Under the cover of night, a ray of sunshine landed in Adventureland at Walt Disney World and the Florida Orange Bird reappeared at the Sunshine Tree Terrace, from which he had been absent for many years.

First, please watch:

So with the Orange Bird back and spiffed up, and Citrus Swirls back [...]]]> Good news, everyone!

Under the cover of night, a ray of sunshine landed in Adventureland at Walt Disney World and the Florida Orange Bird reappeared at the Sunshine Tree Terrace, from which he had been absent for many years.

First, please watch:

So with the Orange Bird back and spiffed up, and Citrus Swirls back on tap, the Sunshine Tree Terrace is once more a must-stop destination for citrus-friendly visitors. What a change from a few months ago, when you could only get plain vanilla soft-serve and Cokes there! Hopefully this will reap dividends for the Mouse and management will realize that a differentiated slate of unique offerings throughout the parks benefit everyone in the long run. I can’t help but think those lines of people queued at the Sunshine Tree Terrace back up our argument: It’s possible to do things the right way and make money at the same time!

As we’ve talked about in the past, these small victories are always the result of hard work on the inside by people going out of their way to bring back little touches of the “real” Walt Disney World. After so many years of things being removed and lost without replacement, some of this texture is returning. So kudos to everyone involved! I can’t wait to see what’s next.

That begs a question – what would you like to see make a return to the parks next? What lost detail, snack, character or bit of atmosphere would you like back? Dreamfinder? Teriyaki burgers? The Penny Arcade? Let us know – and most importantly, let Disney know!

Before the era of smartphone video, and even up to the advent of the VHS [...]]]> Long ago, we old people had something called “film”. Film was how we made pictures move, and some of us had machines called “projectors” that we would use at home to make the pictures appear on a wall or bedsheet.

Before the era of smartphone video, and even up to the advent of the VHS video era, Disney actually sold souvenir filmstrips in the park. Films in the “Super 8″ 8mm format – some of them with sound! – were created that showed off the Florida resort by day and by night. What’s great about these films is seeing how Disney chose to depict itself in those days; it’s an experience far different from that of today. Films often tended to show off the resort itself, hardly even dwelling on the theme park. Others, like the one below, focused on the parks but took time to single out the distinctive shopping opportunities and other distractions. Who could imagine a video today taking time to show how kids would love all the special, unique shops on Main Street, or shopping for antiques in Liberty Square? There’s even a trip to the “old timey photo” location they once had on Main Street. Why isn’t this there anymore? I’d love a picture of myself on the back of the fake Walt Disney World Railroad.

As with most filmstrips that have emerged, it’s not in fantastic condition. The inks had faded so that it was originally bright red throughout, but I’ve color corrected as much as possible for a thirty year old faded print that was shot on 8mm film at night. Watch, then we’ll discuss:

I love this film because it’s just so strange – like a weird, unsettling dream. The conceit of “falling asleep and having an out of body adventure” is well-worn, but who can say that this wasn’t one of their fantasies as a kid? To hide out until the park closed, and have the entire Magic Kingdom to yourself? To run around and do everything you wanted, whenever you wanted?

Of course the “in the park alone” conceit fades in and out, as other hordes of guests appear at random only to disappear again. Are they ghosts? The souls of the accursed? They do like shopping, and carousels, at the very least.

I also love the use of the klieg lights and fog for effect. Seeing the castle gateway light up like that would be pretty rad, and one of my favorite shots ever is Tigger fleeing the Haunted Mansion as the little girl emerges from the giant cloud of fog. Talk about atmosphere!

Then there are the characters. Mickey doesn’t come off too weird, but Pinocchio sure does. What’s with the arm movement he does… twice? I love that Brer Bear gets an appearance long before Splash Mountain come onto the scene, and Tigger is streaking through Frontierland. “Goofy is driving??”

Between the weird characters, the eliding of time and space, and the very atypical, strangely jaunty music that plays throughout, it’s kind of a strange experience. But it certainly is effective – I can imagine watching this over and over as a kid, and pining for an adventure like that.

