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For the 999 Happy Haunts of Disneyland Park’s Haunted Mansion, the spooky season is always in high gear. But most of us don’t kick into full ghost-and-goblin mode until October—and Disney XD has given us something to shriek about this morning. They’ve teamed up with Walt Disney Imagineering and the renowned stop-motion studio Stoopid Buddy Studios on a series of four spots that bring favorite characters from Star vs. The Forces of Evil and Pickle and Peanut into the world of the Haunted Mansion attraction.
The first spot can be seen tonight during the premiere episode of Milo Murphy’s Law (8 p.m. ET/PT), but we’re giving you a first look at two of the spots in this exclusive sneak peek. As with all of Princess Star Butterfly’s adventures, it’s gonna get a little weird… it’s gonna get a little wild… but it’s going to be hauntingly authentic. All of the music and sound effects you’ll hear in the spots come from the original Haunted Mansion at Disneyland Park, and the voices of the Haunted Mansion characters are the actual attraction voices, as well. Disney XD worked closely with Walt Disney Imagineering to feature details fans of the attraction will surely appreciate, from the tombstones seen in the graveyard—which are modeled after those seen at Disneyland—to the original character created just for these spots, Baby Boo. This is Baby Boo’s official debut—or should that be “de-boo”?—and you can only catch him in this spot, but the character was inspired by an original drawing for the attraction by legendary animator (and, of course, one of Walt’s Nine Old Men) Marc Davis.
In the spot that airs tonight, Star and Pony Head stumble into the wrong dimension and disturb Madame Leota from her restful trance:
Next Monday, October 10, during a Halloween-themed episode of Pickle and Peanut (6:30 p.m. ET/PT), Pickle and Peanut search for their lost keys in the famous Haunted Mansion graveyard, where they meet brand-new ghost Baby Boo and the infamous Hatbox Ghost. If that feels like an eternity to wait, fear not—we have a sneak peek here:
The Grim Grinning Ghosts will be coming out to socialize on Disney XD throughout October. Ezra the Hitchhiking Ghost makes an appearance in the short that premieres during a Halloween-themed episode of Star vs. The Forces of Evil on October 10 (7:30 p.m. ET/PT); while Pickle and Peanut stumble upon Constance the Bride in the short that can be seen in an all-new episode of Milo Murphy’s Law on October 17 (8 p.m. ET/PT).
Since Walt Disney World opened on October 1, 1971, millions have visited to experience the “most magical place on Earth.” We’ve already shared some of our favorite photos from the past 45 years, and in celebration of the 45th anniversary of Walt Disney World, we asked Disney fans to share their favorite magical memories.
“My first trip to Walt Disney World was January 2016 and I got to finally meet the characters from my favorite movie—Beauty and the Beast—while I was dressed as Belle. But the highlight of my trip was being honored with a dance alongside the master of the castle. I was so overjoyed! That was truly my most magical moment!”––Brittany Davis
Chris’s family has celebrated decades of Disney magic! The photo on the left shows Chris’s mother, his brother, and himself, circa 1980. Chris’s wife and their two sons pose for a similar picture in 2011.
“I snapped this of my daughter Megan while we waited for the Main Street Electrical Parade! It was on her birthday—nothing like spending your special day at the Magic Kingdom. Looking forward to many more years of Disney celebrations!”––Christine P.
“My very first trip to Walt Disney World was my senior year in high school during spring break. On our first day we went to Magic Kingdom and got there early for the opening, walking in with all the characters from the train. To say I was excited was an understatement. We finally reached the end of Main Street, U.S.A. and I immediately went to get a shot in front of the castle, arms up, big smile, the happiest I could ever be…. until I felt two people pop up beside me. I looked and it was Jasmine and Aladdin! Those two characters have a special place in my heart, and by my expression you can see how excited I was. My face was in a permanent smile for the rest of the week, thanks to that moment, and it still makes me happy to this day, just thinking about it! Disney is such a magical place and will always be my home away from home” ––Lauren Holcek
“Thanksgiving holiday, 1971—My parents read about this new park Walt Disney built in Orlando. ‘Would we like to see it?’ I remember taking a long bus ride from the airport to our hotel, The Polynesian Resort, and passing by all the shrubs cut to look like our favorite Disney characters. It was like being transported to another land. But then, the moment we stepped into the Magic Kingdom… Wow! We had never been to a place so magical. Flash-forward from my first visit to the Magic Kingdom to 2005. We came to celebrate our daughter’s fifth birthday. As parents, it is absolutely heartwarming to see and experience Walt Disney World through our baby’s eyes. Magical, indeed! Happy 45th Birthday, Walt Disney World!”––Leslie Lim
“The night my fiancé proposed to me aboard the Grand 1 yacht, cruising along Seven Seas Lagoon whilst Wishes was behind us. Truly the most magical night of my life!”––Louise Jones
“Me and my dad in ToonTown! Around 1990. My very first visit and what sparked my Disney obsession. Now my family are passholders and we enjoy Walt Disney World as much as we can!”––Madison Beauchamp
“We were chosen to lead the afternoon parade in 2010. A once-in-a-lifetime magical moment!”––Michele Pope
“Throwing it back to my first time at Disney when I was six months old. Now 20 years later, my Dad and I continue with our tradition of taking a picture in front of Cinderella’s fountain every time we visit Disney. This past time, I was lucky enough to take this picture as a Disney Cast Member!”––Rachael Repplinger
“Mickey is the greatest thing ever! When it came my time to meet him, he reached out to embrace me, and he said, ‘It’s been too long, pal.’ This 55-year-old man was a little boy again. I just cried. Everyone should have a few moments with Mickey and maybe there wouldn’t be as many problems in the world. I took this one of Mickey and my sons last September.”––Tim Burgess
Note: Submissions may have been edited for length and/or clarity.
Few moments in animation linger in the mind as vividly as the ballroom sequence in Beauty and the Beast. The seamless combination of music (“Beauty and the Beast,” sung by Angela Lansbury as Mrs. Potts), hand-drawn animation (Mrs. Potts, Chip, Lumiere, Cogsworth, Belle and the Beast), and computer technology (the ballroom environment) leaves an indelible mark on the viewer; both Belle and the Beast’s deepest emotions are revealed, though neither says a word. It’s filmmaking at its finest and is but one of many reasons Beauty and the Beast was nominated by the Academy of Motion Picture Arts and Sciences for Best Picture of 1991.
25 years after its release, Beauty and the Beast and its remarkable ballroom remain “ever a surprise.”
A key component of the ballroom sequence was its unprecedented use of computer-generated imagery (CGI) to create the magnificent splendor of the marble ballroom. Though the ballroom is on screen for less than a minute-and-a-half, its impact is such that we remember the scene lasting much longer, a fact quickly latched onto by Disney marketing which made the ballroom a touchstone image in promoting the film.
