Entrepreneurship the disney way

ENTREPRENEURSHIP THE DISNEY WAY This book focuses on the business story of Walt Disney and the company he built Combining a unique blend of entrepreneurship, creativity, innovation, and a relentless drive to bring out the best in his teams, Walt Disney created one of the most successful ventures in business history Outlining the specific processes of the company, Goldsby and Mathews provide the reader with the tools they need to embrace their own entrepreneurial leadership style, to lead effectively, to be more innovative, and to build a successful organization Through the lens of Disney, the reader learns the fundamentals of entrepreneurship, innovation, and leadership Beginning with a general introduction to the concepts relevant to the entrepreneurial organization today, the book examines how Disney built his empire and how the company remains an industry leader The book also provides the opportunity to take the Entrepreneurial Leadership Instrument, which measures one’s style in leading entrepreneurial ventures The book is divided into two parts: • • Part I provides an overview of Disney’s entrepreneurial journey, including the topics of vision, risk-taking, financing, and human resource management; Part II examines the company’s transition from a family business into a global operation, including topics such as succession planning and strategy Part II also explores Disney Parks and Resorts, the part of the company that interacts directly with customers, including topics such as culture, employee engagement, customer service, and customer experience Entrepreneurship the Disney Way brings entrepreneurship, innovation, and leadership to life through the compelling story of one of the most recognizable businessmen and companies of our time The authors’ interviews with high-level executives provide the reader with a rare inside look into the way his company functions Disney fans, executives, and students of entrepreneurship, innovation, and leadership will find it a delightful and informing read Michael G Goldsby is the Chief Entrepreneurship Officer and Stoops Distinguished Professor of Entrepreneurship at Ball State University, USA Rob Mathews is the Director of the Institute for Entrepreneurship and Free Enterprise at Ball State University, USA ENTREPRENEURSHIP THE DISNEY WAY Michael G Goldsby and Rob Mathews First published 2019 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Taylor & Francis The right of Michael G Goldsby and Rob Mathews to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 Michael Goldsby and Rob Mathews are not affiliated with the Walt Disney Company The contents of this book are their opinions on and interpretations of the company’s history and operations All rights reserved No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-138-73754-9 (hbk) ISBN: 978-1-138-73755-6 (pbk) ISBN: 978-1-315-18528-6 (ebk) Typeset in Bembo by Apex CoVantage, LLC To Dr Donald F Kuratko (Dr K), mentor and friend, and Dr Thomas J Goldsby, brother and friend —Mike To my wife, my partner, my confidant, Julie, the only one who truly knows the faith, sacrifice, battle, grit, and determination it took to seize this opportunity Julie, Nate, and Lindsey—my inspiration You have sacrificed so much for my entrepreneurial dreams I love you —Rob/Dad CONTENTS Acknowledgments ix Introduction PART Walt Disney, Entrepreneur 23 The Artist Years 25 The Scientist Years 57 The Builder Years 93 The Evangelist Years 130 PART Corporate Entrepreneurship at the Walt Disney Company 171 173 Leaders in the Post-Walt Disney Era viii Contents The Entrepreneurial Spirit of Disney Parks and Resorts 194 Guest Engagement and Experience at Disney Parks and Resorts 258 Index 299 ACKNOWLEDGMENTS The content of this book was developed over a ten-year period of studying the Walt Disney Company First, I want to thank my co-author, Dr Rob Mathews, for taking this professional journey with me over the years I also want to thank Margo Allen for everything she makes possible for Rob and me at Ball State I also appreciate the support of President Geoff Mearns, Provost Dr Susana RiveraMills, and Dr Mark Myring, Dean of the Miller College of Business My good friends Dr Chris Neck and Dr Jim Bishop have been instrumental in the attainment of my doctorate and my scholarly record Dr Min Basadur has also been an incredible teacher to me over the last twenty years, and his generosity with his knowledge, encouragement, and advice is always appreciated I have also had incredible support and encouragement from the business world Several friends from world-class companies have had a tremendous impact on my thinking about innovation and business In particular, Dan Cockerell and Lee Cockerell have been very generous with their time and support in teaching me how a legendary company stays impactful and relevant Richard Perez and Shannon Wagers at Procter & Gamble have taught me about the creative process of inventing new products for large markets Wil Davis, Scott Wright, and Roy West have been great partners in our work with the North American Retail Hardware Association There have been many good people who have given me great advice and direction over the years Dr Jon Shepard, Dr Brian Burton, Dr Rich Wokutch, and Dr John Christman made my career opportunities possible Several education colleagues have been helpful in shaping my thinking over the years, such as Dr Alex Bruton and Stephen Kenny of Calgary, Alberta; Dr Ed Leach, Dr Mary Kilfoil, and Dr Aaron Newman at Dalhousie University in Halifax, Nova Scotia; Dr Jeff Hornsby of the University of Missouri-Kansas City; and Dr Tom 294 Corporate Entrepreneurship Disney is also intentional about providing opportunities for cast members to engage with guests and provide magical moments For instance, sometimes the backstage becomes onstage, as is the case with animal surgery viewing times at the Animal Kingdom Conservation Station and backstage tours Other times, guests enter the show, which we see with Festival of the Lion King, Jedi