Eddie Sotto's take on the current state of the parks

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Disneyparksgeek

New Member
Eddie, I am a huge Knott's fan in addition to being a Disney fan, and I was wondering about an attraction you designed called Rumrunners, that never came to fruition. I heard you talk about it before but I have never heard more than just the name and its location. Is there anything more you could tell us about this ride you pitched?
 

Eddie Sotto

Premium Member
Eddie, I am a huge Knott's fan in addition to being a Disney fan, and I was wondering about an attraction you designed called Rumrunners, that never came to fruition. I heard you talk about it before but I have never heard more than just the name and its location. Is there anything more you could tell us about this ride you pitched?

Sure. I was trying to find a way to get a job at Knott's while working at Sears. Yes. Sears. So I went to the park and looked around the Roaring 20's area and decided to pitch an idea for the Beary Tales location as the popularity had seemed to diminish and it was an existing dark ride. No matter as I just wanted to have a chance to show something.

I had always liked gangster comedies like "Some like it Hot" and the "Lemon Drop Kid". The one thing the Knott's 20's area did not have was an "E" "Pirates of the Caribbean" type show, so I was about to propose a gangster type thing with some AA's.

"The Rumrunners" was set during the "Jazz Age" prohibition. A "film noir" styled ride down dim foggy streets past bustling "Speakeasies" and finally into the warehouse of a secret booze distillery. While there, we are discovered at gunpoint, but it is raided by the police and they shoot it up, bursting the massive stills, causing it to be flooded with "hooch". So much so that the booze "washes" the evidence away and the cops! Things collapse and teeter in lots of water gags as we make our escape. Hilarity ensues. There were plenty of Marc Davis-esque gags with guys floating by in "Bathtubs of Gin", Cops stranded on streetlights, gamblers still at the tables, stuff like that. etc. "Keystone Cops meets Marc Davis Western River with Tommy Guns and Flappers".

Funny how life is so ironic, this was just a precursor for the Paris 20's Main Street!
 

redshoesrock

Active Member
Fascinating story Eddie, thanks for sharing it. One thing did puzzle me, though. You said you were working for Sears when you pitched your Rumrunners idea; this means you weren't with WDI yet. Did you have some sort of "in" with Knotts' management that someone would take a pitch meeting with you? Was it the end result of multiple cold-calls? Is that something that amusement/theme parks will do, take a pitch from someone with an attraction idea, despite not having the pedigree or resume for it? (I suspect Cedar Fair would definitely take your phone call now, given your background and experience.)
 

DisneyFan 2000

Well-Known Member
Hi Eddie, I've been reading the 200+ pages this thread has piled up and have been really enjoying being a silent reader to your awesome stories from inside WDI so first of all a big thank you from me! I figured, if it's OK with you, I'd pop in with a question of my own. I was curious, were there any projects that you already had up and running and suddenly you felt a feeling of "oh man, I have a much better idea for this ride / concept, maybe we should rethink this!"? If so was it something you fixed as you went along or did you just execute the original concept regardless?
 

Eddie Sotto

Premium Member
Al Lutz today

In today's column on Miceage Al says this about WDI culture.

It’s a corporate culture issue really, with WDI taking on the role of contractor and project manager for construction of facilities for their clients in the various departments at the theme parks and hotels. But unlike any good contractor in the outside world that would want to make their client as happy as possible, the Imagineers are on the same payroll as their clients and the ultimate goal is usually just to make themselves look good, and not necessarily please the client.

The result is that the Imagineering attitude taken is often one where they feel they know better than the operations folks and that whatever problem is presented by their completed design will simply have to be fixed by the operations folks who staff and manage it for the next 50 years. After all, it’s not like their client can go to some other design firm for this work. WDI has a monopoly on theme park and hotel design and construction, they know it, and so the concept of a happy customer rarely comes in to their artistic decisions.

This nasty cultural issue also manifests itself in a class system where the Imagineers regard themselves as superior to the lowly ride operators or life guards or fry cooks and their immediate supervisors who will staff their completed facility for decades to come. During the testing of new rides, many Attractions Cast Members have stories to tell of haughty Imagineers who refuse to acknowledge the Attractions Cast Members by name even with their nametags on, and simply call the Cast Members “operator” as a way of establishing rank and position.

