THE ALICE ISSUE
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editor letter
c
ome along on AEI’s journey through Wonderland, and on our next adventure, The Alice Issue. AEI’s second edition will feature almost exclusively Alice In Wonderland content inspired from several different avenues of my life. Before creating AEI, I had already dabbled in photography featuring the infamous Alice and even entered a few contests featuring my art. As a freshman in high school, I chose to write my book report on Alice’s Adventures in Wonderland, random happenstance at the time, but I’m seeing a trend. Continuing contributor Irene Lee also had already set out on creating her own Alice (seen in the Curiouser spread). Why Alice has always been a part of my life remains a mystery but, through the help of Walt Disney, I have discovered that Alice is a curious role model, one who lacks caution but possesses qualities of success, including fearlessness. As I start out on my own journey, on January 13, 2014, I hope to embrace Alice’s greatest qualities as I began my position at Yellow Shoes for The Walt Disney Company. I have been so blessed to have only graduated a month ago; I finished my last class as an undergrad student, only to receive a job offer at Yellow Shoes. So, in honor of this next chapter in my life, I wanted to release The Alice Issue on the same day that I begin my adventures at Disney. You can look forward to my very own research paper that helped me better understand my undying passion and interest
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in all things Disney, particularly the wellknown and German-based fairy tales. You might not be aware that Walt Disney actually relied heavily on German ideals, that were mirrored by the Nazis. Don’t worry, I’m not trying to convince you that Disney and Hitler were friends. Read the article and you will understand! There are also two beautifully photographed shoots showcasing the artistic and fashionable version Mad Hatter and Alice. Disney’s explanation for his adaptation from Carroll’s book is also featured in this issue. If you haven’t had enough Alice yet, you can also read an excerpt from the original Alice’s Adventures in Wonderland. But not everything is directly Alice related, including, but not limited to, a travel spotlight on a cute and hipster pub and restaurant The Botanist Trinity. And my absolute favorite, the talented Hayden Williams is showcased on the style page of Vintage Mickey, as well as the Look Ahead, shhh...it’s going to be The Villain Issue. So, if you’re not interested in Alice, skim through, you might be surprised at the edge found in The Alice Issue. If not, you have the darkness and malice of The Villain Issue to look forward to. AEI magazine has no affiliation with The Walt Disney Company and is a personal project intended to showcase my professional skill sets in hopes of becoming a creative director or integral cast member at a Disney affiliated company.
EDITOR IN CHIEF
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WINTER
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38
WALT DISNEY INTERVIEW
EDITOR LETTER
08
MASTHEAD
10
CONTRIBUTORS
12
VINTAGE MICKEY
24
FAIRLY EVER AFTER
3--0
HEY MICKEY
3-4
ADVICE FROM A CATERPILLAR
42 HATTA 52
COMICS
54
ALICE SHOOT
62
LOOK AHEAD
EDITOR IN CHIEF HAILEY NOWAK
VM Travel THE BOTANIST TRINITY VM Food DISNEY FAMILY.COM//DISNEY INSIDER VM Style HAYDEN WILLIAMS VM Feature IRENE LEE//HAILEY NOWAK VM Attraction YESTERLAND Fairly Ever After HAILEY NOWAK Hey Mickey DISNEY WORLD FORUM Advice From a Caterpillar LEWIS CARROLL//IRENE LEE
HOW I CARTOONED ALICE
Illustration IRENE LEE Writer WALT DISNEY//NATIONAL BOARD OF REVIEW OF MOTION PICTURES
HATTA
Photography HAILEY NOWAK Styling HAILEY NOWAK Model HANNAH NOWAK Comic Strip COMIC ART FANS
ALICE
Photography IRENE LEE Model DANIELLE PRICE
LOOK AHEAD
Illustration HAYDEN WILLIAMS Photography HAILEY NOWAK Illustration IRENE LEE
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contributors irene lee
Irene is a graphic designer, artist, DIY enthusiast, wannabe hippie, and lover of sparkly things. She has never met a cupcake she didn’t like. Irene is about to complete a BA in Fine Art at the University of Southern California and hopes to continue making art with brilliant people. Irene played a key role in the creation of AEI by including her illustrations and photography as well as being featured in articles, including Disney Love Notes.
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hannah nowak
Hannah has a list of talents as long as her legs from modeling to surfing to running to fashion. this young passionate soul hopes to one day work as an Imagineer for Disney. Hannah is not only the sister of the creator of AEI but the youngest contributor, a sophomore at San Clemente High School. Not only did Hannah help produce the identity of the magazine but her influence is also seen throughout the pages particularly as a model in the Hatta shoot.
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TRAVEL
The Botanist is a place like no other; laid back, cool and unique the bar offers over 40 bottled beers and ciders from around the world, caskconditioned ales, a selection of the finest Champagnes and an intriguing cocktail menu. Food at The Botanist comes in the form of a rustic deli-style menu with rotisserie and barbecue. Add to this live music throughout the week and a good old sing a long on a Thursday - The Botanist is a concept unlike anything else! • To book your table online please visit www.thebotanist.uk.com 12 | ALL EARS IN
of London’s finest pub and restaurant The Botanist Trinity ALL EARS IN | 13
FOOD
Ingredients
Cupcakes:
1 1/4 cups all purpose flour 3/4 teaspoon cocoa powder 1/2 teaspoon baking soda 1/2 teaspoon salt 3/4 cups vegetable oil 1/2 cup buttermilk 1 large egg, at room temperature 1 tablespoon red food coloring 1/2 teaspoon pure vanilla extract 1/2 teaspoon white distilled vinegar 3/4 cups granulated sugar Cream Cheese Frosting: 1/2 cup unsalted butter, at room temperature 1/2 cup cream cheese, at room temperature 2 cups powdered sugar 1 teaspoon vanilla extract Fresh raspberries for garnish Special equipment: 1 24-cup mini muffin tin with white, paper mini cupcake liners. 14 | ALL EARS IN
mini red velvet cupcakes
Directions
1 2
Preheat the oven to 350 degrees F.
for 20 to 22 minutes until puffed
and a toothpick inserted into the center of the cupcake comes out clean. Cool for 10 minutes before removing
In a medium bowl, sift the dry
from the muffin tins and placing on
ingredients (flour, cocoa powder,
a cooling rack for an additional 20
baking soda and salt). Stir to combine and set aside.
