Monday, February 17, 2020

Pheaturing Julie Andrews


All right, ladies and gentlemen...


Hey, kids, welcome to the Phile for a Monday from Walt Disney World. How are you? Want to experience park food at home? Just take your favorite meal, add four cups of sugar, deep fry, and charge yourself 36 dollars! Disney is auctioning off some historic park artifacts! The first item is a vintage coin-operated fortune-telling machine WITH A HORRIBLE CURSE! Cast Member Monica, please hug everyone at the single ride line today and say, "You have so much love to give." Other Cast Members, DO NOT LET ON that Epcot was built in a swamp and is sinking one inch every hour. Due to a delivery error, today the only food in the park is Dippin' Dots. Oh, and the reports are true... for the first time, a one-day park ticket now costs $200,000,000,000,000. That's two hundred trillion dollars if you didn't know. I got into a boring conversation with a vulture. Man, they tend to carrion. This one wouldn't shut up about the deadly car cass he got into.
In case you missed it, Disney is already planning a live-action adaptation of the classic fairy tale "Rapunzel." Although it is still unclear whether the new film will be a remake of the animated flick Tangled, one actor is already interested in playing the male lead. "The Punisher" star Ben Barnes has just admitted that he wants to portray the legendary Eugene Fitzherbert aka Flynn Rider. Barnes recently retweeted a fan's post which suggested that he should be cast in the Tangled remake.


Not surprisingly, Barnes' followers were thrilled with the idea and have started tweeting out more pleas to Disney to cast Barnes as the swashbuckling hero. For now, Disney hasn't confirmed the casting for the Rapunzel movie. However, we're waiting on some good news for Barnes. It was previously reported that Disney has called on Ashleigh Powell (The Nutcracker and the Four Realms) to work on the screenplay for the Rapunzel film. However, it was not confirmed whether the new movie will adapt the classic Brothers Grimm fairy tale or if it will be a remake of Tangled. Stay tuned for more updates on this story.
Have you been waiting for Disney to drop some official Baby Yoda merchandise? Disney has finally unveiled an awesome Baby Yoda plushie that looks almost exactly like the beloved character from "The Mandalorian." However, Star Wars fans will need to wait a little longer before they can get their hands on the Child. The retail outlet ShopDisney has finally added the Child plush to its listing and it's just as adorable as the real Baby Yoda. The plushie is 11 inches tall and comes with a faux suede coat with fuzzy trimmings. At $24.99, it's the perfect gift for any fan of "The Mandalorian." Here it is in case you're wondering...


Not surprisingly, the item is already sold out in pre-orders alone. For now, it is unclear when the plush toy will be available again. However, those who were lucky enough to pre-order can expect to get their Baby Yoda by April 20th.
Grab the tissues because you are about to sob your eyes out. A newly engaged couple decided to share their magical marriage proposal, because well, it was amazing. Beyond amazing, to the point where I had chills from beginning to end. This man invested so much time and effort in the name of love. Lee Loechler, a Boston based filmmaker, took his high school sweetheart, Sthuthia David, to see a screening of her favorite Disney movie, Sleeping Beauty. What she didn’t know was that the ending of the 1959 classic had a very different, but happy ending. Loechler posted the video on YouTube, noting, “For the past six months, I’ve been working with an illustrator to animate my girlfriend and myself into her favorite movie, Sleeping Beauty. On 12/30/19 I popped the question in a theater filled with our friends and family.” The scene from the classic film shows Loechler as Prince Phillip as he leans in for a true love kiss that awakens Princess Aurora. The princess just happens to be an animated Sthuthi. Here's a screen shot...


The thing I loved most about this video was the fact that she was absolutely clueless as to what was going on. Her face was hilarious, confused that the characters were different. She is really having a hard time processing what is happening. Also, the people in the back laughing is just incredible. That’s when she sees the prince’s face, which is identical to Loechler, and her eyes widen. In the movie, the soon to be groom faces them in the audience and opens a jewelry box with an engagement ring. The moviemaker animated the clip to toss the box to his real-life to himself. He then catches the box and gets down on one knee. David quickly realized that the audience was filled with her family and friends, anxiously waiting for the moment. He then stated, “I love you with all my heart. Including all of its ventricles, atriums, valves… she’s a cardiologist. Sthuthi David, MD, will you live happily ever after with me?” As she said yes, the movie then resumed and finished with the popular song “Once Upon a Dream.” Talk about a fairytale moment. Time to step it up, men. Snow White proposal, anyone? Loechler also shared an Instagram post thanking Kayla Coombs who helped with animating David’s favorite film. He stated, “The only thing better than seeing the smartest person I know completely dumbfounded was knowing we’d get to live happily ever after together. Enjoy!”
Epcot had a French perfume shop and I wonder if they sell a perfume like ones that Etat Libre d’Orange makes.


Do you want a perfume that is designed to smell like blood, sweat, sex, semen, and saliva all in one? Well, have I got the product for you. I’m serious, that is EXACTLY how the company is advertising their product. This perfume is called Secretions Magnifiques, and apparently, it’s a fan favorite, because who wouldn’t want to be intrigued by that description. BUT, according to the perfume reviews, the brands most popular scents are called Fat Electrician and I Am Trash, which you can buy on Amazon. I really have to give it to them for creating such extravagant names. The company was founded in 2006 and was created in Paris by Etienne de Swardt. They take their fame from the Orange Free State, which is an independent Boer republic in South Africa in the 19th Century. The company currently has a collection of forty-three different scents and describe themselves as a “gallery of avant-garde perfumes," and let me tell you, they are something, all right. Not that I would ever smell this perfume, because I find this absolutely disgusting, there are actually worse ones out there. The brand stated all their perfumes have an emphasis on audacity, originality, authenticity, and freedom of expression by proposing scenes without limitation in terms of raw material, creativity or expense. Where do they get their inspiration from? According to the company’s marketing director, the smells trace back to the 19th century when personal hygiene started. The need to smell good, or not smell bad, traces to scents that started to become something personal and more subjective. Other scents the company make are Belly Button, Hotel Slut, which is described to have a scent of “boudoir, fingers that tighten on a leatherette sofa and the palpable presence of raw desire," and Love Les Carottes, which has a scent of raw carrots, heart notes of sweet orange, bourbon vanilla and butter. I don’t know, this seems a bit too overwhelming for me. Can you imagine your grandmother asking you what kind of perfume you’re wearing? “Oh, it’s a new one I got yesterday grandma. It’s called Hotel Slut. Do you want some?” Yikes!
Yesterday on the Phile I mentioned Club 33 and I promised I would tell you what that was in case you didn't know. Club 33, to put it simply, is an elite, invitation-only club founded by Walt Disney himself. Sorry, you can’t get in, but here’s the inside scoop. There are a few theories concerning the name. The number 33 is a part of the address of the club in Disneyland: 33 Royal Street in New Orleans Square. Another theory is that the name came from the 33 sponsors of Disneyland in 1966-1967 when Walt Disney was seeking funding for the Disneyland park. The idea for a secret club was born in 1964. Walt Disney was at the World’s Fair in Queens, New York in 1964, showing his Progressland pavilion exhibit when he saw the VIP areas the fair had. This gave him the idea to include a VIP lounge into his Walt Disney World project so he and his wife could privately entertain the most elite park visitors and business associates. The lounges were planned into the New Orleans Square place and a Hollywood set director was asked to decorate the space. There is a Club 33 lounge at three of the Disneyland locations. The confirmed locales are Tokyo Disneyland at the World Bazaar Center Street, the Shanghai Disneyland resort atop Mickey Avenue, as well as the New Orleans Square at the Anaheim, California Disneyland. Four more lounges were recently built at the Orlando Walt Disney World. The Magic Kingdom location is near the Adventureland entrance, The Captain’s Quarters, the next, in Epcot, is in the America Adventures pavilion and is called the Constellation Lounge/Club, The Spotlight Lounge is in Hollywood Studios, and the one in the Animal Kingdom is still under construction but is rumored to be in the Africa section and may be called Harambee House. In order to get inside any Club 33, you must first find the secret door. Although the Club 33 is much less of a secret than it used to be, many of the doors for the lounges are hidden in plain sight! Only the people who need to know are in the know and have the corresponding keycard to get in. Once inside there is a reception desk, where members are greeted, and ascend a blue staircase. In the Disneyland Anaheim, members will pass a harpsichord that once belonged to Walt Disney’s wife, Lillian. This is just one of the many personal trinkets from the Disney estate as well as Disney film props. This is what the original Club 33 door looked like, before the recent remodel.


