Archive Spotlight Archives - D23 https://d23.com/section/walt-disney-archives/archive-spotlight/ For the fan in all of us Thu, 25 May 2023 22:12:49 +0000 en-US hourly 1 “Miss Disneyland”—The Story of Valerie Curry https://d23.com/miss-disneyland-the-story-of-valerie-curry/ Fri, 26 May 2023 17:00:28 +0000 https://d23.com/?p=136700 Explore the impactful journey of Valerie Curry, who shaped Disneyland's customer relations and iconic 'Miss Disneyland' role."

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]]> By Matt Moryc, Walt Disney Archives

One of the joys of being an archivist, especially for a collection as robust as the Walt Disney Archives, is rediscovering those forgotten tidbits of Disney history and connecting the dots to tell a story that few have heard before. Whether it’s searching through scrapbooks, document boxes, newspaper clippings, or the personal correspondence of retired employees, the thrill of discovering new and enduring Disney history is endlessly motivating.

In recent years, the tide of unearthing little-known Disney history has begun to shift towards those who haven’t yet had their turn in the spotlight, which is why I am delighted to share details of an unsung woman who was a foundational cast member at Disneyland Park throughout the 1960s. She mingled with presidents, royalty, and celebrities; debuted a role that became synonymous with the best and brightest cast members Disney has to offer; participated in a historic World’s Fair; and led a vanguard group of people who introduced the Walt Disney World Resort project to the citizens and tourists of Central Florida. Meet Valerie Curry.

Born Valerie Jane Watson on December 2, 1938, in Orange, California, she went to high school in Long Beach, California, and later attended Fullerton Junior College from 1956–1958 as a music major—and was voted “Homecoming Queen” in 1957 and “Woman of the Year” in 1958. An accomplished pianist, she also attended the St. Louis Institute of Music on a scholarship and spent a semester at Whittier College in Whittier, California. She collected classical records and piano literature, and that love of music led to an interest in teaching elementary school children, but she would take a break from school in 1959 to rethink her major.

During that time away from school, Curry joined the Disneyland Customer Relations Division (later named Guest Relations) answering letters requesting information about the park. On April 4, 1959, King Hussein of Jordan arrived at Disneyland for a day of fun in Walt Disney’s original Magic Kingdom, but there was a problem: all the Tour Guides employed in the Disneyland Customer Relations Division were taller than the king, which was a breach of etiquette at that time. The issue was solved by hurriedly locating Curry, who was then 20 years old and 5 feet 3 1/2 inches tall. “I had the good fortune to be selected to greet King Hussein of Jordan… for no special talent other than my height,” she later recalled. “After greeting King Hussein, I was made a VIP hostess.”

Valerie Curry, wearing a hat with flowers and a dress, sits on a bench at Disneyland Park and smiles at the camera. Behind her, a marching band is playing, and there are some trees in the distance.
Valerie Curry poses for the camera on Main Street, U.S.A., February 1962.

Curry spent the next few years living a charmed life as a Disneyland VIP Tour Guide where she spent time with notable names such as Soviet composers Kabalevsky and Kondrashin, actor Jimmy Stewart, then-U.S. Attorney General Robert Kennedy, and President Dwight D. Eisenhower—who remarked to her, “It must be quite an experience for you, working in this wonderful place every day.” To which she replied, “It’s more than that. It’s the greatest experience of my life.”

Standing at the bottom of the airstair of a passenger jet, Valerie Curry, wearing a dress, donning flowers in her hair, and holding a coat, is greeted by Pluto. Standing on the stairs closer to the jet’s entry door are Goofy and the Big Bad Wolf, who look down at Pluto and Curry.
Pluto, Goofy, and the Big Bad Wolf join Curry before her flight to New York City for the premiere of Moon Pilot, March 1962.

In February 1962, Curry was bestowed with the title of “Miss Disneyland,” an honor that was born out of necessity for an ambassador-type presence for the forthcoming special production of Disneyland, U.S.A.—a lavish stage show featuring costumes, characters, vehicles, and other properties straight from the park and onto to the stage of Radio City Music Hall in support of the April 5, 1962, New York City premiere of the Disney film Moon Pilot. Russell Downing, then-president of Radio City Music Hall, had previously met Curry when she was his Tour Guide at Disneyland, and he, along with Disney officials, thought she was the unanimous choice to represent the park in New York City. “They decided, ‘How can we get the interest of the press in New York?’… so they came up with a tag of ‘Miss Disneyland,’” she remembered. “They weren’t looking for a beauty queen. They were looking for someone who had knowledge of the organization and enthusiasm.”

After the event’s conclusion, Curry returned to California to resume her duties as a Disneyland Tour Guide. Despite her “Miss Disneyland” moniker existing for only a few short weeks, the title and responsibilities would later evolve and rebrand into what we know today as the Disneyland Ambassador role, beginning with Disney Legend Julie Reihm Casaletto during the park’s 10th anniversary celebration, the Disneyland Tencennial.

Curry returned to New York City three years later for the second season of the 1964–1965 New York World’s Fair. Disney designed and operated four different pavilions at the fair, including the “it’s a small world” attraction for sponsor Pepsi-Cola as a benefit for UNICEF. The management in charge of operations for the “it’s a small world” pavilion specifically requested that Curry be included for the 1965 season to manage and train the Guest Relations personnel at the pavilion’s VIP lounge. Disney Legend Bob Matheison, manager of operations for the “it’s a small world” pavilion, summed up Curry’s contribution in a company memo: “I don’t have to tell you that Valerie continues to do an outstanding job, and is a very great asset to us. I sometimes wonder if the executives of our company and the Pepsi-Cola Company truly realize how much she does represent their respective organizations at the fair.”

Valerie Curry is seated at an office desk at WED Enterprises in California. Behind her is framed concept art of Cinderella Castle from Walt Disney World. Also behind Curry, to her left, are file folders and other office materials.
Curry in the offices of WED Enterprises, circa 1968.

