2619 Hyperion

Lefou, I'm Afraid I've Been Thinking...

noreply@blogger.com (George Taylor) — Sun, 31 Oct 2010 15:04:00 +0000

Tale as Old as Time: The Art and Making of Beauty and the Beast by Charles Solomon. 2010

Charles Solomon is a well-respected author and animation historian. The Disney That Never Was and Disney Lost and Found are two of his more recent Disney-related titles. Each one takes the reader on an amazing trip into the Animation Research Library (also known as The Morgue) to ferret out animation that never made it into production. Charles was approached by Don Hahn about writing a thoughtful and accurate portrayal of what it was like to produce Beauty and the Beast.

Charles succeeded and produced a beautiful look at a film that changed both the animation and the animators that created it forever.

With a film as wildly successful as Beauty and the Beast, you would think that there wasn't much left to write about. Charles does a fantastic job of interviewing the animators and digging up storyboards, sketches and artwork that relate the story of creating the film. Living in a post-Beauty world, it is hard to imagine the effect this film had. Tale as Old as Time does a fantastic job of bringing that story to life.

Charles looks at the beginnings of this particular fairy tale and follows it all the way to Disney's production on Broadway. The most touching parts of the work deal with the artists and their struggle to capture a story that would resonate on film. You gain a unique insight as to how a group of animators and producers came together to actualize such a moving and resonating film. One of the most telling aspects is when Howard Ashman and Alan Mencken are brought in to revitalize the project. It really is true that Ashman and Mencken gave the film its soul.

This book is an amazing companion to the Blu-ray release of the film. The documentary Beyond Beauty, that is featured on the second disc, follows a similar path as the book. They complement each other and provide hours of cognizance for the Disney enthusiast and Beauty and the Beast fan. Where the documentary diverges is the ability to see early animated cartoons and to see the passion that the production crew had. The book offers magnificent reproductions of the artwork and Charles' amazing research and writing skills.

The artwork does steal the show yet not to the chagrin of the author. Beauty and the Beast is as compelling today as it was in 1991 and Tale as Old as Time reinforces the love that is held for the film. Production sketches, animated cels and background artwork fill every page. Some of the artwork provided is breathtaking.

Tale as Old as Time is perfect for the animation and Beast fan. And Belle fan. Heck, it's a great read for everyone who has seen the film.

Truth Conquers All Things

noreply@blogger.com (George Taylor) — Sun, 31 Oct 2010 14:59:00 +0000

Warp and Weft: Life Canvas of Herbert Ryman by John Stanley Donaldson. 2010. 978-0-9843789-0-6.

John Stanley Donaldson knew Herbert Ryman for over thirty years. Herb was his mentor and friend; a lifelong companion and artistic brother. When I received a review copy of Warp and Weft, it came with a personal note from John detailing that the work has been derided as inflammatory and sparking ill will among Disney's old guard. Following many other Disney-related biographies, I wasn't sure of John's intent, but I was hoping that his book would not follow the same path as The Dark Prince or the Neal Gabler conflagration. Both titles have been scorned and refuted by the Disney Company and the Disney Family. I am glad to say that I enjoyed the book and John's unique perspective.

I wish that there were more books like this that cover the Imagineers and artists of the Disney Company. Herbert Ryman was a true legend, not just a Disney Legend, but a remarkable legend that influenced and touched everyone he came into contact with. It is easy to stand here and tell you that there would be no Disneyland or Walt Disney Word, as we know it, without Herb. After reading this lyrical tome, you get a clearer understanding of that statement. Herb, or Herbie, was a truly influential person in the life and career of Walt Disney. There was a level of mutual respect, friendship and camaraderie between the two geniuses.

A commonition to the reader: John's writing style has been described as lyrical and it does fit the form of an artist's pursuit of painting with words on paper. The style is beautiful at the same time it can be ungainly for an inexperienced reader. John rhymes his text, which can throw off the structure of the sentence. For many readers, his style will be a turnoff, but I urge you to complete the book.

Still, what is important is that John has put down an amazing story on paper; one that shows the amazing life that Herb led. A world traveler, burgeoning artist and friend to everyone he met. Where John's tale turns decidedly darker is when you learn about Herb's sister, Lucille. She and her husband are painted as the heavies of the book. Actually, they are more than heavies, they are sinister with no other compunction except money and making sure that they get what they deserve. In the case of the book, it is every last possession of Herb Ryman. By the end of the book, you will see other Disney legends in an entirely different light.

The tale, as it unfolds, is mesmerizing simply by the cast of characters that parade through the weave of the book. Many famous celebrities are forced into a connection, some tumultuous, with the Disney Company through their associations with any of the Rymans. From Marylin Monroe to drug smugglers in Florida. My favorite parts of the stories were the anecdotes of Herbie's travels throughout the world. He truly had a worldwide perspective in his art.

The Author's website.

This is a book that you have to take a chance on; one that you will need to work through in order to gain its treasures. You will not regret turning the pages, but you will gain a vastly different perspective on Herb Ryman's life. And on his various colleagues at Disney.

On a personal note, I would like to thank John for the time he spent crafting this biography. He shares many anecdotes about Herb that would be lost otherwise. He also steps forward to advocate for Herb when no one else is able to.

You can purchase the book directly from the author here.

The Imagineers Do It Again!

noreply@blogger.com (George Taylor) — Fri, 28 May 2010 02:37:00 +0000

The Imagineers Do It Again!
by George Taylor

Walt Disney Imagineering: A Behind the Dreams Look at Making More Magic Real2010. 192 pp.

All you need to know is that you need to have this book!

If you want to learn more about it, though, keep on reading.

Walt Disney Imagineering: A Behind the Dreams Look at Making More Magic Real is not an update to the seminal 1996release; it is a continuation. It is a look at the Magic that the Imagineers have created since the publication of the first book. Any fan of the Disney Company, the Theme Parks, the Resorts, the Animation or creative environments will treasure this book. Filled with more artwork than you can imagine, most of the pages offer paintings, concept art and photographs that have never been published before. Once again, the Imagineers pull back the curtain to reveal the puttering, popping, whirring, spinning and dreaming that they do to create their magic. You also understand that there are many more curtains yet to be revealed, let alone parted!

The book is constructed of three main parts:

Part I Theory
Over the years, Imagineers have developed ideas about creating great attractions for Disney Parks and Resort Guests. Every project team takes into account some basic notions--the unwritten ground rules of groundbreaking creativity.

Part II Tools
Imagineers make use of a variety of resources to create the magic of Disney Resorts and attractions--tools to visualize, analyze, explain and build.

Part III Portfolio
Recent work, and a look at the mosaic of people, talents, ideas, and projects that is Imagineering.

This book is not as groundbreaking as the 1996 version--it offers a more polished and accepted look at the Imagineering process. Considering the time that it was released, in 1996, there was nothing that brought us inside the folds of Imagineering; nothing that allowed us to venture into the backrooms and creative side of Disney. The current book takes a different path to show how and why the Imagineers create the amazing attractions and resorts. Its focus is largely on the projects and concepts from the past 15 years of Imagineering. This book is not meant to replace the 1996 title, but to enhance it; to bring us further into folds of Imagineering. That being said, the coverage of attractions is very new and modern. There is not much focus on the first 40 years of Imagineering. The majority of the photos and artwork are from Tokyo DisneySea, Disney's California Adventure and Disney's Animal Kingdom.

The book is packaged with tissue paper between many of the pages. Instead of offering only large, fold-out pages (like the 1996 book), they have opted for the addition of smaller fold-outs that detail artwork from the same attraction or area. They are like postcard books. There are some amazing, large fold-outs, especially on the Disney Cruise ship. The addition of the extra art really makes the book feel like a family treasure or scrapbook.

Walt Disney Imagineering: A Behind the Dreams Look at Making More Magic Real, in concert with the 1996 version, should be on everyone's shelves. The artwork is astounding; there are pieces of art that you would love to have in your home. The main author, Melody Malmberg, has done a wonderful job with the text. It is informative, clear and does a fantastic job of describing everything that an Imagineer is and does. They have also included an index and a list of resources for further reading.

This is a book that you need to own!

I did receive a review copy of this book from Disney Press.

Lilly Belle...the train that started a Magic Kingdom

noreply@blogger.com (George Taylor) — Wed, 26 May 2010 02:38:00 +0000

Lilly Belle...the train that started a Magic Kingdom
by George Taylor

Walt Disney's Railroad Story: The Small-Scale Fascination That Led to a Full-Scale Kingdom by Michael Broggie. 1998. 431 pp.

Less than a month before Disneyland's opening day in 1955, Walt journeyed to the under-construction theme park for the first live steamup of locomotive No. 2. This was the culmination of a lifelong dream for Walt as...

...he climbed into the cab, moved the Johnson bar forward, tugged twice on the steam whistle, and pulled open the throttle. With Harley Hgen in the fireman's seat and this book's author (as a wide-eyed 12 year old) sitting on the tender, Walt eased No. 2 from the roundhouse into the bright Californian sun and onto the main line. -p. 231.

Imagine that moment in Walt's life; after years of making films and building the Company, he finally finds himself as the Chief Engineer of a real engine. His engine.

Walt Disney's life had been surrounded by trains. Family members worked on passing railroads. Both Roy and Walt were news butchers during their teens. Many of the animators at Disney were rail fans: Ward Kimball traveled with Walt to the 1948 Railroad Fair and had his own backyard, full-sized railroad; Ollie Johnston also had a backyard railroad. Many of the Studio employees shared Walt's love of full-scale and miniature railroading. For the first half of the 20th century, railroads were the future of the country. They symbolized progress and growth.

