can-do attitude

Jeremy Railton’s infinitely diverse

design company finds its place in Asia

#45• volume 8, issue 6

www.entdesign.comph. 310-641-9300 Culver City, California

Designing attractions, entertainment venues, and shows around the world.

ENTERTAINMENT DESIGN CORPORATION

ENTERTAINMENT DESIGN CORPORATION

ENTERTAINMENT DESIGN CORPORATION

ENTERTAINMENT DESIGN CORPORATION

InPark Magazine (ISSN 1553-1767) is published five times a year by Martin Chronicles Publishing, LLC. 2349 E Ohio Ave. Milwaukee, WI 53207. Shipping address: 2349 E Ohio Ave. Milwaukee, WI 53207. Phone: 262-412-7107. Fax: 414-377-0769. Printing by Crescent Printing in Onalaska, Wisconsin

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staff & contributorsEDITOR martin palicki

CO-EDITOR judith rubin

CONTRIBUTING EDITORS joe kleiman mitch rily kim rily

DESIGN mcp, llc

CONTRIBUTORS aleatha ezra joe kleiman paul williams

SALES martin palicki

4 around the worldDisney World ups the Orlando ante • by Martin Palicki

9can do / never boredThe infinite diversity of Jeremy Railton and Entertainment Design Corporation • by Judith Rubin

16malaysian medleyThemed Attractions Malaysia brings new attractions and brands to Asia • by Judith Rubin

17leadership & hospitalitylessons from Ocean Park’s Tom Mehrmann & AAM’s Ford Bell • by Judith Rubin

18 christine kerrIPM sits down with TEA’s newest President • by Martin Palicki

20tales from iaapastories from the Orlando trade show floor • by Joe Kleiman, Martin Palicki & Judith Rubin

22 wwa vegaswaterparks gather in Vegas in 2012 • photos by IPM

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Orlando is magical. I haven’t always felt that

way, but lately, and especially this fall, O-town had an awful lot going for it.

The annual IAAPA Expo seemed more fresh than usual. By and large the show is still mostly the same, but attendees seemed upbeat, exhibitors brought new ideas, designs and products, and the vendor parties were infused with energy.

A couple of weeks later, Walt Disney World reverberated with just as much (if not more) excitement. The long-awaited opening of New Fantasyland and other upgrades throughout the Disney resort seemed to indicate a renewed focus on the Florida parks. Without a doubt, it was a memorable week at the resort.

The other Orlando parks are also buzzing with new projects. The cranes and construction walls all over the Universal Orlando resort, while perhaps annoying to some, indicate the excitement and creativity that are coming soon. And SeaWorld continues to up its game with exciting details on Antarctica revealed during the IAAPA trade show.

After nearly a decade of languishing development following 9/11 (both at IAAPA and at the parks), the spark is back, and it’s one we hope continues to ignite growth around the industry in the US.

Overseas, growth continues to be strong, and perhaps in some sense the strong demand in Asia is helping to fuel the projects and excitement we are getting here at home.

Whatever the reason, we’re glad to see things turning around, and we’re happy to report on some of it here in this issue.

Best wishes for 2013 and beyond!

-Martin Palicki

#45• volume 8, issue 6

cover

“I never get bored, and neither do the people I have working here.”

Jeremy Railton (center), president of Entertainment Design Corporation, flanked by art director Alex Calle (left) and design architect Chris Stage AIA. Photo: EDC.

Editor’s Photo credit: David Lauersdorf

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around the worldWalt Disney World opens new attractions across its Orlando property

by Martin Palicki. Photography by Paul Williams

For a while, it seemed like this day would never arrive. At times, it felt like everyone

was waiting for the Fantasyland expansion to be completed for longer than the original 20,000 Leagues Under the Sea attraction was operational! But, it’s here! New Fantasyland is open. Well, most of it is, anyway. The Seven Dwarfs Mine Train coaster still has over a year’s worth of work ahead of it, as it was a somewhat late addition to the area’s lineup, replacing Pixie Hollow and a variety of Princess dwellings that were moved to “old” Fantasyland in the space formerly occupied by Snow White’s Scary Adventures (opening 2013).

But despite the roller coaster crane sitting in the middle of New Fantasyland, the new area is breathtaking in theming and immersive details. Although officially there are only two areas to the expansion (Enchanted Forest and Storybrook Circus), it feels like three right now, possibly due to the Mine Train construction walls dividing things up.

A natural fit for the Enchanted Forest, the elements from Beauty and the Beast are represented through Enchanted Tales with Belle, Be Our Guest Restaurant and Gaston’s Tavern.

• Enchanted Tales with Belle – Perhaps the most original element of the entire expansion, the adventure starts in Maurice’s workshop, where an enchanted mirror magically transforms into a doorway into the Beast’s library where guests meet Belle and Lumiere and participate in an interactive re-telling of the “tale as old as time.” Expect long lines here for quite some time.

• Be Our Guest – Designed as a quick service restaurant during the day and a full service table dining restaurant in the evening, the restaurant is heavy in detailing. Walking into the ballroom doesn’t quite elicit the same awe as the one in the movie, but the snow falling outside the windows looks real, and the mysterious West Wing with the magical rose is dark and intimate. With the restaurant already booked far in advance, Be Our Guest looks to be the most profitable addition to Fantasyland. Oh, and incidentally, the Grey Stuff mentioned in the restaurant’s namesake song is a sweet mousse dessert worth a sampling.

• Gaston’s Tavern – A small French lodge designed to appeal to traditional masculine sensibilities, Gaston’s Tavern is a part of Belle’s Village, which includes a gift shop and popcorn

stand. Gaston’s trademark is LeFou’s Brew, a non-alcoholic frozen apple juice drink with a hint of toasted marshmallow, topped with a passion fruit-mango foam. It doesn’t have the cache of a certain branded beverage being sold down the road at a major competitor, but it’s tasty and likely to be a hit, even if it would be better with a shot of dark rum.

Also a part of the Enchanted Forest, although somewhat confusingly, Ariel makes her home in Ariel’s Grotto and in the attraction Under the Sea – Journey of the Little Mermaid. The dark ride mirrors the one opened at Disney’s California Adventure in Anaheim last year, although with a significantly more elaborate queue that includes a hidden Nautilus fossil in a nod to the original attraction that called this part of the park home: 20,000 Leagues Under the Sea.

Ariel’s Grotto is home to a meet and greet with Ariel, and also houses the most elusive hidden Mickey ever created. Shafts in the rockwork at Ariel’s Grotto allow sunlight to filter down and create a perfect hidden Mickey shape…but only on Mickey’s birthday (November 18th) at high noon. Imagine what crowds will be like on November 18th!!

Ariel’s Home includes her own dark ride, pictured here, and a meet and greet area.

New Fantasyland opened with fanfare and excitement in true Disney fashion

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Storybrook Circus provides a completely different atmosphere from Enchanted Forest, and is packed with attractions for the little ones.

