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Mouse Under Glass : Secrets of Disney Animation and Theme Parks |
Author: David Koenig
Published: 2001-01 |
List price: $15.95
Our price: $10.85
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As of: October 06th, 2008 05:22:09 PM
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Customer comments on this selection.
 ...
THIS SHOW IS SOOOOOOOOOOOOOOOOOOOO COOOL YOU HAVE NO IDEA
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OKAY IM DONE BYE!
 Disney Cookbook!
This book immearse u into some of the most memorable stories that Disney ever Produced. The infomation is wriitten perfectly and with lots of transition words too. But even though the title says ".. theme parks" only a few attractions are showed/ written in the book. This book is great for a movie triva fanastic but not good for a theme park fanastic *_*
Trivia isn't trivial--this book could have saved Disney Animation
I liked David Koenig's "Mouse Tales," so I bought this 1997 book as soon as I learned of its existence. "Mouse Under Glass" is subtitled "Secrets of Disney Animation and Theme Parks" and covers 30 Disney animated features in detail. I quibble-5 of those movies covered are mixtures of animation and live action.
"Mouse Under Glass" is divided into ten chapters and examines the Disney movie formula using this outline:
Original Tale
Disney Version
Plot Holes
Attraction Offspring
Bloopers
Cutting Room Floor
Hidden Images
Strange Reactions
The Original Tale and the Disney Version barely resemble each other. This isn't unusual in Hollywood-take a look at "The Ten Commandments" or "The Wonderful Wizard of Oz." Even the Disney Version mutated from initial treatment to finished product. I found out about this first-hand in 1983 when I made a movie. I planned for a 45 minute mix of live actors and animated special effects and wound up with 7 minutes of stop-action animation and cheesy narration. Walt Disney sought the best possible story within the limits imposed by economics and technology-then expanded the technology envelope to make the story better. Art isn't rocket science-and look at all the mishaps in rocketry!
Koenig wrote "...the most logical attraction (for a Bambi Ride) would be the shooting gallery." How about combining elements from other existing Disneyland rides to replicate Bambi's experience? There's the change of the seasons. Yes, a "shooting gallery" would be part of the ride-just like the shooting gallery in the Indiana Jones Adventure at Disneyland, with us guests as the target. Don't forget the forest fire-if Mr. Toad winds up in Hell and the Pirates of the Caribbean light up the town, a forest fire should be easy! End with the Great Prince of the Forest leaving Bambi as us guests exit. Child's play! Not to be, of course-"Bambi" is over 60 years old-not fresh enough!
Hidden Images and Strange Reactions were two of the most enjoyable parts of the book. One of the many sidebars explains the Hidden Mickeys. A Disney Treasures DVD shows a Hidden Mickey in the Enchanted Tiki Room about the year 1964-the practice of inserting images in Disney movies is as old as Mickey Mouse. Animators are a bunch of overage kids, fun loving kids. Strange Reactions begins with "Snow White and the Seven Dwarves," but the public went ga-ga over a talking mouse and three pigs. The movie, "Who Framed Roger Rabbit," kicked off a series of anti-Disney boycotts by organizations concerned that the Disney Company was following an agenda to corrupt America's children-and Roger Rabbit popularized looking for hidden images in Disney movies and theme parks. It is almost like looking for Alfred in Hitchcock movies.
Throughout "Mouse Under Glass" Koenig sprinkles sidebars such as Disney Tragedy Trivia Quiz, Top 10 Disney Oddities, and Orphan-O-Meter. Peter Pan got no sympathy!
Crisis has always faced the Disney Animated Features department. Behind-the-scenes action in the Disney Company has sparked dozens of books such as Koenig's three. Walt Disney almost left the animation business several times. If not for the success of Snow White and "Cinderella," Walt might have left the field twice. The failure of "Fantasia," "Alice in Wonderland," and "Sleeping Beauty" were hard blows to Walt. Given the success of Walt's television series and Disneyland, it's possible that Walt would have shut down his animation department himself if he had lived. After Walt's death, Disney animation coasted along. Stagnation led to a corporate raider bid to take over the company (detailed in "Storming the Magic Kingdom") and sell off the parts for a quick buck. Outsiders came in and saved the company-Michael Eisner and his team. They were in charge during the Golden Age of the 1990's-and brought new problems to Disney. "Mouse Under Glass" ends with the decline of Disney Animation. Today, Disney no longer has a traditional 2D animation department.
