LOS ANGELES — Theme parks have long had a checkered reputation when it comes to dining.

And theme park designer Eddie Sotto once wanted to put an end to such a reputation. “Why,” Sotto reflected to me in 2023, “are we not thinking more holistically as to what we’re putting inside the guest as to what we’re putting in front of the guest?”

“The old joke is that people don’t expect the food to be any good in an immersive environment,” Sotto said. “I don’t believe that. I believe it should all be good. You’re paying a lot. The opportunity is for it all to be transformative.”

Sotto, whose outspoken passion for theme park design made him a favorite among Disney’s vast fanbase, died on Dec. 17 in Orange County after a long battle with various heart-related issues, said his wife of 48 years, Deena. He was 67.

While Sotto’s best-known masterworks are overseas, be it the creation of Main Street, U.S.A., for Disneyland Paris or overseeing the development of the early trackless attraction Pooh’s Hunny Hunt for Tokyo Disneyland, he had a reputation for fighting tirelessly to enhance the theme park experience, pushing for improvements to everything including ride vehicles and the food on guests’ plates.

In the early ’90s while working for Walt Disney Imagineering, the company’s secretive arm devoted to theme park experiences, Sotto took it upon himself to hold a chef-led symposium for Imagineers.

“They taught us Imagineers a lot about the ritual of dining, and understanding what foods do to you,” he said, describing how theme park dining should go beyond developing a burger with a cute name.

He was also an early designer on Disneyland’s Indiana Jones Adventure, brought music to Space Mountain and elevated a Los Angeles landmark: He led an interior refresh of the now-shuttered Encounter restaurant at LAX.

Born in Hollywood on March 14, 1958, and raised in La Mirada and Fullerton, Sotto grew up obsessed with Knott’s Berry Farm and Disneyland. He married Deena, his high school sweetheart, when he was 19. Sotto initially followed in his late father’s early footsteps, working at Sears. His meteoric rise in theme park design would be unheard of today, as Sotto never attended college and was self taught, drafting theme park designs in his down time while selling appliances.

His hiring at Imagineering caused some debate, says Tony Baxter, the Disney legend who oversaw the creation of such attractions as Big Thunder Mountain, Indiana Jones Adventure, Star Tours and Splash Mountain. Outgoing and driven, Sotto began reaching out to Baxter for advice in the late ‘70s, says Baxter. It would take nearly a decade for Baxter to persuade his superiors to take a chance on Sotto, who was eventually hired by Imagineering in 1986 after stints at Knott’s Berry Farm and the Landmark Entertainment Group. It was at Landmark where he met one of his key mentors, Herb Ryman, a fine artist and longtime concept designer with Imagineering.

“For people in management, they kind of want to see a portfolio of something solid,” Baxter says. “But for me, it’s what’s going on in someone’s mind. And Eddie’s mind was sharp as a tack.”

So savvy, believed Baxter, that he was given the task of reimagining Main Street, U.S.A., for a French audience at Disneyland Paris. Sotto’s take on the introductory turn-of-the-century land is widely regarded as its finest, with its grand Victorian-inspired designs diving more deeply into factual American history than its predecessors. Enclosed archways line each side of the street behind the shops. The arcades serve as a shield from Parisian weather but also gave Sotto the opportunity to design installations that focus on the Statue of Liberty, American inventions and the bond between the United States and France.

The goal, says Baxter, was “to create shops in competition with European architecture.” Tom Morris, a retired Imagineer who worked closely with Sotto, says Sotto’s Main Street possesses “an extra layer of storytelling,” adding that Sotto gave the thoroughfare “more of an opportunity for exploration.”

“It’s excessive in the best way possible,” adds Christopher Merritt, a theme park designer and author who worked with Sotto on Pooh’s Hunny Hunt.

Morris recalled first meeting Sotto when they were teens in the 1970s. Morris jokes that he and Sotto both went to Disneyland “more than our parents thought was healthy, which was four or five times per year.” Their paths initially crossed at the Anaheim public library, where they went to peruse its Disneyland collection.

“There were files and files of photographs and employee newsletters — all sorts of weird and interesting things,” Morris says. “I always thought I must be the only weirdo who is interested in all of this, but one day there was another person in there and that person was Ed Sotto. That’s where we met, and I was really surprised, actually, that there was someone else afflicted with the same obsession for Disneyland.”