• Dumbo, the Flying Elephant, a Fantasyland original, makes its new home here. The attraction has been doubled (literally) with two different rides (one turning clockwise, the other counterclockwise). The biggest change however, is in the queue, which has perpetually been plagued by long lines. A new air-conditioned big top tent serves as an indoor playground waiting area. Guests are given pagers and called to the ride when it is their turn to hop on Dumbo.

• The Barnstormer Featuring the Great Goofini is a renaming of an existing coaster. The family-style coaster follows a twisting, turning course.

• Pete’s Silly Sideshow invites guests to meet and greet Disney characters: Minnie Magnifique (Minnie Mouse as a circus star), Madame Daisy Fortuna (Daisy Duck as a fortune teller), The Great Goofini (Goofy as a stunt pilot) and The Astounding Donaldo (Donald Duck as a snake charmer).

• The Casey Jr. Splash ‘N’ Soak Station water play area brings a much needed splash zone to the Magic Kingdom. With temps in the 50’s and 60’s during our visit, for a detailed review, you’ll have to try it on your own!

The new Fantasyland offerings certainly live up to the Disney promise of quality and detail with careful attention to the timeless Disney narratives that millions flock to central Florida to experience. The addition of Princess Fairytale Hall (2013) and the Seven Dwarfs Mine Train Coaster (2014) will round out Fantasyland and easily make that section of the park the most popular land in the Kingdom.

Test TrackOver at EPCOT, The bones of Test Track haven’t changed. The vehicles and ride layout are almost identical. But the experience couldn’t be any more different.

Charming in its own right, the original Test Track was starting to show its age. It was becoming a microcosm of the American auto industry it represented: suffering from a lack of new ideas and needing an influx of capital – fast!

The new Test Track erases all that, and moves the auto-design process into the future with a glamorized version of the not-so-sexy automotive design process.

From an attraction standpoint, the retrofit works in how it brings together three pillars of ride design that are shaping the future of attraction development. For starters, the ride experience is thrilling and fun. Luckily, the original Test Track Imagineers created an interesting ride experience that has stood the test of time.

Secondly, the ride now enjoys some customizability, which makes it a more repeatable experience. Arguably, the customization element of the attraction is really more in one’s perception rather than in the experience. Upon entering the “Chevrolet Design Center” guests shape their own virtual car on a giant touch screen. Here, they can stretch and shape their vehicle design by length, width, height and engine size – and decide which performance attribute is most important to them. Once they create the design of their dreams, guests complete their creation with even more choices. They can choose an expressive front grill, tailored wheels of various sizes and styles, and custom paint with graphics and other vehicle accessories. The process takes 5-10 minutes to complete.

The guest’s virtual car is tied to a RFID card, which the guest scans prior to boarding the actual ride vehicle. While the ride doesn’t change based on their vehicle design, there is still an incentive to try the design process multiple times, as during the ride feedback is displayed on monitors as to how well each rider’s design is performing.

That leads to the final pillar: the element of competition. Throughout the ride, the vehicle is ranked against four important performance attributes that guide Chevrolet designers: capability, efficiency, responsiveness and power. During the ride, after each “test” a monitor shows models of each rider’s car ranked against one another. While there isn’t an explicitly

InPark Editor Martin Palicki takes a shot at designing a Sim Car before

taking it out for a spin on Test Track.

competitive theme to the ride (like Toy Story Midway Mania, for example) it is a component that drives repeatability for the attraction.

The actual ride is a neon-lovers paradise. Everything is either pitch black, or pulsating and glowing. It certainly offers a distinctive style – a form of blacklight minimalism that seems void of depth but at the same time is futuristic.

The post-show area of the ride has also been redone, and while the feeling of the area is generally less showroom-like, the vibe is still sales-y, and more in place with the obvious corporate-sponsored brand-building expected in Innovations. But, really that is what Test Track, and the World of Motion before it, has always been about. Only now it’s more fun, and in an odd sort of way, kind of sexy.

Test Track is now open to the public at Epcot.

SplitsvilleRecently opened, the new Splitsville Luxury Lanes at Downtown Disney features boutique bowling in a retro environment. A total of 30 lanes are split between two levels, grouped together in small clusters throughout the building to create a more intimate experience.

A dining area, billiards tables, full service bars, a balcony overlooking Downtown Disney, live entertainment and a unique sushi bar round out the facility’s offerings.

The Splitsville menu is distinctly different than your typical bowling alley fare. Guided by award-winning chef Tim Cushman, the menu features a variety of higher-end offerings such as grilled Mahi Mahi with “Voodoo” shrimp, filet sliders and grilled chicken parmesan, plus a kids menu, in addition to traditional bowling alley food items.

The bowling facility takes the place of the former Virgin Megastore and thankfully brings more recreation options to the Downtown Disney area, which offers more in the way of shopping, and less in the way of family experiences.

Splittsville at Downtown Disney is the Orlando-based chain’s fifth location joining venues in Tampa, FL, Miami, FL, Fairview, TX and Fredericksburg, VA. According to the Bowling Proprietors’ Association of America, almost 70 million Americans bowl every year, making it the most popular participation sport in America.

While Splitsville is a welcome addition to Downtown Disney, This InPark editor still anxiously awaits the return of The Adventurers Club and Mannequins to the Downtown Disney / Pleasure Island lineup…although there is probably a better chance of any InPark staffer bowling a 300 game at this point.

Splitsville opens in mid-December. For more information on the Splitsville brand, visit www.splitsvillelanes.com.

Art of AnimationNow fully opened, Disney’s Art of Animation Resort is a new concept in Disney’s resort offerings. Comprised largely of family suites, the resort is finally catering to the trend of larger intergenerational families traveling together.

The theming and layout of the resort is similar to the Pop Century Resort, located across the lagoon from Art of Animation, which was originally intended to be an expansion of Pop Century, but was abandoned mid-construction after the tourism drop post-9/11.

Art of Animation features four distinctly designed wings celebrating the rich storytelling, spirited

characters, original sketches and playfulness inspired by the classic Disney and Disney*Pixar films: Finding Nemo, Cars, The Lion King and The Little Mermaid.

Giant sketchbooks filled with favorite characters seem to come to life as they pave the way to each storyline revealed throughout the lobby. Scenic settings and icons – including a brightly colored coral landscape, a 35-foor-tall model of King Triton, a towering Mufasa and more – immerse guests into the playful world of animation in each respective courtyard. At the Cars wing (arguably the best themed of the four), a freshly paved road leads to the Cozy Cone Motel complete with a Cozy Cone pool and cone-shaped cabanas.

The family suites are comfortable. A master suite includes a queen-size bed and private bath with spacious shower. The main area includes a Murphy bed and a convertible sofa. A small kitchenette includes a sink, mini-fridge and microwave. A second bathroom offers a small tub. The theming in the rooms is thorough and playful – designed to appeal to a child’s aesthetic.