3
6
Bake the cupcakes in the oven
minutes.
In a large bowl using a hand
7
mixer or a stand mixer with
the butter and cream cheese in the
In the meantime, for the frosting, in a large bowl, beat together
paddle attachment, beat the wet
bowl of a stand mixer with a paddle
ingredients (oil, buttermilk, egg, food
attachment or with a hand mixer.
coloring, vanilla extract, vinegar, and sugar) until combined and smooth.
4
With the mixer on low speed, slowly add the powdered sugar
With the mixer on low, slowly
until the frosting is smooth and
add the dry ingredients into
creamy.
the bowl of wet ingredients. Increase the speed to medium and beat until the batter is smooth and thoroughly combined.
5
8
9 10
Beat in the vanilla extract. Using a small offset spatula, scrape out about a
Fill each of the cupcake liners
tablespoon of frosting and decorate
about 2/3 of the way up.
each cupcake. Garnish with fresh raspberries and serve.
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STYLE We can all relate to a character from Lewis Carroll’s Alice in Wonderland. Hayden Williams, one brilliant fashion illustrator, portrays her interpretation of the characters in ravishing and stylish apparel. Do you relate to the inquisitive Alice, the hot-headed Red Queen, or the looney Mad Hatter?
FASHION ACCORDING TO ALICE THE CURIOUS ONE High stockings, a blue and white sundress, and a large-faced wristwatch are all you need to feed into your curious side. Innocence mixed with an interest in adventure is sexy, especially with a fresh blow-out mixed with high socks and blue stilettos.
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THE QUIRKY ONE Unleash your inner freak and don’t be afraid to act a little crazy. Pair bold patterns with frills. Vintage top hats never looked so good as they do on Williams’ creation of a Mad Hatter with style. Don’t forget the importance of bubblegum pink stilettos.
THE FIERY ONE Give in to your temptations and be fierce with cherry red dresses complete with lace and cut outs. Don’t be afraid to go all out and accessorize with ruby red pumps, jewels, and Ruby Woo Mac lipstick, available for $15.
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FEATURE
Love Notes was created a combination of design, illustration and a love of music music. A group of USC design students collaborated to create this handmade collection of 13 cards with music lyrics from well-known songs that inspired the artists. This particular set is designed specifically for Disney lovers since each stationary card features love lyrics from a Disney animated feature film. • Love Notes can be purchased online at Etsy.com under LoveNotesStationary
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Love Notes was created a combination of design, illustration and a love of music music. A group of USC design students collaborated to create this handmade collection of 13 cards with music lyrics from well-known songs that inspired the artists. This particular set is designed specifically for Disney lovers since each stationary card features love lyrics from a Disney animated feature film. Love Notes can be purchased online at Etsy.com under LoveNotesStationary
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ATTRACTION
e r ’ We . . . e r e h
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d a m l al
T
he Mad Tea Party was located where the King Arthur Carrousel sits today. The King Arthur Carrousel was originally squeezed into the tight space between the Mad Tea Party and Sleeping Beauty Castle. Mad Tea Party is essentially a dressed-up carnival ride, but fits well in Fantasyland. It’s a fun ride which allows guests to control how fast they spin and in what direction. It also serves an eye-pleasing kinetic sculpture for guests walking in Fantasyland. The ride was embellished over time. For example, notice the ornamental arches connecting that light posts in the 1972 photo. The big change came in May 1983. As part of the New Fantasyland, a new Mad Tea Party welcomed guests near the Alice in Wonderland ride—an apt location since both are based on the same movie. •
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Fairly Ever After 24 | ALL EARS IN
D
isney’s fairy tales have been engrained in our society for several decades and while Disney as a corporation has many successes, the root of the fascination is in the “happily ever after.” We are told that happiness can be found in one simple form: love. But, on further examination, happiness is achieved through marriage, a binding contract that has previously been a way to possess women as property. Children accept these fairy tales and their patriarchal values as a basis for reality and our social structures depend upon the motifs expressed within them. Since our society grows up around these motifs, we accept that true happiness can be found in one form, marriage, and is the cause of our unrealistic expectations and singlemindedness for our future. These motifs correspond with a childhood enchantment with Disney that sometimes never fades to disillusionment. Although The Disney Corporation would lead audiences to believe fairy tales are engrained in consumerism, fairy tales and their substantial impact on society is rooted in a psychological need for understanding and attachment. Sigmund Freud’s framework is engrained in pleasure seeking, more specifically rooted in sexuality, the unconscious, and linguistic structures, allaligning with fairy tale motifs. As reflected in Good and Bad Beyond Belief, the mother is viewed as “wholly depriving (even castrating)” in fairy tales. The mother-daughter relationship refers back to Freud’s Castration Theory, which is the moment where the son realizes that, unlike him, his mother lacks a penis. The child cannot handle this lack so, instead, fixates on the object seen before that realization that acts as veil to cover up that lack. Young girls, to Freud, can understand this lack only through their “castration” with their mother through “mother blaming,” identifying their mother as negative, separate, and lacking in emotional attachment. Freud says that this rejection of the woman who mothered them is normal and produces the good woman in storytelling. In this sense, the female protagonist must reject her identification with the mother as
the nemesis, either by fully removing her from the story or villain-izing her. As Roy Wilkinson presents in his analysis of Snow White and the Seven Dwarves, with one queen’s death comes another’s rise; they cannot both exist in the same space. To justify the archetypes of fairy tale characters, Good and Bad Beyond Belief proclaims that there can only be one positive female figure, removing the mother from the story completely. Once the motherly figure has been removed, there leaves room for a new emotional attachment, specifically a romantic relationship, a role, which is to be filled by Prince Charming. By creating this yearning for a romantic relationship, the patriarchal structures of a fairy tale, and society, are upheld. The fairy tale plot is emphasizing that the necessary ingredient for fulfillment rests in the relationship to the male figure. Before this relationship can be achieved, the female protagonists searches elsewhere to satisfy this lack, for instance, Snow White cannot resist the poisonous apple, “Desire in this sense is a kind of truth telling forbidden to women, because such assertiveness of the self challenges the feminine ideal that insists on a woman’s inhibition of her impulses.” This object usually leads to her demise or distress, only to be countered by the rescue of her one true love. The male, then, fills the