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Imagineer

Are you really enjoying Disneyland so much?

by Mark Eades February 25, 2024

When did going to Disneyland become a battlefield between Disney fans?

I recently visited Walt Disney’s Enchanted Tiki Room (Did you notice I used the correct name for the attraction?) with one of my grandkids. At their age, they enjoy the singing birds and flowers. However, I did not enjoy it. Thankfully, my grandkid did.

Why did I not enjoy it? Because there was a gaggle of talkative and downright rude uber-Disney fans sitting in there.

One group of them were yacking away about some misdeed they had gotten away with in line (or was it skipping the line) at the Indiana Jones Adventure. Another group was singing the tunes, but substituting different words. Finally, a third group tried to loudly teach some other Guests the words – whether they wanted them to or not. Sing along, fine. But not so loud that it is intrusive.

I tried to motion for them to quiet down, they either ignored me or made the classic Disney brush-off comment, “Have a magical day.” It was like being in the middle of a talkative battlefield.

(And I won’t even go into how you cannot hear the Ghost Host’s spiel in the stretching room of the Haunted Mansion over them anymore.)

These uber-Disney fans are getting out of hand. Steven Wilk recently wrote a column for the Disneydining.com website in which he labels these folks as “Disney addicts.” (Click here to read that column)

That seems like a good label. I have a better label for them: Disnoids. They’re everywhere at the park. Actually parks, as they are at all of them now.

Disnoids occupy the front porch on Main Street U.S.A. You know where I’m talking about, it was the entrance to a bra shop on opening day.

Disnoids have all the prime (non-reserved) spots for watching parades, fireworks or live shows – usually hours ahead of time.

When Disnoids go on attractions like Pirates of the Caribbean or the Haunted Mansion, they talk during their entire adventure – about the changes good or bad, or sometimes about other topics like politics, or where they think the best place to eat is at different times of day.

And try to get a seat at a popular bar, such as Trader Sam’s or Oga’s Cantina. Disnoids have been in their seat since the bar opened that morning and stayed in it for hours!

So, I have to ask the question Steven didn’t ask: Why do you still have to go to Disneyland?

You can sit on your own front porch. I do, it’s called “The World Famous Eades Front Porch.” (See the photo at top?)

If you’re on an attraction and talk about other things (loudly) are you really enjoying it? Do you think the people in the rows in front or behind you need to hear you talking or singing badly? If that’s all you’re going to do, do the rest of us a favor: Stay off the attraction or zip your mouth shut.

Then there’s hanging out for hour chattering away while others wait to get in one of those bars. Even then it’s hard as you know how to make a reservation, and those reservations were gone within minutes every time they became available. Frankly, if all you want to do is hang out at a bar and meet up with friends, there are plenty of others out there (many of them very nice) that would be better suited to this. I first wrote about this problem in a column for Jim Hill Media, which was originally published in 2001! (Here is the link to that column.)

From what I understand, that column stirred up a hornet’s nest of comments on his website, and spilled over to many other Disney oriented websites. Worse yet, back then people did not always use their real names.

I think it’s time for folks to recognize their problems.

You want to visit Disneyland a lot? Fine. But keep your voice down in case others want to hear the actual sound that Disney Imagineers created.

Visit the bars, but maybe don’t stay for more than an hour.

And if you want to sit on the front porch, that’s okay. I people watch too, but give up your seat after an hour or so and give others a chance!

Yes, I’m an Annual Passholder. but now that I have grandkids, I find I only want to go when they want to go, and enjoy the parks through their eyes.

So, if you’re going to Disneyland make sure you enjoy it, and not wreck it for others. Or maybe stop going for a while.

February 25, 2024 1 comment

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Fantasyland at Disneyland Paris

by Mark Eades December 29, 2020

Time for a tour of Fantasyland in the Magic Kingdom of Disneyland Paris. This is from a trip I took with the family last February.

Fantasyland in Paris is similar to other Disney parks, with a lot of the same attractions, but…

It is very spread out, and to me that works against it. Even the Fantasyland in Florida does not feel as barren.

There are plenty of attractions in this land. More than any other. And while many of the dark ride buildings have the same type of look as Disneyland in California, the distance between things makes it much less charming.

Snow White is similar to the one that was at Disneyland.

The chance to Meet Mickey Mouse does not look as appealing as the one in Toontown in California, at least on the outside. It needs something more to draw a guest over other than a sign.

To me, Casey Junior was a missed opportunity. A brand new version of Fantasyland and the Imagineers could have designed it wander throughout the land. Instead, it is tucked in a back corner by the Storybook Canal attraction.

The Storybook Canal attraction is a nice leisurely attraction. No host or hostess, just music along the way as you see the different scenes. The music for each movie represented is correct throughout. I do miss being swallowed by a whale. It and Casey Junior are tucked back beyond the railroad berm, and not much to draw guests back there. Sigh. Design 101 failure.

