(This episode was formally available in 3D, but it looks like the 3D version is no longer listed publicly. In a mock-up of Captain EO itself, the episode opens on a spiral galaxy. An asteroid flies into view.)
KEVIN Defunctland: a show about extinct amusement park rides. My name is Kevin Perjurer, and today we will be attempting to resurrect Disney’s 4D sci-fi film Captain EO.
(The asteroid explodes.)
This film debuted at Disneyland and EPCOT Center in 1986, and it was suggested by all of these great commenters.
(The long list scrolls by, along with the message, ‘You all got lucky because your names are in 3D.’)
The story of Captain EO starts in 1984 and involves many prominent figures in the film and theme park industry. The first is Michael Jackson. Coming off the success of his hit album Thriller in 1982 and the 14-minute music video for the single in 1983, Jackson was on the top of the world. He had reached the height of his career, and was setting new standards for what it meant to be a pop star. Jackson was also a huge Disney fanatic. According to his family, Michael was obsessed with learning about Walt’s life, and he greatly enjoyed Disney’s theme parks as well. He would often visit the parks, sometimes after-hours and sometimes in disguise. (A picture of the Winnie the Pooh costume: ‘For all we know…’) After the success of the Thriller music video, Jackson was eager to produce more films. He was advised to contact Disney about the possibility of producing a movie with the studio.
This is the same time that Michael Eisner and Jeffrey Katzenberg entered the Walt Disney Company. Eisner was the CEO of Paramount Pictures, and Katzenberg was its president of production. When Eisner became the CEO of Disney in 1984, he brought Katzenberg with him to head the company’s film division. Nearly twenty years after the death of Walt Disney, the company was in shambles. They were failing practically everywhere they turned, mainly in their studios. ('Sorry, fans of the 1981 hit film Amy.') The new management was their best hope at avoiding an acquisition or a complete dissolvement.
If you remember the Defunctland on ExtraTERRORestrial Alien Encounter(‘3D Shameless Plug’), you will remember that Michael Eisner took advice from his teenage son, Breck, who thought Disneyland was lame. If you remember the Defunctland on Videopolis(‘Another 3D Shameless Plug’), Eisner took this to heart, creating a teenage dance club to capitalize on the popularity of MTV. Lucky for Eisner, music videos and pop music had a new king that coincidentally loved Disney.
Katzenberg was the first to receive word that Michael Jackson was interested in partnering with the studio, and he personally took Jackson on a tour of Walt Disney Imagineering, mentioning that Jackson should consider starring in a Disneyland attraction. Around the same time, Michael Eisner was giving his own tour of the Imagineering headquarters to filmmaker George Lucas. (‘Eisner and the George Lucas that was in preproduction for Howard the Duck.’) In 1981, the two had created Raiders of the Lost Ark for Paramount together. Eisner was trying to convince Lucas to develop some attractions for Disney parks, once again going after the teenage market (#ThankBreckforStarTours) - and as we know, he succeeded. Lucas expressed interest in creating a Star Wars-based attraction, having just released Return of the Jedi one year prior. (‘Oh my god, it’s Lucas cleanly shaven.’)
After hearing of Jackson’s interest in producing a film with Disney, Eisner and Katzenberg suggested that he film an exclusive 3D movie for Disneyland in the style of the Thriller film. Jackson agreed, but demanded that either Steven Spielberg or George Lucas come on board in order to ensure that the film was quality. Spielberg was preoccupied with his own film, The Color Purple. But Lucas was already at work with Imagineering on Star Tours, so he agreed to help with the project, and he immediately invited a few filmmakers to help him.
The casting of the villain was originally supposed to go to Shelly Duvall, known for her role in The Shining, but she dropped out due to the elaborate costume work that she knew would make the production too uncomfortable. It instead went to future Addams Family star and wife of Jack Nicholson, Anjelica Huston. Rusty Lemorande, who had recently produced the sci-fi comedy Electric Dreams, would write the script. ('Amazingly, I could not find a picture of him. So here’s my visual approximation.') And Francis Ford Coppola, the writer, director, and producer of The Godfather Part I and Part II as well as Apocalypse Now, would direct. Coppola also produced Lucas’ American Graffiti, and this marked the first time that the two had worked together since Lucas left Apocalypse Now to make Star Wars. Imagineering had considered John Landis, the director of Jackson’s Thriller music video (‘And the father of Max Landis for that niche.’), to direct the film, but Lucas made the decision that Coppola would direct with little deliberation.