While they spend long hours together week after week helping test and adjust any new attraction, too many Imagineers simply call out to the theme park Cast Members and say “operator, cycle the start button” or “operator, we’re going to lunch now, come back in an hour”. There’s a few infamous Imagineers who genuinely seem to get a kick out of the verbal putdown, too. The ugly truth is that the company’s line that the front-line operations Cast Members are the heart and soul of the theme parks and are the people that bring the “magic” to life is a concept that’s widely dismissed by too many in WDI.


I feel the need to respond to this. Although I can't say that these things did not happen as I'm no longer there, but as an experienced Imagineer myself I can say that the WDI design process always included representation from the operators in the planning and design of anything we did.

In my 30 plus years in design and 13 at WDI working all over the world, I have never heard any Imagineer call someone "operator" or anything but their name. It's true that CM's are the heart of the parks, but this seems a bit one sided.

Operations has initial input as to where cash wraps go, security desks are and even approving the widths of walkways as we design. Marketing has to pass on your ideas. They are assigned to your project to look at everything. At times we had to bend over backwards to satisfy these things at the expense of theming. Sometimes we fought. Usually these kinds of "problems" spoken of in Al's column come from either the Imagineer being inexperienced or the operator not paying attention to what is being designed and something slips through. Everyone makes mistakes. As the "client", they are very involved in the process and need to take responsibility for some of the things that they overlook as well.

I recall the operator being ok with serving booze to people on Rollerskates in the Roller Rink Club at Pleasure Island. I raised it at the time and they told it me was ok. Can you imagine? The operations rep said that. Drunks on skates plowing through families! Or when they allowed DL Entertainment to park a Lion King parade in the middle of Main Street blocking any means of fire exit? They did it. WDI was not involved. What about the Fantasmic! issues with safety and crowding? WDI not involved until the Esplanade was added later. So issues can arise anywhere, it's not always WDI arrogance, but perhaps lack of experience in many departments that can lead to this.

It is true that the goals are at odds as the creative goals conflict with operational ones at times, but believe me, they get their licks in and you can see all kinds of operational compromises to theme all over the parks!

As for culture, there is also a bias from the Ops side and maintenance that "everything WDI does is wrong and Imagineers are all Primadonnas". So the culture exists and regardless of how good you may try to be, it's perpetuated.

I worked hard at the parks to build relationships with the operators and to understand what they needed (as the minute you leave, they will rip out what you do wrong, so why not make it work from the outset?) Trust is the key to success down there and they need to see that their needs are also your needs and that you won't throw them under the bus. Kim Irvine and her WDI staff on the ground there have made careers out of building bridges with the operations folks. She gets that big time as she thrives. They love her and she is humble and kind but gets what she needs too. I'm not saying that there could be some that are arrogant, and of course, in life arrogance is not productive either. But there are two sides to this. I didn't want this to go unanswered as there are many Imagineers that are not like this and do not work that way.
 

Pioneer Hall

Well-Known Member
In today's column on Miceage Al says this about WDI culture.

It’s a corporate culture issue really, with WDI taking on the role of contractor and project manager for construction of facilities for their clients in the various departments at the theme parks and hotels. But unlike any good contractor in the outside world that would want to make their client as happy as possible, the Imagineers are on the same payroll as their clients and the ultimate goal is usually just to make themselves look good, and not necessarily please the client.

The result is that the Imagineering attitude taken is often one where they feel they know better than the operations folks and that whatever problem is presented by their completed design will simply have to be fixed by the operations folks who staff and manage it for the next 50 years. After all, it’s not like their client can go to some other design firm for this work. WDI has a monopoly on theme park and hotel design and construction, they know it, and so the concept of a happy customer rarely comes in to their artistic decisions.

This nasty cultural issue also manifests itself in a class system where the Imagineers regard themselves as superior to the lowly ride operators or life guards or fry cooks and their immediate supervisors who will staff their completed facility for decades to come. During the testing of new rides, many Attractions Cast Members have stories to tell of haughty Imagineers who refuse to acknowledge the Attractions Cast Members by name even with their nametags on, and simply call the Cast Members “operator” as a way of establishing rank and position.

While they spend long hours together week after week helping test and adjust any new attraction, too many Imagineers simply call out to the theme park Cast Members and say “operator, cycle the start button” or “operator, we’re going to lunch now, come back in an hour”. There’s a few infamous Imagineers who genuinely seem to get a kick out of the verbal putdown, too. The ugly truth is that the company’s line that the front-line operations Cast Members are the heart and soul of the theme parks and are the people that bring the “magic” to life is a concept that’s widely dismissed by too many in WDI.