Walt Disney was always looking for opportunities to incorporate new technologies into his creations. He convincingly added sound, color, and dimensionality to the vocabulary of animation. With Fantasia (1940) he presented multi-channel audio reproduction, dubbed Fantasound, which allowed the music of The Philadelphia Orchestra to swirl around the theater in choreographic synchronization with the action on the screen. For conveyances as diverse as Stromboli’s carriage in Pinocchio (1940) to Cruella de Vil’s Duesenberg in One Hundred and One Dalmatians (1961) live-action models were photographed on film, with the resulting images combined with character animation and transferred to cels, anticipating computer animated vehicles to come in films such as Oliver and Company (1981), The Prince and the Pauper (1990), and Rescuers Down Under (1990). To this day, Feature Animation continues to explore new frontiers in technology and how they might better serve the storyteller’s art.
By the time of Beauty and the Beast Disney animators were looking for the opportunity to create a completely computer-generated environment, rendered entirely within a computer, in which they could place hand-drawn heroes, heroines, and villians. (They were no doubt encouraged and challenged by the groundbreaking all-CG shorts being produced and directed by John Lasseter at a new company christened PIXAR.) Several fortuitous events led to a breakthrough on Beauty and the Beast.
Prior to the making of Who Framed Roger Rabbit (1988), shooting live-action footage that was intended to have animation added to it meant that the opportunity for sweeping camera moves ranged from limited to non-existent. Most of the time the live-action camera was locked down to insure a stable scene in which animated characters could interact with their human counterparts. But when it came time to shoot the live-action footage for Roger Rabbit, animation director Richard Williams told director Robert Zemeckis to move the camera however he liked and it would be up to the animators to match the onscreen action. Though this resulted in what was often an arduous task for the animators, the final product was so thoroughly convincing that it raised the bar for all combination animation/live-action films to come. It also opened the door for previously untried ways of staging camera moves in animation.
At this same time, Roy E. Disney’s encouragement of new technologies in animation helped usher in the development of the Computer Animation Production System (CAPS). Begun at Lucasfilm and completed at PIXAR, CAPS made cels and animation cameras obsolete. Using CAPS, animators’ drawings could be scanned, painted digitally, and then digitally combined with scans of hand-painted backgrounds. Whereas Disney’s 1937 multiplane camera—used to create the illusion of depth—allowed for only five layers of artwork, the levels and size of artwork that could be combined in CAPS were near infinite. An additional advantage to CAPS was that hand-drawn animation could be combined with a computer-generated environment entirely in the digital realm, thereby negating the need for an optical printer (and its generational loss—rather like a photocopy of a photocopy), a film-based image compositing device in use since the 1920s.
During early production meetings for Beauty and the Beast discussions of how and where computer-generated environments might be incorporated resulted in two possibilities. The first was the forest surrounding the Beast’s castle. Experiments in constructing CG trees proved that the technology simply wasn’t there yet to create a convincing forest that felt of an organic part with the overall look and atmosphere of the film. The second possibility, posed by story supervisor Roger Allers and story artist Brenda Chapman, was to fabricate an entirely computer-generated ballroom for the sequence containing the song “Beauty and the Beast.” This felicitous idea worked well for several reasons.
Because the filmmakers acknowledged that the look of a CG ballroom would be different from the rest of the film, they felt that the idea of it being bookended—Belle and the Beast enter, and then leave this unique world—would help ease audiences into and out of the computer-generated space. And because of the success of Roger Rabbit’s animators in working with fluid camera moves, the development of CAPS, and the almost limitless possibilities of camera movements available in the realm of a CG environment, Allers and Chapman approached the storyboards for the ballroom sequence with few constraints.
The otherness of the ballroom also worked well with the heightened emotional moment that takes place during Mrs. Potts’ rendition of lyricist Howard Ashman and composer Alan Menken’s song “Beauty and the Beast.” Though no words are spoken between them, Belle and the Beast are finally able to communicate their deep and abiding love for one another. (In Howard Ashman’s early notes outlining the characters in Beauty and the Beast he compared the Beast to Yul Brynner as the King of Siam in Rodgers and Hammerstein’s The King and I. In this musical the two leads, the King of Siam and schoolteacher Anna Leonowens, discover how much they care for one another in the show-stopping polka “Shall We Dance?” Though “Beauty and the Beast” is a slow ballad, not a brisk polka, the tradition of falling in love while dancing remains a tried and true one.)
In traditional animation a pencil test is made of an animator’s rough drawings to assess the success of a scene before the it is cleaned up, inked, and painted. In computer animation a vector test, or wire-frame test similarly allows a scene to be assessed in bare bones outlines before being redone or fully rendered. In order to guide animator James Baxter, who would animate Belle and the Beast, two proxy figures were incorporated into the wire-frame test, with Belle resembling a nothing so much as a bishop from a Staunton chess set, and the Beast looking like an oversized gourd (acquiring the nickname “watermelon man”). Once the camera moves were approved, the wire-frame test was printed onto animation paper as a guide for Baxter, who began animating the two lead characters. Producer Don Hahn has commented more than once on how Baxter’s brain had a computer-like ability to figure out how to animate Belle and the Beast in a constantly-changing perspective. Even the animation in the remarkable high-angle down shot of J. Worthington Foulfellow, Gideon, and Pinocchio in the song “An Actor’s Life for Me” in Pinocchio pales by comparison to the constantly shifting sightlines presented to Baxter. While Baxter toiled away with his challenge, the CGI department worked to fully develop the skin of marble, wood, gold, and material that would turn the ballroom into a three-dimensional reality.
Drawing inspiration from a painting by background artist Doug Ball, and art director Brian McEntee’s regal color scheme of gold and blue, Scott F. Johnston, working with Jim Hillin, M.J. Turner, and Tom Cardone, built the ballroom using, among other software, RenderMan®, newly developed by PIXAR. Every detail was attended to, from the candles on the wall, to the marble floor, to the crystals hanging from the chandelier, to the lion faces atop the columns, and the blue bunting draped about the room. A fresco of cherubs on the ceiling was created by scanning a hand-painted background and then texture mapping it onto the CG dome of the chamber so that it felt like an organic part of the world of the ballroom. As the CG elements began to fall into place a 1K grayscale rough render, with James Baxter’s rough animation of Belle and the Beast, was produced. This was followed by another pass incorporating Baxter’s cleaned up animation. And finally a high-resolution 2K color version was fully rendered. Each frame included multiple elements: the main room, the floor, reflections in the floor, the characters, tones and shadows on the characters, and even the characters’ reflections in the floor. The time it took a computer to render a single frame took from four to six hours. At one point the filmmakers were concerned that the CG ballroom might not be completed in time; their backup plan was to simply have Belle and the Beast dancing in a spotlight, surrounded by darkness. (This was referred to as the Ice Capades version.) Fortunately, the CGI department was able to fully render the sequence in time. One additional element was added in post-production: certain shots contained a slight depth-of-field element, which mimicked a live-action camera lens by throwing the background slightly out-of-focus and causing the animation of Belle and the Beast to “pop.” The overall effect contributed to Allers and Chapman’s original idea to give the ballroom sequence more of a live-action feel. The ballroom was constructed over the course of two years, with the majority of the work done in the final nine months.
