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Falling head first down a rabbit hole is only the beginning of an unusual journey for daydreamer Alice. Stumbling upon characters like Tweedledum and Tweedledee, celebrating unbirthdays at the maddest of tea parties, and having a run in with the Queen of Hearts and her dueling army of playing cards makes Alice's time in Wonderland quite exciting.

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Related Classics Stories

Saving Disney Animation
This week, we have reason to celebrate -- well, 101 reasons, to be precise! Because on March 4, "101 Dalmatians" debuts as a Platinum Edition DVD, in a beautiful digital restoration loaded with special features. It's hard to believe that "101 Dalmatians" was originally released in 1961, 47 long years ago. The look of the movie is crisp, energetic, and decidedly undated. It was a startlingly different approach for the Disney Studios after the relatively traditional "Sleeping Beauty." And according to Disney animator Andreas Deja, without "101 Dalmatians," we might never have had "The Little Mermaid," "The Lion King," or any of the other modern Disney classics. We asked Andreas to tell us the story of how "101 Dalmatians" changed the face of animation -- and kept it alive at The Walt Disney Studios for the generations to come. Here is what he told us: "101 Dalmatians" saved the animation department in 1960 when it came out, and that's the truth. A book called "The Art of Animation," by Bob Thomas, came out in 1959 to promote the release of "Sleeping Beauty," and there's a picture in the book with Walt and Eric Larson, one of the nine old men, standing in one of the wings of the animation department, looking at cell setups. After Eric Larson hired me in the early '80s, one of the questions I had for him was "Do you recall what you and Walt were talking about when this picture was taken?" And Eric said, "We were talking about closing down the Studio, because these things have gotten too expensive." "Sleeping Beauty" cost, I think, about six million dollars to make, which was unheard of in those days, and they really had to either close down or come up with some way to make animation cheaper so it would be profitable again. So, when it came to "101 Dalmatians" the technical wizard, Ub Iwerks, who had been Walt's first real business partner way back in Kansas, got together with art director Ken Anderson. They thought of an idea that would eliminate a very expensive process in animated films -- inking, drawing over the pencil outlines on the cells, which would then be painted on the back. This was a very time-consuming process. It made a beautiful image, because it had that delicate soft edge, but Ub said "What if we don't do that -- if we take the pencil drawings and just Xerox them on the cells, and then paint them." As a result you didn't have that soft, multi-colored outline of the characters anymore -- you had a rough pencil outline. But the animators got very excited, because for the first time ever when they were drawing for a Disney film, they got to see their own drawings on the screen. They had always seen the inkers' cell drawings instead, which were an imitation of what they had done, like a tracing. But these were their actual lines on the screen. It also gave the movie a fresh, "sketchy" look on the screen, while the previous movies like "Sleeping Beauty" had a very painterly feel. They had the black lines not only on the characters, but on the background, making it a cohesive world. It was pretty revolutionary to leave that painterly look behind and go for this rough, sketchy look. It saved a lot of money in creating "101 Dalmatians." And because the movie was such a hit, it saved the animation department. Walt Disney liked the movie itself -- he was very impressed with Bill Peet's story treatment. But when Walt saw the first dailies of what the scenes looked like, he was not only disappointed, but kind of shocked. He had no idea they were going that loose and sketchy with it. He told Ken Anderson he was not crazy about it, and for the next film they should rethink the style and do something else. But the reviews were glowing. Even critics of previous Disney films, who had said that Walt Disney was just doing the same thing over and over again, had to realize that this picture was fresh and contemporary. To this day, I think "101 Dalmatians" is the most modern of the Disney movies. It's very inspired by modern art, and it's still the most gutsy and the most artistic of the Disney movies.
