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Why For did Disney struggle to come up with a marketing campaign for Pixar’s latest picture ? Because the Mouse wasn’t originally supposed to release “Ratatouille”

Jim Hill takes you behind-the-scenes on the creation of this new Brad Bird film. Which actually wasn’t ever intended to be a Walt Disney Pictures release. But — rather — Pixar’s first film for another studio after their co-production deal with the Mouse expired in 2005

Published

18 years ago

on

Over the past six months, JHM has featured a number of stories that talked about the Walt Disney Company’s concerns about “Ratatouille.” How the marketing department at the studio has been struggling to find just the right way to promote this new Brad Bird film. (Don’t believe me? Then check out these three wildly different takes on how to sell this animated feature. The stateside version of the “Ratatouille” poster tries to sell this CG movie as a slapstick adventure …



Copyright Disney Enterprises, Inc. and Pixar Animation Studios
All Rights Reserved


… While one overseas poster for this Pixar picture plays up Remy & Luigini’s unlikely friendship …



Copyright Disney Enterprises, Inc. and Pixar Animation Studios
All Rights Reserved


… while still another international poster highlights the inherent romance of this movie’s Parisian setting).



Copyright Disney Enterprises, Inc. and Pixar Animation Studios
All Rights Reserved


We’ve also talked about the Mouse’s efforts to manage expectations for Pixar’s latest production. So that if “Ratatouille” doesn’t sell as many tickets as “Cars” did last summer over its opening weekend … Well, the press won’t then be able to use this film’s underwhelming box office performance as an excuse to revisit the whole did-Disney-pay-too-much-for-Pixar question.


Still, looking back on Mickey’s behavior, you have to ask yourself : If Disney executives had such little confidence in “Ratatouille” ‘s audience appeal, why did they then allow production of this movie to go forward? I mean, what’s the point of greenlighting a motion picture that your marketing department doesn’t know how to sell?


Well … That’s actually Disney’s real problem with “Ratatouille.” Company executives didn’t greenlight this particular Pixar production. You see, “Ratatouille” was never intended to be released by Walt Disney Studios.


Strange but true, folks. Remember back in January of 2004 when Steve Jobs officially broke off talks with Mouse House officials about possibly extending Pixar’s co-production deal with Disney Studios? Which meant that — once “Cars” was delivered to Disney for what was then-supposed-to-be a November 2005 release date — Pixar would then be a free agent. Free to cut a new distribution / production deal with any other company that they desired.



Copyright Disney Enterprises, Inc. and Pixar Animation Studios. All Rights Reserved


Of course, in order to do that, this Emeryville-based animation studio actually had to have a new film to show these studios. So that they could prove to these very powerful people that Pixar was still capable of producing hit motion pictures without Mickey’s input. More importantly, without the Mouse’s marketing might to help sell their movies to audiences worldwide.


So — with this goal in mind (I.E. To come up with the best possible carrot-on-a-stick to dangle in front of all of the studios that were now vying to be Pixar’s new distribution / production partner) — that animation studio’s management went through all of the projects that were already in their development pipeline … and eventually settled on Jan Pinkava‘s “Rats!”


Mind you, there was method to Pixar’s madness. Given that this proposed animated feature was set in Paris, “Rats!” was thought to have international appeal. Which (oddly enough) would be a key factor in the animation studio’s upcoming negotiations. Given that Steve Jobs was looking to cut a deal with a corporation that — just like Disney — already had a strong global distribution system in place to help sell their films.


Then — of course — there was the twitting-Disney factor. After nearly a decade-and-a-half of making movies for the Mouse, what better way was there for Pixar to signal to the world that “That phase in our history is over” than by making a film that starred a rat?



Copyright Disney Enterprises, Inc. and Pixar Animation Studios. All Rights Reserved


Anyway … On paper, this seemed like a great idea. And based on the colorful settings & cute characters that Pixar’s creative team had developed, “Rats!” did look like it had all the necessary ingredients to become the studio’s first post-Disney success … Except that Jan Pinkava could never quite seem to get the story of his film to jell.