As Scott F. Johnston said, “Howard Ashman and Alan Menken set it up, Angela Lansbury knocked it out of the park, and we just needed to do them justice; we had to rise to their level of excellence.” They definitely did and 25 years after its release, Beauty and the Beast and its remarkable ballroom remain “ever a surprise.”
Special thanks to Don Hahn, Scott F. Johnston, John Carnochan, and Larry Leker.
Fans of Alias recall that in virtually every episode, our heroine, double-agent Sydney Bristow, would go undercover in a foreign country to stop the bad guys, help the good guys, and save the world. But what people may not realize is that many of those foreign countries were actually scenes shot on the Walt Disney Studios Lot in Burbank! As the ABC hit celebrates its 15th anniversary, we look at a few spots on the lot used when filming the show—both as they appeared on the series and as they look today.
Here we see Sydney (Jennifer Garner) going to blows with an enemy. This was actually shot in the Frank G. Wells Building, home to the Walt Disney Archives!
Arvin Sloane (Ron Rifkin) spend a great deal of time waffling between good and evil, even when it came to his daughter Nadia (Mia Maestro). Here the two sit on a bench—one of many on the Disney lot—next to the Team Disney Building.
Jennifer Garner looks great in this promotional shot for the show, which was taken in a hallway of the original Animation Building.
Members of D23 get to see these “Alias areas”—and many more—when taking tours of the Studio lot. Check under D23 Events for when the next tour will take place.
Red wig. Black leather pants. Lots of butt-kicking. Fifteen years ago this television season, Alias burst onto ABC and sent pulses rising with its heart-stopping action, twisty plotlines, and a never-ending parade of wild costumes. The show, which filmed on the Disney lot, made Merrin Dungey a familiar face to fans as Francie, best friend to Jennifer Garner’s double-agent Sydney. As the show took unexpected shocking turn after unexpected shocking turn, Francie was murdered by Alison Doren, who (in another unexpected shocking turn) had become Francie’s doppelgänger—thanks to some genetic enhancements. Dungey accepted the challenge of playing both roles—and ended up with some very funny stories to tell in the process. Since then, Dungey has been a familiar face on ABC and Freeform with roles on Revenge, Chasing Life, Once Upon a Time, and now as former detective Maxine Bohen opposite Marvel’s Agent Carter’s Hayley Atwell on Conviction, where they are part of a team set to the task of turning over cases where there is credible suspicion of wrongful conviction. We caught up with the actress to look back on some of her favorite moments filming Alias, why fans of that groundbreaking show will love Conviction, and being a member of the Disney family.
Can you believe it’s been 15 years since Alias premiered? Merrin Dungey (MD): I try not to think about how long ago it was, thank you. They think you’re a billion years old. [Laughs]
It was really a show that established ABC as being a great home for strong female characters. MD: One hundred percent. You have that and Once [Upon a Time] and Scandal and Grey’s Anatomy—and even Desperate Housewives.
And now you’re on another show featuring powerful women—Conviction. MD: [Atwell’s character] Hayes is a force to be reckoned with, that one. She’s a beast and gets more spicy as the episodes go on.
Your character is strong as well. MD: Totally. My character is kind of an anchor to a lot of things—she’s somewhat detective and sort of the pragmatist, seeing things from the cop angle. I’m just like brass tacks—don’t mess with me!
What are some of your favorite memories Alias? MD: Getting the part and meeting [Alias creator] J.J. Abrams and what a joy he is—and how excited I was. It was something completely different and fresh. [Alias] opened the doors for so many different things and still does. It opened the door to Once Upon a Time even. J.J. saw something in me that nobody else sees. I remember at the Upfronts [where networks annually present shows to advertisers] he asked, “Do you know how to fight?” I said, “Nah.” He said, “Learn,” and walked away. I ran over to Jennifer and said, “What do I do?” And she said, “Go to this guy.” So I did, and I trained for a year for that one fight [where Sydney and Francie/Alison come to blows in their apartment]. But I was ready. There’s a moment in the fight when I jump over the counter and kick her in the pipes. They told me they were prepping a stunt double for it. I said, “No, no, no, no. I can do this!” I ran onto the set, and J.J. looks at me and Jennifer looks at me and they’re like, “Don’t ruin Jennifer’s face.” And we did it, and we got it in one take and everyone applauded. And Jen was like, “There was wind across my face when your foot went by!”
Do you have a favorite line? MD: “Francie doesn’t like coffee ice cream.” At least once a month I get that. And by the way, Merrin doesn’t like coffee ice cream either.
When D23 gives tours to members on the Studio lot, we pass many places where Alias filmed. Do you have memories of shooting on the lot? MD: I remember I was meeting Ron Rifkin [Arvin Sloan] somewhere in, like, Czechoslovakia and I’m in some big fur, smoking cigarettes. But it was outdoors at the commissary by the Disney Store. Oh, and the day I kill myself [When Alison/Francie shoots real Francie], I had to go pick up something for Christmas at the Disney Store and I had a bullet hole in my forehead. And I just remember everyone’s going, “What!?”
Do you remember when J.J. told you that you were going to “kill yourself”? MD: I’m so glad [Francie] died. She was so boring. She was the apex of a best friend character. So it was great because it gave everybody something fun to play. It gave me fun things to wear. It gave me fun things to do.
Wow, you took it really well! MD: I’ve always been a huge fan of crime shows and that sort of thing. My sister and I used to audiotape Charlie’s Angels—a real audiotape with a tape recorder. And we would listen to it over and over and play Charlie’s Angels on our Schwinn bikes.
You went on to play a very iconic Disney character recently on Once Upon a Time—Ursula. MD: That is truly because of Alias. I got a call from my manager, who told me [Once Upon a Time creators] Adam [Horowitz] and Eddy [Kitsis] were going call to see if I wanted to play Ursula. And I was floored. What an incredible opportunity and what an incredible character. They said they were big fans of Alias. And when they said it was with Cruella and Maleficent and they’re going to be the Queens of Darkness—boy, was that so much fun. It was the most fun I’ve had in years.
