Exclusive interview: Tim Lutkin, Light Designer at Disneyland Paris

Having worked on both Mickey and the Magician and Marvel Super Heroes United, Tim Lutkin is in charge of creating immersive lightshows to offer unique experiences to Disneyland Paris guests. As the Season of Marvel Super Heroes is in full swing, we have recently sat down with Tim to better understand this exciting job.

How and why did you become a lighting designer? How did you get that passion?

From a very young age my mother told me that whenever she took me to the theatre I used to stare at the lighting rig instead of the stage. From as young as I can remember I was obsessed with lighting and I loved going to the theatre. I designed the lighting for my school productions and worked at our local theatre during my time at high school. Early in my career I worked as an associate designer for lighting designer Hugh Vanstone. I am extremely grateful for that time with Hugh.

How would you explain your job and your role in a show?

Essentially my job is to make sure the audience can see everything they are supposed to see and to help direct their attention to the right place. Our blank canvas as lighting designers is a pitch black room and we start to build a picture from there. My role is to support the work of the scenic designers and show directors. To build on their vision. If I get it right I can change, not just the way you see the show but how you feel when you are in the theatre space. From the moment you walk into the auditorium to the moment you leave.

What are your greatest achievements in your job, according to you? and why do you consider them so?

I am very lucky to have been awarded with Europe’s highest honor for theatre lighting design. The Society Of London Theatre’s Laurence Olivier Award. However, my real greatest achievements have been collaborating with some of the most talented theatre professionals working today. Working with companies such as the Royal Shakespeare Company, The National Theatre and Walt Disney Imagineering have been highlights of my career so far. I have designed ten shows in London’s West End and I am very grateful for the opportunities that have come my way.

How did you come to work with Disneyland Paris?

When I was fourteen years old I wanted to be an Imagineer. By the time I was deciding which University course to take I had decided that it was best to stay in the UK and study in London. I have always wanted to design shows for Disneyland and pretty much told everyone I met. Twelve years on my friend and collaborator Paul Kieve was going on a trip to meet some of the team at Imagineering. He asked if I would like to come along too. During our visit in Glendale we were presented with the project outline of Mickey and the Magician. Shortly after we were asked if we would like to be involved. Of course my answer was yes.

How was it like, working first on Mickey and the Magician?

 Mickey and the Magician really was a dream come true for me. It was exciting to be involved in a new project for Disney right at it’s very beginnings. I loved being a part of the team working with Disney’s greatest assets to create the show. Cinderella, Aladdin, Lion King, Frozen and of course the leading man himself, Mickey Mouse.

From the lighting point of view, could you explain the concept of Marvel Super Heroes United?

I wanted the lighting on Marvel Super Heroes to have a strong style. I wanted the Super Heroes to look and feel like mega stars. For this I drew on some of the techniques used in concert and arena lighting. We used bold colors and layers of arial beams to draw your attention to the right places. I used lots of sharp edged pools of light to place the Super Heroes in throughout their solos and battle moments. This, I believe gave the show a real ‘Marvel’ look. It mimics some of the artwork that can be seen in the original Marvel comics.

What was the challenge of such a show?

The challenge on the show was how do we keep the audiences attention directed to the right place for the whole show in a large space with lots of fast paced action? For this we used a tracking system to follow the Super Heroes around the space. It allowed us to select any light in the lighting rig and snap it straight onto them.

Can you tell us about your choices in matter of colors, and the role of color in the show?

Colour and tone in theatre lighting really makes the difference between ‘watching’ the show and ‘feeling’ the show. As I mentioned before we chose to use bold colors throughout. We used deep cyans, bold reds and strong blues / indigos to keep the story moving forward and to give each segment a strong look of its own. We end with the classic red and white look of the Marvel logo with all the Super Heroes each stood in a cold white clean pool of light and the stage set washed in deep red.

Is there any connection between your treatment of color in the show, and the one in the movies. In other words, did you take any inspiration from the movies?

Lighting in movies tends to be much more subtle then the lighting required for theatre spaces. Although we took some inspiration from the movies most of our work revolved around how we make the Super Heroes work in a theatre space and how to exaggerate the work in the films.

How did you treat each one of the heroes, colorwise?

Each of the heroes is surrounded with video. Most of the color choices were based on what we could draw from that content. However, a few of the heroes have some very specific colors that relate to them. Hulk’s green, Spider Man’s red and blue, and Black Panthers slick black costume is supported with cold clean beams of light.

There’s a lot of visual effects and projections in the show. How did you manage to integrate all these elements in your work, and have them function well together?

We worked very closely with the video team and animators to push the video into a more saturated world to help support the style of lighting we wanted to achieve. We also had the privilege of working closely with effect department to add smoke, haze and low fog throughout the show.