Training, the Enchanted Tales with Belle attraction, and park rope drop ceremonies, among others In addition, merchandise (such as pin trading) and premium experiences (such as dessert and holiday parties), among other tools, drive cast member engagement with guests Disney understands the power of stirring emotions in consumers and has built a powerful formula for success in doing so If guests remember cast members over attractions and physical environment, then why does Disney emphasize place so much? The answer is simple— excellence in place accomplishes two key objectives for Disney: 1) it supports the mission of the company (best in entertainment), sending the message that the company is committed to that mission; and 2) the spectacular physical environments support cast members in creating happiness and making magic for guests Physical environment and tools to the job at a high level are never in question for Disney cast members The two go hand in hand You can’t have one without the other Consider big box retail stores They build impressive physical places and systems, but they rarely have an emotional connection with the customer, which leaves them eternally vulnerable to the lower priced option or next best shop that opens down the street (or on the internet) We outlined many of the ways in which Disney supports its mission and cast members in delivering on its mission These include partnerships (like the ones with Landry and the Patina Group), synergistic innovations by pairing unlikely concepts or industries (such as theme park and zoo industries; Animal Kingdom), leveraging IP in the parks (like Marvel and Star Wars), technology (such as MyMagic+ and MaxPass), operational systems and processes (like sophisticated pricing models and detailed operation manuals), and meeting the demands of a broad set of demographics through ancillary offerings (such as golf, vacation club memberships, and conventions) Finally, we covered how Disney achieves excellence with its physical environments in its parks and resorts Tools used by Disney include immersion through storytelling and fairytale, sensory appeal (lighting, sound, and smell), illusion and forced perspective (i.e., Main Street, U.S.A., and the castles), and building strong first and last impressions (park entrances, greetings, and line queues) Disney also exhibits a great deal of patience during design and construction phases to get projects done right, and exhibits humility through research and in listening to diverse perspectives and correcting mistakes Perhaps what is most impressive is the Walt Disney Company of today is a culmination of Walt’s enduring principles and legacy and what company leaders have learned through triumphs and failures since his death Walt and Roy toiled for decades to build their animation business, Disneyland, and Walt Disney World Guest Engagement and Experience 295 Resorts Their successors worked hard to regain the magic and navigate a changing competitive environment with great success What lies next for the Walt Disney Company? Only time will tell, but if the past is any indication of future success, the Walt Disney Company will be just fine Disney Principles • • • • • • • Give your employees the creative license to make spontaneous decisions to delight your customers Immerse your customers in an experience like no other in your industry Build your physical place and environment with such amazing detail that your customers escape from the realities of their lives Invite them into your “show” by pulling back the curtain or inviting them to be a part of what you’re doing First and last impressions carry a great deal of weight in what your customers say about you and whether they come back Leverage your resources Look for underutilized assets or opportunities you can leverage to enhance the customer experience Always look for ways to offer premium and add-on experiences Consider the value of partnerships and seemingly awkward pairings Don’t be afraid to find someone who can pull off a part of your dream better than you can Use systems and processes to further your dream, but also be cognizant of the need to constantly check the value and effectiveness of those controls Have patience to things the right way This is especially true of capital expenditures—like construction—that will have a long-term effect on your organization Also, have the humility to change and adapt if something isn’t working Be flexible! Work Like Disney: Exercises Are your physical space and environment accurately portraying the image you want to achieve? In what ways could you transform your physical place and environment to operate more like Disney? How would you evaluate those ideas? When you see a new customer, quiz them on their first and last impressions of your organization Ask them for their honest feedback Have your employees the same Compile the results and solicit ideas for improvement Are your physical space and environment immersive to the point that customers get a unique experience that emotionally connects them to your company? If not, what could you to take steps toward greater immersion? Are there functions your organization views as necessary evils and, thus, not performing at a very high level? If so, could you outsource any of those tasks 296 Corporate Entrepreneurship to better represent your organization? Could you engage a partner where there could be mutual benefit? What quality level would be acceptable to match your brand promise? What functions in your organization could be better organized? Are your employees not providing the best possible customer experience because there is not a well-defined routine or system in place to manage the flow of customers, products, conversations, etc.? Notes Pine II, B.J., and Gilmore, J.H (2011) The Experience Economy Boston: Harvard Business Review Press Meyer, D (2006) Setting the Table New York: HarperBusiness Disney Wiki (2018) Sword in the Stone Attraction Retrieved from http://disney.wikia com/wiki/Sword_in_the_Stone_(attraction) McEwen, W.J., and Fleming, J.H (2003, March 13) Customer Satisfaction Doesn’t Count Retrieved from http://news.gallup.com/businessjournal/1012/customer-satisfactiondoesnt-count.aspx Themed Entertainment Association (2016) Theme Index Museum Index 2016: Global Attractions Attendance Report Retrieved from www.teaconnect.org/images/files/ TEA_235_103719_170601.pdf There is some debate as to what constitutes the actual “kiss goodnight.” Others say the kiss goodnight is a final post-closing time show that consists of music, castle projections, and opportunities for guests to get pristine photos of the park while virtually empty Blank, S (2013) The Four Steps to the Epiphany: Successful Strategies for Products that Win Sussex, WI: Quad/ Graphics Hench, J (2009) Designing Disney: Imagineering and the Art of Show New York: Camphor Tree Book Levine, A (2016, June 1) Disney Springs: The Story Behind Disney World’s Former Downtown Disney Retrieved from https://usatoday.com/story/travel/experience/ amer ica/2016/06/01/disney-spr ings-downtown-disney-walt-disney-world/ 85208362/ 10 Prosperi, L (2016) The Imagineering Pyramid: Using Disney Theme Park Principles to Develop and Promote Your Creative Ideas Lexington: Theme Park Press 11 Norman, D (2008, August 21) The Psychology of Waiting Lines Retrieved from www jnd.org/ms/Norman%20The%20Psychology %20of%20 Waiting%20Lines.pdf 12 Sim, N (20109, October 31) Preview: Cars Land at Disney California Adventure Retrieved from https://themeparktourist.com/features/20101031/ 2558/preview-cars-land-disneycalifornia-adventure 13 Bricker, T (n.d.) 10 Reasons Tokyo DisneySea Is Disney’s Best Park Retrieved from http://disneytouristblog.com/tokyo-disneysea-best-theme-park/ 14 Chmielewski, D.C., and Keegan, R (2011, September 21) Disney to License Rights to ‘Avatar’ for Theme Park Attractions Retrieved from http://articles.latimes.com/2011/ sep/21/business/la-fi-ct-disney-avatar-20110921 15 The Walt Disney Company (2018) Adventures By Disney Retrieved from www adventuresbydisney.com/ Guest Engagement and Experience 297 16 Ibid 17 Pine II, B.J., and Gilmore, J.H (2011) The Experience Economy Boston: Harvard Business Review Press 18 Prosperi, L (2016) The Imagineering Pyramid: Using Disney Theme Park Principles to Develop and Promote Your Creative Ideas Lexington: Theme Park Press 19 Reynolds, C (2015, July 10) Disneyland: How Main Street, U.S.A Is Rooted in Walt Disney’s Missouri Childhood Retrieved from http://latimes.com/travel/la-tr-d-disneylandmarceline-20150712-story.html 20 Chmielewski, D.C., and Keegan, R (2011, September 21) Disney to License Rights to ‘Avatar’ for Theme Park Attractions Retrieved from http://articles.latimes.com/2011/ sep/21/business/la-fi-ct-disney-avatar-20110921 21 Barnes, B (2017, December 14) Disney Makes $52.4 Billion Deal for 21st Century Fox in Big Bet on Streaming Retrieved from https://nytimes.com/2017/12/ 14/business/ dealbook/disney-fox-deal.html 22 Box Office Mojo (n.d.) Avatar Retrieved from www.boxofficemojo.com/movies/?id= avatar.htm 23 Miller, D (2015, June 6) How Robert Iger’s ‘Fearless’ Deal-making Transformed Disney Retrieved from http://latimes.com/entertainment/envelope/ cotown/la-et-ct-disneyiger-20150607-story.html 24 Walt Disney Family Museum (2012, June 26) Look Closer: 1964 New York World’s Fair Retrieved from www.waltdisney.org/blog/look-closer-1964-new-york-world% E2%80%99s-fair 25 Landry’s (2018) Who We Are Retrieved from http://landrysinc.com/aboutUs/default asp 26 Fickley-Baker, J (2017, July 15) Plans Unveiled for Star Wars-themed Resort at Walt Disney World Retrieved from https://disneyparks.disney.go.com/blog/2017/07/plansunveiled-for-star-wars-inspired-themed-resort-at-walt-disney-world/?CMP= KNC-FY18_WDPR_DPK_INS_DOME_ParksPortfolio_DSA|NB|G|4181000 EPCOT.AM.01.01|NA_NA_NA_NA&keyword_id=aud-309850603842:dsa140082375613|dc||256030976522|b|5053:3|&gclid=Cj0KCQjw8MvWBRC8ARIs AO F S V B X B V h a i y Q I C s AV J q C u q h S C C F h N C M K A Z F P C L p x UyFULNKIB0aAr0yEALw_wcB&s_kwcid=AL!5053!3!256030976522!b!!g!!&ef_id= WtIA0AAAAMQQByvl:20180415180002:s&dclid=COWNiv_tvNoCFYopa Qod9Y0IHg 27 Disney Institute is Disney’s external training subsidiary that hosts professional development sessions that share Disney best practices 28 Walt Disney Company (2018) Disney Meetings Retrieved from https://disneymeetings.com/disneyworld/ 29 Disney Institute (2017) Disney’s Approach to Employee Engagement Lake Buena Vista, FL: Disney Institute 30 Walt Disney Company (2018) Disney Vacation Club Retrieved from https://disney vacationclub.disney.go.com/destinations/dvc-resor ts/?sourcecode=D023244&CMP=KNC-FY18_WDPR_DVC_ACT_DOM_ClubNAT_RLSA-GOLDE X | B R | G | 0 M G A M | - _ - _ S L _ E O D & key wo rd _ i d = a u d 258930846217:kwd-29202966|dc|dvc|241565878978|e|5058:3|&gclid=Cj0KC Qjw_ODWBRCTARIsAE2_EvXcb5JEWZ3TAXl43uyVJfh_nE4Q0RImGa6lMb l4ViAEJauxFY4iQMcaAiv1EALw_wcB&s_kwcid=AL!5058!3!241565878978!e!!g!!dv c&ef_id=WtIA0AAAAMQQByvl:20180419190626:s&dclid=CKPKpaWEx9oCFUn ZwAodbVAK7A 298 Corporate Entrepreneurship 31 Themed Entertainment Association (2016) Theme Index Museum Index 2016: Global Attractions Attendance Report Retrieved from www.teaconnect.org/images/files/ TEA_235_103719_170601.pdf 32 Sun, R (2013, October 16) ‘Lion King’ Is Broadway’s First $1 Billion Show Retrieved from www.hollywoodreporter.com/news/lion-king-is-broadways-first-648455 33 Mumpower, D (2015, January 24) Behind the Ride: Mind-bending Tricks Employed By Disney’s Soarin’ Over California Retrieved from www.themeparktourist.com/features/ 20150122/29885/behind-ride-4-amazing-details-about-soarin-over-california 34 Walt Disney World (2018) Pools at Disney’s Beach Club Resort Retrieved from https:// disneyworld.disney.go.com/recreation/beach-club-resort/pools-beach-club-resort/ 35 Fickley-Baker, J (2016, January 26) All in the Details: Putting the ‘Springs’ in Disney Springs Retrieved from https://disneyparks.disney.go.com/ blog/2016/01/all-in-thedetails-putting-the-spr ings-into-disney-spr ings/?CMP=SOC-FBPAGE 20160202143000 36 Hugo, M (2017, February 10) Disney