Roger Broggie is considered to be Walt's first Imagineer. A very talented machinist, Roger supervised the building of the Lilly Belle, Walt's 1/8 scale engine that ran at his Holmby Hills home. He also helped create the first Audio-Animatronic character. Roger's sons, Roger Jr. and Michael (the book's author), spent many years "working" at the studios with their father and helping Walt on the Disneyland Railroad. Citing Michael's close association with the Disney family, the Disney Company and Walt's railroads, he is uniquely qualified to write a biography about Walt Disney that focuses on how railroading affected his life and drove many of his passions.

Walt Disney's Railroad Story is a fantastic journey from Walt's boyhood through the theme parks. We encounter every significant moment of his life in reference to trains and we come to understand his passion for the steel.This is also a treat to read about Walt from a company insider whose family worked and works for Disney.

The book is presented in a chronological format with pictures on every page. Michael adds side tracks as needed that go into further detail; whether it is on a railroading term or a person. There is a lot of focus on the Carolwood-Pacific line that was built at the Holmby Hills property. Walt spent a lot of time creating the layout (with Roger Broggie and Eddie Sargent) and entertaining guests. A majority of Walt's ideas about Disneyland were formulated while conducting the Lilly Belle. Michael covers every train built for a Disney theme park up to the Animal kingdom. Michael includes a glossary of rail terms, a detailed specifications of all the Disney engines and a bibliography. My only negative comment is that there was not a layout of the Carolwood-Pacific line. The author responded to my complaint--there is indeed a layout on page 113. This goes to show that Michael Broggie has indeed created and amazing and fact-filled tome about Walt Disney and his Railroads.

This book has quickly become one of my favorites. Along with The Nickel Tour and Since The World Began, it is one of the treasures in my collection. If you have any interests in Walt's personal life, railroads or the Disney engines that chug the tracks all over the globe, then you need to own this book.

"...and we began to realize that the term Imagineer was something extraordinary"

noreply@blogger.com (George Taylor) — Sun, 25 Apr 2010 02:30:00 +0000

Walt Disney's First Lady of Imagineering: Harriet Burns by Pam Burns-Clair and Don Peri. 2010

Harriet Burns. Her name is synonymous with Imagineering and the creation of early Disneyland. Not only was she one of Walt's first Imagineers, but she was the first woman in Imagineering, hence her title, the First Lady of Imagineering. She worked on the development of Sleeping Beauty's Castle, Pirates of the Caribbean, the Haunted Mansion, the 1964-65 New York World's Fair and countless other rides, attractions and resorts. Harriet retired in 1986 after 31 years of creating magic for the Walt Disney Company.

Joanne Campbell wrote about a trip to Walt Disney World with Harriet Burns in the early 1990s:

The following morning Harriet had made reservations at a park restaurant she knew served the famous Mickey Mouse pancakes. She insisted on paying the bill because she said that her Disney card would entitle her to a discount. Of course we thanked her, but we didn't think too much of it. When she presented her card to the waiter, she said she hoped it was alright, because this card was actually from California. The waiter disappeared for some time, and suddenly the manager appeared. He was quite perplexed and said, "Mrs. Burns, was everything satisfactory? Michael [Eisner] usually alerts us when you're on the property!" With that, OUR eyes popped open in amazement, and we began to realize that the term Imagineer (and her #7 on the credit card) was something extraordinary.

Because Harriet was retired at this point, she herself had not seen MGM, which had just opened in Orlando. We hopped on a double-decker English bus with the throngs, and hadn't gone too far before Harriet said, "Look, boys, there is the old airplane that Bill and I rode to New York with Walt in for the World's Fair!" My husband and I exchanged looks, and sure enough, the tour guide then said, "and THIS is the plane that Walt took to the World's Fair."--p. 42, Walt Disney's First Lady of Imagineering

The book is replete with stories that will touch your heart. It is so much more than a tribute book to Harriet, it is also a look at how special and amazing it was to be one of Walt's Imagineers. This book is perfect for anyone interested in Imagineering, Walt or the amazing people that were fortunate enough to meet Harriet. She was an inspiring woman!

Pam Burns-Chair, Harriet's daughter, worked with author and Disney Historian Don Peri to create and compile this list of eulogies and tributes by family, friends and Disney employees. 67 essays, ranging in size from a few paragraphs to several pages help tell the story of how Harriet touched so many people's lives. The book is filled with over 200 photographs that span Harriet's life and her career at Disney.

After reading this marvelous title, I felt like I had the opportunity to meet Harriet through the eyes of her family and friends. She was well-loved, respected and admired. Some of the best anecdotes were supplied by former Imagineers that had developed a special relationship with Harriet. She was known for having an off-color sense of humor that seemed to be in opposition to her native Texan drawl. Many of the Imagineers wrote that Harriet was personable and never forgot anyone she met.

Chelsea Clair, the daughter of Pam and the granddaughter of Harriet, designed the book. She did a wonderful job of laying out the pages and integrating the photographs into the text. Pam, Don and Chelsea should be very proud of the book they put together in honor of Harriet. Their love and the love of Harriet's friends and family.

I would also be remiss if I didn't mention Scott Wolf, Disney Historian and owner of MouseClub House Scott helped with the project and created the website for the book at Imagineer Harriet.

You can also be come a Fan of Imagineer Harriet on Facebook.

This is a sentimental and beautiful look at Harriet Burns and her life in and outside of Disney. Look at Walt Disney's First Lady of Imagineering: Harriet Burns as more than a tribute; Pam and Don have compiled stories that give you an intimate look at what it was like to work for the Walt Disney Company with Walt and the heralded Imagineers.

The book provided was a review copy from the publisher.

"I'm doing this because I want to do it better"

noreply@blogger.com (George Taylor) — Sun, 25 Apr 2010 02:15:00 +0000

"I'm doing this because I want to do it better", Walt Disney on the Florida Project.
By George Taylor

Project Future: The Inside Story Behind the Creation of Disney World by Chad Denver Emerson. 2009, 185 pp.

Any serious student of Walt Disney World history bemoans the dearth of information available outside of the corporate archives. There are some fantastic resources in print and we have complied a bibliography of titles that focus on Walt Disney World history. Still, there are many gaps and many unanswered questions.

Chad Emerson is a Professor of Law at Faulkner University. He is also a lecturer, author and consultant in the area of amusement and hospitality law. His interest in piecing together the tale of Walt Disney World began when he stumbled across information about the Reedy Creek Improvement District and his wife thought that it would make a fascinating read.

Chad took her advice to heart and began researching the book.

Most of us are aware that Walt began to secretly purchase land in Central Florida for his Disneyland East idea, which blossomed into the City of Tomorrow. Before the publication of Project Future, very few of us were aware of the political machinations, maneuverings, time and money that went into the acquisition of the land that we call Walt Disney World. Project Future has been described by other reviewers as "spy-like" and full of intrigue--they are correct, but it is also full of anecdotes from former employees and government officials.

Chad's book fills a very important vacuum in the time-line from Disneyland's inception until the opening of the Vacation Kingdom. The style of the book is very straightforward and most lay people will be able to consume the work without consulting a legal dictionary. The language, tone and writing are one set of the book's strengths.

Included is a listing of key players, which is very helpful. Many times, I found myself flipping to that section to refresh what a certain player's role was. Chad has a detailed time line that focuses on the major events of the land acquisitions and lobbying efforts.

In all, this is a pleasurable read that paints a picture of how daunting a project like Walt Disney World actually was. You will never take the 43 square miles purchased in the mid-1960's for granted again! You will also come to realize that a project of this size and scope will never be duplicated.

You can learn more about the book by visiting http://www.projectfuturebook.com/

Book Review: Building a Better Mouse

noreply@blogger.com (George Taylor) — Sun, 04 Jan 2009 04:28:00 +0000

Building A Better Mouse: The Story Of The Electronic Imagineers Who Designed Epcot by Steve Alcorn and David Green. 2007. 140 pp.

About the Authors

Steve Alcorn and David Green wrote this book to celebrate the 25th Anniversary of Epcot in 2007. Steve worked for W.E.D. during the construction of The American Adventure (the subject of the book) and currently runs Alcorn McBride. He is still heavily involved in the theme park industry and teaches a class on theme park design at Imagineering Class. David spent many years working for the Walt Disney Company on the Fantasyland refurb, Epcot and Tokyo Disneyland. He is the principal creative at Monteverdi Creative with a long list of accomplishments.

The Book
Building A Better Mouse tells the story of two Imagineers and their work during the three years that Epcot was designed and built. Steve begins the story at the end, when the project is over and he has to deal with being let go from the company. From there, he takes us back to his beginnings with W.E.D. Engineering working in department 510, a group of electronic engineers. Steve delves into a fairly standard introduction to Walt's dream for Epcot and the development of the theme park before beginning the real adventure.

