turned

Ten years ago, Walt Disney Imagineering announced what was widely perceived by the public as a risky — and ill-advised — project: Disney California Adventure’s Twilight Zone Tower of Terror would be remade into a ride featuring Marvel’s “Guardians of the Galaxy.” And it would open in just a few months, ahead of the 2017 summer tourist season.

Fans, to say the least, were not happy. They saw the makeover as a marketing move, done solely because a new movie in the franchise was being released. They were also skeptical of the tight timeline.

Retired Imagineer Joe Rohde, who led the project, heard the complaints.

“They look at the schedule and go, ‘You can’t do anything in that amount of time. There’s nothing you can do that is worth doing in this short amount of time, so we think this is going to be bad,’ ” says Rohde, whom I chatted with at the recent Disney fan convention D23.

Rohde‘s new book, “Floating Mountains: The Art of Imagining the Impossible,” is out this week and in it, he demystifies the creative process, heavily touching on his four-decade career at Imagineering as a jumping-off point on how to stay inspired and find art in the everyday. In a revealing chapter on what became Guardians of the Galaxy — Mission: Breakout!, Rohde writes about creating art out of a series of limitations.

Famed retired Disney Imagineer Joe Rohde, whose book “Floating Mountains: The Art of Imagining the Impossible” demystifies the creative process.

(Jay L. Clendenin / Los Angeles Times)

He notes that the new “Guardians of the Galaxy” film was not the reason for changing the drop tower ride — rather, the motivating factor was giving the Disneyland Resort something new to promote for 2017 and to begin to bring Marvel into the parks.

When assigned the project, Rohde initially pitched a Dr. Strange-inspired attraction, believing the hotel facade of Tower of Terror could quickly and easily translate to a mysterious sanctum. Execs, however, rejected the concept, arguing Dr. Strange wasn’t popular enough. They told Rohde and the team to focus on Spider-Man.

Now it was Rohde’s turn to say no. “Spider-Man needs room to swing,” Rohde writes in his book. “We only go up and down. There’s nowhere for Spider-Man to be!”

Bringing Marvel superheroes into a theme park, Rohde tells me, is something of a challenge.

“Marvel is a character brand,” Rohde says. “When we watch these movies or read the comics, our primary investment is in the psychology of the character. Spider-Man is a great example of this. Spider-Man’s life is a constant emotional crisis of one kind or another. It’s almost more of a soap opera format.

Guardians of the Galaxy — Mission: Breakout! is today the dominating structure of Avengers Campus at Disney California Adventure.

(Allen J. Schaben / Los Angeles Times)

“So, you have an art form — the Marvel Cinematic Universe and the Marvel Comic Universe — in which settings are disposable and are disposed of in order to drive character development. That works great in a film, but when it comes to place-making, it is difficult to lock yourself on the experiences of places, which is part of what makes theme parks theme parks. All through your day in a theme park the primary actor you engage with is the architecture and the landscape.”

With Spider-Man out, “Guardians of the Galaxy” was the compromise everyone could agree on. Only now the clock was ticking. Rohde notes that the team had to stop viewing the Tower of Terror as a hotel, and instead look at it as something of a blank page — an empty canvas that just happened to be in the shape of a blocky silhouette that jolts guests 190 feet in the air. Remove the hotel signage, and suddenly the mass resembled many things: “a grain silo, a fortress, a bank, a storage facility, possibly a prison,” Rohde writes.

Arguably, the facade for Mission Breakout! represents a bit of each of those. In “Floating Mountains,” Rohde says he began reimagining the building by taking inspiration from Marvel comic artist Jack Kirby, but he has also spoken of finding influence in architect Renzo Piano, who worked on France’s Centre Pompidou. The end result is a retro sci-fi building with high-tech-like pipes drawing one’s attention.

The chapter documents a frantic race against time. The star of the ride is an audio-animatronic of the Rocket Raccoon character, but it wasn’t always clear the figure could be finished by the deadline. And instead of using just one ride profile like the Tower of Terror, Mission Breakout! aimed for four, but Rohde writes the team had two as a fall-back plan (ultimately, they prevailed with their original intent).

Rohde notes that to get it done, a concession was made: limited reviews but a fixed, unchangeable budget with a strict deadline. And the team had to make a decision and commit. Little tinkering.

Guardians of the Galaxy — Mission: Breakout! is now considered one of the most popular attractions at Disneyland.

