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Just how well did “Chicken Little” really do this past weekend?

It was the No. 1 film in the country this past weekend. So why isn’t Jim Hill celebrating “Chicken Little” ‘s success? Because — when you really break down the numbers — this film’s box office performance was solid but not exactly spectacular.

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I’ll admit it. It’s hard not to be impressed with “Chicken Little” ‘s performance at the box office this past weekend.

After all, Disney’s newest animated feature sold more than $40 million dollars worth of tickets over the past three days. Which is admittedly a hell of a lot better than the pundits (myself included) predicted this picture would do.

But — that said — I think that it’s important to put “Chicken Little” ‘s performance in context. To give JHM readers some idea how the opening weekend grosses for Disney’s new computer animated feature compare to all the other CG films that have been released since 1995:

Computer Animated Features
Opening Weekend Grosses
Domestic Release

Shrek 2 ……………………..$108 million
Finding Nemo …………..$70.2 million
The Incredibles ……………$70 million
Monsters, Inc. ……………$62.5 million
Toy Story 2 ………………. $57.3 million
Madagascar ……………..$47.2 million
Shark Tale ……………………$47 million
Ice Age ……………………….$46.3 million
Shrek ………………………….$42.3 million
Chicken Little ………………..$40 million

As you can see, “Chicken Little” came in tenth of this list. Which (to my way of thinking, anyway) is a fairly respectable way for WDFA to begin its CG era. Particularly when you take into consideration the sorts of grosses that Disney Feature Animation’s more recent releases have pulled down on their opening weekends:

Walt Disney Feature Animation
Opening Weekend Grosses
Domestic Release

Chicken Little ……………………..$40 million
Dinosaur …………………………..$38.8 million
Tarzan ………………………………$34.2 million
Lilo and Stitch …………………..$35.2 million
Mulan ……………………………….$22.7 million
Hercules ……………………………$21.4 million
Hunchback of Notre Dame ……$21 million
Atlantis: The Lost Empire …..$20.3 million
Brother Bear ……………………….$19.4 million
Home on the Range ……………..$13.8 million

Now, on this version of the list, you see that “Chicken Little” comes out on top. This Mark Dindal picture had the best opening weekend performance of any film that WDFA has recently released (Though — to be honest — were you to adjust “Dinosaur” ‘s opening weekend ticket sales for inflation, I’m betting that that May 2000 film would actually have higher grosses than “Chicken Little.” Anywho …).

Of course, if you really want to put this film’s opening weekend performance in proper context, you have to factor in the number of theaters that “Chicken Little” was being screened in. These days, in an effort to make their films available to the largest possible audience during their opening weekend, studios are now sending record numbers of prints out into the multiplexes:

Number of Screens that
Top Grossing Animated Films were shown on
during their Opening Weekend

Shrek 2 …………………………………………………………………4163 screens
Madagascar ………………………………………………………….4131 screens
Shark Tale …………………………………………………………….4070 screens
The Incredibles ………………………………………………………3933 screens
Robots ……………………………………………………………………3776 screens
Shrek …………………………………………………………………… 3,715 screens
Chicken Little ……………………………………………………….3,654 screens
The Polar Express …………………………………………………3,650 screens
Wallace & Gromit: Curse of the Wererabbit …………3,645 screens
Ice Age ………………………………………………………………….3,316 screens

Walt Disney Studios obviously used this same tactic in order to make sure that “Chicken Little” sold a record number of tickets over this past weekend. Want proof? Okay, compare the number of theaters that this Randy Fullmer film was released to to the number of screens that previous WDFA movies were shown on:

Number of Screens that
recent WDFA films were shown on
during their Opening Weekend

Chicken Little …………………………..3,654 screens
Dinosaur …………………………………. 3,257 screens
Treasure Planet ………………………..3,227 screens
Lilo and Stitch …………………………. 3,222 screens
Home on the Range ……………………3058 screens
Brother Bear ……………………………3,030 theaters
Atlantis: The Lost Empire …………3,011 screens
Tarzan ……………………………………….3,005 screens
Mulan ………………………………………..2,888 screens
The Jungle Book II …………………….2,808 screens

As you can see, “Chicken Little” was shown on almost 400 more screens than “Dinosaur” was. And yet this Mark Dindal movie still only managed to out-gross that Eric Leighton picture by an estimated $1.2 million. Which is not exactly what I’d call a decisive victory.