What you get is a deeply satisfying look into what it was like to work for Disney during the design, development and construction of the world's most expensive theme park (and the largest private construction project) at the time. Although it is written by an electrical engineer (Alcorn), the narrative is very enjoyable and fun to read. Green steps in to offer his thoughts and and "contributed all the sections that sound like they were written by an English major." (Alcorn--Acknowledgments)

About halfway through reading Building a Better Mouse, I realized that I would never look at any theme park attraction the same. Attractions at Disney parks are usually so polished that you often take everything for granted. Reading about Steve working more than 24 hours in a row in order to get a lift functioning is mind-boggling. Steve describes the size and scope of the infrastructure of the American Adventure and relates it on a level where you can comprehend the grandness and interoperability of each part. It is amazing to think of the systems that were developed that keep the attractions running all day, day after day.

Steve and David take us behind-the-scenes at W.E.D. in California where we share a glimpse of what it was like to work at Disney. When they write about their time in Lake Buena Vista where all W.E.D. employees were given a rental car, a trailer at Ft. Wilderness and the ultimatum of finishing Epcot by October 1. It is hard to imagine the demand that was pressed upon these young and idealistic engineers, but after seeing the results, it must have been well worth it.

Building A Better Mouse is a fascinating look at an amazing time in Disney history; especially one written by an insider who loves the magic as much as most enthusiasts. There is nothing else like it that looks into the development of a single attraction or the life that Imagnieers lived during the heyday of building a theme park. If you are a fan of Imagineering, theme park or Disney, then you will love this title. I wish that it had been a little more in-depth, but I am not sure what else the authors could have added.

UPDATED: Steve Alcorn sent me a link with some of the photos from that time period. They are stunning!

http://www.stevealcorn.com/atwork/Epcot/index.html

Book Review: The Art of Walt Disney World

noreply@blogger.com (George Taylor) — Sun, 04 Jan 2009 04:27:00 +0000

The Art of Walt Disney World Resort by Jeff Kurrti and Bruce Gordon. 2009. 139 pp. Theme Park Exclusive.

Jeff and Bruce have worked together on many projects about Disney. The Art of Walt Disney World Resort is one of the best; not only is it one of the best books they have collaborated on, but it is one of the best works on Walt Disney World.

Jeff Kurtti is a well-known and much-admired name in the Disney community. He has written many of the seminal works on the history of the theme parks, animated films, characters and theater. Since The World Began is one of his more treasured books and one of the few that looks at the early history of Walt Disney World. Jeff is also known for his work on several award-winning documentaries and as a consultant for film and theater. Currently, he is working with the Walt Disney Family Museum. The late Bruce Gordon was an Imagineer and consultant to the Walt Disney Family Museum. He co-authored many of my favorite books, including: The Nickel Tour, Walt's Time (with Jeff) and Disneyland Now, Then, and Forever.

This book is the sister companion to their previous work, The Art of Disneyland (2006) and carries a similar philosophy of presenting unheralded artwork. One of the unique features off this book is in its presentation--it is a true picture book in the sense that the images are all rotated 90 degrees for our viewing pleasure. In other words, you turn the book sideways and all of the images are presented the same direction.

I wish I could get reproductions of both of these Fun Maps of Walt Disney World.

The Art of Walt Disney World Resort is every Disney enthusiast's dream; a full-color look at the conceptual drawings, paintings and artwork that helped visualize the Vacation Kingdom. I can't stress how amazing and beautiful the artwork actually is. Spanning every decade of the Resort, you are introduced to different artists that laid the foundations for the parks, resorts and recreational areas. The visual styles are striking and as varied as the artists themselves.

The text that supports the art is informative and takes the book past being just a picture book. You will learn a thing or two! The accompanying descriptions serve not only to educate but also as mini art-appreciation lessons, as well. Jeff is one of the foremost experts on Disney history and his insight and commentary add tremendous value to the book. For those theme parkeologists this book is a rare treat. A large majority of the art is centered around the pre-opening years and the oft-maligned 1970s. Fortunately for us, Jeff and Bruce were able to collect many images that have not been seen outside of WDI and castmember circles.

Much of the artwork presents a scale and magnitude that was never put into place at Walt Disney World, for whatever reason. You can trace the transitions from Disneyland to the Magic Kingdom through much of the late-60's and mid-70's artwork. There is scale and openness that can only be achieved in the space that was the Florida property. Some of my favorite pieces recount the early days at Fort Wilderness when there was only the Magic Kingdom, Fort Wilderness and a growing Village. The days when a vacation was more than just squeezing four theme parks into a trip; when you could ride horseback, shop, eat and spend time vacationing. The images hearken to a simpler time at Walt Disney World Resort.

Enough proselytizing. This is a superb work that everyone interested in Walt Disney World should own. It carries a hefty price tag and it is a theme park exclusive, so it could be difficult to find on the second hand market.

Kudos to Jeff and Bruce for putting together such a massive work centered on the art of Walt Disney World Resort. I can only hope that we will see a second volume soon.

Book Review: Walt In Wonderland

noreply@blogger.com (George Taylor) — Sun, 04 Jan 2009 04:25:00 +0000

Walt in Wonderland: The Silent Films of Walt Disney by Russel Merritt and J.B. Kaufman. 1994, 176 pages (paperback released in 2000).

Lafflets.

Tommy Tucker's Tooth.

Martha.

Alice.

Oswald.

Before Mickey Mouse, these were the characters and films that represented the Disney name. You might be familiar with some of them and a few of them are only known through production notes, stills and roughed-out sketches. Merritt and Kaufman's book is a historical, critical and very satisfying look at the silent films of Walt Disney. It might sound fairly flat to read an entire book on silent films, but it is engaging and very well-written. Not only will you gain insight into the creativity and themes that developed in the first films, but you will come away with a better understanding of the Company and early animation.

Russell Merritt, PhD., is currently an Adjunct Professor of Film Studies at UC Berkley. In addition to his writings on the silent films and Silly Symphonies of the Disney Company, he is considered an authority on D.W. Griffith. J. B. Kaufman is an independent film historian who has published extensively on Disney animation.

This title examines all of the known silent films produced by Walt Disney. Starting with the earliest work in Kansas City (1921) to the beginnings of Mickey Mouse (1928). This is the quintessential look at Walt's silent films and should be in every researcher's library. The authors have created a singular treatise on the evolution of Disney animated films from silence to sound.

In addition to covering the films, Walt In Wonderland is a fairly in-depth look at the beginnings of Walt Disney Productions. From the Kansas City Film Ad to Laugh-O-Gram Films to the first Disney Brothers' Studio on Kingswell Avenue. There are stills from most of the films and a plethora of historical photos of Disney during his first years in the animation field. Scattered throughout the book are production sketches, scripts and early storyboards.

There are four main sections covered in the book: the importance of The Cat and Rabbit Years, the Kansas City Period, Alice Comedies and Oswald the Lucky Rabbit. Each section looks in frank detail at the animation and state of the studio at the time. Often underlined is the importance of certain works in the overall scheme of the Disney creative canon.

Included is a complete list of all of the silent films made by Walt Disney from 1921 to 1928. Many times, the only information available was from eyewitness testimonies, sketches, summary sheets and the collection of private individuals.

It is hard to look at Disney's work in silent animation apart from the blinding afterimage of Mickey Mouse, the Silly Symphonies, and Disney's subsequent productions. Inevitably, the associations with Disney, the reinventor of fairy tales and amusement parks, the ubiquitous purveyor of American sweetness and light, affect what we look for when we watch the earliest films. Where did it all come from? Where are the clues that reveal Mickey and Snow White lurking in the wings? Were those bourgeois values always there, lurking below the surface like some Faustian devil, or did they only come later with prosperity and creeping middle age?
--p. 14.

Merritt and Kaufman do a fantastic job of answering the questions they pose. You will leave this book with a much greater and deeper appreciation for the strides made by Disney and his collaborators.

Book Review: The Art of UP

noreply@blogger.com (George Taylor) — Fri, 02 Jan 2009 17:46:00 +0000

The Art of Up by Tim Hauser. 2009, 160 pages.

Chronicle books is well-known for beautiful and lavish books concerning the art behind many of today's modern animated films.

The Art of Up is no exception.

Author Tim Hauser is a graduate of the CalArts Character Animation Program and has been a writer, creative executive and producer. He also wrote The Art of Wall-E. The Pixar blog has a great interview with Tim about the experience of writing the book.

When I saw Up in 3D, I left the theater a little perplexed. I knew it was a great film, but, personally, I felt like the high points were the talking dogs; it was beautiful, engrossing and the comedy was top-notch. To me, though, I was missing a connection. After ruminating on the movie for a few days, I took The Art of Up from the shelves to review it. As I read the book, I saw the intent of the filmmakers to tell the story of a man's journey--not just through him, but through everyone and everything in his life.

As expected, the book is a visual delight. Each page is filled with glorious images from the pre-production of the film. Storyboards, concept art, sketches and digital paintings help to define the look and feel of the story. Hauser was able to capture the filmmakers' journey in bringing the project to fruition. One of the surprises for me lay in the area of character development. The artists coined the term simplexity to describe the process of designing the characters:

"...the art of simplifying an image down to its essence. But the complexity you layer on top of it--in texture, design, or detail--is masked by how simple the form is. 'Simplexity' is about selective detail." (Ricky Nierva, p. 18)

Most of the major characters follow a fairly simple shape format (Carl is a square, Ellie is a circle) which helps convey the internal makeup of the character. The insights proffered lead the reader into a deeper understanding of the growth of the film, from a concept vehicle into a major motion picture.

