Bob Gurr: interview en ligne

Voilà je me jette à l'eau .

Certains d'entre vous avent déjà que depuis peu j'ai la chance d'avoir pour correspondant et ami une légende Disney de l'imagineering en la personne de Bob Gurr.

Bon ok vous ne savez peut être pas qui il est alors pour faire simple voici ce qu'il peut se permettre de dire quand il va dans un resort Disney:"
"Si ce vehicule se déplace sur roues à Disneyland, je l'ai probablement imaginé ."









Voici sa biographie suivi d'une autre interview (en anglais) de lui :

Bob Gurr a toujours été un homme qui bouge .Et pendant près de 40 ans, il a contribué à déplacer plus d'un heureux invité des parcs à thèmes Disney à bord de véhicules de transport et de trajet de sa conception.

" Comme il est souvent dit, "Si ce vehicule se déplace sur roues à Disneyland, je l'ai probablement imaginé ."

Et il a raison ayant à son actif, le développement de plus de 100 dessins et modèles pour les attractions allant de Autopia à la Matterhorn Bobsleds de Disneyland et Walt Disney World monorails, et plus encore.

Né à Los Angeles,Bob était fasciné par la mécanique et les voitures . Il a souvent espionné à travers un trou dans la clôture le terminal aérien de Glendale regardant les cockpits des avions de transport , à l'école il décorais ces copies avec des croquis automobile.

Plus tard, il étudia au Art Center College of Design de Los Angeles, avec une bourse de General Motors, où il a étudié le design industriel. Après avoir obtenu son diplôme en 1952, il a été embauché par Ford Motor Company, mais très vite se lança lui même dans le monde des affaires.

Peu de temps après, la Wed (Walter Elias Disney) entreprises, aujourd'hui connu sous le nom de Walt Disney Imagineering, engagea Bob comme consultant sur la conception de mini-voitures pour Autopia. Walt Disney a été tellement impressionné par les conaissances de Bob et ces compétences qu'il l'a invité à rejoindre sa famille Imagineering , qui était alors exclusivement dédié à la conception et la construction de Disneyland.

Au cours des 40 années qui suivirent , Bob a travaillé dans le développement de transports comme les légendaires Flying Saucers de Tomorrowland, les voitures anciennes et le double-decker bus de Main street,le Ford Motor Company's Magic Skywaypour l'exposition universelle de New York en 1964-65, et plus encore. Bob a également contribué à la conception du premier audio animatronics Abraham Lincoln vedette de l'attraction great moments with Mr Lincoln .

En 1981, Bob a pris sa retraite de Imagineering pour lancer GurrDesign, Inc, et trois ans plus tard, rejoint les forces créatrices avec deux anciens Imagineers pour former Sequoia Creative, Inc La firme, spécialisée dans les "spectacles" et "animaux fantastiques" développant le King Kong et le Serpent de conan d' Universal Studios, Hollywood.

Parmi ses autres prouesses mécaniques, Bob a joué un rôle dans la création de la mystérieuse UFO pour la cérémonie de cloture des JO d'été de Los Angelès en 1984 . Il fut également consultant sur l'animation des T-Rex pour le film de Steven Spielberg "Jurassic Park".

Bob continue d'être consultant sur les projets de Disney, comprenant la créature géante Ursula présenté à Tokyo DisneySea. En 1999, il a été honoré par la Themed Entertainment Association's Lifetime Achievement Award (THEA).

Bob Gurr continue de faire de la mécanique magique,en vivant sa passion .

Bob Gurr was one of the original Imagineers who helped with the creation of Disneyland. He joined in 1954 to assist in the creation of Autopia cars and ended up staying until 1981. During that time, he contributed to the design of the Matterhorn, Great Moments with Mr. Lincoln and the Flying Saucers. He was the lead designer for the Monorail and Main Street Vehicles. When he left Disney, he founded his own design company and went on to create animatronics like King Kong for Universal Studios and Godzilla for the 1998 movie.

-WDI FC:So Bob, tell us about your first encounter with Walt.