to Invest Big Money in Struggling Euro Disney Retrieved from www.latimes.com/business/la-fi-euro-disney-20170210-story.html 37 Krosnick, B (2015, December 15) How Disney Turned One of Its Biggest Failures Into a Massive Success in Just Five Years Retrieved from https://themeparktourist.com/ features/20151212/31106/california-mis-adventure-how-disneylands-second-gatecrashed-burned-and-was?page=5 38 Themed Entertainment Association (2016) Theme Index Museum Index 2016: Global Attractions Attendance Report Retrieved from www.teaconnect.org/images/files/ TEA_235_103719_170601.pdf INDEX Page numbers in italic indicate a figure on the corresponding page 20,000 Leagues Under the Sea 122 1964 World’s Fair, as test market for Disney brand 152–155 ABC, partnership with Disney 146 Abe Martin 55n26 achievements: of Bob Iger 185–186; of Walt Disney 30–31 acting, Walt Disney’s interest in 34 acting on opportunities 15 add-ons 284–285 admitting failure 291–292 Adventures by Disney, 277 advertising firms: Iwerks-Disney 42–43; Kansas City Slide Co 42–43; Walt Disney’s work in 51–52 Alice’s Wonderland 50, 59; Disney’s contract with Margaret Winkler 59–63 Allen, Woody 64–65 ambience 272–273 American Gothic 28 amusement parks: dark rides 168n26; Walt Disney’s interest in 34–35 Andreason, Dylan 234 Animal Kingdom park 275–276 animated shorts 51 animation 37, 134; Alice’s Wonderland 50; Bambi 105; continuous improvement of Disney characters 66; craftsmanship of Walt Disney Studios 66–67; Disney Brothers Studio 60; experimental cinematography of Walt Disney Studios 85–87; Kansas City Slide Co 56n48; Kansas City Slide Co., Walt Disney’s employment by 47; Oswald the Lucky Rabbit 63, 65–66, 70–71; Pictorial Clubs, Inc 49, 50; Pinocchio 105; Silly Symphonies 81–82, 83, 88; Skeleton Dance, The 79–81; skills required for 51; Steamboat Willie 74–76; Technicolor 82–83; Walt Disney’s enthusiasm for 44; Walt Disney’s skill in 52; Walt Disney’s work as cartoonist 36, 39; see also drawing; Mickey Mouse artists 16–17, 16; Michael Eisner 179–183, 180, 181–183; Ron Miller 178; Walt Disney as 52–53 aspirational language 135, 145 Atencio, X 150 atmosphere 268; ambience 272–273; attention to detail 274–278; lighting 272–273; “smellitzers” 271; texture changes 273; see also immersion attention to detail: and immersion 274–278; of Walt Disney 194 attracting new guests 285–287 Audio-Animatronics 31, 150–151; Hall of Presidents 154–155 authenticity of immersive experiences 278–280 autism 72 300 Index Babbitt, Art 111 background scenery for Snow White 98 Ball State University 6, 203; Disney Entrepreneurial Experience 4; Institute for Entrepreneurship and Free Enterprise 242; trips to Orlando Bambi 105, 134 Band Concert, The 83 Bank of America 99–100 Basadur Innovation Profile 21 basic engagement needs: clear expectations 213–214; communication of strategies 217–219; decision-making and touchpoints 219–221; providing employees with necessary tools and resources 214–215; traditions 214; training 215–217 Bassin, Nathan 35 Baxter, John 118 Becket, Welton 158–159 behavioral genetics 46 “Black Sunday” 148 blending cultures, Disney’s success in 283–284 “blue sky” requests 235 Bongiorno, Carl 163 “borrowing” from your competitors 230–231 Bounds, Lillian 62 Buchholz, Todd 65 budget for Snow White 98–99 Buena Vista Street 57 builders 18, 93, 126; Roy Disney 173–176, 174, 176 building: Disneyland 147–149; EPCOT 160–162 Burbank studios: management style of 113; relocation to 106–108 Burnes, Brian 35 Burnham, Daniel 28–29, 30 Busch, August 156 Bush, George W 69 business language 241–242 Butler, Robert W 35 California see Disney California Adventure; Hollywood California Institute of Arts 169n50 Call, Flora 27; marriage to Elias Disney 27–28 cameras: experimental cinematography of Walt Disney Studios 85–87; multiplane 86–87 Cameron, James 277 Campbell, Joseph 117 Canemaker, John 86–87 caring about individual employees as a person 225–228 Carnegie, Dale 137 Caro, Robert 153–154 Carousel of Progress 130–131 Cars 184 Carthay Circle Theatre 80 cartoons 134; adding music to 84; development of Mickey Mouse 72–73; experimental cinematography of Walt Disney Studios 85–87; Flowers and Trees 83; Old Mill, The 87; Silly Symphonies 88; Skeleton Dance, The 79–81; Steamboat Willie 74–76; success of Mickey Mouse 78; synchronizing with sound 74; Walt Disney’s work for Kansas City Slide Co 43; Walt Disney’s work on 36, 39; see also animation; Oswald the Lucky Rabbit cast members: backstage 267–268; engaging with guests 261–267; on-site protocol 221–222; see also employees CEOs: Bob Iger 184–188; Card Walker 177–178; Donn Tatum 177; Michael Eisner 179–183, 180; next Disney CEO for a new generation 189–190, 190; Ron Miller 178; Roy Disney 173–176, 174, 176 challenging your employees 229, 244–245 chaordic tension 246–249, 247; managing 249–250 Chaplin, Charlie 34, 37, 101 Chicago, IL: Columbian Exposition 28–29; Disney family move to 36; World’s Fair 29–30 Chicago Academy of Fine Arts, Walt Disney’s enrollment in 36 Chick-fil-A 219 Chouinard Art Institute, partnership with Walt Disney Studios 81 Chrysler, Walter 27 churches, commonality with successful companies 130 cinematography: experimental techniques of Walt Disney Studios 85–87; multiplane camera 86–87; in Silly Symphones 81–82 Cinephone 75; recording sound for Steamboat Willie 76–77 Clark, Les 77, 80, 150 Index CliftonStrengths assessment 137–138, 242 coaching 251 Cockerell, Dan 4, 225, 232, 250–251 Cockerell, Lee 209, 225, 251 Collins, Jim 238, 245 Colony Theater 76 color, Technicolor 82–83 Columbian Exposition 28–29, 30 comedic skills of Walt Disney 37 commercial art, Walt Disney’s work in 42 common language, developing 241–243 communicating strategies to employees 217–219 competitors: “borrowing” from 230–231; differentiating your organization from 200–201; Universal Studios 290 conceptual stage of projects, embracing humility during 142–144 concrete thinkers 14 confidence 142–144 conscientiousness 138 construction of EPCOT 158–159, 160–162 continuous improvement of Disney animated characters 