Tink and Wendy
Fifty-four years ago, a young woman and a young girl met on a large, clammy, empty soundstage to inspire a group of artists to create a masterpiece. The masterpiece was "Peter Pan." The young woman, Margaret Kerry, was the model for Tinker Bell, and the girl, Kathryn Beaumont, was both the model for and the voice of Wendy. And so two of Disney's enduring heroines were born. Since "Peter Pan" is animated and Tinker Bell, for one, never speaks, readers might wonder why Margaret was there. However, the animators relied on film footage of live-action models shot on a soundstage to envision how the characters might look in various situations -- whether soaring over London, fencing ... or tumbling backward over an outsized thimble. Young Kathryn was already cast as Wendy's voice actress when animators decided she had the perfect look for the part as well -- Margaret was chosen for her mix of strong acting skills, sparkling personality, and classical dance skills. We spoke to Kathryn and Margaret about their memories of making the film, their encounters with each other, and about the experience of watching "Peter Pan" again, more than half a century later, on the occasion of its 2 Disc Platinum edition release on DVD, released March 6. The lavishly restored film has never looked better, and the special features will make anyone an expert on Never Land -- even "Tink" herself, according to Margaret. "I watched the extras on the second disc of 'Peter Pan,' and I didn't know three-quarters of that stuff! After I saw it, I felt like I was really in the know," she tells us. Although their onscreen characters may clash, the actresses have nothing but the fondest memories of each other. "She was a delight to work with, very sweet," says Kathryn. "Because I was a child, after I did a scene I had to go to a quieter place on the stage to do my schoolwork. I remember thinking -- she was very young -- 'SHE doesn't have to go to school!' She could watch what went on between takes. She was a great reader, and I remember her sitting there so involved in her book." For her part, Margaret recalls "I was very impressed with Kathryn. I'm very perky and quick to dash off a joke, while she was reserved and ladylike. Kathryn was quite shy -- but her shyness was being a lady. She had the sweetest smile. In a way, I felt for her, because I know what it is to go to school on a studio lot, by yourself. It's very hard. I did it myself, from the time I was four years old." Kathryn didn't get to watch what happened between takes, but she did get an experience Margaret missed -- she was airborne. "They hooked us up to wires, just as they did for the stage version of 'Peter Pan,' and then hooked us to the harnesses. Then they would hoist us up." Kathryn recalls with a laugh, "Most children would think it would be so much fun, flying around on this stage. But the stage is huge and very, very high, and I was in fear of being up that high and looking down -- it was a long way down! I had no experience with this sort of harness, but the people involved had me practice quite a bit -- they'd hoist me up a small amount then a little further, going in little baby steps. Finally I was up much higher, but by that point I was comfortable with it so it didn't bother me anymore." Margaret, on the other hand, found herself off the hook. "They had this contraption with ropes up to the catwalk, and you were flat, strapped in on a little bodyboard. It didn't look safe at all!" she recalls. "And I thought 'I really don't want to do this.' But we came back after lunch that afternoon and director Marc Davis said to me, 'We aren't going to have you fly, because Tinker Bell darts, she doesn't glide.'" Margaret and Kathryn were reunited to watch and discuss the restored version of "Peter Pan" at Hollywood's El Capitan Theatre last February. After so many years, how did the film strike them? Says Margaret, "I wanted to run out and tell everybody, 'You've got to see this movie!' I had forgotten how delightfully funny it was. Many versions of 'Peter Pan' are rather dark, but this one is nothing but fun and happiness. Even the crocodile, which could have been really scary, is so funny that people in the audience were laughing at it! Only the Disney genius could do that." Kathryn was struck by visual beauty of the restored film. "They've remastered the movie for the DVD, and it's so amazing how they've brought back the original, vibrant colors, and the film is so sharp. The sound is restored beautifully and you have this wonderful adventure story with these characters, and there's so much humor and fun in it. It's just a pleasure to watch it!" Those characters have a great deal of the creativity and inspiration of Disney's legendary animators in them -- but also, a great deal of their real-life counterparts. Kathryn acknowledges "People often tell me 'that seems to be YOU on the screen.' And that's really a tribute to the artists!" And Margaret adds "I once went to lunch with Marc Davis and he told me 'You are still Tinker Bell.'"