In terms of the design of the world, the filmmakers took great care in developing Carl's house. Not only did it symbolize everything tying Carl to his life (and Eleanor) but it was a character in the film, as well. The house was created in miniature, modeled in computer space and decorated according to Carl and Eleanor. The filmmakers realized that they needed to create the interiors with simplexity in mind. Especially with so many shots of the inside during flight and fight sequences.

As beautiful as the artwork is, the text written by Tim shares equal weight. He was able to interview almost everyone associated with the production process about the important challenges that were needed to be overcome. Tim brings us along during the trip to South America to see the vistas that inspired the production. Another world opens before our eyes and we read the thoughts and feelings of the artists as they travel through Carl's world. Peppered liberally throughout the text are quotes pertaining to the subject--some are from the filmmakers and some are from famous names in history.

Any Pixar or modern animation fan will love this title. If you are a fan of Up, then you need to add this book to your collection--it is an essential and seminal work. I applaud Tim and Chronicle books for creating such a lavish work. Up fans will treasure this book for many years to come. The hardcover (under the jacket) has "My Adventure Journal" pressed into it, just like the movie. My youngest son has now claimed the book and loves looking at the pictures. Together.

Book Review: Since the World Began

noreply@blogger.com (George Taylor) — Fri, 02 Jan 2009 16:26:00 +0000

Since the World Began, Walt Disney World: the First 25 Years by Jeff Kurtti. 192 pages, 1996.

I get a lot of questions about books that discuss the early history of Walt Disney World. There aren't many titles that explore the vacation kingdom in great detail--partially due to the size and scope of Walt Disney World. I put together a bibliography of titles that focus on Walt Disney World; any of the titles would be a great addition to your collection. One of the titles on the bibliography stands out for numerous reasons.

Since the World Began was published in 1996 to coincide with the celebration of the 25th anniversary of Walt Disney World. Until then, there had been only a handful of official Walt Disney World publications and souvenir guides; nothing that matched the scope of Since the World Began. Nothing else has even come close.

Jeff Kurtti is one of the more prolific authors to write on the subject of Disney. Currently, he is the Creative Consultant for the Walt Disney Family Museum. He has worked for Walt Disney Imagineering, the Walt Disney Company and various production companies. He is an award-winning producer and consultant. The litany of titles that Jeff has authored and created is impressive and covers so many aspects of the Disney organization: the Art of Disneyland; the Art of Walt Disney World; Walt Disney's Imagineering Legends; Disney Dossiers; the Great Movie Musical Trivia Book; How Does the Show Go on? An Introduction to the Theater; and many "The Art of " works on animated films.

In my list of all-time favorite Disney-related books, Jeff holds three of the top spots. Since the World Began, along with The Nickel Tour and The Art of Walt Disney World, is one of my favorite books.

In Jeff's own words, from the introduction:

That's where this book begins. How did a central Florida swamp become the Number One family destination in the world? Whose idea was it? Who built it? Why did they build it there? What were the events and who were the people that inspired its ideas, design, topography, attractions, landscaping, resorts--its very existence? What has this come to mean? What is it going to become? pp. 10-11

Jeff answers these questions and more in Since the World Began. He presents the work in a semi-chronological order--he divides the history based on the major developments of the vacation kingdom (i.e. Magic Kingdom, EPCOT Center, the Rest of the "World" and Future Developments). He begins with a look at Walt Disney and his dream for the Florida Project, including the importance of the 1964-65 New York World's Fair. The introduction of Disney's involvement with the World's Fair is highlighted in a side notes formula (of sorts). Presented on a light-blue background, Jeff relates relevant information throughout the book. Ranging from the very geeky (like the Reedy Creek Improvement District) to the more mundane (the hotels and recreation)--most facets of Walt Disney World are covered. After the segment on Walt's passing, Jeff looks at the major players and how the resort came to fruition.

In each section of the book, Jeff takes a detailed look at the construction and growth of the theme parks. Scattered throughout are concept drawings, paintings and photographs of attractions never built and some that are gone and remembered wistfully. The text is replete with historical detail and anecdotes that will charm any Disney enthusiast. It is obvious that Jeff is passionate about the vacation kingdom and it shines through his writing.

In addition to full-color photographs and historical details, Since the World Began offers the reader a singular look at the development of three major theme parks, more than a dozen hotels, ancillary services and a plethora of behind-the-scenes secrets. You won't find another work that offers as much detail in one place. Jeff should be lauded for the ability to distill 25 years into a moving and enveloping work.

Jeff is able to share inside stories from Imagineers and the people that worked on the various projects. We see the spark of inspiration for each park and how they grew from simple drawings to fully-realized locations. Since the book was published almost 15 years ago, much of the information has become common-place for the Disney enthusiast. This doesn't erode the book's value, it reinforces the importance of the book for the fan and the researcher.

Every Walt Disney World fan needs to own a copy of this book. It is a researcher's dream and I hope that Disney Publishing is planning a new edition of this work for the 40th anniversary in 2011.

Drawn To Life by Don Hahn

noreply@blogger.com (George Taylor) — Fri, 02 Jan 2009 13:33:00 +0000

Drawn to Life: 20 Golden Years of Disney Master Classes, Volume 1: The Walt Stanchfield Lectures edited by Don Hahn, 448p, 2009.

When I received my review copies in the mail (it is a two-volume set), I was very excited to get a closer look at them. I reviewed Don Hahn's previous work, The Alchemy of Animation, and thoroughly enjoyed it. With Don's history of award-winning animation, it is very obvious that he has a passion for animation and for mentoring new animators.

Walt Stanchfield (1919-2000) spent the bulk of his professional career at the Walt Disney Studios. Before working at Disney, he spent time at the Charles Mintz Studio and the Walter Lantz Studio. At Disney, he had a hand in every animated feature from The Adventures of Ichabod and Mr. Toad to The Great Mouse Detective. In the 1970s, Stanchfield and Eric Larson started a training program for new animators, such as: Bird, Bluth, Clements, Dejas, Keane, Lasseter, Musker and many more of Disney's best modern animators. Stanchfield began compiling his notes from the weekly classes in the 1980s, these handwritten notes were passed among the animators that created the Disney films of the second Golden Age (The Little Mermaid - The Lion King). Don and his talented team (including Dee Stanchfield) transcribed over a thousand pages of notes. Included is illustrative artwork from Stanchfield and renowned Disney artists from the past 80 years.

I am not an animator. If left to my own devices, I can muster a passing face or a simple drawing of a still life--a very still life. My review of this book is based on my love of animated films and the Walt Disney Company. At a cursory glance, this work is a must for any serious animation student. Once you delve deeper into the individual sections, you realize that you are learning about the process of animation and the details of bringing lines and drawings to life. You are also discovering an artist as he shares a lifetime of experiences with students and artistic disciples.

The images of the pages I have posted are how the book is represented. Sketches and drawings permeate the text and bring the words to life. You can see the techniques jump from the page and a true sense is related on how animation works--and why Disney animation has always worked so well. The section headings are representative of the animation process: Basics, Gesture, Seeing, Analysis, Creativity and Thinking. Not only will you gain invaluable artistic skill from following Stanchfield's lessons, but you will learn the intricacies of emotion and life in the animated form. Spending any time with this book will give you a deeper appreciation of animation as an art form.

In the foreword, Don sums up the work perfectly:

Drawn To Life is one of the strongest primers on animation ever written. The material spares no detail on the craft of animation, but also digs deep into the artistic roots of the medium.

I reiterate--this book is a must for animators of any caliber.

This book reminds me of the Tao of Jeet Kune Do by Bruce Lee. It is an incredible work for martial art students to study and learn new techniques to deepen their skills. It is also a valuable work for fans of Bruce Lee and readers interested in broadening their understanding of the human body and what can be attained.

Drawn To Life is a master work on animation. Imagine sitting at the feet of a master as he pours forth on animation, life and philosophy. That Hahn has presented Stanchfield's work to us--and that we can hold it in our hands--is amazing. This is a two-volume set that should be on every animator's shelf, dog-eared, thumbed-through and within reach for serious study and joyful glimpses of life.

Disneyland, The Nickel Tour

noreply@blogger.com (George Taylor) — Fri, 02 Jan 2009 00:11:00 +0000

Disneyland the Nickel Tour: A Postcard Journey Through a Half Century of the Happiest Place on Earth Bruce Gordon, David Mumford, Roger Le Roque and Nick Farago. 392 pages, 2000.

Let me start this review with the following statement: This is the most prized book in my collection.

I'll try not to be too biased. It is also the most expensive and one of the hardest to come by. In the Afterwords section of Walt's Time, Bruce explains how The Nickel Tour came to be:

We talked to every publisher we could find, and heard the same story, word for word.
No Commercial Potential. No audience. No Market. No Deal.

They put the book together themselves: Scanned all of the cards, did the layout of every page and had it printed in Italy. They lugged the books to every convention and sold them through mail-order.

And guess what: we sold every book we printed.

--p. 241, Bruce Gordon, Walt's Time - From Before to Beyond

Disneyland, the Nickel Tour is a look at the first 45 years of Disneyland's history seen through the postcards of the park. In addition to Randy Bright's wonderful Disneyland the Inside Story, The Nickel Tour stands as one of the two most comprehensive books about Disneyland's history. Where it edges out Mr. Bright' work is that The Nickel Tour does cover the past 20 years. Unfortunately, Mr. Bright passed away in 1990 and a second edition is not forthcoming. Bruce Gordon, the primary writer of The Nickel Tour, was an Imagineer and started with the Company in 1980. Mr. Gordon co-authored many books about Disney and there are several that will be published posthumously later this year. Mr. Gordon passed away in November 2007. As it stands, the second edition of The Nickel Tour will probably be the last.