I feel the need to respond to this. Although I can't say that these things did not happen as I'm no longer there, but as an experienced Imagineer myself I can say that the WDI design process always included representation from the operators in the planning and design of anything we did.

In my 30 plus years in design and 13 at WDI working all over the world, I have never heard any Imagineer call someone "operator" or anything but their name. It's true that CM's are the heart of the parks, but this seems a bit one sided.

Operations has initial input as to where cash wraps go, security desks are and even approving the widths of walkways as we design. Marketing has to pass on your ideas. They are assigned to your project to look at everything. At times we had to bend over backwards to satisfy these things at the expense of theming. Sometimes we fought. Usually these kinds of "problems" spoken of in Al's column come from either the Imagineer being inexperienced or the operator not paying attention to what is being designed and something slips through. Everyone makes mistakes. As the "client", they are very involved in the process and need to take responsibility for some of the things that they overlook as well.

I recall the operator being ok with serving booze to people on Rollerskates in the Roller Rink Club at Pleasure Island. I raised it at the time and they told it me was ok. Can you imagine? The operations rep said that. Drunks on skates plowing through families! Or when they allowed DL Entertainment to park a Lion King parade in the middle of Main Street blocking any means of fire exit? They did it. WDI was not involved. What about the Fantasmic! issues with safety and crowding? WDI not involved until the Esplanade was added later. So issues can arise anywhere, it's not always WDI arrogance, but perhaps lack of experience in many departments that can lead to this.

It is true that the goals are at odds as the creative goals conflict with operational ones at times, but believe me, they get their licks in and you can see all kinds of operational compromises to theme all over the parks!

As for culture, there is also a bias from the Ops side and maintenance that "everything WDI does is wrong and Imagineers are all Primadonnas". So the culture exists and regardless of how good you may try to be, it's perpetuated.

I worked hard at the parks to build relationships with the operators and to understand what they needed (as the minute you leave, they will rip out what you do wrong, so why not make it work from the outset?) Trust is the key to success down there and they need to see that their needs are also your needs and that you won't throw them under the bus. Kim Irvine and her WDI staff on the ground there have made careers out of building bridges with the operations folks. She gets that big time as she thrives. They love her and she is humble and kind but gets what she needs too. I'm not saying that there could be some that are arrogant, and of course, in life arrogance is not productive either. But there are two sides to this. I didn't want this to go unanswered as there are many Imagineers that are not like this and do not work that way.

I'm glad you responded...if you hadn't I would have asked you to anyway :lol:

I think that this is a culture issue in all companies, not just Disney. You can replace operations and imagineers with any titles that have to work toward a common goal. I see it all the time in Investment Banking...sales wants to do something one way, operations wants something else, technology and accounting then say something else. You have everyone fighting for position and ultimately egos get in the way where people either get put down or insulted. While I read what Al wrote, I figured that his examples probably do occur at times. I can't imagine that every imaginner has the utmost respect for ops people, but I also don't believe that the majority of them walk around with their soap box to stand on. While I thoroughly enjoy reading Al's updates since they usually have great information, I do think that he embellishes a bit. While I do agree that management in Anaheim probably has a better idea as to what is going on when it comes to their parks, I think that some of the negativity he gives to WDW is exaggerated.
 

Eddie Sotto

Premium Member
I'm glad you responded...if you hadn't I would have asked you to anyway :lol:

I think that this is a culture issue in all companies, not just Disney. You can replace operations and imagineers with any titles that have to work toward a common goal. I see it all the time in Investment Banking...sales wants to do something one way, operations wants something else, technology and accounting then say something else. You have everyone fighting for position and ultimately egos get in the way where people either get put down or insulted. While I read what Al wrote, I figured that his examples probably do occur at times. I can't imagine that every imaginner has the utmost respect for ops people, but I also don't believe that the majority of them walk around with their soap box to stand on. While I thoroughly enjoy reading Al's updates since they usually have great information, I do think that he embellishes a bit. While I do agree that management in Anaheim probably has a better idea as to what is going on when it comes to their parks, I think that some of the negativity he gives to WDW is exaggerated.

I'm not denying that what he says about certain instances could be true. Al Lutz is a big voice out there and who am I to question his sources? He did say that some Imagineers do these things, not all. It just seemed to me that he's getting his information from a source at the park and perhaps could use some perspective. I just didn't want people to think that the parks are held "hostage" by WDI and that they do whatever they please despite practical considerations. I realize that I don't work there anymore. But culturally, it is always been collaboration between both sides throughout the process and the ensuing conflict between creative and function has usually resulted in a project that lands somewhere in the middle, satisfying both objectives to a greater or lesser degree.

