General

Pixar’s Darla K. Anderson’s slow & steady path to success

Published

13 years ago

January 1, 2011

Here’s kind of a depressing fact to start 2011 off with: 88% of all people will fail to keep their New Year’s resolution. With 45% of those folks falling off the self-improvement wagon by the end of January.

And why is that exactly? To be blunt, it’s because a lot of us aren’t willing to commit, make the necessary sacrifices, do the hard work that will actually help turn our dreams into reality.

Which is why I’d now like to talk about Pixar veteran Darla K. Anderson. Who — according to the 2008 Guinness Book of World Records – has the highest average movie gross of any producer in Hollywood history: $221 million per movie.

Pixar veteran producer Darla K. Anderson. Copyright
Disney Enterprises, Inc. All right reserved

So how did the producer of “A Bug’s Life,” “Monsters, Inc.,” “Cars” and “Toy Story 3” get her start? Did Darla K. perhaps have some high-powered friends who worked in the industry who then kicked open a few doors for her?

Nope. To hear Ms. Anderson tell the story, she was just a girl who grew up in Glendale, CA. In fact, Darla’s very first job was at the Glendale Galleria, where Darla then worked behind the counter at a bakery.

So how did this kid — who cleared tables for cash while she studied environmental design at San Diego State University — wind up as the producer of some of the most popular animated films of all time? Well, there was some luck involved. A chance meeting with someone who was already successful in show business did in fact inspire Anderson to try & become a producer.

San Diego State University

But after that … To be honest, it was all about perseverance. No job was too small or too menial for Anderson. If she had to work as a PA and then go make coffee for others in order to get her foot in the door at some production company … Well, that’s just what Darla did.

Which – as it turned out – turned out to be a really smart move. By starting out as a PA … Well, Anderson was then able to learn about the industry from the bottom up. More to the point, by saying “Yes” to virtually every menial task that her bosses threw her way, Darla wound up seeing more – more importantly, learning more – than any of her co-workers.

Take – for example – how Anderson initially got exposed to computer animation. Someone from her office needed to attend this rather boring-sounding trade show in Las Vegas. Darla volunteered. Which is how she wound up sitting in on this demonstration of flying CG logos and then falling in love with this emerging art form.

From there, Anderson did everything that she could to learn as much as possible about computer animation. Which is how – one day – Darla found herself at the La Jolla Museum of Contemporary Art. Where John Lasseter was screening Pixar’s latest short, “Tin Toy.”

And after that … Well, that was pretty much all she wrote for Ms. Anderson. “Tin Toy” was so sweet, so charming (but – at the same time – such cutting-edge storytelling. Especially when you consider what everyone else was doing with CG back in 1989), Darla knew that she just had to go to work for Pixar Animation Studios.

The only problem was that – at this time – Pixar was just this teeny-tiny company with only 25 employees. More to the point, this animation studio was genuinely struggling to survive at this point in its history. Which meant that Pixar wasn’t hiring.

But because Ms. Anderson believed that John Lasseter’s dream (i.e. using CG to make a feature-length animated film) was actually doable, she dropped everything. Darla moved up to the Bay Area and then worked menial jobs like flower delivery for 18 months. All with the hope that – if she hung on long enough – Anderson would be the right person in the right place in the right time when Pixar Animation Studios finally started hiring.

And then in 1993, Pixar did call. Only they weren’t looking for someone to help out with production of the world’s first-ever feature-length CG project. But – rather – Lasseter & Co. were looking for someone to keep Pixar’s commercial division arm up & running while everybody else worked on “Toy Story.”

It wasn’t the world’s most glamorous job, producing ads for Listerine and Life Savers. But because it was crucial to keep all that commercial cash flowing into Pixar’s coffers just in case “Toy Story” didn’t succeed, Darla threw herself into her work.

And given that Anderson did such a great job with running Pixar’s commercial division, when it came time for this animation studio to get started on its second feature-length project, “A Bug’s Life,” she was then awarded that assignment.

But as Darla reminded me when the two of us spoke back in October, there was an awful lot riding on that “Epic of Miniature Proportions.”

“People forget how important ‘A Bug’s Life’ was, that this was the film that proved that Pixar wasn’t a one hit wonder,” Anderson explained. “And you have to remember that John spent much of 1995 and 1996 traveling the world, promoting first the theatrical release of ‘Toy Story’ and then the VHS version of that same movie. So in his absence, we really had to come together as a team. Do everything we had to in order to make sure that that movie succeeded.”