The Nickel Tour is an amazing work on so many different levels: the postcard images, the photographs of attractions that weren't released in postcard form, the historical information and the writing. They begin by sharing pre-opening cards and work their way through the history of Disneyland. One of Gordon and Mumford's strengths is that they write well and can take something as simple as post cards and turn it into an epic look at a theme park. The writing never gets technical and is always filled with reverence, love and a little remorse. Occasionally, they slip in some humor. It is always fitting and they obvious love word-play. The following paragraph could have been presented as just a litany of facts, but they went a different way with it.

On the left hand side of Main Street, we encounter the Sunkist Citrus House. Long before this view was taken, the Citrus House had actually been two separate stores, one housing "Sunny View Jams and Jellies" and the other housing the "Puffin Bake Shop." By October of 1958, Disneyland had canned the jam and jelly shop and opened a candy store in its place. It was a sweet deal until June of 1960, when the Puffin Bake Shop went stale. (It seems they just weren't making enough dough to stay in business.) And even worse, it wasn't long before everyone was beginning to sour on the candy shop next door. So the two shops were joined together, and in a dedication ceremony held with Walt on July 31, they finally became the home of the Sunkist Citrus Shop. Things were calm until 1990, when the time was ripe to spin around in a circle once more – only to find the Sunkist moving out and the Bakery moving back in! Well, that story certainly had a peel. Orange you glad we wasted all this time? Meanwhile, here's the scoop on the Carnation Ice Cream parlor: in 1997 they split from their original parlor and (having lost their Carnation along the way) floated into the home of the bakery. Then, with perfect Disneyland logic, the bakery moved into – the ice cream parlor! If that doesn't get a rise out of you, nothing will!
p. 121

The sense of history that you get from The Nickel Tour, through the postcards and photographs, has not been presented in any other form. Besides being a reference work for postcards, it is almost a wish book--one you can flip open to any page and see a favorite or long-gone attraction and dream about visiting or re-experiencing. The images are stellar and your appreciation of postcards as art and history will grow.

Bottom Line: This work was obviously a labor of love for Gordon and Mumford. It is hard to stress how important this work is in the Disney Literature. Beside being one of two major historical works about Disneyland, you get a feel for how Disneyland evolved, how Walt plussed the park and how the Disney Company moved forward after Walt. It is the most cherished book in my entire collection. If you are lucky enough to find a copy, get it. I know that many people will dismiss this book because it is about Disneyland, but without Disneyland, there would be no Walt Disney World. The history of Disneyland offers a lot of insight into the growth of Walt Disney World as well.

This book is simply amazing!

Walt Disney's Missouri

noreply@blogger.com (George Taylor) — Fri, 02 Jan 2009 00:10:00 +0000

Walt Disney's Missouri: The Roots of a Creative Genius by Brian Burnes, Robert W. Butler and Dan Viets. 194 pages. 2002.

Walt Disney's Missouri chronicles the time that Walt spent in Marceline (1905-1910) and in Kansas City (1911-1923). The authors all have a local tie to Missouri: Burnes and Butler both worked for the Kansas City Star and have published other books; Viets is a lawyer, author and Disney historian.

In reading on Disney's life, I have found that the majority of work on Disney focuses on the periods starting after Steamboat Willie. A lot of sources mention the Kansas City Film Ad Company and Laugh-O-Grams, but they rarely get into the details of Disney's time in Missouri. Anyone with a passing interest in the formative years of Disney needs to own this book.

Throughout the book, we are introduced to people and places that were influential in Walt's life. During the Marceline years, we meet Walt's family members, a favorite teacher and Marceline landmarks. The authors share family anecdotes related to the years in Marceline to paint a portrait of an artist as a child developing a love for mid-western life, animals and family.

The sections on Walt's time in Kansas City are very detailed and offer many insights. Again, the authors introduce us to people and places that would be influential in developing his talents and views. Various business owners are profiled and how they helped Walt gain insight or shared new techniques. Landmarks are included and one that surprised me was Electric Park; the authors surmise that Electric Park was an influence on Walt's thoughts for Disneyland--looking at the photos, you can see the correlations.

A Year at Laugh-O-gram and Animation and Animator's in Disney's Times chapters were both very enjoyable sections that take an in-depth look at the fledgling studio and its productions. The artists are profiled and the roster reads like a litany of animation greatness: Ub Iwerks, Carl Stalling, Isadore Freling, Hugh Harman, Rudolph Ising and Joseph Benson "Bugs" Hardaway. A picture is presented of a young, talented and monetarily strapped group of artists that were creating art, developing new techniques and having a great time.

The final sections look at Disney's plans for revitalizing St. Louis with a themed riverfront area and the many times Walt and Roy returned to Kansas City and Marceline for functions, awards and dedications. The proposed floor plans for the St. Louis project are very exciting and wistful. Had the project succeeded, Walt Disney World would probably not exist as we know it. But would this have sent Walt Disney Productions into the urban re-development and re-vitalization industry?

My sole complaint about the book lies in the author's attempt to make it accessible to the lay reader through fabrication of events from a typical day in order to shed light on what Walt's life might have been like. The author's predicate those segments with the statement that they are making an assumption based on a multitude of facts. In creating a book that can be used as a reference work, I would like to see the author's present facts and not an actualized account of Walt's life. That being said, the book is very accessible while weaving an academic study of Walt's early years.

When I stack this title against other works, I really appreciate the unique approach that the authors took. The detail that is shared about the daily life in Marceline and Kansas City is impressive and you are left with a very vivid picture of the birth of an entertainment company. This is a valuable resource for Disney enthusiasts and researchers, especially those interested in Walt's formative years. The photographs and maps that are gathered and presented are astounding. Many are from the private collections of the authors and won't be found anywhere else. Overall, the design is well-thought and attractive. This is a book that you will be reaching for often and will enjoy re-visiting.

Disney Mountains

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 23:03:00 +0000

The Disney Mountains: Imagineering at Its Peak by Jason Surrell.

What a great read. No, strike that. What an amazing read!

Concept art, stories, ride photographs and some great insider (re: Imagineer) information. You will read how the Imagineers started the Mountain concept and how the art of storytelling through the actual rides became what it is today.

We start the journey with Walt's need to fill an empty spot at Disneyland that was created by removing dirt from the moat around the castle. Originally named Holiday Hill and then Lookout Mountain, not only was it an eyesore, but the Park Operations staff continually had to keep a look out for some of the park's more brazen guests. Unofficially, the area became known as lover's lane. After a trip to Switzerland to oversee the filming of Third Man on the Mountain, Walt fell in love with the Matterhorn. Thus began Walt's quest to build a mountain at Disneyland

The book focuses on every Disney Mountain ever created, but most of the book is spent on the big five: Matterhorn, Space, Big Thunder, Splash and Everest. Sandwiched between Matterhorn and Expedition Everest are sixteen other mountains (counting each one at all of the parks); including Candy Mountain--the Mountain that never was.

The concept art is simply amazing. Works by John Hench, Herb Ryman, Mary Blair, Tony Baxter, Clem Hall and Dan Goozee are scattered throughout the book. The original concept art for Space Mountain called for parts of the track to circle outside the lower part of the building and near the spires. Mainly to entice people to ride it. The Imagineers feared that people would shy away from the ride if they didn't know what to expect. The ride tracks at the top would have simply been a smaller version of the ride tracks and vehicles with small dummies in them. Weather, costs and engineering kept the original idea from fruition.

In addition to discussing Candy Mountain, a good section of the book is devoted to Imagineer Marc Davis' swan song concept for the Western River Expedition. Marc, much like Walt, never wanted to repeat himself. He agreed that Walt Disney World should not have a Pirates attraction and he began to devote a lot of his time to the creation of the Western River Expedition.

...An audio-animatronics extravaganza that would outdazzle Pirates in every respect. The water ride was to be the centerpiece of Thunder Mesa, an expansive show complex that would also be home to hiking trails and pack-mule rides along its slopes and ridges, and a runway mine train ride down its hills and through its valleys.
Western River Expedition would be a wild and woolly musical adventure starring cowboys and Indians, masked banditos, and high-kicking cancan dancers, culminating with a raging forest fire and a final, dizzying plunge down a waterfall to the shores of the Rivers of America.
p. 61.The Disney Mountains: Imagineering At Its Peak

Of course, you will need to read the book to see what eventually happened with Thunder Mesa.

I would be remiss if I didn't talk about the Splash Mountain section. Being the Disney Geeks very favorite ride at Walt Disney World, I was happy to see fifteen pages dedicated to the most awesome and incredible ride ever. Even though the concept is from 1983 (yay, Tony Baxter), the ride has its roots much earlier. Marc Davis created the 103 animatronics in Splash for the America Sings attraction in 1976. X Atencio also had a hand in designing one of the characters.

Beautiful paintings, at times, cover the entire fold. There are pictures of the Imagineers working on scale models, standing in front of humongous concept art and working on the Mountains. Jason Surrell relates wonderful stories from Imagineers spanning almost 50 years of designing and building the Disney Mountains.

You need this book!

Walt Disney and the Quest For Community

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:56:00 +0000

Walt Disney and the Quest for Community by Steve Mannheim (2003, 199 pages).