At Knott’s, Sotto was tasked with reimagining a motorcycle chase ride. Sotto, as recalled in the book “Knott’s Preserved” by Merritt and J. Eric Lynxwiler, took four buttons off a coat and created a mini soapbox car and ran it around a conference table as if it were a Matchbox toy. This would lead to the creation of the Wacky Soap Box Racers, in which the makeshift cars would careen through painted facades of cartoon-ish animals cheering on the guests. The attraction emphasized silliness, taking riders into “Catnip Junction” and through rat-infested sewers.

“He told me that everyone backed away from the project because he was the new kid,” says Merritt. “He got literally no budget. There was an end scene in a fireworks factory and they were making bombs out of rubber beach balls that they spray painted black. There were doing this by hand. And it’s a big hit.”

Sotto in his 13-plus years at Imagineering had an influence on Disneyland. As a concept designer on Indiana Jones Adventure, Sotto, says Baxter, conceived the idea in which the ride vehicles would appear to go through one of three different doors, an illusion accomplished by a rotating wall. Repeat visitors would sense as if the car was moving on an alternate track. Today, the walls no longer move and the effect is attempted via projection technology. “I felt my rolling ball [at the ride’s end] and Eddie’s choice room were the two things that really made the ride unique in terms of, ‘Wow, how did they do that?’” Baxter says.

Sotto ascended quickly while at Imagineering, rising to the position of senior vice president, concept design.

“Eddie just kept sketching and drawing,” Morris says. “He was inspired by Herb Ryman and that was Herb’s motto: ‘Just keep drawing.’ I just think when you have a lot of quick sketching acuity, word gets out. People know. This is someone you want on your team, especially in the early stages, to help concept, bring forth and pitch an idea.”

In the mid-’90s, Sotto realized a dream of many an Imagineer, particularly Morris, of bringing onboard audio onto a roller coaster, specifically Disneyland’s Space Mountain. Today, it’s commonplace for coasters to have synced music or sound effects, but Morris says there were technical hurdles that needed to be solved, most notably related to the engineering of the speaker sets on individual cars.

Sotto pushed it through, but not without some personal touches. An avid fan of rock ‘n’ roll, Sotto tapped surf rock guitar legend Dick Dale for a part of the composition, which heavily pulled from Camille Saint-Saëns’ “Aquarium” section of “The Carnival of the Animals.” The result was otherworldly, but also rooted in a sound associated with riding the Southern California waves. Dale’s riffs, wrote Sotto on his website, “were to be triggered to compliment each twist, turn and drop of your ‘rocket.’”

“He loved Orange County surf guitar music,” says Merritt. “So he hires Dick Dale for this intergalactic soundtrack for Space Mountain. They did some promotional thing where they put Dick Dale standing on Space Mountain playing his guitar. That’s just the audaciousness of Eddie.”

In fact, Sotto wrote on his site, it was the promise to play atop Space Mountain that sold Dale on the gig. Sotto would leave Imagineering in 1999 to soon after establish his own Laguna Beach-based SottoStudios, but not before getting an opportunity with Imagineering to remodel Encounter at LAX. Sotto’s vision was a space-age bachelor pad, a place, he said in 2023, “where George Jetson and Barbarella might meet for a drink,” with lava lamp-inspired pillars and soda fountains modeled in the shape of vintage sci-fi ray guns, complete with sound effects.

Sotto long spoke of the restaurant, which closed in 2013, as one of his favorite projects.

“Theme has to go deep,” Sotto said. “It has be something that’s relevant and exciting to people. I spent weeks putting together 11 hours of music for Encounter. What you were hearing could be a B-side from William Shatner’s space album. Theme has to reward your close inspection at a rich level. That’s why people return.”

SottoStudios over the years was heavily involved in the automobile industry, as Sotto led the design of many car showrooms. Sotto also had a passion for restaurants, and worked on numerous L.A. establishments including John Sedlar’s shuttered but acclaimed Rivera. Sotto’s career would also take him to Jeff Bezos’ Blue Origin offices, for which he designed a Jules Verne-inspired rocketship fireplace that doubles as a lobby meeting space.

And his passion for theme parks never wavered, says Baxter, even as his heart issues worsened. At their monthly lunches, Baxter notes that he and Sotto would continue to brainstorm new Disney attractions or alternative directions to what the company was announcing. Sotto, says Baxter, spent his final few days at Orange’s UCI Medical Center, but was given a room with a view of Disneyland’s fireworks, which he looked forward to watching each evening. Baxter recalled a picture of the two of them eating chili cheese dogs at Disneyland.

“He sent it to me, and said, ‘I’m dreaming of a day when we can do this again,’” Baxter says. “That was just two weeks ago.”

In addition to his wife, Deena, Sotto is survived by their son Brian, daughter Venice and her husband, Rocky.

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