General

Wednesdays with Wade: The Story of “Ben and Me”

Though the Fourth of July was weeks ago, Wade Sampson pays tribute to a particular patriotic animated featurette that Walt Disney Studios released back in 1953.

Published

19 years ago

July 26, 2005

Jim Korkis

“I think it is high time all these things got straightened out in the public mind. Walt Disney has gotten hold of all the facts in the case. Mr. Disney has always been very decent to us mice.”

— Amos Mouse (As voiced by Sterling Holloway) in the trailer for ” Ben and Me”

“The story of a mouse that lived in Ben Franklin’s hat.”

— Walt Disney in his introduction to “The Liberty Story,” a 1957 episode of ABC’s “Disneyland” television series

I know, I know. It’s closer to August 1st than it is to the Fourth of July. But still my mind keeps drifting to that holiday. The Fourth of July is one of my favorites, you know. I love the hot dogs & watermelon, the homemade lemonade and the fireworks.

So — to get myself back in a sort of Fourth of July mood — I just a tape in the VCR of one of my favorite cartoons from childhood, “Ben and Me.” Which is reportedly finally going to be released on DVD as part of one of the upcoming “Disney Treasures” multi-disc sets.

Based on the book by Robert Lawson, “Ben and Me” tells the “true” story of the inventive churchmouse who was actually the brains behind Benjamin Franklin. Amos Mouse and his cleverness and common sense helps inspire such innovations as bifocals, Franklin’s “Poor Richard’s Almanac” newspaper, the Franklin Stove and the Declaration of Independence and much more. Of course, his participation in Franklin’ s experiments with electricity has tragic results that thankfully gets resolved in time to help the United States get born.

“Ben and Me” was originally released on November 11. 1953. It was on the same bill as “The Living Desert.” In fact, Buena Vista Pictures was created to release this theatrical program when RKO balked at releasing a full length True Life Adventure film.

” Ben and Me” was the first Disney animated featurette. It was made in Technicolor and ran about twenty-five minutes. Walt felt that an animated featurette could be paired with a live action feature to make a complete program of Disney entertainment. Some stories were too long for the standard short but not sufficient to maintain a feature.

“Ben and Me” was nominated for an Academy Award in the two reel short subject division. The winner for two reel short subject that year was Disney’s True-Life Adventure “Bear Country.” The winner for one reel short subject was Disney’s “Toot, Whistle, Plunk and Boom.”

The inspiration for the featurette was the original book “Ben and Me: An Astonishing Life of Benjamin Franklin” that was published in 1939. It was written and illustrated by Robert Lawson. Lawson was the illustrator of Munro Leaf’s “Ferdinand the Bull” that Disney had made into an Oscar winning short cartoon in 1938.

Lawson also wrote “Mr. Revere and I” about Paul Revere’s horse, the mare Sheherazade, saved from the glue factory by Sam Adams. She and Paul Revere make the ride that changed the course of history.

“I have never, as far as I can remember, given one moment’s thought as to whether any drawing that I was doing was for adults or children. I have never changed one conception or line or detail to suit the supposed age of the reader. And I have never, in what writing I have done, changed one word or phrase of text because I felt it might be over the heads of children. I have never, I hope, Insulted the intelligence of any child. And with God and my publishers willing, I promise them that I never will,” stated Lawson. It was a philosophy that echoed Walt Disney’s own philosophy about family entertainment.

After he illustrated “Mr. Popper’s Penguins,” Little, Brown and Company asked Lawson to illustrate another book and to suggest a subject that would interest him. He wrote an outline of “Ben and Me” and sent it off to Little, Brown. They immediately wrote back that while they liked the concept, they could not possibly think of any author who could do justice to the odd story, and Lawson would have to do it himself.

The publication of “Ben and Me” in 1939 demonstrated his ability to write as well as to illustrate. Lawson has been awarded both the Caldecott and Newbery Medals. The Lawson’s’ home, called “Rabbit Hill,”was the original setting for the book by that name written and illustrated by Lawson. Robert Lawson died at Rabbit Hill, Westport, Connecticut, in 1957 so he did get to see “Ben and Me” delight audiences in theaters.

Famed Disney storyman Bill Peet did the primary adaptation with additional dialogue supplied by Winston Hibler, Del Connell, and Ted Sears. The adaptation kept fairly close to the source material but added some scenes and humor that helped focus the slight story.

The film was directed by Hamilton Luske. Luske had joined the Disney Studio in 1931 as an inbetweener and became an animator in 1934 on the “Silly Symphonies.” At the time, he was a sequence director on “Peter Pan” and would soon move into being a sequence director on “Lady and the Tramp.”

In addition to his work on the features (which would even include work on “Mary Poppins“), Luske may be best known for his work on educational shorts like “Donald in Mathmagicland” and “Scrooge McDuck and Money.” Luske’s directorial assistant on “Ben and Me” was Rusty Jones.

