General

A special wearing-of-the-green edition of Why For

In honor of St. Patrick’s Day, Jim Hill talks about the protracted production history of “Darby O’Gill and the Little People.” A “Little People” -related project that spent more than a decade in development for finally reaching the big screen

Published

18 years ago

March 15, 2007

Jim Hill

Gaelic Gary G. writes in to say:

In honor of St. Patrick’s Day, could you please share a few stories about my favorite Disney fantasy film, “Darby O’Gill and the Little People?”

Well … What I always found intriguing about this Robert Stevenson movie is how long Walt Disney Productions had this project in development.

Back in the early summer of 1946, the studio’s PR staff began inviting prominent entertainment reporters of the day like Thomas F. Brady of the New York Times and Hedda Hopper of the Los Angeles Times to come tour the lot. So that Brady & Parsons could then get the story out about how Disney was bouncing back. That as tough as the War years may have been on the studio, the Mouse Factory now had a full slate of projects in production and/or development.

While Brady’s version of his studio visit has the best factual info (EX: It’s kind of intriguing to see — if the studio’s staff had actually been able to meet Walt & Roy’s admittedly overly-optimistic production schedule — “Peter Pan” would have been released in 1948, “Cinderella” in 1949 and “Alice in Wonderland” in 1950), Hedda’s account is the most colorful, the most fun to read. Here’s a few excerpts:

About once a year, when life begins to close in upon me, I grab my feathered bonnet and take off for the never-never land — known locally as Walt Disney’s studio — just to see what cooks in that world of fantasy that we all dream of as children.

With most of the staff home from the war and Walt himself freed from his government work, the studio is at an all time production high. Disney has enough work in progress to keep him on the hop for five years.

The old maestro himself was not in a gilt office surrounded by call-buttons and secretaries. I found him perched upon a box in a soundstage, wearing an old sweater and slacks of last year’s vintage. If I hadn’t known Walt, I’d have sworn he was one of the prop men.

Hedda goes on to describes how she watched one of the live-action scenes for “Fun & Fancy Free” being shot. With Edgar Bergen reading a bedtime story to his ventriloquist dummies Charlie McCarthy & Mortimer Snerd as well as to Disney contract player Luana Patten.

When the scenes in the can, Charlie throws up his hands and says “Whoopee! We got a take.” And the technicians begin to shift the props around for another scene.

That’s what I mean about visiting Disney. You never realize where reality leaves off and fantasy sets in. That’s exactly how Walt wants it. More and more, he’s combining real people with the creatures of his imagination for his films.

This is actually one of the main reasons that Walt had invited Hedda on the lot. He wanted to talk up how Disney Studios would soon begin making more pictures like the then-titled “How Dear to My Heart.” Which — while it did feature some animation — this Hamilton Luske & Harold D. Schuster movie was 90% live action.

That said, Walt obviously knew that the movie-going public mostly associated his studio with animation. Which is why he then made sure to feed Hedda some juicy tidbits about all the animated features that Disney then had in production. Juicy quotes like:

Walt considered the original Peter Pan a bit too sugary for this modern day; so he’s toughening him up, making a real boy of him.

The most ambitious project Disney has ahead is “Alice in Wonderland.” He told me that he was having story troubles with that one. I expressed surprise, because it’s one of the best known and most beloved children’s stories in the English language.

“That’s just it,” said Walt. “It has too much. And when you deal with such a popular classic, you’re laying yourself wide open to the critics.”

He turned down two versions of the story, and even went so far as to steep himself in the period during which “Alice” was written and to analyze its author. He assured me, however, that the film would follow the Carroll story closely.

Luana Patten will be Alice. I couldn’t think of a happier choice.

Which — as all you Disney history buffs already know — is wrong. For it was Kathryn Beaumont who eventually wound up voicing the title role of that July 1951 release. As for Ms. Patten … She joined the long list of big name performers that Walt Disney almost cast as Alice. Among them screen legends Mary Pickford & Ginger Rogers.

Anywho … Getting back to Ms. Hopper’s June 1946 visit to Walt Disney Studios … As Hedda is wrapping the interview, she asks if he has anything else in development. And Disney off-handedly mentions that he’s …

” … sending a team of artists this summer to Ireland to gather material for yet another feature. It’s called tentatively “The Little People” and will deal with all the leprechauns, banshees, and other supernaturals that Irish fantasy has created.”

So that’s how far “Darby O’Gill” dates back. At least ’til 1946. Mind you, it would take another 11 years (and two additional research trips to the old sod) before Walt finally felt that his leprechaun project was in good enough shape to finally proceed with production.

So — to spread the news about this ambitious new live-action feature — Disney once again reached out to Ms. Hopper. And in her October 28, 1957 column, Hedda wrote:

Walt Disney’s plan to make the Irish story to end all such has taken shape in “The Wishes of Darby O’Gill.” Walt hopes to star Barry Fitzgerald in the dual role of Darby, a feisty old gent (as well as) Brian, king of the little people, an etheral and treacherous mite. (O’Gill tricks King Brian) into granting him three wishes. What Darby does with them makes fascinating adventure.

