General

“Rapunzel Unbraided” aims to be ” … a film of astonishing beauty.”

After watching Glen Keane speak at SIGGRAPH 2005 last week, Jim Hill now has a different take on this master animator’s career with Walt Disney Feature Animation. Hill also has somewhat higher hopes for Keane’s next project.

Published

19 years ago

August 8, 2005

Jim Hill

There have been a number of folks on the Web — myself included — who have said some pretty nasty things about Glen Keane over the past year or so. Going on and on about how this master Disney animator had supposedly turned his back on his craft. Abandoning traditional animation in favor of CG.

Photo by Nancy Stadler

But after listening to Glen talk at last week’s “Legacy of Disney Animation” special session of SIGGRAPH 2005, I’m beginning to wonder if maybe we haven’t all been a bit too hard on Mr. Keane. Maybe this really wasn’t a case of Glen giving up on traditional animation. But — rather — Keane finally admitting that he has always had a keen interest in working in computer animation.

In fact, to hear Glen reflect on his career to date, you’d realize that this master animator has been trying to do something significant with CG since the early 1980s.

“I remember when John Lasseter and I were working on ‘The Fox and the Hound,’ ” Glen recalled.” And we got to see ‘Tron.’ And it was like every scene in that picture was a multi-plane shot. Where the camera moved and created depth up there on the screen, but everything still stayed in perspective.”

“I remember that John and I went back to our office at Feature that afternoon feeling totally depressed, ” Keane continued. “We said to ourselves: Those guys working on ‘Tron’ get to work on cool stuff. So how can we get to work on cool stuff too?”

John & Glen’s opportunity to ” … work on cool stuff” finally came when these two still-newbie animators convinced then-Disney studio head Ron Miller to allow them to begin development of an animated featurette.

Ah, but not just any animated featurette. This film was going to be based on Maurice Sendak’s much beloved children’s book, “Where the Wild Things Are.” More to the point, the featurette that Lasseter and Keane wanted to create would place traditionally animated characters on top of computer generated backgrounds.

Intrigued by this idea, Ron gave John & Glen enough funding for a 90-second test. Keane handled the traditionally animated portion of the project, while Lasseter created the CG backgrounds and mapped out all of the camera moves.

The end result was stunning. This minute-and-a-half of the proposed film truly wowed Miller. The only problem was …The projected cost of completing “Where the Wild Things Are” was high. So high that there was just no way that the Mouse would ever recover the money that it was going to have to spend in order to complete a featurette based on this Caldecott Medal-winning book.

Which is why Ron reluctantly tabled the “Wild Things” project. And Glen went back to working on traditional animation at Disney Studios. And John … Well, as Keane put it at last week’s “Legacy” presentation “… Lasseter went off and did a few things and nobody’s ever heard from him again.”

Anyway … Even though Glen didn’t get to complete “Where the Wild Things Are” back in 1982, he couldn’t help but notice that computer animation was continuing to encroach on traditional animation’s turf. As Keane continued to build his rep as one of the very best animators working at Walt Disney Studios, he found himself continually being assigned these scenes where his characters would have to work with CG. Ratigan’s battle with Basil inside Big Ben’s clockworks in “<The Great Mouse Detective.” Sykes’s computer-generated limos in “Oliver & Company.” That CAPS-coloring test scene that management slipped into “The Little Mermaid.” The ballroom sequence in “Beauty & the Beast.”

Glen didn’t mind. In fact, he relished the challenge of making his traditionally animated characters fit in seamlessly in these CG-generated environments.

“People were always asking me ‘Why are you putting shadows & shading on the characters that you draw? Don’t you know that the people in clean-up are just going to take them out?,’ ” Keane explained. “I’d say in response: ‘I have to draw those shadows. Because that’s how I see my characters: dimensionally.”

With each new traditionally animated film that Glen worked on, it seemed like the computer kept getting closer (I.E. The leaves that swirled around “Pocahontas”) and closer (I.E. The “Deep Canvas” tree trunks & limbs that “Tarzan” would surf down). Until finally with “Treasure Planet,” Keane was finally assigned a character that actually straddled the traditionally animated & computer animated world: Long John Silver, the paunchy old pirate who literally was half man and half machine.

In spite of all this, Glen still says that he was shocked that — when he finished pitching an animated feature based on the classic fairy tale, “Rapunzel,” to Disney CEO Michael Eisner and Feature Animation head David Stainton — the two execs said: “We’d love to make that movie, Glen. And we’d love for you to direct it. But here’s the thing, Glen. We want you to make it in CG.”

