Disneyland Resort (DL, DLR, DCA) Discussion Thread

[WFChris]

Thinking about Pixar, their last few films have been a little lacklustre but The Incredibles present some possibilities.

 

Really? I thought Wreck It Ralph was the best thing they have done since the Toy Story franchise.

[adeuce02]

^^^Wreck It Ralph was from Disney not pixar. Pixar had Brave last year.

[azza29]

^^I liked Wreck It Ralph too, but as has been noted it was a Disney film (great to see Disney Animation catching up to Pixar!)

 

Brave, Wall-E and Up were good but I felt they lacked the 'wow' factor of Pixar's earlier films. Their last franchise I really liked was Cars, and Disney have done an awesome job bringing that into DCA.

 

 

Storytelling at the Royal Theatre in Fantasy Faire, Opening March 12 at Disneyland Park

 

This looks like it could be pretty cool. I really want to make an effort to check out more shows next time I'm at Disneyland, rather than just bouncing around from ride to ride all the time.

[robbalvey]

Brave, Wall-E and Up were good but I felt they lacked the 'wow' factor of Pixar's earlier films.

Brave was mediocre at best. Wall-E was "ok", but kind of weird and boring, and Up was just god awful. When the dogs started talking I thought for sure I was watching a Dreamworks movie that Pixar bought the distribution rights for. I wasn't a fan of Cars at all, so the last Pixar movie, other than Toy Story, that I really liked was Ratatouille. Pixar was untouchable for me from Toy Story through Incredibles with their first 6 movies being some of my "all time favourites!" But I really only like 2 of the last 7 movies they've put out since. Really hoping Monsters U changes that streak.

 

I don't mind the characters from Cars, Up, Wall-E, etc, being in the parks, but they just aren't movies I ever care to see again. I thought Carsland looked great and RSR was a lot of fun, but I kinda wish I could appreciate it a bit more since I'm not a fan of the movies.

Edited February 1, 2013 by robbalvey

[JRHcoasterki]

^ Did you just say Wall-E was "ok" and Up was "god awful"?! Seriously?! I'm offended!

[robbalvey]

^ Did you just say Wall-E was "ok" and Up was "god awful"?! Seriously?! I'm offended!

Yup! Honestly, I could barely watch either one of them. But I don't like movies with annoying fat kids, stupid grouchy old people, or talking dogs. So Up was seriously one of the worst movies I've ever seen. The only thing that could be worse would be a back-to-back marathon of Cocoon, Goonies, and All Dogs Go To Heaven.

 

....I guess in a way that movie was all three of those terrible films wrapped into one! lol

[WFChris]

Wall-E and Up were both pretty boring to me. Those movies are actually why I stopped going to theaters to see Pixar movies.

 

And the Up and Wall-E segments in 'World of Color' are short and useless as well.

[azza29]

^^^^I wanted to like Brave and Wall-E more than I did, thought the animation and artwork outshone the story in both*. Up peaks in the first ten minutes and is downhill from there.

 

Cars is a weird one - I know plenty of people who hate it, and plenty who think it's awesome. I'm in the latter group and liked it better than any Pixar film since Monsters Inc (except for maybe Toy Story 3). The sequel was rubbish though, very disappointing.

 

I really hope Monsters University is good. When last year's Madagascar and Ice Age sequels were on a par with Pixar's original offering something is very wrong.

 

(*I'm well aware that saying a movie is good because of the art design is the equivalent of saying a girl has "a nice personality". But there it is.)

[Simipour'sTrainer]

Man, I must be one of the very few who actually enjoyed "Cars 2." I caught it when it was being shown on T.V. Sat down, watched it and granted it is Pixar at their worst, but I couldn't help but still enjoy it. I guess it does help that I do like Mater and didn't find him that annoying. Plus, it's still Pixar animation and it still looks gorgeous (especially when they were in Italy).

 

I don't know, all I heard were people saying that this was one of the worst movies ever created. In all honesty, I didn't think it was as bad as people made it out to be.