(Jason Armond / Los Angeles Times)

“You have to allocate a certain percentage of time and energy to prepare for a review, and that can be two weeks of energy,” Rohde says. “In this case, the most crucial thing about this project was its opening day. If you back out of that opening day just with production time, it becomes clear there’s no time to change. There’s no time to ask someone if they like it or don’t like it. So we have to decide we’re going to do it, and we’re going to do it for this much money, and you can look at it once before we start, and once before we build.”

Guardians of the Galaxy — Mission Breakout! opened on time, and with enough budget left over to create an “after dark” version during the Halloween season, which is currently running. And those fans who initially viewed the project with skepticism? Many were quiet after opening day, as Mission Breakout! is considered one of the Disneyland Resort’s most popular attractions.

Aside from replacing the former tension with chaotic elevator maneuvering, the makeover was a success because it’s not a rehash of a scene from the film. Rather than rely heavily on plot, it focuses on one frantic moment — a prison breakout — to create a zany, screwball comedy feel. In short, it’s a singular work of art, one that stands apart from its cinematic counterparts.

And that’s key to the appeal of “Floating Mountains,” as throughout Rohde makes the case that theme parks — often derided as commercial entities — are indeed vital spaces. He speaks of art as living on a spectrum. On one end, “art for art’s sake,” and on the other, “utterly commercial enterprises with no purpose other than to harvest value out of an intellectual property.”

“Theme parks,” says Rohde, “rocket somewhere in the middle of this.”

“I do believe that their social impact alone should argue for the fact that, no matter what you think of high art, of low art, something is going on here that people find very affecting,” he says of theme parks. “I think it is an art form.”

This week in SoCal theme parks

Inside Kingswell skate shop is a wall documenting the building’s history as the first L.A. outpost of what would become the Walt Disney Co.

(Todd Martens / Los Angeles Times)

• A Disney history celebration. Walt Disney launched his animation career in Kansas City, Mo., in 1920. But when his Laugh-O-gram Studio failed after only about two years, he decided to move west. Here in Los Angeles, Walt and his brother Roy would in 1923 rent a small studio space on Kingswell Avenue in Los Feliz, near where he was staying with his uncle. They called their operation the Disney Bros. Studio, and it was officially the formation of what would become the Walt Disney Co. In September 2024, a small strip on the corner of Kingswell and Vermont avenues was designated the Disney Bros. Cartoon Studio Square. This Sunday, the space will host a mini-block party from noon to 5 p.m., with photo ops, events and skating demonstrations courtesy of the Kingswell skate shop,
• Welcome the Lucas Museum. The long-awaited Lucas Museum of Narrative Art has arrived in L.A. and is welcoming members for previews. The space officially opens Sept. 22, and its emphasis on pop culture and “Star Wars” likely means there’s many an overlap with the Disney fan community. The Times has a bevy of coverage, including an architecture review as well as an analysis of its collection and how it deviates from typical art gallery fare.
• Meow Wolf taps dozens of L.A. artists for new venue. Meow Wolf is getting closer to unveiling its Los Angeles locale. When doors open — the company is targeting late 2026 — expect a walk-around, floor-to-ceiling experience that pays homage to the art of cinema with a sci-fi, psychedelic-like bent. And to bring that vision to life, the Santa Fe, N.M.-based experiential art collective will be working with nearly 40 L.A. artists across multiple mediums. Meow Wolf last week unveiled its roster of artists with ties to the L.A. region.
• A new Magic Mountain coaster is on the way. Six Flags Magic Mountain, garnering headlines tied to the safety of its X2 coaster, is looking ahead to 2027 and teasing a Thursday announcement for its next big thrill ride. The park last week posted a video to social media hinting at more info to come this week on what is expected to be a glider coaster with bike-like seating.

Ride report

An actor performing as Ozzy Osbourne during a haunted house at Universal Studios Hollywood’s Halloween Horror Nights.

(Scott Strazzante / For The Times)

This week’s ride report is actually a haunted house report. Of the eight spooky mazes at Universal Studios Hollywood this year, there were two clear standouts for me: the “Sinners” maze, which I documented last week, and Ozzy Osbourne: Prince of Darkness. This walk-through attraction, which Halloween Horror Nights mastermind John Murdy has described as something of a passion project, is a filled with cartoonishly sinister imagery in an homage to the recently deceased heavy metal legend.

Murdy says he didn’t have any hesitation about crating a haunted house based on Osbourne’s solo career so soon after he died last summer. “It hit everybody really hard,” the lifelong Osbourne fan says of the artist’s death. “It hit his fan community really hard. We needed to do something for the fans to celebrate this guy’s legacy.”

