Rather than just dumping a collection of shorts and going, "Hey, everybody, go look in the shorts bucket," they wanted to have something they could specifically advertise. And again, that tone was set by Walt Disney and Ube Iwerks, so it was just going back in Mickey's history and going, 'Why are these cartoons great? Okay, what can we learn from that? How can we help perpetuate those ideas that actually Walt and Ube had set in motion?"
The Looney Tunes stuff is great, but Bugs Bunny, he's sharp with his dialogue. You were doing humor that everyone could relate to. They weren't relying on the dialogue to deliver the jokes - that translated better in other markets, in other countries - so you weren't relying on the language. All the pantomime type of acting, all the weird rubber hose animation, and whatnot were fun. I think it silent cartoons and that style of trying to put all the storytelling in visually rather than verbally: that was always baked into Mickey Mouse. What makes Mickey popular? Dissecting it.
When I was developing the shorts in the early days, I was trying to do a little forensics. Sometimes, he still takes it on the chin. I think that youthful energy that he has, yet with the facility of an adult, makes that character right on the line of childhood and adulthood, so both age ranges can appreciate where he's coming from. Then he finally reaches that tipping point where he is like, "All right, I got to turn this around." He figures out some way to muster his courage or to come up with some resourceful way of turning the tides in his favor.
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