General

Getting Ready to Hit the “Reset” Button

Before Jim officially relaunches his “Star Tours” stories, Hill shares a few Disney-related stories that he came across while doing some research this week.

Published

19 years ago

June 23, 2005

Jim Hill

Okay, where the hell is Hill? I’ve been coming to JHM for the past four days, looking for the last few installments of his “Star Tours” series. Only to find that JimHillMedia.com has become a Jim-free zone.

So okay, Roy. Tell the truth. You’ve got Hill locked in a closet somewhere, right? And you’re not letting Jim out until he finally finishes his “Star Tours” series AND his “Light Magic” series AND his “Tower of Terror” series …

Er … You forgot about my “When You Wish Upon a Frog” series …

Let’s set the record straight, folks. I’m not locked in a closet somewhere. Nor is it Roy Mitchner (AKA JHM’s new managing editor)’s fault that the “Star Tours” series stalled out this week. It’s my fault and mine alone.

So what’s going on? Well … To be honest, the “Star Tours” series is the reason that I haven’t actually posted anything of size on the site this past week. Why For? Because — for the past five or six days — I’ve spent virtually every waking hour doing research on this epic length article.

The good news is … All this extra effort will finally begin paying off come Monday morning. When the brand-new, radically-improved version of this series debuts on JHM.

The bad news is … You can expect the original first five installments of my “Star Wars” saga to disappear off of the site sometime later this weekend.

“Why are you pulling those stories down, Jim?,” you ask. Because — in the tradition of my old “Jim, You Ignorant ***” column — I have to admit that I got it wrong.

Well, not wrong exactly. It’s more that I left important parts of the story out. I inadvertantly forgot to mention people who played significant roles in the creation of Disney’s first simulator-based attraction. I also skipped over key events in Disney Company history which had a direct impact on this project. Plus I left out lots of colorful little side stories that really add to the fun & enjoyment of this saga.

So, as I got deeper & deeper into the research phase of my “Star Tours” saga, I realized that — in order to tell this long-form story properly — I was going to have to go back to the beginning. To basically hit the “Reset” button on this entire series. So that’s what I’m going to do come Monday.

I realize that this news is probably going to upset and/or offend some JHM readers. I know that some of you are really going to resent the fact that I’m basically forcing you to go back to the beginning of a story. That you really don’t have any say in the matter.

But — trust me, folks — that extra bit of effort is really going to pay off. For the new version of my “Star Tours” saga is so much more ambitious. It covers so much more ground, giving you a better understanding of what was going on in Hollywood and/or Walt Disney Productions at the time.

So — please — come back on Monday and experience the newly enhanced version of my “Star Tours” saga. I promise that you won’t be disappointed.

And — speaking of disappointment — I know a lot of you out there look forward to Friday’s “Why For” columns. Which we’ll be starting up at JHM again soon. But — for now — why don’t I share some stories that I came across this week while doing research for my “Star Tours” series?

From Scott Eyman’s “Lion of Hollywood: The Life and Legend of Louis B. Mayer” (Simon & Shuster, April 2005), here’s a story about how the MGM lion let a money-making mouse just slip through his fingers:

While Mayer’s instincts were excellent, they weren’t infallible. Frances Marion enjoyed telling the story of a time in mid-1928 when she summoned Mayer to a projection room with Margret Booth, Victor Fleming and George Hill to watch a cartoon on offer from a young animator. A squeaking mouse ran across the screen, and Mayer immediately shouted, “God damn it! Stop that film! Stop it at once.” He launched into a tirade about something so obviously offensive to at least half the audience. “Every woman is scared of a mouse, admit it. And here you are thinking they’re going to laugh at a mouse on the screen that’s ten feet tall, admit it. I’m nobody’s fool.”

He exited the screening room with a slammed door as punctuation. Leaning against the back wall of the projection room, Walt Disney realized he’d have to look for distribution someplace else.

Next up, as part of Sam Weller’s “The Bradbury Chronicles: The Life of Ray Bradbury” (William Morrow, April 2005), Ray Bradbury talks about how enjoyable it was to work on the “Spaceship Earth” project:

As the Disney company was moving toward bringing to life Walt Disney’s vision of an Experimental Prototype Community of Tomorrow, one of the names that was first bandied about as a possible creative contributor was Ray Bradbury. Executives John Hench and Marty Sklar could think of no other person who better reflected the ideals of the past in harmony with the concepts of the future. Ray’s fond attachment to the small-town Americana of yesteryear, combined with the hopes and dreams of a better tomorrow, was a perfect match for Disney. Walt Disney created “Main Street U.S.A.” as well as “Tomorrowland.” But even before that, Ray had authored “Dandelion Wine” and “The Martian Chronicles,” odes to these very two concepts.

