For decades, the relentless expanding and contracting of Walt Disney Imagineering has been explained away as "the nature of the business." WDI (formerly WED Enterprises) has existed for over fifty years, and has been conducting cyclical mass layoffs since the early 1970s. The most notable layoffs have taken place after the completion of Epcot and Tokyo Disneyland (1982-1983), after the completion of Disneyland Paris (1992) and after opening three theme parks in nineteen months, Disney's California Adventure, Tokyo Disney Sea and the Walt Disney Studios Park in Paris (2001 - 2002). Perhaps Disney's twenty-five year massive worldwide theme park expansion is taking a breather--providing us with the perfect opportunity to reevaluate the validity of the oft-used phrase:
"It's just the nature of the business."Why is it the nature of the business? Perhaps because WDI is project driven and projects fluctuate based on the needs of their clients. WDI however has only two clients; the Walt Disney Company (WDI's own parent) and the Oriental land Company (which operates Tokyo Disneyland and is beholden to the Walt Disney Company per their licensing agreement).
WDI doesn't exactly have to exist in the competitive world of independent design firms. If fact, for decades WDI held all the cards. They dictated every little detail to the park operators. But things changed and now the park operations folks are in charge. Park executives order what they want from WDI the same way a client would from an independent firm. This causes WDI to behave like an independent firm, always looking to sell its wears to whatever park executive has the money to spend. WDI is constantly begging for work, which leaves no time or motivation to prepare for the future, and no opportunity to play the role of master planner.
WDI is a reactive organization, not a proactive one.
For Your Consideration
Consider that it’s WDI's job to maintain the identity and theme of eleven parks around the world as well as dozens of resort experiences. Consider that WDI is responsible for painstakingly designing and updating minute details on a canvas that covers more than 35,000 acres of land around the world and must do so in a four dimensional environment (in addition don't forget about the basic wear and tear of time). Consider that the attention to detail, which is one hallmark of WDI, is actually what first separated Disney Theme Parks from amusement parks, and the consistency and continuity of those details creates the show that elevates Disney theme parks above all the rest (along with the contribution of a tireless front line operations cast).
Consider that the other hallmark of Imagineering is creative and technological innovation, which generates new attractions and drives repeat guests to return to Disney parks (again, with considerable help from cast members). And let's be practical here, too; this attention to detail plus innovation is what allows The Walt Disney Company to charge more for their parks than any other firm, and thus create a distinctive experience for which the public is willing to pay a premium price--wider margins and more profit.
Considering all this, if you were an executive at the Walt Disney Company and your jurisdiction included theme parks, shouldn’t it be important to make sure that Disney maintains its premium status, and shouldn’t you know the role that Imagineering plays in that maintenance?
With all that considered, let's move to the topic in hand.
The Nature of the Business
The decade-long cycle of layoff, rebuild, expand, reinvent, innovate, renew, release, and layoff, has had some positive effects. It allowed the addition of new blood, people from different fields and backgrounds to come into WDI and to keep the perspective fresh and vital. It allowed WDI to explore new directions. A fluid work force adapts quickly to change.
But, it also had a very serious downside. The choice to layoff uniquely talented and experienced workers is like ringing the dinner bell for the competition. Arguably the most impressive non-Disney theme park in the world is Universal's Islands of Adventure in Orlando, just a few miles up I-4 from Walt Disney World. Islands of Adventure was designed almost entirely by laid-off Imagineers and now sits on Disney's front door step siphoning off guests who could be spending an extra day of their vacation on Disney property. Add Harry Potter to the mix and suddenly the trickle of departing muggles becomes a flood.
But the concern of losing good talent to the competition is minor in comparison to the other drawback created by WDI's expand-and-contract cycle. In the wrong hands, the constant threat of layoffs can be used as a political tool by management. It enables a corrupt management to rule through fear and in doing so negate all the positive effects of a cyclical change-out of talent. Unfortunately, this is exactly what has happened at Walt Disney Imagineering for the past several years.
Dream On Silly Imagineer
Try to imagine, just for a moment, that you have, since the age of eight, wanted to work in a magical place called Imagineering. In your mind, it is a dream factory more spectacular than any created by Santa Claus or Willy Wonka, and you work your whole life to get there. Then one day the Flower Street gates open to you and you are allowed in. Walt Disney Imagineering! (For a more visceral explanation of this emotion please see the wonderful short film "Dream on Silly Dreamer" by Dan Lund. Much of what happened at Animation applies to Imagineering as well).
Now you're working, you're drawing, you're building and it's great. But then one day you discover you've said something to upset an executive. You didn't realize it at the time, because it was a brainstorming meeting and it was a free exchange of ideas. You were just trying to contribute the best input possible with no idea that saying, "We need more Audio-Animatronics figures in the parks," or, "Why don't we write original songs anymore?" could upset someone, but it did...and does...a lot.
You see, some executives at WDI believe that it is just as effective to tell a "story" by using film rather than Audio-Animatronics figures. And loads cheaper. Those executives just made an argument that the AA guys and gals need to go and the filmmakers need to stay, and your little comment is not helping their agenda. So, a friend tells you that you need to keep your mouth shut or they’ll get rid of you during the next round of layoffs. At WDI nobody needs an actual reason to fire you.
So, now you choose your words carefully in “brainstorming” meetings, you try to appear dispassionate about your work, moving silently from task to task. After all, dispassionate people are less likely to have strong opinions and are therefore easier to manage. Maybe you even try to fit in with the cool kids; best way to do that is to make fun of diehard Disney fans; call them geeks or foamers (because they foam at the mouth when they see something Disney).