“That they’d ask me to make it a computer animated film … I hadn’t expected that,” Keane continued. “After all, I was the guy who kept saying ‘I’ll kill any person that tries to take a pencil out of my hand.’ Now I have to eat those words.”

Glen was understandably reluctant to make his directorial debut on a CG film. An animation format that — in spite of his many years of experience of dealing with CG elements in Disney pictures — Keane still didn’t think that he knew enough about. But then CG Supervisor Kevin Geiger sat down with the veteran animator and laid the challenge out in terms that Glen could grasp and appreciate.

“Kevin said ‘If you can do all the things that you do while drawing without using a pencil, are you in?’,” Keane explained. “And I said ‘Yes.'”

So — with that goal in mind — Glen decided to create a test for Disney Feature Animation’s CG team. He would first traditionally draw a female ballerina going through a brief dance routine. Then Keane would work with WDFA computer animation technicians to see if it was possible to replicate that figure’s movements in CG.

“I was looking to see if they could copy the fluid movement of a human ballerina. And they actually did that,” Glen said. “Once I saw that test, I knew that producing ‘Rapunzel’ the way that I originally envisioned the picture was now possible in CG.”

You see, in order for Disney Feature Animation to deliver on Keane’s vision for “Rapunzel,” the look of this film has to be lush. For Glen wants this story to be told in the classic way.

“I found my inspiration for the look of this film in a painting called ‘The Swing,'” Keane continued. “It was painted by a French Rocco artist named Jean-Honore Fragonard. Just look at how rich this imagery is. It’s like there’s butter between the brush strokes.”

Glen challenged “Rapunzel” art director Lisa Keane to come up with a look that was at least as rich as the world suggested in Fragonard’s painting. And wonder of wonders, Lisa was actually able to pull that off in a CG format.

Photo by Nancy Stadler

With these big steps forward, Glen was now able to start moving “Rapunzel Unbraided” in the direction that he wanted. Which was a Disney CG feature that — while it still had all the strengths & virtues that a traditionally animated film had — still looked and felt like nothing that Disney Feature Animation had ever done before.”

” ‘Rapunzel Unbraided’ has to be a film of astonishing beauty,” Keane stated. “It’s the story of a girl who is swept up to fulfill the destiny of another. And — in doing this — she discovers her own.”

Photo by Nancy Stadler

As part of his SIGGRAPH 2005 presentation, Glen acknowledged that a lot of work still has to be done. And indeed — if the blog item that CartoonBrew.com linked to yesterday is true — “Rapunzel Unbraided” still has a significant number of story problems to overcome.

But — that said — Kleane looks forward to the next few years. When the team that he’s been building can learn from everything that the Disney animators who have been working on “Chicken Little,” “A Day with Wilbur Robinson” and “American Dog” have learned. And then make “Rapunzel Unbraided” the best possible picture it can be.

“I have to admit that there are days that I feel like I’m in kindergarten again,” Glen concluded. “And that can be a little scary. But I have also learned that fear can be healthy. And that frustration can be good.”

And after telling the crowd at SIGGRAPH 2005 that he didn’t want ” … the limitations of the media to dictate what should and should not be done” in CG, Glen Keane concluded his portion of the “Legacy of Disney Animation” presentation. And the stage was then swarmed by animation fans. Some as high profile as “Madagascar” character animator Cassidy Curtis …

Photo by Nancy Stadler

… who each wanted their moment with this animation master.

You know what struck me the most about Glen Keane. How down to earth the guy was. I mean, literally.

To explain: Here’s a shot of Glen on his knees on stage in West Hall A. Keane did that so that he could then see eye-to-eye with the animation students & professionals who were coming up to talk with him.

I don’t know why. But I was kind of moved to see a guy like Glen — a man who’s arguably animation’s version of a rock star — getting down on his knees just so that he could talk with this crowd at SIGGRAPH.

Photo by Nancy Stadler

Obviously, it’s way too early to start talking about whether “Rapunzel Unbraided” will actually be a good movie or not. But based on the images that I saw at the WDFA booth on the exhibition floor and after listening to Glen Keane’s portion of the “Legacy of Disney Animation” special session at SIGGRAPH 2005 … I have renewed hope for this project.

More to the point, I’m now willing to cut Mr. Keane some slack. I mean, if Glen’s willing to move this far outside of his comfort zone in order to try and make a great CG film, I think that — at the very least — I can lighten up on the whole “turned his back on traditional animation” crap. And hopefully persuade a few other animation fans to do the same.

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