joins the Parade

It was 1934 when Mickey Mouse finally made his grand debut in the Macy’s parade. Rumor has it Walt Disney himself collaborated with Macy’s on the design, and by today’s standards, that first Mickey balloon was a bit of a rough cut. This early Mickey had a hotdog-shaped body, and those oversized ears gave him a slightly lopsided look. But no one seemed to mind. Mickey was there, larger than life, floating down the streets of New York, and the crowd loved him.

Mickey wasn’t alone that year. He was joined by Pluto, Horace Horsecollar, and even the Big Bad Wolf and Practical Pig from The Three Little Pigs, making it a full Disney lineup for the first time. Back then, Disney wasn’t yet the entertainment powerhouse we know today, so for Walt, getting these characters in the parade meant making a deal. Macy’s required its star logo to be featured on each Disney balloon—a small concession that set the stage for Disney’s long-standing presence in the parade.

Duck Joins and Towers Over Mickey

A year later, in 1935, Macy’s introduced Donald Duck to the lineup, and here’s where things got interesting. Mickey may have been the first Disney character to float through the parade, but Donald made a huge splash—literally. His balloon was an enormous 60 feet tall and 65 feet long, towering over Mickey’s 40-foot frame. Donald quickly became a fan favorite, appearing in the lineup for several years before being retired.

Fast-forward a few decades, and Donald was back for a special appearance in 1984 to celebrate his 50th birthday. Macy’s dug the balloon out of storage, re-inflated it, and sent Donald down 34th Street once again, bringing a bit of nostalgia to the holiday crowd.

A Somber Parade in 2001

Now, one of my most memorable trips to the parade was in 2001, just weeks after the 9/11 attacks. Nancy and I, along with our friends, headed down to New York, and the mood was something I’ll never forget. We watched the start of the parade from Central Park West, but before that, we went to the Museum of Natural History the night before to see the balloons being inflated. They were covered in massive cargo nets, with sandbags holding them down. It’s surreal to see these enormous balloons anchored down before they’re set free.

That year, security was intense, with police lining the streets, and then-Mayor Rudy Giuliani rode on the Big Apple float to roaring applause. People cheered his name, waving and shouting as he passed. It felt like the entire city had turned out to show their resilience. Even amidst all the heightened security and tension, seeing those balloons—brought a bit of joy back to the city.

Balloon Prep: From New Jersey’s MetLife Stadium to California’s D23 Expo

Each year before the parade, Macy’s holds a rehearsal event known as Balloon Fest at MetLife Stadium in New Jersey. This is where handlers get their first crack at guiding the balloons, practicing with their parade masters, and learning the ropes—literally. It’s an entire production unto itself, with dozens of people rehearsing to make sure these enormous inflatables glide smoothly down the streets of New York on parade day.

In 2015, Macy’s took the balloon show on the road, bringing their Buzz Lightyear balloon out to California for the D23 Expo. I was lucky enough to be there, and watching Buzz get inflated piece by piece in the Anaheim Convention Center parking lot was something to behold. Each section was filled with helium in stages, and when they got around to Buzz’s lower half, well, there were more than a few gas-related jokes from the crowd.

These balloons seem to have a personality all their own, and seeing one like Buzz come to life up close—even outside of New York—had all the excitement and anticipation of the real deal.

Mickey’s Comeback as a Bandleader and Sailor Mickey

After a long hiatus, Mickey Mouse made his return to the Macy’s parade in 2000, this time sporting a new bandleader outfit. Nine years later, in 2009, Sailor Mickey joined the lineup, promoting Disney Cruise Line with a nautical twist. Over the past two decades, Disney has continued to enchant parade-goers with characters like Buzz Lightyear in 2008 and Olaf from Frozen in 2017. These balloons keep Disney’s iconic characters front and center, drawing in both longtime fans and new viewers.

But ever wonder what happens to the balloons after they reach the end of 34th Street? They don’t just disappear. Each balloon is carefully deflated, rolled up like a massive piece of laundry, and packed into storage bins. From there, they’re carted back through the Lincoln Tunnel to Macy’s Parade Studio in New Jersey, where they await their next flight.

Macy’s Disney Celebration at Hollywood Studios

In 1992, Macy’s took the spirit of the parade down to Disney-MGM Studios in Orlando. After that year’s parade, several balloons—including Santa Goofy, Kermit the Frog, and Betty Boop—were transported to Hollywood Studios, re-inflated, and anchored along New York Street as part of a holiday display. Visitors could walk through this “Macy’s New York Christmas” setup and see the balloons up close, right in the middle of the park. While this display only ran for one season, it paved the way for the Osborne Family Spectacle of Dancing Lights, which became a holiday staple at the park for years to come.

Minnie Mouse’s Long-Awaited Debut in 2024

This year, Minnie Mouse will finally join the parade, making her long-overdue debut. Macy’s is rolling out the red carpet for Minnie’s arrival with special pop-up shops across the country, where fans can find exclusive Minnie ears, blown-glass ornaments, T-shirts, and more to celebrate her first appearance in the Thanksgiving Day Parade.

For those lucky enough to catch the parade this year, you’ll see Minnie take her first float down 34th Street, decked out in her iconic red bow and polka-dot dress. Macy’s and Disney are also unveiling a new Disney Cruise Line float honoring all eight ships, including the latest, the Disney Treasure.

As always, I’ll be watching from my favorite chair, coffee in hand, as Minnie makes her grand entrance. The 98th annual Macy’s Thanksgiving Day Parade airs live on NBC, and it’s a tradition you won’t want to miss—whether you’re on 34th Street or tuning in from home.

Theme Parks & Themed Entertainment

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

Published

4 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!