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Great advice & flying Twinkies rain down in Don Hahn’s “Brain Storm: Unleashing Your Creative Self”

Published

13 years ago

on

Welcome to June. That time of year when many of us struggle
to find the perfect graduation present. That thoughtful, well-chosen item which
will then make an impression on the newly capped-and-gowned.

Luckily, Disney Editions has – just yesterday, in fact – released
a book that (I think, anyway) will make a great gift for the recent high school
& college graduate in your group. It's called "Brain Storm: Unleashing Your Creative Self" and features acclaimed film producer Don Hahn's somewhat
unique take on the care and feeding of a creative spirit.


Copyright Disney Enterprises, Inc. All rights reserved

I mean, it's not every day that you'll pick up a paperback which
talks about how …

… It's nearly impossible to use mere words to describe the
feeling of power you get where you lob (a) Twinkie two hundred feet in any
direction. It is very satisfying.

But that's part of the fun of "Brain Storm." The way that
Hahn uses behind-the-scenes stories from his days at Disney to illustrate how
creativity can often be … Well, messy. And unpredictable. With great pieces of entertainment
often being birthed in extremely unlikely settings under somewhat bizarre
circumstances.


Copyright Disney Enterprises, Inc. All rights reserved

Take – for example – how the opening number for "The Lion King" actually came together:

… Hans Zimmer had done a stirring arrangement of 'The Circle
of Life' in preparation for a singer to come in and record the vocals, but
something seemed missing. We knew that to establish the African setting, we
wanted a more indigenous sound from the first note of the film. Hans invited
African singer Lebo M to the studio to try some experiments on tape. Lebo had
been working as a valet-parking attendant, and Hans had used him to sing on an
African-themed score a year earlier. At the time, Hans worked in an improvised
space that he had carved out of the back of a nondescript industrial building on
Santa Monica Boulevard.

The studio didn't even have a glass partition separating the
recording booth from the area where the talent stood at the microphone. The
room was stacked with boxes of tapes, and there were old guitars, a piano, and
a table laden with Chinese food in the corner. It was in this backroom studio
that Lebo put down his egg roll, stepped up to the microphone, and began
recording. He experimented a few times to find something unique – a sort of
tribal cry – and then, on the next take, out of nowhere, came the now-famous
cry in the wilderness that begins 'The Lion King.' It was improvised quickly,
crudely, and with little preparation, but it worked. It captured the mood of an
entire film.


Lebo M at the "Lion King" DVD premiere event at the
El Capitan Theatre in October of 2003. Copyright
Disney Enterprises, Inc. All rights reserved

Singer Carmen Twillie came to the studio that night to sing
the vocal track on 'Circle of Life.' By late that evening the crew had finished
up all the moo shu shrimp, bang bang chicken, and kung pao pork, and Carmen had
finished recording an extraordinary version of the whole song. At the time,
Carmen's performance was meant to be used as temporary vocals that would eventually
be discarded and replaced. For months, we listened to other singers, looking
for a permanent vocalist for 'The Circle of Life,' but in the end we could
never improve on Carmen's emotional delivery, recorded that night in a backroom
studio on Santa Monica Boulevard. The setting was improvised – part recording
studio, part storeroom, part Chinese bistro – but the work was electrifying.

Or – better yet – take a gander at how Richard Williams got
ready to work on "Who Framed Roger Rabbit":

I worked with Dick (Williams) for two years … After spending a few weeks with
him in the studio, it shocked me that this legend of animation seemed to do
very little work. He's come in in the morning and we'd talk a while. Then he'd
take a call. Then, faced with a deadline for designing a character, say Jessica
Rabbit, instead of sitting at a desk and pulling out a pencil, he'd leave the
studio. About an hour later, he would come back from the bookstore with loads
of magazines and books under his arm and proceed to pull out a pair of scissors
and cut them up. Each clipping became an idea. That girl's hair, this one's
eyes, that actress's body, or her dress. Dozens of clippings were made, and
Dick would tape them to big white cards. I would offer to help, but he'd always
say, 'No, no, it's this thing that I do, and I really have to do it.'