Now, if you’re thinking to yourself, “We don’t have enough high-profile artists working on this film”…well, just wait.
John Napier, the Tony Award-winning costume designer of Cats, was to help with costume designs and in-theater effects.
Rich Baker, a makeup artist for the Thriller video, was a makeup supervisor.
Tom Bermon, a now five time Emmy Award-winning makeup artist, was hired to do makeup for Huston.
Jeffrey Hornaday, the choreographer for Flashdance, was to be the choreographer.
Harrison Ellenshaw, the visual effects artist behind films such as Star Wars and The Empire Strikes Back, would assist with special effects.
Lance Anderson, a creature designer for Ghostbusters, helped design a variety of creatures for the film.
And James Horner, who would go on to compose the score of Titanic, wrote Captain EO’s score.
(takes a deep breath) So believe it or not, they were over budget. The film itself, not including the show buildings or in-theater effects, cost $23.7 million to produce. That’s roughly $1.4 million per minute of the film when it was released in 1986, and adjusting for inflation, [around $53 million]…wow. It was, at the time, the most expensive film ever made for its length. As more and more people joined the project, the Imagineers became increasingly frustrated. They did not like having outsiders spearhead a project in their parks, and their anger only escalated when more outside contractors were hired to cut costs. ('Which clearly didn’t work.')
Imagineering was, of course, not excluded. One Imagineer in particular, Rick Rothschild, was given three days to come up with story pitches for Eisner, Jackson, and Lucas. One idea was to have a short film of Jackson going to Disneyland after-hours, with the animatronics of various rides coming to life. Another would’ve played off Jackson’s love for Peter Pan by having him play a young fairy whose forest is attacked by an evil ice witch. (Picture of Jackson as Peter Pan: ‘I couldn’t find credit for this fan art. Comment below if it is yours.’) He would then sing her to death and save him and his friends. Eisner, Jackson, and Lucas loved this idea…but the new film was already set to play in Tomorrowland, and the premise was a much better fit for Fantasyland. Rothschild changed the film’s location to space and renamed it to Space Knights.
After this, Coppola began preproduction - suggesting naming Jackson’s character after Eos, the Greek goddess of the dawn, as he would bring light to a dark planet. --- (Clip from behind-the-scenes documentary.)
COPPOLA (to the tune of Old McDonald) Ol’ EO had some light EO-EO-EO He brought some light, brought some color EO-EO-EO
CAST & CREW (laughs) --- KEVIN Michael told the crew that he wanted the planet and its character designs to be scary, because he felt that children liked to be frightened. While Katzenberg was doing the majority of the executive creative direction, Eisner still treated EO as one of his pet projects. He was banking on Captain EO being the proof of concept for more adult-themed attractions.
Production began in early 1985, and the film was shot in three weeks. Coppola was present for this production phase, but Lucas had little involvement. This was troubling everyone involved, as most believed he would be driving the project as he did his others. Once principal photography was done, the resulting footage was not great. (Clip of one of Jackson’s cheaper music videos: ‘No this isn’t actually the rough cut.’) The main issue was that its story was incoherent, and the producers reportedly hid it from Eisner while they scrambled to fix it.
Unfortunately, the creators were already busy by this point. Coppola was creating Peggy Sue Got Married, and Lucas was working on the troubled Star Tours and the infinitely more troubled Howard the Duck. This left Lemorande and Jackson to do reshoots. These were so impromptu that at one point, they had to use a toilet’s ballcock as the head for Minor Domo, as they couldn’t find the actual puppet. Another spite to Imagineering: Lucas gave the footage to ILM instead of the effects artists at Disney. This caused even more delays as Lucas tried his hand in fixing the mess.
After finally seeing the footage, Disney executives panicked. They had no idea how many crotch thrusts Jackson had incorporated into his dance numbers. The dance happened too often and too prominently to be completely cut out of the final film, but this was not the only issue. Michael Jackson’s speaking voice, which sounded like a small child whispering in secret, did not fit well with his commanding character.
