Here’s an in-depth look at a truly underrated movie. What makes Robin Hood defy the odds?
There’s something incredibly special about Mickey Mouse. Even 90 years after his debut, he’s still making people smile all over the world. But why is Mickey Mouse so special? This is a peculiar question, because I don’t think people ask it very often…or even think about for that matter. For a lot of people, he just is. Today, I think that it’s kind of easy to take this cartoon character for granted and miss the spirit which made him popular in the first place.
Today, I wanted to explain what Mickey Mouse means to me. I wanted to talk about why Mickey Mouse is my hero…
As I was growing up, I knew that I loved animation. I was already interested in movies, but there was something unique about the hand-drawn films of Disney’s heyday that captured my attention. There was an intangible charm that set them apart from most of the live-action movies that I had seen. Animation was the playground where anything was possible.
And of course, you couldn’t be a fan of animation without at least hearing the name Mickey Mouse. He was an icon; his face was everywhere.
So, as a small child who didn’t understand how films were made, I think I took Mickey for granted and just assumed that he went with cartoons the same way that peanut butter went with jelly. But as I got older, and began to study the film industry in earnest, I began to realize that Mickey Mouse represented so much more. And in order to understand why, we have to go back to his creation.
The story of Mickey Mouse’s inception is a long one, so I’ll try to keep this recap brief for context. The most important thing about his creation was that Mickey Mouse was born out of desperation. He was created during one of the lowest points in Walt Disney’s life. In fact, Mickey Mouse’s creation was a direct result of Walt Disney losing everything. During the 1920’s, in the early days of his animation career, and before his name would become synonymous with high-quality animation, Walt produced cartoons for established industry leaders. But it was hard work for very little return and Walt was having trouble making ends meet. Still, ever the perfectionist, Walt strove for greatness and a standard of quality that made his competitors balk. But in this season of pushing for the best product possible he may have done too well. first truly successful creation, Oswald the Lucky Rabbit, was popular enough to run a series that Walt’s Distributor, Charles Mintz, coveted. But Walt Disney poured every cent the company had back into his cartoons to make them better. In addition, he spent as much time and talent as was possible on improving the quality of the animation which slowed production and limited the amount of cartoons that Mintz could cash in on.
Of course, this didn’t sit too well with Mintz’s avarice. Mintz, who still retained the right to distribute Oswald and therefore could make his own cartoons (despite Walt having been the one who created the character) decided that he didn’t want Walt’s quality control. He believed that he could pump out cartoons twice as fast and make double the profits on low-quality animation. He believed Walt to be unnecessary to his own chars and swindled Oswald out from under Disney’s nose. And if that wasn’t enough, Mintz then proceeded to bribe most of Walt Disney’s top animators into leaving him. Effectively, the entire studio, save for a few loyalists who believed in Walt’s standard of quality, abandoned Walt to work on Oswald for Charles Mintz.
Even after working years for what little he had, Walt had lost everything.
Walt Disney, along with his wife Lillian, claimed that on the train ride home from this heartbreaking and potentially career-ending event, he refused to give up hope. No matter how bleak everything looked, Walt was determined to survive. So, with no creative assets to his name, Walt decided to try and create one more character to make new cartoons with. In his desperation, he sketched out a little mouse, and although the design would end up changing significantly thanks to the collaboration of a genius animator named Ub Iwerks (one of the few employees that remained loyal during the Mintz fallout) the spirit of the character was created. Mickey Mouse had been born. And without knowing it, Walt Disney created the most recognizable and popular cartoon character of all time. And he had done it during a time when everyone thought he would fail. That fateful day, Disney proved Mintz wrong. He proved that the Disney touch was crucial to his cartoon character’s success!
The rest is history…and that’s the point.
Mickey’s history, and what it represents, is what is most important about him. What makes Mickey Mouse so special isn’t his popularity, or even his bankability (although he has both in spades), but rather what he meant to Walt Disney himself. For Disney, Mickey Mouse represented perseverance. Mickey was proof that hard work, perseverance, and quality were the keys to success. He represented Disney’s own humble beginnings, and this was something that Walt Disney never forgot.
“I only hope that we never lose sight of one thing-that it was all started by a mouse.”
