The Mouse Castle Lounge 11-17-2015 - On the Red Carpet with the Cast of 'The Lion Guard'

By Tim Callaway

Kion is working on his roar.

Disney is returning to the Pride Lands for a new Disney Channel animated series based on The Lion King called The Lion Guard. The series itself will get underway in January, but you can get your first look at the next generation of Lion King characters when The Lion Guard: Return of the Roar debuts on Disney Channel on November 22 at 7:00 p.m. It’s a one-hour movie that introduces us to Kion, the second-born son of Simba and Nala—if you’ve ever seen the direct-to-video Lion King 2: Simba’s Pride, you might recall Kion already has an older sister, Kiara.

Meet the Lion Guard  (l. to r.): Dusan Brown, Max Charles, Joshua Rush, Atticus Shaffer and Diamond White.

Kion is tasked with forming the Lion Guard, a group of young animals responsible for protecting the Pride Lands. And while the Lion Guard has traditionally been an all-lion team, Kion opts to include a variety of animals with their own special strengths. So you have Bunga, a brave honey badger; Ono, an intellectual egret; Fuli, a confident and very fast Cheetah; and Beshte, a good-humored and well-connected hippo.

(l. to r.): Beshte, Ono, Fuli and Bunga.

The Lion Guard: Return of the Roar is voiced by a mostly youthful cast, but there are some returning veterans. Just as he did in the original Lion King, Ernie Sabella will voice Simba’s loyal warthog friend Pumbaa and James Earl Jones will be heard once again as Simba’s wise father Mufasa. Simba is voiced by The Grinder’s Rob Lowe and Gabrielle Union provides the voice of Nala.

On Saturday, I got to hang out at the Walt Disney Studios for the premiere of The Lion Guard: Return of the Roar and chatted with members of the cast, including Max Charles, Joshua Rush, Dusan Brown, Atticus Shaffer, Ernie Sabella, Eden Riegel, Sarah Hyland, Madison Pettis, Jonny Rees and Khary Payton. They are all my guests today in The Mouse Castle Lounge.

Enjoy!

(l. to r.): Madison Pettis (Zuri), Ernie Sabella (Pumbaa), Jonny Rees (Mzingo) and Sarah Hyland (Tifu).

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Red carpet photos by Image Group LA. 

The Mouse Castle Lounge 02-26-2015 - Disney Animator James Lopez, Part One

By Tim Callaway

Animator James Lopez

I like James Lopez for a number of reasons, not the least of which is when he was a kid, he was a master of the video game Dragon’s Lair. That was the laserdisc arcade game created by Don Bluth in the early 1980s after Bluth had departed Disney Animation. Dirk the Daring, the evil dragon, Princess Daphne—I loved that game. Anyway, the beauty of if all is that as a young animator, James later worked for Bluth on the 1991 film Rock-a-Doodle. It's a nerd thing.

James attended CalArts and found early success in animation. He would go on to have a lengthy career at Disney. His animation credits include Timon in The Lion King, Wiggins in Pocahontas and Pain in Hercules. He also worked on The Emperor’s New Groove, Home on the Range, The Princess and the Frog and the Oscar-winning short Paperman.

James is a gifted artist who excels in 2D, hand-drawn animation. These days he’s keeping the art alive by animating and directing a personal project, the steampunk adventure Hullabaloo, which he successfully crowd funded last year on Indiegogo. But more on that next week. Today, in part one of our two-part conversation, James and I talk about his early career and how he literally had to learn his craft on the job. James Lopez is my guest today in The Mouse Castle Lounge. Enjoy!

Related: The Mouse Castle Lounge 02-26-2015 - Disney Animator James Lopez, Part Two

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Inside The Mouse Castle 09-23-2014 - 'Agents of S.H.I.E.L.D,' 'Disney Infinity 2.0' and 'Star Wars Rebels'

Agents of S.H.I.E.L.D.

It's a glorious day to be a nerd with the premiere of season two of Agents of S.H.I.E.L.D. and the launch of version two of Disney Infinity. Anthony and I riff on binge watching season one of AoS and where we think season two is headed, and then I gush over how gaming with Marvel super heroes is the BEST THING EVER!

We also cover a few other things in this edition of Inside The Mouse Castle:

• Guardians of the Galaxy has finally lost steam at the box office, but it still keeps rolling along in the Marvel Cinematic Universe, becoming the fourth highest-grossing Marvel film ever.
• Walt Disney Studios' holiday release Into the Woods caused a stir when it (supposedly) started giving the characters from the Broadway musical Disney names like Prince Charming, Flynn Ryder and Lady Tremaine. And then suddenly the names changed back again. Was it a mistake or just a trial balloon gone bad?
• On Saturday, the Backlot Tour at Disney's Hollywood Studios will close forever. That same day, the Finding Nemo Subs will return to Disneyland, but for how long? Anthony and I speculate on the future of both these areas.
  

