Blair Family Memories

We would like to speak from our point of view as Mary Blair's nieces.

We have been impressed and deeply touched by the eloquence and outpouring from the hearts of so many people who want to keep 'Small World' as it is. And now the Artists! Amazing. A HUGE thanks to all of you!

Our thoughts are the same. PLEASE keep the integrity of Small World--the children of all nations and its message of world peace. It is a completely unique experience, in and of itself. Our intention is not a 'put down' to the imagineers, who have made Disneyland a fabulous, magical place for children and adults---something for everyone. 'Small World' however, doesn't need fixing. It isn't broken. Bring back it's original color and sparkle. Mary loved 'sparkle'. She also loved children.

We have enjoyed the 'special memories' that many have written about Small World. We have one also. In 1978, several months before Mary died, my sister Maggie and I, along with my family, began planning a surprise 50th wedding anniversary party for our parents. Maggie and I met with Mary at a favorite restaurant of Mary's near her home in Soquel, California to discuss the plans. She introduced us to the hostess saying, 'these are my two nieces, whom I adore'. We adored her as well.

As part of the party plans, Lee put together a slide show, and we taped our parent's favorite 'old' songs, putting the music from 'It's A Small World' in several places. We did that to honor Mary, but also to make the party more fun. (And no, it didn't make us crazy.)

When the party was over and most guests had gone, Maggie and I were doing 'cleanup chores'. We looked up in time to see Mary, a lone figure in the middle of the dance floor. She had a gentle smile on her face, eyes closed, and was turning slowly around and around to the music from 'It's a Small World'. Two weeks later she was gone.

Again, our family appreciates very much your kind words and heartfelt feelings.

Our Best,
Jeanne Chamberlain & Maggie Richardson
.

"We felt that we had accomplished what we set out to do..."

“When we completed 'it’s a small world' for presentation at the New York World’s Fair, we felt that we had accomplished what we’d set out to do. We wanted to foster a better understanding among the nations of the world by showing the dress, the customs, the language, the music, and a little of the culture of our neighbors around the world - - and we wanted to show it to be a very happy one. And I think it’s safe to say that having fun has universal appeal.”

From the dedication of "it's a small world" at Disneyland, May 28, 1966
.

The World of Animation Speaks

“Mary Blair is one of the most remarkable artists of our time, and her work on "It's a Small World" one of her crowning achievements. The attraction is the result of many talented artists working at the peak of their creative powers. Restoration aside, I can't imagine improving on the original ride.”

Pete Docter
Director / Monsters Inc.

"I would be sad to see the integrity, unity and beauty of Mary Blair's inspired work of 'It's a Small World' be broken to accommodate imagery that does not fit into her vision. It would be like cutting scenes from, say, JUNO into TO KILL A MOCKINGBIRD. Both great films, but they just don't fit together in tone or look and would harm the vision of both. Van Gogh into a Rembrandt? Unthinkable. 'It's a Small World' is a beautiful piece of our history - I hope and wish that it will be preserved and cherished as the work of art it is."

Brenda Chapman
Story Supervisor - Lion King / Director - Prince of Egypt

"The 'It's a Small World' attraction is a genuine piece of american art, created by a great american artist and to change it does a disservice to the artist and the fans who have been inspired by Mrs. Blair's work. In this culture of changing and updating everything to catch our shortening attention spans it is necessary to have a foundation that remains the same and stays constant for the positive growth of our culture. I did not grow up in California and visited Disneyland much later in my life. Going through the ride for the first time, it's charm transported me back to my childhood and made me feel nostalgic for what that wonder and innocence once was. I am saddened that my children might never have that experience."

Pete Sohn
Animator, Story Artist, Voice Actor (Emile -Ratatouille)

"Like many people, 'It's a Small World' holds a special place in my heart. It was the first attraction that my wife and I rode after I proposed to her, and its joyful message of worldwide harmony shone especially bright that day.

I've always been inspired by Mary Blair's color and design work - bold, playful and unique, yet firmly linked to the Disney style. I love to wait outside "It's a Small World"'s signature clock, waiting for the parade of happy figures from many lands. It's still one of the purest ways to experience her sensibilities.

I was surprised to hear recently that modifications being made to the ride would include its content. Because the idea of the ride is to introduce a vision of a world in peace and harmony, I believe uniquely American cartoon characters or displays - however appealing and beloved - would be disruptive to that vision.

I understand that Disneyland was never intended to stand still, that progress is as integral there as the childhood fantasies from which it sprang. But decades from now, I'd like to be able to travel through that same, small world where my wife and I began our lives together."

