Category: Imagineering

  • D23 Expo 2013: The Imagineering Pavilion

    At this year’s D23 Expo, there were no big presentations from the Parks & Resorts division as there had been at previous expos.   The stated reason was that Parks and Resorts was coming off of some major expansions – Cars Land and Buena Vista Street at the Disneyland Resort, and New Fantasyland at Walt Disney Resort — and that other projects were not at an appropriate place for any new announcements to be made.

    Instead of a big splashy arena presentation, Parks & Resorts was represented by an extensive Imagineering pavilion on the show floor.   The pavilion was themed (at least externally) to look like Imagineering’s headquarters building, with banners announcing an open house.

    Inside, the pavilion was almost a show floor unto itself … a series of exhibits that in some cases were focused on specific projects, and in other cases to specific disciplines within Imagineering.

    This is a pavilion where I could have easily spent a full day, but the Expo schedule was so jam-packed that I unfortunately took it in on two way-too-brief visits.   I tried to take lots of pictures, but in looking at other blogger’s write-ups I realized I missed a lot;  this was definitely a pavilion that rewarded careful scrutiny and taking your time, and not just dashing through on your way from one presentation to the next.

    Before sharing all the pictures, I have to mention the most striking exhibit within the pavilion, which is one where no photography was allowed.   It was a series of drawings or paintings by some of Disney’s best-known Imagineers, tracing the evolution of the concept of Disneyland.   (Although I wasn’t able to take photos in the exhibit, all of these images are available online in some form, so I’m including some images found on the web below).

    In the first of 3 rooms, we saw some drawings by Harper Goff that are the earliest drawings of what would evolve into Disneyland.    This was before Anaheim, when the park was targeted for a small area of land adjacent to the studios.   While the drawings look nothing like Disneyland, you can see certain ideas, such as Rivers of America, were there from the earliest concept.

    Harper Goff sketch of an early theme park concept
    Harper Goff sketch of an early theme park concept

    In the second room, we see perhaps the most famous Imagineering drawing of all time — Herb Ryman’s original pencil sketch of Disneyland.    This was not one of the many reproductions, but the actual original.    I believed that I had seen this before somewhere … perhaps in the Disney Gallery?  — but after seeing it here, now I suspect I had never before seen the original.   The reason I suspect that is on this drawing, you can very clearly see the paper is not flat — indentations are very obvious where Herb shaded in areas vigorously, and I had never noticed that before on any version of the drawing I had seen.

    Herb Ryman's Disneyland pencil drawing, done over a weekend to show to investors.
    Herb Ryman’s Disneyland pencil drawing, done over a weekend to show to investors.

    In the final room, we set Peter Ellenshaw’s painting of Disneyland, done about a year before the park opened.   One of the amazing things Ellenshaw did with this painting is to use some black light paint that was around for use in some attraction, and go over the entire painting dotting in streetlights, lights in windows, and other details that could only be seen under black light.    We were told the painting has never been shown to the public this way; and were then able to view the painting under normal lighting (Disneyland by day) and then under black light (Disneyland at night).     I think if Imagineering were to find a way to reproduce this, they could have sold one to just about every person that toured the exhibit — I know I would have bought one!

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    Disneyland painting by Peter Ellenshaw

    Now, on to the Imagineering pavilion photos.

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    Banner outside the Imagineering pavilion
    The exterior is themed to the Imagineering building at 1401 Flower Street in Glendale
    The exterior is themed to the Imagineering building at 1401 Flower Street in Glendale

    One of the first things seen when you enter the pavilion is a model of Disney Springs … a major rework of what is currently known as Downtown Disney at Walt Disney World

    Disney Springs (showing new parking structure)
    Disney Springs (showing new parking structure)
    Disney Springs
    Disney Springs – the area formerly known as Pleasure Island
    Disney Springs
    Disney Springs.  Most buildings in foreground are new (built on existing parking lot).   One of two new parking structures can be seen at right edge of this photo.

    We saw a model of the Space pavilion that has recently been discovered in the archives.    (I think — unless this is another manufactured artifact to tie in to the Tomorrowland shenanigans.   Who can tell what’s real and what is planted fabrication anymore?)

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    One of the famous never-built projects is Tony Baxter’s Western River Expedition.   Here are some models and concept art pieces from that project.

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    Model for a never-built International Street area at Disneyland

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    When Stars Wars was being filmed, the fake title Blue Harvest was used for the production.    The Orange Harvest boxes obviously are a hint to the under-development Episode VII.   And if that clue was too subtle, R2-D2 certainly makes it plain.