Inside The Mouse Castle 09-19-2014 - Talking Like Pirates, Epcot Food & Wine and Disney Sing-Alongs

Aye, matey, this be a shot from
Disney's original pirate film, Treasure Island.

Hoist the sails and shiver me timbers!

Anthony and I mark International Talk Like a Pirate Day (September 19) by, well, talking like pirates and celebrating the great buccaneers of Disney films from Long John Silver (Robert Newton) to Captain Jack Sparrow (Johnny Depp). We also look back at the origins of this offbeat piratical observation, tracing it to two guys playing raquetball and humorist Dave Barry. No, really.

We also honor iPhone 6 day (well, I do--Anthony's loyal to Android) and reveal where to find cool Disney covers for you new Apple device online and in the parks.

We also talk about these other fascinating items in the latest episode of Inside The Mouse Castle:

• The Epcot International Food & Wine Festival is going on right now and we cover some of the tasty treats you need to be trying. We also have our suggestions of what wine goes best with Inside The Mouse Castle (hint: it's not wine).
• The Walt Disney World Marathon Weekend is January 7-11, 2015 and runDisney is offering a "Goofy Giveback" to allow more runners the opportunity to participate in the marathon and half marathon. Is it a clever promotion or is Disney covering for an event that may not be selling as well as they hoped?
• On the Marvel front, Dr. Strange will go into film production next spring and may or may not have Joaquin Phoenix playing the title role. Also, TNT has secured the broadcast rights to at least five future Marvel films. And, even though it's Marvel, but has nothing to do with Disney, we're excited about 20th Century Fox's long-awaited Deadpool which may finally become a reality starring (we hope and pray) Ryan Reynolds in 2016.
• Will Frozen ever run out of steam? From speculation on who will say (or sing) what when Anna and Elsa join Once Upon a Time to a contest where you can sing "Let it Go" to your heart's content, the animation blockbuster still refuses to slow down.
• Are you a Disneyland APer who wouldn't mind taking part in a more laid back sing-along? You can do just that at special screenings of The Jungle Book and The Lion King at Disney California Adventure. Visit https://event-registration.disneyparks.disney.go.com/disneyland for details.

Sleeping Beauty Castle

• Safety regulations are requiring Disneyland to make some repairs and enhancements to the Sleeping Beauty Castle drawbridge that could prevent it from ever raising and lowering again. Is this really a big deal or is Cal/OSHA out to destroy Disney aesthetics?
• We can't wait to get our hands on the new book Marc Davis: Walt Disney's Renaissance Man. It won't be available to the general public until October 7, 2014, but poke around the parks now and you might be able to find an early copy available for purchase.

Enjoy!

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'The Lion King' Returns to TV With 'The Lion Guard'

Kion in The Lion Guard

The Lion King is coming back to television on Disney Junior and Disney Channel.

The Lion Guard, a new animated series targeting kids age 2-7, will debut in early 2016. A full-length TV movie of the same name will precede the series in Fall 2015.

The series will follow the adventures of Kion, the second-born cub of Simba and Nala as he sets out to preserve the Pride Lands by organizing a group of diverse animals: a honey badger (who we presume doesn't care), a cheetah, a hippo and an egret. There will be appearances by other Lion King alums including Mufasa (wait, isn't he dead?), Timon, Pumbaa, Rafiki and Zazu. We'll also meet Kion's big sister, Kiara, the future Queen of the Pride Lands.

The Lion Guard is being developed by executive producer Ford Riley and will be directed by Howy Parkins.

This will be the first Lion King-based television series since Lion King's Timon & Pumbaa ran on CBS and in syndication (it was part of The Disney Afternoon) from 1995-1997.

He's working on his roar.

Related:
The Making of 'The Lion King'

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Disney Animator Ruben Aquino in 'The Mouse Castle Lounge'

Ruben Aquino

Ruben Aquino didn't set out to become an animator. He originally had plans to be an architect. Talent, timing and dumb luck had other ideas, though, leading Ruben to a 30-plus year career at Walt Disney Animation.

His memorable creations include Ursula in The Little Mermaid, Maurice in Beauty and the Beast, Adult Simba in The Lion King, Powhatan in Pocahontas, Captain Shang in Mulan, Pleakley and David in Lilo & Stitch, and Eudora and James in The Princess and the Frog.

Ruben's repertoire reflects a remarkable versatility. His characters range from heroes to villains to supporting players defying any specific type. "I kind of always wanted to try different things," says Ruben. "So I always let the directors kind of cast me where they thought I could help out the most."

Simba in The Lion King

In part one of our conversation in The Mouse Castle Lounge, Ruben and I discuss his early animation career that included a brief stint at Hanna-Barbera. He also talks about the chain of events that landed him at Disney and shares why Ursula will always be his favorite character. Enjoy!