Walt would say this years later, recalling the humble start of his artistic legacy. It remained a lesson for Disney to never forget how he had started out with nothing, and that he had a responsibility to treat whatever he earned with respect. To remember that he was no better than anyone else, and that what he had was a blessing.
Ironically, Mickey Mouse came to eventually represent that very thing; an average, humble, everyday citizen who could do something extraordinary if he put his mind to it. And knowing the history behind it all, there’s no way that this could have been a coincidence. Walt put his very identity into this little mouse, because he had risked everything on him, and as a result Mickey became Walt’s alter ego, literally and figuratively. Walt even voiced Mickey for several years in his classic cartoons; turning Mickey into who Walt Disney wanted to be.
Mickey is special because he reminds us of what it means to persevere; to never give up on your dreams. Without Mickey, Disney would have never found success, and because many consider Disney to be the pioneer of modern animation, the art form itself might not have become the prevalent and memorable industry that we recognize it as today. Mickey changed the way we look at animation and shaped The Disney Company into what it would one-day become.
So, when I look at Mickey Mouse, I cannot help but be full of gratitude for what he’s done for the movies that I love. When I see him, I’m reminded of what animation means to me, and why I love film in the first place. Filmmaking inspires me to live out my dreams and to never give up on them. It pushes me to tell stories that impact the world and invites me to bring a smile to faces everywhere. Mickey Mouse is simply a physical reminder of this love, and for that, I owe him my undying respect.
So, when I go to a Disney Park and see the statue with Walt Disney holding Mickey’s tiny hand in his, gesturing to a world of imagination, I must thank them both for being brave enough to follow their dreams… and in turn inspiring me to do the same. Mickey Mouse is more than just an iconic face. He’s the representative of a legacy that spans generations, and reminds dreamers everywhere, that they can do anything that they set their minds to. It shows them, like Walt Disney said, that “All our dreams can come true, if we have the courage to pursue them.”
Read Part 1 HERE!
The year is 1966. A thrilling adventure on the high seas has just been added to Disneyland’s New Orleans Square. But there is something else that grabs the attention of guests in the area. Something new and mysterious. Wide-eyed children look through a pair wrought-iron gates at a strange building…an opulent mansion. No one knows what will be inside, and the only hint of what’s to come is a sign that reads:
“Notice! All ghosts and restless spirits. Post lifetime leases are now available in this Haunted Mansion”
It’s followed by a description of the mansion’s offerings for retired haunts and ends with the phrase:
“For reservations send resume of past experience to: Ghost Relations Dept., Disneyland. Please! Do not apply in person.”
This sign is all guests would get about the Haunted Mansion for several years. However, instead of disappointing them, it only raises their expectations to a whole new level.
Fast-forward to early 1969…All who visited Disneyland were eagerly awaiting the future attraction; none of them even realizing the development nightmare that had been going on behind the scenes for nearly half a decade.
They could have never known that in 1964 work on the mansion (which had already been in development for 10 years) came to a screeching halt when Walt Disney diverted all of his attention to the 1964-1965 New York World’s Fair. Everyone who was anyone at Disneyland was sent to work on the extensive lineup of attractions that would debut at the fair, and no one was left over for work on any of the ongoing home-projects at Disneyland. The Haunted Mansion would have to wait for a while.
However, fate was on the Haunted Mansion’s side, because the World’s Fair actually provided several technological breakthroughs that effectively solved any future storytelling problems that the Mansion’s had! You see, the story that the Imagineers could tell In the haunted mansion was limited by the technology of the times. The World’s Fair provided an unprecedented stroke of luck that greatly broadened these borders to previously unimagined horizons. The first of these lucky breakthroughs, and arguably the most famous, was the “perfection” of Disney’s Audio Animatronic technology; which had first debuted in the Enchanted Tiki Room in 1963. With the technological innovation of the photo-realistic Mr. Lincoln at the World’s Fair, it was finally possible to populate the Mansion with a believable cast of characters in movement, rather than in static scenes, allowing the story to be told in a much more efficient manner.
The second breakthrough, and probably the most important for the future of the Mansion, was the advent of the Omnimover Ride System. This ingenious vehicle design was an evolution of the PeopleMover system developed for the Ford’s Magic Skyway attraction at the World’s Fair. In essence, this system was a chain of individual swiveling vehicles that ran on a hidden track underneath the ground moving at a constant speed, so that passengers could be unloaded and loaded in an efficient manner and at consistent rate.