Anyway, you can read a lot of coverage of the events at Disney and [...]]]> This last weekend, Disneyland Paris kicked off the press events marking the arrival of its – brace yourself – 20th anniversary celebration. That’s right – twenty years! I’ll pause if you, like me, need to take a moment and breathe.

Anyway, you can read a lot of coverage of the events at Disney and More, but the main point of interest is the new night-time show, Dreams. Now I haven’t been a fan of how the newfangled castle-projection technology has been used so far at the Magic Kingdom and Disneyland. The technology has loads of potential, but the shows in the American resort are the typical “memory/magic/dream/wish/memory/dream/magic” boilerplate that I’m so tired of. I don’t want to look at other people’s vacation photos while I, myself, am on vacation. Anyway… The good news is that Steve Davison’s team has really knocked it out of the park on this one and has delivered a show that is not only technically interesting but also entertaining and fresh. Sure it relies on the “clip show” motif of classic Disney songs, but there’s no shopworn “Sorcerer Mickey” running the show and nary a hint of an over-wrought, saccharine gimmick.

It’s a great show. Incorporating the new projection technology with low-level pyro and advanced LED fountains and water screens similar to California Adventure’s World of Color, it’s a technological tour de force that’s also easy on the eyes. The scene which ties in with Tangled (!) looks spectacular, and I’d love to see it in person. It’s great to see Rapunzel in a major show, along with nods to Princess and the Frog and even The Hunchback of Notre Dame. I know it’s Paris, but it’s still kind of bizarre to see Quasimodo in a huge Disney show in 2012. I do rather wish they’d used more of Facilier’s number from his film, along with its unique color stylings, but the demented clockwork creation was so cool I can’t complain.

Paris really came out ahead with this one; not only is it their highest-quality addition in a long, long time but it outclasses its peers here in America. Check out this high-resolution video; despite the rather irritatingly bad direction and editing, it still gets across the scope and impact of the new show:

It’s good to see Disneyland Paris get a break after two decades of tribulation; the resort is still saddled with the consequences of Michael Eisner’s decision to overbuild its hotel inventory in 1992. That debt has haunted it through the years despite excellent attendance, and has kept it from adding the new attractions that are needed to keep folks interested. Maintenance has suffered too – at times, over the years, the park has been so ill-maintained that it more closely resembled one of those abandoned knock-off parks you see pictures of from China or Japan.

Things seem to be turning around, though. The Disney company has poured some money into EuroDisney SCA’s coffers which has gone to long-overdue repairs and enhancements. The park is starting to shine again. A ride based on Ratatouille is coming to the moribund Studio park. Possibilities remain for replacements or enhancements of shopworn attractions like Star Tours and Captain EO.

Hopefully it will pan out. Things were turning around for the resort around the turn of the millennium, but Disney was contractually obligated to add a second gate and so EuroDisney SCA was saddled with not only more debt but also a park that was hardly up to snuff. Not only is the Walt Disney Studios the absolute worst – and worst-attended – theme park in the Disney empire (not even cracking the top 25 parks worldwide), but it forced upon EuroDisney the expense of operating an entire separate park. Without an adequate slate of offerings to draw and keep guests, it will remain a leech on the resort’s resources until it receives a sweeping and complete rehab even more grand (and expensive) than the one seen recently at California Adventure.

The original park needs additions as well – it’s been a long, long, long time since Disneyland Paris received a new attraction, and – as you will see – there were plenty of things planned way back in 1992 that have yet to emerge. There are twenty years of pent-up dreams waiting to burst onto the scene at Disneyland Paris; I hope they get their shot.

But let’s travel back to a more optimistic era – back in 1992, when “EuroDisneyland” first threw open its gates. This seems like a good time (if there ever was a “good” time to watch this!) The Grand Opening of Euro Disney. Broadcast on CBS on April 11th, 1992, this odd special features some of the most awkward moments in any Disney televised event, ever. But it also has some nice looks at a park that few Americans ever get to see.

