General

Traditional Reanimation

Could traditional animation be poised for a comeback at Walt Disney Studios? Jim Hill shares the scuttlebutt that he’s been hearing coming out of the Team Disney Burbank building lately. Which suggests that Disney studio execs are now very concerned about how the last three computer animated features that Hollywood has released have performed at the domestic box office.

Published

20 years ago

April 24, 2005

Jim Hill

Little Orphan Annie-mator sent me this e-mail late Saturday night:

Jim —

I just got back from today’s screening of “Dream On Silly Dreamer” at the Orange County Museum of Art. God, what a great little movie that is. Dan Lund & Tony West did a superb job of summing up what a truly special place Disney Feature Animation was to work. How thrilling & exhausting it was to work on movies like “Aladdin” and “Beauty & the Beast.” And how sad it was when we all lost our jobs because of sh*theads like Schneider & Schumacher. Who thought that traditional was too old fashioned & that computer animation was the way Disney ought to go.

When are those boobs in Burbank finally going to acknowledge that they made a colossal mistake? Admit that Disney NEVER should have gotten out of the traditional animation business and get back to making the sorts of movies that the studio used to make? Is that day ever going to arrive?

Well, Little Orphan Annie-mator … If the whispers that I’ve been hearing coming out of the Team Disney Burbank building lately turn out to be true, that fateful day may actually be a lot closer than you think.

“What’s up?,” you ask. Well, I’ll tell you what’s NOT up. The domestic grosses of the last three big Hollywood computer animated releases.

Dreamworks’ latest — “Shark Tale” — bowed in theaters back on October 1st. It pulled in a somewhat respectable $160 million. But — that said — “Shark Tale” was nowhere near as good a draw as “Shrek II.” Which pulled down an astounding $441 million during its May 2004 domestic release.

Pixar’s latest picture — “The Incredibles” — had a somewhat similar problem at the box office. Following its release back on November 5th, this Brad Bird film earned $261 million during its domestic release. Which is (admittedly) a very impressive sum … Until you compare that amount to the $339 million that “Finding Nemo” grossed during the Summer of 2003.

“Now wait, Jim,” I can hear all you industry experts out there starting to sputter. “It’s really not fair to compare the grosses of an animated film that’s released in the Fall to one that’s released during the Summer months. Summer releases always earn more money.”

Well, that may be true. But then how do you explain what’s going on with 20th Century Fox’s latest CG release, “Robots”? That Chris Wedge film got great reviews, had huge promotion. But — to date — “Robots” (which was released back on March 11th) has only earned $120 million during its domestic release.

Now compare that to what “Ice Age” (I.E. 20th Century Fox’s 1st CG release. Which was also directed by Wedge) earned back in March of 2002. That film was domestically released on virtually the same weekend as “Robots.” Yet it earned $171 million.

You picking up on a pattern yet, folks? How the box office numbers for these CG films suddenly seems to be sagging? Could it be that American movie-goers are now starting to get a wee bit tired with computer animation?

I’ll tell you this much. Hollywood execs were truly surprised & disheartened last year when U.S. audiences didn’t embrace expensive CG extravaganzas as “Sky Captain & the World of Tomorrow” (Which only earned $37 million during its domestic release) and “The Polar Express” (Which — admittedly — earned $162 million. Which would have been great … Except that “Polar Express” cost $165 million to make & an additional $60 million to market. Which is why this Robert Zemekis picture is still very much in the red).

And Disney executives … To be honest, these guys are starting to get a little panicky. Here, they’ve just spent hundreds of millions of dollars to convert the Mouse Factory from a studio that turned out top quality traditional animation to a state-of-the-art operation that will soon start spitting out cutting edge computer animation … Only to have audiences’ interest in CG begin to wane before Disney’s first full-on computer animated feature actually rolls into theaters.

That’s why all eyes right now are on Dreamworks’ next CG release, “Madagascar.” To see if this computer animated feature actually bucks the trend. As in: Will this Eric Darnell & Tom McGrath film do significantly better at the domestic box office than “Shark Tale” just did?

If that doesn’t happen … Well, you can look for people in power all over Hollywood to start hitting the panic button. As the new financial reality sinks in that not every CG release is going to automatically become a “Shrek” sized box office smash.

Given the cost of producing these films (Which has been steadily creeping up over the past five years), you’re going to see some computer animated films that are still in preproduction suddenly getting their budgets slashed. And other projects being canceled entirely.

