- Location
- California
For 2055, why not just list all the people we worked with? No need to burn bridges- especially with Lucas- by not mentioning them.
Taking the Mickey: A Save Disney Quest
- Thread starter Slynnwen
- Start date
- Location
- SF Bay Area
Keani
C̵͍̈t̷̼̓h̴̀ͅŭ̶̹l̴̡̈u̸̫͗ ̶̟͌F̵͚́h̶̠͊t̶͍͌ă̷̺g̴̯̊n̷
- Location
- R͈̥̲̦͍͓͗̽̈́̚'̞ͧ͛ͥ̄l̫̰̤̖̽̐y͍̲ͧ̒́̐̌̀e̪͆h̸̩͔̟ͣ͐͐̎ͤ
I think it works great. Also I like the write in for 2055 better than Nintendo as it acknowledges everyone rather than snubbing half the crew.
Slynnwen
She/Her
- Location
- Fomalhaut B
It's just about starting to enter the public consciousness. Think "a few days ago the first newspaper article leaked something." GM has graciously offered to help fund the new Autopia for occasionally having an imagineer or two pop over, most notably Bob Gurr if he's free (designed the Autopia cars). Oh, and you have to plaster their name on everything.
[jk] honestly there really hasn't been one. This has been one of the easiest jobs I've had in years. I just leave the vast majority of the actual work up to my secretary @Slynnwen and select from a presented list of curated options. Honestly I could do this job in my spare time just for fun
KnightDisciple
Love God. Do Right. Fear No Man.
- Location
- Midwest, USA
@Firebringer2077 I like the plan. I'd agree with the point of trying to acknowledge everyone who contributed to 2055 rather than one person. I think it plays well with the rest of your plan's tone, and it doesn't snub one person or another.
- Location
- Wherever I feel like being
- Pronouns
- He/Him
[ ] Executive Interview v2
- [ ] [Sharing] It's an honor to be considered on equal standing with the Commander-in-Chief. To be honest I'd say out of the two of us, he's got the easier gig. He answers to the American public, I answer to shareholders. [Laughs] But in all seriousness, I admire his ability to take challenges by the horns and wrestle them into solutions.
- [ ] [Biggest Challenge] Frankly it was dealing with the whole package. My time before this was live-action films only. Which is only a small facet of the greater whole that is Disney. Breaking it down into pieces is what made things manageable, but looking at it as a whole... the biggest concern I had was making sure that that special spark of Disney magic didn't fade. I'm no Walt... but I'd like to think that he'd consider the company in good hands as it stands.
- [ ] [Secret to Success] Delegation and having the right people on the right job. Out latest hotel likely wouldn't have opened nearly so quickly if not for putting Elizabeth [Plater-Zyberk] on the job. And that goes for every single member of the staff, from Jeff [Katzenburg] and Don [Bluth] down to the janitors and gardeners at the parks. Everyone pitches in and pulls together. Without them, I wouldn't be here today.
-[ ] [Upcoming] "Oh there's quite a bit that's coming, but I have to keep some things under my hat. [laughs] Right now I'm really looking forward to our next big picture, a combination live action/animated film that's really pushed things to new heights. "Who Framed Roger Rabbit" is going to have quite a few familiar faces... including some that you may not expect! [chuckles]
-[ ] [Patents] Frankly, I did it because Disney is at it's core about imagination, innovation, and dreams. It's what Walt wold have done, I think. We're not a power company. We're not a think tank either. Getting those patents out meant that every single potential future Tesla, Edison and Einstein could get their hands on them, could experiment, tweak, adapt and innovate. Instead of a handful of new designs and proofs of concept, we're looking at hundreds. And it's having a massive knock-on effect as more people look at the patents and wonder "Hey, what if I did this instead of that?" I look forward to reading about what else may come out of it... even if I need one of the Imagineers to break down the hard science for me. [laughs]
-[ ] [Tomorrowland] The second floor has literally added a new level of entertainment to Tomorrowland. The shows and character meets have blended to really bring back the original sense of wonder and imagining what's next for future, who or what we may someday encounter out among the stars, so long as we continue to reach for it.