The central feature of the resort is the “Big Blue” pool in the Finding Nemo area. Billed as the largest pool on Disney property at 11,859 square feet, underwater speakers play music and allow characters from Nemo to make audio appearances. The concept is simple and effective; it feels like the music is coming from inside your head.

Rates for Art of Animation start at $94 for standard rooms and $248 for family suites – pricey given the resort’s “Value” designation. For more information, visit disneyworld.com. • • •

Splitsville Luxury Lanes at Downtown Disney • This is not your father’s bowling alley. Inside, upscale bars complement stylized bowling lanes. • Sketches in the Art of Animation’s lobby are repeated throughout the resort.

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can do / never boredThe infinite diversity of Jeremy Railton & Entertainment Design Corporation

By Judith Rubin

All photos are courtesy of Entertainment Design Corp. Captions by Jeremy Railton

“I can do that”

Celebrated designer Jeremy Railton’s innate versatility has brought him success and accolades in a wide range of entertainment fields while making it difficult for him to easily explain what he does for a living. From the first, he’s resisted attempts at pigeonholing and advice to “specialize,” trusting an inner voice that has always said “I can do that,” no matter what – or where - “that” is.

Designing is designing, as far as Railton is concerned. “I’ve been able to do every single medium that there is, from theater to TV to corporate shows to theme parks, resorts and live events,” he says. “What I love is that now we’re getting asked for all of those things, and not only for clients in China. Our projects also include small theaters on Hollywood Boulevard, museums in the Midwest, retail in India, and attractions in Sri Lanka... That diversity is the thing that keeps me totally engaged, totally thrilled.”

As Railton’s reputation and workload grew over time, “I can do that” became “We can do that,” in the context of various partnerships and firms large and small. In recent years, with his Los Angeles-based company Entertainment Design Corp. (EDC), the Railton diversity has enabled adapting to and serving the explosive Asian sector with internationally acclaimed projects, the most celebrated being Crane Dance at Resorts World Sentosa (Singapore), which was honored with a Thea Award in 2011 as well as the 2011 Structural Engineers Association of New York (SEAoNY) “Excellence in Structural Design Awards (to McLaren Engineering Group). In EDC, Railton has built a diverse creative team that dives eagerly into whatever challenge is next.

A sampling of awarded projects testifies to diversity of project types and clients alike: Thea Awards for Crane Dance, Fremont Street Experience, Titanic: The Experience, GM Showroom Theater (Disney’s Epcot) and the Salt Lake City 2002 Olympic Games Opening

Ceremonies, Emmy Awards for art direction on Salt Lake 2002, Pee Wee’s Playhouse, and the 57th Annual Academy Awards and an Emmy for costume design on Zoobilee Zoo, plus the Lester Horton Dance Award 1999 for Set Design and “Best Storefront Design” 1995 from VMSD magazine for the Panasonic Pavilion at Universal CityWalk.

“I never get bored, and neither do the people I have working here,” says Railton. They include director of projects Richard Wechsler (best known as producer of the Academy Award-nominated movie Five Easy Pieces, and production executive for Norman Lear Productions, Wechsler also has lectured on screenplay writing at the American Film Institute and UC San Diego, and has a company with world renowned illusion designer Paul Harris, called Astonishment Technologies); creative director John Rust, who supervised media production for EDC attractions at Resorts World Sentosa and has been part of the film community and theme park industry for more than 25 years (“John’s quick wit, flexibility and

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The greatest form of flattery: A Singapore parade with images of the cranes in Crane Dance at Resorts World Sentosa. When I first saw the cranes full-size, I thought, “What have I done?”

High School Musical on Ice was for The Feld Organization. The big challenge was to do a golf course on an ice rink. The lighting designer Patrick Woodroffe lit the ice green and we believed it.

total obsession with theater and film make him the perfect fit for EDC”); CFO Scott Wilson, formerly a tax accountant for MGM and David Kelly, who has been with Railton for 28 years as designer and company comptroller – a Carnegie Mellon graduate, he owns the San Clemente Dance and Performing Arts Center.

Then there are the EDC “young guns”: Chris Stage, a fully trained architect (“He was working as an architect before he joined us – now he does much more”); Alex Calle, a theater designer and filmmaker, and Francesca Nicolas, who just graduated from the Savannah College of Art & Design and was referred to EDC by SCAD professor Mike Devine.

The “young guns” on Railton’s team demonstrate versatility and evidence of his strong desire to encourage young people to enter the field and reap its rewards. And – because designing is designing - not to worry too much about the specific portal, knowing that the fields are all closely connected. Finding one’s way in and creating relationships are the main things. “I started off my entire career by saying ‘I can do

that,’ says Railton. “I can have anything thrown at me: I’m not fazed, and I have this strong team, this really tight company. I just make sure that a project – whatever lands on my doorstep - is something for all of us to be totally involved in, to feel the creativity this moment in time offers us, then go on to the next moment. The first time I said, ‘I can do that,’ I was right out of college, sitting at a table in a restaurant in the late 1960s, and an art director came in the door saying, ‘I need an assistant; I’m starting a movie tomorrow.’” After securing an appointment, “I ran to the library and read everything I could. I’d never been on a movie set in my life. I staggered in the door the next day...”

Working in Asia

What Railton and his team learned in Asia has brought about a shift in how they approach design for this market, and how they interact with clients. “Very early on, I was given good advice by Hee Teck Tan, CEO at Resorts World Sentosa. He said, ‘Jeremy, forget about all this arty, subtle stuff: Asians like bright and loud.’ It was excellent advice. I’m sort of a loud kind of

Alex CalleEDC art director

“Jeremy’s outlook on diversity has made EDC the company it is. He is often considered

as one of the few on the bleeding edge - a description that we at EDC like and embrace. He’s always had a ‘hop on board’ mentality, doesn’t like to be held back creatively, and he never restricts others’ creative impulses. Here’s a simple example. We recently hired a junior designer with a background in architecture and a graduate from Otis, Emily Keifer. She thought she’d like to take a stab at a revamped logo for EDC. Under Jeremy, we were able to embrace her inspiration and funnel it. What ultimately came was a beautiful new face to the EDC branding. The best part is that it’s somehow architectural in nature, but truly graphic in presentation. That’s why EDC products are so unique, they pull from people the roles they might not typically be accustomed to. In EDC, it doesn’t matter if you’re a junior designer, technical director, architect, art director or janitor – it’s the amalgamation of these people, and subsequent ideas, that are important.

This general philosophy has helped me, coming from a TV, theater, and film background. There, my life has always been about stories and how to tell them - preferably well. So in every EDC attraction, art installation, concert tour... I’m able to be the voice pertaining to ‘story’ while simultaneously wearing many other hats. For instance, on Crane Dance, which is essentially a love story between two giant animatronic cranes, certain questions should be raised, ‘How does that part of the design convey love? What must a whimsical structure look like while maintaining stability? Why are we backlighting him here in the story arch instead of here? Does that help tell our story???” And finally, “How much are we charging for this again???’

