General

Why For

Jim Hill returns with even more answers to your Disney-related questions. This time around, he sets the record straight on “Sky Captain & the World of Tomorrow,” reveals where else in the world the Imagineers wanted to build some new theme parks, talks up what else is in the works for Disneyland’s Tomorrowland …in addition to answering other queries.

Published

20 years ago

April 28, 2005

Jim Hill

First up, Robert writes in to say:

You write a great column. I am addicted. But I did notice one fact that did not ring true. You commented on “expensive CG extravaganzas as “Sky Captain & the World of Tomorrow” in your article on April 25. While it was a great looking picture, I’ve heard it was far from expensive. In fact, the studio supposedly claimed it cost more to produce than it actually did, so it would look like more of a blockbuster. The actual production costs are supposedly as low as 35 million. The actors worked cheap, there was never a physical set, only a tiny production crew, and all the animation was put together by a relatively small team in a converted warehouse. An “extravaganzas”, maybe, but expensive it was not.

Robert —

Thanks for the kind words. But — you know — you’re right. Kerry Conran did deliver one truly spectacular looking film for (what I’ve heard was) under $40 million. So I guess it’s not really fair to lump “Sky Captain & the World of Tomorrow” in with “The Polar Express.” Particularly when we’re talking about CG projects that blew through a lot of coin during production.

But — that said — I think that you then have to look past what Kerry actually spent on making “Sky Captain” and talk about what Paramount reportedly spent on promoting “World of Tomorrow.” I’ve heard figures as high as $60 million. And — when you take into account all of the ads that ran on television in the weeks prior to “Sky Captain” ‘s theatrical release — I’d have to say that that figure sounds about right.

So — when you fold what Paramount spent to market this movie into what Conran actually spent to make “Sky Captain” — you’re talking about a Hollywood blockbuster-sized budget, Robert. And for “World of Tomorrow” to only earn $37 million during its initial domestic release (I.E. Not even cover its production costs) … Well, there’s really no other way to paint that but as a disappointment.

Sure, if you factor in “Sky Captain” ‘s overseas ticket sales, pay TV revenues, the sale of the film’s broadcast rights to cable & network television, not to mention DVD sales … I would imagine that “World of Tomorrow” will eventually earn a profit for Paramount. But we’re talking three or four years down the line, Robert.

The only problem was … Viacom wanted a cash cow NOW. They wanted a “Sky Captain” to quickly become a hot property. So that the studio could then turn “World of Tomorrow” into a film franchise, with new installments coming out every three years or so. They also wanted “Sky Captain” to seasonally drive toy sales, to have its characters potentially spun off into theme park attractions for Kings Island & Kings Dominion, etc.

So — as you can see — Viacom had really high hopes for “Sky Captain.” And making a little money a few years down the line wasn’t really part of Paramount’s master plans for this project.

Me personally? I loved the look of the movie. And I have to admit that I’m fascinated by the way Kerry used the technology. Combining CG and greenscreen to create this lush-looking Fleischer-esque feature.

But — that said — “Sky Captain” ‘s story still left me cold … I wonder why that is.

Anyway, I hope the above clarifies what I was trying to say in Monday’s article. It really wasn’t my intention to portray Kerry Conran as a spendthrift. Truth be told, I think that he’s a pretty ingenious film-maker. More importantly, he’s a guy who really knows how to stretch a buck. So I’ll genuinely be intrigued to see what sort of opus he cranks out next.

Speaking of next … Next up is Wayne G., who ask:

Jim.

I was reading the 1998 autobiography of Canadian activist Maude Barlow, and she made a curious comment while referring to the removal of shanty towns around Manila Bay in the Philippines for the 1996 APEC Summit. She wrote: “The land…will house the first Disneyworld of the region.”

Is there any basis for her comment? I know it has never happened, but was it considered?

Thanks,

Wayne

Dear Wayne G.

You’d be surprised to hear where else the Mouse has considered building additional Disneylands over the past 45 years. For example: Just this week, Singapore’s minister of industry and trade Lim Ng Kiang revealed to the press that the Walt Disney Company had been negotiating with his government. With the hope of building a huge new theme park on a 300-hectare parcel in this Southeast Asian country.

Unfortunately, Disney’s negotiations with the government reportedly broke down over the financial terms of the deal. In essence, the Mouse wanted the Singapore version of DL to be Hong Kong Disneyland II. In that the Disney Company wanted the government to cover 90% of the project’s construction costs, but then still cut Mickey in for over 40% of the theme park’s profits.

