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Disneytoon Studios worked closely with CalFire to make “Planes: Fire & Rescue” as authentic as possible

Published

10 years ago

on

“Do your research.”

That is the lesson that John Lasseter — Chief Creative
Officer of Walt Disney & Pixar Animation Studios — has repeatedly drilled
into the artists that he works with. That before they jump feet-first into
developing a brand-new animated feature, these filmmakers must first understand
the world that this movie’s characters are supposed to occupy.


CalFire crew members jump out of a plane as part of a training exercise. Copyright
Disney Enterprises, Inc. All rights reserved

In the case of Pixar’s “Up,” this meant that Pete
Docter and his production team had to go to Venezuela.
Where it then took them three days of hard traveling by airplanes, jeeps &
helicopters before they finally reached Mount
Roraima (i.e., the highest point of
the Pakaraima chain of tepui plateau in South America)
and Angel Falls.

And when it came to Disney “Frozen,” animators
& effects artists flew to Jackson Hole, WY
in the middle of winter. Just so that they could then don authentic period
clothing like long skirts and mush through deep snow. So that — when it came time
to animate Anna’s struggle to reach Wandering Oaken’s Trading Post & Sauna
— they could then get all of the details just right.

But when it came time to research “Planes: Fire &
Rescue,” the story team from Disneytoon Studios didn’t get to fly off to South
America or Wyoming.
They just hopped in a car and drove on down to the Hemet-Ryan Air Attack Base.
Where they then talked with dozens of aerial firefighters who work for the
California Department of Forestry and Fire Protection AKA CalFire.


Laying down a curtain of slurry during a training run. Copyright Disney
Enterprises, Inc. All rights reserved

“We worked with these guys for four years,” Paul
Gerard, the director of Creative Development for Disneytoon Studios, explained.
“And CalFire helped us so much with ‘Fire & Rescue.’ They let us know
everything that you’d possibly want to know about Air Attack. And we’d then not
only try to incorporate as much of that information as we possibly could into
our film … Well, we’d also invite members of the Air Attack team to come look
at our movie while it was still on reels. We’d then take the additional notes
that these guys gave us and fold them into our film to make ‘Fire & Rescue’
as authentic as possible.”

Now I know that — especially for folks outside of the
animation industry — that it may sound kind of strange that Disneytoon Studios
would put this much effort into a sequel to 2013’s “Planes.” Given
that the first film in this series had been such a success … Well, it must
have been awfully tempting to just put this project on auto-pilot. Have Dusty
Crophopper compete in yet another ’round-the-world race.

“But that’s not how we do things here at DisneyToon
Studios,” said Jeffrey M Howard — the co-screenwriter of both the original
“Planes” as well as “Fire & Rescue.” “We weren’t
looking to repeat ourselves with the second film in the ‘Planes’ series. We
wanted to do different things with Dusty this time around. Have him go off and explore
an entirely different corner of his world.”


Copyright Disney Enterprises, Inc. All rights reserved

Which — given that the central character of this series is
a crop duster turned world-class racer — was something of a challenge. But it
was actually “Fire & Rescue” director Bobs Gannaway who, during
the research phase of this Disneytoon Studios production, stumbled across the
factoid which eventually allowed Dusty to soar off in an entirely new
direction.

“It was Bobs — as he was researching the history of
agricultural airplanes — who discovered that these planes had also been used
for firefighting. Only instead of dropping chemicals & fertilizer on
fields, they’d then drop water on burning forests,” Howard continued.
“And it was that neat bit of trivia — that crop dusters had once been
used as single engine air tankers — that then allowed us to step away from the
world of racing and go explore this entirely different aspect of
aviation.”

Which is why Jeffrey, Bobs & Paul made their first trip
to Hemet-Ryan Air Attack Base back in 2010. But what they thought was going to
be a simple research trip suddenly changed the overall theme of their film.


This repurposed Huey is a key component of CalFire’s Air Attack fleet. Copyright
Disney Enterprises, Inc. All rights reserved

“Now you have to understand that a lot of us who worked
on these movies were big aviation geeks. So we were like ‘Show us the planes.
Let us see what you have,’ ” said Howard said. “And as the folks at
Hemet-Ryan showed us their fleet, we discovered that all of their aircraft are
repurposed. I mean, there’s actually one aircraft in the Western World that’s
been purpose-built specifically for firefighting. Everything else was
originally built to do something else.”