In raising these, and many other, questions I’m channeling seven different roles (programmer, lighting designer, creative director, engineer, art director, writer, producer). We’re encouraged and prodded to think about all these aspects, ALL of the time. Each piece better informs the next, and then pokes its predecessor for elaboration, clarification, and intent. This is what keeps us challenged, our knives sharp so to speak. Compartmentalization doesn’t work at EDC, it doesn’t create the kind of projects we like to do, so we don’t do it.”

I make sure that a project is something for all of us to be totally involved in. Jeremy reviews project plans with Alex Calle.

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guy - I always loved rock and roll concerts and variety television. I like the bright and loud and shiny. I do come from central Africa.”

The Chinese respect for maturity has stood Railton in good stead. “I feel I get a lot of respect because of my gray hair; it makes them feel comfortable. I feel like a strong, reassuring hand, the voice of experience. They are nice to Alex and Chris, but I get the attention. In the US it’s the other way! They smile and nod at me, and then talk to Alex and Chris.”

As an active member of the Themed Entertainment Association (TEA), Railton has drawn on his experiences to help boost the association’s presence in the Asian community, especially China. “I want Asians – especially Chinese middle management - to become TEA members so they can get educated about this industry. There’s so much that can be shared from one side of the Pacific Rim to the other that will be good for their projects and for everyone’s professional experience.”

What, for instance? “The role of the designer, for one. Design doesn’t stop at the concept stage, but is rather a moving, continual process. This is especially true in the case of a one-off, unique project where you’re charting new territory and must expect the unexpected. The designer should be kept on the project through the building, production and programming stages. An experienced designer also has many well-established relationships and will tend to know the best choices for such roles as production, technical design, fabrication and project management – for instance, bringing in Bob Chambers and Ed Marks to do production and technical management of Crane Dance and Lake of Dreams at Resorts World Sentosa and our projects at Galaxy Macau. Ed Marks, with a lighting design background, is both practical and creative and technically savvy, while the masterful Bob Chambers could carefully negotiate the many minefields of technology and vendors. [Chambers and Marks went on to form their own company, The Producers Group, following these projects.] This puts us in a position to react to what comes up, solving problems as they arise in a way that is true to the vision we were hired to develop in the first place. The end result is the better for it.”

As an example, Railton related some details of the fabrication and programming stages in creating the Fortune Diamond for the Galaxy Hotel, Macau (client: Mr Francis Liu). The Fortune Diamond was one of two projects EDC

designed for the Galaxy – the other was the Wishing Crystals. The original concept for the 22-foot high diamond was much more technically elaborate than the finished product, because in the process of turning the concept sketches into 3D visualizations and mockups, working with fabricator Lexington in Los Angeles, it was found that a simpler technical design would better achieve the desired result.

“The original concept was a complex piece of machinery,” says Railton, “bedecked with all kinds of LEDs, mirrors and backlit pieces. But when Lexington started to analyze it and draw it up, we realized the mirrors were the important element. So we set up this whole kind of reflective mirror box, and the diamond that had started out with all this other stuff ended up relying primarily on a set of fractal mirror boxes that reflected the white pit below. This was achieved through creative give-and-take between the designer and the fabricator in which the best approach was given a chance to emerge. Design doesn’t stop at the concept stage. I know that in the process of working with the construction people, an illustration will grow into something more than was initially visualized. That’s how the unique, breakthrough projects really happen, and a client who wants that needs to foster the creative, collaborative conditions where it can happen, and trust the designer through the process.”

At the same time, recognizing that the Chinese client shops for attractions differently than the Western client, EDC is in the process of devising a catalog-type approach to marketing the company’s services. “There are theme park ride companies with lovely printed catalogs that have Ferris wheels, merry-go-rounds and so forth,” he says. “That’s what the Chinese want from us. They want to look at a catalog and say ‘I want this for so much money.’ And I realized that it’s possible, with attractions - especially these unique public sculptures we are being asked to do now – to come up with a package that includes concept design and schematic for medium-sized attractions that the cities in China can buy, and that can be adapted and customized. So that’s something we’re now trying to shift toward providing. It’s a fascinating business model shift, and it requires us to make an upfront investment.”

EDC’s “young guns”

When Railton mentors someone, they stay mentored. “As I’ve gone along and trained or introduced designers and assistants, they’ve

EDC design architect, Chris Stage AIA

“EDC is a very dynamic place to work and one that calls for a wide variety of interests and

skills.

I was originally hired to serve as the Facility Design Manager on EDC’s projects for Galaxy Macau; I was the one primarily in charge of overseeing construction at the site. As the project progressed I ended up advising on lighting and media content as well as other aspects of the design. At one point Jeremy approached me with the opportunity to develop some additional design concepts and present them to the client. Jeremy always recognizes and encourages contributions beyond what your job title may suggest. After we wrapped up in Macau, Jeremy asked me to join the company full-time in a more design-oriented role.

Coming from an architecture background, I have often worked within more delineated or confined roles in the past. However, since being brought on as design architect at EDC I’ve worked on everything from script ideas for live shows, to creating print ads for magazines, from designing characters and costumes for lagoon shows, to master planning an entertainment retail complex and theming a casino in Mississippi.

This sort of ever-changing role is typical for everyone in the company. It really all starts at the top: Jeremy sets the example. His combination of humility and curiosity lead him to be involved in every aspect of a job, no matter how tedious or trivial it may seem. This attitude is infectious and although we each have our own strengths this approach allows us to become better at what we do and, most importantly, leads to better projects.

Flexibility at EDC is not only evident in the roles we all play, but also in the wide variety of projects we take on. However, whether we are designing attractions, parades, live shows, show venues, restaurants, retail centers, casino resorts or museums, it always boils down to creating something dynamic and compelling and that is what links all of our projects and keeps us excited.

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We are trying to take water shows to the next level by adding sculptural and scenic elements . This idea is for a water Circus where the water behaves like human performers.

Salt Lake City hosted the first Winter Olympic Games to be in a stadium. Since then they have all been held in stadiums. I won an Emmy, and an Ary (Directors Guild) for production design of the Salt Lake Games.

gone on to become masters – such as Richard Shreiber, my art director for many years, who began as a set designer. Eventually, he went into TV and stayed there. Every designer who has worked with me has gone on to become successful.” While many well-known themed entertainment professionals started out in theater or film, Railton advises that today’s aspiring creatives take a reverse approach. “It’s easier for a beginning designer or writer to get a start in themed entertainment rather than the narrower, more closed fields of theater or film – yet themed entertainment encompasses theatre and film. Themed entertainment embraces every single artistic discipline that there is, and it is a relatively open and welcoming field for young, creative people, without a lot of restrictions or pigeonholing.” Moreover, themed entertainment has gradually been recognized as its own creative field of discipline, with academic curricula established at the college level including SCAD, Carnegie Mellon and the Ringling College of Art & Design.