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Related Stories: Celebrating 'The Mouse Castle Lounge's' First Anniversary with Pat Carroll
In the MCL: Disney Animator Ruben Aquino, Part Two

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A Second Look at Disney Second Screen

Earlier this year, I wrote about Disney Second Screen, the digital add-on to select Disney home video releases. At the time, I enjoyed the technology, but wasn't really comfortable with the experience of watching a movie and its bonus features at the same time.

After viewing Second Screen's most recent entries, however, I think I'm getting the hang of it, It really is a fun experience if you want to totally immerse yourself in the back-stories and minutiae of Disney film making.

Second Screen is available to view online at disneysecondscreen.go.com or as a free iPad app. I prefer the iPad version for its portability and ease of use. If you have a wireless network, you can sync Second Screen with your Blu-ray disc through BD Live. There's also an audio sync feature, where your iPad "listens" to the movie audio, but I found that to be a bit wonky and not as easy to sync as BD Live.

Of course, you can always skip the movie and just flip through Second Screen manually, but you do lose the context the film provides.

The Lion King

Animation seems best suited to the Second Screen format and Disney takes full advantage of it with its 1994 classic. The Lion King Second Screen app is chock-full of concept art and pencil tests that illustrate how the film developed. So, while you're watching Simba and Mufasa experience the great circle of life, you can also see how the characters evolved from early concepts to final realizations on screen. There are interesting video clips of animators at work--both in-studio and on location with live animals--and the occasional "Fun Fact" telling behind the scenes stories about the film. Sadly lacking from Second Screen, however, are any photos or video of the voice cast, which makes the experience feel somewhat incomplete. Still, it's a great compilation chronicling The Lion King's artistic development.

iPad screen shots:

"Hakuna Matata" concept art.

A Jeremy Irons and Andreas Deja "Fun Fact."

"Morning Report" concept art.

Rafiki leaves his mark.

Pirates of the Caribbean: On Stranger Tides

On Facebook, my friend Becky recently observed that in the Pirates of the Caribbean movies, "Almost all pirates are stupid."

I replied with, "Yeah, but British soldiers are even stupider."

Of course, in On Stranger Tides, the Spanish are smarter than the whole lot.

But, I digress.

Pirates of the Caribbean: On Stranger Tides is by far the weakest of the four Pirates films. Despite spirited performances by the cast, the film is done in by a boring story and some pretty lazy direction by Rob Marshall. With the exception of the exciting "Mermaids Attack!" scene (a terrific mix of live action and CG effects), the action sequences fall flat, making POTC 4 a long slog across the ocean and through the jungle to an anticlimactic encounter with the Fountain of Youth.

At least Second Screen offers some diversions. It has plenty of concept art, behind-the-scenes photos and trivia to keep you entertained.

More screen shots:

Pirate adventures in London.

(l. to r.) Johnny Depp, producer Jerry Bruckheimer and director Rob Marshall.

My, what big teeth you have. Mermaid concept art.

Concept of Blackbeard's ship, the Queen Anne's Revenge.

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The Making of 'The Lion King'

On the screen, a blazing yellow sun rose against a crimson sky, accompanied by a booming chant performed by South African singer/composer Lebo M.

"Nants' ingoyama bakithi baba!"

This was the moment it all came together, a moment when the creative team of The Lion King knew they had something special.

It was "The Circle of Life."

"The Circle of Life"

"When we finished the sequence and Hans Zimmer scored the music," says producer Don Hahn. "We watched it and were all amazed--even though it was our movie. Suddenly this little film about a lion cub became a much bigger epic."

Reaching that point of revelation was not an easy task. Disney's 32nd animated feature had been beset with obstacles, from story issues to the departure of one of its original directors. Before its release in June 1994, it even had to survive an earthquake, and all while being deemed the "B" project at the Walt Disney Studios. "Lion King was originally called King of the Jungle and was not well regarded around the studio," says co-director Rob Minkoff. "So when (studio head) Jeffrey Katzenberg announced that the studio would be split in two to make two films simultaneously, many of the top animators wanted to work on Pocahontas instead of The Lion King. Jeffrey had deemed Pocahontas the 'home run' and Lion King the 'risk.'"

Originally, George Scribner, who previously directed Oliver & Company, was assigned to co-direct The Lion King with Roger Allers. Early on in the production, they joined a team of artists that traveled to Africa to research the film. Hahn was not on the team--he was completing production on Beauty and the Beast at the time--but he recalls the impact Africa had on his studio mates. "(They) were blown away by the scope and scale of Africa. They came back with a load of images and a feeling for the land and color of the land that made it into the movie in many ways. There is an epic feeling to the landscape in Africa, that made the directors want to use it almost like another character in the film."

