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'Good Dinosaur' and 'Zootopia' Teasers Classified

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Hang onto your hats, the teasers for The Good Dinosaur and Zootopia are most likely right around the corner!

Alberta Film Ratings, as many of you may know, issues ratings to film trailers, PSAs, and commercials. Their classifications are helpful for us, because they give us a good idea of when trailers for particular films will hit...

Today, they classified a teaser for The Good Dinosaur and a teaser for Zootopia... Both of them!

Now I wasn't expecting a teaser for Zootopia to debut this early. If you've been here long enough, you'll probably know that I predicted Zootopia's marketing would kick off some time during the late summer/early autumn, given that the film is a March release rather than a fall/holiday season release like Disney Animation's last four CG films, and also because I assumed Disney would focus on launching The Good Dinosaur's marketing first given that the film is opening ahead of Zootopia.

With all of that being said, I think it's a bit shocking to see Disney being willing to market this film so early on. Their previous four CG films were November releases in their respective years, and the marketing campaigns for those films kicked off in mid-June each and every time out, and also... You'd think they'd want to focus solely The Good Dinosaur for a little while when it comes to animated releases...

But hey, I'm not complaining! I'm more than glad that we're going to get a look at this film sooner than later! My best guess was that we'd see or at least hear something at this coming summer's D23 Expo. Though the list says "trailer #1" for each, they'll be teasers. I reckon both will contain footage that's not going to be in the films, footage that's made just for the teasers. That's a Pixar tradition, and I see it little-by-little becoming a Disney Animation tradition. (Some of the animation of Olaf and Sven in the Frozen ice lake teaser is in the finished film albeit in a different setting, Big Hero 6 has some shots for its teaser.)

So yes, I'm excited to see the worlds of The Good Dinosaur and Zootopia in fully-rendered form. Go get 'em, Disney Animation and Pixar!

End Of Line: Disney Cancels 'TRON 3'

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In hindsight this move isn't shocking, but... Walt Disney Pictures won't be making TRON 3...

And some complaining will ensue, so if you're not up for that, well... This is a warning...

As confirmed by the trades, the production, which was looking to shoot in Vancouver this coming autumn (its script was pretty much completed, as it had been developed over the course of four years) is no longer going to happen. No exact reasons were given, but if you know a thing or two about the Mouse's slate and how many of their live-action pictures did in the last five years, the reason is obvious.

It's because Tomorrowland, a film that quite frankly should've costed $90 million less than it ended up costing, didn't open too well last weekend. I already talked about that in great detail...

So no more. Kaput. The light cycle has halted... Maybe years and year later, somebody will do something with it, but it's already been so long since the last one. It's over for now. I hope you enjoy re-imaginings of stories Disney already adapted into their iconic animated classics, because that's probably what the live-action studio will be serving for a good while. Enjoy your live-action Jungle Books and live-action Dumbos and live-action Pete's Dragons.

Yes, I know The BFG is happening, and The Finest Hours as well, but outside of those two? Re-imaginings and a Pirates of the Caribbean sequel. The slate is just unexciting, even more so when you know what Disney was planning to give us a few years ago...

I don't get it, Mouse House. I just don't...

I'm not in the business, I have no idea how the money side of things all works, but you can probably handle Tomorrowland not doing well. You survived G-Force, Prince of Persia, The Sorcerer's ApprenticeJohn Carter, and The Lone Ranger. C'mon, none of this "ditch those kinds of movies for good" attitude. Walt Disney didn't stop when a lot of his projects flopped or blew up in the studio's face, he kept going. He didn't top pigs with pigs, he kept moving forward, he kept trying new things and taking risks...

It's not the 1940s anymore, the studio is not in debt and hasn't been since the early 1950s, Disney is a massive entertainment conglomerate that makes astronomical amounts of money, yet they want to dial down on stuff and stay safe. Go figure!

Well, maybe if you didn't spend $200 million+ on The Lone Ranger, or anything more than $120 million on Tomorrowland, or let John Carter of Mars' budget spiral out of control... Ugh... I'm sorry, this just peeves me.