The reason why this second innovation proved such a game-changer was the fact that, up until that point, the Haunted Mansion was supposed to be walkthrough exhibit. The Omnimover system allowed the attraction to become a continuous ride-through experience; raising its hourly capacity tremendously. It also allowed Imagineers to control what riders would see, by preplanning the track layout and the programming of the individual cars to swivel or turn; effectively controlling the audience’s view of the story and special effects just like a camera lens does in a feature film.
Now with the technology to tell an effective story, Disney simply needed storytellers that could execute these tools correctly. Luckily, after the World’s Fair ended, two of Walt’s greatest storytellers were now available for the mansion. Marc Davis, known for his brilliant animation of Cinderella, Maleficent, Cruella De Vil, Tinker Bell, and more, was brought onto the project for design, especially in regards to the characters. After his concepts for Pirates of the Caribbean proved so crucial to its success, Walt wanted him to help guide this new masterpiece. At the same time, Claude Coats, a Disney background painter who was known for designing many of Fantasyland’s famous storybook rides and providing the layout for Pirates of the Caribbean, was brought in for his familiarity with the spookier aspects of fairy tales.
However, there was one problem with this dynamic duo; both had completely different ideas for what the Haunted Mansion’s tone should be. Marc wanted the mansion to be funny and lighthearted, believing that a real haunted house would be too scary for a family establishment like Disneyland. On the other hand, Claude Coats believed that you shouldn’t even make a “haunted house” attraction in the first place without making it scary. The two conflicting ideologies became a temporary problem, so much so that Walt was forced to bring in a third party to reconcile the two of them.
Xavier ‘X’ Atencio was an animator at the studio in whom Walt saw something very special. Even though Atencio had never written a script before, Walt thought he would be good at it, and had him assigned as the lead writer on Pirates of the Caribbean. Walt’s insight would prove prophetic as that ride became what many consider to be the greatest ride in theme park history, and Atencio’s lyrics for “Yo Ho, Yo Ho, A Pirate’s Life for Me” would be sung around the world; remembered by thousands to this day! Walt thought Atencio might be able to pull it off again with the Haunted Mansion.
Again, Walt Disney was right! Atencio managed to somehow juggle Claude Coats dark tones with Marc Davis’s silly characters and create a script that balanced the macabre with the satirical. After a few drafts, a final story focusing on that “retirement home for happy haunts” was approved. This final draft would tie together separate side-stories based on Marc Davis’s unforgettable characters under one sinister-looking roof of Claude Coat’s design. Finally, the Haunted Mansion had the story it deserved, and although Walt never got to see the finished product due to his untimely passing in late 1966, the ride would have made him proud. The Haunted Mansion opened to critical acclaim in 1969 and has been entertaining guests for 50 years!
It may have taken over 15 years to create, but it was worth it! And with 999 happy haunts to visit, you’ll want to hurry back again and again! After all, there’s room for a thousand… Any volunteers?
WANT MORE DISNEY HISTORY?:
The Year was 1966, and Walt Disney smiled cheerfully as a crowd gathered in the far corner of his magical kingdom known as Disneyland. It was a beautiful day for a Grand Opening, and Walt was pulling out all the stops to make sure this would be one to remember. There were celebrities, balloons, fanfare, family, friends, and a whole crew of cameramen gathered around a little “canal” leading into a charming looking building; a façade that would put a smile on anyone’s face. The crowd cheered and clapped as little children representing countries from around the world each poured a bottle of water shipped from their country into the man-made river. The balloons were released into the air. Walt Disney smiled even wider as his boat drifted down the river into the building and disappeared as he waved to the crowd.
It was a celebration the little ride deserved, because it was one of Walt’s favorites. Perhaps you’ve heard of it? Or you at least have the tune stuck in your head! It’s a Small World, after all!
It seems impossible, but Small World has only grown more popular since that day in 1966. It seems daunting that, more than 50 years after its debut in Disneyland, it’s still entertaining the young, and the young at heart, who ride it. But what’s even more astounding is the origin of the happy singing dolls; which goes back even further than that special day at Disneyland.
