General

Why For?

Jim Hill’s back with even more answers to your Disney-related questions. This time around, Jim talks about the stuff that you almost saw in “Fantasia 2006,” why Michael Eisner is supposedly obsessed with the Muppets and why some Disneyana fans need to give “Lion King 1½” another chance.

Published

20 years ago

April 8, 2004

Jim Hill

First up, Kelly T. from Moor Park, CA. writes in to ask:

Dear Jim:

First of all, love the site. Thanks for all the great coverage of the “Save Disney” story and WILL YOU PLEASE — FOR GAWD’S SAKE — FINALLY GET AROUND TO FINISHING YOUR “LIGHT MAGIC: SERIES?! I’ve been waiting for over two years now to find out how that story turns out. So will you finish the damned thing already, okay?

Now that I’ve got that out of my system … What with Roy Disney now officially being on the outs with the Walt Disney Company and all, this is probably going to sound like a really silly question, but … What’s become of “Fantasia 2006”? During one of the interviews that Roy did for “Fantasia 2000” back in December of 1999, he mentioned that Disney’s animators were already hard at work on a third installment of the series. And that the third “Fantasia” could possibly be out in theaters as soon as 2006.

Well, given that the whole “Fantasia Continued” project was Roy’s baby, now that he’s on the outside looking in … Does that mean “Fantasia 2006” is dead in the water too?

Just wonderin’,
Kelly T.

Kelly T.

Thanks for the kind words about the site. I’m glad you’ve enjoyed JHM’s coverage of the whole Roy / Stanley / Michael thing. And — yes — I promise. I will get around to wrapping up my “Light Magic” series someday soon. (Which will then only leave my “Twilight Zone Tower of Terror” series, My “Country Bear Jamboree” history as well as my “When You Wish Upon a Frog” Henson saga to wrap up … Sigh … There just aren’t enough hours in the day, are they? Anyway …)

And — boy — I wish I had better news for you about “Fantasia 2006.” But even before Roy officially left the Walt Disney Company back at the end of November, that project was pretty much dead in the water. The cutbacks at Walt Disney Feature Animation — both funding and staff-wise — over the past two years had pretty much stopped any serious development of possible new sequences for the third “Fantasia” film.

Mind you, three short films — which had been developed by WDFA animators and artists as pieces that could possibly be included in “Fantasia 2006” — were completed before the project went off the rails. These films were Mike Gabriel’s “Lorenzo’s Tale” (The short that was supposed to have run in front of Touchstones’ “The Ladykillers” when that Tom Hanks film was released to theaters last month. But — to date — I haven’t heard of anyone who’s seen “Lorenzo’s Tail” outside of its presentation at various film festivals around the country), “Destino” (Roy’s own pet project. Over 60 years in the making, this Salvador Dali project was finally completed by the artists at Feature Animation France before Disney shuttered that studio last year) and Lebo M’s “One by One.”

Of these three short films, “One by One” is probably the one that will ultimately reach the widest audience. It’s scheduled to be offered as a “Special Feature” on the special edition DVD of “The Lion King II: Simba’s Pride.” Which is due to be out on store shelves on August 31st of this year.

As for “Destino,” Disney once had all these plans for that film. They were first going to showcase the short of the film festival circuit. Then follow that up with a special limited edition DVD that Buena Vista Home Entertainment would put out. Which would feature the short itself, a documentary on the making of “Destino,” followed by a still gallery that would be loaded with images of Salvador Dali’s conceptual art for the project.

But that was what people talked about doing when Roy still worked for the Walt Disney Company. What’s going to happen now that he’s (as you said, Kelly) “on the outside looking in,” who can say …

Next up, Michelle P. writes in to say:

Jim,

I’ve noticed lately that Pizza Hut has been using the Muppets in their 4-for-all pizza commercials, and I for one have been enjoying them. Are there any statistics on the Muppets’ reception via these commercials that might speed up the idea of the Miss Piggy’s Limo ride by proving that the Muppets are selling pizzas and are therefore not a “tired franchise”? Just a thought……

Michelle

Michelle –

Boy, I wish I had better news for you, Michelle. But — even if that Muppet Pizza Hut ad were a huge hit — I don’t think that it would help the current situation.

Based on what I’ve been hearing coming out of the meetings between Jim Henson officials and Disney’s attorneys (as they work to finalize this acquisition deal), it’s becoming more and more apparent that the Walt Disney Company really doesn’t have a clue what to do with the Muppets. And that the real reason that Disney wound up buying these characters wasn’t because the corporation thought that this would be a good long term investment. But — rather — because Michael Eisner wanted them.

Strange but true, folks. Based on some really depressing comments that I’ve been hearing coming out of the Burbank lot (EX: “The Muppets were hot in — what? — ‘way back in the 1970s? This is 2004. What are we supposed to do here? Make every consumer in North America climb in the Wayback Machine and set it for 1977? Just so we can then say: ‘See? The Muppets really aren’t all dated and lame. They’re truly cool.’ That’s not going to happen, Jim. We’re stuck with trying to sell this sh*t because Eisner has this ridiculous Henson obsession …”), it’s clear that — outside of the corner office in the Team Disney building (And — of course — Walt Disney Imagineering) — that no one thinks that Disney buying the Muppets (even at the bargain basement price that Disney negotiated for these characters) was a very good idea.

So why does Eisner have a “… ridiculous Henson obsession”? Well, you have to understand that — when Michael Eisner first met Jim Henson back in the early 1970s — Michael have never actually met a real creative genius before. Oh, sure. In his role as head of ABC’s Children’s Television Programming, Michael had met many creative types before. But never a true dyed-in-the-wool, really-for-real creative genius like Jim before.

