Author: Andrea Yoo

Here’s your chance to go to Panem without being killed by teenagers.
The Hunger Games: The Exhibition opens in New York’s Times Square Wednesday, kicking off a six-month showcase of costumes, props, set recreations and interactives tied to the blockbuster book and movie franchise. Across seven themed galleries — organized by districts, The Capitol and stages of the games — fans can get a glimpse of key film artifacts, including the “Girl on Fire” dress worn by heroine Katniss Everdeen (Jennifer Lawrence), her Mockingjay armor and pin, and of course, her trusty bow.
Unfortunately, you can’t simply “volunteer as tribute” to get in on the action. Ticket prices range from $22.50 to $29.50 and all ages are welcomed. Located at Discovery Times Square on 44th Street (between 7th and 8th avenues), the exhibit is open from 9 a.m. until 8 p.m. Sunday through Wednesday, and until 9 p.m. Thursday through Saturday.
For more information, visit thehungergamesexhibition.com. The Hunger Games: Mockingjay, Part 2 hits theaters Nov. 20.
To see Thinkwellian, Kate McConnell talk about the exibit, click here

Universal Studios Hollywood has unveiled its newest attraction, Fast & Furious – Supercharged! On June 23, VIP guests and members of the media were invited to come to the park and witness the grand opening ceremony and experience the attraction itself; of course, we were there and were very interested to see the latest effort from Universal Creative come roaring to life for theme park guests.
The opening ceremony – parks are starting to refer to them as “moments in time” – took place on the Back Lot of the property, in iconic Courthouse Square. A few hundred people were on hand, including special guests, Universal executives and of course, members of the Universal Creative team that produced Fast & Furious – Supercharged.
Part of the opening was a special red carpet arrival area, which we were not part of. What we’ve found, is that if you opt for a spot on the red carpet, you usually get shafted at events when it comes to a good spot to see the actual opening ceremony take place – so we always stake out a spot for the main event and let others have the frenzy of red carpet arrivals to deal with. Arriving on the red carpet were some of the stars from the Fast & Furious franchise, as well as main players in the new attraction, including Michelle Rodriguez, Tyrese Gibson, and Vin Diesel. Members of the executive team included Ron Meyer, Vice Chairman of NBCUniversal; Larry Kurzweil, President and COO of Universal Studios Hollywood (who arrived in a hot rod in front of the media riser); and of course, Mark Woodbury, President of Universal Creative. The ceremony was also attended by Los Angeles Mayor, Eric Garcetti, who spoke long and bilingually about the economic benefits Universal’s growth is to the region, congratulating them and publicly backing the park’s unprecedented transformation.
The opening ceremony was produced by Thinkwell, in collaboration with Universal, and it was one of the better “moments in time” that we’ve seen in quite a while – very loud, very flashy and ultimately, it seemed to thrill the crowd of gathered guests with stunts, pyro, and a climatic car jump! Props to our friends at Thinkwell on a job well done!
We opted to broadcast the Fast & Furious – Supercharged opening ceremony live on our Periscope channel; other great sites however, were right there with us shooting the whole thing as well – definitely check out Parks and Cons, Theme Park Review, Park Journey, Theme Park Insider, MiceChat, and Inside Universal, just to name a few – you’ll have Supercharged material coming out of your ears! For those of you who followed along and watched our broadcast live, thanks – we hope you enjoyed it!
Once the opening ceremony was over, media and guests boarded Studio Tour trams that were waiting for us in the Metropolitan Sets portion of the Back Lot, and we headed further into the property to experience Fast & Furious – Supercharged for ourselves.
One of the topics of discussion that I would like to address right away is the presentation of Fast & Furious – Supercharged as a “ride”. The marketing of the attraction certainly presents it as a stand-alone experience and even calls it “a ride”. This is extremely misleading, as it is not a stand-alone ride; it is the new grand finale of the Studio Tour, the trams that take hundreds of guests at a time around the Universal property here in Los Angeles. Fast & Furious – Supercharged is a new experience that is a part of the Studio Tour, just like Jaws, Earthquake, and Kong 360. There are no steel lap bars; hell, the trams don’t even have safety belts. Guests should be aware of this when planning their visit – not to deter anyone from visiting, by any means. People simply should understand what Fast & Furious – Supercharged is, so they can plan accordingly and know where to find it when they arrive. I also don’t think it was the intent of Universal’s marketing to misrepresent the attraction; I honestly think that they simply call it a “ride” out of lack of education from Universal Creative (or input) regarding what type of beast it truly is, and how to go about explaining that in layman’s terms for the general public. Like so many other fan sites, we also echo – this is not a ride, but a major experience that has been added to the world-famous Studio Tour, plussing the hell out of it, and offering a thrilling climax to the tour for guests of all ages to enjoy.
