First Season (April 22, 1964 - )

Second Season ( - 1965)

Walt Disney later divulged: “The whole thing here is the organization. Whatever we accomplish belongs to our entire group, a tribute to our combined efforts… Our World’s Fair shows - what we did was possible only because we already had the staff that had worked together for years, blending creative ideas with technical know-how.”

Marty Sklar (of Disneyland Public Relations) would join WED permanently by 1961, and soon began “playing an active role working with industry on shows and exhibits for the World’s Fair in New York. His main efforts concentrated on the Ford Show and the General Electric Carousel of Progress.”
After some negotiations and special agreements, the synergistic partnership was formed. Ford Motor Company would have their “Weenie” for their “Ford Pavilion” which would draw guests into their pavilion at the New York World’s Fair. In turn, Walt Disney would gain the funding to develop the necessary technology to run the show in New York, and once the two years were complete (and in some cases, by 1964), Walt would have a brand new attraction for Disneyland.

Ford spent two years and millions of dollars to set it up for your pleasure. But according to LOOK magazine (February 11, 1964), “Walt Disney may be the showman who made the ‘64-65 Fair!” Among the 646 acres of Flushing Meadows, he contributed to the success of four pavilions, including “the talk of the fair” - the expansive Ford Motor Company’s popular Pavilion! Walt Disney is said to have spent ten years and a million dollars on “Audio-Animatronics,” the system which runs the Ford show from a battery of magnetic tapes. Of course this expense was in addition to the total expenses that were allocated toward the New York World’s Fair of 1964. In one c. 1963 interview with Fletcher Markle, Walt Disney divulged : “We’re doing four shows for the World’s Fair… It’s about $50 million worth of shows we’re doing for the World’s Fair. Of course, that includes the cost of the building, the rental and the land. We’re doing one for the Ford Motor Company.”

According to Disneyland LINE Magazine [October 28, 1994 ; Vol. 26, No. 42], “The Figure Head Animation Department came into existence in the latter part of 1962 to meet the demands of Disney’s exhibits at the 1964 World’s Fair,” which included the Cast of It’s a Small World, the General Electric Carousel of Progress, the Ford Magic Skyway, and Great Moments with Mr. Lincoln. The same article continues : “These exhibits introduced Audio-Animatronics technology on a grand scale. Two of the exhibits, Great Moments with Mr. Lincoln and the GE Carousel of Progress, had complicated animated heads. The Head Shop team was established to assemble them.”

Dick Irvine (who was previously head of a team of artists, designers, and architects responsible for planning and developing Disneyland) lead the planning and design for Walt Disney’s four shows at the New York World’s Fair. Artists like Marc Davis and Claude Coats would contribute much to the project. Herb Ryman created a few suggestions for the Magic Skyway including designs for a “Magic Skyway Loading Area” in the Ford Wonder Rotunda. [“A Brush with Disney - An Artist’s Journey,” told through the words and works of Herbert Dickens Ryman, Edited by Bruce Gordon an David Mumford]

Stan Abrahamson of the Studio Machine Shop served as Manager MAPO Animation and was involved with Small World & Ford.

The Disneyland Staff Shop was responsible for the existence of many figures - Cave Men, Cave Women, Cave Children, Mammoths, Small Children for “It’s A Small World” and Abraham Lincoln! One of their most challenging tasks was in bringing top life the 15,000 lb “Rex” figure which was originally designed for the Ford Exhibit of the New York World’s Fair. WED Enterprises, Inc. Imagineers first sculpted “Rex” in clay. The results were a two-foot long model to be utilized by the Disneyland Staff Shop artists and craftspeople. The Disneyland Staff Shop “spent two-and-a-half months turning 20 gallons of shellac, 1,500 lbs. of steel, 6,000 lbs. of plaster, and 8,000 lbs. of clay into an 18-foot long prehistoric monster that, when cast in fiberglass, would weigh a trim 3,000 lbs. ‘We had to cast ‘Rex’ in fiberglass’, Ed says, ‘otherwise he would have weighed well over 15,000 lbs., which would have made it extremely difficult to truck him back and forth across the United States. Even at a ton and a half, he was a pretty imposing sight.”