Curry changed course in her Disney career in 1966 with a move to WED Enterprises (known today as Walt Disney Imagineering) for a three-year stint in a secretarial role that she said was her favorite. “The best was at WED; I worked for the master planners of Walt Disney World, and it was all secret. It was called Project X,” she once told an interviewer.

In April 1969, Walt Disney Productions set up temporary headquarters at the Ramada Inn in Ocoee, Florida, to present detailed plans for “Phase One” of Walt Disney World to press, leaders of American industry, Florida legislators, and invited guests. The four-day event included displays of artist renderings and models, a motion picture, and a construction site tour of the massive Disney property. To assist with the event, 10 Disneyland cast members were selected and flown to Florida, including Curry, who served as the group’s leader. Also in attendance was Bill Hoelscher, an Operations manager from Disneyland, and Holly Suminski (née Hoelscher; no relation to Bill)—a Guest Relations cast member at Disneyland since 1962. Unknown to them at the time, all three would reunite a few months later to onboard the first guest-facing cast members for Walt Disney World.

Around the start of October 1969, Curry moved to Central Florida, joining Suminski and Hoelscher to begin the important task of recruiting, hiring, and training the initial Guest Relations cast members for the Walt Disney World Preview Center, the first building on Walt Disney World property open to the public. It was here where tourists and locals could preview the upcoming Walt Disney World project via models, artist renderings, merchandise, and a short film detailing what “Phase One” of the property would look like once completed on October 1, 1971.

Valerie Curry stands with thirteen fellow Cast Members outside the Walt Disney World Preview Center in Lake Buena Vista, Florida. The Cast Members are arranged in two rows, one in front of the other, with seven in each row. Curry is positioned in the front row, on the far left, and behind her is green foliage.
Curry (front row, far left) during her tenure as supervisor of the Walt Disney World Preview Center, circa 1970.

Curry continued in her role as supervisor throughout the lifespan of the Preview Center from January 10, 1970, to September 30, 1971, and then moved over to the newly constructed Magic Kingdom in October 1971 to help establish and supervise the Guest Relations department.

In the spring of 1972, Curry, along with her husband, John Curry (then-director of Walt Disney World hotels), left Disney. The couple eventually settled in Hilton Head Island, South Carolina, in 1973 where they lived for the next three decades. While there, she was an active member of the community, serving on various boards dedicated to education and the arts. In 1993 she penned a book simplifying classical music for laymen, copies of which she donated every year to new subscribers of the Hilton Head Symphony Orchestra and sold to orchestras nationwide. She also leveraged her love of classical music to spearhead the creation of the Hilton Head International Piano Competition in 1996, which has become one of the leading international piano competitions in the United States. She passed away on September 28, 2010.

Throughout Curry’s storied 13-year career with Disney, she consistently displayed an aptness for representing the values established by Walt Disney—and the early pioneers of Disneyland—to provide an unparalleled level of courteous and welcoming service to all who visited “The Happiest Place on Earth,” and the world beyond its gates. From her role as “Miss Disneyland”—the forerunner for the legendary Disney Ambassador program which has selected cast members for nearly 60 years to represent Disney Parks around the globe—to her job opening shop for the nascent Walt Disney World Resort, Curry ensured the world-famous spirit of happiness and friendliness established at Disneyland would live on wherever she went. Curry was not only part of Disney history… she created it.

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]]> All-New Display Celebrates the Disney Bros. Story https://d23.com/all-new-display-celebrates-the-disney-bros-story/ Thu, 20 Apr 2023 00:32:26 +0000 https://d23.com/?p=135361 Step into the magical world of Disney Bros. with A Creative Legacy: The Disney Bros. Story exhibit, showcasing 100 years of excellence and ingenuity.

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By Francesca Scrimgeour and Julia Vargas, Walt Disney Archives

When Walt Disney first arrived in California during the summer of 1923, he moved in with his uncle, Robert Disney, at 4406 Kingswell Avenue in Los Angeles. Before he made the move out west, he had sent a pilot film, Alice’s Wonderland—which he had made back in Kansas City—to various distributors hoping to sell the novel film concept as a dedicated series.

In October, Margaret Winkler, an accomplished New York distributor, thrilled with the Alice Comedies concept, agreed to back the proposed series. The contract for the first year of production called for one short film a month—a daunting task, but one that Walt, with his brother Roy by his side, was willing to try and accomplish. Thus, on October 16, 1923, Walt and Roy’s first contract was signed, and the brothers were in business. They named their company the Disney Brothers Cartoon Studio—a testament to the communal faith in their creative endeavor that would drive their business for the ensuing decades, changing the face of entertainment forever. From these humble Hollywood beginnings, Walt and Roy’s organization would grow to reflect not only the ethos of the brothers’ creative and business acumen, but an intensely collaborative spirit.

A Creative Legacy: The Disney Bros. Story, a new exhibit from the Walt Disney Archives, includes a historical timeline of photographs of Walt and Roy O. Disney.

To celebrate this extraordinary partnership and foundation of the company’s 100-year history, the Walt Disney Archives recently unveiled a brand-new display entitled A Creative Legacy: The Disney Bros. Story. Located in the lobby of the Frank G. Wells Building on The Walt Disney Studios lot, this celebratory exhibit showcases the artistry, excellence, ingenuity, and perseverance that have defined the Disney brothers’ story. The display is open to Disney employees and their guests visiting The Walt Disney Studios and D23 Gold and Gold Family Members participating in The Official Walt Disney Studios Tour – Presented by D23, as well as to guests partaking in select Southern California itineraries with Adventures by Disney.

The first of two exhibit cases reflect the Disney brothers’ story through featured historical photographs from their childhood up through the earliest days at the studio. The central showcase, presented just outside the Walt Disney Archives offices, highlights four different disciplines that represent many landmark business endeavors of The Walt Disney Company: Animation, Live-Action, Television, and Parks & Resorts.

This thaumatrope, featured in the “Animation” section of the display, was used by Walt Disney in “The Story of the Animated Drawing” (1955) to illustrate the early history of animation.

