General

Why For?

Jim Hill returns with even more answers to your Disney-related questions. This time around, Jim offers up info about ABC’s made-for-TV musicals and Disney Feature Animation’s new President David Stainton, then tells you how to get on the Disney lot in Burbank … followed by another shameless pitch for contributions.

Published

22 years ago

January 16, 2003

Jim Hill

In response to this week’s “Oh-ho, the Wells Fargo Wagon is a-comin’ … again” story, Close2Glenn wrote to say:

Dear Jim,
I really enjoyed yesterday’s story about “The Music Man.” But — in your article — you neglected to mention two other musicals that Disney recently produced for television: “Geppetto” (which starred Drew Carey and aired on ABC in May 2000) and “South Pacific” (which starred Glenn Close and aired on ABC in March 2001).
I realize that these two other made-for-TV musicals weren’t quite up to “Cinderella” and “Annie”‘s caliber. But I still think that they were worth mentioning. So is there some reason that you left these two shows out of your article … or are you just getting forgetful in your old age?

Actually, leaving “Geppetto” and “South Pacific” out of the article was a deliberate choice, Close2Glenn. You see, the focus of that piece was TV musicals that were produced by Storyline Entertainment. Rather than all the musicals that Disney has had produced for television to date.

“Geppetto” was actually produced by James Pentecost Productions and Karz Entertainment in association with Walt Disney Television, while “South Pacific” was actually an ABC Premiere Event. Which means that the network’s own Movies and Mini-series division developed this new TV movie version of the Rodgers & Hammerstein classic (with Lawrence D. Cohen, Michael Gore and Glenn Close herself executive producing).

However, given that neither of these productions racked up really impressive ratings and/or garnered the same sort of great reviews that “Annie” and “Cinderella” got, Disney and ABC seemed to have learned their lesson. Which is why — from here on in — only Craig Zadan and Neil Meron of Storyline Entertainment will handle the development of any new made-for-television musicals for the ABC network.

Speaking of which: Word broke earlier this week that ABC officials have officially greenlit production of a live action TV movie based on Disney’s 1996 animated musical, “The Hunchback of Notre Dame.” Storyline Entertainment has tapped Jeff Becker (who just finished directing next month’s TV movie version of “The Music Man”) to helm “Hunchback.” Production is supposed to get underway in early 2004, with an eye toward having this new live action musical ready to air on ABC during the February 2005 sweeps period.

There’s no word yet as to possible casting for this TV movie. But as soon as I hear something. I’ll let you know, okay?

Next, KrazyKatt44 chimed with this e-mail to say:

Jim:
By now, you’ve no doubt heard the awful news that David Stainton has been named as Thomas Schumacher’s replacement. So the new head of Disney Feature Animation is the former head of Disney Television Animation. That’s it. Game Over, Jim.
Well, you have to admit that it was a pretty nice run. 65 years as Hollywood’s No. 1 Feature Animation operation. But now … I guess we’re in for a never-ending series of pieces of crap like “101 Dalmatians II: Patch’s London Adventure.”
Ah, well. It was fun while it lasted.

KrazyKatt44 –

You’ll forgive me if I don’t join in with all you Disney gloom-and-doomers. Those of you who have been gnashing your teeth and rending your garments even since this news broke earlier this month.

Why for? Because I’m afraid that I don’t share your opinion that David Stainton’s recent appointment automatically translates to the end of Walt Disney Feature Animation as we know it.

I mean, did you even bother to read Stainton’s resume before you started complaining about this guy? Sure, David’s been the president of Walt Disney Television Animation since January 2001. But in the 10 years prior to that, Stainton was a WDFA employee. A guy who worked his way up through the ranks by shepherding pictures like “The Lion King,” “Pocahontas,” “The Hunchback of Notre Dame,” and “Hercules” through production.

You want to know what David Stainton is really like? Talk with any of the animators who worked with the guy while he was in charge of WDFA’s Parisian studio (January 1998 – 2001). They’ll tell you that David was a suit who actually liked artists. A guy who’d regularly run interference for Glen Keane and the production team over in France with the executives back in Burbank. Just so they’d have the time (and the money) they needed to do “Tarzan” right.

Or — better still — ask some of the WDFA vets like Burny Mattinson (the producer/director of “Mickey’s Christmas Carol” and “The Great Mouse Detective”) who are still employed by the Walt Disney Company thanks to David.

How’d that happen? Well, do you remember back in the Fall of 2000, when WDFA began laying off employees? Handing out pink slips to long time Feature Animation staffers like Burny? David couldn’t stand to see all that talent, all that experience and expertise walking off the lot. So, as soon as people like Mattinson would walk out from under that giant Sorcerer Mickey hat, Stainton would snatch them up and put these artists to work over in the Frank Wells building (the building on the lot that Disney Television Animation is based out of).

This wasn’t the act of some faceless, gutless suit, KrazyKatt44. A guy who’s out to make a name for himself (like the former head of Disney Parks and Resorts Paul Pressler) by gleefully doing Eisner’s bidding. Stainton’s that rarest of rare thing, kids: an animation executive who actually likes animation. A guy who really understands how important it is to nuture and protect artists, not abuse and neglect them.