I will say that sometimes designers are treated like children as they are perceived to live in a dream world and not really understand the realities of construction. (Some truth in that). The longer you work in the business, and the more things you build, the greater the need is for you to balance both sides of your personality. The one side that understands the practical aspects of what it is you're trying to achieve, and the other that never wants to forget the importance of "the big idea" and what it it means to make something simply wonderful in the eyes of a child. I've experienced project management and operators talk down to me as if I'm not smart enough to understand the practical aspects of what they need because they assume I'm some stoner. So there is enough arrogance and prejudice on all sides to go around.

At the end of the day, were just building things that are best enjoyed with popcorn. We're not saving lives. Everyone has to remember that it isn't "fun" no one will come back and the whole place goes out of business.
 

Eddie Sotto

Premium Member
Fascinating story Eddie, thanks for sharing it. One thing did puzzle me, though. You said you were working for Sears when you pitched your Rumrunners idea; this means you weren't with WDI yet. Did you have some sort of "in" with Knotts' management that someone would take a pitch meeting with you? Was it the end result of multiple cold-calls? Is that something that amusement/theme parks will do, take a pitch from someone with an attraction idea, despite not having the pedigree or resume for it? (I suspect Cedar Fair would definitely take your phone call now, given your background and experience.)

It was the result of multiple cold calls. I called every two weeks for six months and finally my dad had a good suggestion. He said "why don't you just ask if they will look at your portfolio and tell you how bad it is". Ask for input not for a job. That way they don't feel obligated to do anything for you but critique your work. That was the breakthrough because the gentleman who looked at it saw the potential and what I could do even though I had no real experience. Today because of the legal environment no one wants to look at anyone's ideas as they indemnify themselves. Those meetings will most likely would've not taken place in today's world without lawyers submitting things on your behalf and the park being willing to accept your submissions.
 

Eddie Sotto

Premium Member
Hi Eddie, I've been reading the 200+ pages this thread has piled up and have been really enjoying being a silent reader to your awesome stories from inside WDI so first of all a big thank you from me! I figured, if it's OK with you, I'd pop in with a question of my own. I was curious, were there any projects that you already had up and running and suddenly you felt a feeling of "oh man, I have a much better idea for this ride / concept, maybe we should rethink this!"? If so was it something you fixed as you went along or did you just execute the original concept regardless?

Second-guessing is a virus I don't think I've ever shaken. When you trained yourself to think of ideas all day long it doesn't seem to stop once you go into production. So yes, there are times that you look at what you're building and think to yourself "hey, let's do this another way."

Here's an example of something that slipped through the cracks. We had developed a design for the new jungle cruise dock at Disneyland which is a rambling piece of architecture. It was a two-story building with the tower. We have built a model of this building based on sketches I had done and Imagineer Chris Runco. We did not have the luxury of putting that model in a larger model to understand the context of the rest of the land. So after the drafting of the building had begun, I noticed in reviewing the drawings that the building was actually drawn to the full scale, not the scaled down and slightly miniaturized approach that the rest of the land had taken. So here we had a package of drawings that were ready to go to construction and the whole building is the wrong scale, meaning two tall. YIKES!

So the question was...How can we restore the small scale without fundamentally changing the entire building? We went back and re-proportioned the railings and other aspects of the building to hide it's mass and create a sense of diminished perspective without changing floor heights. We shifted trees and sightlines. I think we accomplished most of this at the last minute. Today I look back and I still would like to make the tower 20% smaller, but there's only certain things you can do the last minute when you rethink your path.
 

flavious27

Well-Known Member
In today's column on Miceage Al says this about WDI culture.

It’s a corporate culture issue really, with WDI taking on the role of contractor and project manager for construction of facilities for their clients in the various departments at the theme parks and hotels. But unlike any good contractor in the outside world that would want to make their client as happy as possible, the Imagineers are on the same payroll as their clients and the ultimate goal is usually just to make themselves look good, and not necessarily please the client.

The result is that the Imagineering attitude taken is often one where they feel they know better than the operations folks and that whatever problem is presented by their completed design will simply have to be fixed by the operations folks who staff and manage it for the next 50 years. After all, it’s not like their client can go to some other design firm for this work. WDI has a monopoly on theme park and hotel design and construction, they know it, and so the concept of a happy customer rarely comes in to their artistic decisions.