Jeff Pidgeon
Animator, Story Artist / Toy Story

"Preserving something, whether it's a film, a great painting or a great ride, like 'It's a Small World', assures that it can be enjoyed for generations the way it was originally intended to be enjoyed. Restoring a ride is one thing, changing its meaning is another. If I want to see Disney characters I can always go to Toontown, go see a parade or go on one of many other rides which feature them. Let the park patron make the choice. That's part of the fun of Disneyland. Would you impose the Country Bears upon the Indiana Jones ride? Or sneak Simba in on Great Moments With Mr. Lincoln? It would make as much sense."

Lou Romano
Production Designer / Incredibles, Voice actor / Linguini - Ratatouille

“With all the uncertainty in the world today, one of the few places a person could always escape both reality AND hype, no matter how brief, was It's A Small World at Disneyland. I consider myself lucky to have been able to experience it as it was truly meant to be seen--many times. Its plea to make the world a better place through the multinational voices of our future is something we need today more than ever. Lets hope better taste prevails and any hint of commercialism is avoided in the restoration of this truly great ride.”

Ralph Eggleston
Production Designer / Finding Nemo

“Most people who have sailed through the “It’s A Small World” attraction at Disneyland and The New York Worlds Fair over the past 44 years may not be aware that standing at a high vantage point proudly overlooking her creation, is one small, unobtrusive Animatronic figure representing none other than Mary Blair, herself. I can only imagine a small tear rolling down her tiny cheek at even the thought of changes to her original vision for this now beloved attraction. It is my thought that altering this classic ride, in any way, for any reason, would be akin to defacing any well known work of art hanging in any museum around the world. I would urge those proposing this change to the original Small World attraction to please pause and reconsider. Mary gave so much to Disney and it’s artists in so many ways, please leave this attraction as a monument to her work and her spirit. Thank you.”

Dave Pruiksma
Long time Supervising Animator - Disney Feature Animation

“Mary Blair's striking color, innovative design and strong sense of whimsy have marked her as one of the most influential artists of the 20th century. It's a Small World is a monument to both her talent and the vision of Walt Disney. How bold to create an experience not dedicated to advertising a product, but to encouraging acceptance and appreciation of our different cultures.”

Mark Walsh
Supervising Animator - Ratatouille

"I'm totally pissed about (the Disney character additions to) 'Small World', but maybe I've grown to accept the gradual crapification of anything good about Disneyland by people who care only about cross linking everything they own so that they each advertise each other. This is just one more step closer to a Disneyland boiled down to a series of billboard advertisements with a merchandise shop as the wiener at the end."

Don Shank
Visual Development Artist / The Incredibles

"Ironically, the phrase 'Its a small world, after all' takes on a sad, dark meaning in context to today's corporate culture. It speaks directly to the character of those who run the show; that is to say, small, small people of small, small integrity, running the entire world. Changing the ride as they intend to do, with Disney characters dominating the world, perfectly represents everything for which the corporate world stands. It may very well be an unintended work of modern art! I say brilliant, guys!"

Steve Moore
Director, Animator, Editor-in-chief FLIP animation.net

"I am one who thinks that the refurbishment of 'Pirates Of The Caribbean" has ruined that ride. The old 'Pirates' transported riders to a completely unique world and a completely different time period. The addition of Jack Sparrow breaks that fantasy, and brings riders into the modern day. Putting cartoon characters in 'It's A Small World' will have the same effect. Really, how many Aladdin dolls will be sold by adding him to this ride? Is it worth wrecking the integrity of one of Disneyland's most charming attractions?"

Alan Smart
Director / Spongebob Squarepants

"I grew up in Flushing New York, and at age nine had the opportunity to witness 'It's A Small World' in its debut at the Pepsi Pavillion at the New York World's Fair. This ride was a major influence on my life - and is a part of all of our lives. It's theme is of universal understanding. The whole point is to show that we are all the same, no matter where we live. The addition of Disney licensed characters completely cheapens the experience and dilutes the message. I am wholly against this desecration of a Disney classic. "

Jerry Beck
Animation Historian / Editor Cartoon Brew

"Mary Blair's work on Small World is an artistic achievement of her unique sensibilities, a symphony of color, glitter, cellophane, and hope for the world's children. It should be maintained for future generations to enjoy, and not compromised by additions vainly trying to blend in.”

Wendell Luebbe
Art Director

"I'm utterly appalled that a corporation as thoughtful and considerate as The Walt Disney Company would actually consider welcoming those dirty little money-grubbing rats into the hallowed sanctuary that is 'It's A Small World.' Somebody's got to put their foot down before it's too late."

Craig Kellman
Character Designer / Madagascar

“How can a company who understands the concept of "theming" so well make the decision to add film characters to a ride originally designed to celebrate "Children of the World"? The simple design aesthetic is a perfect marriage to that theme as well. The additional characters incorporate multiple design aesthetics and would introduce a visual chaos to "It's a Small World". It would be far better to remove a ride than to compromise the design of that ride with poorly conceived additions. The Walt Disney Co. should respect its own business plan and design concepts or hand over the scepter to someone who does.”