SPOILERS – DISCUSSION REGARDING THE ATTRACTION TO FOLLOW
Since Fast & Furious – Supercharged has just opened, we are going to be careful not to go into many specific details about the experience; that isn’t what we want to do – you should go and see it for yourself as part of your summer theme park rounds. There are however, some things we do want to discuss that are spoilers, so reader beware from this point forward if you want to go into the experience completely spoiler-free.
Guests are introduced to the Fast & Furious – Supercharged story as soon as their tram moves past Wisteria Lane (Colonial Street) by way of one of the hot rods parked suspiciously on the grass next to one of the homes. This sets off an interaction between the live Studio Tour guide and “Tour Security”, which of course, quickly escalates. The narration is pretty clunky and the acting follows suit; this will make some people wince, and others laugh. The introduction of the Fast & Furious story into the tour before the actual attraction is neat, although I would have opted to do it sooner – for instance, it would have been really cool to roll up on the Picture Cars section of the tour and have one of the cars parked there, prompting the tour guide to comment that he/she hasn’t seen that one before – so it must be new. The story could slowly unfold from that point, giving it more opportunity to organically present itself rather than a series of quick video transmissions between Colonial Street and the entrance to the Supercharged attraction; ultimately, the “back story” in this case feels rushed and crammed for time and content. Introduction at the Picture Cars would give it more time and would come after Kong 360, as to not take away that attraction’s thunder.
We’ve only ridden a tram twice through Supercharged as of this writing, so our observation may be incorrect here. However, what we have found thus far, is that the new content that has been created to build up to Supercharged takes place on the tram’s monitors, ultimately forcing guides to bypass any mention of the Whoville set from How the Grinch Stole Christmas. Now, the set has been there a long time, and the video clip of the movie as well as the Ron Howard bits that are played are definitely long in the tooth – it’s just odd to ride past such a large set without any mention of it as our eyes are on the monitors inside the tram instead. It’s awkward, and would have been easier to pull off if the Supercharged back story had been injected earlier in the tour; hopefully, this is something that Universal is continuing to tweak.
The show building for Fast & Furious – Supercharged is huge; even bigger than Kong 360. This is because Supercharged is in 3 acts; the first is for guests’ eyes to get used to the dark, the second sets the story/action in motion, and the third delivers the high-intensity portion of the experience.
We love practical sets and effects. In fact, I’d say that most theme park fans these days love practical environments that they can be immersed in, without the use of 3-D glasses or a wall of media. With an IP such as Fast & Furious, the main content of the story features cars and stars doing things that even the most complex show action equipment or animatronic figures simply can’t do over and over, day after day. In the case of Supercharged, Universal Creative employed both mediums – some practical, and a lot of media – to pull this experience off.
Universal Studios Hollywood is a very 3-D-heavy park. Shrek, Despicable Me, Transformers, Kong 360, and now Fast & Furious – Supercharged all feature 3-D media. Next year, Harry Potter and the Forbidden Journey will join that club, upping the number of 3-D media-rich attractions to 6. That’s a lot for one park. The reality is, with the intellectual properties Universal bases these attractions on, media is generally the best way to approach these experiences, from a design point of view. Let’s face it – even the best show action equipment or most advanced animatronics won’t allow for the type of movement needed to bring something like Fast & Furious to life day after day, year after year. That said, fans of both themed entertainment and movies have made it very clear – increasingly so – that they prefer actual practical sets and immersive environments as opposed to fully digital, which is seen more and more as a creative crutch these days than a specific tool to aid in thematic storytelling. To the credit of Universal Creative, they have mixed both practical and media to bring Fast & Furious – Supercharged to life at Universal Studios Hollywood. As an aside, I suspect more of the same – with perhaps more emphasis on practical – for their Skull Island: Reign of Kong attraction opening next year at Islands of Adventure in Orlando. The tide is turning and creatives are aware that fans want “real” environments at theme parks and in attractions. I really respect that Mark Woodbury and his team at Universal Creative are understanding that and responding to it; in the long run, I honestly don’t think media-based attractions will ever be preferred over good old-fashioned practical dark rides. I truly believe there is nothing more powerful than a richly-themed environment that guests can see, feel, smell, and truly be immersed in when it comes to attraction/themed entertainment design. For me, it’s all about the tangible experience most of the time, even when you have to keep your arms, feet, and legs inside the vehicle at all times.
