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Monday Mouse Watch: Will live action productions really help Pixar deal with its brand fatigue problem?

Jim Hill asks: What’s it going to take to make the domestic release of a new Pixar film seem like a special event again? Will live action projects like “John Carter of Mars” & “1906” really be enough to re-energize this animation studio’s U.S. fanbase?

Published

17 years ago

on

I know, I know. Pixar diehards keep insisting that “Ratatouille” is this enormous success. That there’s no possible way that anyone could ever be disappointed with the way this Brad Bird film has performed to date.


Well, if that’s really the case, then someone should probably tell Brad that. For — in many of the recent interviews that Bird has given while doing promotion for the international release of this new Pixar Animation Studios production — the guy sounds pretty downbeat about the way “Ratatouille” has been received.


Don’t believe me? Okay. Let’s start with this quote from an interview that Brad did with the Herald Sun last month. Where this director reflects on how the entertainment press has been harping on the fact that “Ratatouille” didn’t earn as much domestically as the Pixar pictures that proceeded it.



“Certainly, some times you get the feeling people aren’t rooting for you any more within the industry. If it isn’t the Second Coming of the Lord it’s somehow a disappointment. I don’t know what you do about that.”


Or — better yet — how about Bird’s explanation as to why “Ratatouille” didn’t do as well as “Cars” did during its stateside release? In an interview that this acclaimed animation director did last week with Wally Hammond for Time Out London, Brad suggested that …



“I think we, with ‘Ratatouille’, have been more than a victim of a lot of fuzzy animal films that came out before us that just have a bunch of jabbering, wise-cracking practically interchangeable animals. People will take one look at our talking rats and think: ‘Oh! It’s one of those.’. And it’s true, they’ve not showed up. Even though it comes from Pixar. We’ve had the greatest reaction ever from people who have gone to see it, but the reaction to seeing it we’ve found surprising. And I think it’s partially down to that rack of animal films.”


Trust me, folks. If “Ratatouille” ‘s director is now out there admitting to the press that this picture didn’t do as well domestically as it had initially been projected to do (i.e. that the enormous audiences that had originally been expected to turn out for this new Disney / Pixar release did ” … not show[ed] up”) … Well, perhaps now you can understand why Pixar’s latest is considered to be something of a disappointment by the folks back in Burbank & Emeryville.


Not a huge disappointment, mind you. I mean, it’s hard to be dismissive of a movie that was as well reviewed as “Ratatouille” was. And the $204 million that this Brad Bird film has earned domestically to date (coupled with the $245.8 million that Pixar’s latest has pulled in so far over its overseas run) isn’t exactly chump change. And given that the DVD version of “Ratatouille” is expected to be a particularly strong seller when it hits store shelves next month, it’s not as if anyone in the executive suite is actually concerned that this project will eventually be able to recover all of its production & promotional costs.



 Copyright Disney / Chronicles Books. All Rights Reserved


But that said … Even as this Emeryville-based animation studio gets ready to celebrate (via the November 1st release of Karen Paik’s new book, “To Infinity and Beyond: The Story of Pixar Animation Studios” as well as the upcoming 14 city roll-out of Leslie Iwerk’s new documentary, “The Pixar Story”) over two decades of achievement … There are some very powerful individuals in both Burbank & Emeryville who are reportedly growing concerned with what is now being referred to as Pixar’s brand fatigue problem.


To explain: Though Disney’s own survey work shows that most moviegoers in the U.S. still hold the Pixar name in very high esteem (In fact, until just recently, more people associated the Pixar name with quality & innovation than did Disney), the slow-but-steady erosion of this animation studio’s domestic earnings over its last three pictures suggest that stateside audiences have begun taking Pixar for granted. That they no longer consider the release of a new feature from this animation studio to be a special event.


As one WDAS veteran explained it to me just last week:



“Pixar now finds itself in the exact same position that we were in back in the mid-to-late 1990s. Where we were putting out at least one new animated feature every year. And each film was then compared to the pictures that had proceeded it. And it wasn’t enough that we made a movie that did well at the box office or received good reviews. If that film didn’t make as much money as ‘The Lion King’ did … Well, the press then labeled that picture a disappointment and said that it had failed to meet the studio’s expectations.


