2012 TEA Thea Awards Program

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T H AN K YO U! TEA’S ANNUAL THEA AWARDS GALA 17 March 2012, Disneyland Hotel, Anaheim USA The 2012 Thea Awards Gala is a production of the Themed Entertainment Association (TEA), the international nonprofit organization representing the creators of compelling places and experiences around the world.

MAY THE FORCE BE WITH THEM... Thanks to TEA member Sywa Sung plus Lesley Farquhar, Michael Senna, Victor Franco and the many dedicated, all-volunteer, members of The Southern California Garrison of the 501st Legion for graciously participating in the Thea Awards Gala with their Imperial Storm Trooper costumes, enthusiasm, and time, to honor the new edition of Star Tours.

TEA THANKS THE FOLLOWING SPONSORS FOR THEIR GENEROUS SUPPORT OF THE THEA AWARDS GALA AND/OR TEA SUMMIT AECOM Presenting sponsor Walt Disney Parks & Resorts Production support Universal Studios Dale Sprague/Canyon Creative Design, Thea Awards Program & Signage Color Reflections Las Vegas (Shannon Martin) Event signage printer Garner Holt Productions Miziker Entertainment RGH Entertainment Fountain People AES Coca-Cola The Producers Group Mousetrappe

AWARDS PRESENTERS AT THE THEA AWARDS GALA INCLUDE: John Lasseter, Pixar Anthony Daniels, actor (C3PO) Nancy Cartwright (voice of Bart Simpson) Kim Irvine, Disneyland Pete Docter, Pixar Jonas Rivera, Pixar Michael Giacchino, Cars2 composer Charles Phoenix, Ambassador of Americana Dr. George Fischbeck, weathercaster and TV personality Joel Manby, Herschend Family Entertainment

ADDITIONAL THANKS TO THE FOLLOWING COMPANIES FOR THEIR CONTRIBUTIONS Electrosonic PGAV Air Dimensional Design Mad Systems Lexington Rando Productions (Joe Rando) Methodology LLC (Carlos Miranda) Ryan Harmon/Zeitgeist Productions

2012 THEA AWARDS PROGRAM © 2012 Themed Entertainment Association, all rights reserved Published by the Themed Entertainment Association, www.teaconnect.org Executive Editor/Credits Lists: Gene Jeffers Editor/Advertising Liaison: Judith Rubin, www.judithrubin.blogspot.com Liaison to Thea Awards Recipients: Kathy Oliver Graphic Design: Canyon Creative Cover Design: Dale Sprague, Canyon Creative Printer: Las Vegas Color Graphics - Don Benard

TEA STAFF Executive Director …………...……...........…………...……............. Gene Jeffers Manager of Member Relations .........…………...……............. Brian Szaks Manager of Special Events & Relations……...……............. Kathy Oliver Office Manager ………………...……...........…………...……............. Ann Gallagher Publications, PR & Social Media .........…………...……......... Judith Rubin EME Division Support .........…………...…….............…............ Annika Oetken

DALE SPRAGUE & CANYON CREATIVE Warm appreciation goes to Dale Sprague and his company, Canyon Creative, for their excellent job as (volunteer) graphic designer of this year’s Thea Awards Program and event signage (David Adler). As the chair of TEA’s Strategic Branding and Marketing Committee and designer of many TEA graphics in current use, Dale has done a great deal to give TEA a cleaner, more consistent and more professional face. TEA communications are the better for it. This is the second time Dale has undertaken a TEA print publication and we thank him profusely for his talent, high standards and diligence. THEA AWARDS NOMINATING COMMITTEE Brad Merriman, Chair John Robinett, Vice-Chair Steve Thorburn, Board Liaison Karen McGee, Coordinator Marty Sklar Monty Lunde Bob Gurr Tony Baxter Don Iwerks Barry Upson Yves Pepin Bob Rogers Bob Ward Kim Irvine George Wiktor Jeremy Railton Steve McIntyre Phil Hettema Dawn Hollingsworth Patricia MacKay Larry Wyatt

TEA INTERNATIONAL BOARD Rick Rothschild, FAR Out! Creative Direction, President Steve Thorburn, Thorburn Associates, Immediate Past President David Aion, Weber Group Louis Allen, Adirondack Studios Lynn Allmandinger, Design & Drafting Services Scott Ault, BRC Imagination Arts Steve Birket, Birket Engineering Alexander Bresinsky, flying saucer Tommy Bridges, Tejix Daniel Christman, exp. Chris Conte, Electrosonic Joanna Del Moral, VOA Associates, Eastern Division President Philip Hartley, Philip Hartley Associates, Ltd., Europe & Middle East Division President Christine Kerr, BaAM Productions Chip Largman, Universal Studios Hollywood Brian Leonard, Dillon Works! Michel Linet-Frion, Center Parcs/Pierre et Vacances Jeff Mayer, Jeff Mayer & Partners Peter McGrath, Walt Disney Imagineering Ron Miziker, Miziker Entertainment Jan Maarten de Raad, JoraVision Daren Ulmer, Mousetrappe ASSOCIATE MEMBER REPRESENTATIVES Kevin Eld Kathy Golding, Principal Technical Services George Head, Savannah College of Art and Design Liz Terry, Attractions Management © 2012 THEMED ENTERTAINMENT ASSOCIATION Representing the creators of compelling experiences and places 150 E. Olive Avenue, Suite 306 Burbank, CA 91502 Phone: +1 818-843-8497 Fax: +1 818-843-8477 Email: Info@teaconnect.org Website: www.teaconnect.org Also visit TEA on LinkedIn and Facebook Apologies to anyone who is missing from the above lists due to press deadlines.

TEA20 PAST PRESIDENTS COMMITTEE Monty Lunde (1992, 1993) Joe McHugh (1994) Roberta Perry (1995, 1996) Peter Chernack (1997, 1998) John Wright (1999) Brian Edwards (2000) Keith James (2001, 2002) George Wiktor (2003) Pat Gallegos (2004, 2005) Craig Hanna (2006, 2007) Nick Farmer (2008) Steve Thorburn (2009, 2010)


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TABL E OF CO N T E N TS 5 President’s Letter – Rick Rothschild......................................................................................................................................................................................7 TEA at 20: Interview with founder Monty Lunde and President Rick Rothschild . ........................................................................10 Marty Sklar: A comprehensive look at the Thea Awards from the beginning..................................................................................... 14 Thea Awards Gala production team credits and acknowledgements.......................................................................................................15 THEA AWARDS RECIPIENTS — ARTICLES & OFFICIAL PROJECT CREDITS Joe Rohde - Buzz Price Thea Award for a Lifetime of Outstanding Achievements ..................................................................... 16 Puy du Fou – Thea Classic Award . .....................................................................................................................................................................................18 Introducing the TEA Service Award and appreciation for the first recipient . .................................................................................20 Space Fantasy....................................................................................................................................................................................................................................22 Ghost of the Castle........................................................................................................................................................................................................................26 The Changing Climate Show .................................................................................................................................................................................................28 Yo México............................................................................................................................................................................................................................................ 30 Animation Magic.............................................................................................................................................................................................................................. 34 The House of Dancing Water ............................................................................................................................................................................................... 38 Arthur, L’Aventure 4D.................................................................................................................................................................................................................. 42 FoodLoop at Europa-Park........................................................................................................................................................................................................ 46 Fernbank NatureQuest.............................................................................................................................................................................................................. 48 Star Tours – The Adventures Continue...........................................................................................................................................................................52 Barnas Brannstasjon..................................................................................................................................................................................................................... 56 The Magic, the Memories and You!.................................................................................................................................................................................. 60 YOU! The Experience ............................................................................................................................................................................................................... 64 Crane Dance...................................................................................................................................................................................................................................... 68 ARTICLES ABOUT TEA20 AND THE THEMED ENTERTAINMENT INDUSTRY François Mayné of Newsparcs: Europe..........................................................................................................................................................................70 Chris Yoshii of AECOM: Asia.................................................................................................................................................................................................72 Joe Kleiman: Museums................................................................................................................................................................................................................ 76 TEA 20 sponsors: stories of storytellers – George Walker............................................................................................................................... 78 THEA AWARDS BACKGROUND AND MORE INFORMATION Complete list of Thea Recipients....................................................................................................................................................................................... 24 History of the Thea Awards.....................................................................................................................................................................................................82 Complete list of 18th Thea Award Recipients .......................................................................................................................................................... 83 Nominate a project for a Thea Award.............................................................................................................................................................................. 74 Index of Advertisers.....................................................................................................................................................................................................................80

Toast i n g t h e Pa st, P re s e nt a nd Fut ur e o f TE A C e l e b r at i n g 2 0 Y e a rs a s a Cr e ative Fa mily Welcome to each of you on this occasion of annual celebration! To all our distinguished award recipients, congratulations! To all who are association members and all of you who chose to attend in person our 18th annual awards ceremony and special 20th Anniversary of the founding of the TEA, thank you. And to all other readers – welcome! This book is intended to serve as a program for the Thea Awards Gala itself on 17 March 2012, as a record of the award recipients and those who made them possible, and as a special commemorative edition marking TEA’s 20th anniversary. Writing this in anticipation of the Thea Awards Gala, I am looking forward to a joyous and memorable evening. I know it will be filled with well-deserved celebration and recognition of extraordinary achievement that simultaneously highlights the breadth of our industry and the extraordinary collaboration amongst such a wide diversity of disciplines, talents and skills. It is also that annual opportunity to re-connect with industry colleagues who have over the past 20 years joined together to form the unique, world-wide, world-class creative “family” that is the Themed Entertainment Association. It is, finally, an evening that affords us the opportunity of making new acquaintances and connections that may last a lifetime - as we ever expand our TEA network of kindred spirits. This year’s collection of recognized individuals, projects, attractions, techniques and special venues is a tribute to just how global the infectious passion and dedication in our industry have become. With the Thea Awards, we are acknowledging extraordinary accomplishment brought about by wondrous acts of creativity, both by individuals and complex teams, from across Asia, Europe, and the Americas. Together, all of us who have the desire, tenacity and ability to raise the funds necessary to create the “new” - along with all who bring daring creative vision and clarity to those “birth” dreams and all who help collectively bring those dreams to reality - let us stop to appreciate and applaud what results from genuine collaboration and a collective dedication to excellence, as evidenced by our many colleagues who are being honored. And then. in the finest tradition of the TEA, let’s raise our glasses in a toast to them all! Beyond being a great reason for celebration and a theme for our Thea Awards Gala party, this 20th anniversary year is an exciting one for our association. Not only is it an opportunity to remember, pay tribute and celebrate the past in a variety of ways, it is an opportunity to take stock and look forward at the next 20 years and what they will mean for our industry and our association. First, let me say that I am honored to have been asked by the International Board to serve a second term during this special year. Second, let me tell you that the association is most fortunate to have such a strong group of passionate, focused and dedicated Board members as we have on both the International Board and our three divisional boards. This attitude of commitment extends into all of our active committees as well, inclusive of the Thea Awards Nominating Committee whose tremendous work annually results in the awards we present annually. Additionally, we have been further energized by the establishment of a very active Past Presidents Committee this past year. All of this is to be appreciated for what it provides the association in both guidance and effort as we move into the first year of our next 20 years.


As we move forward, our priorities are bolstered by the now fully established TEA Foundation supporting industry-important, educational initiatives and the Past Presidents developing a TEA Mentoring Program. Both of these efforts will benefit the TEA’s ongoing commitment to our industry’s continued growth, strength and success. We must collectively assure that the future is properly placed into the hands of the next generation of extraordinary talent, assuring they become the leaders who will drive our industry forward over the next 20 years. So, there is much to celebrate – at the Thea Awards Gala and beyond: W The Past... as we enjoy a variety of opportunities this evening to look back and remember. W

The Present... again, congratulations to all of our honored recipients! You’re a memorable collection for 2012. Each of you helps represent the core strength of our association’s membership - the ability to create extraordinarily compelling places and experiences. Well done!

W And the Future... unknown, but with such opportunity for us all. How exciting it is that our creative “family” will have the chance to discover it together! Cheers!!! And on with the show...



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T E A I n t e rv i ew w i t h Mont y Lunde and Rick R oths child By Owen Ralph

As the TEA celebrates its 20th anniversary, Park World editor Owen Ralph catches up with founder Monty Lunde of Technifex and ex-Disney Imagineer and current TEA president Rick Rothschild of FAR Out! Creative Direction. The article was originally published in the January 2012 issue of Park World magazine. www.parkworld-online.com

How did the association begin? Monty Lunde (ML) – Prior to the IAAPA show in 1991, I wrote a letter to the owners of about 40 companies in our industry, mainly in California since we (Technifex) were based in the Burbank area, so that’s where I knew the most professionals. In the letter, I expressed the notion and potential benefits of supplier companies getting together and discussing the formation of an association that would represent the supplier side of the industry. Basically, it would provide a counterpoint to IAAPA, which represented the owners and operators of amusement and attraction facilities. At that time, the supplier side of the industry had no representation and many of us running our own companies were Monty Lunde approximately 20 years ago. working with the major entertainment corporations, while trying to deal with the challenges of keeping our businesses viable. I was amazed by the overwhelmingly positive response my letter received. As a result, I arranged for the group to meet at the Burbank Hilton Hotel. I think we had representatives from about 30 companies attend and voice their support for formalizing what is now the TEA. We agreed to meet again at the 1991 IAAPA show to elect our first board of directors and establish the TEA as a professional association. At that time, the TEA was formed to exclusively represent the independent companies that supplied services and products to the themed entertainment industry. Now, the TEA is very inclusive with members of Owner/Developer companies having full membership and filling several seats on the TEA International Board of Directors.

How much does the TEA owe to Disney? ML – Many of the core Charter Members of the association originally came from Disney. After they built EPCOT and completed Tokyo Disneyland, Disney let most of their design and production talent go … except for Rick! The rest of us were thanked and politely shown the door, so there was a massive, incredibly talented, pool of professionals who had no place to go. As a result, many independent companies were formed in the mid to late 80’s by these former Disney employees. We commonly referred to ourselves as the “un-WED” since WED Enterprises was the precursor to what is now Walt Disney Imagineering. Rick Rothschild (RR) – In fairness, before EPCOT and Tokyo, Disney Imagineering had a staff under 500, and it quickly grew to almost 3000 to do these big projects. Without EPCOT, I think many of the young, freshout-of-school talent would not even have ended up in the industry.

Was it difficult at first to convince the smaller parks to use your services? ML – Most of the smaller parks were and still are very self-sufficient. To survive economically, they have to be very efficient, reuse and repurpose equipment, and hire very resourceful people who can do a lot of the design and production work internally. My company has had success providing speciality items to smaller parks and developing entire attractions as turn-key systems. Other companies in the TEA have developed long and productive relationships with smaller parks around the world.

How has the association expanded outside of California, and now internationally? ML – In the early years, we quickly picked up members on the East Coast, particularly in the Orlando area, since (after EPCOT opened) Disney had released a lot of talented people who remained based in that area. RR – We now have a very strong membership in Europe, and will stage our 2012 SATE conference there next year. A couple of years ago the Middle East was a hotbed of projects, but it cooled rather quickly. In Asia we have staged a number of initiatives in the last few years, and have probably been more successful in drawing new members from the Asian community than the Middle East in recent years.

How easy has it been to persuade rival firms to work together? ML – I developed a seating chart for the TEA formation meeting, at the IAAPA show in 1991, and placed all competitors, based upon their area of expertise, next to each other. It made for a very quiet meeting for the first five minutes, but I wanted to make the point that we are all in this together. I encouraged everyone to get to know the person sitting to their left and right because they could be the ones watching your back in future. I tried to emphasize that we may compete with others in one area, but these same companies may complement and actually be able to provide support in other areas of expertise. The bottom line with the TEA is that it provides an opportunity to get to know people in the industry that you might never meet otherwise.

“Our industry is unusual in that it doesn’t generally foster massive growth among supplier companies.” — Monty Lunde, TEA Founder

The collaborative approach to working fostered by the TEA is now commonplace across the industry, would you agree? ML – We have a very unusual industry and people looking in from the outside don’t often understand how and why we work together so well. In most construction/development industries there is a very structured hierarchy relative to designers, contractors and suppliers. In our industry the hierarchy is very fluid and malleable. For example, I might develop a project and hire Rick to do work for us as a subcontractor. At the same time, Rick could land a project as a Producer and turn around and hire Technifex as a sub-contractor to provide special effects for his project. So, the pecking order within our industry changes depending upon the project and skills required. RR – Our industry structure is oriented around product, rather than driven by process. What does it take to do this or that specific job? If a project needs three or four particular skill sets, then we will put them together. And the way the world is going, you can assemble a team built from folks around the world to produce a project anywhere.


As a result of this approach, most TEA suppliers are quite small? ML – Out of 682 member companies, over 500 have five or fewer employees. Our industry is unusual in that it doesn’t generally foster massive growth among supplier companies. There is an equilibrium that we all reach, relative to the specific products and services that we each provide and About 20 years ago, Rick Rothschild explains the amount of work available. Over the a themed entertainment concept to President Bill Clinton course of my 30 years in the industry, I’ve seen several companies become stratospheric in size, but they are usually gone within a year or two once that happens. This is usually due to the crush of their own overhead and the wild workflow fluctuations that regularly occur in our industry.

How much influence as suppliers do you have in convincing your clients that a certain theme may not a good idea? ML – As a service company we will engineer and build just about anything a client wants, within the laws of physics… however, we believe an unspoken part of our role is to help our clients understand what can be developed and operated successfully. Ultimately, our client’s success is our success, so we try to help in any way we can.

Are we still seeing the same old themes being exported from West to East? RR – In Japan, certainly if we look at Disney and Universal as examples, the Japanese came to the West and wanted the West. The Chinese and other parts of Asia want our creativity and expertise. They don’t simply want the Western design, story or perspective. They have a different interest, and a different market. What they do want are the inventiveness and dedication to the creation of quality experiences that our members and our industry have developed over many years. That being said, having spent some time researching in different parts of China, I would say there is a curious fascination with the American old West... maybe it’s the wildness typified by the gun toting cowboys?

Do theme parks absorb influences from other kinds of attractions, and vice versa? ML – I think they do, in that many of the developers of attractions outside of the typical theme park market are working with a common talent pool: TEA members. That was not always the case. For example, 15 to 20 years ago, many museums were not very excited about using entertainment techniques more commonly employed in the theme park industry. They were about the presentation of accurate scientific information and entertainment was often a secondary consideration. Now, some of the most engaging displays and presentations wowing guests are at museums, zoos and aquariums – thanks in part to TEA influence. These education-oriented facilities have completely embraced the idea that people who are entertained are also learning and understand that a great guest experience can drive higher visitation to their doorstep. The architectural community has also come around over the last 20 years and really embraced our expertise and methodologies. Many even actively look to partner with TEA member companies to develop iconic features.

“Interactivity has become one more dollop of ‘paint’ on the designer’s palette.” — Rick Rothschild, TEA President

What role do social media, apps and other personal technologies have to play in attractions and how can operators ensure that this offers something guests can’t get at home? RR – I would say there is a move towards using personal technology to encourage collective experiences. I think people do enjoy it on a personal level but also welcome its power to open up the kind of experience they can have while in the environment - engaging and enjoying more with friends and family. That to me is where the industry can and is using technology to provide enriched immersive group experiences and venues that people can’t get at home. ML – You can use current technology to affect what people are experiencing almost instantaneously. For example, at Technifex we are using mobile iPhone apps to control our Water Maze - in that you can use your iPhone to manipulate the maze as your kids are playing in it. I believe that if you give people more control over the environment and the experiences they are having, it makes those moments more compelling and memorable to them.

Is there a danger of over-reliance on interactivity in attractions? RR – There was something about the old Disney A, B, C, D and E tickets; there were fewer E attractions and more As. This helped to spread people around and encouraged them to see the entire park. The notion that there were a variety of different kinds, levels of intensity and formats that made up a days experience… made it richer and filled with more surprises. A meal that is built solely on one food is a much less fulfilling experience than a meal that is crafted from an extraordinary mixture of flavors and textures. It’s the same with developing a successful mixture of attractions and experiences. So my answer is that interactivity has become one more dollop of “paint” on the designer’s palette. Properly managed and used, it helps enrich the guest experience overall like many other established techniques.

T E A I n t e rv iew


What attractions have most inspired you on the latest list of Thea Award recipients? ML – The Crane Dance spectacular at Resorts World Sentosa in Singapore is pretty amazing. The sheer scale of the feature is awesome – 90-foot tall industrial cranes re-purposed to look like stylized birds. That they also express their love for each other through motion, video and water is really unique and a credit to the genius of designer Jeremy Railton. It’s an extremely creative way of using industrial hardware! RR – I have to pick Disney Cruise Line’s Animation Magic. Imagine that every dinner guest is invited to have some fun and draw a character on their placemat, encouraged by a few hints and regardless of their artistic prowess. Before dinner starts, all the guest sketches are collected. A short time later, integrated into a special show that surrounds the dining room with projected Disney animation, every guest drawing has been animated, coming to life to join in the fun with the traditional Disney and Pixar characters dancing about the room. That’s customized interactivity taken to a new level.

Experiential Themed Environments Evolving attraction concepts to tangible realities is completed through the ingenious team of Attraction and Entertainment Solutions, a creative services firm specializing in conceptualization, fabrication, and installation of interactive, themed spaces guests will never forget-a world that sheds its own passionate story. Experience aesthetic excellence and authenticity of AES. Through transparency and trust, we enhance our client’s perception of value.

How can the TEA ensure the next generation of attraction designers? ML – Developing and implementing mentoring programs for the next generation is a cornerstone of the TEA 20th anniversary mission. As an organization, we really want to engage and encourage the next generation of designers, engineers and craftspeople to join and flourish in our industry. Those of us who have been around for the last 25-30 years see the entire industry quietly aging. Before we start to retire, we would like to share the incredible amount of knowledge and experience we have with the next generation, not only pertaining to attraction design and development, but our collective business expertise as well. Our hope is to mentor young professionals to be good at their craft and become successful entrepreneurs that start their own companies, thus continuing the legacy of the TEA.

Images represent John R. Oldham and Todd Wheeler current and previous project portfolio and Experience.


2 0 ye a rs a n d 232 T h e a Awa r ds l ater , I t ’s t im e to ta k e a b ow, T E A! Poor Star Tours. When the original Disney-George Lucas collaboration opened in January, 1987 there were no Thea Awards. The adventure, the first true “hit” for a motion-based simulator attraction, had to wait another 25 years to receive one of the prestigious “Thea Awards for Outstanding Achievement” - at this year’s Thea Awards Gala. Not to make light of this achievement in any way - after all, in our industry where storytelling is prized above all, the new Star Tours – The Adventures Continue at Disneyland and Disney’s Hollywood Studios has grown from one simple storyline to “54 different story combinations,” daring you to figure out how to see them all in your lifetime. And the 2012 Thea Awards Gala held March 17 at the Disneyland Hotel will, by evening’s end, have presented the 232nd Thea Award since the very first was given to Harrison “Buzz” Price for Lifetime Achievement in 1994. When I received the second Lifetime Achievement Award the following year, I was at first upset. It seemed as though my peers in the industry were telling me that my career was over - congratulations, Marty, on a “lifetime of distinguished achievement.” But as I began serving on the Thea Awards Committee beginning in 1996 (you can’t escape if you receive the Lifetime Award!), and continued to contribute to Disney Parks and Resorts projects for another 14 years until I retired from Walt Disney Imagineering in 2009, I realized how important it was that, whenever possible, the recipients of TEA’s renamed “Buzz Price Thea Award – Recognizing A Lifetime of Distinguished Achievements” needed to be active participants in their companies and fields, so that they can pass on their experience and knowledge and passion for creating new wonders for our guests, to the next generation of leaders in our industry. In many ways, that concept has been a fundamental tenet of TEA’s growth from the day Monty Lunde, president of Technifex, first proposed the idea to a few of his friends and industry associates … to today’s TEA roster of some 700 memberships. Recognizing excellence and passing on our know-how and passion for entertaining audiences around the world is the same theory that has guided the Awards Committee in determining the recipients of all those 232 awards for Outstanding Achievement that TEA has presented since 1996, when Mystery Lodge at Knott’s Berry Farm. Fremont Street Experience in Las Vegas, the first Rainforest Cafe in Schaumburg, Illinois and Space Mountain – From The Earth to the Moon at Disneyland Paris were among the ten recipients of the first Thea Awards for Outstanding Achievement – when TEA started naming projects as well as people for Thea Awards. You have qualified for your MBA degree in learning from the very best in themed attractions, retail, live shows, museum exhibits, traveling adventures and limited budget challenges if you have experienced a majority of the memorable projects that have received Thea awards through the years. Who can forget such attractions TEA has honored as Indiana Jones Adventure in Disneyland (1996), The Amazing Adventures of Spider-Man at Universal Studios Florida (2000) and Along the QuingMing River in the China Pavilion at the 2010 World Expo in Shanghai… live shows and event spectaculars like the Acquamatrix Show at the Lisbon World Expo 98 (1999), The Legend of Mythica at Tokyo DisneySea (2008) or the Olympics Opening Ceremonies in Beijing, China (2008). Then there are museum presentations like The International Spy Museum in Washington, D.C. (2004), The Abraham Lincoln Presidential Library & Museum in Springfield, Illinois, USA (2005), Beyond All Boundaries at the National WWII Museum in New Orleans and Science


Storms at MSI Chicago (both 2010)… water attractions like SeaWorld’s Discovery Cove (2001), The Georgia Aquarium in Atlanta and The Real Cost Café at Monterey Bay Aquarium (both 2006). And there are the recipients of the Thea Classic Award, like Pirates of the Caribbean at Disneyland (the first so honored, 1997), Tivoli Gardens in Denmark (2001), Universal Studios Hollywood Tram Tour (2002), Knott’s Halloween Haunt (2003), Efteling Park, Netherlands (2004) and Disneyland Park on its 50th birthday (2005). Thea Awards have also recognized themed retail projects such as The Grove in Los Angeles (2003) … themed restaurants like FoodLoop at Europa-Park, Germany (this year) … limited budget achievements like The Imagination Workshop in Temecula, Ca. (2004) … technical achievements including FastPass at Disney Parks (2001). And of course, from the very beginning we have had the Lifetime Achievement honorees, from Buzz Price in 1994 to the first woman honored, Disneyland’s Kim Irvine (2010) and this year’s recipient of the “Buzz Price Thea Award,” the very distinguished Imagineer Joe Rohde. In all my years as a member of the Thea Awards Committee, perhaps the most interesting discussion was the question of how to appropriately honor The Wizarding World of Harry Potter at Universal Orlando. As I recall, it was Tony Baxter (another TEA “lifer”) who led the charge to make sure we were very clear about what we ultimately called the “Thematic Integration of Retail, Food and Beverage Experiences.” The Awards Committee wanted this achievement to be clearly identified for its “MBA teachings” for cast members and managements. In the end, this meant four different awards for (1) a “New Park Land,” (2) the “Feature Attraction” and (3) its “Technical Creativity” (the latter two both applied to Harry Potter and The Forbidden Journey) and (4) that all important guest experience, the “Thematic Integration of Retail, Food and Beverage.” This attraction represents placemaking and storytelling at its zenith, and we made sure it was spotlighted. My esteemed boss, the late Frank Wells, president of The Walt Disney Company, was fond of asking his colleagues what we had accomplished “at the end of the day”? Well... to me what TEA is today is an amazing tribute to Monty Lunde’s vision and passion in conceiving the idea … to Gene Jeffers’s stick-to-it persistence as Executive Director …to the pioneers and leaders, from Walt Disney and Buzz Price, to all the Lifetime Achievers and TEA Board members … to all the companies who have rolled the dice by investing their capital (dollars and employees) … and to all the great talents – creative, technical, managers, builders and tinkerers – whose passion for excellence has created magical experiences many times those 232 Thea Awards, for young and old to experience and enjoy around the world. Don’t take those words “around the world” lightly: 68 of those 232 awards, roughly 35 percent, have gone to projects outside the USA, including a Lifetime Achievement to our favorite European, Yves Pépin. And this year, nine of the 16 Thea Awards recognize international projects, from France to Japan, Mexico to Norway. So take a bow, TEA. Take a bow, the 700 “true believers” – TEA’s membership. Take a bow, the thousands and thousands of you whose skills have filled these 20 years with the creation of compelling projects and experiences (it’s due to TEA’s striving that your names are listed by the projects you helped create, in this printed program!) Today we have our own “Oscars,” our own Golden Globes – and with the project credits shared by the project owners and published by TEA, we even know who we are! And while you are basking in what you have achieved, remember what Walt Disney told his staff on the 10th anniversary of Disneyland:

“Don’t even think about resting on your laurels. We’re just getting started!”