Fred Cline
Designer and Storyboard Director

“Let's keep the original integrity of It's a Small World. It's refreshing to have rides that don't always pay homage to the Disney characters. It gives Disneyland greater breadth and richness.”

Tia Kratter
Art Director

“With much of today’s entertainment being driven by a pop-cultural grab bag esthetic, Walt Disney’s Small World has stood for over 40 years as a most refreshing oasis. Designer Mary Blair’s brilliant creative vision is felt in every crevice and corner of the attraction. To alter this vision by adding elements outside of Blair’s unique design sensibility would not only be a gross creative misstep but would also obscure the very spirit and message of the ride itself.”

Mike Giaimo
Art Director - Pocohantas

"Disney needs to take a preservationist approach to historic works of art emblematic of Walt's vision for Disneyland. Mary Blair's design of Small World is one of Disneyland's unique treasures and should be preserved in its' entirety."

Sue Kroyer
Producer

"Although we recognize the practical necessity of updating attractions to keep Disneyland commercially viable, IT'S A SMALL WORLD is a special circumstance for two reasons. First, it has a unique political and historical pedigree having been created for the New York World's Fair as a testament to worldwide harmony through children. Second, it genuinely represents a personal vision of one of the greatest Disney artists, Mary Blair. "

Bill Kroyer
Director

"Walt Disney's works sought to reconnect us with the spirit of youth. Despite differences of culture and geography, we are all bonded by the laughter, clarity and simplicity of a child's point of view. This quality is not influenced by the whims and trends of a changing consumer society. It is a constant. It remains relevant. The unique talents of Mary Blair, Marc Davis, Rolly Crump and others gave form and feeling to Walt's dream of harmony for future generations. Their uncompromised vision should be preserved at Disneyland as a colorful legacy for our collective inner-child, both past and future."

Tim Hauser
Writer

•••

Check back throughout the coming weeks as the animation community continues to speak out on behalf of Walt Disney's 'It's a Small World".

Animation professionals wishing to add their thoughts to the above list can send their quotes to Savesmallworld@mac.com


.

Why?

As “It’s a Small World” moves slowly and inexorably towards becoming a showcase for Disney cartoon characters one question and one question alone needs to be asked of the Disney Company loudly, firmly and often by all those participating in the campaign to save Small World from homogenization.

Why?

Demand that the Walt Disney Company give a strong, solid unequivocal reason for adding Disney characters to ‘It’s a Small World’.

Tell the Disney Company that it’s foolish to think this addition will draw in more people. The attraction has never suffered for business. Despite being one of the highest capacity attractions in the park it almost always has a good sized line.

Tell the Disney Company that two years ago 'The Enchanted Tiki Room' underwent a massive and expensive restoration while retaining the same show that premiered in 1963. The crowds rushed back in line.

Tell the Disney Company that, despite your own personal opinion, you understand why many guests might have expected to see Jack Sparrow in ‘Pirates of the Caribbean’ as they associate the attraction with the movie but that this is a completely different issue.

Tell the Disney Company that the addition of Disney characters to ‘It’s a Small World’ will only upset core fans and generate indifference among most of the general public.

Tell the Disney Company that the Small World they know and love isn’t, as the Disney Company publicly proclaimed, in need of more 'relevance'.

Tell the Disney Company that adding Disney characters into ‘It’s a Small World’ appears to be yet another marketing ploy to sell more character merchandise and that the public will continue to assume as much until given a more sensible excuse.

Tell the Disney Company you want to know ‘WHY?’ Send an e-mail asking ‘WHY?’ Send a letter asking ‘WHY?’ Stop by City Hall at Disneyland and ask ‘WHY?’

But good luck getting a reasonable answer.

You can parse the argument seven ways from Sunday but it still comes out the same; there is absolutely no good reason to add Disney characters to ‘It’s a Small World’.

•••

Imagineering Ambassador Marty Sklar defends the addition of Disney characters to 'It's a Small World' as an effort to make the attraction 'more relevant' in an open letter posted here.

.

With Utmost Reverence

“No one approaches our classic attractions with more reverence than Disney Imagineers who take great care when refreshing beloved attractions."

-Marilyn Waters
Disney Imagineering Spokeswoman
.

The BLAIR Family Speaks

Dear Disney Executives,

It has recently been brought to my attention that the Walt Disney Company including WDI has proposed changes to the “It’s a Small World Ride” at the Disneyland Park in Anaheim. As I understand the changes include the addition of the Disney Characters (Mickey, Minnie, Lilo & Stitch, etc.) to the ride in select areas, and the replacement of the “Rainforest” section with Mickey Mouse in a tribute entitled “Up with America”. I also understand that the boats and trough they ride in will be expanded for the safety and comfort of the parks modern day guests.