Koenig nails the key to Walt's success-audience focus. Walt Disney didn't always succeed, but he was in the story-telling business to have satisfied customers. Most of Hollywood views us movie goers as unnecessary baggage.
Too bad the Disney Company executives didn't read and heed "Mouse Under Glass." David Koenig's observations could have saved the Disney Company and Michael Eisner much grief.
 Bloopers and Hidden Extras in Disney Movies.
This book is different than the two "Mouse Tales" books that David Koenig wrote about the interesting and naughty little things that have happened at Disneyland.
This time Koenig has done exhausting and intense research to find out how Walt Disney drastically changed and re-created original tales into Disney movies. Ideas, storylines and characters that never made it into the film are revealed.
Mistakes that actually were either originally unseen or just left in the final print of the film.
To make the film more fun to watch, David Koenig has even discovered "Hidden Extras" snuck into the films by Disney Animators.
Can you find:
Peg and the bulldog from LADY AND THE TRAMP (1955) in the film, 101 DALMATIANS (1961) and the 7 unspotted dalmatians?
Characters from SNOW WHITE AND THE SEVEN DWARFS (1937) are traced and disguised into ROBIN HOOD (1973). You will also see disguised from THE ARISTOCATS (1970), the Chinese drummer cat be a rabbit drummer. Scat cat as a horn-blower, and the hippie cat become a guitar playing shaggy dog wearing sunglasses.
Can you find a bubble-blowing DUMBO (1941) in THE GREAT MOUSE DETECTIVE (1986)?
OLIVER & CO contains Peg, Trusty and Jock from LADY AND THE TRAMP (1955) and you may see 30 product logos like Coca-Cola and Kodak in the background in gray.
This is also "hidden stuff" in THE LITTLE MERMAID (1989), BEATY AND THE BEAST (1991), ALADDIN (1992), THE LION KING (1994) and THE HUNCHBACK OF NOTRE DAME (1996).
What movies and characters became Disney park rides and those that would have, but they never made it.
Unofficial, unabashed, but not unfair
You could say that David Koenig's tone is unvarnished and unsympathetic, or you could say it's cranky and cynical. Either way, Mouse Under Glass proves undeniably refreshing, full of compelling information and insights--provided in part by Disney animators, writers, composers, and Imagineers. It's an instant trivia treasure trove from a man who has watched Disney movies far, far too many times. Whereas most Disney authors salivate all over themselves attempting to convey the pure genius of Walt's legacy, Koenig discusses each film's flaws, often-convoluted origins, behind-the-scenes battles, and just plain bad habits with a much more dry sensibility. Yes, Disney makes magic, but they also make movies, and the book analyzes each film on its cinematic and storytelling merits. Each story is researched to compare its original form to the "Disneyfied" version, often with enlightening and surprising results; tales and insights from the folks who helped make the features and related theme-park rides merge with Koenig's own tight prose for an air of authority. Amusing and educational sidebars (such as a Disney Tragedy Trivia Quiz) and a few illustrations help break up what could have been a very long list of factoids. Koenig's platform is that "Disney has the recipe for success," but the use of cooking quotes and analogies before each chapter comes off as an awkward, out-of-context device. Also, the book is marred by a few typos--nearly hypocritical considering the attention paid to Disney's own minor mistakes. And while Koenig clearly respects the work he's discussing, his tone is one of tough love--from urging to prodding to nearly provoking and harassing the studio to do things better. He rather enjoys sticking it to the House of Mouse when the chips (and presumably dales) are down, which will likely alienate some hardcore, soft-hearted Disneyphiles. But this book is not written for those who live in a fantasy world, only those who appreciate a good one when they see it. With excellent, relevant research and precise, entertaining writing, Mouse Under Glass is as fresh and fair an analysis of Disney magic as you're likely to find.
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