In 1963, Walt Disney was called up by Hollywood friend Joan Crawford with a very interesting proposition. Crawford was the widow of Pepsi’s former president Alfred Steele, and she was desperately looking for an attraction for Pepsi to sponsor at the already famous upcoming World’s Fair in New York. Pepsi was on a deadline and time was running short. Joan Crawford believed Walt Disney, who was already working on four other attractions for the fair, was the only one who could create a worthy attraction for the Pepsi brand on such short notice. It would be a tribute to UNICEF (United Nations Children’s Fund), but other than that, Pepsi had no idea what it would look like.
Walt, who already happened to have an idea lined up, jumped at the chance to get funding for another of his wild ideas. With only 11 months to prepare the attraction, far less time than any other thing he had contributed to the fair so far, Walt immediate jumped at the task. He wanted to make something truly special; something that would touch the hearts of millions and bring a smile to their faces. It would be a little boat ride with children from around the world in adorable doll form called “Children of the World”.
Truth be told, Walt wanted a change of face from what he saw in the rest of the world. It was the time of the Cold War. Tensions were high, and a possible nuclear war loomed on the horizon. Culture was changing, and unrest was breaking out all over the country. Walt was sick and tired of the fear which clouded the atmosphere and aimed to make this new attraction a ray of sunshine to the anxious public; a symbol for the World’s Fair and its idealistic look at the future.
So, Walt brought on board the happiest crew of “Imagineers” that had ever set sail on a Disney voyage. Walt put his favorite artist, a Disney color stylist and children’s illustrator named Mary Blair, in charge of most of the project. With Mary’s unique style helming the design of the attraction, other talented artists had clear direction on where to go. The husband and wife team of Marc and Alice Davis were immediately set to work on designing the iconic look of the dancing dolls and breathing personality into them; Marc imagined the characters, while Alice lovingly clothed them in fashion of her own design. A younger Imagineer named Rolly Crump, who had repeatedly impressed Walt with his very unique creative style, was given the task of designing the Doll’s toys and accessories, as well as the kinetic “Tower of the Four Winds” which would anchor the outside of the ride and draw attention to it. Lastly, master modeler Blaine Gibson sculpted out the physical dolls under Walt’s direct supervision. Strangely enough, every single one of these Imagineers, save for Mary Blair, would eventually work together again on Disneyland’s great masterpiece Pirates of the Caribbean; and most of them would contribute to the Haunted Mansion too!
The result of this all-star team of Imagineers was nothing short of magical, as the ride exceeded all of Walt’s expectations. But it was the music of the ride that would elevate it from a great ride, to one of Walt’s favorites. The Sherman Brothers of Mary Poppins fame were inspired by the Cuban Missile Crisis of 1962 to write a song of hope to go with the ride. They specifically made it as catchy and simple as they possibly could, so that it could be translated easily and sung in multiple languages. At first, they wrote it as a slow Ballad, but on prompting from Walt for something more upbeat and cheerful, they sped up the tempo. The resulting song “It’s a Small World” moved Walt so much that he decided to change the name of the entire ride in honor of it, and it was subsequently moved to the World’s Fair in 1964.
Despite its extremely short production time, the now renamed It’s a Small World was a huge hit, becoming one of the most popular attractions at the fair. But it wasn’t only children who were flocking to it. There was something deeply innocent about the ride which spoke to the hearts of downtrodden adults everywhere. Whether they were 9 or 99, Small World made them think of a simpler time when the threat of nuclear missiles wasn’t at their doorstep. It gave them hope that maybe the world would one day be at peace again. It’s a Small World seemed to reach out and speak to the child in everyone.
Even today, the original Small World continues to entertain and delight children of all ages with its message of hope and unity. And with versions at Disney parks all around the world, it’s continuing to bring smiles to faces everywhere…Just like it did to Walt over 50 years ago.
Legends of the Magic Series:
The year was 1983. The Disney Parks seemed to be changing every day, and the designers of these shifting magical environments were faced with some rather daunting tasks at about the same rate. In fact, up-and-coming Imagineer Tony Baxter had a major problem on his hands. Tony had been launched into a career that he could have never imagined; thrust into the spotlight with the massive success of designing Big Thunder Mountain Railroad in 1979. Now others were looking at him to lead them into this new era of Disney Parks. If you would have told Tony Baxter that he would become one of the most successful Disney artists of all time when he was first hired as an ice cream scooper in 1965, he would have thought you were crazy.