So, two out of three of the Supercharged scenes are media-based. This means a lot of maintenance is going to be required from here on out – more than they have given Kong 360, which is often blurry, or Transformers, which has suffered from major projection issues over the past year. There’s no way that Vin Diesel (or his reps) will be happy with him being out of focus or tinted green when presented in all of his Fast & Furious glory, you know? No one is going to want blurry stars walking around on the “screen”, so Universal Studios Hollywood is going to have to be all over that from here on out; it’s not a Uni Creative issue anymore – now it’s in the park’s court.
One of the things we did notice as the tram leaves Supercharged, is that guests (at least not the two times we experienced it) don’t seem to lose their minds and cheer the way they do after Kong 360. Now, this could totally be coincidence – or – guests aren’t as wowed by Supercharged because they’ve just experienced Kong as well, so the edge is gone. As themed entertainment designers, one of the golden rules we follow comes from magicians – never show your magic trick twice. It’s quite possible that Kong 360, which is very similar in presentation to Supercharged has taken a great deal of the wow factor away from the new attraction, since it is encountered first on the Studio Tour. It’s hard to tell if that is the case this early in the game, although it wouldn’t surprise me – and if that’s so, it’s a shame. It definitely something that should have been taken into account, however. It will be interesting to see how this plays out in the weeks and months to come.
Some people have come away from Fast & Furious – Supercharged underwhelmed for various reasons; others have been raving about it. Everyone will have their own opinions, likes, and dislikes. We found it to be a good plussing of the Studio Tour, which needs a lot of help these days remaining current and relevant. I’m not a Fast & Furious franchise fan at all – but I feel this new ending to the Studio Tour is definitely better than what was there before, and I think that it was a good move for Universal, as there’s certainly someone watching the films, which have now made upward of $4 billion world-wide. Another Fast movie is going into production next year, so the finale of the Studio Tour is going to be relevant and popular for a long time to come.
Congratulations to Universal Studios Hollywood on another successful addition to the park! We look forward to many more future rides with Dom and his crew as we experience Fast & Furious – Supercharged well into the future!
Read the source article here.

Amusement parks have come a long way since Coney Island’s Switchback Railway roller coaster ushered in the “gravity pleasure ride” industry in 1884. Formula Rossa at Ferrari World in the United Arab Emirates is now the world’s fastest coaster, accelerating to 149 mph in just 4.5 seconds, and the world’s tallest is the 570 foot Skyscraper in Orlando, Florida, set to open to the public in 2017.
For the Future issue of Funworld, the official magazine of the International Association of Amusement Parks and Attractions (IAAPA), editors asked 75 industry leaders from around the world to predict how parks will change by 2020. Not surprisingly, many of the answers revolved around advancements in technology, the need to place a greater weight on visitor reviews, the impact of the economy on patron spending patterns, and ways to minimize what are now considered necessary evils.
So what should you expect? Here are five ways your theme park experience might change within the next five years.
1. Personal Devices and Self Service will help eliminate lines.
Ask any amusement park goer, and they’ll tell you that the lines are one of the worst parts of the experience. Parks like SixFlags have the FLASH Pass, which speeds up your wait time for an additional cost of at least $40 per person, and Disney World has employed means to entertain their waiting guests—like sending over performers, setting up video games alongside the queue, or even launching a “Move it! Shake it! Celebrate It!” parade to reroute visitors to less populated areas—but those strategies only do so much. In 2010, Disney launched the underground Operational Command Center to monitor line lengths and population density and then take action when necessary; they were able to decrease the amount of time visitors spent in waiting, upping the average number of rides they were able to enjoy from nine to 10.
But what if no one had to wait in line at all? Peter Rodbro, the Co-CEO of Entertainment Booking Concepts in Denmark, likens his vision to the process of making an airline reservation.
“By 2020, attractions will need very little IT hardware,” he said, because “the patrons will have it themselves on more devices.” They’ll be able to book a ride in advance using their devices, which will then communicate the transaction to the ride. “Think of the parallel: When you book an airline ticket (or hotel room, etc.),” he said, “you ensure you have a seat at a day and time convenient for you and then you pay digitally (via Google Wallet, Apple Pay, PayPal, etc.).”
Buddy Wilkes, the General Manager of Shipwreck Island Waterpark in Florida, agrees that amusement parks can learn from airports. “Front entrance operations will begin to integrate self-service kiosks like the airlines are doing, combined with a significant increase in online admission sales,” he said. “Most parks will make the transition to computerized POS systems, and paper and coin currency in water parks will go the way of the dinosaur.”