Instead of a dark ride, Alice in Wonderland is represented by the Labyrinth as seen in the movie. The problem? It closes in the rain, primarily because of poor drainage. (The Cast Members told me this was why it was closed that day.) It looks charming, one of the few things in the land that does. But there is also another design failure – no place where guests can see the Labyrinth from like a viewing area. Sigh.

There is a statue of the White Rabbit outside the entrance to Alice’s Curious Labyrinth. Yep, it’s made of plastic.

This was the only location where I could snap a photo of the Labyrinth, but it’s only a place where the walkway is a little higher. There should be an easily accessed viewing area where guests can watch other family members navigating the Labyrinth. Just my opinion.

Instead of white, the it’s a small world facade is layered in blue and salmon pink tones – not white like at Disneyland. You know what? I like it.

The Sword in the Stone is there in Fantasyland as an obvious photo opportunity.

Well that’s it folks. I’m all done with my posts about my trip to Disneyland Paris.

Here’s my look at Adventureland.

Here’s my take on Frontierland.

And here is a look at Discoveryland.

And here is a brief look at Main Street.

December 29, 2020 0 comment

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Adventureland at Disneyland Paris

by Mark Eades December 1, 2020

A swashbuckling host at the entrance to Pirates of the Caribbean at Disneyland Paris.

Time for a salty old look at Adventureland, Disneyland Paris style.

Two things immediately come to mind when wandering through Adventureland at Disneyland Paris. The first is that there is no “Jungle Cruise.” The second is that it is about adventures. Such that all the attractions are either about going on an adventure, or having one. Does it work? For the most part, yes. Though for me it is a little jarring to see the characters of Carl and Russell from the movie “Up” along the shores of a waterway. But then they are about to set out on and adventure, so it’s okay. But, where’s the dog?

A beaten down castle, was it fired upon?

This castle looks like it has suffered some damage, but what from it be ye ask?

The Paris version of the popular Disney attraction.

Keep a weather eye matey, thar be pirates ahead. The sign is in English, curious as to why it’s not in French. C’est la vie.

Some fun loving hostesses at Pirates of the Caribbean.

I’ve said it before, the folks that work at the parks in Paris are definitely fun, happy and seem to have a lot more fun; making the adventures and the experience more fun. They definitely know they are “on stage” and “perform” brilliantly.

I did go on Pirates of the Caribbean in Paris. That’s me in the top left, and partially hidden is my wife, Donna. For the most part it feels more like the version at Disneyland, and that is good. There is a mood setting portion after boarding the boats, which I like. But…the drop is in a strange place in relation to the ride itself. I guess my familiarity with the one in California throws me off. Perhaps one day I will get to see the one in Shanghai, which doesn’t try to copy it as much at all. Just about everything there was working well, including the dueling pirates – that’s a plus in my book.

I don’t think that was the original name of the restaurant, which basically is a pirate version of the Blue Bayou. The queue for the attraction and part of the boat canal wraps around the dining area, which is a real plus. I did not have time to dine there. It was a very rushed day.

The pirate theme carries over to a walk around “discovery type” of attraction called “Adventure Isle.”

Pontoon Bridge to and from Adventure Isle.

Adventure Isle is essentially the Paris version of Tom Sawyer Island. It has both a pontoon bridge and a suspension bridge, just like that at Disneyland.

The two bridges will also lead guests to a Treehouse.

There are a number of caves throughout Adventure Isle to explore, all with an eye towards the pirate theme.

Pirate Treasure Grotto on Adventure Isle

This, then, has been my look at Adventureland at Disneyland Paris. Overall, I do like the land, and exploring Adventure Isle. I did not have time to get to the Indiana Jones themed roller coaster attraction. My kids (all adults) did ride it. They reported that it looked like it came right out of one of the Indiana Jones’ movies. Though they were disappointed it wasn’t more like the mine car ride in the second movie. They also said it was a very rough but, thankfully, short ride.

To read about Frontierland visit this link.

Read about Discoveryland at this link.

Here is the link to read about the Paris version of Main Street.

December 1, 2020 0 comment

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Discoveryland at Disneyland Paris

by Mark Eades November 23, 2020

It wasn’t called Tomorrowland, it was named Discoveryland. This Paris version of Disneyland pays an homage to Jules Verne.

The entrance to Discoveryland from the hub at Disneyland Paris.

If you’re wondering Tomorrowland in California got its look from for the redo in the late 90s, look here at Paris Disneyland. Finally, the Imagineers got the message in California and got rid of this look, but it lives on in Paris. It has not really stood the test of time as much as the park’s designers thought it would. Part of the problem is that it is too open. Secondly, there is no real reason to carry the look throughout the area.

Space Mountain anchors one area of Discoveryland.