emptiness left by the detachment from the mother. To both Freud and psychologist Jane Flax, “what women wish for in a husband is their mother.” In regards to this theory, fairy tales present the reverse Oedipus complex, rather than the man searching for his mother in a wife, the woman is searching for her mother in her husband. The archetype for the fairy tale female protagonist is embodied by Snow White and the Seven Dwarves’ very own Snow White. Janet Wasko describes the central female character as “innocent, naïve, passive, beautiful, domestic, and submissive.” Jack Zipes also acknowledges the standardized roles of women found in traditional fairytales by using such terms as “obedient,” “pious,” “humble,” and “domesticated” to describe the leading character of good. Both scholars highlight the importance of submission and obedience, qualities of women in a patriarchal dominant society. While Wasko is describing the typical female heroine, usually a princess, she is specifically describing the Disneyfied version of fairy tale, as Snow White set the standard and defined the future of Disney fairy tales. Besides obedience, female leads are also
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typically beautiful and sexualized. In contrast to the female protagonist, the female villain emphasizes their rivalry through beauty identifications. The female leads are prominently stunning and sensual while the villains are “typically ugly and either extremely thin (Cruella) or grossly fat (Ursula), thus perpetuating norms of physical beauty prevalent in mainstream American culture.” For Snow White, the Evil Queen is obsessed with becoming the “fairest of them all” and declaring herself as the most beautiful. However, the central identity of a good or an evil female character is in direct relation to male figures of power, “Yet witch and stepmothers lie, not to take over the seat of power but to move closer to the male figures, be they kings or simply fathers.” The root of evil is in their deceit and fraud rather than their intentions, since every female figure is in search of a male to complete them. Rather, whether good or evil in their core, the female character’s goals lye in obtaining the man in hopes of living “happily ever after.” In the original Brother’s Grimm Snow White and the Seven Dwarves, the Evil Queen attempted three deaths for Snow White, the first being laces for her bodice causing her to suffocate, the second being a poisoned comb, and the third being a poisoned apple. Snow White prevails with the help of the seven dwarves in the first two situations but fails to be revived after eating the poison apple. Sadly, the dwarves place their fallen Snow White into a glass coffin and, soon after, the prince arrives to see Snow White dead in the coffin and asks to have it. The dwarves pity him and give it to him, only to trip
while carrying the coffin, dislodge the apple from Snow White’s throat, and awaken her from her eternal slumber. Wasko describes a clear distinction between the original and the Dinsey-fied version as one where Disney’s Snow White strongly reinforces patriarchal society and Freud’s fundamental need for attachment whereas the original is rooted in preparing young children for the harshness and hardships of reality. In the Grimm’s version, Snow White’s mother is deceased while the father is alive. The prince and the queen have negligible roles, the animals are nonexistent, and the dwarves are anonymous and unassuming. The queen not only returns three times to threaten Snow White’s life but is also punished by putting “on a pair of red hot iron shoes and [to] dance until she drops dead.” Meanwhile, the Disneyfication of Snow White produces a story with no parents, Snow White as a homemaker and maid with the prince featured at the beginning of the film. The Queen’s envy of Snow White is the root of her evilness, as she is jealous of her beauty and power. Her role is altered and dramatized by her single visit to Snow White and her tumble off the cliff while attempting to kill the dwarves. Her death remains tragic but lacks the malice from the prince or Snow White, featured in the original. The animals are protectors of Snow White and the dwarves are personified and individualized. Lastly, and most importantly, Snow White is revived only through true love’s kiss. Her happily ever after can only be accomplished through the fulfillment in a romantic relationship, as Freud would claim, that was lacking with the
THE CENTRAL IDENTITY OF A GOOD OR EVIL
FEMALE CHARACTER IS IN
DIRECT RELATION TO MALE FIGURES OF POWER
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abandonment of the mother. While all of Disney’s alterations are significant, they each lead to the finale, the moment where a woman’s life becomes complete and justified. While Disney is not the first to use the idea of a happy ending, he was the first to standardize this motif in fairy tales. The original German folktales and fairy tales relied heavily on reinforcing “a patriarchal and middle-class social code” by establishing women’s domestic roles and cuing social and cultural standards. According to Zipes, fairy tales began with oral storytelling in order to, “reflect customs, norms, and values within the group” and, thus, were transformed each iteration to speak to a particular audience. Early fairy tales also incorporated higher magical figures and mystics as powerful presenting the spiritual as the overbearing and controlling power. The other worldly powers served as governing bodies that both rewarded and punished other characters of the stories, reflecting and informing social structures. Disney-fied versions of fairy tales pull directly from Brother’s Grimm fairy tales, which are based on German fairy tales, thus instilling traditional German values and motifs into Disney fairy tales. Leni Riefenstahl, one Nazi German filmmaker, even noted he had “the German feeling” referring directly to his first animated feature film Snow White and the Seven Dwarves. The “German feeling” was not limited to visuals but, as Wasko calls it, the “well-established ideology” and “specific values” that reference Germanic ethics. In order for a fairy tale to be truly integrated and influential in society, it must include a brilliant storyline that fits into the classic structure described earlier but, also, create a spectacle visually, through cutting edge and hyperrealist animation, “The
success of the Disney fairy tale…[is] his intuitive genius, which made use of the latest technological developments in the cinema to celebrate mechanical reproduction in animation and to glorify a particular American perspective on individualism and male prowess.” To illustrate Albert Hurter, one particular Disney animator, whose sketches greatly influenced the German setting as he led the styling for Snow White to include illustrated books by artists such as Ludwig Richter, Moritz Retsch, Arthur Rackham, and Hermann Vogel. Most important, to Disney, was his construction of realistic animations that began to structure what Pallant would term “Disney-Formalist” films, which showcased artistic and technical skills beyond the audience’s imagination. Disney-Formalism describes the formal aesthetic of Disney animation to be associated with Snow White and the Seven Dwarves up until Bambi whom relies on realism, “Disney-Formalist ideology prioritized artistic sophistication, ‘realism’ in characters and contexts, and, above all, believability.” Previously, animation reveled in the exaggerations and parodies possible through cartoons, while Disney believed that suspending disbelief and portraying animation as reality could create magic. Disney’s intention to create hyperrealist animation was unusual but also widely regarded as successful, once showcased in theaters, and became central to the Disney identity and, more specifically defined Disney-Formalism, “Ultimately, believability, rather than absolute realism, became the driving principle underpinning Disney’s animation during this period.” Disney’s decision to use a fantastical context to present an imaginary reality, Disney’s technique reflects and reinforces the fairy tales themselves. The fairy tales and animation are both fallacies that represent, shape, and transform the