2. Everything will be more interactive and multisensory.
In order to create meaningful and memorable trips, amusement parks will be transforming their attractions from passive amusements into full-on participatory adventures. “Several of our projects are leveraging novel approaches and technology to guest engagement, really sinking the guest into the story,” Cynthia Sharpe, the senior director of Cultural Attractions & Research at the Thinkwell Group, told FunWorld. “We’re already seeing the rise of boutique experiences, like small-group escape games, Ollivanders Wand Shop at Universal, and highly interactive meet-and-greets like Enchanted Tales with Belle at Disney.”
Rich Hill, the senior designer at Sally Corporation, adds that “in the future, once guests pass through the turnstiles, they should have a nonstop flood of experiences that all relate to one another. Guests will no longer wait in long lines because the attractions will flow into one another seamlessly.”
3. Rides and themes will be darker.
To make the experience more adult-friendly, Scott Simmons, the founder and creative director of The ScareHouse in Pittsburgh, Pa., also wants to “to explore options for nonlinear and interactive experiences where guests don’t necessarily need to follow the same path as everyone else.” But unlike The Wizarding World of Harry Potter or Enchanted Tales with Belle, Simmons wants his attraction to explore darker psychological subjects and inspire fear while still giving his guests control over their destiny. “There’s nothing as impactful or as terrifying as entering a room with multiple doorways and thus multiple possibilities,” he said.
Right now, scary rides often tend to be seasonal, emerging in time for Halloween, then disappearing soon after. However, Bill Bunting, the manager of business development at Oceaneering Entertainment Systems, is planning for engineers and designers to “embrace the concept of dark rides that can recognize guests individually, and adapt the show experience for them in ways we have only begun to understand.” He hopes that “multiple ride paths, interactive game engines, and on-demand variable media will allow us to create rides that are constantly changing and morphing, encouraging repeat ridership like never before.”
WATCH: Surviving 12 Hours of Terror at the Great Horror Campout
4. They’ll be greener.
It’s a fair assumption that by 2020, global warming is only going to get worse, and amusement parks will need to adapt in order to conserve resources and comply with government regulations. Legoland in Florida is already using renewable energy to power part of the park, and due to the drought in California, Raging Waters in San Jose has cut back on landscaping efforts to reduce water consumption. Over the next five years, many parks will be attempting to reduce their greenhouse gas emissions, become more energy efficient, and decrease material waste.
“A big portion of a water park’s expenses are on energy,” Patrick Patoka, the director of Avalanche Bay Indoor Waterpark in Michigan, said. “Between the electricity costs to run the pumps and filters constantly, to the gas costs to heat indoor facilities, there is some real potential for savings for these facilities if there were more efficient methods to operate them.”
5. The Food Will Be Held to a higher standard.
Ken Whiting, President of Whiting’s Food Concessions and a partner with North Star Food & Beverage Associates, anticipates a greater demand for high quality, customizable, more creative, and healthier food. “Other trends will include use of brands that will drive spending, craft beer and wine selections, and programs targeted to season passholders,” he said. “Beverages will move away from sugar-based to flavor-based, with unique and customized options being the norm.”
Others predict that food will no longer be a stop along the way from point A to point B, but part of an attraction itself. “Imagine food being gathered during an interactive quest and eaten in a celebration of victory instead of being paid for and wolfed down in a cheaply themed cafeteria,” Hill said.
Read the source article here.

Thinkwell Group, which bills itself as “the experience company,” would spearhead the development of amusement rides at the Village.
The Pro Football Hall of Fame’s NFL Experience could have attractions designed by a production company that has worked with Cirque du Soleil and Universal Orlando Resort.
California-based Thinkwell Group — known for its work in designing theme parks, resorts and museums around the world — has signed on as a master plan partner. Thinkwell Group, which bills itself as “the experience company,” would spearhead the development of amusement rides at the Village, Hall of Fame president and executive director David Baker said.
Presenters during a news conference about plans for the village showed a video they said was an example of what could land on the campus as part of the Hall of Fame NFL Experience. The new building will be an indoor and outdoor activity center housing attractions similar to those that move around the country with the Super Bowl annually.
In the video clip, a boy wearing a football helmet sat in a roller coaster seat hooked to an overhead track. As the ride moved him forward and backward, he was propelled into a virtual reality where he was on a football field, running the ball and nearly getting pummeled by other players. Baker noted the video was a commercial that was several years old.