Recognize it at all? The perks offered to the rumored approximate 500 members of Club 33 are plentiful and envy-worthy. The private space involves a jazz lounge, Le Salon Nouveau, and a five-star fine dining experience. There are two dining rooms as well as a full bar. Club 33 is filled with antique furniture, photographs of Walt and things he found charming from his childhood in Missouri, film props, and replicas of architecture he saw during his travels. Rumor has it that in the Trophy Room Walt Disney had mics installed into the walls so he could overhear conversations and reply via this creepy looking animatronics vulture.


Yikes! Aside from the lounge itself, the membership club members may receive early park entry, private and exclusive events within Disneyland locations, a lounge in Disney California Adventure... a separate amusement part, and access to the 1901 Lounge at the California Adventure. Members are allowed to request park characters like Mickey Mouse, Minnie Mouse, Donald Duck, etc. to the club, they get free valet parking, multiple Fastpasses, as well as rare merchandise and these are just the things that non-members are aware of. I’m sure there’s more. Here’s the real kicker. As soon as you go up the blue staircase, the club’s dining experience includes a 5-6 course meal, alcohol included. That’s right, while your heads swimming from the summer heat and your kids are conflating the tunes and lyrics between Frozen and Moana and you’re downing that flat, overpriced soda at Goofy’s Kitchen for the sake of your sanity, the club members get a whole bar in the A/C. There are rules for the club members to follow. The Walt Disney Company is strict on the rules and does reserve the right to revoke membership, and they have done it before. Concerning entering the club, there is a strict dress code. There is no outside summer wear allowed inside. If you are dining for dinner, wear an evening dress or business suit or slacks and a sports jacket. Shorts, tank tops, flip-flops, or anything showing midriff is not allowed. In short, you either go to the park dressed to be amused, or dine elegantly. Keep an eye out for any well-dressed people and (no, don’t follow them) but just see what you notice. Another rule concerning Club 33, in order to get into the restaurant and be guaranteed a seat, members must make reservations months in advance and be on time, or you will be canceled upon tardiness. Cell phone usage is not allowed during the meal. If a member must take a call, they are asked to step into the hall. There is also a minimum meal charge that is around the price of an adult day pass. The rules are strict for not only the club members but also the Cast Members. The on boarding training for new Cast Members who will work in Club 33 has to complete three months of training. Which sounds extreme!! But, I imagine if you want to get in good with the world’s most elite and their children, you gotta be prepared to outdo the best customer service that the rest of us will ever experience... those Chick-Fil-A drive-thru employees. Honestly, I wouldn’t be surprised if Club 33 recruited from there. But don’t quote me, they could be way outdoing the Christians in the Club. It’s truly unfair to tell you all the perks the club members get and then dash your hopes. But, alas, when Walt Disney said “elite," he meant it. To join the club you have to be invited or passed down your membership through a family member. And then there is the small hiccup of a 14 year long waiting list for new memberships. After closing membership application a few times since 2011, I can only assume the wait list is even longer now; it’s at least a thousand people deep. Once your name is up you have to pay the club initiation fee. This fee is an alleged $25,000, at minimum. And from what I understand, that does not guarantee you entry into/ participation at every Disneyland Club 33 location. In addition to the membership fee, there are the annual fees, I will spare you that price tag. I promise you don’t want it. Okay, fine, it’s allegedly capped at around 30k. This does, however, depend on your membership tier. The membership fee may vary depending on if your Club 33 membership is personal or a corporate one via Disney. These are allegedly around $40,000 at sign up. But, let’s just move on, no? There are many other fascinating things about the Wonderful World of Walt Disney’s Club 33. If you are feeling bad about never seeing Club 33, maybe this will cheer you up... Walt Disney never saw it either! His untimely death occurred a mere five months before it was completed. Oh well, Hakuna Matata, right?
Today is Presidents Day which is good timing as Disney upgraded the Trump audio-animatronic at the Hall of Presidents...


He looks better, right? Speaking of Presidents, did you know George Washington was a Disney fan? No? Check this out...


Told you. Ha! So, I used to collect those Funko Pops quite a bit. I haven't in a while but there's a new Disney one that I want...


That would be me if I rode the Mad Teacups ride. Have you seen that meme that is going around where people put up four pictures and four different social media sites. Well, Sarah, the mother from
Walt Disney's Carousel of Progress has done one.


See? Haha. There's gonna be a new Star Wars TV show on Disney+ soon. Check it out...


I think it's gonna be a sitcom. If I had a TARDIS I would like to go and see them film Mary Poppins but knowing my luck they'll be too busy.


Did you know before The Little Mermaid came out the movie almost had another title?


Change For Your Man... ha. I like to all Ariel "Fishgirl." Hey, future kids, this is The Sound of Music.


Now from the home office in Port Jefferson, New York, here is...


Top Phive Rejected Disney Villains
5. Mansplainer
4. Woman Who Sings to Herself in an Open-Plan Office
3. Annoying Patriots Fan
2. 10-Second Horn-Honker
And the number one rejected Disney villain is...
1. Senator Who Conveys "Concerns" But Then Just Votes with Her Party




If you spot the Mindphuck, and you should as it's an easy one, let me know. Okay, you know I live in Florida, right? Well, there are some things that happen in Florida that happen no where else in the universe.


Will you look at that, another Floridan going crazy for some fast food. Nineteen-year-old Maguire McLaughlin was arrested just before four in the morning at a McDonald’s in Vero Beach after she allegedly lost her mind over 25-cent containers of dipping sauce. I mean, I get it. McDonald’s buffalo sauce is delicious, but chill. They are definitely not worth getting arrested for. According to an arrest affidavit, McLaughlin ordered a “large amount of food’ and the restaurant’s drive-thru. After paying for her food (I wish the cops would have released the order but they didn’t) she asked for “one flavor of every dipping sauce they have.” The Indian River County Sheriff’s office then stated that when a McDonald’s employee told her that those cost an extra quarter each, she began yelling and swearing at the employee. McLaughlin then threatened to rob the restaurant if she didn’t get all the sauces she ordered. Because this woman thought she was entitled to all of the sauces for free. So, what does this employee do? Well, obviously fearing for her safety, manager Beverly Keever called the cops. When Deputy Christian Castano arrived at the McDonald’s, the hungry woman also started yelling and cursing at him too. Castano wrote in his police report, “As McLaughlin spoke, I could smell the odor of an alcoholic beverage emitting from her mouth. Her eyes were glassy and her speech was slurred. McLaughlin would momentarily become cooperative and suddenly begin yelling profanities.” She then proceeded to tell the law enforcement officer that she will be getting the sauces “by any means necessary” but couldn’t explain exactly what she meant by that. But, apparently spending an extra dollar or two was out of the question. So, not having it one bit, the deputy arrested the Florida woman for disorderly conduct and resisting arrest. But it didn’t end there, then Castano tried to guide her toward his patrol vehicle, the woman quickly locked her legs and refused to walk, when he got close enough to put her in the backseat she then placed her legs on the door jab, refusing to get inside. So, the deputy did what he needed to do. He quickly tackled her to the ground and put her in a mechanical leg restraint before being ultimately bundled into the car. McLaughlin was released on a $1,000 bond and is scheduled for arraignment late January. Which is stupid, because well, it would have been cheaper to just pay for the freaking McDonald’s sauce, girl. That 2 dollars turned into $1,000. CEO of saving money. Who’s McLaughing now? Not her...



So, my son and I were talking how we used to watch "Sesame Street" together. Now that show is on HBO...



Grover returns to Kermit's house with the Sudafed he promised to buy to feel their meth lab, but not without taking some for himself first.