Bob Gurr: My first encounter with Walt was very interesting from the standpoint that I'd never met him - I didn't really know what he looked like. We had a little Autopia car over at the Walt Disney Studio that didn't have a body on it - I had been hired to come over and draw a body for this little car. When guys stand around talking about cars, you walk up and you put your foot on a tire and you rest your elbow on your knee and you talk cars. We had a spare wheel available, and this guy walks up and he looked kind of ratty - unshaven - and he had a Roy Rogers gun belt (a kind of belt with little painted silver bullets in it) and he had a weird little tie with a little symbol on it. In the course of the conversation with these other guys, I thought this guy was maybe the father of one of the night guards here. But they kept calling him Walt and he kept asking me car questions. After a little while it dawned on me that "that's Walt Disney!" We were never formally introduced - he was just a regular guy on a Saturday morning looking in to the details of designing something for Disneyland. Just a regular course of work, no formality, and it never changed after that.

-WDI FC:Do you have a favorite Walt story you'd care to share?

Bob Gurr: Everybody has so many Walt stories…people probably have a hard time giving you something specific. I can tell you one that would give an insight into how Walt saw Disneyland. Example: He worked with so many people - getting them to develop the ideas that he had in mind as to what's going to go in the Park. One day he came into my office and was just sort of sitting there, kinda quiet, and then all of a sudden he slaps his knee and he goes, "Bobby, do you know what we don't have in Disneyland? We don't have a double-deck omnibus on Main Street!" And I said, "No, we don't. But I know where there is a double-deck omnibus that we can look at for reference. It's over at Travel Town - it's an old yellow coach. I could go over and make some measurements of it." And then Walt said, "Well, I've got a little dinky toy in my office. Let me get up and bring it back." So he comes back and gives me the little car and we agree to start designing an omnibus. About maybe a half-hour later, the phone rings and the Accounting Department says, "Walt was just here. The accounting charge number for the Omnibus project is…" and then she reads off this accounting number. So I was impressed that even when Walt had an idea to start something, he still had to go get a charge number for the project. And that was in 1956 and we built the Omnibus and then we built another Omnibus in 1957. Then, one day in the spring of 1958, Walt comes into my office as he usually does and he just sort of sits there and I looked at him and I said, "Walt, you know there's one thing we haven't got in Disneyland! We don't have a fire engine on Main Street!" And he said, "Yeah, we don't have a fire engine." Privately, I wanted a fire engine and I knew that everybody else told me that the only thing that ever goes into Disneyland…those ideas come from Walt, they don't come from anybody else. But I wanted a fire engine. Anyway, he goes away and a little while later Accounting phones up and says, "The charge number for the Fire Engine is…" so I knew that Walt had gone to Accounting and had decided we're going to have a fire engine. That's the only attraction in Disneyland that's my attraction.

-WDI FC: How did you end up joining Imagineering?

Bob Gurr: I joined Imagineering not so much as joining Imagineering because it wasn't called Imagineering in those days. We were all scattered around the Studio. In 1954, around October, I got a call from a counselor at the Art Center College of Design who said, "Meet me at the Disney Studio in about 20 minutes." Driving out to the Studio, I began to wonder, "Well, what is this about?" because I had just seen a painting in the LA Times of a new amusement park called Disneyland, and I thought, "That's interesting." And I thought, "I wonder what they want," and then it dawned on me that since I would have Sunday dinner at the Iwerks house every month, and the last lunch I had out there Ub Iwerks (who was Walt's partner who started the company) was telling me about a little car running around the back lot that didn't have any body on it. I'm a car designer, and they called the Art Center school about a car designer and I thought, "You don't suppose I'm being asked to design a body for the little car?" When I got out to the Studio, Dick Irvine - who at that time was in charge of all the designers for everything for Disneyland - met me at the gate. He took me up to his office and, sure enough, they wanted somebody to come in and draw a body for a little car.

In those days, a lot of people were hired as working for Walt Disney Productions because WED Enterprises, as such, was scattered all over the Studio in a lot of rooms, here and there, and it wasn't a company all by itself. That didn't occur until around the 16th of August of 1961, when everyone was put over at 800 Sonora in Glendale. So I worked for Walt Disney Productions starting in October, because after about two or three weeks of sketching car drawings, Roger Broggie (who ran the machine shop at that time) phoned me up really early on a Saturday morning and said, "Gurr, do you draft?" And I said, "Yes." And he said, "Get your tools and get over here." So I went over there to do some drafting for Roger Broggie in the machine shop. After a few more weeks of this, he said, "Walt comes in here and tells me to keep you real busy." And I said, "Well if this Disneyland thing might work out, maybe I should quit my regular job and come over here." So I was immediately hired as a Walt Disney Productions employee, like a lot of other people. Then later on we were all put together into WED Enterprises, but we were all working for WED the whole time and it really didn't matter what division people of the company were in as long as they were still WED people. Kind of a long-winded story because you're not just hired here and put there.