The a Awar ds Ga l a P r o d u ct io n T e a m 15 EXECUTIVE PRODUCER RON MIZIKER Miziker Entertainment Group

With Eager Assistance From Sywa Sung, Jen Birdseye, Joe Rando, Robert Miziker, Lexington, Huntington Beach High School of Performing Arts, & a Host of other wonderful people of the TEA Family SENIOR PRODUCER KATHY OLIVER Themed Entertainment Association

For Walt Disney Parks & Resorts Entertainment President GEORGE KALOGRIDIS Executive Producers KEVIN ELD MATT CONOVER



Writing BILL BUTLER Garner Holt Productions

RYAN HARMON Zeitgeist Design & Production

House Décor and Management LYNN ALLMANDINGER Design & Drafting Services

Production Stage Manager CAROLINE WILCOX Video/Graphics Editor BARRY MEYERS

Media Director RYAN MIZIKER


Pre-Show Director TRICIA RODRIGUEZ Mad Systems

Production Specialist CHARLOTTE KEYES

Silent Auction Producer CARLOS MIRANDA Methodology European Coordination KLAUS SOMMER PAULSEN CNA Creative Network Agency Musical Contributor TIM HOSMAN Bird Rock Road TEA 20th Video THINKWELL GROUP

Technical Director BILL AVZARADEL



RON MIZIKER, EXECUTIVE PRODUCER An accomplished producer of television series and specials, stage shows, theme park entertainment and international world-class show events that have been seen by billions of people around the world, Ron Miziker (www.miziker.com) produced the very first Thea Awards Gala in 1994 and the next four ceremonies. TEA welcomes him back for this very special edition of the event – with added fanfare to celebrate the association’s 20th anniversary. At the Walt Disney company, as Director of Entertainment and Show Development, Miziker was responsible for the creation of all shows and entertainment for Walt Disney World, Disneyland, and Tokyo Disneyland, served as Producer of prime-time television at Disney Studios and as Vice President of Original Programs for The Disney Channel. With his own company, Miziker Entertainment Group, for the past two decades he has provided show design and production for major world events, theme parks, casinos, television networks and unique entertainment attractions in 17 countries.


Joe Rohde: A rt ist, A dv ent ur er , Co n servatio n ist, Imagineer by WDI

Joe Rohde didn’t realize it then, but he began his career in theme park design as a kid. His father, a cameraman, would sneak him out of school to explore the sets of films like Hawaii, Planet of the Apes and Earthquake. His mother, a high school drama teacher, made sure that Joe’s artistic talents were put to good use as a set designer; she also cast him in such disparate roles on stage as King Arthur, Bill Sykes, Caliban and Poseidon. As the oldest of six kids, Joe learned to accept leadership, delegate responsibility, and manage chaos. He went to a liberal arts college, Occidental; while majoring in studio art he also fed his passion for history, drama, nature, creative writing, and theme parties. All in all, it was the perfect background for a visionary in the theme park industry. Joe started at WED in 1980 thanks to Imagineer John Zovich, who admired Joe’s work as a high school art teacher and told him he ought to apply. Beginning as a model builder for EPCOT Center, Joe also painted sets for Fantasyland attractions and began to do concept work for projects like Captain EO in the mid-1980s. Joe was the designer for the Adventurers Club which opened with Pleasure Island at Walt Disney World Resort.

Disney Worldwide Conservation Fund (DWCF), which Joe helped to spearhead, and was established when the park opened in 1998. Since 1995, DWCF has awarded nearly $18 million to support conservation programs in 111 countries. For 22 years, Joe has led the creative teams responsible for Animal Kingdom, including attractions like Asia, Expedition Everest, and the Wild Africa Trek. They are now laying the groundwork for a new Avatar attraction with Jim Cameron’s Lightstorm Entertainment. Joe is also further exploring the interweaving of ecology and human culture as the leader of an international group of designers for Les Villages Nature, a new resort on the Disney property in France. Having spent his childhood in Hawaii, Joe immediately leaped at the opportunity to share the complexity, intricacy and delicacy of Hawaiian arts and culture at Aulani, a Disney Resort and Spa located on the Island of Oahu. Joe’s passion for history, storytelling, and art helped create a foundation for a project unique in all the world. Recently opened, it is the company’s first major resort not tied to existing park locations, as well as a celebration of Hawaii, where Hawaiian voices speak for themselves about Hawaiian ideas. Adventure requires preparation, and Joe is a theorist who prepares for each design adventure with rigorous research and firm structural thinking. He speaks about story, design and theory around the world, for organizations like NASA, IAAPA, SIGGRAPH, TILE, AZA, and TED. He is a member of the Explorer’s Club, was Occidental College’s alumnus of the year in 1998, holds an honorary PhD from DePaul University, and now, this Lifetime Achievement Award from TEA. Congratulations!

The Adventurers Club was also an incredibly cool-looking place that experimented with interactivity and guest involvement; living characters related to the guests in unscripted evenings of inventive merriment. When it opened in 1989, neither “interactivity,” nor “living character,” were phrases widely used in this industry. Though the club is now closed, a nineteen-year run is not bad for a theatrical improv performance. The Adventurers Club, with its new-style entertainment and artifact-filled rooms, reflected Joe’s predilection for not only thinking, but going “outside over there” to feed his, and our, imaginations. Joe’s thirst for adventure took him on a climbing expedition in the Himalayas. He returned over the years on other trips “just to paint” - which coincidentally entailed hiking through forest fires, fording flooded rivers on horseback, and enduring hair-raising helicopter rides through cloud covered mountains. Joe had also begun another quest: leading a small, brave group of Imagineers charged with the creation of Disney’s Animal Kingdom. Once again, the design territory was new and unoccupied. Animals, advocacy, and conservation had never been addressed together as theme park subjects. The levels of authenticity required sent Joe and his team off to the far corners of Africa and Asia, connecting with animal and plant experts, as well as conservation advocates, to create compelling stories about the human love for, and relationship to, our living planet. Exemplifying this relationship is the

Thank you for 20 years of helping all of us create compelling places and experiences around the world. from your friends at

P u y du Fo u

Technically, Puy du Fou includes two independent attractions: W W W

Le Grand Parc is an assembly of picturesque villages based on the history of the region, each with a spectacular live story presentation, each running approximately 30 - 40 minutes: The Secret of the Lance is set in front of the battlements of a Medieval Castle. It relates the story of a young shepherdess who must defend alone her donjon [tower] from the English knights, helped by a lance with supernatural powers. The huge castle moves, turns and spits fire. A giant castle wall disappears into the ground. The Vikings is set in a reconstructed 1000 year old fortress that is attacked by a Viking Longship. The story begins with a marriage in the village, just before the arrival of a Viking Longboat. Special effects include the emergence of a Longboat from

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

THEA CLASSIC AWARD Le Grand Parc and Cinéscénie, Vendée, France


underwater (with live Vikings aboard!), and a saint walking on the water. Triumph’s Sign is set in a replica of an amphitheater that is 115 meters long and 75 meters wide. It recreates the time when this region of France was occupied by Rome and there was great unrest. It features a traditional parade of people and animals, gladiatorial combat, chariot racing and executions. Highlights include a Ben Hur style chariot race, four lions loose at once, a hyena chasing a victim, and more. The Ball of the Phantom Birds – Dozens of birds of prey surge from the ruins and swoop low over the heads of the visitors. The falconers place some birds on the heads of some visitors wearing hats. Many of the larger birds are released from a balloon floating far overhead. This ends with around 100 birds flying at once around the audience, including dozens of birds of prey and five or six giant vultures with wing spans of 6 to 7 feet, all swooping low, often within reach of the audience. Richelieu’s Musketeers in an indoor stadium, with a show featuring Musketeers performing swashbuckling sword fighting and Gypsy girls Flamenco dancing in water. Horses also perform special trotting/ jumping techniques. Performed in complete light control, this is the only show that is staged indoors.



Cinéscénie is a nighttime spectacular involving over 800 cast members, hundreds of animals, and just about every nighttime special effect known to our industry including, but not limited to, programmable fountains, projections on buildings and on water screens, pyrotechnics, programmed lighting, live fire effects, lighting, moving sets some of which emerge from under water, stunts, horsemanship, fencing, mock battles and more. The show takes place in the evening on a huge outdoor stage in front of the ruins of an authentic castle. It tells the story of the 700 years of history in the area. All of the dialog is in French, but English and Dutch dialog are provided via headphones. All of the actors and actresses (even the children) come from the local villages and are volunteers. In a single season, Cinéscénie involves over 3,000 volunteers ranging in age from under one to over 80 years old. It plays only 28 nights per year, each time to a sell out crowd of 14,000 every night.

Puy du Foy (both Le Grand Parc and Cinéscénie) were created and are operated without any government aid. Reaching to the future, Puy du Fou has also created an “academy” that teaches the skills necessary to guarantee the availability of trained volunteers. Children and young adults can study dance, horsemanship, acrobatics, fencing, fire eating, falconry, and many other skill sets involved in putting together the spectacular offerings of the park and Cinéscénie.


The difficulty in describing the experience of Puy du Fou to people who have not seen it is that almost every individual show is as good or better than almost any stunt spectacular or lake show in another theme park – so much better that when you describe it, your description does not seem plausible. Since its creation 33 years ago, Puy du Fou has become a unique, world-class destination and an international leader in its field. Anyone who has experienced either the park or the nighttime spectacular has been amazed by the creativity of the theming, the quality of the achievement, the daring of the performance, the amazing music and the excellence of the services and technology. Each attraction within the park is completely unique, totally home-designed, mixing historybased content with smart technologies and fabulous performances by humans, animals and behind the scenes wizards. All of this is infused with passion, talent, volunteerism and inspired leadership. Accordingly, these two separate attractions that collaborate to form a single, compelling, world-class visitor experience are profoundly deserving of the Thea Classic Award.

OFFICIAL PROJECT CREDITS Over the years, the Puy du Fou owes its success first to founder Philippe de Villiers, to a dedicated and passionate staff and to the thousands of community volunteers, the Puyfolais (member of the Puy du Fou). The daring creativity is the main strength of the Puy du Fou and every innovation is a collective project led by the artistic team. Every live show in the park is original and spectacular, ensuring that each guest enjoys a unique and engaging experience : an authentic travel through History.

I n t r o d uc in g t h e T E A Service Awa r d: T E A E x ec u t i v e D i r ec tor Gene Jeffers is honored

By Peter Chernack

“At my school desk, Meudon, France”

The TEA’s 20th Anniversary celebration is an opportunity to both honor our past accomplishments and look forward to the next generation of talent that will shape our future. In that regard, the TEA20 Past Presidents Committee saw the value in establishing an annual TEA Service Award to recognize outstanding contributions to growth and development of the Association. Late last year the International Board approved this action and agreed that the award should be presented at the Thea Awards Gala, starting in 2012. Similar to the Thea Awards, nominations for the TEA Service Award will be open to the membership. Eligibility criteria include individuals who are staff or members in good standing, and who have been active in the industry for a minimum of five years. The nominee should exemplify outstanding contributions to the Association that have consistently gone above and beyond the call of duty. (Current International and Division Board Members will not be eligible.) The Past Presidents Advisory Committee will collect and review all nominations and by vote of the majority, make its recommendation to the International Board who will have final approval. Only one individual a year may be recognized with the award. Nominating forms and dates will be published later this year. While for 2012 there was not sufficient time to implement the full nominating and review process, it was eminently clear to the Past Presidents that there “With Dr. Albert Schweitzer, was one individual who stood out amongst the many Lambarene, Gabon” who have given so much to the TEA. This choice seemed particularly appropriate both as the first year of the Service Award and on the occasion of the TEA’s 20th Anniversary. With the unanimous acclaim of the International Board, Gene Jeffers, the Association’s Executive Director, was chosen to be the first TEA Service Award honoree.

Carol and Gene Jeffers in Venice AN ITEM FOR 47 YEARS Photo credit: M. Campbell


Gene became Executive Director in late 2001, during a tumultuous time for the Country and the Association. I had the opportunity to be part of the group involved with the candidate interviews and it was clear then that Gene’s experience with non-profit organizations, his management skills and calm demeanor would be a good match for the TEA. Though he was new to our industry, Gene was well versed in dealing with the demands of associations. Prior to joining the TEA, Gene was the Executive Director of the Inland Valley Chapter of the American Red Cross; Executive Director of the Western Insurance Information Service; and VP of Public Affairs and Communications of the National Association of Broadcasters (NAB). He holds a Master’s in journalism and an MBA in management. In the ten years since, Gene has worked directly with the majority of TEA Presidents, including: Keith James (’01-‘02), George Wiktor (’03), Pat Gallegos (04-’05), Craig Hanna (06-’07), Nick Farmer (’08), Steve Thorburn (’09-’10), and currently Rick Rothschild (’11-’12). Working with TEA leadership and countless volunteers, he instituted two premier industry conferences: the TEA Summit, held just prior to the Thea Awards and SATE (Storytelling, Architecture, Technology, Experience), both of which have continued to grow year by year. He worked diligently and pragmatically to overcome the Association’s substantial debt load (occasionally serving personally as the bank), while simultaneously adding valuable member benefits - including weekly email newsletters, printed publications “My First week at TEA such as the TEA Directory and Thea (actually senior HS photo from Awards Program, the TEA/AECOM Theme Lusaka, Zambia)” Index, and regular RFP/tender opportunities. Moreover, he has worked with hundreds of volunteers to help maintain a culture and environment conducive to networking and collaboration, both cornerstones of the TEA. This includes re-establishing positive relationships with major owner-developers, many of whom are now TEA members. During Gene’s tenure, the Association membership has increased from 325 to over 700. Today the TEA enjoys a productive and mutually supportive working relationship with IAAPA as well as continuing dialogue with other trade groups and guilds. Gene has come to embody the institutional memory and continuity of the Association. He is the touchstone of who, what, when, where and how. Gene seems at times to have many bosses who have a variety of opinions about priorities and directions – this is where his calm focus and rocklike stability are particularly valuable. He is modest in being praised, and quick to ascribe credit to others. He is measured when those around him appear agitated, patient when things don’t quite go according to plan and always optimistic about moving ahead… Even if it’s inch-by-inch as he says now and again. Gene has proven himself to be a man for all seasons. We have each benefited from his steady hand and our Association is stronger as a result of his extraordinary commitment and dedication, which by any measure, have gone well beyond the call… It is for these reasons and more that we extend to Gene the honor and recognition of being the recipient of the first Themed Entertainment Association Service Award.

On behalf of the entire membership, we extend our congratulations and appreciation.

CONGRATULATIONS Thea Award Winners & Happy 20th to theTEA!

2011 Las Vegas Chamber of Commerce Small Business of the Year

Brand Development Advertising & Marketing Writing Websites Social Media Packaging Environmental Graphics Retail Product Development

S pac e Fa n ta sy T h e Ri de

Space Fantasy The Ride is an interior spinning roller coaster, featuring 19 solar shuttles that each seat eight. Riders are propelled through stunning, colorful vistas and fun encounters with such fanciful characters as GBOT, your guide, the playful Sun Fairies and Cosmia, The Princess of the solar system. Our mission is to gather positive energy and re-energize our sun.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

ATTRACTION at Universal Studios Japan


This spinning roller coaster was retrofitted into an existing building and features a highly themed queue, engaging effects and charming characters. The ride is a whirl of dazzling color, light and thrills - delivered by a technical potpourri of 3D cameras, scanning lasers, violet fibers, and fiber optics as well as video walls - to create star fields, stardust clouds, star falls, dusty nebulas and a sonic boom blast into the Sun! It’s a thrilling experience that delivers an engaging story using advanced effects in a meaningful way, making an on-the-spot connection with its target audience.


OFFICIAL PROJECT CREDITS Vernon Mcgucan, Senior Vice President of Park Operations Matthew Preston Jones, Project Director Amelia Gordon Byers, Technical Show Producer Masayoshi Oide, Vice President of Technical Services Satoru Imakura, Construction Project Manager Yasuharu Nishiyama, Ride Manager Haruto Aramasa, Show Manager Hiroshi Nakatani, Construction Manager Yoshihiko Okaichi, Utility Manager Akira Senoo, Facility Manager Noriyoshi Takeda, Control Manager Toshihiro Nagao, Audio Manager Masanori Nishiguchi, Media Manager Kazuhito Nagano, Lighting Manager YasuhiroTerashita, Site Manager Hiroki Tanaka, Interpreter Kazu Nishimura, Interpreter Eiko Yamamoto, Project Assistant Hifumi Maruyama, Project Assistant Haruna Takezawa, Creative Coordinator Kazuya Yamaguchi, Control Section Manager Control Engineers: Yuji Fujishiro, Hayato Mukumoto, Kaori Yashima, Yoshihiro Koda Satoshi Matsuo, Mechanical Engineering Section Manager Mechanical Engineering: Masaki Yamana, Takuya Sakagami, Yoshihiko Kubo, Kenichi Kitano, Hiroshi Ota, Gun Shimizu, Katsuhiko Matsushita, Kazuhiko Shimada AkihikoTakaichi, Maintenance Manager

Maintenance Crew: Nobuo Mori, Ryosuke Matsumoto, Hirofumi Fujino, Hisayoshi Goto, Shinichiro Eguchi, Satoshi Myojo, Shin Matsunaga, Mitsuhara Yasuda, Yuji Aki Makiko Sunada, Operation Planner Operation Managers: Kazuhiro Yoshikawa, Dai Kaneda, Hirofumi Iguchi, Naoko Yasusato, Masaji Tanaka Mike Davis, Original Music Production and Audio Special Effects Noriko Kitaura, Cost Controller Dale Mason, Creative Director Katy Pacitti, Show Producer Steve Blum, VP Engineering and Safety Chris Lauren, Creative Director Bill Mochidome, Facility Design Manager Dave Morris, Art Director Michael Tresaugue, Production Designer/Show Set Lead George Walker, Assistant Technical Director Joshua Updike, Technical Director/Creative Integration Manager David Tear, Art Director John Strohecker, Engineer Tyson Blackmon, Concept Designer/Sr. Show Set Designer Amy Treff, Concept Designer Todd Kortte, Concept Designer/3D Design Helena Pietrusiewcz, Show Set Designer Gary Blumenstein Jr., Show Writer Cynthia Ignacio, Concept Illustrator Brian McQuilliuan, Sound Design/OBA Show Interpreters: Yoko Michinaka, Misaki Naka, Chizuko Sugiura, Miyuki Ikegami Brittney Lee, Character Designer John Hurst, Character Designer Tim Madison, Writer

Ross Osterman, Writer Merritt Andrews, UC Resource Coordinator Kate Dwiggins, Storyboard Artist Pat Vogtli, Concept Artist Mark Rhodes, UC Media Director Junichi Izutsu, Concept Designer Kazuko Tanihara, Sign Graphic Designer John Canton, Control Consultant Erik Hockman, Audio/Video Engineer Aaron Leishman, Audio/Video Engineer Paul Freeman, Original Music and Audio Special Effects Producer Bob Wackerman, Original Music and Audio Special Effects Production Alan Silva, Original Music Composer and Orchestrations Greg Oshiro, Audio Designer Matt Lavesque, Lighting Designer David Flad, Lighting Designer/Lighting Programmer John McGuire, Lighting Programmer Adam Rosen, Lighting Project Manager Randy Johnson, Laser Design Adam Lee, Laser Design Shinichiro Jojiki, Engineer Susan Begley, Program Manager Frank Weigand, Technical Consultant Daniel Coats, Technical Consultant Garland Riddle, Head Designer Harry Endres, Design/Project Management Kobele Thorsten, Development Manager

CO M P LE T E LIST O F T h e a r ecip ients 1ST THEA AWARD (1994)

Harrison “Buzz” Price (Lifetime Achievement Award)

2ND THEA AWARD (1995) Marty Sklar (Lifetime Achievement Award)


Monty Lunde (Outstanding Individual) Ocean Base Atlantic, New Jersey State Aquarium (Aquarium & Zoo) Wild Arctic, Sea World Florida (Aquarium & Zoo) Waterworld, A Live Sea War Spectacular, Universal Studios Hollywood (Live Show Presentation) Fremont Street Experience, Las Vegas (Spectacular) Rainforest Café, Schaumburg, Illinois (Themed Restaurant) Honey, I Shrunk the Audience, Epcot (Attraction) Indiana Jones Adventure, The Temple of the Forbidden Eye, Disneyland (Attraction) Mystery Lodge, Knott’s Berry Farm (Attraction) Space Mountain, From the Earth to the Moon, Disneyland Paris (Attraction)


Don Iwerks (Lifetime Achievement) Pirates of the Caribbean, Disneyland (Classic) Terminator 2:3D, The Battle Across Time, Universal Studios Florida (Attraction) Villa Volta, Efteling, Holland (Attraction) Daytona USA, Daytona Speedway, Florida (Visitor Center) Apollo/Saturn V Center, KSC, Florida (Visitor Center) Warner Bros. Studio Store Expansion, NYC (Themed Retail) Niketown New York, NYC (Themed Retail) Caesars Magical Empire, Caesars Palace, Las Vegas (Themed Restaurant) The Intergalactic Circus Spectacular, Lotte World, Seoul, Korea (Spectacular) Rock’n Robin, Cinema World, Kamakura City, Japan (Excellence on a Limited Budget) Dark Castle, Fantasy Pointe, Nasu Highlands, Japan (Excellence on a Limited Budget)


John Hench (Lifetime Achievement) Calico Mountain (The Mine Train Ride), Knotts Berry Farm (Classic) Ripley’s Aquarium, Myrtle Beach, South Carolina (Aquarium) Star Trek: The Experience, Las Vegas (Attraction) Space Quest Casino, Las Vegas (Casino) New York-New York Hotel and Casino, Las Vegas (Casino/Hotel) The Power of Houston (Event Spectacular) Coney Island Emporium in the New York-New York Hotel (Family Entertainment Center) Masquerade Show in the Sky, Rio Suite Hotel and Casino, Las Vegas (Live Show) Royal Armouries Museum, Leeds UK (Museum) Adventure Slots (Excellence on a Limited Budget – Casino) Encounter at LAX, Los Angeles International Airport (Excellence on a Limited Budget – Themed Restaurant) UFO Encounters (Excellence on a Limited Budget– Touring Walk- Through Attraction)

HollandRama, Holland (Visitor Center) Kid’s City/La Ciudad de los Ninos (Theme Park) Desert Passage (Themed Retail) Volkswagen Autostadt, Germany (Corporate Land) Exploration in the New Millenium (Achievement on a Limited Budget) L’Oxygenarium, France (Achievement on a Limited Budget) Stealth – World’s First Flying Coaster (Breakthrough Innovation) Disney’s FASTPASS (Breakthrough Innovation)


Jon Jerde (Lifetime Achievement) Universal Studio’s Tram Tour (Classic) The Sherman Brothers (Special Achievement) Les Mysteres de la Mer, France (Aquarium) The London Eye, United Kingdom (Creating an Icon) Animal Celebration, Universal Studios Japan (Attraction) Disney Animation, Disney’s California Adventure (Attraction) Soarin’ Over California, Disney California Adventure (Attraction) FDNY Fire Zone, New York (Limited Budget) Star of Destiny Theater, Texas State History Museum (Museum Attraction) Busch Gardens: Ireland (Retheming to Create a New Land) Media Pro 4000 (Technology) Disney’s Animal Kingdom Lodge, Orlando (Themed Hotel) Tokyo DisneySea & Entertainment Program (Theme Park) Chicano Now: American Expressions (Traveling Exhibit) Schlitterbahn Beach Waterpark, Texas (Waterpark) Texas Wild!, Ft. Worth Zoo (Zoo)


George Millay (Lifetime Achievement) Knott’s Scary Farm Halloween Haunt (Classic) Legoland Parks (Special Achievement) Cine’Magique, Walt Disney Studios, Disneyland Paris (Attraction) Templo del Fuego, Universal’s PortAventura, Spain (Attraction) Tomb Raider: The Ride, Paramount’s Kings Island, Cincinnati (Attraction) Stitch’s Photo Phone, Walt Disney Imagineering (Creative Technology) Haunted Mansion Holiday, Disneyland (Effective Re-Theming) 2002 Winter Olympics Opening Ceremonies, Salt Lake City (Event Spectacular) Cerritos Library, City of Cerritos, CA (Library) The Great Barn, Stone Mountain, GA (Limited Budget) Luz y Voces del Tajin, Mexico (Live Show) The Grove, Los Angeles, CA (Themed Retail) Die Glaserne Manufaktur Dresden, Germany (Visitor Center) The Guinness Storehouse, Dublin, Ireland (Visitor Center) (Note, the Thea Award Gala was moved from fall to spring, skipping 2004)



Bob Gurr (Lifetime Achievement) The Haunted Mansion, Disneyland (Classic) “It’s Tough to be a Bug,” Animal Kingdom (Attraction) Journey to Atlantis, Sea World Orlando (Attraction) Animal Kingdom (Theme Park) Disney Quest, Orlando (Entertainment Center) American Girl Place, Chicago (Total Retail Experience) Acquamatrix Show at the Lisbon World Expo ’98 (Live Event Spectacular) Café Odyssey, Mall of America (Restaurant) “O”, Cirque du Soleil, Las Vegas (Live Show) Viejas Outlet Center & Legend of Nightfire Fountain Show (Total Entertainment – Retail) DVP Server Pro (Technical Breakthrough) Titanic Official Movie Tour (Touring Attraction) Robot Zoo, Toronto, Canada (Touring Attraction) M&M’s Academy, Las Vegas (Excellence on a Limited Budget – Attraction) Hotel Gasten, Liseberg, Sweden (Excellence on a Limited Budget – Attraction)

Barry Upson (Lifetime Achievement) Efteling Park, Holland (Classic Revenge of the Mummy, Universal Orlando (Attraction) The Challenge of Tutankhamon, Walibi Belgium (Attraction) Mission: SPACE, Walt Disney World, Orlando (Attraction with Technological Breakthrough) Lucky the Dinosaur, Walt Disney Imagineering (Technology) Aladdin, Disneyland (Live Show) Freedom Rising, National Constitution Center, Philadelphia (Museum Attraction) The Imagination Workshop, Temecula, CA (Children’s Museum on a Limited Budget) The Spy Museum, Washington DC (Museum) The Ford Rouge Factory Tour, Dearborn, MI (Visitor Center) uShaka Marine World, Durban, South Africa (Marine Park) Jurassic Park Institute Tour, Japan (Traveling Exhibit) Action! An Adventure in Moviemaking, Museum of Science and Industry, Chicago (Traveling Exhibit, Limited Budget) Health Royale, The Avampato Discovery Center, WV (Museum Exhibit, Limited Budget)’ Greenfield Village, The Henry Ford, Dearborn, MI (Extreme Makeover)



Tivoli Gardens (Classic) The Stone Forest (Attraction) Trial by Fire (Excellence on a Limited Budget) The Palmach Museum, Israel (Museum) “The Year 2000 Starting Signal” Millennium Pyro Ballet (Event Spectacular) Richmond Sound Design Ltd.’s AudioBox (Breakthrough Technology) James Cameron’s Titanic: The Experience (Attraction) COSI Columbus (Visitor Experience) FiestAventura at Universal Studios Port Aventura, Spain (Live Event) Test Track Presented by GM (Corporate Branding Experience) Gold’s Gym presents HEROES – Health, Fitness and Beyond (Lifestyle) Animator’s Palate (Themed Restaurant) Atlantis, Paradise Island (Resort Hotel) The Amazing Adventures of Spider-Man at Universal Orlando (Attraction)

Yves Pépin (Lifetime Achievement) Disneyland (Classic) Olympic Spirit Toronto (Branded Visitor Center) Ice Age Adventure! Bremen Germany (Limited Budget / Refurbishemnt) Images of Singapore at Sentosa Island (Reinvention of a Cultural Heritage Center) Athens 2004 Olympics Opening Ceremony (Live Event Spectacular) Dodge Wild Earth at the Philadelphia Zoo (Limited Budget) Abraham Lincoln Presidential Museum (Museum) The Churchill Lifeline Table, London, UK (Exhibit) Remember...Dreams Come True (Show) MagiQuest Technology (Development of Interactive Technology) Curse of DarKastle: The Ride (Attraction) Fear Factor Live, Unviersal Studios Hollywood (Live Show)


Bob Rogers of BRC Imagination Arts (Lifetime Achievement) Madame Tussauds, London UK (Classic) Toyota Pavilion, Expo 2005 Japan U-505, MSI Chicago Zoomazium, Woodland Park Zoo The Great Glass Elevator, Alton Towers UK Kidspace Museum, Pasadena, CA The Real Cost Cafe, Monterey Bay Aquarium, CA Robots, MSI Chicago Ski Dubai, Dubai Ashes & Snow, Tour Believe, Sea Worlds

Tony Baxter (Lifetime Achievement) Silver Dollar City (Classic) Millennium Village Event (Attraction) Pirates of the Caribbean: Battle of the Buccaneer Gold (Attraction) Sydney 2000 Olympics: Opening Ceremony (Event Spectacular) The Great Platte River Road Archway Monument (Visitor Center) Nickelodeon Flying Super Saturator (Attraction) Men in Black: Alien Attack (Attraction) Discovery Cove (Marine Park) Lights of Liberty Show (Interactive Sound and Light Show)


Boudin at the Wharf, San Francisco Expedition Everest, Disney’s Animal Kingdom Georgia Aquarium, USA