66; Mickey Mouse 73–74 conversation intelligence 135 corporate entrepreneurship 186, 232; Bob Iger 184–188, 187; Card Walker 177–178; Donn Tatum 177; Michael Eisner 179–183, 180; Ron Miller 178; Roy Disney 173–176, 174, 176 costuming process for cast members 211–212 Covey, Stephen 158 craftsmanship of Walt Disney Studios 66–67, 88 Creating Magic: 10 Common Sense Leadership Strategies from a Life at Disney (Cockerell) 225 creative intimacy 73 creativity: chaordic tension 246–249, 247; encouraging 261; of Walt Disney 101–102 Crump, Rolly 150–151 cultural fits, hiring 237–239 cultures, Disney’s success in blending 283–284 customer engagement 259–261; atmosphere 268 customer experience 197–198, 205; MDE 269; preserving through technology 269–270 customer satisfaction of Disney Parks and Resorts 199–200 301 customers: Elias Disney’s attention to 40; guest experience recovery 206–209; internal customer service 211–213; meeting needs of 205; see also customer engagement dark rides 168n26 Davis, Virginia 59–60 Davis, Wil 245 “decision points” 69 defining entrepreneurship 195 developing: common language 241–243; employees 228–229; ideas 102–103; sense of pride 240–241; talent 149–151 development: of Mickey Mouse 71; of Technicolor 82–83 differentiating your organization from the competition 200–201 Disney, Elias 25, 29, 31, 33, 36, 39, 45; as businessman 40; early life of 26–27; marriage 27–28; move to Kansas City, MO 33–35; move to Marceline, Missouri 31; role in Disneyland’s success 30; work ethic of 40 Disney, Flora 25, 29; death of, impact on Walt 114–115 Disney, Kepple 27 Disney, Lillian 30 Disney, Robert 28, 29, 59 Disney, Roy 8, 21, 25, 31, 33, 35, 39, 40, 41, 46, 59, 63, 64, 77, 78, 80, 99, 100, 105, 112, 118–119, 141, 145, 146, 173–176, 174, 176; marriage to Edna Francis 62; see also Disney Brothers Studio Disney, Roy E 177, 179, 188; “Save Disney” campaign 183 Disney, Ruth Flora 31, 33, 34 Disney, Walt 2, 3, 4, 5, 8, 9, 10, 20, 21, 25, 29, 31–32, 35, 40, 63, 64, 76, 77, 78, 79, 80, 81, 87, 93, 95, 99, 100, 105, 112, 118–119, 125, 132, 141, 145, 158–162; 1933 as breakthrough year for 84–85; achievements of 30–31; Alice’s Wonderland 50; arrival in Hollywood 50–51; as artist 52–53; aspirational language of 135; attention to detail 194; as builder 126; as cartoonist 36, 39; comedic skills of 37; commitment to excellence 115–116; connection with the public 37; creativity of 101–102; death of his dog Carey 38; death of his mother 114–115; early interest in amusement parks 34–35; enlistment 302 Index in the Red Cross 37; enrollment in Chicago Academy of Fine Arts 36; enthusiasm for animation 44; as evangelist 166; first year in Hollywood 58–59; goodwill trip to South America 112–113; humility of 143–144; interest in acting 34; involvement in filmmaking 123–124; Iwerks-Disney 42–43; Kansas City impact on 34–35; Marceline’s impact on 32–33; Newman LaughO-Grams 48–49; passion for drawing 35–36; perfectionism of 198; personality flaws of 113–114; persuasiveness of 96; philosophy of filmmaking 108–109, 122; “plussing” 120, 149; relationship with his father 26–27; return to Kansas City 41–43; as scientist 89; as storyteller 95, 104, 115, 124; talent for story development 104–105; travel habits 94–95, 138–139; tribute to his father 25–26; WED Enterprises 141–142; work style 123; world’s fairs, involvement in 152–155; see also Disney Brothers Studio Disney Brothers Studio 60; contract with Margaret Winkler 59–63; hiring of Ube Iwerks 61; name change to Walt Disney Studios 63; see also Walt Disney Studios Disney California Adventure 57, 182–183, 292; Buena Vista Street 57; transformation of under Bob Iger 186; Walt Disney Imagineering Blue Sky Cellar 260–261 Disney Cruise Line 221 Disney difference 200 Disney Entrepreneurial Experience Disney Family Museum 7, 195 Disney Parks and Resorts 5–6, 7, 8, 9; customer satisfaction 199–200; Four Keys 219, 220–221; Grand Calfiornian Hotel & Spa 285; success model 196 Disney Parks, Experiences, and Consumer Products, mission statement 197 Disney principles 54, 90, 127, 190–191, 252, 295 Disney Springs 186 Disney That Never Was, The (Solomon) 103 Disney U 148 Disney University 216 Disney War (Stewart) 183 Disney World 162, 164 Disneyland 26, 144–149; “Black Sunday” 148; building 147–149; economic impact of 160; “Elias Disney, Contractor” window 31, 39; expansion of 150; funding through television 146; original concept of 138–142; success of 148–149; World’s Fair role in its success 29–30 Disneyland Line 218 Disneyland Paris 186 Disneylandia 140–141 Disneynature movies 137 DisneySea 186, 276 “Domino Effect” 65 Donald Duck 81, 204 drawing: Rollin Hamilton 60; Walt Disney’s passion for 35–36 Duckworth, Angela 41 DVC (Disney Vacation Club) 181 Dweck, Carol S 33 economic impact of Disneyland 160 Edison, Thomas 33 “edutainment”: People and Places 137; TrueLife Adventures series 134–137 Eisenhower, D 133 Eisner, Michael 5, 8, 179–183, 180, 181–183, 292 Electric Park 34–35 ELI (Entrepreneurial Leadership Instrument) 10–13, 11, 12, 13, 14–16, 15, 16, 20; artists 16–17, 16; builders 18–19, 18, 93, 126; evangelists 19–20, 19, 131, 166; quadrants 15–16; scientists 17–18, 17, 89; Walt Disney as artist 52–53 “Elias Disney, Contractor” window in Disneyland 31, 39 EMP (Entrepreneurial Mindset Profile) 21 employees: authority to make decisions 243; caring about 225–228; challenging 244–245; communicating strategies to 217–219; cultural fits 238–239; encouraging growth and development in 228–229; helping them see their importance 240; hiring 237–239, 240; keeping focused on mission 205–206; listening to 229–237; onboarding 217; progress, reviewing 244; providing challenges for 229; recognizing value of 224–225; of service industries, motivating 199; as sources of innovation 236–237; talents, identifying 223–224; training 215–217; see also engagement Enchanted Tales with Belle 262 Index Enchanted Tiki Room 151, 155 encouraging growth and development in your employees 228–229 engagement 203, 204, 210; cast member engagement with guests 261–267; internal customer service 