(Clip of the film to demonstrate.)
EO Maybe we can outrun him.
KEVIN The filmmakers contemplated lowering or dubbing over it, but no one wanted to mention it to Jackson, so they just left it in. Despite these issues, everyone agreed that Michael’s stage presence during the musical sequences was fantastic, and the effects were spectacular on the big screen. --- (Ad for the film pre-premiere.)
ANNOUNCER The wizardry of Lucas. The mastery of Coppola. The phenomenal music and dance of Michael Jackson. Captain EO.
EO Whoo! Whoo!
ANNOUNCER In spectacular 3D. Coming September 19th to Disneyland and Walt Disney World - and nowhere else in the universe. --- KEVIN On September 12th, 1986, a year and a half after the production started, Captain EO opened at EPCOT. The film replaced Magic Journeys, and opening day 3D movie at EPCOT’s Imagination Pavilion. Six days after its opening at EPCOT, Captain EO replaced Disneyland’s Magic Journeys, which had opened in 1984 on Tomorrowland’s Space Stage. In 1986, the theater had been renovated for Captain EO into the Magic Eye Theater, where Magic Journeys played for a short time before Captain EO premiered. --- (A behind-the-scenes documentary clip.)
DOC NARRATION A few years ago, the Walt Disney Company and Kodak invented a totally new way to make 3D movies. An extraordinary camera was custom-built and used only once to create a magical 3D fantasy shown exclusively at Walt Disney World in Florida, and here at Disneyland. The show was so popular that Disney and Kodak decided to use the camera again for an even more spectacular show. --- KEVIN Lemorande was the driving force behind using live special effects such as fog and lasers. This created one of the first 4D films.
Captain EO had its premiere at Disneyland on September 18th, 1986, with a star-studded ceremony that included guests such as Alan Thicke and…O.J. Simpson. There were also numerous walk-around characters portraying various aliens from the film. Michael Jackson was not present, as he had decided to escape media attention for a bit. He did, however, publish a photo of him sleeping in an oxygen chamber, which he claimed was to promote Captain EO. He also showed up for test screenings, either in disguise or in the projection booth, wanting to see how audiences reacted.
To celebrate the opening of the film and to satisfy audiences, Disneyland stayed open for sixty continuous hours. Guests flocked to the two theaters to watch Michael Jackson in space on the big screen. So how did it turn out?
(Cut to footage of the film.)
The movie starts with the narrator introducing the film. ('The 3D goes away in a moment.’)
FILM NARRATION A universe of good and evil, where a small group struggles to bring freedom to the countless worlds of despair - a ragtag band led by the infamous Captain EO. (A ‘Star Wars Copy Counter’ starts at the bottom of the screen. One right off the bat.)
KEVIN We then meet the crew of Captain EO’s ship. There’s the two-headed Idy and Ody, the flying Fuzzball, Major Domo, Minor Domo - who fits in Major Domo - and…
EO Hooter!
(A picture of an elephant-like creature from the Star Wars films is placed for comparison. Star Wars Copy Counter: 2)
KEVIN Major Domo warns Idy and Ody not to trip the intrusion alarm as they approach the planet…but then they trip the intrusion alarm.
(beep beep beep)
IDY Intrusion alarm!
ODY Battle alert!
IDY Battle alert!
KEVIN Everyone panics and blames Hooter for eating the star map. ('I swear the 3D effect is almost gone.’) Then, Captain EO enters and takes command of the close.
(Fuzzball perches on his shoulder.)
HOOTER …Too close!
EO We’re goin’ in.
(‘Here is another example of the dialogue problem.’)
MAJOR DOMO Sir, the ship is in absolutely no condition to go into battle. I thought we’d begin by cleaning up Hooter’s bunk.
HOOTER Rust bucket.
(He throws a can at the screen.)
EO Hooter! Listen. The command considers us a bunch of losers. But we’re gonna do it right this time, ‘cause we’re the best.
KEVIN They are confronted by a patrol ship, and they attempt to escape it. (Star Wars Copy Counter: 3) Commander Bog comes through a signal to contact Captain EO, and EO reassures him that everything is going fine and that they will successfully deliver their gift to the Supreme Leader.