FAIRY TALES AND ANIMATION ARE BOTH FALLACIES
THAT REPRESENT, SHAPE, AND TRANSFORM THE
REALITIES THEY REPRESENT
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realities they represent. Disney’s idea of reality in fantasy was once extremely radical but transformed the identity of the fairy tale and animation. Both Wasko and Zipes point out the incredible impact that Disney’s formal structure has had on the genre of fairy tales as it transforms into animation and sites several different key modifications. All relate the formal qualities of animated fairy tales to the structure of the story but the one seems to justify and summarize the overall effects, “The diversion of the Disney fairy tale is geared toward nonreflective viewing. Everything is on the surface, one-dimensional, and we are to delight in onedimensional portrayal and thinking, for it is adorable, easy, and comforting in its simplicity.” Disneyfication tells its young audience how and what to think and to delight in the fact that the fairy tale is providing the thinking, the conclusion, and even the purpose for young members of our society, by providing young girls with hopes of happy endings. Characters are one-dimensional in order to portray archetypes to be emulated in society. Domestication, organization, cleanliness, and control are demonstrated thematically and formally to parallel attributes expected from society. Images are meant to be whole and harmonious to bring life and truth to illustrations. This hyperrealism, this “lifelike movement” is suggested to be the cause of audience’s fascination, the hook that provides a platform to express the structures in a manipulative way. To further this point, Riefenstahl, the Nazi German filmmaker, produced the film Olympia as a propagandist film for the 1936 Olympic Games promoting the Germans as elite. Disney’s Snow White was also featured alongside Riefenstahl’s at the Venice Film Festival and rivaled Olympia in admiration and success. This first encounter between Riefenstahl and Disney shows how similar their films are in captivating an audience and also portraying idealist principles to be filtered through society. Riefenstahl
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later traveled to Hollywood in an attempt to produce her film in the United States but was only seen by one studio, Walt Disney Studios, again connecting Disney to the culmination of German ideals, this time through personal ties rather than fable inspirations. Disney was not unaware of his influence and his status and later claimed he never knew that Riefenstahl was in fact a Nazi. Likewise, he recognized his influence in constructing fairy tales, both formally and contextually, which may have led him to alter the classic German fairy tale of Snow White with an ending a little less horrific and a little more “happily ever after.” Disney’s fairy tales, beginning with Snow White, instill in younger generations that happy endings are possible and abundant. The “happily ever after” is of central importance in presenting optimistic ideals that produce expectant and hopeful citizens. Disney offers a sanitized view on the future and what will bring true happiness. It is easier to buy into the idea that there is a quick fix, a distinct and spelled out solution, to solve any and every problem presented in our lives. With the “happily ever after” model, children learn to look for relationships, first and foremost, to fulfill the lack established by Freud and to fortify the social structures already in existence. Disney gives a false hope that is so embedded in our society that we do not even realize the intense effect it has in our life-altering decisions, whether it be personal, financial, or relational. The impact has been infiltrated through our fascination with visually magnificent animation and through optimistic ideals for our husbands, and our futures, “…the emphasis on closure, harmony, happy end, and a well-ordered world remains the governing principle so that the tales rarely hold a critical mirror to the ossified reality of our times.” With such an attainable goal that gives our lives purpose, why should we question the ending? • from an original essay by Hailey Nowak
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My Teenager is a BIG, HUGE even fan of Alice in Wonderland. Is there much at the world dealing with Alice in Wonderland, can you tell me where we can go to get the merchandise, or dinners with the characters? - Kelly from TX
Unfortunately, pool privileges are only extended to registered guests of the Walt Disney World Resort. If your parents are not registered guests of the resort, they are not permitted to visit the pool. Also, it is very common to have staff verify your guest status in the pool area. Have you considered spending some pool time together at the Walt Disney World Water Parks? I am certain that you would have an outstanding time at Disney’s Typhoon Lagoon or Disney’s Blizzard Beach.
Start planning early and get informed. At least six Alice and the Mad Hatter appear at breakfast only at 1900 Park Fare in the Grand Floridian. The Alice in Wonderland character may also be present in other areas of the parks. For example, Alice is sometimes at the UK pavilion at Epcot and Tweedle Dee and Tweedle Dum sometimes appear near the Teacup ride in the Magic Kingdom. To make sure you find Alice and her friends, you should go to the Guest Relations office at any of the theme parks; these are noted on the park maps. Ask them to call the “character hotline” for you. The character hotline will be able to tell you where Alice, or any specific character will be in the parks on a particular day. As for merchandise, the mix of items sold is constantly changing. However, generally there is some Alice merchandise sold in the parks. The largest stores at WDW are the World of Disney store at Downtown Disney and Mouse Gears at Epcot. If Alice merchandise exists in the parks, the folks there will be able to help you find it.
How often does the Bibidi Bobbidi Boutique change costumes? We are going to Disney in October and my daughter realy likes Elsa, but its finished tomorow. So do you know if the Elsa and Anna costumes will be back later in the year? - Preston from ON
Does the Disney Wonder offer Tea with Alice? If so, how can you book that activity? - Elizabeth from GA In the past the Disney Wonder has offered the Tea with Alice as well as the Tea with Disney Friends on the sevennight or longer sailings. This event is always subject to the availability so my advice is to read your first Personal Navigator very carefully because this is the only place I’ve ever seen it mentioned. If it is scheduled for your cruise, directions for obtaining tickets will be in the newsletter, and I highly suggest you stop by Guest Services on Deck Three the first afternoon because it is first come-first serve. I’ve enjoyed this experience with my daughter in the past so my fingers are crossed it is offered on your cruise in October!