This nasty cultural issue also manifests itself in a class system where the Imagineers regard themselves as superior to the lowly ride operators or life guards or fry cooks and their immediate supervisors who will staff their completed facility for decades to come. During the testing of new rides, many Attractions Cast Members have stories to tell of haughty Imagineers who refuse to acknowledge the Attractions Cast Members by name even with their nametags on, and simply call the Cast Members “operator” as a way of establishing rank and position.

While they spend long hours together week after week helping test and adjust any new attraction, too many Imagineers simply call out to the theme park Cast Members and say “operator, cycle the start button” or “operator, we’re going to lunch now, come back in an hour”. There’s a few infamous Imagineers who genuinely seem to get a kick out of the verbal putdown, too. The ugly truth is that the company’s line that the front-line operations Cast Members are the heart and soul of the theme parks and are the people that bring the “magic” to life is a concept that’s widely dismissed by too many in WDI.


I feel the need to respond to this. Although I can't say that these things did not happen as I'm no longer there, but as an experienced Imagineer myself I can say that the WDI design process always included representation from the operators in the planning and design of anything we did.

In my 30 plus years in design and 13 at WDI working all over the world, I have never heard any Imagineer call someone "operator" or anything but their name. It's true that CM's are the heart of the parks, but this seems a bit one sided.

Operations has initial input as to where cash wraps go, security desks are and even approving the widths of walkways as we design. Marketing has to pass on your ideas. They are assigned to your project to look at everything. At times we had to bend over backwards to satisfy these things at the expense of theming. Sometimes we fought. Usually these kinds of "problems" spoken of in Al's column come from either the Imagineer being inexperienced or the operator not paying attention to what is being designed and something slips through. Everyone makes mistakes. As the "client", they are very involved in the process and need to take responsibility for some of the things that they overlook as well.

I recall the operator being ok with serving booze to people on Rollerskates in the Roller Rink Club at Pleasure Island. I raised it at the time and they told it me was ok. Can you imagine? The operations rep said that. Drunks on skates plowing through families! Or when they allowed DL Entertainment to park a Lion King parade in the middle of Main Street blocking any means of fire exit? They did it. WDI was not involved. What about the Fantasmic! issues with safety and crowding? WDI not involved until the Esplanade was added later. So issues can arise anywhere, it's not always WDI arrogance, but perhaps lack of experience in many departments that can lead to this.

It is true that the goals are at odds as the creative goals conflict with operational ones at times, but believe me, they get their licks in and you can see all kinds of operational compromises to theme all over the parks!

As for culture, there is also a bias from the Ops side and maintenance that "everything WDI does is wrong and Imagineers are all Primadonnas". So the culture exists and regardless of how good you may try to be, it's perpetuated.

I worked hard at the parks to build relationships with the operators and to understand what they needed (as the minute you leave, they will rip out what you do wrong, so why not make it work from the outset?) Trust is the key to success down there and they need to see that their needs are also your needs and that you won't throw them under the bus. Kim Irvine and her WDI staff on the ground there have made careers out of building bridges with the operations folks. She gets that big time as she thrives. They love her and she is humble and kind but gets what she needs too. I'm not saying that there could be some that are arrogant, and of course, in life arrogance is not productive either. But there are two sides to this. I didn't want this to go unanswered as there are many Imagineers that are not like this and do not work that way.

I am sure that this could have happened with a small group of imagineers that thought that they had a chip on their shoulder because of the position they were getting paid for. This happens at many companies, with different departments and within the same departments. It is just how we sometimes find ways to relate within an area, finding a common "enemy". I worked in the front office of a bank, and we hated the call center; talking to different reps in the call center, it was the opposite, they hated the front office personnel.

With what wdi has been able to design and build in the past, I do not think that they treat the front line staff in the manner mentioned in the article. If there was that much apprehension between the designers and the users, disney would not run smoothly because design elements would slow down the front line staff.

Any thing that we hear as rumors or stories on the internet must be taken with a grain of salt when the sources are not confirmed. I know that it is not all unicorns and rainbows during the design and building processes but it is not battle of la mayhem.
 