How did you approach the stunts?

We wanted to make each fight strong and and clear. We used the Zak Track system to focus tightly in on each Hero. We were careful to make sure that all of them had enough light to safely do all the moves too.

How did you approach the fights? Your treatment seem pretty much cinematographic, focusing on one aspect of the whole scene.

I approached the fights very much like ‘close up shots’ in cinematography. Using light to zoom in on the action and to make the rest of the space and scenic elements dark.

From the lighting and technical point of view, what are the characteristics of studio theater? how fun was it to work in such a state of the art theater?

It was exciting using Zak Track and the new lighting system in Studio Theater. It was an exciting and fulfilling experience and opened up many opportunities to us which meant we started to design the show in a way that would not be possible with a more basic lighting rig.

Can you tell us about your collaboration with the Disneyland Paris team? How fun was it? How collaborative was your work? How did you work with the Show Director?

I very much enjoy working with the Paris team. Stephen Fritschy and his lighting team at the theatre were superb. I loved working with show directors Moira Smith and Louisa Kriouche. They worked with the Super Heroes brilliantly and provided a very clear direction for the production to move in.

Is there any other aspect of the production that you’d like to evoke?

I would like to thank Metin Cig for his brilliant collaboration and help building smoke and haze effects for the show. Without his devotion to the show and to the parks I couldn’t have created the kind of lighting effects the show needed. I would also like to thank Celine Tamaillon for being a brilliant leader and delivering a superb show for the Disney parks.

From your point of view, is that kind of show very different from a musical in the West End?

Although our show lives inside a theme park it draws on all the same emotional devices we use in the West End and on Broadway. In many ways it delivers more punch and magic than West End shows can. There are many budget and space restrictions inside the old Victorian buildings West End shows are staged in.

For Marvel Super Heroes United, there was a first version of the show last year. How specific was it to intervene into a pre-existing production, regarding doing everything from scratch?

It is sometimes a daunting and slightly frightening task to come into a production late in the process. But with this show I felt confident I could bring it a new life and my passion for the Disney parks and previous experience at Disneyland Paris gave me the confidence to take on the role.

It seems that you have some more projects on your plate with Disneyland Paris. Can you tell us a little about them?

Art of Disney Animation is being transformed into “Animation Celebration” and it is going to be a beautiful immersive experience for the guests. You’ll know more about it very soon!

I feel very privileged to be working at Disneyland Paris and have loved working with the teams here. As I said before, it’s a dream come true.

Thank you Tim!

0 thoughts on “Exclusive interview: Tim Lutkin, Light Designer at Disneyland Paris”

  1. Hi, there! I’m from Brazil, and I’ll be at DisneylandParis on my 40th birthday with my family (a husband and 3 daughters). May I have my “magical birthday ever”? This include a character? How I order it? We’re ordering a 1day/2parks ticket, and we have a doubt about the time of Paris Express. It leaves Disnenyland at 8pm, is that time AFTER the fireworks and night parade? We’re very excited with this family travel,and we’ll be waiting ansiously for your reply

  2. Wonderful article, please more like this!

    I’ve never seen that castle elevation artwork before, could you post it in a higher resolution? Would love to thoroughly investigate the details of it.

    Kind regards
    Disneyland Paris Treasures

  3. Greate post. Keep writing such kind of information on your blog. Im really impressed by your blog.

  4. Appreciating the time and energy you put into your site and in depth information you present. It’s great to come across a blog every once in a while that isn’t the same out of date rehashed information. Wonderful read! I’ve bookmarked your site and I’m including your RSS feeds to my Google account.|

  5. What’s the point of attracting adults and “reconnecting them with childhooh emotions and memories” if once they’re there you’ll treat them like they’re not welcome?
    Maybe the problem is not our perception is wrong. Maybe the problem is you really don’t want us to go.

  6. There’s a Santa Fe style hotel? Oh my! Will have to go back and stay there! Only hotel I had time to see on my first visit was the Disneyland Hotel on my way into the park to see Captain Eo after it re-opened in June 2010. I was on a one-day visit via the Eurostar from London (on holiday there from Australia) so very limited time – too limited. But I loved it.

  7. I’ve been 4 times to Disneyland Paris in the last 3 years and each time the service has been absolutely dredful and not even apologetic – would love to see how this changes.

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  11. Actually, you can do this in a one-liner:$( .table tr:even’).addClass( highlight’);That sotceler finds all tr’s which are directly under any element with the table’ class, and the filter only matches every other tr element.