While I fully understand and support the upgrade to the boats as a necessary safety upgrade, the addition of the Disney Characters and the “Up with America” section I do NOT support as it represents a gross desecration of the ride's original theme and my Mother’s stylized artwork.

The Disney characters of themselves are positive company icons, but they do NOT fit in with the original theme of the ride. They will do nothing except to marginalize the rightful stars of the ride “The Children of the World”. This marginalization will do nothing but infuriate the ride’s international guests and devoted Disney fans.

My Mother and I have always had a strong sense of patriotism for America and I DO support a tribute to America. Disneyland has several venues, which are perfect places for this tribute including “Main Street USA” or “New Orleans Square”; unfortunately the “It’s a Small World” ride is NOT one of them. Once again this will marginalize the children of the world theme and bastardize my Mother’s original art. Furthermore ripping out a rainforest (Imaginary or otherwise) and replacing it with misplaced patriotism is a public relations blunder so big you could run a Monorail through it.

As a former WED employee I am saddened to realize the degradation of the company’s talent and focus and the subsequent decline at the Disneyland Park itself. I cannot believe someone from WDI was paid to come up with such an idiotic plan as this.

As the head of the Blair family I cannot urge you strongly enough to abandon this idiotic plan and instead upgrade the boats and return the ride to it’s original classic form, design and colors. The desecration of Mary’s art is an insult to Mary Blair, her art, and her memory, and to the entire Blair Family itself.

Sincerely,

Kevin L. Blair
Representing;
Kevin Blair, Donovan Blair, Jeanne Chamberlain,
Maggie Richardson, Kevin Allison

There's so much that we share...

THEME

The original intent of this attraction was clearly to suggest the core similarity of many peoples inhabiting a single planet. The evident implication is that we should be able to share the world in equality and peace.

Walt Disney chose children as a metaphor of humanity and innocence, and as a symbol of hope. Having discarded several unsatisfactory designs, he finally chose Mary Blair’s innocently simple dolls with distinct ethnic differences, but inescapable overriding similarities.

He presented these "children" in a panorama of colorful landscapes, and then united them in a spectacular all-white carnival of peace. And yes, in that more innocent age of America in which the ride was conceived, perhaps the admixture of cultures in the finale did subtly suggest America the "Melting Pot" at its happiest harmonious potential. The figures, unique to this one attraction, have sustained it for 43 years.

The "improvement" vulgarizes the theme and essence of what has given this ride its irresistible appeal for millions and millions of people.

STAR PLAYERS

The introduction of the joyously irascible Donald, the mischievous Stitch, the regal Simba and other Disney characters with their distinct attributes and back-stories destroys the unifying and equalizing anonymity of the original Small World population.

They introduce a perverse divisiveness diametrically opposed to the original import of the attraction. Once a select group of special privileged inhabitants of the World are distinctly identifiable Disney Stars, the remainder are necessarily relegated to the status of homogenous background bit players.

The audience, too, becomes divided into the "haves" who have seen the films and focus on identifying the stars while neglecting the supporting players, while the "have nots" are left out of the game: the very antithesis of the attraction's original thrust.

Moreover, Stitch, of course, is not a peaceful citizen of planet earth, but a blue alien, described by the Internet Movie Database as a “notorious extra-terrestrial fugitive from the law.”

Simba is an animal who fought off a relative in in order to claim his throne, in a kingdom clearly ruled by force rather than civil discourse; hardly an exemplary citizen for a human world at peace.

DIMINUTION OF CHARACTER

The Disney characters are, of course, one of the Company’s chief assets. But they are suffering homogenization, as the Grimm Brothers’ royals cavort with Minnie, Ariel and Jasmine in the Tween Spa Make-over Afternoons. Their insertion into A Small World is one more inappropriate and exploitive over-exposure.

HOMOGENIZATION OF THE PARK

Once the familiar “stars” invade Small World, the attraction loses its individuality. Guests are no longer transported into a unique festival of humanity, but find themselves in a continuation of the Fantasyland milieu of cartoon characters. The ride forfeits its distinct ambience and the park loses a singular different environment.

TRIVIALIZATION

The ride as originally conceived gives both children and adults a thrilling vision of the possibility of an innocent and unified world at peace, and this theme is clearly confirmed in the farewell salute of "Pax" in many languages. Beneath the pretty gaiety of the attraction is a stirring, serious and inspiring metaphor and message of hope for a troubled globe. Once the ride is reduced to one more panorama of the much-exposed Disney stock company - now with a supporting cast of singing dolls in an incompatible design style - any unique, innocent and important concern is compromised by intrusive celebrity and imposed familiarity.

May cooler heads prevail.

-Bravoman
March 7, 2008

A World of Tears

She was Walt Disney’s favorite conceptual artist, a woman whose sense of color and design influenced the look and feel of numerous Disney projects from 1942 to 1970.