- [ ] [Favorite part] The feeling that I'm contributing to the world, helping dreams and fantasies for the young and old come to life. Inspiring new minds, and taking older ones back to more care-free days. And having a huge group of incredible people surrounding me, all contributing in their own way, while working towards their own dreams.
Made some edits to the patents answer, and completely revamped the Tomorrowland answer.
- [ ] [Sharing] It's an honor to be considered on equal standing with the Commander-in-Chief. To be honest I'd say out of the two of us, he's got the easier gig. He answers to the American public, I answer to shareholders. [Laughs] But in all seriousness, I admire his ability to take challenges by the horns and wrestle them into solutions.
- [ ] [Biggest Challenge] Frankly it was dealing with the whole package. My time before this was live-action films only. Which is only a small facet of the greater whole that is Disney. Breaking it down into pieces is what made things manageable, but looking at it as a whole... the biggest concern I had was making sure that that special spark of Disney magic didn't fade. I'm no Walt... but I'd like to think that he'd consider the company in good hands as it stands.
- [ ] [Secret to Success] Delegation and having the right people on the right job. Out latest hotel likely wouldn't have opened nearly so quickly if not for putting Elizabeth [Plater-Zyberk] on the job. And that goes for every single member of the staff, from Jeff [Katzenburg] and Don [Bluth] down to the janitors and gardeners at the parks. Everyone pitches in and pulls together. Without them, I wouldn't be here today.
-[ ] [Upcoming] "Oh there's quite a bit that's coming, but I have to keep some things under my hat. [laughs] Right now I'm really looking forward to our next big picture, a combination live action/animated film that's really pushed things to new heights. "Who Framed Roger Rabbit" is going to have quite a few familiar faces... including some that you may not expect! [chuckles]
-[ ] [Patents] Frankly, I did it because Disney is at it's core about imagination, innovation, and dreams. It's what Walt wold have done, I think. We're not a power company. We're not a think tank either. Getting those patents out meant that every single potential future Tesla, Edison and Einstein could get their hands on them, could experiment, tweak, adapt and innovate. Instead of a handful of new designs and proofs of concept, we're looking at hundreds. And it's having a massive knock-on effect as more people look at the patents and wonder "Hey, what if I did this instead of that?" I look forward to reading about what else may come out of it... even if I need one of the Imagineers to break down the hard science for me. [laughs]
-[ ] [Tomorrowland] The second floor has literally added a new level of entertainment to Tomorrowland. The shows and character meets have blended to really bring back the original sense of wonder and imagining what's next for future, who or what we may someday encounter out among the stars, so long as we continue to reach for it.
- [ ] [Favorite part] The feeling that I'm contributing to the world, helping dreams and fantasies for the young and old come to life. Inspiring new minds, and taking older ones back to more care-free days. And having a huge group of incredible people surrounding me, all contributing in their own way, while working towards their own dreams.
Made some edits to the patents answer, and completely revamped the Tomorrowland answer.
Omake: Mouse Finds His Groove (semi-canon)
overmind
Ruler of the Swarm
Omake: Mouse Finds His Groove
The more things change...
That was becoming the maxim for one Steve Hulett, veteran and screenwriter at Disney animation.
And indeed there was merit to the saying. The more things changed in Disney, the more they remained the same.
He could still recall his first interview with Don Duckwall, the nervousness he felt at trying to ovtain the job, the tension during his first three months, and the interactions with his friends (Pete would become a true friend through it all) and even Don Bluth himself. But he could also recall the many, many changes and problems when trying to do a movie in itself ("Fox and the Hound" once more came to mind), the frustration at seeing new ideas just being smothered because of the office politics, the resignation at just having to bow your head and just agree to everything to keep your job in the business...
So, with all that experience behind him, all those memories of having to stay behind just to keep himself employed, and the many hors of fruitless work in films before he had to wonder...