EDC young guns Alex Calle and Chris Stage have been with the company 3 years, and when you encounter Railton in a business setting, Calle and Stage are usually nearby. “We all feel this kind of incredible energy,” says Railton. “We’re all looking forward to getting to work each morning and seeing each other. When we travel to China, we make a very cohesive group, able to tackle pretty much anything.”

Jeremography

The Entertainment Design Corporation, led by Jeremy Railton, creates and produces international award-winning attractions, environments, live shows and theatrical events. Website: www.entdesign.com.

As a child growing up in rural Zimbabwe crafting puppets out of clay and sketching the native birds and animals, Jeremy Railton couldn’t have imagined that one day he would be creating the world’s largest animatronic creatures in the form of a pair of 90-ft dancing cranes - the star performers in a themed attraction that took flight in the winter of 2010 at Resorts World Sentosa in Singapore.

Educated in fine art, Railton has brought his formidable design talents and limitless imagination to some of the most significant artists, events and productions over the last three decades. His career spans legitimate theater, dance, film, TV award shows, live concerts for pop icons, spectacles of Olympian proportions, themed attractions, and unforgettable retail entertainment and architectural projects. Railton began his career in British film production while still a student and was quickly “discovered” and brought to Los Angeles for a production at the prestigious Mark Taper Forum. Railton made history with this production, creating the first giant screen projection backdrop ever seen on the stage.

Following his early stage successes, he moved into film and television. He won acclaim as a production designer for recreating post-World War II Los Angeles in the motion picture The Two Jakes. Among his hundreds of TV credits are landmark specials including the concerts for 9/11 and Hurricane Katrina. Railton’s credits in live staging, television, concert specials and music videos include projects for Barbara Streisand, Cher, Michael Jackson, Neil Diamond, Diana Ross, Julio Iglesias and the MTV Music Awards.

His unique blend of artistry and cutting-edge technology have graced major retail, amusement, resort and casino venues such as the Forum Shops at Caesars Palace in Las Vegas, Panasonic Pavilion at Universal Studios, the GM Showroom Theatre at Epcot Center and Lake of Dreams at Resort World Sentosa. A pioneer in digital culture, Railton designed the two largest video screens in the world, the Fremont Street Experience in Las Vegas and the Sky Screen at The Place in Beijing.

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Design doesn’t stop at the

concept stage, but is rather a moving, continual process.

Chris Stage and Jeremy discuss a

new project.

The bird show was Soar a free flying night time bird show at the San Diego Zoo. Working with Steve Martin of Natural encounters I was able to help create a show

with birds, lights and music, keeping the talk to a minimum whilst still telling the stories.

malaysian medleyThemed Attractions Malaysia is bringing together popular parks and brands for a unique mix of international attractions

by Judith Rubin

We caught up with executives from Themed Attractions Malaysia while at the IAAPA

Attractions Expo in November: CEO Tunko Dato’ Ahmad Burhanuddin, CFO Vallo Mutto and VP Branding and Group Communications Waikuan Wong. From them, we learned some details about the government-supported push for tourism development in the commonwealth, especially in the Southern corridor. As Malaysia receives many tourists from China, India and the Middle East, and has a sizable Chinese community, a growing middle class and easy proximity to Singapore and Bangkok, and everybody speaks English plus one other language, it is well-favored to serve both locals and travelers.

Focusing on jump-starting things with a family-friendly selection of attractions, the company sought out top entertainment design firms and suppliers: The Hettema Group, BRC Imagination

Arts, Thinkwell, Forrec, WhiteWater West and Pro Slide have all contributed – and top brands: LegoLand (LegoLand Malaysia opened September 2012); KidZania (KidZania Malaysia opened February 2012); Thomas & Friends and Hello Kitty (both at Puteri Harbour Family Theme Park, opened in late 2012). Other human and company resources have included Bain & Co. for master planning, Darrell Metzger, Chairman of the Themed Attractions Malaysia Executive Committee, Steve Pitt, former COO of Village Roadshow, and Phil Whittaker, as chief marketing officer. approach has succeeded and tourism has grown 10% year over year.

With the market of children under age 12 and their families now reasonably well covered, a new surge of development will emphasize the natural beauty and culture of the area, with Leisure Tour Asia initiative aiming to embrace all five senses

with food, arts & culture, heritage attractions, seaside resorts and increased leveraging of holidays. Ride parks are also forecast in the future. The group also has the license to open KidZania Singapore in 2015. Just 15 minutes away to the South by bridge, Singapore is seen as a complementary region in terms of tourism, especially in terms of its gaming attractions.

Tunko Dato reported that Malaysia’s prime minister as well as its people are quite happy with the development trend, which includes hotels and residential complexes. “It’s a long-awaited thing,” he said. “We had no theme parks for a very long time. The community is very hungry for it and attendance has been beyond all expectations. And with all the new development it brings in its wake, we are creating jobs directly and indirectly. We are fostering a local industry.”

• • •

Legoland Malaysia joins other popular brands like KidZania and Hello Kitty in the quickly expanding Asian market for attractions. Photo courtesy of Legoland Malaysia.

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leadership & hospitalitylessons from Ocean Park’s Tom Mehrmann & AAM’s Ford Bell

by Judith Rubin

The subject of leadership was canvassed by Tom Mehrmann, Chief Executive of Ocean Park Corporation, on Nov 13 during a day of educational sessions at the 2012 IAAPA Attractions Expo in Orlando. Regarding Ocean Park Hong Kong’s significant recent expansion and 8 years of growth, he noted how decisions were made and strategies put in place to keep the park open during expansion, to differentiate from the competition (Disney), to empower employees and “break through the wrong kind of thinking.”

One intriguing guest services policy: There is $250 available to any employee on the property to tap in order to solve any guest issue on the spot, rather than send the issue, along with the weary guest, up through the chain of command. He remarked on how judicious the employees are with these funds.

Mehrmann conjured the hospitality industry as a model. His example of gracious, empathetic service: the Ritz Carlton. He put emphasis on the value of personal, handwritten thank-you notes.

Mehrmann also shared some of his favorite keys to success, with examples of how they’d been implemented at Ocean Park Hong Kong. 1) Be hungry for change. Example: When the park achieved its goal of 7 million attendance early, it was necessary to get rid of the coffeemugs on company desks carrying the “7 million” slogan. 2) Be innovative. Example: Ocean Park’s very successful commercial campaign that juxtaposed human behavior with interesting counterparts in the animal world, and “changed the way our market saw and interacted with us.” 3) Be disruptive by nature. Examples: Ocean Park’s “Aqua City” commercial, for which a custom song was composed that became a popular ringtone, how an Ocean Park K-pop spoof video had gone viral, and how the park’s Halloween Bash and promotions had brought record attendance numbers and helped establish the holiday in Hong Kong. 4) Be genuine, not just generous. Example: Ocean Park’s corporate social responsibility programs, and special discounts for locals, the disabled, seniors and low income residents.