And most important, you don’t suggest anything that might be original or creative. You never ever suggest building an original attraction as you now understand it’s better to just repackage an old idea (unless that old idea was created by somebody now unpopular with management, or unless it necessitates the involvement of a department management is trying to eliminate.) Hmm...maybe it’s best if you just don’t speak at all.
Welcome to WDI. Welcome to a culture of fear.
The WDI of 2001 - 2007
So let’s recap. WDI’s role is vital to maintaining the Disney Theme Parks’ position in the minds of the consumers as a premium product. The culture of fear created by WDI’s management (the guys who wear jeans and sit behind desks in Glendale) discourages innovation and creates a hostile work environment for creative people. The results of this culture of fear are quite evident. We call them Disney’s California Adventure, Walt Disney Studios Paris, Stitch’s Great Escape, Tiki Room Under New Management, DinoRama, and Journey into YOUR Imagination among others.
Unfortunately the management of the Walt Disney Company (the guys who wear suits and sit behind desks in Burbank) don’t have the time or the interest to look at the problems within Imagineering. They just see that their newest parks are losing money and that the Imagineers are spending too much. Like most of the world they see Imagineering as one solid amorphous blob, and they are more than happy to throw out the baby with the bath water. What they don’t see is the enormous talent that still exists at WDI just below the surface.
On the promising side WDI just went through yet another restructuring in the hope that a new management team will succeed where their predecessors failed. And despite what some people think, this blog’s mission is to help build a happier, healthier, more creative, more efficient WDI by chronicling past mistakes in the hope that WDI can learn from its own history to build a better future.
What could the new Walt Disney Company management do if they wanted to?Let's return to the original question. Is the constant expanding and contracting of Walt Disney Imagineering necessary? Is it really the nature of the business? This contributor would have to say, "no". Even if it was unavoidable once, it’s not today.
The Walt Disney Company has 11 theme parks around the world, plus water parks, resort hotels, entertainment districts, a sports complex, cruise ships, a private island, and all of these things need to be held up to Disney quality. A steady stream of work should be coming into WDI from all these sources, because every one of them needs attention. Because of the aforementioned client/design firm relationship, however, this is not the case.
If WDI were given a standard budget to make improvements and enhancements (which could be as small as a flower bed or as big as an E-ticket attraction) to existing parks, the basic staff of WDI should be kept busy indefinitely. WDI would have a set amount of money to work with (adjusted for inflation each year) and the Walt Disney Company management should prioritize what work needs to be done first. When a big project comes along like a new theme park or two huge cruise ships then some of the work on the existing park would have to be deferred. If this sounds like harsh neglect of the existing parks, it's important to note that this is work not being done at all today.
Of course there is no way to eliminate layoffs completely. Economic fluctuations make that an impossibility. But given the size of the Disney empire and the constant need for updates and improvements to existing parks, a smart management team could minimize the modulation...if they wanted to. And the payoff for guests and stockholders would be enormous.
Walt Disney Feature Animation was at its best when it was only making one film a year. Those were the days of
Little Mermaid and
Beauty and the Beast, and Pixar is enjoying an incredible run making new films every 18 months. There is something to be said for restraint, especially when it comes to creative organizations. The Walt Disney Company’s decision to build three theme parks at the same time is what doomed WDI (like its decision to make multiple animated features and dozens of cheap sequels destroyed Animation a few years back). With three park projects to feed, Imagineers were promoted to lofty positions and given even loftier salaries. Labor rates soared. This was all digested into the budgets of three very large-scale projects. But when all three parks opened, WDI was left with a gaggle of Vice Presidents with no work to do. Try justifying absorbing those salaries into overhead costs.
The fatten-up-slim-down fad diet WDI has been on for the past three decades just isn’t healthy. WDI will be fifty-five years old in December, and it’s time to appreciate the value of moderation. As for the culture of fear that resides within WDI, it will take a lot more than a steady stream of work to fix that problem, but removing the constant fear of layoffs is a good first step.
Unfortunately the fear of layoffs has proven such an effective tool for controlling unruly creative types so some old executives at WDI may see no reason to change it. Here's hoping some renegade executive has the courage to make a selfless decision that would be in the best interests of the company and remove the culture of fear at Imagineering; to challenge the very 'nature of the business'.
All of us here at Re-Imagineering wish them the best of luck.
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While newer attractions such as Raytheon’s programmable-animatronic arm and Toy Story Midway Mania are reasonably impressive, they lack the quality, theming, and all encompassing immersion displayed in the Pirates, Mansions and Thunder Mountains of years gone by. Toy Story Midway Mania may very well be an exciting attraction, with smiling guests proclaiming their long wait well worthwhile. But exactly how long will those smiles last?
After further analysis of the ride, it appears obvious that Disney was not only aware of this, but prepared as well. If you remove the 3D effects and guns from Midway mania what’s left? A grocery store shaped room, tacky cardboard cutouts on the walls and TV screens lining the aisles. The basic empty shell that’s left over screams 'cookie cutter': any object of significant value can easily be re-purposed. Not even the vehicles appear to be long term. The attraction runs off of an HP laptop cleverly housed inside the vehicle shell (which is fading and tearing). While the model that Disney used is currently out of production, the closest model with similar specifications sells for $500 from Best Buy.
