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

[ChrisFL]

In today's WDI, it seems that John Lassiter comes in and compiles his own "hit list" of what the show needs and they get out their wallet and do it. That's great. Mermaid got new hair this week and lots of fixes, and it seems Luigi is getting the same "make it right" treatment. He went into the Nemo Subs ride early on and spent a fortune getting that show up it's current standard. I think this is the best way, as they are out there fixing the show right away versus just saying, "we goofed and this is why it's lame" and leaving it alone. John is no doubt learning what mistakes were due to inexperience, budget cuts, or lack of oversight, etc. and which ones were unavoidable. Once he learns the ropes of ride design, then he will be able to anticipate these issues in his own reviews of the proposed work before they get built.

Its interesting because it seems like in the past the idea was that its finished, its not going to get changed now, unless something really breaks down (Then again, there is the Yeti) it isn't going to be repaired, OR that Disney did everything on purpose and there's no reason to go back and "fix" anything.

John Lasseter seems to be more of a perfectionist and isn't afraid to take a fresh look at a completed attraction and see how it can be improved....I really like that, I just wish he was helping at WDW more often.

 

[ChrisFL]

With all of this input and thinking and planning (practice), how can WDI come up with something like the Narnia experience (bad play)? I would think that they had to see how the guest (players/fans) would wonder "what a waste of time (play calling) that was". Or does Upper level management (the Head Coach) sometimes say "this is what we are going to do" and then Imagineers (Offensive Coordinators) are forced to come up with something that they know is going to "loose yards" so to speak...
And while we are here... any guesses to what was going on with the Imagineering of the Stich thing???

How do you loose yards? or do you mean lose yards?

 

[trs518]

The art of this whole thing is to see things coming and head them off before they get set in stone. The best way I know of is to forget being the designer. Imagine every nanosecond you can as the guest going through the show. Start with what the expectation is that you've set up and how to exceed it. What they feel, what they look at first, what they have been led to believe by the previous scene, their average age, what would seem magical, and what are you building them up to!

Designers think the guest will love the pretty design, writers think they will actually pay attention to the dialog, engineers think they will notice how smooth the track is. In fact, you experience it all at once and have a collective thought about it. Some sensations overpower others, lighting takes your eye to certain places, etc. The designer has to ride herd on all of that and "sculpt" the experience in to a total vision. You need to know the audience too. So you want to wait in the line and listen to the guests, watching what they are doing in pre-shows and how much they don't care or even hear the dialog, or read the little story based signs. That does not mean it should not be there, but what do you expect them to know. You cannot assume they will read or know how to drive a "Luigi tire", but you can design an interface that looks like something else they've used (like a steering wheel) so it's use is obvious as you can leverage all the times they've "steered" before. Autopia cars are intuitive because they are an analog to something we know. The learning curve is less. Stuff like that.

How engaged are other Imagineers in this process. Often times where I work we'll have someone not engaged in the project to walk through it and give constructive critizism.

 

[Eddie Sotto]

Directors and Producers.

How engaged are other Imagineers in this process. Often times where I work we'll have someone not engaged in the project to walk through it and give constructive critizism.

Today's WDI projects are run by what they call "Show Producers", not "Creatives or Show Directors". Not unlike the television industry, the Producer manages the production of the TV show (Gene Roddenberry) and holds onto the vision and hires Directors by the episode, or in WDI's case, the creative talent is brought in to design under the Producer. Producers don't draw or design themselves, but guide the process and try to adhere to the creative's work, but the creative is pulled on and "off the bench" when the producer needs them in an assist (from what I've been told). It's the Producer that is really guiding the project what they acquire in design from their creative staff. The chain of command structure has evolved since I was there. So any of you could ascend to be a Producer. You don't have to know how to draw or design, but you could have an MBA, or prior Producing experience. An advocate for the creative aspects of the Show, like John Lassiter is great as he comes in at the super executive level and meets with the Producer and the creative designers, and they have to please him (but he's super nice). He has true creative power to go to corporate and spend to get things right. there is a peer review process where others can look at and comment on the shows. Even Pixar talent looks them over and makes suggestions if it involves their films.

 

[GrimGhost]

.. An advocate for the creative aspects of the Show, like John Lassiter is great as he comes in at the super executive level and meets with the Producer and the creative designers, and they have to please him (but he's super nice). He has true creative power to go to corporate and spend to get things right. there is a peer review process where others can look at and comment on the shows. Even Pixar talent looks them over and makes suggestions if it involves their films.

Eddie- I have been hopeful since the acquisition of Pixar, that Lasseter will begin to move on from a obsession/passion with the film medium and move just as passionately/obsessiveyly to three dimensional story telling, just as I believe Walt did when he went from animation to trains to Disneyland. I guess when someone like Joe Grant says that John is the Walt of today, it seems a logical step to take. What are your thoughts?

