Dive, dive, dive!

The year is 1868. Vessels traveling the heavy shipping lanes of the Pacific Ocean are threatened by a terrifying menace believed to be a strange monster. The peculiar creature is, in reality, a man-made submarine called the Nautilus—a self-contained vessel operated by cosmic power and headed by the eccentric genius Captain Nemo.

Seventy years ago, on December 23, 1954, Walt Disney’s Academy Award^®-winning 20,000 Leagues Under the Sea first dove onto the big screen. Adapted by The Walt Disney Studios from the pages of Jules Verne’s science-fiction novel to a feature-length motion picture epic, the film has harpooned the hearts of generations. The story follows Professor Pierre Aronnax (Paul Lukas) of the Paris National Museum—positioned as the foremost authority on the sea and its mysteries—his apprentice, the reluctant Conseil (Peter Lorre), and heroic harpooner Ned Land (Kirk Douglas), who are all part of the crew assigned to hunt the monstrous creature—which leads them to Captain Nemo (James Mason).

Walt Disney had long admired the works of Verne and had the idea to make a film adaptation of 20,000 Leagues Under the Sea early in his career. The project was proposed as a True-Life Adventures-type subject, and for a short period was even considered as an animated project, until Hollywood art director (and future Disney Legend) Harper Goff—who shared a love of Verne—intervened:

“Walt went to England for many, many, many weeks for a role. I just fantasized on the idea of making it a live-action film. I didn’t draw it as a cartoon. I just worked from the book. It was empirical. It followed every incident that was in Jules Verne’s original. When Walt came back, he just raised one eyebrow, as if to say, ‘When the cat’s away the mice will play.’ He said, ‘What do you expect it to do?’ And I said, ‘This is live action, you know, I just thought you might do live action.’” —Harper Goff, artist and production designer

When Walt studied Goff’s story sketches, the fate of the film was transformed. The opportunity to combine Technicolor^®and the groundbreaking new CinemaScope^® process—of filming underwater and bringing to the screen Verne’s Nautilus, giant squid, and well-known characters—appealed to his imagination and storytelling instincts. Not one to repeat himself, Walt had established a reputation for exploring new and different directions, and this project offered the perfect opportunity to do so.

Walt Disney and his staff embarked on a whale of a tale to create this film. 20,000 Leagues Under the Sea was the first big-budget live-action feature shot at The Walt Disney Studios in Burbank. The studio once solely focused on animated films was now bustling as a new sound stage and shops were constructed to accommodate the film’s expanding production needs. Walt also set about recruiting some of Hollywood’s leading filmmakers: Ralph Hammeras (miniature effects photographer), Franz Planer (cinematographer), Emile Kuri (set decorator), and Richard Fleischer (director).

“The story of my getting the job of directing 20,000 Leagues Under the Sea is in my view one of the most bizarre and fantastic things that ever happened to me. My father, Max Fleischer, and Walt Disney were great competitors. So it was a great surprise to me when Walt offered me the job directing 20,000 Leagues Under the Sea.” —Richard Fleischer, director

Fleischer brought along collaborator and American screenwriter Earl Felton to the studio. The two would spend many long nights in their office in the Animation Building writing the script. Walt, personally invested in the project, would stop by regularly to offer Felton new dialogue and other ideas.

20,000 Leagues Under the Sea was filmed at three separate studios. At the Disney studio, the Nautilus interior, deck, and underwater miniature scenes were filmed, with a purposely built water effects tank constructed in the new Soundstage 3. The Western set used to depict 1860s San Francisco was located at the Universal Studios lot. Meanwhile, miniature effects shots and some other scenes were filmed at the Twentieth Century-Fox studios using a 22-foot-long Nautilus.

To achieve the mesmerizing underwater scenes set at the sunken island of Crespo, production also took place in Nassau, The Bahamas. Lyford Cay, at the western tip of New Providence Island, was selected as the ideal filming location because of its clear water. (Coincidentally, it was the same location where the 1916 silent film version of 20,000 Leagues Under the Sea had been filmed.) More than 20 tons of equipment, including three special underwater cameras, were transported to set, including experimental one-of-a-kind diving gear designed to meet the production’s needs and story elements. The equipment was shipped in from the Burbank studio lot after only being tested in a shallow pool!

“It was quite an adventure. People were scuba diving before that word had been invented. Everything they were doing down there was experimental. It was a pretty amazing operation.” —Disney Legend Roy E. Disney, later Vice Chairman of The Walt Disney Company

The diving suits, designed by Harper Goff with technical support from diving expert Fred Zendar, combined a diver’s helmet (styled after those used by Japanese pearl divers), a 150-pound rubber suit, and a disguised breathing apparatus. Lead weights were used in the boots to keep the actors from floating up.

Actors only had about an hour’s worth of air in their tank. It took 20 minutes to don diving gear, 10 minutes to get each person underwater, and another 10 to get them up to the surface, leaving only a few minutes to film a given scene. A series of hand signals were used to communicate efficiently with actors and crew underwater. Given this time-consuming process—and with the sun offering the only light source—up to four dives could be performed per day. The undersea funeral sequence alone took eight days to complete, featuring 11 actors and 22 crew members, all underwater.

“[For the funeral sequence,] there was a stretcher that four of us carried that had the ‘dead’ crew member on it…. The crew member was made out of chicken wire. It was a beautiful job; it looked like a person…. Captain Nemo got in front of the coral and put his cross down, and then, when he put his hands down, we were supposed to turn around to the side and pick up the coral and gently place it on the body. But the only problem was there wasn’t enough room to turn around. Well, time was going by, and everybody was getting panicked. What we were doing was picking up the coral and throwing it on him…. We smashed that poor guy down to nothing. It was just a flat sheet now. Nobody was smiling when we got up on the ship, but no one said anything.” —Bill Stropahl, stunt diver

The Nautilus was designed by Harper Goff with the utmost detail. Plans were drawn to plot the location of the cabins, salon, decks, and various rooms. Goff’s design was inspired by Verne’s own description of the submarine, which featured technologies envisioned years before they would become reality. By combining futuristic, piston-driven mechanisms with 19th-century elegance, Goff achieved a meticulous Victorian-futuristic aesthetic—something we might call “steampunk” in today’s terms. Great care was taken to evoke a feeling of warmth and sophistication, down to the leather-bound books on Captain Nemo’s shelves. The sub is both modern and a step back in time—it feels real, like you could live in it.

“One of the prime points made by Verne in the original story was that most of the people [who] had seen it described it as a monster, as a sea monster,” Goff would recount. “The two most awesome sea creatures that I had ever seen were the shark and the alligator.” Taking the dorsal fin of a shark and applying the eyes and rough skin of an alligator, the enduring image of Disney’s Nautilus was born.