And it was stories like that that then allowed all of those creative VPs to start messing with our movies. To start giving us notes about what needed to be changed on these pictures. Which characters had to be made more sympathetic. What scenes needed to be cut. Which — in the end — is what wound up making the films that Feature Animation was making back then even worse.


Thank goodness that John Lasseter & Ed Catmull have Steve Jobs in their corner. As long as Jobs has Bob Iger‘s ear, John & Ed don’t ever have to worry about that sort of meddling. They can just go on making the sorts of movies that they want to make.”


And according to what Pixar insiders have been telling me … The people up in Emeryville don’t really buy into this brand fatigue idea. Not yet, anyway.


The way they see it, the real reason that this animation studio has seen progressive smaller grosses for the domestic releases of its last three pictures is that … Well, Pixar’s now dealing with a better educated consumer.


According to one 15-year Pixar vet put it to me this past Friday:



“Everybody knows now that — three to four months after our movies debut in theaters — that they then go on sale on DVD. So what’s the point of paying upwards of $50 – $60 to take your family out to see a single showing of the newest Pixar picture? When — if you can just wait a few months — you can then own that very same movie outright for just $15 – $20? Which your kids can then watch over & over again at home?


That’s what happened with ‘Ratatouille.’ It wasn’t that people didn’t go to Brad’s movie this past summer because they thought it was going to be bad. Far from it. We’ve got tons of surveys in hand that show that people were really looking forward to seeing ‘Ratatouille.’ But because of a number of factors that Disney & Pixar didn’t have any control over — ticket prices, gas prices, a very competitive summer at the multiplex — a lot of people just didn’t go out to the theater to see this movie. They opted instead to wait for the ‘Ratatouille’ DVD.



 Copyright 2007 Disney / Pixar. All Rights Reserved


Looking ahead, I can anticipate that we’ll probably have the exact same problem with ‘WALL * E.’ That that picture will also get great reviews and do well domestically for a few weeks due to good word-of-mouth. But in spite of that, a certain portion of that picture’s domestic audience — no matter how great the reviews are, how good the word-of-mouth is — will still opt to wait for the DVD.


Of course, that could change if we can figure out how to market ‘WALL * E’ as an event. As a movie that you have to see on the big screen.


But — to be honest — we don’t like using gimmicks like IMAX 3D in order to sell our movies. We believe that our pictures should be strong enough to stand on their own. That the stories that we tell, that the characters that we create should be enough all by themselves to compel people to come out and see our newest films while they’re still in theaters.”


Mind you, this isn’t to say that Pixar Animation Studios isn’t willing to experiment. That the folks up in Emeryville won’t ever tinker with their highly successful formula. Take — for example — that live-action project that Pixar currently has in development,”John Carter of Mars.” This is the first installment of a proposed trilogy of films that will be based on Edgar Rice Burrough’s 11-volume Barsoom series and will feature plenty of CG.


The main reason that Pixar put “John Carter of Mars” into development is that they’re looking to expand the studio’s production parameters. In much the same way that Walt Disney used films like “Song of the South” and “20,000 Leagues Under the Sea” in order to prove to the world that the Mouse Factory could do more than continually crank out cartoons.


This is how the folks at Pixar will supposedly address their perceived brand fatigue problem. Not through tricks & gimmicks. But by deliberately stepping away from just producing CG animated features & shorts. By using the same storytelling craft & skill that they applied toward the creation of “Toy Story 2,” “Monsters, Inc.,” “Finding Nemo” and “The Incredibles” and then using it to bring to life what Edgar Rice Burrough’s unique vision of the planet Mars — with its 10-legged dogs and 8-legged horses — is like.


So there you have it, folks. Pixar hopes to re-energize domestic ticket sales by creating an effects filled live action film that is literally set out-of-this-world.


So what do you think? Will this gambit really be enough to help Pixar with its alleged brand fatigue problems? Or should the folks up in Emeryville just resign themselves to the fact that an ever-increasing portion of the U.S. audience is going to opt out of the movie-theater-going experience and instead wait for the DVD?


Your thoughts?

Related Topics:

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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General

Seward Johnson bronzes add a surreal, artistic touch to NYC’s Garment District

Published

9 years ago

on

June 23, 2015

By

Greetings from NYC. Nancy and I drove down from New
Hampshire yesterday because we'll be checking out
Disney Consumer Products' annual Holiday Showcase later today.