 

[Eddie Sotto]

Eddie- I have been hopeful since the acquisition of Pixar, that Lasseter will begin to move on from a obsession/passion with the film medium and move just as passionately/obsessiveyly to three dimensional story telling, just as I believe Walt did when he went from animation to trains to Disneyland. I guess when someone like Joe Grant says that John is the Walt of today, it seems a logical step to take. What are your thoughts?

He certainly seems to love the parks and spends lots of time there, so yes, he has the obsession for all things WED. He's an ex CM which makes him unique as he understands their point of view too. I believe he still has to oversee the WDA films and so both so I imagine he's spread pretty thin. He gets along well with everyone, even the corporate executives, so to me (now on the outside) he's really quite a great asset.

 

[Eddie Sotto]

With all of this input and thinking and planning (practice), how can WDI come up with something like the Narnia experience (bad play)? I would think that they had to see how the guest (players/fans) would wonder "what a waste of time (play calling) that was". Or does Upper level management (the Head Coach) sometimes say "this is what we are going to do" and then Imagineers (Offensive Coordinators) are forced to come up with something that they know is going to "loose yards" so to speak...
And while we are here... any guesses to what was going on with the Imagineering of the Stich thing???

At times you get asked to do movie promotion "tie ins" and you get free props from Narnia or whatever and that is the purpose of those exhibit spaces. I'm sure they will do props from Avengers or something in a space like that or in one of the Studio parks. Right now its Brave. They are doing an interactive POTC exhibit, so all of that comes with the movie promo baggage. (Like having to play football around the commercial breaks and time zones for the TV Networks, it's a reality you have to live with.)

 

[Eddie Sotto]

Eyes on the Monorail.

Checked out the Car's themed monorail treatment they did at DL and it looks pretty cute, will probably bring a smile. Promotions can be done in a way that works well with the ride and this seems like a winner.

http://micechat.com/blogs/in-the-pa...eyland-dca-wraps-up-knotts-news-seaworld.html

 

[Eddie Sotto]

Marilyn Sotto

Just thought I'd share this nice piece of family news. My Aunt Marilyn, who as I've mentioned before, has been a Costume Illustrator and Senior Designer for both DLP, DL, WDW and Paramount and Universal Studios (she did the recent AA costumes for Spaceship Earth as well) has had her "how-to" book republished as part of a new edition with several other designers, and is now on Amazon.

http://www.amazon.com/gp/product/16..._m=ATVPDKIKX0DER&pf_rd_r=0B1BH3DHY5W070SN78HY

I learned much from her techniques over the years and she has quite a film background as well. This book shows you how to illustrate and design in that discipline and her sketches fill the book. This is not a Disney publication so there is no Disney art, but just the same, she is an influential talent in that when her first book was published in the sixties, it inspired some of the designers of today who still recall having her first book.

http://www.amazon.com/The-Art-Costume-Design-No/dp/B00166T2B0

If this kind of thing interests you, give it a look. Congratulations Auntie Mare!!!

 

[Daannzzz]

Her first book was published in 1960 and she's still going strong? That's awesome. Wow she did the Costumes for one of my Favorite Science Fiction movies. "Monolith Monsters". Must have been exciting on Ten Commandments and Around the World in 80 days. Then to work for Disney. What a great career.

 

[Eddie Sotto]

Her first book was published in 1960 and she's still going strong? That's awesome. Wow she did the Costumes for one of my Favorite Science Fiction movies. "Monolith Monsters". Must have been exciting on Ten Commandments and Around the World in 80 days. Then to work for Disney. What a great career.

And it's not over. She is over 80 and still draws great! I could not believe this new portrait she just did. She still has her Yul Brynner Pharaoh painting autographed by him to her. My Uncle was an actor (Fabian Dean http://www.imdb.com/name/nm0212770/ ) as well and did lots of small Cameos in 1960's sitcoms (Munsters, Get Smart, Mannix, some Disney movies, etc.) and commercials, so when they came over to visit it was a super treat. My grandfather was his agent so we would go to the studios and I'd tag along. I was captivated by Backlots and watching them shoot these shows. As a small boy, all I could ask was how they made spiderwebs in the Munster's House, behind the scenes stuff like that. Marilyn worked for Edith Head for years as an Illustrator and then she designed the costumes herself for James Cagney in "Man of 1000 Faces". When she found out that her boss would get screen credit for her work, she was devastated and it was Cagney that went in and insisted on giving her the title. Good story. Her WDW experience is pretty vast, from MK, EPCOT, DAK and parades like Spectromagic.

 

[Eddie Sotto]

DLP story of the Day, 20 Years out.

