Disney Journey Transcript Show #87

How Early Imagineers Created the Viewliner and Why It Closed.

Disneyland is renowned as a park that seamlessly blends frontier themes with fairy tales. The transformation of this former farmland into the iconic destination it is today required the dedicated efforts of numerous Imagineers. This narrative highlights three of these influential figures. Welcome to Disney Journey. Following one hundred episodes, my introduction is likely familiar. Let us proceed with this installment.

During Disneyland’s conceptualization for Anaheim, the site comprised expansive tracts of farmland; at the time, some areas—especially Tomorrowland—may have seemed destined to remain unused. Seventy years later, we know otherwise. In this episode, we revisit the early development of Tomorrowland, focusing on the classic attraction known as the Viewliner. A significant advantage of working as an Imagineer was access to the original hand-drawn design schematics, created before the digital era on trace or vellum. With experience, one could identify the artist behind unsigned works, as these renderings often transcended mere technical utility and approached true artistry—worthy of display in a museum setting.

Among these artists, Disney Legend John Hench stands out, his exceptional contributions merit recognition. When I joined, John maintained an office and conference room at 1401 Flower Street in Glendale, California, and remained approachable for consultation.Numerous articles and books discuss John Hench’s legacy, with one particularly noteworthy resource detailed in the show notes below.

Continuing through the figurative gallery of Disney legends, we encounter Ruth Shellhorn, a landscape architect whose pivotal role in the latter stages of Disneyland’s development is sometimes underappreciated. Without Ruth’s expertise in drafting, her coordination with Walt Disney, and her ability to implement plan modifications efficiently, the park’s timely opening would have been improbable. For further reading, the University of Georgia Press offers an extensive account of Ruth’s career, including her work at Disney. Walt Disney famously articulated that Disneyland would continue to grow—a statement reflected in the substantial undeveloped land present in 1955. There was no shortage of ideas for future attractions, and soon after opening, operational needs dictated rapid expansion.

A particular tract in Tomorrowland was identified as ideal for a new ride. Recognizing Walt’s enthusiasm for trains and the popularity of children’s train rides, alongside inspiration from the streamlined GM Aerotrain, Imagineers began designing what became the Viewliner. My own recollections of the Disneyland Viewliner are vivid; as a child, I found the experience exhilarating. Although modest by modern standards, its significance as an early Tomorrowland attraction endures.

Much credit is owed to Bob Gurr for his versatile engineering work on such projects. Documentation of these endeavors can be found in various resources.Despite its humble beginnings, the Viewliner benefited substantially from Disney’s attention to detail. Distinctive design choices—including visually appealing cabs, strategic placement of bridges and causeways, and the juxtaposition of traditional steam trains with futuristic aesthetics—set the attraction apart. Its interior, while compact due to its origins as a children’s train, conveyed a sense of innovation.The Viewliner featured two stations, located in Fantasyland and Tomorrowland, offering guests a unique journey. However, its operation was short-lived. As guest attendance grew and land became increasingly valuable, early Tomorrowland attractions were frequently repurposed or dismantled.

By the 1967 reopening of Tomorrowland, several original attractions, including the Viewliner, had made way for new developments. This pattern continues: limited space requires that every addition supersede an existing feature, exemplified by the construction of Galaxy’s Edge. Looking ahead, the only certainty is change—particularly given Tomorrowland’s focus on science and technology. While Tomorrowland has faced challenges, its successful moments have provided memorable experiences, such as observing technological showcases or witnessing rocket launches. Notably, good ideas are rarely lost within Disneyland; rather, they may be relocated or reimagined in different contexts.

For example, within Mickey’s Toontown, one can still find references to the Viewliner in unexpected places, such as signage above retail spaces. Tomorrowland’s history is characterized by continual transformation, with attractions evolving or yielding to new initiatives.

The contributions of Bob Gurr, John Hench, and Ruth Shellhorn were instrumental in its realization. The future trajectory of this notable Anaheim location remains unpredictable.