WDI FC: Do you have a favorite Imagineering project (either one you worked on or one you didn't)?

Bob Gurr: It's interesting that you ask the question in that manner because projects that I either worked on or I didn't…there are a lot of projects we worked on that never were built.

WDI FC: That's our next question. [Laughter]

Bob Gurr: In fact, that probably leads to a whole idea someday…somebody should write a book on "The Disneyland that Never Was" of all these interesting ideas. Not all the ideas are going to survive. A lot of ideas will pop up in different places. I worked on so many and they were so interesting, I'd have to answer your question by saying Abraham Lincoln was the most interesting from the standpoint that Walt was so serious about wanting an animated figure that really worked and was so serious about the whole idea of how important Abraham Lincoln was as a president of the United States and was willing to take the giant risk of not only making the world's first really super animated figure, but doing it in a very serious personage such as Abraham Lincoln. This means you don't do anything wrong - this thing has to be dead serious and technically dead-on. There were a whole bunch of people working on that project, and I was given the task by Walt to design all of the mechanical structure inside the Lincoln - not the head, not the hands, but all the structure all the way down into the elevator equipment down below the stage floor - and to do that whole thing in about 90 days, while we were working on other projects at the same time. In hindsight, when we saw the effect on Walt when this Lincoln worked, and the effect on the public seeing a superb animated figure - first time out - and something like the president of the United States, it was obvious how tickled pink Walt was. He got his idea to work…he got people to figure out how to do it. And even though it had a few technical troubles for the first few weeks in 1964 at the World's Fair, it just blew people away. I was tickled pink to work on that and that's why today, sitting on my desk over here, is the first test part we made for Abraham Lincoln's hip joint. Ever since that job, I've always kept that in sight when I'm working on things, because that's the good omen - that's the connection with an idea that Walt Disney had that really worked and I really enjoyed doing. I was not an animator. I knew nothing about human physiology…I was a car designer…and I was just sort of thrown in to designing the first Audio-Animatronic figure and I had to go figure out how to do it. That's what made that the most interesting Disney job.

WDI FC: Did you have a project that was never made that you consider the most frustrating?

Bob Gurr: Yes. We had a project that we got up to the prototype development stage and we only made one article and it didn't work well at all and it was called the "Bobalong Boat" for Walt Disney World. The reason it didn't work was, unlike previous jobs, where there was a single idea, usually from Walt, that made great sense, and it was easy to do, even though it had never been done before. The Bobalong Boat was a project that had spanned over several years and was planned sort of by a committee - in other words, there were so many people involved as to what this attraction should be that it constantly changed. The styling of it constantly changed, the technical side changed, the operations changed, and the company decided to do a full engineering job and to make all the tools to make a production run of maybe 50 of these boats and produce the one boat, knowing they would probably go ahead with the rest of the boats. And then the whole thing made no economic sense when they got it down to Walt Disney World. That came at a time right after Walt Disney World opened…up to that time, most projects made great sense and went right straight ahead and that one just fumbled all over and then just died a natural death out in the lake when it didn't work. That one probably aggravated me the most out of all the jobs to see that you can spend all this time and all this effort, with all these people, and the thing doesn't pay off and it doesn't make any sense. It was, as I say, a committee job compared to being a job where you have one guy, like a Walt, championing an idea and everybody follows it and it works.

WDI FC: Do you have a preference for one Disney Park over another?

Bob Gurr: Disneyland, obviously. You go to all the other Parks, and I haven't been to Tokyo Disneyland but it's an absolutely gorgeous place. I've been to Disneyland Paris (just before it opened)…I've obviously been to Walt Disney World a number of times, but each time I come back to Disneyland and I look down Main Street and I see how little the castle is and the charm of the things that are in Disneyland - that's one side of it. But the other part of it is that like anybody who was there on Opening Day, I can still vividly remember Opening Day and what it was like to be in the parade going down Main Street. None of the other Parks give me the same memory like the Opening Day at Disneyland does.

