“It’s kind of fun to do the impossible.” That’s one of Walt Disney’s most popular quotes, often used in the context of the theme park marvels imagined by the company he created.

Over the decades Walt Disney Imagineering, the secretive arm of the Walt Disney Co. devoted to theme park experiences, has dreamed up a room full of singing birds and flowers, brought to life a mini New Orleans, captured the idealism of space flight and re-envisioned modern transportation, to name just a few of its many varied accomplishments.

For its latest trick, Imagineering will attempt to resurrect a life of sorts, that is to fully animate a highly accurate robotic creation of one of the most recognizable figures of the 20th century, Walt Disney himself. First unveiled last summer at the company’s fan convention D23, the goal, said Disney Experiences Chairman Josh D’Amaro at the event, is to capture “what it would have been like to be in Walt’s presence.”

That means finding a middle ground between romanticism and realism.

On Wednesday morning, Imagineering previewed for a select group of media the upcoming show “Walt Disney — A Magical Life,” set to premiere July 17 to coincide with Disneyland’s official 70th anniversary, when it will temporarily displace an attraction centered on a robotic Abraham Lincoln. An early sculpt of what would become the animatronic was revealed, one complete with age spots on Disney’s hands and weariness around his eyes — Imagineers stressed their intent is faithful accuracy — but much of the attraction remains secretive. The animatronic wasn’t shown, nor did Imagineering provide any images of the figure, which it promises will be one of its most technically advanced.

Instead, Imagineering sought to show the care in which it was bringing Disney back to life while also attempting to assuage any fears regarding what has become a much-debated project among the Disney community. When D’Amaro unveiled “A Magical Life” last summer, he did so noting he had the support of the Disney family, singling out Disney’s grandnephew, Roy P. Disney, who was in the audience.

Yet soon a social media missive critical of the attraction from Walt’s granddaughter would go viral. It raised anew ethical questions that often surround any project attempting to capture the dead via technology, be it holographic representations of performers or digitally re-created cinematic animations, namely debates surrounding the wishes of the deceased and whether such creations are exploitative. “Dehumanizing,” wrote Joanna Miller in her Facebook post on the figure.

The animatronic somewhat represents a shift in thinking for the Walt Disney Co., as the majority of its robotic figures are representations of fictional characters or overly-saturated political figures such as those in Florida’s Hall of Presidents, in which new politicians are added while they are living. Arguably, the Walt Disney Co. first tested the public’s willingness to embrace a resurrected Disney via a holographic-like projection for its touring “Disney 100: The Exhibition,” which initially raised some eyebrows.

Longtime Imagineer Tom Fitzgerald, known for his work on beloved Disney projects such as Star Tours and the Guardians of the Galaxy coaster in Florida, said Wednesday that “A Magical Life” has been in the works for about seven years. Asked directly about ethical concerns in representing the deceased via a robotic figurine, Fitzgerald noted the importance of the Walt Disney story, not only to the company but to culture at large.

Disney Imagineers at work on the wardrobe of Walt Disney for the new animatronic show, “Walt Disney — A Magical Life.” Seen here is a close-up of the stitching of a logo for Palm Springs’ Smoke Tree Ranch, a favorite retreat of Disney’s. The locale will be represented on Disney’s tie.

(Mike Pucher / Disneyland Resort)

”His life story had been told in these other formats already,” Fitzgerald says, referencing the film “Walt Disney: One Man’s Dream,” which currently airs at Florida’s Hollywood Studios. “What could we do at Disneyland for our audience that would be part of our tool kit vernacular but that would bring Walt to life in a way that you could only experience at the park? We felt the technology had gotten there. We felt there was a need to tell that story in a fresh way.”

Disneyland, in contrast to the company’s other parks around the globe, places a premium on historical attractions, in part because it’s the only park Disney walked in. The park’s patriarch even had a small apartment on Main Street, U.S.A., in which he would occasionally spend the night. After its initial run during the 70th celebration, “A Magical Life” will play in tandem with “Great Moments With Mr. Lincoln” thanks to a newly constructed revolving stage. A new pre-show gallery will feature a mini-re-creation of Disney‘s apartment and also unveil some never-before-seen artifacts, such as early master plans of Disneyland.

The figure, essentially, was created in part to anticipate criticism. Fitzgerald notes modern audiences, with the ability to zoom in on a character via smartphone, are far more discerning. The animatronic will aim to represent Disney in 1963. Disney died in 1966 at 65.

