General

Why “Western River” Went South — Part 1

Published

24 years ago

December 31, 2000

On Saturday May 20th, 1,400 Disneyland fans will gather in New Orleans Square to take part in the special ticketed “Celebrating the Pirates of the Caribbean” event. These folks will have paid $85 apiece for the privilege of paying tribute to what many call the greatest theme park ride ever created.

As part of the evening’s festivities, these guests can attend a panel discussion featuring many of the folks who helped create this legendary attraction. These Imagineers are sure to reveal many never- before- told tales about the creation of the original “Pirates” (which – even though it’s 33 years old – still regularly tops guest satisfaction surveys as the most popular ride in all of Disneyland).

While the stories these old timers will tell about “Pirates” are sure to be intriguing, it is a shame that the folks at Disneyland’s Special Events office won’t allow these veteran Imagineers to take questions from the audience. Imagine what sort of queries these guys would get from such a hardcore group of Disneyana fans.

Questions like: “Why is that you guys never made a ride that topped ‘Pirates’?”

If master Imagineer (and chief concept design of “Pirates”) Marc Davis were still alive, I know how he’d answer that question.

“We *DID* design a ride that topped ‘Pirates.’ But those $@%$&?#! in Burbank never let us build the thing.”

What would Marc have been talking about?

“Western River Expedition.”

Just that name is enough to drive Disneyana fans of a certain age off the deep end. First they’ll tell you about the model they saw ‘way back in the ’70s while touring the post-show area of “The Walt Disney Story” at WDW’s Magic Kingdom. Then they’ll gibber about the amazing production paintings they saw for this proposed attraction and how they dreamed of someday getting the chance to ride the thing.

Normally, Disney doesn’t like the public to see concept art from “Western River Expedition” (WRE). Afterwards, these folks tend to ask questions that the current Mouse management team just finds difficult to answer. Questions like “How come something that looks this good never made it off the drawing board?”

But – last month – as part of the “Tribute to Marc Davis” that the Academy of Motion Picture Arts and Sciences held at the Samuel Goldwyn Theater, the Imagineering Research Center did display some of Davis’s marvelous concept paintings for this proposed attraction. And – as people stood around in the Grand Lobby, marveling what may well be Marc’s best work – that same old question was heard again.

How come something that looks this good never made it off the drawing board?

It’s a long sad story, folks. Full of artists working at the top of their form, only to be undercut by guys who only cared about the bottom line.

Sound familiar?

Well, this time, we’re not talking about the Walt Disney Company in the year 2000. This story starts ‘way back in the Spring of 1967 … Six months after Walt Disney had died … Just weeks after Disneyland’s “Pirates of the Caribbean” had first opened to the public.

It should have been a time for celebrating. After all, the last attraction that Walt Disney had personally supervised was proving to a huge hit with the public. Record crowds were daily pouring through the gates at Disneyland, eager to set sail on “Pirates of the Caribbean.”

But – back at WED – the Imagineers were worried about other pirates. Corporate raiders, to be exact. Huge companies like General Electric, Gulf & Western and Litton Industries, who were supposedly circling the company like hungry sharks. Eager to make a deal should Roy decide to put Walt Disney Productions up for sale.

That may seem like a pretty laughable scenario now. But – back in the Spring of 1967 – this sort of talk was rampant at Walt Disney Productions. For it was well known that Roy had been actively trying to retire when Walt suddenly passed away in December 1966. The scuttlebutt around Burbank was that the elder Disney was still thinking of packing it in and selling the whole company off to the highest bidder.

Again, given what we know now in the year 2000, it’s hard to imagine that Roy would ever think of selling off Walt Disney Productions. But – in 1967 – the elder Disney *DID* seriously consider an offer from Westinghouse to acquire the company. Word of the proposed deal somehow got out to Disney Productions employees … and panic quickly swept throughout the company.

Since folks feared for their very jobs, they were eager – desperate even – for some indication from Roy that Walt Disney Productions was not in fact up for sale. But the elder Disney – who was typically a very private person – became almost a recluse while he mourned for his brother. For weeks, he’d stay away from the studio – preferring the seclusion of his Toluca Lake home. Since no one knew for sure what Roy’s future plans for the company might be, wild rumors regularly began racing through the company.