Inarguably her crowning achievement was the 1964 New York World’s Fair show “It’s a Small World”, which later moved to Disneyland where it’s been enchanting guests for more than 40 years. By this summer five versions will exist, the newest appearing in Hong Kong.

The classic model, Mary’s pitch perfect original at Disneyland, is now down for ten months so that the boat flumes can be replaced with a deeper design more appropriate for todays heavier boatloads.

Unfortunately W.D.I. has taken ill advantage of the downtime by staking out areas throughout the attraction to place a selection of smiling Disney characters to spice up the proceedings. Imagine a grinning Stitch in Hawaii, a demure Belle in Paris, a Peter Pan in London.

And in one of the most egregious and downright disgusting decisions in Disney theme park history, the gorgeous New Guinea rainforest scene, replete with some of Mary Blair’s most whimsical character creations (a crocodile with an umbrella, colorful birds hatching from eggs) and her drummer children with Tiki Masks on the opposite shore will be replaced with a Hooray for U.S.A sequence.

Mary Blair’s formidable legacy has taken enough of a beating with the destruction of her Tomorrowland murals back in 1998. This recent move, if it goes through, would be nothing less than a brutal dismissal of her profound and enduring influence on the Disney aesthetic.

The insertion of Disney characters into this classic E-ticket is troubling enough. “It’s a Small World” may be a color and design masterpiece but more importantly the show’s simple message of shared humanity using children of the world and their innate innocence as the metaphor makes it a cultural touchstone and a casebook example of uncluttered visual storytelling. Cute as they may be, Belle, Mickey, Stitch or Nemo have nothing to do with selling the core values of UNICEF, the show’s original partner. Their appearance not only trivializes the central theme but more disturbingly seems to emphasize global brand marketing and franchising above all else.

When the attraction re-opens several months from now this salute to the children of the world will have turned into yet another guest search for hidden Mickeys, the earlier cleaner message all but lost on future generations. Here, also, is where Small World finally becomes yet another prelude to selling more plush, having now devolved into an elaborate hyper commercial window display, all charm and sincerity leeched from its bones.

It’s hard enough to stomach the addition of completely out of place Disney characters in this visionary gem of an attraction, harder to fathom the removal of the rainforest sequence but all out infuriating that it will be replaced with a loud, garish, tacky and aggressively incongruous Hooray for U.S.A. set piece. Nobody does Mary Blair quite like Mary Blair, but the concept art released by the Walt Disney Company for this section of the ride appears to have been designed by artists not even aware of her existence, let alone her singularly specific design sensibility. Gone is her use of a harmonic color palette, gone is her keen eye for shape and form, gone her impeccable taste and theatricality.

And when the rainforest goes, it goes for good, replaced with a group of sets never intended for American audiences from the show’s very inception. In consciously excluding a large scale U.S.A.-land from It’s a Small World (a lone cowboy and indian in the finale was just enough), the original show writers were asking American audiences to step away from their own national consciousness and take stock in the wider world around them. It’s a Small World was never about nationalistic fervor. It was about finding our common humanity outside our own borders.

This is not a change at Disneyland to take lightly. Letters should go out to all corners of the company pleading for a halt to the desecration of Small World once and for all. A campaign to “Save Our Rainforest” is appropriate, one with tee-shirts, wristbands and a countdown clock. It’s safe to say that with enough of a hue and cry from those of us who actually pay the bills at W.D.I the company might do an about face. Fortunately this was a concept that was pitched to executives before Bruce Vaughn and Craig Russell took the reigns at Imagineering so there’s still room for hope.

“It’s a Small World” is a work of art. Those fortunate enough to be the caretakers of a masterpiece are more than welcome to try on a new frame once in a while, to carefully restore its surface, switch out the lighting or even move the piece to another room.

But even the most fool-hardy owner knows not to paint over the original canvas.

Disneyland is your land. Don’t let this happen.

Spaceship Dearth

WE ARE ALL PASSENGERS TRAVELING TOGETHER

ON THIS SPACESHIP EARTH, STUPID.

“I don't believe in talking down to children.

I don't believe in talking down to any certain segment.”

- Walt Disney

I think it is safe to assume that anyone reading this blog frequents other Disney blogs, fan sites and discussion boards, and even if you haven’t experienced the new Spaceship Earth for yourself, you’ve at least read about it. I’m guessing you’ve already heard the new animation in the first half of the attraction looks great and the on-board touch-screen during the descent reduces the climax of Epcot’s centerpiece attraction to a tonally incorrect interactive display.

Let me just say, I agree and I agree--respectively.

Let’s get beyond that and look at the overall philosophy behind this do-over because it says a lot about what some people at WDI think of the average guest.

As far as I can tell, this version of Spaceship Earth communicates that the Walt Disney Company thinks its guests are dumb as a box of rocks.