Steve Mannheim has written a wonderful academic treatise on Walt Disney and Walt's dream for Epcot. The focus of the book is the Epcot City, the development of the ideas and their ultimate fruition. Although the title is treated as an academic work, it can almost be considered a page-turner. Steve has done an impressive job of distilling New Urbanism concepts into a readable and understandable read (for us laymen).

The genesis for the book was when a friend of Mr. Mannheim had described Walt's plan for another project after Disneyland about a city of tomorrow--where Epcot Center is today. This was the mid-1980's and there was not a lot of published information at the time. So, Mr. Mannheim began his research. Steven Mannheim holds a doctorate in planning and development. His current professional practices include real estate economics and development.

As I stated in my review of Realityland, there is not a lot published on the history of Walt Disney World. This titles adds greatly to the literature and provides a solid focus on Epcot the City, its history, development and changes.

The work starts with a look at Walt and the germination of the idea. There is a lot of focus on where Walt was, mentally and sociologically, as he began planning the Florida Project (also known as Project X). Mr. Mannheim deftly takes us through the history and theories that Walt was discovering about New Cities, Garden Cities and urban development. With the success of Disneyland, Walt felt vindicated that he could cure the ails of modern society.

The biggest issue? Control.

With Disneyland, Walt was able to push through the City Council to meet a lot of the building demands of Disneyland. With the Florida Project, he knew he needed more control. The book outlines what Walt, Roy and the leaders of the Disney Company were able to secure and create after Walt's passing. Mr. Mannheim spent a lot of time interviewing key members of the Company, the State of Florida, local government and Disney cast members. He provides a detailed look at how Disney (the company) figured out what to do after building Phase I of Walt Disney World.

In looking at any historically-based research title, you have to consider the sources cited. Mr. Mannheim devotes 140 pages to the text and the remaining 59 to research notes and the bibliography. To a librarian and Disney Geek, this connotes a vast level of research on Mr. Mannheim's part. My only issue with the sources cited, is that a lot of the citations are from interviews conducted by the author. As of this review, the interviews have not been published. Talk about a dream publication! Mr. Mannheim, if you are out there, I would love to read the interviews that you have conducted.

Bottom Line: I really enjoyed this title. The book is presented as an academic work but it is still an enthralling read and you can't put it down. Mr. Mannheim easily presents mundane concepts about planning and design and correlates them into the foundations of Disneyland and what we can surmise about Epcot the City. I would love to read the transcripts for all of the interviews that were conducted--there must be a vast goldmine of Walt Disney World-related history on those interviews. After reading this title, you will gain a vast appreciation for Walt's original ideas and the presentation of Walt Disney World as we know it. This title is geared more towards the serious Walt fanatic and the Epcot junkie. But if you like city planning, the origins of Epcot or theories about what could have happened--you will enjoy this book.

The Magic of Disneyland and Walt Disney World

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:52:00 +0000

The Magic of Disneyland and Walt Disney World by Valerie Childs. 1979, 96 pages.

Valerie Childs wrote this picture-laden look at Disneyland and Walt Disney World in 1979. Although it was not an official publication, it was endorsed by Walt Disney Productions and WED Enterprises. She wrote another edition in 1982 (but dropped the Walt from Walt Disney World).

The real strength of this book is the photographs that appear on every page (except the introduction). The book is presented much like the souvenir guides to the theme parks; lots and lots of pictures. The first seven pages present a very generic version of the company history outlining the major events that led to the creation of Disneyland and Walt Disney World. The rest of the book is comprised of photographs that alternate between Disneyland and Walt Disney World. If nothing else, it will test your historical knowledge of the parks.

I liken the photographs to a time capsule from the late 1970s; not to mention the fashions, but the fact that many of the attractions and features have changed over the past 30 years. A few of the photographs would seem to be stock photos, but many are taken from such unique vantage points, that you might wonder where the photographer was standing. The photographs are dated and the work does have the look of a book from the 1970s. Many of the pictures are clear, but some have that grainy, yellow look to them. I think the images speak for themselves.

Tom Sawyer Island (Disneyland)

The Olde Worlde Antique Shop (Magic Kingdom)

The Walt Disney World Railroad

A majority of the pictures feature guests and characters, almost like your own vacation scrapbook. You do get some interesting glimpses of carpets, finishes and areas with much less vegetation than today. It also seems that Disney was not as scrupulous in the images that were allowed to be presented. This book is a great resource for us park detectives that spend time analyzing each photo for various details.

Tomorrowland (Disneyland)

The Admiral Joe Fowler (Magic Kingdom)

Bottom Line: There is nothing revolutionary about this title but it is a fun trip down memory lane. If you were never able to visit Disneyland or Walt Disney World in the 1970s, then you will love the visions of the parks from that time period. I would recommend this book if you can find a copy for a relatively cheap price or in the bargain bin. It is a must-have for the enthusiasts interested in what the parks looked like in the 1970s.

Disneyland Hotel: The Early Years

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:48:00 +0000

Disneyland Hotel: The Early Years 1954-1988 by Donald W. Ballard. 2005, 136 pages.

Donald Ballard is a historian and author that fell in love with the Disneyland Hotel in the 1970's. Donald started collecting material about the hotel in 1998 and amassed newspaper clippings, magazine articles, older photographs and brochures. His intent was to write a travel article. Fortunately for us, we have this great reference guide to the Disneyland Hotel.

This book follows the stories of the Disneyland Hotel and the original owners and proprietors, Jack and Bonita Wrather. As explained in the work, Walt Disney spent time trying to persuade hotel companies to build and run the Disneyland Hotel. Finally, Jack Wrather stepped up and supported Walt's Dream. In one of the few times in Disney history, Jack Wrather was given a 99-year lease on the Disneyland name in association with hotels. He had the ability to create other Disney-named hotels throughout California. He never chose to take advantage of the opportunity.

The book is filled with pictures, memorabilia and historical information. It is astounding how much Mr. Ballard has been able to collect and compile. The book is presented chronologically and follows the major events of Disneyland, as well. The strength of this book lies in its documentation: every stage of construction is followed; every restaurant is noted; room and menu prices are listed; and brochures throughout the years are re-printed. There are an amazing amount of aerial shots and they help provide a sense of the growth of the hotel.

As I was reading the book, my first thought was that it was a work dedicated to Jack Wrather. After finishing it, I realized that Mr. Wrather was passionate about the Disneyland Hotel. He shepherded the hotel for almost 30 years. His wife, Bonita, ran the Wrather Corporation until her death in 1988. The Bonita Tower and the Granville's Steakhouse was named in her honor. Granville's is now the Steakhouse 55 and the Bonita Tower is the Wonder Tower.

The changes that have taken place at the Hotel since 1955 are astounding. There is not another work that takes such a detailed and painstaking look at the Disneyland Hotel. The book is filled with a lot of concept art and sketches, photos of buildings, rooms and pools that no longer exist and some very retro fashion shots of guests! You do get the idea that the Disneyland Hotel was always a ore expensive place to stay, but it still had that Disney service and magic. Some of the ideas brought forth in the 1970's were pretty revolutionary for hotel entertainment: light shows and dancing fountains set to music; shopping esplanades; and revolving dining options. The Disneyland Hotel did its best to entertain and keep guests on property.

I addition to the book, Mr. Ballard also owns The Magical Hotel website and The Original Disneyland Hotel blog. He posts an amazing amount of vintage and rare Disneyland Hotel pictures on the blog.

Bottom Line: If you had the opportunity to stay at the Disneyland Hotel during its first 35 years, this book is made for you. It is also a one-of-a kind resource for Disneyland historians--you won't find a better historical source anywhere else. In my opinion, though, it is too narrowly dedicated to offer the casual Disney fan a reason to purchase. If you are a completist, though, I would buy the book now. Mr. Ballard has confirmed that there are not many copies left.

You can purchase the book directly from Mr. Ballard.

Disneyland Hotel: The Early Years 1954-1988

The Disney War

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:41:00 +0000

Disney War by James B. Stewart. 580 pp, 2005 (Afterword 2006).

Andy published this review on August 7, 2007. I recently finished the book and realized that I could not say it any better than Andy did over a year ago. My contribution is the Bottom Line.

There has been so much talk lately about the rekindled flame between Disney and Pixar with some even referring to Lasseter as 'Uncle Lasseter'. I am a true Lasseter believer but have so much caution for coronating him after reading Disney War, by James B Stewart. The references to Eisner being the second coming of Walt early in his tenure at Disney are prevalent in the media at the time. Certainly the buzz on the internet recently has often fallen in the vein ofJohn the Saviour. This book serves as the grandest of cautionary tales, carefully laying out the history of failure at its most visible levels.

Those who know me well know I have been obsessed with this book recently. At over 590 pages, it felt like a relationship. Admittedly, one of my longer relationships.

In the past few months I have read five or six books about Disney, ranging from biographies to field guides, and none of them has captivated me like this book. James Stewart displays an amazing ability to make the non-fiction seems like fiction. Chapters flushed with facts and details are steadily crafted in a digestible and organized manner, sometimes a problem for non-fiction works. Most of all though, the sheer volume of insider information that you feel privileged to read is overwhelming. In the end, the book serves as a scathing indictment of Michael Eisner. Stewart completely reveals the arc of Eisner, painting him early as the genius that saved Disney, and then as any tragic Shakespearean character, as one who lets power intoxicate judgment. The following passage illustrates some of how deep this feeling of coronation ran in Eisner as Stewart recalls a conversation he had with him in his final years as CEO and Chairman:

After some more conversation, and just before we leave for dinner, Eisner gets a pen and a piece of paper. "Disney is a French name, not Irish," he reminds me. "Now look at this." He writes "D'Isner," "Deez-nay," as the French would pronounce it, "is Eisner without the D."

