Eddie Sotto's take on the current state of the parks (Part II)

[Bolna]

You are correct, some of the more fluid designs in Nouveau are drawn from the natural world, flowers, vines and so forth. The art of Alphonse Mucha featured Cigarette Smoke in interesting forms in his JOB Cigarette advertisements.

http://www.yowzers.com/viewitem.php?productid=878

the ceiling of that room was intended to be the vapors of imagination that emanated from the fireplace and extended from there. We were supposed to have carved a piece of wood to reach up and connect the mural to the top of the hearth as they share the same surreal styling.

I remember seeing the fireplace, but I did not take more notice of further decorations. I was trying to take in all the different rooms while not disturbing the other people dining there too much... I got the feeling that there was so much to see in every room. I had eaten there once in 97, but I think I was still too young then to truly appreciate all the connections to different artistic styles and the history of the period, even though I thought it was very pretty. So my meal there last spring was quite an experience because the place was so interesting (the food was great, too!).

Here in Germany there is very often the assumption that Disney is only about cheesy primary colours and that is only for kids. I think the design of Walt's is quite the contrary to that stereotype, I guess I would call it sophisticated, but not so complicated that you can't appreciate it without a degree in art history.

 

[Eddie Sotto]

Here in Germany there is very often the assumption that Disney is only about cheesy primary colours and that is only for kids. I think the design of Walt's is quite the contrary to that stereotype, I guess I would call it sophisticated, but not so complicated that you can't appreciate it without a degree in art history.

Having sophisticated color palettes and especially ones that rang out as American for Main Street was a goal. We used history (historic colors) as our guide and tried to be true to American culture. The interiors were well researched and we used wall coverings that were hand made in San Francisco from period patterns. All real. We would use many variations of the same color in a space as well. There are some European combinations we used but in an American graphic style. Main Street Motors was probably the first Maroon (Oxblood) facade on any Main Street. Usually dark colors were not optimistic enough. We broke new ground with the deeper, richer colors for buildings, relieved by hotter accents to make them inviting. Now the other parks do this quite a bit.

http://www.yesterland.com/images-memories/sotto_motors.jpg

 

[Eddie Sotto]

Another Story from DLP

The Limousine vehicle that runs up and down DLP Main Street did not begin with a set of elaborate design drawings, but rather was copied from an old Rolls Royce in the dusty Garage of an English machine shop north of London. The vendor reminded me of the sort of salty Brit you'd find in the Adventurer's Club, was looking at the images we sent, took us to this old garage and pulled a sheet off of this 1910 Rolls in storage and said, "I'll just copy this full size model!". It looked just like what we were after. I was stunned.

Here's the type of Rolls model he had. Dusty and all black.
http://www.sportscardigest.com/wp-content/uploads/1915-Rolls-Royce-40-50-Silver-Ghost-Limousine.jpg

Here's what we were after. Pretty close. We arched the hood and simplified the signature Radiator so it was not directly a Rolls Royce.
http://land.allears.net/blogs/jackspence/Main Street Limousine.jpg



He got the contract for the Fire Engine and Omnibus as well! We drove the Fire Truck to the Pub when it was finished. Those were the days!

 

[KevinYee]

New question:

When you're in charge of building a brand new land, what are the things that caused the most headaches, ulcers, sleepless nights?

In those days, there was no DISH at WDI (apparently it uses CAVE technology - see the video here of what they have for Carsland: http://www.youtube.com/watch?feature=player_embedded&v=4lKysU6Ian0). So were you worried about how things would mesh together visually? Do you worry about things FITTING together or are the blueprints really that good?

 

[Eddie Sotto]

New question:

When you're in charge of building a brand new land, what are the things that caused the most headaches, ulcers, sleepless nights?

In those days, there was no DISH at WDI (apparently it uses CAVE technology - see the video here of what they have for Carsland: http://www.youtube.com/watch?feature=player_embedded&v=4lKysU6Ian0). So were you worried about how things would mesh together visually? Do you worry about things FITTING together or are the blueprints really that good?

We had models to mass with but you still don't "know", especially with color. The light in France is different so you need to account for that. I remember taking the color boards for the facades and making the boards face each other as they were on the Street so no scheme would be repeated in sightline, stuff like that was the only way back then. Digital Caves don't work for my issues as they usually represent the world worse than it will be in life.

In the case of Main Street in Paris, it was literally the design being lost in translation. Elaborate greek revival moldings replaced with a half round chunk of wood. Stuff like that drove me bats. I roide around England with a box of Red Sharpies re profiling the moldings of cabinet drawings in all the little mill shops. Pretty much "bled" red ink on the whole street of drawings. Many of the key details and nuances were being lost as the result of reinterpreting the design into CAD (computer) aided drawings. I had a nervous breakdown over that because the nightmare was coming true and no one would listen. We did resolve it for the most part in the end.

