General

Wednesdays with Wade: Further thoughts on “Song of the South”

Wade Sampson provides even more information about this controversial film. From the location in Arizona where much much of this live action / animated feature was shot to an exact transcript of Bob Iger’s comments about “SOTS” frrom last month’s shareholders meeting

Published

19 years ago

April 25, 2006

Jim Korkis

“It wasn’t yesterday nor the day before. But it was a long time ago. Back when the critters, they were closer to the folks and the folks, they was closer to the critters. And — if you’ll excuse me for saying so — it was better all around.”

— Uncle Remus, “Song of the South”

National Wildlife Week is April 22-30. So today is smack dab in the middle of it and my first inclination was to write about Walt Disney’s love of the environment and animals. But I have already touched on those topics in a previous “Wednesdays With Wade” devoted to Epcot’s “The Land” pavilion.

I also thought about writing about the True-Life Adventures series especially since Roy E. Disney just finished recording introductions for that series for a future DVD release.

However, this week there has been a lot of speculation about some other endangered animals that were entrusted to the care of the Walt Disney Company. So I thought that I would focus on those critters. Who the Disney corporation was planning on re-releasing into the wild, but instead have locked back up in the dark vault where only illegal poachers can get their hands on them.

The fatal exchange about these critters’ fate took place at the Disney Shareholder Meeting on Friday, March 10, 2006 between a shareholder and Disney CEO Bob Iger and has been the subject for much moaning and groaning ever since:

Howard Cromer: My name is Howard Cromer. I live in Cypress, I’m a Disney shareholder. I’m actually delivering a message from my son, 10. He wants to know in recent years, in the midst of all your re-releases of your videos, why you haven’t released “Song of the South” on your Disney Classics? [Applause] And, he wonders why.

Copyright Walt Disney Productions

Frank Wells told me many years ago that it would be coming out. Well obviously Frank Wells isn’t around anymore, so we still wonder why. And by the way, Mr. Iger, he thinks it was a very good choice when they made you CEO of Disney. [Applause]

Bob Iger: “Thank you very much. You may change your mind when I answer your question, though.

Um… we’ve discussed this a lot. We believe it’s actually an opportunity from a financial perspective to put “Song of the South” out. I screened it fairly recently because I hadn’t seen it since I was a child, and I have to tell you after I watched it, even considering the context that it was made, I had some concerns about it because of what it depicted. And thought it’s quite possible that people wouldn’t consider it in the context that it was made, and there were some… [long pause] depictions that I mentioned earlier in the film that I think would be bothersome to a lot of people.

And so, owing to the sensitivity that exists in our culture, balancing it with the desire to, uh, maybe increase our earnings a bit, but never putting that in front of what we thought were our ethics and our integrity, we made the decision not to re-release it. Not a decision that is made forever, I imagine this is gonna continue to come up, but for now we simply don’t have plans to bring it back because of the sensitivities that I mentioned. Sorry.”

What would Walt think? Well, fortunately, we have Walt’s thoughts on the film from a publicity piece from the film’s release in 1946:

There is something endlessly appealing and satisfying in Joel Chandler Harris’ droll fables of animals who behave like humans, and in character who narrates them. For a long time, they have been an open challenge to motion picture showmanship. I was familiar with the Uncle Remus tales since boyhood. From the time, I began making animated features I have had them definitely in my production plans. But until now, the medium was not ready to give them an adequate film equivalent, in scope and fidelity.

I always felt that Uncle Remus should be played by a living person, as should also the young boy to whom Harris’ old negro philosopher relates his vivid stories of the Briar Patch. Several tests in previous pictures, especially “The Three Caballeros,” were encouraging in the way living action and animation could be dovetailed. Finally, months ago, we “took our foot in hand,” in the words of Uncle Remus, and jumped into our most venturesome but also pleasurable undertaking. So while we naturally had to compact the substance of many tales into those selected for our “Song of the South,” in Technicolor, the task was not too difficult.

And, I hope, nothing of the spirit of the earthy quality of the fables was lost. It is their timeless and living appeal; their magnificent pictorial quality; their rich and tolerant humor; their homely philosophy and cheerfulness, which made the Remus legends the top choice for our first production with flesh-and-blood players.

Walt Disney bought the rights to the Uncle Remus stories from the Harris family in 1939. Disney got the rights to all the Remus characters for $10,000 (a sizeable sum in those days). The film is very loosely based on two of Joel Chandler Harris’s last Remus books: “Uncle Remus and His Friends” (1892) and “Told by Uncle Remus” (1905).