[WFChris]

I saw Cars 2 a few times on HBO, and I think it was good in the same way that Speed Racer was. Fun to look at but not very deep. I think I would have been disappointed if I went to a theater to see it as watching it on television felt appropriate. Then again, I have never really been a fan of Disney sequels beyond Toy Story. I mean, most if not all of them fall flat when compared to the original, and most of them went straight to video as well.

Edited February 1, 2013 by WFChris

[Simipour'sTrainer]

^ True. If I had to pay $10 to see "Cars 2" in theaters as opposed to free on T.V. I probably would be a bit peeved too. But my opinion on "Cars 2" still stands.

[rcdude]

As far as Pixar movies go, Monsters, Inc. and Ratatouille are probably my favorites, with the Toy Story trilogy, Finding Nemo, and Wall-E falling in somewhere behind them. I didn't really care for Incredibles, Bug's Life, or Up, but Cars is definitely my least favorite (although I haven't seen Cars 2 (no interest) or Brave (just haven't got to it yet). I'm hoping Pixar will spring back as their latest movies haven't been quite as well recieved as most of their earlier projects and the lineup for the next few years doesn't look all that great either (but that is yet to be determined...perhaps Monsters University will be a surprise hit). When it comes to rides, I look at the ride independent of the movie and don't automatically write off an attraction that's based on a movie I don't like. For example, Cars is my least favorite Pixar movie but I really like Cars Land (not just RSR, but the whole area in general), but even though Monsters, Inc. is one of my favorites I rarely ride the ride just because it is somewhat pathetic (though still better than the awful Superstar Limo that was there before it).

 

As for a third gate at the resort, I've always thought it would be neat to have a park entirely based on Disney's major movie franchises, with each land themed to a different franchise. For example, they could have Star Wars land, Marvel land, Pirates land, etc. I don't think it would be a big deal if a franchise had attractions at other parks provided the attractions in the new park are significantly different (for example, Star Wars land could have anything except for a simulator, an Indiana Jones land would need to avoid having a high-tech dark ride, no shooting dark rides in a Toy Story land, and so on). I do think a whole park themed around any one franchise would be too much (even one as large as Marvel), although it would probably still be really popular.

[silverstreak]

Whoa! I Never saw so much Cars haters in one place. lol! Cars is my all time favorite Disney/Pixar movie ever! Of course Toy Story the original is a solid second. I also like Incredibles, Monsters Inc, Bugs Life, Finding Nemo. Also my son & I actually like & watch Meet the Robinsons. Least favorites has to be Ratatouille, UP, Wall-E & Cars 2. The rest was ok i guess.

[Jew]

Lots of reports that Tony Baxter is leaving Disney...I guess later today there will be an official release on his status w/ the company.

[Erik Johnson]

I glad I am not the only 80's kid who does not like The Goonies. I am too not really much of a Cars fan, but I thought the new land at DCA is a home run. For me my least favorite Pixar would probably be either Cars 2, or Brave: Brother Bear 3. My favorite is probably The Incredibles or The Toy Story series.

[Double0Kevin]

Lots of reports that Tony Baxter is leaving Disney...I guess later today there will be an official release on his status w/ the company.

 

Awww... Major bummer! I guess it was only a matter of time when he would eventually retire, just sad to see the time come. I hope he is leaving on good terms, I just assume it's retirement.

[BelizeIt]

I have been a annual pass holder for over half a decade plus, but given this years price increases (about 30% for the premium) which I've had for a while.....It seems a bit extreme!

 

Granted at DCA they have added new life to the park, and made many improvements....

 

But at Disneyland, spare me......They haven't added a new E-ticket attraction since Indiana Jones (AKA 1996!!!) Sorry but rehashing the subs doesn't count as anything new...)

 

Disneyland, the massive cash cow for the Disney corp which needs something new to bring us back into the fold. There are countless 'rumors' about improvements to tomorrowland, but who really know???

 

I look forward to to the future, where Universal Studios builds a new Harry Potter empire near by......perhaps then Disney will decide up update their semi outdated park.

 

I will renew my pass in the future, but Disney needs update to the 'Disney' standard I would expect.