This is the Paris Disneyland version of Space Mountain. It’s a very ornate look. The problem? The ride is actually (at least at this time which was February 2020) Hyperspace Mountain. It was meant to be an ode to the time of Jules Verne and the old silent 1902 movie “A Trip to the Moon.” So the exterior decor does not set up the actual “space journey” at all.

Discoveryland’s Space Mountain queue line decor.

Inside the queue line above the load area of Space Mountain, the theming matches the premise of being from the time of Jules Verne and the 1902 movie. It is very ornate. But, at least during this visit, the ride itself does not match up at all.

The intricacy and ornate “Jules Verne” inspired look continues throughout, nice consistency. But no fit at all with Star Wars, which is what the ride had been converted into.

One of the original attractions in the area was a walk-through attraction whereby guests walk down inside the Nautilus based on the Walt Disney film, “20,000 Leagues Under the Sea.” To be honest, this is about the only thing, other than a fast-food dining facility, that fits the Jules Verne design theme in Discoveryland.

The look for this fast food facility was taken, almost directly, from the Walt Disney Productions film, “Island at the Top of the World.” Interesting look. The film was a big flop. So, lots of money spent on a look and where it’s located doesn’t really work to draw people out to it at all. Someone was determined to finally put this into a Disney park and did. Oddly enough, there was a model/design done to put this into Disneyland way back in the 70s. But fortunately, management back then knew better.

The Disneyland version of this attraction is essentially the same as this one in Disneyland Paris. It is surrounded by the “french fry” rocks like Disneyland’s was. But it doesn’t work as well as it makes it hard for guests to take pictures of their family on the attraction. In my book, this is a failure of basic Disney design and the original designers should have known better.

They have an Autopia at Disneyland Paris. My question is why? Other than people like to ride the gas-powered cars. But this was an opportunity lost. If they wanted it to fit in with the theming, perhaps more thought should have been put into what they attraction was to be, and come up with a unique look for the cars. Why didn’t they? Cost. Sad.

At least for Star Tours the designers did not try to give it the Jules Verne look for the attraction building or the interior queue space. It’s the same as all the others, though it is in French. Yes, that’s me with the attraction hostess at the entrance. Of course, not sure how Star Tours fits in with a Jules Verne themed land.

This photo op of the characters from the Disney/Pixar movie “WALL-E.” They were obviously planted along one of the giant walkways to give guests a chance to be photographed with, but somehow doesn’t totally fit in the Jules Verne style theming of Discoveryland.

This building was originally the home for “Le Visionarium,” a Circlevision-360 style attraction. I spent three and a half months mostly inside that building overseeing the installation, programming and more as the Show Producer. I was not the original Show Producer on the project, but in August of the year before the park opened, I was given that job by Mickey Steinberg and Marty Sklar. At that time the attraction was not going to open with the park, even though it was mandated by contract with the French government. In fact, the schedule at the time said it would open four months late.

My mandate from Marty and Mickey was to do what needed to be done to try and get it done on time for the park’s opening day. I did a lot of persuading, cajoling, darned near got into a couple of fist fights and more. But when all was said and done, I delivered the project to operations a week before opening.

Yes, some people were mad at me, but I was in an untenable position. I was fully supported by Marty and Mickey to get it done – though other execs at WDI were not, but left me alone. At least for a few years after it was done.

My take on the film/attraction was that (frankly) it was not as good as it should have been. I fault the show’s writers and the production of the film. It was too contrived but that’s what they wanted – I guess. By the time I came on board it was too far along to really exert any influence on the direction of the script and the film’s production efforts; so didn’t try.

Yes, I rode Space Mountain and here’s a photo of the ride photo to prove it. I’m the one in the front right at the bottom. It is a fun ride and an interesting, if tight, ride layout.

That’s it for this part of my visit to Paris Disneyland in February 2020.

There are some who will disagree with me on my opinions of this land. Others might agree. Feel free to write to me via email to: markaeades@aol.com.

Want to read about Main Street at Paris Disneyland, this is the link.

Take a tour of Frontierland at this link.

November 23, 2020 3 comments

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Main Street at Disneyland Paris

by Mark Eades November 11, 2020

I and my family paid a visit to Disneyland Paris in February 2020, it was cold, but the park was gorgeous. So in this post, I cover Main Street.

The Disneyland Hotel at Disneyland Paris

To get to the entrance of Disneyland Park, aka the Magic Kingdom, you walk from your hotel, car, train station or bus to this area at the north end of the resort’s Downtown Disney, then underneath the Disneyland Hotel. To the west is the second gate, Walt Disney Studios Park.

After gaining entrance, it is a very similar layout to the original Disneyland. You walk under the train tunnels and there you are in Town Square on Main Street. Sadly, the trains were not running this day. (Boo!) You can see a small band stand in the middle of the plaza. No flag ceremony here.

City Hall in Town Square at Disneyland Paris

While the layout is nearly the same, there are slight design differences. Notice City Hall. It’s in the same place but a different design. By the way, the streets are wet as it had rained over night, and while the skies are clear blue in the morning, we did have cloud cover and wind later in the day.