Snow White Turns 70
In 1937, movies cost a dime and the country was in the depths of the Great Depression. Radio was an exciting new phenomenon, while TV was hardly a gleam on the horizon. And a young princess was about to sing her way into the hearts of America. Looking back now, 70 years later, it's easy to forget what an astonishing achievement Walt Disney's "Snow White and the Seven Dwarfs" really is. The first animated feature in movie history, it is also one of the most beautifully achieved -- and the most beloved. With "Snow White" having just celebrated its 70th anniversary in December, we thought it was time to take a look back at some lesser-known aspects of this landmark film. "Snow White" launched Disney as THE house of animation, and began a legendary string of animated classics. However, it came perilously close to not being made at all! Feature-length animation was a huge gamble for the Studio -- would anyone really want to watch a mere cartoon for more than a few minutes? Walt was convinced that animated films could be much more than "mere cartoons," but it was a tough case to make: animation had never been a vehicle for serious storytelling before, and it was hard for many to imagine. In addition, hand-drawn animation is a laborious and expensive process, and funding was hard to come by. Finally, Walt took the still-unfinished film to his banker and screened it -- only to watch, horrified, as the man sat stone-faced throughout. However, on his way to his car, the banker turned to Walt and said "Walt, that film is going to make you a hatful of money." And so it did, eventually -- "Snow White" made $8,500,000 during its first release, making it a smashing success in spite of an extremely high production cost for the time, of almost $1,500,000. But before this triumph, the film had to be created. Walt chose the story for his first animated feature carefully -- he selected the fairy tale "Snow White" because a live-action silent version of the story was the first film he himself had seen as a child, and he'd never forgotten the magic of the experience. Equal care went into casting -- although he auditioned more than 150 girls, including established stars like Deanna Durbin, Walt chose young Adriana Caselotti to give Snow White her unforgettable voice. Disney fans also heard a few familiar voices, including Pinto Colvig, the voice of Goofy, who portrayed Sleepy and Grumpy. One of the most memorable characters, of course, had no voice at all -- lovable but silent Dopey was brought to life only by the inspired work of the animators. Setting an enduring tradition, the decision was made to create "Snow White" as a musical film. Perhaps this was a natural choice for Disney -- the Studio had already achieved acclaim for its series of "Silly Symphony" musical shorts, and Walt and the animators were well aware of how powerful animation combined with song could be. Although it's the songs that spring to mind when we recall the movie now, the music of "Snow White" won the film an Oscar� nomination for best score. And, of course, the film earned a very special Oscar for Walt -- a full-sized statuette and seven small ones, presented by child star Shirley Temple for having produced "a significant screen innovation which has charmed millions and pioneered a great new entertainment field for the motion picture cartoon." The greatness of that achievement is clearer every year, as we see the films that have followed "Snow White'"s path. From "Cinderella" to "Enchanted," "The Lion King" to Disney*Pixar's "Ratatouille," would any of them have been created without "Snow White" to show it could be done? Many film "firsts" are interesting mostly as curiosities now. But "Snow White" is no mere historical artifact. It has been revived again and again in the theaters over the years -- seven times so far -- and every time it draws crowds of children and adults to laugh with Dopey and quail at the menace of the wicked queen. It lives on in a sumptuous DVD special edition that has introduced a new generation of children to its magic. The excitement and sheer film artistry of "Snow White and the Seven Dwarfs" have rarely been equaled. As Walt himself said of the film, "It's no more a cartoon than a painting by Whistler is a cartoon."
