General

The Once and Future Strikes : Hollywood Labor Relations 101

Not quite sure what to make of what’s going out west right now? Let JHM guest writer John Wayne walk you through LA’s latest labor action

Published

16 years ago

July 7, 2008

JohnWayne

The headlines seem never to end: “Producers make final offer,” “Industry Braces for Possible Walkout,” “Strike Threatens to Bring Hollywood to a standstill.” etc. etc. etc. And for the past year or two right up to this week, the situation looks pretty grim in the “dream factory” here in LA-LA-Land.

And I was thinking …maybe you (who, unlike me, are NOT inside this industry and have only the fan press and TV entertainment nonsense reporting to give you clues) would like to know a little bit more about “Why For?” So here we go:

Though there are unions and guilds (never mind the distinction between ’em. That’s next semester, okay?) that cover everything that can be done on or around the set of a movie, there are basically FIVE major ones that we need to pay attention to:

The Director’s Guild of America (DGA — Which covers Directors, Assistant Directors, Unit Production Managers, Associate Directors, Stage Managers, Production Assistants in live TV and Location Managers in the NY area)

The Writer’s Guild of America (East and West — WGAE/WGAW, but basically the same club. The DGA has offices in NYC and L.A. too, but just doesn’t distinguish the names of the sub-groups that way)

The Screen Actors Guild (SAG — ONE of the TWO actors unions — the much larger one dealing more with filmed and pre-recorded material … sorta)

The American Federation of Television and Radio Artists (AFTRA — the OTHER actor’s union — smaller, and more about live media, news personalities, variety shows, but often overlapping into SAG territory and often actors belong to BOTH)

The International Alliance of Theatrical and Stage Employees (I.A.T.S.E., or “The IA” as it is known-really an ALLIANCE of all the various craft and “below the line” folks such as camera, lighting, grip, sound, prop, costume, makeup, and other technical people who get the show down on film/tape/bytes etc. etc. etc.

THESE folks have contracts which specify their MINIMUM wages (“stars” and their agents and lawyers can always negotiate MORE, of course,) working conditions, rights, procedures to adjudicate violations, pension and health and welfare plans, safety issues, and a host of other particulars of the workplace. And these contracts are negotiated/updated/reformed every three years — though not all together. They are staggered over various years so that not EVERYbody is fighting at once – -partially to avoid utter chaos and mostly because while there are FIVE groups above (and sub-negotiations within them-different contracts, for example in the DGA, for filmed entertainment, live and tape, network vs. non-network shows, etc. etc.) they are all talking to ONE entity on the other side of the table which can only meet with them individually.

THAT side of the game is the Alliance Of Motion Picture and Television Producers AKA the AMPTP. (NOT to be confused with its other incarnation as the Motion Picture Association of America –the lobbying group for the producers more like a trade association than a negotiating body but made up of the same major companies, nor with the various Academies that give out Oscars, Emmys etc. etc.)

So … Once upon a time, every three years or so, within a few months or weeks of the expiration of the current contract, the two sides (AMPTP and ONE or more of the various unions/guilds-whoever’s contract was up next) would schedule meetings to negotiate a new deal, usually leaving a lot of the old one intact and just updating as needed the things that changes in production techniques necessitated, experiences during the three years that needed clarifying, and, of course, increases in wages and other payments.

Once an agreement is hammered out in a highly sophisticated form of horse trading mostly behind closed doors (I’ve been there/done that BTW on many occasions), the finished agreement that the union/guild representatives endorse is then presented to the full membership of the body for “ratification” — a majority membership vote up or down, which, of course, the leaders tell their members they SHOULD endorse and vote up. IF they do not vote yes OR if the negotiation reaches an impasse and there’s no deal to approve or disapprove of, the union/guild leaders will, instead, ask their members to vote on a “strike authorization” — to give them the ultimate card to play in the negotiations — the threat to shut the industry down.

But here’s the problem: IF a studio begins production on a film or TV show close to the date of the end of the contract and IF there is NO agreement or if it looks like there might be a fly in the negotiation ointment, then producers are reticent to START anything because it costs SO much more to STOP in the middle and then have to re-start — not to mention the much bigger financial cost of simply stopping and NEVER re-starting a movie or show and having to throw away all the funds already spent. Let’s remember that the major studios are PUBLIC companies who have to answer to stockholders and regulators and must spend their money prudently … or not spend it if that makes more sense.

That’s why (a) what’s known as a “de facto” strike happens often — production slows to a crawl or stops weeks before the contract deadline as a self-protection technique by the studios, and (b) why there’s a lot of pressure to make a deal and, in recent years, to go negotiate much EARLIER than the last minute to make sure no such slow-down or stoppage happens so that nobody adds the insult of less income under the OLD contract to the injury of a strike instead of a new contract. We have seen some guilds go into “early negotiations” in recent years as much as 6 months or more prior to the contract’s official termination deadline.

Remember, please, that strikes in Hollywood affect more than the many hundreds of thousands of us who work in the industry. Movie and TV folks are mostly freelance workers — they are not on an annual or steady salary. When the show is shooting or working, so are they. When it isn’t, they are not. And when NONE are working? Well, strikes-de facto or actual– also affect our local shops, our dry cleaners, our mortgage bankers, our school tuition payments, and every other ripple-through in the local economy of this “company town” for the movie and TV biz that is Los Angeles.

