effects

Don Iwerks, an Academy Award-winning special effects pioneer whose innovations transformed film and Disney theme parks, died peacefully Thursday at the age of 96, the Walt Disney Co. announced.

For Disney and his own studio, Iwerks Entertainment, Iwerks helped develop technologies and techniques like Circle-Vision, the 360-degree camera behind “America the Beautiful” and other early Disney attractions, and the 3-D effects used in attractions like Captain EO and the Star Tours ride.

“There was a ‘can-do’ attitude I learned from Walt and my father,” Iwerks said, according to a statement shared by the Disney Co. “Walt gave everyone a feeling that they were creating things that others had never thought of before, of being a part of history.”

Born July 24, 1929, Iwerks received his first camera at age 14 as a gift from his father, animator Ub Iwerks.

The elder Iwerks met fellow artist Walt Disney when both men were teenagers working at a Kansas City, Mo., art studio. They would go on to work together at the Disney Brothers Cartoon Studio, where Iwerks designed and animated “Plane Crazy,” the first Mickey Mouse cartoon.

After a stint at his own animation studio, Ub returned to Disney as a special effects engineer, pioneering techniques like the 360-degree motion-picture camera.

“He was absolutely my inspiration because he was technically minded. He made my childhood and formative years one of the greatest times of my life,” Don Iwerks told The Times in 1998.

The Iwerks family moved to the San Fernando Valley in 1936, where Don graduated from Van Nuys High School in 1947.

He served as a photographer in Germany during the Korean War and joined his father at Disney following his 1952 discharge from the U.S. Army. An allergic reaction to chemicals used to develop film led to his transfer to the company’s Studio Machine Shop, where he spent the next 34 years.

Don spent three months in the Bahamas manning underwater cameras for the 1954 Disney film “20,000 Leagues Under the Sea.” He then worked as the camera technician on “A Tour of the West,” an original Tomorrowland attraction at the soon-to-be opened Disneyland. The immersive 360-degree film was shot on the Circarama camera system his father invented.

Together, Don and Ub developed technologies like the “endless loop” system that enabled a single film print to run for up to 10,000 performances with minimal intervention and refinements to the photography processes used in “Mary Poppins” (his favorite of the Disney films) and other movies.

His own hands were used as the model for those of the Abraham Lincoln Audio-Animatronics figure in “Great Moments with Mr. Lincoln,” which opened at Disneyland in 1965. The “Iwerks Hands” now appear on similar figures at Disney parks around the world, according to his family.

In 1986, he co-founded Iwerks Entertainment, which soon became a major player in the film and theme park industries. The company specialized in large-format films and created the 3-D projection system used in the Terminator rides at Universal Studios parks in Hollywood and Florida.

His innovations were honored with the Academy of Motion Picture Arts and Sciences’ honorary Gordon E. Sawyer Award and an Academy Scientific and Technical Award, among other prizes.

“It’s very obvious that computers are playing a big role in motion pictures today. The digital technology in film is able to put elements of scenes together on a film and have them look lifelike. It’s hard to know where that will go,” Iwerks said in a 1998 interview.

“My view is that technology should support a good story and add to it. Technology for technology’s sake?” he said with a shrug. “You still need good films.”

Iwerks is survived by his wife of 54 years, Betty; his sons, Larry and John; John’s wife, Chris; his daughter Leslie, and great-nephew,Mike, both of whom have also worked for Disney, according to an obituary shared by his family. His daughter Tamara preceded him in death.

“Like his father, he was a humble genius, a consummate problem solver, and delighted in sharing knowledge, encouraging others, and approaching every challenge with confidence and grace,” his family said in the statement from Conejo Mountain Funeral Home in Ventura.

Both Don and Ub Iwerks are commemorated in a storefront window on Main Street U.S.A. in Disney World’s Magic Kingdom. Located above the Main Street Bakery, the window is a lasting tribute to a family who made some of the park’s magic possible.

“Iwerks-Iwerks Stereoscopic Cameras,” the lettering reads. “No Two Exactly Alike.”

BANGKOK — With summer around the corner, soaring prices and other complications from the war with Iran are straining the tourism-dependent economies of Cambodia, Thailand, Vietnam and other countries in Southeast Asia.

The region’s peak tourist summer season is at risk as elevated jet fuel costs coupled with ceasefire uncertainties prompt flight cancellations and higher ticket prices.

Tourism in Asia has yet to fully recover from the COVID-19 pandemic. Now, many countries are coping with the war’s repercussions on global energy supplies and prices, which hit Asia first and hardest. Some families are pulling back on travel as gas and groceries get more expensive worldwide. Crowds have thinned at some places once synonymous with travel.

“With gasoline prices rising and tourism declining, how can we make money?” asked Siv Pech, a 58-year-old rickshaw driver in Siem Reap, home to Cambodia’s centuries-old Angkor Wat temple complex.