By the late fall of 2004, the “Rats!” production team had put together a story reel to show Pixar management. And while individual elements of the film that Jan Pinkava planned on making were admittedly charming & quite entertaining, its narrative as a whole fell flat. You never really got caught up in Remy’s quest to become one of the greatest chefs in France.


Recognizing that “Rats!” (at least in its current form) was not going to be the great carrot-on-a-stick that he had been hoping for, Steve Jobs bought himself a little time by pushing back “Cars” release date from November of 2005 to May of 2006. Jan & his “Rats!” story team were then sent back to their drawing boards with some very specific orders : Make the story stronger and make us really care about the characters’ struggles.


In the late spring of 2005, Pinkava delivered his second set of story reels. Which — while they had these beautifully designed characters & settings with lots of atmosphere — Jan’s movie still lacked narrative oomph. And given that “Rats!” was supposed to be the film that proved to the world that Pixar could succeed without Disney (More importantly, given that this was the project that was supposed to incite other studios to come sign a deal with this Emeryville-based operation) … Something had to be done to fix this picture’s problems. And fast.



(L to R) Brad Bird, Patton Oswalt and Brad Lewis at a “Ratatouille” recording session.
Copyright Disney Enterprises, Inc. and Pixar Animation Studios. All Rights Reserved


Enter Brad Bird. Who — at that time — had just finished a promotional tour for the DVD version of “The Incredibles” and was getting ready to go on a well-deserved vacation. As Bird recounted to Bob Miller in an interview for the July issue of “Starlog” magazine:



” … Two weeks before I was set to leave, they asked me to help the ‘Ratatouille’ people fix up the storyline. So I did that for two weeks, and I got them through the structure and about halfway through Act Three. Then I waved goodbye and said, ‘So long, and good luck,’ and went on my vacation. I was away for two days when I got phone calls from Steve Jobs, John Lasseter and Ed Catmull, basically asking me if I would come back and take over the project.”


And why was it so urgent that Brad come back and ride herd on “Rats!” ? Now turning to an interview that Bird just did with Steve Daly for “Entertainment Weekly” :



“[Jobs, Lasseter & Catmull] were in a tough spot at a very vulnerable time. They were potentially going to be on their own [if they broke away from Disney]. It was the first film — the only film — that was greenlit by Pixar alone, without anyone else having anything to do with it. It was an important film to get right.”



(L to R) Brad Bird directs Peter O’Toole at “Ratatouille” recording session.
Copyright Disney Enterprises, Inc. and Pixar Animation Studios
All Rights Reserved


So given the precarious situation that Pixar now found itself in (I.E. That “Rats!” had to work as a motion picture. Otherwise, Pixar’s reputation as a hit-making machine might then get dinged. Which then would make it difficult for the Emeryville-based animation studio to get the best possible terms on its new production / distribution deal), Bird agreed to step in and take control of Pinkava’s project.


And as if this situation wasn’t already stressful enough, in an interview that Brad did yesterday with Susan King of the Los Angeles Times, the director recounted how …



“I committed to keeping the animation start date, which is like the start date of principal photography, to hold to the original [opening] date.”


… so that Pixar management could then go forward with their original plan. Which was to have their animation studio emerge as Disney’s direct competition in the Summer of 2007. And then to have Pixar establish dominance over the rest of the CG field.



Copyright Disney Enterprises, Inc. and Pixar Animation Studios. All Rights Reserved


Of course, the irony of all this is — after all this behind-the-scenes drama about making sure that their studio’s first post-Disney picture will be as strong as possible — what does Pixar then do in January of 2006? It allows itself to be acquired by the Walt Disney Company for $7.4 billion.


And — of course — part of that agreement was that the Mouse would now have to distribute “Ratatouille,” a film that its studio execs had not greenlit, that Disney’s own creative team had had zero input on. Which perhaps explains why the Mouse’s marketing staff has had such a tough time trying to come up with the proper way to promote “Ratatouille.”


Now what’s important to understand here is that — ever since Oren Aviv (I.E. The former head of Buena Vista Pictures Marketing) became the new Creative Officer at Walt Disney Studios — Mickey doesn’t put movies into production that it doesn’t already know how to sell. That’s one of the main reason that Dick Cook (I.E. Chairman of Walt Disney Studios) significantly cut back on the number of films that the studio would produce each year. So that the Mouse could then concentrate all of its marketing might behind films that it already believes will be box office champions.