Hi! We are getting ready to leave for Disney and are staying at the Polynesian. My parents live in FL and will be coming to visit, and are season pass holders. Are they allowed to come to the pool with us or is there a policy about visiting guests? - Jill from PA
It is difficult to predict when or if certain costumes remain as choices at Bibbidi Bobbidi Boutique. Elsa and Anna are certainly quite popular at the moment, but it is hard to say with confidence if they will be available in October. If little princesses visiting the Boutique continue to ask for them, then Disney may respond and make them available year round.
Could you please tell me a little more about the ‘Winter Village’ that will be in Disneyland’s Downtown Disney area during the holidays? I can’t find a thing about it online. - Stacy from CA The area between AMC Theatres and ESPN Zone will be transformed into the Downtown Disney Winter Village on Nov. 14. Guests will be able to visit quaint holiday cottages, browse for gifts at themed chalets, and take in the spectacular 30-foot Christmas tree. The tree is located at Olaf ’s Frozen Ice Rink, which is inspired by the snowman in the film “Frozen.” Ice skates will be available for rent, and helmets will be included for safety. Operating hours will be 3:00 p.m. to 10:30 p.m. Monday through Thursday and 3:00 p.m. to 11:30 p.m. Friday through Sunday. Anaheim Ballet will perform scenes from “The Nutcracker” on select dates, and Downtown Disney Unwrapped, a presentation of fun holiday gift ideas, will begin Nov. 29. I hope this information is helpful, Stacy, and that you enjoy a wonderful visit to The Happiest Place on Earth! Please write back with any other questions you may have.
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What character shows are best for boys? - Lori from WI Hi there Lori and congrats on your upcoming Disneyland vacation. I am so happy to have this opportunity to help sprinkle pixie dust on this magical adventure to The Happiest Place on Earth. Disneyland is the perfect place for boys of all ages to have a blast and there’s so much to offer in the department of entertainment. I have compiled a list of must-see shows below in hopes that you will see something that the boys in your family will enjoy. Check out Mickey’s Soundsational Parade, Billy Hill and the Hillbillies, Jedi Training Academy, Fantasmic, and Remember...Dreams Come True Fireworks!
My fiance and I are planning our first visit to DL for July. Need some advice! Thinking of DL Hotel, but unsure what room view? Also, how many days do recommend for our visit? And what restaurants are a must for our celebration trip? - Casey from IN July is one of my favorite times to visit Disneyland. The parks are at their patriotic best. I am happy to help you plan your trip. Each of the Disneyland Resort Hotels is unique and wonderful. With the recent remodel just completed, the classic Disneyland Hotel is once again the perfect place to enjoy your vacation. I would suggest you choose the Adventureland Tower. One side offers a view of the amazing new courtyard and Monorail pool, while the other has a view of Downtown Disney and even a view of the fireworks at night. There are some great meals available to you here too. Earlier this week I had the pleasure of eating at the Napa Rose in the Disney’s Grand Californian Hotel. It was simply the best meal I have had at the Disneyland Resort. You should call and make that reservation now. In the parks the must eat restaurant is of course the Blue Bayou Restaurant. Located at the mouth of the Pirates of the Caribbean attraction, the Cajun inspired cuisine is mouth watering. These are two of the best meals at the resorts and parks. When my family stays at the Disneyland Resort we usually stay at least three days in order to enjoy all the resort has to offer.
When we were at WDW this past spring break, we saw people walking around with personalized mickey graduation hats on, is it possible to have them in the hotel room when we arrive for my daughter’s graduation trip? - Kristen from MN
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You can pre-order your graduation hats from Disney Merchandise and send them over to the Disney Florist. They can add them to one of their beautiful graduation baskets they have pictured on their website. Or they can create something special for your daughter.
Planning to propose to my bf during our first visit. Not really looking for the traditional fairytale or romantic proposal. Maybe something more offbeat, funny, or even slightly nerdy. Any suggestions? - Casey from CA Congratulations. I remember hearing the news of your planned engagement from fellow panelist Kaylene. Sounds like your plans have evolved from a Citricos or a fireworks proposal. Here are some more out of the ordinary ideas: Have a favorite song? Visit the piano show at Jellyrolls on Disney’s BoardWalk and plan a musical proposal. Contact a manager at (407) 560-8770 who can help “orchestrate” your idea. Have a favorite ride? Then propose on your favorite ride. I’m a huge Pirates of the Caribbean fan. Consider making appointments at the Pirate’s League, dressing up as a Pirate, and popping the question. Have a favorite Epcot country? Think about asking the big question at your favorite country in Epcot’s World Showcase. Dress up for the proposal with clothes and accessories from the country sold at the gift shops located at each country. If you need help executing any of your ideas, I would contact the Dream Makers at Disney Floral and Gifts. The Dream Makers can do just about anything and can help add some extra magic to your proposal. Another idea is checking out giftsofalifetime. com. They are pricey, but specialize in arranging special surprises and proposals in the parks. If your mind veers back to a more traditional proposal, take a look at Disney Parks Blog Top Ten Nine Proposal Ideas at Disney.
I read that there is something called a glass slipper dessert, this sounds so magical, what is it? - Amanda from Wales The dessert you mention is actually a chocolate (not glass) slipper. It comes in different flavors and types of chocolate. When I sampled one last December, the slipper was made of white chocolate with chocolate mousse inside, covered with a raspberry sauce. Quite tasty, and impressive looking. It is still available, but must be ordered in advance through the “cake hotline” (407-827-2253 for WDW, and 407-824-7091 for the Magic Kingdom). It is available at Grand Floridian restaurants and at Cinderella’s Royal Table. • from Disney World Forum
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he Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. “Who are you?” said the Caterpillar. This was not an encouraging opening for a conversation. Alice replied, rather shyly, “I—I hardly know, Sir, just at present—at least I know who I was when I got up this morning, but I think I must have changed several times since then.” “What do you mean by that?” said the Caterpillar, sternly. “Explain yourself!” “I can’t explain myself, I’m afraid, Sir,” said Alice, “because I’m not myself, you see.” “I don’t see,” said the Caterpillar. “I’m afraid I can’t put it more clearly,” Alice replied, very politely, “for I can’t understand it myself, to begin with; and being so many different sizes in a day is very confusing.” “It isn’t,” said the Caterpillar. “Well, perhaps you haven’t found it so yet,” said Alice; “but when you have to turn into a chrysalis—you will some day, you know—and then after that into a butterfly, I should think you’ll feel it a little queer, won’t you?”