Yep. Just to let you know that sometime at the end of March there's gonna be three more Disney entries. Okay, so, dating someone with dietary restrictions can be rough... especially if they're really emotional about their diet. One woman emailed the Phile asking for advice after she allowed her "devout" vegetarian boyfriend to eat bacon, because she didn't want to deal with the temper tantrum he'd have if she told him. Yikes. The boyfriend has a history of flipping out when he accidentally eats meat.


"Background: my boyfriend has been a vegetarian since 12-years-old. The few times we have eaten together and he’s eaten meat by accident, he’s become enraged, induced vomiting, and implied that I should somehow know and recognize every possible instance where something may contain meat or have touched meat. There was the dim sum incident and the pot sticker incident. Big deals, lots of vomiting, lots of yelling." Recently, the two were out for a date and he ordered Brussels sprouts... not realizing they included bacon. "On this particular evening my boyfriend and I were out having a few drinks and decided to make a stop to fuel up. It was a nice restaurant and we both ordered some appetizers. He ordered Brussel sprouts. After they arrived and halfway through eating them he commented on how delicious they were. I agreed, looked down at the plate and noticed little shiny bits of bacon. He stabbed his fork back in the pile and I thought, “we’re having a lovely evening, let’s not ruin it” and continued to watch him devour the Brussel sprouts... and bacon. I felt a wee bit guilty but didn’t want to have a big scene in the restaurant.' Now she's wondering whether she did the right thing. "Summary: I let my devoutly vegetarian boyfriend eat bacon because I didn’t want to deal with his reaction. Peverett Phile, what should I have done?" Who doesn't notice bacon? I mean vegetarian or not, how the hell doesn’t he notice bacon? You’re not his parent or sponsor here, he’s a grown ass adult and can ask questions about food he’s unsure of. It's not your problem if he accidentally eats meat. Anyone with dietary restrictions should have (and want!) full responsibility for what they put into their body. How could he expect you to facilitate that for him? Plus... he didn’t already know that potstickers and dim sum are usually meat-filled, after being a “devout” vegetarian for so many years?? Super odd. And the boyfriend reacts this poorly, something else might be wrong... even religious food restrictions hold that if you ate the thing completely by accident then it doesn’t count. If the same thing has happened multiple times, I almost wonder if he does it intentionally as a way to control people or as a genuine eating disorder binge/purge thing. If his bad behavior is driving you to keep secrets, you probably need to discuss and/or think about that. You shouldn't need to walk on eggshells in fear of emotional abuse just because he can't monitor his own food. Talk about food for thought. Either way, hope he doesn't return to the restaurant and ask how they make those amazing Brussels sprouts!



Whenever John wanted to have sex he would say to Sarah, "Lets do some laundry, honey." Well, one day Sarah felt horny so she said to John, "Honey, how about doing some laundry?" John replied, "No thanks, honey, I only had a small load so I did it by hand."



This is so mazing and cool... today's guest is an English actress, singer and author. She made her feature film debut in Mary Poppins, and won the Academy Award for Best Actress for her performance in the title role. Her book Home Work: A Memoir of My Hollywood Years is the 114th book to be pheatured in the Phile's Book Club. Please welcome to the Phile the most amazing... Julie Andrews!


Me: Wow! Hello, Ms. Andrews, welcome to the Phile from Walt Disney World. I am so excited to have you here on the Phile.

Julie: Hello, nice to be talking to you. Call me Julie.

Me: Okay, I'll try, Ms. Julie. So, do you live in England still?

Julie: No, I do go back back but I live in East Hampton, Long Island.

Me: Really? I grew up in Port Jefferson, Long Island. Ever been there?

Julie: Yes, I like it there, nice harbour town.

Me: Wow! Julie Andrews has been to Port Jeff! So, I love your book Home Work: A Memoir of My Hollywood Years which is the 114th book to be pheatured in the Phile's Book Club. So, being at Disney I have to go straight into Mary Poppins. That film, that set and those wires was your introduction to Hollywood. It was the first step your Academy Award-winning career on the silver screen. Can you tell us the story what happened?

Julie: Well, this was very much towards the end of the film where I'll say the middle dangerous stuff was done in case of an accident, presumedly everything else was in the can. There I was, hanging around in the rafters and I felt something about this being the end of the shooting and the fact that I didn't feel very safe up there. I don't know what it was, so I asked and called down to the people way below. I kept saying, "When I come down can you let me down really easily please? Something I felt that I dropped a couple of inches and I just don't feel safe today." The word went allllllll the way back to the length of the studio to the guy that was working my counter balancing equipment which was big sand bags that help break me my fall and thank God they did because having said, "Let it down easy, Joe." I just suddenly plummeted to the stage. I'm grateful that that counter balancing equipment at least broke the impact of my fall. But on a Disney sound stage I must admit I probably said couple of words that Disney has not heard before since.

Me: Oh, I started working for Walt Disney World in '88, Julie, they heard it all now. Haha. So, how did you feel when this happened? Did you wanna quit?

Julie: Truthfully it was not as terrible as it might seem. But it was a scary moment and a voice from the other end of the studio from where I landed said, "Is she down yet?" Ha ha ha. It actually became very funny.

Me: I'm glad you made it out.

Julie: Yeah, me too.

Me: I love the songs in Mary Poppins, Ms. Julie. Can you say "Supercalifragilisticexpialidocious" backwards? I can barely say to frontwards. Haha.

Julie: It's for ever printed in my brain. It's dociousaliexpilistic-fragilcalirupus. That's my email password. Ha ha ha. Actually it's not, it takes too long to spell out.

Me: So, I had no idea Mary Poppins was your first film. What was that like going from musical stage to Hollywood to make a film?

Julie: It was the first film I ever made and I knew nothing when I went to Hollywood to begin filming I knew nothing about film, I didn't know what was expected, it was very different from theatre. That was my experience to date. I was very keen and loving the learning about it.

Me: What was it like to be on a film set for the first time?

Julie: Nervous. It was very nerve racking. If I could describe the difference on stage, I'm obviously in "full-figure" for the audience all the time and I start at the beginning and go through to the end every evening or every afternoon whatever. But on film we shoot out of sequence because the costs. Let's say we're filming in a castle, we got to do all the scenes in the castle at one time because it would be too expensive to hold it and come back again later if that's the way it is in the script. We never shoot in sequence and one minute it's close up and the next it's an establishing shot or a waist shot or something like that. There's a lot to learn and particularly on Mary Poppins it's full of technical tricks and wonderful things that were part of the movie. It was part animation and in general it couldn't be a better film on which to learn about the craft of filmmaking but it was daunting and that very first day I asked myself is my voice normal? Is my voice too high pitched? Am I moving correctly? Until I get to see some results.

Me: That's a good point. And you also had to learn that you weren't going to get applause after every take, right?

Julie: Ha ha, Well, it is the doing that is the greatest pleasure. Applause, as you well know, is a lovely award if we're doing it well. But with stage every night is different. Tonight's audience doesn't know I did a great performance yesterday, they want a good performance too. That's the discipline of theatre. It's very, very different in film.

Me: You talk about Walt Disney in the book. What's one thing you can say about him?

Julie: He's one of the most recogised names in the world ever.

Me: But, Ms. Julie, you knew him as a person, What was he like as a person?

Julie: Oh, a lovely. He was very kindly, had a sort of twinkly personality, he knew when to leave people alone, he was extremely proud of course, of his Disney studio. Anybody who worked on the Disney lot was probably a very nice human being. If not they didn't last long I discovered, if they didn't get along or pitch in. So everybody at Disney was kind, gentle, supportive. In my case I loved him. I know for a fact that he would come in at six in the morning long before his animators would cone to work. He would wander through the offices and just peek at what work was being done. He knew everything about everything and obviously was extremely proud of it.

Me: Your next movie was The Sound of Music, Ms. Julie. Anything you did that was really fun before that?

Julie: I did a special with Carol Burnett that was taped at Carnegie Hall. The furthest thing from my mind was I would be doing the film of The Sound of Music one day and it was all the rage on Broadway at that time and Carol and I were spoofing it. We were the Swiss family Pratt. Ha ha ha. We thought we were being so funny and so clever and it was a funny sketch, it really was. Carol was there youngest of 12 children and everything about it was hilarious. Most oil it was written by Mike Nichols, believe it or not, who was a great friend.

