Forever Disney

The frustration of the first Disney amusement park took its toll on Roy, but, as always, not on Walt. The imaginative executive made plans for "a park far grander than Disneyland...one that might cost $100 million" (276). That is a lot of money, and it's hard to believe Roy agreed to doing all the financing. Then again, the Disney brothers had already gone through a lot of conflicts pertaining to money, and, evidently, they have always come through. The Florida Project definitely did not unfold itself easily. Even three years could not hold all the things that needed to be attended to: "clear the dense growth, drain and refill lakes, build forty miles of canals, erect the Magic Kingdom and three large hotels, and perform thousands of other necessary tasks" (328). Despite these difficulties, construction was successful; Walt Disney World opened on October 1, 1971, and was a wondrous achievement for the Disney company.

Walt Disney World clearly was not titled as such for no reason. Roy named it so everyone would recognize "the creative genius behind all that the Disney company had accomplished" (316). After diagnosed with lung cancer, Walt died on December 15, 1966, which had a humongous impact on, ideally, everyone: "executives below Walt and Roy were uncertain as to how to proceed...[the nation] had not been prepared for it" (298-299). Not only had the studio lost its great conductor, but America lost a most loved icon. Roy continued to lead the company with the same force, but on December 20, 1971, Roy suffered a terrible brain hemorrhage. Unfortunately, Roy died "in the shadow of his renowned brother" (339). Luckily, we recognize how both creative and cunning minds started an everlasting presence that still lives in everyone today, dearly remembered for its glorious achievements.

~ Outside Reading #6

Thomas, Bob. Building a Company: Roy O. Disney and the Creation of an Entertainment Empire. New York: Hyperion, 1998.
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The spark to Disney success

Walt and Roy Disney were about to take their biggest gamble yet: an amusement park. Walt was dead set on his plan and making sure that it worked: "The idea became an obsession...he studied amusement parks and tourist attractions and talked with their operators...vision of a place to amuse and dazzle children" (179). His dream came true after only a year of construction, and more than 28,000 attended on opening day in 1955. However, none of these people may have been very satisfied, for Disneyland had more than its share of problems: "Women's heels sank in the newly laid asphalt. There were very long lines at every toilet. Eating places soon ran out of food and drink...Families stood for hours, waiting to enter the few rides that were operating" (197). However, these problems were gradually fixed, and Disneyland became the most popular amusement park in the country.

Success continued to ride into the Disney studio, especially from the spark from Disneyland. Walt and Roy's creation inspired other companies to do the same: "CBS converted an old amusement pier at Ocean Park into a collection of thrill rides and other attractions...The most ambitious new park was Freedomland in New York" (243). Unfortunately, these new grounds did not maintain popularity like Disney's. Fame also came from populations overseas. In 1930, Paul Winkler, an active French journalist, came to the studio and stated he wanted to introduce the fascinating Mickey Mouse to the European public. Roy gave him permission, and it did quite the trick: "Paul Winkler was the first of a cadre of Europeans who spread the Disney characters and product throughout Britain and the continent" (210). Much to the joy of Walt and Roy, the studio acquired many new staff members. It seems that the Disney company has gotten over the rough patches and is finally establishing the high position that it still holds today.

~ Outside Reading #5

Thomas, Bob. Building a Company: Roy O. Disney and the Creation of an Entertainment Empire. New York: Hyperion, 1998.
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Disney's bumpy road

Walt and Roy's climb to success was most dramatic after the release of the world's first animated feature, Snow White and the Seven Dwarfs: "The studio had prospered beyond his [Roy's] dreams...Money poured into the studio" (119). But just when you think that Disney was making great forward advances in their studio company, they veer off course. In 1938, the Disney brothers had presented their parents with a wonderful new home in California, near the studio. However, the new place didn't turn out so amazing, for it ended up causing the death of their mother, Flora (by furnace gas). Walt recalled, "they [Mom and Dad] were very happy before she died...she was very proud of Roy and me and what we'd done" (126). This tragedy clearly had a large effect on Walt and Roy, as it would with anyone, but the two sons were especially heartbroken. Their father, Elias, died three years later, and was buried alongside his late wife.

Along with the family, the company was at a remarkable low. At least the Disneys had something to blame for their crisis: World War II. No one could escape the economic devastation that arose during that time period. "The forties brought the war and our frozen markets," Roy remembered. "It was a bad decade for us...we were a young organization, and our fellows were subject to the draft. We lost many, many of them" (150). On top of losing many employees, Walt's new animated features did not bring in nearly enough profit to pay for production costs. First, Pinocchio created many problems in its early stages, essentially a "nightmare" (130). Then came Fantasia, Dumbo, and Bambi, and all were box office failures. With these frustrations, "the company was so broke that not even one feature was in production" (158). Everyone in business inevitably has some rough patches to get over, but they eventually disappear. The Disney brothers will definitely come out of their hole, and will have plenty of opportunities to rise to the top once more.