For some reason the park opening is hosted by the incredibly awkward pairing of Don Johnson and Melanie Griffith. A “celebrity couple” at the time, these two have no obvious connection to Disney or France, and certainly don’t seem to have any live television broadcasting experience. Even more fascinating is the ever-present feeling that they completely and absolutely loathe each other; Johnson seems contemptuous of Griffith throughout, as she obliviously reads from cue cards like a poorly-programmed animatronic.

No really, it’s worse that I’m saying. I watched this live when I was a kid, and was incredibly uncomfortable throughout. It was like watching some unbelievably awkward public-access television event, like when my hometown of 15,000 would live-broadcast the small town Christmas parade. Cringeworthy throughout.

But what a lineup of talent! Cher! The Four Seasons! The Gipsy Kings! Pat O’Brien! I wonder how many drunken calls he made to Melanie while they were there…

Witness the awkward interactions! Not only our hosts, but Pat O’Brien surrounded by children! Pat O’Brien aggressively interviewing a French child about baseball with a dragon in the background! Candace Bergen going off-script and making fun of the French! And – because I can’t mention it enough – the awkward, awkward strangeness of our hosts. Why were they picked? Why does he keep blowing her off? Why does she keep making weird noises and giggling at inappropriate times? Why are they both wearing old-timey flasher-style trenchcoats? Did anyone else who was on the production staff think that was really weird? Why do they cut away to them talking over the fireworks? Why was this pre-taped event so awkward and roughly put together?

And then there’s spectacle! Witness the splendors of a park filmed, always, underneath an oppressive and gloomy grey sky! Witness actual park footage in an opening special, with actually trumps Walt Disney World. Enjoy the man getting killed as part of the wacky tale of Frontierland! And lots and lots of… acting! Enjoy Jules Verne getting really excited about Michael Jackson!

Be sure to notice (and laugh) when Candace Bergen is putting her hands in cement – the logo is for the Disney-MGM Studios Europe. That never-built park also gets a nod later in the show, when a sad list of “coming soons” are rattled off. We’re still waiting for many of them!

Between stern celebrities, lipsynching children, and live musical performances that fade out weirdly it’s a good old-fashioned time. Of course we get a visit from Uncle Michael E., and an always-welcome appearance from Roy E. Disney. At least Eisner’s scissors worked. And then there’s the cute-as-a-button Sabine Marcon, Disneyland Paris’s first ambassador. She was everywhere back in the day.

So sit back and enjoy a trip back to the start of the “Disney Decade”, when Westcot was a thing! I can’t wait until Russia opens in World Showcase!

And if that wasn’t enough to sate your appetite for Parisian wackiness…

Not so very long ago, the Disney company made lots of animated films – some of which were drawn by hand by real people. They made big pictures; after the success of The Lion King, the goal of Disney Feature Animation was to make sweeping epics – always hoping for another shot at Oscar [...]]]>

Not so very long ago, the Disney company made lots of animated films – some of which were drawn by hand by real people. They made big pictures; after the success of The Lion King, the goal of Disney Feature Animation was to make sweeping epics – always hoping for another shot at Oscar gold. Hot off his success with Lion King – then the highest-grossing animated film ever – director Roger Allers began to develop a new project. This film, which eventually was called Kingdom of the Sun, was a South American twist on the old “Prince and the Pauper” tale set within the ancient Incan empire. There was drama, romance, comedy, and magic – it was a big film.

As producers tried to mimic everything they thought might have contributed to Lion King‘s success, they lined up yet another famous British singer/songwriter to compose songs for the film. As part of the deal to persuade Sting to sign on the dotted line, Disney had to give his wife a job filming all the behind-the-scenes material for the film’s eventual DVD. And so Trudie Styler, wife of Sting, began filming the creative process as Kingdom of the Sun kicked into production.

And then it all went pear-shaped.