Tourism is an economic lifeline for many developing nations. It contributes nearly 13% of gross domestic product in Thailand and nearly 9% in Vietnam, and it underpins millions of jobs in Cambodia. Travelers bring in much-needed foreign currency for import-dependent economies such as the Philippines and Nepal.

Those tourism dollars are more crucial than ever as war-driven spikes in oil prices push up the cost of fuel imports, especially for parts of the world that relied on the Strait of Hormuz off Iran’s coast as a conduit for much of their oil and gas. Iran essentially shut down the strait to commercial traffic after the U.S. and Israel launched the war more than three months ago.

The war will determine which tourism businesses can survive long enough to benefit from the eventual return of travelers, said Jitsai Santaputra of the Lantau Group, an energy industry consulting firm. “This, happening within five years of each other, first the pandemic and now the war, is horrible for the tourism industry,” she said.

Travel costs

Jet fuel shortages and surging costs have led Vietnam Airlines, the Malaysia-based AirAsia group, Hong Kong’s Cathay Pacific and other carriers to cut flights or otherwise adjust schedules.

European carriers face a squeeze for similar reasons.

Airspace closures across the Persian Gulf early in the war and the intermittent closures of certain Persian Gulf airports cut off key layover locations for Asia-bound flights or forced commercial airplanes to take longer, costlier routes.

Airfares have jumped, with airlines such as Air India and Cathay Pacific implementing sharp increases in fuel surcharges.

Cathay Pacific’s fuel surcharge for medium-haul flights has jumped to $80, up from $34 before the war. For long-haul flights, it increased to $174, up from $73.

“Jet fuel prices remain at highly elevated levels” and have increased cost pressures, said Lavinia Lau, Cathay’s chief customer and commercial officer. Travelers are booking closer to their departure dates, she said, indicating growing unease.

Sandra Awodele, a freelance travel writer in the Washington area, often plans year-round international trips and hoped this summer would be when she finally crossed off Asia from her bucket list.

In March, she began planning a long-awaited vacation to Thailand, envisioning one to two weeks of exploring. Her plans hit a wall when she checked airfares.

“I looked at flight options and that’s where it ended,” Awodele said.

On the ground, rising fuel costs in tourism-dependent Southeast Asia are squeezing taxi and ride-hailing app drivers.

Pech, the Cambodian rickshaw driver, said he used to earn up to $20 a day toting tourists around Siem Reap. That’s plummeted to about $5 a day.

His gas bill eats half of that. The rest goes to food. “Some days, I don’t earn even a cent,” he said.

Slow summer expected

Tourism is vital for many regional economies, accounting for nearly 11% of economic activity in the Assn. of Southeast Asian Nations in 2019, according to the World Travel and Tourism Council.

An analysis by Moody’s Analytics estimated effects from the war would probably reduce economic growth across the Asia-Pacific region by 0.1 to 0.4 percentage points in 2026.

“The conflict will weigh on growth mainly through higher production costs and consumer prices, along with weaker external demand from trade and tourism,” said Albert Park, chief economist at the Asia Development Bank.

Higher airfares and weaker travel confidence can quickly spill over into household livelihoods and public revenues in economies where visitor arrivals are a major source of jobs, income and foreign exchange, according to a recent report by the United Nations Development Program.

Travel is often the first expense people cut when the economy worsens, said Le Tuyet Lan, who runs bed-and-breakfast properties in Vietnam’s Hanoi and Ho Chi Minh City.

In times of crisis, luxury travelers tend to shift toward mid-range options, mid-range travelers move toward budget hotels, and the cheapest tier of the market becomes the most vulnerable.

“This will disrupt the whole industry,” she said.

‘We are feeling it’

Tourism in Thailand is “a big industry and we are feeling it,” said Santaputra with the Lantau Group in Bangkok, one of Southeast Asia’s most visited cities.

The number of visitors to Thailand fell 7% year-on-year in April, while European arrivals fell almost 16% and Middle Eastern arrivals sank 57%, according to the Ministry of Tourism and Sports.

In neighboring Cambodia, Sokha Sambo, owner of the popular Sambo Khmer & Thai Restaurant in Siem Reap, said the rising price of liquefied petroleum gas used for cooking has strained her budget, hindering her ability to dish out her signature green curries.

“I’m worried about gas and goods inflation. It makes the business less profitable and difficult to cover employees’ salaries,” said Sambo, who has 14 staff members.

In the first four months of 2026, the number of recorded international and domestic visitors to Siem Reap dropped by 37.5% compared with the same period last year, according to the province’s tourism department.

“This has greatly affected all of us,” Sambo said.

Delgado and Chan write for the Associated Press and reported from Bangkok and Hong Kong, respectively. AP writers Aniruddha Ghosal in Hanoi and Rio Yamat in Las Vegas and freelance journalist Sinorn Thang in Phnom Penh, Cambodia, contributed to this report.

A pivotal moment early in “Harry Potter and the Sorcerer’s Stone” arrives when Harry’s suburban house is swarmed and flooded with letters of acceptance for the Hogwarts School of Witchcraft and Wizardry. Harry’s aunt and uncle have been preventing such dispatches from reaching the young wizard-to-be, but the boarding school’s messenger owls are having none of it.