Meanwhile, the interiors were based on the layout and warm woodwork of the USS Oregon battleship, built in the 1890s. The set was designed such that the entire layout could be viewed in almost every shot—walls, floor, and ceiling—intending to evoke in the audience a feeling of claustrophobia. This presented a challenge to the lighting designers, who would resort to hiding the lights in pieces of furniture.

The film’s musical score was composed by Disney Legend Paul Smith, who spent most of his career at The Walt Disney Studios and ultimately received eight Academy Award nominations (including one win for Original Score for Pinocchio [1940]). He wrote the background music for almost all the True-Life Adventures and nearly 70 animated shorts and felt that his music was a way of drawing the audience to the film.

“A sweet, gentle, quiet gentleman with great talent.… He wrote beautifully, but he wrote to service the film.… It was wonderful because he made every scene come to life with his gentle magic.… 20,000 Leagues is one of his finest pieces of work. It is a majestic score. It had great scope. It went from big exploding feelings to very subtle gentle things to scary things to eerie. He did a remarkable job in that film.” —Disney Legend and songwriter Richard M. Sherman

Captain Nemo’s theme was written to a piece of poetry by lyricist Hazel “Gil” George, who happened to be the studio nurse. George later recalled the moment Smith reached out to collaborate: “He called me and said, ‘See if you can write a poem or anything that might give me a kickoff on this.’” George jotted down the phrase “Deep is the mighty ocean,” which became the basis for the theme that represents both the sea and the depths of Nemo’s soul. To achieve an “underwater” orchestral effect, Smith used a combination of low strings and woodwinds—five clarinets, a piano, a harp, a gong, and a bass marimba.

A second theme is the iconic number that Kirk Douglas performs in the film—“A Whale of a Tale,” written by Norman Gimbel (words) and Al Hoffman (music). The theme is used in the dozen or so sequences that feature Ned Land and comedic elements, but it is also heard when Ned heroically saves Captain Nemo. What could have been an isolated song that wouldn’t bear much on the plot became the defining sound of a character and the film.

When asked to perform “A Whale of a Tale,” Kirk Douglas did not hesitate. “I’m not a singer, but I knew that the song would help establish the character,” he would later share with the Chicago Tribune. “I rehearsed it thoroughly, and when it came time to film, we got it done in very few takes.” He said that his grandson had memorized the number and sometimes sang it for him. “The first time he did it, he took me completely by surprise. That’s a wonderful feeling. It’s one thing knowing that another generation still remembers your song. But when it’s your own grandson… it’s great, just great.” 

Perhaps the most famous scene from 20,000 Leagues Under the Sea is the battle against the giant squid, which was filmed on the newly built Soundstage 3. The squid was operated by puppeteers using cables that led up to the ceiling. This special effect would prove to be one of the most difficult to shoot. Looking back on the production, director Richard Fleisher recalled that the first attempt at a squid figure was akin to a sponge. Whole tentacles would fall off, so waterlogged they would snap the wires that were meant to control them.

The color and shape of the squid was redesigned by sculptor Chris Mueller, while special effects expert Bob Mattey combined two tons of rubber, flexible tubing, plastics, and steel springs to achieve fluid movement with the tentacles. This allowed every arm to be fully functional; the squid could move its head, roll its eyes, and snap its beak. It took 28 people to bring it to life. To create the effect of rain, the studio used some 30 wind machines (made from old airplane engines and propellers) and poured water into the wind stream to achieve the sideways effect of the water. Roy E. Disney would recall, “Water was flowing out of every door of the soundstage about a foot deep.”

20,000 Leagues Under the Sea was nominated for three Academy Awards, winning for Best Special Effects and Best Art Direction – Color. The film was so beloved that it spurred attractions in Disney Parks around the world. Shortly after its release, Walt Disney decided to display the film’s original sets in Tomorrowland at Disneyland Park. The 20,000 Leagues Under the Sea Exhibit proved to be a popular attraction and remained at the park for some 11 years (from August 3, 1955, to August 28, 1966). A similar walk-through attraction, Les Mystères du Nautilus, opened at Disneyland Paris on July 4, 1994, with elaborate set pieces recreating the famed Nautilus.

At Walt Disney World Resort, the Fantasyland submarine attraction 20,000 Leagues Under the Sea debuted on October 14, 1971. While Disneyland had based its “liquid space” attraction on the nuclear submarines that had been so much in the news in the late 1950s, the Imagineers decided instead to pattern their 12 submarines for the new Magic Kingdom Park after the Nautilus—with narration supplied by Captain Nemo himself (voiced by longtime Disney actor Pete Renoudet). It quickly became one of the most popular attractions in the park. After nearly 23 years, the attraction closed on September 5, 1994. 

Aboard the Disney Treasure, the newest ship in the Disney Cruise Line fleet, guests can step inside the adult-exclusive Periscope Pub. Set in the Nautilus submarine, this adult-exclusive lounge features treasures and artifacts from Captain Nemo’s travels, and a view of the watery world above through a “glass” ceiling. Undersea-inspired drinks include three exclusive tap beers uniquely themed to the 1954 film and former Walt Disney World attraction.

At Tokyo DisneySea, the port of call known as Mysterious Island is themed to the works of Jules Verne (and shares a name with Verne’s serialized follow-up to 20,000 Leagues). Here, Captain Nemo’s scientific base has been constructed using Victorian-era principles, employing massive iron supports, panels, and girders, but carefully designed to co-exist within the fragile ecosystem and natural wonders of a volcanic crater. In the attraction 20,000 Leagues Under the Sea, guests join Captain Nemo’s crew and undertake a mysterious deep-sea mission aboard a six-passenger submarine, encountering shipwrecks, sea monsters, and intelligent denizens from the undersea civilization of Atlantis!

If you’re looking to glimpse original props used in 20,000 Leagues Under the Sea, head over to the Walt Disney Presents gallery attraction at Disney’s Hollywood Studios, where a Nautilus crew dive helmet, dive boots, and undersea rifle from the Walt Disney Archives collection are on display. Also featured is one of two Oscars^® (Best Special Effects) awarded to the film, accepted by Walt Disney in 1955.

Blending boundary-breaking innovation, ambitious special effects, and creative storytelling, Walt Disney’s 20,000 Leagues Under the Sea was a groundbreaking achievement, successfully adapting Jules Verne’s imaginative novel into a visual masterpiece and leaving an enduring legacy that continues to ripple across popular culture and Hollywood history. Seventy years later, Walt’s first cinematic epic remains a testament to his mightiest ambitions and to his studio’s lasting ability to captivate audiences, taking them on an unforgettable journey to the depths of the ocean… and beyond.

20,000 Leagues Under the Sea is now streaming on Disney+.

The post <em>20,000 Leagues Under the Sea</em>: 70 Years of the Mightiest Motion Picture of Them All! appeared first on D23.

