A MEMORY OF EPCOT – FORTY YEARS ON...

 

This is the story of something memorable that happened 40 years ago, today…

The invitation was rather grand…

It was also unexpected.

Of course, I knew the event was happening and I also knew that my friend, the science fantasy writer Ray Bradbury, was going to be there…

Incidentally, I love the proprietorial way in which Ray refers to Spaceship Earth as his building! With justification, of course, for he had helped create the journey through a history of communications that was recounted to guests riding its interior.

I was in Florida, making a BBC radio documentary about the soon-to-opened EPCOT Center. Earlier in 1982, I had spent a couple of weeks filming in both Florida and Los Angeles for another EPCOT-centric documentary – this time for BBC TV's 'Everyman' series.

The plan had been that I and my producer, Norman Stone, would return with a crew to film the finished project when the park debuted in the October. In the intervening months, however, the BBC ran out of programme funding and were unable to send us all back to Orlando to capture the opening ceremony and the necessary wrap-up interviews with our contributors.

Disney offered to fly us out and take care of us, but since such a gesture might be thought to compromise the independent editorial voice of the BBC, the Corporation declined. Norman, it was decreed, would have to make the trip alone and work with a US film crew.

Then, while in Florida during EPCOT's preview weeks, making my radio programme (separate division, separate funding), Disney in true fairy-godmotherly fashion waved a magic wand by telling me that I was going to be invited to the opening events as their guest and the BBC, with an example of dubious (but gratefully accepted) reasoning, argued that whilst it would have been unacceptable for Disney to fly me out to cover the opening, if – 'as a guest' who just happened to be there anyway – I chanced to meet up with Norman and his US film crew and was able to record a few interviews (unpaid, of course!) then honour would be satisfied.

And that is what happened.

Which is why, on 22 October 1982 – against all expectations – Ray and I found ourselves chatting in the shadow of his wonderful, iridescent Spaceship Earth and I came away with a now treasured souvenir of the occasion...

Later that evening EPCOT was closed to the public for the black-tie Spaceship Earth Gala Party. The press contingent (of which we were, nominally, a part) were not invited to this posh bash, but were, instead, bused off to enjoy an evening at the well-known Orlando night-spot, Rosie O'Grady's Good Time Emporium –– except, that is, for Norman and I…

Through the generosity of the friendships we had made with the folks at Disney Imagineering, we were handed that posh invitation at the top of this blog…

There was champagne and food and there was music from some of the all-time greatest American dance-bands: all of which meant that the celebrity guests had more than enough to occupy them during the evening without actually riding Spaceship Earth which, for most of the evening, had empty cars spiraling up through its geodesic structure. That was when Norman and I bumped into Ray and his daughter, the late Bettina Bradbury.

Two meetings in one day –– wonderful!

"Have you been on Spaceship Earth?" Ray asked excitedly.

Well, yes, of course we had – a couple of times, in fact.

Ray looked totally crestfallen.

"Damn!" he said, "I was going to ask you to ride it with me."

There wasn't a moment's hesitation from Norman and I!

"Of course we'd love to ride it with YOU!" we exclaimed.

And we did. No one else. Just us. Ray and Bettina in the front seats, Norman and I, in our hired tuxedos, behind.

There was the official narration (by The Outer Limits 'Control Voice', Vic Perrin) coming out of car's speaker system, while Ray provided his own unique commentary over the top – adding detail and explanation about why he had chosen this or that moment in the history of communication to be part of the Spaceship Earth story.

Unforgettable!

When a few days later, while waiting at Orlando airport for my flight home, I picked up a copy of Time magazine and was astonished to see a photo of Ray sitting in an airplane. How could this possibly be? Everybody knew that Ray never flew: the man who had envisioned the age of space travel, the man who had written The Martian Chronicles was afraid of flying! And yet, there he was – on a plane!

What had happened was that his cross-country train had been cancelled. Needing desperately to return home to work, he acquiesced to his aviophobia, telling his Disney hosts to buy him an air ticket, give him three double martinis and “pour him on the plane.”

Which they did, as witnessed to in Time magazine with its photo of an air-hostess helping Ray buckle his seat belt and the witty accompanying story:

TIME Monday November 8, 1982

People by E Graydon Carter 

Flushed of face, a little white in the knuckles and after a send-off of what appeared to be one tee many martoonies, Science Fiction Novelist Ray Bradbury, 62 (Fahrenheit 451, The Martian Chronicles), nervously strapped himself into his seat.

The master of intergalactic fiction was embarking on his first airplane flight. (He doesn't even drive, a rare feat for someone from Los Angeles.) Bradbury, who set out by train and limousine, was returning home from Orlando, Fla., where he had taken part in the opening ceremonies of Disney's new Epcot Center.