Look at the Magic of Special Effects
There's a treasure trove of Disney lore and history right under our noses -- and right online. Although we're all excited about the construction of the Walt Disney Family Museum at San Francisco's Presidio, the Museum is open right now and anyone can visit it -- at its online location at Disney.com. It's open 24 hours a day and you don't need a ticket to enter! Read on for a sample of the treasures you'll find there, a behind-the-scenes look at how Disney's classic comedies made men into dogs and cars into flying machines. One of the glories of making animated films is that nothing is impossible. Want to make a car fly? Just draw it that way. Talking animals? No harder than talking people. But when it comes to live-action films, things get in the way of creating a new, and impossible reality. Gravity, for example is a major obstacle. And yet, Walt seemed drawn to basing many of his most successful comedies on one kind of special effect or another. This theme began with the first of them all, "The Shaggy Dog." The basic plot of this film concentrates on a teenager who is magically turned into a large dog. Much of the humor from the film comes from the madcap confusions as the boy turns into the dog and the dog turns into the boy. But at least in "The Shaggy Dog," the special effect was pretty elementary. As time went on, Walt's fantastical creations grew far more complex. The flying dog and basketball players who brought magic to "The Absent-Minded Professor" weren't the easiest thing in the world to bring to the screen. Much of the footage of the car was created by using miniatures, large drawings, and other types of effects. As Leonard Maltin writes, "The filmmakers decided that such trickery could only be carried off in a black-and-white film. A decision repeated for "Son of Flubber." A few years later, the Disney technicians surpassed even these effects for "Mary Poppins," in color. The basketball game goes on at some length and even though the shots of the kids bouncing high in the air are really amazing, they start to wear thin. There are some good variations, though, such as the one play shown entirely in the eyes of the referee, whose openmouthed face follows the team bounce by bounce across the court. Undercranking (to make the movement faster) and even frame-cutting are ingredients in this sequence." "The Parent Trap," in its own way, had an even more convincing special effect. While audiences were required to suspend their disbelief when they watched the car fly into the air in "The Absent-Minded Professor," most viewers very quickly forgot that there was only one girl playing both sisters in "The Parent Trap." As one cameraman recalled in "The Disney Films" -- "They'd worked out this whole film using an English process, much like the old blue-backing process, to get the twins into various scenes. It involved double-exposure with the backgrounds and it was very complicated. Plus, when you were shooting, you could never tell the girl which light to look into or anything. I told them it was too complex and asked instead for a double. Usually, they sent relatives out for assignments out like that, but I told them this time I wanted a real double who really looked like Hayley. Finally, I found a girl who was the same height, had the same features -- everything was the same except her eyes were a different color, but I was able to compensate for that. And at several figures away you couldn't tell the difference between the girl and Hayley. So, I did a lot of the over-the-shoulder shots and threw out most of the vapor shots ... but Walt made me put some of the trick shots back, because he ... liked technical things." Even when Walt didn't rely on science or sorcery to engage audiences with the magic of these fantasy/comedies, he frequently relied upon a whole variety of wild adventures featuring animals of one kind or another, including films like "The Misadventures of Merlin Jones," "The Monkey's Uncle," "That Darn Cat!" and "The Ugly Dachshund." And although "Swiss Family Robinson" can't properly be classified as a comedy, there's little question that many of the scenes in the film that drew the biggest laughs featured a whole zoo worth of living creatures. Walt was entranced with understanding how animals could be encouraged to cooperate so thoroughly. As actor Dean Jones recalled in "Remembering Walt: Favorite Memories of Walt Disney" -- "Walt would come to the set of 'That Darn Cat!' very often with the attitude of a tourist from Duluth, rather than the authority figure at the Studio, asking the pet trainer questions like: 'How do you train the cat to jump up on the ironing board, walk to the end, and jump up, and get the duck hanging from the rafters?'"