Disaster! Universal Studios Florida (Attraction Rehab) The Museum at Bethel Woods, New York USA (Museum) Please Touch Museum, Philadelphia USA (Museum) America I Am: The African American Imprint (Traveling Exhibition) Skyscraper! Achievement & Impact, Liberty Science Center, Liberty State Park, Jersey City USA (Science Center Exhibit) McNeil Avian Center, Philadelphia Zoo (Zoo Attraction on a Limited Budget) Tea Show @ OCT East Resort, Shenzhen, China (Live Show) Heineken Experience, Amsterdam (Brand Experience)


Jack Rouse (Lifetime Achievement) SeaWorld (Classic) Cosmos at the Castle, Ireland Shuttle Launch Experience, Kennedy Space Center Florida Finding Nemo Submarine Voyage, Disneyland CA Songs of the Sea, Sentosa Singapore Awakening of the Temple, Aztec Theater Texas Peter Pan’s Neverland, Universal Studios Japan Battle Stations 21, US Navy CSI, Fort Worth Museum Texas Discover the Real George Washington, Donald Reynolds Ed Center Cleveland Avenue Time Machine, Rosa Parks Museum Alabama Ka Floating Stages, Las Vegas Kim Possible World Showcase Playtest, Epcot Noah’s Ark at the Skirball, CA Walking With Dinosaurs - The Live Experience, Tour The Chain of Generations Center, Jerusalem


Kim Irvine (The Buzz Price Thea Award - Recognizing a Lifetime of Distinguished Achievements) The Exploratorium, San Francisco, CA (Classic) Along the River During the Qingming Festival, China Pavilion, Shanghai Expo 2010 (Expo Pavilion Exhibit) The National Infantry Museum, Columbus, Georgia USA (Museum) The Walt Disney Family Museum, San Francisco, USA (Museum) Science Storms, Museum of Science & Industry, Chicago USA (Museum/Science Center Exhibit) Beyond All Boundaries, Solomon Victory Theater, National World War II Museum, New Orleans USA (Museum Attraction) Glasnevin Museum, Dublin, Ireland (Museum) World of Color, Disney California Adventure, Anaheim USA(Nighttime Spectacular) ICT Mobile Device, Information and Communications Pavilion, Shanghai Expo 2010(Integration of Technology and Storytelling) “Flynn Lives,” ComiCon 2010 San Diego, Calif. USA (Promotional Event) The Wizarding World of Harry Potter, Universal Resort Orlando, USA (New Theme Park Land) The Wizarding World of Harry Potter, Universal Resort Orlando, USA (Thematic Integration of Retail, Food & Beverage Experiences) “Harry Potter and the Forbidden Journey,” Universal Resort Orlando, USA (Feature Attraction) “Harry Potter and the Forbidden Journey,” Universal Resort Orlando, USA (Technical Achievement)


Robert L. Ward, (Lifetime Achievement) Epcot (Classic) Museum of the Marine Corps Operation Spy, an Interactive Adventure at the International Spy Museum The Newseum Forces of Nature at the Arizona Science Center Audubon Insectarium Air Force One Discovery Center at the Ronald Reagan Presidential Library Finding Nemo The Musical The Legend of Mythica Muppet Mobile Lab 2008 Summer Olympics Opening Ceremonies Wynn Macau’s Tree of Prosperity Jungala at Busch Gardens Tampa Bay Florida BeWILDerwood Molenheide The Forgotten MineOetken The Simpsons Ride at Universal Studios Florida and Universal Studios Hollywood



Mark Fuller, WET Design (Lifetime Achievement) Coal Mine, Chicago Museum of Science and Industry (Classic) Toy Story Midway Mania, California Adventure and Hollywood Studios at Walt Disney World (Attraction) Dragon’s Treasure Show, City of Dreams, Macau (Attraction)

Joe Rohde, Walt Disney Imagineering (The Buzz Price Thea Award - Recognizing a Lifetime of Distinguished Achievements) Puy du Fou: Le Grand Parc and Cinéscénie, Vendée, France (Classic) JOB # / NAME: TEA THEA Program - Pat Scanlon Ad Space Fantasy The5429 Ride at Universal Studios2012 Japan (Attraction) Barnas Brannstasjon (Children’s Fire Attractions Station) at Kongeparken, TEA Norway (Attraction on a Program Limited Budget) Ad DESCRIPTION: Farmer Thea Arthur, L’Aventure 4D at Futuroscope (Attraction) VERSION:Star Tours - The Adventures Concept 1 Continue at Disneyland and Disney’s Hollywood Studios at Walt Disney World (Attraction Refresh) Fernbank NatureQuest at Fernbank Museum of Natural History, Atlanta (Museum Exhibit) DATE: 3/5/12 YOU! The Experience at Museum of Science and Industry, Chicago (Museum Exhibit) The Changing Climate Show at Science North (Science Center Attraction on a Limited Budget) The Ghost of the Castle at Louisiana’ s Old State Capitol (Cultural Heritage Attraction on a Limited Budget) PUBLICATION: TEA Thea Award Program Crane Dance at Resorts World Sentosa (Show Spectacular) SIZE: 3.5” x 4.625 The Magic, The Memories, and You! at Walt Disney World’s Magic Kingdom (Show Spectacular) Yo México, Celebration of the Century of the Mexican Revolution, Mexico City (Live Show Event Spectacular) The House of Dancing Water at City of Dreams, Macau (Live Show Spectacular) FoodLoop at Europa-Park (Themed Restaurant Experience) Animation Magic in the Animator’s Palate Restaurant aboard Disney Cruise Line’s Ship - Disney Fantasy (Ingenious use of Technology)

Congrats to the TEA on Celebrating 20 Years as a Creative Family and to our Thea Award-Honored Clients!

Congratulations to the TEA

Crane Dance, Resorts World Sentosa

Crane Dance, Resorts World Sentosa

The Producers Group

For 20 Great Years Of Making A Difference.

BRC Imagination Arts

Entertainment Design Corporation

I’m proud to have been part of the adventure.

Marks Creative

Ghost of the Castle, Louisiana’s Old State Capital

Crane Dance, Resorts World Sentosa

Nick Farmer It’s Alive Co.

Crane Dance, Resorts World Sentosa Space Fantasy Ride, Universal Studios Japan


International President 2008

The Magic, The Memories, and You!, Walt Disney World’s Magic Kingdom

Farmer Attraction Development Ltd.

Crane Dance, Resorts World Sentosa Star Tours, Disneyland and Disney’s Hollywood Studios

Mousetrappe Fernbank NatureQuest, Fernbank Museum of Natural History

www.heimanngalen.com 310.274.9701

United Kingdom



T h e G h ost o f t h e Cast l e at Lo uisia na ’ s O l d State Capitol

“Ghost of the Castle” is an experiential, multi-media presentation that brings the colorful history of the Louisiana Old State Capitol building (the “Castle”) to life for the audience. The venerable building has been burned, captured in war, abused, looted and repeatedly allowed to fall into disrepair, and yet, each time the building has risen from the ashes and been rejuvenated through the determination and spirit of the Louisiana people.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t


The “ghost” of the title is Sarah Morgan, a former resident of the castle who unexpectedly “appears” to the audience in a large mirror. As a spectral witness to the life of the building, she relates the history of the castle in a deeply moving and motivating way. The show appears as if from nowhere, eventually surrounding the audience completely through the use of three-dimensional effects, hidden projection, sound and lighting, transporting the audience back through time to relive key moments in the life of the castle. The entire production was installed on a limited budget in a heritage building without disturbing or modifying any of the historic elements of the structure.



Bobby Jindal, Governor Jay Dardenne, Secretary of State The Louisiana Legislature Louisiana Department of State: Tom Schedler, Cathy Berry, Randy Davis, Cliff Deal, Lance Harris, Memory Seymour, Debbie Newman, Anita Sexton, Brenda Wright, Jacques Berry, Brandee Patrick, Lauren Degruise, Karen Miller, Fred Gwin Old State Capitol Staff: Mary Louise Prudhomme, Jan Sumrall, Nancy Chesson, Carl Smith, Daniel Arnold, Sailor Jackson, Karen Hedges, Carol Manship, Lauren Gutierrez, Kayla Brewer, Nicole Huffstetler, Freddie DeBlieux, Charlotte Wall Old State Capitol Foundation, Inc.: Bridger Eglin (Board Chairman), Mary Durusau (Ex Officio Member of the Advisory Board), Lynette Blossman, Winnie Byrd Office of Facility Planning and Control:

Lisa Smeltzer

Content Providers and Historians

Elaine Smyth, Tara Laver, LSU Hill Memorial Library Michael Tick, LSU Department of Theater Kelly Wooten, Duke University Special Collections Library Created and Produced by BRC Imagination Arts

Sameer Kawash, Producer, Project Manager, Creative Director Carmel Lewis, Executive Director Derek Hibbs, Art Director, Fabrication Manager Tom Tait, Technical Director Lacey Hutchison, Project Coordinator, Copywriter Ken Saba, Video Editor Lacey Hutchison, Video Editing Support Writers: Rich Procter, Sameer Kawash, Bob Rogers Mark Hayward, Concept Development Melissa Schulman, Media Production Supervisor Kyle Valentic, Graphic Designer Brendel Geddes, Project Accountant Chuck Roberts, Creative Consultant Joe Cashman, Motion Graphics Supervisor Christine On, Motion Graphics Artist Todd Kortte, 3D Digital Modeling Music Composer and Sound Designer: David Kneupper, Ph.D and

Patrick Sellers for Kneupper Music Brian Hutchison, Additional Music Chelsea Morgan Thomas, Ghost of Sarah Morgan Morla Gorrondona, Voice of Sarah Morgan Rich Procter, Voice of Cecil Morgan, Announcer Ken Saba, Voice of Mark Twain Shadows: Michelline Coonrod, Leo Foti, Nick Gilbert, Carly Hutchison, Megan Lomeli, Nick Sarando, Peter Tucci, Shauna Zomek, Rich Procter Background Voices: Riley Conroy, Christine On, Cara Pico, Stephen Rebori Temp Voices: Tiba Edelmann, Haley Drago, Ken Saba CAD Assistant: Angel Barron Storyboard Illustrators: Lidat Truong, Jarid Boyce, David Goodwin Media Rights and Acquisition: Julie Le, Melissa Schulman, Cara Pico, Lacey Hutchison Concept Artists: Jeff Purves, Nathaniel West, Ed Li Illustrators: David Goodwin, Danilo Montejo Alex MacKay, Coordinated As-Built Drawing Set Christina Haatainen-Jones, Character Illustrator Carol Haase, Research Consultant Suzette Toledano Becker, Music Licensing Attorney Ariana Kauffman, Graphic Design Support IT Managers: Chris Dagne, Michael Renteria Carmel Lewis, Vice President of Cultural Experiences Christopher De Ande, Vice President of Business Affairs BRC Officers: Scott Ault, Tom McDonald Bob Rogers, Chief Creative Officer Green Screen Filming

Sameer Kawash, Producer Brad Shelton, Stage Director John Ealer, Director of Photography Melissa Schulman, Media Production Supervisor Christina Haatainen-Jones, Costume Designer Holly Victoria, Wardrobe Assistant Carly Hutchison, Choreographer Wael Shukha, Set Lighting Peter Villani, Gaffer Peter Welsh, Key Grip Joe Cashman¸1st Assistant Director John Paul Meyer, 1st Assistant Camera Johanna A. Cerati, 2nd Assistant Camera Rick Brush, Sound Mixer Sarah Hatten, Hair and Makeup Artist Lacey Hutchison, Script Supervisor

Derek Hibbs, Prop Master Production Assistants: Derek Oishi, John Rogers Vendors to BRC Imagination Arts

Video Effects Supervisor for Ghost Effects: André Bustanoby for Masters FX; Michael Kaelin, Jon Greenhalgh, and Alex Jacobs for Michael Kaelin and Associates Fabrication: Ralph Hudson for Ironwood Reproductions: Joe Rinaudo for Rinaudo’s Reproductions Show Systems: Shawn Siqueira for ProSound Lighting Design: Mark Andrew for Yeager Design Lighting Installation: Chris Gallagher for Candela Controls Graphics Production: Ashleigh Turner for Olson Visual Artifact Reproductions: History for Hire General Contractor: Tommy Messina, Project Manager for Cangelosi Ward On-site Sound Mix: David Kneupper, Ph.D for Kneupper Music ADR and Sound Mix: Justin Langley, Alex Johnson for Soundelux (with special thanks to Dutch Hill) Randy Johnson, Laser Design Adam Lee, Laser Design Shinichiro Jojiki, Engineer Susan Begley, Program Manager Frank Weigand, Technical Consultant Daniel Coats, Technical Consultant Garland Riddle, Head Designer Harry Endres, Design/Project Management Kobele Thorsten, Development Manager


This project demonstrates excellence and creativity in the application of the arts and sciences of themed entertainment. It combines a wide variety of techniques in new ways, and the result is a memorable, story-based experience that fosters an emotional connection to the “Castle.” In addition to conceiving and creating the entire project on a limited budget, due to the preservation classification of the structure itself, the entire production had to be installed without modifications or structural changes that would disturb the classic elements of the building. The ingenious approach of the design team completely disguises the technical elements of the show, hiding projectors, lighting instruments and speakers within false walls, soffits and ceiling panels, behind mirrors and within chandeliers. The results are transparent to the guests who are only aware that they have been engaged, entertained and educated in a magical and compelling way.

T h e C h a n g in g C lim ate Show

“The Changing Climate Show� at Science North, a science center in Sudbury, Ontario [Canada] is a brand new, multimedia presentation that combines media technologies, theatrical effects and purpose-built environments - creating an experience that communicates a difficult topic in a memorable, educational and very entertaining way. This show leads the audience on an exploration of the ongoing effects of climate change on humans and natural habitats and looks for ways humans can meet these challenges with creative and innovative ideas. Drawing on the success of an earlier show, the design intent and execution are whimsical and unexpected. Audiences are greeted by a loveable, original and expanded cast of animated sheep. As the story unfolds on multiple video screens, it is punctuated by creative set elements that are revealed by carefully timed lighting and motion at related moments in the show.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t



Creating an approachable show about climate change is a difficult task. The Changing Climate Show achieves that through the use of approachable characters and appropriate media and theatrical technologies cleverly integrated to tell a compelling story. Audiences are treated to an educational and highly entertaining show that breaks down one of the most complex science topics of our time. All for less than $600,000!


OFFICIAL PROJECT CREDITS Guy Labine, Executive Producer Jim Marchbank, Executive Producer Jennifer Pink, Executive Producer Andrea Martin, Project Manager, Co- Producer Robert Gagné, Director, Producer Lowell Cochrane for Show Communications, Writer Peter Elliott, Editor Richard Wildeman, Animator Vern Gran, Technical Director Daniel Bédard for Sound Sculptures Sonores, Music and Soundscape Rick Mercer, Main Narrator (Sheepy) ACTRA Bernard Fortin, Main Narrator French (Sheepy-French) UDA Chantal Baril, Actor (various) UDA Michael David Donovan, Actor (various) ACTRA Samantha Swan, Actor (various) ACTRA Jim Codrington, Actor (various) ACTRA Jeff Lumby, Actor (various) ACTRA Images in Sound, Sound Recording Technicolor Services Toronto, Sound Recording Bev Pugliese, Production Coordinator John Milne, Production Support Amy Wilson, Production Support Astrid Colton, Graphic Design Mireille Wright, Graphic Design Dave Kelly, IT Services Brian Wright, IT Services Sharon Poppleton, French Translation Content Development Team

Chantal Barriault, Courtney Gilbert, Julie Moskalyk, Dr. David Pearson, Jennifer Pink, Stephanie-Lynn Russell Technical Team

Gilles Caron, Pieter Breijer, Mark Gibson, Don Greco, Tasio Gregorini, Russell Jensen, Paul Loiselle, Rob Longarini, Renaud Marquis, Mathew Wickman, Michel Tremblay Kubik, Set Design and Fabrication Fresh Never Frozen Art, Set Fabrication SLX Designs, Lighting Audrey Dugas, Fundraising Marketing

Stephanie Deschenes, Joel Ayotte, Crystal Craig, Reem Fatthouh, Lisa Koski, Tim Quetton, Marianne Zadra Business Affairs

Carolyn Thain, Michele Ciulini, Janine Pigozzo Production Accounting

Jennifer Booth, Patricia Carpenter, Angela McCandless, Valerie Pratt, Diane Rossi Additional Footage

BBC Motion Gallery, JumpStart Productions, Liza Mosquito de Guia/ Mozzy Dox LLC, (Foodcurrated.com), Climate Change Central, Footage Search Inc., Getty Images, iStockphoto LP, National Geographic Digital Motion, Thought Equity Motion Northern Ontario Heritage Fund Corporation, Funding Assistance


Yo México was a 90-minute live multimedia show that celebrated the “Century of the Mexican Revolution.” At a cost of approximately US $20 million, the show ran from November 10th to 14th, 2010 in El Zocalo, Mexico City’s main square and was attended by over 3 million spectators.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t



The committee selected Yo México because: W It succeeded in breaking the mold for arena spectaculars by placing the audience within the 360-degree theatrical environment of the show. W The five main stages, connected by walkways, ensured that all guests would be able to enjoy a front seat at various times during the performance. W Yo México sustained the clear and definitive historical narrative throughout the 90- minute show, a difficult challenge for large arena spectacles. W By the technique of architectural texture mapping on the surrounding buildings as well as the artful use of poetry, music and dance, the audience was taken on a poetic journey through 100 years of Mexican history. Apart from the innovative broad concept, Yo México’s production team used architectural texture mapping, a projection system that is lately becoming more and more popular around the world because of its dramatic effect. Here, the production team incorporated it to artfully support the narrative. The show flow graph was masterful. There were huge moments of spectacle and drama yet the production was able to create intimate moments of poetry and dance without losing any intensity, energy or focus.



Felipe Calderón Hinojosa, President of the United-States of Mexico Alonso Lujambio Irazábal, Secretary of Public Education José Manuel Villalpando, General Director of the National Institute of Historical Studies of the Mexican Revolution Jaime Alcudia Goya, Director of Social Communication in the Secretariat of Public Education Show Design and Artistic Production

Les Petits Français

Concept, Design, Creation, Artistic Production and Show Design

Martin Arnaud, Original Concept, Creator and Director Marilyn Kuentz, Artistic Producer Historical Contents

Carolina Peña Brunet, Content Director Lucía García Noriega y Nieto, Main Consultant and historical script Stéphanie Robert, Historical consultant Eliseo Santillan, Music Consultant Vanessa Rybicki, Contemporary Music Consultant Itzia Fernández Escareño, Historical Movie Consultant Michael Ramos Araizaga, Historical Movie Consultant Tita Valencia, Document Investigator Cristina Pantoja Delhumeau, Document Investigator Lourdes Almeida, Historical Photos Investigation and Retouching Investigation and Writing of original texts

Lucía García Noriega y Nieto / Tita Valencia Andreina Aragoneses, Programme Sylvanna Barona Gendrop, Website

Monumental Images on Buildings and “Cinetuls”

Christophe Bertiaux, Mon Oeil De Bertiaux, Creative Director Image Designers: François Simerey, Ugo Cassanello, Base80, Claudio Cavallari, Alexandre Czetwertynski, Manuel Magalhaès, Benjamin Le Talour. Original video on “Cinetuls” – Direction and Editing

Henri Poulain, Director Nils Ruinet, Director of Photography and Cameraman

François Paturel, Director of Photography Guillaume Talvas, Editor Fabrice Thumerel, Graphic Designer on “Cinetuls” Juliette Faysse, Camera Operator Miguel Guiterrez, Production Assistant and Translator Florent Vitse, Production Assistant and Translator Gregorio Rocha, Images of “Caudillos de la Revolución” Hervé Jacquet, Production Director Original Soundtrack

Philippe Villar, Composer and Sound Engineer Fabien Langard, Composer and Sound Engineer Eliseo Santillan, Composer Pascal Lengagne, Composer Pierre Caillot, Composer Light Design and Operation

Bruno Corsini, Light Designer Laurence Duhamel, Light Co-Designer Roger Rey, Light Coordinator Roberto Cruz Gonzalez, Light Coordinator Pyrotechnic Design and Coordination

Pierre-Emmanuel Gélis, Pyrotechnics Designer Stéphane Bazoge, Co-designer and Pyrotechnics Coordinator Choreography and Stage Direction

Saúl Badillo, Contemporary Choreographer Carlos Antúnez, Traditional Choreographer Tareke Ortiz, Direction Assistant Jean-Pierre Ize, Second Direction Assistant

Costume, Prop and Make-up Design

Eloise Kazan, Costume and Prop Designer Paulina Campos Hierro, Prop Designer Assistant Alejandra Rosales, Costume Designer Assistant Raúl Muñoz Cruz, Make-up and Hair Designer Concepción Calderón, Make-up and Hair Designer Show Photography - Huguette & Prosper

Laurent Attias, Show Photographer Assistant: Gerardo Arriaga

Artistic Production

Anne Larra, Artistic Production Director Rachel Gonidec, Artistic Production Assistant and Cast Manager Miguel Angel Negrete Cobos, Artistic Producer Mexico Leila Maldonado Garibay, Artistic Production Assistant Mexico Leslie Menahem, Cast Manager Vanessa Rybicki, Cast Manager Vanessa Aubac, Logistics Coordinator Jessie Hundleby, English Translator Stéphanie Robert, Spanish Translator Technical Production

Fanny Moreau, First Assistant / Show caller Alain Gaillard, Technical Director Clément Rabréaud, General Coordinator Erlend Levin, Render Farm Genius Laurent Laborne, International Freight Coordinator Voice-over

Adriana Pérez Cañedo, Alejandra Marín Aguilar, Ana Ofelia Murguía Díaz, Antonio Hernández Monroy, Erika Valero, Julio César Luna, Martha Mansur, Luis Ferrer, Vanesa Bauche Artistic Production, Mexico

Costume, Prop and Make-up Production Beatriz Flores, Costume Coordinator and Producer Alejandro Duarte Núñez, Prop Manager Mayra Juárez Vanegas, Juan Manuel Hernández. Costumes

Marina Meza, Tania Galindo, Lorena Percastre, Mauricio Ascencio, Rodrigo Sosa, Israel Romero, Katia Minués, Yahara Morgado, Reynaldo Azpeitia. Props

Felipe Núñez Leal, Carlos Moreno Irigoyen, Rosendo Madrid Pacheco, Joel Ramírez López, Luis García Pérez, Pedro Madrid Pacheco, Alberto Núñez Guadarrama, Marco Moreno Ángeles, Francis Brito Gutiérrez, Enrique Cervantes Castillo, Ernesto Núñez Leal, Israel Álvarez Mendieta, Diego Irigoyen Núñez, José Luis Medran, Enrique Domínguez Flores, Juan Uriel Alto Hernández, Alberto Núñez Leal, Noé Ayala Ibarra, Jesús Sánchez Ramírez, Christopher Calderón Cruz, Victor Ramírez García (Design and construction of “Centaur-horses” props)

Make-up and Hairdressing

Adam Zoller Duplan, Edgar Jiménez Guerrero, Karina Rodríguez, Roberto Ortiz Ramos, Virginia Acevedo Mondragón, Sandra Leticia Arai Chávez, Oscar Muñoz Cruz, Elizabeth Irra Sánchez, José Manuel Jacobo Torrecilla, Julissa Calderón Carmona, Saín Pereyra Aguilar, Alberto Muñoz Calderón, Inés Mayo Ramos, Martha Barrera Mayo, Juan Cruz Santander, Marco Antonio Pérez Gómez, Marco Antonio García, Malinalli Contreras Ruiz. Backstage

Jorge Zapata Valdéz, Backstage Manager Assistants: Berenice Wilchis Delgado, Francisco José Reynoso Arreola, Roque Aguirre. Cast Managers

Maria Antonieta Moreno Lau, Sergio Galaviz, Andrea Teutli Wash, Francisco González Mendoza. Assistants

Daniel Aguiñon Armijo, César Morán Castro, Ángeles Moreno Torres, Jennifer Barajas Hernández, Mariguí Fabre Hurtado, Carlos Castillo Manzanares, Ivonne Pazmiño Hernández, Selene Chávez Villeda, Cecilia Fonseca Farfán, Italu Arauzo Hernández, Kaori Hayakawa Salas, Mónica Zamora Salcedo, Joaquín González Velarde, Vanessa Paulina Ávila Barrera, Gina Zapata. Casting

Xóchitl Martínez Ortega, Casting Director Andrea Ceballos Alarcón, Casting Director Yayo Morris Rosales, Casting Coordinator Administration

Miguel Angel Amador González, Lucía Vértiz Olivares. Production

Miriam Manjarrés Ángeles, Valeria Márquez Alfaro, Iliana Silva Zabaleta, Yadira Díaz Ocampo, Jorge Montañez Rosales. Artists / Performers Tribu

Agustín Pimentel Díaz, Stage Director Alejandro Méndez Rojas, Music Director Musicians: David Méndez Rojas, Ramiro Ramírez Duarte, Tenoch Méndez

YO MÉXICO OFFICIAL PROJECT CREDITS [Continued] Carmona, Tatziu Méndez Carmona, Meztli Méndez Carmona, Jeadi Ramírez Paredes, Edgar Martínez Guinto, Pablo Méndez Rojas, Víctor Antonio García. Son De Tradición

Alejandro Montaño, Alex Montaño, Alejandro García, Gilberto Chávez, Carlos Baraja, René De Gante, Enrique Hernández, Héctor Gómez. Kumaltik

Dzaya Castillo Jiménez, Enrique Palacios Vega, Fredi Naranjo Vega, Juan Fco. Fridman Peisner, Omar Flores Durán. Tierra Del Sol De Cosoltepec, Oaxaca

Musicians: Sergio Espinosa Ramírez, Catalina Hernández Reyes, Rafael Prado Durán, Francisco Javier Vargas Luna, Gino Soriano Rosales, Helios Valdéz Altamirano, Juan Carlos Soriano Rosales, Octavio Reyes Rodríguez, Luis Alberto Vázquez Ramírez, Carlos Iván Castro Olvera, Antonio Sánchez Cruz, Manuel Espinosa Carrillo, Néstor Onofre Hernández, Ciriaco Soriano Espinosa, José Luis Soriano Salazar. Musicians Costumes

Rita Carmona Díaz,Mayra Araceli Carmona Díaz, Carolina Paredes Jímenez, Gabriela Carmona Díaz. Singers

Zindu Cano Martínez, Singer Mc Luka, Writer and Singer 2 Phase, Sound Engineer

Terciopelo Films – Coordination and operational Production for the filming of “Ode to the Earth”

Alberto Valladares, Executive Producer Oswaldo Rivera, Producer Claudia Sánchez, Production Coordinator Rodrigo Díaz, Production First Assistant Miguel Gutiérrez, Translator Jorge Muñiz, Crane Operator Honorio A. Rosas, Crane Operator Oscar Martínez, Staff Coordinator Production Assistants

Joel Rivera, Mariana San Esteban, José Luis Arteaga, Martín Sánchez, Roberto Reynoso, Eduardo Olvera. Drivers

Ramón Yañez, El Charly, Martín Sánchez, Pedro Palma, René Pérez, Guadalupe Ortega, Humberto Vázquez, Víctor Mondragón. Aero Servicios Guerrero

Maribel Bravo, Gerardo Madrigal Executive Production

Marco Antonio Silva Martínez, Jade Quiñones García, José Villanueva González.

Corporación Interamericana de Entretenimiento Alejandro Soberón Kuri, General Producer Maritza Tellez Girón Basabe, Director of Institutional Relations Eduardo Martínez Garza, Business Operations Director Gabriela Escandón Ornelas, Institutional Relations Coordinator Liliana Bustos, Institutional Relations Assistant Eduardo Mondragón Mora, Legal Director Octavio Peraza Malarca, Administration and Finance Director


Creatividad Y Espectáculos

Amalia Hernández Foundation

Amalia Norma López Hernández, General Director Salvador López López, General Director Artistic Coordinators

Claudio Bonifax Meza, Laura Becerril Ortiz, Mariana Claverán Zaldívar, Carlos Jiménez Pichardo, Andrés Vázquez Vela, Berenice Vázquez Cervantes.

José Barrios Gómez, Pedro Cedillo Jiménez and Jesús Zúñiga Gómez.