Why was everything so different?
He can only look around as he works in the final story for "Basil on Baker Street" and wonder at the new energy around the studio, the new feeling of excitement and camaradery that permeates the air. There is not even the fear of being laid off as before, with 4 animated films being worked on (and more in the planning stages as he hears) the idea of someone being laid off sounds ridiculous!
That is not even mentioning the work being done for the Disney Channel. Once thought as just a channel to show the old and storaged films and shows, it has since become the forefront for animators to show their stuff before moving into movies. Last he heard, Tim had been taped in to work that Chronicles of Prydain TV series they had planned for, Joe deciding to give him a chance to show his stuff at last.
...Hmmm, That's right...
It all began with the Black Cauldron...
Flashback:
God you wished that it was all done with! You had just barely been able to keep it together when Jeff had revised the work you and the rest had been doing for "Basil on Baker Street" and now you had to hear the entire argument between Joe Hale and Jeffrey Katzenber about the Black Cauldron.
It was not even that good. You had worked in it, you knew it had a good beginning, but it's entire plot just went out the window in the middle of Arc 2. Why is Joe choosing that hill to die on?
"I'll take it from here, David."
Oh Crap! You recognized that voice, and turning you could see your fears turn real. The new Head Honcho of Disney, Michael Eisner himself had arrived, and if he was not seeing wrong Roy Disney was with him.
Well, that's it. Joe's done here.
Looking around he could see the rest of the animators just shrink and try to avoid looking at what was happening around them. No one wanted to get involved in this, just keep your head down and don't make any noise.
Smart men.
You just remain as you are by your seat, trying to make yourself look busy and hoping, like the rest of the animators, that no one notices you.
"If you won't make the edits, that's fine. I'll do it myself."
You hear Eisner clear his throat, and risking a glance you can see the reactions. Joe looks worn out, Jeffrey just looks smug. Both know what is going to happen now.
"If both of you could take a step back and calmly explain what's going on here, I'd greatly appreciate it." He says, before pointing to Jeffrey first.
"I showed up to watch the test screening of the latest animation studio project. It's set for a Christmas release. The test screening was absolutely terrible. Parts of the movie drag on forever, parts of the movie were enough to scare me, much less the kids who were in the theater. This isn't a family film, and it doesn't fit with what Disney's been making in the past. Moments of bleakness, yes. We all know what happens with Bambi's mom. But this was just... " He trails off for a moment. "An undead army in full visceral detail is more of a horror movie thing, I'd say."
That...That was actually a good argument for the movie. It has even more flaws than that but still, it makes so much sense to see it as such for someone who has mainly been focused in Live Action Films.
"We do have a bit of a reputation for being family friendly." He points to Joe. "What's your perspective?"
Joe seems to know he's going down, yet he still draws himself up. It appears he is going to go down fighting then.
"We knew it was a bit scarier than Disney normally does, but there's still the fairy tale ending everyone expects. This version does right by the source material, and by Lloyd Alexander. And even if it does need edits, that doesn't mean we should just start cutting entire swathes of the movie out wholesale!"
He can understand his frustration. He's had to walk the tightrope for so long in order to make the movie, between the old animators and the new ones, and even if the product is not the one he would have hoped for it is still domething he has worked for for so long and is nearly done. It must smart that he can do nothing but watch as it is taken away from him.
"Look, guys, no more arguing. We're going to solve this problem like civilized adults."
And here it comes.
"First off, Jeff, me and Roy are going to watch the film with you and Joe. Take notes as we go along, and then we'll decide on a course of action together."
...What.
What the hell?
He was not the only one gobsmacked about this, he could see the rest of the animators just as surprised as the group moved to see the movie in itself, and wondering just what this meant.
Flashback End.
