I’m heading to Walt Disney World today for a family vacation. The plan is to try to take our time and have a (somewhat) relaxing visit. Either way, I know we’ll have a great time!
Among some planned highlights, we’re going to check out Flight of Passage and Pandora, Frozen Ever After (haven’t had a chance to experience that yet) as well as the recently updated Pirates of the Caribbean, featuring the new auction scene.
I’m also hoping we can luck into a soft opening of Toy Story Land (or at least Slinky Dog Dash).
I’m thrilled to share the cover of the next book in the Imagineering Toolbox series: THE IMAGINEERING PROCESS: Using the Disney Theme Park Design Process to Bring Your Creative Ideas to Life.
I’m also very excited to announce that author and former Imagineer Jason Surrell will be writing the Foreword for this book. Jason is the author of some of my favorite Disney theme park books including “Pirates of the Caribbean: From the Magic Kingdom to the Movies”, “The Haunted Mansion: Imagineering a Disney Classic”, and “The Disney Mountains: Imagineering At Its Peak”.
[I’ve shared this on social media, but wanted to share it here as well.]
I’m making good progress on the book. I just finished the “Imagineering Management and Leadership” chapter last night. Next up is my “final thoughts” chapter, followed by some work on the appendices, the bibliography and references, and a couple of rounds of proof reading and editing.
Getting very close now.
I’ll post another update when I know more about when the book will be available.
Here’s another sneak peek at The Imagineering Process. This time I want to share a glimpse of what the diagrams will look like in the published book (the diagrams I’ve posted so far have been my working prototypes – my models if you will).
I also want to tease some of the ideas in the book, specifically the adaptability of the process. It’s definitely NOT a one-size-fits-all process.
First, here’s a look at the overall process:
This next diagram shows how the Imagineering Process is flexible and iterative:
Lastly, this diagram shows how the process works at both the macro and micro levels:
Note: These are drafts and may change a bit, but the overall look and feel will remain the same.
Imagineer Joe Rohde‘s Instagram feed is like an Imagineering Master Class, providing a steady stream of unique and fun insights into the areas of theme park design and placemaking.
One of his most recent posts is an excellent example of how the Imagineers use Attention to Detail to help tell their stories, and how the meaning of some details can change over time. This post deals with the placement of a boombox and stack of cassette tapes in the dispatching office at Kali River Rapids at Animal Kingdom.
As Rohde writes, the original Creative Intent of this detail (yes, even individual details within show scenes have their own Creative Intent) was to illustrate that the people working in the dispatching office were living in roughly the same time period as Guests. However, because that particular show scene has not been updated since it was first installed in the mid 1990s, to modern Guests the boombox and cassette tapes now suggest the dispatching office is from a time gone by.
It will be interesting to see if this ever gets updated as Rohde suggests, and if so, how.
Like Disneyland: The Nickel Tour I found this on eBay at a “reasonable” price, and can’t wait to dig in. Most of the books in my collection are focused on Walt Disney World, and I’m glad to be adding some Disneyland books to my library.
This is a great (but perhaps too short) film about Rolly and his work with the Disney company. For those interested in learning more about Rolly, I would recommend his book It’s Kind of a Cute Story and the More Cute Stories series of audio books in which Rolly shares, well, more cute stories about his work with the Disney organization (the latest volume is about one of his post-Disney projects, Knott’s Bear-y Tales).