WDI FC: Looking back, was there anything you couldn't believe that you actually got to work and pulled off?

Bob Gurr: Not really…and I'm not saying this to brag or anything, but it's just that Walt would always launch us into things that could actually get done. In other words, he didn't send us out so far to do something that turned out to be impossible. He sent us just far enough so that you could do it, but further than anybody else had ever gone. This was kind of a general way that Walt worked and everybody kind of trusted him about it. In other words, you're asked to do something you've never done before, and on one hand you're scared - you don't know the outcome - but the batting average was so good that anything Walt set his folks to doing, you usually got it done, even though it did a lot of changes as it was going on. I'd have to say that I can't remember anything that was an unusual concern that we couldn't make it work. That might not be the answer that somebody else'll give you, depending on how frightened they were or how far in over their head that they were, but I'd have to say that I was very used to doing stuff that had never been done and I never did anything over so I never got to be good at anything because everything I did was totally new and totally different. So that's like saying, "Well, then you're equally scared of all the things you've never done," but all those things eventually worked because the projects made sense before they started.

WDI FC: What removed Disneyland attraction do you miss the most?

Bob Gurr: Boy, there's another one. That's like saying, "Of all your children who have been stolen, which one do you favor?" That's a tough question because in a way I miss them all, but I know that as time changes they do go away. In a way, I kinda think the sky ride is the one that I kinda miss because sometimes the Park can be really busy - jammed with a lot of people - and that was the one little ride where you could go over and for a few minutes you could just have an overview of the whole park and it seemed to be quieter because you're just going along in a bucket by yourself on one side of the Park. I think that's the only one I could say…if I had to pick one out of everything that's not there anymore…obviously anyone who ever designed anything for Disneyland feels a slight pain as something goes away. As you might have noticed, on my refrigerator, I have all these little refrigerator magnets of attractions that, one by one, aren't there anymore and I kind of have this feeling when I wake up in the morning and I look at my refrigerator and I think, "Gosh, everything I ever worked on…these are things that are not there anymore, they're gone forever." What was once a great attraction is now just a $5 refrigerator magnet.

WDI FC: Briefly describe for us a typical day at WED Enterprises in the 1960s.

Bob Gurr: Let's start by saying 1960, when we were still in the Studio. We knew there was a WED Enterprises because that's what your paycheck said. We knew we had meetings and it said WED Enterprises, but Walt would come around to your room all the time and then you'd get together and work with the other guys and you'd have to run all over the Studio lot finding out who's where. And they would move a lot because the Studio had all these little offices on all these different floors in different buildings. At that period in time I worked out at the machine shop, which was way out on the East end of the lot. That meant that anytime I had to go to a meeting or go get some information from one of the other designers or animators or show developers, I'd have to go for a big long walk and go find them. That didn't seem to get in the way, even though there was no WED as such - it was just a scattered bunch of folks doing their work. Around the 16th of August of '61, we all found ourselves at 800 Sonora and then it became a case of where we had several great big rooms so we had different departments and different people all working in the same room. In other words, we had really good communication. Most of the days were spent working rather than in meetings, and I'm saying that from the standpoint that after the Xerox machine got invented, and after all the communication - computers and e-mail - came along and more and more meetings [were held], there's way more time spent nowadays in meetings or generating paper or reading somebody else's paper or sending out e-mail or reading e-mail. Compare that to say 60/61 where we spent all our time actually designing. In other words, when we were designing things, we were starting here and going there and not wasting a lot of time constantly changing, constantly reviewing things, stopping to have something analyzed, budget meetings, massive revisions from upper management…coming in and changing everything…when Walt would set us on a course, you would start designing something, you'd start drawing something, you'd start building something in the model shop, and you'd just keep right on going with everybody else. It was extremely productive. This may sound crazy to tell you this today that that's what life was really like, but everything was productive. Time wasn't wasted on all these little side issues. Almost as if in some magical way Walt ran the company in such a manner that if his idea was going to work, and it started, and the accounting numbers were tracking the job costs, those job costs were done in such a manner that it didn't stop and intrude by stopping work, asking for reviews of this, reviews of that…we didn't have formal project managers, we didn't have coordinators in those days. Everybody working on a job did part of the project management as part of their job….collectively, all of us working together. Maybe we had one or two people kind of keeping track of what was going on, but we didn't have like a project manager who managed the people while doing nothing with coordinators who reported to the manager while doing nothing except stopping somebody from work in order to answer their question. To summarize that as to what it was really like in 60/61, your day was 8 hours spent pretty much pencil on paper, or tool in clay, or whatever it was that somebody was doing. You weren't stopping to go to a meeting…you weren't being stopped by a coordinator coming to your office to say, "Please update me with this information so I can give it to our manager for the next meeting." That's a cruel case of "well, do you want me to keep going on a project or do you want me to stop and answer your questions?" That's a very cruel division in how people use their time. I would say today that many companies do not get a chance to put in 8 solid hours of actual design or actual fabrication to get something done.