Nine Old Men Remembered
They weren't old -- at least, not when they got the name. But there were nine of them, and they were Walt Disney's right-hand men. With the passing of Ollie Johnston on April 14, the Nine Old Men, the legendary animators who created many of Disney's more unforgettable moments are all gone now. But they are far from forgotten, and the Insider wanted to pay tribute to these groundbreaking artists. The Nine Old Men moniker was born in a joke by Walt, referring to President Franklin D. Roosevelt's nickname for the nine justices of the Supreme Court. At the time, the artists were pretty young -- in their 30s and 40s -- but the name stuck. The Nine Old Men, in concert with Walt's big dreams, may be said to have created the modern art of animation -- and rare is the film studio that could boast such an incredible aggregation of talent, with so little ego. The Nine are: ... Les Clark (November 17, 1907 - September 12, 1979), who joined Disney in 1927. Les took over drawing Mickey Mouse from Ub Iwerks, Mickey's original artist, and became a Mickey specialist. He also worked on many of the Disney animated features. He became a director in his later career and helmed many of Disney's animated shorts. Marc Davis (March 30, 1913 - January 12, 2000) started in 1935 on "Snow White and the Seven Dwarfs," the first of the Disney animated features. He developed many of Disney's most memorable characters, including Bambi and Thumper, Maleficent, and Cruella De Vil. He also worked with Disney Imagineering, and you can see his work when you ride Disneyland's Pirates of the Caribbean and Haunted Mansion attractions. Ollie Johnston (October 31, 1912 - April 14, 2008), joined Disney in 1935, along with his fellow Stanford art student and lifelong friend Frank Thomas. Ollie drew Characters such as Mr. Smee, Cinderella's stepsisters, and Prince John in "The Sword in the Stone." He and Frank Thomas were often known as "Frank and Ollie," because the two were inseparable as colleagues and friends. After they both retired from Disney in 1978, they went on to co-author a number of books on the art of animation -- including "the animator's bible," "The Illusion of Life." Milt Kahl (March 22, 1909 - April 19, 1987) also worked on "Snow White and the Seven Dwarfs." Over the years, he created some of Disney's most memorable villains, including Sher Khan in "The Jungle Book" and Madame Medusa "The Rescuers." Ward Kimball (March 4, 1914 - July 8, 2002) joined Disney in 1934 and went on to specialize in wacky and exaggerated characters, like the Mad Hatter and Cheshire Cat in "Alice in Wonderland." Eric Larson (September 3, 1905 - October 25, 1988) was hired at the Studio in 1933. His memorable characters include Peg in "Lady and the Tramp," and many of the animal characters in "Song of the South." He also was responsible for recruiting and training many of the talented young animators who joined the Studio in the '70s and '80s, so his touch is evident in a later generation of Disney classic films. John Lounsbery (March 9, 1911 - February 13, 1976) started in 1935. He was noted for a loose, organic, dynamic style that beautifully suited the amorous ballet-dancing alligator in "Fantasia," the elephants of "The Jungle Book," and many more. Wolfgang Reitherman (June 26, 1909 - May 22, 1985) started his Disney career in 1935 as an animator and director. He directed all the animated Disney films from Walt's death in 1966 until his retirement in 1981, a stupendous undertaking. Frank Thomas (September 5, 1912 - September 8, 2004) joined Disney in 1934, along with his close friend Ollie Johnston. He animated a wonderful rogue's gallery of villains, including Cinderella's stepmother and Captain Hook. Among the books he co-authored with Ollie is "Disney Villains" -- a subject dear to his heart. Each of these men had unique talents and a distinctive style, but the films they created are seamless works of art -- a triumph of collaboration and collegiality. Although they are gone now, they've created a legacy of animation that lives on in the hearts of children and adults everywhere.