The home of the Main Street Trolley Cars

Unlike Disneyland in California, an onstage presence for where the Trolley Cars are kept is very visible. Because of the inclement weather that is present for a significant period of time (nearly six months) the cars have to be kept in an enclosed building.

A view of Sleeping Beauty Castle from Main Street at Disneyland Paris.

Main Street here at Disneyland Paris is all bricks, not asphalt. The Rails for the Horse-Drawn Trolley (not running this day) still run down the middle of the street just like in California. The castle is still called Sleeping Beauty Castle, but it definitely looks more like the one in the Disney animated film “Sleeping Beauty.” Sadly, we could not walk through the castle due to the high winds that day. (See the flag on the building on the upper left!)

One of the entrances to the Emporium. The statues are a little kitschy, but cute. The Emporium is in the same relative location as the one at Disneyland in California.

A Main Street Vehicle in the hub (Plaza).

The Main Street Vehicles are very similar to those found at Disneyland in California, and were running this day.

It is called the Plaza Gardens at Disneyland Paris, but it is in the same location as the Plaza Inn at Disneyland in California. Unfortunately, we did not have time to eat there as we only had the one day at this park.

Here’s a closer view of Sleeping Beauty Castle. You can see how much is looks like the animated film version. We got to this point just as they did the rope drop to open the rest of the park, and we were off.

Main Street at Disneyland Paris has side corridors running down both sides of the street and both are covered, which allows people to stay under cover from the winter time inclement weather and the park to stay open. Winter coats, gloves and hats are the order of the day there. But other than that, it’s like visiting Disneyland in California, only in French.

Want to see photos and read about the French version of Downtown Disney? This is the link.

Here is where you’ll find Part 1 of my visit to the Walt Disney Studios Park.

And here is where you’ll find Part 2 of my visit to the Walt Disney Studios Park.

The next land is Discoveryland, which you can find at this link.

Here is a look at Adventureland.

November 11, 2020 5 comments

IAAPA Imagineer TEA theme parks Uncategorized

Some Thoughts on the 2019 IAAPA EXPO and more

by Mark Eades December 3, 2019

Another November and another visit to Orlando to attend the annual IAAPA Expo, 2019 edition, and some reflections on what I saw this time and more.

Photo courtesy: Themed Entertainment Association

The TEA Booth

First of all, the TEA (Themed Entertainment Association) booth was always crowded. Not just at times they were making announcements, such as about the THEA Awards. But, almost all the time. The booth needs to be about twice the size it has been with more chairs.

That said, it was great meeting up with so many folks in the business looking for their next project gig.

I do wish more booths had seating so folks could just visit and network — and rest their weary feet.

The characters from the Garfield comic strip. Garfield’s creator gets paid very well. Photo by Mark Eades

Proper Pay for Creators

I met with a few young folks, fresh out of college or about to graduate, and talked about a variety of things – including how to break into the business. During that discussion I talked with one young writer who had gotten a few small writing assignments and I inquired about the pay rate.

Let me tell you, it was not enough. By the time that person would have had to pay for all of Social Security and Medicare, and then would have made less than $12 an hour. Shame on the person and company that paid that ridiculously low amount.

I’ve heard similar stories from a few starting (starving) artists too.

I’m not saying that inexperienced folks should be paid as much as high end experienced creative talent, but the pay should at least be more like at least $17 an hour after paying the government mandates.

I also think that TEA should give lessons on things like how to understand the tax consequences of getting paid via a flat rate that does not cover those things, and the resulting hit on income taxes.

The artists and writers are the creators and should be compensated fairly for creating attractions for companies that are the ultimate revenue and attendance drivers of folks visiting themed entertainment venue. They should either get paid more or get a part of the gate.

I know these businesses expect a return on their investment, but maybe better deals would offer some kind of profit sharing. In the movie and TV businesses those that create share in the money those items make mostly through something known as residuals. Maybe there should be a consideration of the same thing for the theme park business.

The IAAPA Expo 2019 Floor. Photo by Mark Eades

Total Solutions

Many companies at IAAPA offered “a total solution” to theme park design. The “one-stop” shop that has become so vogue. All these businesses are like mini versions of Walt Disney Imagineering was back when they were WED/MAPO.

From a contracting standpoint that can make sense, but it doesn’t always work. Often, by the time the finished product opens (be it a ride, attraction, land or more), it sometimes seems like it doesn’t really work as originally conceived – to the bitter disappointment of everyone, including the public and a company’s bottom line.

That is partly the fault of the company doing the hiring. Everyone buys into the concept as it moves along through the design, production and construction pipeline. It seems, sometimes, that no one says “wait a minute.”

Several times in my years in and around the business, I’ve heard people say “we should have taken a step back.” Well maybe companies should think about hiring an independent person or persons whose sole job is to be that “step back” person, and point out issues they can see as they are not so close to the project to begin with.