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“Not a bit,” said the Caterpillar. “Well, perhaps your feelings may be different,” said Alice: “all I know is, it would feel very queer to me.” “You!” said the Caterpillar contemptuously. “Who are you?” Which brought them back again to the beginning of the conversation. Alice felt a little irritated at the Caterpillar’s making such very short remarks, and she drew herself up and said, very gravely, “I think you ought to tell me who you are, first.” “Why?” said the Caterpillar. Here was another puzzling question; and, as Alice could not think of any good reason, and the Caterpillar seemed to be in a very unpleasant state of mind, she turned away. “Come back!” the Caterpillar called after her. “I’ve something important to say!” This sounded promising, certainly. Alice turned and came back again. “Keep your temper,” said the Caterpillar. “Is that all?” said Alice, swallowing down her anger as well as she could. “No,” said the Caterpillar. Alice thought she might as well wait, as she had nothing else to do, and perhaps after all it might tell her something worth hearing. For some minutes it puffed away without speaking; but at last it unfolded its arms, took the hookah out of its mouth again, and said, “So you think you’re
changed, do you?” “I’m afraid I am, Sir,” said Alice. “I can’t remember things as I used—and I don’t keep the same size for ten minutes together!” “Can’t remember what things?” said the Caterpillar. “Well, I’ve tried to say, ’How doth the little busy bee,’ but it all came different!” Alice replied in a very melancholy voice. “Repeat, ’You are old, Father William,’” said the Caterpillar. Alice folded her hands, and began: “You are old, Father William,” the young man said, “And your hair has become very white; and yet you incessantly stand on your head— Do you think, at your age, it is right?”
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“In my youth,” Father William replied to his son, “I feared it might injure the brain; but, now that I’m perfectly sure I have none, why, I do it again and again.” “You are old,” said the youth, “as I mentioned before, and have grown most uncommonly fat; yet you turned a back-somersault in at the door— Pray, what is the reason of that?” “In my youth,” said the sage, as he shook his gray locks, “I kept all my limbs very supple by the use of this ointment—one shilling the box— Allow me to sell you a couple?” “You are old,” said the youth, “and your jaws are too weak for anything tougher than suet; yet you finished the goose, with the bones and the beak— Pray, how did you manage to do it?” “In my youth,” said his father, “I took to the law, and argued each case with my wife; and the muscular strength which it gave to my jaw has lasted the rest of my life.”“You are old,” said the youth, “one would hardly suppose that your eye was as steady as ever; yet you balanced an eel on the end of your nose— What made you so awfully clever?” “I have answered three questions, and that is enough,” said his father. “Don’t give yourself airs! Do you think I can listen all day to such stuff? Be off, or I’ll kick you down-stairs!” “That is not said right,” said the Caterpillar. “Not quite right, I’m afraid,” said Alice, timidly: “some of the words have got altered.” “It is wrong from beginning to end,” said the Caterpillar, decidedly; and there was silence for some minutes. The Caterpillar was the first to speak. “What size do you want to be?” it asked. “Oh, I’m not particular as to size,” Alice hastily replied; “only one doesn’t like changing so often, you know.” “I don’t know,” said the Caterpillar. Alice said nothing: she had never been so much contradicted in all her life before, and she felt that she was losing her temper.
“Are you content now?” said the Caterpillar. “Well, I should like to be a little larger, Sir, if you wouldn’t mind,” said Alice: “three inches is such a wretched height to be.” “It is a very good height indeed!” said the Caterpillar angrily, rearing itself upright as it spoke (it was exactly three inches high). “But I’m not used to it!” pleaded poor Alice in a piteous tone. And she thought to herself, “I wish the creature wouldn’t be so easily offended!” “You’ll get used to it in time,” said the Caterpillar; and it put the hookah into its mouth, and began smoking again. This time Alice waited patiently until it chose to speak again. In a minute or two the Caterpillar took the hookah out of its mouth, and yawned once or twice, and shook itself. Then it got down off the mushroom, and crawled away into the grass, merely remarking, as it went, “One side will make you grow taller, and the other side will make you grow shorter.” “One side of what? The other side of what?” thought Alice to herself. “Of the mushroom,” said the Caterpillar, just as if she had asked it aloud; and in another moment it was out of sight. Alice remained looking thoughtfully at the mushroom for a minute, trying to make out which were the two sides of it;—and, as it was perfectly round, she found this a very difficult question. However, at last she stretched her arms round it as far as they would go, and broke off a bit of the edge with each hand. “And now which is which?” she said to herself, and nibbled a little of the right-hand bit to try the effect. The next moment she felt a violent blow underneath her chin: it had struck her foot! She was a good deal frightened by this very sudden change, but she felt that there was no time to be lost, as she was shrinking rapidly: so she set to work at once to eat some of the other bit. Her chin was pressed so closely against her foot, that there was hardly room to open her mouth; but she did it at last, and managed to swallow a morsel of the left-hand bit. “Come, my head’s free at last!” said Alice in a tone of
" I - I’m a little girl, " said Alice, rather doubtfully, as she remembered the number of changes she had gone through that day.