First debuting at D23 Expo 2019, the Walt Disney Archives’ exhibition Heroes & Villains: The Art of the Disney Costume has travelled across the nation—enchanting guests with more than 70 costumes from beloved characters such as Cinderella, Maleficent, and more… highlighting the innovative ways iconic characters are brought to life through the artistry and imagination of their costumes. The magic continues in May 2025 when the South Carolina State Museum will be the next host of Heroes & Villains: The Art of the Disney Costume! The exhibition debuts May 3, 2025, but D23 Members will have early access with a special preview before it opens to the general public; stay tuned to D23.com for more details!

Planning on making a springtime trip to the museum? Mark your calendars: General public tickets will be available for purchase in January 2025.

“We are thrilled to bring this exhibition to South Carolina,” said State Museum Executive Director Amy Bartow-Melia. “Guests will be able to enjoy an up-close look at some of Disney’s most memorable costumes and learn about the skilled artisans who helped bring them to life.”

Representing nearly six decades of film and television production at The Walt Disney Company, the exhibition showcases costumes worn by the likes of Bette Davis, Glenn Close, Angelina Jolie, and Disney Legend Julie Andrews. Guests will also be able to get insight into how costumes evolve from concept to reality, with quotes and detailed written accounts featured throughout the exhibition from some of Hollywood’s preeminent designers, including Academy Award® winners Sandy Powell and Disney Legend Colleen Atwood, as well as Emmy® winner Ellen Mirojnick and Emmy® nominees Eduardo Castro and Penny Rose.

“Costumes are a significant and memorable element of building a character and telling a story,” said Becky Cline, director of the Walt Disney Archives. “The exhibition explores the craftsmanship required to produce these amazing costuming elements, as well as the immense talent and creativity that goes into every stitch.”

The exhibition is organized into three Disney archetypes: heroes, villains, and the spaces between—a category reserved for the antiheroes whose fascinating journeys make them some of Disney’s most complex characters. Here, guests can get an up-close look at the artistry on display in some of the iconic costumes of Disney live-action characters including Mary Poppins from Mary Poppins Returns (2018), Queen Narissa from Enchanted (2007), and Jack Sparrow from Pirates of the Caribbean: Dead Man’s Chest (2006). The “Cinderella’s Workshop” gallery examines how several designers have applied their own unique style and artistry to different interpretations of the fairy tale heroine—from Rodgers and Hammerstein’s Cinderella (1997) and Into the Woods (2014) to the ABC hit series Once Upon a Time (TV, 2011–2018), and the 2015 live-action reimagining of Walt Disney’s animated classic starring Lily James.

Heroes & Villains: The Art of the Disney Costume will run at the South Carolina State Museum from May 3 – Oct. 26, 2025. Visit scmuseum.org for more information on the exhibition and ticketing.

The post Walt Disney Archives’ <em>Heroes & Villains</em> Costume Exhibition Heads to South Carolina appeared first on D23.

As part of a cherished holiday tradition that began in 1930, Disney studio employees, business partners, and friends could look forward to the yuletide charm of the annual Disney company Christmas card. What began as a simple yet elegant token of goodwill grew over time into a venerable artistic showcase, thanks to the talents of renowned studio designers and illustrators including Tom Wood, Hank Porter, Paul Wenzel, and Disney Legends Mary Blair and Bob Moore. These timeless keepsakes often depicted favorite Disney characters celebrating the magic of the season while offering a glimpse of exciting wonders to come from the Disney studio in the new year.

At the Walt Disney Archives, we are privileged to preserve not only these treasured cards, but also many of the original works of art that led to the final printed creation. In celebration of the holiday season, we’d like to turn the clock back 75 years to highlight three iterations of the 1949 greeting as a stand-out example that spotlights the development of a card—in this case, one that previews a landmark project that would soon revitalize the Disney studio and set the course for animation history: Cinderella (1950).

First, we present the preliminary “ruff” composition for the card’s interior illustration, designed by Disney Legend John Hench. This initial concept anticipates one of the film’s most enchanting scenes in beautiful hues of blue and purple. Along the bottom, Hench also sketched out a banner that would leave room for a new year’s calendar (a typical feature for a card of this era).

Fellow Disney Legend Mary Blair then took Hench’s concept and created a finalized layout, applying her signature style. In her version, the Fairy Godmother is rendered with greater detail as she magically sends Cinderella’s carriage on its way to the castle.

Finally, we present the finished product: the completed holiday card. Pictured here as it appears when unfolded, it reveals a vibrant, printed version of Blair’s artwork on the inside.

It’s worth noting that both Hench and Blair have a “Color and Styling” credit in Cinderella, making them well-suited illustrators for this card.

And another fun feature: the front cover of the card features an imaginative scene with Mickey Mouse caroling in the snow alongside Jaq and Gus, Cinderella’s faithful mice friends. Meanwhile, the back of the card teases more upcoming Disney films in development at that time—namely, the studio’s first all-live-action feature, Treasure Island (1950), and the next animated feature in development, Alice in Wonderland (1951).

In this regard, the artistry of Disney’s holiday cards not only offers distinctive and festive reflections of the season but also captures moments in the studio’s evolving legacy—a tradition we are honored to safeguard and share here at the Walt Disney Archives.

Season’s greetings!

The post Holiday Magic in the Making: The Artistic Evolution of a Disney Studio Christmas Card appeared first on D23.

By Francesca Scrimgeour, Walt Disney Archives

It’s hard to believe that 35 years ago, an effervescent young mermaid with a bubbly personality made her debut on the animated feature scene, forever altering the course of Disney animation. The Little Mermaid (1989) marked a return to Disney’s storytelling roots as the first full-length production to draw inspiration from a classic fairy tale in three decades. Disney Legend Glen Keane, the directing animator primarily responsible for Ariel, encapsulated the excitement of creating the imaginative film: “This story is different from any fairy tale Disney has ever done. The heroine feels more real and relatable. What she desires may seem impossible, but hopefully, the audience becomes so invested in her determination that they’ll root for her success.”

The legacy of The Little Mermaid ripples far beyond the motion picture screen as millions of fans have brought the magic of the animated classic home through merchandise that have served as emotional touchpoints to Ariel and her friends. And while the film’s production art has often been the focus of study and celebration, less featured have been the illustrations produced for a number of memorable and much beloved consumer products.

In celebration of the film’s initial release on November 15, 1989, the Walt Disney Archives invites you to explore our rarely seen collections of merchandising artwork, including illustrations created for publishing and home entertainment releases—each a treasure (or, thingamabob?) unto itself.

The first of these is a charming entry from the Little Nugget Book series from Golden Press. Illustrated by Kerry Martin and Fred Marvin, this 1992 adaptation of The Little Mermaid features stunning illustrations that complement the text for young readers:

The full scope of the artwork created for this book is breathtaking in its own right. And while the illustrations are adapted for literary format, our art collection allows us to appreciate the artists’ initial vision.

Diving deeper into our publishing art collection, we present original illustrations from How to Draw The Little Mermaid from Walter Foster Publishing. This book, also published in 1992, offers artists of all ages the chance to make a splash with easy-to-follow instructions for drawing their favorite characters in a variety of poses.