Catching the problems in the various stages before they lead to something that doesn’t work right at all when it opens to the public should be an important adjunct function. The themed entertainment business is littered with failed rides, shows and more because everyone involved was too close to it and could not see that they were no longer on the yellow brick road to success.

Saying goodbye to IAAPA Expo 2019. Photo by Mark Eades.

I’m a curmudgeon truth sayer

Yes, I’m saying all these things because I’m a bit of a curmudgeon and in my two careers (in theme park design and then covering them as a journalist) I’ve seen a lot of these. Maybe that’s the consulting business I should start: Nothing but the blunt truth, whether you like it or not. Think of how many cruddy projects I would stop in their tracks!

Those are my thoughts coming out of IAAPA 2019. Feel free to comment with the unvarnished blunt truth. Or hire me to tell it to you.

December 3, 2019 0 comment

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Disneyland Mine Train Restoration underway

by Mark Eades May 16, 2019

The “abandoned” Mine Train that was once part of “Mine Train Through Nature’s Wonderland” sits by the Rivers of America in 2010. Photo courtesy: George Kissinger.

Remember when the mine train engine sat like an abandoned railroad by the Rivers of America at Disneyland?

It was removed in 2010 for a then newly imagined Rivers of America, and was replaced with a rockslide on the abandoned rails.

A rock from a “rockslide” now sits on the abandoned tracks of the “Mine Train Through Nature’s Wonderland” by the Rivers of America at Disneyland. Photo by Mark Eades

Those of us who go back further, remember when it was one of the locomotives on the “Mine Train Through Nature’s Wonderland” attraction at Disneyland. That was removed in 1977 to make room for “Big Thunder Mountain Railroad.”

The Mine Train travels across a trestle in “Bear Country” on the “Mine Train Through Nature’s Wonderland” in Frontierland at Disneyland. Photo courtesy: The Disneyland Resort.

The rails alongside the Rivers of America and two of the tunnels from the attraction are still there, but the engine and two cars were sent to an outside storage area owned by Disney.

Then, in 2015, they were sent to Walt’s Barn, to be restored by the Carolwood Foundation and put on display there. But there were some contractual issues that needed to be resolved between the foundation and the Walt Disney Company before anything could be done.

The wrapped up Mine Train waits for a restoration in 2015. Photo courtesy: Ed Romero.

Finally, in December 2016, an agreement was reached and the foundation started devising a plan to restore the engine and cars to their former glory, as written in this story by me for the Orange County Register. There were further delays in finding someone to do the work, but that person and their company was identified and the work is starting.

A member of the Carolwood Foundation holds up the sign that used be on the side of the engine from Disneyland’s Mine Train Through Nature’s Wonderland. The engine and two cars will be restored by the foundation, and eventually put on display at Walt’s Barn in Griffith Park. Photo courtesy Ed Romero.

The work is being done by Tim LaGaly and his company, TJL Construction, Inc. in Burbank.

Tim LaGaly of TJL Construction, Inc. stands by some of the metal pieces from the Mine Train that he is working on for the restoration. Photo by Mark Eades

But it also takes money. With that in mind, the Carolwood Foundation has launched a funding drive to raise $150,000 to fully restore the engine the cars, and even build a new tender, that held the actual motor and batteries for the train. (Though this restoration will not include a working motor nor batteries.)

The Mine Train engine sits in a storage bin at TLJ Construction, Inc. waiting for restoration work to start. Photo by Mark Eades

Here is the direct link at www.carolwood.org/contact and click on the donate to donate to this effort via PayPal. But people can also write a check made out to “The Carolwood Foundation” and put “Mine Train Resoration” in the memo space. Checks may be mailed to Carolwood Foundation, PO Box 2208, Toluca Lake, CA 91610, Attention: Larry Boone.

Some of the metal parts to the Mine Train that have all ready been restored. Photo by Mark Eades.

The foundation is a 501 (c) 3 non-profit foundation, so donations may be tax deductible. It also operates and cares for Walt’s Barn, which is located at the Los Angeles Live Steamers Railroad Museum in Griffith Park. The Barn is open free to the public on the third Sunday of each month.

Bill Barbe (left), president of the Carolwood Foundation, along with Tim LaGaly of TJL Construction, Inc. show of the undercarriage for the Mine Train cars to four members of the Order of the Red Handkerchief led by their president, Scott Fleener. Photo by Mark Eades.

Recently, members of the Order of the Red Handkerchief visited to see some of the progress being made. Members of the order used to work the original attraction and include a few “Club 55ers” such as Ron Dominguez. The order is also helping with a financial donation and expertise from their time working the attraction.

Bill Barbe, president of the Carolwood Foundation, shows two members of the Order of the Red Handkerchief some of the wheels to the cars of the Mine Train. Photo by Mark Eades.