TRON 3 probably would've costed somewhere in the Tomorrowland region, as TRON: Legacy cost $170 million and actually doubled its budget with a $400 million worldwide gross. The problem was, TRON: Legacy was treated as "the next Avatar" by the guy who was running Walt Disney Pictures at the time (2010) and they marketed the daylights out of it, assuming it would be so big...

Disney's logic ever since the Rich Ross days was "if it doesn't do well, stop making it altogether". This was pretty much cemented when The Princess and the Frog ended its run in theaters. Oh, it was a modest success? Well then, death to 2D movies and death to fairy tales! Good thing Tangled was halfway done, had that film not been in production, fairy tale stories would've been no more at Walt Disney Animation Studios... But too bad Tangled was a CG film... Oh, and no more Muppets movies! No more cool/more original live-action pictures!

It's not that I don't want endless live-action re-imaginings, it's that Disney won't make these kinds of films for a long while. Why can't we have both? I ask too much of the current company...

Whatever's turning a profit is the name of the game, no "try, try again" mindset like there was in the past. No effort to right the wrongs, no effort to make sure something like TRON 3 turns something of a profit. If so much of it was supposed to take place in the real world, why spend more than $150 million on it? Even if you did, what if it disappointed? I'm sure you can handle it, Mouse House executives. What with Disney Animation, Pixar, Marvel, Lucasfilm and everything else under your watch making so much damned money!

But hey... A company's gotta make more money, ya know? Why waste time making films that won't make 500, 600, 700, 800, 900 million dollars when you can make films that will indeed make 500-900 million dollars?

Hoping, just hoping that The Finest Hours and The BFG do well next year...

The Good Teaser

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It's finally here! The teaser for the other Pixar film that's coming out this year, The Good Dinosaur!

I got to admit, this came as a surprise because I had assumed that it wouldn't be ready until the week Inside Out opens. I saw that the trailer was classified, and I thought, "So it will be debuting before Inside Out", but then last night out of nowhere I saw it mentioned on Twitter. I was thinking, "Wait, it's coming tomorrow?!"

And so it happened... We got the teaser earlier than expected!


In my opinion, this is one of the best Pixar teasers yet...

Pixar's teasers often introduce the concepts of their films in a humorous way, showing a short scene that's not going to be in the finished film. They've been doing this since A Bug's Life, however 2008's WALL-E was a real break from the norm. Instead of a gag, we had director/Pixar wizard Andrew Stanton introducing the concept and talking about the legendary lunch that Pixar had in 1994 that birthed the ideas that would later become A Bug's Life, Monsters, Inc., Finding Nemo, and their space epic... Brave's teaser some four years later was also different. No jokes or anything, just lovely scenery of the Scottish highlands, an ominous narration, and Merida encountering Mor'du, firing an arrow at him. What a teaser that was!

This teaser follows a similar path, but I'm thinking that all of this footage is definitely going to be in the film. This teaser has a montage rather than a short sequence, a really unorthodox Pixar teaser to say the least! The use of a montage is what caught me off guard at first. However, I like what they're going for with it. I like the glimpses of the setting, the other dinosaurs they'll meet, and how amazing the visuals look. That scene of the brontos and the Hadrosaurids eating while the meteor misses the Earth is stunning... Also, check out some of the foliage. Some pretty unique design work there!

It's Pixar, what more can I say in terms of the visuals and how it looks?

Despite being very short, the teaser works wonders and does a fine job establishing the premise in the first minute. I've been anticipating this since the concept was brought up many years, and even though it's been through a lot, I'm still very excited to see what direction they'll go with this particular story.

What did you think of the teaser?

Bits Journal #45

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To start off, Sergio Pablos has something big in development...

Now for those of you who don't know, Mr. Pablos was an animator at Disney Feature Animation in the 1990s, working on projects like The Hunchback of Notre Dame, Hercules, and Tarzan. After his run at Disney, he went around town helping out the likes of Blue Sky and DisneyToon on various projects, along with other studios. He also conceived what would ultimately become Despicable Me...

For a little while, it seemed like his next project would be Smallfoot for Warner Animation Group. However, little has been said about that film for a long while...

Right now, his studio, SPA, is working on this... Feast your eyes...


Holy... Cow...