Animation
Animation serves as the creative foundation of The Walt Disney Company and, appropriately, begins the story of this display. One of the items featured is the thaumatrope used by Walt Disney in “The Story of the Animated Drawing,” an episode of the Disneyland television series that aired on November 30, 1955. In his lead-in introducing the show, Walt demonstrates how to use the optical toy, explaining how it exhibits the principles of the “persistence of vision.” One side of the disc features the image of a bird, while the other shows a bird cage. When the disc is twirled, it creates the illusion of a combined impression of the bird inside the cage. Popular in the 19th century, the thaumatrope is recognized as an important antecedent of cinematography and the art of animation. Walt also discusses other animation novelties in this episode, such as the zoetrope and praxinoscope, examples of which are preserved in the Walt Disney Archives.

These vibrant stop-motion puppets were the primary cast in the opening title sequence of The Parent Trap (1961).

Live-Action
Well-established in the field of animation, the Disneys forayed into the live-action side of filmmaking, releasing their first fully live-action feature in 1950 with Treasure Island. This section of the display showcases items from the Walt Disney Archives that represent the studio’s range of iconic live-action films through the years, including prop books, merchandise, and concept art.

A number of classic Disney films begin with an opening sequence that helps to establish the premise of the ensuing story. For The Parent Trap (1961), starring Disney Legend Hayley Mills, the imaginative title sequence was produced in stop-motion animation by renowned artists T. Hee, Disney Legend Bill Justice, and Disney Legend X Atencio. The sequence was also set to the tune of the title song, “The Parent Trap,” by songwriters (and Disney Legends) Richard M. and Robert B. Sherman. This charming family of puppets was created using moveable arms and legs, felt hair, and snazzy outfits. Having these assets in the Walt Disney Archives allows the staff to preserve them as historical objects, which includes conservation work that protects their condition, so that they may continue to be shared with fans.

Nestled in the “Television” section of the display is the prop book Walt Disney’s The Art of Animation as featured on the Disneyland television series.

Television
It is no secret that Walt was a leader in television entertainment, and the shows he developed were testament to his storytelling prowess, imagination, and innovative spirit. Making his TV debut on One Hour in Wonderland in 1950, Walt quickly recognized the power of this new medium and used it to his advantage a few years later when building Disneyland.

The Disneys’ TV legacy is represented in the display through the title cels for the Walt Disney’s Wonderful World of Color series; the membership application sign for the Mickey Mouse Club; and the Talent Roundup Day costume worn by Mouseketeer Carl “Cubby” O’Brien on the popular children’s show. With TV being such a groundbreaking enterprise for Walt Disney Productions—bringing Walt himself into the homes of American families on a weekly basis—it was only natural to include a montage of several of his TV lead-ins. In one of the featured clips, Walt showcases the prop book titled Walt Disney’s The Art of Animation, which was used in “The Story of the Animated Drawing” (1955) and “The Plausible Impossible” (1956) episodes of the Disneyland anthology series. In “The Story of the Animated Drawing,” Walt introduces this book as a pet project intended to document the history of the animator’s craft. Walt goes on to explain the book as a resource where “...you can read about the artists who dreamed and experimented, had their failures and successes, but somehow never gave up trying to breathe life and movement into the intimate picture.” While the prop presented on television was merely a mockup, a published book of the same title, by biographer and legendary entertainment reporter Bob Thomas, would be released in 1958.

Among the historic documents and ephemera in the “Parks & Resorts” section is the Disneyland prospectus prepared by WED Enterprises in 1953, along with a Disney Cottage sticker issued to Roy O. Disney for the Walt Disney World project and the “Meet Your New Job” Disneyland Employee Handbook from ca. 1957.

Parks & Resorts
Partially as a result of the Disney brothers’ foray into television entertainment, Walt and Roy would revolutionize the amusement park industry. Famously, the idea of Disneyland was sparked in Walt’s imagination when he would take his two young daughters to carnivals, zoos, and small amusement parks, but often found himself sitting on benches eating peanuts while they experienced rides and had all the fun. Walt’s dream of a place where parents and children could have fun together evolved into the first Disney park, Disneyland.

The “Parks & Resorts” section of the exhibit is especially fitting in this space since Walt first thought of building his park on a strip of land just across Riverside Drive from the Disney Studios in Burbank. However, that acreage proved too small to hold all his ideas, thus leading him to Anaheim for his new venture.

This section of the display features early Disneyland merchandise, opening year brochures, and early Cast Member name tags, along with interoffice memos and commemorative plaques. An especially remarkable artifact is the unassuming blue binder housing an original copy of the Disneyland prospectus, which was prepared by WED Enterprises in 1953. This particular document was used by Roy, widely considered the financial genius of the Company, to present to potential investors and helped Walt achieve his dream of Disneyland.

A Creative Legacy: The Disney Bros. Story is open to Disney employees and their guests visiting The Walt Disney Studios in Burbank. D23 Gold and Gold Family Members can visit through The Official Walt Disney Studios Tour—Presented by D23, and guests traveling with Adventures by Disney can visit via the Disneyland Resort and Southern California trip and Disneyland Resort and Southern California Escape.

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]]> Grand Opening Video Preview of Disney100: The Exhibition https://d23.com/grand-opening-video-preview-of-disney100-the-exhibition/ Tue, 07 Mar 2023 15:00:09 +0000 https://d23.com/?p=133714 Semmel Exhibitions and the Walt Disney Archives present this brand-new video look at the opening of Disney100: The Exhibition at The Franklin Institute.

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By the Walt Disney Archives team

On February 18, Disney100: The Exhibition made its world debut at The Franklin Institute in Philadelphia, kicking off a global tour of Disney magic a century in the making. This first-of-its-kind traveling exhibition from the Walt Disney Archives and Semmel Exhibitions invites guests to explore 10 themed galleries inspired by Walt Disney’s philosophies, featuring more than 250 artifacts, props, costumes, and works of art from the historical collections of The Walt Disney Company.