Besides money, foundation president Bill Barbe says they are looking for additional items to help with the restoration. Those items include a Drive Wheel, an oiler for the wheels, color photos, particularly of the controls for the engine, and good color photos of the tender.

The smokestack and part of the roof for the Mine Train. Photo by Mark Eades.

They would also like either receive a donation of, or borrow the following, so they can do a 3D scan of them: an original bell, an original whistle, and a number plate. All three have been purchased at Disney auctions, mostly through the Van Eaton Gallery.

“If those who own them could either let us have them on loan for display, or to borrow so we can make a 3D scan of them to reproduce for the display, that would be terrific,” said Bill adding, “We’re trying to make this as authentic to the original as we can.”

Anyone who has these materials can contact Bill via email at: waltsbarn@carolwood.org, or send him a snail mail to his attention at: Carolwood Foundation, PO Box 2208, Toluca Lake, CA 91620.

A wood siding from one of the rail cars for the Mine Train, it is completely rotted and will have to be replaced. Photo by Mark Eades.

Unfortunately, most of the cars that followed behind the engine and tender were made of wood, and the wood has rotted to such a condition that it will have to be replaced. The underlying metal carriage and other metal parts, including the wheels, are in good shape and refurbishment of all of them is underway.

Part of the wood that was once part of the rail car that was part of the Mine Train. Photo by Mark Eades.

Bill also said they would like a couple of the rails from the original attraction to set the engine, tender and cars on when the work is completed. Anyone who visits Disneyland can still catch a glimpse of those rails along the Rivers of America, but there are also some rails in the two tunnels that are not really visible and hopes to get a couple of them.

A tunnel through which the Mine Train Through Nature’s Wonderland still exists at Disneyland in Frontierland. Inside the tunnel are rails from the original attraction. Photo by Mark Eades.

May 16, 2019 3 comments

Imagineer theme parks Universal Hollywood Universal Studios

My involvement with T2-3D: Battle Across Time

by Mark Eades February 19, 2019

It was late summer 1993, a few months after I had left the employ of Walt Disney Imagineering, when I got a phone call from a person I had worked with there. They were working on the concept for a new theme park attraction for another company and wanted me to come in for a meeting.

The meeting took place at Digital Domain, which was owned by James Cameron and a few others. The project had been developed by Landmark Entertainment and was for Universal and the title? T2-3D: Battle Across Time, based on the Terminator movies.

They had a storyline. They had a concept; a new one. 3D on three screens. The concept had a number of interesting and innovative gags including the Terminator (played by Arnold Schwarzenegger) John Connor and Sarah Connor not only in the three-screen film, but the characters would leave the film and show up as live actors in the theater. And in one of the show-stopping gags, the Terminator would fly out of the film and into the theater on a motorcycle.

The issue? None of these fun concepts for a 3D experience had been done before. But I had worked on projects like Muppet*Vision 3D and Captain EO at Disney, and some other projects that I could not talk about at the time, that had done some similar things – just not on that grand a scale.

I was asked to develop a test mock-up program to prove it out so that Universal would okay the project. I would work for Digital Domain, not Universal, as Cameron wanted things that way as he would also shoot the 3-screen film tests needed. The idea for the attraction had come Gary Goddard and his Landmark Entertainment company.

Initially, I looked at the concept drawing and the story line. There were no detail (show set) drawings developed yet, just a general artist concept drawing of a theater, with the three film screens shown, planned (at the time) as 60-feet wide each.

Sight lines were going to be the toughest thing to figure out, and where to put the projectors so that people could see the film, and not be in the path of the projected image. The team also needed to be able to have a basic understanding of how the motorcycle would leave the film and enter the theater – then leap back into the film. Finally, the finale involved 3D on all three screens at the same time in the image of the T-One Million, and that had never been done before.

Courtesy: Universal Studios Hollywood

I started by doodling some rough sketches of where the projectors might go. I started working out some of the stuff on paper, and researched different lenses, throw distances from projector to screen and more. I worked out a lot of the math involved and figured lenses, distances and the offset height of the projectors relative to the center of the screen.

I knew my doodles would not be good enough as I needed clear drawings to show the team at Digital Domain what I was planning, including James Cameron, so I commenced to work on them.

I had a MacIntosh Plus back then and made use of the drawing programs I had at the time. I made two drawings: a top drawing showing projectors, audience area, stage area and screens; and a side view showing heights and seating rake. The drawings also had all the specifications for projector throw and lenses. Due to limitations of the software, I had to print the two drawings onto twelve 8.5-inch by 11-inch printouts each – then matched them up to tape them together.

I took those two taped together drawings to Kinko’s and made several copies.

This was all up against a deadline of a meeting with James Cameron. During that meeting, I would show what I had come up with, and the production team would talk about the different test shoots needed, along with another consultant, well-versed in magical illusions and special effects, to talk about how to transition from film to theater and back again.

I was supposed to go last after the others in that meeting, but when James showed up, he insisted on looking over my drawings first.