I think the hardest thing is to imagine the feel of the space emotionally. You have to know that. Every choice big and small is in service of an idea or emotional goal. If you don't know why you are building the land or who it's for, then you are lost. There are so many compromises big and small coming at you from so many areas you have to keep the whole thing together and make it work. A seemingly insignificant decision at the time that you give in on will come back to haunt you when it throws other things out of whack. When I see other lands under construction, the things that really stand out are poor choices in construction technique (modern technique on a period structure) of a contradictory finish or material being called out (blown stucco on a castle), or ill proportioned architecture (out of scale or bad forced perspective). There are subtle issues in themselves, and as choices are cumulative, but once they are all in one space they ruin the magic and come off as "soulless". Catalog items arranged for your enjoyment. Fans can write all kinds of critiques but they sometimes can't articulate why they don't love it. Stuff like that erodes the passion. You have to really stay on top of the details and continually see things from macro and micro. Not an easy job.

Questions like "Are the wows big enough?" is something that keeps me awake all night, or "will it really work?" "will the guest love it like we do?" or "did we cut too much?". If you know emotionally why the idea will work then the doubt goes way down as you know what to let go of.

 

[Eddie Sotto]

DLP Story of the Day, 20 Years out.

Stuff you don't notice on a blueprint.

The streetcar tracks were going in and they looked bent in some way. It looked hilly and off. I was surprised to find that the way the Main Street drainage was designed would cause the streetcar tracks to appear warped. I had expected the street to have a soft rise running down the middle so it drained to the sides with a gutter, etc. What I was shocked to learn was that the humps were more like low speed bumps and the water drained to the middle of the street in places and then on to side drains! This made the tracks go slightly up and then back down like the mildest roller coaster in history. Worse, your view to the Castle made the tracks look crooked. Kevin asked what keeps you up at night, it's stuff like this that comes from left field. It did get resolved in some way, but there were some big meetings and photo tests!

 

[flynnibus]

Very intriguing! Ok, I'm putting money aside for that book right now! crack to it!

 

[KevinYee]

We had models to mass with but you still don't "know", especially with color. The light in France is different so you need to account for that.

Never thought of the light being different, but of course the longitude and latitude will make a difference, as will local weather (cloud) conditions.

And then there are seasons! Snow must surely change the way color works on Main Street. Did you have to re-think anything because snow might be around? Or do you just plan for non-snow and let the park "do whatever it does" on snow days?

 

[Eddie Sotto]

Never thought of the light being different, but of course the longitude and latitude will make a difference, as will local weather (cloud) conditions.

And then there are seasons! Snow must surely change the way color works on Main Street. Did you have to re-think anything because snow might be around? Or do you just plan for non-snow and let the park "do whatever it does" on snow days?

Not so much snow as that's a finite part of the year and there is special decor for the holidays, but we did more saturated and richer roof colors to go with grayer skies overall. Rich blue roofs for example on City Hall cut a nice skyline and add color to gloomier days. Same with the Red on the hotel roof, it adds optimism.

 

[Bolna]

Not so much snow as that's a finite part of the year and there is special decor for the holidays, but we did more saturated and richer roof colors to go with grayer skies overall. Rich blue roofs for example on City Hall cut a nice skyline and add color to gloomier days. Same with the Red on the hotel roof, it adds optimism.

I had read about the colours of DLP even before my first visit as this was one of the things that seemed to publicized a lot (but more with regard to the castle and Fantasyland) that because of the weather in France there were less pastel colours. And I was actually excited when on my second trip we had a grey day and I was amazed how beautiful the park looked in that weather.

I also wanted to say that I love all the little stories you posted over the last days - they are perfect for getting me excited about my upcoming trip!

 

[Jeanine]

Glad you are having a great time. Thanks for giving us an almost live report! It sounds like the display is not working properly. It is that dark transition from the outside, like the Main Street Cinema takes getting adjusted to. It's a "black light" driven sound and light show so you should have been able to see the Steamship and the guests talking. Sorry to creep you out, it's the Orson Welles fan in me!

On my last day I took the park's guided tour which was very interesting, and focused mostly on Main Street, as, I suppose, it contains the most references likely to puzzle the non-American. The guide mentioned things like the color of the Disneyland Hotel being picked to match the typically grey skies they have there, showed us some hidden Mickeys, and explained a lot of the historical figures referenced in the arcade displays. A pity that they no longer use a lot of the old-tyme mechanisms for the money-conveyances in the stores or the reservation slips in Walt's.