 

If Disney has countless 'Billions' of dollars to spend on other acquisitions, then they can spare a little to improve Disneyland.

[Wes]

File this under "Disneyland fanboys are completely spoiled".

[COASTER FREAK 11]

They just added crap loads to DCA and have been adding stuff to DL as well. Just cause its what you wish they would build doesn't mean the park is outdated. Not every ride or attraction has to be something major. As well, they ave been going through and doing major rehabs to a lot of rides to make sure they actually still work for you to ride on!Id prefer Space Mountain to work well then have it never open because of poor maintenance.

[BeemerBoy]

I have been a annual pass holder

I stopped reading at this point.

[robbalvey]

File this under "Disneyland fanboys are completely spoiled".

Pretty much.

 

If you can't find value in your Disneyland annual pass. Stop going.

[SharkTums]

I do think that the Disneyland Resort California Pass is overly expensive for what you get, but you have to remember they're doing that on purpose as they have a much larger local population base than Florida has. Kind of like how the Tokyo Disney Pass is over $1000 because pretty much the whole country lives within a 3 hour radius of the park and they have to price people out.

 

We stopped renewing our passes to California for two reasons...they raised the prices again and it was taking longer and longer to get their due to traffic! They're still great parks, and they have been adding stuff, but like others have said you have to pick and choose what you spend your money on. For us it was more cost efficient to go and buy discount tickets a few times a year then get a pass.

[Double0Kevin]

Annnnd this is why I've stopped trying to defend California. Telling a Californian to not bitch is like telling a fish not to swim. You could suck it up and realize you have 2 amazing theme parks in your back yard (actually you have more, but for the sake of this conversation I'm talking about Disney). Think of people in Nebraska... they have no theme parks at all, and they live in Nebraska. The only positive there is they don't have to deal with Californians.

 

I agree that the prices for an AP are pretty high, but I love the parks and I go enough to get my moneys worth. Plus the payment plan has been majorly helpful in making me feel like my wallet isn't getting totally raped. Hell, I pay almost about the same per month on my gym membership.

[COASTER FREAK 11]

Heres more on the new show!

 

Disney Parks Blog

 

Go on an Adventure with Mickey Mouse and the Mapmakers When ‘Mickey and the Magical Map’ Comes to Disneyland Park This Summer

posted on February 1st, 2013 by Shawn Slater, Communications Manager, Walt Disney Parks and Resorts Creative Entertainment

 

The all-new, live stage production, “Mickey and the Magical Map,” debuts this summer at Disneyland park, and today I’m excited to be able to tell you a little more about the show and what you can expect to see when it opens!

The show begins with the timeless character of Yen Sid, the wise sorcerer from Disney’s classic “Fantasia,” who appears within his mysterious workshop to tell us of a wondrous map with the power to take dreamers to any place imaginable. Yen Sid sets his mapmakers to work painting the enormous map – a map so large it covers the entire breadth of the stage.

This is when our hero Mickey Mouse enters, full of curiosity, and dreams of being more than just an apprentice. He’s a bit of a rascal and doesn’t realize what he’s about to get into. When Mickey picks up a brush to paint the map’s one unfinished spot, he soon discovers this is no ordinary map. That’s when his adventures really begin!

 

The mapmakers are an ensemble of male and female performers who excel at singing, dancing and acrobatics. They wield enormous, magical paint brushes as they follow Mickey on his journey, helping bring to life fantastic worlds of music, color and beloved characters.

“Mickey and the Magical Map” will be presented in the newly-refurbished Fantasyland Theatre, a venue that merges the tradition of live outdoor performances with the latest in theatrical technology. This is Disney storytelling at its most thrilling, brought to life in the very heart of the most magical of lands, Fantasyland.

“Each new show we create is a chance to push storytelling in a new direction,” said Michael Jung, Vice President of Theatrical Development. “At Disney, we love the challenge of continuously looking at our classic tales and most recent stories to see how we can bring live entertainment and excitement to today’s audiences.”

Stay tuned to the Disney Parks Blog in the coming weeks and months, as we’ll have even more to share about the extraordinary new show, “Mickey and the Magical Map.”