As this exploration of the Viewliner concludes, I extend appreciation to all channel subscribers—their continued support is invaluable. For additional information regarding this episode, refer to the show notes. Until the next installment, thank you and farewell from Lost Canyon.

State of the Art

This post is a little bit of a rant. If you don’t like to read rants, then stop here unless you like a rant about technology. To begin with the issue I’m having I know is my fault, my responsibility. The company that makes the devise I’m having an issue with has designed and built a devise that does what’s promised.

DJI Mic (1 TX & 1 RX) Wireless Lavalier Microphone

My problem is that I use this mic to record the portions of the Disney Journey with Jim Shull videos. I use a Scarlett 2i2 4h generation mic combined with a Focusrite box to record the voice over portions of my videos, and the issue is the sound quality ‘jumps’ between the two recorded sources.

The system and my drink of choice.

Thankfully the people who watch Disney Journey have called me to task and as a result I spent ‘quality time’ manually adjusting the on screen audio and the voice over audio. Hopefully this should help but this is where my rant starts. All the recorded audio sounds good before I release the episodes. However when I watch the released videos on a television on YouTube that is when I hear the my booming voice on screen combined with the pleasant soothing voice in the voce overs.

Screenshot

The solution to my audio woes?

In the spirit of spending to make Disney Journey better I’ve ordered this. The DJI Mic 3 (2 TX + 1 RX + Charging Case) hoping that a newer bit of technology kit will fix (or at least make) the audio issue better. Aside from the technology purchased I wished companies would share simple video instructions on the level of ‘How to Make Toast”. First buy bread, then put bread in toaster, plug in the toaster and push the lever down. That level of instructions. I don’t need chip generation, or other gobbledygook when I only want to make toast.

State of the Art circa early 1990s

Finally I have walked this road before and may again. When working away in my office at Disney Imagineering in the early 1990s a box was delivered that contained the Mac computers that were distributed to Imagineers in WDI Creative. BTW the photo is a later generation of Mac not that it matters. The person who delivered my shiny new computer smiled and wished me luck because I had entered a new world of technology much as I have now.

Wish me luck.

Theory of First Costs

Buildings cost money and buildings that appear to be a part of a themed environment cost even more money.  The jobs of Project Managers rest on the foundation that they deliver projects on time and on budget, so PMs are inspired to find ways to reduce costs wherever possible.  If they go over budget or a project opens late, they may not manage another project.

Not everything is in the control of a Project Manager such as when a natural disaster increases the cost of building materials due to demand, or when a ride system fails to preform and has to be rebuilt.  These are uncommon, but when the project mandate is building a mountain, then a mountain they shall build. That is the goal for the project.

Splash Mountain is an example of a building that appears to be a mountain.

But there was a popular trend starting in the late 1980s that resulted in not building mountains but building movie studio soundstages and back lot set walls.  The Disney MGM Studios at Walt Disney World was the Disney Park that led the way because a simple box instead of an immersive environment could be built which was acceptable because simple construction meant the story conceit.  If guests were asked what they were seeing the answer was ‘it’s a soundstage’, and soundstage are simple boxes and boxes are cheap and fast to build.  The finished project achieves its objectives and general happiness results.

Backlot street at the Disney MGM Studios Walt Disney World.

But the ‘first cost’ often isn’t the ‘final cost’.  

Due to the fact that the simple box is limited, inflexible, and expensive there are costs for changes and modifications driven by future projects.  This is what we are seeing now in Anaheim with the expansion of ‘Avengers Campus’ at Disney California Adventure.  The simple wall with the mounted Avengers Quinn jet and the opening was built to accommodate the Red Car ride.  But to build the expansion of Avengers Campus, the Red Car maintenance barn has been demolished.  What was built originally was ‘just enough’ with no solid plans for future modifications and revisions. Should the existing retail shop become part of a new project there could costs, and the costs fall to the next Project Team.

Looks like a building but its not (Avengers Campus DCA).

