Disney Hollywood Studios Quotes

The Indiana Jones films have a built in Disney connection, as director Steven Spielberg sent his sound designers down to Disneyland to record Big Thunder Mountain Railroad to provide a soundtrack for the second film's mine chase scene!

I don't think that the despiritualised, dehumanised culture in which we live, the McDonalds and Disney culture, does our internal lives, our mythological lives, any favours at all. In other words, to be an Outsider in this culture now is to be looking inside at a plastic world, and I think it's easier to critique that world if I don't belong to it... In Hollywood where I live now, there's a lot of having lunches, a lot of going to parties... and I will have no part of that. I'm certainly not very good at it, I don't like it and I feel a little weird about it. I don't want to be part of the problem, I want to be a part of the solution, and the only way I can help solve the problem of the plasticity of our world is by writing, by painting and by making my work, so I stay where I can do that, which is at my desk, in my studio. I will venture out when I need to sell a book or exhibit my paintings, but the rest of the time my job is to be here and imagine.

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if you need some time away from the crowds, take a short stroll and enjoy the solitude along the walkway between Tomorrowland (to the left of Space Mountain's gift shop) and Mickey's Toontown Fair (to the right of the train station). Most guests never find this pathway, so it remains quiet all day.

Children should be a fairly mature 7 years old to appreciate the Magic Kingdom and the Animal Kingdom, and a year or two older to get much out of Epcot or Disney’s Hollywood Studios.

Imagine That! As Manager of Entertainment Staffing, Gene Columbus knew how to create the kind of special events Disney does so well. But there was one event that stands out for him: “There are so many special events and productions to be proud of, but the one that sticks out in my mind was the twenty-fifth anniversary of Special Olympics. We kept adjusting the scope of the event so Disney could provide more experiences to the families attending the event, and as the producer I had to keep adjusting and working with my operational partners to find ways to reduce costs. Everyone worked hard to make it happen and I am sure many of those people share how proud they are for pulling this event off in such a grand scale with a small budget. As part of the program there was a drawing to select the Special Olympian to carry the torch to light the cauldron on stage, and this was done only hours before the big celebration. When the young man arrived at America Gardens stage in Epcot he was in a wheelchair, and as I briefed him he was very clear that he would not use his chair but would walk to the stage carrying the torch. I was so taken with this young man and his determination, and when that moment came he proudly stood up and began walking toward the stage. The audience jumped to their feet and you could see the joint emotion of the young man and this large audience. About halfway, it became apparent that he was having difficulties and was not going to make it, but his father came out of nowhere and grabbed his son before he fell and helped him to the stage. He did not take the torch as his son continued on his quest to light the cauldron. The moment the flame burned brightly the young man turned to the audience, with his father stepping backward to ensure the glory was for his son, and the brilliance of this young man’s smile and pride shined as brightly as the flame. I admit that tears were rolling down my cheek and each time I see the America Garden stage I have a flash of that very magical moment.

All of the natural elements that went into creating the murals at the pavilion's entrance were made from materials found on Walt Disney World property.

There is a boat ride at Epcot across the World Showcase Lagoon and some could argue this is an attraction. However, there is a boat ride from the International Gateway at Epcot that goes all the way to Disney’s Hollywood Studios. The ride consists of stops at Epcot, Disney’s Boardwalk, Yacht and Beach Club, Swan and Dolphin Hotel, and Disney’s Hollywood Studios. It’s a lovely cruise that connects the two theme parks. Most folks who are not staying in the resorts have no idea this 30-minute ride even exists. It is a fun way to see the different parts of the resort and it gives everyone an idea of how close Epcot and Disney’s Hollywood Studios really is (if you don’t have to drive.) For those adventurous types, there is a walkway too and along the way you could check out the interesting architecture of the buildings.

The Sixth Sense was ultimately nominated for six Academy Awards. Completed at a cost of $35 million, it earned just under $300 million in the United States alone, the most successful live-action film in Disney’s history. David Vogel, Disney’s President of Production (recently dismissed by Michael Eisner after purchasing The Sixth Sense without permission) had been right when he told Eisner that he’d left Disney with one of its biggest pictures. Vogel hadn’t found another job and had pretty much stopped looking. He had decided he no longer wanted to rely on the Machiavellian instincts he found necessary to continue as a movie executive. A few studio people called to congratulate him on the film’s enormous success, but he heard nothing from any of the top Disney executives, including Eisner, Roth, and Schneider. Of course, Vogel was one of the few people who knew that Disney had sold off both the foreign and domestic profits to Spyglass, and would earn only a 12.5 percent distribution fee. He wondered what Eisner thought now.