Ruben Saldívar, General Director Guadalupe Zendejas, Production Director Mauricio Olivera, Business Director Sigfrido Ortiz, Service Manager Graciela Velázquez, Finance Director Cecilia Abreu, Purchase Director Alejandro Tellez, Administration Assistant Javier Diaz “La Hormiga”, Production Manager Verónica Moreno, Sponsorship Manager Mariana Ortega, Production Assistant Roberto López, Production Assistant Omar Gómez, Production Assistant Javier Vázquez, Production Assistant Violeta Arellano, Risk Analyst Mauricio Núñez, Production Manager Neftalí Elías, Production Manager

Sound Technicians

Technical and Logistics Production


Abraham Hernández Hernández, Jesús Atzael, Simón Fuentes, Marlon Martínez Gómez, Alberto Salgado Román, Josué Vázquez Meléndez, Julio César Fuentes Benito, Jonathan Robellada Monzón, Jair González Gonzaga, Fernando Piña, Fernando Hernández Guerrero, Enrique Hernández Galván, Oswaldo Galán Sánchez, Alfonso Meraza, Alex Álvarez Aliaga, Ernesto Palacios Miranda, Javier Álvarez Del Angel, Sergio Nájera Aguilar, Kevin Hernández González, Roberto Carlos González, Julio César Cabrera Pérez, Enrique Acosta Licona, César Mejía López, Rafael Saucedo Benítez, Carlos Cabrera Soto, Miguel Angel Oliva Marfil, Ignacio Cruz Acosta, Agustín Lara Cortés, César Limón Rojas, Genaro Antonio Martínez Estrada, Abraham Bravo Ruiz, Mayra Elena Súarez Ruiz, Cinthia Hinojosa Paredes, Citlali Rodríguez Cervantes, Brenda Pérez Serrano, Anahy Landa León, Abril García Sánchez, Ana María Ortega Espinoza, Fabiola Guzmán, Ma. Alejandra Cuellar Hurtado, Alejandra García Alejandre, Mazarit López Pazrosa, María Zamora Mójica, Andrea Luna Amaya, Miriam Pérez Loredo, Cristian Ortíz García, Anahy Dorantes López, Iris Avilés Rodríguez, Areli Hernández Falcón, Dora Cano Prado, Isaura Arriola Guardado, Mónica Sánchez Villegas, Sara Vázquez Meléndez, Gabriela Vivanco Pérez, Gabriela Medina Júarez, Diana Ovalle Benito, Nora Maldonado, Rebeca Esquinca, Cecilia López Torres, Elena Preciado Gutiérrez, Ingrid Benítez Carrillo. Costume Designers

Armando Carrillo Landeros and Luis Antonio González Tecuatl. Light Designer

Rafael Zúñiga Jaimes Technicians

Juan González Ramírez, René Jaramillo Fabriz, Santiago Juárez Mendoza, Aldo Misael López Cedillo, Octavio Marín García, Jesús Vázquez Márquez. Contemporary Dancers and Actors

Francisco Aviña Rodríguez, Choreographer Assistant Mario Alberto Frías Banda, Choreographer Assistant Captains:

María De Los Angeles Meneses, Erika Cecilia Méndez Ureña, Neisma Ávila Gallardo, Jacob Morales Montaño. Contemporary Dancers:

César López Del Río Reyes, Eduardo Maldonado Arellano, Mario Alfonso Bravo, Ernesto Palacios Miranda, Fernando Javier Zamora Montoya, Gerardo Jara Ampudia, Gilberto Rogel Ramírez, Irving Martínez González, Mizraim Arjona Casas, Víctor Raúl Durán Bustos, Gustavo Espinosa Trejo, Alan Escamilla Medrano, Alejandro Rodríguez Toussaint, Alexis Adrián Fuentes Rivera, Antonio de Jesús Nieto Pazo, Cuauhtémoc López Pérez, Israel Rogelio Ovando Toscano, Julio César Martínez Klemp, Ricardo Díaz Mendoza, Mario Jaramillo Mendoza, Jorge Luis Chávez Caballero, Enrique Ávila Acosta, Uriel Esquivel Olivera, Iván Israel Skinifill Valdés, Rafael Hernández González, José Juan Pérez Legorreta, Luis Peyrak Herrera Lieyanos, Luis Antonio Gómez Islas, Yuri Adrián Yaber Pérez, Adolfo Chávez Pérez, Alberto Alfonso, León Fernández, Alejandro Olvera Espinosa, Carlos Fernando Campos Jiménez, Oswaldo González Aguilar, Elroy Estrada Cuevas, Alejandro Carbajal Tello, Bruce Chang Durán, Luis Rodrigo Durán Bustos, Mauro López Perales, Atonatiuh Moisés Siurob Palomero, Rafael Echeverría Rosas, Armando Pérez Hernández, Israel Martínez Laramario, Antonio Mondragón Torre, Diego Monge García, Daniel Adame López, Tirso Vicente De La Cruz, Oscar Hernández Hernández, Geovany Mora Escalante, Oswaldo Valdés Hernández, Guillermo IV Obele Bustos, Johnathan Rodríguez Vela, Lucio Alberto Sosa Fonseca, Arturo Pineda Coronel, Benjamín Sánchez Islas, César Luna Gómez, Gabriel Martínez Rubio, Víctor Hernández, Victoria Ángel Cabrera Cuevas, César Landeros Martínez, Héctor Padilla Isunza, Omar Alejandro Barrios Peña, Ulises Martínez Martínez, Jorge Alberto Luna Ortega, Alberto Alejandro Palestina Ramírez, Luis Andrés De La Colina Jaimes, Manuel Martínez, Alejandro Huicochea Morales, Sebastián Fernández Zamora, Fernando Espinoza Corro, Jorge Díaz Mendoza, Oscar Gómez Ceballos, Bruno Benítez Monroy, Cristóbal Salcedo González, Eliseo Isai López Cruz, Emmanuel Torres Mejía, Luis Leopoldo Ramírez Terrón, Esteban Vázquez Terres, Ezequiel Velázquez Cruz, Francisco Javier González Salgado, Oscar Michel Pérez Maldonado, Iván González Galicia, Iván Merino Lecuona, Jeríco Rodríguez Guerrero, Jesús Salvador Ureña Silva, Johan Álvarez Trejo, José Antonio Aceves Arguenta, Luis Eduardo Gutiérrez Araujo, Juan Francisco Morales Veram, Isael Quero Reyes, Nahum Calixto Sánchez, Omar Carrasco Félix, Alan Víctor Tena Pacheco, Alejandro Montoya Bernal, Salomón López Santiago, Erik Rosales Flores, José Antonio Lavalle Gurza, Ángel Mendoza Calva, Abraham Franco Velarde, Erika Cecilia Méndez Ureña, María De Los Ángeles Meneses, Neisma Gabriela Ávila Gallardo, Jazmín Cancio Lucio, Andrea Del Carmen Súarez Hurtado, Paulina Caballero Zamora, Rubí Amir Guerra Martínez, Tania Loaria Millánana, Patricia García Zambrano, Karen Aguirre Sánchez, Fernanda Patiño Cortés, Gabriela Roxana Steckiewicz, Cinthia Viridiana Lecuona Martínez, Eloisa Citlalli Caballero Acosta, Karla Iveth Gutiérrez Meza, Maria Antonieta Carrasco Martínez, Fernanda Sánchez Vidaña, Mary Helena Díaz Sandoval, Alba Maya Sánchez, Yaqui Valenzuela Scheltman, Maria Luisa Padilla Luna, Tsayamhall Esquivel Torres, Bárbara Foulkes, Elsa Leticia Montoya Cadena, Ana Belinda Isunza Escobar, Columba Zavala Arciniega, Ixchel Salazar González, Eva Aragón López, Sheila Gabriela Rojas Pérez, Stephanie Janaina Ochoa Bourgeois, Lucelen Carvajal Campos, Roxana Paola Castillo Troncoso, Verónica Nuemy Sánchez Cortéz, Citlali Ortiz Cuamatzi, Itzel Galindo Becerril, Cinthia Martínez Gómez, Ileana Carola Ortega Estrada, Karla Karina Flores Contreras, Norma Angélica Flores Meléndez, María Julieta De Piano, Mercedes Rebeca Rodríguez Chapman, Yamile Tanus Kerstupp, Jeanime Findeis, Krystell Aguilera Pérez, Liliana Sánchez Medina, María José Rocha Bustos, Adriana Barboza Sosa, Aranely Canela García, Sandra Arcos De Jesús, Yuridia Ortega Fragoso, Jazmín Rangel Evaristo, Jimena Espinosa Flores, Liliana Naranjo Chávez, América Basurto Ballesteros, Nallely Cuevas Tenorio, Patricia Itzel Gómez Caloca, Raquel Andrea González Martínez, Regina Ayala Chávez, Sonia Sánchez García, Yessica Basaldua Ramírez, Tania Ortiz Cornejo, Ilse Lazcano Núñez, Melba Lucia Chapela Mazarregos, Pamela Acosta Galván, Marysol Guzmán Salas, Ximena Valdéz Ballesteros, Naresha Ivette Gómez Fernández, Myriam Alejandra Ayala Santibañez, Azeneth Yetlanezi Marín Rangel, Fernanda Manzo Campero, Melissa Romero Fuentes, Nicoleta Gabriela Martínez Palomares, Imelda Castro Blanco, Laura Selene Beltrán Delgado, Ivonne Cruz Bravo, Michelle Karime Linares Tapia, Zayre Yennin Iarra Cano, Alejandra Barba Gottwald, Alejandra Carolina Moreno Rivera, Jenny Abril Ramírez Gutiérrez, Ariadna Gómez Lira, Jimena Cid Del Prado García De León, Cindee Ivonne Puente Escalante, Erika Del Carmen Sánchez Ruiz, Lizania Paola Moguel Rabadán, Lucero Veneranda Olvera Trujllo, María De Los Ángeles Ocampo L. Actors

Luis Rosales Aguilar, César Ríos Legaspi, Adrián Aguirre Gómez, Víctor Navarro, Jorge Alberto Luna González, Zaira Concha Moreno, Perla Salas-Cruz, Bernardo Benítez Monroy. Aerial performers - Anima Inc

Alejandra González Anaya, Artistic Director Anabel Cantú, Producer Esteban González Guzmán, Executive Producer Alejandra Pérez Meza, Company Manager Performers

Abril Romero Medrano, César Romero Medrano, Domenico Jiménez Contreras, Fernanda Parra Garnica, Ismael Romero Medrano, Jade Castilla González, Juan Carlos Falcón Álvarez, Luis Villanueva Rebollar, Miguel Angel Zúñiga Reyes, Nicolás Barmat Rejtman, Norma Flores Armenta, Paulette Parra Garnica, Paulina Fernández Sánchez, Samantha Escamilla Islas, Sergio Villegas Reyes, Verónica González Vargas. Rigging

Mikhail Shatin, Head Rigger Riggers: Miguel Angel Guzmán Tinoco, Gabriel Adolfo Cosme Tepetla, Oswaldo Guzmán Tinoco, Alfredo Siu Camarena, José De Jesús Concha Martínez, Gerardo Iván Hernández García, Alberto Rangel De Alba, Ricardo Gaona Rivera. Recording Studio – Audio & Video Productions

Stuart Wiley, Director Roberto Reynoso, Sound Engineer

Lourdes Skipsey, Technical and Logistics Producer Mariana Campillo, Technical and Logistics Co-Producer Alejandra López, Production Assistant Gabriela Nájera, Production Assistant Horacio Calvo, Assistant Maureen Manero, Maintenance and Dressing Room Set-up Víctor Vázquez, Stage Coordinator and Set-up Andrea Escobar, Logistics and Transportation Coordinator Isabel Escobar, Logistics and Transportation Benito Mata, Site Coordinator Eduardo Mendiola, Operations and Local Production Antonio Mata, Local Production Luis David Santos, Head Crew Chief Vicente Sánchez, Crew Chief Portos Arturo Valentín, Human Resources Coordinator Saúl Rivero, Human Resources Fernando Corral, Runner Stage Managers

Sergio Serrano, Marcos Juache, Alma Flores, Javier Olivares. Backstage Crew

Antonio Serrano, Martín Gómez, Israel Tenorio, Erik Ramírez Stage Hands

Ricardo Santos, Victor Chavero, El Tex Tex, El Apa, El Tapita, Daniel López, Eduardo Daniel Méndez, José Alejandro Hernández, Aldo Mogollán, Oscar Hernández, Christian Lobatón, Mario Ordaz, Alfonso Sánchez, Miguel Vázquez, Héctor Manuel Becerra, Enrique Nieto, Gerardo Nieto, Marco Lunaever Mérida, Julio César Romero, Jesús Cuevas, Anastasio Valdéz, Sandro Cuevas, Oscar Sánchez, Rodolfo Medina, Edmundo Vázquez, Alejandro Chavarría, Omar Delgado, Javier Pérez, Erik B. Tequianes, Felipe Cruz, Daniel Cruz, Joseph Rojas, Javier Martínez, Oscar Flores, Christopher Alviso, Melesio Ortega, Edgar Cabrera, David Méndez, Miguel A. Vázquez, Omar Tellez, Héctor Ruiz, Edwin Muñoz, Gabriel Pérez, Christian N. Urbinas, David Burgos, Rubén Vázquez, Eduardo Pliego, José Luis Carrillo, Luis Ángel Resillas, Edgar Pérez, Víctor I. Ponce, Oscar Hernández, Fabián Jiménez, Julio César Romero, David Mejía, José Antonio Hernández, Jonathan Miguel, Benito Juárez, José Luis Ventura, Ernesto Flores, Galo Alcántara, Julio Lira, Alfredo Cuachallo, Ranulfo Gutiérrez, Diego Ojeda, Erik Benjamí, Héctor Ruiz, Gonzálo Domínguez, Edwin A. Landa, José Luis González, Marco Alvarado, Salvador Quetzalquen, Luis H. Valentino, Carlos Andrés Armenta, Mariano Mendoza, Rubén “Coraje”. Riggers

Modesto Perdomo, Head Rigger Josué Gutiérrez, Ground Rigger Israel Reyes, Gualberto Rosales, Fernando García and Ricardo Alvarado. Climbers

Ramón Ferrer, Luis Arturo Ortiz, Luis Antonio Ortiz, Luis Reyes, Marco A. Contreras. Electricians: Rey David Guzmán, Barnaby Sierra and Miguel Hernández. Suppliers

Etc Audiovisuel – video Projection Philippe Gaborit, General Manager Nicolas Manichon, Project Manager Robin Darraux, Site Coordinator

Only View Programmers Yan Kaimakis, Julien Cano, Benoît Thomas. Video Technicians François Dubois, Florian López, Francis Corbeil, Dominic Moreau, Nicholas Paquet, Pascal Rhainds, Benoit Soucy and Philippe Valade Adrem - Show Control and Network Bernard Hamon, General Manager Ralph Augé, Thiebaud Richard, David Oliviero and Ewan Guichard Groupe F – Flames Jonas Bidault, Designer Cyril Garcia, Operator Gilles Brau, Benjamin Egg, Dirk Steinhausen and Dominique Barbot Dispatch – Surround Sound Yoan Corchia, Sound Engineer Aquatique Show International - Mist David Kobler, Operator

Excess International – Air Freight Philippe Ledain, General Manager


Aero Operaciones Aduanales S.A de C.V - Air Freight Rossana Estrella, Jenny Estrella Luzmila México - Light Bruno Santaguida, General Manager Marisa Ricardez, Production Lizet Escoto, Production Staff: Gabino Guillén, Eduardo Meléndez, Marcelino Esquivel, José Luis Mondragón, Javier Mondragón, Jesús Guillén, Marco Antonio Sánchez, Antonio Cruzerick Cruz, Federico Figueroa. Simply Professional – Light Sebastián Corkidi, General Manager Leopoldo Acosta, Coordination Staff: Alberto Loredo, Alberto Díaz, Adrián Mejía, Eric Olguín, Juan Trejo, David Alfonso, Román López, Max Antonio, Octavio Barajas, Yuridia Gaspar, Víctor Felipe, Jesús Núñez, César Ramírez, Berenice López. Shot: Gabriel Elizarrarás Luna, Francisco Rafael Limón Martínez, Arturo Sosa y Sosa. Lux Pirotecnia, S.A. de C.V. Jorge Márquez, Director Marcos Ramos, Producer Juan Ortega, General Coordinator Staff: Israel Márquez, Omar Márquez, Fernando David Olvera, Jorge Alquicira, Marco I. Ramos, Alonso Cruz, Gustavo Ramos, José Ramos, Daniel Roy, Gabriel Dallaire, Frederick D. Pelletier, Philippe Girard, Bernard Lemay, Benoit L’Heureux, Mathieu Girard, Félix Pineda Gómez, Verónica Peralta, Norma Márquez, Diego Toledo, Roberto Morales. Grupo Serna (Tepees) Miguel Serna, Bernabé López, Walter Samayoa, Luis Sereno, Miguel Galicia, Juan Oropeza, Sofia Serna, Eduardo Ubaldo. Andamios y Pararrayos, S.A. de C.V. Marco Antonio Guerrero, Rodolfo Castro, Jorge Palacios, Isaac Tovar. Special Thanks

Comisión Nacional Organizadora de las Conmemoraciones del 2010 Consejo Nacional para la Cultura y las Artes Instituto Nacional de Bellas Artes Instituto Nacional de Antropología e Historia Instituto Mexicano de Cinematografía Gobierno del Distrito Federal Secretaría de Educación Pública Instituto Nacional de Estudios Históricos de las Revoluciones de México Filmoteca de la Universidad Nacional Autónoma De México Fundación Carmen Toscano Gregorio Rocha/Archiva Films Canal 6 de Julio Fundación Televisa Secretaría de Turismo de Baja California Sur Secretaría de Turismo Chihuahua Secretaría de Turismo Quintana Roo Secretaría de Turismo Yucatán Comisión Nacional de Áreas Naturales Protegidas Sistema Chiapaneco De Radio Televisión Y Cine Fideicomiso de Grand Costa Maya Marco Sánchez, María Nieto, Georgina Álvarez, Karina Montaño, Concepción Talamante, Benito Bermúdez, María Josué Navarro, Everardo Meléndez, Sonia Estrada, Rita Meraz, María Elena Rodarte, Concepción Pérez, Deborah Iturbe, Heidi Aguilar, Francisco J. Jiménez, Ruth Alvarado, Mónica Millán, Fernando Salazar, Alfredo Arellano, Paulina Valencia, Paola Morán, Nahún Calleros, Carlos Vaqueiro, Mónica Miguel, Tomás Peña Brunet

Cultural Diversity in Creating Successful Guest Experiences: An Obstacle or an Opportunity? La diversité culturelle dans le «Themed Entertainment » : un obstacle ou une opportunité ?

Yves Pépin, Chair Joe Rohde, Co-Chair September 19 - 21, 2012 Disneyland Paris www.TEAConnect.org Themes to be explored: Working within a multicultural environment/with a multicultural team Travailler dans une équipe ou dans un environnement multiculturels

CONGRATULATIONS TEA’s 20th Anniversary and Thea award recipients












Interpretation/cultural representation challenges and responsibilities Défis et responsabilité de l’interprétation et de la représentation culturelle New cultural territories within the global market Nouveaux territoires culturels

An i mat io n M ag ic

Animator’s Palate on the Disney Fantasy brings the visual joy of Disney animation into the dining room with a new show called “Animation Magic.” Guests are invited to draw a character of their own using a simple template on their placemats. After dinner, animated curtains are opened on screens and Sorcerer Mickey conjures guests’ drawings – now fully animated and brought to life side-by-side with characters such as Mickey Mouse, Jiminy Cricket, Cinderella and Snow White in scenes from beloved Disney movies. At the conclusion of the show, Mickey returns to say “so long” to the guests and, as he does, credits roll onscreen showing each guest’s name listed as a guest animator.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t Ingenious u se o f Tech no lo gy

IN THE ANIMATOR’S PALATE RESTAURANT Aboard Disney Cruise Line’s Ship — Disney Fantasy


Delightful image capturing and video magic have made it possible for a guest’s sketch to come to life moments after being drawn. The amazing animation, from a simple face expression to acomplicated dance step, is made possible in this ingenious use of technology. Everyone from grandparent to grandchild can be an “Animator” and see their drawings come alive. A refreshing new take on “interactive” without the typical monitor screen.



Joe Lanzisero Bob Zalk David Katzman Linda Folsom Jeff Morris Connie Stamos Judy Gordon Jonathan Friday Patrick Rand Louise Gladden Cindy Tsujimura Ken Horii Tim Landry Joseph Husung Brian Nefsky Jann Adachi John Dennis Mike Fracassi Don Kravitz Danny Handke Tracy Smith Gayle Jacob Jann Adachi Robbin Broad Greg Lhokta Glenn Barker Lysa Migliorati Jani Arkiomaa Bob Weber Jeff DeLamotte Fons DeVreede Steve Probus Bridget Cyrulik Steve Koepke Dave Christoffers Patrick Burnett Bob Tracht Bob Girardi Pete Leathers

Frank de Heer Lora Johnson Adam Ressa Don Kravits Steve Frankenberger Tanner Smith DISNEY CRUISE LINE

Karl Holz Ozer Bali Bert Swits Jim Urry Anders Karlsson Rachel Quinn David Duffy Brent Davies Mats Oskarsson Ray Smale Megan Labhart


Dave Bossert Liane Dietz Linda Matsuoka


Jerry Rees Matt Daly, Leviathan Jason Graham, Polysonics Howard Schlieper, Polysonics Ken Duncan, Duncan Studios Randy Miller Max Friedrich, MaxVonDesigns Ruby Rubenstahl, Ruby-Lighting Anne Mari, Y&S (architect of record) Rockwell Group (original design) FUNA Thomas Sprunck, MW Reuter/RE outfitters Imagination (lighting design) Mike Mahendran

T h e Ho u s e o f Da n c in g Water

The perfect storm of Franco Dragone’s artistic vision, Lawrence Ho’s business acumen and cutting edge technology bring to life a classic Chinese tale of love triumphant over evil - with the assistance of 80 performers and 120 support staff in a live show that extends the visitor stay at this lavish venue in Macau. House of Dancing Water is all things compelling - on steroids. Spectacular scenes and storms, audiovisuals and special effects are set against the backdrop of dramatically innovative, water-based staging. Taking their seats, the audience is unaware they are suspended on cantilevered seating over the pool. During the show, eight principal lifts and three secondary lifts convert the performance area from a 26-foot deep pool to a solid-floor, dry stage in less than 60 seconds. Over head, 40 winches and assorted other flying gear enable acrobatic aerial displays. The show is housed in a 2000-seat, purposebuilt theater, designed by Pei Partnership and featuring a 3.7 million gallon T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

LIVE SHOW SPECTACULAR City of Dreams, Macau, China

swimming pool - which makes it five times the size of an Olympic pool, and the largest commercial pool in the world. Other statistics for this USD $250 million attraction are almost mindboggling: W 239 automated fountains W A boiling water effect delivers c. 125,000 liter of air per minute. W The rain effect delivers c. 6,000 gallons of water per minute W Fog covers the pool surface in 10 seconds W 400 costumes W 2000 pieces of lighting gear and 1500 cues


Transforming what could have been just a lot of technology into a live experience that surpasses all benchmarks in the field was a creative team that included associate artistic director Giuliano Peparini, set designer Michel Crete, costume designer Suzy Benzinger, lighting designer Luc Lafortune, and sound designer Francois Bergeron. The House of Dancing Water not only raises the bar for immersive destination live events, it also stands as a beacon of excellence embodying the best of design, technology and execution in our business.


OFFICIAL PROJECT CREDITS MELCO CROWN ENTERTAINMENT Lawrence Ho, Co-Chairman & CEO BOARD OF DIRECTORS Lawrence Ho James D. Packer Clarence Chung Rowen B. Craigie James A.C. MacKenzie Robert W. Mactier Todd Nisbet Alec Tsui John Peter Ben Wang Thomas Jefferson Wu EXECUTIVE COMMITTEE Ted Chan Nicholas Naples Geoffrey Davis Akiko Takahashi Stephanie Cheung Nigel Dean Kelvin Tan Constance Hsu Roger Seshadri Maggie Ma CORPORATE COMMUNICATIONS Maggie Ma, Janice Leung, Sammy Hui CORPORATE HUMAN RESOURCES Akiko Takahashi, Jimmy Chan, Peck-Yoke Chan, Sam Cheang, Danny Lao, Wendy Lamson, Hiko Chan, Melody Lo, Cherry Chiang, Kelvin Lo, Julie Lou, Belinda de Assis Mamblecar, Helen Tai, Hatti Hoi, Belinda Lai, Zoey Lei, Angel Tam, William Wan Entertainment Sunny Yu, John Raczka, Kevin Low, Virginia Yuen, Edith Wong, Jennifer Lai, Stephanie Au, Angel Lei, Xana Lei ENTERTAINMENT PRODUCTION & OPERATION Patrice Bilodeau, James Hardwick, Johnny Law, Chris Leung, Maggie Kuok, Robert Herman, Francisco Duque, Ramon Oliveira Joaquin, Shawn Pun, Steve Sherriff, Simon Yau, Carol Leong, Dickson Lo, Tony Ng, Joe Tai, Matthew Chang, William Tsang, Leona Chan, Gallant Cheong, Sergio De Gouveia, Eric Pun, George Wong, Brenda Lo, Christy Sou, Mandy Un, Katie Chao, Luis Rosendo, Marco Chan, Chio Lao Heng, Lam Kong Wai, Lao Ka Seng, Tong Mou Cheong FRANCO DRAGONE ENTERTAINMENT GROUP (BELGIUM)

Franco Dragone, Founder, President & Artistic Director Executive Committee

Simon Pieret, Chief Executive Officer Robert Juarez, Chief Marketing Officer Laurent Jeanjean, Chief Operating Officer Roland Buggenhout, Chief Financial Officer Sabrina Hottart, Chief Talent Officer François Girard, Chief Development Officer Fabien Millasseau, Personal Asst. to the Founder “The House Of Dancing Water” Creation Production Team Conceptors

Franco Dragone, Artistic Director & Director Giuliano Peparini, Associate Artistic Director – Choreographer Andrew Watson, Acrobatic Performance Designer Michel Crête, Scenic Designer Benoît Jutras, Composer Luc Lafortune, Lighting Designer Suzy Benzinger, Costume Designer Carmen Arbues, Make-Up Designer François Bergeron, Sound Designer Denis Lafontaine, Fountain/Special Effect Designer Patrick Neys, Video Content Designer Dirk Decloedt, Early Dramaturgical Research Vincent Engel, Script Writer Lucas Dragone, Script Writing Support & Creative Process Videographer Creative Team Asst.s

David Mazzeo, Creative Asst. to the Artistic Director Asst. Choreographers: Anne Tournie, Franck Desplanches Vikram Kirby, Associate Sound Designer Marco Piemontese, Associate Costume Designer Patrick Chevillot, Asst. Costume Designer Christine Plunkett, Asst. Lighting Designer VIDEO & PROJECTION CONTENT Jean-Luc Gason, Video Content Production Matte Painting: Daphné Braun de ter Meeren, Alain Descamps Martin Leroy, Traditional Concept Art 2D Artists: Guillaume Noël, Nicolas Pfeiffer Vincent Conrardy, Creature Technical Director 3D Artists: Stanislas Hebette, Gilles Leempoels, Francesco Rossi Christelle Bellini, Photon Digital Programmer Software Development: Martin Granger-Piché, Emric Epstein Alexandre Barrette, Servers Integration Storyboard & Concept Development Illustration

Jean-Luc Gason, Illustration Manager and Technical Director Graphists: John Masse, Alexis Vanderhaegen, Sylvain Daudier, Fabian Dereppe, David Carlier Traditional Concept Art & Sketching: Martin Leroy, Frédéric Blin, Pascal Degrune, Yves Cappelle Digital Concept Artists: Benjamin Cuvelier, Alain Descamps, Daphne Braun de ter Meeren, Patrick Neys Gilles Leempoels, 3D Artist

MUSIC Benoit Jutras, Arrangements, Orchestration and Programming Michael Picton, Orchestration, Programming and Choir Master Isabelle Cliché, Production Coordinator Rob Heaney, Producer and Sound Engineer for the Choir Sessions Harris Shper, Asst. Engineer for the Choir Sessions Extra Programming: Mario Venditti, Rémy Bailet COSTUME DEPARTMENT Joseph Taibi, Director of Costume Shop Samantha Catternan, Accountant Myriam Lyssens, Coordinator Elizabeth Rapp, Production Asst. Enza Sciagura, Administrative Asst. Administrative Asst.s – Macau: Laure Pennavayre, Cristina Aguamel Dying & Silkscreening Technicians: Séverine Hoogstoel, Maïlyse Laire Asst.s to the Dying & Silkscreening Technicians: Maureen Lambreghts, Nathalie Demanez, Junior Barcelos Senior Patternmakers: Christine Audet, Philippe Lemieux, Anne Remillard, John Schneeman, Avril Stevenson, Nicole Vezina Patternmakers: Sylvie Delavallée, Giovanna Meli, Françoise Michaux, Mariève Schiettecatte Asst.s to the Patternmakers: Geoffrey Hughes, Manhendra Hirji Parmar, Amandine Snel Seamstresses: Patricia Carapellucci, Judy Sau-Ying Chan, Isabelle Cornet, Mirella Corrado, Giacomina De Astis, Maria Dell’ Aria, Graziella Di Fiore, Isabelle Foguenne, Valérie Ghysels, Sylvana Gurrieri, Meriem Kaddour, Maria Lazzaridis, Angelina Mellino, Maria Odoardi, Patricia Pribilinec, Antoinette Pulselli, Liliane Vasile, Marie Vigneron Milliner & Props Makers: Patsy Boulais, Sophie Crêteur, Gilberte Fontaine, Fanny Haesebroek Brice Ayer, Asst. to the Milliners & Props Makers Laura Solari, Wig Designer Props Makers: Jean-Raymond Brassinne, Pascal Berger, Laurent Couline Jeffrey Churchill, Specialty Footwear by Jitterbug Boy Artistic Painter: Robert Christie, Jeffrey Fender, John Glaser Robert Perez, Asst. to the Artistic Painter Coco Dupont, Swan Tutu Maker D. Barak Stribling, Queen Costume Maker & Motocross Jacket Production Management Team