The original Spaceship Earth was the result of the combined effort of countless artists--among them at least three certified geniuses: Buckminster Fuller, John Hench and the visionary poet Ray Bradbury. Bradbury is a true wordsmith; the man couldn’t write prose even if he wanted to. When he signs autographs, he writes a short extemporaneous poem. And if anyone doubts his visionary status, go back and read Fahrenheit 451. Bradbury warned us against the dangers of valuing immediate gratification (specifically via television) over the pursuit of knowledge (specifically via literature). The society that would result from such values was one which would treat each of its members as if they had the intellect and the curiosity of a lobotomized chimpanzee.

Bradbury wrote the original script for Spaceship Earth, but his carefully chosen words were dumbed down with each successive refurbishment. Spaceship Earth for Dummies now features Dame Judy Dench spouting such awkwardly transparent attempts to be relevant as “Rome built the first world wide web,” and a reference to the preservation of ancient texts as “the first back-up system.” Is it just me or did this remind anyone else of a well-meaning but dimwitted history teacher trying to relate to eighth graders? No offense to the talented actress in question. She didn’t write this stuff. But unfortunately neither did Bradbury. How much did they pay her to say, “Remember how easy it was to learn your ABCs?” The word “condescending” just isn’t strong enough; this language is insulting.

While we’re on the subject of narration, it's important to note show writers removed the word “Islamic” and replaced it with “Arab.” Why would they do that? Aren’t Muslims our fellow passengers aboard Spaceship Earth as well?

There was another odd change in the renaissance scene. A sculpture of a woman with a bare breast has been replaced with a covered-up version. Really? We’re too prude for the renaissance now? Seriously? The renaissance!?

I wish the concealing of marble cleavage was the oddest choice made during this refurbishment, but unfortunately, no. Someone decided a go-go dancer should work on a mainframe computer. Yes, I know she isn’t really a go-go dancer, but come-on. Who dressed that lab technician? Austin Powers? I don’t care if it is the 1970s and you like to climb into a cage at Studio 54 after work, but when you come to work as a lab tech you better dress like a lab tech, young lady. This costume design choice is fundamentally wrong.

I’m afraid we’re going to have to go back and review the basics in order to address this foolishness properly. The next paragraph is solely directed at anyone who thinks it’s a good idea to have a go-go dancer working on a mainframe computer in an optimistic, uplifting, dramatic attraction. Everyone else please skip to the following paragraph.

Every artist makes choices; writers, painters, sculptors, songwriters, set designers. Every artist. Theatrical designers (and theme park design is a theatrical art) must make choices that compliment a unified vision with the goal of eliciting a specific emotion from the audience. When poor choices are made, choices which contradict or distract from the intended message or emotion, it is evident and it pulls the audience out of the moment. The go-go outfit stands out and calls attention to itself instead of reinforcing the message. The show is not about that lab tech, the show is about all of us as the human race, how far we’ve advanced and the exciting future that awaits us. Every artist working on this show should be thinking about how they can reinforce that message with every choice they make. That’s not to say a bit of humor to lighten the mood isn’t welcome. It is. The sleeping monk is a good example, but I don’t see any humor here either. Was the lab tech’s outfit meant to be funny? What is the carefully thought out Henchian logic for that choice?

This brings us to the big choice. As many other bloggers, fans and just plain old park guests have already observed, the choice of reducing the second half of the attraction to a touch-screen interactive, which would normally be relegated to the post show, seems to be a way to save money, but I don’t think so. The cost of those screens was not insignificant. It seems to be more a result of the Company’s current infatuation with “interactivity.” For evidence of that infatuation just check out the recent New York Times article on Toy Story Midway Mania.

Unfortunately this obsession with shoving interactive elements into every attraction is usually at the expense of the fundamental principles that built Epcot and the Disney Parks in the first place. It doesn’t have to be; Disney theme parks have always been interactive experiences. But that’s a whole other can of worms.

I wonder if anyone remembers the last time WDI installed video screens in ride vehicles. It was for a little fiasco called Superstar Limo. Why would anyone want to duplicate any element of that show?

As a Bradbury fan, I can’t help but note the irony that they placed the villain from Fahrenheit 451 (a television screen) right in the ride vehicle. And here, just as in that world, the guests are expected to look at it instead of the world around them. An unintentional metaphor to be sure but I can’t help but read the message as: “stare at your own television, ignore the world passing by you and we’ll protect you from the dangers of marble nudity and big words you don’t understand.”

It’s sad to think that Spaceship Earth has fallen victim to one of the very dangers Bradbury warned us against. It’s downright heart wrenching to think that Epcot is capable of evoking parallels to the distopian future Bradbury warned us might be, instead of the utopian future Walt told us could be.

Finale Scene from Spaceship Earth

.