One thing everyone noticed there was the beautiful lighting fixtures everywhere--the gas lamps in the arcades and the stained-glass lanterns in Adventureland really stood out.

I did eventually see the whole Liberty diorama play out (after almost having to force random Parisians to go in there with me,) but it certainly didn't seem as clear as your photo...I think entering in between shows when the light and sound stay down for awhile is what makes it a little unsettling. I did meet two other people on the tour that also got the willies from it, so I felt slightly less cowardly...

Looking forward to your book!

 

[Eddie Sotto]

On my last day I took the park's guided tour which was very interesting, and focused mostly on Main Street, as, I suppose, it contains the most references likely to puzzle the non-American. The guide mentioned things like the color of the Disneyland Hotel being picked to match the typically grey skies they have there, showed us some hidden Mickeys, and explained a lot of the historical figures referenced in the arcade displays. A pity that they no longer use a lot of the old-tyme mechanisms for the money-conveyances in the stores or the reservation slips in Walt's.

One thing everyone noticed there was the beautiful lighting fixtures everywhere--the gas lamps in the arcades and the stained-glass lanterns in Adventureland really stood out.

I did eventually see the whole Liberty diorama play out (after almost having to force random Parisians to go in there with me,) but it certainly didn't seem as clear as your photo...I think entering in between shows when the light and sound stay down for awhile is what makes it a little unsettling. I did meet two other people on the tour that also got the willies from it, so I felt slightly less cowardly...

Looking forward to your book!

Maybe they should rename the diorama "The Haunted Lady".:shrug: Admittedly, it's not a great show, but it is one less T Shirt Cart. They should replace it with a silent "Coming to America" type film loop of the Statue and Ellis Island. Scenes from Chaplin's "The Immigrant". It's time.

So glad you noticed the light fixtures. I am a big proponent of putting money into quality light fixtures. They are the "jewelry" that enhances even the simplest area. A cheap lamp you've seen in a Catalog tells you it's all cheap and the reverse is true as well. Your eye is drawn to light and in so doing you want to pay attention to the fixtures. BTW- Walt's has $100k of American Antique chandeliers, converted to run in Europe. Using Antiques adds a charm that reproductions just can't compete with. You feel it. The issue is finding something in a given quantity. The 80 Brass Gas lamps in the Arcades had to be custom made and are inspired by those found at the Chicago World's Fair of 1898. They each have a Star motif.

 

[Eddie Sotto]

20 years later Stories. Concorde SST.

Another DLP story from 20 years ago. One of the benefits of working on the project back then was the opportunity to fly on the Air France Concorde SST. http://www.concordesst.com/ When we moved back from France we took this now bygone "E Ticket " Ride home. All I can say is wow, and I treasure the memory. I had seen the project director Robert Fitzpatrick take it countless times and was really curious about what it was like to cross the Atlantic in 3 hours beyond the Speed of Sound. I guess I had talked about it at the dinner table one too many times. The project was done, I was super fried and depressed, and this "heading home treat" was arranged as a surprise from my awesome wife. Here's what it was like.

First off, it is a very small plane and not luxurious. Like flying in a pencil. The service is very First Class and food has to be carried to you (preflight Vodka Shots and Caviar) as there is no room for a beverage cart. I felt like James Bond for sure. The crew works their tails off. The Seats are the size of a nicer coach seat and the windows are smaller, more like the one on the 747 Cabin Door. The crowd that flew on this thing were businessmen with really nice watches and older European couples dressed in Hermes Chanel, etc. No sneakers. Surreal for sure. We dressed up a bit as well and I'm glad I wasn't in a Euro Disney Sweatshirt! Sitting there, it was almost a throwback to the Titanic and those "Golden days of luxury travel" where people dressed up for the journeys as it was "special" in of itself, (although I'm sure many of these businessmen hopped the Concorde regularly). They gave you a bunch of cool souvenir stuff like a pen set or a satchel with postcards, etc. Even a Pilot's Certificate for breaking the sound barrier. I kind of "geeked" out on all that stuff and still collect it today. (BTW A friend of mine flew it once and got permission to run down the aisle as it broke the sound barrier so he could say he ran faster than the speed of sound. They announced it.)