Well, the results were beyond what many were expecting. Joe had managed to keep his job, even if he'd had to work with Jeff in the Black Cauldron, but they'd actually done a great job with it! They'd fixed the entire problems with the movie and managed to get it to win an Oscar! You remembered when you and everyone on that project had been trying to just leave the damn thing when nothing seemed to be going right. Now, even if it was a little, your name would be shown in recognition on an award winning film.
And from there things just kept on rolling. A better budget, better relationships between the animators as the nold guard retired and the new came in. heck, even when Don Bluth returned he did so under the banner of his own studios, thus leading to more work while still leaving space for the new to spread their wings. Pixar animation, and Lassiter with it, had been brought into the fold, creating more ideas to just pollinate between the groups.
Last he heard Pete had been asked to collaborate for one of Don's new ideas. A film about dogs and heaven of all things. Pete seemed to like it, even mentioning how it was helping him for his own idea about a dog movie as well.
Which left him...where exactly? He had never thought it would become like this. he had expected in many ways to just move forward until he was at a position where he could make the shots and then finally prove his ideas. But now there was opportunity around. There were ways and innovations that might allow him to stand out from the rest if he just took the chance and did it.
He recalled the old idea he and Pete worked once. They had hoped it would be their breakthrough movie, yet it all went down as they could not agree on the plot itself.
But perhaps it was time to give it another go. He would need to ask Pete about it of course, but at the same time he could not help but feel a rush of excitement at the idea itself.
Things had changed, and Disney would never be the same.
A.N: I was reading about the movie done in 2004 about The Three musketeers with Mickey, Donald and Goofy, and was surprised to see that it had been first written in 1983 by Steve Hulett and Pete Young. Reading more about them I found it very interesting to see how Disney apparently worked back then. I resumed most of it since too much information might take the magic away.
Steve Hulett was actually fired around 1985-1986. But I figured with more movies and more animation to be done in the Disney Channel that the massive firings of 1985 would not be done this time around.
Is this fine @Slynnwen?
The more things change...
That was becoming the maxim for one Steve Hulett, veteran and screenwriter at Disney animation.
And indeed there was merit to the saying. The more things changed in Disney, the more they remained the same.
He could still recall his first interview with Don Duckwall, the nervousness he felt at trying to ovtain the job, the tension during his first three months, and the interactions with his friends (Pete would become a true friend through it all) and even Don Bluth himself. But he could also recall the many, many changes and problems when trying to do a movie in itself ("Fox and the Hound" once more came to mind), the frustration at seeing new ideas just being smothered because of the office politics, the resignation at just having to bow your head and just agree to everything to keep your job in the business...
So, with all that experience behind him, all those memories of having to stay behind just to keep himself employed, and the many hors of fruitless work in films before he had to wonder...
Why was everything so different?
He can only look around as he works in the final story for "Basil on Baker Street" and wonder at the new energy around the studio, the new feeling of excitement and camaradery that permeates the air. There is not even the fear of being laid off as before, with 4 animated films being worked on (and more in the planning stages as he hears) the idea of someone being laid off sounds ridiculous!
That is not even mentioning the work being done for the Disney Channel. Once thought as just a channel to show the old and storaged films and shows, it has since become the forefront for animators to show their stuff before moving into movies. Last he heard, Tim had been taped in to work that Chronicles of Prydain TV series they had planned for, Joe deciding to give him a chance to show his stuff at last.
...Hmmm, That's right...
It all began with the Black Cauldron...
Flashback:
God you wished that it was all done with! You had just barely been able to keep it together when Jeff had revised the work you and the rest had been doing for "Basil on Baker Street" and now you had to hear the entire argument between Joe Hale and Jeffrey Katzenber about the Black Cauldron.
It was not even that good. You had worked in it, you knew it had a good beginning, but it's entire plot just went out the window in the middle of Arc 2. Why is Joe choosing that hill to die on?
"I'll take it from here, David."
Oh Crap! You recognized that voice, and turning you could see your fears turn real. The new Head Honcho of Disney, Michael Eisner himself had arrived, and if he was not seeing wrong Roy Disney was with him.