The Lion King directors Roger Allers (l.) and Rob Minkoff

The film makers came back home visually inspired and began in earnest to develop the story. "We wanted to do an animal picture based in a more natural setting," says Allers. "A story that dealt with the issue of taking on the responsibility of adulthood." What he and Scribner couldn't settle on, however, was what direction to approach it from. Scribner pressed for a documentary-like "Bambi in Africa" feel while Allers preferred a lighter and more accessible touch. Finding a middle ground only compromised both men's visions of the film. Tensions increased when Elton John was brought in to help write the songs, a move Scribner highly objected to. It wouldn't be long before Scribner was removed from the film and replaced by Minkoff, with the story development beginning anew.

Around that time, Hahn was assigned to produce The Lion King. As he recalls, "We sat in my office for two days with an amazing, small and mighty team of story artists that included Chris Sanders, Brenda Chapman and Beauty directors Kirk Wise and Gary Trousdale, and over those two days (we) wrote the complete outline for the film.There had been some amazing writers on the story, but those two days were an amazing time when the film came together in a big way."

The story was developing into a coming of age tale with highly dramatic overtones rooted in classic literature. Minkoff explains, "When we first pitched the revised outline of the movie to Michael Eisner, Jeffrey Katzenberg, Peter Schneider and Tom Schumacher, someone in the room announced that Hamlet was similar in its themes and relationships. Everyone responded favorably to the idea that we were doing something Shakespearean and so we continued to look for ways to model our film on that all time classic."

"We looked at a lot of coming of age stories," adds Hahn. "Especially bible stories like Moses or Joseph where a character is born into royalty and then is exiled and has to return to claim their kingdom. Those are ancient stories, stories of underdogs that we as an audience love to see when we go to the theater."

The Lion King wouldn't fly, however, being anchored solely to Biblical and Shakespearean themes, so a concerted effort was made to introduce lighter moments. "We found ourselves constantly re-balancing the film to make sure there were enough comic elements to lighten the mood after the tragedy of Mufasa's death," says Minkoff. "Timon and Pumbaa really came along at the right time to give the film a lift and make it a more satisfying whole."

"Hakuna Matata"

That lift was epitomized in the song "Hakuna Matata," where the sly meerkat and goodhearted warthog introduce the exiled Simba to their no-worries lifestyle. It, along with "The Circle of Life" and "Can You Feel the Love Tonight?," became one of The Lion King's signature tunes, the product of a hugely successful--if unlikely--teaming of songwriter Elton John, lyricist Tim Rice (who just completed writing songs with Alan Menken for Disney's Aladdin) and composer Hans Zimmer. "Elton and Tim's songs help(ed) tell the story with humor and heart," says Allers, "while Hans' brilliant score and arrangements--along with Lebo M's choral work--gave it its scale, drama, and placed it in Africa."

"It was Tim who suggested Elton for the job," adds Minkoff. "Me, Don and Roger wanted Hans based on his work in The Power of One, whose score also featured Lebo M. Their collaboration on the score and musical elements really brought the story to life and gave it its enduring power."

So confident were they of the music's strength, the film makers decided to go out on a limb once the opening sequence was completed. As Hahn recalls, "We took a risk and sent 'Circle of Life' out to theaters as a trailer for the film six months before the film came out and it was a huge hit. Back at the studio we were still struggling with the story but at least we knew we had a great opening and if we could elevate the rest of the film to that level, we'd have something."

In addition to the powerful music and now promising story, The Lion King boasted  an impressive voice cast that included Matthew Broderick as the adult Simba, Jeremy Irons ("a gentleman and a brilliant actor," says Allers) as Simba's evil uncle Scar and Robert Guillaume ("his laugh was so amazing," recalls Minkoff) as the slightly crazed shaman Rafiki. Most memorable, though, was James Earl Jones as the fierce but wise Mufasa (a role that, surprisingly enough, Sean Connery was briefly considered for).

James Earl Jones

"James Earl Jones has one of the most incredible voices in the history of film," explains Minkoff. "Getting to work with him, especially being such a big fan of Star Wars, was an amazing experience. Watching him warming up his voice before a session was remarkable." Allers makes the same observation. "The very first time we had James in to record, before doing his first lines he proceeded to clear his throat. The strength and resonance of his 'harrrunfs' practically blew us off our chairs in the recording booth! That man IS a lion!"

Shortly after the "Circle of Life" trailer began appearing in theaters, The Lion King experienced its biggest setback yet, one that threatened to impact its June 1994 release date. Early on the morning of January 17, a 6.7 magnitude earthquake struck outside Los Angeles. The Northridge quake would devastate the area, killing dozens and causing approximately $20 billion in damage. As Hahn recalls, "The studio had to be shut down. For a few weeks we were driving drawings to animator's homes around Southern California and making the film in garages and on kitchen tables. The crew was amazing. They were dealing with the stress of a major earthquake while finishing the film."

Rising to the challenge, the production team managed to complete the film on time for its world premiere on June 15 and its U.S. wide release on June 24. Despite being Disney's "B" film, it still arrived with high expectations. "We were fourth in a succession of modern Disney animated classics," says Minkoff. "First it was Little Mermaid, then Beauty and The Beast and finally Aladdin. They were all tough acts to follow. We only hoped we would be compared favorably and not disappoint the Disney fans that had been growing with each new hit."