[COASTER FREAK 11]

And here is the letter from Tony Baxter about his role change at the company. This was mentioned yesterday, but this is the official word (and its LONG):

 

AN OPEN LETTER TO FELLOW IMAGINEERS

 

Decades ago, Imagineering had the bold notion to start the 21st century 18 years early by unveiling the "future" at Epcot in 1982. This positive look at tomorrow had a numbing effect on the bleak vistas depicted in George Orwell's dystopian novel, 1984. As a kid beginning my career at Disneyland in the mid 1960s, both of these "futures" were far off from a universe where Disneyland was the only Disney park, Mr. Lincoln was a state of the art attraction, and everything operated under Walt Disney's guidance.

 

Today, while there is a new set of "futures" to explore, the time has come for me to evolve my role at Walt Disney Imagineering. Beginning this February, I will be transitioning to a position as a part time advisor. While I will not be here on a regular basis, I will continue to be available to any and all of you as needs arise. Though my time will be limited, my passion for the magic WDI creates will be just as strong.

 

Since early last year, I have been thinking about what I would say to all of you when this time arrived. It has been a wondrous 47 years spanning the opening of Walt Disney World to Big Thunder and Star Tours from Epcot's original Journey into Imagination to Disneyland Paris and Indiana Jones. The Imagineers I have known and shared these times with have provided invaluable experiences not to be found anywhere else on earth.

 

As one of the lucky second-generation Imagineers, I had the unique opportunity to experience firsthand the core philosophies of our company. I was fortunate enough to work with Claude Coats, Marc Davis, John Hench and the many others who built this industry alongside Walt Disney. I was able to soak up their wisdom and partner with them on creative projects. I have passed forward many of their key philosophies, and as our culture and scope have evolved, I have tried to balance my support of these foundations, with the business of charting "what's next." Now the 21st century brings a new reality for the first time, the younger generation is master of the key technologies driving the future. While upcoming generations deal with tech tools that are evolving almost daily, many of Disney's keystone philosophies remain stable and relevant. These philosophies help define our creative edge to a world that is eager for aspirational content. With no particular order, here are five that continue to inspire me, and I think you may find useful in shaping "creative futures" for the years to come.

 

Creating Lasting Experiences Legendary Imagineer Marc Davis once said, "We don't really have a story with a beginning, an end or a plot It's more a series of experiences building up to a climax." Guests still want to be astonished, and our best attractions deliver that wow factor with visions and emotions. I always start with the notion that it is the 20th repeat ride, not the first that is the most important. Park experiences are by nature less able to focus on linear stories and tangible feelings than motion pictures. Unlike a movie, what separates an OK attraction from a great one is that people find themselves "in" the great ones. They have been taken to a place they couldn't have imagined without Disney. How intriguingly we craft the level of guest engagement has direct bearing on desire for an umpteenth ride down the same track.

 

In Fantasyland, a simple line of dialogue heralds the beginning of one of the most aspirational ride experiences ever created; "Come on everybody here we go!" After riding Peter Pan, futurist Ray Bradbury was moved to write; "Walt, I'll be eternally grateful that you made it possible for me to sail from a child's window, out over moonlit London in a galleon on its way to the stars!" Despite the fact that by today's standards Peter Pan's technology is dated, its mystique has remained unwavering. The WDI challenge is finding ways to ensure today's more sophisticated experiences have similar intangible qualities that provide groundwork for lasting appeal.

 

Sincerity One of Walt Disney's ways of overcoming what sophisticates tended to see as corny or sentimental was his absolute belief in sincerity. Defending Disney's signature animation style in the movie Cinderella, Walt expressed what is to me a true hallmark of the Disney difference: "You have to believe in the honesty of Cinderella's world, or you will not believe in the magic as it unfolds around her either." The power of sincerity to win over an audience is "front and center" in the new Cars Land. Here, a truly believable environment fuses with the fantastic to give rise to new reality.