The Eternal Allure of a Princess
Ever since "Snow White and the Seven Dwarfs" first graced the screen in 1937, little girls everywhere have been enchanted by Disney Princesses. But don't be fooled into thinking that these ladies, with their sparkly dresses and long cascading hair, are just another bunch of pretty faces. They make strong choices, help those less fortunate, and ultimately champion the underdog. The success of "Snow White" shows that princess appeal is nothing new. It was the highest-grossing film ever until the release of "Gone with the Wind." The worldwide gross for "Snow White" was $8.5 million - in an era when a child's ticket cost 10 cents. The princess tradition continued after "Snow White," with Disney film versions of the enduring fairy-tales "Cinderella" and "Sleeping Beauty." Although "Sleeping Beauty" was Walt Disney's most extravagant animated feature ever at the time of its release, the princess genre quieted after its release. It wasn't until the late '80s and early '90s that the Princesses returned -- in what has been called an animation renaissance at the Walt Disney Studio. Belle, Ariel, and Pocahontas led the way in new classics like "Beauty and the Beast," "The Little Mermaid," and "Pocahontas." This revival introduced a new generation of princesses to a new generation of princess followers. The Insider decided to talk to young girls to find out what it is that makes Disney Princesses as appealing in 2007 as they were in 1937. Here's what they had to say. Ellie, 4, loves Aurora from "Sleeping Beauty" because she likes "her pink sparkly dress." Her sister Hazel chose Mulan as her favorite because "she is sporty and I like her black hair." Like Ellie, many girls are drawn in by the sparkly dresses and princess couture. Let's face it, these ladies have outfits to envy! Whether it's Ariel with her crimson hair and pearls fresh from the ocean adorning her neck, or Cinderella in her shimmering blue ball gown and glass slippers, there is a look for every aspiring fashionista. There is more to these princesses though, than stylish wardrobes. They teach kids to be kind to others, to be true to themselves, and to never stop dreaming. They aren't just living the life any little girl would dream of - they're also great role models. Ruby, 6, said her reason for loving Disney Princesses is that "every princess is very helpful and nice. Sleeping Beauty helped the fairies and the fairies helped her because she was nice to them." While all Princesses might be nice, they aren't all alike. Mulan, Pocahontas, and Jasmine are all princesses who show little girls that no matter what culture you come from or what you look like, you can embrace what makes you special and still be a princess. They send the message that "It's great to be unique," both in how you look and what you choose to achieve. According to Cameron, that is exactly why Ariel from "The Little Mermaid," is her favorite. At 9 years old, Cameron identifies with this princess of the sea because "she believes in herself. If she dreams something, she makes it happen." She says that she likes Ariel because "she's sort of different from all the other princesses because she's a mermaid - and she has a great voice." It's no wonder these princesses have such a following. In the end, the message the girls are getting is that you don't have to dress in a tiara to be a princess. You can be you and be a princess just the way you are.
The Newest Disney Legends
It felt like a family reunion. On October 10, when the 2007 Disney Legends were inducted at the heart of the Disney Studios, there were no paparazzi on the red carpet, and no posh posturing. The crowd was largely composed of Disney Legends - both newly minted and those named in years past - their families, and their colleagues past and present. There was plenty of hugging and laughter as old friends recognized each other across Legends Plaza, where the ceremony was held. For 20 years, the Disney Legends induction ceremony has been how Disney honors its own - the brilliant, hardworking men and women who have created the magic. This year's inductees include broadcasters and animators, executives, and songsters. Many of them have been showered with awards over the decades, but it was clear on that sunny autumn afternoon that this honor was especially meaningful - because it came from those who know them best. "This is actually one of the nicest days on the Disney lot, in my opinion, and I think that's shared with many here," said Disney CEO Bob Iger in his opening remarks, summing up the feeling of the event. "You all know that The Walt Disney Company has a very rich heritage, founded in Walt's extraordinary imagination and creativity. This heritage is kept alive by artists and designers, performers, musicians, technicians - and yes, even executives! - whose outstanding work has brought us to where we are today." No one knew better than Bob how influential two of the honorees have been - at various times in his career, he has worked for both of them. Roone Arledge headed ABC Sports and then ABC News during his long and distinguished career, while Tom Murphy piloted ABC from a single TV and radio station into an international media conglomerate. Tom commented, "I'm very proud of Bob - of the great job he's doing here. And I'm a very happy stockholder because of the great job he's doing here! It's nice seeing Roy Disney here, and Jane Eisner. And going back many years ago, I haven't seen Art Linkletter for maybe 45 years!" Art was far from the only Legend on hand to welcome the new inductees - also in the audience were X Atencio, Kathryn Beaumont Levine, Virginia Davis McGee, Richard Sherman, Dick Jones, and about a dozen more. And almost all of them had been helped over the years by 2007 Legend inductee Lucille Martin, who rose from the Disney secretarial pool to become Walt's personal secretary, and