The Lion King did not disappoint.

Received with nearly universal acclaim by audiences and critics alike, it made over $300 million in its initial domestic release. It would go on to win two Academy Awards, one for Hans Zimmer's score and the other for the John/Rice tune "Can You Feel the Love Tonight?"

The Lion King producer Don Hahn and friends

And, 17 years later, it still resonated with audiences, raking in an additional $85 million in the U.S. during its 3D re-release this fall. But, was 3D the reason people flocked back to theaters?  Or, perhaps they were just nostalgic for hand-drawn animation. Hahn--who gives high praise to The Lion King's 3D conversion--doesn't quite think so. "Story, story, story!" he exclaims. "Nobody goes to the theater just to see a technique. The Lion King is a great story and that's why it's come back with such a roar."

Allers shares in that sentiment. "It's the balance of humor and drama and the resonance of its themes. The issues of life and death, and loss. The responsibilities of leadership and finding one's place in life."

The Lion King is now available on home video in Blu-ray and Blu-ray 3D.

Related:
'Maleficent Executive Produce Don Hahn in the MCL
'The Lion King' Returns to TV With 'The Lion Guard'

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'No Worries' Means It's a Free 'Lion King' Giveaway

On October 4, after an incredibly successful theatrical re-release, The Lion King will debut on hi-def home video...and you can win a copy of your own from The Mouse Castle!

We're giving away a 2-Disc Blu-ray Combo Pack of The Lion King to one of our loyal readers. The Combo Pack includes both a Blu-ray 2D and DVD version of the film. To enter, all you have to do is:

1. Visit The Mouse Castle Facebook page at www.facebook.com/themousecastle and become a fan (click the "Like" button, if you haven't already).

2. Find the event "THE LION KING: Diamond Edition Blu-ray Combo Pack Giveaway."

3. Confirm that you will be attending this event.

Pretty easy, huh?

Get your entry in no later than October 11, 2011 at 5:00 p.m. Pacific time. You must be a resident of the United States to enter. Only one entry per person, please.

Remember, you must "Like" The Mouse Castle on Facebook and RSVP for the giveaway event by clicking "I'm Attending" (mobile Facebook users may see a button labeled "Confirmed" or similar).

Sometime after the entry deadline, I will draw one winner at random. The winner's name will be posted on The Mouse Castle Facebook page.

Good Luck and Hakuna Matata!

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Dumbo and Pink Elephants on Blu-ray

I be done seen about everything....

For the last two weeks, The Lion King has ruled at the box office. It took in over $22 million just this past weekend. As its theatrical re-release comes to a close, it'll gear up for a hi-def, 3D home video release on October 4.  Almost lost amid the hoopla surrounding the second coming of Simba, however, is the comparatively quiet debut of Dumbo last week on Blu-ray. Marking its 70th anniversary this year, this simple story of the put-upon baby elephant with over-sized ears who learns he can fly finally gets the restoration and treatment it deserves. It's a bright and beautiful presentation of one of Walt Disney's most perfect and emotionally satisfying films.

Ironically, Dumbo and The Lion King share a similar pedigree. At the time they went into production, both films were considered secondary projects (Bambi and Pocahontas being the "prestige" pictures at the Disney Studios at their respective times) and were animated to a large extent by younger, less experienced artists. They were each also released near the tail end of a "golden age" of Disney animation.  Dumbo followed in the footsteps of Snow White and the Seven Dwarfs, Pinocchio and Fantasia. The Lion King came on the heels of The Little Mermaid, Beauty and the Beast and Aladdin. Both films have more than stood the test of time and are unquestionable Disney classics. But, since Dumbo came first, let's shine the spotlight on it today.

Mrs. Jumbo and her "Baby Mine"

It would be easy to dismiss Dumbo as a minor entry in Disney animation. After all, it's the most cartoony of Disney's pre-WWII feature films. It wasn't groundbreaking like Snow White and the Seven Dwarfs. It didn't have the visual depth and detail of Pinocchio. It certainly lacked the ambition of Fantasia. At 64 minutes, you could barely even call it feature length. It was a movie pressed into production quickly to generate cash flow for  the studio, an atypical, but necessary move at the time. Pinocchio and Fantasia were both expensive films that performed poorly at the box office and European distribution had all but dried up because of the war, cutting off a significant revenue stream. Walt Disney needed a movie U.S. audiences would respond to favorably.  He needed a hit.

