Why Disney Changed his Mind about TV
At that, some of the ‘old’ footage will be stuff the public has never seen. We’ll show, for example, an entire sequence from ‘Snow White’ that never got into the final picture.” Within the loose framework of the four general themes, Disney plans to lend a variety to the show that will keep it from falling into any kind of patterned rut. “I guess we’ll open,” he says, “with the story of the Mouse; how he got started and what has be¬ come of him.
Then we’ll get into a description of Disneyland, and wind up with perhaps a short trailer of one of our new theatrical features.” Donald Duck, too, will star in one complete show, as will both Goofy and Pluto, all coming under the general heading of Fantasy Land. Another show in the same framework will be a behind-the-scenes tour of the Disney studio and a typical Disney off¬ shoot called “How to Do You Doodle,” in which doodles are set to music. The Adventure Land series will be based on factual films drawn from Disney’s successful “Real Life Ad¬ ventures” pictures, such as “Seal Is¬ land,” “Bear Country,”
“The Living Desert” and others. Frontier Land will be a series of films, especially shot for the TV show, depicting both real and legendary frontier characters. The first subject will be Davy Crockett. Disney’s big excitement at the moment is his new “World of Tomor¬ row” series, animated cartoons now being prepared with the help of such eminent space authorities as Dr. Heinz Haber and Dr. Willy Ley. Disney calls them science-factual rather than science-fiction and says they will represent logical extensions of what science knows to¬ day about space travel. Disney is not a complete stranger to TV, having done two-hour-long Christmas shows back in 1950 and 1951, both of them artful pitches for feature-length Disney pictures then just going into the release. And last year he was the subject of an entire Toast of the Town show. “All very happy experiences,” he says. “Sold a lot of tickets at the box office.” (On the reverse side of the coin, Disney and his board of directors voted unanimously, in December 1941, to live on inventory and not charge a nickel’s worth of profit for the tremendous amount of training film foot¬ age they were to turn out during the Second World War.) On the subject of being thrown opposite Arthur Godfrey on Wednesday nights, Disney smiles the most artless of smiles. “Heck,” he shrugs, “I’ve been up against tough competition all of my life. Wouldn’t know how to get along without it.” The inference, plainly, is that Godfrey ain’t seen nothing yet.
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