The collapse of Kingdom of the Sun, and its resurrection under a different director as The Emperor’s New Groove, was captured by Styler’s cameras but never made it to DVD. When New Groove emerged on a feature-laden DVD in 2001, little mention was made that the film once featured completely different plotlines, characters and songs. Styler turned her material into a documentary, The Sweatbox, which was released in 2002. Disney actually owns the rights to the film, which – perhaps unsurprisingly – they have done their best to bury. The documentary has never been released, has never been included on any of the New Groove releases, and for twelve years I’ve tried to find a copy.

Yesterday, it appeared on YouTube.

Watch the production fall apart. Watch the carefully crafted dreams of filmmakers dashed by glib executives. Watch Sting become increasingly bored as he progresses from one palatial residence to another. Be warned, it appears to be an unfinished assembly edit and has a timecode at the bottom – it also has a couple of naughty words, if the kiddies are in the room. Watch, while you can:

Now wasn’t that interesting? This all happened at an interesting point in time, as the animation studio was well on its way into being mismanaged into oblivion by some of the executives you see in the documentary. Note that Michael Eisner appears not once in the film – even when he was present for events being depicted. It’s an incredible time capsule as you see all these important filmmakers and animators flit in and out, many of whom are no longer at Disney. We even get to see the dear departed Joe Ranft, who must have popped in from Pixar to help pitch story ideas.

I feel conflicted watching this film, as I always do when thinking about Kingdom in the Sun. I’m actually a big fan of The Emperor’s New Groove – I remember being shocked at the time that it turned out so well. I had followed the tortured development and had been shocked at what I thought was an absolutely awful name change, but the film turned out to be really fun.

At the same time, I’ve always wanted to see how Kingdom would have turned out. I’m a fan of animated epics, and Allers’s version of the film had some really compelling elements. I like some of the songs Sting had written for that version (which was much more of a traditional musical), and as you can see from this documentary, the loss of Andreas Deja’s work on Yzma was a huge blow. Without seeing the reels from this earlier version, it’s hard to say how well it flowed, or how compelling it was, or if it was a mess or not. But you can’t look at the clips from the prologue, or Deja’s musical number with Yzma, and tell me we didn’t lose some special things. I really, really would love to see more of that material (if you have access, drop me a line).

It’s a shame this documentary isn’t more readily available. It, better than anything I’ve ever seen, shows the truly gut-wrenching process of animation development in the modern era. And it shows more of the process than any DVD documentary Disney has released in at least a decade. I wish there was a film like this for Sweatin’ Bullets/Home on the Range, Rapunzel/Tangled, American Dog/Bolt, and even the forthcoming Frozen. When a film is in development for a decade, there are stories to tell. And, as you can see here, fully fleshed-out characters, songs, and scenes. That work – especially when you see work the caliber of Deja’s – doesn’t belong in a vault somewhere. It deserves to be seen.

Also, if we didn’t realize it before, Sting is absurdly rich. And rides ponies. And wears silly hats.

Finally, because I absolutely never get tired of looking at them, are a few of John Watkiss’s incredible concept pieces for Kingdom of the Sun:

Before the California Grill occupied the top floor of the Contemporary Resort Hotel at Walt Disney World, the site was home to the swanky, adults-only domain of the Top of the World Restaurant. It was an era of carpet with garishly-colored polygons, large glass lighting fixtures, and lots and lots of mirrors.

Disneyland Paris celebrates, amazingly, its 20th anniversary this [...]]]> For some time, Foxx from Passport to Dreams has spun tales of the strangest Disney souvenir video she’s ever seen. And now, thanks to her valiant efforts, we can see it. From 2003, it’s Disneyland Paris: An Unforgettable Stay. In this, at least, they are completely honest.

Disneyland Paris celebrates, amazingly, its 20th anniversary this year. That puts this video, from almost a decade ago, at its 10th anniversary. The dreary and drab Walt Disney Studios Park had just recently opened, but that doesn’t dampen the enthusiasm of the video’s stars!