The inside of this structure featured many pre-shows, which led all the way to Walt Disney’s biggest attraction created for the 1964 / 1965 New York World’s Fair : the “Magic Skyway - a twelve minute Walt Disney adventure through time and space”. Passengers would briefly sit behind the wheel of brand new Ford-built, Mercury, Comet, Falcon, Thunderbird, and Lincoln-Continental convertibles. Once boarded, the automatically-guided automobiles would chauffeur its passengers through ‘time tunnels’, to both prehistoric destinations inhabited by Stone-Age men, and the City of Tomorrow! Ford Motor Company’s principle attraction has been described as “an exciting trip though the Fantasyland of the past, present, and future”!

Back in 1960, Bob Gurr had previously helped design the carousel system that would be utilized in the General Electric Carousel show. Now, Bob helped design the system that moved the Ford cars through the Ford Magic Skyway show. Later, this system “became the preliminary design for Disneyland’s WEDway PeopleMover,” according to Bob Gurr’s “Capsule Biography” prepared for WED Enterprises. According to a Wed Transportation Systems, Inc. brochure: “In 1964, the first Disney-designed PeopleMover system carried guests through the Ford pavilion at the New York World's Fair.”

Don Edgren (former liaison between Wheeler & Gray and WED) had joined WED in 1961 and assisted with the structural engineering of the Swiss Family Treehouse. By 1963, Don would head the engineering team responsible for the construction and installation of the General Electric Carousel of Progress show at the New York World’s Fair.

After the ride, “step out and see a world where tomorrow is being created today” through the magic of several post-ride shows and exhibits! Visit the Philco Corporation’s penguins in “a show within a show” - the Hall of Science. The Philco penguins are excited to show you where they store their catch of fish - in their brand new 1965 Philco Freezer! See scale-model villages featuring miniature Ford vehicles. In the showroom, browse “styling X-cars” (the “x” is for experimental) Allegro, Aurora luxury lounge station wagon, Cougar II, and Mustang II - all several years in the making. These new sports cars were displayed alongside antique Ford cars like Models A, N, and T! Please step this way, as your tour of the Ford Pavilion begins HERE!

Four Walt Disney shows opened at the New York World’s Fair on April 22, 1964.

During the 1965 season, Ford gave visitors the option to see the exhibits alone without going on the ride. Still, new 1965 Fords were installed on the Skyway. Regardless, the pavilion saw an attendance gain during 1965. “During the Fair’s two six-month sessions, 91 percent of those who paid fair admission - nearly 47 million people - visited one or more of the quartet of Disney shows.” [according to “Information on America Sings,” prepared by Disneyland Publicity Department, 1974]. Among these were “six happy Southlanders” (from California) - the guests of Walt Disney at the New York World’s Fair” during July of 1964! “As official Disneyland Delegates, the four boys and two girls, with their parents, spent two full days at the fair plus another day touring New York City before returning to California. Included in the group were youngsters from Los Angeles, Torrance, Fullerton, Point Mugu, Escondido and San Diego, all members of youth organizations who took part in the special Youth Days at Disneyland” the previous Spring. “They stayed at the world’s tallest hotel, the Americana, with all expenses paid by Disneyland. Their tour included four Disney-produced attractions at the Fair - the General Electric, Ford, Pepsi-Cola and State of Illinois pavilions - plus all of the other most important features of the World’s Fair.” [Disney News, Vol.2, No. 3 ; Fall of 1964] Even Walt Disney was among the Guests of his own Show, as Bob Matheison later recalled: “I and Marc Davis were with Walt and we walked over to the Ford Magic Skyway pavilion. We walked straight up to the VIP area and they tried to take us in a back way. But Walt hesitated. He kept saying no and went out and stood in the line - which was about two hours long at the time. To Walt, the special people were all the people that were waiting in the line. He wanted to see how they were being treated. I never forgot that.”

Soon, WED Imagineering black books stored in the library would contain photographs documenting the Ford Motor Company exhibit at the 1964 New York World Fair.

According to the Tencennial Neesletter: “Ford Motor Company -- A 1965 Ford LTD is being used by the Ambassador from Disneyland as her Official Automobile. She will also have a Ford made available for her use wherever she may be appearing in the United States during the Tencennial Year.”