This is like Walt Disney Animation Studios taking the tech used to make Paperman and Feast, and making a whole film out of it. (Which is what we all hope Moana will be.) I love the style and the look, it wonderfully combines the unique qualities of traditional animation and CG into one really cool visual style. The footage itself is very fun too, the character is already likable and it has something of a classic Disney vibe to it, if you ask me...

According to the SPA website, Klaus is in the financing stage. Like many an animation fanatic, I certainly hope this gets made into a feature that gets a wide release. Please oh pretty please...

This two minute trailer alone is nothing short of awesome. To add to that, Pablos will present the project and talk about it at the Annecy Film Festival in the coming weeks...


DreamWorks made a very smart move today...

They now have Pixar's former head of publicity under their tree, one Robin Chandler, who was instrumental in the marketing campaigns for everything Pixar released between 2008 and 2013, from WALL-E to Monsters University. That's quite the resume, and it's an extremely smart choice on DreamWorks' part!

I've written about what went wrong with the money-losing DreamWorks films in the past months, and I always thought it was a combination of overspending, many audiences not being interested, and marketing campaigns that didn't drum up interest. Well, with Ms. Chandler in DreamWorksville, that could change. Big time! She's set to get to work right away, as the marketing for Kung Fu Panda 3 has yet to kick off, which is odd considering that some who saw Home before the public did happened to see the teaser/short for this film...

Reports are now saying the threequel's teaser will debut around Comic-Con...


Speaking of DreamWorks, Home is now sitting at $170 million domestically and $363 million worldwide. Quite the run here in North America, but its overseas total could be better. How will DreamWorks evaluate its box office performance is the bigger question... Like I've said before, their math and expectations seems to differ from film to film: Monsters vs. Aliens barely doubled its huge $175 million budget but no one freaked, whereas Penguins of Madagascar made over 2 1/2x its budget with a fine $373 million worldwide, DreamWorks took a $57 million write-down and shuttered PDI leaving around 500 talented folks out of a job...

I reckon they'll look at this as a hit because, unlike Penguins, Home isn't a franchise entry and because it took in over $150 million domestically. Perhaps part of Penguins' problem was that it just barely outgrossed Turbo domestically, missing $90 million. If anything, the people there are probably relieved that the film made this much at all, considering how everything was doom and gloom before it came out. The press acted as if they had time machines and knew this would flop and destroy DreamWorks...

Again, we shall see... Hopefully we get a report soon.


On the other side of the big screen animation coin, a British Columbia-based independent studio called Bron Studios is at work on a feature that may hit in 2016.

It's called Henchmen and it has been talked about since last summer. Originally, Will Ferrell and Adam McKay were set to executive produce the film, but have backed out alongside Chris Hench's Gary Sanchez Productions. Former Pixar animator Adam Wood is directing, and the cast - according to Deadline - consists of big names like James Marsden, Rosario Dawson, Rob Riggle, Craig Robinson, Nathan Fillion, and the like...

The plot? From the studio's website...

In a world of super-villains, evil schemes and global domination… someone has to take out the Trash. Welcome to the world of Henchmen, third class. When a fresh-faced new recruit joins the Union of Evil, he is assigned to a motley crew of blue-collar workers led by fallen henchmen Hank. But when “The Kid” accidentally steals the super villain’s ultimate weapon, Hank must break his “risk nothing” code to save the boy he’s befriended, even if it means becoming the one thing he has always avoided… being a hero.

Sounds like a cool plot, and it at least tries to differentiate itself from other "bad guy goes good" stories that we've seen in animation recently, like Despicable Me and Megamind. (Leaving out Wreck-It Ralph of course, given that Ralph is programmed to be the villain in his game but has no evil bone.) A trailer from last year shows off the really neat visual style, and it does look like it could be fun...


Again, like Klaus and also Scott Sava's currently in-production Animal Crackers, I hope it gets a good-sized if not wide general release.

Rapunzel Returns: 'Tangled' TV Series Announced

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Remember how a mention of a Tangled TV series was seen on a stand during the Brazilian Disney Expo a week ago? The show, despite some people saying "it's just a rumor", is happening...

