"Ian, you’ve just earned your ears at Pirates of the Caribbean! What’re you gonna do now?!"
"I’m gonna scrape off the goddamn tape that this goddamn ribbon left on the back of my name tag, God damn it."
It’s time to tell all four hundred of my followers—thanks for that, by the way—what’s coming soon to an Adventureland near you*!
* That is, assuming you live closer to Disney World than any of the other castle parks, and you don’t own a copy of that Jesse Eisenberg movie.
"In order to make the Graveyard scene a true showstopper, [songwriters X. Atencio and Buddy Baker] did everything they could to give ["Grim Grinning Ghosts"] an even more other-worldly quality, including detuning the instruments and recording the music backward and combining it all the final mix.”— Jason Surrell, the Haunted Mansion: from the Magic Kingdom to the Movies
This is one of Frozen's many exchanges that feels like it was written—not because it's part of a story that needs to be told—but rather, because someone had a checklist of Disney tropes they wanted to dispel.
Unfortunately, criticizing a trope isn’t the same as subverting it.
Also, since when is Kristoff opposed to committing to total strangers?
"okay, great idea, glad that’s settled," said kristoff
photographer: Mr Giflocation: Walt Disney World
An ineffective GIF Story from the Little Mermaid dark ride.
Look at Eric’s face! You could get thrown out of a brothel with an expression that gooey! He’s ready to kiss her, and there’s nothing stopping him from doing it, so why isn’t he?
…um…well…because then the ride would end too soon?
It works even less in person, because every so often, Eric and Ariel will lean forward to kiss, but then decide not to. Why?
…um…well…because Ariel has bad breath but Eric forgets every few seconds…?
The simplest solution I can think of: place Scuttle in a tree, squawking along with the music…right by Eric’s ear. Then, whenever Eric leans in to kiss Ariel, he registers Scuttle’s squawking and its kills the mood, and the cycle begins anew.
Like many aspects of Space Mountain, the blue and red tunnels that bookend our time in space are abstractions…satisfying, yet inexplicable.
While the blue tunnel feels it’s launching us into space, the queue has made it clear that we’re already in space.
So do these tunnels act as airlocks? It’s possible, but the red tunnel deposits us through a short stretch in space before we reach the unload dock, so they kinda suck at airlocking.
Brice Croskey of Progressland wonders if they’re wormholes, transporting us between the space station and…like, outer-er space.
Are they simply an accelerator and a break? If so…why? What are we meant to be doing out here?
We’ll never know these answers, and part of the fun is guessing what they are. From the designers’ perspective, however, the tunnels’ function is ingeniously clear.
The challenge of creating a roller coaster through the void of space is transitioning from the Somethingy sets of the space station with the Nothingy set of space.
Imagine how anti-climactic it would be if we stood in line, boarded the car, rounded corner, and oh hey, there’s space. Roller coasters demand set-ups and pay-offs!
If I were designing Space Mountain, I’d make a list of all the cool things we’d expect to experience while traveling in space. Stars and blackness, obviously, but also other heavenly bodies, and I’d save the biggest for last.
So my gut instinct would be to end it with a glorious, Spaceship Earth-type reveal. Maybe we turn a corner and see a whole galaxy! But here, again, we run into the problem of set-ups and pay-offs: it’s hard to build from “nothing” to “zomg a galaxy.”
We could hang an increasingly dense star field, like the one in Disneyland’s version of Peter Pan’s Flight, but it’d have to be humongous to be noticed by someone traveling at roller coaster speed.
At this point, we need a much larger show building, and I still haven’t solved the transition between the Somethingy sets of the space station with the Nothingy set of space.
The blue and red tunnels solve both problems at once. The blue one segues us into space, and the red one reminds us of the blue ones and thus, implies a bookend. They’re evocative, concise, and they keep us focused on the experience of traveling through space, rather than the sightseeing.
Terry Rossio, “Nine Pieces of Eight"
There you have it. Not even the screenwriter who voluntarily put his name on Pirates of the Caribbean Four Colon On Stranger Tides likes the Jack Sparrow’d ride.
Walt Disney explaining the upcoming Haunted Mansion attraction. From the Disneyland 10th Anniversary Special (1965)
Walt, setting us up for the Haunted Mansion's presentational story.
Remember the “Touch the Spindle” scene in Sleeping Beauty? The one that still makes me feel like a toddler who’s starting to realize the horrifying implications of mortality?
Guess how Tchaikovsky actually intended the music to be used?
Why, as a playful cat-themed wedding dance, of course!
"This is My Idea,"
by Lex de Azevedo and David Zippel
from the Swan Princess
Zippel went on to write the lyrics for Hercules. While his work with Herc (or, if you prefer, “his workules”) was all over the map—from the over-achievingly unsingable “Zero to Hero” to the navel-gazing collection of Nike slogans that is “Go the Distance” to the sweaty desperation of “One Last Hope”—he never manages to find a happy medium.
How refreshing, then, to hear a song like “This is My Idea,” which displays Zippel’s talent so purely that it carries the rest of a rather silly, inconsistent movie.
Not only is she suffering from a cavity, and hosting a family of witless bloggers who are giggling their way down her innards…
…she’s also dismissed as an “attraction!” Let me tell you pigs something: Alicia is so much more than her looks.
Isn’t it ironic how you can look inside a person without seeing the person inside?
Hi everyone !
Here is a little animatic/storyboard video I made on a Frozen cut off song, « Life’s Too Short ».
I hope you’ll enjoy watching it as much as I enjoyed doing it.
Feel free to comment, I’d love to have some feedbacks !
This is absolutely wonderful. So much talent in both and art and voice.
Perfect, perfect, perfect. The core of the movie, delightfully executed. This is what I want the whole second act to be like: the complexities of sisterhood, unburdened by non-sequitirs, detours, and snowmen.
Hopefully whoever’s responsible for cutting this song was fired.