Welcome aboard Pink Monorail. I'm your pilot, Michelle Viadolid, and next to me is my co-pilot, Noah Viadolid.

Hey, everybody.

In part one, we talked with Jo Lanzicero about some of the stuff he's worked on. In part two, we're

going to talk about the origins of today's animatronics. We left a few out not on purpose. For

example, Walt Disney had Buddy Ebson, who you might know from the Beverly Hillbillies, come in and

be filmed dancing from four angles. Walt has his imaginers build a small

dancing man from Epson's performance. It has been displayed at Disneyland several times,

and still works. It was a precursor to Mr. Lincoln. And now, part two of our interview with

the fabulous Jo-Land-Zicero.

Thank you. interview with the fabulous Joe Land Cicero. I do this talk called floater, swimmers, and divers.

To help them understand that when you design something, you have to be thinking about how people

engage with the experience.

And at Disney, you know, I mostly learned this

doing the cruise ships because the cruise ships, I think, were the first Disney product

that was going after a more diverse audience and maybe even non-Disney people. In fact, they

were trying, they knew in order to make it work. In fact, they were gun-shy at first

of putting too much Disney on the ships because there was no family cruises, right? The cruise market

was young adults who were going, looking to get part and retirees, right? And not so much

in between. And so they didn't want to have too much Disney on it. So the initial designs, the first early designs, like for the Disney magic,

there was hardly any Disney on the ship.

And they had, I had worked on the kids areas, because this was not so long after doing.

Once I did Tune Town, I became the kids guy. You know, I was the one that did

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