The Tangled TV series will take place between the film and its short, Tangled Ever After. Mandy Moore is back as the voice of Rapunzel, Zachary Levi will be back as Flynn, Alan Menken and Glenn Slater will be providing the music. The series will follow her adventures in the very kingdom she was stolen from as a baby, so it'll be interesting to see more of that community since a sequel probably isn't - and in my opinion shouldn't be - happening. Claire Keane herself will also be involved...

Get a load of the animation style they'll be going for with this new series. Better that than a diet version of the film's look! Plus, it does look very nice, like the recent Disney storybook illustrations or even concept art.


Other info? A new character named Cassandra, which Disney Insider describe as “a tough-as-nails handmaiden, who becomes Rapunzel’s confidant.”

It's a bit surprising to me that they took this long to get a TV series going, but the interesting thing is that Tangled is the first Walt Disney Animation Studios film to get a TV series since The Emperor's New Groove and Lilo & Stitch. The latter got its show first in 2003, the former film's series didn't debut until 2005 after its direct-to-video sequel came out. Treasure Planet would've gotten a show had it done better, and then Disney Animation changed after Michael Eisner stepped down as company CEO. (Chicken Little probably would've gotten a series in a bad alternate history where Michael Eisner remained CEO and WDFA keeps getting beaten into the ground...)

The new Disney Animation was waiting for a box office hit ever since the ship was turned around, and they finally got one with Tangled three years after the first Lasseter-era production came out. Makes me wonder if Wreck-It Ralph will get a TV show, and of course, Frozen and Big Hero 6. Maybe this Tangled TV series is the beginning of a streak of TV shows based on Disney's animated features. It'll be like the 1990s all over again, when we got TV shows based on almost all of the Disney animated hits.

Back then, the shows were done in lower budget traditional animation and looked alright. Sure they were a country mile from how the films looked, but they looked pretty good for what they were (the early 90s was a time of quality TV animation, visually and writing-wise), and I like that they are going this route for the Tangled series. If they do something similar for all shows (if more happen) based on the studio's CG films, then sign me up.

I just hope the writing and whatnot is good. It seems like it will be considering who's behind it. Thankfully it's intended for Disney Channel and not Disney Junior as originally implied, so it seems like it'll be an all-ages show as opposed to a strictly-for-preschoolers show. Also, a lot of people are already questioning why Rapunzel has her long hair. Well, we shall see...

What's your take on this? Do you think a Tangled TV series is a good idea? Do you think we'll see more TV shows based on Disney Animation's recent films? Sound off below!

Disney Animated Shorts Collection Blu-ray Line-Up Revealed

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Along with a nice trailer for said collection...

I wish I could embed it, too. For some reason I can't, so for those who don't want to head on over, here's the line-up:

John Henry (2000)
Lorenzo (2004)
The Little Matchgirl (2006)
How To Hook Up Your Home Theater (2007)
Tick Tock Tale (2010)
Prep & Landing: Operation Secret Santa (2010)
The Ballad of Nessie (2011)
Tangled Ever After (2012)
Paperman (2012)
Get A Horse! (2013)
Feast (2014)
Frozen Fever (2015)

You'll notice that two Fantasia 2006-era shorts are missing: One By One and Destino. Luckily, both are available on physical media. One By One is on the Blu-ray (and the 2004 DVD) of The Lion King 2, while Destino can be accessed on the Fantasia / Fantasia 2000 Blu-ray. However, having them on this disc would've been nice too, because I have no intentions to buy Lion King 2 in any form on home media, and on that film's Blu-ray, the short was presented in standard definition.

Also... Where's Glago's Guest? How could they leave that off??

Oh well, at least the rather elusive Tick Tock Tale is going to be on this set... But still, I want to see Glago's Guest along with several other animation fanatics because it was only shown at festivals, I believe. The Prep & Landing short is a nice inclusion, I guess, but they all already got a physical release.

The rest of the line-up is excellent. The set will also include bonus features! Shocker! I know what I'll picking up on August 18th, that's for sure...

I just hope there's a second collection of shorts that includes Glago's Guest, One By One, and Destino... Hopefully it does well and convinces Disney to make another set, if not release more of the classic shorts on Blu-ray. Pipe dream? Perhaps...

