General

Wednesdays with Wade: The Disneyland Concept

In honor of the Anaheim theme park’s 50th anniversary celebration, here’s another look at Disneyland’s origins. This time around, Wade Sampson lets Walt and Disney Legend John Lench explain the basic principles behind “The Happiest Place On Earth.”

Published

20 years ago

May 31, 2005

Jim Korkis

A lot of people, including cast members, are confused about the “Happiest Celebration on Earth.” If it is supposed to be a celebration of Disneyland’s birthday, then why did it start May 5th rather than July 17th and why are the other parks being spotlighted? If it is Disneyland’s birthday, why am I being urged to visit Walt Disney World instead? Regis and Kelly only spent two days at Disneyland but three days at Walt Disney World.

The bottom line, of course, is that Disneyland couldn’t physically hold the number of visitors who would want to come to the celebration and in addition, there just aren’t enough new things at Disneyland to justify a full-fledged celebration. So by spreading the celebration out around to the other parks, it makes it look like there is more going on than there actually is.

To justify all of this, Disney claims that the celebration is not just for Disneyland but the “Disneyland Concept” and that basically translates into Walt’s vision of an entertainment venue for the entire family.

Fortunately, there is a clip of Walt explaining the origin of Disneyland and of course, that choice bit of oral history wasn’t created for the Disney Company.

The majority of Walt Disney’s introductions for his popular television show were done on a studio film set created to resemble his personal formal office. The various awards and mementoes were real because Walt felt more comfortable when he was surrounded by these familiar items. After filming, they were returned to his real office. Walt would film several introductions in a day and often have a scratchy throat by the end of the day.

However, a special CBC show was also filmed on this set.

The Canadian Broadcasting Corporation introduced a program entitled “Telescope” in 1963 and it ran for about a half dozen years. The purpose of the program was to “examine, reflect, and project the Canadian image” and during its run, the show covered a wide range of subjects pertaining to Canadians. Generally, it was a personality profile of a Canadian, either a national figure or an international celebrity or a notable unknown citizen.

Since Walt’s father, Elias, was born in Canada, it seemed a good choice to interview Walt.

The host of the show was Fletcher Markle. He was a writer, director and producer of films. In fact, in 1963 he directed the Disney film “The Incredible Journey” about a trio of pets trying to get back to their home. It was filmed in Calgary, Canada. Obviously, this connection probably encouraged Walt to participate in the interview for the “Telescope” show where he revealed the origins of Disneyland.

This clip has been trotted out almost as often as Walt’s Opening Day declaration: “Welcome…Disneyland is your land…” Here is a transcript of Walt’s response to the creation of Disneyland from that interview:

“Well, it came about when my daughters were very young and Saturday was always Daddy’s day with the two daughters. So we’d start out and try to go someplace, and I’d take them to the merry-go-round and I took them different places and as I’d sit while they rode the merry-go-round and did all these things, I felt that there should be something built…some kind of amusement enterprise built where the parents and the children could have fun together. So that’s how Disneyland started. Well, it took a period of maybe fifteen years developing. I started with many ideas, threw them away, started all over again. And eventually, it evolved into what you see today at Disneyland. But it all started from a Daddy with two daughters wondering where he could take them where he could have a little fun with them too.”

The “Disneyland Concept” was to utilize the elements of filmmaking in a three-dimensional, interactive amusement enterprise. The four most popular movie genres of the mid-1950s served as the inspiration for the four major lands: Tomorrowland was inspired by the science-fiction films that had begun to appear and the interest in UFOs, Frontierland was inspired by the audience’s interest in Westerns (in 1955, over sixteen hours of television time was devoted to Westerns and it was the first year that “Gunsmoke” appeared on television), Adventureland was inspired not so much by Walt’s True-Life Adventure films but by the popular jungle dramas (“Sheena, Queen of the Jungle”, “Ramar of the Jungle”, “Jungle Jim”, “Tarzan”, etc.) appearing on television and the movies, Fantasyland was inspired by animated cartoons.

Walt’s concept was that the guests would become part of the story that was being told just like actors on a movie set.
Here is another “lost” quote from Imagineer John Hench:

“When we began designing Disneyland, we looked at it just as we do a motion picture. We had to tell a story…or in this case, a series of stories. In filmmaking, we develop a logical flow of events or ‘scenes’ that will take our audience from point-to-point through the story.

If we were to ‘leapfrog’ from scene one to scene three, leaving out scene two, it would be like sending the entire audience out to the lobby for popcorn in the middle of the film. When they came back, how could we expect them to understand what’s happening in the film?

