This fun Disney TV special was a nightmare behind the scenes

How Kaye turned the special into a mess

As detailed by the late great Disney historian Jim Korkis, the issues with the special started from the get-go. Dick Nunis, then chairman of Walt DIsney Attractions, had issues with Smith-Hemion due to the 1981 special marking the 10th anniversary of Walt DIsney World. Specifically, Nunis hated how the special showed a young Michael Keaton as an incompetent Disney employee with long hair hitting on guest Dana Plato. The producers refusing to let him see the script was another blow to the working relationship and little surprise that Disney and Smith-Hemion didn't work together again until 1994. 

As for the shoot, while Kaye put on a good persona of an affable and likable man, his real personality was much different. As detailed by Martin Gottfried in the book Nobody's Fool, Kaye had no problem connecting with an audience, but with people in his life, he could be, at best, cold and indifferent. At worst, he could come off with a horrible attitude and insulting to others. 

The Disney producers soon felt that Kaye was acting up from day one of filming with a diva attitude, starting with demanding a Mercedes limo. Filming with Barrymore, Kaye would complain about the guests who were taking photos of him. Ron Mizikier, who produced the special, shared the stunning story of an elderly woman coming up to Kaye, gushing on being a fan for years and wanted a photo with him. Kaye's response was to throw the camera to the ground and stomp on it. 

Kaye had the audacity to scream about Walt's widow, Lillian Disney and then-CEO Ron Miller blocking him off when he was filming his intro. The topper was Kaye conducting the Glee Club from a raised platform and dropping his pants to moon Nunis, who wanted Kaye fired on the spot. 

Somehow, it all came together for a fun special, but it's no shock this was the last time Kaye and Disney worked together. Kaye himself passed away in 1987, with the stories of his darker side only becoming public afterward, so he couldn't refute any of these tales. 

The special itself is still worth a watch for the showcase of early EPCOT and the great musical numbers (Marie Osmond has a fun one). To see how it worked when it was pure chaos behind the scenes is an underrated part of EPCOT Center's legacy.