Update (6/5/2015): Runaway Brain will be an exclusive to the Disney Movies Anywhere version. This I wouldn't mind, for I have a DMA account, but the last time something "DMA exclusive" was released (the exclusive deleted scenes on Toy Story of Terror!), it/they disappeared a few months in and they can't be accessed anymore...

Backwards and Forwards: DreamWorks' Current Status

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DreamWorks is doing quite fine, it seems...

According to Deadline, DreamWorks' shares are up and analysts seem to be okay with how they're doing at the moment. It isn't all doom and gloom, what with an unexpected box office hit out now (Home) and the Netflix/consumer products end building the bottom line...

The studio has a new plan...

"DWA execs acknowledged that they bet wrong by making animated films for adolescents. “Where once it was common to see 10 year olds at animated movies, the age cap has been lowered in recent years,” Mogil says recounting the company’s view. DWA noticed the shift in 2011 when Kung Fu Panda 2 opened the same weekend as The Hangover Part II. The trend continued “right as the company’s slate moved older (i.e. darker).” The upcoming slate will move to “younger skewing, lighter and more comedic films."

Some personal thoughts first, before I get to the business-side of things and what these choices mean in terms of making money...

Moving away from the darker and less comedic type films isn't really the answer. Do I need to reiterate why Rise of the Guardians, a film that audiences did in fact see after word-of-mouth spread after its disastrous opening weekend, was a box office flop? Do I need to explain - once again - how marketing killed other features along with a lack of audience interest? Do I need to bring up the fact that these cost way too damn much in the first place? $350 million+ isn't a magic number you can pull out of a hat. Do I need to bring up the fact that a movie opens badly because no one wants to see it in the first place?

No, a real problem was stated in the first sentence of that paragraph. Selling movies to adolescents, or preteens... That's an audience you might want to avoid when marketing animation, because a lot of them will only go for specific kinds of animation: Stuff like Family Guy, South Park, animation that's inappropriate for kids. I know it well, I went to middle school from 2003 to 2006, and I got guff for liking G and PG-rated animated movies that were out at the time. Most of my peers were all over films like DreamWorks'"hip" flicks like Shrek 2 and Shark Tale, Family Guy, Team America: World Police, stuff that was "adult" or "grown up" to them.


Rise of the Guardians bombed, firstly, because the studio spent way too much on it, thus raising expectations to arguably unrealistic levels. It was based on a book by William Joyce and it was certainly not a familiar brand or IP. From the get-go it was pretty risky in a way...

Second, Paramount (DreamWorks is probably part of the problem, too) did a terrible job at marketing it. The campaign was mostly a misfire, it emphasized action and tried to make the film look cool and edgy, whilst making it look like a kiddie flick that was cashing in on The Avengers. Those trailers didn't appeal to adults nor did they appeal to kids (too dark, too much Bogeyman), and that's why I think it opened so badly. If the marketing had emphasized the whimsical, fantastical elements more and focused on comedy and lightheartedness, perhaps it would've opened better. A lot of critics thought it was a good film, I thought it was great, I felt the film was made for the whole family and not adolescents. It was marketed to adolescents, sure, but that's just it... Why sell it to them?

Didn't they learn from past animation misfires?

Didn't they remember the time when 20th Century Fox wasted their animation unit on Titan A.E.? An action-packed sci-fi film that was designed for adolescent boys? Director Don Bluth warned that it wouldn't do well because they were aiming for that age group, but the heads didn't listen. It was a big bomb, and it shuttered the studio for a good while. It was the last 2D animation film - sans The Simpsons Movie - to be widely distributed by Fox.

Disney did the same thing with Treasure Planet two years after that. A mega-budget film with some sizable problems to begin with, Disney opted to promote the film as if it were "To The Extreme!" One animation historian put it wonderfully: It looked like "Disney's Poochie." 9-year-old me wasn't fooled back in the day, when I first saw Jim Hawkins surfing on his solar surfer, I was thinking that they were trying way too hard to be cool. I was a Disney fan back then, and it didn't appeal to me. I regret not seeing it back then...