211–213; and leadership 246; levels of 210; LMX 229; see also basic engagement needs; customer engagement; growth engagement needs; team engagement needs; individual engagement needs EntreLeaders entrepreneurs 20; aspirational language 145; developing talent 149–151; eureka moments 101–102; facilitating the work of others 108–110; and the “great space of possibility” 64; and hardship 41; and hypomania 44–45, 46–47; and mobility 64–65; and natural talent 52–53; obtaining expertise 155–156; “Prime Movers” 46, 56n45; scaling a growing company 125–126; setting an example for others 95–97; Steve Jobs on 45–46; and stress 97; see also corporate entrepreneurship; ELI (Entrepreneurial Leadership Instrument) entrepreneurship: attracting new guests 285–287; chaordic tension 246–249, 247; defining 195; and humility 250–251; and innovation 198–199; mission statements 197–198; partnerships 281–282 EPCOT 156–162; ambience 272–273; construction of 160–162; designing 158–159; feasibility of Disney’s conception of 162–165; governance structure for 163; Orlando as site of 157–159; St Louis’ bid for 156–157; as testing ground for ideas 159–162; see also Disney World Ericsson, Anders 52 eureka moments 101–102 Euro Disney 181 evangelists 19–20, 19, 131, 166 Evans, Bill 147 excellence, Walt Disney’s commitment to 115–116 expansion: of Disneyland 150; of Walt Disney World 181–183 experimental techniques: adding music to cartoons 84; in cinematography 85–87; in Silly Symphonies 81–82; Technicolor 82–83; see also EPCOT 303 expertise 64–65; obtaining 155–156; partnerships 281–282; in pricing 287 exploiting opportunities 15 facilitating the work of others 108–110 Fairmount Amusement Park and Electric Park 34–35 Fairyland 35 Fantasia 105, 107, 150 fantasy films of Walt Disney Studios 122 Farewell to Arms, A (Hemingway) 37–38 FastPasses 269–270 feasibility of Disney’s conception of EPCOT 162–165 feature films, Snow White and the Seven Dwarfs 93 feedback: eliciting from employees 143; guest experience recovery 206–209; listening to your employees 229–237 Field, Robert D 105–106 filmmaking: Alfred and Elma Milotte 134; Disney’s involvement in 123–124; Disney’s philosophy of 108–109 first impressions, importance of 270–271 Fisher, James 46 fixed mind-set personalities 33 Flowers and Trees 83 Foglesong, Richard 156 Ford, Henry 2, 106–107 Four Keys 203, 219, 220–221 Fowler, Joe 147 France, Van 148, 215–216 France, Walt Disney’s work in the Red Cross 37–38 Francis, Edna 62 Gabler, Neil 2, 43–44, 58, 101, 140–141 Gallup’s Builder Profile-10 21; see also CliftonStrengths assessment Gardner, John 44, 45 Gates, Bill 51 Genneway, Sam 143, 155, 159 Geography of Genius, The (Weiner) 97 Gladwell, Malcolm 26 Glaser, Judith 135 Goff, Harper 140 Gold, Stanley 183 Goldsby, Michael 20–21, 260–261 governance structure for EPCOT 163 Grand Californian Hotel & Spa 285 Great Moments with Mr Lincoln 154–155 “great space of possibility” 64 grooming leaders 188–189 304 Index growth engagement needs: challenging your employees 244–245; chaordic tension 246–247, 247; reviewing employees progress 244 growth mind-set personalities 33 guest experience recovery 206–209; at Wilderness Lodge 208–209 guests: attracting 285–287; cast member engagement with 261–267 Gurr, Bob 116, 155 Hahn, Don 108 Hall of Presidents 154–155, 277–278 Hamilton, Rollin 60 Hand Behind the Mouse, The 71 hardships: as “decision points” 69; enduring 41; and entrepreneurship 41; overcoming 54, 77–78 Harman, Hugh 61 Harrelson, Matthew 286 Hemingway, Ernest 37–38 hiring employees 237–239, 240 Hock, Dee 248–249 Hollywood 58; opportunities in 64; Walt Disney’s arrival in 50–51; Walt Disney’s first year in 58–59; see also Disney California Adventure Holz, Karl 234 House of the Future 158–159 Hubbard, Kin 55n26 Hubler, Richard 96 Hudson, Bert 35 human intellect, leveraging 250–251 humility 250–251, 290–293 Hyperion studio 98; relocation to Burbank 106–107 hypersystemizing 72 hypomania 44–45, 46, 47 ideas: “borrowing” from your competitors 230–231; developing 102–103; EPCOT as testing grounds for 159–162; feasibility of Disney’s conception of EPCOT 162–165; managing 235; original concept of Disneyland 138–142; see also Imagineers identifying: leaders 188–189; talents 223–224 Iger, Bob 4, 5, 8, 104, 184–188, 187; as artist 187; Disney’s purchase of Lucasfilm 185; Disney’s purchase of Marvel Entertainment 184–185; implementation of MyMagic+ 185–186; transformation of Disney California Adventure Park 186; upcoming retirement of 189–190 illustration, Walt Disney’s work in 41–42 Imagineering Process: Using the Disney Theme Park Design Process to Bring Your Creative Ideas to Life, The (Prosperi) 235–236 Imagineers 142, 154–155, 221; Carl Bongiorno 163; Joe Rhode 181, 277; reimagining of Twilight Zone Tower of Terror 274; Walt Disney Imagineering Blue Sky Cellar 260–261; see also immersion; sensory experiences imitation, Walt Disney’s skill in 37 immersion: attention to detail 274–278; authenticity 278–280; storytelling 273–274 individual engagement needs: caring about employees as a person 225–228; encourage growth and development in your employees 228–229; helping your employees use their talents 223–224; regularly recognize value of employees 224–225 Industrial Parks USA 153 industriousness 138 Ink and Paint (Johnson) 106–107 innovation 177, 198–199, 250–251; abandoning traditions 290–291; chaordic tension 246–249, 247; ideas, managing 235; Seven Dwarfs Mine Train 289; Soarin’ Around the World 288–289; sources of 236–237; synergistic 282–284; Yacht and Beach Club resorts 289 Institute for Entrepreneurship and Free Enterprise 242 internal customer service 211–213 IP (intellectual property): integrating into Disney parks 188; leveraging 280–281; Oswald the Lucky Rabbit 67–68 Ising, Rudy 61 iteration 73–74 it’s a small world 154 Iwerks, Ube 42, 43, 60–61, 66, 67, 69, 70, 77; work on Mickey Mouse 71–72; work on The Skeleton Dance 79–80 Iwerks-Disney 42–43 Jackson, Wilfred 75, 77, 95–96 Jedi Training 263 job rotation 229 Jobs, Steve 3, 51, 56n45, 66, 73, 80, 82, 114, 115, 121; on