 

Valuable Mental Real Estate Awhile back there was talk about the elusive "Disney Difference." What the "difference" is may be open to various interpretations, but I see it centered on cultivating "Valuable Mental Real Estate." Since the early days at the studio, Disney has excelled in focusing diverse talents on plussing core ideas. Enhanced value stems from something as simple as the emotional appeal of Epcot's Figment character in comparison to hundreds of other generic dragons. When the whole team undertakes a mission to make "our dragon" stand out in every way, mental real estate values go up.

 

At Imagineering, where we must deal with equal parts of controlled insanity and disciplined evaluation, this can be complicated. Years ago, who else could have come up with the crazy idea for Flying Saucers and then make the concept work! (Sort of). Piloting flying saucers is every kid's dream, and in spite of the ride's technical shortcomings, people will forever recall the Flying Saucers as an E ticket. This rides aspirational, "bucket list", once-in-a-lifetime intrigue, more than made up for any less than stellar performance.

 

Disney Hallmark Values Current culture and the structure of our company are vastly different from the time when I began my career. Yet within that dynamic, hallmark values continue to add major appeal to today's more socially sensitive content. Disney's feature Beauty and the Beast shared many hallmarks with its ancestor Snow White, but it spoke to a vastly different audience with a finer tuned voice. Likewise, the more recent Tangled fuses traditional Disney values with relevancy aimed at a new generation.

 

Beyond the WDI walls, Pixar and Marvel achieve a consistency of success in their fast paced arenas. Each Pixar team is confident enough in their individual productions to freely reach out and tap into links that insure Pixar's hallmark differentiators are a part of every project. Marvel has taken a different route, tasking individual creative teams to bridge their storylines under an overarching and epic saga. Regardless of the diversity of deliverables, hallmark values are key to all Disney entities, and everyone needs to be alert to where they reside, and how and why to fuse them to the DNA of a project.

 

Mentoring At both ends of a career one of the most important working relationships is achieved through mentoring. When you are in your 20s and 30s it critical to find a mentor you can admire and trust. What proved most valuable for me was a mentoring partnership that skipped a full generation. A wide age gap creates a cross-generational opportunity for two-way learning. A young mentee sees a mentor's still bright light as support for his or her own growing visibility, and the gap vanquishes the sense of competition. In a complementary way, a mentor's satisfaction is fueled by the growing knowledge and skills transferred to their younger partner. My mentor was Imagineering legend Claude Coats, nearly four decades my senior. For Pixar director Pete Docter, his mentors were animation giants Joe Grant and Ollie Johnson. Pete and I absorbed as much knowledge as we possibly could during a period of growth in our careers. I would like to think our esteemed mentors also drew inspiration from our curiosity and unexplored visions!

 

A mentorship is not a few hours of counseling every so often; it is pulling together on real projects, with business/creative goals and knowledge gains to be made by both sides. This is the partnership I had with Claude Coats, and we remained lifetime friends because of our shared working time together.

 

Going Forward No company is perfect, and like any other corporation Disney has its own politics and challenges. We are artists, engineers, managers, filmmakers and musicians. But our company is unique; there is no place like it on earth. We are lucky. At the end of the day, it is my hope that this letter will add to the special culture that I have been privileged to grow in. I see the probability for that happening in my interactions with younger Imagineers like Michel, Josh, Zach, Dylan, Laura, Manuel, Vanessa and Brandon, which are beyond rewarding to me. At a time when "unlearning" is as critical as "learning," it's important to listen to the way these people think and enjoy the things they do. Creativity I have mined from their game-changing perspectives, now effectively influences my own design process. I hope that when their careers peak some decades from now, they will look back on our time together as I value the time I was able to spend with Claude Coats.

 

And now it comes down to the point at hand. I am not suggesting that I could be a mentor to you all, but that said, you should all have someone you can turn to in this manner. I do hope to be available to help support your ideas, give advice or even join a team whenever appropriate. My role will be one of supporting your visions in the best way I can, and encouraging you to maintain and build upon this already special place. I will have availability, and if you would like my assistance in any way, please e-mail Bruce Vaughn's office to request my time.

 

This is not a goodbye, but hopefully a letter of introduction to the many of you that I have not yet had the chance to meet personally

 

Tony Baxter

 

Feb. 1, 2013