WDI FC: How did that atmosphere change after Walt died?

Bob Gurr: It didn't change right away because when Walt died it was just like, "Well, Walt's on another vacation." Sometimes he and Lilly would go to Europe or someplace and everything would just run for three or four weeks at a time when he's not there because we were already set on a course of things working. When he would come back in, we were on the same course and he'd come back in to paying attention to what everyone was working on like he usually did. After December of '66, we had so many projects and work that we kept on going on the momentum and inertia of where we were going because we had everything to do with the Magic Kingdom and Florida to keep going on…to execute all the shows and to get it all done. It didn't start to sputter until late 1971 and early 1972 where we began to lose a little bit of direction. That was the first time that we really noticed that Walt was not there because of the new projects we were working on, there weren't any really strong ideas where somebody would jump up and say, "We're going to do this and here's what I'd like to see." In fact, in the spring of 1972 the then-President Card Walker came over to WED and had a major meeting with us and the thrust of the meeting was, "OK guys, now that we've got the Magic Kingdom and Walt Disney World up and running, what are you guys going to do next?" And I remember I just sank into my chair at that thought of "Oh my God, the President of the company doesn't know where we're going and he's asking us." And that, to me, was the big turning point that said, "now we're missing Walt."

WDI FC: We believe that you'll get a Main Street Window at some point in the future. What do you think it should say on it?

Bob Gurr: It's interesting that you ask that question because I'm on a window at Walt Disney World. That was probably put in there in the 70s I think and it was three of us. It's a window right by the little movie house and I think it says "The Big Wheel Company" and it's got a painting of a wheel. It's Dave Gengenbach, George McGinnis and myself because we were the three guys who were designing vehicles. And as you pointed out on your site the other day, Dave passed away a few weeks ago [March 30]. Yeah, it would be nice…it's always nice to have your name on a window…that's the dream of everybody who's ever worked anywhere in the Disney organization would like to have. It would be really cool if there ever was one at Disneyland, even though we did a lot of work for Walt Disney World. But if you ever had a window by yourself, it would have to be something along the lines of Monorails because I was the first guy to be asked to design the very first Monorail in America. I was the very first guy with the very first uniform to drive the very first train on its very first trip…so it would have to be something do with "A Designer with a One Track Mind."

WDI FC: What's your favorite song in Disneyland?

Bob Gurr: My favorite song in Disneyland is because it's not my favorite…"it's a small world." The reason for that is that I was working at the World's Fair, where the song was first used, and as we were installing all the Small World equipment and then tuning and adjusting all the equipment, we had to play the music to get everything in sync. And then one day a guy found out that you can run the tape backwards and the sync is exactly the same. Can you imagine what it's like to work day in and day out in the Small World ride listening to "it's a small world" forwards and backwards? Then I came home from working for a few weeks in New York City on the World's Fair and just as I get in the house, my wife stops me and says, "Just a minute! Before you come in, the children have something for you." They were all sitting at the piano playing "it's a small world." I didn't want to hear that one more time. So that turned out to be my favorite.

WDI FC: How much sleep did you get the first week Disneyland was open?