“He needs to be able to speak with his hands. Hands, very important,” Fitzgerald says. “When you watch Walt Disney talking, he’s very expressive with his hands when he talks. He also has expressive eyebrows, which many of you had heard about. When he speaks, he speaks with his eyebrows. … One of the things I discovered in watching the footage, he doesn’t blink when he speaks.” Thus, when animating the figure’s eye movements, Fitzgerald says, there was much discussion over his “blink profile,” ensuring it matched up with filmed footage.

Though the exact arc of the show, which will run about 17 minutes, wasn’t revealed, Fitzgerald and fellow Imagineer Jeff Shaver-Moskowitz, who was instrumental in the recent reimagining of Disneyland’s Toontown, noted that all dialogue will be taken directly from Disney’s speeches. The setting will be in Disney’s office, and for much of the show Disney will be leaning on his desk, although the figure was teased as being able to stand up.

Fitzgerald and Shaver-Moskowitz note that they researched Disney’s shoe size, looked at molds of his hands and even attempted — and failed — to find out which hair products Disney used. He will be wearing a tie emblazoned with the logo for Palm Springs’ Smoke Tree Ranch, a favorite retreat of Disney’s.

“We didn’t order an animatronic to look like Walt,” Shaver-Moskowitz says. “We built a Walt animatronic to deliver a performance that was specifically Walt.”

Veteran Imagineer Tom Fitzgerald reviews storyboards associated with “Walt Disney — A Magical Life,” which launches July 17 at Disneyland. The show will include a robotic figure of Walt Disney as well as a short film.

(Mike Pucher / Disneyland Resort)

Yet can any animatronic capture the essence of a human, even a theatrical interpretation of one?

“You could never get the casualness of his talking,” Disney’s granddaughter Miller wrote in her post. While those who know the Disney family have confirmed the veracity of the post, attempts to reach Miller have been unsuccessful. Members of the Walt Disney family are said to be divided, with many supporting the animatronic and some others against it, say those in the know who have declined to speak on the record for fear of ruining their relationships.

“He was so fascinated with technology, and also the intersection between technology and art,” says Kirsten Komoroske, executive director of the Walt Disney Family Museum, of Disney. Multiple descendants of Disney’s sit on various boards that the Family Museum is associated with, and Komoroske says those working with the institution have pledged their support of the animatronic. “They really feel that he would have liked this project.”

Others who knew Disney, such as legendary Imagineer Bob Gurr, the designer of the Disneyland Monorail, the Matterhorn Bobsleds and more, as well as a pivotal collaborator on the Lincoln figure, have confirmed that they have seen the animatronic but have chosen not to discuss it. “I am embargoed,” Gurr told The Times, adding only that the public would have “quite a reaction.”

Imagineers were asked about Miller’s comments. Dusty Sage, executive editor of Disney fan site Micechat, told the audience he has spoken with Miller and her primary concern was that Disney never wanted to be turned into a robotic figure.

“In all our research, we never found any documentation of Walt saying that,” Shaver-Moskowitz says. “We know that it’s anecdotal and we can’t speak to what was told to people in private and we can’t speak to Joanna’s specific feelings about the project. But we have worked very diligently for many years with the Walt Disney Family Museum and members of the Disney and Miller family. … We’ve taken care to make sure that the family is along the journey with us and we feel that we’ve presented a faithful and theatrical presentation that keeps Walt alive in the medium that he pioneered.”

The Walt Disney Co. has made a significant effort over the years to mythologize Disney. Statues of Disney can be found at both Disneyland and Disney California Adventure, and trinkets bearing his image, including an ornament of the latter, can occasionally be spotted for sale in the park’s gift shops. The reality of who Disney was has arguably become obscured.

“Walt Disney — A Magical Life” will walk a fine line when it opens, attempting to inspire a new generation to look into Disney’s life while also portraying him as more than just a character in the park’s arsenal.

“Why are we doing this now?” Fitzgerald says. “For two reasons. One is Disneyland’s 70th anniversary is an ideal time we thought to create a permanent tribute to Walt Disney in the Opera House. The other: I grew up watching Walt Disney on television. I guess I’m the old man. He came into our living room every week and chatted and it was very casual and you felt like you knew the man. But a lot of people today don’t know Walt Disney was an individual. They think Walt Disney is a company.”

And now nearly 60 years after his death, Disney will once again grace Main Street, whether or not audiences — or even some members of his family — are ready to greet him.