Anyway … After checking into our hotel (i.e., The Paul.
Which is located down in NYC's NoMad district), we decided to grab some dinner.
Which is how we wound up at the Melt Shop.


Photo by Jim Hill

Which is this restaurant that only sells grilled cheese sandwiches.
This comfort food was delicious, but kind of on the heavy side.


Photo by Jim Hill

Which is why — given that it was a beautiful summer night
— we'd then try and walk off our meals. We started our stroll down by the Empire
State Building
…


Photo by Jim Hill

… and eventually wound up just below Times
Square (right behind where the Waterford Crystal Times Square New
Year's Eve Ball is kept).


Photo by Jim Hill

But you know what we discovered en route? Right in the heart
of Manhattan's Garment District
along Broadway between 36th and 41st? This incredibly cool series of life-like
and life-sized sculptures that Seward
Johnson has created.


Photo by Jim Hill

And — yes — that is Abraham Lincoln (who seems to have
slipped out of WDW's Hall of Presidents when no one was looking and is now
leading tourists around Times Square). These 18 painted
bronze pieces (which were just installed late this past Sunday night / early
Monday morning) range from the surreal to the all-too-real.


Photo by Jim Hill

Some of these pieces look like typical New Yorkers. Like the
business woman planning out her day …


Photo by Jim Hill

… the postman delivering the mail …


Photo by Jim Hill

… the hot dog vendor working at his cart …


Photo by Jim Hill


Photo by Jim Hill

… the street musician playing for tourists …


Photo by Jim Hill

Not to mention the tourists themselves.


Photo by Jim Hill

But right alongside the bronze businessmen …


Photo by Jim Hill

… and the tired grandmother hauling her groceries home …


Photo by Jim Hill

… there were also statues representing people who were
from out-of-town …


Photo by Jim Hill

… or — for that matter — out-of-time.


Photo by Jim Hill

These were the Seward Johnson pieces that genuinely beguiled. Famous impressionist paintings brought to life in three dimensions.


Note the out-of-period water bottle that some tourist left
behind. Photo by Jim Hill 

Some of them so lifelike that you actually had to pause for
a moment (especially as day gave way to night in the city) and say to yourself
"Is that one of the bronzes? Or just someone pretending to be one of these
bronzes?"

Mind you, for those of you who aren't big fans of the
impressionists …


Photo by Jim Hill

… there's also an array of American icons. Among them
Marilyn Monroe …


Photo by Jim Hill

… and that farmer couple from Grant Wood's "American
Gothic."


Photo by Jim Hill

But for those of you who know your NYC history, it's hard to
beat that piece which recreates Alfred Eisenstaedt's famous photograph of V-J Day in Times Square.


Photo by Jim Hill

By the way, a 25-foot-tall version of this particular Seward
Johnson piece ( which — FYI — is entitled "Embracing Peace") will actually
be placed in Times Square for a few days on or around  August 14th to commemorate the 70th
anniversary of Victory Over Japan Day (V-J Day).


Photo by Jim Hill

By the way, if you'd like to check these Seward Johnson bronzes in
person (which — it should be noted — are part of the part of the Garment
District Alliance's new public art offering) — you'd best schedule a trip to
the City sometime over the next three months. For these pieces will only be on
display now through September 15th. 

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

Published

10 years ago

on

June 10, 2015

By

Greeting from the 2015 Licensing Expo, which is being held
at the Mandalay Bay
Convention Center in Las
Vegas.


Photo by Jim Hill

I have to admit that I enjoy covering the Licensing Expo.
Mostly becomes it allows bloggers & entertainment writers like myself to
get a peek over the horizon. Scope out some of the major motion pictures &
TV shows that today's vertically integrated entertainment conglomerates
(Remember when these companies used to be called movie studios?) will be
sending our way over the next two years or so.


Photo by Jim Hill

Take — for example — all of "The Secret Life of
Pets" banners that greeted Expo attendees as they made their way to the
show floor today. I actually got to see some footage from this new Illumination
Entertainment production (which will hit theaters on July 8, 2016) the last time I was in Vegas. Which
was for CinemaCon back in April. And the five or so minutes of film that I viewed
suggested that "The Secret Life of Pets" will be a really funny
animated feature.