Ray was hired by Disney Imagineering in 1976 — the year of the American Bicentennial — to consult on EPCOT Center. Just as he had done with the United States Pavilion at the (1964-1965 New York) World’s Fair, he was asked to conceptualize and write the script for the interior of EPCOT’s centerpiece, the geodesic sphere known as “Spaceship Earth.” Ray worked at the Imagineering offices for a period of weeks late in 1976, four or five days a week. His hours were flexible. “They didn’t care when I got there or when I left,” said Ray. “It was very relaxed.”

Cartoon from February 17, 1977 WED-WAY newsletter

Were that Ray’s trip down to Orlando in October of 1982 (to attend EPCOT Center’s grand opening) was as pleasant as working at WED was:

In October of 1982, Ray traveled to Orlando, Florida for the opening of EPCOT Center. He took the train, of course. From the start, his voyage was a traveler’s nightmare. Ray first stopped in New Orleans to give a lecture at a local college. While there, he learned that he couldn’t get continuing rail service to Orlando, and so he hired a limousine driver to take him on the five-hundred-mile trek. The driver was a courtly southern African-American gentleman in his midseventies with whom Ray enjoyed talking as they headed across swamp and ‘gator country toward the city that Disney built.

Somewhere outside of Tallahassee, Florida, the limousine blew a tire. “We’re out on the highway,” said Ray,”repairing a ruptured tire, with cars going by us at eighty miles an hour. Of course, the spare was no good, and could barely run on a rim of rubber.” So Ray and the driver went to buy a new spare. “It took us two hours to find one going all around Tallahassee,” Ray recalled. “All the while, God was whispering to me, “Fly, dummy! Fly!”

A hundred and fifty miles farther down the Florida interstate, the limousine engine blew. “The limousine was going to hell!” Ray said. The old car drifted off the highway, coasting slower and slower, finally lurching into a parking lot of a Howard Johnson motor lodge. Ray and the old driver both got rooms and called it a day. The next morning, Ray called a taxi company to take him the remaining distance to Orlando. “Smokey and the Bandit showed up,” said Ray, referencing the 1977 film starring Burt Reynolds and Jackie Gleason. When the taxi rolled up, Ray noted that the driver was a dead ringer for Gleason. To top it off, Ray learned that the driver was the town sheriff, who moonlighted as the town cabbie. The sheriff-cabbie drove Ray the remaining distance to Orlando, pontificating the entire way, acting as tour director, pointing out various Sunshine State sights. “The taxi trip must have cost me two hundred dollars,” said Ray. “But it was a great trip because he was a great guy.”

However, once Bradbury finally got on property, things began running smoothly again. Thanks to that Disney magic. Take — for instance — what happened on EPCOT’s opening night:

Ray’s twenty-seven-year-old daughter Bettina joined her father for the grand opening of EPCOT, a three-day multimillion-dollar extravaganza … One evening, as father and daughter were strolling through the park’s World Showcase — a series of recreated international streets and buildings — it stormed. Ray recalled with awe that the EPCOT staff appeared almost instanteously with complimentary umbrellas for the thousands of guests.

Speaking of Disney Magic, I just came across Morris Walker’s “Steve Martin: The Magic Years” (S.P.I. Books, February 2001). Which — to be honest — isn’t really much of a book. Though — that said — it still has some fairly interesting tales to tell about the years Steve Martin spent at Disneyland. According to Walker, Martin actually started working at the Anaheim theme park back in 1956 when the writer & comedian was only 10.

Steve supposedly started out by selling balloons & souvenir programs, but eventually found work at the Magic Shop on Main Street U.S.A. Once there, Martin — under the guidance of the store’s manager James A. Hume AKA the Great Aldini — honed his craft. Continually practicing the many tricks that were sold in the shop until Steve’s obvious talent came to the attention of the Magic Kingdom’s main comic-magician, Wally Boag.

In “The Magic Years,” Walker recalls how Boag gave Martin his first big break in show business:

I flashed back to the many hours Steve and I spent in the Golden Horseshoe Theater in Frontierland watching Wally Boag. Wally would do his vaudeville act almost the same everyday, but that wouldn’t lessen our enthusiasm for the progra. He was a master with balloon animals and other vaudeville craziness. Of course, his balloon animals actually looked like animals. Steve would also create adorable little balloon animals, but in his act in the late seventies, he preferred to create a large, obscene monstrosity and call in an interuterine device for an elephant. After Steve had perfected many magic tricks at the Magic Shoppe in Disneyland, Wally Boag featured Steve in a show at the Golden Horseshoe that was supposed to be called “YOUTH AND MAGIC.” Fate must have grabbed the painter’s brush, because when finished, the sign accidentally read: “MOUTH AND MAGIC.”

Speaking of “Mouth,” I think I’ll shut up now and get back to working on Monday’s “Star Tours” story. You folks have a great weekend, okay?

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