In Leonard Maltin's book, The Disney Films, animator Ward Kimball recalled:

"(Dumbo was) one of the cheapest films we ever made. It came in for around $950,000 which was damn reasonable, even for 1940, when our cartoon features like Bambi climbed into the $2 million or $3 million bracket. The reason we brought it in for a low price was that it was done quickly and with a minimum amount of mistakes. The story was clear and air-tight to everyone involved in the project. We didn't do a lot of stuff over due to story-point goofs. There were no sequences started and then shelved, like in Pinocchio. Walt was sure of what he wanted and this confidence was shared by the entire crew. Dumbo, from the opening drawing, went straight through to the finish with very few things changed or altered."

Dumbo was released on October 23, 1941 and was immediately embraced by moviegoers and critics alike. People responded to the film's universal themes of feeling alienated for being different and triumphing in the face of adversity. So popular was Dumbo, that Time Magazine planned to put the aerodynamic elephant on its cover. When the Japanese bombed Pearl Harbor in December 1941, however, Time chose to go with a more pertinent cover instead.

Dumbo ran the gamut of emotions, from the whimsical fun of Casey Jr.'s train trek through the countryside to the tear-inducing "Baby Mine." It also has the sublime surrealistic invention of "Pink Elephants on Parade," Dumbo and Timothy Mouse's hallucinatory observation after drinking water spiked with champagne. For sheer originality (and having one of Disney's catchiest melodies), it ranks among the greatest scenes in the history of animation.

Clever, funny and heartfelt, with colors exploding off the screen in Blu-ray, Dumbo is a must-have for your Disney video library.

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Drawing Pumbaa from 'The Lion King'

Last week, I posted an interview with Disney animator Tony Bancroft about his work on The Lion King. This week, Tony shares with us how he animated the jovial warthog Pumbaa. Enjoy!

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'Hakuna Matata!' Animator Tony Bancroft Talks About the Return of 'The Lion King'

Pumbaa and Timon, The Lion King

It's tough to make an ugly, smelly creature with spindly legs into a funny animated character that audiences love. Tony Bancroft managed to do that when he was the supervising animator for the flatulent, fun-loving warthog Pumbaa in The Lion King. The 1994 animated classic begins a two week theatrical run this weekend in an "enhanced" 3D version (for purists like me, the movie is being show in 2D as well) and will be released on Blu-ray and Blu-ray 3D on October 4.

Bancroft attended CalArts beginning in 1987 and eventually spent 12 years at Disney, animating films including Beauty and the Beast, Aladdin and The Emperor's New Groove. He also co-directed Mulan with Barry Cook. Even with that diverse resume, Pumbaa keeps a special place in Bancroft's heart. "I think it was because he was my first character to supervise as an animator," he says. "Also, he and I have so much in common. We're both overweight and enjoy a good bug every once in awhile!"

Tony Bancroft

When The Lion King first went into production, it was considered a secondary project. Following the successes of The Little Mermaid and Beauty and the Beast, the Walt Disney Studios was far more excited about making another film with a strong female protagonist, Pocohontas. There wasn't nearly as much enthusiasm for a "King of the Jungle" (The Lion King's working title) film. So, veteran animators were assigned to Pocahontas while, for the most part, less experienced staff was put on The Lion King. Says Bancroft, "Many of us on The Lion King were young animators that just had no fear of trying new things and we were totally focused on making great films. There was not a lot of pressure on us at the time because the studio did not expect much from The Lion King at first so we felt creatively unharnessed."

In the beginning, Bancroft was drawn to the character of Zazu, Mufasa's horn-billed major domo. As he explains, "Pumbaa and Timon, even at an early stage of the film, were the break out popular characters and they seemed out of my reach to even request as a first-time supervising animator. Having just finished animating Iago, the parrot from Aladdin, I thought, 'Well, Iago's a bird and Zazu's a bird. Maybe I have a shot.' I was totally taken by surprise when the directors called me to offer me the character of Pumbaa. It was one of the happiest day of my life."

It took time to make a warthog an appealing character, though. With his fellow animators, Bancroft made trips to the zoo and even observed and drew animals brought into the studio. "I spent a good six months just coming up with the design. What does he look like? How do we make one of the ugliest known animals in the animal kingdom appealing for the audience? So, we spent a lot of time trying to hone that design into something that's simple, cute and works well with Timon and the other animals in the environment."

Nathan Lane and Ernie Sabella record the voices of
Timon and Pumbaa

Drawing inspiration from the voice talent helped a lot. Pumbaa and his meerkat buddy Timon were voiced by Ernie Sabella and Nathan Lane, who, in the early 1990s, appeared together in a Broadway revival of Guys and Dolls. Bancroft and Timon animator Mike Surrey made a trip to New York to see the acting duo in action. "It was a great education for me to see Ernie performing, to study his movements and actions," says Bancroft. "Then, when I got back to my animation desk, I would try to incorporate Ernie's acting style in my scenes. I think it really helped in bringing the character to life."

Bancroft and Surrey would continue to be influenced by Broadway musicals as they worked on Pumbaa and Timon. As Bancroft explains, "Mike and I shared an office together and (we) would listen to the music out loud all day long. We would sing along to Les Miserables or Miss Saigon while animating our characters. Maybe it helped in animating our characters singing "Hakuna Matata," I don't know.

