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Cytat
Do celu tam się wysiada. Lec Stanisław Jerzy (pierw. de Tusch-Letz, 1909-1966)
A bogowie grają w kości i nie pytają wcale czy chcesz przyłączyć się do gry (. . . ) Bogowie kpią sobie z twojego poukładanego życia (. . . ) nie przejmują się zbytnio ani naszymi planami na przyszłość ani oczekiwaniami. Gdzieś we wszechświecie rzucają kości i przypadkiem wypada twoja kolej. I odtąd zwyciężyć lub przegrać - to tylko kwestia szczęścia. Borys Pasternak
Idąc po kurzych jajach nie podskakuj. Przysłowie szkockie
I Herkules nie poradzi przeciwko wielu.
Dialog półinteligentów równa się monologowi ćwierćinteligenta. Stanisław Jerzy Lec (pierw. de Tusch - Letz, 1909-1966)
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.Luckman returned a month later with a preliminaryconcept for a seven-acre Disneyland, which Disney rejected as clearly toosmall. As the weeks went by, Luckman wrote, the proposed size went fromten to twenty acres, then to thirty.Walt was screaming. 2Perhaps aware of the ongoing discussions, a Daily Variety columnist re-ported on October 27, 1952, that Disney is shopping for a big tract of landto build Disneyland a playground for kids and grownups with restaurant,theatre, miniature railway, etc. 3 Satisfying Disney s ambitions within thegeographical constraints of the Riverside site was turning out to be beyondthe abilities of an architectural firm. By the time we reached fifty acres, Luckman wrote this was probablyin late 1952 or early 1953, around the time Popular Science wrote of a park ofthat size I called a halt. Building a Disneyland that big, or bigger, wouldnot only require a larger site than the one on Riverside, it would also requiremoney that Walt Disney did not have.Disneyland was one of those rare WaltDisney projects that had run aground on Roy Disney s skepticism.BecauseRoy resisted making more than a small amount available for the planningand design of a park, Walt formed and funded a separate private company,Walt Disney Enterprises, to carry out those functions.It came into existenceon December 16, 1952.He was the sole shareholder.The corporation changedits name to Walt Disney Incorporated in March 1953, shortly before Disneyand Walt Disney Productions signed a new employment contract on April6, 1953, that explicitly gave him the right to pursue outside projects.An en-tirely predictable (and ultimately unsuccessful) minority stockholder s suitfollowed in June, attacking the employment contract and Disney s relation-ship with the company generally.4 Perhaps to put a little distance betweenWalt Disney Productions and his private company, Disney changed its nameto WED Enterprises in November 1953.5The line between the public and private companies was always blurry, butDisneyland, especially in its early stages, was a personal project of Walt Dis-ney s, distinct from the studio as little else had been since Walt Disney Pro-ductions became a public company in 1940.Disney had already bought therights to Johnston McCulley s Zorro stories as another personal project, with23 6 he was i nteres ted i n s omethi ng els e an eye toward making a television series.As a result, there was a Zorro build-ing on the lot, and that was where the first employees of WED were housed.There is apparently no way to determine the dates when Disney hired thoseearliest WED employees, since the company was separate from Walt DisneyProductions at the time (and the employees themselves were vague or clearlyincorrect when they spoke of dates).But it could have been no later thanearly 1953 that Disney hired Richard Irvine, an art director for Twentieth-Century Fox who had worked for him in the mid-1940s on the live-actionportions of Victory Through Air Power and The Three Caballeros.(Disneycalled art directors who design the physical settings of live-action films brick and mortar men. ) I think the reason that he called me was becauseI was the first one that built models of a set for him, and he could see im-mediately the flexibility by rearranging and changing, as to how we couldplan the action, Irvine told Richard Hubler in 1968.Irvine s first assignmentwas to act as Disney s liaison with Pereira and Luckman, then still involvedwith the project and exploring the possibilities of a site in Palos Verdes, onthe Pacific coast.At that point, Irvine said, Disney decided he needed a staªof his own to develop his ideas before turning them over to an architect. Andthen finally when he started to jell the ideas the momentum started to buildand he got excited about it and went ahead and did it in house, so to speak. 6Irvine brought over two other art directors from Fox, Bill Martin and Mar-vin Davis.They shared offices with Bill Cottrell, Disney s brother-in-law andlongtime employee, and Nat Winecoª, a promoter who was playing an ill-defined role in getting the Disneyland park oª the ground.7 Davis remem-bered the Zorro building as a ramshackle wallboard thing, very temporary,hot in the summer and cold in the winter.Walt had bought some periodfurniture, a dining set and other stuª.heavy dark wood furniture that hehad in mind to use on the Zorro set.Bill Cottrell.was in charge of Zorroat the time.He had some scripts and some writers, and he was looking aroundfor a cast.It might have been a feature film, or maybe a series, but it wasimportant to Walt. Davis first met Disney when Irvine introduced them in the Zorro build-ing. Then he invited both Dick and I up to his house to take a ride on histrain, which was impressive for me because it was Walt Disney, Davis saidin an interview with The E Ticket. I was pretty thrilled about all of this
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