Which brings us back to “Ratatouille.” More importantly to the promotional campaign that Disney hopes will help would-be moviegoers overcome any problems they may have with seeing rats in a kitchen. Whether or not they were ultimately successful will be determined this coming Monday morning when all of the weekend box office tallies finally come in. But given that — earlier this week — studio officials were quietly spreading the word that an opening weekend gross of $55 million (down from the $60 million that was originally projected) now seems very likely … Well, that news doesn’t exactly scream huge box office success. At least to me.


FRIDAY AFTERNOON UPDATE: Well, $55 million used to be what “Ratatouille” was initially projected to make over its opening weekend. Now newly revised tracking for this Brad Bird film has come out, which suggests that it is far more likely that Pixar’s latest will only sell $48 – $51 million worth of tickets during its first three days in domestic release. While Nikki Finke over at Deadline Hollywood Daily is saying that “Ratatouille” may earn even less than that, with an opening weekend take of only $40 – $45 million.


If that happens … Well, you can bet that Wall Street will weigh in come Monday morning. With all sorts of pundits pontificating about Disney’s Pixar problem, wondering aloud whether this CG studio is now losing its magic touch.


Mark my words, folks. If “Ratatouille” ‘s opening weekend numbers are really that low, you’re going to see lots of stories just like that next week. Not just here at JHM, but all over the place.


Now I know that I was among the first to point out the potential problems with Pixar’s latest production. But it’s not like I actually wished Brad Bird or John Lasseter any ill will. So please don’t shoot the messenger, okay?


Anyway … Let’s get back to the original version of today’s article now, okay? …



Copyright Disney Enterprises, Inc. and Pixar Animation Studios. All Rights Reserved


Mind you, the Mouse’s marketing department also seems to be having some trouble getting a handle on how to properly promote Pixar’s next release, “WALL * E.” Several industry insiders that I’ve spoken with about the teaser trailer for this new Andrew Stanton film have already suggested that it might be a mistake for Disney to try and sell this particular Pixar project as a worthy successor for “Toy Story,” “A Bug’s Life,” “Monsters, Inc.” and “Finding Nemo.” That this approach may raise would-be moviegoers’ expectations so artificially high that the finished film might then have trouble delivering on that promise.


And then there’s “Up,” Pixar’s 2009 release. Pete Docter‘s next project for the Emeryville-based animation studio which will star a 70-year-old man & an adolescent wilderness ranger who join forces to do battle with various beasts & villains. Which — given its unique subject matter — will obviously also be a bit of PR challenge for Mickey.


So is it any wonder that Disney’s marketing staff are so looking forward to 2010 when “Toy Story 3” will finally arrive in theaters? Now that movie, the Mouse knows how to sell.


Anyway … That’s why Disney’s PR department has been having such a tough time trying to get a handle on the proper way to promote “Ratatouille.” Given that the studio was never supposed to be releasing this Brad Bird film in the first place … Well, perhaps now you may have some sympathy for what the Mouse’s marketing staff has been going through. As they struggled to find just the right way to sell Pixar’s rat picture.


Your thoughts?

Related Topics:

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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General

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

Published

10 years ago

on

June 23, 2015

By

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


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. 

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

Published

10 years ago

on

June 10, 2015

By

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?

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General

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

Published

10 years ago

on

June 9, 2015

By

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.


Copyright Disney Enterprises,
Inc.
All rights reserved

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.


Copyright Disney Enterprises, Inc. All rights
reserved

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.


Copyright Disney Enterprises,
Inc. All rights reserved

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.


Copyright Disney Enterprises,
Inc.
All rights reserved

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.' "


Copyright Disney Enterprises,
Inc. All rights reserved

"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.


Copyright Disney
Enterprises, Inc. All rights reserved

"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.


Copyright Disney Enterprises,
Inc. All rights reserved

"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.


Copyright Disney Enterprises,
Inc. All rights reserved

"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.


Copyright Disney Enterprises,
Inc. All rights reserved

"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?


Copyright Lucasfilm / Disney
Enterprises, Inc. All rights reserved

"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

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