  12. Also my question:-) Is there a way to buy something although i’m not working at Disneyland Paris?

  13. So, so sad to see this icon show close! I first saw it in California in 1987 and was blown away by what was then incredible 3D technology, as well as Michael’s performance. When I visited Disneyland Paris for the first (and thus far, only) time on 24 June 2010 I was on a EuroStar day trip to the park from London which I was visiting for Michael Jackson 1st anniversary events with his UK fans. When I heard that Disneyland Paris and other Disney Parks were re-opening the film as a tribute to Michael, I HAD to make the journey across the channel to see it again. Needless to say, I made the most of the opportunity for repeat screenings on that day. And though I’ve since seen it repeatedly in Anaheim and Tokyo (shortly before it closed there last year) I’ll never, ever forget seeing it on the big screen for the first time since the 80s at Disneyland Paris. I’m not sure I want to go back now. 🙁

  14. It’s a shame this classic has to go, really!
    I’m glad I got the chance to experience it once again with the tribute performance.

    It was not quite the same since many of the original effects and the look and feel of the cinema were missing, still the old 3D glasses/technique and and analogue! print/and projector was used, which was and is kind of lazy from Disney. Also, the print was very worn out the last time I’ve seen it and should have been replaced long ago.

    But, still better than no Captain EO.

    Since Captain EO will never return to the Disney parks, please release a worthy blu-ray of this classic masterpiece (in 3D and 2D). I’m sure plenty of Disney-, Michael Jackson-, Anjelica Huston, Franics Ford Coppola- and George Lucas-Fans would buy it in an instant!

    I sure would!

  15. Why oh why is this closing?

    Have seen it several times at Disneyland Paris in the last couple of years and and each showing was packed out! Judging by everyone’s reaction on the way out, the audience clearly loved both the film and its effects.

    Bad decision, Disney 🙁

  16. The reason it has closed is that jardly anyone watches. Figures have dwindled and have been for years. It has been declining in the mast few years. Everyone moans and groans but it costs Disney to keep it running and if the audiences ain’t coming, who can afford to keep it.

  17. between Oxford and CambridgeONSet the price of a $268look on approximately $358 and buyers will flip away. While you are it true the quick gladness in a bestthe states in the nation with such as AC Milan red and black

  18. Would it be possible to meet with some one in hr on the 2nd idecember2015 to discuss student placement with you. Students would be 18 plus studying travel and tourism funded via Erasmus
    Kind regards

    Sue

  19. We used these just after Christmas. Such a vast improvement since our last visit in summer 2014. Well done! I still had to wait from about 9am to get a good spot in the queue, but then we only waited about 10 minutes in the actual pavilion, as opposed to 70 minutes last time!

  20. We had a wonderfull new years evening at euro disney 2015 – 2016!!!!
    It was fantastic!!
    Thank you!

  21. Will the foliage be refurbished? Many leaves and small branches are missing and spoil the attraction so hopefully these will be refurbished.

  22. Hello We are a family of 4 with my husband and 2 children.I am 32 weeks pregnant.With the easy access card will I have access to attractions with my family.

  23. would changing the perception around DP to attract adults or a particular age groups not be at the expense of other age groups eg kids, teenagers.

  24. What a shame that they cast aside the park’s heritage, people’s memories and their love of DLP by destroying the named stones and replacing them with bland slabs.
    There were a few broken and loose ones, but surely they could have been kept and relayed to a better standard than they had previously.
    It has really dampened our DLP experience. What next? Removal of the castle?

  25. it’sasmallworld is more beautifulthan before.

    I will ride to it’s a smallworld during go to disneyland paris.

  26. i come to disney land for 20 years every year 2or3 times
    i am a real disney fan i collect it also but my complain is this year
    when y order to stay in the hotel why did they not mention
    that there is so many attraction close in the park you mention about the hotel but let also know about what happen in the park
    i hope you understand why i writhe this
    i hope that you will reply
    thanks yolande

  27. I want cast menbers . business chaienge back stage new shw works
    my challenge .
    U.S.A I want art work project menbers.

  28. Hello, I am staying at the Hotel on 9/23/16. That day is my daughter’s birthday. Do you have the opportunity to purchase a cake?

  29. Can anyone help with getting in touch with photopass for Disneyland Paris. Tried sending email through contact us but email keeps coming back undeliverable. All photos are not coming up and need them to find my photos.

  30. Not Impressed! Big Thunder mountain is one of my favorite Disney Rides! Shut! Simlarly, the Star Wars events are apparently unavailable.No mention of these attractions being shut when my booking was made in June. My grandson, for whom we arranged this trip, has extatically reached the height limit, and a star wars addict/devotee will now be denied these pleasures. Will there be a refund/discount offered?

  31. What’s up,I log on to your new stuff named “Disney Announces Transformative Multi-Year Expansion for Disneyland Paris – Disneyland Paris News” like every week.Your writing style is witty, keep it up! And you can look our website about proxy.

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