Anyway … If you really want to get a handle on how a film really did at the box office during its opening weekend, you have to divide that movie’s box office totals by the number of theaters that particular motion picture was screened in. It’s these adjusted performance numbers that actually reveal which films were top earners during their opening weekends:

Animated Features that performed best
on their Opening Weekends based on
their Per Screen Averages

Shrek 2 ……………………$25,951 per screen average
Finding Nemo ………….$20,821 per screen average
Monsters, Inc. ……………$19,331 per screen average
The Incredibles ………….$17,917 per screen average
Toy Story 2 …………………$17,734 per screen average
Ice Age ………………………..$13,966 per screen average
A Bug’s Life ………………….$12,232 per screen average
Dinosaur ……………………..$11,929 per screen average
Toy Story ……………………..$11,860 per screen average
Shark Tale ……………………$11,853 per screen average

Please note that Disney’s “Chicken Little” didn’t make this Top 10. But — rather — with only a $10,970 per screen average, this Randy Fullmer film came in 15th place on this particular list.

Now, I know. Coming in 15th on that still seems pretty impressive. Until you compare “Chicken Little” ‘s opening weekend performance to what other recent WDFA releases earned on a per-screen-average basis:

The Opening Weekend performances
of recent Disney Animated Features based on
their Per Screen Averages

Dinosaur ……………………………..$11,929 per screen average
Tarzan ………………………………….$11,338 per screen average
Lilo and Stitch …………………….$11,049 per screen average
Chicken Little ……………………….$10,970 per screen average
Hercules …………………………………$8,125 per screen average
Mulan ……………………………………..$7,875 per screen average
Hunchback of Notre Dame ………$7,572 per screen average
Atlantis: The Lost Empire ………….$6,755 per screen average
Brother Bear ……………………………..$6,404 per screen average
Return to Neverland…………………..$4,654 per screen average

Does it strike anyone else as ironic that — after all the money that has recently been poured into Disney Feature Animation in order to turn that traditional animation operation to a state-of-the-art CG studio — that “Chicken Little” ‘s opening weekend box office performance still couldn’t quite equal the grosses of two traditionally animated films, “Tarzan” and “Lilo and Stitch”?

Or — better yet — that this Mark Dindal movie (even with its inflation-boosted ticket prices) still couldn’t come close to matching the per-screen-average box office performance of “Dinosaur”? Which ( let’s remember) was produced by WDFA during Disney’s last flirtation with computer animation. When hundreds of millions of dollars were poured down “The Secret Lab” rat-hole … Never to be seen again …

Now please don’t interpret the above article as “Chicken Little” bashing. I want to go on record as saying that I really enjoyed WDFA’s latest release.

In fact, this past Friday, Nancy and I caught two performances of the picture. At one screening, this Randy Fullmer projection was traditionally projected. While — at the next showing — we saw “Chicken Little” in Disney Digital 3D. And both times Nancy and I found this Mark Dindal movie to be a highly enjoyable little film.

Also … While the above article attempts to point out that “Chicken Little” wasn’t exactly a smash hit, I should also say that this movie will still go on to rack up some pretty impressive numbers at the box office.

To explain: Given that an animated film’s opening weekend gross typically represent 20% – 25% of what that movie will then go on to earn during its entire domestic run, this Randy Fullmer production is (as we speak) currently on track to earn $160 – $200 million. Which (obviously) is nothing to sneeze.

But — that said — a gross of that size isn’t why Walt Disney Studios decided to shut down its traditional animation operation and go totally CG. Mickey’s chasing the big bucks now. The $441 million that “Shrek 2” earned during its domestic release back in 2004, the $339 million that “Finding Nemo” made stateside during its Summer 2003 release, the $328 million that “The Lion King” made back in 1994 …

Oh, wait a minute. That was a traditionally animated film, wasn’t it … Never mind.

Anyway … Here’s hoping that the above story gives you a better understanding of how “Chicken Little” actually did during its opening weekend. To put it bluntly, this Mark Dindal movie is off to a solid if not exactly spectacular start. Given the competition that “Chicken Little” faces in the weeks ahead (With “Zathra” opening next weekend and “Harry Potter and the Goblet of Fire” the week after that), company execs are still very concerned about how far the box office for this film will fall off. More importantly, whether this new WDFA release will actually be able to make the $160 – $200 million that it’s currently projected to earn during its initial domestic run.

But — for now — given how brutal the bulk of the advance reviews were last week (With most reviewers attacking “Chicken Little” because Walt Disney Studios had dared to shut down its traditional animation operation. Rather than actually commenting as whether this Randy Fullmer production was really worth the price of admission), most studio executives are just pleased that “Chicken Little” did as well as it did.

That — in spite of all the dour predictions (Including the ones that were previously run at this website) that the sky didn’t actually fall this past weekend.

Your thoughts?

Jim Hill

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.

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

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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. 

Jim Hill

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

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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?

Jim Hill

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

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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

Jim Hill

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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