After over 40 years of earth-bound travel, how did he like it aloft? "The stewardesses petted and smoothed my feathers," he said happily. Will he go up again? "No, not often." 

Fast forward to last year’s sale of Ray’s estate at auction. There, among the myriad lots, was a piece of cartoon art commemorating that memorable event with a depiction of Ray enjoying one of those "tee many martoonis" in company with Mickey Mouse!

The auctioneers were unable to give more than the briefest of descriptions. The artist’s signature was, they noted, indecipherable… But not to anyone who knew their Disney names!

The signature reads: ‘X Atencio’.

 

 

Veteran Disney artist and Imagineer, Francis Xavier Atencio (left) had designed the ‘Spoonful of Sugar’ nursery sequence in Mary Poppins with its cavorting toys, clothes and furniture; had animated on Fantasia and the acclaimed 3D cartoon, Toot Whistle Plunk and Boom; was one of those responsible for Disney’s brief dalliance with stop-motion animation in the experimental short, Noah’s Ark, and title sequences for, among other movies, The Parent Trap and The Misadventures of Merlin Jones.

Atencio, whose company ID badge simply read ‘X’, went on to do legendary theme-park work for Disney Imagineering: helping to design the Disneyland Railroad's Primeval World diorama and writing the scripts for two famed attractions: Pirates of the Caribbean and the Haunted Mansion, for which he also penned the lyrics to their respective theme songs, 'Yo Ho (A Pirate's Life for Me)' and 'Grim Grinning Ghosts'.

The surrounding mount is inscribed and signed by some of the senior members of Imagineering team responsible for the creation of EPCOT Center, including Marty Sklar, John Hench, Randy Bright and Pat Scanlon – all of whom had appeared in my BBC documentary and all now, sadly, passed on to the great theme park in the sky... 

 

It was Marty Sklar who had given me the title for my programme – ‘Waltopia’, which had been Marty's playful suggestion to Walt Disney as an alternative name for Walt Disney World.

With so many personal associations, I decided I really ought to give Ray and Mickey a new permanent home! So I did...

[A version of this story was first posted on this blog on 22 October 2015]

REMEMBERING MARTY

It was with great sadness that heard of the death of a long time (some 30+ years) Disney friend, Marty Sklar. Rightly known as Walt's 'right-hand man', he wrote the first book about 'Disneyland' and worked with the Boss on speeches and many important projects including writing the script for the promotional film that introduced the world to Walt's concept of an Experimental Prototype Community of Tomorrow, shown a matter of weeks before his death in 1966. His role in expanding the Disney theme park franchise from its Anaheim origins to the four corners of the world, is a legendary legacy.

I had the great pleasure to work with Marty on a number of BBC radio programmes about Walt Disney and the Disney company and he provided the title – ‘Waltopia' – for a BBC TV documentary I made in 1982 on the creation of what was by then called EPCOT Center. During my interview with Marty, he recalled how, on first hearing of Walt's plans for a futuristic city, he had quipped: "You know, Walt, I've got the perfect name for your project – Waltopia!" Not only did Marty supply the show's title, he was the film’s opening and closing contributor with a number of appearances in between!

And when my producer Norman Stone and I went out to join the press contingent covering the opening of EPCOT, it was Marty who ensured that on the night before the opening day ceremonies – while the rest of the press corps were being entertained at Rosie O'Grady's nightclub in downtown Orlando – Norman and I had invitations to the exclusive black-tie party for the dedication of the park's iconic attraction, Spaceship Earth.

I have many fond memories of Marty, but one that I especially hold dear was being invited to the opening of the French Pavilion at EPCOT's World Showcase. During the ceremony, Marty spotted me seated on the elegant gilt chairs arranged outside the pavilion. He took something from his pocket, wrote on it and then, catching the attention of a cast member, indicted that it should be delivered to me. It was one of his business cards on which he had written: "Brian! This is some sort of Utopia where a Brit gets invited to the opening of France in America! Marty."

I had first become aware of the name 'Martin A. Sklar’ many years earlier when, as a young Disney fan living in the UK (without any hope of ever making it to California), I was given a copy of his book on Disneyland, brought back for me by some rich friends! Years later, when I realised that the author, 'Martin A. Sklar', was the same 'Marty' I had got to know at (as it then was) WED Imagineering, I carried it all the way to LA in order to get it signed!

Marty was one of the great unsung heroes of the Disney kingdom and I – like many others I am sure – came to value his insights into Walt and his world along with his integrity, candour, quite authority and personal modesty. More than that, I treasured the relationship I enjoyed, across a number of years with him: his friendship (much more than just professional courtesy) meant a great deal to me and I fondly salute his memory.