Letters flood in from the fireplace, windows and nearly seem to cause the house to burst. And while watching the film recently at Inglewood’s Cosm, home to an all-encompassing high-definition spherical screen, I half expected a letter to fall upon my lap. Cosm specializes in sports, but has released three collaborations with Warner Bros. for what it deems “experiential film.” A framed screen displaying the original 2001 work from director Chris Columbus is untouched, but surrounding it are newly added digital animations designed to envelop guests.

And in this early “Sorcerer’s Stone” scene, letters were a-flying any which way I looked. Up, down, left and right — mail missives were rocketing toward the center screen. As the world closed in on Daniel Radcliffe’s Potter and family, it did so, too, at Cosm. I’ve seen Cosm’s take on “The Matrix” and “Willy Wonka and the Chocolate Factory,” so I knew a letter wouldn’t come zapping my way, but one could be forgiven for protecting their cocktail — themed, of course — from being knocked over.

The famed “sorting hat” scene at Cosm’s interpretation of “Harry Potter and the Sorcerer’s Stone.”

(Cosm)

Such is the power of Cosm’s curved screen, which brings a sense of dimension, and even at times movement, to the film. Think of Cosm, perhaps, as a mini version of Las Vegas’ Sphere, but smaller doesn’t mean any less sweeping. No, “Harry Potter and the Sorcerer’s Stone” in Cosm’s hands is often quite grand, as the first glimpse of Hogwarts Castle inspired cheers from the opening night audience, its cliffside towers, a romanticized spin on medieval architecture, towering above us in such a way that we will crane our necks. Only in Universal’s theme parks does the palace seem more real and welcoming.

“Harry Potter and the Sorcerer’s Stone” arrives at Cosm during what is a big year for the franchise. It’s the 25th anniversary, of course, of the first film in the series, and later this year on Christmas Day a new television series based on author J.K. Rowling’s popular book series is set to premiere on HBO Max. This summer, Harry Potter: A Hogwarts Express Adventure will open at the Southern California Railway Museum for guests to experience the Wizarding World rite of passage aboard a real moving train in the Inland Empire.

All of this activity is happening as Rowling has become the center of heated debate for her controversial views on trans women. None of it, however, has seemed to curtail fan interest in the series. The 2023 video game “Hogwarts Legacy” became a massive hit despite calls for a boycott, and Universal Studios last year opened in Florida a brand new theme park land based upon the franchise at its Epic Universe park, with its centerpiece ride, Harry Potter and the Battle at the Ministry, often commanding some of the longest waits at the park.

At the film’s early May premiere at Cosm, Rowling was mentioned little, and wasn’t among the massive list of names being thanked by studio and Cosm execs. “Harry Potter” in 2026 is perhaps best viewed as a franchise that has outgrown its creator to take on a life of its own, and Cosm’s approach is that of a love letter to its many fans, recognizing that this is a magical, enchanting world that generations have long wished to find themselves immersed in.

A climatic scene in “Harry Potter and the Sorcerer’s Stone” is outfitted with additional effects at Cosm.

(Cosm)

To that end, I’d rank “Harry Potter and the Sorcerer’s Stone” as the most successful of Cosm’s three cinematic interpretations. Certainly the subject matter plays a role, and while Cosm has been successful in matching the high-energy of “The Matrix” or the trippiness of “Willy Wonka,” here Cosm and its partners — experiential firm Little Cinema and effects house MakeMake — can simply luxuriate in atmosphere. The train to Hogwarts, for instance, is especially well done, seemingly stretched to infinity. The famed “sorting hat” scene, too, as Cosm’s wizards contrast the internal anxiety of being assigned a role with the external one of doing so in front of an audience, bringing to exaggerated life the cavernous Hogwarts assembly hall.

Cosm works best when it’s able to use its venue to create the illusion of no longer being a spectator, when the space itself starts to feel like a living theater. Feel this, for instance, when Harry and pals traverse the moving staircase. The frame of the screen may move, creating a slight sense of disorientation as the stairs themselves shift. The portraits on the wall, whose characters occasionally come alive, start to envelop us. Cosm used some restraint here, keeping us guessing as to which framed pictures may seek to speak or nod our way.

If there’s any qualm in Cosm’s work it’s that at times there could be a tinge more self-control in order to let the film do its work. Stepping into the hidden magic nook of London’s Diagon Alley is a showcase moment in Columbus’ film, and at times it is in Cosm’s interpretation as well. Out on the street, the shops circle around us, further conveying the cramped nature of the neighborhood. It feels, more than ever, like a real-life space. Inside an intimate pub, however, filling out the scene with empty tables could distract from the hurried, nervous nature of the filmmaker’s original intent.

But we live in an immersive age. Art, increasingly, is maximized to encompass us, and Cosm understands this moment well. Once again, the venue has made the argument that cinema can feel like communal, live entertainment.