Me: After doing that spoof on The Sound of Music were you surprised you got the role?

Julie: Ha ha. Well, I was somewhat embarrassed wondering if they knew about the havoc we had we had brought on the Carnegie Hall stage. But I think they understood where we were coming from. We were totally innocence in the attempt to be funny and entertaining. Of course the film was a very different sort of project all together.

Me: I have to admit I'm not big fan of The Sound of Music but never sat though the whole thing. What was it like filming that iconic scene in the Austrian mountains? There were some troubles, right?

Julie: Well, many stories really because the filming of that particular song was broken into many small pieces. Obviously the opening sequences was filmed by helicopter, which came at me from a long way away as I walked across the field. Their were many takes required before they got it right. Every time the helicopter lifted up to go to it's starting position the down draft from the jet engines would just flatten me in the grass and I consider understand why they didn't consider that I was being covered in hay, spitting mud and grass and God knows what. I kept saying, "Could you make a wider circle around me, please, before we film it again?" All I ever got was a thumbs up and, "Great! Let's do another take!" But there were so many other things. That song, the moment by the brook, the going through the trees, or whatever it was first of all, depending on the weather and secondly it rained a great a deal in Salzburg. Thirdly we had angry farmers who claimed we spoiled his cows milk and one farmer took a pitchfork, our man made little stream and drained it the night before we went to film it. There were lots of funny incidental things like that.

Me: Hahahaha. Do you think how easy actors have it now with CGI?

Julie: Well, yes, but the truth of the book is I hope people will know just how hard the work is. It's not all glamour and red carpets, and dressing up. It's not just that, it's far from it. It's the work that is very hard when I'm learning dance songs, and doing orchestrations and filming over and over and over again to get it right. It can be a long and exhausting process but it is so awarding as well.

Me: Do you think people forget that?

Julie: I think obviously they're meant to just enjoy the movie but behind it there's a great deal of collaboration and hard work.

Me: You're pretty glamorous, Ms. Julie, do you like doing a not so glamorous job sometimes?

Julie: Well, I get up very early in the morning and get into make-up and hair and have to be on set and be on time. There's an enormous amount of pre-publicity and post publicity that's required after the film is made. A lot of dubbing and looping that I describe in the book which is all making the sound better and perfect.

Me: So, what was it like for getting the Oscar for Best Actress in Mary Poppins?

Julie: It was lovely and what a great memory. How lucky can a girl get because in those days there were only five nominees in each category and to be one of five is an huge honour. Then miraculously to be the Best Actress in that year is not exactly true. Whose to say ones performance is better than another but it is a great thrill? Of course it was great for the movie.

Me: How did it change you personally?

Julie: I don't think it did, I hope it didn't. It doesn't make me say I guess I'm good, blah blah blah. I was somewhat shy that I was owning up to the fact that I won an Oscar, because I hadn't done My Fair Lady, and a great deal of use was made that I didn't make the movie of My Fair Lady, having done it for three and a half years in theatre. But I understood why, Audrey Hepburn was delicious in it and we were great friends and have remained so for many years. So I understood but its hard to be angry when someone like Walt Disney comes along and says, "Would you like to do Mary Poppins instead?" Then to win the Oscar that was absolutely thrilling. I thought perhaps it was given to me as a "welcome to Hollywood," a token gesture like that as a first attempt to being in film and it was hard to believe that it was for the actual, I know it sounds corny, but for the actual performance.

Me: Did you learn about anything about yourself while writing this book?

Julie: It was a revisiting. Somebody said to me that writing a memoir is like living your life all over again and it was, and it was and is writing a memoir. It is a very moving and disturbing times when I was awake with thoughts teaming and surprised what was emerging from old diaries and articles and letters and things like that. And thank God for my daughter Emma who is a far better writer than I am and who helped me so much for the foundation of the book and the help with the writing of it.

Me: Were their moments that were tricky for you and Emma to have to relive?

Julie: Yes, at times their were. Obviously things like the death of my mother or when she had to go live with her dad for a while. Yes, lots of tears and sweet hugs but we have enormous respect for each other and we got over it and got through it would be a better way to say it.

Me: I like how you talked about how much you swore in this book. I swear a lot myself, Ms. Julie. You really do swear?

Julie: Ha ha. Well, a lot of people made a lot of it but I guess I do have a very healthy vocabulary. Good ole Anglo-Saxon four letter words.

Me: Do you have a favorite?

Julie: Ummm... unprintable I suspect. Good try, Jason, good try.

Me: Damn it!!! It was worth a shot. In '97 you lost your singing voice after an operation. Has that effected your love of music?

Julie: No, it hasn't effected my love of it but it set me back into a really deep depression for a while. It was, and is, still very tough. My Emma said to me once, "Mum, you just found a different way of using your voice now." And after the initial set back I began writing with her and we've written over thirty children book together and collaborated on these two memoirs, the first about ten years ago. I do incorporate music in every way I can into the books in one way or another. I either think musically, I describe if it were musical, I package the books with CDs that have music behind them. Though I'm not without music and I still of course adore it. But I still do mourn the fact that I can't sing.

Me: So, what's your favorite song you ever sang?

Julie: "Edelweiss" from The Sound of Music. It's beautiful melody, it's very, very simple. It weaves back on itself and the orchestration is very lovely. And it actually is why I call the book Home Work.  

Me: Why is that?

Julie: Because it does speak to everyone, "Edelweiss," it's not just about Austria. To me it's about anybody who loves home and is proud of home and who relishes in it and revels in it and I do.

Me: I see. Ms. Julie, thank you very much for being on the Phile. This is a big deal for me. Please come back soon.

Julie: Well, it was a pleasure, Jason. Thank you so much. Coe visit me on Long Island.





That about does to for this entry of the Phile. Thanks to Julie Andrews for a great interview. The Phile will be back tomorrow with singer Rob Thomas. Spread the word, not the turd. Don't let snakes and alligators bite you. Bye, love you, bye.
































I don't want you, cook my bread, I don't want you, make my bed, I don't want your money too, I just want to make love to you. - Willie Dixon

Sunday, February 16, 2020

Pheaturing Tad Stones

I am the terror that flaps in the night...


Hey, kids, welcome to the Phile at Walt Disney World again. How are you? So, there's big plans for the parks for 2020... New ride or show or something, most boat ride leaks fixed, sidewalk cracks painted bright colors, Princesses will wink more often. This just in, Disney's Hollywood Studios has reached capacity so they can only let in really thin people. Please note that the new Magic Band bracelets may interfere with cellphones, digital watches, medical implants, food digestion, cognitive reasoning, and speech. Just a heads up, kids.
Okay, Disney lovers, this is your chance!! Although you technically can’t live inside a Disney park, and you’re only allowed to stay in certain hotels and resorts around the area, one Florida house is on the market that will make you feel like you’re in Disney itself! The Palm Bay estate is located an hour away from Walt Disney World, but the best part about the home is that it is actually decorated with all sorts of Disney magic inside. The 6 bathroom, 5-bedroom home is situated on an eight-acre lot and comes with the opportunity to purchase another ten-acre lot right next to the home. According To Dave Settgast with Treasure Coast Sotheby’s International Realty, the house is listed for $849,000! Here's a pic of the home...