It’s hard to know where to start with a video like this, which chronicles a vaguely psychotic family – Peter Fonda, Skeletor, and their two children – on their three-day journey to Disneyland Paris. The overtly white-bread yet somehow terrifying family is of dubious origin, seeing as their dialogue is dubbed in what appear to be American accents. This is interesting to me for several reasons. For an international destination like Disneyland Paris, I guess it makes sense if you’re filming a fairly lavish promotional piece with lots of dialogue to shoot once and overdub for your various markets. Perhaps an international audience is more used to obvious dubbing than the US, and it doesn’t play quite so … cheap. Or cheesy. But what fascinates me is that they’re dubbed with people doing American accents. Disneyland Paris’s main English-language audience is the United Kingdom, and in fact this Region 0 PAL release was flagged with a Union Jack, so I wonder why they aren’t speaking with British accents.

The overall effect is jarring, and the combination of script, performances, and presentation almost makes you feel that the film was produced by aliens who had spent years monitoring our popular culture, television, and film, and really thought they could perfectly mimic a real, human family. But they don’t have it quite right, so things are just… off. It’s the uncanny valley, just starring real people.

Then there’s the fact that this is a souvenir video – one sold in the park – that manages to not only show precious little of the resort, but also has weird plugs for resort features like hotel room shipping, Fastpass, and parkhopping. For a long time I assumed this was one of those promo DVDs they sent you in the mail, but no – people paid for this. Imagine getting home, unwrapping your video, and… well..

Take a look.

And remember: People paid money for this.

There’s so much to say.

First, and obviously, it how creepy everyone’s interactions are. All the forced “call the police!!” laughter. And why are they always in physical contact with each other? No touching!!

I love how they make them this super lovey-dovey family and yet the parents are total jerks. Why do the parents laugh mockingly when they say the kid can’t have the video camera? Why the bizarre sequence where the adorable little girl gives a huge monologue about pin trading and then mom blows her off really condescendingly? In fact, mom becomes kind of horrible as the video goes on… maybe Walt Disney Studios park does that to you. Her heinous detachment grows – why won’t she take dad’s picture with the pirates?

There’s nothing you’d rather do to remember your vacation than watch a film about other people filming things. “I know – let’s show them the parks, only filmed on a vastly inferior medium!” On the other hand, hipster dad Peter Fonda presaged Instagram by a decade.

Also, what do most kids want to relive from their vacation? The rides! So on their three days in the park our family only experiences it’s a small world, the Disneyland Paris Railroad, Big Thunder Mountain, the flying carpets, the awful backstage tram at the Studios, the French version of Lights, Motors, Action, the Rock ‘n’ Roller Coaster, Star Tours, and Space Mountain. Note that only five of the Disneyland park’s attractions are featured. But the family does walk down Main Street at least a dozen times – it is a nice Main Street, after all. The video may not show many rides, but by gum it’ll remind you how nice that in-room package delivery was!

If you thought this film felt eerily Belgian, you’re quite perceptive. It was produced by this company, and produced and directed by this guy, Mathias Ervyn. To his credit it’s actually really well made – superior, technically, to most stateside Disney PR offerings despite its terrifying inhabitants. And it’s rare in that it features actual music from the parks instead of weird sound-alike tracks, which is nice.

It isn’t all fun and games, though. Not only does dad make them late for their 10:30 rendezvous with Aladdin, but there’s sweeping drama when Zoe goes missing in the Emporium (which, for no reason, they refer to as “the toy store”). Here’s a question – where did her cotton candy go? Did she eat it all in that one transition?!

And there are more questions. How’d they lose Donald in the first place? What kind of dance are they doing in the Frontierland restaurant? Why does Captain Hook molest the mom like Torgo? And why is she so intensely desperate to leave breakfast for the Studios? Why are we not shown Haunted Mansion, but instead get to watch dad finish his orange juice?

Speaking of the Studios, how awful is it? I love that the whole buildup of the movie is to Rock ‘n’ Roller Coaster, but then they make it look like a nightmarish hellscape that the father hates. Why is Aladdin lurking? And why is he so creepy? And why are the only characters they encounter Donald and Aladdin?