The rule of first vs second costs is applied to entire Disney Parks.  For example, when Hong Kong Disneyland and Walt Disney Studios Park opened, both were half day parks.  Over the years new rides were built and lands added at a cost greater than if they had been built originally.

20K ride at Tokyo Disney Sea.

In fairness sometimes there are second costs incurred due to guests opinions and dissatisfaction, such as when the 20k ride at Tokyo Disney Sea was redesigned with a new show.  So, the ‘bean counters’ aren’t always at fault.  Sometimes but not always.  It’s an artful skill to balance the risks and needs of projects to succeed not fail, deliver on time and not late, and stay on budget while not going broke.  Writing as someone who has been in the war trenches, I confirm it is not an easy or simple task.

“Walt Disney, A Magical Life” Thoughts

Disneyland is the first Disney Park and the only one that Walt Disney lived to visit, and even sleep in.  I’ve visited his tiny apartment located above the Fire Station with its even tinier bathroom and its really tiny shower.  It looked like any shower plan involved walking into and then backing out of the compartment.   Walt’s apartment is located across Town Square, and the main windows look out toward the Opera House where the new show honoring Walt has opened.  “Walt Disney, A Magical Life” celebrates both the man and his work and it is timely because there is generation who is not all that familiar with the man or his work.

The Disneyland Opera House has had several different lives.  Built as a lumber mill and carpentry shop, it then showcased sets from the Disney film “Babes in Toyland”.  Next came the Lincoln show that premiered at the 1964 World’s Fair which went through changes and revisions over decades.  The changes occurred while the Disneyland telephone switchboard team worked on the floor above the man from Illinois.

Babes in Toyland movie sets in the Opera House on Main Street Disneyland

President Lincoln was nearly replaced by the Muppets and was replaced for a time for the film “The Walt Disney Story”, which didn’t last long in the Opera House.

The Walt Disney Story on Main Street.

I have experience creating a show celebrating Mr. Disney because I was the Creative Lead for “One Man’s Dream”, which was part of the ‘100 Years of Magic” celebration at Walt Disney World.  During the design and production, I discovered that delivering a show about Walt Disney is harder than it might appear.  Everyone has their memory of Walt and people soon started picking at the show presented.  

The new show in Disneyland employes advanced figure animation, projection technology and important exhibits, but as with the earlier shows about Walt people have found fault.  “The sound is odd, the face is too fat, and the mustache is too thick” are among the comments.  

The guests making the comments are both correct and wrong in their opinions, and the company Walt and his brother founded will need to accept that this show is an example of the old adage that you can’t please everyone.  Sometimes you can’t please anyone, but congratulations are due to the team at Imagineering for trying.

Brand Withdrawal

Guests leaving Tokyo Disneyland often stop in the Grand Emporium which is a shop devoted to selling candy and sweets. I’ve visited the Emporium before leaving TDL several times to purchase gifts for others as well as a treat or two for myself.

The store interior is cheerful and time period appropriate with lighting fixtures, murals and set pieces that reenforce to guests that they are in a Disney quantity experience.

Mickey holding a candy cane underlines that this isn’t only a shopping experience but a show experience. Candy shopping was never so much fun. This is the expected show standard in a Disney Park and it is achieved in the Grand Emporium at TDL.

Image Credit: WDWMagic

But that’s not the standard of excellence that been held too in the remodeled Emporium on Main Street in the Magic Kingdom. Instead of period appropriate lighting fixtures standard lights hang from the ceiling. Rather than custom display racks there is a wall of peg board.

Once the Disney rule was the area above the merchandise was reserved for show, but that rule was broken in the remodel. A few framed pictures are near the ceiling, but beyond that there is nothing to suggest this is a shop, or that the purpose of this retail is anything other than to sell merchandise in as efficient and quick manner as possible.

Standard out of time period tile with a carpet strip documents that the design occupied a low rung for this project. Judging on retail results it could be called a success, but at what cost. When Disney Parks are defined by environments that are standard and common the result is a brand withdrawal.