Invited press and D23 Gold Members were the first to preview the blockbuster exhibition during its opening ceremony on February 15. Kicking off the events were musical performances by the Philly Pops and remarks by Michael Vargo (Head of the Walt Disney Archives and D23: The Official Disney Fan Club), Becky Cline (Walt Disney Archives Director), Christoph Scholz (Executive Producer and Director of Semmel Exhibitions), and Larry Dubinski (President and CEO, The Franklin Institute). Additional special appearances included Mickey Mouse and Minnie Mouse, Disney Legend and former Imagineer Bob Gurr, and Disney Legend and producer/director Don Hahn. (Click here for more about the special event.)

Today, the Walt Disney Archives and Semmel Exhibitions are pleased to present this brand-new look at the opening weekend, with exclusive glimpses into the exhibition and memorable moments from the ribbon cutting ceremony:

Disney100: The Exhibition is now open at The Franklin Institute, and tickets are also now available for the exhibit’s European debut in Munich on April 18. For tickets, visit Disney100Exhibit.com and follow the global tour on Instagram and Facebook!

D23 Member Discount: Discounts to Disney100: The Exhibition at The Franklin Institute are available to D23 Members who reside in Philadelphia. Click here for more details.

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]]> Disney100: The Exhibition: Moving Right Along and Headed East! https://d23.com/disney100-the-exhibition-moving-right-along-and-headed-east/ Tue, 14 Feb 2023 16:58:12 +0000 https://d23.com/?p=133007 Final preparations are “moving right along” for the blockbuster anniversary showcase, Disney100: The Exhibition, from the Walt Disney Archives and Semmel Exhibitions.

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By Kevin M. Kern, Walt Disney Archives

Final preparations are “moving right along” for the blockbuster anniversary showcase, Disney100: The Exhibition, from the Walt Disney Archives and Semmel Exhibitions. And we’re now one step closer to opening this all-new experience representing a century of Disney magic in the making!

Moving trucks hauling some of The Walt Disney Company’s most precious “crown jewels” recently made their way cross-country from Southern California to Philadelphia, Pennsylvania, ahead of the February 18 opening at The Franklin Institute, the show’s initial venue—and a key milestone in the realization and completion of the first leg of this years-in-the-making project.

Walt Disney Archives Exhibitions Preparator Daniel Marquand (left) and Associate Curator Chris Rexroad prepare exhibit crates for their cross-country journey.

“It’s been a lot of detailed logistical work to get to this point, but we’re all thrilled to finally see our treasures hit the road,” notes Matthew Adams, Manager, Exhibitions, for the Walt Disney Archives. “This shipping milestone moves us one step closer to opening, and one step closer to sharing this amazing exhibit—and really the great legacy of Disney—with our fans and the Philadelphia community.”

Even with all this movement, however, there’s still progress to be made ahead. At the time of writing, the curatorial team from the Walt Disney Archives is embarking upon the exhibit’s final load-in, just a couple of short weeks away from welcoming the first guests. As Matthew intimates, “We’re almost ready for the real fun to begin!”

If you’ve ever wondered what might go into preparing and moving a project like this—images of the final warehouse from Raiders of the Lost Ark might come to mind—a few “fun facts” about our final preparations include:

  • Three tractor trailers hauling approximately 250 historical assets left for Philadelphia from the Los Angeles area on Friday, January 27.
  • This amounts to 44 separate exhibit crates setting out on a nearly 2,800-mile cross-country trek—about a 40-hour drive!
  • In total, 16 trucks will eventually move the whole experience from site to site, including production materials, scenic elements, and special-effects apparatus used within the exhibition’s 10 galleries.
  • While on-site installation began for our production partners at The Franklin Institute in mid-January, the Archives started installing historical objects into the galleries on Thursday, February 2, with additional archival and historical partners from across The Walt Disney Company arriving a few days later to help put the finishing touches on what is sure to be a once-in-a-lifetime experience.

Be sure to keep an eye out for additional updates both here and on the Disney100: The Exhibition social media channels (Instagram and Facebook) as the February 18 world premiere draws near. We’re getting ready for you!

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]]> You’ll Always Be a Prince to Me: 30 Years of Aladdin https://d23.com/youll-always-be-a-prince-to-me-30-years-of-aladdin/ Fri, 25 Nov 2022 17:00:50 +0000 https://d23.com/?p=129769 Thirty years ago, audiences around the world entered a veritable Cave of Wonders with the release of Aladdin.

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By Christina Pappous, Walt Disney Archives

Thirty years ago, audiences around the world entered a veritable Cave of Wonders with the release of Aladdin. With its adventurous story, heartfelt characters, and stunning visuals, Aladdin was a success upon its release. While the wicked Jafar may have used the Sultan’s rare blue diamond to find a diamond in the rough, the creative team behind the film—led by directors Ron Clements and John Musker—used their own special kind of magic to conjure Aladdin.

The 1992 animated hit was not the first time the folk tales from One Thousand and One Nights appeared on the silver screen. Earlier adaptions include the silent The Thief of Bagdad (1925), starring Douglas Fairbanks, and The Thief of Bagdad (1940), a Technicolor confection with famed German actor Conrad Veidt as the film’s sinister villain, Jaffar. The ‘40 Thief of Bagdad was just one of the many aesthetic inspirations that Aladdin’s creative team referenced to shape the look and feel of their film.

Intricate Persian miniatures and their silhouetted shapes containing intricate details—as well as Arabic calligraphy with its curved, elegant lines—were perhaps the most frequently referenced during the production of the film... fitting for a story drawn from Persian, Arabic, and Indian sources.

Rasoul Azadani, layout supervisor for 1992’s Aladdin, at work. Note the research photographs on his bulletin board!

Aladdin layout supervisor Rasoul Azadani documented the architecture of his hometown, Ispahan in Iran, producing nearly 1,800 photographs that provided inspiration for production designer Richard Vander Wende, art director Bill Perkins, and of course, Azadani himself.