KevinYee

Well-Known Member
So the question was...How can we restore the small scale without fundamentally changing the entire building? We went back and re-proportioned the railings and other aspects of the building to hide it's mass and create a sense of diminished perspective without changing floor heights. We shifted trees and sightlines. I think we accomplished most of this at the last minute. Today I look back and I still would like to make the tower 20% smaller, but there's only certain things you can do the last minute when you rethink your path.

For at least five years from the JC rehab in the mid-1990s until I moved away from California, I walked by that queue building at least twice at week. Literally hundreds of times. I'm probably one of the most picky critics out there. And never once did I think to myself that the new JC building was out of scale. I think it's possible that the designers and creators can be a little hard on themselves :)
 

Eddie Sotto

Premium Member
For at least five years from the JC rehab in the mid-1990s until I moved away from California, I walked by that queue building at least twice at week. Literally hundreds of times. I'm probably one of the most picky critics out there. And never once did I think to myself that the new JC building was out of scale. I think it's possible that the designers and creators can be a little hard on themselves :)

Thanks...I think we fixed it. I would have done even more if I had it to do over.
 

HMF

Well-Known Member
I see it all the time in Investment Banking...sales wants to do something one way, operations wants something else, technology and accounting then say something else. You have everyone fighting for position and ultimately egos get in the way where people either get put down or insulted.

Thus ' the current state of our economy.
 

DisneyFan 2000

Well-Known Member
Second-guessing is a virus I don't think I've ever shaken. When you trained yourself to think of ideas all day long it doesn't seem to stop once you go into production. So yes, there are times that you look at what you're building and think to yourself "hey, let's do this another way."

Here's an example of something that slipped through the cracks. We had developed a design for the new jungle cruise dock at Disneyland which is a rambling piece of architecture. It was a two-story building with the tower. We have built a model of this building based on sketches I had done and Imagineer Chris Runco. We did not have the luxury of putting that model in a larger model to understand the context of the rest of the land. So after the drafting of the building had begun, I noticed in reviewing the drawings that the building was actually drawn to the full scale, not the scaled down and slightly miniaturized approach that the rest of the land had taken. So here we had a package of drawings that were ready to go to construction and the whole building is the wrong scale, meaning two tall. YIKES!

So the question was...How can we restore the small scale without fundamentally changing the entire building? We went back and re-proportioned the railings and other aspects of the building to hide it's mass and create a sense of diminished perspective without changing floor heights. We shifted trees and sightlines. I think we accomplished most of this at the last minute. Today I look back and I still would like to make the tower 20% smaller, but there's only certain things you can do the last minute when you rethink your path.
That's an interesting read and makes me really wonder how many times projects are tweaked in-the-making as a result of these things! I can only imagine how hard it would be for a die-hard perfectionalist like me to work at a place like WDI. With all the constraints and budgets I guess it would be really wise for the people there to develope a sense of satisfaction of the project considering realistic constraints of money and time. I would NEVER be able to accomplish that, lol. Thanks for the answer, Eddie!
 

Eddie Sotto

Premium Member
That's an interesting read and makes me really wonder how many times projects are tweaked in-the-making as a result of these things! I can only imagine how hard it would be for a die-hard perfectionalist like me to work at a place like WDI. With all the constraints and budgets I guess it would be really wise for the people there to develope a sense of satisfaction of the project considering realistic constraints of money and time. I would NEVER be able to accomplish that, lol. Thanks for the answer, Eddie!

Perfectionist? You would never get your projects pitched because you'd always have a gun in your mouth. Not to worry, you'd never pull the trigger because you'd keep asking yourself, "but is it the right gun? Does it have to be a gun?" I'm seldom that happy with anything and that includes myself. You learn to be content with a certain level of finish, knowing you never get it all, so you have to aim high to be safe. You shoot for getting the big idea across. The rest is usually downhill after opening (not maintained or the detail gets weeded out) so you enjoy the end result as much as you can, and the fact that most guests don't see the stuff that didn't get there (like Kevin Yee at the JC) and probably only you care about. It can just get too personal so you have to protect yourself from that. You learn to just go with doing your best and be happy that they are happy.

It's the art of the possible.
 

Mansion Butler

Active Member
I feel the need to respond to this. Although I can't say that these things did not happen as I'm no longer there, but as an experienced Imagineer myself I can say that the WDI design process always included representation from the operators in the planning and design of anything we did.
My only on-the-job experience with Imagineers was with Tony Baxter, Joe Rhode, and some other folks who I didn't recognize but were important enough to be with Joe Rhode and Tony Baxter when they went through the Haunted Mansion. They were nothing but friendly.
 
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