General

Is Disney Feature Animation ripe for another revolution?

As WDFA vets continue to grumble about how cruel and clueless Disney Company management has become during this time of extreme upheaval in the animation industry, Jim Hill wonders: Is it time for another Don Bluth?

Published

22 years ago

May 18, 2003

Jim Hill

Next September marks the 25th anniversary of a very auspicious event in animation history.

That’s when Don Bluth — who was then a Walt Disney Productions employee — walked about the door at the Mouse Factory. Taking Gary Goldman, John Pomeroy and 14 other animators and assistants with him.

Why did Don leave Disney? Because he was a very ambitious man who had grown tired of watching Mouse House managers continually second-guess themselves into making mediocre movies. Of corners constantly being cut.

Bluth longed for the days when Disney actually made great animated films. Sparing no expense when it came to the creation of feature length cartoons that would delight and awe audiences. When it looked like those days were gone for good (more importantly, when it appeared that Walt Disney Productions management was extremely resistant to the idea of resurrecting the “good old days” of WDFA … when rain drops glistened, when pools of water rippled and the stories that Disney told in its animated films actually had some guts …), Don bailed out of Burbank and started up his own studio.

Now there are people who will tell you that the Second Golden Age of Disney Feature Animation actually got underway with the November 1989 release of “The Little Mermaid.” Not me. I think that the rebirth of the Mouse Factory as an animation powerhouse should be tracked back to Don Bluth’s rebellion. When he told his friends and co-workers that “Disney should be doing better than this. That we shouldn’t have to settle for doing things half-assed. That maybe we should go out and start our own studio.”

And so they did. Which gave the Mouse a real kick in the ass. Meaning that — for the first time in nearly 40 years — Walt Disney Productions actually had some serious competition in the feature animation field. That’s why — when Bluth’s initial effort, “The Secret of NIMH,” came out in June of 1982 and was widely praised for its lush backgrounds, full animation and thrilling story — Mouse House managers were forced to sit up and take notice. To rise to Don’s challenge, so to speak.

Sure, there were some stumbles along the way. Disney’s highly touted summer 1985 release, “The Black Cauldron,” comes immediately to mind. Where so much time and money was wasted on trying to create cutting-edge special effects for this alleged animated epic (remind me sometime to tell you all the story of the millions the Imagineers blew through, trying to create a workable holographic sequence for “The Black Cauldron” where it was supposed to have appeared as if one of the Cauldron-born were actually coming out of the screen to menace the audience. Admittedly, this was a really intriguing idea. Too bad it was impractical. Not to mention that the holographic technology never quite worked the way the wizards of WED intended. Anyway …) that the film’s story was woefully neglected.

To my way of thinking, it wasn’t until Walt Disney Pictures’ July 1986 release — “The Great Mouse Detective” — that WDFA finally seemed to have gotten its act together again. Here was a film — keenly crafted by the then-newbie directorial team of John Musker and Ron Clements — that finally got the mix right. Heart, wit and thrills. Where the movie’s elaborate special effects didn’t overwhelm or interrupt the story. But rather — in the film’s then-ground breaking clock tower sequence — the CGI setting actually added to that sequence’s thrills.

Of course, that was back in the day when Walt Disney Feature Animation only had a handful of executives that the artists had to answer to. Nowadays … well, to hear one WDFA vet tell it: “There’s a reason that there’s a sorcerer’s hat on top of our building. It’s the only sort of hat that would fit the dozens of pin-head executives that we have to deal with.”

I won’t lie to you, gang. This is a time of extreme unhappiness and upheaval at Disney Feature Animation. When studio execs — who are positively frantic to return WDFA to its former glory days of maximum profitability — have once again begun to continually second guess themselves. Where corners are routinely cut to keep costs down.

And — since WDFA execs now seem genuinely reluctant to greenlight a new traditionally animated feature — that’s why many Disney Animation vets are now reportedly talking about “… pulling a Bluth.” As is: a group of artists and animators deliberately breaking away from the Mouse Factory to go set up their own studio.