As expected, as soon as you walk inside the home, you feel like you’re at a resort. It’s like if Disney World threw up in the home and left its mark all around the walls. From top to bottom, the home is decorated with large character murals (including Goofy, Donald Duck, Pluto, and more) on bright “loud” walls, while other areas such as the kitchen include small but meaningful touches with character painted above the appliances. The best part of the house? The mirrors! All mirrors are mouse shaped like… because of course, they are. The front door of the home even plays homage to some of our favorite classic characters, Minnie and Mickey Mouse, rendered in stained glass. From a floor to ceiling mural of Cinderella at her castle, to Snow White and her woodland creatures painted directly on the wall and near the stairs, safe to say the home has something for everyone. Aside from all the beautiful Disney decor inside, the house also features a small guest house, a billiards room, an enormous home theater, and a five-car garage. As for the outdoor space, it’s exactly like a Disney water park, including a Mickey Mouse shaped resort style pool and hot tub. Their outdoor also has a complete stone enclosed waterfall, a grotto, tiki-style hut, and a walking bridge. To make things even better, the house is situated on a lake and zone for grazing animals and horses, featuring a barn and go-kart track! Animal Kingdom at its finest, if you ask me. So, are you ready to move in? If so… can I get an invite?
Disney World has some pretty big fireworks shows nightly, but a massive firework launched over a Colorado ski resort town has set a record for the world’s largest aerial firework. The 2,800-pound shell flew 2,200 feet above the Steamboat Springs Winter Carnival before it burst, turning the sky bright red and drawing gasps from the crowd, The Steamboat Pilot & Today reported. Tim Borden of Steamboat Springs headed the team that developed the firework over seven years. Borden first attempted to set the world record last year, but failed when the shell exploded inside the mortar without lifting off the ground, the newspaper reported. Guinness World Records representatives witnessed both attempts. Christina Conlon of Guinness said she verified the shell launched on February 8th was the world’s largest. The firework was 400 pounds heaver than the previous record-holder, a 2,397-pound explosive launched in the United Arab Emirates in 2018. During a ceremony after the launch to present Borden and his team with their certificate, Conlon said they showed tenacity and perseverance in coming back after last year’s failed attempt. A winter storm dumped more than 2 feet of snow on the 26-foot-long mortar used to launch the shell, and also made transporting the shell difficult. Borden said getting the area plowed was more trouble than setting up the firework itself.
It looks like actor Gary Sinise has some celebrating to do! Sinise has been awarded the Patriot Award, which is a Congressional Medal of Honor Society’s highest honor, for his charitable effort supporting service members and veterans throughout the years. Sinise, who is best known for his iconic performance as Lieutenant Dan in Forrest Gump, was presented with the award at the Ronald Reagan Library which is located in Ventura County, California. According to the Department of Defense, the CMHS is a compromise of several members who have received the Medal of Honor. The society presents a Patriot Award every year to people who “through their life’s work, have distinguished themselves as Americans who are dedicated to freedom and the ideals represented.” It’s no secret that Lieutenant Dan has been helping veterans and servicemen for over a decade now. He celebrated 25 years of advocacy for the Disables American Veterans just last year and founded the Gary Sinise Foundation in 2010. The foundation aims to honor “our defenders, veterans, first responders, their families, and those in need by creating and supporting unique programs designed to entertain, educate, inspire, strengthen, and build communities.” From several concerts featuring Sinise’s LT. Dan Band to several special events for military families, the actor has given his work full attention. A few months ago, he flew more than 1,700 military families of Fallen Soldiers to Walt Disney World as a special Christmas present. The actor stated, “They’re dealing with the grief and the loss of a loved one, a mom or a dad who have died in military service, and all these kids are going through the same thing, so the power of all of them in the same place at the same time, many of them... hundreds of them... was very healing for a lot of them.” Sinise also builds adaptable homes for wounded veterans. Just last month, the actor gave quadruple amputee keys to his new smart home which was 100% mortgage-free. He stated his dedication to helping others goes back decades since he has veterans in his own family. In January, the Gary Sinise Foundation awarded a $78,000 grant to Jefferson Township Fire Department in Ross County Ohio, which allowed them to buy new equipment.
As Americans’ urban areas further encroach on the habitats of coyotes, bobcats, foxes, birds of prey, and everything that lives in Florida, your sentient teddy bears are in increasing danger of becoming a food source in places like California, where coyotes already roam the hills of L.A. and coyote sightings and coyote problems are a nightly occurrence. Especially during breeding season. They could become pet food, in that they’re pets who will be some wild animal’s food. Unlike us, the coyotes aren’t being figurative when they see small dogs and think, “They’re just so cute I could eat them up.” They’re quite serious, and tired of scavenging through Hungry Man dinners in divorcee apartment complex garbage cans. Enter the Coyote Vest.


I’d never heard of this until yesterday, but apparently, it’s body armor to keep your dog safe in areas with coyote activity. The Coyote Vest is made from stab-resistant kevlar that can withstand bites from sharp canine teeth... coyotes, foxes, bigger dogs, etc. It will also turn your Corgi into a Mad Max villain. The dog vest has a flexible “coyote collar” that fits around pretty much any little dog’s neck and comes with spikes on the collar to make biting your dog as terrible as biting down on a Dorito that has shifted, unbeknownst to you, to a vertical position inside your mouth. If the layers of Kevlar aren’t enough, pet owners can add spikes to run along the dog’s back. Coyote whiskers, which are bright nylon bristles that irritate the attacking animal, can also be added to the Coyote Vest to further make your dog impervious to the totally natural and objectively understandable... but still evil!... urges of wild predators. I don’t mean to be alarmist, but given enough time something is going to pop out of a bush, try to rip open your small dog, and eat it alive. A Coyote Vest is the best protection against it, and the best way to bring you peace of mind about pet safety. Though, if it were me, I’d add a few features. A pressure enabled electric shock to electrocute anything that bites the dog. An artificial intelligence manned crossbow that sits on a turret on the dog’s back would be good too. And most important of all, a pre-recorded script of secrets about and personal threats directed towards the boys in your neighborhood most likely to kidnap, torture, or hurt an innocent dog, and activated upon said boy being within five feet of your dog or dogs.
Yesterday I mentioned that you won't believe how much Disney VHS tapes are worth now. I told you about The Little Mermaid tape... so today I will tell you about Beauty and the Beast. It is part of “A Walt Disney Classic” meaning some of the boxes have it written on the cassette itself. If so, these are worth quite a penny as well, starting at $1,200! The words need to be printed on the tape itself above the movie title, but you need to make sure the version has both the diamond and the phrase. “Disney’s Black Diamonds” editions were part of the firm’s attempt to sell directly to the home market, which is considered more valuable. This one is another one of my favorite movies since it wasn’t your “typical” Disney film. I mean sure, it had romance and music and laughter in it, but it also broke away from the stereotypical romance by creating a female protagonist who needs to rely on the prince for help. Belle is definitely one of the best Disney characters ever created.
Speaking of Belle, this is what she should've looked like in the movie to make it more realistic, am I right?


Did you ever see the sequel to Beauty and the Beast when they went to Ikea? No? Here's a screen shot...


Hahaha. Do you have Disney+? There's gonna be a new show coming out on it soon... take a look...


It'll be sooo good I think. Haha. Disney is making a live action Bambi movie and I have an exclusive pic on what Bambi will look like.


He looks like he has so much emotion. Hey, future kids, this is Danny DeVito...


Hahahahahahahaha. Do you kids like Elsa? I wonder what she's up to now... let's take a look...


Oh, boy. I feel bad for her. I even feel worse for Mulan... I think she has the coronavirus...


If I had a TARDIS I would go to Disneyland in the 50s and go to Club 33. Knowing my luck though it'll be crowded and I wouldn't get a table...


If you don't know what Club 33 is I will explain on the Phile tomorrow. Did you ever see that famous painting of Van Gogh? Well, there's a version not many people know about...


Now from the home office in Port Jefferson, here is...


Top Phive Walt Disney World Park Moments In 2019
5. Cinderella delights families by actually appearing at Breakfast with Cinderella.
4. Declaring it "retro ironically kitschy cool," goth girls once again decide to visit the parks.
3. After 87 guest complaints, Cast Member Alex is finally given a stern talking-to.
2. A ceasefire is declared in the Park Princess Civil War.
And the number one WDW park moment in 2019 was...
1. Selfie stick ban results in chaos as Cast Members must now figure out how guests' phones work.




If you spot the Mindphuck let me know. So, my son and I were talking how we used to watch "Sesame Street" when he was a kid. Now the show is on HBO...



"Do you feel me inside of you, Bert? Yeah, you do! You know you like it... SAY IT!! SAY THAT YOU LIKE IT!!"