As production designer, Vander Wende emphasized the importance of graphic unity to advance the visual storytelling of the film—ensuring a vibrant, cohesive look for the characters and their environment... from the glittering, dangerous Cave of Wonders to the Sultan’s towering palace perched above Agrabah. Colors and shapes intentionally reflected the emotional arc of Aladdin; blue is associated with good, while red is associated with evil.

The Sultan’s throne room in 1992’s Aladdin.

Take, for instance, the throne room in the Sultan’s palace: While the Sultan inhabits it, the curves of its colonnade mimic the Sultan’s own rounded design—in the words of Perkins, “[his] basic shape is like an egg”— and the light blues and soft golds of his clothes are reflected in the color palette of the throne room.

Jafar and the Genie in the throne room in 1992’s Aladdin.

Yet when Jafar makes his initial wishes “to rule on high as Sultan” and then “to be the most powerful sorcerer in the world,” the throne room completely transforms. Instead of the genteel blue, it is now shaded in intense reds and dark golds, fitting for Jafar’s villainous ways.

Of course, Aladdin would have not been the same without the profound impact esteemed caricaturist Al Hirschfeld had on its animators.

Aladdin animator Eric Goldberg drawing the Genie with Al Hirschfeld.

The Genie’s lead animator, Eric Goldberg, heavily incorporated Hirschfeld’s exaggerated, whiplash lines for the kinetic, shapeshifting Genie. Hirschfeld’s unique style of caricature is evident when the Genie performs his rapid-fire impressions of Peter Lorre, Groucho Marx, and other pop culture figures.

Animators used this Jasmine maquette as a visual reference for her character during production of 1992’s Aladdin.

While Princess Jasmine may be a less zany character than the Genie, Hirschfeld’s influence is still felt in her character design. Her basic shape is that of an hourglass—and hewing to the graphic unity guiding the film’s look, the forms in her bedroom echo that, from the columns to the shadows the lamps cast on the curtains. Mark Henn, lead animator for Jasmine, drew inspiration for her character from voice actress Linda Larkin’s performance as well as from a photo of his own younger sister. Inspiration truly came from everywhere in the making of Aladdin!

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]]> The Enduring Legacy of Zorro https://d23.com/the-enduring-legacy-of-zorro/ Fri, 14 Oct 2022 17:21:29 +0000 https://d23.com/?p=128165 With the Hispanic Heritage month soon coming to a close, it marks another important milestone: the 65th anniversary of Disney’s Zorro. Discover the power of representation in storytelling and how Zorro left a lasting mark on fans well after its premiere in 1957.

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By Cesar Gallegos, Walt Disney Archives

From September 15 to October 15, during the anniversaries of the independence of many Latin American countries, Hispanic Latinx Heritage Month celebrates and honors the achievements, history, contributions, and vibrancy of Hispanic and Latinx cultures. With the celebration soon coming to a close, it marks another important milestone: the 65th anniversary of Disney’s Zorro.

Premiering on October 10, 1957, Zorro featured the debonair Guy Williams as Don Diego de la Vega and his alter ego—the friend of the people, El Zorro. The show, inspired by the stories of Johnston McCulley, follows the adventures of the legendary masked hero who fought valiantly against the oppressive forces in 19th-century California.

Almost 30 years after its premiere, a VHS copy of Zorro: The Secret of El Zorro (a compilation of episodes from the series) landed in the hands of a very impressionable five-year-old Hispanic boy. This boy, born and raised in Los Angeles, finally saw a world that resonated with not only his Hispanic culture, but also showed a hero and characters that looked a lot like him.

Though he loved Sunday newspaper comics and superhero cartoons, seeing Zorro etch that infamous “Z” left an indelible mark on the boy. The vivid world and detailed production of Zorro sparked his imagination in a way no other story had before. He played out heroic scenarios, leaping from beds and tracing “Zs” in the air with the wooden sword that his dad had made for him. Yet there was always something missing that even his imagination couldn’t fabricate...

That all changed on Halloween when his mother and aunt sewed him Zorro’s infamous costume, complete with a billowy black shirt and distinctive domino mask. When the boy slipped into this costume, the power and pride he felt was unimaginable. Though it was decades after Zorro’s initial premiere, the boy felt an unshakeable connection to that iconic hero, driven by a deep feeling of representation.

You might have guessed that the little boy... was me!

And even though the little boy has now grown up, I often think of how significant it was to see aspects of oneself and heritage in popular culture. So you can imagine my excitement, starting my career at the Walt Disney Archives and realizing that Guy Williams’ Zorro costume is in the Archives’ collection!

To celebrate Zorro’s premiere and the impact of diverse storytelling, please enjoy the following photos from not only the Archives, but also from my own personal archive... and check out Zorro for yourself on Disney+!

Stream Zorro on Disney+

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]]> We’ve Just Begun to Dream! https://d23.com/weve-just-begun-to-dream/ Sat, 01 Oct 2022 16:00:05 +0000 https://d23.com/?p=127584 Just as Magic Kingdom Park, and all of Walt Disney World Resort, had beforehand, EPCOT Center (now known as EPCOT) opened its gates on October 1.

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By Francesca Scrimgeour, Walt Disney Archives

The 21st century began on October 1, 1982, at Walt Disney World Resort. Just as Magic Kingdom Park, and all of Walt Disney World Resort, had beforehand, EPCOT Center (now known as EPCOT) opened its gates on October 1. Card Walker, future Disney Legend and then company CEO and Chairman of the Board, best explained the reasoning for this opening phase in his dedication speech for the Universe of Energy on October 4, 1982: “Since we opened October 1, that’s our slowest day, our slowest week and month of the year. Of course, we do that by design. It was the same day that we opened Walt Disney World in 1971. The reason is we like to work out all the kinks in our inventions, all the new and innovative rides and systems that have never been tried anywhere else in the world before.” Uniquely, EPCOT Center celebrated with a month of dedications with each pavilion and attraction host its own special unveiling celebrations leading up to the EPCOT Center Grand Opening and Dedication Ceremony on October 24, 1982.