Hong Kong Phooey

Happy Haunts Materialize

"You son of a bitch, you left the bodies and you only moved the head stones! You only moved the head stones! Why?! Why?!"

-Steve
Poltergeist 1982

In the fall of 1999, about the time that word came down from Accountaneering that every corner of the Disney Theme Parks had to show a profit, Epcot’s Leave a Legacy program began.

The once gorgeous and inviting entrance breezeway, punctuated by colorful floral planters and a gentle fountain, gave way to what can only be described as an enormous War Memorial; 35 polished granite monoliths covered with the names and faces of several thousand Disney guests, each etched onto tiny one inch steel squares.

The base of Spaceship Earth, originally just a simple reflective column, was now festooned with tent poles, tarps, signage, video kiosks and cast member hucksters panhandling for the $35-$38 necessary to become ‘part of the legacy’; all this hitting guests barely two minutes after entering the park.

And just exactly what was so wrong about this new addition to Epcot?

For one, Leave a Legacy was never more than a bald faced money-making ploy. P.T. Barnam would’ve been proud of the several thousand suckers that fell for this scam. You can be assured Disney couldn’t have cared less about your legacy. They wanted your money.

Leave a Legacy is an element of the Disney Parks that divides guests rather than unites them. Those with enough status, bearing and disposable income can proudly shout, ‘I’m part of the legacy!” while those strained by the already steep entrance fee and unwilling to participate can’t help but be reminded that they’re not. Isn’t Epcot, indeed every Disney theme park, supposed to celebrate our common humanity rather than underline our differences?

Leave a Legacy degrades the original entrance plaza. After waiting in tight lines and cramped spaces at the ticket booths it was a delight to burst into this open, uncrowded urban garden. The pylons that held Spaceship Earth aloft gave way to generous inviting ‘arms’ that embraced guests and beckoned them forward. The only focal point then was the dazzling geosphere itself, gleaming under the Florida sun. The only monolith present was the gorgeous clear lucite spires at the center of the courtyard’s fountain, aimed skyward and inscribed with the park’s distinctive interlocking circles logo; a logo that ironically celebrated unity of cultures, ideas and people from around the world. Today the maze of hard granite slabs that make up Leave a Legacy, some as high as 19 feet, compete with Spaceship Earth for attention, block views and congest the entrance to Future World.

Leave a Legacy has absolutely no resonance in a park dedicated to the romance of the future. The markers are a cold hard reminder of the past and as Epcot’s Millennium anthem ‘We Go On’ attests, this is a park meant to celebrate the promise of tomorrow, not look back to previous visits.

By far the most repellant aspect of these granite roadblocks is that they’re just downright ghoulish. There’s just no escaping the fact that when you attach names, dates and etched faces to the side of a giant polished granite slab you’re making a powerful iconic statement. No matter how hard Disney marketing may try to spin it, Leave a Legacy is still a compelling evocation of war memorials, tombstones, crypts and death.


All the more creepy is that, though intended as a tribute to the living, in the eight years that passed since the program began a substantial swath of faces enshrined on these markers have passed as well, turning the evocation of a tombstone into the real deal. What better way to start your latest Epcot Adventure than Leaving a Tear at Grandma’s Legacy marker?

At Disney, where understanding the effect of imagery on the subconscious is an art form, one wonders how the ball was dropped so vigorously on this aggressive display of bad taste back in 1999.

As it is a new era at Disney Imagineering, rumblings underfoot suggest that serious lessons have already been learned from this giant misstep at the Mouse House. As of June, 2007 the Leave a Legacy program was discontinued and the tarps and banners at the base of Spaceship Earth removed. As for whether the monoliths will soon follow, word on the street is...

Promising.

.

Boy, Do We Need Them Now.

"Human beings, who are almost unique in having the ability to learn from the experience of others, are also remarkable for their apparent disinclination to do so."

-Douglas Adams
Author

(L to R) Herb Ryman, Ken O'Connor, Collin Campbell, Marc Davis, Al Bertino, Wathel Rogers, Mary Blair, T. Hee, Blaine Gibson, X. Atencio, Claude Coats and Yale Gracey

Tomorrow Is Another Day

No doubt about it. Re-Imagineering has gotten considerably quieter these past few days. The reason is simple; so much has been going right at Imagineering that the temptation to rain on anyone's parade seems counter productive.

The fiercely offensive Mickey Wand is now history. California Adventure will be getting a billion plus makeover. The Subs are back at Disneyland. Even Disney Studios Paris is turning over a new leaf.

With aggressive competition coming from Universal soon, Imagineering is eagerly stepping up to the plate. Every year for the coming ten will bring new and interesting surprises from coast to coast and creative management, two words that haven't earnestly been used together at WDI for nearly two decades, is pressing for quality at all costs.