Rise of the Guardians is a good old-fashioned family film that deserved a better marketing push, whilst Turbo is a silly comedy that definitely skews the adolescents. Turbo at times felt like it came out of the mid-2000s DreamWorks vat, with its tired attempts at being hip or cool. On top of that, it was aggressively average and didn't take advantage of its quirky premise. Even worse, it was an idea that was approved of during a pitch session in 2010, a mere three years before the film was even released. It's as if the suits said, "It's Fast & Furious, with snails, but the plot's like Ratatouille, and there's racing... Like Cars!" Then they spent $135 million on it and it underperformed. You see what the problem was there?


Mr. Peabody & Sherman, which I still need to see, seemed to be a typical family film that happened to be well-written (going by what critics and what some people I know have said)... However, why did it cost $145 million? How many people under the age of 35 are aware of the characters the film is based on? Again... Why spend $145 million on a movie based on the Mr. Peabody and Sherman segments of Rocky and Bullwinkle? With a budget so big, the film probably needed to make a good $350-400 million worldwide to be considered a break-even... Again, why spend so much on it? Forget the marketing for a second, forget what audiences might think for a second... Why $145 million?

Mr. Peabody & Sherman, perhaps, could've been a hit at $272 million worldwide had it cost around $80 million. Ditto Rise of the Guardians, or Turbo...

Illumination, Sony Animation, and Blue Sky show that you can make good-looking animated features for less than $100 million. Quality can come from any budget, it's all in the story and writing. You don't need to spend boatloads to make something that a lot of people will call a "good" movie. DreamWorks might be reducing their feature film budgets, but they should've thought of that back when approving of films like Rise of the Guardians, Turbo, and Mr. Peabody & Sherman.

Bad decision making from the higher ups essentially slowed the DreamWorks express to a halt... It really had nothing to do with mediocre or okay movies. DreamWorks heads saw a statistic about more adolescents going to the theaters, then decided to make movies that would - in a marketing sense in many cases - go after them.

The problem wasn't the content. It usually isn't the content, either...

If content was a problem, a lot of poorly-reviewed films that happened to be big hits would've been flops. I always wince when people say "It'll be a box office hit if it's a good movie" or "It flopped because it was bad." Your opinion of a certain film isn't shared by everyone else. San Andreas, which just opened, got mixed reviews and it opened big. Tomorrowland got similarly mixed reviews, it opened weak. A critically acclaimed film like Paddington opened low, while another - Mad Max: Fury Road - opened well.

It's what audiences want to see...


So aside from big budgets and super-high expectations, here's the nut to crack: Getting people interested from the get-go.

Opening weekends, in this day and age of extremely short release windows, are everything these days... Unless the film pulls insane legs, but that can be rare. If your film cost over $120 million, it's expected to open well because legs will do the work. With a low opening, you'll end up with a disappointing gross if the legs are the same. You'll need a miracle or strong overseas grosses to do a lot of the work.

Luckily, Pixar has never had this problem...

Disney Animation and Pixar can get away with spending $165-200 million on their films, but even then they should take it down a notch. They are smart, however, for they create films that aim to be good, timeless, and appealing to almost all of the demographics, adults especially. Also, Disney is a massive mega-empire conglomerate, DreamWorks is not... Yet?

Pixar and Disney marketing always got the "selling" part right when it came to Pixar's films, in the past this hasn't always worked for Disney's post-Eisner animated features. 2008's Bolt and 2009's The Princess and the Frog were critically acclaimed, well-liked by many animation fans, and both had excellent legs at the box office... But they both opened poorly because very few people wanted to see them to begin with. Back in 2012, I worried that Wreck-It Ralph had the potential to tank because at the time, Disney Animation had only scored with Tangled.

If your movie looks unappealing to audiences from the marketing, you're mostly in trouble. It doesn't matter if your movie is good or bad, or if audiences end up liking it or not, you got to get a big opening gross first and you're all set. Then you have to see how it all plays out from there...