They have a digital speed readout on the bulkhead wall and you can see the speed reach Mach 2 (1,350 mph). I feel like there was a screen pulled down so you could see the landing with the nose rolling down but I may be imagining that. You feel a bump of a sonic boom when it breaks the sound barrier. So cool. Take off is super loud and at an extreme angle. You felt the G forces. No seat side TV's or anything like we have today to entertain you either. Remember, this is truly Stanley Kubrick's "2001" meets Walt's Tomorrowland technology of 1967. That 60's dream of the future is embodied in the design of Concorde. Next to Apollo was this thing.http://en.wikipedia.org/wiki/Concorde If Walt could have had that in Tomorrowland he would have. The whole flight deck is analog BTW. They manually mix the fuel etc. You can see the curvature of the Earth as you are at times up to 60k feet! (normal planes are at 35). I recall looking down and seeing 747's below us and passing them like parked cars. Un-be-lievable. (There is at BA version at Seattle's Air Museum you can walk through).

We were also bringing our two big Himalayan Cats back, Buster and Charlie. They evidently don't go in the tiny Cargo Bay so they gave them seats in the cabin across from us in their carrier and fed them Salmon! It was hard to get them to go back to Purina after that.

A super cool home movie from a guest on BA. Cockpit footage included! note everything analog, your iPhone has more tech than the whole plane. This is what it was like to fly on it.
http://www.youtube.com/watch?v=cEB9c1b6CHo&feature=related

Once in a lifetime thing. It was so depressing to watch that experience die a premature death. So Progress City. Father used to mention the "new SST's arriving" in his description of the future at Disneyland. Mother chides him "maybe next time WE will do the traveling". Oops.

British Airways prepared this great video on it's 27 years history and thrill. It is REALLY worth the watch and every bit a tribute to a lost era.
http://www.youtube.com/watch?v=v9bVFkDhGPE&feature=related

 

[wdwmagic]

Great Concorde story Eddie! Thanks for sharing. I got to take a tour of a British Airways Concorde on the ground, but never could scrape together the funds for a flight. An amazing engineering achievement, and very sad that today we have nothing that can get us across the pond in the same time, and not even close. A real step backwards in my opinion.

 

[Knothead]

Wow! That's amazing, Eddie. You seem to have had a good time in your life, thanks for taking the time to share it with us here. I love this thread and can't wait for your book! Keep em coming!

 

[Eddie Sotto]

Wow! That's amazing, Eddie. You seem to have had a good time in your life, thanks for taking the time to share it with us here. I love this thread and can't wait for your book! Keep em coming!

I've been fortunate to be able to do some things that are no longer available, that's why I'm sharing them. The point is that the Concorde is a unique window into the "Tomorrow" imagined in the last days of Walt Disney. It was a "Golden Age of Aerospace Engineering" that got lost somewhere after the Moon became less marketable. We may be heading into another one, but a decade or two has been lost. Richard Branson and others get this and hopefully will push that envelope again.

 

[Eddie Sotto]

Disney and More 5th.

Alain Littaye's great mega blog "Disney and More" is celebrating it's 5th year right now and I provided a rare video shot inside of WDI back in 1988 with a description of what is going on. I shot it to show the French team who we are and where we worked. A morale builder of sorts. Now a curiosity. It's been posted in the past, but some of you may not have seen it. Lots of models of the park and quite extraordinary as you are never allowed to shoot inside of WDI. My hair looks like it was inspired by a "Flock of Seagulls" Album Cover. Ahh the 80's.http://www.mp3hi5.com/6a00e5520c9867883301127914e29728a4-800wi.jpg

Give it a click and come back and tell us what you think.

http://disneyandmore.blogspot.com/2012/04/its-disney-and-more-fifth.html

 

[Eddie Sotto]

Great Concorde story Eddie! Thanks for sharing. I got to take a tour of a British Airways Concorde on the ground, but never could scrape together the funds for a flight. An amazing engineering achievement, and very sad that today we have nothing that can get us across the pond in the same time, and not even close. A real step backwards in my opinion.

A step backward indeed. All those folks on the old school drawing boards bought into the future.

 

[flynnibus]

Alain Littaye's great mega blog "Disney and More" is celebrating it's 5th year right now and I provided a rare video shot inside of WDI back in 1988 with a description of what is going on. I shot it to show the French team who we are and where we worked. A morale builder of sorts. Now a curiosity. It's been posted in the past, but some of you may not have seen it. Lots of models of the park and quite extraordinary as you are never allowed to shoot inside of WDI. My hair looks like it was inspired by a "Flock of Seagulls" Album Cover. Ahh the 80's.http://www.mp3hi5.com/6a00e5520c9867883301127914e29728a4-800wi.jpg

Give it a click and come back and tell us what you think.

http://disneyandmore.blogspot.com/2012/04/its-disney-and-more-fifth.html

Eddie, what's the space port looking model at about 7:15 in the video?

and what's with the Disney-Disney-Eisner-Eisner poster?

 

[marni1971]

I think I'm going to have to watch that video. Right now! Thanks