Two pieces from the collection are highlighted here: a completed illustration of Flounder (above) and the beautifully designed background that complements it (below). Seeing the entire scene offers a glimpse into the artist’s fully rendered concept—truly a “fin-tastic” way to appreciate the artwork!

Our staff also explored a collection of home entertainment artwork to uncover this next piece. During the Company’s early tide of home video releases, Disney fans had the chance to reel in their favorite films, often accompanied by beautifully designed packaging, such as this Little Mermaid VHS cover. Below, you can see an early example of home video art featuring Flounder and some of Ariel’s “Under the Sea” friends alongside designated spaces for product text. The artwork is vibrant and inviting, making it even more tempting to take off the shelf and enjoy!

Along those same towlines, additional supplemental art was crafted for individual Walt Disney Home Video stories featuring Ariel, much like the piece showcased below. This VHS cover artwork was designed for the 1995 release Princess Collection: Ariel’s Songs and Stories, which featured two episodes from the popular animated TV series Disney’s The Little Mermaid: “Wish Upon a Starfish” and “Metal Fish.” A close look at this original artwork offers a detailed glimpse beyond what ultimately made it onto the final product.

We hope this unique glimpse into the Walt Disney Archives collection inspires you to have your own artistic celebration honoring this milestone anniversary of The Little Mermaid, a timeless classic that continues to enchant audiences and shape the ocean of animation.

The post Diving Off the Screen: Masterful ‘Little Mermaid’ Product Art appeared first on D23.

By Walt Disney Archives Staff

Founded in 1970, the Walt Disney Archives has collected, preserved, and shared the history of Walt Disney and the Company he founded. In the decades since, the collections of the Archives have grown in size and scope—not unlike The Walt Disney Company itself—and its staff remains committed to safeguarding the priceless artifacts, stories, and treasures for future generations to study, learn from, and delight in.

In celebration of American Archives Month this past October, the staff of the Walt Disney Archives revealed via Instagram some of their favorite props, costumes, artwork, merchandise, and other historical objects from their department’s vast collection. Join us as we highlight these treasures for D23 Members and show how each item has made profound emotional connections with your fellow Disney fans on the Archives staff.

“My very favorite assets are all on exhibition right now! But I am very fond of ‘Excalibur’ from King Arthur (2004), because not only is it very cool, but it was the very first feature film prop I acquired for the Archives when I was promoted to Collections Manager and began our 'Collections Department' at the Walt Disney Archives.” – Becky Cline, Director, Walt Disney Archives

“One of the amazing things about our collection is how diverse it is, with representation across the many worlds of Disney history—from film to television and beyond. My daughters grew up watching Disney Channel, and I used to love coming home to tell them what new TV assets we acquired in the Walt Disney Archives. One of these being ‘Bizzy,’ the aardvark plush from the series Bizaardvark (2016–2019). It’s one of my favorite props in the collection; whenever I see it, I think of my daughters and the joy the show brought our family.” – Joanna Pratt, Director, Operations and Business Strategy, Walt Archives

“‘Diving deep’ into the Walt Disney Archives collection, some of my favorite historical objects are the prop and costume elements preserved from 20,000 Leagues Under the Sea (1954). Currently on display within the Walt Disney Presents gallery attraction in Disney’s Hollywood Studios at Walt Disney World Resort, you might be able to catch a glimpse of an original Nautilus crew dive helmet, dive boots, and undersea rifle. These pieces represent a treasure trove of material that helped create one of the most memorable films in not only the Disney canon—but all of Hollywood history.” – Kevin M. Kern, Research

“As a woman in computer science and a tactical warrior in the digital realm of the Grid, Yori/Lora(Cindy Morgan) has always inspired me. Tron was groundbreaking for its use of CG imagery to create a unique three-dimensional world, and the artistic design of the costumes played a vital role in that effect. For these reasons, I chose to showcase Yori’s iconic cap and boots from the 1982 film. One of the most rewarding aspects of my job is connecting with legendary items and feeling the creativity, craftsmanship, and inspiration they represent – all while preserving them for future generations to enjoy!” – Francesca Scrimgeour, Research

“These puppets used in 1961’s The Parent Trap [designed and animated by T. Hee and Disney Legends X Atencio and Bill Justice] are some of my favorite items in the Walt Disney Archives collection. The creative display of stop motion animation in the film’s opening titles established the story in such a charming, inventive way. This movie holds a special place in my heart—not just for the amazing script, but also because it stars my favorite actress, Disney Legend Hayley Mills. I was so amazed when I found out we have these precious puppets within our collection after all these years!” – Darlene Fogg, Operations

“Early in my Disney career, I had the joy of touring youth groups through what is now the Walt Disney Presents gallery at Disney’s Hollywood Studios, where, since 2001, artifacts from the Walt Disney Archives have helped trace Walt's life and career. Students always seemed inspired by the story we told of the Mickey Mouse Hand Car, manufactured by Lionel Trains around the time that company filed for bankruptcy. A runaway success during the 1934 holiday season, the toy famously saved the day for Lionel—a reminder of the impact Mickey and Minnie have made on the world at large. Every piece in our collection really does tell a story!” – Steven Vagnini, Research

“Queen Susan’s horn, used by actress Anna Popplewell in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), reminds me of my childhood, whether it was reading the 'Narnia' books or sitting at home clicking ‘replay’ on my DVD. The films made me believe in magic, and I still feel connected to Susan’s character today. What I love most about this prop are the design details of the single mother of pearl inlaid daffodil head at the mouthpiece, which is akin to Susan’s crown, and the complex, fluid mane of a carved lion (presumably representing Aslan) wrapping around the horn.” – Lindsey Gregory, Research

“Most prop books are filled with blank pages. There may be a few pages with images or text that the camera will slowly scan. But the Book of Secrets used in National Treasure: Book of Secrets (2007) is filled with beautifully written pages of calligraphy, photos of historical events, and recreated news clippings and documents. The book is truly a work of art, with incredible details of information supposedly provided by U.S. presidents throughout history. Bravo to the film’s prop crew!” – Rick Lorentz, Acquisitions

“From Disney movies to park attractions, everything is enhanced, and fully complete, with music. The fact Walt Disney’s piano had so much iconic music played on it makes this piece so magical. As part of my role, I’m grateful to organize tours which allow some of Disney’s biggest fans to see this instrument up-close inside Walt’s formal office. It’s here where Walt would periodically call in the wonderful Sherman brothers to play one of his favorite songs, 'Feed the Birds' from Mary Poppins (1964), which warms my heart and fills me with joy.” – Laura Sanchez, Operations

“This glass slipper from Kenneth Branagh’s 2015 adaptation of Cinderella represents hard-fought kindness and impossible hopes made real. I love that the film ends with Ella proudly adopting the cruel name weaponized against her and, in doing so, taking back her life. Working so closely with artifacts that tell such stories is an absolute dream come true.” – Patrick Letrondo Markulis, Digitization