entrepreneurs 45–46 Index Johnson, Mindy 106–107 Johnston, Ollie 96, 139–140 Kahl, Milt 62, 139 Kalogridis, George 230 Kamen, Kay 84, 88 Kansas City Film Ad Co 47, 52–53 Kansas City, Missouri: amusement parks 34–35; Disney family move to 33–35; Walt Disney’s return to 41–43 Kansas City Slide Co 42–43, 47, 56n48 Katzenberg, Jeffrey 179, 180 Kaufman, J.B 71, 112 Keller, Gary 65 Keys to the Kingdom Tour 227–228 Kimball, Ward 116 Kinney, Jack 112 “kiss goodnight” 296n6 Knight, Cher Krause 164 Koch, Charles 143 Koch, James 46 Kroc, Ray 2, 37 Krueger, Norris 46 Kuratko, Don 78 labor strike at Walt Disney Studios 111–113, 119 Laemmle, Carl 63 Last Lecture, The (Pausch) 41 Laugh-O-Grams 48–49, 52–53, 61 leadership 183, 246; facilitating the work of others 108–110; grooming 188–189; and hypomania 47; setting an example for others 95–97; see also ELI (Entrepreneurial Leadership Instrument); styles of entrepreneurial leadership levels of engagement 210 leveraging: human intellect 250–251; IP 280–281 licensed products see merchandising lighting 272–273 Lipp, Doug 148 listening to your employees 229–237 live action films: 20,000 Leagues Under the Sea 122; “plussing” 120; Treasure Island 120 LMX (Leader-Member Exchange) 229 location, impact on success 64 Locke, Ed 46, 56n45 Lucas, George 3, 121, 185 Lucasfilm, Disney’s purchase of 185 MacArthur, John D 157–158 Mace, Leslie 49 305 Magic Skyway, The 154 MagicBands 270 Main Street, U.S.A 31–32 Maltin, Leonard 136 management style at Burbank studios 113 managing: chaordic tension 249–250; ideas 235 Marceline, Missouri: Elias’ move to 31; impact on Walt Disney 32–33 Married to the Mouse (Foglesong) 156 Martin, Mike 32 Marvel Entertainment, Disney’s acquisition of 184–185 Marvel’s The Avengers Mary Poppins 122, 150 Mathews, Rob 4, 21, 201, 204–205, 206–207, 222, 226, 234, 238, 261, 265–266, 267 MaxPass 269–270, 284–285 Maxwell, John 245 MBTI (Myers-Briggs Temperament Assessment) 21 MBWA (management by walking around) 135 McArthur, John D 157 MDE (My Disney Experience) 269 meeting needs of customers 205 merchandising 84; of Oswald the Lucky Rabbit 67; partnerships 281 Merritt, Russell 71 MGM Studios 181 Michelangelo 97 Mickey Mouse 67, 69, 73, 88, 93, 94, 98; Band Concert, The 83; merchandising 84; Plane Crazy 71, 73–74; Skeleton Dance, The 79–81; Steamboat Willie 74–75; success of 78; synchronizing with sound 74 Mickey Mouse Club, The 132 Mickey Mouse Park 140–141 Miller, Ron 178 Milotte, Alfred and Elma 134, 136 Mindset: The New Psychology of Success (Dweck) 33 Mintz, Charles 61, 63, 67; betrayal of Walt Disney Studios 67–68 mission statement: of Disney Parks and Resorts 196; keeping employees focused on 205–206; sense of purpose, developing in employees 200–201; of Walt Disney Company 197 mobility 64–65 Morris, Mike 78 306 Index Moses, Robert 2, 155; partnership with Walt Disney 153–154 motion picture studios 59; Universal Pictures 63; see also Disney Brothers Studio motivating employees 199 movies 48; animated shorts 51; Cars 184; Disneynature 137; Walt Disney’s arrival in Hollywood 50–51; see also live action films; motion picture studios Moving Picture World 66–67 multiplane camera 86–87 Murdoch, James 189 music: Fantasia 105; incorporating in cartoons 84 MyMagic+ 185–186, 215, 269 natural talent 52–53 Newman Laugh-O-Grams 48–49 Newman Theater 48 next Disney CEO for a new generation 190 Nine Old Men 110–111 Norman, Floyd 115 obtaining expertise 155–156 O’Connor, Ken 123 Old Mill, The 87 onboarding 217 on-site protocol for cast members 221–222 opportunities: acting on 15; and the “Domino Effect” 65; entrepreneurial thinking on 14; exploiting 15; and the “great space of possibility” 64; “great space of possibility” 64; and mobility 64–65; uniqueness of 39–41 ORC (Oriental Land Company) 282 original concept of Disneyland 138–142 Orlando, FL: EPCOT 157–159; see also Walt Disney World Orr, Carey 36, 39, 41 Oswald the Lucky Rabbit 63, 65–66, 67–68, 70, 71; merchandising of 67 Outliers: The Story of Success (Gladwell) 26 overcoming hardships 54, 77–78 Ovitz, Michael 184 Pandora—The World of Avatar 277 partnerships 281–282 Pausch, Randy 41 People and Places 137 perfectionism of Walt Disney 198 personalities: fixed mind-set 33; growth mind-set 33; hypomanic 44–45, 46–47; industriousness 138 Pesmen-Rubin Commercial Art Studio 60–61; Walt Disney’s work in 41–42 Peterson, Jordan 138 Pictorial Clubs, Inc 49, 50 Pierce, Todd James 142 Pinocchio 105 Pitwoski, Su 36 Pixar 104 Plane Crazy 71, 73–74 “plussing” 120, 149 Poor Papa 66–67 Power of Different (Saltz) 72 Power of Twos, The (Shenk) 73 Powers, Pat 75 premiere: of Disneyland 132; of Snow White and the Seven Dwarfs 100–101 premium offerings 284–285 preserving customer experience through technology 269–270 Price, Harrison 145, 157 pricing 287 “Prime Movers” 46, 56n45 production, of Snow White 97–101 Progressland 154 proposals, “blue sky” requests 235 Prosperi, Lou 235 providing employees with necessary tools and resources 214–215 quadrants: ELI 15–16; see also ELI (Entrepreneurial Leadership Instrument) qualities of entrepreneurs, research on 46 quality of service, maintaining 209 Radiator Springs Racers 276 recognizing value of employees 224–225 recording sound for Steamboat Willie 76–77 Red Cross, Walt Disney’s enlistment in 37 Reichenbach, Harry 76 reimagining of Twilight Zone Tower of Terror 274 research: on engagement 210; on entrepreneurial qualities 46 respecting your employees perspectives 229–237 reviewing employees progress 244 Rhode, Joe 181, 277 River Country 289 Roosevelt, Teddy 136 Rosenberg, Bob 146 Rosenberg, Joe 99, 100 Rothrock, Richard 132–133 Index Roxy Theatre 80 Ryman, Herb 146, 148 Saltz, Gail 72 Saludos Amigos 112 “Save Disney” campaign 183 scaling a growing company 125–126 Schickel, Richard 85 Schindehutte, Minet 78 scientists 17–18, 17 screening of The Skeleton Dance 80 Seal Island 135 sense of pride, developing in teams 240–241 sense of purpose, developing in employees 200–201 sensory experiences: ambience 272–273; attention to detail 274–278; authenticity of immersive