Well, that's it. Joe's done here.
Looking around he could see the rest of the animators just shrink and try to avoid looking at what was happening around them. No one wanted to get involved in this, just keep your head down and don't make any noise.
Smart men.
You just remain as you are by your seat, trying to make yourself look busy and hoping, like the rest of the animators, that no one notices you.
"If you won't make the edits, that's fine. I'll do it myself."
You hear Eisner clear his throat, and risking a glance you can see the reactions. Joe looks worn out, Jeffrey just looks smug. Both know what is going to happen now.
"If both of you could take a step back and calmly explain what's going on here, I'd greatly appreciate it." He says, before pointing to Jeffrey first.
"I showed up to watch the test screening of the latest animation studio project. It's set for a Christmas release. The test screening was absolutely terrible. Parts of the movie drag on forever, parts of the movie were enough to scare me, much less the kids who were in the theater. This isn't a family film, and it doesn't fit with what Disney's been making in the past. Moments of bleakness, yes. We all know what happens with Bambi's mom. But this was just... " He trails off for a moment. "An undead army in full visceral detail is more of a horror movie thing, I'd say."
That...That was actually a good argument for the movie. It has even more flaws than that but still, it makes so much sense to see it as such for someone who has mainly been focused in Live Action Films.
"We do have a bit of a reputation for being family friendly." He points to Joe. "What's your perspective?"
Joe seems to know he's going down, yet he still draws himself up. It appears he is going to go down fighting then.
"We knew it was a bit scarier than Disney normally does, but there's still the fairy tale ending everyone expects. This version does right by the source material, and by Lloyd Alexander. And even if it does need edits, that doesn't mean we should just start cutting entire swathes of the movie out wholesale!"
He can understand his frustration. He's had to walk the tightrope for so long in order to make the movie, between the old animators and the new ones, and even if the product is not the one he would have hoped for it is still domething he has worked for for so long and is nearly done. It must smart that he can do nothing but watch as it is taken away from him.
"Look, guys, no more arguing. We're going to solve this problem like civilized adults."
And here it comes.
"First off, Jeff, me and Roy are going to watch the film with you and Joe. Take notes as we go along, and then we'll decide on a course of action together."
...What.
What the hell?
He was not the only one gobsmacked about this, he could see the rest of the animators just as surprised as the group moved to see the movie in itself, and wondering just what this meant.
Flashback End.
Well, the results were beyond what many were expecting. Joe had managed to keep his job, even if he'd had to work with Jeff in the Black Cauldron, but they'd actually done a great job with it! They'd fixed the entire problems with the movie and managed to get it to win an Oscar! You remembered when you and everyone on that project had been trying to just leave the damn thing when nothing seemed to be going right. Now, even if it was a little, your name would be shown in recognition on an award winning film.
And from there things just kept on rolling. A better budget, better relationships between the animators as the nold guard retired and the new came in. heck, even when Don Bluth returned he did so under the banner of his own studios, thus leading to more work while still leaving space for the new to spread their wings. Pixar animation, and Lassiter with it, had been brought into the fold, creating more ideas to just pollinate between the groups.
Last he heard Pete had been asked to collaborate for one of Don's new ideas. A film about dogs and heaven of all things. Pete seemed to like it, even mentioning how it was helping him for his own idea about a dog movie as well.
Which left him...where exactly? He had never thought it would become like this. he had expected in many ways to just move forward until he was at a position where he could make the shots and then finally prove his ideas. But now there was opportunity around. There were ways and innovations that might allow him to stand out from the rest if he just took the chance and did it.
He recalled the old idea he and Pete worked once. They had hoped it would be their breakthrough movie, yet it all went down as they could not agree on the plot itself.
But perhaps it was time to give it another go. He would need to ask Pete about it of course, but at the same time he could not help but feel a rush of excitement at the idea itself.
Things had changed, and Disney would never be the same.