Of all the divisions of Walt Disney Productions, WED probably had it the worst in this situation. For work on Imagineering’s next big project – Disney World – had virtually ground to a halt following in the wake of Walt’s death. No one at WED knew for certain when – or if – work would ever get underway again on the Florida project.

Since many of the Imagineers’ jobs depended on Disney World going forward, lots of folks at WED spent hours on the phone that spring. They’d call their friends back in Burbank several times a day, eager for any new information about Roy and the Westinghouse deal.

Every hour, it seemed like there was a different story coming out of Disney corporate headquarters. Scary scenarios like “Westinghouse only wants to run the studio and Disneyland. If the deal does go through, the Florida project’s dead as a doornail.” Or “I hear Roy’s sick now too. He’ll never live long enough to complete Disney World.” Or – worst of all – “Well, of course Roy doesn’t want to go forward with the Florida project. The one guy who actually knew how to build the thing is dead!”

It was a scary, scary time to be an Imagineer. Which makes Marc Davis’s behavior in the Spring of 1967 all the more admirable. Other folks at WED filled their days with fear and gossip.

Marc just worked.

Rather than give into the terror that was paralyzing so many other Imagineers, Davis just came in every day, sat at his desk and drew. He worked up scenes for Disneyland’s “Haunted Mansion.” And – when Marc temporarily ran out of ideas for the “Mansion” project – he switched over to making character sketches for the Bear band show Walt had hoped to build for the Mineral King, CA. ski area project.

And – after he ran through all of his ideas for these projects – Marc toyed with ways he could improve Disneyland’s “Pirates of the Caribbean.”

Why look for ways to improve an attraction that was already a huge hit with the public? Marc wasn’t entirely happy with the way “Pirates” had turned out. Why for? Well, that Anaheim favorite ended up looking the way today because Disney’s “Pirates” ride was originally supposed to be a walk-through attraction.

Strange but true, folks. Then known as “The Rogues Gallery,” this walk- through attraction was supposed to have been the centerpiece of Disneyland’s newest “land,” New Orleans Square. Intriguingly, this pirate themed show – as originally designed – would have been presented below ground, in a huge basement-like area below the streets and shops of New Orleans Square.

Guests would have entered “Rogues Gallery” by walking down a steep set of stairs. Once they were below ground, a Disneyland hostess would have lead the tour group past various gruesome set pieces while spieling a humorous narration for the show.

Using a live tour guide to lead guests through a Disney theme park attraction might sound a little strange today. But – in 1961-62 – WED had yet to develop a continuously moving ride system like the omni-mover. So the walking tour approach seemed to the only way the Imagineers could move large numbers of people through atmospheric, story-driven attractions like “The Rogues Gallery.” (A similar walking tour scenario had already been mapped out that other soon-to-be-opened Disneyland attraction, “The Haunted Mansion.”)

The Imagineers were confident that the walking tour approach would work with their “Rogues Gallery” show. Walt wasn’t so sure. He worried that ñ what with Disneyland’s ever increasing attendance ñ there was no way a walk- through version of “Rogues Gallery” could be able to handle the huge number of visitors who would daily try to experience Disney’s new pirate show. So Walt ordered construction stopped on New Orleans Square while he and his Imagineers figured out a way to solve “Rogues Gallery” ‘s capacity problem.

Now please keep in mind that Disney had already poured $3 million dollars into New Orleans Square when he called a halt to construction in late 1961. All work at the site stopped. That foundation hole stood empty – its structural steel rusting – for the next three years.

But Walt had faith that his Imagineers would eventually find a way to fix “Rogues Gallery” ‘s capacity problem. And – a year or so later – they actually did.

What ended up saving Walt’s pirates was a ride system that WED had originally designed for a much kinder, gentler attraction: “it’s a small world.” This revolutionary system – which quickly and quietly moved hundreds of guests an hour through a show building by using flat bottomed boats that were gently pushed along a ride track via a clever system of water jets and conveyor belts – had worked out great at the 1964 New York World’s Fair. It seemed the perfect solution to Disneyland’s pirate show problems.