The film is important as a transitional film between Disney’s full length animated features and his live action films. Walt previously experimented with live action in “The Three Caballeros” and “The Reluctant Dragon” (not to mention the early “Alice Comedies”). But the infamous strike of 1941 as well as many of his top artists being drafted into the service during World War II made Walt realize the Disney Studio needed to become less dependent on animation and to diversify into live action in order to survive.

“I knew that I must diversify. I knew the diversifying of the business would be the salvation of it. I tried that in the beginning, because I didn’t want to be stuck with the Mouse … I wanted to go beyond the cartoon. Now I needed to diversify further. And that meant live action,” stated Walt.

The live action was photographed first. James Baskett who portrayed “Uncle Remus” sometimes performed on actual sets that were painted to seem like cartoon backgrounds. The live action footage was edited to a precise length, then given to the animators to add the cartoon figures.

In the Fall of 1944, artist Mary Blair spent a week in Atlanta and nearby rural Georgia locations doing concept art for “Song of the South.” By Spring, she would be working on concepts for “Alice in Wonderland.” Her artwork for “Song of the South” painted with what animation historian John Canemaker describes as “a low-key palette and classic water color techniques” helped set the tone for the color schemes used in the film as well as the set and costume designs that helped transform an Arizona location into post Civil War Georgia.

Yes, “Song of the South” was filmed near a drainage ditch in Phoenix, Arizona. That’s where most of the principal outdoor photography was done. Some of the interior footage like Remus talking to Johnny in his cabin was shot at the Goldwyn studio in Hollywood. On November 30, 1944, Walt Disney Productions entered a contract with Samuel Goldwyn Studios in Los Angeles, CA, to begin filming for “Uncle Remus” (one of the original working titles for “Song of the South”) on January 2, 1945.

By the way, on location in Arizona, Uncle Remus’ rocking chair was also used as Walt Disney’s “director’s chair.” Across the back of the chair was written “Uncle Walt.” Two great storytellers sharing the same chair.

Image couresty of Google Images

Animator Bill Peet who was primarily responsible for the story development of the animated fables remembered:

“Developing the characters of the rabbit, fox and the bear and working with the quaint old fables was the most fun I’d had since ‘Dumbo‘…On the Remus fables, Walt was always in a good humor, full of enthusiasm at every story session and the animators caught the playful spirit in preparing the fables for the screen.”

“Song of the South” won an Academy Award for” Best Song” for “Zip-A-Dee-Doo-Dah,” by Allie Wrubel (music) and Ray Gilbert (lyrics) which remains a Disney classic song to this day, often appearing on “Sing-A-Long” videos. Although he was not nominated in the acting category, Baskett was honored in 1947 with a special Oscar by the Academy for “his able and heartwarming characterization of Uncle Remus, friend and storyteller to the children of the world.” He died four months later, at the age of forty-four.

Other actors in the film included Hattie McDaniel (who played Mammy in “Gone With the Wind” and was famously quoted as saying “I much prefer playing a maid to actually being one.” She gets honored with her own commemorative postage stamp this year), child star Bobby Driscoll, Ruth Warrick and Erik Rolf (who was secretly married to Warrick at the time unbeknownst to the cast and crew and was going through a troubled marital separation that may have influenced his performance.)

Commercially, “Song of the South” was a success. Ticket sales were strong in its first run in 1946 and in the subsequent releases in 1956, 1972 (two years after Disney claimed the film would be “permanently retired”), 1980, and 1986 (Its 40th Anniversary and last official theatrical release) garnering double digit millions of dollars for the Disney Company.

From the Disney pressbook for the 1986 release:

“Song of the South is one of the best known and most widely applauded animated/live action feature film achievements of all time. Its timeless appeal spans all audiences, from children to senior citizens, with enthusiastic responses coming from both individuals as well as entire communities. It is a rare entertainment treat, offering the enrichment of educational and cultural values in art and music that are heartily endorsed by the widest segment of the moviegoing public. And that means you have an excellent promotional advantage in stimulating excitement for your own engagement.”

There are plenty more tales to tell about this Disney film. But — for now — yet another generation of young people will be denied the opportunity to view this animated classic or for parents to use it as a springboard to engage in discussions of tolerance, responsibility and how to use your brain rather than brawn to defeat bullies.

Understandably, a very cautious Bob Iger is concerned about stirring up trouble after all the controversies surrounding the Disney Company in recent years. However, if I may be so bold, I would like to share this advice from Uncle Remus that actually shaped my early years after I first saw the film:

“You can’t run away from trouble. There ain’t no place that far.”

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

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