Bond, James Bond

Among the talk of the importance of intellectual property the term is tossed around too often and applied to creations where it doesn’t belong. Naming something a property makes the assumption that the property is valuable, which isn’t the case.

The third Star Wars trilogy Disney considered a valuable property and built not one but two lands in based on the stories in that film. A billion dollars were spent on each of the two lands, and while I consider the land in Florida the more successful of the two (because Disney’s Hollywood Studios was in need of a anchor), the lands were not what could be called a ‘home run’. The stories told just were not valuable to the paying customers. The guests wanted to visit a land filled with characters and stories they knew which they valued, and responded in the negative when they were not served what they wanted.

Calling something an intellectual property doesn’t make it a valuable property. Few valuable properties exist or are valuable, and some have been not available. Until today when it was announced that creative control of James Bond has been transferred to Amazon Studios. What the studio makes of James Bond we must wait and see, but what is important is that the James Bond valuable intellectual property theme park rights are available.

Likely the rights will fall to one of the usual suspects such as Universal or Disney, but what is all but certain is that one of those two companies will secure the rights to create experiences in their theme parks and resorts.

We and they have been shaken and not stirred.

Election Day 2016

During my career as a Creative Director at Walt Disney Imagineering I lived in different countries during the course of a project to provide support and creative leadership.  So that’s the reason why and how I found myself living in Shanghai China on the day the Federal Presidential election was held.

The project office was named the “Toy Box” which was fitting because the project teams for Toy Story Hotel and Toy Story Land occupied the two floors of the building.  I shared my office with my associate who spoke perfect Chinese which only made sense because Zoe was Chinese by birth.  In our office decisions were made and meetings held on issues regarding both projects and we made every effort to deal with the unforeseen.  

What no one foresaw was the result of the Presidential election eight years ago.  Sitting at my desk I had my iPhone tuned to CBS news steaming for the results that all of the team in Toy Box assumed would quickly be over, but as it turned out things turned out differently.  Within a short time, the Ride Engineering group produced a bottle of Baijiu.

Baijiu is a clear grain alcohol that resembles (in color) other East Asian liquors like South Korea’s soju. The main difference between baijiu and these liquors is the former’s strength — a typical baijiu might exceed 110 proof (55 percent alcohol content).  This drink is not to be taken lightly but times were desperate.  Since I had drawings to mark, I sat at my desk and focused on my work which proved to be the distraction that I required.

Once I turned and watched the parade floats roll by and thought how quickly things change and how unexpected the changes can be.  That day was an election that I will never forget but I can’t say the same about others.

Predications for the New Year

Disney’s Hollywood Studios

In the spirit of the New Year, I’m here to offer predictions for 2024.  Note that as my crystal ball is out for repair that I’m turning to my slightly dusty Magic 8 Ball for my predictions.  Before I begin note that all predications are idle speculation which are based on the foundation that they could happen, not that they will happen.  

Marquee of Monsters, Inc ride at Tokyo Disneyland

The first predication for 2024 involves the replacement of the former Art of Disney Animation/Star Wars Launch Bay with a version of the Monsters Hide and Go Seek ride.  This ride is one of a kind and is located in Tokyo Disneyland’s Tomorrowland, which is an odd location, but land is limited in that park.  The ride is one where guests ride through the attraction while aiming what appear to be flashlights as they look for the child ‘Boo’.

The queue for Ride and Go Seek at Tokyo Disneyland.

Ride and Go Seek is a family friendly ride based on the characters from the Monsters Inc film series.

The reason why Magic 8 Ball makes the prediction is because the Disney Hollywood Studios needs more rides, it’s been announced that the Little Mermaid show is staying, the project cost is fixed (more or less) and the Monsters Ride and Go Seek would fit on the available site.

Site at Disney’s Hollywood Studios where Monsters Inc. could go.

The point is that sometimes rides, shows and attractions happen because of a set of small reasons, and not because of some grand vision.  

The same site with the addition of Monsters Inc. Ride and Go Seek.