A giant animatronic bat in a haunted house inspired by the music of Ozzy Osbourne.

(Scott Strazzante / For The Times)

In an unique twist, nearly every scare actor is performing as some embodiment of Osbourne. The attraction is also filled with little nods to Osbourne’s life and legacy, including pictures donated from the family and a toy cow as a nod to an early job of Osbourne’s in a slaughterhouse. Murdy estimates the house features about 20 songs from Osbourne’s solo career, bookended by “Crazy Train” and “See You on the Other Side.” A train, of course, figures heavily into the maze, and an early ride scene appears to take us straight to hell.

It gets demented, but in a silly way that feels all-in-good-fun rather than anything frightening. Case in point: A centerpiece of the attraction is a giant animatronic bat, which is holding the severed head of Osbourne, only here the musician is depicted as a werewolf. Osbourne, says Murdy, was also heavily religious, so the walk-through culminates with the artist on a church-like throne. But it’s no ordinary cathedral, as jetting our from under Osbourne’s chair is a blue dragon, a nod to the tattoo the singer had on his chest.

It’s a love letter to Osbourne, and Murdy’s appreciation of the artist runs deep. He notes that as a seventh- or eight-grader in the early ‘80s, he wrote a term paper defending the artist. “I didn’t like the fact that people were condemning things when they hadn’t even bothered to read the lyrics and know what they are about,” Murdy says. “Take ‘Crazy Train.’ It’s about the Cold War. It’s about a fear that society is going off the rails. At an early age I was already going, ‘Don’t trust things that you hear at face value.’ ”

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

I can admit when I was largely wrong. Last week I expressed concerns about the way Halloween Horror Nights was adding the character of Nikki from “Obsession,” worrying a hyped incognito approach could open up the actor — or regular paying guests — to being uncomfortably approached by attendees. But while Nikki is not easy to find, she’s far from anonymous, all bloodied up and holding a brick. Plus, she’s accompanied by multiple handlers who keep folks from crowding the performer’s space.

There is a game-like aspect to this. Those who speak a password, released via social media, receive a fake business card, which does mean many a guest is standing there shouting a password at the actor. This is slightly awkward, and where I still have some reservations.

An actor as Nikki from “Obsession” interacting with guests during Halloween Horror Nights at Universal Studios Hollywood.

(Scott Strazzante / For The Times)

But many who find Nikki may discover it’s a highlight of the night. I’m not someone who seeks out characters at theme parks, largely because they’re there more for photos than to completely interact. Nikki is different. Nikki is in full immersive theater mode, responding entirely in character and pushing guests to talk about their devotion — to her, to another, to anything. In my minute with the actor, she aggressively quizzed me on my nonexistent love life, forcefully walking toward me so I had to gently stumble backward, which she lightly mocked.

Despite the unnerving tone of the actor’s questions, I was charmed. More of this type of interacting and play is always welcome. Now, I just wonder why she was so consumed with the health and age of my cat.

Renaissance art without the crowds in Italy

Ferrara in Emilia-Romagna won me over precisely because it feels like Italy with the volume turned down. I stayed in a small family-run hotel near Via delle Volte, where mornings began with quiet cobbled streets and the smell of fresh pastries. The Palazzo dei Diamanti was almost empty when I visited, giving me space to enjoy its Renaissance art without crowds. Evenings meant cycling past terracotta walls to tiny trattorias serving pumpkin cappellacci, a traditional pasta dish. It’s a city that lets you slow down, breathe and enjoy its beauty.
John

One of Germany’s greenest cities

Next to flashy Munich or cool Berlin, Hanover in northern Germany has a reputation of being boring. It is totally undeserved: there are world-class museums, such as the modern art gallery Sprengel, one of the best-preserved baroque gardens in Europe – the Great Garden at Herrenhausen – impressive Victorian era architecture, 640 hectares (1,680 acres) of city forest (the Eilenriede, nearly double the size of New York’s Central Park) and a large artificial lake just south of the centre that you can travel on with a bus ticket (or hire a boat). Explore the city and its surroundings on more than 600 miles of cycle paths, find independent shops in the well-heeled art nouveau district of List or the multicultural Linden, and relax in a deck chair on Ballhofplatz with tea and cake at the Teestübchen.
Ulrike