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delight, which changed into alarm in another moment, when she found that her shoulders were nowhere to be found: all she could see, when she looked down, was an immense length of neck, which seemed to rise like a stalk out a sea of green leaves that lay far below her. “What can all that green stuff be?” said Alice. “And where have my shoulders got to? And oh, my poor hands, how is it I can’t see you?” She was moving them about, as she spoke, but no result seemed to follow, except a little shaking among the distant green leaves. As there seemed to be no chance of getting her hands up to her head, she tried to get her head down to them, and was delighted to find that her neck would bend about easily in any direction, like a serpent. She had just succeeded in curving it down into a graceful zigzag, and was going to dive in among the leaves, which she found to be nothing but the tops of the trees under which she had been wandering, when a sharp hiss made her draw back in a hurry: a large pigeon had flown into her face, and was beating her violently with its wings. “Serpent!” screamed the Pigeon. “I’m not a serpent!” said Alice indignantly. “Let me alone!” “Serpent, I say again!” repeated the Pigeon, but in a more subdued tone, and added, with a kind of sob, “I’ve tried every way, but nothing seems to suit them!” “I haven’t the least idea what you’re talking about,” said Alice. “I’ve tried the roots of trees, and I’ve tried banks, and I’ve tried hedges,” the Pigeon went on, without attending to her; “but those serpents! There’s no pleasing them!” Alice was more and more puzzled, but she thought there was no use in saying anything more till the Pigeon had finished. “As if it wasn’t trouble enough hatching the eggs,” said the Pigeon; “but I must be on the lookout for serpents, night and day! Why, I haven’t had a wink of sleep these three weeks!” “I’m very sorry you’ve been annoyed,” said Alice, who was beginning to see its meaning. “And just as I’d taken the highest tree in the wood,” continued the Pigeon, raising its voice to a shriek, “and just as I was thinking I should be free of them at last, they must needs come wriggling down from the sky! Ugh, Serpent!” “But I’m not a serpent, I tell you!” said Alice, “I’m a—I’m a—” “Well! What are you?” said the Pigeon. “I can see you’re trying to invent something!” “I—I’m a little girl,” said Alice, rather doubtfully, as she remembered the number of changes she had gone through that day. “A likely story indeed!” said the Pigeon, in a tone
of the deepest contempt. “I’ve seen a good many little girls in my time, but never one with such a neck as that! No, no! You’re a serpent; and there’s no use denying it. I suppose you’ll be telling me next that you never tasted an egg!” “I have tasted eggs, certainly,” said Alice, who was a very truthful child; “but little girls eat eggs quite as much as serpents do, you know.” “I don’t believe it,” said the Pigeon; “but if they do, why, then they’re a kind of serpent: that’s all I can say.” This was such a new idea to Alice that she was quite silent for a minute or two, which gave the Pigeon the opportunity of adding, “You’re looking for eggs, I know that well enough; and what does it matter to me whether you’re a little girl or a serpent?” “It matters a good deal to me,” said Alice, hastily; “but I’m not looking for eggs, as it happens; and, if I was, I shouldn’t want yours: I don’t like them raw.” “Well, be off, then!” said the Pigeon in a sulky tone, as it settled down again into its nest. Alice crouched down among the trees as well as she could, for her neck kept getting entangled among the branches, and every now and then she had to stop and untwist it. After a while she remembered that she still held the pieces of mushroom in her hands, and she set to work very carefully, nibbling first at one and then at the other, and growing sometimes taller, and sometimes shorter, until she had succeeded in bringing herself down to her usual height. It was so long since she had been anything near the right size that it felt quite strange at first; but she got used to it in a few minutes, and began talking to herself, as usual, “Come, there’s half my plan done now! How puzzling all these changes are! I’m never sure what I’m going to be, from one minute to another! However, I’ve got back to my right size: the next thing is, to get into that beautiful garden—how is that to be done, I wonder?” As she said this, she came suddenly upon an open place, with a little house in it about four feet high. “Whoever lives there,” thought Alice, “it’ll never do to come upon them this size: why, I should frighten them out of their wits!” So she began nibbling at the right-hand bit again, and did not venture to go near the house till she had brought herself down to nine inches high. • from Alice in Wonderland by Lewis Carroll
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How I Cartoon Alice ITS LOGICAL NONSENSE NEEDED A LOGICAL SEQUENCE by Walt Disney
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he animation of alice in wonderland Presented the most formidable problems We have ever faced in translating a literary Classic into the cartoon medium.
aware of these problems at the I became very first of our staff conferences. Our
experience with Cinderella, Pinocchio, Bambi, Uncle Remus and Snow White and the Seven Dwarfs provided few precedents. There aren’t many masterpieces of logical nonsense in the world, and none that even remotely approach Lewis Carroll’s classic. First of all, Carroll told the stories in Alice in Wonderland and in Through the Looking Glass to real children, as he picnicked with them, “all on a golden afternoon,” in the environs of Oxford, where he lectured on mathematics. (His real name was the Rev. Charles Lutwidge Dodgson). And he was interested more in ideas and fantasy, and their intermingling, than in the rules of suspense and story structure. Second, there are some eighty characters— semi-human, semi-animal, or both—in the two Alice books. They move in and out of the narrative very erratically indeed. They ignore, in their relation to Alice, every law of the theatre. Third, time is more important to the teller of tales on the screen than it was to Lewis Carroll when he was entertaining Alice Liddell and her little friends, or than it has been to adults who have read the Alice books to their children or themselves for the last 85 years. Playing time in movie theatres is fairly definitely fixed to 80 or 90 minutes. And for a feature with an appeal to children, it should be a little less. These were our three fundamental problems. I will explain how we solved them, and then conclude by explaining how we solved the subsidiary problems. An average reader can read the two Alice books in from twelve to fourteen hours. Even a fast reader couldn’t read them in less than six or seven hours. Merely to introduce the eight odd “characters,” giving a minute to
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each, would have consumed the entire time allotted for our picture. So we combined a few characters, rearranged some episodes, condensed some dialogue. Keeping, we believe, the Carroll flavor. A good example of how we worked our problems out is the way we animated the famous Tea Party. We have the Mad Hatter and the March Hare chant the “Unbirthday” lines which Humpty-Dumpty spoke in his colloquy with Alice in Through the Looking Glass. The Tea Party is a perfectly appropriate occasion, and we thus eliminated HumptyDumpty, which we wanted to do for another reason I’ll refer to later. Another example is the way we shifted the reading of the dry history lesson from its original context in the Caucus Race, to the opening scene of our picture. Putting it there gives more coherence to all that follows, since it puts the reason for Alice’s descent into the rabbit hole where it is most effective dramatically, i.e., at the beginning. And no violence is done to Carroll’s mood, nor to any of the character relationships. But before we did any of this, we tried out every episode in both Alice books on our own test audience of some 500 persons. It was imperative that we create a plot structure, for Carroll had not had need for such a thing. We decided, of course, that Alice’s curiosity was the only possible prime mover for our story and generator of the necessary suspense. The result is a basic chase pattern that culminates when Alice, after her strange adventures, returns to the world of reality. Some people told us that because the Alice books are pure fantasy the basic laws of story progression need not apply. We answered that when you look at a moving picture you do not have a chance to ponder over the
