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Twilight Zone Tower of Terror:
Development History
By: E.J. Sonstegard
[EDITOR'S NOTE] The
Hollywood Tower Hotel, also known as the Twilight
Zone Tower of Terror is the primary destination for
many visitors to Walt Disney World. This was not
always the case though, and this article is devoted
to tracing the path of the development of this
attraction from the first concepts to the opening
months.
Concept
The opening of the
MGM Studios in May of 1989 revealed several
things to the Walt Disney Company. First, that
the park management and the regular line cast could
meet a deadline, and it that the park was too small;
something that was not immediately apparent to
everyone involved. At its inception, MGM Studios
"would only be a half-day adventure." The ticket
price would be lower than the price of the other
parks because there would be less content.
Other problematic
concepts would quickly be changed. Like the 6 PM
closing time and the statement that "the Great
Movie Ride will never have more than a 45 minute
wait." The thought before opening the park, was that
as more attractions opened, the pressure on the
individual elements would gradually decrease, and
that there would be no need to expand the park. (In
May of 1989 there were only 5 attractions open at the
Studios.) In reality, the line for the Great Movie
was closer to three hours, and stretched along the
sidewalk in front of the building, and snaked down
the entrance boulevard of the park. The line was so
long in fact that it frequently got tangled up in the
line for the Backstage Studio Tour which was
also close to three hours. Six months after the grand
opening, the Indiana Jones Epic Stunt
Spectacular finished its technical rehearsal
stage and was ready to open to the public, the
opening of Star Tours followed. The Backstage
Tour was detoured off of New York Street entirely to
accommodate the large number of guests who were
flocking to the new park. Expansion real estate was
almost non-existent and a study was done to find a
way to flesh out any remaining space at the park to
handle the crowds. Two conclusions of the study were
made. One: New York Street was far too big to be used
as a traffic area for the Back Stage Tour, and so the
focus remained on it as an area for attractions (like
Muppetvision 3-D, and future stage shows) merchandise
shops, and restaurants. Two: there was still a small
parcel of land (which had recently been used as cast
parking) that remained undeveloped.
Shortly after
opening MGM Studios, the park was facing an identity
crisis; was it Disney?, was it MGM?, didn't Ted
Turner own MGM?, (People still ask befuddled cast
members where that King Kong thing is!) At the same
time, Disney was trying to associate itself with big
Hollywood names and talent. In the last part of 1989
and the early part of 1990 Disney
Imagineering had been trying to develop a new
concept; a resort with a haunted theme, combined with
a ride experience. What emerged from this miasma of
influences was an idea for a "Haunted Hollywood
Hotel." The big name that was to be associated with
it was Mel Brooks. Well, as anyone who has
worked in imagineering or any creative endeavor can
tell you, things change as they move from concept, to
drawing board, to blueprint, to actual attraction.
Somehow Mel Brooks dropped out, probably for the
better, as Mel would not have enjoyed the "If it
doesn't work, cut it" ideology. Then, the idea of it
being an actual resort where guests would check in
and stay for a period of time was also dropped. This
was probably also quite a good idea as the liability
of having an attraction in, around or near an actual
hotel would be enormous. Finally, the idea started to
take some form as the decision was made to build it
as a thrill ride. It was also decided that the
building would be abandoned or semi abandoned, and it
was to remain in the theme of a hotel. The drawings,
conceptual models and the initial ride ideas started
to be formulated during this period.
So You Want A
Thrill Ride
As "drop thrill"
rides go, there are many variations of the ten story
version, which lifts a cab full of guests up to the
top of a tower, switches to a track and then releases
the guests who "free fall" to the curve in the track
where they lay reclined as the cab comes to a stop.
As this type of ride was widely used, it was believed
to be fairly reliable, easy to duplicate, and no
trick at all to theme out (Disney folks being expert
at this). All that was needed was a location at the
Studio, a general theme, some planning, and a capital
expenditure. The new expansion of the theme park was
also being planned and attractions figured
prominently in the new designs. The general theme of
the expansion being "Sunset Boulevard," it was
thought that a "Dick Tracy" ride and "Benny the Cab"
ride would be appropriate. In either event, the
thrill ride would have to be far enough away to allow
a smooth transition from the clean look of the rest
of the park to the area that housed a dilapidated
hotel.
It was easy for the
Imagineers to cull architectural styles from the
wealth of Spanish Revival buildings that fairly
litter the California area near Burbank, and
gradually the exterior of the building began to take
shape. Obviously it would need to have some sort of
main tower to house the tower section of the ride
machinery. At one point it was decided that the hotel
would be under repair and the scaffolding on the
exterior would be the rail part of the drop tower.
The remainder of the building would house the queue
and show areas thus allowing the scale of the
building to be believable as a hotel. Events that
unfolded during the next few months helped to decide
a few issues for the design team. First, the abysmal
performance of Dick Tracy at the box office nixed any
idea of a ride associated with it. Then the idea of a
"Benny the Cab" ride was also shelved for the
upcoming Toon Town project in California. As the
story of the ride evolved it became clear that the
attraction could stand alone if it were exciting
enough, and hopefully would allow a breather for the
development of the next Studio project. Still, a
problem remained with all of the proposed ride types:
at the end of the ride the car went from the vertical
descent to a horizontal position for decelerating,
making it necessary for passengers to clamber out of
the cab that is on its side. (A difficult and time
consuming prospect to be sure). Ride designers are
very sensitive about performance of their systems,
and having a load and unload time measured in minutes
rather than seconds was unthinkable. In addition,
there was the question of liability: "If we restrict
access, what then?" What if someone is hurt while
exiting?" Then there were questions about the show.
Imagineers were given their name because the company
wanted to foster a creative atmosphere, and partly
because they have, over the years come up with some
pretty amazing stuff. This time, they decided that
the elevator should actually leave the lift device
and travel through the hotel, either on rails, or by
some other mechanism before reaching the drop rails.
When it became obvious that available rail drop
technology was not up to the task, WDI did what it
was known for. They thought up a new ride system. It
was during this time that a hybrid of two separate
systems, coupled with gobs of theming would
accomplish the desired result
For The Conclusion
to this Story, see Haunted Attraction
Magazine Issue 18
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