Were you a fan of The Little Mermaid? MD: I’m quite familiar with The Little Mermaid. I’m a Disney fan through and through. But to play any one of the Disney characters, particularly one of the bad guys, is a huge honor.
Do you have a favorite Disney memory? MD: I remember when I was a kid, every Sunday at 7:00 we would watch the Wonderful World of Disney. And that was family time. It was so happy and creative and beautiful. I think that’s the coolest thing about having Once Upon a Time on Sunday—there are so many fans who are kids. When I was playing Ursula and I went to school to pick up my daughter and go to her parent‑teacher conference, I was mobbed by children. Mobbed. And my daughter comes over and she’s like, “Ugh, Mom!” But it’s a show that parents can watch with their kids. It’s a terrific callback to the glory days and Wonderful World of Disney. So, I’m glad that all kind of comes full circle.
With all your work, do you feel like a member of the Disney family? MD: I really do. It always feels like I’m coming home when I’ve worked for ABC and Disney. When my sister and I were little, my mom would have to buy us each a copy of TV Guide. And ABC was always my favorite. Tuesday nights ABC had Happy Days and Laverne and Shirley and Three’s Company and Too Close for Comfort, [then there was also] Charlie’s Angels, Love Boat, Fantasy Island, and Moonlighting. ABC was always my favorite—always, always. And then being on Alias, Better Off Ted, Revenge, Betrayal, Once Upon a Time, and now Conviction… That’s a lot of ABC. And [Chasing Life on] Freeform!
So what do you think fans of Alias will love about Conviction? MD: Well, obviously there’s a strong female role model in the centerpiece. Sydney was flawed in different ways than Hayes is. Sydney set about saving the world in different ways, and Hayes is saving lives another way, but they are both giving people hope. If you like exciting, strong‑willed, powerful women, you will love this show.
I feel like the writers need to give Maxine a line about coffee ice cream. MD: We should do that for the fans. If I can find a way to fit it in there, I will—152 percent! There’s gotta be a moment. Like I’m just out with Sam (Shawn Ashmore), doing something and we’re looking at a cone, and I just say, “I don’t like coffee ice cream.”
This story was originally published in the Summer 2010 issue of Disney twenty-three. If you like what you read, become a D23 Gold Member to receive the Disney twenty-three quarterly publication for more fascinating stories about all the worlds of Disney.
Imagine living at Walt Disney World years before construction on the property even began. Here’s the story of the family who did just that, back when the Resort was but a twinkle in Walt’s eye.
The moon casts its spellbinding light into the bedroom window as the sounds of crickets and other swamp bugs resonate through the humid air. Stepping outside onto the back porch, you find yourself hidden in the shadows cast by hundreds of trees in an impenetrable wilderness.
This was no ordinary house, nor an ordinary place. In the years to come, this lonely swath of swampland would become the Walt Disney World Resort. But years before the turrets of Cinderella Castle soared into the infinite blue of the Orlando sky, Philip N. Smith and his family called this place home.
Phil Smith, the first Cast Member of the Walt Disney World Resort, lived with his family on this rustic, undeveloped Disney property from 1966 to 1968.
One of the least known and most intriguing chapters of the Walt Disney World story began in 1963, when Smith received a phone call from Hal Butts, a former law school colleague. Butts worked for the Miami-based law firm of Helliwell, Melrose, and DeWolf, and asked Smith if he’d be interested in a new opening at the firm. “I interviewed, and Tom DeWolf offered me a position,” Smith explained. “Instead, I chose to take a position in the General Counsel’s Office of the Panama Canal Company.”
Although he turned down the offer, Smith had impressed DeWolf enough that the law firm flew the University of Miami graduate back from Panama in the fall of 1965 to interview him for a house counsel position. By this time, the firm had bewildered the Sunshine State with its acquisition of thousands of acres of Central Florida swampland for a mystery project. “But they couldn’t tell me who was purchasing the land because they hadn’t made the announcement yet,” Smith remembered.
He returned to Panama with his interest piqued. Attempting to discover who was behind the project, he scoured lawyer directories from northeastern states (not thinking to check California’s.) Then, on a memorable October day, Smith read the now-famous headline in a Florida newspaper, “We Say: ‘Mystery’ Industry Is Disney.” Smith excitedly accepted the Florida position and arrived in Miami on November 8, 1965.
One week later, Walt Disney, his brother Roy, and Governor Haydon Burns came to the newly energized town of Orlando to announce preliminary plans for their yet unnamed Florida project. How would you like to have been Phil Smith that evening, sitting across from Walt at a ceremonial dinner? “It was really a thrill,” Smith said. “Here I was, the new kid on the block, and I’m dining with Walt Disney.”
Roy Disney, Joe Potter, Bob Foster, Bill Hart, Joe Fowler, and Walt gather at the Smiths’ house in 1965. (Man to the right of Walt is unidentified).
Although Walt had carefully surveyed the central Florida acreage by low-flying plane, he wouldn’t explore his company’s five-million-dollar purchase by foot until that November visit. With the help of a specially graded road that allowed access to Bay Lake, Walt, Smith, and a band of executives spent hours traversing the vast virgin land that would become the foundation for the creative genius’ most daring visions.
The following February, Smith opened Disney’s downtown Orlando office, marked with the name “Compass East Corporation,” the original name for the Walt Disney World Company. Smith, the first Cast Member of the Resort, handled a spectrum of legal concerns vital to the land’s development.
But with hard work came a once-in-a-lifetime opportunity. Just north of Black Lake, on one of the purchased land parcels on the property’s eastern end, was a ranch-style house formerly owned by Carl Bronson, a member of a highly influential Florida family. Walt and his staff stopped to rest on the structure’s front porch during their November visit, but little did Smith expect Bob Foster, the chief architect of Disney’s land acquisition, to invite the young lawyer to live there as its resident counsel.
Walt rests on Phil’s future front porch while exploring the new Disney property in 1965.
“He thought it would be a good idea to have somebody located on the property,” Smith recounted. And so in June 1966, the Smiths packed up and moved to the isolated acres that would soon be home to Walt Disney World, which at the time was more like Thoreau’s Walden than any sort of resort destination. “But it was nice for the kids,” Smith continued, “because they certainly had plenty of room to play.”
The Move to Nowhere
How did it feel to move out to the middle of nowhere? “Lonely,” Phil’s wife, Gwen, once said. “Lucky,” Smith countered.
Bay Lake, pictured above in the late 1960s, is still lined with many of the original old-growth cypress trees that are a hallmark of the natural Florida land. Today, we traverse the lake by boat and ferry to experience Magic Kingdom Park and its surrounding resorts, but for the Smiths, Bay Lake was a place for family dinners and private excursions to Riles Island.