Uh, Mr Eisner, Walt is tired of turning over in his grave. Would you please refill your prescription for crazy pills and stop playing Boggle with the alphabet to tie yourself to the Disney family? Thank you....Oh yeah, back to the book.

The book is divided into three sections: The Wonderful World of Disney, The Disenchanted Kingdom, and Disney War. No explanation needed to reveal the general tone of each section. This is the simplest way to describe the arc of Eisner's career. As a testament to Stewart, I felt each section was more addictive than the previous. The deep, detailed accounts of his relationships with Katzenberg and Ovitz dominate the landscape and present him as neurotic and uncontrollable.

What made the deepest impact was the pointed way in which Stewart revealed the flaws of Eisner as he became more entrenched in defending himself. Earlier Daily Figments have pointed to some of the brilliant things he did, such as saving the Imagineers from the chopping block. (Ed. note- Splash Mountain is the Thriller of attractions) The following passage does the opposite, truly showing how Eisner failed to consider any threat to his throne:

In the course of renegotiating the Disney relationship with Pixar, Roth presented Eisner with a proposal that would both solve the issue of succession (Ed note- Eisner would not name a President to succeed Wells and therefore, no successor to himself.) and address the faltering performance of the animation division. It was admittedly bold: Disney should buy Pixar (as it could have done years earlier) and merge its own animation division into it. "Make it all digital," Roth urged. "That's the future." As part of the deal, Eisner should make Steve Jobs, Pixar's chairman, president of Disney. "Jobs is a darling of Wall Street," Roth argued, "And you'd get John Lasseter, the greatest creative mind to ever come out of Disney."
The idea went nowhere.

At any time in the buildup to Eisner's ousting, any person could see the merit in this idea. Eisner could have written himself another ten year contract based on this move alone. But as all tragic characters falter, so goes the phrase, "L'etat, c'est moi".

I have heard other Geeks say they have hesitated on reading this as they are uncomfortable with the Disney dirt. Please, read away as this book only made me understand the depths of stewardship we have in protecting Disney. As brother Roy campaigned for "Save Disney" to out Eisner, he was exercising his ability to shepherd Disney back into the greener pastures of creative content that had become barren under Eisner in his later years. I know you will enjoy this read, although you may be sad when it ends its relationship with you. After 590 pages, this is how you treat me???? Another relationship ended.

Bottom Line: This book should be required reading for anyone interested in deciphering the Eisner years at the Walt Disney Company. I never had the feeling that Stewart had an agenda, per se, but that he was amazed at what happened within the board room at Disney. It does read like a corporate thriller with very familiar characters throughout. Some of the decisions that Stewart discusses boggle the mind--you wonder what was Eisner thinking? This is a title that most public libraries will have on their shelves.

The Disney Villain

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:32:00 +0000

The Disney Villain is a beautiful work by Ollie Johnston and Frank Thomas, two of Walt's Nine Old Men. I'm not sure if there were ever two people more suited to describing the Disney Villain--Frank and Ollie were supervising animators at Disney for almost 50 years. More than meets the eye, this book does more than just look at the Disney Villains, it also sheds light on what makes a villain and why some Disney Villains were much better than others.

Because the concept of evil is the most terrifying and thrilling concept in our language. We need terror by which to measure and enjoy our comfort; we need thrill to ameliorate the tedium. We need evil to locate our good. And evil is a concept that has been increasingly undervalued and ignored. We require a devil with whom our gods can do battle, lest our gods become reduced to mere royalty-splendidly clothed, gossiped about, but superfluous.

--T. Jefferson Parker (1992, January 19). The Obsession with Evil Why we are transfixed by serial killers :[Home Edition]. Los Angeles Times (pre-1997 Fulltext),p. 1. Retrieved February 16, 2008, from Los Angeles Times database. (Document ID: 61560068).

Part of the quote above is used by Ollie and Frank in the preface of the book to illustrate one of the reasons they did a book about Disney Villains. That and so many of their colleagues and friends requested it.

They look at 59 villains (only 8 of which were female) over the course of almost 70 years. In the beginning, they talk about the Alice shorts and how Peg Leg Pete was the first villain, although Ollie and Frank refer to him more as a bully. Pete made the transition from Alice to Oswald to Mickey. Ultimately, he was in 32 shorts with Mickey and friends, but he never achieved a starring role.

Throughout the rest of the book, they look at each animated film and discuss the villains. Not just which ones were truly scary (the Evil Queen) but which ones added to the hero's quest and ultimately made the hero a much more beloved character. It is difficult to sum up a work of this caliber. Ollie and Frank are not only terrific animators, but they tell a great story. Each villain is the center of a debate that is bookmarked between the Evil Queen and Jafar. The authors do more than just talk about villains, they also talk about the highs and lows of Disney animation. This book could be used as a starting point for anyone looking for an introduction to the Disney animated library.

Some of the villains are villainous simply because of their nature. The rat in Lady and The Tramp, the bear in The Fox and the Hound and Monstro from Pinocchio. Not that they are true villains, but because their nature is to forage for food, protect their environs or because they are monstrous in size--they act as villains to the hero. Other villains never quite made it. Ollie and Frank point to Ratigan from The Great Mouse Detective, Mr. McLeach from The Rescuers Down Under and Prince John from Robin Hood. For various reasons, they felt that these characters, along with a few others, never quite made the bold statements that were needed. In some cases, the hero was so powerful that it negated the villain's actions entirely.

Beautiful artwork flows throughout the 232 pages of the book. There are full-page shots, thumbnail sketches, storyboards and rough sketches. We see, through the animator's eyes, how a character is developed and comes to life on the page. Both Captain Hook and Gaston were originally seen as foppish characters that were larger than life. In both cases, the animators were instructed to bring the villain down to scale and inject more human characteristics into them. Mainly so we would see them either with flaws or as people we have known--more like a villain archetype.

Bottom Line: This is a wonderful book for any collection. It does center specifically on animation, but through the course of discussing the villains, a lot of history of the films and the Disney Company rises to the top. Frank and Ollie have a wonderful narrative that is interspersed with anecdotes and knowledgeable insights into the world of the animated villain. The amazing artwork alone makes it worth picking this title up--the text is the icing on the cake!

Kingdom Keepers

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:26:00 +0000

Kingdom Keepers by Ridley Pearson is aimed squarely at the 'tweens who love visiting Walt Disney World with their families.

So, why I am I reading it? Well, I like books and I like Disney. It is a book about Disney...so...

I need to give my warning about this book first:

The author takes great liberties with the geographical layout of WDW and Walt's actual involvement with the Orlando parks. If you are a grown-up Disney Geek (Jeff's kids included), you will be dismayed with the inaccuracies and the leaps that the author takes to add suspense.

Ok, I did enjoy the book. This title rests firmly in the juvenile thriller-fantasy genre. It is sort of like a younger Da Vinci Code without all of the religious controversy. The Magic Kingdom is being taken over by the Disney villains and five young teens are tasked with saving Walt's Kingdom and deciphering the secrets left behind by Walt, himself. Here is where I start to yell at the book while I am reading it. Apparently, Walt left behind secret codes in the attractions that will help restore the magic to the Magic Kingdom. Including rides that weren't built until 10-20 years after he died. Uh, so how did that happen?

I do recommend the book, as long as you can detach yourself from your inner Disney Geek while reading it. It moved well, the characters were likable and the story was entertaining. It did have a pretty creepy moment where the dolls in It's a Small World come to life. That is the real reason I don't like that ride. It gives me the shivers!

I'm usually positive about most of my book reviews, but this one doesn't quite satiate my Geek needs. It is still a good read and most 'tweens will enjoy the premise and the hero aspect of the book.

Check your local library for a copy. That's what I did.

The Disney That Never Was

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 22:24:00 +0000

The Disney That Never Was: The Stories and Art of Five Decades of Unproduced Animation by Charles Solomon. 1995, 214 pp.

Charles Solomon is a well-known name in animation history and criticism circles. H e has authored articles for Rolling Stone, Newsweek, the Los Angeles Times, National Public Radio, the New York Times and many other publications. He is also the author of two other well-known Disney and animation-related titles: Disney Lost and Found: Exploring the Hidden Artwork from Never-Produced Animation and Enchanted Drawings: The History of Animation.

The Disney That Never Was takes us into the Animation Archives to see and read about unproduced shorts and feature films. Solomon has collected sketches, storyboards, concept art and the stories behind the artwork. As stated in the title, we follow the history of unproduced films throughout the studio's long and storied past. Solomon divides the book by genre as opposed to strict chronological order. The groupings are logical when looking at the artwork: Mickey, Donald and Goofy; fairy tales; wartime films; Fantasia and its successors; and miscellaneous films.

Reynard from Chanticleer by Marc Davis

I enjoyed this book and found it wistful and exciting. Solomon explains that the unproduced animation and artwork could have been shelved for any number of reasons: perhaps the story wasn't strong enough; there weren't enough artists to complete the pictures; the characters might not have had the appeal; or it never made it past an initial meeting. The Disney Studio has always well-documented their meetings and has preserved almost all stages of artwork from the animated films. In particular, the Disney artists have always found it inspirational--and helpful--to study the original animation from Snow White and other classic films. When you read this title, you can only imagine how different the animation landscape might look if some of these films had been produced. Some cases make you wonder why the animation was halted.