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    The restraining bolt is off -- he's making a break for it!
    The restraining bolt is off — he’s making a break for it!

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    Early concept model of Spaceship Earth (EPCOT)

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    Early concept model of The Land Pavilion (EPCOT)

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    More shots of Imagineers and props from around the exhibit .. and there is much, much more that I didn’t capture, this is really just giving a bit of overall flavor of the pavilion.

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    The Imagineering Pavilion was one of the highlights of the show floor — and one of many things at the Expo that I wished I had more time to explore.

    The famous Hatbox Ghost -- an effect that didn't work well enough to be included in the Haunted Mansion
    The famous Hatbox Ghost — an effect that didn’t work well enough to be included in the Haunted Mansion.  Could he finally be ready to make an appearance in the attraction?

     

  • D23 Expo 2013: Highlights from the Imagineering Panels

    Sunday at the D23 Expo was Imagineering day.    Early on, when schedule details were first being announced, it was revealed that there would be five Imagineering sessions on Sunday, but it wasn’t until the last week or so before the Expo kicked off that attendees were given any information about the sessions.

    The sessions were similar in that each one was a panel, and the panels were somewhat more free-form than other panels and presentations.    As a result, there was some overlap, and in reviewing my notes, I felt it would be better to just combine my notes and create a single blog post for the three panels I was able to attend  (attending the Disney Infinity presentation required me to miss the other two Imagineering panels.   I’ve also included a few items from Marty Sklar’s solo presentation on Friday, which I had not previously written up.

    The Panels

    The three panels I attended on Sunday were:

    Working with Walt, with panelists

    • Marty Sklar.  Disney Legend; Currently International Ambassador for Walt Disney Imagineering; previously VP of Concepts and Planning, Vice Chairman and Principal Creative Executive.   Among many other things, guided the creative development of Epcot.
    • X Atencio.   Disney Legend.   Wrote the story for attractions such as the Haunted Mansion and Pirates of the Caribbean; also wrote the songs “A Pirate’s Life for Me” and “Grim Grinning Ghosts”.
    • Alice Davis.   Disney Legend.   A costume designer for attractions such as it’s a small world and Pirates of the Caribbean, as well as Disney films and television.   Widow of Disney Legend Marc Davis.
    • Bob Gurr.  Disney Legend.   Designer of ride vehicles including Autopia cars, the OmniMover system (Doom Buggies and similar), Matterhorn Bobsleds, Submarine Voyage submarines, and the Disneyland Monorail.

    Leading a Legacy, with panelists

    • Marty Sklar.   See above
    • Bruce Vaughn, Chief Creative Executive, Walt Disney Imagineering

    Leave Em Laughing, with panelists

    • Dave Fisher, show writer
    • Kevin Rafferty, story development, senior concept writer
    • George Scribner, story development, director
    • Joe Lanzisero, Creative VP for Tokyo Disneyland
    • Jason Surrell, show writer and producer

    The Content

    Here are some of the things that I thought worth jotting down notes about during these presentations

    (Marty)  The last time Walt appeared on film (October 1966) was in the much-shown introduction to “the Florida Project”, where Walt introduced the plans for what would become Walt Disney World, including EPCOT.   Marty was the writer for this.

    (Alice)  The first time she met Walt was when she was having dinner with her husband Marc at the Tam.   (Tam O’Shanter, a restaurant near the studios popular with studio personnel).   Walt asked about her work.   She was in the garment industry — making girdles and brassieres.   Walt was fascinated (and as far as I can tell she was relating this entirely seriously) by her expertise with elastic.   Two years later, Walt called and asked her to do costumes for it’s a small world.

    (Bob) Asked about first time meeting Walt, he said he was doing sketches for the Autopia cars.   Someone came through the office and took a look, and it wasn’t until he was on his way out and someone said “bye, Walt” that Bob realized who it was.   He thought maybe it was a night watchman or something, so I guess it must have happened after hours.

    (Marty)  His first job at Disney was to produce a tabloid-style newspaper that would be sold on Main Street for ten cents.    It showed how, for Walt, Main Street was a real place, not just a mock-up.   No real small town of that era would be without a newspaper, so there had to be one or the story wouldn’t be right.