The Smiths’ new home was situated near the eventual site of the Lake Buena Vista Club and what is now Disney’s Saratoga Springs Resort & Spa. Aside from a handful of nearby houses outside the Disney property, the family lived in virtual isolation. “It felt a little strange out there. So absolutely quiet at night. And just as dark as sin,” Smith once described. Shopping and errands would have to be done miles away, in cities like Winter Garden.
The site might also have proved inconvenient for those attending the Smiths’ backyard wedding reception. But it also made for some laughs. “Since it was so far out in the middle of nowhere,” Smith said with a smile, “we posted a sign leading up to the house that read, ‘Would you believe?’ and it pointed in the direction of our home!” Two unlit dirt roads, connecting to the main county road, were the only access points to the sole habitable structure on the 43-square-mile landscape.
In a once-in-a-lifetime opportunity, the Smiths moved into a house situated on the vast Disney acreage, nestled just west of Black Lake. The homestead also included a plane hangar and airstrip, which were once used by former homeowner Carl Bronson to give flying lessons.
Despite its remoteness, the Smiths’ rent-free residence—which included three bedrooms, living and family rooms, a terrazzo-floored kitchen, laundry room, garage, and gorgeous lake view—treated the family well.
At least most of the time. While Smith worked in the Orlando office some 15 miles away, Gwen faced unsettling incidents back home, where she took care of Chris, age 3, and Jeanie, 4. Take, for instance, the old airplane hangar and accompanying airstrip next door: You might imagine how shocked she was when she found the Highway Patrol landing its plane in her backyard.
The Smiths also welcomed a few new family members onto their land. Using a nearby shed as a stall, the family adopted a horse and two Mexican burros from Frank Hubbard, who managed the prominent Hubbard Construction Company. “We used to ride the horse, and every once in a while, one of the burros would get out of the fenced area. We had a heck of a time trying to get it back!” Smith laughed.
Keepers of the Kingdom
Endless expanses of trees. Knee-deep swamps. Fields of orange groves. Stretches of pastureland. These words only begin to describe the 27,443 acres of rustic land that the Smiths called their backyard. “We used to go to different parts of the property just to see it,” Smith remembered. “And down into the south end, there were some beautiful hummocks with hardwood trees.”
Riles Island, seen here in 1967, was situated in the middle of Bay Lake and frequented by the Smiths. It would open to Walt Disney World Resort guests as Treasure Island (later Discovery Island).
After Disney’s purchase of Riles Island, which was formerly owned by a group of local campers, the Smiths made weekend rowboat trips to picnic in the natural wonderland. If this island sounds familiar, you’ve probably guessed its eventual incarnation: Discovery Island.
Knowing the ins and outs of the landscape better than anyone else, Smith hosted key executives on a property twice the size of Manhattan, throwing back-porch parties and leading wild Jeep rides across the rugged terrain. On one particular Thanksgiving, Donn Tatum, a member of the board of directors and soon-to-be president of Walt Disney Productions, joined the Smiths for a holiday dinner on a float boat on Bay Lake.
But a particularly harrowing experience took place when Smith chauffeured Walt, his wife, Lillian, and a potential CalArts beneficiary from the airport: “At one point, we suddenly hit a low place in the road and all of us bounced off the ceiling of the car,” Smith explained. “It was terrible! There wasn’t much said the rest of the way but later, Joe Potter [who oversaw construction of the property’s infrastructure as vice president of Florida Planning] came up to me and said, ‘I don’t know, but you may be in trouble.’ It was probably one of the worst nights I’ve ever spent.”
The next day, everyone who had heard of the incident kept their distance from Smith. “But when Walt came into the office, he patted me on the shoulder and said, ‘Hey, don’t worry about last night. These other people get more excited about things like that than I do.’” Smith was more than relieved when it came time for Walt to return to the airport: “When we were deciding who would ride with whom, Walt volunteered to ride with me—but the ladies didn’t!”
As part of his visit to the Florida site in November 1965, a 63-year-old Walt Disney (center) explores the newly acquired land with brother Roy (left) and Vice President of Marketing and future President of Walt Disney Productions Card Walker (right).
In later years, Smith worked next to Roy O. Disney’s Florida office in the original Walt Disney World administration building. “Roy was just the nicest, most down-to-earth, fatherly kind of person,” Smith gushed, remembering the time he hosted the Disney leader and his wife, Edna, for dinner. “At one point he gave me a Klaxon for my MG Midget, which he really enjoyed taking rides in.”
Back to the Real World
In November 1968, after two years of calling the Disney property home, the Smiths gave up the best backyard they could ask for and moved to the nearby town of Windermere. Smith continued to head the legal department until 1985, then became Senior Vice President of Administration and Support. The very first Walt Disney World Cast Member retired in December 1992, and made the occasional trip to the old homestead. “It has grown so much,” Smith reflected. “When I go out there anymore, I don’t know where I am half the time… there are so many roads!”
The Smiths’ house, relocated elsewhere at Walt Disney World, has been converted into an environmental lab. The Smiths kept an old chimney brick from the house after it was remodeled.
Smith passed away in February 2016 at age 83, after years of cherishing memories of the early days. “I don’t think anyone else—or few people—have gone through what I have, seeing this thing from nothing to what it is now. What an experience!”
To celebrate 45 enchanted years of the Magic Kingdom, D23 gives you the grand tour of five attractions that are unique to the theme park. Disney Parks all over the world are full of wonders in the worlds of yesterday, fantasy, and tomorrow, but this quintet can only be found at The Most Magical Place on Earth.
Tomorrowland Transit Authority PeopleMover
Walking into Tomorrowland, guests are greeted with a world of motion, as Astro Orbiter spins around through the planets and Walt Disney’s Carousel of Progress’ iconic theater rotates through another show. Driving in the sky around these attractions is the transportation system of the future, the Tomorrowland Transit Authority PeopleMover, giving guests a chance to relax and enjoy the sights and sounds of Tomorrowland. If you like to take it slow but still want to check out the intergalactic thrills of Space Mountain, you’re in luck—the PeopleMover lets you sneak a peek at the inside of the famous coaster. You also travel through Buzz Lightyear Space Ranger Spin, getting a bird’s-eye view of the inside of the attraction.
The PeopleMover isn’t just unique to the Magic Kingdom, it also provides you with a glimpse of Disney history—the original model of Walt Disney’s Progress City, the idealistic dream of a city designed to be “the blueprint of the future.”
The Barnstormer Featuring the Great Goofini
If you’re looking to soar to ridiculous heights, look no further than The Barnstormer Featuring the Great Goofini, a roller coaster that is fun for the whole family. Located in the exciting fairgrounds of the Storybook Circus, this skyleidoscope will make you the star of the show. Join a familiar, silly daredevil as he takes you through his aerial stunt spectacular—but watch out for large signs and circus tents!