Photo by Jim Hill

Mind you, Universal Pictures wanted to make sure that Expo
attendees remembered that there was another Illumination Entertainment production
coming-to-a-theater-near-them before "The Secret Life of Pets" (And
that's "Minions," the "Despicable Me" prequel. Which
premieres at the Annecy International Animated Film Festival next week but
won't be screened stateside 'til July 10th of this year). Which is why they had
three minions who were made entirely out of LEGOS loitering out in the lobby.


Photo by Jim Hill

And Warner Bros. — because they wanted "Batman v
Superman: Dawn of Justice" to start trending on Twitter today — brought
the Batmobile to Las Vegas.


Photo by Jim Hill

Not to mention full-sized macquettes of Batman, Superman and
Wonder Woman. Just so conventioneers could then see what these DC superheroes
would actually look like in this eagerly anticipated, March 25, 2016 release.


Photo by Jim Hill

That's the thing that can sometimes be a wee bit frustrating
about the Licensing Expo. It's all about delayed gratification. You'll come
around a corner and see this 100 foot-long ad for "The Peanuts Movie"
and think "Hey, that looks great. I want to see that Blue Sky Studios production
right now." It's only then that you notice the fine print and realize that
"The Peanuts Movie" doesn't actually open in theaters 'til November
6th of this year.


Photo by Jim Hill

And fan of Blue Sky's "Ice Age" film franchise are in for an even
longer wait. Given that the latest installment in that top grossing series
doesn't arrive in theaters 'til July
15, 2016.


Photo by Jim Hill

Of course, if you're one of those people who needs immediate
gratification when it comes to your entertainment, there was stuff like that to
be found at this year's Licensing Expo. Take — for example — how the WWE
booth was actually shaped like a wrestling ring. Which — I'm guessing — meant
that if the executives of World Wrestling Entertainment, Inc. didn't like
the offer that you were making, they were then allowed to toss you out over the
top rope, Royal Rumble-style.


Photo by Jim Hill

I also have to admit that — as a longtime Star Trek fan —
it was cool to see the enormous Starship Enterprise that hung in place over the
CBS booth. Not to mention getting a glimpse of the official Star Trek 50th
Anniversary logo.


Photo by Jim Hill

I was also pleased to see lots of activity in The Jim Henson
Company booth. Which suggests that JHC has actually finally carved out a
post-Muppets identity for itself.


Photo by Jim Hill

Likewise for all of us who were getting a little concerned
about DreamWorks Animation (what with all the layoffs & write-downs &
projects that were put into turnaround or outright cancelled last year), it was
nice to see that booth bustling.


Photo by Jim Hill

Every so often, you'd come across some people who were
promoting a movie that you weren't entirely sure that you actually wanted to
see (EX: "Angry Birds," which Sony Pictures Entertainment / Columbia
Pictures will be releasing to theaters on May 20, 2016). But then you remembered that Clay Kaytis —
who's this hugely talented former Walt Disney Animation Studios animator — is
riding herd on "Angry Birds" with Fergal Reilly. And you'd think
"Well, if Clay's working on 'Angry Birds,' I'm sure this animated feature
will turn out fine."


Photo by Jim Hill

Mind you, there were reminders at this year's Licensing Expo
of great animated features that we're never going to get to see now. I still
can't believe — especially after that brilliant proof-of-concept footage
popped up online last year — that Sony execs decided not to go forward
with  production of Genndy Tartakovsky's
"Popeye" movie.  But that's the
cruel thing about the entertainment business, folks. It will sometime break
your heart.


Photo by Jim Hill

And make no mistake about this. The Licensing Expo is all
about business. That point was clearly driven home at this year's show when —
as you walked through the doors of the Mandalay
Bay Convention Center
— the first thing that you saw was the Hasbros Booth. Which was this gleaming,
sleek two story-tall affair full of people who were negotiating deals &
signing contracts for all of the would-be summer blockbusters that have already
announced release dates for 2019 & beyond.


Photo by Jim Hill

"But what about The Walt Disney Company?," you
ask. "Weren't they represented on the show floor at this year's Licensing
Expo?" Not really, not. I mean, sure. There were a few companies there hyping
Disney-related products. Take — for example — the Disney Wikkeez people.