And given that Darla really delivered the goods on “A Bug’s Life” … Well, she was then handed Pixar’s next problematic project, “Monsters, Inc.” Which was this animation studio’s first feature-length production NOT to be directed by John Lasseter.

“This time around, we were out to prove that there was really more to Pixar’s success than just John,” Anderson continued. “Then when you factor in all of the technical challenges that we faced on ‘Monsters, Inc.’ with Sulley’s hair … That was a tough, tough picture too.”

But in spite of all the technological challenges that Darla and the folks at Pixar faced with “Monsters, Inc.” and “Cars,” she never lost sight of what was really important here. Which was that all of this amazing technology always had to service the story. That – when you get right down to it — what really made Pixar’s pictures special were their characters & story.

Which brings us to Darla’s latest production, “Toy Story 3.” Given that – due to the work she was doing in Pixar’s commercial division as well as on “A Bug’s Life” – Anderson missed out on the chance to work on the first two “Toy Story” movies. Which is why she was determined not to miss out on working on the third installment of this acclaimed trilogy.

“I actually threw my hat in the ring right after we finished working on ‘Monsters, Inc.’ I told John that – if we ever went ahead with production of ‘Toy Story 3’ – I wanted a shot at producing that picture,” Darla remembered. “And once Disney made that deal to acquire Pixar … Well, that finally cleared the way to make this sequel.”

And given how hugely successful “Toy Story 3” has been (it was last year’s most successful motion picture. Earning $415 million during its domestic run, $648 million overseas for a combined worldwide box office total of $1.06 billion dollars) … Well, it’s easy to overlook all of the hard work that actually went into producing this Golden Globe nominee. Darla and “TS3” director Lee Unkrich – along with hundreds of artists and technicians – worked for 4 ¼ years on this film.

And while Anderson is quick to praise all of the folks that she works with Pixar, it’s important to note here that Darla’s the one who rode herd on four of the top grossing animated films in Hollywood history. That she’s the one who kept everything on schedule, kept everyone focused on the job at hand, using many of the same skills that Anderson developed back when she was waitressing in Glendale, CA.

“That was when I first learned to multi-task. I had to figure out how to work with the people back in the kitchen while keeping the customers happy, delivering what they ordered as quickly as possible. And I’m still doing that same sort of thing today,” Darla laughed.

Which brings me to the main point of today’s JHM article. Darla Anderson got where she is today because – no matter how menial the task, how difficult the job – she committed. She threw herself into each task and then did it to the best of her ability.

Mind you, it took almost two decades for Ms. Anderson to get where she is today (Darla will be celebrating her 18^th year with Pixar Animation Studios later this year). And I know that – in this age of instant messaging, where people like Snooki & the Situation become celebrities overnight without actually accomplished anything – suggesting that someone take the slow & steady approach to success, that they actually commit to working hard for weeks, months, years at a time in order to achieve their goals isn’t going to be all that popular a proposition.

But even so, I’d like to suggest that – as 2011 gets underway and we all struggle to keep our respective New Year’s resolutions – Darla is still a great role model. And not just because her prominent appearance in Pixar’s recent “It Gets Better” video.

[View:http://www.youtube.com/watch?v=4a4MR8oI_B8]

So sure. Luck (as in: being in the right place at the right time) really does factor into having a successful career in show business. But given that Ms. Anderson was named Producer of the Year in Animated Theatrical Motion Pictures back in 2006 by the Producers Guild of America, I don’t imagine that Darla would be upset if I mentioned her name in connection with Samuel Goldwyn. That legendary Hollywood producer who once supposedly said:

“The harder I work, the luckier I get.”

So if you really want to achieve this year’s resolution, do just as Darla and Sam did. Work hard. Really commit. Persevere.

Samuel Goldwyn, founder of Samuel
Goldwyn Studios

Beyond that … Here’s hoping that all you JHM readers out there have a healthy & happy 2011.

Your thoughts?

If you’re looking to take advantage of those post-Christmas bargains over at Amazon.com, before you do any
online shopping there, could you please click on the banner below? If you do that … Well,
JimHillMedia.com then gets a teeny, tiny chunk of whatever you spend at Amazon.com

Thanks and Happy Holidays!

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