finally a vice president of The Walt Disney Company. The Disney Parks would have lost some of this magic without inductees Ron Logan, long the man behind the entertainment at the Disney Parks around the world, and Walt Disney Imagineering treasurer Carl Bongirno. Walt Disney Pictures chairman Dick Cook described Floyd Norman as follows: "Our next Disney Legend is an animator, a writer, and a self-confessed troublemaker - which is another way of saying that he's a Disney artist!" Troublesome the animators might be, but this enormously talented group yielded three Legends for 2007: " Floyd, who says of his Disney years, "From 1956 until now has been a long time, but I'll tell you - every year working with Walt, working with a great bunch of people, it's been a ball." " Art Babbitt, remembered by his wife Barbara as follows: "He was a great artist and an intellectual, and he was such an honorable man, and very deserving of this award." " Dick Huemer, whose son Dr. Richard Huemer greeted Donald Duck at the podium when accepting his father's award with "My dad drew you, you know!" From the other side of the drawing board came Legend Marge Champion, the live-action model for Snow White, the Blue Fairy from "Pinocchio," and even Mr. Stork in "Dumbo." Receiving her statuette, she said "I can't tell you how moved I am today - not only with thanks and gratitude for this extraordinary award, but also because it brings back so many memories. Seeing so many of you here is very, very comforting!" A Legend we at the Disney Insider were especially happy to see recognized is our friend Disney Archivist Dave Smith, who has a regular spot in the Insider answering your questions about all things Disney. Dave said, "I'm not an actor, I'm not a composer, I'm not a filmmaker, I'm not a Theme Park designer, I'm not any of these creative categories who have usually been named as Disney Legends in the past. But over the 38 years that I've been working as the archivist for The Walt Disney Company, I've been privileged to know and work with almost every single one of the 200 people who have been named Disney Legends in the past. It's a tremendous honor for me today to join their illustrious group." Bob Schiffer was long a legendary name in Hollywood thanks to a long career film makeup, but his son Douglas told us, "My father was in the film business for 65 years. I can say that the 36 years that he spent at the Disney Studio were his happiest. He was deeply honored to work here and he forged great friendships. He received many personal awards and accolades over the years, and I'm sure this would be his finest accomplishment." The final honoree was film composer Randy Newman, who was escorted to the podium by his good friends Buzz and Woody from "Toy Story," and who said to the assembled crowd, "I've never seen anybody work harder than the animators and crews who make animated pictures do. It's an honor to be among that company." Then Randy performed "You've Got a Friend in Me." It's a song that surely caught the spirit of this event, which was a reunion of long-time friends and colleagues with diverse gifts and talents, and one big thing in common - all of them are part of the Disney family.
Ten Ways to Spook It Up ...
It's October and Halloween is in the air. This year, why not take some family-friendly Halloween tips from Disney? We've got some sparkling suggestions for Halloween fun that won't spook the little ones - from adventures at the Disney Theme Parks to a quick-and-easy (we promise!) costume inspiration from our friends at Disney Family.com, and much more. From spectacular Halloween events to free fun at home, there's something for everyone. 1) Make a Mickey jack-o'-lantern - trace a salad plate onto white paper, then add saucer "ears." Use this template to light up the night. Or use toothpicks to attach mini pumpkins as ears to a regular-sized pumpkin, and carve Mickey's eyes and smile to complete the look. 2) Watch "Something Wicked This Way Comes" or "The Adventures of Ichabod and Mr. Toad" on DVD - two Disney classics that deal with the spooky season. "Something Wicked," although not violent, might be a little scary for younger children (but fine for tweens and teens) - "The Adventures of Ichabod and Mr. Toad" should be fine for everyone. 3) Whip up a costume from the patterns at Disney Family.com they've got detailed instructions to transform you or the kids into princesses, pirates, and more. And it's not too late to make this eerie skeleton - add a cutlass and a kerchief, and your little buccaneer can join the unearthly crew of Captain Barbossa. Or construct General Bone E. Part to grace your front porch - deck him out with pirate gear, fly a Jolly Roger, and trick-or-treaters will be shaking in their boots. 4) For all the fun of Halloween without the fright, attend Mickey's Not-So-Scary Halloween Party at the Magic Kingdom, or "Mickey's Halloween Treat" at Disney's California Adventure. Both parties offer parades, special entertainment, and treats galore. 5) Catch "Tim Burton's The Nightmare Before Christmas 3-D" in theaters. The spectacular stop-motion animation gains a whole new dimension - literally! - in 3-D! 6) Dig out "The Haunted Mansion: Haunted Hits" on CD to spook up the night when trick-or-treaters come visiting. It's a mix of new and classic spooky tunes, perfect for Halloween. 7) Print up some free Halloween fun at FamilyFun.com - they've got word searches, coloring pages, and much more to keep kids happily occupied while waiting for the big night to arrive. 8) Memorize the words to "Grim, Grinning Ghosts," that iconic tune that makes a visit to the Haunted Mansion so memorable. 9) Try Disney.com's thrilling, chilling Trick or Treat Adventure. Explore the site and see how much fun you can dig up! 10) Take your little princesses, pirates, villains, or fairies out into the night to enjoy a safe and happy Halloween!