With news of the Hall of Fame Village project, there’s been talk of dark rides — enclosed attractions that take visitors on vehicles through a series of scenes filled with animatronic characters and audio tracks, such as the “it’s a small world” or “Haunted Mansion” rides at Walt Disney World. Other popular dark rides mix roller coasters or interactive components with more traditional dark ride elements, with examples including “Harry Potter and the Escape from Gringotts” at Universal Studios Florida and “Toy Story Mania!” at Walt Disney World.
When contacted by The Repository, representatives for Thinkwell Group declined to release any information about the company’s involvement in the Hall of Fame Village project and directed inquiries instead to Legends, a company that provides expertise in planning, sales and hospitality, and has worked with the NFL and a host of professional sports teams.
Legends did not return requests for comments.
Thinkwell Group also lists Nickelodeon, Paramount and Warner Bros. Studios as clients and was tapped last year to head the creation of a traveling exhibit for “The Hunger Games” that launches this summer.
Read the source article here.

Amusement parks have come a long way since Coney Island’s Switchback Railway roller coaster ushered in the “gravity pleasure ride” industry in 1884. Formula Rossa at Ferrari World in the United Arab Emirates is now the world’s fastest coaster, accelerating to 149 mph in just 4.5 seconds, and the world’s tallest is the 570 foot Skyscraper in Orlando, Florida, set to open to the public in 2017.
For the Future issue of Funworld, the official magazine of the International Association of Amusement Parks and Attractions (IAAPA), editors asked 75 industry leaders from around the world to predict how parks will change by 2020. Not surprisingly, many of the answers revolved around advancements in technology, the need to place a greater weight on visitor reviews, the impact of the economy on patron spending patterns, and ways to minimize what are now considered necessary evils.
So what should you expect? Here are five ways your theme park experience might change within the next five years.
1. PERSONAL DEVICES AND SELF SERVICE WILL HELP ELIMINATE LINES.
Ask any amusement park goer, and they’ll tell you that the lines are one of the worst parts of the experience. Parks like SixFlags have the FLASH Pass, which speeds up your wait time for an additional cost of at least $40 per person, and Disney World has employed means to entertain their waiting guests—like sending over performers, setting up video games alongside the queue, or even launching a “Move it! Shake it! Celebrate It!” parade to reroute visitors to less populated areas—but those strategies only do so much. In 2010, Disney launched the underground Operational Command Center to monitor line lengths and population density and then take action when necessary; they were able to decrease the amount of time visitors spent in waiting, upping the average number of rides they were able to enjoy from nine to 10.
But what if no one had to wait in line at all? Peter Rodbro, the Co-CEO of Entertainment Booking Concepts in Denmark, likens his vision to the process of making an airline reservation.
“By 2020, attractions will need very little IT hardware,” he said, because “the patrons will have it themselves on more devices.” They’ll be able to book a ride in advance using their devices, which will then communicate the transaction to the ride. “Think of the parallel: When you book an airline ticket (or hotel room, etc.),” he said, “you ensure you have a seat at a day and time convenient for you and then you pay digitally (via Google Wallet, Apple Pay, PayPal, etc.).”
Buddy Wilkes, the General Manager of Shipwreck Island Waterpark in Florida, agrees that amusement parks can learn from airports. “Front entrance operations will begin to integrate self-service kiosks like the airlines are doing, combined with a significant increase in online admission sales,” he said. “Most parks will make the transition to computerized POS systems, and paper and coin currency in water parks will go the way of the dinosaur.”
2. EVERYTHING WILL BE MORE INTERACTIVE AND MULTISENSORY.
In order to create meaningful and memorable trips, amusement parks will be transforming their attractions from passive amusements into full-on participatory adventures. “Several of our projects are leveraging novel approaches and technology to guest engagement, really sinking the guest into the story,” Cynthia Sharpe, the senior director of Cultural Attractions & Research at the Thinkwell Group, told FunWorld. “We’re already seeing the rise of boutique experiences, like small-group escape games, Ollivander’s Wand Shop at Universal, and highly interactive meet-and-greets like ‘Enchanted Tales with Belle’ at Disney.”
Rich Hill, the senior designer at Sally Corporation, adds that “in the future, once guests pass through the turnstiles, they should have a nonstop flood of experiences that all relate to one another. Guests will no longer wait in long lines because the attractions will flow into one another seamlessly.”