Here's a typical note from Marty: a truly gracious gentleman of great charm...

From Deadline Hollywood

Marty Sklar, the man who supervised the design and construction of Tokyo Disneyland, the Disney-MGM Studios, Disneyland Paris and other theme park attractions, has died at his home, Disney said tonight. He was 83.

Having started as an intern for Walt Disney, Sklar finished his 54-year career at Disney as the International Ambassador for Walt Disney Imagineering. That role meant traveling to art and design colleges and architecture schools to lecture and attract talent.

During his career, Sklar worked closely with Walt Disney and was instrumental in creating, enhancing and expanding Disney’s creative vision. Sklar was named a Disney Legend in 2001.

“Everything about Marty was legendary – his achievements, his spirit, his career,” said Bob Iger, Chairman and CEO of the Walt Disney Company. “He embodied the very best of Disney, from his bold originality to his joyful optimism and relentless drive for excellence. He was also a powerful connection to Walt himself. No one was more passionate about Disney than Marty and we’ll miss his enthusiasm, his grace, and his indomitable spirit.”

Born on February 6, 1934, in New Brunswick, NJ, Sklar was a student at UCLA and editor of its Daily Bruin newspaper when he was recruited to create The Disneyland News for Walt Disney’s new theme park in 1955. After graduating in 1956, he joined Disney full time and would go on to serve as Walt’s right-hand man — scripting speeches, marketing materials and creating a film showcasing Walt’s vision for Walt Disney World and Epcot, according to Disney.

During this period, he also joined WED Enterprises, the forerunner of Walt Disney Imagineering, and later would become the creative leader of Imagineering, leading the development of Disney theme parks and attractions for the next three decades. He retired as EVP and Imagineering Ambassador on July 17, 2009, Disneyland’s 54th birthday. Disney marked the occasion by paying tribute to Marty with the highest Parks and Resorts recognition, dedicating a window in his name on Disneyland’s City Hall.

“Marty left an indelible mark on Disney Parks around the globe and on all of the guests who make memories every day with us,” said Bob Chapek, Chairman of Walt Disney Parks and Resorts. “He was one of the few people that was fortunate to attend the opening of every single Disney park in the world, from Anaheim in 1955 to Shanghai just last year. We will dearly miss Marty’s passion, skill and imaginative spark that inspired generations of Cast, Crew and Imagineers.”

He also authored books about Disney including Dream It! Do It!: My Half-Century Creating Disney’s Magic Kingdoms (2013), and One Little Spark!: Mickey’s Ten Commandments and The Road to Imagineering (2015).

Skalr is survived by his wife of 60 years, Leah; son Howard and his wife, Katriina Koski-Sklar; grandchildren Gabriel and Hannah; daughter Leslie; and grandchildren Rachel and Jacob. In lieu of flowers, the family requests that donations be made in Marty’s name to Ryman Arts.

FLIGHTS OF FANCY

This is the story of something memorable that happened 33 years ago, today…

The invitation was rather grand…

It was also unexpected.

Of course, I knew the event was happening and I also knew that my friend, the science fantasy writer Ray Bradbury, was going to be there…

Incidentally, I love the proprietorial way in which Ray refers to Spaceship Earth as his building! With justification, of course, for he had helped create the journey through a history of communications that was recounted to guests riding its interior.

I was in Florida, making a BBC radio documentary about the soon-to-opened EPCOT Center. Earlier in 1982, I had spent a couple of weeks filming in both Florida and Los Angeles for another EPCOT-centric documentary – this time for BBC TV's 'Everyman' series.

The plan had been that I and my producer, Norman Stone, would return with a crew to film the finished project when the park debuted in the October. In the intervening months, however, the BBC ran out of programme funding and were unable to send us all back to Orlando to capture the opening ceremony and the necessary wrap-up interviews with our contributors.

Disney offered to fly us out and take care of us, but since such a gesture might be thought to compromise the independent editorial voice of the BBC, the Corporation declined. Norman, it was decreed, would have to make the trip alone and work with a US film crew.

Then, while in Florida during EPCOT's preview weeks, making my radio programme (separate division, separate funding), Disney in true fairy-godmotherly fashion waved a magic wand by telling me that I was going to be invited to the opening events as their guest and the BBC, with an example of dubious (but gratefully accepted) reasoning, argued that whilst it would have been unacceptable for Disney to fly me out to cover the opening, if – 'as a guest' who just happened to be there anyway – I chanced to meet up with Norman and his US film crew and was able to record a few interviews (unpaid, of course!) then honour would be satisfied.

And that is what happened.

Which is why, on 22 October 1982 – against all expectations – Ray and I found ourselves chatting in the shadow of his wonderful, iridescent Spaceship Earth and I came away with a now treasured souvenir of the occasion...

