So visual jokes like maybe using anime art stylings or exaggerated animation like Goofy’s jaw truly dropping to the floor and then beyond it all come from visual comedy that we all appreciated growing up or even now, including that from SpongeBob!ĭE: You are now doing longer shorts (30-minutes +) even with the debut of The Wonderful Spring of Mickey Mouse that just debuted on Disney+. That means that all these old core ideas filter through our modern brains and modern joke-telling, and it all comes out naturally. On top of that, everyone on our crew knows that we’re making shows in the modern era because we are modern artists. PR: Everything we like to do is visually, not with much dialogue or plot points like traditional storytelling for film or TV. Can you speak to that and the humor of your artists and animators? That type of funny seems to have transcended generations, so we thought it might apply to our cartoons as well.ĭE: There seems to be a lot of focus on doing visual comedy as well. We knew that we couldn’t make 1930s cartoons, but we knew we could take what we loved about those cartoons and that slap-stick humor and Mickey finding himself getting out of sticky situations and bring them into our time. There was no conscious decision to make Mickey more relevant and contemporary, to make it feel like “Spongebob comedy” or style. PR: Our hope was to be able to create something to make it feel like we took on the work that Walt and Ub (who originally drew Mickey Mouse) left off. How would you describe the comedy of Disney Mickey Mouse? The Company did studies years ago basically proving that Mickey was for babies, and that made a lot of sense given that there weren’t any programs featuring him, apart from Mickey Mouse Clubhouse for Disney Junior, that were for older kids.ĭE: The comedy seems to be for older kids and even young adults as well. PR: I wanted our cartoons to be for the older audiences. Right on cue, my boss Eric Coleman (senior vice president for TV animation) knew I loved Mickey and invited me to pitch a few ideas.ĭE: What would set your Mickey Mouse cartoons apart from ones that were done before? Around the same time, Bob Iger (Disney’s former CEO) put out a request for all of Disney’s divisions to come up with something new with Mickey Mouse. I thought it would be really fun to work on Mickey Mouse cartoons, especially those black-and-white ones from the 1920s and 30s. PR: I worked in the development department at Disney working to develop shows from the Disney library and heritage characters. We caught up with Rudish on a video call not long ago to chat about all that Mickey, Mouse, and more.ĭE: How did you get involved with making these new Disney Mickey Mouse shorts? Since debuting back in 2013, Rudish and team’s show has won the hearts of many Disney and Mickey Mouse fans, both young and older, and spurred on longer episodes and even a hit Disney Parks attraction. Paul Rudish is the name that you see at the end of the credits for the wildly popular Disney Mickey Mouse shorts.
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