meaning, or to re-read. We believe that our picture, which runs 75 minutes and has thirty-five of the eighty or so original characters, animated singly, or in groups, or with Alice, will prove we were right in evolving a plot that unified essentially quite disparate episodes. There are many characters in the two Alice books that antagonized, repelled, or confused the little girl, and have similarly affected even the most steadfast of Alice’s admirers. Some were pretty callous, and several were depressingly lugubrious. The child that turns into a pig in Alice’s arms, for example, was revolting, according to one of our early tests. Other tests indicated that the sad and weepy Mock Turtle and Gryphon were without other compensating interest. Humpty-Dumpty was not used because he was too talky. Moreover, he wasn’t even a Carroll creation, but a nursery rhyme symbol, and a cartoon cliché in British politics. We combined the four Queens and the Duchess into one figure, the raucous Queen of Hearts, who keeps demanding more decapitations. Many minor figures, casually alluded to, were not included in even our first muster, for reasons that must by now be clear. We created one new character. He is the personified Doorknob, who guards the precincts of Wonderland. He was invented in order to avoid a long explanatory monologue at the beginning of the story and to give Alice a foil to talk to. The Doorknob has been approved, incidentally, by some of the strictest of Alice purists in England. I am not finding fault with the way Lewis Carroll told his immortal nonsense. If I hadn’t regarded it as one of the masterpieces of all time, for both adults and children, I would not have undertaken a film version, I undertook it with the greatest respect. Now practically every literate person in the Western World has a personal idea of the way Alice and all the semianimal and semi-human beings Carroll created, should look. The apperances of the Mad Hatter and the Carpenter, the Walrus and the Dodo, Tweedledum and Tweedledee, the White Rabbit, the Cheshire Cat, the Caterpillar and the whole Carroll brood are very definitely conceived in the minds of millions of children and grown-ups. These mental images, of course, derive from the
Tenniel illustrations. It is not easy technically, to turn book illustrations into animated cartoons, and the cross-hatched etchings of Tenniel could not be animated just as they are. They had to be re-done in clean pen line and in the brilliant hues that Technicolor can reproduce. They had to seem round, not flat. They had to be made mobile by the illusionary processes of animation. They had to be seen in a life-like flow of action from various angles. For the cartoon medium, the characters virtually had to be born anew, since their behavior would have to be conveyed in movement, rather than with words and pen-and-ink drawings. And yet, I think we have managed to follow Tenniel in such close detail that no one can say our delineations distort the images Carroll and Tenniel worked out together. But there are some slight deviations. These features of our Alice are somewhat more youthful than those of the Victorian maid depicted by the great cartoonist of Punch. We have made her figure less stubby. Her hair is more kempt in our portrait. Though her costume is little changed, the stockings on our Alice are plain instead of striped, in order to save time devoted to drawing and for reasons related to Technicolor. We are somewhat less realistic than Tenniel in portraying some of the animal characters. We have made the features of the Walrus more human, for example. Our March Hare is more human-esque, and so is our White Rabbit. But I want to reassure the devotees of Lewis Carroll that we have not changed the essential meaning and mood of the book or the Tenniel illustrations. Our final problem derived from the fact that Alice and all the other Carroll creations would have to speak. Voices and music are almost as important in animated cartoons as are the drawings themselves. As a matter of fact, voices key the animation, and precede the drawings, so that the animation can be timed and adjusted to the spoken words. And voices for fantasy, and for the characters of fantasy, require a very creative kind of casting indeed. There was one further complication: the necessity, for the purpose of engendering mood, of authentic British inflections. Who could speak for the zany Mad Hatter better than Ed Wynn? Or for
the frantic March Hare better than Jerry Colonna? Their voices arouse the very spirit of Carroll’s whimsy. We were fortunate to find them available. And we were fortunate to find Richard Haydn for the caustic Caterpillar; Sterling Holloway for the acrobatic Cheshire Cat; Bill Thompson for the elusive White Rabbit; Verna Felton for the rucous Queen of Hearts; Pat O’Malley for the Walrus and the Carpenter and the Tweedle twins; Heather Angel for Alice’s elder sister, and the Queenie Leonard for the flowers in the beautiful garden scene. Of paramount importance, of course, was the voice for Alice. It was essential that it please English-speaking people everywhere. Our whole project largely depended on finding the voice that would give our animation of Alice warm and vibrating life. We found it, after auditioning scores of young American and British-born actresses, in the voice of Kathryn Beaumont. She is British-born, thirteen years old, and keenly perceptive of all that Alice means. Her voice was considered pleasing and flawless by all who heard it during rehearsals and recordings. Kathy had appeared briefly in one movie in London and came to this country with her mother by way of Canada. Metro-Goldwyn-Mayer put her under a term pact, and she had had one role at that studio. We discovered her there. • from “Films in Review”
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An elegantly quirky twist on the Mad Hatter is photographed in the Historic District of San Juan Capistrano, California known as Los Rios. Join Hatta on her journey through The Tea House of Los Rios as she discovers her passions, including watering the gardens with none other than her very special teapot. 42 | ALL EARS IN
HATTA PHOTOGRAPHY BY HAILEY NOWAK
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Tea for One Hatta is less than welcoming at this particular tea party. Beware of her antics, crazy as her hair, but don’t get caught admiring her gorgeous style or piercing blue eyes. 46 | ALL EARS IN
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Teapot $65 at Teavana Crop Top $30 at Brandy Melville High-waisted Pants $60 at Urban Outfitters 48 | ALL EARS IN
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Join Alice on her journey for knowledge, discovery, and tasty delights. Alice ventures through the Rose Garden found at Exposition Park, across from the University of Southern California campus. The garden is a place of peaceful refuge after Alice’s adventures through Wonderland.
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THE VILLAIN ISSUE Look forward to some more beautiful illustrations by Hayden Williams and contributor Irene Lee as AEI explores the world of villains. The spring issue will feature an article on the new Disney Channel show, “Disney Villains: The Next Generation� and the new film Maleficient. AEI will also spotlight a few particular villains in fashion-forward photoshoots.
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