Bob Gurr: The first week Disneyland opened…in a way, you can't define it as the first week Disneyland opened because everything blended together - in other words, from around April or May of 1955 all the way until probably Christmas of '55 was one big long piece of aggravating chaos…opening just happened to be in the middle of it. We were having so much work getting all the equipment installed, getting things tested and getting things to work up until the Opening Day. Then we had to stop and do the Opening Day parade and then resume Park operations, but now we had Park operations that a lot of people - Guests that were paying money. Now all the equipment was breaking down almost immediately. Then we went through a period of time of very quick repairs to more thorough repairs to some redesign to some serious redesign all the way through the rest of that year. It all blended together. It was all seven days a week and long, long hours. I lived in Studio City, which was about 45 miles from Disneyland, and the Santa Ana Freeway hadn't been built yet. So if you can visualize driving every day from Studio City to Anaheim on surface streets, and then driving back - and I would get home around midnight - and then I would have to be in the Park at about 7 in the morning. It was two hours down and two hours back, 7 days a week, for that whole period of time…and then due to accounting misinformation, I was never paid the overtime because nobody gave me the instruction that I had to prepare special overtime tickets every week. Not until late in the year, when I finally totaled it all up and it was thousands of dollars that was owed to me, the Accounting Department simply said, "Sorry! You didn't comply with the rules and you don't get anything. So that was an extremely long summer and there wasn't any difference between before the Park opened and when the Park opened afterwards. We were busy that whole time.

WDI FC: Did you work on the Phantom Boats or Motor Boat Cruise?

Bob Gurr: No! The Phantom Boat was probably the most pathetic thing I ever saw from a standpoint that Bruce Bushman designed this kinda cute-looking boat and I forget who built the boats, but inside an enclosed area they used an air-cooled engine…that was ridiculous because the motors would overheat and they'd only last a few hours before the motors were totally burned up. They also had an operation where ride operators were giving people rides in the boat, which meant literally there was one ride operator for every two Guests. Economically, it was totally hopeless…mechanically, it was a totally faulty design. After a few weeks it died a totally natural and welcome death.

Moi, je n'ai pas de questions, mais je ne suis pas contre un autographe, si c'est possible ...

Même chose Basil, j'admire vraiment son travail et ce qu'il a apporté aux Parcs Disney !
Merci beaucoup Thierry pour cette interview.

Comment se déroule la création d'un audio-animatronic ?
As-t-il un jour recnontré Walt Disney ? Si oui, comment était il ? De quelle manière intervenait-il sur les différents projets du parc ?

Bien, si il le veut bien, un p'tit autographe ferait toujours plaisir !

@+
Tib's

Tout d'abord tu en a de la chance Thierry!!!!!!!!!
J'aurais voulu savoir où puisse t-il une telle imagination? je sais qu'il doit rester dans l'univers Disney mais malgré tout comment fait il pour pas faire deux fois la même chose?!!

Quel le projet qui lui tiens le plus à coeur?

Et aussi même si il continu à faire de la mécanique magique ne s'ennui t-il pas trop maintenant car les défis ne sont plus mêmes?

A t-il trouvé un changement après la disparition de Walt Disney?

Voilou Thierry j'espère qu'il n'est pas trop tard pour mes questions et dis lui un GRAND MERCI pour tout ce qu'il a crée!!!!!! Et j'espére que tout ce qu'il a fait sera exposé dans un musé si Disney ne s'en sert plus!!!!!!!!

ps: si tu peux avoir un autographe je serais egalement interessée!!!

Merci à toi te nous faire partager ce moment avec ce GRAND MONSIEUR!!!!!!

Me revoilà j'avais oublié, cette question est pour toi Thierry j'aurais voulu savoir comment tu as eu la chance de connaître ce GRAND MONSIEUR!!!!!!???

Merci

Petit message pour vous dire que j'envoie à cet instant précis vos questions et , dès que j'ai un retour je vous le mettrais en ligne .
Pour répondre à ta question mimine , en fait j'ai cherché à le contacter par écrit afin de le remercier pour son travail et par la même occasion lui demander un autographe .
Ensuite , et à ma grande surprise, j'ai reçu un e mail de lui, tout d'abord pour m'informer que ma dédicace avait été posté puis , une fois le contact établi avons parlé un peu de musique et autres sujets divers.
Brefs le tout en plusieurs e-mails Je vais d'ailleur profiter de cette petite interview pour poser également mes propres questions.
En ce qui concerne ta question Tib's à savoir s'il a un jour rencontré Walt je peut déjà te répondre par l'affirmatif je vais donc passer à celle sur la personnalité de Walt etc

Je tenais à te remericer en passant, Thierry, pour nous faire partager ta chance d'être en contact avec une telle légende ! C'est une chance de pouvoir poser des questions à ce genre de personnes, c'est très gentil de nous la faire partager !