A.N: I was reading about the movie done in 2004 about The Three musketeers with Mickey, Donald and Goofy, and was surprised to see that it had been first written in 1983 by Steve Hulett and Pete Young. Reading more about them I found it very interesting to see how Disney apparently worked back then. I resumed most of it since too much information might take the magic away.
Steve Hulett was actually fired around 1985-1986. But I figured with more movies and more animation to be done in the Disney Channel that the massive firings of 1985 would not be done this time around.
Is this fine @Slynnwen?
Slynnwen
She/Her
- Location
- Fomalhaut B
Semi-canon, more advisors added to movie/tv pool (will be more likely to gain advisors in those categories).
overmind
Ruler of the Swarm
Hmmm. Tim Burton should be working at this moment in the Animation Department, right? Or i might have gotten the dates wrong there.
Crazy7s1
Excellent
No he works for us. He worked on The Black Cauldron in our timeline in fact, I imagine he did the same here.
overmind
Ruler of the Swarm
Cool, so we might get Tim Burton as an advisor later on. Keeping him in Disney should be a priority for us.
- Location
- USA
REEEEE!
*
Other than that, well written and enjoyable.
Slynnwen
She/Her
- Location
- Fomalhaut B
He would have been fired, except you changed that by choosing the Black Cauldron option. He's generally been asked to do the more gruesome scenes (think the opening to The Great Mouse Detective), but some more options involving him are coming up later.
overmind
Ruler of the Swarm
Huh. That means that he might not work in helping make the Pee-Wee's Big Adventure film, which would not put him in contact with songwriter Danny Elfman, who has provided a lot of the scores for his movies. Although since he is still a fan of the Oingo Boingo band he might still ask him to write for him.
Let's hope that he can still get enough clout and experience to get Beetlejuice running here.
- Location
- SF Bay Area
Wait... so Tim Burton is working for us? You guys do know that Paul Dini or Bruce Timm was working for Bluth I think...
maybe we can get those three together, and talk with Warner Brothers about an idea for a ... CERTAIN Television show. Wonder what Kevin Conroy's up to...
maybe we can get those three together, and talk with Warner Brothers about an idea for a ... CERTAIN Television show. Wonder what Kevin Conroy's up to...
overmind
Ruler of the Swarm
For that to happen the Batman movie must be made first,a nd since it seems that WB is getting DC we would have to agree to a deal with them in order to make the cartoon without them trying to.
- Location
- SF Bay Area
Considering the success of Man of Steel, we could negotiate that I think. A proper Batman animated series at Disney while WB has the movies
Crazy7s1
Excellent
I like the way you think sir!
overmind
Ruler of the Swarm
Well, we are still the masters of animation around here, but why would WB agree to us doing the series and share the money instead of them trying it by themselves?
Still, if what you say works that still means that we need to have Tim Burton (Who I really hope we never let go of) work in the Batman movies, which will be done by WB.
- Location
- Wherever I feel like being
- Pronouns
- He/Him
[X] Executive Interview v2
- [X] [Sharing] It's an honor to be considered on equal standing with the Commander-in-Chief. To be honest I'd say out of the two of us, he's got the easier gig. He answers to the American public, I answer to shareholders. [Laughs] But in all seriousness, I admire his ability to take challenges by the horns and wrestle them into solutions.
- [X] [Biggest Challenge] Frankly it was dealing with the whole package. My time before this was live-action films only. Which is only a small facet of the greater whole that is Disney. Breaking it down into pieces is what made things manageable, but looking at it as a whole... the biggest concern I had was making sure that that special spark of Disney magic didn't fade. I'm no Walt... but I'd like to think that he'd consider the company in good hands as it stands.
- [X] [Secret to Success] Delegation and having the right people on the right job. Out latest hotel likely wouldn't have opened nearly so quickly if not for putting Elizabeth [Plater-Zyberk] on the job. And that goes for every single member of the staff, from Jeff [Katzenburg] and Don [Bluth] down to the janitors and gardeners at the parks. Everyone pitches in and pulls together. Without them, I wouldn't be here today.