“Take — for example — the S2, CalFire’s main tanker.
It used to be a sub fighter. And the OV-10 Bronco was a military reconnaissance
plane. While the Huey had dozens of roles going all the way back to Vietnam,”
Jeffrey continued. “So all of these aircraft had originally been designed
to do other things. But now that they were part of the Air Attack fleet, they
all had these brand-new lives doing different & challenging things. And
taking that into account … Well, that’s when the idea that ‘Fire &
Rescue’ might then become this story about second chances began formulating in
our heads.”

So to get better acquainted with the world of CalFire, the
folks at Disneytoon Studios regularly began making the 95-mile drive from the
Disney Media Campus in Glendale to
Hemet-Ryan Air Attack Base in Riverside.
Where Battalion Chief Travis Alexander was happy to throw open the door and let
Disney’s artists get better acquainted with the world of aerial firefighting.


“Planes: Fire & Rescue” director Bobs Gannaway confers with Travis Alexander, CalFire
Battalion Chief Travis Alexander. Copyright Disney Enterprises, Inc. All rights reserved

“They let us see everything, including the red stuff
which they drop on fires. They call it slurry or mud. And it’s red so you can
then see it as you drop it out of a plane. You can see from a distance. And it
has the sort of consistency of snot,” Gerard stated. “Now I have an 8
year-old son. So I know a lot about snot. And that’s the stuff that they fill
up the S2 with. Because on the sub hunter, they’ve  built in these tanks. And on the back, they
have this double gauge to just plug in and they then load up this plane up with
slurry.”

“Now you have to understand that — when you’re working
with artists & animators — we’re just a bunch of big kids. So as soon as
you’d say ‘Hey, this slurry feels like snot,’ a bunch of animators would then
immediately say ‘Let me feel,’ ” Jeffrey laughed.

The other thing that Gannaway, Gerard & Howard
discovered as they continued to hang out at Hemet-Ryan Air Attack Base was that
it wasn’t just the aircraft that had been repurposed. That a lot of the base’s
buildings / support structures had either been repurposed or built from
scratch.


Copyright Disney Enterprises, Inc. All rights reserved

“We’d point at some building and say ‘Has that always
been here?’ And the Air Attack team members would say  Nope. ‘We just got some lumber and some
corrugated metal and put it up ourselves,’ Jeffrey continued. “Everywhere
you looked around the Air Attack base, the CalFire crew had made smart use of
repurposed materials. Take — for example — the cabinets where they store
their giveaway t-shirts and coffee mugs. These cabinets used to belong to this
video game store that was just down the road. They were where that store used
to store all of their Nintendos. That video store was just giving these
cabinets away because they didn’t need them anymore. CalFire snatched these
cabinets up and put them to great use at the Air Attack base. And that look —
this place where the pieces didn’t often look like they quite fit together
because they’re actually made up of all this hand-me-down equipment — began to
inform the look & design of ‘Fire & Rescue.’ “

Mind you, this isn’t to say that everyone at Disneytoon
Studios was immediately on board with the idea that Dusty Crophopper’s next
adventure should be set in the world of aerial firefighting.

“Just like at Walt Disney Animation Studios &
Pixar, we have a story trust at Disneytoon Studios that directors can pitch
their stories to. And one time after Bobs had pitched the story for ‘Fire &
Rescue,’ one of the other directors here said ‘It’s really convenient — from a
story-telling point-of-view — that just as Dusty lands, the klaxon goes off,
there’s this fire and the team then has to go fight it,” Paul said.


A CalFire team member laden down with all of his fire-fighting gear comes in for a
landing. Copyright Disney Enterprises, Inc. All rights reserved

“But here’s the thing: One time when we had brought all
of our artists down to Hemet-Ryan to talk with the Air Attack team and draw all
of their planes, that actually happened to us. The klaxon went off and we then
had to quickly get all of our artists off of the runway,” Gerard
continued. “And we were like ‘Wow! A fire!” And the Air Attack team
was like ‘You guys only hear about the big ones.’ And then they took off.”

FYI: That “You only hear about the big ones” line
actually wound up in the movie. As did Hemet-Ryan
Air Attack’s funky hand-me-down quality as well as its repurposed air fleet.
Which is why — if you want to see the most authentic film that’s been made
about aerial firefighting in the past 50 years — then you really need to go
see Disneytoon Studios’ “Planes: Fire & Rescue.” Which opens in
theaters this Friday.

This article originally appeared on the Huffington Post’s Entertainment page on July 15, 2014

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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General

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

Published

9 years ago

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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