“One of my favorite assets in our collection is a double-ended lightsaber hilt belonging to the vision of a Dark Side Rey in Star Wars: The Rise of Skywalker (2019). I am in awe of the propmakers who create detailed, interactive versions of these mythical objects that function for a real-world set. Preserving and caring for items such as these is a responsibility that I do not take lightly!” – Katie Strobel, Collections

“Of all the wonderful assets in our collection, this costume worn by Kate Winslet as Rose DeWitt Bukater in Titanic (1997) stands out as a testament to the incredible skill and craftsmanship of Academy Award®-winning costume designer Deborah Lynn Scott and her team of artists. Having grown up watching the film, what a privilege it is to be part of a team that ensures these works of art will be preserved and enjoyed for years to come!” – Christina Pappous, Digitization

“This Shere Khan model is one of my favorite assets in the Archives because my master’s thesis compared The Jungle Book films from 1967 and 2016. Several larger-than-life models were made and puppeteered by Jim Henson’s Creature Shop for the 2016 live-action film so that actor Neel Sethi (who plays Mowgli) could have authentic interactions with his animal ‘co-stars.’ To me, this model showcases one of the creative ways director and Disney Legend Jon Favreau approached the reimagining of the iconic animated film.” – Julia Vargas, Research

“Getting to work with this cherished collection is a privilege and honor that I never take for granted. When considering my favorite piece from the collection, I wanted to honor our department’s legacy and the hard work of those before me, like Disney Legend Dave Smith, who established the Walt Disney Archives. This sign was made during the Archives’ early years, when Dave moved the small department from the offices of Walt Disney into its second location, in the Casting Building at The Walt Disney Studios. Now, some five decades later, it’s remarkable to think how much our department—and collections—have grown.” – Jessica Amezcua, Collections

“This background concept from Winnie the Pooh and the Honey Tree (1966) is one of my favorite artifacts because it is a reminder of the creative ingenuity and technical mastery of Disney animation artists, and the ability of their pieces to exist as standalone works of art that could be displayed in a gallery or someone’s home. This painting allows you to see the care and attention that would ultimately be applied to every frame of this featurette. Growing up, 'Pooh Bear' was one of my best friends, so it is a joy and an honor to help care for items like this in the collection." – Emily Cooper, Collections

"The story of the Philadelphia Eagles (life-long fan here) reminds us that life has its challenges, but family, friends, and community can raise our spirits—and together, we are stronger. This is a message explored in Disney’s 2006 film Invincible and symbolized here by the helmet and jersey worn by actor Mark Wahlberg as Vince Papale. Pursue your dreams, because even though you may have doubts or fears, the reward can be something you will cherish forever. Overcoming obstacles, as Vince did (ultimately playing for the Eagles), makes our heroes invincible!” – Jeff Golden, Digitization

“Every time I step into Walt Disney’s offices, I can’t help but feel a mix of awe, honor, and inspiration. The spaces brim with fascinating treasures, each one with its own unique story. My absolute favorite object is this tiny deer—not just because it’s incredibly cute, but because Walt made it himself by hand. Like Walt, I have a deep appreciation for miniatures, and its place behind his working desk, next to his prestigious Irving Thalberg Award, shows how much it meant to him.” – Kelsey Williams, Exhibitions

“Ever since I first saw What About Bob? (1991) as a teenager, my father and I have laughingly recited our favorite lines every chance we get. In the film, a psychiatrist, Dr. Leo Marvin, uses puppet versions of his family to act out their problems, much to the chagrin of the children. It was only fitting that director and Disney Legend Frank Oz, who had brought to life characters such as Miss Piggy and Yoda, would incorporate puppets in the Touchstone Pictures film. They remain some of my favorite props in the Walt Disney Archives collection.” – Mike Buckhoff, Research

“Disney Channel’s ‘Imagineer That!’ series, hosted by Tom Morrow 2.0, was a frenetic and fun behind-the-scenes tour of Walt Disney Imagineering, where us early 2000s kids could get our burning Parks questions answered. It felt like it was created to hit me specifically. I have always been obsessed with Audio-Animatronics® figures, especially the ones based on robots where you can see their inner workings. This made Tom Morrow 2.0 the perfect host and visual analogy for these interstitials, as well as for the former Innoventions pavilion at EPCOT. When I saw this figure in the Walt Disney Archives some 20 years later, the unexpected flood of nostalgia I experienced seeing this admittedly niche celebrity among the collection was a fun moment!” – Ty Popko, Digitization

“Growing up, The Happiest Millionaire (1967) was a family favorite. We knew all the songs—and admittedly some of the dances—by heart. The film begins with a series of beautiful paintings, ending with this one featuring a 1916 Philadelphia street. The painting dissolves into live-action and Tommy Steele jumps off the ice cart, beginning the Sherman brothers’ catchy opening number ‘Fortuosity.’ As a kid I was in awe of this magical transformation! Being able to see the level of detail that goes into artwork that might only be onscreen for a moment and help preserve it for future generations is the most rewarding part of working at the Walt Disney Archives!” – Nicole Carroll, Research

“While there are several nostalgic favorites in our collection that hold a special place in my heart, it’s sometimes most exciting to come across items from films I never expected to be there. Finding Bobby Boucher’s signature look from Touchstone Pictures’ The Waterboy (1998) was surprising and brought up so many memories of watching this Adam Sandler classic with my family.” – Haley Smith, Exhibitions

“Coming from a visual art background, I greatly admire the two-dimensional, original artwork preserved in the Archives collection, especially the iconic attraction posters from Disneyland. Peter Pan’s Flight has always been my favorite Fantasyland dark ride, and the actual screen-printed poster has such a delicious pop of color and beautiful illustrations that fill me with the same wonder I felt as a child—and still feel today whenever I go to the park and take a ride to Never Land.” – Taylor Larsen, Acquisitions

“I’m often asked, ‘Who’s your favorite Disney character?’ I always reply confidently, ‘Walt Disney.’ So it’s no wonder that my favorite piece of the Walt Disney Archives’ vast collection is not a single asset, but two rooms filled with an assortment of unique items that constitute Walt Disney’s office suite. From this unpretentious corner office, Walt dreamt up all my childhood memories, from animated features to Disney Park attractions. A testament to Walt’s enduring legacy, the offices were restored in 2015 by the staff of the Walt Disney Archives and studio craftsmen to serve as a place of inspiration for all who visit.” – Edward Ovalle, Research

“My favorite asset in our collection is this iconic outfit worn by Annie James and Hallie Parker (Lindsay Lohan) in The Parent Trap (1998)—one of my favorite Disney films since I was a child. The button-up coat and skirt represent new beginnings for the twins: Annie wears it when she arrives at Camp Walden, and Hallie dons the outfit when meeting her mother, grandfather, and butler Martin for the first time. From fun hijinks, star-crossed lovers, witty jokes, and secret twins, this film is five out of five peanut-butter-dipped Oreos.” – Devorah Burgess, Research