A close-up photograph of the entertainment performers at the EPCOT Center dedication on October 1, 1982.

October 1 was not only the first day that EPCOT Center was officially open, but it also doubled as the dedication day for Spaceship Earth. Guests were greeted with dancers, trumpeters, and singers to the song written for the occasion “We’ve Just Begun to Dream” that later played at many of the dedications throughout the month. To kick-off each of these dedications, Genie Field, the 1982 Walt Disney World Ambassador, was on hand to introduce either Card Walker or Donn Tatum, who were the senior leadership team helping to guide the project, bringing EPCOT Center to life. On October 1, Card Walker started the event by welcoming everyone to EPCOT Center, including Governor Bob Graham, who gave a speech about turning the dream of EPCOT into reality. Card took the time to recognize the magnitude of the entire EPCOT Center project and stated in his speech that, “EPCOT Center represents the culmination of more than 25 million hours of effort by talented artists, designers, engineers, and technicians with hundreds of advisors and thousands of construction workers. All propelled by the power and the force of an idea of one wonderful man, Walt Disney. EPCOT Center celebrates human achievements and innovation born from imagination, it is a showplace dedicated to entertain, we hope, with a purpose. Our goals for EPCOT Center are quite clear, we want to first entertain, then inform and inspire all who come here, and above all to instill in our guests a new sense of belief and pride in mankind’s ability to shape a world that offers real hope to people everywhere in the world.”

A wide view of the dedication festivities at the EPCOT Center dedication on October 1, 1982.

As the symbol of the entire project, Spaceship Earth was the first of the pavilions and showplaces to be dedicated. One of the largest geodesic spheres in the world, Spaceship Earth emulates our globe and the attraction itself is a spectacular time machine through our planet’s communication and collective knowledge. Card Walker highlighted the pavilion by saying, “EPCOT Center is a celebration of mankind’s ingenuity and innovation and it is clear that communications provide the basis and foundation for all progress. Communications has played a vital role in mankind’s survival and that role will increase in importance, in this very exciting information age that’s going on right now.” The ceremony ended with a reprise of “We’ve Just Begun to Dream” amidst a flurry of EPCOT Center cast members joining with balloons in hand to release them at the finale along with a flight of doves. It is hard to believe that this was just day one of the celebrations with a whole month of festivities to follow!

The finale of the World of Motion dedication on October 5, 1982.

The celebrations continued around the entire theme park. Card Walker dedicated the Universe of Energy on October 4, and the World of Motion on October 5, along with representative sponsors, who expressed their excitement about being involved with this revolutionary project. Not limiting their vision only to what lies ahead, the original Future World pavilions made sure to demonstrate where we were, where we are now, and what the possibilities are for the future. The focus of the entire EPCOT Center project was to interweave entertainment, history, and technology together, and the Universe of Energy was no exception, with Card affirming during the dedication ceremony that “It houses new dimensions in entertainment and the conveying of information where a unique traveling theater is literally propelled by the power of sunshine from a network of solar cells that you can see there from the rooftop.”

The World of Motion also echoed the goals of Future World with its historical and sometimes zany narration of transportation leading up to the most innovative concepts in transportation at that time. In his dedication speech for the World of Motion, Card remarked that this showplace “illustrates how mankind’s progress through the ages is always been directly related to his freedom of mobility… While it is impressive in size and scope, and for the new dimensions it presents an entertainment with purpose, no structure that could be built would be large enough to adequately symbolize the impact of the automobile on our American society.” The Universe of Energy and the World of Motion dedication wrapped up after a word from the sponsors and a choreographed dance to “We’ve Just Begun to Dream” with cast members adorned with their futuristic white and silver costumes.

Card Walker speaking at the EPCOT Computer Central dedication on October 18, 1982.

EPCOT Computer Central was dedicated on October 18 as a part of CommuniCore. Short for Community Core, it exhibited the newest technologies like contributing to a computer poll, designing a computerized Utopian community, and guiding a space shuttle back to Earth. EPCOT Computer Central specifically focused on the vitalness and creative power of computers, and Card backed that up in his dedication speech, where he observed that “The computer systems you will see here, in fact, help run a major portion of not only just EPCOT Center, but of all of Walt Disney World.” Other exhibits that were featured in CommuniCore were Energy Exchange, Electronic Forum, FutureCom, and TravelPort, with each one representing our collective footsteps into the future and what was just around the corner.

The Land pavilion focused on the future of agriculture, allowing guests to see up-to-the-minute agricultural techniques like hydroponics, intercropping, and aquaculture. The dedication ceremony on October 6 was a thrilling spectacle of country-themed music, captivating dancers, lively banjo players, and a harmonious group of singers. Card captured the feeling of the pavilion best in his dedication speech, where he observed, “Six acres under one roof that symbolizes our precious national treasure. The purpose of this pavilion is to demonstrate, in an entertaining way, how intelligent and constructive use of the land for agriculture will enable mankind to continue the centuries of progress that is our generation’s heritage.”

The entertainment for The American Adventure dedication on October 11, 1982.

As a permanent community of nations, World Showcase recreated architectural landmarks inspired by their real-world equivalents and brought the culture and diversity of each country’s pavilion to life. The countries represented at the opening of EPCOT Center were Canada, the United Kingdom, France, Japan, the United States (The American Adventure), Italy, Germany, China, and Mexico, with each country receiving its own dedication across the month. Donn Tatum, future Disney Legend and senior executive, kicked off the World Showcase dedications with the China pavilion on October 3, which included many representatives from China in attendance. The Wonders of China film was an exciting partnership with the country of China, and Donn remarked that “We felt it was so important to have as part of the World Showcase when we opened a representation of that magnificent and diverse country, that we went ahead, and through extra effort, were able to accomplish it.” The next country to be dedicated would be The American Adventure on October 11 as a focal centerpiece for World Showcase at EPCOT Center. As the Georgian mansion stood as the dazzling backdrop, the dedication ceremony included an assortment of patriotic songs and dance with a balloon release and fireworks to welcome the new pavilion. On October 13, Canada would join in the festivities, complete with a musical group of Canadian Mounties, Canadian representatives, magnificent singers and dancers, and even a Siberian Husky.