AAM’s big tentThis year’s Museum & Science Center Day at IAAPA boasted a completely full house. Among the attendees were designers, architects, media producers, economic analysts, event producers, exhibit fabricators, museum operators and theme park operators.

The opening address was from Ford Bell, president of the American Alliance of Museums (AAM). The organization recently changed its name, swapping out Association for Alliance. Why? Bell explained that the terminology change signaled a change in the structure of the organization, retooling itself to spread a “bigger tent,” be more inclusive. The intention is not just to add more members, but to deepen relationships with other groups having similar interests and magnify the visibility and lobbying power in the face of shrunken Federal assistance. AAM has likewise changed its institutional membership tiers for inclusiveness, offering at the lowest level a “pay what you wish” membership and setting the highest at $5,000 (down from $15,000) which can be upgraded to an all-staff package. Alliances with other groups include crossover accreditation and best practices programs with AZA (Association of Zoos & Aquariums) and AASLH (American Association of State and Local History). Other efforts include outreach to engage other categories of stakeholders such as museum trustees. “We are fighting for a very pathetic sum of money,” he said, pointing out that Federal funds for museums total $60 million annually. AAM will make the most of its “big tent” to boost its annual Advocacy Day in Washington DC.

MeasurementsIn a subsequent session, John Robinett of AECOM, which has done numerous attendance studies for museums and cultural institutions, showed ways to obtain meaningful stats that can be used to make peer comparisons and examine such things as the differing behavior patterns of residential markets to tourist markets, the ratio of visitation to exhibit square footage, the operations cost per square foot (most museums come in about $80-$100 per square foot) and evaluate admission prices. Robinett’s fundamental graph showed the declining attendance curve of the museum

that fails to reinvest on a regular basis – he maintains that museums should follow the practice of successful theme parks – reinvest yearly and take a close look at how to maximize earned income (“retail performance is a missed opportunity for a lot of museums”, enhance the perceived value to the visitor and increase per-capita spending.

Satisfying the manyIke Kwon, director of guest operations at San Francisco’s California Academy of Sciences (home of the Morrison Planetarium) talked about strategies that the museum had employed in order to maintain visitor satisfaction in the enviable position of huge attendance numbers. Before the museum was rebuilt (the previous structure was damaged by earthquake), its average yearly attendance was 80,000, reported Kwon. “Now we do 8,000 in 3 weeks and are creeping up on 7 million attendance since opening [in 2008],” he said. He illustrated the problem with an example from the planetarium: the bundled ticket option covers a visit to the Morrison, but throughput in the dome wasn’t sufficient to meet demand, meaning that some visitors would not get the full value of their ticket. They analyzed theload/unload p ace and created a shorter planetarium show to facilitate a 30-minute cycle. This adjustment was one of many implemented in a full-scale overhaul of operations with the goal of improving the guest experience, based on a model Kwon had learned in his days in the hospitality industry. The process relies heavily on input and suggestions from staff who deal with day-to-day issues.

Know your valueGuy Labine, CEO of Science North in Sudbury, Canada, talked about how the museum used the results of an economic impact assessment conducted 5 years ago to attract more government funding and more than double the proportion of earned income relative to total budget (from 30% to 70%). The study revealed the true extent of the museum’s role in the community and of its contributions. “We found that Science North is a main driver of the city’s economic tourism engine,” he said. • • •

Tom Mehrmann Ford Bell

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For starters, tell me about your role/past in the themed entertainment industry and why you wanted to serve at TEA President??I spent the first half of my career working on the entertainment and operations side of theme parks and attractions. People who work in entertainment in theme parks always get to do creative things beyond just the live shows they produce – for me it started with special events, cultural programming, laser/fireworks spectaculars, concert production and capital projects. But the real crossover began when I was hired as part of the team to build and run LEGOLAND Windsor – the first LEGO Park to be built outside of Denmark.

Officially I was the Operations Director, developing the plans, procedures and the team to run the park. I was also responsible for creating all live shows, all event programming and I participated in design development for

everything - all rides and attractions as well as more mundane things like the front gate, back of house areas, offices, etc. This experience immersed me in the creative process. It also introduced me to the power of a brand.

After 3 years in Windsor, I joined the team for LEGOLAND California just as work on that park was entering the detail design phase. I was once again the Director of Operations but reprised my role on the project team and participated in the design development for attractions and facilities and lead creative for shows and special events. During my time with LEGO, we worked with lots of TEA member companies and I started learning more by attending the TEA party every year at IAAPA. When I had an opportunity to move back home to Toronto and work for a creative design and project management company – BaAM – it seemed like a very logical career progression. It also made sense for us to join TEA. That was 2001.

I knew that in order to get the most out of the TEA, we would need to get involved. The President at the time was Pat Gallegos, who I had worked with on LEGOLAND California. Pat encouraged me to run for the Eastern board. A few years later, I became President of the Eastern division (the first non-Orlando based President of the Eastern division). I really liked what I saw happening with TEA in Europe where events seemed to be connected to celebrating openings of member projects and milestones. We decided to offer events for members that were more regional – in Toronto, New York, St. Louis, Branson – and in Orlando as well. When I had served the maximum term on the Eastern Board, it seemed a natural progression to move to the International Board. I am in my second term on this board and was first approached a few years back to consider running for the role of President. In order to take on such a responsibility, many things need to be aligned – most importantly the support of my company to back me during my term. I am fortunate that in 2012 that was possible.

Coming off the 20th anniversary of TEA, what do you think has made the organization stand up to the test of time?I think the reason is the simple fact that our members are a very adaptable group. As the lines have blurred between different types of experiences, the skill sets of those who create those experiences have become transferable. Our industry is constantly defining and re-defining itself. Our members are now working on different types of projects than they thought would be their primary focus when they first formed their companies or when the TEA was first conceived more than 20 years ago. We are a very adaptable group and our association is also adaptable as a result.

How do you think TEA will be successful moving forward?We need to find new ways to be relevant to our members. For example, we can connect members with owners to demonstrate the value we can provide for their projects regardless of the scale. Our members provide creative value, and our knowledge of how to make creative ideas come to life – on time and on budget and within the constraints that every project has - is

christine kerrInPark sits down to talk with TEA’s new President, Christine Kerr

by Martin Palicki

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valuable to many industries. The TEA started as a group that came together to present a collective voice. I think we’ve been heard, recognized for what we represent. I think we now need to be more specific in identifying and promoting the skills and values we bring to a project – make it more tangible.