Of course, the key difference between 1979 and 2003 is the Mouse now has most of its animators tied up with long term contracts. That — during the infamous animation talent bidding war that broke out between Disney and Dreamworks in the mid-1990s — that Mickey locked up a lot of talent by signing them to extremely lengthy deals. (Never mind that — as the box office numbers began to slide for Disney’s animated features in the late 1990s — Mouse House managers renegotiated a number of these deals. Keeping the length of the contracts the same, but significantly scaling back the compensation that Mickey was willing to pay out to his top animators.)

Which means that a lot of Disney’s artists aren’t actually in a position where they can act on their rebellious urges. At least not right now. But that hasn’t stopped a number of them from talking about eventually going off and setting up their very own new traditional animation studio. A place that would continue to create the sort of animated film that Walt Disney Pictures seems so determined to make a part of their distant past.

That’s the thing that many Disney animation vets seem to find so hard to swallow right now. That execs at WDFA just don’t seem to want to make traditionally animated films anymore. That the films that the Mouse currently has in its development pipeline — “The Snow Queen,” “Chicken Little,” “Rapunzel,” “Fraidy Cat” et al — projects that had initially been envisioned as being a mix of CG and traditional animation … are now being thought of as strictly computer animated films.

Which means that — if Disney’s veteran animators (I.E. The brightest and the best at the Mouse Factory) expect to keep working for Mickey — they have to be retrained. Which is why many of these folks are currently suffering through Maya classes. Which — to hear one highly praised Disney vet explain it — ” … makes me feel like I’m going from being an artist to becoming a puppeteer.”

Okay. Admittedly, change is inevitable in the entertainment industry. Let’s think back to the time in the late 1920s when pictures went from silent to sound and thousands of people were put out of work because they were unable or unwilling to embrace the new technology that had risen up so suddenly to dominate the industry.

That’s what I keep wondering. Can some sort of parallel be drawn between what happened back in Hollywood when “The Jazz Singer” first burst on the screen and what’s happening now with the animation industry? Particularly at a time when audience’s tastes in animated features appears to be changing so radically. When films like “Shrek,” “Monsters, Inc.” and “Ice Age” are eagerly embraced by mainstream movie-goers. While more traditionally animated fare like “Atlantis: The Lost Empire” and “Treasure Planet” seem to have trouble just covering their production costs during their initial domestic release.

So Disney Feature Animation — in order to stay competitive in this dynamically shifting marketplace — has to change with the times … or does it? Many Disney animation vets have suggested that — if they weren’t constantly have to deal with the lame-brained suggestions of WDFA execs (many of which seem to have next-to-no-practical experience when it comes to the production of a feature length animated film) — that they would still be able to make movies that could connect with modern audiences. Projects that would still have some wit and edge to them.

Me personally? I don’t think that it’s a co-incidence that WDFA’s most recent successful feature — 2002’s “Lilo & Stitch” — was primarily produced in Orlando. Or that Disney Feature Animation’s most successful film prior to “Lilo” — 1999’s “Tarzan” — was animated mostly at the Mouse’s now-defunct Parisian facility.

You see what I’m saying here? The greater the distance from Burbank (and the middle management meddling that naturally goes with being right on the main studio lot), the better the movie turns out. The less WDFA executive involvement, the higher a film’s box office.

This, of course, is NOT a world view that the creative VPs at Walt Disney Feature Animation share. They believe that they actually make a valuable contribution to the production process … like insisting that Chicken Little be changed from being a boy to a girl (to make that film’s title character come across as being more sympathetic) … or by insisting that most of the monster sequences initially proposed for “Atlantis: The Lost Empire” be cut (thereby keeping production costs down — never mind that this one cost cutting maneuver robbed “Atlantis” of many of its more thrilling scenes — which made it that much more difficult for this Disney animated feature to be marketed to its alleged core audience: pre-teen boys).