“Stick’s white katana from the streaming series Marvel’s Daredevil (2015–2018) and Marvel’s The Defenders (2017) is one of many props in the Walt Disney Archives collection that I hold as my favorite. I just love the detail and beauty that went into crafting this piece, from the white woven hilt to the small hidden dagger on the scabbard. Just holding the katana makes me feel like I’m ready to take on a secret organization of ninjas and save New York!” – Brian Ball, Acquisitions

“Who doesn’t love a beautiful shoe and a little bit of movie magic? Designed by Salvatore Ferragamo, Danielle de Barbarac’s slipper from 20th Century Fox’s Ever After: A Cinderella Story (1998) is a brilliant spin on the traditional glass slipper from the classic Cinderella story. The material elements used, the iridescent silk taffeta, the plexiglass heel, the silver threads and embroidered designs, and the sparkling silver crystals give the slipper its magical glass-like essence. As Prince Henry says, it really is a ‘rather remarkable shoe,’ indeed.” – Heather Hoffman, Research

“I’m excited to highlight one of my favorite assets from our collection: the spellbook from Disney’s 1993 classic Hocus Pocus. This enchanting book perfectly embodies our mission at the Walt Disney Archives: to preserve the magic. But it’s not just the magic crafted by Disney that we preserve; it’s also the special magic that you—our fans and guests—bring to these assets. With countless incredible pieces in our archives, we are honored to protect this shared legacy. Together, we celebrate and preserve a truly magical history." – Cesar Gallegos, Collections

“Growing up in Anaheim, Disneyland always had a special place in my heart. I loved riding my favorite attraction over and over again—the Matterhorn Bobsleds—and never thought that my Disney career would begin at this magical place. I love the history and nostalgia of the park, so seeing all the incredible treasures from the vaults of the Walt Disney Archives, like the very first ticket to Disneyland, acquired by Roy O. Disney on July 18, 1955, makes me feel like a kid again!” – Michael Vargo, Senior Vice President, Walt Disney Archives and D23: The Official Disney Fan Club

Thank you to the team that worked behind the scenes to help the Walt Disney Archives celebrate American Archives Month: Cesar Gallegos (Collections), Amaris Ma (Operations, right), Patrick Letrondo Markulis (Digitization, center), Ty Popko (Digitization, left), and Steven Vagnini (Research), as well as Steven Diaz and Matt Stroshane.

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“From the gentle wisdom of Mufasa to the menacing threat of Darth Vader, James Earl Jones gave voice to some of the greatest characters in cinema history,” said Bob Iger, Chief Executive Officer, The Walt Disney Company. “A celebrated stage actor with nearly 200 film and television credits to his name, the stories he brought to life with a uniquely commanding presence and a true richness of spirit have left an indelible mark on generations of audiences. On behalf of all of us at Disney, we extend our deepest condolences to his family and loved ones.”

Jones’ rich and commanding basso profundo tones helped shape perhaps the most indelible screen villain of all time, Darth Vader, in Star Wars: A New Hope (1977). He reprised his role in subsequent films in the franchise, including Star Wars: The Empire Strikes Back (1980), Star Wars: Return of the Jedi (1983), Rogue One: A Star Wars Story (2016), and Star Wars: The Rise of Skywalker (2019), as well as in the Disney XD animated series Star Wars Rebels (2014–2018) and Disney+ Original series Obi-Wan Kenobi (2022).

Voicing the former Jedi Knight turned cybernetically enhanced Sith Lord—who also happened to be the father of heroes Leia Organa (Disney Legend Carrie Fisher) and Luke Skywalker (Disney Legend Mark Hamill)—afforded Jones abundant career opportunities. “It brought me a lot of commercial and voiceover work,” he once said. “The voiceover work led to more opportunities for narrations and on-camera commercials, with their own milieu and craft so different from movies and theater.”

In stark contrast to his vocalization as Darth Vader, Jones also voiced Mufasa, the King of Pride Rock, in Walt Disney Animation Studios’ The Lion King (1994). “Doing a voice for animation is acting in its purest form,” Jones said. “It’s a bit like the ancient Greek form where the actors would wear masks. In our case, the masks are the animators’ drawings and we just simply supply all the behaviors, emotions, and feelings behind that mask.” Jones’ Mufasa would be heard again in The Lion King II: Simba’s Pride (1998) and The Lion Guard: Return of the Roar (2015), as well as the photorealistic reimagining of The Lion King (2019), directed by Disney Legend Jon Favreau.

“I initially approached my character with the utmost dignity, befitting the king of the jungle. The more I did that, however, the more we realized we were missing something. We were missing the dad,” Jones once said. “Fathers are not always grand, certainly not with their sons. When you accommodate being a father, you are often dopey and goofy. You are just Dad… In The Lion King, Mufasa urges his son, Simba, to take his place in the great circle of life—and for me, the heart of that circle is my family.”

Born in Arkabutla, Mississippi, and raised on a farm by his grandparents in Jackson, Michigan, Jones developed a stutter at a young age. One of his high school teachers helped him master it by having him recite poetry before the class—and it was there that he ultimately found his calling in performing. In 1958, following a stint in the Army after graduating from the University of Michigan, Jones took to Broadway. Two years later, he began a long association with New York City’s famed Shakespeare in the Park.

In the following years, Jones added film and television to his continuing stage work. His other Disney and 20^th Century credits include Three Fugitives (1989), Gabriel’s Fire (1990–91), The Simpsons (1990, 1994, and 1998), Pros and Cons (1991–92), True Identity (1991), The Sandlot (1993), Jefferson in Paris (1995), Recess(1998), Fantasia/2000 (2000), and Earth (2009). His voice has been heard in Disney Parks around the world, including recurring vocal performances as Darth Vader in Star Tours – The Adventures Continue and as a celebrity narrator for the Candlelight Ceremony and Processional at Disneyland Park.

Respected by audiences and peers alike, the decorated actor won two Emmy^® Awards, two Tony Awards^®, and a Grammy^® Award during his illustrious career. In 2011, he received the Academy Honorary Award “for his legacy of consistent excellence and uncommon versatility,” and in 2019, he was inducted as a Disney Legend at D23 Expo.

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By Taylor Larsen, Walt Disney Archives

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To cap off an unforgettable weekend, D23: The Ultimate Disney Fan Event presented by Visa^® will conclude on Sunday, August 11, with the Disney Legends Awards Ceremony. The Disney Legends Award honors artists and visionaries throughout The Walt Disney Company’s history who have pushed the envelope of creativity, challenged conventional wisdom, and broken the restraints of the status quo in search of new possibilities and excellence. A 37-year tradition, this year’s honorees include Colleen Atwood, Angela Bassett, Martha Blanding, James L. Brooks, James Cameron, Jamie Lee Curtis, Miley Cyrus, Steve Ditko, Harrison Ford, Mark Henn, Frank Oz, Kelly Ripa, Joe Rohde, and John Williams.