When The Lion King was finally released in 1994, it was embraced by moviegoers and critics alike, taking in over $40 million during it's first weekend of wide release. It would eventually rack up over $300 million in the U.S. during its initial run and become one of Disney's best loved films. "We had no idea that The Lion King would become the phenomenon that it has become," says Bancroft. At the time, we thought it was just this fun little film with a quirky story about a lion cub in Africa that thinks he killed his father and has bug-eating friends, set to music by Elton John. Not the normal Disney story, for sure. It still amazes me that it is so well-loved around the world."

And now, 17 years later, The Lion King is being retooled in 3D for theatrical and home video release. What does Bancroft think about the new look? "When I first heard that The Lion King was being made into a 3D version, I must admit I was skeptical. I wasn't sure what the technology would bring to our 2D animation. Then I saw it and I was amazed at how it looked in 3D--how much it enhances the animation. When we created the film in 1994, we tried to make it as dimensional and real as we could with the technology during that time, but now with stereoscopic technology it actually fully realizes the potential of what were trying to make. I think it actually improves the film.

"Look at the wildebeest stampede scene for example. We made the wildebeests in CGI and lowered the camera down to the level of Simba so that the audiences feel the fear of the little lion cub as they rush past him. In 3D that scene literally leaps out at you and makes it all the more frightening for little Simba. That alone is an improvement on the storytelling and a great reason to have this new awesome version."

Bancroft learned his craft in an era of hand-drawn 2D animation, so he tends to favor it over modern CG animation. Still, he feels there's room for both styles in film making as long as they're executed properly. "So much has changed in how we make movies in animation," he says, "and yet so much has remained the same. The essence of making animated movies is still about taking the audience on a magical journey to a place they have never before seen through the eyes of characters that are appealing and endearing. I think The Lion King is the best example of that."

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Home Video Roundup: 'Phineas and Ferb,' 'Bambi II'

Catching up on some recent and upcoming Disney home video releases:

Phineas and Ferb The Movie: Across the 2nd Dimension

The pleasure of Phineas and Ferb is that it's a TV show for kids that never forgets parents enjoy it too. Heck, I watch it and don't even have children at home. On the surface, the antics of two clever and resourceful half brothers who go on wild summertime adventures, aggravate their sister, and take care of a pet platypus that's really a secret agent, is just goofy, wholesome fun. That the show is full of enough puns and pop-culture references to keep adults entertained is a bonus.

Such is the joy of Phineas and Ferb The Movie: Across the 2nd Dimension, the Disney Channel Original Movie now available on DVD. In it, the boys crash a giant shuttlecock (just another day for them) into the evil lair of Dr. Doofenshmirtz and begin an adventure that takes them to "a brand new reality, a particle duality, a new dimensionality" where nothing is like what it was at home. In this parallel universe, Phineas and Ferb discover the true identity of their platypus pet Perry and join forces with their other-dimension sister Candace, who turns out to be the leader of a resistance movement against a truly evil Dr. Doofenshmirtz, who has plans of his own not only to rule his own dimension, but Phineas and Ferb's as well.

Movie and TV references abound, some obvious, others a bit more subtle. Keep your eyes and ears peeled for takes on Star Wars, Star Trek, Raiders of the Lost Ark and even The Jeffersons, The Honeymooners and Laverne & Shirley. Some of these moments may be lost on small kids, so be prepared when they stare at you, wondering what's so funny.

Oh, and on the way, don't forget to enjoy the muffin-serving Norm-bots and the furry-vicious Goozim monster. They're fun too. Plus, your DVD comes with a kit to build your own Platypult. It's cool!

Deep down in my soul, I'm 12, OK?

Bambi II

A few years ago, Disney decided (mercifully) to stop producing direct-to-video sequels and prequels to its classic animated films (well, sort of, if you count the relentless Tinker Bell/Fairies franchise). This has not stopped Disney, however, from re-releasing select titles from the days Michael Eisner ruled the kingdom.

For the most part, the DisneyToon movies made in the 1990s and 2000s were cheap imitations of their originals, with flat animation and heavy-handed "message" story lines. They were cheaply made cash cows that diluted the Disney brand and damaged the reputation of Disney animation.

A few films, however, did stand out from the crowd with a higher degree of artistry and story telling than their Toon brethren. Bambi II was one of them.

That's not to say that Bambi II (awkward title--it's working title was the far superior The Great Prince of the Forest) ranks among the classics of Disney animation. It doesn't. But it does have a serviceable story and some lush and very lovely background animation. It looks particularly good in its latest Blu-ray release.