3. RIDES AND THEMES WILL BE DARKER.
To make the experience more adult-friendly, Scott Simmons, the founder and creative director of The ScareHouse in Pennsylvania, also wants to “to explore options for nonlinear and interactive experiences where guests don’t necessarily need to follow the same path as everyone else.” But unlike The Wizarding World of Harry Potter or Enchanted Tales with Belle, Simmons wants his attraction to explore darker psychological subjects and inspire fear while still giving his guests control over their destiny. “There’s nothing as impactful or as terrifying as entering a room with multiple doorways and thus multiple possibilities,” he said.
Right now, scary rides often tend to be seasonal, emerging in time for Halloween, then disappearing soon after. However, Bill Bunting, the manager of business development at Oceaneering Entertainment Systems, is planning for engineers and designers to “embrace the concept of dark rides that can recognize guests individually, and adapt the show experience for them in ways we have only begun to understand.” He hopes that “multiple ride paths, interactive game engines, and on-demand variable media will allow us to create rides that are constantly changing and morphing, encouraging repeat ridership like never before.”
4. THEY’LL BE GREENER.
It’s a fair assumption that by 2020, global warming is only going to get worse, and amusement parks will need to adapt in order to conserve resources and comply with government regulations. LEGOLAND in Florida is already using renewable energy to power part of the park, and due to the drought in California, Raging Waters in San Jose has cut back on landscaping efforts to reduce water consumption. Over the next five years, many parks will be attempting to reduce their greenhouse gas emissions, become more energy efficient, and decrease material waste.
“A big portion of a water park’s expenses are on energy,” Patrick Patoka, the director of Avalanche Bay Indoor Waterpark in Michigan, said. “Between the electricity costs to run the pumps and filters constantly, to the gas costs to heat indoor facilities, there is some real potential for savings for these facilities if there were more efficient methods to operate them.”
5. THE FOOD WILL BE HELD TO A HIGHER STANDARD.
Ken Whiting, President of Whiting’s Food Concessions and a partner with North Star Food & Beverage Associates, anticipates a greater demand for high quality, customizable, more creative, and healthier food. “Other trends will include use of brands that will drive spending, craft beer and wine selections, and programs targeted to season passholders,” he said. “Beverages will move away from sugar-based to flavor-based, with unique and customized options being the norm.”
Others predict that food will no longer be a stop along the way from point A to point B, but part of an attraction itself. “Imagine food being gathered during an interactive quest and eaten in a celebration of victory instead of being paid for and wolfed down in a cheaply themed cafeteria,” Hill said.
Read the source article here.

An interview with Craig Hanna, Chief Creative Officer of Thinkwell Group.
1) How important is the analysis of the guest experience for anyone involved in the design of amusement parks?
For Thinkwell, every element of our designs is driven by creating the best guest experience possible, whether it’s a theme park, museum exhibit or live show. We always look at our projects from the guest perspective to serve as a guide. These spaces need to be resonant with the audience on an emotional level and create a unique shared experience that not only connects the guests to the space, but the each other as well. Without guests, these places wouldn’t even exist. At the end of the day, it’s about creating experiences that inspire people.
2) Any visitor experience at amusement parks strongly involves the five senses: How can mobile devices give more interaction?
What’s great about this industry is that it’s not about a single technology or single aspect of entertainment; we’re an industry of generalists, who understand the entertainment space as a whole, and create full systems of experience, engaging the guests with literally every sense, and multiple points of physical and social engagement. Rides, shows, exhibits, food, shopping, even buying your ticket and in-park wayfinding can be something that has the possibility of being augmented or enhanced through mobile technology.
Plenty of companies will create compelling experiences specifically for mobile devices. We don’t need to compete for that space, and it’s as much an opportunity as it is our competition. Our experiences can enable, enhance, and ultimately transcend that tiny screen space. Accept that guests might bring their own technology & distractions. Acknowledge what these technologies are capable of if you leverage them. Augment (but don’t replace) the real world experience with technology.
We innovate not by falling in love with a specific technology for its own sake, but rather by harnessing various technologies as they emerge to bring together the emotional power of physical places, the compelling power of storytelling, and the social power of groups, to create lasting, meaningful experiences.
3) Thinkwell also designs experiences in museum spaces, in which the environment is static, so it’s essential to improve the visitor experience with information and multimedia content. Amusement parks offer a dynamic experience. Are there points of contact between these sectors? What could managers learn from each other? Is there something that museums can learn from parks and parks from museums and vice versa?
The distinction between theme parks and museums is becoming blurred as competition for leisure time is only going to get more crunched — more after school activities for the kids, more moments when the office intrudes with the ping of an email on the phone, more experiential places to spend time. The attractions industry, whether we’re talking about theme parks, museums, or events, is going to have to continue to push the envelope on creating meaningful experiences. Those moments of personalization and customization, when guests or visitors are encouraged to be active participants in and co-creators of the experience, will become even more important. We see both technology and good old fashioned interpretive techniques and storytelling supporting this.