But nevertheless, here he was, with dozens of people looking at him to fix all the park’s problems. Unfortunately, during 1983, there happened to be a very specific large problem at Disneyland. Actually, Disneyland had a few issues that eventually played into each other. The first was that The Disney Company was about to have a change in leadership, and that change seemed to be going in a very specific direction. The Disney Company was looking to widen its audience beyond just children and animation. As a result, Disneyland executives were getting more and more interested in thrill rides, something that Disneyland was sorely lacking, compared to other theme parks. It was a tall order, and after the success of Big Thunder (which just so happened to be the type of thrill ride they were looking for) they had immediately turned to Tony Baxter for another similar experience.
The second problem facing Disneyland was that all the original Imagineers (Disneyland designers/builders/engineers etc.) were retiring, and a second generation was in the process of discovering their place in the parks. These new Imagineers were attempting to honor tradition, while simultaneously trying to forge a new path. A very fine line to walk, especially when the leadership of the company was set on the goal of thrill. As a result, some of the attractions that were seen by the new management as more outdated, (all of which were rides that were overseen by the original Imagineers, the new artist’s mentors and idols) would have to close, or at least be refurbished, which caused distress from those new Imagineers that wanted to honor the work of their predecessors.
The third problem, while comparatively trivial to the aforementioned issues, would prove absolutely crucial in the future. The problem was a section of Disneyland known as Bear Country…Rather it was the attendance of this section. Unfortunately, there was no Galaxy’s Edge at the time, and the land was cut off from the rest of the park. The land’s location at the far corner of the park, tucked away behind New Orleans Square, with no other path leading in or out, caused dwindling interest and low attendance. Few guests wandered past the haunted mansion into Bear Country’s single entrance. The area was often virtually deserted. Disneyland was desperately looking for a way to boost the area’s draw to guests.
These problems mulled around in Tony Baxter’s mind for a quite some time, but he couldn’t think of any way to solve them effectively. There were just too many variables and he was being drained creatively by all of the projects management seemed to throw at him. He was at a loss for what to do. That was, until one fateful day when Tony happened to be daydreaming in California’s rush hour traffic. Tony suddenly received an unexpected and brilliant epiphany; he could solve all three problems at the same time! His brain bursting with imagination, Tony Baxter rushed straight to his boss, unable to keep the idea to himself. In a legendary pitch, Tony Baxter explained his idea to Disney executives in almost exact detail what he had conjured up.
His idea, called Zip-A-Dee River Run (later changed to Splash Mountain when the ride’s production was green-lit in 1984), would be an old-school log flume type thrill ride, fulfilling the desire of Disney executives to draw in older audiences. But this log flume wouldn’t be just any thrill ride! It would be a highly-themed and immersive ride that would take the amusement park staple of a log flume to the next level. But How would they do that, you ask?
To understand that, we must first go back in time to 1946 and the release of a live-action/animated hybrid film called Song of the South. Disney may have had the best intentions in mind when they made Song of the South, and had never meant to offend anyone, but due to several crucial mistakes and sheer ignorance, they created what soon became a very controversial film. Ashamed of their mistake, Disney would never release the film to a home audience (for more information on the troubled history of Song of the South, we recommend reading the excellent book “Who’s Afraid of the Song of the South” by Jim Korkis.) However, when he was younger, Tony Baxter happened see Song of the South in theaters, and he chose this obscure film as the property to base the ride on.
Tony Baxter was convinced that most of the animated sequences featured memorable and cute characters that could be extrapolated from the more controversial aspects of the feature and planted into a new story. If they removed the controversial aspects of Song of the South, and focused on the cute animated characters, building a new story grown out of the cartoon “cat and mouse” chase segments of the film, that it would be a perfect theme for a ride to fit into Bear Country (later changed to Critter Country for Splash Mountain’s debut). At the time, executives were convinced that a majority of Disneyland guests would not be familiar with Song of the South or would not have seen the movie. They reasoned that guests would assume that it was an original property and that they could retool the characters as Disneyland mascots instead of references to Song of the South. Still the characters continued to gain controversy over the years, and the connection to the film, however small, would eventually effect the future of the ride in a big way… more on that later.