I still can't believe Shania Twain was on the Phile a few days ago. I was meant to put this up on that entry. Haha. Okay, so, family traditions involving valuable, precious heirlooms can get pretty messy sometimes. While traditions are a beautiful way of preserving a family's memories, traditions do need to change with the times every now and then. Why does the eldest male in the family typically get diamond engagement rings to give to a woman? Let the women in the family have those rings, it means more to them to wear their own family member's ring! So, when a distressed mother of a trans teenage daughter emailed me about a dispute at dinner over a diamond necklace, I thought I'll try to give some advice.


"Question: am I wrong for refusing to give my trans daughter a family heirloom? I have three kids Susan (17), Jessica (18), and Matt (21). There's a tradition on my side of the family where the oldest daughter in the family gets a beautiful diamond necklace when they turn 18. Okay, so I was having dinner with my family last night when Susan casually asked me if she could please wear the necklace to her junior prom. I told her she could and joked that it doesn't matter because in a year it will be hers. This is where Jessica chimed in and said, "How come I'm not going to get it? I am the oldest daughter." This made us all quiet and I didn't really know what to say as I've never really thought about it since I always planned on giving it to Susan. After thinking for a few seconds I told Jessica that I have always planned on giving it to Susan and it wouldn't be fair but since circumstances have changed I am willing to go with you to a jewelry store and get you something equally special. This did not satisfy Jessica and she got progressively ruder to me. Jessica being rude to me and our fighting led Susan to say some very transphobic things to Jessica (which made her walk off and cry) that I don't wish to repeat. I'm at an impasse. I really don't think giving Jessica the necklace would be the right thing to do. Am I wrong?" Yikes. This is a tough one. Do I think that 18-year-olds are too young to deserve a diamond necklace? Yes. Is it right to take away something Susan thought she was going to get her whole life? Probably not. That being said, dismissing Jessica as the oldest daughter is also not the right thing to do. You are all in a difficult situation. Your trans daughter feels it’s yet another instance of her being considered less than a woman. Your female born daughter feels it’s being unfairly removed from her and you didn’t consider this possibility because who can really foresee this. I’m sorry you have this dilemma. My opinion, give it to daughter who always expected to receive it, explain to trans daughter how you respect and recognize her as your daughter but this was set in motion before anyone knew. I think starting a new heirloom is a great idea. You weren't purposely excluding Jessica, it just didn't occur to you because you'd always intended to give it to Susan. You're right, it wouldn't be fair to change that after she knew she was going to have it her whole life. You proposed a thoughtful compromise and she rejected it. So there you have it! This mom definitely isn't wrong, but she should realize that not even thinking about giving the necklace to Jessica makes Jessica think her mom doesn't consider her the "true" eldest daughter of the family. Getting something special for Jessica too is a good compromise. And, if there are anybody wrong here, it's Susan. You owe your sister an apology, girl.



There once was a man who owned a sausage factory, and he was showing his arrogant preppy son around his factory. Try as he might to impress his snobbish son, his son would just sneer. They approached the heart of the factory, where the father thought, "This should impress him!" He showed his son a machine and said, "Son, this is the heart of the factory. With this machine here we can put in a pig, and out come sausages." The prudish son, unimpressed, said, "Yes, but do you have a machine where you can put in a sausage and out comes a pig?" The father, furious, thought and said, "Yes son, we call it your mother."



The 114th book to be in the Phile's Book Club is...


I can't believe it but Julie Andrews will be on the Phile tomorrow.


Today's guest is an American animator, screenwriter, producer and director, best known for his work for the Walt Disney Company, where he worked from 1974 to 2003. His most notable credits for Disney include creating, writing and producing the animated series "Darkwing Duck." Please welcome to the Phile... Tad Stones.


Me: Hey, Tad, welcome to the Phile from Walt Disney World. It's so great to have you here. How are you?

Tad: I'm great.

Me: So, what kinda kid were you growing up?

Tad: I was a fantastic child. Everybody said so. Ha ha. No. I was just a kid.

Me: Okay, so were you interested in animation as a kid?

Tad: Yes, I was interested in animation... well, animation cartooning. My father wanted to be an animation cartoonist. He went to USC and did a daily comic for the paper but technology being that it was meant he was carving a linoleum block every day, so he couldn't really work on his style. When he graduated it was during the Depression so he took any job he could get. He was always doodling or cartooning on the margins of a newspaper but he didn't have that drive to keep working no matter what his job was. Anyway, he had a great long career with the Carnation company, and the Carnation company was affiliated with Disneyland so once a year we got to go to the company picnic which was at Disneyland. I was fascinated by the art of animation exhibits, I got the Art of Animation by Bob Thomas which was focused around the original version of Sleeping Beauty. I loved the Disneyland show where they went behind the scenes and showed the animators and showed the artists. Back then Walter Lantz had a Woody Woodpecker show and in between cartoons Walter would show how to draw Woody and whatever. So there wasn't a mystery to me, and there was never a point where I looked at a cartoon and thought, "What do you mean somebody draws them?" I assumed that. Plus my dad had these famous artists cartooning course by Al Capp of "Li'l Abner" fame and Milton Caniff of "Terry and the Pirates." So again the idea of the artists who create these stories was expected. That was a long rambling animation to yes, I wanted to be in animation.

Me: No, you're good. So, when did you first start to get into animation, doing it yourself?

Tad: Actually I'll make it a little more rambling, The thing was my thoughts like in high school were that the only place worth animating was Disney because everyone else was doing very limiting animation. My thought was Disney has all their guys, they're not looking. Which, when I got into the very small training program in '74 it was actually true at the time. It wasn't until The Jungle Book made a lot of money and Robin Hood made a HUGE amount of money, about 6 million dollars. I don't know what that would be today but they were impressed. They were saying what provisions have they made for training new people and they put Eric Larson in charge of the program and that's when I got in.

Me: So, did you have favorite Disney movies when you were a kid?

Tad: I would say Peter Pan. That's not a specific memory, I just liked it a lot. But remember, we didn't get to watch to over and over. It wasn't on tape, at best we got those Super 8 films that just had a scene or a chunk of that that we'd watch on a projector which was a big deal to set up. A few films I had like that were Ray Harryhausen monster movies.

Me: Did you watch Disney stuff on TV?

Tad: No, no. Remember again on television there was hardly any Disney other than "The Mickey Mouse Club." That would show maybe one cartoon show a day. It was Warner Bros. all the way. Those were the characters, all those cartoons, the classic cartoons, on. Actually when I was very young when I was about 5-years-old when I was in Los Angeles "Sheriff John" was on in the middle of the day. He would show cartoons and now in retrospect they were this weird assortment of cartoons of different packages. I saw early Fleischer stuff, stuff that probably was a silent cartoon that they would put music to like "Farmer Al Falfa." Just some really strange stuff like Koko the Clown coming out of the ink well. That's some of the earliest animations that were out there that was being shown in the middle of the day. When I was also young this was when "Crusader Rabbit" came out. I think that was the first cartoon produced for television. After that came "Ruff and Reddy" by Hanna-Barbera, which was their first big series. And then they created the system that made animation doable on television.

Me: I remember Koko the Clown. The others I have no idea. Haha. Which one was your favorite? 

Tad: I didn't have a favorite, it was just massive input. I mean basically it would be Warners, it would be Bugs and Daffy. I watched the Porky Pigs and things like that but it was always Bugs and Daffy who were the stars as far as I was concerned. That was my sense of cartoon gags too.

Me: You mentioned Eric Larson who you worked with. Can you tell the readers who he was?

Tad: He was a legend amongst all the animators. He worked on Peter Pan, Snow White, Pinocchio, all the classic movies.

Me: Wow! So, what was he like?

Tad: I didn't take advantage of Eric as much as I should have. Because of my background in the Preston Blair Art of Animation which someone can still get now, it keeps being printed. No matter how bigger of an animator they were, even Glen Keane had a copy of that on his desk. Anyway, because I kind of knew that there was no formal system of training, Eric would take me in and tell me basic stuff. Some of it I heard when I visited before I actually got there. Then I was kind of fumbling along and I should've just like everybody else did, just constantly go into Eric's office bugging him because that was what he was there for. I got enough input but I didn't have the one on one relationship I could've with him. I did but I didn't suck him dry like some basically everyone else did of all his talent and knowledge. Years later I was in a room with Ward Kimball for nine months and we talked plenty, but not about animation.