4) Finally, from your observation point, what are some trends in the design of new attractions?
We’re already seeing the rise of boutique experiences, like small-group escape games, Ollivander’s Wand Shop at Universal, and highly interactive meet-and-greets like Enchanted Tales with Belle at Disney. These aren’t necessarily high cost add-ons, like a separate VIP experience, but rather part and parcel of the overall experience. We only see this kind of jewel-like moment getting bigger. And of course advances in technology will be a big driver and not just in these personalized experiences. Advances in laser projection, for instance, are going to offer some new and exciting ways to tell stories.
Read the source article in Italian here.

Company sees Cobb as industry leader, evangelist and promotion acknowledges his contribution to major and strategic projects within the organization.
BURBANK, CALIF. (April 20, 2015) — Thinkwell Group, a worldwide experience design and production agency specializing in the creation of theme parks, major attractions, events, museums, exhibits, expos, and live shows around the world, today announced the promotion of Dave Cobb to Vice President, Creative Development. The move acknowledges his significant creative contributions to key projects at Thinkwell.
Dave joined the company in 2007, coming from Paramount Pictures/Paramount Parks as a creative director. He has worked on many creative developments over the past eight years, including some of the largest projects at Thinkwell, such as Monkey Kingdom theme park in China, confidential projects for Warner Bros., a television animation series development for a major U.S. cable network, Jurassic Dream Daqing in China, and a touring exhibition for the Chicago Museum of Science and Industry. Dave is a much sought after speaker at international conferences, including: The Gamification Summit, MindShare LA, TEA Summit, SATE, and EvenTech. He has also spoken at the IAAPA Future Legends Panel in the past.
“We are extremely pleased to acknowledge Dave’s role as a senior member of the creative team at Thinkwell,” said Craig Hanna, Chief Creative Officer at Thinkwell Group. “Dave is an incredible talent, is recognized throughout the industry as a thought leader, and continues to advocate for innovative guest experiences around the world.”
“The creative brain trust that Thinkwell has cultivated over the last decade truly excites me,” said Dave Cobb on his promotion. “I’m energized by the collaborative spirit that we foster at Thinkwell and every day is a chance to mentor and develop new talent. Our ongoing, diverse slate of projects is thrilling and challenging, and I’m excited for all the incredible ways we are evolving the future of guest experiences.”
Dave’s current project assignments include the oversight and creative direction of a major theme park development, family entertainment center, and indoor ski and snow projects in the Middle East and China, amongst others.
About Thinkwell Group
Founded in 2001, Thinkwell is a global design and production agency that connects companies with custom content-driven experiences in the physical world. The agency headquartered in Los Angeles with offices in Beijing and Abu Dhabi collaborates with its clients to envision, strategize, and create immersive, one-of-a-kind guest experiences. Thinkwell specializes in the creation of theme parks, resorts, museums, exhibits, location-based entertainment, live performances and events around the world. The award-winning company has become a leader in experiential design by bringing a unique holistic approach to every creative engagement, delivering extraordinary results to notable clients over the years, including Fortune 500 companies, film studios, museums, theme parks and destination resorts. For more information visit: www.thinkwell.staging.work
Media Contact:
Ariana Jarvis
[email protected]
# # #
Download a PDF of the press release here.

As Thinkwell continues to invest in China and expand in Asia, Redding will support business development throughout region
BEIJING (April 13, 2015) — Thinkwell Group, a worldwide experience design and production agency specializing in the creation of theme parks, major attractions, events, museums, exhibits, expos, and live shows around the world, today announced the promotion of Paul Redding to the position of vice president of both Thinkwell Asia, Ltd. in Hong Kong and 思客未来 Sī Kè Wèi Lái (Thinkwell’s Chinese entity) in Bejing, China. Redding will be located full time in Beijing. This announcement comes six months after the promotion of Kelly Ryner to president of Thinkwell Asia and 思客未来 Sī Kè Wèi Lái.
In this new role, Redding’s primary focus is to develop Production management for Thinkwell’s projects in the Asia Pacific region while supporting the company’s demanding business development activities. Redding has over 25 years of experience in the Location Based Entertainment Industry; his career achievements include project management of theme park projects for Warner Bros. in Australia and Germany as well as Universal Studios in Japan prior to joining Thinkwell in 2007. Redding’s project experience has now spanned five continents and his expertise in project management encompasses live shows, events, ride systems, retail and themed environments, immersive theater experiences, and water parks.