    (Bob)  When doing the Lincoln animatronic, Walt had an actor do the speech, and filmed it as a reference.   Bob felt the first take done by the actor was excellent.   But Walt kept making him do it over, and over.  He knew what he wanted and kept pushing (but wasn’t giving any direction to the actor, just having him do it again).   The last take was the one Walt wanted.  The actor was clearly exhausted by that point, and Walt felt that was the way Lincoln would have been at Gettysburg.   That was the kind of authenticity that Walt looked for.

    (Alice)  Making the dolls for it’s a small world, at some point she told Walt that no one had told her how much she could spend on each costume for fabric, buttons, etc.   Walt told her he had a building full of people to do “pencil work”, that she was to design the best costume that anyone from 1 to 100 would love to wear, and they (the pencil people) would figure out how to pay for it.   “People will know the difference; give them your best and they’ll be back.  Cheat them and you’ll never see hide nor hair of them again”.

    (X)  After 20+ years in animation, Walt brought him over to do the script for Pirates.   Marty asked, having never done a script, why did Walt trust you to do that?   X: it was a direct command performance from the man himself.

    (Bob) Walt was never interested in what you had done, but only in what you were going to do next.

    (Alice) Walt would give you something you didn’t think you were capable of doing.  And you’d find a way to do it, because you didn’t want to disappoint Walt.

    (Bob)  Walt remembered almost everything he ever heard, if you told him something, and came back with a different story later, he’d call you on it.

    (Alice)  A young man came to Walt with a drawing and asked him “what do you think of this”?   After looking for a moment, Walt said “It’s very difficult to choose between one”.   He always wanted options.

    (Marty)  The job of leading Imagineering is largely a job as a casting director.   For example, Marc Davis and Claude Coats were very different – they wouldn’t be caught dead going to lunch together.    (Not anything negative, they were just very different).   But putting them together created a really complementary team.

    With the Haunted Mansion, Claude felt it should be scary, and Marc thought it should be funny.    The back and forth between them gave us the ride we have today, probably better than if we had gotten just Marc’s version or Claude’s version.

    (Marty) asked about how to train for a job in Imagineering, Marty suggested learning as much as you can about as many things as you can.   Imagineering comprises 140 different disciplines (but Marty acknowledges they don’t really know how many, that’s just the number they use).   Cross-disciplinary skills are a must.

    (Marty)  leading Imagineering is about casting, motivation, and gently helping someone understand when they have the wrong idea (“a bit of an art form”)

    (Marty or Bruce — didn’t note)  An interesting thing with Hong Kong Disneyland (Shanghai will be similar) is that because of the one child law, the kid-to-adult ratio is inverted from other worldwide parks; influences a lot of what you do in park design.

    (Bruce)  told a funny story about World of Color.   After investing millions in this very advanced fountain system, they decided to create new versions of many classic Disney songs.  So they had the London Symphony Orchestra record a brand new score for the show.   And when they first tried it out, it just wasn’t working.   Someone even said “what if fountains are just boring?” after they had invested tremendous time and money in the show.   Then, they dropped in the classic music (the arrangements we all know)  — and immediately it worked.   We are just really wired to respond to that music the way we know it.

    Someone from the audience asked about Harry Potter at Universal; Bruce didn’t really rise to the us vs. them challenge, but used the question to re-affirm that it’s all about story — that ride, that area of the park is so powerful because it starts with a great story.

    (not sure who told this one)  When Disneyland was about 6 years old, Walt sent Marc Davis over since he was between projects.   Walt asked what he thought, and Marc said what was missing was humor.   So Marc added things like the men climbing the tree to get away from the rhino in the Jungle Cruise.   (and apparently the original Jungle Cruise script was not funny;  it appears from history that the script got punched up at about the same time Marc began working in the parks).

    (Kevin)  The version of one of the songs at Mater’s Junkyard Jamboree where Mater forgets the words to the song was completely intentional  (which is different than the story I’d heard about it previously).    The story is, when Kevin was demoing the song for Larry the Cable Guy (voice of Mater), he actually did forget some words and filled in with a “something something something”   — Larry said “we have to do that!” and did it in one take.

    (Kevin)  Mater’s Junkyard Jamboree also is the first ride to have a “Joke” button; when the ride is loading, if it is taking a little longer than ideal, the operator can hit a “joke” button on the console and Mater tells a joke.    He played a number of the recorded jokes for the audience.   I don’t remember any or I’d share.

    There was obviously a lot more in all of these panels, but those were the highlights as I saw them.    The biggest thrill was just being able to see so many Disney Legends and hear their stories.