Laurent Jeanjean, Project Director Claude Tissier, Project Director Eric Loustau-Carrere, Production Director Jan Mylle, Deputy Production Director Matthew Jessner, Project Artistic Director Valentin Essrich, Technical Director Penelope Christopoulou, Financial Controller Production Team - Macau

Walter Milani, Company Manager Head of Logistics- Macau: Kirsten Bell, Peter Dingemans Gemma Griffin, Logistics Asst. Creative Projects Coordinators: Judith Morgan, Justin Mabardi Steven Bloom, Production Financial Controller Hélène Lambillon, Asst. to Production Controller Claude Laberge, Procurement Manager Asst. Buyers: Yang (Francis) Gong, Robert Major Angela Palazzolo, Videographer Jo Tan Chia Wei, Translator Jovito Gonzalez, Runner Amabelle James, Pantry Attendant Project Managers

Steve Colley, Head of Automation & Rigging Mylan Lester, Rigging and Automation Project Manager Benoît Probst, Show Elements Manager Patrick Clody, Acrobatic Equipment Project Manager Marie-Caroline De Baecque, Theatrical Props Coordinator Hervé Chiron de la Casiniere, Consultant Aquatics Director Markus Maurette, Special Effects Project Manager TECHNICAL TEAM– MACAU Nick Eltis, Technical Director - Consultant Philby Lewis, Production Head of Stage Operations Matthew Abercrombie, Technical Stage Manager Andy Marshall, Automation Programming Head Riggers: Warren Horner, Alessandro Soccoli Riggers: Peter Wright, Brixton Atkinson-Banner, John Fairhall, Paul Sapsis, Marshall Rubin, Philippe Vercruyssen, David Martin, Matthew Klemisch Mauricio Defendi, Aquatics Project Manager Special Effects Programmers: Alexandre Monast, Eric Belanger Hubert Tardif, Moving Lights Programmer Olivier (Bob) Bierwertz, Technical Coordinator - FMX Act Jean-Marc Felix, Load-in Scenic Element Lead Technician Production Senior Stage Mechanics: Nick Schlipper, Ed Sweeny, Mat Norman Lai Chun Shing, Crew Coordinator - Serious Staging Ltd. Chan Pui Yee Claudia, Hui Siu Lun Bruce, Technicians - Serious Staging Ltd. Carpenters - Serious Staging Ltd.: Ng Ka Chung, Chik Chun Ho, Pang Yiu Chuen, Lau Yik Man Riggers - Serious Staging Ltd.: Ho Ka Kui, Lui Kwong Kan, Ho Tze Kwong Tanetk, Leung Chung Ming, Leung Chi Chung, Lau Siu Kei Tomy, Sun Man Wai Carpentry/Props: Pui Heng Chong Tou, Chan Hong, Kou Lin Song, Cheang Lai Fong, Liu Jing Yan, Fong Iok Seng, Ho Kam Seng Special Effects Technicians- Pacific Engineering Ltd.: Kin Ng Chi, Bill Kwok Theater Design Coordination

Li Chung Pei, Architect Michel Crête, Theater Design Paul Bates, Theater/Infrastructure Manager Christine Plunkett, Technical/Infrastructure Manager Sébastien Assoignons, Technical Project Coordinator Marc Labelle, Scenic Elements Coordinator/Lifts Design Jean-Philippe Trepanier, Asst. Lighting Designer (Pre-Production) Jean Marcouiller, Theater Design - Development

“ The House Of Dancing Water ” Training And Formation Team (Belgium) Production Team

Birgit Walraet, Company Manager Peter Dingemans, Head of Logistics Sacha Bauwens, Logistics Andy Van Bulck, Runner Catering: Pôppe Hooijenga, Lut Declercq, Frank Van Vonno, Veerle De Pooter, Samuel Van Broekhoven, Tomasz Sokol Lifeguards: Laurie Cornillie, An Pauwels Lin Mei, Translator - Casting Consultant Hong Ding, Translator Michel Pasque, Videographer TECHNICAL TEAM Bart Adriaensen, Technical Manager Technical Coordinators: Olivier (Bob) Bierwertz, Stijn Verheyden Automation Operators: Andy Marshall, Craig Price Warren Horner, Head Rigger Riggers: Martin Kligman, Steve Tunnicliffe, Peter Wright, Glenn Blakeborough, Brixton Atkinson-Banner, David Demazy, Jan Naets, Technicians: Christophe Schirvel, Eric Lemaire, Olivier Demazy Raymond Launay, Carpenter Scuba Instruction - Aquatics Coordinators: Michael Jackson, Melody Gritz Scuba Instructors: Rezvan “Tuna” Iazdi, Gregory Van Loock, Antoine Cervinka, Jean-Pol Francois, William Klenk Artistic Team

Maggi Sietsma AM, Artistic Director Stephen Morgante, Artistic Coordinator Coaching

Mathieu Laplante, General Acrobatic Coach - Research, Development & Training Janos Novak, Head Coach Tomasz Rossa, Diving and Aquatic Coach Aerial Coaches: Gabriel Dehu, Florence de la Haye Marco Moreno, Acrobatic Coach Contortion Coaches: Tsende Erdeneshoo, Jinny Jacinto Jimmy Verburgh, FMX Performance Designer Morgan Carlson, FMX Performance Development Consultant STAGE MANAGEMENT Anna Robb, Production Stage Manager Jessie Ksanznak, Asst. Production Stage Manager Stage Managers: Dean Jewel, Katy Pitney PERFORMER WELLNESS Matthew Pilla, Head of Performer Wellness Performer Wellness Staff: Pierric Morel, Rukshana Gheyara, Jacinta Wu Consultant General Practioners: Dr. Michel Creemers, Dr. Christian Hillemans Dr. Frank Verheyden, Consultant Orthopaedic Surgeon DRAGONE MACAU GENERAL MANAGEMENT Sylvain Guimond, General Manager Florence Fong Hoi Kuan, Publicist Glenn Kirkman, Show Support Director Michael Smith, Artistic Director Michael Chase, Technical Director SPECIAL THANKS Jessica Baker, Abel Valls and all those who contributed to this wonderful achievement LEISURE & BRAND MARKETING AND SALES Carmen Lam, Jennifer Lam, Karen Lee, Charles Ngai, Louisa Wong, Pamela Chan, Shelly Chan, Annie Lao, Carmen Margarida Tavares PROJECT Jaya Jesudason SECURITY & SURVEILLANCE David Mackay, Cas Lorraway, Alberto Pereira, Rod Walker, Kevin Iek, Kelly Billups, Paul Hill, Antonio Rosendo, Toby Ryan, Steven Lei


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TEA Best Thing to Happen to the is the


Attractions Development Industry in the



Great People! Sensational Network! Outstanding Projects!

It’s our pleasure and honor to have been with all of you. Pat Scanlon, President



congratulations on 20 successful years!

The colors shown on this page are not accurate representations of PANTONE, MADEIRA, FUFU JUNHUEI or PARIS color standards. Whatever process or materials you use, please match your colors to the PANTONE, MADEIRA, FUFU, JUNHUEI or PARIS numbers indicated on this page.

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Ar t hu r, L’ Av e n t u re 4D

From the moment after the guests enter Arthur, L’Aventure 4D, they find themselves immersed in the charming, underground world of the mythical Minimoy creatures. The stunning, two-story sets cover all surfaces of the queue area - walls, floors and ceilings - creating an organic, underground world of soil, tunnels, roots and creatures. From the queue, our quest leads us to the 4D sensory experience aboard a 25-seat, insect-shaped motion base vehicle, that mimics the flight of a ladybug as we fly through the world of the Minimoys. The 3D, the tactile effects, and the story surprises do an excellent job of creating, among other things, the feeling of flying through the threads of a cobweb, being brushed by a frog’s wet tongue, or colliding with an angry bee. Arthur, L’Aventure 4D was specifically created for Futuroscope.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

ATTRACTION Futuroscope, France


Arthur, L’Aventure 4D achieves an excellent story, excellent interior placemaking, excellent 3D imagery and imaginative simulation movements. The attraction is perfectly adapted to the Futuroscope audience and is the number 1 attraction of the park, achieving extremely high rates of satisfaction as rated by the mostly French visitors. The queue area is especially outstanding. Inside the queue area, the miniature underground world is beautifully created, completely plunging guests into the story. Photographs don’t do justice to the constantly curving walls, ceilings, floors and props, which together with excellent theatrical lighting, convincingly hide fire sprinklers, convenience outlets, air registers, etc. thus putting guests completely into the story. The craftsmanship and artistry of the queue area are absolutely world-class, fanciful and completely charming in conception and execution. The overall guest experience demonstrates the highest standards of technical, artistic and storytelling excellence.


OFFICIAL PROJECT CREDITS Département de la Vienne

Claude Bertaud, Conseil Général de La Vienne President Futuroscope Investments Department: Denis Brunellière, Jean-Luc Leberre, DELEGATE CONTRACTING AUTHORITY Parc Du Futuroscope

Dominique Hummel, CEO Jean-Hervé Madec, Development Director Elodie Arnaud, Project Office Director Jean-Pierre Joyaux, Project Manager on “Arthur l’Aventure 4d” Laurent Langlet, Draftsman Olivier Heral, Art Director Franck Delhomme, SSI Coordinator Mastery of Work

Denis Laming, Conceptor Architect José Crespo, Architect Umberto Tumino, Realization Architect Engineering Consultants

Marc Leduc, Building Economist at EIC Mr. Auzilleau, OPC Mr. Perrochon, Fluids at BET CEBI Mr. Guillebault , Concrete Structure at BET SONECO Metallic frame, BET ECM Security Consultants

Jonathan Schifano, Neon Tube Worker Eric Guérineau, Painter Electricians: Fabrice Gandin, Philippe Faupin, Sébastien Lochon, Denis Doreau


Studio Ludo (Sticky Decoration)

Pierre Buffin, Art Director

Christophe Mestais, Sign Technician Frédéric Pignoux, Photographer Jérôme Pignoux, Graphic Designer

Servi Hotel (Glasses Washing Machine)

Alain Renaud , Site Leader Eric Carre, Henri Mancau, Freezing Technicians Arane Guliver (Laboratory)

Aurelien Faure, Supervisor Bastien Laurent, CGI Director of Animation François-Xavier Aubague, Edouard Valton, Head of CGI Production Nathalie De Bernardinis, Hélène Saint-Riquier, CGI Production Damien Dell’omodarme, Yann Lagoutte, Daniel Ly, Julien Aullas, Martin Claude, Edgar de Araujo, Cathie Lee, Xavier Loebl, Emmanuel Mouillet, Isabelle Perin Leduc, Nicolas Schneider, Quentin Sur, Christophe Zito, CGI artists

About “Arthur, L’Aventure 4D”

Xavier Bec, Romain Sunier, Massimiliano Piscozzi, Research & Development

« Taken from the film “Arthur et les Minimoys”, written by Luc Besson and Céline Garcia. Inspired by Patrice Garcia. The setting and characters were created by: Patrice Garcia, Philippe Rouchier, Georges Bouchelaghem, Nicolas Fructus and Robert Cépo. » Direction Production

Luc Besson, Director Producer Fannie Pailloux, Direction Manager Direction



Jean Paul Boutiller, CEO Nicolas Gauthier, Project Manager Jean-Pierre Frin, Arrnold Platon, Site Foremen Skilled Workers: Yannick Perot, Eloïc Lhuillier, Samuel Desvales

Images & 3D Effects

Simone Appleby, 70 mm Post Production Supervisor Laurent Rusz, Planning Supervisor Najoi Rafai, Customer Manager Handed on 15/65mm, Recorded on Celco Bigshot

Mr. Angibaud, Mr. Papin , VERITAS Mr. Seguin, EPS Mr. Collet, APAVE

Boutillet (fabric)

Catherine Taylor, Costume Characters

Tran Tania, Anne Laure Guéret, Assistants to Luc Besson Eric Serra, composer Alexandre Mahout, Music Director Barbara Bright, Production Manager Images Editing

Jérôme Samson, Render Farm JORAVISION (decoration)


Jan-Maarten de Raad, President Florence Adelbrecht, Coordination with France Alexander Goethals, Lukasz Oziewacz, Damien Hoffmann, Finbar Vanwijk, Daan Goeijenbier, Tony Galer, Fran Beck, John Neville, Roger Worth, Ian Mc Gaffney, Heidi Jones, Hanna Shaw, Mous El Madhoun, Mo El Mazouz, Renz Klerks, Chris Gadd, Cyril Wichers, Peter Van der Werf, Auke De Boer, Inga Boorsma, Ronald Marquenie, Henk Ten Brink, Judith Van Der Meer, Marc Antonides, site

Julien Rey, Editor Lyssia Legall, Nadine Makris, Assistants Editor

Jordi Van Veldhoven, Joris Peeters, Peter Heijnen, Robbert Damen, Marijn Rooijakkers, sculptors

Yann Dupuy, CEO Tile Layers: Michel Arnault, Willy Juquois Masons: Amaury Auteserres, Philippe Bourdon, Serge Pennetier, Philippe Perre, Pierre Plault, Lionel Reau Joiners: Christian Caillault, Dominique Levelu, Dominique Roquet Painters: Christophe Bideau, Joaquim Moutinho Thierry Faustin Leybach, Carpenter Jean-François Mirebeau, Plywood Technician Jean-Jacques Debin, Driver


Arjen Kunnen, Arnoud Van Went, painters

BGN (metallic frame)

4D Effects

Dupuy (fabric)

Draftsmen: Guillaume Fays, Wilfried Beauchamps, Thomas Briand Stéphane Bouchery, Production Manager Agostino Rodrigues, Workshop Manager Fabien Girardeau, Pointer Jean-Virgile Chambina, Welder Loïc Texier, Store Keeper Christophe Carbonnier, Group Manager Frame Layers: Claude Parsonneau, Sébastien Parsonneau Boarding Layers: Paul Delouche, Benoit Durand, Vincent Comte

Véronique Philibert Philbois, Project Director Agnès Berger-Sebenne, Production Director Sophie Dufeu, Eva Sandou-Valette, project managers Scenery Design

Hugues Tissandier, Production Designer Gilles Boillot, Dominique Moisan, Stéphane Robuchon, Patrick Clerc, Art Directors Jerzy Kular, consulting Mixing

Matthieu Dallaporta, Didier Lozahic. Sound Editing

Alain Feat, Antoine Baudoin, Alexis Place, Aymeric Devoldere, Guillaume Bouchateau.

Mr. Renaudon, Project Manager Mr. Babin, Screed Leader Mr. Levaillon, Screed technician Deschamps Lathus (Plumbing & Air Conditioning)

Laurent Lathus, Group Manager Pascal Alix, Engineering Consultant Frédéric Jamelot, Draftsman Annick Bretagne, Follow up Construction site / markets Jean-Philippe Vriet, Site Foreman Technicians: Patrick Denis, Jean-Paul Rousseau, Michal Maury, Jean-Marc Rogeon EGEEPEC (electricity)

Bruno Vivier, Project Manager Alexandre Frin, Site foreman Christophe Motillon, Fredy Perrot, technicians Dribault (Floor Covering & Painting)

Olivier Bourdeau, Project Manager Guy Hoffmann, Store Keeper Painters: Aurélien Boulin, Arnaud Champion, Jessy Duballet, Nicolas Lequilleuc Carpet Fitters: Nicolas Hutteau, Gaëtan Pineau Rachid Menni, Camille Saboureau , painters leader 3D (Ground Resin)

Christophe Bourreau, Yann Vergnier, Daniel Gries. Voices

Cartman as Bétamèche Julien Durand as Sélénia Yann Loubatière as Arthur Gilles Marselet as the “smuggler” Acting VMC Film

Barbara Kelsch as Arthur Emmanuelle Moreau as Selenia Douglas Rand as Bétamèche Tonio Descanvelle as the “smuggler” Sound Mixing

Bruce Guerre-Berthelot, Véronique Toutain, Frédéric Warnotte, Loïc Gourbe, Digital Factory Graphics

Stéphane Martinez, Art Director Laurent Lufroy, Advertisement Retouching Artist Christophe Rendu, Dress and Merchandising Artist Internet

Pascal Fabre, WebDirector Legal

Project Managers: Gildas Guimbaud, Jacky Loureiro

Vincent Lebègue, Legal Director Marie Dehaene, Legal Expert

AGC SIGLAVER (Mirror Trade)

Accounts Department

Layers: Gilles Gobin, Eric Renard Didier Jard, Engineering Consultant Michel Vergnault, Surveyor Philippe Huard, Group Leader

Daniel Jéronimo, Rahima Samson, accoutants Marketing

Alain Dupont, Sales Director Didier Blais, Sales Engineer Foremen: Jean-Charles Girardin, Pierrick Fillatre Fitters: Philippe Favreau, Patrice Aubert

Ludovic Fasquelle, Marketing Manager Philippe Martin, Promotion Manager Philippe Kaempf, Distribution Director Capucine Dupuis, DVD Manager Marlène Chavant, MOF Cameraman Nicolas Gourmelon, Camille Delamarra, MOF Editors Charlotte Le Hénanff, Partnership Manager

M’86 (Sign)

Press Relations

CFA (Elevator)

Jean-Paul Choisie, Relational Manager Jean-Jacques Choisie, Engineering Consultant Laurence Choisie, Realization of Arthur’s Portrait on Drilled Print Didier Bouquin, Metalworker Nicolas Hulin, Plasticworker

Annelies Van Vuuren, Sander Ten Napel, Sander Strick, design Julien Pyrsoul, Laurent, Pauline, Jeoffrey, Thomas Boet, electricians Simworx (Motion programming)

Terry Monkton, Managing Director Andy Roberts, Operations Roger Davies, Software Neil Berlyn, James Owen, Steve Tubbs, Ian Carter, Hardware

Kraftwerk Living Technologies (4D Seating and Effects) Sound Effects Men

Murzeau (masonry)

Arie Haasnoot, Hans Steenvoorden, Richelle de Mooij, Jochem Verlaat, builders

Olivier Guigues, Thomas Percy, Myriam Bruguière, Wendy Chemla, Mathilde Lorit, Press Attaché Corinne Besnard, Photos Manager Cédric Feuqueux, Press Kit Graphic Designer

Markus Beyr, 4D Attraction Producer Markus Wieland, Design Engineer Thomas Märzendorfer, Prototyping Peter Hacker, Consulting Jens Pfennig, Project Manager Thomas Pradel, Installation Manager Ing. Christian Hofer, Technical Director

Congratulation s!

Congratulations To the TEA on its 20th year and to the 2012 Thea Award recipients

to the TEA on its 20th Anniversary!

ETI has been a proud member of the TEA for the past 20 years. We are looking forward to the next 20 years!


Audio, Video and Control Solutions

1.888.343.3604 | www.electrosonic.com

Roberta Perry Past TEA President

& the TEAM at ETI!

Brian Edwards Past TEA President

Edwards Technologies, Inc. 139 Maryland Street El Segundo CA 90245

www.edwardstechnologies.com (310) 536-7070


Foo dLo o p At E ur o pa- Pa r k

Parents often tell their kids to stop playing with their food. FoodLoop Restaurant at Europa-Park has created an innovative theme park experience in which your food has as much fun as you do. This restaurant employs a dual-loop roller coaster to serve cooking pots and bottles to your table. Guests order their meals from interactive touch screens at their tables. When the food is ready for delivery, it is loaded onto the steel coaster track that loops, corkscrews and winds its way from the kitchen on the upper floor through the dining room to your table. The experience is visual entertainment as diners watch their food being served.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t



The integration of historic and modern theming in a dining environment, along with the coaster design and engineering make this a “wow� experience. The concept required that rare combination of idea and detailed execution in the development of the coaster track, cooking pots and carrier system. The menu includes healthy and light fare with regional and seasonal influences. Rather than making the food preparation visible to the guest, at FoodLoop the food delivery is the attraction - giving new meaning to the concept of culinary delight.


OFFICIAL PROJECT CREDITS Shafali akhtar, Special Projects Coordinator and Receptionist Dr. Michael Thoma, Lawyer Helmut Göppert, Architect Klaus Steppacher, Fire Protection Hanni Neumeier, Architect Ralf Rauer, Project Manager Adelheid Bury, Steel Construction Roland Fürst, Fürst Holzbau GmbH, Timber Construction Karl Schieble, Schieble Raum & Design Martin Reck, Metal Construction Günther Ringswald, Metal Construction Manfred Strecker, Carpenter Guido Becker, Becker Lichttechnik Hansjuergen Friedmann, Friedmann Großkücheneinrichtung GmbH Michael Mack, HeineMack Harald Bächle MSR, Building Services Engineering

F e r n ba n k N at ureQ uest

Fernbank NatureQuest is a new exhibit at the Fernbank Museum of Natural History. The exhibit recreates various natural environments of Georgia including mountain ranges, forests, swamps, estuaries, caves, and underwater all connected by a virtual river teeming with fish that runs through the entire exhibit, originating at an interactive fog screen waterfall. The environments contain remnants of scientific field research and interactives for guest “scientists” to continue the research. These include an archaeological dig site, spelunker’s tools in an explorable cave and researcher notes in the swamp. The swamp and river have animal habitats that visitors can engage with. The center of the attraction contains a clubhouse with exhibits where objects come to life, and kid play features themed to the environment that provide active play experiences.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

MUSEUM EXHIBIT Fernbank Museum of Natural History, Atlanta, Georgia


This modestly scaled and budgeted attraction ($8 million) is exceptionally well-themed andseamlessly integrates entertainment technology into a highly educational and interactive environment. Scientific content is artfully embedded into various aspects of the exhibit such that the interactions with elements are very intuitive and interesting for its young audience (for example the fish in the river which are regionally accurate dart away or swim up for a look as the children wade through, night vision viewers allow visitors to look at nocturnal animals moving about the swamp area). There are over 50 interactive elements in the exhibit. The scenery and lighting are well-designed to create a sense of wonder and discovery and many of the exhibits can be easily rotated with additional content provided by the designers.



Shafali akhtar, Special Projects Coordinator and Receptionist Lynn Anders, Education Programs Manager—Animal Programs Justin Antoine, VP of Finance and Controller Carmen Bailey, Visitor Services Supervisor Katherine Bannister, Programs Educator Bakeamiorocio Battle, Kitchen Manager Christine Bean, VP of Education Tifany Bell, Sales Associate Rasmenelek Benisrael, Line Cook Lauren Bennett, Sales Associate Brandi Berry, Director of Public Relations and Promotions Brenda Berry, Executive Assistant Asia Blackburn, Martinis &IMAX Staff Dennis Blanton, Curator of Native American Archaeology Kaden Borseth, Education Programs Manager -- Earth Science James Breedlove, Vice President Deric Brewster, Assistant Security Manager Michael Brown, Exhibit Designer Lisa Bunce, Personnel Administrator Nina Bussell, Sales Associate Rickey Caster, Security Night Officer Patrick Cedars, VP Of Human Resources Liyen Chen, Senior Network Administrator Timothy Cole, Assistant Manager Of Exhibit Installation Marisa Crissey, Design Director Emily Cronin, Sales Associate Christina Cruz-Benton, Sales Representative Eli Dickerson, Environmental Education Programs Manager Katherine Drake, Special Events Julianne Dykes, VP Of Marketing & Communications Paniz Edjlali, Special Events Joey Ellis, Special Events Rebecca Facer, Education Programs Manager—Environmental Programs Brian Fleming, Security Night Lead Allison Fry, Director Of Beverage Services Crystal Garner, Museum Store Buyer/Manager Elisabeth Gee, Asst Manager Of Membership & Volunteer Services Jennifer Grant Warner, Senior Vp And Chief Programming Officer Jodie Green, Martinis &Imax Staff Marissa Greider, Development Director William Grewe-Mullins, Registrar Charles Haddon, Reception/Sales Associate Dana Harvey, VP And Chief Technology Officer James Hays, VP of Exhibits Heather Heimmer, Director Of Environmental Education Mandy Herren, Sales Associate Bobbi Hohmann, McClatchey Curator & Director Of Collections Bryant Howard, Special Events Frank Hunter, Public Program Presenter Curtis Ivey, Accounts Receivable Staff Accountant Jaquan Jackson, Group Marketing Manager Kathryn Jackson, Archaeology Program Specialist Abubakar Jallo, Line Server/Dishwasher Brandi Johnson, Special Events Operations Supervisor Willie Johnson, Special Events Natalie Keen, Assistant Manager Of Member Relations Nicholas Kolassa, Special Events Katie Koon, Special Events Michele Kresge, Manager Of Member & Volunteer Services Joya Leakes, Special Events Randy Long, IMAX Projectionist Dorothy Love, Assistant Manager of Development Mouctar Ly, Line Cook Daniel Martin, Security Manager Briana Mcginnis, Sales Associate Melba Mckelvey, Accounts Payable Staff Accountant Heather Mcpherson, Sales Associate Jatavius Mehrjooya, Martinis & IMAX Staff Yemeserach Mekonnen, Special Events Samantha Mena, Sales Associate Zaynab Mian, Sales Associate Nicole Michalec, Fernbank NatureQuest Lead Facilitator Kendra Moody, Visitor Services Supervisor Dwayne Neal, Security Day Supervisor Susan Neugent, President & Chief Executive Officer Catherine Nowell, Senior VP & Chief Financial Officer Moise Ntomba, Security Night Supervisor Aneli Nugteren, Executive Vice President & Chief Operating Officer Natalie Pearson, Special Events Joseph Potter, Graphic Designer Courtney Prather, Security Officer 2 Kristy Richardson, Education Programs Manager—Family Programs Jennifer Rivas, Special Events Leslie Rutkowski, VP of Development Matthew Salter, Special Events Hazel Sanchez, Special Events Jawan Scott, Martinis & IMAX Staff Cindy Sheehy, Director of Family & Children’s Programs Andrew Smith, Maintenance Assistant Benedwin Smith, Exhibits Project Coordinator Deanna Smith, Director of Marketing and Outreach Ramona Smith, Museum Store Supervisor Christina Sondey, Sales Associate Catherine Stolarski, Development Manager Cassandra Taylor, Security Weekend Lead Jenna Thomason, Membership Representative Cassandra Trawick, Sales Associate John Trotter, Museum Store Assistant Manager Victor Tuck, Fernbank Café Manager Laura Turner, Special Events Milan Turner, Web Specialist Jerry Washington, VP of Facility Management Mary Wasson, Director of Visitor Services Thomas Watts, Maintenance Assistant Elizabeth Weisberger, Sales Associate Holly Wentworth, Director of IMAX Theatre and Telecom Specialist Geoffrey Williams, Security Officer Jessica Williams, Line Supervisor Nina Williams, Membership Sales Representative Tanya Wise, Fernbank NatureQuest Facilitator Allison Wofsey, Fernbank NatureQuest Facilitator

Jennifer Yard, Vice President of Special Events Andrea Zvikas, Sales Associate FERNBANK MUSEUM’S VENDORS:

Carolynne Harris Museum Consulting Howser-Walker Architecture Stellar Contracting EXHIBIT DESIGN AND PRODUCTION:

Thinkwell Group Joe Zenas, Executive Producer Craig Hanna, Executive Creative Director Courtney Kleinman, Producer Cynthia Sharpe, Director of Exhibits Chris Durmick, Creative Director Gwendolyn Ballantyne, Production Designer/Art Director Gene Rogers, Technical Director Chris Hawkes, Project Manager Michael Finney, Technical & Lighting Designer Vikram Kirby, Sound, Video, Control Designer Kate McConnell, Production Coordinator Bette Eissler, Production Coordinator andy Ewing, VP Creative/Exhibit Designer Jerry Sabatini, Exhibit Designer Luc Steadman, Designer/Illustrator Daniel Fukumoto, Show Set Designer Robert Tessman, Show Set Designer Artists: Karen Thompson, Sol Song, Topper Helmers, Peter Markowski Amy Raymond, Technical Associate Alok Wadwani, Associate Lighting Designer Colbert Davis, Sound, Video Control Engineer Kari Seekins, Sound Designer Graphics Designers: Joe Acello, Bobby Dragulescu, Stefani Palmer, Cory Lorenzen Kevin Burke, Show/ Facility Design Consultant Sunnie Burke, Show/ Facility Design Consultant Anna Housley Juster, Early Childhood Education Consultant Moises Roman, Early Childhood Education Consultant Christine Malcom, Researcher Scott Church, Researcher EXHIBIT MEDIA DESIGN AND PRODUCTION:

Thinkwell Group Jennifer L. G. Miller, Media Producer Stephanie Jones, Media Production Coordinator Jackie Ball, Editor, Production Coordinator Beth Semler, Editor Dane Rosselli, Night Vision Media Tiffany Wong, Night Vision Media Coordinator Mousetrappe

Daren Ulmer, Media Designer Susan Beth Smith, Exec. Producer - Media Amelia Ulmer, Interactives and Media Producer Mike Townsend, Interactives: 3D Modeling, Animation, Compositing, Lighting Jeff Nash, Interactives: 3D Modeling, Animation, Compositing, Lighting Sean Loughren, 3D Modeling, Texture, and Rigging George Walker, Artist, Project Coordinator Randy South, Interactives: Programming Morgan Buck, Interactives: Programming EXHIBIT WEBSITE DESIGN AND PRODUCTION:

Thinkwell Group Austin Hice, User Experience Designer Scott Hansen, Web Content Manager Eric Hungerford, Website Media Producer Ryan Boyle, Designer Kapil Pershad, Programmer


The Nassal Company Bill Nassal Sr., Partner Bill Nassal, Partner Matt Brown, Partner Dennis Butler, Partner Greg Pope, Project Manager Amy Harns, Project Engineer Matt Moore, Design Manager Ken Torrence, Superintendent Steve Ryerson, Assistant Superintendent Pam Price, Art Director Hoi Nguyen, Lead Carver James Stryganek, Lead Scenic Artist Nassal Fabrication Company

Don Scott, Shop Manager Bob Swale, Carpentry Lead Jason Vitril, Paint Lead Jason Petrashek, Warehouse Lead BBI Engineering

Phil Bailey, Principal Sasha Harris-Cronin, Project Manager and Programmer Richard Shields, Mechanical Designer, Machinist, and Programmer Jim Sallee, Lead Installer Nathan Taylor, Mechanical Designer and Draftsman EXHIBIT AUDIO/VISUAL:

Comprehensive Technical Group Steve McCormick, Principal John Curtis, Project Manager Kent Kelsey, Installer Javier Guzman, Installer Scott Hamilton, Installer Clint Swartzlander, Programmer Christopher Drummond, Sales Representative THINKWELL GROUP’S VENDORS:

Ampersand Contract Signing Company Crush Creative GestureTek, Inc. Scenario Custom Scenery


Advanced Entertainment Technology

Congratulations to all the

Thea Award Recipients AET is proud to be a member of the

Themed Entertainment Association!