Back in the design phase: the Imagineers were back in their element solving difficult problems. By pure luck, Song of the South’s animated critters happened to be designed by legendary first-generation Imagineer Marc Davis who also just so happened to have been the designer for the soon to be extinct attraction America Sings, an outdated stage show featuring a huge cast of Audio-Animatronic animals. Because of this amazing twist of fate, the imagineers could simply reuse most of America Sing’s cast as characters in Splash Mountain because they looked like they belonged in the same world! So, besides a reskinning of two Animatronics into Brer Fox and Brer Bear, the rest of the America Sings animals were simply reprogrammed to synchronize with the new show and moved over to Splash Mountain!
But even after all these creative solutions, there were still some rather large obstacles that the Imagineering team needed to overcome. After all, building a Disney attraction is no easy task. After 4 years in production, Splash Mountain had risen well over its budget at a cost of over $75 Million and would continue to rise in cost to an estimated $85 million by the time it finally opened; which is more than the entire Disneyland park cost in 1955, even adjusted for inflation!
As a result, during the year of 1988, Imagineers were looking for a way to save some money on the tail end of this construction behemoth. Tony Baxter suddenly realized that his earlier decision to recycle many of the audio-animatronics from America Sings had saved the company millions. If it wasn’t for that foresight, it would have never been green-lit, or would have been cancelled halfway through construction.
Finally, after five years in development, including 80 hours of reprogramming for every single Animatronic, and an additional three months to rewire them, Splash Mountain opened to the Imagineer’s great relief on July 17th, 1989; the 34th anniversary of Disneyland! The ride was an instant success and soon spawned beautifully redesigned versions at Walt Disney World and Tokyo Disneyland.
And although it’s a fan favorite around the world, it’s controversial film roots have finally caught up with it. After careful consideration, the Imagineers were faced with a brand new problem: retooling Splash Mountain with a brand new theme not connected to Song of the South. And with Disneyland’s Splash Mountain situated right on the edge of both New Orleans Square and Critter Country, it would make sense that the new property that it’s based on would have some footing in both worlds. Hence the decision to utilize the Princess and the Frog…a film that has deep roots in New Orleans, and a wonderful connection to the lovable animals found in Critter Country! It just goes to show that any problem, no matter how big, can be solved if we’re willing to put our imagination to work! Who knows, maybe your next big idea will come during rush-hour traffic!
Which version of Splash Mountain is your favorite?
A Tribute to 95 Years of the Walt Disney Company
“Walt Disney World is a tribute to the philosophy and life of Walter Elias Disney… and to the talents, the dedication, and the loyalty of the entire Disney organization that made Walt Disney’s dream come true. May Walt Disney World bring joy and inspiration and new knowledge to all who come to this happy place … a Magic Kingdom where the young at heart of all ages can laugh and play and learn together.”
Roy O. Disney, Walt Disney’s brother and lifelong partner, stood in front of dozens of cameras on October 25th, 1971 as he dedicated the Walt Disney World Resort. Roy had always been camera shy, and it wasn’t easy for him to be the center of attention. That was always Walt’s thing. But now Walt Disney was gone. Roy had lost his best friend and business partner five years earlier, and although half a decade had passed, Roy still missed him terribly. It just wasn’t the same without Walt.To honor his brother, Roy, then acting as CEO of the Walt Disney Company, had decided to officially rename Disney World as Walt Disney World; a small but powerful change that reminds the world who it was that started the Disney magic in their hearts. Roy decided to do everything he could to ensure that his brother’s final dream came to be. If Roy had anything to say about it, EPCOT, Walt’s final dream for a utopian city, would come true. He would make it a reality, no matter how much the board protested.
But sadly, it was not to be. A mere two months after he gave the dedication for Walt Disney World, Roy passed away. On December 20th, 1971, Roy Disney died at age 78, and the Walt Disney Company was left without the stable leadership of either of its founders.Due to this, EPCOT would sadly never come to be. But that does not mean that all the ideas which came with it had to die. In fact, although we will probably never get to see Walt Disney’s final dream come to fruition, we can still see sparks of it in the final design of what became Walt Disney World.