WALT DISNEY PRODUCTIONS WORLD’S FAIR GENERAL SECTION - STAFF ASSIGNED TO ALL FOUR SHOWS:

Other staff that contributed toward the World’s Fair show included Queens Office Manager Fred Tatum, Dick Falk who drove sightseeing vehicles, Tom Jones (of the Corporation of Engineers for U.S. Army that built the harbor), Joe Potter who served as Executive vice President of 1965 World's Fair, Gil Gerstein was a Supervisor of a non-Disney Vending Company, World Accordian

Champion-Featured Soloist Donald Hulme (who went on to perform at EPCOT), Ed Laphan was involved with Army-closed Circuit Systems.

A number of Walt Disney Productions staff contributed to the four shows presented at the 1964/1965 New York World’s Fair.

WED staff included Bill Cottrell (President of WED, Negotiated Licensing Agreement), Mickey Clark (Vice President & Treasurer of WED), Chuck Romero (Manager & Assistant Treasurer of WED), Charlotte Bureau (Secretary to Mickey Clarke & Chuck Romero), and Sue Kalleel was Bob Mathieson's Secretary.

LESSEE RELATIONS:

Pete Clark was Manager, Lessee Relations

ESTIMATES:

Harold Freeman was Estimator for all 4 Shows. Lynn Kindt was RETLAW Head Accountant, Roy McClean was RETLAW Production Control Supervisor, Ursie Loge was RETLAW Secretary Purchasing & Product Control, Mitsy Chandler was RETLAW’s Legal Secretary to Neal McClure

DESIGN:

WED Model Shop Modeller Mitsuo Natsume 

Harriet Burns, Collin Campbell, John Hench, and Viggo Nielson were artists and served as designers. Neil Gallagher was involved in Show Development & Maintenance. Blaine Gibson was a Sculptor. Jack Ferges and Malcolm Cobb were dimensional designers and Model Builders. Marc Davis designed Show Animation. Wathel Rogers was a programmer of A.A. Figures.

Monte Hoult was a Mechanical Engineer who designed the A.A. Figures. Morrie Houser was was an Engineering designer. Lou Tonarelli was Electronic Engineer Johnny Allen contributed toward Audio for A.A. Figures.

Dick Hoyt and Jim Verity were Studio Cine Technicians of the Machine Shop.

Charlie Satchel was Supervisor of the Projection Department.

CONSTRUCTION:

Joe Fowler was Head of Construction and Show Installation. Orlando Ferrante was coordinator. John Porter was in wood working and assembly.

Roger Broggie was Sr. General Manager for the Studio Machine Shop, Bob Otto was Chief Engineer of the Machine Shop and Don Miller was a Studio Pattern Maker & Welder.

Installation: Mel Black contributed toward Electronic Installation. Butch Borcherding was a Hydraulic & Pneumatic Servo Systems Technician.

OPERATIONS AND MAINTENANCE: Dick Nunis was Director of Operations at Disneyland & Director for the Disney Shows. The Management Team for Operations of Disney Shows included Bill Sullivan, Bob Mathieson, and Billy Hoelscher.

Carl W. Carlson was Supervisor of Sound Rooms. Len Jones was Manager of Safety and Wayne Van de Walker was a Security Supervisor. Mel Black was Head of Maintenance. Ted Crowell Was Manager of Maintenance.

Ralph Kent was an Artist for Training & Visual Aids

Marty Sklar was a “Staff Writer” for Concepts, Narration, and Shows Publications. Artist, illustrator, and painter Herb Ryman provided Preline design & renderings for the Ford show and Small World. Claude Coats was a show designer. Don Edgren was a Project Engineer.

Marc Miller was a supervisor and show programmer who designed and produced A.A. Figures. Tom Hogsett was a Mechanical Designer. Roland Peterson was a Studio Pattern Maker. Dick Van Every provided Mechanical Maintenance. Tony Virginia was a Controller. Bud Washo was the Superintendent of Staff at Disneyland. Corky Wilds was a Hydraulic & Pneumatic Servo Systems Technician. Studio Machine Shop Foreman Bob Booth, Don Iwerks, and Don Porterfield of the Machine Shop. Chuck Schrader was a mechanical designer. Milo Rainey of Attractions Operations.