Bill Justice

Bill Justice

He programmed Audio-Animatronics®figures for such Disneyland attractions as Great Moments with Mr. Lincoln, Mission to Mars, Pirates of the Caribbean, Haunted Mansion, Country Bear Jamboree, and America Sings.

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Wathel Rogers

Wathel Rogers

In 1954, Walt asked Wathel to help develop the model shop for his latest project, Disneyland. Wathel became an ace Imagineer, assisting in the construction of architectural models during the Park’s design and development phase.

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Bill Martin

Bill Martin

Walt did like Bill’s creative genius, however, naming him art director of Fantasyland. Among his contributions included the layout of each Fantasyland attraction, and, later, the Disneyland-Alweg Monorail’s course around the Park.

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Marvin Davis

Marvin Davis

“Marvin was very conscientious about developing the Park. He worked extremely hard to help bring Walt’s dream to life, exactly as Walt envisioned it.”—Imagineer and Disney Legend John Hench

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Bill Cottrell

Bill Cottrell

Among his many contributions to Disney, Bill helped develop the popular Zorro television series and, in 1964, was named president of Retlaw Enterprises, the Walt Disney family corporation.

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Blaine Gibson sculpting

Blaine Gibson

He also directed the sculpture of every U.S. President, up to George W. Bush in 2001, for The Hall of Presidents at Walt Disney World.

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Harper Goff playing banjo

Harper Goff

Among Harper’s designs was the menacing Nautilus submarine, complete with plush Victorian interiors, for the film 20,000 Leagues Under The Sea.

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Bill Evans

Bill Evans

“In the Jungle Cruise, there’s a group of orange trees that most people would never recognize because Bill planted them upside down. He decided the gnarled roots of the orange trees looked like suitably exotic jungle branches.”—Disney Imagineer Terry Palmer.

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Ken O’Connor at a desk

Ken O’Connor

In 1935 he joined The Walt Disney Studios, where he worked as either art director or layout man on 13 features and nearly 100 shorts.

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Ken Anderson

Ken Anderson

His first feature assignment was as art director for Snow White and the Seven Dwarfs; to help other animators visualize the film’s settings dimensionally, Ken built models of the Dwarfs’ cottage. Even Dopey’s memorable wiggling ears were inspired by his own ability to do so.

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