The story is what I guess you'd call a "midquel." It actually occurs during the original Bambi, after Bambi's mother is shot (oops, sorry, was that a spoiler?) and before the animals reappear in the spring. Bambi is on his own, save for his father, the Great Prince of the Forest (voiced by Patrick Stewart in a nice bit of casting). Bambi's father is not accustomed to the responsibilities of motherhood. He's a serious "big picture" guy, accomplished in looking out for the safety of the herd, but uncomfortable with raising a rambunctious fawn one-on-one. Can he and his son form a bond and, together, survive the harsh winter?

The story is predictable and sappy--Bambi learns responsibility; dad lightens up--but it's told with a respect for the characters that's endearing (enDEARing, get it?). The movie climaxes with a suspenseful and tightly-edited chase scene involving Bambi and a pack of vicious hunting dogs. It's really well done, especially for a DisneyToon entry.

I'm sure you have your own opinion about whether or not classic Disney animated films should have been followed-up on or retooled, but Bambi II does stand on its own as a good--not great--chapter in the Disney animated canon. At least it's not as egregious as The Lion King 3D.

The Lion King 3D

(sigh) I couldn't bring myself to attend the screening of The Lion King 3D during the D23 Expo. If you read my blog, you know why. I did, however, agree to see a sneak preview of the movie in 3D Blu-ray on the Expo floor. I'm happy to report the Blu-ray transfer is fantastic, with stunning color and excellent sound.

The 3D, however, is freaking annoying.

The Lion King is one of Disney's great film achievements. Produced by Don Hahn and co-directed by Roger Allers and Rob Minkoff, with songs by Elton John and Tim Rice, it was Disney at the top of its game during its 1990s animation renaissance. But The Lion King is, was and always will be a 2D motion picture. Viewing the opening "Circle of Life" number in 3D illustrates the problem with the conversion. While it was kind of fun seeing Zazu float in front of my eyes as he glided up to Pride Rock, the rest of the scene involved so many quick cuts and focus shifts among the animals in the Pride Lands (which worked terrific in 2D), the 3D became a jarring distraction. I was watching a series of effects, not enjoying a classic animated film. I'm afraid the opening four minutes was about all I could take.

The Lion King 3D will open in select theaters on September 16, followed by a Blu-ray 2D and 3D release on October 4. I'll be sticking with the 2D, thank you very much.

Coming Soon: Cars 2 and Planes

Pixar's underrated Cars 2 comes to home video on November 1. Lightning McQueen and Mater's foray into international espionage will be released on Blu-ray Combo Pack, Blu-ray 3D, Movie Download and DVD. Disney will also release an 11-Disc Combo Pack that includes both Cars movies--plus a collection of Mater's Tall Tales short cartoons--packaged together on Blu-ray, DVD and Digital Copy.

Three and a Half Men's Jon Cryer will provide the voice of Dusty, a small crop duster with big ambitions in DisneyToon Studios' Planes, due out in spring 2013. Inspired by the Cars franchise, Jon Lasseter will produce this direct-to-video release that will take the movies' hero on a "Wings Around the Globe Rally" to pursue his lifelong dream.

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Thirty Days of Disney Movies, Day Fifteen - Favorite Play Adaptation

In the 30-Day Disney Movie Challenge, it would've been easy to come up with a favorite Disney movie based on a stage play (1953's Peter Pan, based on the 1904 play by J. M. Barrie--next), but for this installment, I decided to reverse the tables and go with a stage adaptation of a Disney movie, if only because the choice is so remarkable a piece of entertainment.

It's The Lion King.

The Tony Award-wining musical, directed by Julie Taymor and featuring the music and lyrics of Elton John and Tim Rice, debuted on Broadway in 1997 and has been going strong ever since with numerous national tours and international productions (it just began performances in Singapore earlier this year). Two years ago, it took up residency at Mandalay Bay in Las Vegas (my hometown), where I've seen it twice and have been totally enchanted each time.

In June 2009, I wrote:

The story is familiar to even the most casual of Disney fans. Simba, a young lion, must choose between the two life paths set before him: the path of his father, Mufasa, the mighty king of the pride lands; or the path of least resistance, an escapist world in the jungle where "hakuna matata" ("no worries") is the philosophy to live by. In choosing, Simba must come to grips with his nagging sense of responsibility and ultimately confront his treacherous uncle Scar, who has plans of his own to rule the African savanna.

The Lion King tells its tale on stage utilizing an exquisite blend of lighting, rotating sets and nifty gadgetry. After seeing many stills and clips of the stage production over the years, I always wondered how much of a distraction the combination of live actors, masks and mechanical puppets would be. It turns out to be no distraction at all as they seamlessly meld their animal and anthropomorphic characteristics. The audience's attention is always directed where it needs to be, whether on an actor's face, the lion mask/headdress he or she wears, or the whirligig contraptions that evoke soaring birds and frolicking antelope. It's a feast for the eyes that requires only your very willing imagination to make complete.

Disney recently announced that The Lion King would extend its run in Las Vegas to the end of this year. Looks like I'll be able to catch it a third time (at least) before it leaves town.

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