-[X] [Upcoming] "Oh there's quite a bit that's coming, but I have to keep some things under my hat. [laughs] Right now I'm really looking forward to our next big picture, a combination live action/animated film that's really pushed things to new heights. "Who Framed Roger Rabbit" is going to have quite a few familiar faces... including some that you may not expect! [chuckles]
-[X] [Patents] Frankly, I did it because Disney is at it's core about imagination, innovation, and dreams. It's what Walt wold have done, I think. We're not a power company. We're not a think tank either. Getting those patents out meant that every single potential future Tesla, Edison and Einstein could get their hands on them, could experiment, tweak, adapt and innovate. Instead of a handful of new designs and proofs of concept, we're looking at hundreds. And it's having a massive knock-on effect as more people look at the patents and wonder "Hey, what if I did this instead of that?" I look forward to reading about what else may come out of it... even if I need one of the Imagineers to break down the hard science for me. [laughs]
-[X] [Tomorrowland] The second floor has literally added a new level of entertainment to Tomorrowland. The shows and character meets have blended to really bring back the original sense of wonder and imagining what's next for future, who or what we may someday encounter out among the stars, so long as we continue to reach for it.
- [X] [Favorite part] The feeling that I'm contributing to the world, helping dreams and fantasies for the young and old come to life. Inspiring new minds, and taking older ones back to more care-free days. And having a huge group of incredible people surrounding me, all contributing in their own way, while working towards their own dreams.
- [X] [Sharing] It's an honor to be considered on equal standing with the Commander-in-Chief. To be honest I'd say out of the two of us, he's got the easier gig. He answers to the American public, I answer to shareholders. [Laughs] But in all seriousness, I admire his ability to take challenges by the horns and wrestle them into solutions.
- [X] [Biggest Challenge] Frankly it was dealing with the whole package. My time before this was live-action films only. Which is only a small facet of the greater whole that is Disney. Breaking it down into pieces is what made things manageable, but looking at it as a whole... the biggest concern I had was making sure that that special spark of Disney magic didn't fade. I'm no Walt... but I'd like to think that he'd consider the company in good hands as it stands.
- [X] [Secret to Success] Delegation and having the right people on the right job. Out latest hotel likely wouldn't have opened nearly so quickly if not for putting Elizabeth [Plater-Zyberk] on the job. And that goes for every single member of the staff, from Jeff [Katzenburg] and Don [Bluth] down to the janitors and gardeners at the parks. Everyone pitches in and pulls together. Without them, I wouldn't be here today.
-[X] [Upcoming] "Oh there's quite a bit that's coming, but I have to keep some things under my hat. [laughs] Right now I'm really looking forward to our next big picture, a combination live action/animated film that's really pushed things to new heights. "Who Framed Roger Rabbit" is going to have quite a few familiar faces... including some that you may not expect! [chuckles]
-[X] [Patents] Frankly, I did it because Disney is at it's core about imagination, innovation, and dreams. It's what Walt wold have done, I think. We're not a power company. We're not a think tank either. Getting those patents out meant that every single potential future Tesla, Edison and Einstein could get their hands on them, could experiment, tweak, adapt and innovate. Instead of a handful of new designs and proofs of concept, we're looking at hundreds. And it's having a massive knock-on effect as more people look at the patents and wonder "Hey, what if I did this instead of that?" I look forward to reading about what else may come out of it... even if I need one of the Imagineers to break down the hard science for me. [laughs]
-[X] [Tomorrowland] The second floor has literally added a new level of entertainment to Tomorrowland. The shows and character meets have blended to really bring back the original sense of wonder and imagining what's next for future, who or what we may someday encounter out among the stars, so long as we continue to reach for it.
- [X] [Favorite part] The feeling that I'm contributing to the world, helping dreams and fantasies for the young and old come to life. Inspiring new minds, and taking older ones back to more care-free days. And having a huge group of incredible people surrounding me, all contributing in their own way, while working towards their own dreams.