In an exclusive Q&A, Joe Rohde—who is being recognized in the Imagineering category—reflects on his contributions to the company and what it means to be named a Disney Legend.

How does it feel to be honored as a Disney Legend?

Frankly, it was an unexpected honor. All the work we do is done by teams and I always thought of myself as part of a team—kind of the like the team editor. So, it wasn’t top of mind that I was going to be honored in any way. But it is humbling and delightful at the same time to be thought of as an integral part of the history of The Walt Disney Company.

There’d be no Disney’s Animal Kingdom Theme Park without you. Where did the inspiration for that park come from, and how did you turn that dream into a reality?

I think it’s a bit of an overstatement to say that there would be no Disney’s Animal Kingdom without me. It was Michael Eisner‘s idea, and from day one I worked with partners to see it come to life. I think the part that I can take credit for is that I was the chief spokesperson and negotiator for the project, the one who had to do the talking not only to explain it but to enlist supporters, advocates, and advisors.

The day to day of getting Disney’s Animal Kingdom done was a combination of intensive research to support the realism of the park and to learn the rules of the zoological and conservation world. [It required] some invention to create the newer elements, like the Tree of Life and animal habitats, and redirect the design and production skills of Imagineering towards a style that was less fantasy and more photorealistic.

Here is something that was important about the development of the park and that had impact on the rest of my career. We had to overcome two hurdles. One was that people thought they already knew what it would be—just a big zoo—and that this would not work. We needed to reboot that thinking. And more than that, even if we convinced people it could be a theme park, we still needed to contradict many of the rules that made theme parks work.

So, once people understood that it might be something different, the problem was to prove that it was feasible. More than showing that it could be exciting, our chief challenge was proving that it could be done.

That experience bred into me and my teams a strong bias towards presenting all projects not so much as exciting opportunities that might be possible, but as rational investments that were possible and were also exciting… but doable first. Sort of a reduced focus on pure Blue Sky and more like trying to outsmart the analysis so that a proposal could be both rational and surprising at any given moment. Less “Wouldn’t it be cool if…” and more “This makes perfect sense andit’s amazingly cool.”

You were also behind two of the theme park’s most popular expansions with Expedition Everest – Legend of the Forbidden Mountain and Pandora – The World of Avatar. What are some of your fondest memories of working on those two projects?

It’s no secret to those who know me that I love the Himalayas. I’ve been there many times, and would go back in a heartbeat, so working on Expedition Everest was a particularly personal joy. It’s common with projects that some of my fondest memories are from the moments right before we open when the project is nearly complete; [it’s] an entire world unto itself, but not yet up and running, so you can wander through it wandering through your imagination. Everest was like that. Almost every space in that attraction is stunningly realistic, so walking around in it is like walking around in my memory of being in the Himalayas.

One thing that nobody gets to do, and was a great memory, was to be inside the structural interior of the mountain while it was running. It’s a forest of gigantic pieces of steel—massive steel ride track columns and spiderwebs of architectural steel, like some science fiction cathedral. In a way it’s too bad guests can’t see that, because it’s very impressive. Of course, traveling to the Himalayas with the team research trips and on our conservation expedition, Mission Himalayas, was one of the great adventures of my life, from the moment we threw our duffel bags out of a hovering helicopter along the Kali Gandaki River and jumped out onto them to be met by a horse team taking us into the fortified town of Kagbeni, it was my dream come true.

Pandora was another thing altogether. I was terrified of this project when it began, and certain that it would be the disastrous end of my career. It’s a matter of public record that I wrote multiple memos to the company advising them not to acquire the property because it was so impossible to build out of real material in the real world. Then, of course, we had to do it.

It ended up being one of my favorite projects. I very much enjoyed working with the irreplaceable Jon Landau, whom I will miss terribly, and had wonderful long conversations with [Disney Legend] James Cameron, often about stuff that had nothing to do with the project at all—just history, science, and nature.

I have several great memories here. One of them was the day we realized that the robotic shaman figure was capable of a deeper and more convincing psychological performance than we had realized. That led us to redevelop the entire script to take advantage of the remarkable performance quality of this figure. The other moment was one day in the simulator building, long before completion of the attraction, that we realized that Avatar Flight of Passage was going to be a more emotional experience than we had imagined and that we might have something here that was a real game changer, far above the technical achievement of getting it done—something like a real work of art. And lastly, as always, those days before we opened when I could wander around the landscape of Pandora as if it was a real national park of some kind, forgetting that it was all of us who had made it so.

You were instrumental in creating the Disney Conservation Fund, which launched in 1996. How did it come to be, and what are some of your proudest accomplishments?

The Disney Conservation Fund came into existence because it simply had to come into existence if we expected to ever build Disney’s Animal Kingdom. It started as a kind of logical and inevitable proposition: If we wanted to have a legitimate venue that held live wild animals, we would have to be part of a broader national and global effort to protect and conserve those animals, and that would involve creating a conservation fund. This was made clear to us by one of our first advisors, Dr. William Conway, and from the moment that it was clear I closed literally every single executive review with the same caveat, that none of this was possible unless we formed a conservation organization. Once I had acquired some internal advocates, like Judson Green, it became easier to advance the cause.

Well before the park opened, we began forming the actual organization. We wanted to disburse lots of smaller allocations, but mainly to field applications where the funds would go the most good. That is still the case having now given out over $125 million to conservation causes around the world.

You retired as portfolio executive in 2021 after 40 years at Walt Disney Imagineering. Given your varied contributions, how do you want to be remembered?

Most of my career was occupied with projects that did not touch upon fantasy or animated characters. Even before Disney’s Animal Kingdom, my work tended to be focused on exploration of what else Disney could mean. Pleasure Island and The Adventurers Club were just part of years of work on urban entertainment centers. Disney’s Animal Kingdom was an experiment expanding what a theme park could be. [Aulani, A Disney Resort & Spa] was a collaboration with indigenous Hawaiians. Les Villages Nature Paris was a sustainable eco resort. There’s just not a lot of classic IP in my portfolio. If I have a legacy, I suppose it is that… to leave a body of work that shows just how much more and how much else Imagineers are capable of.

And further, I hope that I have established a sense of discipline, deep study, and gravitas to the work. Over the years I have come to believe that what we do is far and away the most complex and technically sophisticated art form in the world. No film, no opera, no theatrical or architectural enterprise comes close. It deserves intellectual sophistication that is equal to its technical sophistication.

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By Taylor Larsen, Walt Disney Archives  

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By Lindsey Gregory, Walt Disney Archives

Thirty-five years ago, The Walt Disney Company said “Lights, Camera, Action!” to Disney’s Hollywood Studios (which premiered as Disney-MGM Studios Theme Park on May 1, 1989), where guests could experience all the glamour and excitement of Hollywood!