Of course it's not all peaches and cream. Our watch-dog days here at Re-Imagineering are far from over. There are still walls to tear down and dreams to nurture. Passionate discourse and debate from our readers, the heart and soul of this site's campaign, has been the real fuel for change at Imagineering.

It's time attention was paid.

In the coming weeks some of the most dynamic and passionate voices 'behind the blog' will come front and center to remind us of much of the work that still has yet to be done.

Disneyland's Tomorrowland is a great start.

"The Astro Orbitor in DL is an example of ego gone wild. This overdressed, ripped off from 'The Dark Crystal' carnival ride was shoehorned into the available real estate by someone who should know better. Taller than Walt's castle right next door, with half it's animation broken for years and it's cheesy "plastic painted like metal" toy store finish, it clashes wildly with the rest of the hub. Not to mention the hideously out of place rock work that surrounds it, an obviously desperate attempt to somehow blend it all together.

Tear it down and give us the WDW Astro Orbitor or even the old Rocket Jets weenie with a new paint job. Put the Rocket Jets back where it belongs, atop the Peoplemover with brand new 3rd generation [vehicles] winding below. Walt was not wrong about the placement ... as it was it was truly thrilling unlike the current grounded model."

-David Smith

"Here's another great flop. The wet marble fountain.

When they designed it they didn't think people would actually go in and get wet. So they got two problems. One, it smelled like a sewer from sweat, dirt, urine and feces from children since they didn't chlorinate it, and they had soaking wet people sitting down in plush seats in 'Honey I Shrunk the Audience' and ruining them!

Then they chlorinated the water to lose the sewer problem and wound up rotting the rubberized pavement which was never designed for chlorinated water. Did anyone think ahead at all? If you've ever seen any of the REST of Tomorowland 2055 that Bruce Gordon worked on you'd see just how much was never built. INNOVENTIONS was never part of the original plan.."

-Destino

"I think Imagineering can offer a lot more to revitalize Tomorrowland's tarnished reputation than a wholesale return to its past glories. It certainly needs the multilevel kinetic energy and atmosphere lost by the foolish removal of the People mover and the original skyline placement of the Rocket Jets. Tomorrow land would benefit hugely by the creation of an immersive attraction that does not rely simply on another animated character overlay. It needs something fresh and purely Disney in tone and execution, like Pirates or the Haunted Mansion. While I'm extremely pleased that the subs are returning, for both their crowd-relief and visual potential, I'd have preferred to see an original adventure of underseas exploration. Something to take us to a new places and immerse us in the sort of faux-scientific reality that used to make Tomorrowland the liveliest corner of the Park. That's what Mission to Mars/Moon and Inner Space provided and made them so popular in their time. A re-imagined, state of the art Inner Space Adventure would be fantastic. Put it in the center of the land...by getting rid of Innoventions! It's like a big black hole looming over the area, sucking out all energy. Same with HISTA. If we must keep Star Tours, at least put a different film in each pod so the experience is fresher and more random."

-Barry

"I've really thought that they should have fully embraced the 1967 aesthetic in their Tomorrow land revamp at Disney land. The LAX airport attraction is a perfect example of maximizing the theme. A Tomorrow land using this space-age googie aesthetic combined with the best of modern ride technology would be killer. Adventures Thru Inner Space with modern effects and ride systems? Sign me up right now. There's a way to embrace the design of the period without it being completely tongue-in-cheek and kitschy. It doesn't have to be loaded with obscure references. It just has to be cool. I would love to see every Tomorrowland allowed to retain a unique identity. There's been an alarming homogenization of Tomorrowlands in recent years that must be stopped and turned back. Finding a unique voice for DL would be a perfect start."

-Michael Crawford

"I visited Disneyland today for the first time in about a decade. While I enjoyed Space Mountain and Star Tours, Tomorrowland overall struck me as being somehow "broken". I didn't realize the Rocket Jets had been removed, and actually walked around confused for a moment looking for them. I really missed that Saturn V replica that looked so tall and scary to me as a child. Their replacement looks like a silly kiddie version that wouldn't have impressed me at 3, certainly not worth my time now.

Innovations was HORRIBLE. The opening speech made me feel like I had signed up to be in a commercial test audience. "And check out this new PEN PHONE. It even has a CAMERA. On the screen, pictures of Earth from space thanks to GOOGLE! Now go play on computers with...INTERNET GAMES!"

Ooooh! Aaaaah! I could have avoided the line and replicated the Innovations experience by pulling out my own mobile phone and surfing the web.

And how on Earth could Disney have eliminated CircleVision?!? I never once missed that when visiting in my younger years. I never got tired of the presentation. To this day it is something completely unique. The following should be brought back ASAP: Rocket Jets, CircleVision, and Carousel of Progress. If ASIMO is any good, put him in his own attraction.

-MC

• Tomorrowland Poster by Greg Maletic •

You Dream About Going Up There....