The next country in line for the dedication ceremony was Italy on October 14, which also had a grand celebration of Italian music and dance along with a dove release and fireworks. During Italy’s dedication, Donn reinforced the feeling of a harmonious community in EPCOT Center by stating, “Within this EPCOT Center community, it has been our hope and our vision that in presenting the various nations of the world, we would be able to expose to the millions of people who will come here— the cultures, the traditions, the heritages, the ambitions, and the viewpoints, and the history of these various countries so as to promote hopefully in the world a better understanding among peoples.” The next day on October 15, fairy tale inspired Germany was dedicated with polka music, alphorn players, and yodelers. The United Kingdom was next in line for dedication on October 19, which included bagpipe players, a full orchestra with trumpeters, and live singers dressed in historical outfits. Both Japan and France were dedicated on October 20 and featured unique performances for both countries. Japan’s dedication was held during the day and was presented with a traditional Shinto ceremony and prayer for the pavilion. Meanwhile, France’s dedication was in the evening with a song and dance show set to an array of customary French music and fireworks.

The formal grand opening was held from October 22 through October 24, with an official Future World dedication on October 22, World Showcase on October 23, and the entirety of EPCOT Center on October 24. On October 23, EPCOT Center: The Opening Celebration aired on television and was hosted by Danny Kaye along with other sensational guests, including Drew Barrymore, Roy Clark, Marie Osmond, Eric Sevareid, Alan Shepard, the West Point Glee Club, and the All-American Marching Band. The program followed Danny Kaye in his grand tour of the brand-new EPCOT Center coupled with Kaye learning how the the overall project came to be from the announcement through construction.

Dreamfinder and Figment bring interviewed during the EPCOT Center Grand Opening and Dedication Ceremony.

On Sunday, October 24, 1982, the EPCOT Center Grand Opening and Dedication Ceremony commenced at 11 a.m. The West Point Glee Club and the All-American Marching Band performed again along with a precision flyover by the Florida Air National Guard. In addition to these entertaining moments, the International Ceremony of Waters was held as an illustrative moment of friendship and understanding among the countries where a symbolic blending of water from across the globe was poured into the fountain behind Spaceship Earth. With the can-do spirit, The Walt Disney Company (then called Walt Disney Productions) had accomplished what they had set out to do and achieved Walt Disney’s vision of an international community, imaginative attractions, and innovative technologies.

During this momentous event, Card Walker revealed the dedication plaque—which might sound a bit familiar from his October 1 opening dedication speech—and read it aloud to the audience: “To all who come to this place of joy, hope and friendship, welcome. EPCOT Center is inspired by Walt Disney’s creative genius. Here, human achievements are celebrated through imagination, the wonders of enterprise, and concepts of a future that promises new and exciting benefits for all. May EPCOT Center entertain, inform and inspire. And, above all, may it instill a new sense of belief and pride in man’s ability to shape a world that offers hope to people everywhere.”

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]]> Building a Fairytale: The Construction of Cinderella Castle, Part 2 https://d23.com/building-a-fairytale-the-construction-of-cinderella-castle-part-2/ Fri, 23 Sep 2022 16:03:33 +0000 https://d23.com/?p=125669 Welcome back to the second and final part of our look at the construction of Cinderella Castle. These photos, selected from the Walt Disney Archives Photo Library, are only a taste of the thousands of vintage Walt Disney World images that reside in the collection.

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By Matt Moryc and Maggie Evenson, Walt Disney Archives

Welcome back to the second and final part of our look at the construction of Cinderella Castle. These photos, selected from the Walt Disney Archives Photo Library, are only a taste of the thousands of vintage Walt Disney World images that reside in the collection. In case you missed Part One, please visit this link.

A unique aerial view of Cinderella Castle under construction, taken from above and behind the Castle. The newly planted trees of the Central Plaza are visible at the top of the photo.

A crane lifts the roof portion of a tower into place.

There’s much to see in this aerial shot of the Castle and nearby Fantasyland. Notice the Castle’s golden spire has been staged at the top of the ramps before its eventual placement at the top of the structure. To the left of the castle are the buildings for both it’s a small world (green structure) and “Mickey Mouse Revue,” while the steel structure of the Pinocchio Village Haus takes shape next to it’s a small world. In the top right corner is construction on the lagoon and infrastructure for the 20,000 Leagues Under the Sea submarine voyage, while the Snow White’s Adventures and Mr. Toad’s Wild Ride buildings sit just below it.

The top portion of Cinderella Castle’s tallest spire is lowered into place as a construction worker in the turret helps to ensure the proper connections are made.

A shot taken from the entrance to the Castle foyer. A sign was placed over the face of the Castle’s clock to remind the planners, designers, and laborers when the Magic Kingdom had to be completed: “Remember Opening Oct. 1971.” A similar sign was also placed over the clock face of the City Hall building on Main Street, U.S.A.

Inside the Castle foyer, the story of Cinderella is depicted along the walls via five dazzling mosaic murals, with each panel in the shape of a Gothic arch 15 feet high by 10 feet wide. This photo shows tile setters cementing the glass pieces into place. The murals were designed by Disney Legend and Walt Disney Imagineer Dorothea Redmond and translated into hundreds of thousands of pieces of glass by a renowned tile mosaicist. More than 400 colors were used, with 100 accent colors, and some of the glass pieces were infused with silver and 14-carat gold. According to a Disney press release at the time, “Some pieces are as small as the head of a tack and many more are hand cut and shaped by a power grindstone.”

A rarely seen view from the balcony of Cinderella Castle overlooking the forecourt area and across the Central Plaza toward Main Street, U.S.A.