Richard Williams in the "Roger Rabbit" production offices in 1987.
Image courtesy of Tom Sito

I thought he was nuts. Why are we paying this director to
cut out pictures and tape them to a board? But as eccentric as Dick was, he was
smart. Really smart. He knew about immersion. He went on for weeks with this
clipping-and-pasting routine. When he wasn't clipping, he was taking home
cartoons and watching them until the early hours of the morning.

It was Dick's way of preparing and it was preparation at its
highest level. He drank up a big bucket of inspiration from every imaginable
source and then, often in the middle of the night, he would hover over his
drawing table, where the drawings would leap like fire out of the ends of his
fingers and onto the paper. His weeks of immersion, of ideas gathering, would
culminate in heaping torrents of nonstop work. The deadline arrived. The work
got finished at an alarming rate of speed. It was all brilliant.

Mind you, not all of the stories that Don shares in "Brain
Storm" are funny or fun. Take – for example – Hahn's take on what it was like
to work at Walt Disney Animation Studios in the late 1970s / early 1980s, when …


Some of the young turks from Cal Arts — among them Brad Bird and John Musker — who
would challenge the status quo at Walt Disney Feature Animation in the late 1970s /
early 1980s. Copyright Disney Enterprises, Inc. All rights reserved

the studio was full of eager young talents chafing under the leadership of
veteran artists who, as masterful as they were, had become creatively stagnant
by trying to repeat well-worn formulas from the past. The studio was starved
for artistic leadership and the collaboration that was once there, but both had
died with Walt Disney years earlier. The culture was broken.

"I remember working at places in my career where the
creative leadership was threatened by the young people coming in," John
Lasseter said referring to that era. "I was told, 'Just be quiet and do what
you're told.' I decided that if I was ever in charge I wouldn't say to a young
guy what was said to me."

And Lasseter … He definitely took the life lessons that he
learned during those dark days at Disney and then applied them directly to
Pixar. Which – the way Hahn describes it – has become  a place where no one keeps quiet. Where
everyone (in the story department, anyway) challenges the status quo every day:


Inside the "Toy Story 2" story room. Image courtesy of Floyd Norman

If you were to walk into a (story) session at Pixar, you
would think you had walked into a huge family argument. People are shouting and
talking over each other as though their lives depended on it, and you know
what? They do.

That's what's great about "Brain Storm: Unleashing Your
Creative Self." Don constantly reminds you about how creativity isn't neat
& quiet, safe & predictable. Which is why – in order to keep your
creative spirit alive & well – you sometimes need to feed your soul / feed
your face by going back to nostalgic hangouts like Burbank's SmokeHouse restaurant. Where – according to Hahn – the garlic bread is so amazing that …

… if the planet were being destroyed tomorrow and I had to
get on a spaceship to leave but was only allowed to take ten things, I'd take
the Mona Lisa, a copy of Shakespeare's Hamlet, an iPad, a Bible, the remastered
Beatles anthology albums, a print of Citizen Kane, the 1967 Volkswagen Beetle,
Miss Welch, a change of underwear, and an order of garlic bread from the SmokeHouse.
With these things one could form a suitable colony on any planet.


The food of the Gods, the garlic bread at the SmokeHouse in Toluca Lake

Okay. So Don does spend an awful lot of time in "Brain Storm"
talking about food. Which is understandable. Given that Hahn genuinely believes
that …

… Our physical being is literally a sum of the food, water,
and air we take in, plus the effect of the environment in which we exist. I
balance my diet with grains, dairy products, vegetables, and meat, and on other
days my four essential food groups consist of sugar, caffeine, chocolate and
Advil.

Well, you can forget about that Advil. It's not your head
that will ache after reading "Brain Storm: Unleashing Your Creative Self," but –
rather — your sides. This is one entertaining self-help book. One that – along
with all of the great behind-the-scenes stories that Don shares about his
doings at Disney – features tons of practical advice about one goes about keeping
a creative spirit alive in today's world.

[View:http://www.youtube.com/watch?v=LhUiR7q9rLw]

So if you really want to make an impression on the recent
graduate on your life, give them a copy of "Brain Storm." Just don't be
surprised if – at their graduation party, thanks to Hahn's inspirational prose
—  baked goods suddenly become " … really,
really, really airborne and land somewhere near New Guinea."

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

9 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

9 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

9 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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