Goofy from How to Be a Commando, artist unknown.

The Disney That Never Was is a reference tool that you will enjoy studying and reading for many years to come. Solomon is able to provide a fantastic look at how the animation process works and how the studio functioned during the animation heyday of the 1930's and 1940's. In some instances, ideas were shelved and used much later or were the inspiration for other projects. The sections on Chanticleer, Don Quixote and Hiawatha were eye opening about the process--animation-wise and politically--that the animation takes on its circuitous path to the big screen or as it is derailed.

Snake-villain from Hootsie the Owl, artist unknown.

Bottom Line: If you are a fan of Disney animation, then you need to own this book! Charles Solomon has raided the Animation Archives, interviewed animators and researched the stories to bring us some of the most exciting information about Disney animated films that were never produced. Although we only gain glimpses of some films--almost like a tease--there is not another resource that tells this many stories about the films we never saw or heard about until this book.

A Brush With Disney

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 21:06:00 +0000

A Brush with Disney : An Artist's Journey, Told through the words and works of Herbert Dickens Ryman 252 pages, 2000.

This is an amazing and difficult book to review; not for any reason you would expect. The text is compelling and you learn about the man and the artist. The reproductions of Ryman's art is outstanding. You understand the gift the man possessed. What makes the book so difficult to review is also what makes it so amazing--there is no eloquent way for me to describe the artwork found in this book. You have to see it to enjoy the amazing pieces of art.

The book was put together by Bruce Gordon, David Mumford and the Ryman-Carroll Foundation. Bruce and David also did The Nickel Tour and Walt's Time. Bruce co-edited The Art of Disneyland and Disneyland: Now, Then and Forever. This work is a love letter from Mr. Ryman's closest friends, co-workers and family to the legendary artist.

There are four major sections of the book: Odysseys (journeys he took throughout his life), Hollywood (working for major studios), Fantasy Lands & Disney Worlds (Disneyland through Disneyland Paris) and Legacy (The Ryman Foundation). Most Disney enthusiasts will undoubtedly focus on the concept artwork for the theme parks. It is very impressive to see the artwork in one place and realize how much Mr. Ryman was responsible for developing the overall feel for the lands and attractions.

Each land in Disneyland is covered (except Mickey's Toontown) and we see the progressions that Mr. Ryman makes in his own artwork for the company. The early work for Disneyland is a little more focused on specific areas whereas the latter works seem to be more sweeping and carry more emotional weight.

The other section of the book refer to Mr. Ryman's non-Disney career. He spent a few years travelling Europe and Asia before doing studio work and he even spent a few years painting portraits of the performers and clowns for the Ringling Brother's Circus. After his Disneyland and early Magic Kingdom work, he travelled through Europe and Asia again. He never really left Disney; they called him back to work on concepts for Epcot, Tokyo Disneyland and Disneyland (The Indiana Jones Adventure).

Let's let the art speak for itself:

Early concept for the Chicken of the Sea at Disneyland.

Tomorrowland at Disneyland.

New Orleans Square concept.

Liberty Square at the Magic Kingdom.

Mile Long Bar in Adventureland, Magic Kingdom.

Epcot.

The Science and Invention Pavilion at Epcot.

There is so much more fantastic art throughout the whole book. The few pieces I have shared are just a few of the Disney-related works. So much of his life's work is more about emotions and feelings than realistic portrayal. In the book, his most powerful statements are from the time he spent painting the Pacific Coast near his home. He effectively captured the mood and feel of the rocky shores. I have read a few criticisms about the book--namely that there is too much sub par art and not enough Disney-focused art. Personally, I was fascinated with all of Mr. Ryman's art. Not only did it tell of his life, but it shed some light on the influences that were present in his work. Whether it was mood, shadows or vistas; you could immediately sense that you were viewing an artist that was meant to do his work.

Bottom Line: I thoroughly enjoyed this dedication to Herb Ryman. This book isn't for every Disney Geek, but those enthusiasts with an interest in concept art and a look at the development of a Disney artist will treasure it. The artwork is astounding and there were some surprises within the pages. As is, the book is out of print and you should expect to pay street prices well above the release price. Although it isn't as spectacular as The Nickel Tour or as comprehensive as The Art of Disneyland, you do see where Mr. Ryman excelled and where his influence was most prominent. If you can snag a copy of it, you will not be disappointed.

Walt Disney World, The First Decade

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 20:53:00 +0000

Walt Disney World, The First Decade (1982, 128 p.)

Looking for a fairly inexpensive and photo-filled look at the first 10 years of Walt Disney World?

This book is for you!

A cross between an annual guide, PR piece and corporate history, this is a fascinating look at the first ten years (well, it does cover the construction--closer to the first 15 years) of the Walt Disney World project. As per most titles on the subject, there is general coverage of the Company, Disneyland and the early progress on Walt Disney World. After the introduction, the book takes off on a leisurely, but extensive, look at everything during the first ten years.

The book focuses heavily on the Magic Kingdom and looks at each land in detail--with descriptions and lots of pictures. In-ride photos, photo-ops with celebrities from the 1970's and views of the park make up a majority of the pictures. Trust me, you will open this book many times just to take a virtual trip back to a Magic Kingdom that is no more.

Remember the Greenhouse on Center Street?

The Contemporary and Polynesian Resorts each get about five pages apiece in their coverage; lots of views of the lobbies and guest recreation areas. It is one of the few places to get basic info about the Golf Resort, the Lake Buena Vista Resort Community, the Village Marketplace and it is also one of the few places where you can visit River Country one last time. Fort Wilderness and the Tri-Circle-D Ranch are covered in wonderful detail. The photographs and details available in this book about the Walt Disney World resort are simply astounding.

What is really going to excite the Disney Geek is the behind the scenes information that Disney was so keen to publish before Epcot. Especially when they were trying to show off the new technologies that were promised as a result of the Reedy Creek Improvement District. The state of the art reservation center, the Central Energy Plant, the water reclamation center and the environmental planning (canals, ecology and conservation) are all given coverage.

The very last section is a short look at Epcot. Can you spot the missing Pavilion in the picture?

Bottom Line: This is a wonderful read and a must for every Disney Geek. If you were able to visit Walt Disney World before 1985, many of the descriptions and pictures will be a walk down memory lane. If you weren't lucky enough (or born yet) to visit Walt Disney World in the 1970's, then this book will provide many of the details of lost attractions, shops and aspects of WDW that are long gone or have changed. It is a look back a simpler, more relaxed Walt Disney World. From the standpoint of historical documentation (even though it is corporate), this book is a must for any serious scholar of Walt Disney World.

It looks like every copy I had linked to sold out, so I pulled the other Amazon links and added them to the page. Get 'em while they're hot!

The Art of Mickey Mouse

noreply@blogger.com (George Taylor) — Thu, 01 Jan 2009 18:28:00 +0000

The Art of Mickey Mouse, Artists Interpret the World's Favorite Mouseby Craig Yoe and Janet Morra-Yoe. 1991, 144 pp. (No pagination.)

For this review, I am discussing the 1991 edition. The 1995 edition seems to be more readily available on the second-hand market and is much less expensive.

Craig Yoe has been a toy designer, VP for the Jim Henson Studio, animator and studio owner. He was part of the creative team that created The Muppet-Vision 3D attraction. Janet Morra-Yoe is a photographer, sculptor and fashion designer. The book originated from the Yoes when they thought about Mickey's popularity in pop culture. They took their adoration of Walt's mouse and began asking world-famous artists to contribute unique interpretations of Mickey.

Author John Updike provides the seven-page introduction to the book. Mr. Updike discusses his love of Mickey and shares his thoughts on the Mouse's enduring popularity. The introduction provides the only academic reference in the text--the artwork is really what is important.

It is obvious to the casual observer that the first edition, published in 1991, is really centered on contemporary pop artists. A lot of the artwork contains colors that reflect the times; it is obvious that popular tastes change over the years, especially dealing with pop artists. Much of the artwork is representative of the artists during the late 1980's and early 1990's. What is obvious to me, is that the artists in question have a deep and abiding love for Mickey Mouse and his affect on culture. They have created some amazing pieces of art that showcase our favorite mouse. Yes, some of the art might seem dated, but they still honor Mickey.

Beyond discussing my favorite pieces, there isn't much else to say about the work. About 25% of the art is astounding and looks good over 15 years later. The rest are political, extremely 80's or just strange. Artistic expression abounds! A few of the artists included: Andy Warhol, William Steig, Charles Schultz, Maurice Sendak, R. Crumb (Rolly Crumb) and Peter Max. Over 100 pieces of art are presented.

In reviewing a work like this, the images can say far more than I can.

Untitled by Hajime Sorayama

Model Sheet by Ward Kimball

Mickey, the Dragon Slayer by Michael R. Hague

Mickey's Mission by John Ceballos

The First Temptation of Mickey by William Joyce

Untitled by Keith Haring

Bottom Line: This is a fun book, but offers little for the theme park or animation fan. If you are a hard-core Mickey fan, a fan of 1991 artwork or the artists featured, then you must have this book. If you can find a cheap copy of the book, I could almost see buying a few copies and framing some of the pieces. There are several editions available, make sure you order the large format one.