~ Outside Reading #4

Thomas, Bob. Building a Company: Roy O. Disney and the Creation of an Entertainment Empire. New York: Hyperion, 1998.
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Fame: enter Disney

It's hard to believe the huge breakthroughs that the small Disney studio productions company was making. Then again, how else would Walt and Roy have made it to the top? No climb comes without risks and striving towards new ideas. First, Walt decided to make color cartoons, which seemed very difficult financially. But of course, the products came through and did much for the benefit of the company: "the reaction was almost as sensational as that for Steamboat Willie...the Academy of Motion Picture Arts and Sciences gave Flowers and Trees the first Oscar for a cartoon" (81). These color pictures definitely held promise for the Disneys. Later, Walt came up with undertaking an animated feature. His wife, Lilly, one of many who questioned Walt's resolve, asked, "Who wants to see a feature cartoon? Cartoons last eight minutes. People would be bored if they were ten times as long" (97). However, Walt desired a challenge, and this only motivated him more. As apparent in today's society, making a feature-length animation took the Disney company above and beyond to give them huge success.

Though Walt and Roy's personality differences have always existed, they are most evident during the time the small company was making these huge steps in their production. Readers can clearly see the division: Walt's imagination versus Roy's sense of reality. For example, Walt wanted to produce cartoons in color, which Roy was overwhelmingly shocked. The opposition of their viewpoints can be clearly seen: "Roy argued that color would add greatly to the cost of the cartoons, and United Artists wouldn't advance any more financing. Walt countered that color would enhance the popularity of the cartoons" (80). Unfortunately for Roy, it seems Walt's ideas have always turned out for the better, no matter how much money was needed. Nevertheless, Roy mostly remained a skeptic; he comments on the company's welfare, "Very frankly, our business has been growing so fast and expanding in two or three directions, that we are still about as close run for money as ever" (89). Despite these statements, Roy does acknowledge his brother's ingenuity and his positive mindset that ultimately lengthened the Disneys' survival in the business.

~ Outside Reading #3

Thomas, Bob. Building a Company: Roy O. Disney and the Creation of an Entertainment Empire. New York: Hyperion, 1998.
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On the Waterfront: traitor vs. whistleblower

The film On the Waterfront explores the idea that even though one wants to stand up against improper conduct, they are hindered by the ethicality of this action, torn between whether they might be committing betrayal or following their individual beliefs of right versus wrong. Though Johnny Friendly and the mob are responsible for many murders, Terry is hesitant to testify against them, afraid of how they would respond. Terry does not want to be looked down upon as the traitor against the mob, especially since no one else has been before. The whole society has always feared telling honestly about the mob's crimes, even though many are witnesses. Meanwhile, the priest tries to convince everyone that unless someone stands up against the mob, the world will ever change and only acquire more evil. He remains firm in his stance, acknowledging the need for a change. Edie also believes in standing up for what's right, for she obviously desires an explanation for her brother's death. She now realizes that mob's crimes and no one's willingness to testify cannot continue. Though Terry wants to tell the truth in the interest of society, he also has an inclination to stay back for the sake of his own well-being.

I believe Terry definitely took the right action by telling the truth because society became stronger as a whole. One is never a traitor if they are helping a bigger cause and betraying someone who always does terrible things, for they don't deserve to be supported. Ultimately, the difference between a traitor and a whistle blower is who is being affected by the action. If only oneself or a few people come out better, they might be a traitor to whoever they left behind. But if one helps out the larger picture of society by telling the truth, then they can be considered a whistle blower who knows good ethics. Terry is justified in his decision to testify because all the other dockworkers stood up to Johnny Friendly, who was seen for who he really was: a powerful man with no true power. One must be considerate of who they would be affecting with their decision: just themself or society.

~ Question #2
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All My Sons: family or society?

In Arthur Miller's drama All My Sons, many characters have to make tough decisions about whether to follow the path for a better family or society. This is best displayed by the disagreement between Joe Keller and his son Chris. Joe decided to let the faulty plane parts be shipped out to the war pilots, even though he knew they would not work in the planes. He desperately tries to justify himself to Chris, pleading to him, "I did it for you...when would I have another chance to make something for you...A business for you!" (70). Joe is reasoning that what he did was for the family and for Chris to have a promising future in the business. Despite Joe's insistence, Chris forcefully couters him, exclaiming, "For me! I was dying every day and you were killing my boys and you did it for me? What the hell do you think I was thinking of, the Goddam business?" (70). Chris can relate to the pilots who died because he was also fighting in the war. Based on his experiences, he obviously does not support his father and cares much more about the society and the people who paid for Joe's actions.

It is hard to draw a fine line that states when it's appropriate to help family or society. There are so many different situations to consider. On one hand, you're always supporting your family, but when society calls for help, you should answer, for one person could make the difference in victory or defeat. Then again, one person might not be able to make any difference at all and, instead, should help their family at almost any cost. In the case of Joe Keller, he was definitely unjustified in his decision, for murder is irreversible. There would certainly be other opportunities for the family to obtain money; besides, it would be more beneficial for Chris to go out on his own and start something with his money, not what his father gives him. We must always look out for our loved ones, yet at times we must go out of our way to help the greater people. One must always look at both sides of their situation: whether the family or society is in need the most.

~ Question #1

Miller, Arthur. All My Sons. New York: Penguin, 1947.
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