Visit us at www.aetfx.com

Congratulations TEA on 20 Great Years!

Congratulations to o ur TEA fr ie nd s

on yo u r 2 0th Anniv e rs ary a nd to a l l of t hi s y ea r ’s THEA Awa r d winne rs !

F r om you r partne rs in m a k ing dr e a m s and memories come true a r o und the world, I n t e r n at ion a l A s s oc iation of A m u se m e n t Pa r k s a nd At tr action s .

www. I AAPA .or g

Star To urs – T h e A dv en tur es Co n tinue

This nomination recognizes the complete re-imagining of Star Tours, the first simulator experience installed in a themed environment. The original attraction had been in operation since 1987; new technologies became available that could enhance the experience. At the same time, the Star Wars mythology has remained ever relevant to succeeding generations of fans. The challenge was to remain true to the vivid stories while making use of new technical tools and guest interactive capabilities. The refreshed attraction has succeeded both operationally and with the extremely loyal Star Wars fan base. For the guests, the most compelling feature is the variable content that affords multiple storylines, locations and characters. This element of surprise is driving multi-generational audiences to return again and again to get a shot at exploring different vistas into many realms of the Star Wars Galaxy. T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

ATTRACTION REFRESH Disneyland and Disney’s Hollywood Studios at Walt Disney World


Today’s audience expectations for a high tech science-fantasy world as renowned as Star Wars far surpass those of the analog entertainment world that existed back in1987 when Disney originated this granddaddy of simulators that became an industry template. To achieve a breakthrough experience, all new “state of the art” 3D digital media systems were a given, but what really brings Star Tours - The Adventures Continue to life is a unique branching story structure employing multiple destinations and characters. This non-traditional storytelling device provides 54 potential show experiences, resulting in a dramatic increase in attraction repeatability. To bring a layer of personalization and relevance, image capture systems integrate riders into the varied story branches. All of this is fed into multiple motion programs designed for each random sequence, creating a multiplicity of kinetics for the 54 distinct profiles and unique real-time guest integrations. Every nook and cranny along the pre-show queue likewise received new story elements and advanced special effects. This extends the experience of this “galaxy far, far away” well beyond the doors of the Starspeeder 1000 and repositions the whole firmly in a new century.

OFFICIAL PROJECT CREDITS Walt Disney Imagineering Creative

Shafali akhtar, Special Projects Coordinator and Receptionist Thomas J. Fitzgerald, EVP-Sr. Creative Executive Eric Jacobson, SVP - Creative Executive Kathy Rogers, Show Producer Senior Director Susan Dain, Art Director/Production Designer Principal Scot Drake, Concept Designer Senior Director Steven Spiegel, Director Show Writing Rick RothSchild, Technical Director (FAR Out! Creative Direction) Douglas R. Griffith, Character Development Designer Principal David Durham, Director Concept Integration Matthew Davidson, Costume Designer Clare A. Gee, Project Manager Costume Development Mark Mine, Director Technical Concept Design Scott Signore, Senior Concept Designer Michael R. Arana, Concept Designer Associate Lori Gonzalez, Executive Assistant Mary Ane, Sr. Staff Assistant Nicholas Comorre, Creative Designer I Liz Richards, Digital Artist John Hoffman, Dimensional Designer Adam B. Hill, Dimensional Design Principal Jim Crouch, Dimensional Design Principal/SQS Project & Construction Management

Frank Antonides, Director Project Management Steve Roach, Project Manager/Manager Design Services Kevin Van Schaick, Project Manager Senior Melissa A. Jeselnick, Project Manager Assistant Steve Springer, Construction Manager Thomas J Heflin, Construction Manager Joe Santos, Construction Manager Laura K. Mitchell, Project Manager Associate Jennifer B. Ford, Secretary I Project Management Support Denise Skinner, Sr. Staff Assistant Environmental Design & Engineering

Duane McLeod, Director Architecture ED&E Troy J. Palermo, A&E Manager Senior John C. Mitchell, A&E Manager Principal Chris Schaefer, Facility Architect Stu Sutherland, Facility Engineer Christopher B. Samuelian, Project Architect Principal Crispin Quinones, Electrical Designer Principal John Crevier, Electrical Engineer Alex E. Velasco, CAD Designer Electrical Rosauro L. DeRamos, CAD Designer Electrical Carlos Olguin, CAD Designer Senior Gabriel Martinez, CAD Designer Electrical Billy Lee Almon, Jr., Associate Creative Designer Kyle C Barnes, Principal Resource Specialist - Interior Design Craig Tadaki, Graphic Designer Sr. Robert L. Loza, Fabrication Design Sr. Brandon L. Clark, Fabrication Design Sr. Glendon Lee, Assoc. Designer Deby C. Bailey, Graphic Designer Gary Y. Tokumoto, Fabrication Designer Principal James G. Armagost, Fabrication Designer Senior Ride

Ray J. Warner, Jr., Tech Director S/R Maureen J. Hart, Mechanical Engineer Principal Robert M. Vignec, Sr. Project Engineer Christopher J. Rose, Electronic Engineer Sr. Scott E. Branch, Electronic Engineer Sr. Larry S. McAfee, Mechanical Specialist Principal Gerald E. Dooley, Ride Engineer David F. Barnett, Tech Staff Principal Armando Nieves, Senior Engineer Patrick M. Krugh, Mgr-Prototype Fabrication Robert A. Oyos, Tech Spec Sr. Eugene N. Radu, CAD Designer Sr. Williford Reese Johnson, Jr., Sr. Designer-Walt Disney World Danielle Felty, Associate Controls Engineer David Michael Lester, Engineer in Training Show Design & Production

Edward J. Hanna, Show D&P Manager Robert W. Booth III, Show D&P Manager Senior Alex Guerrero, Coordinator Project Senior Jody Gerstner, Executive Director Karen Powers, Sr. Staff Assistant/Show Systems David J. Hardiman, Show Design & Production Associate Manager Christene J. Deering, Show Design & Production Associate Manager Michael H. Petrucci, Project Engineer Diana C. Bibee, Production Designer Associate Rick Elliot, Production Designer/SQS Charles B. Garrity, Show Production Designer Sr. Omar Fuentes, Warehouse Manager Jennifer Lowe, Florida Production Operations Support Leann Townsend, Executive Secretary WDI - D&P FL Victor L. Martin, Jr., Technical Director Manager Randall J. Myers, Technical Lead Animation Barry S. Golding, Technical Lead Animation Larry Sheldon, Animation Specialist Mike Kutcher, Fabricator Michael W. Horen, Technical Staff Senior Animation Martin A. Franzka, Fabricator Rick L. Taylor, Installation Supervisor Christopher J. Mazzella, Fabrication Lead Trinh D. Mai, Installation Supervisor Ron McMichael, Associate Technical Staff Ruben De La Torre, Associate Fabricator Jeffrey A. White, Associate Fabricator Animation Tod Mathias, Show Artisan Principal/Figure Finishing Sarah Skinner, Figure Finisher Trung Ngo, Show Artisan Principal Janet MacDonald, Planner Sr. John A. Argo, Prototype Fabrication Spec Jerry Bailey, Planner Principal Andrew B. Brooks, Show Mechanical Engineer John Van Oort, Show Mechanical Engineer Jonathan Green, Show Mechanical Engineer Associate Benjamin J. Richards, Show Mechanical Engineer Associate Alan M. Skaggs, Mechanical Engineer Mark Ellis, Mechanical Engineer Senior Raymond D. Jones, Director Special Effects Gary Powell, Special Effects Designer Sr Principal

Sam Ingraldi, Special Effects Designer Senior Gilles Martin, Special Effects Designer Principal Ruben Alvarez, Senior CAD Designer/Special Effects Ross Kelsey, Special Effects Tony Previtire, Special Effects Jeff Reed, Special Effects Bart Brody, Special Effects Elias Lopez, Senior CAD Designer/Special Effects Kenneth D. Smith, CAD Designer Principal/Projection Curtis R. Edwards, Imaging Engineer Principal Abigail E. Workman, FX/Projection Designer Associate Steven L. Smith, Supervisor Prototype Fabrication Thomas Brentnall, Imaging Engineer Principal Michael J. Barnett, Audio Video Engineer Principal Mike Peters, Audio Video Engineer Bob Bronsdon, Audio Video Engineer Principal Lori Cole, Audio Video Engineer Glenn Barker, Media Design Principal John T. Kestler, Supervising Sound Editor Joseph Falzetta, Show Lighting Design Principal Mark H. Dunlap, Show Lighting Design Principal Paul A. Beasley, Show Lighting Technical Designer Sr Cristina I. Brower, Show Lighting Design Senior Dan Jenkins, Show Lighting Design John M. Noonan, Technical Director Show Electronic Engineering Linda M. Alcorn, Technical Director Electronic Engineering Randall A. Hill, Electronic Engineer Specialist Larry L. Pool, Jr., Engineering Specialist - Show Control Todd Friedline, Show Electronics Engineer John F. King, Electronic Engineer Donald S. Clausen, Technical Specialist Senior/Prototype Fabrication Kurt Sawitskas, Show Control Engineer Kathryn A. Drach, Principal Controls Engineer Rodney Rayborne, Electronics Technician William L. West, Software Engineer Senior Nancy A. Goodwin, Software Technical Specialist Matthew Curcio, Engineer Associate Show Electronics Marcelyn J. Floyd, Electronics Engineer David M. Bell, Show Programmer Principal Joey Nilges, Show Animator Senior Blake J. Ostrowski, Show Programmer Principal Eric Swapp, Show Programmer Principal Juan F. Alvarez, Jr., Show Programmer Deborah Short, Senior Show Animator Darrin Hughes, Show Animator Consultant Kathy Fox Martin, Show Set Designer (American Scenic) Michelle Costamagna, Show Set Designer (American Scenic) Jonathan C. Peters, Senior Show Set Designer/SQS Brandon C. Kleyla, Set Decorator Associate Debbie Kurth, Interactive Designer (Multimedia Designs) Paul H. Lahaise, Principal Electronic Specialist Kenneth L. Knowles, Electronic Specialist Tanner Smith, Senior Technical Specialist Bill McCardle, Consultant Media Production

David Katzman, Director Production Marianne McLean, Visual Effects Production Director Linda A. Folsom, Production Executive Senior Kathy Janus, Visual Effects Production Kenneth A. Horii, Director Visual Media Design John L. Dennis, Director Music Production Mike Fracassi, Music Production Supervisor Cindy T. Tsujimura, Post Production Supervisor Lucas T. Phelan, Digital Video Media Designer Jann Adachi, Coordinator Sound Sr. Louise M. Gladden, Manager Post Production Stephanie A. Shelley, Production Accounting Jonathan Friday, Creative Designer Associate Brian S. Nefsky, Casting Administrator Senior Connie McAloney Stamos, Production Accountant Principal Bryan Jolley, Digital Media Designer Principal Joe Husung, Digital Media Designer Mike Quinn, Digital Media Designer Senior Ryan Holman, Digital Media Designer Associate Scott Sohan, Digital Media Designer Senior Tim Landry, Digital Media Designer Principal Kurt H. Kinzel, Audio Technical Director Jonathan Moran, Sound Mixer Associate Jon Fisher, Production Administrator Senior Mike Iwerks, Digital Media Designer Chris Biggs, Consultant Ron Harris, Consultant Van Ling, Consultant Technical Publications And Document Control

Judith Wallace, Publication Coordination Jennifer Erin Brooks, Publications Administrator Steve McKinney, Tech Pubs Standards Analyst Jaime Gutierrez, Document Control Spec Principal Ana Medina, Document Control Spec Senior Carri C. Forrest, CAD Designer Jerry Wargo, Technical Specialist (Consultant) Charles Leatherberry, Show Doc Assets Administrator Jess Allen, Photo Principal - Imaging Specialist

Scheduling, Planning, Finance, Estimating And Legal

Cathy Larkin, Manager Contract Admin Gil Quintana, Sr. Sourcing Specialist Judy Liss, Sourcing Specialist Kim Spaeth, Sourcing Specialist Linda Lamons, Sourcing Specialist Catherine Williams, Sourcing Specialist Sarah Bishop, Sourcing Specialist Susan D. Wood, DLR Finance Thu-Ha Hoang, Financial Analyst Marisa Mazzotta, Financial Analyst Raya Sandjaja, Sr. Financial Analyst Steven Wai-Cheong Lam, Finance Manager Jeffrey D. Webb, VP-Estimating John D. Adamczyk, Systems Estimator Principal Kim E. Sword, Associate Project Estimator Vickie Knapp, Director Division Schedulers William J. Sugimoto, Project Planner/Scheduler Principal Minda L. Richmond, Systems Planner Principal Lisa M. Deer, Systems Planner Principal Gail Hash, Scheduler Steve Pogact, Scheduler Gregory Rosa, Systems Planner Javier Francisco Estopinan, Associate Project Planner Paul Jared Kaplan, Associate Project Planner Greg Gujda, Paralegal Specialist Rights Admin

Stacey Cheregotis, Legal Bill George, Visual Effects Supervisor Jeanie King, Visual Effects Producer Lori Arnold, Visual Effects Production Manager Katherine Farrar, Visual Effects Production Coordinator Glen McIntosh, Animation Supervisor Hayden Landis, Digital Production Supervisor Jon Alexander, Compositing Supervisor Doug Moore, Layout Supervisor Johan Thorngren, Digital Matte Supervisor Russell Paul, Model Supervisor Aaron Ferguson, Creature Supervisor

Stewart Filmscreen Mark Robinson Stoll Metalcraft Technical Multimedia Design, Inc. David Revel Terry Irwin Architects The Wheel Thing ThemeWorks Underwriters Laboratories, Inc. United Inspections & Testing Vacuum Metalizing VEA Creative, LLC Young Electric Sign Company Mike Walters, Gary Kestler

Skywalker Sound Crew

Star Tours Cast List

Industrial, Light and Magic, Lucasfilm Ltd. Company

Tom Myers, Sound Designer Marilyn McCoppen, Supervising Sound Editor Benny Burtt, Sound editor Dave Acord, Sound editor Dustin Acord, Sound editor Kyrsten Mate, Sound editor Music Production

John Williams, Original Theme Composer Michael Giacchino, New Music Arrangement William Ross, New Music Arrangement Dan Wallin, New Arrangement Recorded by Armin Steiner, New Arrangement Recorded by Ramiro Belgardt, Main Show Music Editor William Ross, New Arrangements Conductor Tim Simonec, New Arrangements Conductor Booker White, Music Preparation Walt Disney Music Library, Music Preparation Reggie Wilson, Contractor Todd Homme, Music Production Supervisor Star Tours Special Thanks:

George Lucas, Howard Roffman (Lucasfilm), Bob Iger (CEO, WDC), Tom Staggs (CEO, Walt Disney Parks and Resort), Craig Russell (EVP, WDI), Bruce Vaughn (EVP, WDI), George Kalogridis (President, DLR), Jack Blitch (VP, WDI FL), David Van Wyk (VP, PM), Daniel Cockerell (VP, DHS), Ray Wallace (DM, DHS), Rich Langhorst (VP, DLR Facilities and Operations) DLR Facilities and Operations: Tom Turley, Jacob Kahla, Darin Anglin, Paul Spitsen, Jennifer Kumpf, Kristin Tolentino, Glen Connally, David Hulke, Wally Shaw, Peter Norris, Mike Real, Greg Pyles, Dindo Vicencio, Michael Brosamer, Troy Cadwallader, Marin Funke, Keith Gossett, Greg Vershay, Duc-Thieu Vu, Christopher Contes, Russell Broyles, Marc Hiraoka, Frank Hilberg, Haig Khdryan, Gale Maxey, David Caranci, Disneyland Shops and Decorating WDW Facilities and Operations:

Juli Behrends, Jeff Terry, Steve Shultz, Don Weschler, Mike Jordan, Christina Kelly, Mike Scott, Bradley Lunte, Alexander Ras, Don Schank, Janice Jones, Buena Vista Construction Company, Central Shops and Scenic Shops Vendors

Allied Vision Amber Glass American Scenic Aria Group, Inc. Dave Noles, Keric Davis ATA Engineering Inc. Bayley Construction James Steele BBVC, DLR shops, WDW Central Shops, WDW Scenic Shops Benchmark Scenery Birket Engineering, Inc. Steve Birket Christie Digital Systems USA, Inc. CL Global Coloredge Visual (Crush Creative) Marcus Lewis, Rodney Whitney, Louis Altobelli Cramer Paint D&R Signs Dean Engineering Design Communications, Ltd. Dolby Laboratories Electrosonic, Inc. Steve Calver, Vincent Conquilla Elite A/V Systems, Inc. Entertainment Techknowledgy, LLC exp. (X-nth) Fred Love Wallcoverings, Inc. Gotcha Graphics, Inc. GP Color Imaging Group Hamilton Tool and Engineering Hansen’s Welding InterAmerica Stage Joel Breaux Kelly Electric Lazer Image Dale Tamura Lighting Images Technology Bill Noyes Mactec Magne Motion Marrow Meadows Mavco Mivan Morris Architects Multimedia Designs Neiman & Company Will Raksin, Stan Bolton Nocturna Danny Valdez Panel Shop Inc. Paramount Scaffold Precision Projection Systems Prototype Concepts Raleigh Enterprises S&R Architectural Metals Scenic Highlights Chris Barnes, Adam Lindsey, Marianna Wnorowski, Dan Calandro Sign Producers Skin Shop Solid Concepts Sparks

C-3PO – Anthony Daniels G2–4T - Patrick Warburton GT-9T – Tom Fitzgerald Aly San San – Alison Janney Aly San San (Spanish) – Nathalia Hencker Yoda – Frank Oz Princess Leia – Carrie Fisher Ace – Lindsay Schnebly Gungan – Fred Tatasciore Boba Fett - Dean Deanda Boba Fett (Voice) – Dee Bradley Baker Admiral Ackbar - E. Erik Jensen Admiral Ackbar (Voice) – Tom Kane Rebel Pilot - Rob Howes Commander - Jeffrey De Serrano Naboo Squad Leader - April Royster Wookiee - Jeff Mosley Star Tours Commercial VO – Rodger Bumpass Concourse Overhead VO Announcers Robin Atkin Downes, Carlton Gibbs Iii, Christianne Noll Droid Supervisor VO - Daran Norris Tower Control VO - Marianne McLean, Scott Sohan Computer VO - Alison Blanchard Also featuring the voices of:

Laura Bailey, Cam Clarke, Darren Criss, Julie Dolan, Chris Edgerly, Joe Hanna, Bob Joles, Hope Levy, Vanessa Marshall, Drew Massey, Phil Morris, Audrey Wasilewski. And the talents of:

Carol E. Bauman, Scott Thomas McNamara, Mark J. Walas, Rocky Capella, Mike Healey, Susan Smythe.


Air Dimensional Design Inc.

Cre tive Environmental Solutions

North Hollywood, CA • www.airdd.com • 800-680-8865 • 818 765-800 • info@airdd.com

Want To Win Next Year? Innovative Concept Decks Professional Writing & Editing World-Class Design & Renderings Dynamic Keynote Presentations Award-Winning Creative Direction PGA-Member Producing

Theme Parks & Attractions Museums & Cultural Centers Brand Experiences Live Entertainment & Events Retail & Restaurants New Media & Interactives

Ryan Harmon Principal & Creative Producer Celebrating 25 Years in the Industry!

David Damron • V.P. Design David Schwartz • V.P. Production Jenny Jiang • Senior Designer



310.710.9095 ryan@zeitgeist-usa.com zeitgeist-usa.com (coming soon)

+ Dozens of Disciplines Cast Specifically For Your Needs MEMBER

Bar n a s B ra n n sta s j o n

What child does not, at some point, dream of being a firefighter? In this free-standing attraction at Kongeparken, a regional theme park in Stavanger, Norway, children live that fantasy. They receive training as recruit firefighters and are then called upon to put on firefighter jackets, slide down a firehouse pole, board a giant toy firetruck, and power the firetruck, making it go faster by pumping as it races to the simulated fire. The fire is safely created by fog in a charming, giant-doll-house-like structure. Children then pump and aim water cannons to put out the “fire.” At the conclusion, everyone gets a certificate declaring them to be a fire inspector. On the back of the certificate is a list of items to be inspected in their own home. Children come away with new knowledge and a new personal identity linked to fire safety.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

ATTRACTION ON A LIMITED BUDGET Kongeparken, Ålgård, Norway


This adorable, free-standing attraction combines playful fun with a serious and important educational experience. Although created on a limited budget, the artistry and craftsmanship of Barnas Brannstasjon are both excellent and charming on a world class level. And yet it conveys deadly serious information about fire safety with fantasy play in a way that treats children with respect, by giving them adult responsibility. The experience transforms its young participants into empowered leaders and authorities on fire safety. And in the process, they have a ton of fun. This experience, combining serious education with world-class entertainment, exemplifies the highest standards of themed entertainment.



Håkon Lund, Producer and Director Eric Daman, Conceptual- and Set Design Jeff Pettersson, Technical Director George Wiktor, Showeffects Frank Loman, Ridesystem Glenn Andre Viste, Story Ride Experience

Frank Hangebruch, Coen Nieuwenstein Special Effects, Lights, Sound and Theming

Marchewa Eugeniusz, Kristian Rasmussen, Edwin Famie, Melchor Nullaga, Karl Gerniers, Bart De Wandel, Steven Young, Lisa Passamonte Green, Bryan Roe, Mike Montez, Bob Xanders, Haavard Spikkeland, Oscar Ims, Nils Gudbrannsplass, Paul Kampe, Russel Clark Kongeparken Technical Services

Helge Jamne, Lech Kaczynski, Krzystof Chomicz, Dariusz Oszmianski, Mariusz Zitkowski, Bujak Slawomir, Kazimierz Brozyna, Moshe Sabillena, Anne Eltervåg, Jernie Babylonia, Arne Tjensvoll, Nina Kvilhaug Tuen, Stein Frode Jakobsen, Elin Bø Ravndal, Norbert Puttkamer, Svavek Chmielewski, Pål A. Dahl, Bjørn Vesterdal, Kjetil Nevland Partnership with Fire Department

Espen Helland, Brynjulf Sandvik, Tor Erik Skaar, Eivind L. Rake Special Mention

Nina Lie, Kristine Moe Sirnes, Sigrid Tofte Røiri

4 46 west plant street, winter garden, f l 3 4787

4 0 7. 8 7 7. 8 8 9 9



w w w. n t h d e g r e e f x . c o m

design • previs • 2d & 3d animation • stereoscopic • motion graphics • visual effects • mobile • interactive • themed entertainment content

Watch Timothy conducting his score to the upcoming feature film TRADE OF INNOCENTS AT:


Timothy Hosman

T h e M ag ic , T h e M e m or ies, a nd Yo u!

A new nightly show at Cinderella’s Castle in the Magic Kingdom, Florida. “The Magic, The Memories and You!” is a richly emotional and spectacular 10 minute show presentation. Using classic Disney icons and images, the show uses “mapped projection” to transform the castle into an ever-changing and magical canvas. In preparation for this nightly event, photographers have spent the day out in the park, capturing thousands of images of that day’s guests having fun. Five hundred of these images are selected and incorporated into the show that night. The result? A show that is different at every performance and engages the audience in a unique way, and at a whole new level.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

SHOW SPECTACULAR Walt Disney World’s Magic Kingdom, Orlando, Florida


This show demonstrates excellence for the artistic and creative way that technology was utilized to create a memorable and compelling experience. Impressive as the technology is, the show is ultimately successful because it uses that technology, along with visual creativity, adept directorial pacing and showmanship together with a stirring musical score in an innovative and compelling way to create a most memorable, unique and emotionally fulfilling experience for its audience.

Congratulations to our friends at Disney Entertainment and Thinkwell

“The Magic, The Memories, and You!” − Show Spectacular at Walt Disney World Media Design and Production Wow by Mousetrappe for Disney Entertainment

OFFICIAL PROJECT CREDITS Disney Creative Entertainment and Consultants

Kevin Eld, VP, WDI Creative Entertainment Michael OGrattan, SVP, Entertainment and Imaging Matt Conover, VP, Creative Entertainment-Disneyland Resort Doug McIntyre, Director, Creative Development & Production Reed Jones, Director, Creative Development Gene Harding, Producer Jennifer Magill, Producer Alan Bruun, Show Director Tom Zofrea, Art Director Greg Atkins, Video Director, Consultant Tim Maimone, Production Manager Jonathan Cloward, Production Manager, Consultant Chuck Davis, Sr. Technical Director Patrick Flores, Technical Director Ray Christiana, Entertainment Facility Manager Technical Systems Designers: Brian Larsh, Erik Koehler, John Ostby, Arthur Whiting, Mike Carter Bryant Woelk, Lighting Designer Jon Baker, Video Editor, Consultant Mark Hammond, Composer and Arranger, Consultant Ben Stellpflug, Music Director Melissa Atwell, Protools Engineer/ Sound Effect Design, Consultant Dan Fontana, Protools Engineer Joanne LeCocq, Media Coordinator, Consultant Carl Cuomo, Pyrotechnic Designer John Erwin, Production Stage Manager Annalisa Stahler, Production Stage Manager Joe Knapp, Audio Designer Technicians: Michael Caputo, Ryan Rafferty, Michelle Morgret, Travis Allen, Randy Emerick, Michael Sheffer, Rick McDaniel, Dave Reid, Mark Kirchner, David Evans Production Assistants: Tammy Faulkner, Ed Chen, Trina Elder Roy Feinson, Photo Mosaic Designer, Consultant Walt Disney Parks and Resorts

Scott Cassidy, SVP, Global Alliance Marketing Hans Vollrath, Disney Photo Imaging John Cole, Disney Photo Imaging Andrew Hardy, Finance Manager Jayne Carter, Finance Manager

Grace Cho, Business Affairs Steve Hilsee, Executive Counsel Carolyn Whitethorn, Marketing Brewer Lister, Marketing Jeff Wargo, Facility Asset Management AJ Barto, Faciliity Asset Management Mike Piatek, Engineering Services Phil Katzenberger, Engineering Services Walt Disney Feature Animation

NatureQuest − Museum Exhibit at Fernbank Museum of Natural History Media Design, Production, and Interactives Wow by Mousetrappe for Thinkwell

Dave Bossert, Director, Special Projects Liane Dietz, Production Manager, Special Projects Mousetrappe

Daren Ulmer, Media Creative Designer/VFX Supervisor David Briggs, Media Creative Director Susan Beth Smith, VFX Producer Amelia Ulmer, Media Administration Cedric Williams. VFX Coordinator Cedar Connor, Lead VFX Artist/VFX Compositor Sean Loughran, VFX Compositor George Adams, DP Live Action Shoot John Gross, CG Supervisor - Eden FX Rebecca West, CG Coordinator - Eden FX Christian Blochi, Lead CG Artist/Modeler - Eden FX Ryan Falkner, Storyboard Artist Michael Marquez, Storyboard Artist Chris Howe. Lead Matte Painter Shahen Jordan, Matte Painter Donna Tracy, Matte Painter/VFX Animator VFX Artists: Shant Jordan, Shawn Yanez, Steve Sprinkles, Tom Karn, Vivian Wei Gregg Detrich, Graphic Artist/Character Animator Randy South, Graphics/Illustration Manuel Choi, Technical/Render Vaughn Hannon, Installation Technical Coordinator Vendors

Kris Murray, Big Green Hippotizer Programmer, TMB Nigel Sadler, TMB Wayne Bickley, Christie Projectors


media based shows, attractions & exhibits 111 W Verdugo Ave. Burbank CA 91502 +1 (818) 972-2525 mousetrappe.com

LEADING DESTINATIONS THROUGH 5 DECADES Our sincere congratulations to the TEA on 20 years of friendship, and to all this year’s THEA winners. Truly remarkable...Bravo!