Animators included Wolfgang Reitherman, Ollie Johnston, John Lounsbery, Hal King, Cliff Nordberg, Les Clark, Marvin Woodward, Don Lusk, Hugh Fraser, Jerry Hathcock, Eric Cleworth, Harvey Toombs, Hal Ambro, Merle Gilson, Milt Kahl, Eric Larson, Bob McCrea, and Art Stevens. Dan McManus did some effects animation and art direction was by Ken Anderson and Claude Coats. Backgrounds were by Al Dempster, Thelma Witmer, and *** Anthony. Oliver Wallace did the music.

Sterling Holloway is the only voice credited on the film. According to Disney Archivist Dave Smith, Holloway, Hans Conried, Bill Thompson, Charlie Ruggles, and Stan Freberg were all in to record voices for the film during January 1952, but the files do not specify which roles they recorded.

However, their voices are so distinctive, it is easy to tell that Holloway did the voice of Amos Mouse who narrated the story, Charlie Ruggles was a genial Ben Franklin, Hans Conried (who had just finishing voicing Captain Hook for “Peter Pan”) was a fiery Thomas Jefferson, Bill Thompson (who had just finishing voicing Mr. Smee for “Peter Pan”) was the guide at the beginning of the featurette as well as the Governor Keith and some bit roles, and obviously the talented Stan Freberg filled in some miscellaneous parts as well.

Charles “Charlie” Ruggles was one of the most popular comedy character actors of the 1930’s and 1940’s. Usually playing a henpecked husband or a genial, eccentric character, he appeared in about eighty movies including the well-known “Ruggles of Red Gap” in 1935. While he was recording the voice of Ben Franklin, he was appearing on his television show, “The Ruggles” (1949-1952). The show featured Margaret Kerry as his teenaged daughter. At this time, Margaret had just recently done live action reference modeling for the role of Tinker Bell in “Peter Pan” .

Years later, Ruggles provided the voice of Aesop in the Jay Ward cartoon series “Aesop and Son”. He also appeared in several live action Disney films including “The Parent Trap“(1961), “Son of Flubber“(1963), “The Ugly Dachshund” (1966) and “Follow Me Boys“(1966).

Although Sterling Holloway’s first Disney work was as the messenger stork in “Dumbo” (1941), Walt Disney was apparently aware of Holloway’s work on radio since — in a memo dated August 9, 1934 — he recommended Holloway as the voice of Sleepy in “Snow White.” The part eventually went to Pinto Colvig.

Despite his many memorable voices for Disney characters including Kaa the Snake, the Cheshire Cat and Winnie the Pooh, Holloway only voiced one other mouse: Roquefort the gentle mouse in “The Aristocats” (1970). Holloway is also known to Disney fans as a narrator of Disney cartoons like ” Peter and the Wolf.” His first narration was as “Professor Holloway” in “The Three Caballeros” (1945) telling the story of “Pablo the Cold Blooded Penguin.”

To help promote Disney’s first featurette, a DELL comic book (Four Color No. 539 illustrated by Al Hubbard released in 1954) and a Sunday comic strip version of the film were released. In addition, a Little Golden Book storybook (adapted by Campbell Grant and originally numbered “D-37” in the Simon and Schuster edition), a Cozy Corner Book (adapted by Earl Klein and released by Whitman Publishing in 1954 as well) and a recording of the “Ben and Me” theme “You and Me” by composer Ollie Wallace were offered to eager audiences. WD Classics Collection released an Amos sculpture in 2003 with a specially designed pin.

I first saw “Ben and Me” in black and white on a rerun of the Disney television series, “The Liberty Story” that was originally shown on May 5, 1957. The first half of the show was a promotion for the then-in-release live action feature, “Johnny Tremain.”

However, the second half was “Ben and Me” preceded by Walt Disney informing the audience that a small bookcase with books had been located in a church basement when it was being torn down and since the books seem to have been written by a mouse, it was natural to send the books to Walt. Walt even showed an old newspaper describing the find. As a child, I believed every word because, after all, Walt walked over to a mouse-size bookcase that was attached to his regular bookcase where he normally pulled a volume of literature to introduce a show.

Years later (after I had wised-up), I did discover that new animation written by Peet and directed by Luske had been added to “The Liberty Story.” In the new introduction, Amos introduced his early ancestors before he moved into the story of how he helped Ben Franklin. I don’t know whether that new animation will be included in the forthcoming DVD release (and true be told, you can tell that it was quickly done “television” animation and it barely blends with the lusher animation of the animated featurette) but I am glad that a new generation will be able to celebrate the Fourth of July whenever they’d like by watching this little animated gem.

General

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

Published

9 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

9 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

9 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