This aerial stunt spectacular had humble origins as an abandoned farm before Goofy moved in, but now you can fly with the strange skymaster and his stunt spectacular any time. And keep your eyes peeled in the queue for advertisements for Goofy’s other acts—maybe he’ll let you help him with his Bear Wrasslin’ show next time.
The Hall of Presidents
If you ever want a break from the heat while celebrating the history of our country, step inside the The Hall of Presidents. Walt Disney originally proposed the idea for The Hall of Presidents as an attraction for Disneyland, but at the time the technology was not available to support the creation of lifelike figures of every president. Years later, after the development of Audio-Animatronics® technology and as Imagineers were planning Walt Disney World, they decided to use Walt’s original attraction concept for the Liberty Square section of the park. The Hall of Presidents features 43 Audio-Animatronics® figures of every United States President and has been updated with a new figure each time a new president is elected.
Monsters, Inc. Laugh Floor
Did you know that there’s a portal to Monstropolis in the Magic Kingdom? Located in Tomorrowland, you can walk through a special door to enter the monster world’s very own comedy club, Monsters, Inc. Laugh Floor. Utilizing digital puppetry technology, monsters crack jokes and interact with the audience, even telling jokes that guests text to a special number before the show.
You’ll be howling with laughter as the monster comedians perform, including the talents of Mike Wazowski’s nephew, Marty Wazowski. Monstropolis needs your help generating laughter to power their city, but don’t worry—they’ll have you laughing so fast it’d almost be scary, if it wasn’t already so silly!
Walt Disney’s Carousel of Progress
No attraction captures the optimistic spirit of Walt Disney more than the Carousel of Progress. The attraction was originally created for the 1964–65 World’s Fair. Disney Legend Admiral Joe Fowler once said “there was more of Walt in the Carousel of Progress show than there was in anything else we’ve done.” Every aspect of the show creates hope and excitement in the hearts of guests: the clever, rotating show building, the story of the evolution of electricity in America, and that classic, Sherman Brothers’-penned tune that summarizes the heart of it all, proclaiming that, “There’s a great big beautiful tomorrow shining at the end of every day.”
While the attraction premiered at the World’s Fair, it made its home at Disneyland for six years, until it was moved to the Magic Kingdom, where it still entertains and inspires today, spinning on and on to keep the message of Walt’s optimism alive even in the world of tomorrow.
Celebrating its 15th spooky season, Haunted Mansion Holiday has returned to Disneyland for Halloween Time—you can celebrate all things ghoul from now through October 31—and the holiday season (beginning November 10). While we always eagerly await the arrival of the Pumpkin King, we’re particularly excited to see the new Disney details that have been added to the attraction (or that we might have missed last year—gasp!). We’ve scoped the mansion for some things new, some things old—and a very special someone blue that you have to see in this holiday haunt.
Monkey Business
Fans of Haunted Mansion Holiday might remember a few toys monkeying around in the mansion during past holiday seasons. Now, you can find a nod to the many monkeys in the pet cemetery in front of the haunted home.
A New Happy Haunt from Halloween Town “My dearest friend, if you don’t mind… I’d like to join you by your side.” Jack has been wrecking the halls of the Haunted Mansion for 15 years alongside classic characters from Tim Burton’s The Nightmare Before Christmas, but this is the first year that guests can see Sally in her full Frankenstein-esque form. Plus, you can still find Sally as you leave your Doombuggies and return to the mortal realm.
Signs of Sally
Before you see Sally in the ghostly graveyard, keep an eye out for nods to the Nightmare character throughout the mansion. Sally’s Worms Wort and Deadly Night Shade are hidden in the attic, and her love potion rests on top of Jack Skellington’s present in the graveyard. The tablecloth in the ballroom seems to be cut from the same cloth as Sally’s dress, and most notably, atop the tablecloth…
A Sticky (but Sweet!) Stitch-uation
You’ll find this year’s haunted gingerbread house. This Haunted Mansion Holiday tradition is celebrating its 15th year this Halloween Time and commemorates Sally’s arrival. “The whole structure has been cobbled and stitched together from other different gingerbread houses and treats,” Tim Wollweber, associate art director for Disney Parks told our friends at the Disney Parks Blog. “But it appears that sometime during the house’s construction, a gingerbread ghoul was entombed! Apparently he’s eager to sew himself up inside—much like another mansion graveyard ghoul you’ve probably seen.”
A Notable Naughty-or-Nice List
This isn’t your ordinary naughty-or-nice list, Sandy Claws! Among other items in the attic, the naughty-and-nice list features the names of members of the original creative team, or the names of the team members’ friends and family. There are also gifts in the attic addressed to team members, and sometimes a new tag is added for a team member who made a particularly spook-tacular contribution.
Many have likened this mystery to a James Bond thriller. Or, as Disney Legend Joe Potter put it, “a real Perry Mason.” While the “secret agent” of the mid-1960s land acquisition of parcels that would one day comprise the Walt Disney World Resort may not be the star of a popular film or television series, Walt spearheaded a project so vast that many have wondered what really happened behind the closed doors of the planning rooms and through the Orlando forests nearly a half-century ago.
“Well, that’s the place—Florida.” —Walt Disney
It’s a story of pseudonyms, countless trips to landowners across the U.S., and even—would you believe—“the best darn mule in all Tennessee.” The story of the great land acquisition could only be told properly with the help of our hero, Robert Price Foster, who joins us to look back fondly on this mystifying era. To the Walt Disney World enthusiast, it’s an exciting tale that reveals incredible history behind each parcel of property that today hosts world-class attractions and resorts. Bob’s stories illuminate the simplest and most personal decisions by Walter Elias Disney that would profoundly influence the “whole new Disney World” that would eventually open without him.
Bob Foster, who headed up the land acquisition process.
From a media standpoint, the story is generally known by Central Floridians who were immersed in the great buzz that erupted over the identity of the “mystery industry” that, with its seemingly endless acquisitions of large tracts of land, continually bewildered the state. But it was Bob and his few associates who worked tirelessly on this top-secret “Project X” to secure enough acres of property to fulfill their leader’s dream of a “Disneyland East,” whatever it would one day constitute.
“Buy a lot of land…”
Silence overtook the passengers of the Grumman Gulfstream I as they left New Orleans for Burbank, California. The crew had just completed a bird’s-eye tour of such east coast sites as St. Louis, Niagara Falls, and locations in Florida. When he’d worked for the Stanford Research Institute, Harrison “Buzz” Price had helped Walt and Roy handpick ideal locations for Disneyland in 1953. Walt encouraged Buzz to form his own firm, and in 1958, Buzz founded Economic Research Associates; three years later, he determined that Central Florida was the optimal location for an “East Coast Disneyland.” So in November 1963, Walt, his daughter Sharon, son-in-law Bob Brown, and an entourage of executives used the company plane to tour that area. The team had landed in Tampa and driven through the center of the state toward Ocala, exploring the area’s groves, scrub forests, and grazing lands.