Celebrating 35 Years of Magic!

Congratulations 2012 Thea Award Winners and The TEA – 20 Great Years!

745 W. Forsyth Street • Jacksonville, FL 32204 (904) 355-7100 • www.sallycorp.com • sally@sallycorp.com

YOU! T h e E x p e rie n c e

This 15,000 square foot exhibit is a celebration of body, mind and spirit that explores many aspects of personal health and well being. It showcases the extraordinary workings of our bodies, the effects of lifestyle choices we make, the impact of the environment in which we live, and the role of medical technology. Over 50 interactive elements, each unique in character, engage the audience across a diverse spectrum of topics, from birth and reproduction and individual organ systems to lifestyle choices, diet, medical innovation and ultimately aging and life expectancy.

T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

MUSEUM EXHIBIT Museum of Science and Industry, Chicago, Illinois USA

A sampling of the many exhibits include a giant, interactive 13’ heart, a human-sized cardio “Hamster Wheel,” “Stay Active,” which demonstrates how the physically challenged overcome barriers, “Mirror, Mirror,” demonstrating the expression and perception of emotions, “Your Appetite,” a series of lighthearted interactives about healthy eating choices, “iStan,” a human patient simulator that presents symptoms and can be diagnosed, and “Face the Future” which captures the guest’s image and demonstrates the process of aging. A wide array of media segments, each sensitively designed for its specific topic, supplement the experience, and guests can swipe their admission tickets throughout the exhibit to aggregate additional data and links to access when they return home. The exhibit is supported by a rich program of educational programming for guests, students and teachers.


OFFICIAL PROJECT CREDITS Exhibit Development Museum of Science and Industry, Chicago

Kurt Haunfelner, Vice President, Exhibits and Collections Patricia Ward, PhD., Exhibit Director Mark Ewing, Senior Project Manager Ed McDonald, Director of Exhibit Projects Roger Harris, Senior Manager, Exhibit Maintenance J. Jeffrey Johnson, Director, Facilities Kathleen McCarthy, Director, Collections Margaret Schlesinger, Curator Helen McGuire, Senior Exhibit Developer John Meyer, Content Developer Catherine Miller, Content Developer Joe Emady, Exhibit Design Developer Alex Gallegos, Education Coordinator Bridget Basta, Manager, Program Development Todd Gieske, Evaluator Laura Graham, Intern Project Dimensions, Inc.

Jim Mallerdino, Exhibit Project Manager Life Fitness

Gary Olgesby

PPI Consulting

Bob Haroutunian, Principal Exhibit Design

Thinc Design Tom Hennes, Principal Julie Chung, Lead Designer Rachel Schreck, Project Manager Rebecca Widiss, Lead Content Developer Eunhae Kang, Designer Steven Shaw, Design Director Greg Blackburn, Graphic Supervision Exhibit Fabrication

Kubik-Maltbie, Inc. John Harper, Project manager Rocky Adriance, Manager of Interactive Exhibits Chanda Lawrence, Graphic Designer Boss Display

David Foster

ClickNetherfield (casework)

Ryan Skorch


Bruce Gitlin, CEO Steven Messler Graphic Design

Hunt Design Wayne Hunt, Principal Heather Watson, Designer In Sung Kim, Designer Media Design And Production Potion

Jared Schiffman, Principal Phillip Tiongson, Principal Thomas Gerhardt, Developer Jeff LeBlanc, Developer Yasmin Elayat, Developer Young Sang Cho, Developer Caroline Oh, Graphic Designer Hybrid Medical, Biological Illustration Cortina Productions Unified Field

Marla Supnick, Principal Maureen Lin, Lead Designer Jason Bell, Project Manager Eli Kuslanksy, Concept Designer Arava Sheleff, Designer Micheal Muldoon, Illustration & Animation Valeria Pivovarova, Modeling & Animation Jeff Miller, Technology Director Chuck Yust, Programmer Jeff Becker, Programmer Henry Tseng, Programmer John Singer, Programmer Greg Kinney, Electrical Engineering Snibbe Interactive

Scott Snibbe, President and Creative Director Alan Shimoide, Engineer Oriol Ferrer Mesià, Engineer Isaiah Merrill, Engineer Joshua Samberg, Engineer Katherine Trimble, Creative Noah Cunningham, Video

Francesca Penzani, Video James Buckhouse, Project Management Maribeth Rubin, Project Management Patrick Wilson, Installation Design Island

Timothy Steinouer, Media Producer Rich Swim, Assistant Producer Barbara Phillips (TellAStory), Writer Anthony Torres, Researcher Dan Whiting, Media Graphics Greg Jones (D7), Editor Cameron Roberts (D7), Director of Photography Brad Gorton, Production Dave Wallace (DWSD), Sound and Music Composition Anthony DeLaura (squarefactor), Flash Design / Development Tina Jones, Still Photographer Local Projects

Jake Barton, Principal Ian Curry, Director of Interaction Design Katie Lee, Art Director Tiya Gordon, Producer Claire Lin, Graphic Designer Brian House, Creative Technologist EyeTech Digital Systems, Inc.

Robert Chappell, Software Engineering Caleb Hinton, Software Engineering Bryson Hinton, Electronics & Hardware Engineering Melinda Trego, Office Support Perfect Prototype

Matthew Browning, Project Lead/Programming Michael Gartner, Programming Geoffrey Beatty, 3D Animator Cyril Drouet, Total Immersion, Advisory/Programming XVIVO Scientific Animation

David Bolinsky, Partner/Medical Director Michael Astrachan, Partner/Creative Director Ciaran Moloney, Animator 7thSense Design, Ltd.

Ian Macpherson, Director Adam Neale, Director Mad Systems, Inc.

Maris J. Ensing, President Mark Hogan, Chief Technology Officer Jeff Struthers, Project Manager Thom Roy, Lead installer Des Moriarty, Lead Installer Brett Bemis, Installer Brandon Phillips, Installer BBI Engineering, Inc.

Mark Roos, Principal Phil Bailey, Principal Jim Sallee, Project Manager Sasha Harris-Cronin, Programmer Lighting Design

Renfro Design Group, Inc Richard Renfro, Principal Rebecca Malkin, Project Manager Michael Peace, Lighting Designer Architect

Ross Barney Architects Carol Ross Barney, Design Principal Eric Martin, Principal-in-Charge Ryan Giblin, Project Manager Jonathan Wlodaver, Project Architect Steve Rohr, Project Architect Construction

Berglund Construction, Inc., General Contractor Anthony Rosignolo, Project Manager Art Lander, Superintendent Steve Bruszer, Vice-President Jim Dyer, Sr. Vice-President of Preconstruction Fred Berglund, President KJWW Engineering Consultants, P.C., Engineers


“YOU! the Experience” presents its subject matter at an unprecedented scale and does so with imagination, creativity, excellent design and, most of all, with sensitivity in its presentation. It covers an ambitiously broad range of subject matter, but the developers of the project looked at each facet of the story individually, selecting presentation modes and designing interactives that engage and communicate appropriately for their respective pieces of the story. The exhibit can be experienced on a “macro” level, focusing on the largest and most obviously dynamic exhibits, but each topic presented also has considerable depth which can immerse the visitor in the exhibit for many hours and multiple visits. Appealing and engaging across the full demographic range, “YOU! The Experience!” is a thoughtful and memorably engaging exhibit presentation that demonstrates the best of compelling design and execution.

As we congratulate the TEA on 20 years, we celebrate all the 2012 Thea Award recipients with a special thank you to Fernbank NatureQuest and House of Dancing Water. ThinkwellÂŽ is honored to be a part of your teams.

www.thinkwellgroup.com Š2012 Thinkwell Group, Inc. All rights reserved. House of Dancing Water Photo: FDEG

Sports Village Cardiff

VW Pavilion Autostadt

Restless Planet Dubailand

Hafod Eryri Snowdon

VW Brandland Wolfsburg


Rainforest House Hannover


Fashion Hotel Dubai

...museums brandlands cultural attractions botanic gardens zoos safari parks visitor centres themed attractions mixed development heritage centres science centres hotels restaurants...

t +44 (0)20 8662 4600

Brighton Centre Masterplan

C r an e Da n c e

What weighs 160 tons, stands over 90-feet tall and is, well, in love? It’s the two cranes that perform every evening at Sentosa Island in Singapore. These mechanical marvels are the largest animatronic creatures in the world. Located on a man-made island in the channel between Resorts World Sentosa and the Singapore mainland, the cranes “dance,” flap their watery wings and, via digital screens, bless Resorts World guests with love, long life and good fortune. Through the use of ultra-sophisticated computer and motion controls, similar to those used on Japanese bullet trains, the cranes are able to move with a grace and precision that is patterned after the mating rituals of real cranes. Additional character and personality are expressed via the cranes’ specially designed digital eyes. Each 6-foot diameter eye can blink, squint and react to movements, while expressing wonder, amazement and affection. The large, 26-foot by 26-foot digital screen on each T he a Awar d fo r O u tstand i ng Ach i ev e m e n t

SHOW SPECTACULAR Resorts World Sentosa

crane torso shows video images, illustrating the inner workings of each creature and their affection for one another. The motion control system is so precise, the two independent screens can become one contiguous screen as the cranes “project” their love to the audience. The wings of each crane incorporate multiple jets of streaming water that spray thousands of gallons of sea water up to 40-feet in pulsing arcs, thus creating the cranes’ enormous flapping wings. Accentuated with pyrotechnics, theatrical lighting and audio effects, Crane Dance is a technical marvel that crosses cultural boundaries and amazes guests of all ages.


OFFICIAL PROJECT CREDITS Resorts World/Genting-Sentosa

Mr. Tan Sri Lim Kok They, Executive Chairman for Genting-Sentosa, Mr. Tan Hee Teck, President and Chief Operating Officer, GentingSentosa Mr. Michael Chin, Vice President, Resorts World Sentosa Mr. Tan Kok Chin, Senior Manager – Projects, Resorts World Sentosa Entertainment Design Corp. Jeremy Railton, Executive-Producer/Designer Mark Thomas, Producer/Business Affairs John Rust, Show Director Doriana Sanchez, Crane Choreography David Kelly,CFO/Designer Richard Wechsler, Writer/Producer Edward S. Marks, Producer And Project Director Chris Homsley, Senior Project Manager Bob Chambers, Senior Technical Director Paul Mirkovich, Composer Adela Huehn, Technical Director Chris Gile, Technical Director Rob Palmer, Technical Director Richard Screiber, Art Director/Draftsman Andrew Rubio, Project Coordinator Joel Ashby, Project Manager Jason Fisher, Project Coordinator Mammoth Sound and Vision, Media Production

George Johnsen, Animation Producer Animation: Mike Hoover, Tyrell Blackburn, Mike Darren

Patrick Woodroffe Lighting Design, Project Lighting Design

Patrick Woodroffe, Principal Lighting Designer Adam Bassett, Lighting Designer

Lightswitch Los Angeles, Site Lighting

Mike Lagorotteria, Lighting Designer Bryan Barancik, Lighting Designer Tim Routledge, MA Programmer Demfis Fyssicopulos, MA Programmer

PPI Consulting, Audio Visual Consulting

Robert Haroutunian, A/V Consultant

McLaren Engineering Group, Marine/Entertainment Engineering

Malcolm McLaren, President William Corlin, Chief Ent. Engineering Division Jay Reichgott, Chief Marine Division Paul Stoltenberg, Sr. Mechanical Engineer Stephen Sywak, Chief Mechanical Engineer Murphy Gigliotti, Engineering Design Consultant Jon Skinner, Engineering Design Consultant Craig Plate, Engineering Design Consultant Dominic Desantis, Engineering Design Consultant Brian Levine

Juan Mayans-Boom, Principal Drafting Manager Thelma Muro-Dittes, Principal Drafting Manager OASE Asia Pacific, Fountain Technology Design & Engineering

Peter Kok, Fountain Technology Manager LYS, Steel Contractor

Patrick Lai, President Phil Maddox, Techinical Director Ahamad Mohideen, Project Manager Atech, Lighting Integrator and Scenic Supply


It’s big! Really, really big! Beyond the sheer scale, it is the careful blending of design, engineering and advanced technologies that make this production truly unique and exemplary. The imaginative use of modern industrial and mechanical systems conveys emotion and captivates all who stop to watch this spectacle. The presentation is only capable through the use of the most sophisticated power, hydraulic, motion control and digital imagery systems, but these technical wonders are virtually transparent to the audience as they are taken in by the magic and grace of The Crane Dance and the love they express.

Rise of the EME: TEA’s European and Middle East Division grows from the first London pub meeting in 1998, to the second SATE conference in Europe (hosted in Paris) this year. By François Mayné In 20 years, Themed Entertainment Association has become a global organization recognized as bringing together - around events and conferences - the interests of the world’s leading creators, developers, designers and producers of compelling places and experiences. The TEA’s presence on the international scene was strengthened in July 1998 with the creation of the European and Middle East (EME) division. It all started in March of that same year when a group of 10 professionals had a first meeting in London to discuss joining the association they admired for what it was realizing in the United States. The members of this group included Nick Farmer, director of Farmer Attraction Development, who was later to become TEA’s first international president. They met several times and even received guidance and encouragement from Keith James (president of Jack Rouse Associates, Nick Farmer and past president of TEA). TEA’s EME division was officially launched at the TiLE conference in Strasbourg that year. The principal motives for these European professionals to join TEA were to expand their networks, facilitate the exchange of information, and improve business practices and techniques that benefit producers, developers, vendors and clients. “We found our new American friends extremely welcoming, and suddenly our networks were dramatically enhanced,” explains Nick Farmer. “Meeting up with our TEA colleagues around the world is of tremendous advantage, as we all learn from each other.” Because the EME division covers a large geographic area with many countries and languages, special events and gatherings have been the best way of bringing people together. Farmer adds, “In this way members get to see the latest attractions and to meet the operators in open and frank discussions, and also to meet up with fellow members who are all part of the food chain which makes up our industry. No one company does it all: we need to work together to deliver our client’s requirements, and the TEA is a great place to find the resources we need.” GROWTH Year after year, the EME division has steadily grown to rely today on more than 120 members representing 15 countries and 11 diferent languages. It has organized mixer events at relevant trade shows and conferences throughout the region as well as successful behind-the-scenes gatherings at such locations as Disneyland Paris, ring°werk, and Thea Award recipient projects Bewilderwood and The Heineken Phil Hartley Experience. Philip Hartley (owner of Philip Hartley Associates) became President of the EME board at the end of 2010 and under his direction, with the help of the EME board members, the division’s membership has grown 24%. The number of division events has also increased and this groundswell led to organizing the first European iteration of TEA’s annual SATE conference (Storytelling, Architecture, Technology, Experience) which has further boosted the EME division. “A side effect of these improvements has been a much increased interest in being a board member,” Hartley says.”In 2009/2010 we had five volunteers for four positions and in 2010/2012, we had nine volunteers for five positions!”

THEA AWARDS Since the establishment of the Thea Awards in 1994, about 30 European projects have received the prestigious honor, which is a relatively large number compared to the membership of the EME division (numbering 125). This 18th edition of the Theas was no exception and includes two French recipients, and a third project that relied very heavily on a French firm. “We don’t have the same awards culture in Europe that they have in America,” comments Hartley. “So it’s quite an achievement that three awards go to the same European country!” Those three Thea Awards signify international recognition of the quality of French expertise in the design and production of major events and themed entertainment. “Yo México” receiving a Thea Award for “Live Show Event Spectacular” imparts accolades to the project owner as well as the creative team of Les Petits Français. Theme parks Puy du Fou and Futuroscope, respectively opened in 1978 and 1987, are both operators and developers with strong identities and the power to take innovative risks. They have now reached a certain maturity in terms of positioning on the French market and are achieving greater awareness abroad. Le Grand Parc du Puy du Fou and La Cinéscénie, this year receiving the prestigious Thea Classic Award, were built around a regional theme delivering French history and culture with authenticity in an exceptional natural environment. These qualities have made it the “favorite park of Yves Pépin the French” according to a study conducted in July 2011. The park owners now want to export the know-how abroad and continue the development as a destination for short stays, particularly with hotels that prolong the visitor experience. In recent years, Futuroscope has embarked on transforming a portion of its facilities to inject a stronger entertainment component. Under the leadership of CEO Dominique Hummel, and expressed in the advertising slogan “Osez l’expérience” (Dare to experience), the park is re-imagining the contemporary pavilions as new places of experience in which technology is mixed with amusement, theming, learning, discovery and even thrills. The attraction Arthur: l’Aventure 4D, which is honored this year with a Thea Award for Outstanding Achievement, summarizes completely this new state of mind!

SATE The celebrations of TEA’s 20th anniversary year will peak with TEA’s signature conference on Experience Design: SATE 2012. The conference is now held alternately in North America and Europe. SATE 2012 will take place September 20-21 in France at the heart of Europe’s top tourist destination, Disneyland Paris. The event is co-chaired by two well-known figures of the industry, the American Joe Rohde (Walt Disney Imagineering) and the French Yves Pépin (founder of ECA2), both recipients of The Buzz Price Thea Award for Lifetime Achievement.

For SATE 2012, Rohde and Pépin have set forth a main theme of Cultural Diversity: Obstacle or Opportunity? This invites discussion of the unique challenges cultural diversity presents to the themed entertainment industry. The discussion will unfold through case studies, testimonials and panel discussions. A principal issue for the participants will be how cultural differences on the one hand can contribute to unproductive stereotypes, and on the other hand, offer tremendous opportunity to find new expressions. “Cultural diversity is not only something that is encountered when working across geographic borders,” says Yves Pépin. “It is also a challenge to which we must bring all our know-how for understanding the very different cultural backgrounds that may be in the same country as ours! Understanding and learning to work with these concerns in the arena of themed entertainment can lead to productive collaborations and to market development. In local communities for example ... cities are becoming more open to projects, whether permanent or temporary facilities, and they can benefit greatly from the members of our profession.” OUTLOOK Despite these times of economic difficulty, the overall prospects for the European entertainment industry are positive. The attractions sector remains, more than ever, a safe haven for consumers seeking amusement and fun. Regional operators benefit from the proximity of their visitors and seek to position themselves in an original way with theming (sometimes by licensing intellectual properties), learning, content and experiences. Looking 5 or 6 years out, there is still a wide range of leisure activities with good development potential for the European continent, while in the Middle East significant professional opportunities have also emerged. The outlook for designers and technical providers is a little more difficult because the market for short-lived events - the leading source of the activity - is highly dependent on the economic situation with regional disparities that can be very important. Looking ahead, the challenges facing the TEA EME division will be numerous and the association will have plenty to do. Philip Hartley states that the objectives for the months to come begin with continuing membership growth. “The board is looking for more diversity and especially to bring in more academics and operators. We will also put more effort into increasing Middle East membership, and find a potential board member based in that region. Finally, the EME division will also focus on more contents and locations for its events, with an emphasis on education.” There is no doubt that 2012 will be a year full of opportunities for TEA and its EME Division.

François Mayné (francoismayne@newsparcs.com) comes from Belgium. He is the owner and publishing director of NewsParcs (www.newsparcs.com), a website dedicated to the theme parks and attractions industry.



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As i an T h e m e d E n t e rta in men t M a r kets a n d P r oj ects — and TEA By Chris Yoshii For much of the world, 2011 was a challenging year with financial crisis, natural disasters and social unrest grabbing the headlines. However, very quietly, the Asia theme park industry had a record year with total attendance at the Top 15 parks rising nearly 9%. This occurred despite a fall in attendance at Disney Tokyo and Disney Sea as a result of the Tohoku earthquake. A number of Asia theme parks had excellent performances resulting from strong market response to new attractions. Ocean Park Hong Kong, Hong Kong Disneyland. Lotte World in Seoul, and Changzhou Dinosaur Park in China opened new attraction areas and saw massive market responses with attendance jumps of 700,000 to 1.2 million visitors per park. At the same time, these attractions were able to lift ticket prices giving a double bonus to revenue and profitability. These successes clearly show the power of reinvestment in bringing back local residents as well as attracting tourists in greater numbers.

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What is the general outlook for Asia in themed entertainment? Fundamentally, the growing middle class and their aspirations for travel and experiencing new things will drive a large demand for leisure and cultural attractions. Currently we estimate some 600 million Chinese are able to afford a visit to a modestly priced themed attraction. Most are living in cities (in 2010, for the first time 50% of China population were classified as urban). In the future, middle class growth will be in the smaller towns and countryside. Assuming income growth continues, as early as 2020, the number of Chinese middle class could reach over a billion - or three times the size of the US middle class population. Similar massive growth in middle class populations are emerging in India, Indonesia, Vietnam, and the Philippines. Countries and regions that have already achieved high standards of living such as Singapore, Malaysia, Taiwan, Thailand, Hong Kong, Macau and Korea are benefiting from massive influxes of high spending tourism from China and other Asian countries. AECOM is tracking nearly 30 new theme park projects in China alone, representing some US $17 billion in capital investment. Disney Shanghai is the single largest project and remains on track for a 2015/2016 opening. Shanghai Disney is expected to dramatically alter the themed entertainment landscape. In many ways it will raise the bar in terms of experience, quality, pricing as well as the guest experience. Chimelong group is expecting to open their Chimelong International Ocean Resort, a US $1.2 billion marine oriented theme park, hotel and resort in stages starting this year. Other major new theme park projects on the horizon, such as Monkey Kingdom (opening near Beijing in 2014) and Hello Kitty Park (opening near Shanghai in 2014) are part of large scale, mixed-use complexes that include hotels, retail and often residential communities.


New Park Opening in 2011

74,000,000 72,000,000 2009





In addition to expansions, six major new attractions opened in China in secondary and tertiary destinations. New theme parks opened in Qingdao and Changzhou (outside of Shanghai), waterparks in Beijing and Fushun and sea life parks in Wuhan and Jinan. Singapore, never shy to grow the attractions industry, saw a new maritime attraction open at Resorts World Sentosa and the ArtScience Museum open at Marina Bay Sands. This year’s two Asia recipients of Thea Awards are only a small sample of the excellent work being done in the themed entertainment world. The House of Dancing Water at City of Dreams is a stunning, spectacular live show based on Chinese legends, while Crane Dance at Resorts World Sentosa is an animatronic love story of gigantic proportions. We believe these stellar attractions embody an important new direction for themed entertainment in Asia: W W W

Show-oriented. The Asia market particularly appreciates show- based attractions with strong storylines and theatricality. Both of this year’s Asian Thea Award recipient projects convey ancient stories that resonate with their intended audiences, and provide modern and vibrant interpretations. Culturally relevant. Although designed by an international cast, the stories and images are culturally relevant to the Asian market. Asians feel an emotional, historical and cultureal connection to the stories, visuals and characters. Technically bold. Gadget-crazy Asians love to be thrilled with new attractions, brilliant images and the marriage of theater and technology.

Land Adult Admission Area (ha) (RMB)









Games @ AnimaBon

Polar Ocean Park




Marine Animals

Polar Sea World



Marine Animals

Hot Go Park (Phase 1)




Bali Water World

Happy Magic Water Cube




Water Park


2 theme park projects + 2 water parks + 2 Aquariums ~7 million total capacity increased to current portfolio of China theme parks With estimated 672 million RMB total capital investment

Not to be outdone, in Manila Bay, Philippines, construction is underway on four resort entertainment and casino complexes expected to compete with Macau and Singapore for the Asia gaming market. This mega-project, sponsored by the PAGCOR (the national gaming authority) is being developed by four international and domestic consortia. Each will have a minimum of 800 hotel rooms. Themed entertainment facilities announced to date include indoor water parks, themed shopping and live shows. In Korea, various national and regional government agencies and developers are promoting plans for large scale destination resorts and entertainment projects, many of which are located near the Incheon Airport and targeting the fast growing Asian tourist market.

Case Study: Hong Kong Theme Parks Ocean Park and Hong Kong Disneyland combined to generate a large increase in attendance. Overall attendance increased faster than market growth. The implication is both parks did much better and penetrating their markets. Available Market Size (Residents + Tourists)

Combined BCean Park + Disneyland AEendanCe








Available Market Grew by 8% Year-Over-Year



(2,300,000 more residents + tourists)


Combined Park Attendance Grew by 21% Year-OverYear (2,250,000 more attendees)





In summary, the Asia market for themed entertainment is growing rapidly in volume and sophistication. Tapping into that growth and opportunity requires a dedicated effort and collaborative approach. TEA is one forum working to promote professionalism and excellence in this global industry.

0 2010


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Overnight Tourist Market

This growing market is resulting in many opportunities for professional design firms, fabricators, construction companies, equipment suppliers and operation companies. Developers are increasingly seeking international expertise and technology as well as localized sources and implementation. TEA members can play an important role in this market in not only bringing the best and creative ideas, but helping to realize the dreams of emerging economies and people eagerly seeking new culturally relevant experiences. TEA is ramping up its activities in Asia with an Exploratory Committee headed by Jeff Mayer, formulating a program for 2012 and beyond. The AECOM /TEA Global Theme Index report for 2011 will be published in spring 2012 with a special highlight on this growing market. Key TEA events for 2012 will include a event at IAAPA’s Asian Attractions Expo in Hong Kong 5-8 June, and an event in Shanghai in September updating the status of the Shanghai Disney project. Interested individuals and companies should be on the lookout for these activities.

to the Stars of the 2012 THEA Awards! From Evans & Sutherland creators of the Digistar 4 Digital Planetarium System bringing the stars down to earth in nearly 300 digital fulldome science theaters and entertainment venues around the world.

Chris Yoshii (Chris.Yoshii@aecom.com is Vice President, Global Director Economics – Asia at AECOM. Mr Yoshii has over 25 years experience in economic consulting for leisure, real estate and infrastructure projects globally. AECOM is a global professional services firm operating in over 100 countries offering a wide range of architecture, engineering and development services. 1 10/5/11 11:24 AM SywaSungTEADirectoryAd2011.pdf


T E A ’ s T h e a Awa rds Nominating Commit tee invites yo u to s u b m it a p r oj ect fo r a n awa r d Welcome to the TEA’s Thea Awards 2012 judging cycle. We on the committee know this has been a busy year for all of you – there’s been a lot of activity in our industry and we are looking forward to reviewing your nominations. Please remember, the project must have opened or the event must have taken place between July 1, 2010 and June 30, 2012. Submission Deadline: 5:00 PM Pacific Time, July 6th 2012. Nominating a project for a Thea can be completed in three easy steps:

1 2 3


W Print out the Nomination Form and fill it out. If needed, you can append your own version of the form. W Please include as much complete contact and credit information as possible.


W Gather your materials. Please see our suggestions about preparing materials. We must have photos and/or video of the project to properly judge it.


W Send the Nominations Form and supporting materials to the TEA office:

2012 THEA AWARDS NOMINATING COMMITTEE c/o TEA 150 E. Olive Ave. #306 Burbank, CA 91502 Tel: +1(818) 843-8497 Fax: +1(818) 843-8477 or email Gene@TEAConnect.org To read and download a Thea Awards Nomination Packet, please visit the TEA website at http://www.teaconnect.org/ <http://www.teaconnect.org/theasubmissions> John Robinett Thea 2012 Awards Nomination Committee Chair john.robinett@aecom.com







InPark Magazine congratulates the 2012 Thea Award recipients and TEA on twenty years of amazing experiences


How t h e T E A a n d T h emed En ter ta inment Design Alt e re d t h e Mus e um Exp er ience by Joe Kleiman Themed entertainment design’s entry into the museum design field would not have been possible without a radical shift in how museums approach their audiences. This began in the 1920s and 1930s, with the first visitor assessments. According to Marlene Chambers, formerly of the Denver Art Museum, “Research into the power of advertising design to attract and hold attention (to sell a product) soon spilled over into the museum world and created new criteria for visual presentations and their power of persuasion. Early visitor studies of the 1930s took their cue from psychological studies about the manipulative techniques of advertising, as many of them still do.” By the 1970s and 1980s, three major changes in museum exhibition design would bring the field ever closer to applying the tools of themed entertainment: W THE TRANSITION TO INFORMAL LEARNING. The replacement of a traditional classroom environment with a more informal educational model allowed students and museum visitors to begin interpreting exhibits and artifacts on a personal level. W BLOCKBUSTER EXHIBITS. Major traveling exhibitions touring the US and other countries brought a need for new techniques to control traffic flow through the exhibit. Instead of just wandering in a large room, visitors traveled a linear path. Theatrical and theme park techniques were united with museum exhibition design. Lighting, sound, graphics, and artifact placement all helped guide large crowds through the space in an organized fashion. W DISNEY’S EPCOT. For the first time, educational exhibits were integrated into a major theme park on a massive scale. From Van Roman’s artifact displays in World Showcase to the science center exhibits in Future World, exhibit designers and Imagineers worked together in successfully merging education and entertainment in a themed environment.