How will TEA be advancing Next Generation and educational outreach initiatives in the coming years?The NextGen focus provides us with two important opportunities. The first is exactly what the name of the initiative implies – we are actively connecting with the next generation of young professionals to work in this industry. Some of them have more specific skills than we did – look at SCAD’s Themed Entertainment Design courses – they grew up in theme parks and museums and science centers so have more industry awareness than many of us did. They represent the future of our industry because I predict we will see a major changing of the guard in the next 10-20 years.

Connecting TEA with academic institutions can also help us validate and better organize the educational programs we offer to our members. We have two mature programs - SATE and the Summit - that have stood the test of time and evolved into must-attend events for many in our industry. If we want to take these to the next level and open them up to new audiences we need to use the expertise and resources our relationships with academic institutions can provide us to help further refine the programs, look at them differently and ultimately create better content and products from the conferences.

What parts of the world do you feel TEA needs to focus on to grow?We are a global organization; we need to keep pace with the areas of the world where our members are working. Ideally, we would be in a position to be ahead of the curve so that we can lay foundations for members or support local companies to work to a consistent standard. Expectations and standards vary throughout the world, but if we can influence this, we will be helping our members. Right now Asia is a focus.

We have a committee, chaired by Jeff Mayer, focused on just this initiative. Jeff and his committee members organized the very successful TEA Asia Summit that took place in Shanghai in October of 2012. We continue to work with IAAPA to ensure we have a presence at their Asia show. The 2013 show in Singapore will be the 3rd time we have had a presence at the show and hosted a mixer. As soon as we have the critical mass and will, we will start a division in this region.

What are some of the challenging issues facing the themed entertainment industry right now, and how is TEA addressing them?Globalization is a challenge and an opportunity. We can help our members – particularly our smaller member companies – successfully move into new markets by creating opportunities for them to learn from larger companies and those who are already working in the new regions. The TEA Asia Summit that took place in Shanghai in October of 2012 was a first giant step in this area and started a dialogue. Working in new cultures and respecting and embracing the diversity this

brings to project teams and project content is also a challenge. The SATE 2012 Conference in September held at Disneyland Paris used Cultural Diversity as its theme and explored the idea from a number of perspectives. Finally, communication is also a challenge. We are working hard to implement the right tools for an organization such as ours to effectively communicate with our members around the world.

How do you think TEA members can make the most out of their membership?They shouldn’t wait for us to come to them – they should reach out and get involved. Attend events, and educational sessions. Contact their division president and host an event in their area. They should volunteer to become involved and give back to the industry. They should think about shaping the future of the themed entertainment industry by working with young people who are eager to learn more and find jobs in the industry. They should get to know other member companies in order to establish benchmarks for themselves and stay on top of what is going on in the industry.

As president, what are your goals for TEA?As part of the transition the association will make when we hire a new leader to replace our retiring Executive Director, Gene Jeffers, I would like to see us think about what we do in a more service-oriented and business-like way. This will be an important shift in thinking – more focus on the content and value we can create out of everything we do. Many of the people I talk to value the creative energy and thinking we bring to the worlds we work in – perhaps we need to value it more as well. • • •

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Archival photo of Christine with her father and her husband Matt during LEGOLAND construction in California. Courtesy Christine Kerr.

SpongeBob struts his stuff in 3D/4DNickelodeon, SimEx-Iwerks and Super 78 collaborate on new production

InPark Magazine recently had the honor of meeting SpongeBob SquarePants in person at his Orlando headquarters, the Nickelodeon Suites Resort. The occasion: an official announcement of the new show, “SpongeBob SquarePants 4D: The Great Jelly Rescue,” set to premiere in early 2013 at the Nick Suites, and then be rolled out to 4D theaters at theme parks, zoos, aquariums and other family-friendly settings worldwide.

The wide-eyed star appeared wearing his trademark yellow at the hotel, accompanied by some of his peeps: Gerald Raines (VP Recreational Business Development, Nickelodeon), Mark Cornell (Sr. VP Attractions Development, SimEx-Iwerks), special venue media producers Brent Young and Dina Benadon (Super 78) and Louis Robbins (Managing Director, Nickelodeon Suites Resort).

“The Great Jelly Rescue” adventure follows the 2005 production, “SpongeBob SquarePants 4D” and will join Nickelodeon’s brand power and popular characters to SimEx-Iwerks’ 4D theater circuit and distribution network. The 7-year run of the first show is a testament to SpongeBob’s huge, global popularity - and also a solid reminder that a good attraction movie can be evergreen, playing successfully year after year onscreen in special venue theaters, in stark contrast to the ephemeral theatrical runs of today’s mainstream productions.

SpongeBob dimensionalized“The Great Jelly Rescue” promises to deliver SpongeBob SquarePants just as audiences love him while making the most of advancements in rendering and immersive 4D theater technology – most notably, enhanced stereoscopic 3D backgrounds and alternate storylines, along with a host of in-theater effects such as wind, bubbles, snow, seat buzzers, leg ticklers, special lighting and audio. Some of the scenes will change from show to show, along with their corresponding

effects – providing incentive for visitors to repeat the experience.

Asked about the challenge of making the new 3D SpongeBob as authentic and convincing as possible, Brent Young of Super 78 said, “We needed to go the extra 10 miles to show this property can be dimensionalized while honoring the brand. In 3D, it’s harder to pull some things off convincingly. But we were well prepared, having gone through a similar process when we produced the media for ‘Dora & Diego’s 4D Adventure’ [2010] in a similar collaboration with Nickelodeon and SimEx-Iwerks. Stephen Hillenburg, SpongeBob’s creator, has the ultimate authority, and we were thrilled by his approval.”

SpongeBob SquarePants’s journey through animation formats is set to continue, in the form of “It’s a SpongeBob Christmas,” airing on CBS and Nickelodeon television in December, using classic stop-motion animation created with models and miniatures. There’s also talk of perpetuating the 3D stereoscopy in the next

tales from iaapastories from the trade show floor in Orlando

by Judith Rubin, Martin Palicki & Joe Kleiman

Doing the SpongeBob: Young, Cornell, SpongeBob, Raines and Robbins. Photo by Martin Palicki.

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SpongeBob feature film, planned for 2015. When asked about the possibility of a SpongeBob SquarePants 3D TV series, Nickelodeon’s Gerald Raines was mum. But he did assure us that more Nickelodeon brands will be seen making their way into the attractions world, following on the footsteps of Dora, Diego and SpongeBob, with hints of a renewed focus on slime. - J.R.

• • •

Russia Park plans announcedOfficials from the planned Russia Park presented at IAAPA 2012 their plans for a 2,500-acre park scheduled for opening in 2018. Shaped like a miniature Russian Federation, the planned park, located 18 miles south of Moscow and near the airport, is expected to have over 10 million visitors per year. It is being designed as a public/private partnership with the hopes of encouraging cultural exchange within the regions of Russia and also throughout the world.

The park is designed to have several distinct components. Theme park “Russia” will represent all regions within Russia and function much like an expo.