There was also another thing we had to keep in mind, in further developing our Disneyland ‘story.’ In filmmaking, although we can control the sequence of events, the viewer might walk in late and through no fault of ours, miss scene one and never catch up to the story. But in Disneyland, we had more control…we designed the entire park in such a way that the guest couldn’t miss scenes one or two, etc…from the minute he entered our ‘theater’, that is, our front gate, ‘scene one’ would begin for him.”

Many film designers like Emile Kuri and animators like Ken Anderson applied their craft to the creation of Disneyland. In later years, John Hench liked to tell people that Disneyland is designed with long shots, medium shots and close-ups and that helps tell the story.

And how was this “movie” laid out? Walt didn’t want guests to be just observers of all this wonderful work but to be participants. Just like a movie or stage set, the place shouldn’t look complete until there are actors there. Walt Disney himself described the original lands while Disneyland was being built and look how often he uses the theme of participating to describe how the guests were to experience his park:

MAIN STREET: “Many of us fondly remember our ‘small home town’ and its friendly way of life at the turn of the century. To me, this era represents an important part of our nation’s heritage. On Main Street we have endeavored to recapture those by-gone days. Here is America in 1890-1910, at the crossroads of an era. Here the gas lamp is giving way to the electric lamp, and a newcomer, the sputtering horseless carriage, has challenged Old Dobbin to the streetcar right-of-way. America was in transition; the discoveries of the late 19th Century were changing our way of life. For those of us who remember those carefree times it recreates, Main Street will bring back happy memories. For younger visitors, it is an adventure in turning back the calendar to the days of grandfather’s youth.”

ADVENTURELAND: “The spirit of adventure is often linked with exotic tropic places. Many of us dream of traveling to these mysterious, far-off regions of the world. To create a land which would make this dream a reality, we picture ourselves far from civilization, in the remote jungles of Asia and Africa. The result is Adventureland, ‘the wonderland of nature’s own design’.”

FRONTIERLAND: “All of us have cause to be proud of our country’s history, shaped by the pioneering spirit of our forefathers. It is to those hardy pioneers, men of vision, faith and courage, that we have dedicated Frontierland. Here you can return to frontier America, from the Revolutionary War era to the final taming of the great Southwest. Our adventures are designed to give you the feeling of having lived, even for a short while, during our country’s pioneer days.”

FANTASYLAND: “When we were planning Fantasyland, we recalled the lyrics of the song, ‘When You Wish Upon A Star’. The words of that melody, from our picture, ‘Pinocchio’, inspired us to create a land where dreams come true. What youngster, listening to parents or grandparents read aloud, has not dreamed of flying with Peter Pan over moonlit London or tumbling into Alice’s nonsensical Wonderland? In Fantasyland, these classic stories of everyone’s youth have become actual realities for youngsters-of all ages-to participate in.”

TOMORROWLAND: “Tomorrow can be a wonderful age. Our scientists today are opening the doors of the Space Age to achievements which will benefit our children and generations to come. In Tomorrowland, we’ve arranged a preview of some of the wonderful developments the future holds in store. You will actually experience what many of America’s foremost men of science and industry predict for the world of tomorrow. The Tomorrowland attractions, and many others, have been designed to give you an opportunity to participate in adventures which are a living blueprint of our future.”

Literally, books have been written trying to explain the “Disneyland Concept” but my favorite quote is when a guest looked at Main Street and gushed to Walt that “it’s exactly as it was!” Walt smiled and replied, “No, it’s the way it should have been.”

And a final “lost” quote from John Hench:

“The individual things we do in Disneyland don’t have to stand as separate business entities like in other companies. We tell outsiders this and they think we’re crazy, but that’s the real secret to how it all works. We’re looking for the total effect on the guest. That’s the payoff. There’s not one thing that could be placed on the outside and stay in business. Not the Jungle Cruise…not the Liberty Tree Tavern…and not even our popcorn machines. They are all too costly and complex. But when you put everything together, and mix in the employees, the whole effect becomes something that creates the ‘Disney Experience’. Everything draws strength from other parts. It’s a curious, in fact, downright incredible phenomena.“

General

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

Published

9 years ago

June 23, 2015

Jim Hill

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

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

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

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

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

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

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

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

General

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

Published

10 years ago

June 10, 2015

Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Your thoughts?

General

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

Published

10 years ago

June 9, 2015

Jim Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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