What I liked about James was that he had a good grasp of the technical challenges of the theater. I told him we really needed to mock this up full-scale. He said “no problem” and if Universal was a problem to let him know.

Well, flush with that, it was time for the team to meet with the Universal and Landmark Entertainment folks. We met with them in a very large conference on the lot. There were several folks on their staff in the meeting, along with some folks from Landmark, some consultants Universal had retained and of course the Digital team.

Universal didn’t have anything in the way of drawings for us – we asked. So I volunteered that I had done a couple of drawings of the theater layout. You would have thought I was feeding starved dogs the way they swooped in. I think they were shocked that someone had committed something to paper with actual numbers.

The two Universal consultants’ purpose seemed to consist of throwing brickbats at what I had come up with, but in the end they found the specifications I had developed were solid.

The end result for me was to estimate the cost of the mock-up and submit a budget. The budget needed to include six-70-mm projectors, three 60-foot wide screens, scaffolding for the projectors, and a location to mock it up. There were no sound stages around big enough and available for a long period. We eventually found that an aircraft hangar at the old Hughes airport property north of LAX would work, and was available.

The budget was submitted, with a big contingency, and approved. The longest lead items were the screens – they came from a company in New York, and had to be shipped by truck.

Meanwhile, I created a special multi-color alignment chart for the 70mm projectors – based on my experience with the Muppet*Vision 3D project. One that would make it easier for the projection engineers to properly align the projectors onto each screen.

After several months we finally had it all done, including myself spending a long day taping out the floor to show where the audience would be seated. We even set up some chairs on risers to simulate the correct height of the seats to the screens.

We did a quick test shoot just to see 3D on three screens, then it was set for the full test shoot. Then something happened. The Northridge earthquake on January 17, 1994.

Because of all the damage done, including the destruction of part of the Santa Monica Freeway, no one on the team went to work. Finally, three days later, I ventured out and over to the mock up. I was pleasantly surprised to find that we had done a good job of tying down the three 27-foot tall scaffolding structures upon which the projectors sat. The screens were still in place too.

Two days later I had a projection team in to check alignment of the projectors; they only needed some minor adjustments. My work was complete, and so I went off payroll for a while. During that time, I did some consulting on EFX for the MGM Grand.

Finally, they called me back after they had filmed and put together the full test shoot, including some CG of the T-One Million character. They needed some special screenings set up. I came in and organized them for the Universal executives, along with the Digital Domain team, James Cameron and his team, and the Landmark team.

Courtesy: Universal Studios

After a week of screenings, they went off and had meetings. At that time, Universal wanted to think about moving ahead with the project and didn’t want to spend any more money. So, I was told to tear down the mock up and put everything into storage. A couple of weeks later, I handed the keys to the hangar back to the property managers, and collected my last paycheck on that job.

A couple months later I was at Warner Bros. working on a 3D film project and was signed to a contract to write and produce that project. Two weeks after I signed that contract Universal called and wanted me to come back and be a producer on T2-3D for them but I had to turn them down due to the Warner Bros. deal.

They eventually had a large 3D screening facility created at Digital Domain, and I ended up renting it to screen 3D dailies for the Warner Bros. project. I ran into James Cameron a couple of times there; he was working on Titanic and in discussions with them about the models and special effects for that film.

When Universal finally got T2-3D done, I was invited out to the cast and crew screening of the finished film. They had built a mock-up in another airplane hangar, this time at the Van Nuys Airport. They had also downsized it slightly to 50-foot wide screens. Still, it was the same show we had done the tests for, and the same show that opened in California and Florida, and eventually in Japan.

Some of the great people I worked with on the project included: Peter Anderson, David Bartholomew, Adam Bezark, Cecil Kramer and Amy Jupiter.

February 19, 2019 0 comment

animation Disneyland Alumni Club Imagineer theme parks

Helping Ryman Arts

by Mark Eades December 19, 2018

For the past few years I’ve had the pleasure of serving as treasurer of the Disneyland Alumni Club, which is a 501 (c) (3) non-profit dedicated to helping current and former Disneyland Resort Cast Members stay in touch, and also give back to the community.

During my time we’ve instilled a strict financial discipline on the organization so that for the first time in a couple years, we’ve been able to give back. So, our first donation in a while was made to Ryman Arts. We’re going to continue this effort this year and beyond.

Diane Brigham of Ryman Arts, receives a $500 donation from the Disneyland Alumni Club. Pictured (l-r) are: Mark Keiser, president of the club, Brigham, Richard Ferrin, vice-president of the club and Mark Eades, secretary and treasurer of the club.

Here is more about that donation:

It was a beautiful Sunday at Walt’s Barn in Los Angeles, a perfect day and place for a special moment.

The moment was when Diane Brigham, executive director of Ryman Arts, stopped by to receive a donation of $500 to the Ryman Carroll foundation from representatives of the Disneyland Alumni Club.