The Algarve’s city of crafts

Bursting with Portuguese charm, Loulé is 10 miles inland from Faro, capital of the Algarve. The small city has a rich history of preserving traditional crafts, supported by Loulé Criativo, a network of community-driven artisans that keeps alive and celebrates the identity of Loulé and the Algarve. It includes the House of Weaving (Casa da Empreita) and the Watchmakers (Oficina do Relojoeiro) and Stringed Instrument Workshop (Oficina de Cordofones). In these vibrant spaces – where visitors can interact with artisans – the city’s heritage is preserved and passed down through generations.
Sue

Unesco sites in northern France

Arras, 35 minutes on the train from Lille, has two Unesco world heritage sites: the belfry of the Hotel de Ville and the Vauban Citadel. Exploring the Boves, a 10th-century network of tunnels which played roles in the first and second world wars, is an amazing experience. Above are two magnificent large squares in the Flemish style with a wide variety of alfresco cafes, restaurants and indie shops. Arras also holds one of the biggest Christmas markets north of Paris, noted for its amazing range of international gourmet foods.
Bryan Boese

Artistry and cake in Sweden’s beautiful south

Malmö is easily accessible (being connected by bridge to Copenhagen) and very walkable. We enjoyed the free Malmö Konsthall arts centre with contemporary exhibitions and also the skateboard artistry in the square outside. The Western Harbour contains architectural gems, such as the twisted skyscraper Turning Turso, restaurants and swimming piers in a former industrial area. The cafe Hollandia offered classic Swedish cakes and a lovely atmosphere. The Disgusting Food Museum next door was an interesting cultural experience showing food considered to be delicacies in some countries, not so much in others. A sign shows the number of people who have thrown up (visit Hollandia first)!
Elisabeth

Brilliant beach and seafood in Sardinia

If you can tear yourself away from Poetto – surely one of the prettiest city beaches in Europe – you’ll find a lot more to love in Cagliari, capital of Sardinia. The huge indoor produce market is a riot of glistening seafood, local pecorino and sweet, nutty Sardinian treats. The town centre strides uphill from the port, with the elegant bulwark of Bastione St Remy delineating the ancient Castello district and serving up epic rooftop and coastal views. We missed the renowned archaeological museum, but that just gives us the perfect excuse to go back. Cagliari’s affordable seafood was a definite highlight, and Trattoria Lillicu’s chargrilled bream and calamari is another tempting reason to hurry back.
Martha

Stained glass wonder in north-west Spain

In León, colours grab your attention and take away words. León cathedral completely wrongfooted me. This city seems to be under the British tourist radar. I thought I’d already seen stained glass that was worthy of heaven – this was another level. Coupled with this was how visitors were reacting. Everyone was using the free audio guide. No one was just marching round and ticking off the sights. People were learning and savouring the experience. The humble ninth-century San Isidoro church, one of the most important romanesque buildings in Spain, is a refreshing contrast.
Deborah

Norway’s art nouveau gem

Ålesund is one of Norway’s most beautiful stops on an already spectacular western coast, despite having been devastated by fire in 1904. We reached the small, rebuilt art nouveau city via the breathtaking winding roads of the Trollstigen (the “Troll’s Path”) and had our first sighting from the top of the panoramic Aksla mountain viewpoint. Exactly 418 steps lead down to the historic centre where museums, cafes, restaurants and shops cluster around the Brosundet Canal in renovated warehouses and ornate buildings. Kayaking, a rib boat ride or a trip to the stunning Geirangerfjord? We couldn’t choose so did them all!
Teresa Stansby

The French city with a bit of everything

I spent five days in Saint-Malo this August. It has everything: a beautiful walled city with lots of history, a variety of beaches offering shifts in light and character throughout the day, a modernist tidal pool with a high diving platform. The city has so much pride, and the art inspired by its famous landmarks make for great souvenirs. My favourite thing, though? The wonderful cider at La Passage (on Instagram) with my sister. And despite the heat everywhere else, the temperature never got above 25C.
Sophie Amos

Winning tip: a watery Dutch master of a city

Leiden starts badly. The walk from the station is grim. Scruffy bars and vape shops. And then, suddenly, this watery Dutch gem reveals itself. Canals shoot off from a boat-filled basin, each one lined with grand brick mansions tapering to elegant finials under the sort of blue lowland skies that typify every good (and bad) Flemish painting. Dig deeper into its narrow traffic-free courtyards and squares with cafes spilling out light and chatter, much as they did when Rembrandt trudged to the school that still stands here, just round the corner from his first tutor’s studio. He’d find it mostly unchanged if he walked back. At Christmas, an ice rink spreads across the main canal, and the smell of warm wine, cloves and crepes hovers over the market stalls.
Bill Jones