Disney’s script is based in part of the stories of Herminie Templeton Kavanagh, but owes much to three months research in the Emerald Isle by Lawrence E. Watkin, one of Walt’s top writers. Watkin studied Dublin library’s vaste collection of Gaelic folklore and spent hours with the Shanachies, the professional storytellers.

Did you catch that mention in there about how Walt wanted Academy Award-winner Barry Fitzgerald to play both the title role of the film as well as King Brian? The way I understand it, Fitzgerald (Probably best known for his scene-stealing performances on “Going My Way” and “The Quiet Man“) was extremely flattered when Disney offered him this dual role. But given that this Dublin-born performer was 69 and in failing health at the time (Barry would actually pass away just a few years later in January 1961), he just didn’t feel like he was up to this acting challenge. So Fitzgerald reluctantly passed on the project.

As a result, Walt then had to go with his back-up choice. Which was Albert Sharpe, a veteran performer who (back in the late 1950s, anyway) was probably best known for playing the title role in the original Broadway production of “Finian’s Rainbow.”

FYI: Remember how Barry Fitzgerald reportedly turned down “Darby O’Gill” because he thought he was just too old & in too poor health to play this part? Fitzgerald was born in March of 1888. Whereas Sharpe was born in April of 1885. Thereby making Albert three years old than Barry!

Though — to be fair here — Sharpe wasn’t sent the same script that Fitzgerald had received. By then, Disney had decided that the roles of Darby O’Gill and King Brian shouldn’t be played by the very same elderly actor. Which is why Walt then split this dual role, casting Sharpe as Darby and Irish comedian Jimmy O’Dea as the wily leprechaun king.

Anyhow … Though the trades in February of 1958 ran several stories stating that Disney would be soon begin shooting the now-titled “Darby O’Gill and the Little People” on location in Ireland … Walt ultimately opted to shoot this entire motion picture in Southern California. With the scenes set in the village of Rathcullen being filmed on the lot, while all of the sequences set in the abandoned abbey were shot out at the Albertson Ranch.

Mind you, Disney tried to make up for not filming any of “Darby O’Gill and the Little People” on the old sod by holding the movie’s world premiere in Dublin. And this being the very first time that Walt Disney Productions had ever held the premiere for one of its films outside of the United States … Well, this auspicious occasion called for plenty of pomp & circumstance.

How so? Once their plane landed in Dublin, Walt & Lillian were greeted by six pipe bands. And the very next morning, Disney met with Sean T. O’Kelly, the president of Ireland. Who then joined Walt at a special early morning screening of “Darby O’Gill” which was attended by hundreds of under-privileged children who had been recruited from Dublin-area hospitals & orphanages.

In the end, after spending all those years nuturing his “Little People” project, I’m told that the old Mousetro was somewhat disappointed by the lackluster response moviegoers gave to “Darby O’Gill and the Little People” back on June of 1959. I’ve also heard that Disney (on more than one occasion) expressed his regrets that he hadn’t been able to persuade Barry Fitzgerald to appear in this film. That Walt supposedly felt that Barry’s name recognition would have given more people a good enough reason to give Disney’s leprechaun movie a try. Which would have boosted “Darby” ‘s box office.

Speaking of Barry Fitzgerald … If you’re an old-time movie who longs to see this charming old scene-stealer up on the silver screen again, have I got a film festival for you!

Next month, the 2007 Newport Beach Film Festival will be honoring the 100th anniversary of John Wayne’s birth with “Ten Decades of ‘The Duke’ : The Official John Wayne Centennial Celebration.” Produced in collaboration with the Wayne family as well as the Newport Beach Conference and Visitors Bureau, this seven day long event (Which will be held April 21 – 28) will be highlighted by special screenings of some of John’s most memorable movies. This include Wayne’s Academy-Award winning turn in 1969’s “True Grit,” his inspiring turn in John Ford’s 1956 classic, “The Searchers” and — of course — that St. Paddy’s Day perennial, 1952’s “The Quiet Man.”

In the weeks ahead, I’ll be sharing even more information about this sure-to-be-fun film festival … But all of you “Quiet Man” fans out there who grown tired of seeing that John Ford classic strictly on the small screen … Now’s your chance to see this movie as it was originally meant to be seen. So be sure to circle April 21 – 28 on your calendars, okay?

Beyond that … You folks have a great St. Patrick’s Day weekend, okay?

General

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

Published

10 years ago

June 23, 2015

Jim Hill

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

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

… the postman delivering the mail …

Photo by Jim Hill

… the hot dog vendor working at his cart …

Photo by Jim Hill

… the street musician playing for tourists …

Photo by Jim Hill

Not to mention the tourists themselves.

Photo by Jim Hill

But right alongside the bronze businessmen …

Photo by Jim Hill

… and the tired grandmother hauling her groceries home …

Photo by Jim Hill

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

Photo by Jim Hill

… or — for that matter — out-of-time.

Photo by Jim Hill

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

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

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

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

General

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

Published

10 years ago

June 10, 2015

Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Photo by Jim Hill

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

Your thoughts?

General

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

Published

10 years ago

June 9, 2015

Jim Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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