And keep in mind that this was when Henson was looking for someone who’d sponsor the pilot for the very first Muppet television show. And — even though Eisner didn’t really have the authority to do this sort of thing (Remember that Michael’s job was to create programming just for ABC’s children’s division. NOT for the network’s adult line-up) — Michael somehow found the money in his meager budget to help produce a Muppet TV show pilot. Not just once (“The Muppet Valentines Special,” which aired in February 1973), but twice (“The Muppet Show: Sex and Violence,” which aired in the Spring of 1974).

Unfortunately, ABC ultimately passed on both versions of the Muppet TV show pilot. But these two promising false starts gave Jim Henson the confidence (and — more importantly — the experience) he needed to take a third stab at the project. And that version — of course — was “The Muppet Show,” which began airing in syndication in September 1976.

In this case, the third time really was the charm. This version of “The Muppet Show” became this huge worldwide phenomenon, this international success. It was also something that Michael Eisner would regularly point to with great pride (and not a little frustration), saying: “You see that show? I helped get the Muppet TV program off the ground. And ABC could have had that huge success all to itself, if they’d only just listened to me …”

In the years that followed, Jim Henson and Michael Eisner remained friendly, stayed in touch. Mostly because Michael was eager to do something — ANYTHING! — again with Henson.

What was the cause of this obsession? Some say it was because Eisner felt that he’d never gotten the credit that he felt he was due. After all, Michael was the one who’d found the money necessary to produce those first two Muppet show pilots. And that — without his initial contribution — Jim Henson would have never been in a position to get that third (and finally successful) version of “The Muppet Show” off the ground and on the air.

But other folks have told me that Michael’s obsession with the Muppets really started with his first visit to the ABC studio where “The Muppet Valentines Special” was being filmed. As the story goes, Michael just stood there, watching Jim and his team of puppeteers perform. And this big silly grin slowly slid across his face.

So who knows? Maybe Eisner’s dogged pursuit of the Muppets over these past 14 years has been some sort of bizarre attempt by Michael to get back to a happier time in his life, a better place in his career. Back when things were just getting started for him. Rather than now, when things seem to be getting ready to come to a rather abrupt ending.

All I know is that — based on what the people from Henson have been telling me — Eisner’s been sitting in on a number of the Muppet acquisition meetings. And — frankly — the guy looks terrible. All haggard and tired. The only time Eisner ever seems to smile is when someone brings up Jim Henson. And that’s Michael’s cue to launch into the story about the first time he met Jim Henson.

Admittedly, this anecdote sounds somewhat sweet, almost charming. Except for the fact that the folks from the Jim Henson Company has thought that the Walt Disney Company was purchasing the Muppets because the Mouse knew how to keep these characters evergreen. Not just because Michael Eisner had become obsessed with the Muppets over the past 14 years. Not because Kermit and Co. had become Michael’s “great white whale.” Something to acquire just for the sheer joy of acquiring it. Rather than because Eisner had any great plans for the characters after they’d been acquired.

Well, the folks from Henson. They’re not in the mood for the Muppets to become some sort of weird trophy for Michael Eisner. Which is why there has reportedly been some rumblings (just from Henson’s side of the fence, mind you) about whether or not it might be possible to call off this acquisition. To have things go back to the way the way they used to be.

Certainly, there are a lot of folks who work at the Henson facility in Hollywood (you know, the old Chaplin studio on La Brea) who’d love it if this whole acquisition thing would just go away. Most of these folks initially came to work for the Jim Henson Company because that was where the Muppets were. Now that Kermit and Co. will soon be heading off to Burbank, a lot of these people just don’t know what to do with themselves. They’re worried that — once the Disney acquisition deal is completed — that their jobs will be eliminated. That there’ll be no room for them in the new, slimmer, streamlined version of the Jim Henson Company.

Which is why — were this deal to suddenly hit a snag — there’d be a lot of happy people. Both at the Jim Henson Company as well as over at the Walt Disney Company. The only person who’d probably be broken up if the Muppet acquisition deal didn’t go through would be (surprise, surprise) Michael Eisner.

Sorry that I don’t have better news for you, Michelle. But — like I said earlier — this isn’t really a situation that a good rating for a Pizza Hut commercial is going to fix.

And — finally — Simba’s Sister writes in to complain:

Dear Jim:

Have you seen “Lion King 1½”? I hated this movie. All those f*rt jokes and silly show business in-jokes. This movie just ruined the original “Lion King” for me. Now I can’t watch the DVD of the original film without thinking “Oh, the elephants aren’t bowing out of respect for young Simba. They’re fainting because Pumbaa just broke wind and knocked them all out.”

Was Disney so desperate for money that they had to force this unnecessary sequel on consumers?

Simba’s Sister

Dear Simba’s Sister –

First of all, repeat after me: “It’s only a movie. It’s only a movie.”

Second of all, “The Lion King 1½” is a very funny movie. To my way of thinking, this is the best looking, most entertaining video premiere that the folks over at Disney Toon Studios (I.E. the division of the Walt Disney Company that produces these “video premiere” projects for Buena Vista Home Entertainment) has produced to date.

And as for the f*rt jokes. Maybe you weren’t paying attention during the original “Lion King,” but that film was loaded with gas passing jokes as well.

Look, if Don Hahn, the producer of the original “Lion King,” can find a lot to love about “Lion King 1½” … (He told me that he felt that this direct-to-video sequel was “…surprisingly entertaining. Really very clever. And so well animated that I had trouble telling the stuff we did from the footage that the guys at Disney’s Australia studio did …”) … then maybe you should give this film another chance, Simba’s sister. Okay?

Alright. That’s enough for this week, folks. Here’s hoping that you all have a Happy Easter. We’ll talk again next Monday morning, okay?

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

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