The Singapore government balked at those financial terms. Which is why the Mouse eventually walked away. Opting instead to go to India, where the Disney corporation’s stiff terms supposedly met with little if any resistance.

Anyway … To finally get back to answering your original question, Wayne: Yes, I’ve heard stories about the Walt Disney Company exploring the idea of building a theme park in the Phillipines. Likewise Australia, South America and even Dubai. Various factors (EX: Insufficent tourism base, political upheaval, unstable currency, etc.) have thus far prevented the Mouse from building theme parks in these corners of the globe. But that isn’t to say that Mickey won’t revisit his decision in the decade yet to come.

In fact, that’s what I keep hearing from my sources inside of WDI: “Wait ’til you see where we’re going to build new theme parks between 2010 & 2020. Particularly if people take to the Hong Kong version of Disneyland with its smaller scale. If that theme park wins over the public, Disney is going global in a really big way.”

So I guess we’ll have to wait & see what the next 15 years brings.

Next up is Angela, who asks:

Hi Jim,

I have thoroughly enjoyed your articles about all things Disney! My question for you (and I’m not sure if it’s been covered already, so sorry if it has) is what is the fate of the PeopleMover attraction? I know the Disneyland one is closed, I haven’t been to WDW since 2002 so I don’t know about it. Also, do you know how this attraction came to be in the first place, and if it was ever changed during it’s ‘life?’ Thanks a bunch!

I’ll say this much: Disney’s PeopleMover really does have a rather interesting origin. I’m told that the late Disney Legend John Hench actually got the idea for the contraption ‘way back the early 1960s, when he was visiting a Ford assembly plant.

During his tour of the facility, John watched as a cauldron full of molten steel was being moved down through the production area on a complex conveyor belt. Hench said that he was impressed by the fact that — even though this container was obviously heavy, what with being filled with white hot metal & all — the cauldron quickly made its way across the factory floor without spilling a drop.

John figured that — if this system could be used to safely transport tons of molten steel through a factory each day — its basic idea could then be adapted for use in a Disney theme park. Which is how the PeopleMover eventually became a key compoment of Disneyland’s New Tomorrowland. Which first opened to the public in July of 1967.

As for the PeopleMover’s future … Well, I’ve been hearing the same rumors that Al Lutz has been hearing. But — that said — let me add a few more pieces to the puzzle.

The real reason that the Imagineers are reportedly looking into bringing back the PeopleMover is that — what with all of the new Tomorrowland shows that have either already been built (I.E. “Buzz Lightyear Astro Blaster”), have yet to be officially announced (I.E. Space Mountain’s new night-time only soundtrack, “Rockit Mountain”), are still in the process of being constructed (I.E. The new “Finding Nemo” version of the Subs) and/or are moving rather swiftly through WDI’s developmental process (I.E. “Star Tours II” and the “Cars” -based retheming of Disneyland’s Autopia) … Well, the Imagineers are anticipating that by 2008, Disneyland ‘s Tomorrowland is going to have some very serious traffic problems. With most of the park’s guests trying to cram their way into this very small portion of Disneyland in order to sample all of the new rides & shows.

So — obviously — some people-eating attraction have to be quickly added to this side of the theme park so that Disneyland can then better handle all of these additional bodies. So among the ideas that are currently being kicked around is — yes — bringing the PeopleMover back on line. As well as removing the Astro Orbitor from its current position at the entrance to Tomorrowland (to make it easier for guests to get into this part of the park) and then placing this ride on top of the PM’s old loading station.

Mind you, this isn’t the only idea that WDI currently has in the works. I think all you Douglas Adams fans out there will be pleased to hear that — should the movie version of “The Hitchhiker’s Guide to the Galaxy” prove to be a hit (More importantly, inspire a sequel or two) — that the Imagineers would then like to replace “Honey, I Shrunk the Audience” with a brand new “Hitchhikers” inspired 3D movie.

Now I would imagine that even Marvin the paranoid android couldn’t be depressed about news like that … Anyway … Moving on to our next e-mail now. Chris W. writes in to ask:

Dear Mr. Hill,

I have been a fan of your writings for a long time now and I really appreciate your insite into all things Disney. The reason I am writing you today is because I am graduating from Cal-State Long Beach with a degree in film and for one of my final classes, we need to do an oral report on a theater of some kind. Being a huge fan of the Disney parks and imagineering, I thought it would be interesting to report on The Hyperion at DCA. I was wondering if you had any information about any original concepts or maybe things that changed between the drawing board and the finished project or maybe even an interesting story about its construction. Any help would be appreciated.
Thank you,

Chris W.