“Building a team to provide localized support for our projects in Asia while still providing the high quality creative design services we are known for out of our Los Angeles office has been a dream of ours for years,” said Thinkwell Group’s CEO Joe Zenas “relocating Paul to our new office in Beijing ensures the collaboration between our team in China and the United States is seamless.”
Now the largest privately owned experiential design agency for location-based entertainment in the world, Thinkwell has proven its ability to expand repeatedly over the years while maintaining its personal client care and high quality services. In 2015 Thinkwell will celebrate three project openings in Asia (two in China and another in Macau). With the boom of the entertainment economy throughout Asia the demands for the agency’s design and production capabilities are at an all time high. The relocation of senior management to China clearly demonstrates Thinkwell’s commitment to establishing a localized presence in the region as the company continues to grow worldwide.
About Thinkwell Group
Founded in 2001, Thinkwell is a global design and production agency that connects companies with custom content-driven experiences in the physical world. The agency headquartered in Los Angeles with offices in Beijing and Abu Dhabi collaborates with its clients to envision, strategize, and create immersive, one-of-a-kind guest experiences. Thinkwell specializes in the creation of theme parks, resorts, museums, exhibits, location-based entertainment, live performances and events around the world. The award-winning company has become a leader in experiential design by bringing a unique holistic approach to every creative engagement, delivering extraordinary results to notable clients over the years, including Fortune 500 companies, film studios, museums, theme parks and destination resorts. For more information visit: www.thinkwell.staging.work or www.thinkwellgroup.cn
Download a PDF of the press release here.

Thinkwell Group, in collaboration with Warner Bros., designed and produced the recent expansion at Warner Bros. Studio Tour London: The Making of Harry Potter
BURBANK, CALIF. (Apr. 6, 2015) — Thinkwell Group, a worldwide experience design and production agency specializing in the creation of theme parks, major attractions, events, museums, exhibits, expos, and live shows around the world, today announced its involvement in designing and producing the expansion for the award-winning behind the scenes attraction at Warner Bros. Studios Leavesden.
The new permanent expansion includes the original Hogwarts Express steam engine (antique British steam train No. 5972 “Olton Hall” built in 1937) and a recreation of Platform 9 ¾ set from the Harry Potter film series. Guests will have the opportunity to climb aboard the iconic train and pose with a luggage trolley as it disappears through the platform wall, along with other interactives.
“We are extremely honored to continue our collaboration with Warner Bros. Studio Tour London: The Making of Harry Potter,” said Craig Hanna, chief creative officer for Thinkwell Group. “Working with Warner Bros., production designer of the Harry Potter films Stuart Craig, and the team at Leavesden is an incredibly rewarding experience.”
Thinkwell collaborated with Warner Bros. on Warner Bros. Studio Tour London: The Making of Harry Potter, which opened in 2012, to create a one-of-a-kind attraction which explores the art and craftsmanship that went into the creation of the Harry Potter film series at the very studio where the movies were filmed for over a decade. Featuring dozens of original sets, and hundreds of authentic costumes and props, this immersive experience showcases the exceptional creativity and craftsmanship that brought the films to life, and goes far beyond behind the scenes with an award-winning handheld Digital Guide, and over 100 minutes of original media featuring the cast and crew produced specifically for the attraction.
About Warner Bros. Entertainment Inc.
Warner Bros Entertainment Inc. is a fully integrated broad-based entertainment company and a global leader in the creation, production, distribution, licensing, and marketing of all forms of entertainment and their related businesses, across all current and emerging media and platforms. A Time Warner Company, Warner Bros. Entertainment stands at the forefront of every aspect of the entertainment industry from feature films to television, home entertainment/DVD, animation, product and brand licensing, and interactive entertainment.
About Thinkwell Group
Founded in 2001, Thinkwell is a global design and production agency that connects companies with custom content-driven experiences in the physical world. The agency headquartered in Los Angeles with offices in Beijing and Abu Dhabi collaborates with its clients to envision, strategize, and create immersive, one-of-a-kind guest experiences. Thinkwell specializes in the creation of theme parks, resorts, museums, exhibits, location-based entertainment, live performances and events around the world. The award-winning company has become a leader in experiential design by bringing a unique holistic approach to every creative engagement, delivering extraordinary results to notable clients over the years, including Fortune 500 companies, film studios, museums, theme parks and destination resorts. For more information visit: www.thinkwell.staging.work
Media Contact:
Ariana Jarvis
[email protected]
# # #
Download a PDF of the press release here.