I don’t even know how to discuss what happens at Moteurs… Action!

Details: I love the peeling paint on Captain Hook’s ship, and I see you bass player with your earring in Frontierland.

All in all, an unforgettable stay.

Miscellaneous quotes:

• “Can I get the videocamera to film it?” “Noooo..” “Hahaha!”
• “Well. That is definitely a plan.”
• “Wow! Fantastic! It’s like a whole city!” “Yeah, this is really incredible!”
• “He’s got it upside down. Ha ha.”
• “This is a professional vintage camera – and my films will be magnificent.”
• “Oh yeah. You’ll see. I shall immortalize Sleeping Beauty’s Castle!”
• “He probably just quacked up.”
• “Kids – listen up. I read that this show has 130 animated toys, 183 accessories, and 319 dolls.”
• “We’ll ride that one soon. But I’m getting hungry. Let’s get a FASTPASS and we’ll come back here after we eat.”
• “Donald’s telling us he has to leave now.”
• “Will you buy me a Minnie Mouse please?” “If you give me a kiss.”
• “Oh, you’re right! We don’t have to carry our bags with the shopping service!” “Thank goodness for that.”
• “Hey, you know what? More paint was used for that ride than for the Eiffel Tower.” “But this is a lot more fun, right?” “You’re right!” “Oh yeah.”
• “Even after walking all day, I wouldn’t have missed this parade for anything in the world.” “My thoughts exactly.”
• “Lucas, finish your breakfast. You can film more later on.”
• “Oh hey, look kids, it’s Sulley.”
• “He can shake three hands at once.”
• “Oooh.. the world of cinema”
• “It’s time to immortalize Cleopatra – she is perfect for my film”
• “Oh, what a blast”
• “Yes… he was sleeping. He goes to bed early and gets up late.” (What does this mean?!)
• “Aren’t you glad Aladdin told us about this?”
• “Can I sit next to you on the ride?” “Yeah.”
• “This Studios Tram Tour is fun, but I can’t stop thinking about Rock N Roller Coaster. Did Aladdin say anything to you? Well?” “Just that it was the best.” “Aah.” “Well I guess Aladdin knows everything. Hmph.”
• “What’s that? What did you say sweetie?”
• “Well wasn’t that nice of Aladdin.”
• “Look daddy – I can trade one of my pins for one of his.”
• “See? I bet that’s the sequence we just filmed!” (OH REALLY???)
• “Ah finally! Time for a little action!”
• “Didn’t you know that ducks are chicken?”
• “Oh I’m sorry kids – I couldn’t help it. I was so tired. You sleep so well here.”
• “Ahh Relax. Don’t worry. They’re perfectly safe. Have fun.”
• “Hey, take my picture with the pirates. For my office.”
• “OK, you take them to the Blue Lagoon and I’ll get Star Tours Fastpasses. Ok, my love?” “No problem. Hey, did you take my picture? Oh, oh-oh, Julie!”
• “I know that voice.”
• “Aladdin told us that this ride goes really really fast.” “Aha! It really looks great!” “Oh yeah. Sounds fun.”
• “Yeah, and we’ll be back for your birthday.” “Yes kids, at Christmas.”
• “Hold up. Not possible. It’s over at Walt Disney Studios.”
• “You did that to save me? Ah-ha-ha-ha-ha-ha!”
• “See you at Christmas!”

The hour-long special gives a history of the [...]]]> Back in the day… wait for it… the Disney Channel showed content aimed at us theme park fans. Crazy, I know, but true! One special I remember well is 1986′s A Dream Called Walt Disney World, which aired in conjunction with the resort’s yearlong 15th anniversary celebration.

The hour-long special gives a history of the resort (which, in 1986, was probably operating at its historic peak) as well as a look at its future (which, in 1986, was incredibly exciting and promising). And for my fellow Team Nunis members, there’s plenty of good #CultOfNunis material.

Enjoy!