In Hollywood, there lived a young artist by the name of Tony D’Orazi who dreamed of hosting his own radio show someday despite having a great job as an artist for an upstart animation studio called Walt Disney Productions

once. We’re not entirely sure why this happens, but several selections for previous

Stroll around Liberty Square taking note of the doors, which all have a two-digit number on them. They are designed to look like a street address, but if you put “18” in front of the number, you have the year that style of house would have been popular. The date over the entry door to the Hall of Presidents is the year the United States Constitution was ratified.

Disney Imagineers thoughtfully placed a bridge at the foot of the mountain so guests could watch the logs as they plunge into the briar patch, but beware, hidden dangers lay in wait! Every third log creates a splash, insuring riders get soaked and so do those watching from the bridge.

when you reach the greenhouse area, watch for the tomato tree. It's a Guinness Book of World Records holder. The plant yielded a record-breaking 32,000 tomatoes in one year, a whopping 1,151.84 pounds!

Typical Meal Times – If you don’t have a restaurant reservation, the times to avoid would be: Lunch: Dine before 11.30am and after 2.30pm Dinner:

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Women were never absent from film history; they often simply weren’t documented as part of it because they did “

Many in Hollywood view Disney as a soulless, creativity-killing machine that treats motion pictures like toothpaste and leaves no room for the next great talent, the next great idea, or the belief that films have any meaning beyond their contribution to the bottom line. By contrast, investors and MBAs are thrilled that Disney has figured out how to make more money, more consistently, from the film business than anyone ever has before. But actually, Disney isn’t in the movie business, at least as we previously understood it. It’s in the Disney brands business. Movies are meant to serve those brands. Not the other way around. Even some Disney executives admit in private that they feel more creatively limited in their jobs than they imagined possible when starting careers in Hollywood. But, as evidenced by box-office returns, Disney is undeniably giving people what they want. It’s also following the example of one of the men its CEO, Bob Iger, admired most in the world: Apple’s cofounder, Steve Jobs. Apple makes very few products, focuses obsessively on quality and detail, and once it launches something that consumers love, milks it endlessly. People wondering why there’s a new Star Wars movie every year could easily ask the same question about the modestly updated iPhone that launches each and every fall. Disney approaches movies much like Apple approaches consumer products. Nobody blames Apple for not coming out with a groundbreaking new gadget every year, and nobody blames it for coming out with new versions of its smartphone and tablet until consumers get sick of them. Microsoft for years tried being the “everything for everybody” company, and that didn’t work out well. So if Disney has abandoned whole categories of films that used to be part of every studio’s slates and certain people bemoan the loss, well, that’s simply not its problem.

In Hollywood today, the simple truth is that there are two types of movie studios: Disney, and those that wish they were Disney. Understanding why studios have turned so aggressively toward franchises, sequels, and superheroes and away from originality, risks, and mid-budget dramas takes more than an appreciation for the financial pressures faced by executives like Michael Lynton and Amy Pascal. Just as Olympic swimmers can’t help but pace themselves against Michael Phelps, Sony and its competitors have for years been jealous of and frustrated by Disney. Hollywood is a herd industry. Its executives are constantly looking out the side window or at the rearview mirror and asking, “Why aren’t we doing that?” For those peering at Disney, that means slashing the number of movies made per year by two-thirds. It also means largely abandoning any type of film that costs less than $100 million, is based on an original idea, or appeals to any group smaller than all the moviegoers around the globe. Disney doesn’t make dramas for adults. It doesn’t make thrillers. It doesn’t make romantic comedies. It doesn’t make bawdy comedies. It doesn’t make horror movies. It doesn’t make star vehicles. It doesn’t adapt novels. It doesn’t buy original scripts. It doesn’t buy anything at film festivals. It doesn’t make anything political or controversial. It doesn’t make anything with an R-rating. It doesn’t give award-winning directors like Alfonso Cuarón or Christopher Nolan wide latitude to pursue their visions.

The rise of Marvel Studios over the past decade has been one of the most extraordinary stories in Hollywood history. Utilizing a crew of second-rate superheroes and run by a team of unproven executives, Marvel upended the industry’s conventional wisdom. Previously, almost everyone in Hollywood believed that the general public was interested only in marquee superheroes like Batman and Spider-Man, and nobody would see a movie about Ant-Man or the Guardians of the Galaxy; that the resources and experience of major studios gave them an unbeatable advantage over upstarts; that tightly managing budgets on would-be global “event” movies was penny-wise but pound-foolish; that tying together the plots of disparate films was too risky because if one failed, they all would; and that the only Hollywood brand name that meant anything to consumers was Disney.