- Location
- Pittsburgh PA
- Pronouns
- He/Him
[x] Tempestk
- Location
- SF Bay Area
[x] Plan: The Great Communicators v2
-[x] Sharing: It's great, and I couldn't ask for a better person to share it with.
-[x] Challenge: (write-in) Frankly it was dealing with the whole package. My time before this was live-action films only. Which is only a small facet of the greater whole that is Disney. Breaking it down into pieces is what made things manageable, but looking at it as a whole... the biggest concern I had was making sure that that special spark of Disney magic didn't fade. Given the reception of some of our recent projects it seems America agrees.
-[x] Success: My team. Everyone in the office has really come together to do the best job we can. I'm just the guy making sure everyone else has what they need to do the best job they can.
-[x] Coming Soon: We've partnered with Warner Bros. and Universal to start the work on a new park in Florida, closer to Orlando than the rest of the parks. It's still on the monorail line, though. It's a whole park dedicated to the art of film, animation, and television.
-[x] Patents: (Write in) It's what Walt would have done. Disney is at its core about imagination, innovation, dreams and discovery. We're not an energy company. We're not a think tank either. Keeping the patents to ourselves wouldn't have been in line with what's at the core of the Disney company, and getting those patents out meant that every single potential future Tesla, Edison, and Einstein could get their hands on them, experiment, tweak, adapt and innovate, and be inspired.
-[x] 2055: You know if you had asked me that a month ago, I would have had a very different answer. As spectacular as George, Carl, Ridley and Nintendo's contributions have been, the most amazing one I have seen is at Asteroid Autopia, not for the thrills but for how an invention by Stanford Ovshinsky has brought the future to today.
-[x] The challenge. There's always an interesting new challenge to tackle, a new idea to try and bring to life. Working at Disney is never boring.
The more I think about it the better off we will be by emphasizing Autopia, it's the neutral option, but also the one that has a lot of impact later on as time goes on. Thoughts?
-[x] Sharing: It's great, and I couldn't ask for a better person to share it with.
-[x] Challenge: (write-in) Frankly it was dealing with the whole package. My time before this was live-action films only. Which is only a small facet of the greater whole that is Disney. Breaking it down into pieces is what made things manageable, but looking at it as a whole... the biggest concern I had was making sure that that special spark of Disney magic didn't fade. Given the reception of some of our recent projects it seems America agrees.
-[x] Success: My team. Everyone in the office has really come together to do the best job we can. I'm just the guy making sure everyone else has what they need to do the best job they can.
-[x] Coming Soon: We've partnered with Warner Bros. and Universal to start the work on a new park in Florida, closer to Orlando than the rest of the parks. It's still on the monorail line, though. It's a whole park dedicated to the art of film, animation, and television.
-[x] Patents: (Write in) It's what Walt would have done. Disney is at its core about imagination, innovation, dreams and discovery. We're not an energy company. We're not a think tank either. Keeping the patents to ourselves wouldn't have been in line with what's at the core of the Disney company, and getting those patents out meant that every single potential future Tesla, Edison, and Einstein could get their hands on them, experiment, tweak, adapt and innovate, and be inspired.
-[x] 2055: You know if you had asked me that a month ago, I would have had a very different answer. As spectacular as George, Carl, Ridley and Nintendo's contributions have been, the most amazing one I have seen is at Asteroid Autopia, not for the thrills but for how an invention by Stanford Ovshinsky has brought the future to today.
-[x] The challenge. There's always an interesting new challenge to tackle, a new idea to try and bring to life. Working at Disney is never boring.
The more I think about it the better off we will be by emphasizing Autopia, it's the neutral option, but also the one that has a lot of impact later on as time goes on. Thoughts?
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- Location
- Wherever I feel like being
- Pronouns
- He/Him
Might want to underscore why you're choosing to focus on that a bit more. Otherwise it just comes off as odd, because we're not really known to have an oar in the battery field yet.