Most of the area music for Fantasyland and Main Street was finally chosen on a weekend in the stunning Luxembourg Gardens in Paris. Tom Morris (Fantasyland) and I took a pile of our last round of CD's (I had gone thorough a mountain of them too) to the Park and sat in the sun together in those green metal chairs and made final selections and playlists. It's funny how the area music played in Paris first (on headphones). We'd have cassette copies in the car too so you could get used to songs and their transitions. Main Street alone had 11 unique hours of music.

http://www.venkia.com/pdata/13949.jpg

 

[Eddie Sotto]

Secrets of the Submarine Voyage with Nemo.

Since we were discussing the Submarines a few pages back, I ran across this nice video that has Tony explaining the design and construction process. It was really interesting! Hope you will think so too.

http://www.youtube.com/watch?v=bksrjp7Yisg&feature=related

 

[HMF]

I am happy to report that a beautiful copy of Disneyland Paris: From sketch to reality showed up at my door this morning.

 

[Eddie Sotto]

I am happy to report that a beautiful copy of Disneyland Paris: From sketch to reality showed up at my door this morning.

Congratulations! I truly hope you enjoy the book. A great addition to any collection. Some of the photos have been cleaned up a bit, so your book will be even better than the original.

 

[HBG2]

Out of the blue...

...the ocean blue that is.

Yo ho yo ho

The article even mentions Jean Lafitte in passing, and "a rather astonishing number of bottles."

 

[lazyboy97o]

Checked out the Car's themed monorail treatment they did at DL and it looks pretty cute, will probably bring a smile. Promotions can be done in a way that works well with the ride and this seems like a winner.

There is a thread there as well and I am not fan. I think it just makes the monorail into the fun amusement ride that detractors have long claimed them to be because of their association with Disney. Even at Disneyland where the monorail is considered an attraction, this sort of wrap would likely not happen to other attraction vehicles, although the gold vehicles are a precedent for it happening.

In that same thread, I said I think I would have prefered it to be that the entire Resort was shifted to the world of Cars for a few days. Make every on stage vehicle a Cars vehicle. While this would not have worked for as long, I think it makes for a better premise than just the monorails now jumping away from being themselves.

 

[HMF]

Congratulations! I truly hope you enjoy the book. A great addition to any collection. Some of the photos have been cleaned up a bit, so your book will be even better than the original.

According to the book the Main Street Transportation co.s silhouette of Sleeping Beauty Castle at Disneyland. Is that just an authors interpretation or is that the designers intent.

 

[CBOMB]

And it's not over. She is over 80 and still draws great! I could not believe this new portrait she just did. She still has her Yul Brynner Pharaoh painting autographed by him to her. My Uncle was an actor (Fabian Dean http://www.imdb.com/name/nm0212770/ ) as well and did lots of small Cameos in 1960's sitcoms (Munsters, Get Smart, Mannix, some Disney movies, etc.) and commercials, so when they came over to visit it was a super treat. My grandfather was his agent so we would go to the studios and I'd tag along. I was captivated by Backlots and watching them shoot these shows. As a small boy, all I could ask was how they made spiderwebs in the Munster's House, behind the scenes stuff like that. Marilyn worked for Edith Head for years as an Illustrator and then she designed the costumes herself for James Cagney in "Man of 1000 Faces". When she found out that her boss would get screen credit for her work, she was devastated and it was Cagney that went in and insisted on giving her the title. Good story. Her WDW experience is pretty vast, from MK, EPCOT, DAK and parades like Spectromagic.

If I recall the story correctly Ms. Head considered her a rival, and a threat after that. Their relationship was never quite the same. You have to be tough to survive the petty jealousy's, and vindictiveness of the Hollywood scene. It looks as if your Auntie not only managed to survive, but prospered also. What a very interesting lady.

 

[Eddie Sotto]

If I recall the story correctly Ms. Head considered her a rival, and a threat after that. Their relationship was never quite the same. You have to be tough to survive the petty jealousy's, and vindictiveness of the Hollywood scene. It looks as if your Auntie not only managed to survive, but prospered also. What a very interesting lady.

That is true yes. Things were not the same. She always has great stories to tell and is a very entertaining person in general. One thing I was very proud of, was that she was always interested in what is new and next. So when she was in her Seventies back at WDW Costuming, I told her about the Wacom Cintiq tablet (http://www.wacom.com/en/Products/Cintiq/Cintiq21UX.aspx) and how she should draw digitally like I learned to do. She played on mine for a bit and fell in love with it and ended up being the first and I think only one in her department to have one! the younger designers would come in and look to her for advice. Most artists her age would say that they will never go beyond using traditional tools, but she learned Photoshop!

She totally adopted all the new tech and uses it. Age meant nothing!