@+
Tib's

Petite question en esperant que ce ne soit pas trop tard, comment la WED Enterprise l'ont-ils contacté, et surtout dans quelles circonstances a-t-il été embauché ? Sur quels types de projets travaille-t-il précisement en ce moment ?
Merci beaucoup Thierry ! (et un petit autographe ne serait pas de refus... si c'est possible !)
EDIT : Trop tard apparement...

Pour aider à patienter :

Lots of questions.

Pardon, I have a very busy week ahead, and a few days next week in
Palm Springs. But I will find time soon to answer all questions.

Merci...

Bob
Voilà la dernière news du moment

Comment se déroule la création d'un audio-animatronic ?

Some regular Audio-Animatronic figures are built by an outside supplier to Disney Parks, while certain very secret ones are developed inside Walt Disney Imagineering, such as Lucky the Dinosaur, and Mr. Potato Head.

De nombreuses creations audio-animatronics sont conçues par des sous traitants aux parcs Disney .cependant certaines créations secrètes sont conçues au sein de Walt Disney imagineering comme lucky le dinosaure et Mr Potato Head.

J'aurais voulu savoir où puisse t-il une telle imagination? je sais qu'il doit rester dans l'univers Disney mais malgré tout comment fait il pour pas faire deux fois la même chose?!!

My inspiration has always been to listen to what someone wants, and then to think clearly to find the simplest practical solution.

Mon inspiration vient de l’écoute de ce que les gens veulent et ensuite de penser clairement afin de trouver la solution pratique la plus simple .

Quel le projet qui lui tiens le plus à coeur?

The Monorail 1959!

Et aussi même s'il continu à faire de la mécanique magique ne s'ennui t-il pas trop maintenant car les défis ne sont plus mêmes?

Since I'm retired, I have not done any projects since year 2000

All my life I have naturally wanted to bring to creation anything which has never been created before.

Depuis que je suis à la retraite , je n’ai pas fait de projet depuis l’année 2000.

Toute ma vie j’ai voulu, naturellement, apporter à la création ce que je n’avait pas créé auparavant

A t-il trouvé un changement après la disparition de Walt Disney?

The Disney Company grows constantly with new ideas, and tries very hard to do them well, so as to continue Walt's creative legacy. The few living Disney Legends continuously try to inspire the new designers to not lose Walt's vision of doing everything to high quality.

La Walt Disney company grandit constamment avec de nouvelles idées et essaie avec rigueur de les faire bien, afin de poursuivre l’héritage de Walt .

Le peu de légendes Disney encore en vie continuent d’essayer d’inspirer les nouveaux créateurs afin de ne pas perdre la vision de Walt de tout faire avec une haute qualité.

J’y ai également rajouté 2 questions :

Quand vous m’avez envoyé votre photo prise à Disneyland resort Paris j’ai pu découvrir que vous y étiez venu récemment était ce votre première visite ? et que pensez vous de notre resort ?

My visit was in July 2007, first time there, and I found the whole park totally beautiful. I was given a long day's tour with my friends from Paris, starting with breakfast with the Managing Director of Disneyland Paris, followed by an escort who showed us everything in VIP style, while I told him stories.

Ma visite date de juillet 2007 c’était mon premier séjour à DLRP et je trouve le resort merveilleux .

J’ai eu droit à un long programme en compagnie de mes amis de Paris commençant par un petit déjeuner avec le directeur management du resort suivit d’une journée VIP avec escorte alors que je lui racontais mes histoires.

Ci dessous deux photos complémentaires en rapport avec l'interview:

Merci beaucoup pour cette super interview

Wow, Vraiment excellent! merci Thierry

Merci Merci beaucoup Thierry c'est génial!!!!!
J'étais vraiment impatiente d'avoir les réponses!!!!

Bravo et merci pour ce bon moment d'interview !

Merci mon Titi, je rêve de la lire cette interview depuis que tu m'en as parlé, et c'est un pure moment de plaisir.

Bravo tu nous as encore épaté

Thierry for Président

UN grand génie cet homme

Merci à toi Thierry

pas de quoi je suis ravis d'avoir pu partager avec vous cet interview

petit up de cette interview pour ceux qui seraient interressés

petite remonté de sujet pour ceux que ça pourrait interresser