After evading the ship (Counter: 4), the crew crashes onto the planet and are immediately captured by the Supreme Leader’s guards. They are brought to the Supreme Leader, where Captain EO delivers his gift of music.
SUPREME LEADER Let me see this gift!
EO Not only see, your Highness…but hear.
KEVIN The entire crew begins to use their equipment and bodies to play an original song, ‘We are Here to Change the World.’
EO Whoo!
KEVIN EO uses his dance powers to turn the Supreme Leader’s guards into colorful dancers that join him in defeating the Supreme Leader. He does this successfully, and she transforms into a beautiful goddess. In the longest goodbye of all time, Jackson leaves by performing another original song, ‘Another Part of Me.’
EO We’re there for you Can’t you see? You’re just another part of me Hee-hee!
KEVIN While a hit with Jackson fans, the film was not a critical success. The Los Angeles Times wrote, “for all its wondrous imagery, Captain EO is nothing more than the most elaborate rock video in history: Like a hollow chocolate Easter bunny, it’s a glorious surface over a void. No one expects an amusement park diversion to be Gone with the Wind, but given that list of credits and the film’s lavish budget…audiences have a right to expect more than empty flash.”
On March 20th, 1987, less than a year after the film premiered in the United States, the film opened at Tokyo Disneyland. Years later, the film debuted as an opening day attraction at Euro Disneyland on April 12th, 1992. --- (An ad for the film; the children sit in the theater and watch along with Tigger. The kids get so into it that they get up and start dancing. EO uses his powers to transport them into a hot air balloon.)
LITTLE BOY Huh? Oh, we gaan weer weg…
('Can someone please translate that commercial?') --- KEVIN On July 6th, 1994, nearly eight years after the attraction debuted at EPCOT, Captain EO was closed. In 1996, Captain EO was shown for the first and only time on television, premiering on MTV - and that same year, the film would close at Tokyo Disneyland on September 1st. The next year, on April 7th, the film was closed at Disneyland in the United States. A year after that, the film closed at Euro Disney on August 17th, 1998. All four attractions were replaced by a possible future addition to Defunctland, Honey, I Shrunk the Audience!(‘How many attractions at Disney parks have shrunk the audience?')
But this was not the end of Captain EO’s story, because on June 25th, 2009, Michael Jackson died. In September 2009, Disney closed Honey, I Shrunk the Kids in Disneyland, inviting Jackson’s family and friends to watch Captain EO in private screenings. A few months later, on December 18th, Disney announced that Captain EO would be returning to Disneyland and EPCOT as a special tribute to Michael Jackson. On February 23rd, 2010, the Captain EO Tribute opened at Disneyland. On June 12th, it would open at Disneyland Paris; on July 1st, it would open at Tokyo Disneyland; and on July 2nd, it would open at EPCOT. (‘Forgot to mention the 3D comic book based on the film.’)
Audiences were initially interested, but years after Jackson’s death, the film was becoming less and less relevant. On June 22nd, 2014, Disneyland closed its Captain EO Tribute, replacing it with, of course, Star Wars: Path of the Jedi. (‘It’s always Star Wars.’) The attraction closed in Tokyo on June 30th, 2014, and was replaced by Stitch Encounter, a show where guests can interact with Stitch, similar to Turtle Talk with Crush. (‘I swear this piece of shit is following me…’) On April 12th, 2015, Captain EO was closed in Disneyland Paris and was replaced by the Disney & Pixar Short Film Festival. On December 6th, 2016, the final Captain EO Tribute would be closed at Epcot, also being replaced by the Pixar Short Film Festival.
So why did it close? The first time. Well, attendance dipped throughout the years, as most attractions of its type do. There were some factors that contributed to this, the main one being Michael Jackson’s many controversies. As the allegations toward Jackson came out, Disney decided that it was best to distance itself from him, resulting in its closure.
Captain EO was a new direction for Disney parks, and it was produced by some of the biggest talents of its time. Its troubled production, release, and closure have not stopped the film from being a classic. It is classic ‘80s, classic Eisner, and most of all, classic Michael Jackson.