Photo by Jim Hill

I'm assuming that some Disney Consumer Products exec is
hoping that Wikkeez will eventually become the new Tsum Tsum. But to be blunt,
these little hard plastic figures don't seem to have the same huggable charm
that those stackable plush do. But I've been wrong before. So let's see what
happens with Disney Wikkeez once they start showing up on the shelves of the
Company's North American retail partners.


Photo by Jim Hill

And speaking of Disney's retail partners … They were
meeting with Mouse House executives behind closed doors one floor down from the
official show floor for this year's Licensing Expo.


Photo by Jim Hill

And the theme for this year's invitation-only Disney shindig? "Timeless
Stories" involving the Disney, Pixar, Marvel & Lucasfilm brands that
would then appeal to "tomorrow's consumer."


Photo by Jim Hill

And just to sort of hammer home the idea that Disney is no
longer the Company which cornered the market when it comes to little girls
(i.e., its Disney Princess and Disney Fairies franchises), check out this
wall-sized Star Wars-related image that DCP put up just outside of one of its
many private meeting rooms. "See?," this carefully crafted photo
screams. "It isn't just little boys who want to wield the Force. Little
girls also want to grow up and be Lords of the Sith."


Photo by Jim Hill

One final, kind-of-ironic note: According to this banner,
Paramount Pictures will be releasing a movie called "Amusement Park"
to theaters sometime in 2017.  


Photo by Jim Hill

Well, given all the "Blackfish" -related issues
that have been dogged SeaWorld Parks & Entertainment over the past two years, I'm
just hoping that they'll still be in the amusement park business come 2017.

Your thoughts?

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

Published

10 years ago

on

June 9, 2015

By

You know what Mickey Mouse looks like, right? Little guy,
big ears?

Truth be told, Disney's corporate symbol has a lot of
different looks. If Mickey's interacting with Guests at Disneyland
Park (especially this summer, when
the Happiest Place on Earth
is celebrating its 60th anniversary), he looks & dresses like this.


Copyright Disney Enterprises,
Inc.
All rights reserved

Or when he's appearing in one of those Emmy Award-winning shorts that Disney
Television Animation has produced (EX: "Bronco Busted," which debuts
on the Disney Channel tonight at 8 p.m. ET / PT), Mickey is drawn in a such a
way that he looks hip, cool, edgy & retro all at the same time.


Copyright Disney Enterprises, Inc. All rights
reserved

Looking ahead to 2017 now, when Disney Junior rolls out "Mickey and the
Roadster Racers," this brand-new animated series will feature a sportier version
of Disney's corporate symbol. One that Mouse House managers hope will persuade
preschool boys to more fully embrace this now 86 year-old character.


Copyright Disney Enterprises,
Inc. All rights reserved

That's what most people don't realize about the Mouse. The
Walt Disney Company deliberately tailors Mickey's look, even his style of
movement, depending on what sort of project / production he's appearing in.

Take — for example — Disney
California Adventure
Park's "World of Color:
Celebrate!" Because Disney's main mouse would be co-hosting this new
nighttime lagoon show with ace emcee Neil Patrick Harris, Eric Goldberg really had
to step up Mickey's game. Which is why this master Disney animator created
several minutes of all-new Mouse animation which then showed that Mickey was
just as skilled a showman as Neil was.


Copyright Disney Enterprises,
Inc.
All rights reserved

Better yet, let's take a look at what the folks at Avalanche Studios just went
through as they attempted to create a Classic version of Mickey & Minnie.
One that would then allow this popular pair to become part of Disney Infinity
3.0.

"I won't lie to you. We were under a lot of pressure to
get the look of this particular version of Mickey — he's called Red Pants
Mickey around here — just right," said Jeff Bunker, the VP of Art
Development at Avalanche Studios, during a recent phone interview. "When
we brought Sorcerer Mickey into Disney Infinity 1.0 back in January of 2014,
that one was relatively easy because … Well, everyone knows what Mickey Mouse
looked like when he appeared in 'Fantasia.' "


Copyright Disney Enterprises,
Inc. All rights reserved

"But this time around, we were being asked to design
THE Mickey & Minnie," Bunker continued. "And given that these Classic
Disney characters have been around in various different forms for the better
part of the last century … Well, which look was the right look?"