Mark Keiser, president of the Disneyland Alumni Club, along with Richard Ferrin, its vice-president, presented her with the check.

“This check will help fund art supplies for a number of students accepted into our program,” Brigham said.

The donation came about thanks to the generosity of club members, and a disciplined approach to spending by the club.

“The legacy of Ryman Arts is part of the very foundation of Disneyland, Walt Disney and the man who helped Walt develop the first concepts for our Magic Kingdom,” Keiser said.

Keiser added that Ryman Arts commitment to providing solid training for young artists fits in with the Club’s mission to promote the spirit of Disneyland.

Vice-president Ferrin echoed those remarks saying, “The magical qualities that make Disneyland special are the magical qualities programs like those of Ryman Arts instills in budding artists.”

Ferrin, an artist and designer, also said Ryman Arts will be a part of the Club’s plans for its big Disneyland 65th anniversary reunion in 2020, and in 2019.

Ryman Arts was founded by friends and family of Disney artist and Legend Herbie Ryman after his passing in 1989. It was established to carry on his philosophy of teaching the foundational skills of drawing and painting to young artist to help them reach their full potential.

It primarily achieves this goal through a series of art classes taught by professional artists on weekends at Otis College of Art & Design and California State University, Fullerton. None of the students (mostly high school age) have to pay for the classes or the cost of their art supplies, thanks to the donations the foundation receives.

Founders included the late Marty Sklar, and Harrison “Buzz” Price – both Disney Legends, along with Sharon Disney Lund, Walt Disney’s adopted daughter.

The Disneyland Alumni Club was started by Disney Legend Van France who, along with Dick Nunis, wanted to create a group that would help current and former cast members stay in touch after leaving their positions at the Disneyland Resort. Additionally, it works to improve the community through its actions and donations to other organizations.

The Club’s motto is, “Always part of the Magic!”

Both organizations, along with Walt’s Barn through the Carolwood Foundation, are 501 (c) (3) non-profit organizations.

Walt’s Barn in Griffith Park.

The club plans to continue its efforts to give back in 2019, with several more $500 donations all ready approved by its board of directors.

December 19, 2018 0 comment

Imagineer online web

A rant about Copyright theft

by Mark Eades October 1, 2014

Okay, this post is in the form of a rant. I work as a writer, and have gotten over the years very knowledgable about copyright law.

Recently, a person posted a link on Facebook to a blog on their own blog about Disney. The link led to a post on their blog where they had copied and pasted an entire article from another website. They did credit the website.

Now when I pointed out on Facebook that they were in violation of the copyright law, they took offense and called me a troublemaker. Their post on Facebook, however, disappeared. However, the blog they have still has the article. Turns out they, like many other websites, have a lot of copies of photos and more in violation of the copyright law.

Now when I try to explain this, as I have many times, that this is wrong and cheating the writer or copyright owner out of their money and is akin to stealing this person didn’t care. And this is repeated all over the web.

Some say it is okay under the fair use doctrine. That is a myth. It is not legal, even if the website is a non-profit, and you definitely cannot copy an entire article.

Let’s put it another way. You work at what you do, you like to get paid. Well I work at what I do, I write. And I like to get paid for my work. If I do it under a contract for someone, then that is usually a “work-for-hire” and the person or company that hired me usually owns the copyright and can use it as they see fit, depending on the contract we worked out.

But it is still a copyrighted work, so are photos and videos.

When I use photos or videos from others, I always make sure I have permission to use any photo or video that is not my own. If I don’t, then online I only use links to the photos or videos, or if it has embedding code for the video embed it – the copyright holder still gets the commercial money. Same for written words, you can use a few words in the form of an attributed quote. Usually a sentence or two. But that’s it. Any more, you need permission – in writing.

What I do is how I earn a living, and so do others. So please people, don’t be ignorant about copyright law and please don’t steal my words or others on the internet or elsewhere, it’s wrong. It’s stealing.

Google’s Youtube actually has a great website (notice it’s a link) that explains a lot of copyright laws and issues, including the concept of fair use and many of the myths surrounding the fair use doctrine.

If I ever find anyone using any photo or words I have created, I go after them. If I see it through Facebook, then yes I start making comments on the post. And because I believe in others being treated the same way, I do the same even if it isn’t my website being violated.

So, yes, I am a cantankerous curmudgeon about the issue.

Those of you who are stealing, please quit doing that. If it’s mine, I will send you a cease and desist letter, then will contact a lawyer about filing a lawsuit for monetary damages. If I see you doing it to others, I will, when time permits, contact the copyright holder and let them know you are stealing their work.

Be the way, the photo with this article was taken by me, and I own the copyright. You may link to this article all you want. But please do not copy it in its entirety. Same for the photo.

Feel free to comment.

Editor’s note: Someone did comment, but their comment was libelous, so was not approved.

October 1, 2014 4 comments

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