Later that evening EPCOT was closed to the public for the black-tie Spaceship Earth Gala Party. The press contingent (of which we were, nominally, a part) were not invited to this posh bash, but were, instead, bused off to enjoy an evening at the well-known Orlando night-spot, Rosie O'Grady's Good Time Emporium –– except, that is, for Norman and I…

Through the generosity of the friendships we had made with the folks at Disney Imagineering, we were handed that posh invitation at the top of this blog…

There was champagne and food and there was music from some of the all-time greatest American dance-bands: all of which meant that the celebrity guests had more than enough to occupy them during the evening without actually riding Spaceship Earth which, for most of the evening, had empty cars spiraling up through its geodesic structure. That was when Norman and I bumped into Ray and his daughter Bettina.

Two meetings in one day –– wonderful!

"Have you been on Spaceship Earth?" Ray asked excitedly.

Well, yes, of course we had – a couple of times, in fact.

Ray looked totally crestfallen.

"Damn!" he said, "I was going to ask you to ride it with me."

There wasn't a moment's hesitation from Norman and I!

"Of course we'd love to ride it with YOU!" we exclaimed.

And we did. No one else. Just us. Ray and Bettina in the front seats, Norman and I, in our hired tuxedos, behind.

There was Walter Cronkite's narration coming out of car's speaker system, while Ray provided his own unique commentary over the top – adding detail and explanation about why he had chosen this or that moment in the history of communication to be part of the Spaceship Earth story.

Unforgettable!

When a few days later, while waiting at Orlando airport for my flight home, I picked up a copy of Time magazine and was astonished to see a photo of Ray sitting in an airplane. How could this possibly be? Everybody knew that Ray never flew: the man who had envisioned the age of space travel, the man who had written The Martian Chronicles was afraid of flying! And yet, there he was – on a plane!

What had happened was that his cross-country train had been cancelled. Needing desperately to return home to work, he acquiesced to his aviophobia, telling his Disney hosts to buy him an air ticket, give him three double martinis and “pour him on the plane.”

Which they did, as witnessed to in Time magazine with its photo of an air-hostess helping Ray buckle his seat belt and the witty accompanying story:

TIME Monday November 8, 1982

People by E Graydon Carter 

Flushed of face, a little white in the knuckles and after a send-off of what appeared to be one tee many martoonies, Science Fiction Novelist Ray Bradbury, 62 (Fahrenheit 451, The Martian Chronicles), nervously strapped himself into his seat.

The master of intergalactic fiction was embarking on his first airplane flight. (He doesn't even drive, a rare feat for someone from Los Angeles.) Bradbury, who set out by train and limousine, was returning home from Orlando, Fla., where he had taken part in the opening ceremonies of Disney's new Epcot Center.

After over 40 years of earth-bound travel, how did he like it aloft? "The stewardesses petted and smoothed my feathers," he said happily. Will he go up again? "No, not often." 

Fast forward to last year’s sale of Ray’s estate at auction. There, among the myriad lots, was a piece of cartoon art commemorating that memorable event with a depiction of Ray enjoying one of those "tee many martoonis" in company with Mickey Mouse!

The auctioneers were unable to give more than the briefest of descriptions. The artist’s signature was, they noted, indecipherable… But not to anyone who knew their Disney names!

The signature reads: ‘X Atencio’.

Veteran Disney artist and Imagineer, Francis Xavier Atencio (left) had designed the ‘Spoonful of Sugar’ nursery sequence in Mary Poppins with its cavorting toys, clothes and furniture; had animated on Fantasia and the acclaimed 3D cartoon, Toot Whistle Plunk and Boom; was one of those responsible for Disney’s brief dalliance with stop-motion animation in the experimental short, Noah’s Ark, and title sequences for, among other movies, The Parent Trap and The Misadventures of Merlin Jones.

Atencio, whose company ID badge simply read ‘X’, went on to do legendary theme-park work for Disney Imagineering: helping to design the Disneyland Railroad's Primeval World diorama and writing the scripts for two famed attractions: Pirates of the Caribbean and the Haunted Mansion, for which he also penned the lyrics to their respective theme songs, 'Yo Ho (A Pirate's Life for Me)' and 'Grim Grinning Ghosts'.

The surrounding mount is inscribed and signed by some of the senior members of Imagineering team responsible for the creation of EPCOT Center, including Marty Sklar, John Hench, Randy Bright and Pat Scanlon – all of whom had appeared in my BBC documentary.

It was Marty Sklar who had given me the title for my programme – ‘Waltopia’, which had been Marty's playful suggestion to Walt Disney as an alternative name for Walt Disney World.

With so many personal associations, I decided I really ought to give Ray and Mickey a new permanent home! So I did...