General

What Rich Ross’ exit from Walt Disney Studios is really all about

Published

12 years ago

April 22, 2012

For the past three days, the story that’s been dominating entertainment news is Rich Ross’ removal as Chairman of Walt Disney Studios.

Now most of these articles seem to lay the blame for Ross’ exit on “John Carter” ‘s box office. And while it’s true that this Andrew Stanton film did play a role in Rich being shown the door last week, that movie’s lackluster ticket sales weren’t quite as big a factor in this decision as you might think.

Why For? Because Walt Disney Studios rarely — if ever — loses money on a movie. Mind you, thanks to the vagaries of Hollywood book-keeping, it can sometimes take decades for a particular project to recoup. “Fantasia” didn’t actually get out of the red ’til 1961, more than 20 years after that animated masterpiece was first released to theaters. Likewise “20,000 Leagues Under The Sea” — Walt Disney Studio’s first big budget, live action adventure — didn’t officially turn a profit ’til its second theatrical re-release in the early 1970s.

So to now have people pointing at “John Carter” ‘s underwhelming ticket sales as the sole reason that Disney CEO Bob Iger asked Ross to suddenly exit the Company is just silly. I mean, if that were really the case, then why didn’t Bob just fire Rich last Spring after “Mars Needs Moms” crashed and burned?

No, the truth here is a bit more complicated than that. Especially when you take into consideration that — in a lot of ways — Ross had been Iger’s designated hatchet man. Beginning in the Fall of 2009 (right after he took over for Dick Cook, the previous head of Walt Disney Studios), Rich made all sorts of staff cuts. He totally revamped the ways that the various departments at the Mouse interacted with one another.

And it wasn’t Rich Ross that dreamed up this reorg. But — rather — Bob Iger. Who wanted Disney Studios to become a far more efficient, streamlined operation with a significantly lowered head count. And because Ross wanted to please his boss, Rich did exactly what Bob asked of him. And that included last Fall’s very public fight with Jerry Bruckheimer & Gore Verbinski over “The Lone Ranger” ‘s then-proposed budget of $270 million.

Rich Ross with John Travolta and Kelly Preston at the March 2010 premiere of Touchstone Pictures’ “The Last Song.” Photo by Kevin Winter / Getty Images North America

Did Ross make a few mis-steps along the way? Absolutely. Company insiders have suggested that Rich’s enthusiasm when it came to the celebrity access / premiere party-related aspects of his position as Head of the Studio may have turned off more than a few at the Mouse House. But folks who worked with Ross at the Disney Channel will tell you that he had the same exact problem when Rich was in charge of the cable side of the Company. That this was a guy who just got too excited whenever he got a chance to hang out with the talent.

But in the big scheme of things in Hollywood, these are relatively small offenses on Ross’ part. Which was why — as recently as February — the plan was that Rich would be allowed to finish up his three year contract as Chairman of Walt Disney Studios. And then come October of 2012 … Well, that part of Ross’ deal hadn’t entirely been worked out yet. Though I had heard that Disney had reportedly offered Rich his own production company which was to have been based out of the old Feature Animation Building. Where he would have then had the chance to develop films & TV movies for Walt Disney Pictures, the Disney Channel and ABC Family respectively.

But that deal now seems to be off the table. Thanks — in large part — to something that Ross (or — rather — Rich’s staff) supposedly did during the lead-up to the March 9th release of “John Carter.”

“And what was that exactly?,” you ask. Well, how many of you read Brooks Barnes‘ March 12th story in the New York Times, ” ‘Ishtar’ Lands on Mars” ? If you haven’t yet read this piece, let me direct your attention to two key paragraphs in this article:

In recent weeks, as a weak marketing campaign failed to generate audience excitement for “John Carter,” Robert A. Iger, Disney’s chief executive, made it clear in conversations with senior managers that he would not tolerate finger-pointing; this may be a colossal miss, he told them, according to people who were present, but it’s the company’s miss and no individuals would be blamed – including Mr. Stanton. Learn from it, was Mr. Iger’s message.

On Sunday (March 11th), Rich Ross, chairman of Walt Disney Studios, said in a statement, “Moviemaking does not come without risk. It’s still an art, not a science, and there is no proven formula for success. Andrew Stanton is an incredibly talented and successful filmmaker who with his team put their hard work and vision into the making of ‘John Carter.’ Unfortunately, it failed to connect with audiences as much as we had all hoped.”