This new ride system solved “Rogues Gallery”‘s capacity concerns as well as neatly fit into the waterfront theming of Disneyland’s latest “land.” The only downside of using this water- based system was that there was no way the attraction would now fit into New Orleans Square’s basement area it had originally been designed for.

So Marc and the Imagineers had to map out a whole new floor plan for Disneyland’s Pirate attraction. They eventually decided to build “Rogues Gallery” show building (which – by now – had been renamed “Pirates of the Caribbean”) outside the berm. This meant that the basement area under New Orleans Square was now just transitional space – though which boatloads of guests would have to be moved from the show’s first floor entrance area down to the attraction’s watery track (and – once their ride was through – back up to the unload area).

What made this doubly difficult was that – since most of the money for “Pirates” had already been budgeted for the AA figures to be featured in the scenes presented in the main show building – there was virtually no money left to theme the basement area under New Orleans Square. So Marc and his Imagineers had to come up with an affordable way to redress this space.

Eventually, Marc came up with the idea of turning the New Orleans Square basement area into an eerie set of pirate caves – where the bleached bones of some rascally rogues would be found scattered among mounds of ill-gotten treasure. Walt loved this concept because 1) it set the stage beautifully for the attraction that followed and 2) it was a smart, affordable way to retheme the basement area.

But – even though guests and his Imagineers repeatedly praised Marc for his design work for “Pirates of the Caribbean’s” haunted cavern sequences – Davis was never entirely happy with the way WED had handled the basement area under New Orleans Square. He thought it was all too obvious that Disney was just vamping in that section of the attraction, killing time ’til the real ride got underway.

Marc vowed that – if he ever got the chance to do another ride like “Pirates” again – he’d finally do it right then. This time, there’d be no last minute changes in ride systems or attraction layout. Right from the start, the show building would be large enough to contain the entire attraction. There’d be no more busting through the berm just to have enough room to tell the story correctly.

Marc was eager to take another chance to create at a show the size and scale of Disneyland’s “Pirates of the Caribbean.” He had learned a lot about what did and did not work with AA figures while staging the scenes for this New Orleans Square attraction. Given how well the more ambitious figures in the ride had been received (Disneyland guests just raved about the lifelike movements of the auctioneer in the “Win a Wench” sequence), Davis wanted to push the envelope of audio animatronics even further. He wanted to see what the wizards of WED could really do if they set their minds to it.

Then – in August of 1967 – Davis got his chance. Roy finally came out of his period of mourning and let the rank and file at Walt Disney Productions know that he was *NOT* selling the firm to Westinghouse or any other corporate suitors. In fact, the elder Disney seemed fiercely determined to keep intact the company that he and his brother had worked for decades to build up.

More importantly, Roy announced that Walt Disney Productions would be going forward with his brother’s ambitious plans for the company’s Florida land holdings. But – from this point forward – the project would no longer be called Disney World. In tribute to his deceased partner, the Florida project would now be called Walt Disney World.

This news thrilled the folks at WED. Particularly when Roy asked the Imagineers to come up with concepts for rides for the Florida park that would top anything Disney currently had in Anaheim.

That was exactly what Marc wanted to hear. For he had an idea for a great new attraction …

General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

10 years ago

June 23, 2015

Jim Hill

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.

Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.

Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…

Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).

Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.

Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.

Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.

Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …

Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …

Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."

Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.

Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).

Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th.

General

Wondering what you should “Boldly Go” see at the movies next year? The 2015 Licensing Expo offers you some clues

Published

10 years ago

June 10, 2015

Jim Hill

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.

Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.

Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.

Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.

Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.

Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.

Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.

Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.

Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.

Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.

Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.

Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.

Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."

Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with production of Genndy Tartakovsky's
"Popeye" movie. But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.

Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.

Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.

Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.

Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.

Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."

Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."

Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.

Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

General

It takes more than three circles to craft a Classic version of Mickey Mouse

Published

10 years ago

June 9, 2015

Jim Hill

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015