It’s this constant interference by WDFA execs, the sense that they’re now actively being prevented from making successful traditionally animated film (so that Disney executives can justify their rush to change over their animation operation over to a totally CG affair) that currently frustrates many animation vets. Which is why — as I mentioned at the top of this story — a number of them are talking about “… pulling a Bluth.” Going off and starting their own animation studio. Where they could create new traditionally animated films that would compete directly with Disney and — hopefully — eventually beat the Mouse at what used to be Mickey’s game.

Is this actually going to happen? Well, it will be interesting to watch what happens over the next few years. As the long term contracts that tie many of Disney’s top animators to the Mouse Factory expire. And these artists are finally free to begin charting their own courses.

Mind you, these WDFA vets may have no choice but to go off and start up their own animation studio. Given that even Dreamworks seems to be getting out of the traditional animation game. (Word has it that — even though Dreamworks is reportedly gearing up to churn out three new animated features a year from here on in — that no new traditionally animated films are currently in the pipeline. That this studio is reportedly waiting to see how well “Sinbad” does before it actually greenlights production of yet another traditionally animated feature.)

But perhaps these artists should take some solace in a comment that comes from a conversation I recently had with one of Disney’s direct competitors: “Someone could have created the greatest animation studio that ever existed by just standing on the sidewalk outside of WDFA-Burbank and signing up all the artists and animators that Disney has let go over the past 18 months. The talent that those boneheads let walk out the door is just … stunning.”

So maybe it really is time for someone to “… pull a Bluth.” To gather up this group of suddenly disenfranchised Disney artists and create a new animation studio. A place where traditional animation (an art form that even Pixar creative guru John Lasseter says that he hopes doesn’t totally disappear) could continue to thrive and grow. Have a second flowering, so to speak.

Yeah, the history of feature animation is a never ending cycle of boom and bust. Right now, traditional animation seems to be on the bust side of the fence. But I can’t help thinking — given the truly impressive box office numbers that “Spirited Away” just wracked up in Japan (where this marvelous Hiyao Miyazaki movie became the highest grossing film in Japanese history, even surpassing the record ticket sales of James Cameron’s “Titanic” racked up) — that there’s still a serious market out there for a traditionally animated film.

More importantly, that the real reason that the more recent traditionally animated films that Walt Disney Pictures has been turning out haven’t been more successful is because studio execs won’t allow the company’s veteran animators to make the movies that they’re actually capable of making. Even longtime Disney boosters like animation legend Glen Keane have begun complaining about studio interference. In a recent interview, Glen was quoted as saying that he’s never ever seen a film that was as seriously micro-managed as “Treasure Planet” was.

So could Disney Feature Animation still be churning out successful traditionally animated features if the Mouse Factory seriously cut back on its cadre of alleged creative, continually interfering VPs? Sadly, given how firmly entrenched these executives are these days, I’m guessing that we’ll never know. That — given the current corporate culture at the Walt Disney Company (where execs constantly try to justify their enormous paychecks as well as their basically useless existence by ruthlessly cutting away at those underneath them. Which is why the staff levels at WDFA has radically shrunk over the past five years, while the number of suits that you’ll find in the Disney Feature Animation’s executive suite on the Burbank lot is now at an all-time high) — it’s the execs who are still managing to hang on. While artists and animation veterans are continually being shown the door.

I’m sorry if this is starting (“Starting?!”) to sound like a rant. But I’m just tired of seeing talented people — artists who actually contribute to the process — struggling to survive. While empty suits — people who continually waste time and money with pointless meetings where they try to justify why the Mouse keeps them on payroll — thrive.

This is why I’m honestly encouraged to hear this talk of revolt at the Mouse House. Of animators thinking about heading for the exits, of setting up their own animation studio, of showing Disney how it’s done.

Whether or not this actually ever happens … well, let’s just wait and see, shall we?

But I just thought you should know that all is really not well inside of the Mouse Factory. That 2003 is starting to look an awful lot like 1979.

Your thoughts?

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