As for the Mouse … While Disney has clearly no confidence in “Valiant” (Why do you think the studio suddenly chose to release this Vanguard Film during the dog days of August?), I’ve honestly been hearing some really good things about “Chicken Little” lately.

Mind you, this Mark Dindal film DID have some pretty significant production problems in the past. Mainly that the front half of the film didn’t actually match the look & tone of the rest of the picture. But “Chicken Little” ‘s production crew has been steadily hammering away at all the movie’s little imperfections. And somewhere over the past six months, this Randy Fullmer production went from being just good to DAMN good.

But — in Disney execs eyes — none of that is going to matter if “Chicken Little” doesn’t pull down truly huge numbers on its opening weekend. The Walt Disney Company has so much riding on this picture (I.E. “Chicken Little” has to prove to Wall Street that Disney made the right decision in shutting down traditional animation. More importantly, that the Mouse can continue as a studio that produces popular animated features even if it doesn’t renew its co-production & distribution deal with Pixar) that just strong ticket sales won’t cut it.

According to some studio insiders that I’ve spoken with, if “Chicken Little” only makes as much as “Shark Tale” did during its opening weekend (I.E. $47 million), execs will start commiting seppuku right there in the Rotunda (I.E. Disney’s oh-so-exclusive executive dining room). The only opening weekend gross that will be acceptable is something that falls between $62.5 million (Which is what “Monsters, Inc.” earned on its opening weekend back in November of 2001) and $70 million (Which is what “The Incredibles” earned on its opening weekend last November).

“If ‘Chicken Little’ isn’t a Pixar-sized hit, what happens then?,” you query. Well, nothing immediately. After all, Disney already has four other computer animated features in the production pipeline: “A Day with Wilbur Robinson” (Which is due out in 2006), “America Dog,” “Rapunzel Unbraided” & “Fraidy Cat.”

But I can tell you this much. From that point forward, Mickey will be paying very close attention to “Curious George,” that traditionally animated feature that Universal is releasing in February of 2006. And if that Matt O’Callaghan film does particularly well during its domestic release … Well, you’ll probably see a couple of things happen fairly quickly:

Some very senior executives at Disney Feature Animation will be asked to clean out their desks.
And then the word will go out to a very small, select group of traditional animators. As in: “All is forgiven. Please come home.”

Mind you, you’re never going to be able to get anyone in Mouse House management to admit that they actually made a mistake. That it was wrong for Disney to get out of the traditional animation business. After all, even current WDFA president David Stainton gave himself an out by saying — back in January of 2004 — that if the right project came along, Disney might make another traditionally animated feature.

But the next 9 months or so are crucial, Little Orphan Annie-mator. Or so say my sources inside the Team Disney Burbank building.

Sooooo … If “Madagascar” under-performs domestically AND then “Chicken Little” doesn’t do as well as Disney execs had hoped AND then “Curious George” kicks butt when it’s released to theaters next February … THEN traditional animation at Walt Disney Studios could be poised for a comeback.

But — for now — we’re just dealing with the first few dominos that have fallen. A trio of computer animated features that didn’t do quite as well as Hollywood had expected. Plus the fall-out from expensive CG projects like “Sky Captain” & “The Polar Express” under-performing.

Just be aware that there are a number of very bright people in the entertainment industry who are closely monitoring this situation. Not just at Disney, but at Dreamworks, Pixar & Sony too. All of these executives are wondering what these sagging domestic grosses for computer animated features actually mean. Is this just a temporary aberration? Or are these lower ticket sales really an early indication that American audiences may be growing weary of CG?

Either way, I can tell you that there are already execs within the Walt Disney Company who are saying (very quietly, mind you) “Maybe we should put together a study that tells us how much it would cost to revive traditional animation.” Mind you, no one’s saying this very loudly because A) Eisner & Stainton are still there and B) no one knows for sure what Iger’s true feelings about animation — either traditional or CG — are yet.

So all I can tell you folks is to keep an eye on “Madagascar.” If that Dreamworks film doesn’t earn at least as much as “Shark Tale” (I.E. $160 million) during its domestic release … Well, that’s the next domino to fall.

And — if enough of these dominos fall — Well, who knows? … Maybe Dan & Tony will eventually be forced to change the end of “Dream On Silly Dreamer.” Now wouldn’t that be cool?

Anyway … That’s the current scuttlebutt coming out of Team Disney Burbank. Soooo … What do you folks think of the scenario that I just laid out?

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

10 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

10 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