experiences 278–280; lighting 272–273; “smellitzers” 271; texture changes 273; see also immersion serendipity 54 service industries: employees, motivating 199; quality of service, maintaining 209 Seven Dwarfs Mine Train 289 Shane, Scott 46 Shanghai Disneyland 186, 282 Sharpsteen, Ben 94, 135–136 Shenk, Joshua Wolf 73 Sherwood, Doc 32 Silly Symphonies 81–82, 83, 88, 93, 94, 98; The Old Mill 87; The Three Little Pigs 84 Simonton, Dean Keith 71 Skeleton Dance, The 79–81 skills: of Disney park employees 203; natural talent 52–53; required for animation 51; training 109–110, 215–217 “smellitzers” 271 Smith, Brandon 203 Snow White and the Seven Dwarfs 26, 93, 95, 108; background scenery 98; budget 98–99; funding 99; premiere of 100–101; production 97–101; success of 124–125 Soarin’ Around the World 288–289 Solomon, Charles 103 sound: Audio-Animatronics 150–151; synchronizing for Steamboat Willie 74–76 South America, Disney’s goodwill trip to 112–113 space exploration 133 Spielberg, Steven 121 307 St Louis, Missouri, bid for EPCOT 156–157 stage shows: backstage 267–268; cast member engagement with guests 261–267 Staggs, Tom 189 Stallings, Carl 79 Stamp, Jeff 235 Star Wars: The Force Awakens Steamboat Willie 74–75; recording sound for 76–77 Steinberg, Saul 178 Stevenson, Robert 122 Stevenson, Robert Louis 120 stewardship of people cycle 245 Stewart, James 183 Stokowski, Leopold 105 Stone, Rosamund 64 story development, Disney’s talent for 104–105 storyboards 274 storytelling 273–274; Walt Disney’s talent for 95, 104, 115, 124 studios see motion picture studios styles of entrepreneurial leadership 7–8, 183; artists 16–17, 16; builders 18–19, 18; evangelists 19–20, 19; scientists 17–18, 17, 89; see also ELI (Entrepreneurial Leadership Instrument) success 90; of Disneyland 148–149; humility as key to 250–251, 290–293; and location 64; of Mickey Mouse 78; and mobility 64–65; overcoming hardships 77–78; of Snow White and the Seven Dwarfs 124–125 supporting the work of others 108–110 synergistic innovations 282–284 systems and processes: importance of 288; pricing 287 talent 64–65; developing 149–151; identifying in employees 223–224; see also skills Tatum, Donn 177 teaching 251 team engagement needs: common language 241–242; employees’ authority to make decisions 243; encouraging environment of trust 243; helping employees see their importance 240; hiring employees 237–239, 240; listening to your employees 229–237; sense of pride 240–241 308 Index Technicolor 82–83; Flowers and Trees 83 technology: Audio-Animatronics 150–151; multiplane camera 86–87; MyMagic+ 185–186; preserving customer experience with 269–270; RFID tags 211–212 television: Disneyland 132; Disneynature movies 137; Disney’s move into 131; funding of Disneyland through 146; Mickey Mouse Club, The 132; People and Places 137; True-Life Adventures series 133–137 Test Track 262 theaters 48; Carthay Circle Theatre 80; Colony Theater 76; Newman Theater 48; Roxy Theatre 80; see also movies theming 273 Thomas, Bob 2, 25, 96, 232 Three Little Pigs, The 84 Three Years in Wonderland (Pierce) 142 Tirella, Joseph 152 Tokyo DisneySea 276 Torrico, René 214, 228–229 touchpoints 219–221, 223 training 215–217; importance of 109–110 Treasure Island 120 Trolley Troubles 66–67 True-Life Adventures series 133–137; Alfred and Elma Milotte 136; impact on audiences 136; Seal Island 135 trust, encouraging environment of 243 Twilight Zone Tower of Terror, reimagining of 274 Universal Pictures, Walt Disney Studios’ contract with 63 Universal Studios 290; contract with Marvel Entertainment 184–185 urban design: for EPCOT 158–159 Utopian experiments 163 Viets, Dan 35 visual arts, Walt Disney’s work in 51 Voices in the Wind 151 von Braun, Wernher 133 Walker, Card 156, 177–178 Walt Disney: An American Original (Thomas) Walt Disney Company 10; employee loyalty 77–78; mission statement 197; see also Disney Parks and Resorts Walt Disney Imagineering Blue Sky Cellar 260–261 Walt Disney Studios 63; 20,000 Leagues Under the Sea 122; 1933 as breakthrough year 84–85; anthology films produced by 119; contract with Universal Studios 63; craftsmanship of 66–67, 88; experimental cinematography 85–87; fantasy films of 122; labor strike of 1941 111–113; Mary Poppins 122; merchandising 84; merchandising of Oswald the Lucky Rabbit 67; Nine Old Men 110–111; Oswald the Lucky Rabbit 65–66; partnership with Chouinard Art Institute 81; production of Snow White 97–101; recording sound for Steamboat Willie 76–77; relocation to Burbank 106–107; repurposing of for the war effort 117–119; Silly Symphonies 81–82; Skeleton Dance, The 79–81; Steamboat Willie 74–76; story development 104–105; Technicolor 82–83; Treasure Island 120 Walt Disney: The Triumph of the American Imagination (Gabler) Walt Disney World 5–6; Carousel of Progress 130–131; expansion of 181–183; MGM Studios 181; Yacht and Beach Club resorts 289 Walt Disney’s Missouri 35 Walton, Sam 143–144 WED Enterprises 141–142, 142, 144–145 Weiner, Eric 97 Weiss, Al 251 Wells, Frank 8, 179 Wertz, Carl 36 Wilderness Lodge, guest experience recovery 208–209 Williams, Pat 40 Winkler, George 67 Winkler, Margaret 59 work ethic 64–65; of Elias Disney 40 work relationships, handling 225–226 World of Tomorrow 153 World War II: attack on Pearl Harbor 117; U.S Army’s repurposing of Walt Disney Studios 117–119 World’s Fair, role in Disneyland’s success 29–30 Wozniak, Steve 73 Wright, Frank Lloyd 29 Yacht and Beach Club resorts 289 Zander, Benjamin 64 ... the principle of understanding the reality of the world around them Or to put it another way: scientists want facts They have ideas about the world and they’re interested in testing whether their... Routledge, suggested that the title of this book should be Entrepreneurship the Disney Way As you’ll see as you read this book, the Walt Disney Company’s story embodies the themes of startup, family... Introduction PART Walt Disney, Entrepreneur 23 The Artist Years 25 The Scientist Years 57 The Builder Years 93 The Evangelist Years 130 PART Corporate Entrepreneurship at the Walt Disney Company 171