As seen in the last 1960s, the Florida property secretly purchased by Walt Disney Productions was a broad vista of scrub pine forests, black-water swamps, and cypress groves that would one day become home to the Walt Disney World Resort.
Despite his attempt to preserve the secrecy of the mission, Walt was recognized by locals. “He responded by vigorously denying ever knowing anyone by the name of Disney,” Bob Foster tells D23 with a smile. “The real highlight of the trip, however, was the low altitude flight along the Florida coastline.” Satisfied with their tour, the team stopped to refuel in New Orleans. There the company leader learned that President John F. Kennedy had been shot.
Walt broke the silence on the plane before it landed back in Burbank. “Well, that’s the place—Florida.”
“What does a fellow do—how does he react and what does he say—when called into his boss’s office and asked if he will go into the hinterlands and, in a quiet manner, surreptitiously buy a piece of real estate?” Bob reflects, recalling a meeting held later in November 1963 with Roy O. Disney and a group of Walt Disney Productions vice presidents. “A big piece of real estate, somewhere between 5,000 and 10,000 acres.” The young attorney, who served as Assistant Secretary and Counsel for Disneyland (and for Walt and Roy), was now appointed to initiate the latest in a series of radical dreams by his company’s namesake. Put simply, the mandate was “to buy a lot of land” in Central Florida.
Thus began a project so secretive, even within the company, that it would be referred to as “Project X” by the “select seven” official insiders who knew of it at the time: Disney leaders Card Walker, Donn Tatum, Jack Sayers, Larry Tyron, Mel Melton, Joe Fowler, and Bob Foster.
By April 1964, Bob was ready to move forward with the acquisition process. Having spent the prior months poring through published land ownership information, directories, and road maps, he’d gathered enough intelligence regarding sites offering adequate size, access to major roadways, and attractive indigenous vegetation. The Company’s boardroom was covered wall to wall, ceiling to floor, with a geodetic survey map of the entire Central Florida region. “I had estimated I could accomplish the land acquisition in six months,” he continues. Eighteen months later, Bob was still commuting regularly to the Sunshine State.
Hello, Central Florida
Walt and Bob smiled at each other and exchanged winks on a cold, windy morning in New York. In just a few days, the 1964–65 World’s Fair would host some of WED Enterprises’ most innovative experiences to date. But it was on this day that Bob traveled south to Miami to meet with the law firm of Helliwell, Melrose, and DeWolf to begin an operation that would catalyze “the most exciting and challenging project ever tackled by Walt Disney Productions.”
“I explained to Paul Helliwell that I represented a large corporate client, public, on the New York Stock Exchange, who was interested in acquiring a large parcel of land,” Bob shares. The firm recommended consultant Roy Hawkins, a World War I veteran who was well experienced in Florida real estate. It was in his first exchange with Hawkins that Robert Price Foster shed his last name and became thereafter known as “Bob Price” so as not to be traced to Walt Disney Productions. The use of a pseudonym wasn’t only reserved to Bob; Roy O. Disney would later register in Miami’s Dupont Plaza Hotel as “Roy Davis.” It matched the initials on his luggage.
A piece of Disney’s primitive Florida acreage, circa August 1966.
With his allies at work in South Florida, Bob began his trip up the state, scouting several proposed locations. Not wanting to draw unnecessary attention to himself, Bob had been coached on phonetics. For instance, he could pronounce “Toe-hope-a-ka-loga” (as in, the Florida lake). “But my fragile facade was broken when a service station attendant volunteered, ‘You ain’t a native. Where you from?’” Bob had goofed. He had asked how far it was to “Kiss-a-me” (Kissimmee), as opposed to “Ka-sim-ee.” “My first lesson on the rules of behavior: Listen, don’t talk.”
After passing several remote locations—most of which were flat and uninteresting—Bob arrived just south of Orlando, in an area that included an attractive tract of land owned by a pair of cousins and an associate. “The sandy soil tested the limits of a four-wheel drive jeep as we scouted the property north to south, east to west, Bay Lake to Reedy Creek, high land to low land,” Bob remembers. Today, these 12,400 acres are home to the Magic Kingdom, Epcot, and Disney’s Hollywood Studios resort areas.
Every Parcel Tells a Story
“But based on the ownership and title information we had reviewed, this property would be an absolute nightmare to acquire,” Bob recalls. Many parcels of land within this acreage, known as outages, were owned by a variety of other individuals. They had been subdivided into five-acre lots in 1912 and 1913 and sold by a gentleman named Mr. Munger through a mail order operation. “This subdivision was apparently performed by a draftsman who had likely never seen the property.”
As you can imagine, Bob really wanted to avoid the property. In a May 1964 presentation to Walt, Roy, and the committee, Bob presented the various tracts, strongly suggesting they consider an area located near Daytona Beach. “Then came the unequivocal sign of Walt’s disapproval—no words, no gestures, just an arched eyebrow,” Bob remembers. “Walt’s only comment was, ‘Bob, what the hell are you doing way up there?’”
Bob had moved too far north, out of the “temperate zone.”
“My Florida associates and I had given our best efforts to avoid the situation that had now developed!” he says, laughing. But after nearly 12 hours with the land owners, Bob and company agreed on the purchase for the 12,400 acres.
The land purchased by Walt Disney Productions in 1964 and 1965 (shaded in dark green) was located at the crossing point of Florida’s major highways.
Every Parcel Tells a Story
It took only 12 words to double Bob’s task. In a status review meeting, Walt approached the map and pointed to a 2,500-acre tract of land near the I-4 and 535 interchange. It was the heart of the dreaded Munger subdivision and an area that Bob by no means intended to recommend. “Walt said, ‘This is where we can do some development of a conventional nature.’
“That comment extended for a full year a land acquisition program that, until that moment, was nearing completion!” Bob says of the property that would later encompass the Lake Buena Vista community (which Bob named after the street address of The Walt Disney Studios). Running a boiler room operation with the Florida Ranchlands real estate firm for more than half a year, Bob and his Miami colleagues were able to purchase between 60 and 65 more parcels of land and forge relationships with 30 to 40 additional owners that would prove beneficial in months ahead.
Real estate consultant Roy Hawkins, Bob Foster, and Walt Disney Productions General Counsel Dick Morrow, pictured just before a 1966 meeting with a legislative delegation in Orlando.