The losses of recent strikes to the overall economy here have been measured in BILLIONS, not mere millions. And that includes the direct added expenses of starting things up again once everyone comes to their senses. The effects can last for YEARS — especially for those who, in prior strikes, had mortgages foreclosed on, businesses that serve the industry fail, or even bankruptcies and divorces and other life-changing tragedies happen because a usually thriving industry lost its way and fell apart.

So what’s going on right now? Simple: Even though all the unions and guilds go to negotiate in different years, there’s usually an overall “issue” that’s the “hot topic” of any particular period, and what usually happens is that ONE of the major unions makes a deal to solve that issue first and that becomes what’s known as a “pattern of negotiations” that the other groups tend to follow. Because — in most cases — it makes no sense for the producers to give a lot MORE in the same area to one group over another. We also negotiate that SHOULD another Guild somehow get a better deal on an issue, everyone else will move up to match that level, too.

Rightly or wrongly, the issue at hand this time around has been “New Media” and the residuals paid on DVD’s, pay-per-views, and all the other means of delivery such as streaming video, etc. etc. Many of the unions say the studios are making big bucks on these things and thus the percentage they share should go up. The studios, of course, say “Not so fast. We have higher expenses and we make a lot of flops that devour the hits. And besides, we take the risk by backing the shows. And we just plain think that the current percentage is fine & dandy.” There are good and bad arguments on both sides. Lots and lots of them. Way too many to go into here. Trust me.

But, as it happens, the DGA made a deal on this (and everything else) and DGA members approved their contract. And after a pretty nasty & costly strike a few months ago that you certainly will remember from the headlines, so did the WGA. And now that its contract year has arrived, AFTRA has made their own deal. And SAG has been in negotiations on its contract over these same issues and … Oops ! SAG has NOT agreed to the same basic “pattern” as everyone else. SAG’s contract has in fact actually just expired a few days ago on June 30 without reaching a new agreement to replace it. But SAG has NOT asked its members to authorize a strike … yet.

BUT … approximately 40,000 members of AFTRA, who currently have their ballots in hand to APPROVE their negotiated agreement (and must do so by today, July 8th when the ballots will be counted and the results revealed) are ALSO members of SAG (which has well over 100,000 members). And that’s where it has gotten really sticky.

You see, as a way of strengthening their bargaining position to get a BETTER deal (they think) the SAG leadership has asked its members who are ALSO members of AFTRA to vote “NO!” on the AFTRA contract. Even though the AFTRA leaders have asked their members to vote “YES!” and endorse the deal they negotiated in good faith with the producers. THIS has caused a HUGE battle amongst the actors with famous folks taking opposite sides, placing ads in the trade papers, giving speeches and press conferences, and generally going nutso (another highly technical labor relations term — I’d love to explain, but this is already too long … So take your best shot and guess).

SOME say this “sabotage the AFTRA deal if you’re also in SAG” plan is the only way to pressure the studios to offer SAG and AFTRA both a better deal that will benefit everyone when it becomes the “new” pattern. Others say that for AFTRA to have negotiated in good faith and then have SAG butt in and meddle in their vote and basically tell the producers they didn’t MEAN it when they negotiated would not only weaken everyone but give the producers a really good reason to say “a pox on both your houses” and hold out for WORSE terms for the actors in both guilds.

So … Last week, the studios gave SAG a basic ultimatum — “This is the last, best deal we will offer you. Take it or go on strike.” And SAG has said “Well, gosh, we aren’t ready to strike just yet or even ask our members to approve one — We just want to see how the AFTRA vote comes out.” And meanwhile, as all three groups fight and offer brickbats in the industry media, and as the DGA and WGA and IA wait to see what happens …

Just about everyone is NOT working because, as I explained, NOBODY wants to start up a show only to have it shut down by a strike. And EVERYbody is still hurting from the very recent WGA strike that shut the town down for months only a little while ago, killed the last TV season, and cost everyone in and out of the industry billions of dollars. Which, they fear, might all happen again. Soon.

SO…the possible results are that either

(A) AFTRA ratifies their contract and SAG realizes it can’t do better and takes the deal and THEIR members ratify too and we all go back to work, or …

(B) SAG succeeds in torpedoing the AFTRA deal and then one or both of these unions authorize a strike and the town shuts down which …

(C) won’t look a whole lot different than the defacto strike now happening due to the producers’ shutting things down to cut their losses but will be a whole lot angrier and nastier and potentially could lead to …

(D) producers saying “Screw you guys — we’ll hire NON-union actors and the big stars will walk away from you because they like their big paychecks more than they sympathize with a union of 100,000 waiters and shoe clerks who once upon a time got an acting job but have nothing to lose by striking and making everyone else in the business lose their butts.”

Yep. It could get that ugly out here. So stay tuned and we’ll see.

I know this was long. But at least now you have some context for what the usually-inept news media will be telling you about what’s going on at places like Sony and Paramount and Fox and Warner Bros and Universal and … oh yeah, DISNEY right now. Namely, a whole lotta nothing and a whole lotta name-calling and a whole lot of anger and tension and fear.

Ain’t showbiz glamorous? You bet it is. And while the outcome as I write this is truly unknown, at least, I hope, you have some basic background to filter the sometimes incomplete news reportage through … Because, as a JHM reader, you now know a little better the answers to the famous question: “Why For?”

Questions? Ask.

DISCLAIMER: This is a SHORT and BROAD BRUSH STROKE portrait of a VERY complex subject. The Secretary will disavow all knowledge of my actions. Your mileage may vary. Do not remove tag under penalty of law. Etc. Etc. Etc.

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

9 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

9 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