![]() ![]() Furthermore, since the attraction was no longer going to be housed in Epcot, Imagineers also decided that The Great Movie Ride’s plot would focus less on education, instead taking guests on a journey through various classic films. Because the Disney MGM Studios were set in the golden age of Hollywood (the 1920s-1930s), Imagineers decided to house the attraction inside one of Hollywood’s landmarks, Grumman’s Chinese Theater. Since The Great Movie Ride (as it was now called) was now going to be the focus of a new park, Disney Imagineers decided that they needed to create a new façade for the attraction. ![]() Eventually, Disney decided to create the Disney MGM Studios, with the Great Moments and the Movies attraction as the new park’s centerpiece. After seeing the Great Moments at the Movies concept, Michael Eisner decided that the attraction was strong enough to build a whole new park around. The façade was intentionally designed to look fake as a commentary on Hollywood itself. The façade for the new pavilion was to feature a movie set backdrop with a ticket booth for an entrance. The basic plot for the attraction which was to be housed within the pavilion would not only have given guest an inside look into how films were made, but it would have also allowed them to enter the films themselves. The original plans for the Great Moments at the Movies, called for the pavilion to be placed in between The Land and the Journey Into Imagination pavilions. While the Wonders of Life was green lit for inclusion in EPCOT Center, the Great Moments and the Movies attraction was set aside by Disney CEO Michael Eisner. The team came up with two ideas, the Wonders of Life pavilion and the Great Moments at the Movies pavilion. ![]() In the early 1980’s a team of Imagineers, led by Randy Bright and WDI president Marty Sklar were tasked with creating two new pavilions for Future World. The closing number playfully epitomizes the FDR-supporting Warner Brothers’ “New Deal in Entertainment,” pulling patriotism into the mix of illogical, irrepressible, impossible theater pieces and far, far away from the economic reality just offscreen.The attraction that would one day be known as The Great Movie Ride actually began as an idea for EPCOT Center. The naughty, innuendo-laden “Honeymoon Hotel”-scandalously featuring Ruby Keeler and Dick Powell under the covers together-is followed by the deliciously decadent “By a Waterfall,” with each aquatic wonder supplanted by an even more outrageous, hypnogogic arrangement, as well as a sublime ending worthy of David Lynch. Like its predecessor 42nd Street, Bacon’s furious and funny storylines, revolving around love and money and backstage shenanigans, work again, and the comic plot finally explodes in a frenzy of breathtaking Berkeley marvels in motion, from overhead, abstract kaleidoscopes to flipbook animation and every dizzying formation in between. Uncannily similar to Berkeley’s initial claim-to-fame as an ingenious “show doctor,” James Cagney reveals his vaudeville background as dancer/producer Chester Kent, who devises a money-making plan to create elaborate, inventive prologues-theatrical shows that were performed live before a movie-to be farmed out to multiple cinemas. ![]()
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