Brian Edwards

Then came the year 1991 and the formation of the Themed Entertainment Association. Brian Edwards, a TEA past president whose company, Edwards Technologies, has been a member of the TEA from the start, remembers, “TEA provided a way for all us individual contractors to get our message across to the big operators. Then we started looking at other markets that could benefit from what TEA members had to offer, and a lot of us started to concentrate on museums.” Edwards was one of them, contributing his company’s services to a number of projects, several of which earned Thea Awards. One of them was a Thea recipient last year, and it’s an excellent example of how themed entertainment design can transform a museum – the National Infantry Museum and Soldier Center in Columbus, Georgia USA. The original museum, with artifacts on display from 1775 to the present, had been housed in the cramped quarters of an old Army hospital built in 1923. In 2009, a new $100 million building premiered. Dedicated to the Infantry soldiers, the museum was designed using the best themed entertainment principles. Architecture, landscaping, lighting, sound, graphics, video production, props, artifacts, audiovisual engineering, and many other disciplines worked together to not only exhibit the artifacts that tell the story of the Infantry, but to tell that story in an emotional context that pulls the visitor forward on an personal exploratory journey. At the opening ceremonies, Colin Powell remarked, “This site is much more than a mere memorial. The word ‘museum’ is inadequate to describe it.” Sometimes museums don’t have $100 million to spend. And sometimes the ideal they’re trying to convey is a bit abstract and difficult to put in a tangible form. Science North, recipient of a Thea Award this year for Outstanding Achievement on a Limited Budget, took all the

same themed entertainment ingredients that were used on the National Infantry Museum and put them to good use in The Changing Climate Show on a budget of just $600,000. Hosted by Sheepie, a computer animated sheep voiced by the CBC’s Rick Mercer, the exhibit explores climate change on a global scale with the help of the “Fleece-net,” which connects Sheepie to others of his kind around the world. The show utilizes a combination of HD video, physical sets, and lighting and sound effects. Visitors of all ages go away with a better understanding of climate change and what they can do to make a difference. Dr. Chandler Screven, who passed away this past November, was considered by many to be a pioneer in the field of exhibition design for the facilitation of learning. In 1993, he wrote in the Center for Museum Studies Bulletin: “Exhibitions can work if planners do more than provide logically organized exhibition content. Open, voluntary conditions require modes that deliver content (e.g., interactives, film, objects, words) and the incentives for attending to this content, which are as important as the exhibition content itself. Unfortunately, delivery modes and motivational strategies usually are given little serious attention during exhibition planning.” Fernbank NatureQuest at the Fernbank Museum of Natural History in Atlanta, USA, also named for a Thea Award this year, is a prime example of what happens when TEA members are on the job, giving utmost attention to delivery modes and motivational strategies. Centered around a giant clubhouse, the exhibit features the six ecosystems found in Georgia. Throughout the exhibit, learning is disguised as play, an achievement accomplished by physical props - such as an archeological dig - and virtual ones, such as binoculars that track hidden animals, and video monitors that present details on an item once it’s pressed against the screen. Both The Changing Climate Show and Fernbank NatureQuest are a far cry from where the exhibit industry stood 60 years ago. In a 1954 report to the United Nations, Theodore Low, the Director of Baltimore’s Walter Art Gallery, wrote: “…the basic problem we face in the United States, I would say that it is essentially the problem of reaching a vast number of people without any deep-seated cultural tradition and a people who, while literate and educated, if we can count the number of years spent in school as evidence, maintain an unreceptive attitude.” TEA and its members have helped to meet the special challenge Low defined. Doug Yellin, media producer on Beyond All Boundaries, the acclaimed 4D experience at the National World War II Museum in New Orleans (past recipient of a Thea Award) explains: “What we as a group of designers bring is an ability to create and engender where visitors are able to touch, feel, and experience rather than be lectured or told.” The Ronald Reagan Presidential Library and Museum near Los Angeles took this ideal to heart when creating the Air Force One Discovery Center, another museum exhibit that was honored with a Thea in recent years. Using multimedia-enabled sets replicating the Oval Office, White House Press Room, Air Force One, and a command center on an aircraft carrier, this unconventional classroom environment “immerses students in history itself,” says Mira Cohen, the museum’s Director of Education and Project Director. “They engage in debate and discussion, take on a role, Mira Cohen go behind the scenes of decision making, and feel the pressure people feel when making high-level decisions when in group environments. Instead of looking at the piece, they become the piece, and they begin to experience history rather than just viewing it.” Technology, and its creative uses, offer possibly the greatest potential for growth in exhibit design. In his 1954 report, Dr. Low observed this, writing, “…a new element has entered into museum teaching, namely television… All of us feel… that here is a medium which, if handled well, can be of untold good.”

Edwards foresees even more technology being involved in museum design – especially on the personal level. “When people come in, they come in with their smartphones. It’s always on; it’s always in their hand.” As he foresees it, the future of museum design will make increasing use of personal devices to tailor the visitor’s experience to his or her preference. Personal electronics can isolate people, but they can also be used to bring people together into collective experience – what’s sometimes referred to as “mass customization” - or as George Wiktor of the GW Group calls it, “Participation Culture.” Wiktor, a TEA past president and design/production consultant, has worked on three projects that received Thea Awards, including this year’s Barnas Brannstasjon, an educational play attraction at regional theme park Kongeparken (Norway). He comments, “As we create and develop George Wiktor places that look to attract today’s and tomorrow’s audiences, we need to focus on our audience’s fundamental need to participate. The digital- and Internet-fueled games, media and communications on our devices are aids to creating personal social connections more complex and varied than ever before. What TEA members bring to the table is the ability to integrate these personal tools into a group environment and build a compelling, participatory attraction in the real world.” Edwards also sees the TEA as offering one additional benefit to the future of museum design. “This is the ideal place for new designers to meet experienced ones – to gain a mentor.” The knowledge handed down by veterans, combined with the technological savvy of a new generation of designers, will keep TEA member projects at the forefront of museum exhibition design for years to come. Joe Kleiman (www.themedreality.com) is a journalist, PR and marketing professional with a background in museums and special venue cinema. He has opened a number of award winning venues, including the Ridefilm simulators at Galveston, TX’s Moody Gardens, the Esquire IMAX Theatre in downtown Sacramento, CA, and the National Infantry Museum in Columbus, GA and has been a consultant to a number of special venue film producers and distributors, including K2 Communications and Big&Digital. A former zookeeper, he started his attractions career 25 years ago at SeaWorld San Diego’s Aviculture department, taking care of birds ranging from flamingos to penguins.

www.forrec.com designs@forrec.com

Congratulations to the TEA on your 20th year and to THEA 2012 Award Recipients.

T H E STO RY OF THE Story telLERS by George Walker

Storytelling. That’s what it’s all about. It doesn’t matter how exhilarating the thrill, how grand the environment, or how engrossing the experience. Without the story, there simply is no emotional connection. A truly unique and mystifying art form, storytelling is more than just a skill; it is a carefully refined craft that could almost be called magic, and those who wield it would not be out of place in the company of wizards. Storytelling blinds us with beauty and floats our spirits to the clouds. It yanks us to the edge of our wits and dangles us over the thrilling edge of fear. It greets us with a familiar hug that fills the misty eyes of adults with childlike tears of joy. It has even brought dissonant families together and given healing smiles to those in their final days. Storytellers – the truly masterful ones – transport us from the real and often unforgiving world, to a transcendent place born of imagination where anything is possible and dreams really can come true!

This is the story of the storytellers. But I’m getting ahead of myself. Every story begins with the premise: a good foundation upon which the rest of the story can be built. In our unique world of themed creations, this support structure is called the Themed Entertainment Association, or TEA. From its humble beginnings in 1991, the TEA has grown not only into a fellowship of consummate creators, but also into a valuable resource for those creators to share their stories across the globe, bringing magic, wonder, thrills, and discovery to people and places barely imagined a mere two decades ago. It’s the year 2012 and as the TEA celebrates its 20th year of bringing together so many creative professionals, the rising action of our story takes focus on some of its main characters. TEA20 is proud to have the support of nine Diamond Sponsors: Jack Rouse Associates, Garner Holt Productions, The Nassal Company, PGAV, Edwards Technologies, Thinkwell Group, Technifex, Utopia Entertainment, and Walt Disney Imagineering.

Jack Rouse Associates Jack Rouse Associates is among the many great characters layered within the story of the TEA. JRA has been a strong supporter of TEA since the establishment of this visionary organization, and is a proud recipient of a number of Thea awards. CEO and Owner Keith James served as TEA president from 2000–2002, and founder Jack Rouse was presented with the Thea Award for Lifetime Achievement in 2008. JRA plans, designs and realizes exceptional visitor experiences for entertainment, cultural, sport and corporate clients around the world. JRA believes the key to any creative consultant’s success is the ability to collaborate with the various disciplines required to plan, design and realize each project. The TEA laid the groundwork for bringing these various disciplines together, and helped to create and foster a feeling of camaraderie among its members. It is this sense of community which might be TEA’s defining contribution.

Not all the characters in a story are human, however. The personification of life from lifelessness requires the special kind of ingenuity prevalent at companies like Garner Holt Productions. GHP was the first outside vendor to create compliant animatronic figures for a classic Disney attraction — the Jack Skellington figure for the Haunted Mansion Holiday attraction at Disneyland - and has

designed and fabricated more than 3,000 animatronics, show action systems, animated props and other creations for theme parks, museums, casinos, shopping, and dining locations worldwide. A TEA member company since 1993, GHP marks its 35th anniversary in 2012. Founded in 1977 by then 16-year-old high school junior Garner Holt, GHP is now the world’s largest manufacturer of animatronics and other related equipment, and home to more than 80 talented employees.

Our story is not about characters alone, mind you. There is no denying the importance of setting the stage. Centuries ago, as tribal families gathered around the safety of the campfire, it wasn’t only the spoken word that transported those listening to the storytellers. Evocative and engrossing environments markedly enhance a tale. Creating the modern version of those is the specialty of The Nassal Company. Recognized worldwide as a leader in the fabrication of immersive environments, Nassal has completed more than $380 million in projects. At the heart of The Nassal Company since its inception in 1984 is a spirit of collaboration expressed in our company’s motto, ‘Building ecstatic client relationships worldwide.’ The Nassal Company is proud to have been a part of TEA from its beginning. We are honored to acknowledge the outstanding work of our peers through TEA’s Thea Awards, and grateful for the recognition that has come to us from our fellow members. We look forward to working with TEA in the decades to come, bringing ever-greater experiences to the audiences that we serve.

A turn of the page takes us to another chapter, and draws us deeper into the world of our imaginations. The TEA is not only about envisioning those special places, but also about building them. Environments that transport you to another world are a major undertaking that require a trustworthy and experienced firm like PGAV Destinations. Founded in 1965, our legacy now crosses five decades and almost 50 years. With a myriad of professional disciplines, our great depth and breadth have given us a global reach. Our point-of-view always begins with a deep understanding of the audience we strive to reach; we believe that the survival of cultural institutions depends on this. We find ourselves in pursuit of concepts and project delivery methods that create success oriented toward the creation of long-term financial sustainability. PGAV is an idea-based practice, with a diverse group of people whose primary professional purposes are to enrich lives, enhance communities, and celebrate culture, nature and heritage in a way that creates joy. With each paragraph of our tale, the skilled storytellers of the TEA make our emotions dance with the ease of a puppet master tugging the strings of a marionette. The team at Thinkwell has caused so many imaginations to dance in this way. Thinkwell Group has been an ardent supporter of the TEA since the firm’s founding in 2001. One of Thinkwell’s own founders is a charter member of the TEA and a former president, while another served on the International Board. Thinkwell creatives played a vital role in the conceiving and organizing the first SATE conference, and provide ongoing leadership to the annual TEA Summit. As one of the leading experience design and production companies in the world with more than 100 employees on five continents, it is through the TEA that Thinkwell gives back to the industry, an association that has provided quality, reliable vendors and partners for dozens of the company’s projects over the years, including this year’s Thea Award recipients. Thinkwell continues to this day to be a partner in the association. As Thinkwell begins its second decade and the TEA begins their third, our company will continue to help the association grow.

The most exciting moments of our truly engaging story happen when the words jump off the page like fireworks and dazzle you with dizzying effects. For this, a very special caliber of storytellers is needed. The kind you’ll find at Technifex. Founded in 1984, Technifex is a world leader in the design, engineering and fabrication of unique show and special effects systems for a diverse set of industries. We specialize in producing unique, iconic features and are able to take a concept through all phases of development, and are expert at producing mechanical systems, fire effects, water features, special effects, illusions, and custom lighting elements.

Monty Lunde, co-owner of Technifex, is the founder of the TEA and was its first President. The TEA has been vital to Technifex because it has provided a connection to other companies in the industry, introduced us to new markets, advised us about business practices all over the world, and given us the ability to meet and be a mentor to this next generation of creators of compelling experiences. For that we are very grateful.

Our story’s climax looms in the chapters ahead as TEA members paint images in our minds - images that demand the use and coordination of a great many sophisticated storytelling tools at once, relying on skills from such masters as you’ll find at Edwards Technologies Inc. ETI’s award winning audio, visual, and control systems are enjoyed literally every minute of every day somewhere on the planet. With each project, the ETI team designs, builds and maintains those systems. This combination incorporates the business needs of the client and the demands of audiences that insist on highly engaging multi-sensory experiences. ETI was a charter member of the TEA because we knew the value of associating with our peers in this industry. Together we can create the future of Themed Entertainment while we celebrate the past and current successes. Brian Edwards and Roberta Perry are proud to have both served as Presidents of the Association, and we look forward to the next 20 years!

Our plot twists, turns, and sometimes even sends us into dramatic free-fall. But as any member of the TEA will tell you, it takes more than just simple thrills. Even the dazzle of fireworks would be nothing more than explosions of light without the stories that they evoke. A company like Utopia Entertainment, however, knows how to spin the tale just right. Utopia Entertainment wishes to express its sincere thanks to the TEA for 20 years of extraordinary service in support of our industry. Our company, having just celebrated a decade in the business of designing and producing shows and attractions around the globe, has always found support in the ranks of the TEA membership. Relationships are key to any successful organization and the ones forged through the TEA are a tribute to the positive camaraderie, selfless leadership and incomparable talent base of those within the Association. Looking forward, as we plan expansions to far-reaching corners of the globe, we are certain that the TEA will continue to play a role in our success as a company and champion the very spirit of our unique and entertaining industry.


T HE STO RY O F T H E Story tel L ER S Great storytellers do more than simply develop the plot, a distinction as axiomatic as that between “branding” and true storytelling. Affixing a superhero logo to the chassis of a roller coaster is what we call branding. Vigilantly composing all the elements of an adventure through the use of immersive set design, enhanced by evocative lighting, underscored by a compelling soundtrack, and topped off with climactic visual effects in a blend of elements so convincing you actually start to believe you are being trekked up to the peak of Mt. Everest where you come face-to-face with the legendary Yeti!! (Gasp!) Or travel below the ocean’s surface aboard a real submarine (Finding Nemo Submarine Voyage), explore different worlds in a “galaxy far, far away” (Star Tours), enjoy water bringing to life favorite Disney stories like never before (World of Color) or interact with a dinosaur roaming the park (Lucky the Dinosaur). Now THAT is storytelling!

The TEA is proud to have had Walt Disney Imagineering as a major supporter of the association for many years, as well as one of the key organizations that have helped to bring our story to its climax. Walt Disney Imagineering is the unique, creative force behind Walt Disney Parks and Resorts that imagines, designs and builds all Disney theme parks, resorts, attractions, cruise ships, real estate developments, and regional entertainment venues worldwide. Imagineering’s unique strength comes from the dynamic global team of creative and technical professionals in over 140 different disciplines building on the Disney legacy of storytelling to pioneer new forms of entertainment through technical innovation and creativity. Walt Disney Imagineering has been an official member of the TEA since 2004, but its involvement began several years earlier. The company provided financial support from 1998 to 2001, was involved in TEA’s Owner-Vendor Committee from 1999 - 2003, and then joined the Association. In the end, the growth and success of the TEA is its own tale: A tale that has been unfolding for the past 20 years. With each page of the TEA’s narrative, like each project, we’ve laughed, we’ve cried, we’ve learned, and above all, we’ve imagined! As the TEA’s amazing story has unfolded, the members have been like the words on its pages; a diverse collection of adjectives forming the colorful prose that has taken us on this exciting Themed Entertainment adventure – a tale that has given the world so many “laughing places” – and there are still ever-so-many-more chapters yet to be written!

The Themed Entertainment Association. What a great story! George Walker (story.builder@yahoo.com) is a creative consultant, show writer, and in-field art director who aims to strike a balance between innovative ideas and realistic build-ability. In addition to his writing for other projects, George was thrilled to have the unique opportunity to work this past year as a rock carver on Cars Land. George also sits on the Education Committee for the TEA, and looks forward to the future of the organization.



Back Cover

AES (Attraction & Entertainment Solutions)


AET (Advanced Entertainment Technology)


Air Dimensional Design


Canyon Creative


Chernack Group, The


Coca Cola


Color Reflections Edwards Technologies, Inc. Electrosonic, Inc.

71 4, 44 44

Evans & Sutherland


FAR Out! Creative Direction


Entertainment Design Corp.


Farmer Attraction Development Ltd.


Forrec Ltd.


Fountain People Inc.


Garner Holt Productions, Inc.


GW Group, The


Heimann Galen LLP


Herschend Family Entertainment Corp. Hettema Group, The

6 87



InPark Magazine


JRA (Jack Rouse Associates)


Judith Rubin




Modern Masters Inc.


Morris Architects




Narrative Concepts


Nassal Company, The


Nth Degree Design + Visual




PGAV Destinations


Producers Group, The


PRS Associates Inc.


ray hole architects


Rethink Attraction


RGH Themed Entertainment


Sally Corp.


SATE 2012 Paris


SCAD (Savannah College of Art and Design)


Studio Wilks


Super 78


Sywa Sung


TEA 20th Anniversary TEA Foundation

9 84

Technifex, Inc.




Thinkwell Group


Thorburn Associates, Inc.

33, 86

Tim Hosman Productions


Unlimited Snow




VSI Architects Leisure Group Walt Disney Parks & Resorts Zeitgeist Design & Production

55 36, 37 55

“Anything one man can imagine, other men can make real. . . ” — J u les V erne

1977 - 2012

congratulations to the recipients of this year’s Thea Awards


A Br i e f H isto ry O f T he T E A ’ s T he a Awa r ds by Bob Rogers, BRC Imagination Arts The Thea Awards were created to bring recognition to achievement, talent and personal excellence within the themed entertainment industry. Now recognized internationally as a symbol of excellence, the Theas are given out annually at a ceremony that has become the industry’s premier event. With the 1991 inception of the Themed Entertainment Association, founder Monty Lunde’s goal across the board was to bring recognition and prestige to the people of our industry. After guiding the TEA through its first critical years, Monty’s next priority was the creation of an awards program. The first TEA Awards Committee was comprised of Bob Rogers, Pat Scanlon and Barry Howard. In early 1994 they met in a single session at Monty’s Restau¬rant (an ironic coincidence, no relationship to Mr. Lunde) in the west San Fernando Valley. The choice of an honoree was easy: industry veteran, Harrison “Buzz” Price would be the first recipient of the only award to be given out that year - the TEA Lifetime Achievement Award. The name of the award is a play on three words: the first is “Thea,” the Greek goddess from whom all light emanates. Thea was the mother of Helios (the sun), Eos (the dawn), and Selene (the moon). The second key word is “Theater,” a word which derives from the goddess Thea. The third word, of course, is TEA, the name of our association. The original Thea and AOA (Award for Outstanding Harrison “Buzz” Price and Bob Rogers Achievement) trophies were designed by Barry Howard and Jeremy Railton. The new Thea, which debuted in 2001, was designed and updated in 2004 by Zofia Kostyrko. The first year’s ceremony was produced by Ron Miziker of Miziker & Company, and the event was coordinated by Jana Love, with Monty Lunde serving as Chairman of the Awards Committee and master of ceremonies. It was held at the Biltmore Hotel in downtown Los Angeles and was attended by over 200 people. The evening was partly a tribute and partly an affectionate “roast” of Buzz, although at least one speaker came with the impression that it was a “men-only smoker” and mortified the guest of honor and the ladies present with his presentation. Overall, the balance of the evening was magnificent. Many of us were so astonished by the sight of each other in tuxedos and evening gowns that we agreed to do it again the following year. Nineteen ninety five was our second year. Our single honoree was Walt Disney Imagineering’s Marty Sklar and again, the evening was held at the Biltmore but in a bigger room, with about 350 people in attendance. Again, the format was a series of speakers, roasting and saluting the honoree. One of the highlights was a long parade of “Marty’s former secretaries” in which half of the ladies in the audience participated (Marty has a reputation for high turnover among his administrative assistants). Thea’s third year (1996) was a major turning point. That year, the Awards for Outstanding Achievement (AOA) were introduced, turning the Thea Awards into a multi-award event. Ten AOA Awards were distributed and several breakthrough traditions were established that have come to characterize the Thea Awards: W The objective of the Thea Awards is simple: To find excellence and celebrate it. It is not a judgment of winners and losers. The achievements selected for awards are chosen because they represent the excellence found throughout the themed entertainment industry. This simple philosophy guides the entire Thea process.

Walt Disney, C.V. Wood Jr and Harrison “Buzz” Price share plans for what would become Disneyland in Anaheim. W There are no surprise announcements, no secret names in envelopes, no division of attendees into winners and losers at the Thea Awards. Everyone walks in a winner and leaves as a winner. This Thea tradition brings our industry together for a completely positive evening. W Membership in the TEA is neither a requirement nor a consideration in judging. Excellence is our only standard. W Within the AOA Awards there are no set categories. The TEA is free to honor several achievements in the same category or skip categories, as the year’s achievements warrant. W The AOA Award honors the entire achievement and everyone who worked on the achievement, rather than individuals, such as Best director or Best Art Director. We ask the owner of the achievement to designate the individuals who will come to the podium to collect the award on behalf of all the people and companies who contributed to the achievement. These two Thea traditions remove the TEA from the impossible task of trying to determine or arbitrate credits (an issue in which the TEA has no legal standing - at least not yet) and spread the sense of honor and accomplishment to all who worked on the achievement. Thus the Thea Awards become an event that brings us together rather than one that tears us apart. W To receive a Thea Award, the owner of the achievement must publish credits. In this way, the Thea Awards established the very first standards and requirements for credits in our industry. This tradition was immediately embraced by Disney, Universal and many of the large companies that had previously resisted publishing credits. The creation of our industry’s first credits may be Thea’s greatest accomplishment to date. Also noteworthy in 1996, as a variation of the usual Lifetime Achievement Award, the TEA gave a special AOA for Outstanding Individual Achievement to Monty Lunde, the founder of the association. In 1997, two additional special categories for the AOA Award were created: Excellence on a Limited Budget (assuring annual recognition for one or more achievements created for less than $5 million) and the Thea Classic Award, honoring one achievement each year that has stood the test of time.


18th Annual T he a Awa r ds R ecip ien ts THE BUZZ PRICE THEA AWARD Recognizing a Lifetime of Distinguished Achievements (formerly the Thea Lifetime Achievement Award) W Joe Rohde, Walt Disney Imagineering THEA CLASSIC AWARD W Puy du Fou: Le Grand Parc and Cinéscénie, Vendée, France Ron Miziker The Thea Awards Gala has become THE social and networking business event of the year within our industry. In spite of limited budgets, our production teams comprised of enthusiastic TEA members (almost all of them volunteers) have created a series of great awards shows each one topping the previous. Highlights of the 1999 show included an amazing live performance by Victor Kee from Cirque du Soleil and a glossy, special effects musical number contributed by Walt Disney Imagineering in honor of their 1999 Thea Classic recipient, The Haunted Mansion. Both the 1999 and 2000 galas were held at the Regent Beverly Wilshire Hotel. In 2001, the Thea Awards Gala moved to the Alex Theater in Glendale and changed from a dinner show to a theater show, more like an Academy Awards. And in 2002, the Theas were held at the historic El Capitan Theatre on Hollywood Boulevard. In 2003, the 10th Annual Thea Awards Gala was held at the Century Plaza Hotel, inaugurating a new approach and format that emphasized the award recipients and the worldwide industry, and provided a far richer networking environment for attendees. The 11th through 15th Annual Thea Awards Galas were held at the Disneyland Hotel in Anaheim, Kevin Murphy and Phil Hartley of TEA’s Europe emphasizing the recipients and the opportunity for quality networking & Middle East Division throughout the evening. Capacity crowds attended the 16th and 17th Thea Awards at the Globe Theater at Universal Studios Hollywood. And now, the 18th Thea Awards Gala has returned to the Disneyland Hotel in Anaheim acknowledging TEA’s first two decades: “Celebrating 20 Years As a Creative Family,” and further distinguished by the return of Ron Miziker as Executive Producer. The Thea Awards are now internationally recognized as the equivalent of an Oscar in the themed entertainment/experience design industries. Each year, over 100 highly qualified achievements from all over the world compete for between 12 and 18 awards. Traditional awards include: W W W W W

The Buzz Price Thea Award – Recognizing a Lifetime of Distinguished Achievements The AOA (Award for Outstanding Achievement) - Any Category The AOA on a Limited Budget - Any Category The AOA in Breakthrough Innovation The Thea Classic Award (for an achievement, usually an attraction, that has stood the test of time)

But the overriding objective remains to find excellence and celebrate it - a search for projects that call attention to the excellence that exists throughout our industry. As we look to the future, the Thea Awards will continue to grow, evolve and change, never forgetting their original objective of bringing recognition to achievement, talent and professional personal excellence within our themed industry.

THEA AWARDS FOR OUTSTANDING ACHIEVEMENT W Space Fantasy The Ride at Universal Studios Japan (Attraction) W Barnas Brannstasjon (Children’s Fire Station) at Kongeparken, Norway (Attraction on a Limited Budget) W Arthur, L’Aventure 4D at Futuroscope (Attraction) W Star Tours - The Adventures Continue at Disneyland and Disney’s Hollywood Studios at Walt Disney World (Attraction Refresh) W NatureQuest at Fernbank Museum of Natural History, Atlanta (Museum Exhibit) W YOU! The Experience at Museum of Science and Industry, Chicago (Museum Exhibit) W The Changing Climate Show at Science North (Science Center Attraction on a Limited Budget) W Ghost of the Castle at Louisiana’s Old State Capitol (Cultural Heritage Attraction on a Limited Budget) W Crane Dance at Resorts World Sentosa (Show Spectacular) W The Magic, The Memories, and You! at Walt Disney World’s Magic Kingdom (Show Spectacular) W Yo México, Celebration of the Century of the Mexican Revolution, Mexico City (Live Show Event Spectacular) W The House of Dancing Water at City of Dreams, Macau (Live Show Spectacular) W FoodLoop at Europa-Park (Themed Restaurant Experience) W Animation Magic in the Animator’s Palate Restaurant aboard Disney Cruise Line’s Ship - Disney Fantasy (Ingenious use of Technology)

Themed Entertainment Association Foundation

a 501c3 Charitable Foundation

Congratulations Thea Recipients and Thank You All! Thank you for helping The Themed Entertainment Association Foundation raise $80,000 for the Buzz Price/TEA Endowment Fund for Ryman Arts. Your donations made it possible for the Endowment Fund to provide two student scholarships at Ryman Arts every semester. There were 40 donors that stepped up to match BRC Imagination Arts initial challenge pledge. At the request of Buzz’s family we will be reaching out one last time to raise $40,000 in 2012 for a third and final scholarship. The mission of the Themed Entertainment Association Foundation is to provide and promote educational opportunities for individuals pursuing careers in the themed, leisure and entertainment design, and production industries. Donations of all types are welcome for future initiatives including: ! Promotion and education about the benefits of TEA ! Provide scholarships to students for TEA events ! Support the many other educational programs the association is building For more information please visit: www.TEA-Foundation.org. Steve Thorburn Founding Chair

Yes, I want to contribute to the support of the TEA Foundation or the TEA/Buzz Price Ryman Arts Scholarship Program. Donate to the TEA/Buzz Price Endowment

Donate to the operation of the Foundation’s mission

Name: ___________________________________________________________________________________ Address:__________________________________________________________________________________ _________________________________________________________________________________________ Email: __________________________________ Phone: ___________________________________________ Amount: ___________ Please charge my credit card number: __________________________________________________________ Exp. Date: _________________ Security Code: _________________ Fax this form to: +1 818 843-8477 or call your donation in to +1 818 843-8497 or mail a check to: TEA Foundation, 150 E. Olive Ave. Ste. 306, Burbank, CA 91502

The Dawn of a New Era:

Let us move you.

Congratulations Futuroscope for your award!


Technology for Theme Parks





TEA’s 20th Anniversary and Thea Award Recepients





www.TA-Inc.com 72