3: Revisiting Utopia
It wasn’t as if nobody tried to make Walt Disney’s dream of EPCOT a reality. Even after Roy’s death, members of the board who believed in Walt’s dream still championed the cause. In the late 1970’s Card Walker, Disney’s CEO at the time, even tried to get the board interested in the concept again. But every time the concept was brought up, it was shot down as too risky. Perhaps it was risky without the guiding vision of Walt Disney. With Walt Disney, nothing had seemed impossible. But after his death, the company was thrown in to turmoil, functioning on a “what would Walt do” philosophy, but without the actual vision and endless enthusiasm that the man himself had. It was a rough time for the company.
The result of this philosophy led to a sort of compromise. The Disney Board would allow the Walt Disney World resort to expand and add another theme park in honor the idea of EPCOT, but they would not actually build the city. So, the Imagineers, many of whom had known Walt Disney personally, decided to pour their hearts and souls into this ‘new’ EPCOT. Even if it wasn’t going to be the dream that Walt had in mind, they were determined to pay tribute to it as much as possible.
A team of dedicated artists and craftsmen poured over the plans for EPCOT, trying to see what they could keep from the concepts and what would have to be removed. They settled upon the seemingly opposite concepts of technological innovation and honoring world culture. On one side of the park, Walt’s idea to show off the latest technology to visitors around the globe was repurposed as Future World. On the other side of the park, Walt’s idea of having a common place where the history and culture of every country could be honored and practiced came to be reimagined as World Showcase.
The Monorail went on to become the major transportation system for the entire Walt Disney World Resort, even if it wasn’t used quite the same way it was originally planned. The PeopleMover sadly never became the traffic-eliminating system that it was intended to be for future cities, but it was beautifully realized in the Magic Kingdom where guests can still get a taste for Walt’s vision for ease-of-access transportation today.
Even EPCOT’s major means of funding was derived from Walt’s original plans. Partnerships with the world’s leading corporations, and even with the governments of the countries that the Imagineers would honor, led to the creation of a sort of permanent world’s fair and helped make sure that EPCOT would have the money it needed to get started. The leaders of industry from around the world would make sure that EPCOT would be up-to-date with the latest technological wonders and attractions, just like Walt had planned for the homes of his original concept.
It’s hard to tell if EPCOT as it was originally intended would have been a success, but Walt Disney proved time and again that he was a man who could accomplish the “impossible”. It would have been fascinating to find out if that would have been the case in this instance. Even though EPCOT evolved into something different from what Walt originally planned, it doesn’t mean that it isn’t good! In fact, EPCOT was a resounding success and a phenomenal park; proof that the spirit of Walt Disney lived on in the hearts and minds of those who knew him. So, next time you visit the park, take a moment to stop and imagine what might have been, and allow yourself to be inspired by Walt Disney’s final dream. (<<PREVIOUS PAGE) (<FIRST PAGE>)
In loving memory of Francis Xavier Atencio (1919-2017); today, we honor one of the greatest Disney Imagineers of all time.
This week, we were saddened by the news that X Atencio passed away on September 10, 2017; he was 98 years old.
Francis Xavier Atencio, fondly referred to as ‘X‘ by his friends, was a beloved animator and Imagineer at Disney. He served the company for 65 years ( he started at 19 years old) and knew Walt Disney personally. In fact, Atencio was favored by Walt as a show-writer at Imagineering (the Disney branch that oversees the creation of the Disney Parks). His credits in the company include, but are not limited to, animation in films as early as Fantasia, the script for Adventure Thru Inner Space, The Haunted Mansion, and Pirates of the Caribbean at Disneyland , and as a voice-actor in many of those same attractions. He is probably most well known to fans as the voice of the talking skull at Pirates of the Caribbean, and for penning the extremely catchy lyrics of ‘Yo Ho, Yo Ho, A Pirates Life For Me’ and ‘Grim Grinning Ghosts’. X Atencio rightfully became a ‘Disney Legend’ in 1996 (the award is the highest honor the company can bestow).
There is no doubt that we will miss this Master Imagineer greatly , and his works will live on in the hearts of millions for years to come! Because of you, we sail with theiving pirates on the Seven Seas, dance with grinning ghosts beneath the lonely trees, and sing the songs of all your symphonies! May you Rest In Peace our Pirate Captain, our Maestro of Music, and our Great Storyteller! We miss you dearly X Atencio!