An amusement park will house rides and attractions in four themed areas: Ancient Russia, Czarist Russia, Socialist Russia and New Russia. The park will be designed for year-round operation including both summer and winter amusements, with a stated goal of having 70% of attractions available all year.

A safari park will house 1,300 kinds of animals found within Russia’s borders and accommodate year-round visits.

A presidential Botanical Garden will feature over 10,000 species of plants in both indoor and outdoor settings.

Supporting architecture for the project will include hotels, restaurants featuring Russian cuisine, nightlife, shopping and a convention center.

The plan is to open an international architectural tender in the first three quarters of 2013. In quarters three and four, bidding will begin for rights to the project, with the expectation of signing contracts before the start of 2014. Construction is planned for 2015-2020, with phased openings starting in 2018, and complete operation in 2020.

Some attendees seemed skeptical of the plans, with progress on the previously announced

Magic World Russia moving along slowly. AECOM is currently performing a feasibility study for Magic World Russia, designed by Gary Goddard Entertainment.

Since IAAPA, news stories have surfaced that Moscow authorities have approved development of another theme park “Galaktika Park” outside of Moscow, that will include an indoor Universal Studios Park. - M.P.

• • •

Thea Awards publicizedThe 19th Annual Thea Award recipients were announced at the TEA booth at the IAAPA Attractions Expo 2012. The Thea Awards, recognizing the best in themed entertainment design, will be awarded in Anaheim, CA, USA on April 6, 2013.

THEA AWARDS FOR OUTSTANDING ACHIEVEMENT:Radiator Springs Racers, Disney California Adventure Park - Anaheim, USA (Attraction)A thrilling race through the world of the Disney∙Pixar film Cars. In bringing a well-known movie to life, the designers went the extra step in expanding it into a fully experiential world.

Transformers: The Ride 3D, Universal Studios Singapore & Hollywood (Attraction)An immersive, next-generation thrill ride that blurs the line between fiction and reality. The seamless combination of show systems pushes the boundaries of 3D realism.

Cars Land, Disney California Adventure Park - Anaheim, USA (New Theme Park Land)The sensitive layout, sophisticated use of scale, character details and high-quality execution combine to make this an outstanding example of experiential design and a destination in its own right.

Canada’s Sports Hall of Fame - Calgary, Canada(Museum)Virtually every storytelling device is used in this massive, multi-level exhibition that is never repetitive or derivative. Visitors are immersed in a complete Canadian sports experience.

Aquanura at Efteling Park - Netherlands(Event Spectacular)Aquanura adapts available technology and puts it to use in ways that are uniquely evocative. Artistry and beauty prevail over spectacle, bringing emotionally engaging stories to life.

Big-O Experience, Yeosu 2012 International Expo - South Korea (Event Spectacular)This unique project has added a new dimension to the genre of the multimedia water spectacular and will remain as a permanent icon and legacy of the 2012 world’s fair.

Tait Pixel Tablets - London, England(Outstanding Technology)Combining readily available components with a unique LED tablet, this new technology transformed the 2012 Olympics opening ceremony into a huge video display mapped to the space inhabited by the audience.

Warner Bros. Studio Tour - The Making of Harry Potter - London, England (Studio Tour)Everything that is done with the Harry Potter brand faces high expectations from fans all over the world. The Making of Harry Potter Studio Tour has managed to more than fulfill those expectations.

Aulani, A Disney Resort & Spa -Ko Olina, Oahu, Hawaii USA (Themed Hotel Resort)Aulani represents a major departure from traditional Disney resorts in that, rather than providing lodging in support of a theme park, the resort itself is the destination.

Carthay Circle Restaurant and Lounge, Disney California Adventure Park - Anaheim, USA(Theme Park Restaurant)The restaurant resides within a reproduction of the famous Carthay Circle Theatre, renowned in Disney history as the venue for the premiere of Snow White and the Seven Dwarfs in 1937.

THE BUZZ PRICE THEA AWARDRecognizing a Lifetime of Distinguished Achievements (formerly the Thea Lifetime Achievement Award)Frank Stanek“Perhaps no one has had more impact on the two biggest players in our business - Disney and Universal - than Frank Stanek has had - especially in the growth and development of the industry in the international marketplace.” -- Marty Sklar

THEA CLASSIC AWARDEuropa-Park, Rust, GermanyBy alternating innovation and adaptation, applying the world’s best practices together with their own brand of creativity, the Mack family has grown Europa-Park into one of the most important theme parks in the world.

• • •

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wwa vegaswaterparks gathered at the Paris resort in October for the World Waterpark Association’s annual trade show and symposium

CLOCKWISE FROM TOP: The busy trade show floor. • WWA’s Patty Miller and her son. • European Body Art provides a temporary tattoo for IPM editor Martin Palicki. • The Weber Group’s Penny Peavler also sports a temporary tattoo! • The association’s annual reunion party gathered under Vegas’ Eiffel Tower.

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3rd Annual China Theme Park & Resort Expansion SummitNew Models, New Technologies, New Ideas!

April 11-12, 2013 Shanghai, China

EVENT BRIEFAs a result of the economic and social drivers, the outlook for theme park visitation is very strong. By 2011, with the opening of several parks and major expansion at others, visitation is increased to 84 million visits. Looking forward, the Greater China’s total theme park visitation by 2020 will match the current size in the US of 221 million visits. The themed entertainment industry has abundant potential for growth and expansion in China.

3rd Annual China Theme Park & Resort Expansion Summit will assemble a congregation of high level professionals all of whom repre-sent government departments, industry associations, real estate developers, theme park operators and entertainment facility suppliers from all over the world. Fundamental topics to be discussed include China’s latest industrial policies, major theme park projects progress, and global theme park management strategies. Furthermore the opportunity of liaising with domestic and overseas advanced solution providers, meeting new clients and forming partnerships.

CoNFIRmEd SPEAkERS 2013Senior OfficialAdministrative Commission of Shanghai International Tourist and Resort Zone

Senior OfficialShanghai Disney Resort

Barry COXDirector, New Business Development (Asia) Merlin Entertainment

ZHAO HuiTheme Park DirectorZhonghong Group

LI JianGeneral ManagerOCT Vision

Tan GuangyuanVice PresidentHaichangTourism Group Co., Ltd

LI YongDirector of Strategic DevelopmentShaanxi Culture Industry Investment Holding Group Co Ltd

TIAN EnmingDirectorDragon City Tourism Holding Group

Charles ReadManaging DirectorBlooloopLimited

At Noppen’s Summit You Will:- Meet pre-qualified industry leaders- Discover the current investment climate and opportunities - Increase your brand recognition within the marketplace- Create new partnerships and alliances- Develop relationships through new networking opportunities

Endorser

Supporters

Dennis A. Bridgeforth Group Marketing ManagerT: +8621 6085 1000F: +8621 6192 1908E: DennisB@noppen.com.cn

organizerFor more Information Contact:

TECHNOLOGYS O LV I N G

C H A L L E N G E S

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