For Star Tours, Bruce Gordon created the �bible� for the first ever motion simulator attraction. Baxter pointed out that this was something that had never been done before. Bruce first had to determine a flight simulator�s capabilities, then work backward to create the thrilling adventure based on the Star Wars film experience.

During their work, George Lucas brought his friend Steven Spielberg in to take a look at the �new and exciting tour.� To the surprise of all present, Spielberg commented on an article Bruce had written about the film Back to the Future for StarLog magazine. It seems that Bruce�s dissection of the parallel time tracks had provoked a lively controversy, eliciting more letters than any other in the magazine�s history. After Spielberg and Gordon�s own exchange, the director promised, �I�m sending Dean Cundey over to argue with you.� And he actually did.

Baxter described Splash Mountain as, �A chance to bring one of Walt�s classics to Disneyland.� The Song of the South based attraction had to be brought in at half the budget previously allotted for E Tickets. Despite this, Bruce was able to bring the project in for 25% less than any later copies created for other theme parks.

With a smile, Baxter next spoke of Bruce�s first love, new technology. He recalled yearly treks to trade shows and Comic Con, as well as a memorable 3D festival. The statement, �He had to be the first to know about and own almost anything,� brought knowing chuckles from the crowd.

He rode the first Segway in Southern California, entertained visitors with robot pets and purchased an early laser disc in Japan, despite the fact there were no players in the United States. (The title was Back to the Future, Tony recalled.)

This love of the new made Bruce a mentor to countless young Imagineers. He created opportunities for what Tony termed the �Gen 3� group. Gen 1, he explained was Walt�s original team; Gen 2 was the current generation of Imagineers, and Gen 3 included the new group moving up to carry Imagineering forward.

Removing his suit coat, Tony explained he had to don a special jacket to discuss Tomorrowland 55. This much discussed and anticipated project was on and off the schedule at Imagineering for several years. The heart of this version of Tomorrowland was to be a spectacular show, with music by Danny Elfman. The idea was that an alien circus had crash landed in Tomorrowland, and was now offering entertainment to Disneyland guests. Bruce was enamored of the idea, and kept plussing the concept with supporting ideas, even including exotic alien bathrooms.

These concepts were deemed too costly, ushering in a new economic era at Disney in the 90s. Bruce, Tony said, simply changed hats and jumped right in, doing the best he could to enhance what was eventually known as Tomorrowland 98.

Bruce Gordon at the opening of the New Tomorrowland's Autopia

Tarzan�s Treehouse was done with a limited budget and a time frame of four months. Bruce was able to meet the challenge, finishing the project the day before the film�and attraction�opened to the public. Tomorrowland�s new Autopia was put together with only what Chevron the sponsor was willing to offer. Bruce also did all he could with The Many Adventures of Winnie the Pooh, built in the former Country Bear Playhouse.

Recognizing that times were changing, Bruce began putting his energies into books. In designing these, Baxter pointed out, he could have complete control, ensuring that each would conform to his perfectionist vision. Tony ruefully noted that he envied Bruce�s ability to do this while dealing with the less than pleasant realities of the Walt Disney Company at the time.

But, Baxter added hopefully, the 50th birthday of Disneyland brought a new wind. Bruce was energized by his work on the historical exhibit. Midway through the design phase, work on the Submarine Voyage was revitalized.

The closure of the Subs was a blow to the veteran Imagineers. �Both of us were devastated,� Baxter admitted. He added that the final Submarine Voyage was one of the worst days of his life. Together, he and Bruce began working on new concepts that would breathe life back into the mothballed attraction. The first inspiration was Disney�s Atlantis, but the film�s lackluster box office performance doomed that idea. Next came Treasure Planet. �It was a stretch,� laughed Baxter. Guests would go to Atlantis and dig for treasure. �Then a wonderful thing happened,� Baxter said. Disney-Pixar�s Finding Nemo was not only a massive hit at the box office, it also represented one last chance to make the Submarine Voyage work again. With the support of new Resort President Matt Ouimet, the original 1959 subs were pressed into service for a brand new show. For a memorable pitch presentation, Bruce came up with the idea that it would end with a direct appeal from Crush. The laid back turtle asked Disney�s top management to provide the �dough� to make the new adventure a reality. �Everybody laughed, and it worked,� Baxter concluded.

�In the end, I don�t think Bruce ever got over the notion of not being an Imagineer at Disney,� Baxter somberly noted. But he applied himself to new projects and was soon busier than ever. There are new books still to come, a DVD in December, and, most importantly, what Tony called, �what he is going to do with Diane and Ron [Miller],� The Walt Disney Family Foundation exhibit.

Tony concluded by thanking Bruce, adding, �I hope you and Walt and David Mumford are creating some wonderful stuff for us to enjoy when we get up there.