Which is why Jeff and his team at Avalanche Studios began watching hours &
hours of Mickey Mouse shorts. As they tried to get a handle on which look would
work best for these characters in Disney Infinity 3.0.


Copyright Disney
Enterprises, Inc. All rights reserved

"And we went all the way back to the very start of Mickey's career. We began
with 'Steamboat Willie' and then watched all of those black & white Mickey shorts
that Walt made back in the late 1920s & early 1930s. From there, we
transitioned to his Technicolor shorts. Which is when Mickey went from being
this pie-eyed, really feisty character to more of a well-behaved leading
man," Bunker recalled. "We then finished out our Mouse marathon by
watching all of those new Mickey shorts that Paul Rudish & his team have
been creating for Disney Television Animation. Those cartoons really recapture
a lot of the spirit and wild slapstick fun that Mickey's early, black &
white shorts had."

But given that the specific assignment that Avalanche Studios had been handed
was to create the most appealing looking, likeable version of Mickey Mouse
possible … In the end, Jeff and his team wound up borrowing bits & pieces
from a lot of different versions of the world's most famous mouse. So that
Classic Mickey would then look & move in a way that best fit the sort of
gameplay which people would soon be able to experience with Disney Infinity
3.0.


Copyright Disney Enterprises,
Inc. All rights reserved

"That — in a lot of ways — was actually the toughest
part of the Classic Mickey design project. You have to remember that one of the
key creative conceits of  Disney Infinity
is that all the characters which appear in this game are toys," Bunker
stated. "Okay. So they're beautifully detailed, highly stylized toy
versions of beloved Disney, Pixar, Marvel & Lucasfilm characters. But
they're still supposed to be toys. So our Classic versions of Mickey &
Minnie have the same sort of thickness & sturdiness to them that toys have.
So that they'll then be able to fit right in with all of the rest of the
characters that Avalanche Studios had previously designed for Disney Infinity."

And then there was the matter of coming up with just the
right pose for Classic Mickey & Minnie. Which — to hear Jeff tell the
story — involved input from a lot of Disney upper management.


Copyright Disney Enterprises,
Inc. All rights reserved

"Everyone within the Company seemed to have an opinion
about how Mickey & Minnie should be posed. More to the point, if you Google
Mickey, you then discover that there are literally thousands of poses out there
for these two. Though — truth be told — a lot of those kind of play off the
way Mickey poses when he's being Disney's corporate symbol," Bunker said.
"But what I was most concerned about was that Mickey's pose had to work
with Minnie's pose. Because we were bringing the Classic versions of these
characters up into Disney Infinity 3.0 at the exact same time. And we wanted to
make sure — especially for those fans who like to put their Disney Infinity
figures on display — that Mickey's pose would then complement Minnie.

Which is why Jeff & the crew at Avalanche Studios
decided — when it came to Classic Mickey & Minnie's pose — that they
should go all the way back to the beginning. Which is why these two Disney icons
are sculpted in such a way that it almost seems as though you're witnessing the
very first time Mickey set eyes on Minnie.


Copyright Disney Enterprises,
Inc. All rights reserved

"And what was really great about that was — as soon as
we began showing people within the Company this pose — everyone at Disney
quickly got on board with the idea. I mean, the Classic Mickey that we sculpted
for Disney Infinity 3.0 is clearly a very playful, spunky character. But at the
same time, he's obviously got eyes for Minnie," Bunker concluded. "So
in the end, we were able to come up with Classic versions of these characters
that will work well within the creative confines of Disney Infinity 3.0 but at
the same time please those Disney fans who just collect these figures because
they like the way the Disney Infinity characters look."

So now that this particular design project is over, does
Jeff regret that Mouse House upper management was so hands-on when it came to
making sure that the Classic versions of Mickey & Minnie were specifically
tailored to fit the look & style of gameplay found in Disney Infinity 3.0?


Copyright Lucasfilm / Disney
Enterprises, Inc. All rights reserved

"To be blunt, we go through this every time we add a new character to the
game. The folks at Lucasfilm were just as hands-on when we were designing the
versions of Darth Vader and Yoda that will also soon be appearing in Disney
Infinity 3.0," Bunker laughed. "So in the end, if the character's
creators AND the fans are happy, then I'm happy."

This article was originally posted on the Huffington Post's Entertainment page on Tuesday, June 9, 2015

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