Me: That's good. So, what was one of the first projects you worked on?

Tad: On the original Rescuers there's a scene with Bernard Mouse walking across the desk in Madam Medusa's pawn shop and the clock chimes and he turns and looks over his shoulder. That's all on me. 

Me: Ha! That's so cool. At school we did the play of The Rescuers and I played Orville the albatross. I have to find a pic of it and show it on the Phile. That must've been a big deal for you to do that animation, right?

Tad: Unfortunately it was cleaned up by someone who didn't want to. It was a weird time. Suddenly there was a very strict kind of a class system at Disney back in the day. There were the directing animators, and there were the guys that had Walt's ear and there was a level under them, the Nine Old Men. There were plenty of guys that were in their second string who always had to be the assistant animators for the key guys or whatever. And then their were these young punks who came out of college and they were like, "Clean up this guys scene!" I caught my clean up artist in a bad day evidentially because he just barely cleaned it up. I did not try to get it on model so it's a pretty sketchy, literally, scene. But hey, at least I got one in there.

Me: Was that the one scene you did for that movie?

Tad: No, I was given another scene with the rabbit and the owl lighting fireworks at the bottom of a steamboat and that's part of the climax. They said, "This is the amount of footage you have." I kept fighting it and fighting it, I had the owl on top of the guys shoulder going back and forward and I just couldn't get it done. I couldn't do it, and I forget literally what I did but I gave back the scene or moved into story at the time, I forget. They probably would've just given it back. The scene was actually done by Cliff Nordberg. It was just one of those things where I was told they just had to enter down the steps, run over to the fireworks, and then start lighting them. I was being way too literal, I was thinking how do I get them form the steps to there. And then finish the scene. They maybe took one step to get from across the room to the fireworks and start lighting things. I do feel good that Cliff who did the scene, we actually recycled all our paper and rough drawings. He found the drawings in the recycling pile and when he was flipping through them he said, "Wow. This is looking pretty good. Why didn't we go with that?" Because I'm stupid, that's why.

Me: Do you have any regrets? Haha.

Tad: If there were any regrets, I had a great career and hopefully still having one, there is that whole being worried about bothering the veterans, where most of them were very open. I worked with story plenty, because I did story work for Fox and the Hound but they were there to be talked to and kind of get what I can from them and I just never felt comfortable about doing that. It was like I didn't want to bother them, they don't want to spend time with me. So I missed out on a lot of opportunities that way.

Me: I loved Fox and the Hound. So, you worked on a lot of the story?

Tad: Well, I worked on it. Saying I worked a lot on the story sounds like I came up with a lot of the sequences. No, they gave me a chance to move into story. That was back when credits were only a few cards long and it was totally up to the opinion of the director. I did all my work under Woolie Reitherman. I was also working with pastel and working with Mel Shaw who was a fantastic story artist and worked in pastel. I had him show me some of his tricks and techniques so he drew over my drawings which didn't do me any favors later when they were trying to figure out how much work I did. They just looked at the stuff quickly and said, "Yeah, that's Mel's stuff." Anything the first thing I did was they gave me some Frank Thomas animation that had already been done and they wanted me to rework it, which his chief was injured and they wanted me to rework it into the story as it occurred. I guess they were happy with that. I did the sequence where the hunter is setting out the trap to catch the Fox with Todd. Then I left and went to work at Imagineering which then was called WED. A few little things happened when I was away like Don Bluth and some people left the studio and tried to shut down the feature animation department and the directors all changed on Fox and the Hound and when it came to credit time the manager of the department called me and said, "You're not getting credit." In a weird Disney way only an insider can understand, it was almost the fact that I was ready for it and didn't scream and shout when he said, "Oh, let me see if I can go get you credit." Again what bothered me, one of the things that was said was, Fox and the Hound is coming along great, that sequence were they setting up there traps." I said, "Yeah, that's my sequence."

Me: So, did you get the credit?

Tad: No, I didn't get the credit, and it didn't bother me until when they were doing the credit cards they gave credit to Squeaks the caterpillar as himself because he was a sound effect. They thought it was a funny joke. I was like, "Oh, great, you gave a credit line..." We're talking about letters on a piece of paper. "You gave a credit line to a non-existent entity. But I who actually did sequences in this movie didn't get a chance."

Me: Hahahahahaha. Why did you move into story in the first place?

Tad: Basically me moving into story came from me on The Rescuers. Actually it came before that. Once someone makes it into the program we teach ourself to learn to animate and why we're doing a test we survive that and become an in-betweener. How to get ahead is to do personal tests and I kept coming up with tests to do, coming so far and getting a better idea, getting into that one and having another better idea and doing it I did that year and the management department happened to be walking by and I was looking at one of my tests on the Moviola and I said, "Ed, can you come in here and give me an opinion? I was thinking of going back into that and tightening it up and showing it to the review board." He looked at it and said, "Wow, that's good! We've given up on you!" Excuse me  while I bend down and pick up the heart I just dropped on the floor. It was like maybe someone should've said something? Couldn't we have an update once a year? But anyway I realized I kept coming up with better ideas or what I thought were better ideas for tests. I was made assistant animator by showing that test. But I realized I was more interested in coming up what the characters should do rather than actually executing them actually doing the story. So that's why I pushed hard to get into story. During The Rescuers I storyboarded sequence just because I looked at the story and said, man, there's no face to face scene between Madame Medusa and Penny. So I had Madame Medusa in her room or whatever and Penny comes in and Madame Medusa treats her like crap. I got to show it to Woolie and Milt Kahl, Frank and Ollie and other people in the story department and Milt said, "She'd never be that harsh. She'll never be like that, it just doesn't seem right." But Woolie looked at it and said, "Maybe we'll give you a chance on stuff." Then later on I guess they did realize that these two characters should meet and the brilliant Vance Garry took over that sequence or created the sequence because like I said I just storyboarded the thing and he came up with the super memorable Mademe Medusa taking off make-up while Penny comes in and asks about being adopted and all that which was the brilliant tour de force by Milt Kahl. I was told that started with me, that it was my idea. That had gone right past me.

Me: So, you said you went to Imagineering. What did you do for them?

Tad: What had happened was they put me on an educational film about health and alcohol abuse. I did the storyboards, wrote for the storyboards and produced. It was done in New Zealand who used to be the assistant of John Lounsbery, another of the Nine Old Men and because it was an educational thing and it was entertaining that';s when they moved me to Imagineering to help without with Epcot. I worked on the transportation pavilion with Ward and the space pavilion which you'll notice doesn't exist although I did get to meet George Lucas. We had lunch, I sat across from him just by happenstance in the conference room we were meeting, eating chicken. There was a bunch of older guys in the room and I just said, "Okay, my friends back in animation will kill me if I don't ask about Star Wars." He said, "Oh, go ahead." I'm pretty sure this was between the original and Empire. He told me there were nine films and Luke would become a Ben Kenobi type of character. But the weird thing I didn't think about until recently was he actually said people won't like there first three films because they're about trades and negotiations and things. It's more of a political trilogy. And I think people don't like them for different reasons. It was just funny in two ways he said that... but secondly it's him making up this universe. "If you're creating films that you don't think people will like you're allowed to tell a different story." Anyway, that was a little bit of fun. It was a great time working with Ward on transportation then get to work with Tony Baxter, who was the chief designer of Disneyland.

Me: I love the prequels! So, how did you start getting into doing TV stuff for Disney?