The concept for the park originated long before its first renderings were sketched in the 1980s; in fact, its inspiration began with Walt Disney himself. The idea for a park based on beloved movie themes originated with the grand showman at a time when backlot tours were limited to a privileged few. He first considered a public tour of his studio in Burbank; then, a more elaborate concept for a “Mickey Mouse Park” emerged, but limited land mixed with traffic concerns led Walt to look elsewhere—namely Anaheim, California. The idea evolved, of course, into Disneyland!

While not realized in the 1950s, Walt’s idea of immersing guests in the world of film and entertainment production would continue to echo in the creative minds of the Disney staff, with several adaptations of the concept appearing over the years. One pitch by Disney Entertainment director Bob Jani called for an “Experimental Prototype Community of the Arts” in association with the EPCOT project. By the mid-1980s, a behind-the-scenes look at the magic of filmmaking had been proposed for the park in the form of a Hollywood-themed “Entertainment Pavilion.” The idea quickly grew into its own “boutique” park at Walt Disney World Resort boasting a complete motion picture and television production complex. The project was announced by then-Disney CEO Michael D. Eisner and president Frank G. Wells in July 1985.

Four years after the announcement, the Disney-MGM Studios Theme Park premiered with a star-studded Grand Opening Spectacular weekend, April 28 through May 1, 1989. This black-tie celebration featured performances by some of Hollywood’s biggest celebrities (including Audrey Hepburn, Kevin Costner, Morey Amsterdam, and future Disney Legends Art Linkletter, Betty White, Annette Funicello, and George Lucas)—with a Parade of Stars and “live” television tapings, including the The All New Mickey Mouse Club for The Disney Channel. The opening also coincided with the 50th anniversary of television broadcasting in the United States, which was honored on April 30 with press conferences; a dedication of the SuperStar Television theater; and a special hand-printing ceremony with TV notables at the park’s Chinese Theatre.

Production crews set up lighting on a set at Disney-MGM Studios (now known as Disney’s Hollywood Studios). © Disney

As Guests entered Disney-MGM Studios and set foot on Hollywood Boulevard (the park officially debuted to the public on May 1), they became immersed in a bustling merchant district populated by a cast of Hollywood hopefuls and pulsing with classic movie-theme tunes, right out of Tinseltown’s first “golden age” of film. (In the summer of 1994, the park expanded to include Sunset Boulevard, a theater district that captured the energy of Hollywood’s second golden age with elaborate facades inspired by famous landmarks like the Warner Beverly Hills and Carthay Circle Theatres.)

Speaking of landmarks, beyond the park’s Chinese Theatre centerpiece, the 130-foot-tall Earffel Tower served as one of the park’s imaginative icons; topped by a 10,000-pound pair of mouse ears, it presided over the park’s backstage production area until 2016. Another Mickey-inspired icon was a 122-foot “Sorcerer’s Apprentice” hat, unveiled at the center of the park in 2001 for Walt Disney World Resort’s 100 Years of Magic celebration. Elaborate icons such as these celebrated the magic and entertainment wizardry of both Disney and the entertainment industry at large.

A nighttime view of the Earfful Tower shimmering over Disney’s Hollywood Studios. © Disney

Beyond Hollywood Boulevard, the park was originally divided into two parts: a theme park area, featuring attractions and live shows, and the Backstage Studio Tour, a guided experience showcasing how movies and TV shows were produced. (The first filming took place at the park in February 1988—more than a year before its opening to the public—for the TV movie Splash, Too). Here, Walt Disney’s early dream for a backlot tour was finally realized as guests were immersed in the magic of moviemaking, complete with tours of production facilities, special effects demonstrations, a tram ride past working sets and a residential street, and glimpses at stars at work, all packed into an epic two hours.

At Disney-MGM Studios, a backstage tram passes through the Streets of America on the Backstage Studio Tour. © Disney

Nearby, The Magic of Disney Animation offered a memorable behind-the-scenes tour of an actual animation studio, known as Walt Disney Feature Animation Florida. Here, guests could see and interact with Disney animation artists as they carried on the traditions that founded The Walt Disney Company and witness for themselves the production of such animated classics as Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and Pocahontas (1995), plus Roger Rabbit shorts including Roller Coaster Rabbit (1990) and Trail Mix-Up (1993). Eventually, the Florida studio would serve as the center of production for three animated features—Mulan (1998), Lilo & Stitch (2002), and Brother Bear (2003).

Animators of Mulan (1998) holding maquettes from the film outside of The Magic of Disney Animation attraction at Disney-MGM Studios. Bottom Left to Right: Aaron Blaise, Pres Romanillos, Mark Henn, Ruben A. Aquino, Broose Johnson, Alex Kupershmidt. Top Left to Right: Jeffery Varab, Daniel T. Hofstedt, Tom Bancroft, Barry Temple, Rob Bekuhrs. © Disney

Since opening day, the park’s attractions have immersed visitors into the entertaining worlds of film, television, and other Hollywood entertainment. From 1989 until 2017, The Great Movie Ride, a beloved ride-through attraction featured inside the Chinese Theatre, transported Guests into the movies—with three-dimensional tributes to memorable and enduring scenes from some of Hollywood’s most popular films, including unique interactions between live actors, Audio-Animatronics^® figures, and passengers!

In the months following opening day, an elaborate stage production was ready to roll with earthquakes, fiery crashes, and a sensational finale. For nearly 35 years, the Indiana Jones- Epic Stunt Spectacular! has left viewers on the edge of their seats (and a few lucky audience members in featured roles). This show is a behind-the-scenes look at the work of stunt performers, offering spectators a unique glimpse at what goes on in front of and behind the camera.

After starring in a film, why not visit the stars aboard Star Tours? Opening on December 15, 1989 (after intergalactic space travel was declared safe, according to the Disney News publication), the attraction originally promised passengers daily departures to the moon of Endor and beyond. In the years since, new destinations have been cleared for travel, and guests have visited Hoth, Jakku, Tatooine, and Naboo with some of their favorite light side rebels and dark side leaders on Star Tours — The Adventures Continue. (Learn about the attraction’s latest destinations at Disney Parks Blog!)

Guests jump into hyperspace aboard Star Tours in 1989.

Although the park has experienced an action-filled evolution since its opening 35 years ago (including its renaming to Disney’s Hollywood Studios in January 2008), it continues to immerse guests in the magic of entertainment in harmony with Walt Disney’s original concepts. More recent additions, such as the immersive Toy Story Land and Star Wars: Galaxy’s Edge—and iconic attractions like The Twilight Zone Tower of Terror, Rock ’n’ Roller Coaster^® Starring Aerosmith, and Mickey & Minnie’s Runaway Railway—put guests in the starring role, keeping bright the spirit of “the Hollywood that never was... and always will be.”

That’s a wrap!

© Disney

© Disney/© & Lucasfilm Ltd

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