Ride and Go Seek would fit the definition of a Disney ‘D’ ticket and activate an area in Disney’s Hollywood Studios that currently lacks content.  We shall see if the Magic 8 Ball is correct.

The Monsters Inc. ride vehicle in the station.

Unwrapping Unpacked

August 8, 2023

If you’re going to work, do the work in comfort.

When I traveled to Orlando nearly two years ago the reason wasn’t to start a video podcast, because another purpose had brought me to Florida.  Days were busy but my nights were free and so on one of the nights I sat down with Len Testa in the Celebration Hotel.  Our goal was to solve world problems in comfort, however over beverages and snacks our conversation veered to talking about the Disney Theme Parks and more specifically Disney podcasts.

Fueled by sodas Len, Jim and the other Jim at work.

After much back and forthing we agreed there was the opportunity to create an informative yet light- hearted program that showcases things we love about the parks without the dwelling on the negative. We could leverage Len’s knowledge of the numbers behind the parks that he’s gathered from his work building Touring Plans, Jim Hill’s well-researched reporting over decades that he has produced, and my personal experiences as a retired Walt Disney Imagineer. 

An example (really only a still frame) of the original animations for the show.

With the three of us in agreement we got to work, and during the last nearly two years developed a video podcast that we really like.  And in time we’ve been joined by others because we really want to do this the right way.My personal measure is to develop content of interest to me, and so I hope to you.  The video stories tell interconnected stories about rides, shows and attractions that you may already be familiar with, but presented in a way that you may not have thought about before.

A frame from the animation used to examine the Disney World canal system.

The show allows presentation of originally produced animation, artwork released by the partners of or by the Walt Disney Company, images, and videos.  The hope and intent is that we’ll be connecting the dots so that viewers we get to share with have a greater understanding of the Disney Theme Parks which they love as much as we do.

A Tower Tale.

June 13, 2023

Walt Disney Studios Paris opening year.

The Walt Disney Studios Paris theme park opened at the Disneyland Paris Resort on March 16, 2002.  Named the Disney MGM Studios Theme Park when it was first announced, it intended to open a few years after the opening of Euro Disneyland and would feature several major attractions in a richly detailed environment.  For reasons that have been reported previously, the park was at first delayed and then revised, finally opening ten years after the opening of EDL.  Fronting a different name, the new park opened with just three rides.  This resulted in a poor guest reception and work to expand DSP began.

The Anaheim version of Tower of Terror, built from steel.

Among the expansion goals was to erase the guest opinion that DSP was just a half day park.  So, as a result of the decision to expand a version of the Twilight Zone Tower of Terror was targeted to open in 2007.

The Tower toilets built before Disney Studios Paris opened.

What was to open at DSP would be a slightly different version to Tower of Terror with various tweaks and additions caused by considerations of location and French culture.  As since Tower of Terror was intended to be added to the Disney Studios Paris the area development surrounding the future attraction site, including toilets were built prior to the park’s opening.

The work begins on Tower of Terror at DSP.

Among the revisions to the French version was the method of construction.  Whereas the Anaheim version of Tower of Terror was built in steel, the version located in Marne-la-Vallee would be built in concrete.  Employing slip form concrete, or continuous pour is a construction method in which concrete is poured into a continuously moving form.  This method means that the poured concrete for tall horizontal structures allowing tower in Paris to rise far faster than its Anaheim counterpart.  Slip form is a conventional technique for construction in Europe, however it is uncommon in the U. S. 

A view from the Backlot Tram Tour station of the Tower construction.

Construction that uses this method calls for big equipment, such as the claw designed to remove vast amounts of ground material.  During my time overseeing the construction of Toon Studios, I’d take breaks to watch the claw burrow its way into the muddy ground of the site.

A view of the construction with the Stunt Show arena in the background.

The building form rose quickly and in 2007 Tower of Terror opened officially, although the ride had opened months previously to guests.  The Disney Studios Paris continued to grow after the opening of this ride, but I consider Tower of Terror to be the down payment on fixing Paris’s second Disney theme park.

A view of Tower of Terror topped off.