Fairy-Tale Gowns for Real-Life Brides
Attentive footmen...pumpkin carriages...a dashing prince. Growing up with classic Disney animated films leaves many little girls dreaming of their wedding, where they get to be a princess for a day. And now, Disney's Fairy Tale Weddings Bridal Collection makes the dream come true with a line of enchanting gowns, inspired by your favorite Disney Princesses. In an effort to discover how any bride can be made to feel like a princess, The Insider spoke with Rebekah Bezer, Senior Category Manager, Global Apparel, Accessories & Footwear for Disney Consumer Products, about the genesis of the gowns. While planning her own wedding about a year and a half ago, she, along with other co-workers, began wondering why Disney wasn't part of the bridal world. "We tell the story of princesses and romance and falling in love and learning about your first kiss as early as two years old," she says. "We really own the fairy tale and idea of romance -- why aren't we playing to an adult audience? Those stories were told to these girls who have grown up and are finding their own Prince Charming. We should make something of this." And that is exactly what they did when Disney Consumer Products partnered with couture designer Kirstie Kelley. Aware of Kirstie's success within the bridal industry, Disney felt that her enthusiasm and unyielding passion for the brand of dresses matched their vision. Armed with a collection of classic Disney movies and storybooks, Kirstie sat down to translate the stories of these Disney Princess heroines into a contemporary line of wedding gowns. Focusing on six Disney Princesses -- Snow White, Sleeping Beauty, Cinderella, Ariel, Jasmine, and Belle -- she took the qualities of each and collected them into gowns made of such luxurious fabrics as silk organza, chiffon, and duchess satin. For instance, Kirstie brought the classic look of Cinderella into modern times by using silk tulle and duchess satin and silver threading sparkle. The end result - a line of gowns that's both sophisticated and ethereal. The gowns are inspired by the Disney Princesses, but they have a modern flavor with their fashionable designs. While today's woman isn't likely to be found sitting by a wishing well hoping that her prince will come, she does still want to feel like a princess on her special day. Kirstie felt it was important to envision what a modern day princess would wear, in dresses that celebrate classic romance while looking wearable to a contemporary bride. The dresses were carefully designed to suit each Princess's personality and tale of romance. For instance, Ariel's line pays tribute to the underwater princess by the use of intricate pearl beading and cascading, luxurious silk. To embody Sleeping Beauty, Kirstie and her team set out to create a regal gown by using majestic fabrics of satin and Chantilly. However, the most popular dress of the collection reflects Jasmine's Bohemian spirit, interpreted in draped chiffon and satin. With dresses ranging from a size 2 to 24, this line has something for every dream wedding -- and this goes beyond the bride herself. The accompanying Disney Maiden and Disney Blossom lines offer couture designs for the bridesmaids and flower girls. There is even a special line dedicated to jewelry for the bridal party, ensuring that every detail of your fairy-tale wedding comes true. While fairy godmothers may come in handy, a Disney fairy-tale wedding dress can turn your dreams of becoming a princess into reality...and one beautiful lifelong memory. To view the entire collection, and for a retailer near you, please visit the Web site at www.disneybridal.com

3.0 Promos 4-Pack - Characters Franchise Pages

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101 Dalmatians
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