“All of the options we had taken on larger tracts were in Helliwell’s name,” Bob explains. “And so to relieve him as the prolific generator of rumors that he had become, we created a family of corporations as repositories of titles to our purchases.” These corporations included Reedy Creek Ranch Lands, Bay Lake Properties, Inc., Ayefour Corporation, Latin American Development and Management Corporation, and Tomahawk Properties, Inc.
To acquire all of this new land, Bob toured the country to negotiate with owners in California, Texas, Rhode Island and Pennsylvania, among other states. Many owners had never seen their plot of land in Florida before; many had never even been to the state. “The stories of how they came to own the property were fascinating, sometimes unbelievable, but always rewarding, making each trip worthwhile,” Bob says with a grin.
“The most memorable visit with a property owner was in the Appalachian Mountains of Tennessee,” Bob reveals. This particular owner of a Munger lot greeted the counsel at his house at 7:00 in the morning. “By 9:00, I had sampled my host’s wild cherry wine with a generous portion of upside-down cake, had been treated to a session of self-taught banjo, and shared his pride in his ownership of a white mule that was ‘the best damned mule in all of Tennessee.’ But when I left I still had not bought—and never did buy—that sorry piece of real estate that he had acquired from an uncle in trade for a cultivator and another mule. I must admit total failure, but if I only had a mule…”
Surveyor Bill Hart, Donn Tatum, Joe Potter, Walt Disney, Roy Disney, State Senator Irlo Bronson (hat picture only), and Bob Foster inspect the Florida property in November 1965.
One of the last major pieces of land to be assured was 7,600 acres of enormous virgin cypress, oak, maple, and bay trees in Osceola County that was owned by State Senator Irlo Bronson for his cattle-ranching operation. “The Senator’s ways of doing business were difficult to explain in Burbank,” Bob says. “He dealt on handshakes.” After several visits to the senator and his temperamental dog, Homer, the land was finally acquired.
The Whodunit Begins
By May 1965, the sleepy communities of Central Florida were well aware of the dozens of tracts of land changing hands near the Orange–Osceola county border. Local papers buzzed with headlines: “$1.5 million paid in big land deal.” “Two more large tracts sold: New facility to provide 5,000 jobs.” And “We know we’ll get it, but we don’t know what.” Serious rumors encompassed the state as more and more acreage was purchased, yielding the nametag “mystery industry” to one of the best-kept secrets in business history. Speculators argued the industry’s identity for over a year, with names from Lockheed to Ford Motor to Howard Hughes tossed around. Walt Disney was mentioned several times.
Joe Fowler and Walt traverse part of their newly acquired property on Walt’s first on-site inspection, in November 1965.
“Reporter Charlie Wadsworth’s ‘Hush Puppies’ column kept us in the news,” Bob remembers. “Although I made a concerted effort to stay out of Orlando, Charlie would no doubt consider himself a failure if he knew how many times I was shoved into the coat closet and out the side door of Florida Ranchlands’ office as he entered from the front, or I was hustled across the street to avoid an encounter with his prodding inquiries.”
Bob would often take advantage of a Friday return trip to California by first stopping to visit his mother, who resided in Kansas City. The trip required a stop in St. Louis. “At least on a couple of occasions, I did not conceal the fact that I was flying to that city,” Bob grins. “It was not surprising when McDonnell Aircraft, headquartered in St. Louis, was soon identified (on reliable authority) as being the mystery industry.”
The master of subtle suggestion, however, was Roy Hawkins. While on a trip with his wife to Seattle, Roy picked up a series of postcards that featured the prominent industry, Boeing Aircraft. “So Roy would just send a few postcards to let the folks know they were remembered,” Bob says. “The rumor mill proved to be as prompt as the postal service in publishing on good authority that the mystery industry was Boeing!”
Ms. Bavar’s Revelation
On October 24, 1965, Bob Foster and Bob Jackson (of WED Enterprises, the forerunner of Walt Disney Imagineering) stepped off the elevator at 8:00 in the morning to meet General Joe Potter in the lobby of an Orlando hotel. Now that the majority of purchases had been completed, the three men were in town to select a site for the November 15 announcement that Disney was the mystery industry. Joe turned to face the pair, holding before him that day’s issue of The Orlando Sentinel. It featured the banner headline, “We Say: Mystery Industry is Disney.”
The headline of the Sunday, October 24, 1965, edition of the Orlando Sentinel suggests that Disney is behind the acquisition of nearly 30,000 acres of Central Florida land.
The shrewd Emily Bavar, a writer for the Sentinel, had met with Walt earlier that fall at the Studio when editors of major newspapers were invited for a visit. As Bob remembers, “Ms. Bavar had asked Walt if it was Disney that was buying all that land. As Walt related the incident to us, he gave an evasive answer and passed it off. Bavar read the reply as not being a denial, and opted to consider it an admission.”
Bavar wrote, “In talking to Disney, it became immediately apparent he had watched the eastern United States with interest and speculation.” Supposedly, Walt demonstrated how familiar he was with tourist figures and offered climate and population reasons as to why Florida would be unsuitable as a site for an amusement enterprise. That’s an awful lot of knowledge for a man who was not interested in purchasing land in Central Florida. “There is only one Disneyland,” and Walt reportedly added, “…as such.”
Walt meets with reporter Emily Bavar, who would predict that Disney is the mystery industry.
With the blessing of Walt Disney Productions, Florida Governor Haydon Burns announced the following day that this was indeed Disney’s land. In the days leading up to the November press conference, sheer excitement filled the Florida air as officials heralded the announcement as “the most important in Florida’s history.” Perhaps Burns summed it up best when he explained, “It left [the business community] breathless and transported them into a dreamland from whence they could see nothing but unparalleled economic returns.” At last, the great mystery was solved. The acquisition process took roughly 18 months, and in the end, more than 27,440 acres of land were purchased at an average price of $180 dollars per acre. While much work was still ahead for Bob and his coworkers—namely, to establish the Reedy Creek Improvement District—phase one of the Walt Disney World development process was finally complete.
And the Rest is History…
The next time you enjoy the beautiful acreage, host to the world’s most popular resort destination, perhaps you’ll have a greater appreciation of the tremendous efforts it took to select and acquire these tracts of land.
The Main Street, U.S.A. window representing the Pseudonym Real Estate Development Company with its phantom leaders, Roy Davis, Bob Price, and Bob Foster.
And perhaps on your next stroll down Center Street in Main Street, U.S.A., you’ll hear the distant echoes of the past resounding off the pane of a special window: the Pseudonym Real Estate Development Company with its phantom leaders, Roy Davis and Bob Price, and our very own James Bond: a “traveling representative” named Bob Foster.
This story is excerpted from the Fall 2011 issue of Disney twenty-three. If you like what you’ve just read, become a D23 Gold Member to receive the Disney twenty-three quarterly publication for more fascinating stories about all the worlds of Disney.