An almost-ready Cinderella Castle as viewed from Central Plaza at the end of Main Street, U.S.A. The iconic “Partners” statue of Walt Disney and Mickey Mouse was placed in the planter at the center of this photo in June 1995.

A Fall 1971 view of the completed Cinderella Castle.

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]]> Building a Fairytale: The Construction of Cinderella Castle, Part 1 https://d23.com/building-a-fairytale-the-construction-of-cinderella-castle-part-1/ Fri, 02 Sep 2022 16:02:35 +0000 https://d23.com/?p=125625 Construction on Walt Disney World formally began in May 1967, and Cinderella Castle was one of the first structures to be erected on the site.

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By Matt Moryc and Maggie Evenson, Walt Disney Archives

A few miles south of Orlando, Florida, exists a fairytale castle more striking and revered than perhaps all the fortresses and towers of Europe. A structure that pierces the bluest skies and stands out for miles around an endless horizon of the purest green nature. Its surface radiates the intense Florida sunshine during the day and sustains the majesty at night with an array of multicolor lights, exciting projections and powerful fireworks. This dream-like edifice is called Cinderella Castle, and it sits in the heart of Magic Kingdom Park at Walt Disney World Resort.

Construction on Walt Disney World formally began in May 1967, and Cinderella Castle was one of the first structures to be erected on the site. This iconic building, according to an early Walt Disney World press release, “…emerged as a romanticized composite of such royal pleasure courts as Fontainebleau, Versailles and a dozen famed chateaux of the Loire Valley. Among them are Chenonceau, Chambord, and Chaumont…. These and many others combined with original Disney designs prepared 20 years ago…for Cinderella [1950]….”

Unlike the structures built in the Middle Ages, Cinderella Castle was fortified with 276 tons of steel, and crafted out of contemporary building materials such as fiberglass and plastic. Disney artisans created, sculpted, and prefabricated many of the Castle’s features such as turrets, glass mosaics, gargoyles, and imitation stonework. Soaring almost 200 feet into the air, Cinderella Castle sits atop a network of utility corridors (or “utilidors,” for short) where an army of Disney employees and facilities stay hidden from the view of guests who traverse the Magic Kingdom daily.

In honor of Cinderella Castle and the 50th anniversary of Walt Disney World, here are a series of construction photos from the Walt Disney Archives Photo Library of one of the most iconic American landmarks and architectural achievements in the history of The Walt Disney Company.

Looking north toward Fantasyland, this image captures both the Main Street, U.S.A. utilidor (foreground) and the Fantasyland utilidor and Cinderella Castle foundation (background). The large opening in the steel is where the utilidor will pass beneath the Castle, which will be built overhead on the park’s second level. This system of passageways was designed with an emphasis on keeping backstage elements of the Magic Kingdom hidden from view of guests as not to disturb the carefully crafted environments of each land. Things such as trash removal, cafeterias, breakrooms, storage, office space, and utilities work are just some of the activities and allotted uses of the utilidors that exist just below the surface of the park.

This aerial view looking north shows the massive size of the Fantasyland utilidor that sits between Cinderella Castle and the back of the park. Behind the Castle foundations you can see the utilidor has been covered with what will become the second level of Magic Kingdom. The large, red steel at the top left corner is the building that will eventually house “it’s a small world,” and the body of water across from it is the beginnings of the foundation for 20,000 Leagues Under the Sea. Also, notice that the utilidor passageway to Main Street, U.S.A. has been enclosed.

This northwest facing view shows that the utilidor passageway to Main Street, U.S.A. has been covered with dirt and the previously open ceiling of the Castle’s utilidor has been covered.

Scaffolding continues to rise in this shot looking northeast toward the front of Cinderella Castle.

An aerial view looking at the east facing side of Cinderella Castle. The area just beyond is where Adventureland, Frontierland, and Liberty Square will be built.

Many of the ornamental pieces of Cinderella Castle were prefabricated offsite and then delivered to the construction site and lifted into place by cranes.

A construction crew trucks an ornamental section of a Castle tower across the Magic Kingdom site.

The towers of Cinderella Castle rise in this aerial view of the backside of the Castle facing southeast.

Aerial view looking at the front of the Castle.

A shot of the Castle front taken from approximately where guests today ascend the west side ramp leading into the foyer. Notice the steel framework has been erected for the eventual clock above the entryway.

We hope you enjoyed part one of this two-part series chronicling the construction of Cinderella Castle. Check back with us soon for the exciting conclusion!  

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]]> From Puffins to Porgs https://d23.com/from-puffins-to-porgs/ Mon, 25 Jul 2022 16:00:26 +0000 https://d23.com/?p=123874 Creature paint finish designer Henrik Svensson painted this Porg color test during the production of Star Wars: The Last Jedi (2017). Check out our latest Spotlight article for a closer look at these adorable creatures!

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By Madlyn Moskowitz, Walt Disney Archives

Porgs, inquisitive creatures first introduced to us in Star Wars: The Last Jedi (2017), are exemplary for illustrating the intersection between practical puppeteering and visual effects. Their very existence spurred from an environmental challenge on Skellig Michael, the real-world location for Ahch-To, Luke Skywalker’s secluded island hideout, which is a wildlife preserve for puffins, seabirds native to the region. As recollected by creature concept designer Jake Lunt Davies on StarWars.com, “...Everywhere you look there [were] hundreds of birds dotted around the landscape. From what I gathered, Rian [Johnson, director], in a positive spin on this, was looking at how [we could] work with this. You can’t remove them. You physically can’t get rid of them. And digitally removing them is an issue and a lot of work, so let’s just roll with it, play with it.” This challenge drove the Creature FX department to design a puffin-inspired creature that would look indigenous to the environment. And while the creature department built a series of practical puppets and animatronic porgs to perform a number of specific actions onscreen, Industrial Light & Magic, the visual effects division of Lucasfilm, augmented porg body movements and facial expressions, and overlayed additional porgs when needed to disguise the real puffin inhabitants of Skellig Michael inadvertently captured during filming.

Check out the photos below to see several iterations of porgs throughout the creative development process.

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