Reading between the lines here, Bob Iger was trying to help John Lasseter’s very good friend Andrew Stanton save face. So Stanton’s initial attempt at making a live-action feature film had misfired. Big deal. The Walt Disney Company still considered Stanton to be a very valuable creative asset. Which — given that the two animated features that Andrew had directed for Pixar Animation Studios, 2003’s “Finding Nemo” and 2008’s “WALL-E” had a combined worldwide box office total of $1.388 billion (Not to mention the hundreds of million of dollars more that the Company has made off of plush, toys, ice shows and theme park attractions with direct ties to these Pixar characters) — was perfectly understandable.

Which was why the Company was doing everything within its power to spare Stanton any unnecessary embarrassment. With the hope that Andrew would then stay put, rather than suddenly decamp from Pixar and then go start making animated features for Disney’s direct competition (i.e. DreamWorks Animation, Blue Sky Studios & Sony Pictures Animation).

And Ross — with his own statement to the New York Times — seemed to be backing up his boss. But just one day after Brooke Barnes’ story ran in the Times, Claude Brodesser-Akners’ column was posted on Vulture. Which flat-out stated that …

… it was in fact “John Carter” director Andrew Stanton – powerful enough from his Pixar hits that he could demand creative control over trailers – who commandeered the early campaign (for this Walt Disney Pictures release), overriding the Disney marketing execs who begged him to go in a different direction.

“This is one of the worst marketing campaigns in the history of movies,” a former studio marketing chief told Vulture before the film opened. “It’s almost as if they went out of their way to not make us care.”

According to what I’ve been told, an internal investigation at Walt Disney Studios in the wake of this online article revealed that it had reportedly been a member of Ross’ own staff who had provided Brodesser-Akners with the info that he needed in order to write this particular “Vulture” piece.

Well, Rich’s loyal staffers may have been looking to distance their boss from “John Carter” disappointing box office number. But Bob Iger and his team on the sixth floor of the Team Disney – Burbank Building – supposedly saw this situation entirely differently. They felt that Ross placing his own need to protect & preserve his professional reputation ahead of the Company’s needs, potentially damaging the Studio’s working relationship with Pixar senior management was an extremely poor choice. Which is why a decision was made at that time to speed exit Rich’s exit from The Walt Disney Company.

Of course, the irony of this whole situation was that it wasn’t Ross who’d put “The Inside Story of How John Carter Was Doomed by Its First Trailer” item out there. But — rather — his loyal staffers. Who just wanted to make sure that their boss looked good.

Which — when you think about it — was just what Rich Ross was looking to do when, at Bob Iger’s behest, he oversaw that massive overhaul of Walt Disney Studios back in late 2009 / early 2010. Because Ross wanted his boss to look good too.

And why is it so important that Bob Iger look good? Let’s remember that — back in October of last year — Disney’s CEO announced that he would be stepping down in the not-so-distant future. To be specific, in March of 2015, the Company’s board of directors will name a new chief and Mr. Iger will then become Disney’s executive chairman. As of June 30, 2016, Bob will leave Disney entirely and — if the rumors are true — pursue some sort of political office back in New York State.

And when you’re running for political office … Well, it helps to be able to point to how you reinvented a great American institution like The Walt Disney Company, making it better suited to do business in today’s world. Making it far easier for the Mouse to leverage its content across multiple platforms and use new distribution channels to reach yet-untapped international markets.

And speaking of international markets … It’s worth noting here that “John Carter” has been selling far more tickets overseas than it has stateside. To date, this Andrew Stanton film has grossed $200.6 million foreign versus $68.8 million domestic.

Which — when you compare those numbers to what “Mars Needs Moms” earned last year (i.e. That $150 million Walt Disney Pictures / ImageMovers Digital production earned $21.3 million domestic and $17.6 million foreign, for a total worldwide gross just $38.9 million) — “John Carter” suddenly looks far less like a box office disaster than many in the entertainment press would have you believe.

So — just to recap here — while “John Carter” did play a role in Rich Ross’ exit from the Mouse House, it wasn’t that movie’s grosses or marketing that did the Chairman of Walt Disney Studios in. Not entirely, anyway.

Because — when you get right down to it — this isn’t really a story about Rich Ross’ exit. But — rather — one about making sure that Andrew Stanton stays right where he is right now. Working for Disney and Pixar.

Your thoughts?

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