Tad: I started going to the Word of Science Fiction convention once a year back then, which started with my Epcot stuff. We'd go for research and to meet various science fiction authors. I kept going and I was kind of flailing at Disney because it just was I was in this weird thing doing these Epcot documentaries and the networks said, "We don't want Epcot documentaries. We have our own news departments to do documentaries." The company was living in the past, they remembered how the networks were begging Walt to do a show based on his new park called Disneyland and they thought the network would beat down on their door and say, "Yes, we want to give you five hours of primetime programming to talk about your new theme park." Surprisingly because it was in the middle of the new season they said, "We're not interested." Anyway, what came out of that was we started to put some little animated sequences in production. Those shows fell apart and we strung them together in a show we called "Fun with Mr. Future." That was a goofy crazy thing that I think you can find on YouTube. It was hosted by the inside of Mr. Lincoln's head. They just put a bowtie on him and he talked about how personal computers were coming to your home. That parts pretty dated now. So that happened and it put me on the television live action side, I worked on Donald's 50th anniversary special and got to meet Dick Van Dyke and work with him. I began to fly around and it just felt like it was not going anywhere and I was called into the first meeting with Michael Eisner about TV animation and after that I ran into Mike Webster who was one of the first heard of TV animation and I said, "Hey, Michael, do you have any storyboard slots open?" My first thought was if I can make as much money I was then making as a freelance storyboard artist then I would quit and just do that and write fir my solo in my spare time. I would write science fiction short stories, that's what I would do. But instead he said, "You don't want to storyboard. Why don't you come visit us at our new studio?" I did and kept my mouth closed. I forgot that because of that first meeting they wanted me to be part of TV animation since the beginning and this was like 8 or 9 months into it. I met with Jeffrey Katzenberg who said the guys can use me over there and help them out and it's not a one way street. It turned out it was but...

Me: What did you like about doing TV animation?

Tad: That my job at Disney always changed, every year and a half I was doing something very different and I had enjoyed that. In TV animation I actually started out as an executive called Creative Manager of a department then quickly took over the third season of Gummi Bears because they needed a new story editor. From then on my show changed every two years or so. So really working on one story on a feature for four years or whatever probably would have driven me crazy.

Me: Then you went off and created "Chip 'n Dale: Rescue Rangers." How did that come along?

Tad: When Disney Afternoon came along they said let's do enough to fill out a 65 episode order so that the Gummi Bears was in the third season, I believe that was the final season on network. So maybe I killed it. Rescue Rangers was a chance to create a new show, the idea was Jim Megan and I created it together and then only one of us was allowed to be on the show because the other guy would be the person in development and give notes on shows so Jim became that guy and I became there guy to do the show. It practically killed me because back then we didn't know how to do the shows. Suddenly their were three units of artists, three directors and only two of us being story editors, myself and Bryce Malick. It was too much work and I was working seven days a week. My "day off" was Sunday's when I only went in for four hours. Saturday's were eight hours and everything else was insane. I was rewriting acts and finishing up act threes just in a few days. So Rescue Rangers was a stream of consciousness. They took me off the show, they thought I was making it "not too young." Bryce said, "It's a show about three inch high chipmunks. It's going to be cute. It's going to be young." Anyway, Jim came in to take over and I think he did only one or two episodes before they gave him "TaleSpin."

Me: Did you do any work for "DuckTales"?

Tad: Yeah, I was in a kind of creative development role back then. In development with "DuckTales" even though they knew they were going to do 65, they said they were going to do some initial episodes and they needed something to give it more juice to promote, so they were looking for new characters. I pitched Space Duck, which did not go over and Alien Duck. I remember he had thorn on his head, like a trumpet horn. And Gizmoduck, although I pitched it as RoboDuck, so I created him. The other was Bubba Duck who I named Caveman Duck, who was just a concept and a name. Then it took the story writers and editors to really flesh them out.

Me: Okay, so, I wanted to have you on the Phile to talk about "Darkwing Duck" so let's get to it. Haha. How was he created?

Tad: That was a lot of fun, The two favorite projects of my career was "Darkwing Duck" and "Hellboy." With Darkwing it started out, the world can thank Jeffrey Katzenberg basically because Jeffrey loved the name Double-0-Duck which came from the episode of "DuckTales" which was about Launchpad himself and it was a James Bond parody. Jeffrey loved the name again I was the guy currently on bat at development and he said, "Develop that." This was well before Austin Powers, which is a way to say we could've made it good. I went into it thinking it's just a spy parody, it has no drive, it has no sense of family. There's no heart to this, but I did it and it had all the typical James Bond gags with this character Double-0-Duck. I showed it to Jeffrey and Jeffrey said, "This is just a spy parody, out has no heart, no sense of family." I had that split second where I said, "Me and the boss think alike." Then he says do it over. That is something where I should've done in the first place where it was just I should not bother pitching something I don't believe in and instead went back to the pulps and thought about the Shadow and the Green Hornet and Silver Age comics and basically quickly got on the road to Darkwing. But it didn't all gel until I came up with Gosalyn. The idea of what if Batman had a daughter to raise who refused to stay at home. That was Darkwing, Gosalyn really was the heart of Darkwing. So a lot of people missed that, even Boom Studios when they did their comic run, I always said when they put Gosalyn in a superhero outfit whether it's Quivering Quack or a robot suit they've taken away what makes that special. Now she's just another hero. She's younger, they could play some ego things with Darkwing but she was there to complicate Darkwing's life. I kept telling them stop splitting them up, keep them together, that's where the heart is, that's where the humor is. It's not like wha they were doing was not funny, this was the unique thing that was part of "Darkwing Duck." In fact, in terms of favorite characters of that show Gosalyn is my favorite character and Darkwing. 

Me: Do you think they would be another Darkwing show?

Tad: If Disney came to me, and they're not going to, and said, "We would love for you to do another Darkwing show." Sure, I'd love to do it. But I have characters in my brain that I want to do stories on myself.

Me: After Darkwing you did the sequel to Aladdin that was the direct to home video, right? How did you get to be a part of that?

Tad: The Return of Jafar was just a five episode introduction to the show which we always did four of five episode introductions, and I was said we're doing the sequel to Aladdin, They said not really, and until they released Aladdin on video and I made a second phone call and this time they were very interested. One day our boss came into a meeting and gave a bunch of notes and I said we have to get it done by this date. They asked why and I said because we got to get it to home video. That's gravy, worry about this, if we get it done and give it to them then fine. He left and again this was pointed out to me after the fact by people who were there that I said, "Okay, we've got to do all those notes but we have to get it done by this date." All I was trying to do was not this genius who was foreseeing this hime video avalanche that then came, out was just if they could sell a few copies maybe they wouldn't be cutting our budgets. I did it so we could keep up the budgets for the series so we could do quality work. Anyway, it went out, cost like three and a half million and made 200 million dollars domestic, and created a whole system that was the stain of my soul.

Me: But you also worked on the second one, right?

Tad: The second one we did with more intent. I was much happier with that, The King off Thieves. Then I did Buzz Lightyear after that. I never got the budget or time that the Lion King sequels, or those kind of sequels got, even though I was on it for a month or two. Mine we always in the category of cost a little, made a lot of money.

Me: You worked on the "Hercules" series as well. Was that your last series?

Tad: I did "Buzz Lightyear of Star Command." "Hercules" doesn't get much love. I don't see a lot of talk about it. It had an incredible list of stars. We were in the position we had to re-pitch the series after it was already in production because the movie didn't do well, or at last not what they expected. Michael Eisner could not believe the stars we had on the show as guest stars and I said, "Michael, I'm damn charming." We asked and they said yes.

Me: So, you left Disney, which I didn't know that. How and why did you leave Disney?

Tad: "Buzz Lightyear" again was a series that gets buried because John Lasseter didn't really like it, but he was there at the start of it. By definition we couldn't do the show that was in his head for both conceptual reasons and budget reasons. Then Disney wanted me to look at the other side of the door, then locked it.

Me: Oh, man. So, you worked on Hellboy? You said that was one of the top two things you worked on. That was after you left Disney?

Tad: I pitched Hellboy for Disney, I did a little sizzle piece and I'm sure he would've turned into Heckboy. I really cannot see people posing with him on Main Street. Then again they got Wolverine so why not? I did the animated movies of Hellboy. That was fantastic.

Me: You had such an amazing career, Tad. Thanks so much for being on the Phile, sir.

Tad: I'm glad you think so. Thanks, Jason.




That about does it for this entry of the Phile. Thanks to my guest Tad Stones. The Phile will be back tomorrow with the one and only Julie Andrews. Spread the word, not the turd. Don't let snakes and alligators bite you. Bye, love you, bye.

































I don't want you, cook my bread, I don't want you, make my bed, I don't want your money too, I just want to make love to you. - Willie Dixon

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