That’s the reason that so many talented former WDFA story and storyboard artists are now happily working for Disney Television Animation. That’s also why I’m inclined to cut David Stainton some slack.

After all, Stainton’s in an awfully tough spot right now. I mean, he’s under orders to make additional cuts at WDFA. To do everything he can to get production costs down and then keep them down. So soon David won’t be the guy who’s rescuing animators by finding them new jobs over at DTA. But rather, David will be the one who’ll now be deciding who gets a pink slip.

Still, given his history (and all the good things that I’ve heard about this guy), I have to imagine that Stainton will do everything he can to keep the accountants at bay. Which is why I’m asking all you Disney doom-and-gloomers to back off a bit. After all, David’s job is going to be difficult enough without Disneyana fans immediately asking for his head.

Putting it bluntly: This isn’t another “Promote Paul Pressler” situation, people. David’s actually one of the good guys. So don’t make an already difficult situation harder than it has to be. Let’s back off on the rabble-rousing rhetoric for a while (please?) and let the man do his job.

Which (right now) is trying to figure out how to keep the accountants from heedlessly dismantling the Mouse Factory.

Finally, Count Floyd flaps in to ask:

Jim:
Love the site. Got a quick question for you, though: I’m headed out to Hollywood next month. And — while I’m in town — I’d love to take a tour of the Disney lot in Burbank. So do you know someone that I could contact to set up something like that?

Dear Count Floyd:

Sadly, Walt Disney Studios isn’t like Universal Hollywood (which is open to tourist traffic virtually every day of the year) or even Warner Bros. or Paramount (which each offer tours to small groups on weekdays by reservation only). Disney’s Burbank production facility is an extremely tightly closed shop. So, if you show up at the gate and don’t have your name on the list, Security will politely but firmly turn you away.

That said, there still might be a way for you to get onto the Disney lot next month, CF. That’s if you’ll agree to become a member of the studio audience for an upcoming taping of “8 Simple Rules for Dating My Teenage Daughter,” the ABC sitcom that’s currently being shot on the Disney lot.

“And just how do I go about doing that?,” I hear you asking, Count Floyd. Well, it’s simple, really. You just contact “Audiences Unlimited,” the LA-based company that actually actively recruits audience members for tapings of network shows.

As of this morning, there are still tickets available for the two “8 Simple Rules” tapings that are scheduled for February: Friday, February 7th (at 7 p.m.) and Friday, February 14th (at 7 p.m. also). So, if that fits in with your travel plans, Count Floyd … contact Audiences Unlimited by clicking here or by calling the office directly at (818) 753-3470 and order your tickets today.

Please be advised that you could be in for kind of a long night, CF. Typically, it takes 3 to 4 hours to tape a 30 minute long sitcom. And — as exciting as it may be initially to see John Ritter and Katey Sagal in person — the fun starts to fade out once you realize that you’re sealed inside a soundstage and can’t get out again until the taping’s complete.

On the upside, your ticket to the taping is absolutely free. And — as you’re being escorted from the Zorro parking structure to the “8 Simple Rules” soundstage — you’ll get to see at least some of the Disney backlot.

All in all, it’s a fun experience, Count Floyd. Something you should do at least once while you’re playing tourist in LA. (Whether or not you opt to ever do it again depends on how you feel about having your bathroom breaks rationed.)

FYI: For those you folks who aren’t all that keen to get on the Disney lot but would still like to see a Disney movie/sitcom star up close, has Audiences Unlimited got a deal for you! AU is currently recruiting audience members to be a part of a pretty special TV special, which will be taped on Friday, January 24th.

“So what’s so special about this TV special?,” you ask. Well, it’s “A User’s Guide to Home Improvement,” a retrospective for the hit ABC sitcom of the 1990s. This very special special will be taped at Westwood’s historic Wadsworth theater. Best of all, “A User’s Guide to Home Improvement” will be hosted by the “Tim the Tool Man” himself, Tim Allen.

So, you’d like to see Tim Allen in person — and maybe even take part in a Q & A session with the star which (hopefully) will make it into the final cut of this special (which is currently scheduled to air next month on ABC as part of that network’s Sweeps programming) — contact Audience Unlimited today!

Anyway … that’s it for this week, folks.

Oops. Almost forgot. Earlier this week, I got a note from her editorship, Michelle Smith (AKA the Fabulous Disney Babe). She tells me that (once again) the cupboards are bare here at JimHillMedia.com. So — if I ask nice — can I please get you nice folks to kick in some cash to help cover JHM’s operating costs?

I know, I know. It’s really aggravating to have people constantly badger for money. Which is why I try not to do it very often.

But honestly, folks … where else on the Web are you going to find stories like this past Wednesday’s piece about the Secret Lab? Or read about scenes and songs that got cut out of your favorite Disney films?

Your donations will help keep stories like that coming in a steady stream. So please (pretty please?) throw some dough in the Amazon honor box to help keep JHM alive and kicking.

On behalf of my ex-wife, I thank you.

Talk to you later,

jrh

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