Dear Chris W.

As I understand it, DCA’s Hyperion Theater was actually an outgrowth of the Disneyland Bowl. An outdoor performance venue (very similar in construction to the Universal Amphitheatre) that was initially part of the resort’s master plan back when the Imagineers were still planning on building Westcot.

Sadly, the Disneyland Bowl was one of the very first things to get cut out of the $3 billion expansion. As people who actually live in the neighborhoods surrounding the Anaheim theme park zeroed in on the outdoor performance venue as potentially adding to the noise pollution that Disneyland already creates.

So WDI scrubbed its plans for the Disneyland Bowl. But — as Westcot eventually gave way to Disney’s California Adventure — there (in virtually the same place that the Imagineers had originally planned on building the Disneyland Bowl) was the Hyperion Theater.

However, the most interesting feature of this new Disneyland resort theater wasn’t that it was now enclosed. But — rather — as WDI originally designed the place, the Hyperion had two different sets of entrances & lobbies: One that faced into DCA’s Hollywood Pictures Backlot area, while the other one was actually located outside of the theme park. Facing into the Disneyland Plaza area.

Why For did the Imagineers do that? Well, the plan was that — during the day — the Hyperion would be used to present shows for California Adventure’s guests. But — once the theme park closed for the day — the stage of this same 2000-seat hall then could be used for nightly concerts. So that performers like Sheryl Crow & Alanis Morrisette would then have someplace other than the Pond to play the next time they appeared in Anaheim.

Sadly — as happened with virtually everything that was originally planned for Disney’s California Adventure — once the project’s budget began to get cut back, the Imagineers started to simplify DCA’s design. And one of the very first items to go was the Hyperion’s second entrance & lobby.

A lot of the Imagineers that I’ve spoken with still view this as one of the more short-sighted decisions that was made as California Adventure was being built. That — if the project’s managers had just stuck with WDI’s original plans — that the dual entranced version of DCA’s Hyperion Theater could have generated an awful lot of additional revenue for the Disneyland Resort.

Ah, well. Hindsight is always 20/20/ Or so they say. And speaking of looking back, Jesper A. writes in to ask:

Dear Jim!

I’m very interested in almost all Disney rides, but especially the unbuilt rides.

I would really like to buy a book about some of the unbuilt rides (plus the built rides) in Disneyland Paris and/or the other Disney parks.

My question then is… Do you have one that you will recommend to me, and one that is I can buy on the internet?

Sincerely,
Jesper A.

Jesper —

Actually, if you can just hang in there for a year or so, I know just the book you’re looking for, Jesper. It’s called “Neverlands.” And it’s going to be published by Intrepid Traveler Press, a Connectict-based travel publishing company.

“Neverlands” will feature stories about Disneyland “lands” & attractions that never quite made it off the drawing board like “Big City U.S.A.” and “Mythia.” Not to mention entire chapters about never-built theme parks like “Disney’s America” and “Port Disney.” As well as projects like the Mineral King ski area or the Independence Lake resort that got tripped up by the approval process.

Yeah, “Neverlands” should be one hell of an interesting read … If I ever actually get around to finally finishing writing the damn thing!

And — speaking of gratuitous plugs — Jeff Lange wants me to remind you all that we’re still taking names for the offcial notification list for our soon-to-be-released Disneyland History CD. In fact, sometime next week, we plan on sending out an e-mail to everyone who’s already asked to hear more about this disc. In which we reveal how you can get a a price break on the thing.

Sooooo … If you like bargains as well as warts-and-all stories about the “Happiest Place on Earth,” now might be a really good time to send a note to jim@jimhillmedia.com with your name & e-mail address on it.

Anywho … That’s pretty much it for today, folks … Though — if you’re looking for something fun to read this Saturday or Sunday, you might want to follow this link over to o-meon.com. Where you’ll find Chuck Oberleitner’s coverage of last Friday’s “Aladdin” re-union event as well as last Saturday’s screening of “Dream On Silly Dreamer” at the Newport Bay Film Fest.

You folks have a great weekend, okay? Here’s hoping that we see you all here again bright & early next Monday morning. When I (hopefully) have some new stories to share with you.

Til then, you take care, 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

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