DreamWorks' suits, of all things, need to consider all of this. Make good, smart films first, then sell them the right way and hope audiences end up really liking them. In a way, the studio is lucky that Home opened with over $50 million. Why's that? The legs are actually a bit weaker than the more recent DreamWorks films. (3.2x multiplier, vs. something like Peabody's 3.4x multiplier or Turbo's 3.9x multiplier. DreamWorks usually scores above 3.5x)

With Pixar's former head of publicity there, they have potential to overhaul the way their films are marketed. Let's hope this happens, because most importantly, audiences need to be given an incentive to go individually spend $11-14 for tickets...

How till the future films be marketed now?

Katzenberg has vowed to cut production costs, but marketing is a different story. “The challenge around the genre has and will be the need to market to two different audiences, kids and moms.”

Very nice Katzenberg, calling animation a "genre". Cool.

Anyways, "kids and moms"...

I hope this means: Make films that are G/PG and appropriate for all ages, then get the parents interested since they're the ones buying the ticket...

But why stop there?

Getting childless adults into the theater for your family-friendly animated film is the titanium trophy that they should chase...

Frozen, Despicable Me 1 & 2, anything Pixar puts out... Why do these animated films make so much dough? It's not just "kids dragging mommy and daddy into the theater", like some analysts and "experts" may want you to think. No, mommy and daddy have to say "yes" first. If kids dragging the parents into the theater made Frozen so big, then it would've made The Smurfs 2 big as well, or Alpha & Omega, or Escape from Planet Earth, or the kiddiest of kids' movies. Parents have to like what they're seeing in the ads/trailers, too.

Frozen, Despicable Me 1 & 2, and Pixar films certainly did well because the parents liked what they saw in the ads/trailers, but they made huge bucks because... Childless adults, teenagers too. Everyone! All the demographics! So you win quite a bit when the parents like what they see in the trailers and ads, but again... Why stop there? Pixar and Disney Animation lock in the childless adults, so I think DreamWorks should definitely consider that too.

However, getting the parents eager to see the films is a good start for DreamWorks' road to recovery...

Still, I think focusing solely on lighthearted and comedic animated fare isn't pushing forward in an artistic sense. However, DreamWorks really needs a break for the time being after a slew of money-losers and layoffs and disastrous events. That all being said, kid-friendly comedic fare isn't always a guaranteed winner either... Again, it boils down to the marketing and audience appeal. This new strategy sounds effective enough, so they should be fine for the next three years. (The slate currently ends at June 2018.)

Now as for the "after 2018" part...

I just hope they don't shun the more Kung Fu Panda and How To Train Your Dragon-esque epics for too long. I want to see DreamWorks experiment and do cool new things, make great stories that cover different genres and themes... That being said, I'd like to see them be smart with the budgets on said pictures. Just because I want something ambitious doesn't mean I want it to cost more than $100 million, I just want a story that does something new. You don't need a huge budget to do that. LAIKA proved that a few times already, Reel FX proved that with their visually stunning The Book of Life, the list goes on and on...

So again... The new strategy...

$120 million-costing lighthearted comedic animated features that'll be marketed to appeal to both kids and their parents? Sounds like a good plan for the time being. Good luck to you, DreamWorks!

Oriental DreamWorks Now...

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The LA Times ran a lengthy piece on how DreamWorks' Chinese arm, Oriental DreamWorks, is doing...

Until now, we knew that they were going to co-produce Kung Fu Panda 3 with the main studio. They also have a string of live-action pictures in development, alongside a mystery animated film that is set to open in the first quarter of 2018 in China only. (It'll be released elsewhere later on...)

As expected, Kung Fu Panda 3 (opening January 29th) will cost close to $140 million, being the last of DreamWorks' films that will cost over $120 million. The first film in their "lower budget" ($120 million is still too high in my opinion) will be fall 2016's Trolls. That project was teased recently, since the Licensing Expo began today.

Speaking of Kung Fu Panda 3, Kung Fu Panda 2 is still the highest earning animated film in China with a strong $96 million (second and third place being Big Hero 6 and Stand by Me Doraemon, respectively). This is all but a guaranteed hit there, and DreamWorks will fortunately get a good dose of the Chinese gross, since this is a co-production.

Oriental DreamWorks head Prashant Buyyala had this to say...

"The first few projects that we do are going to take longer and they're going to be potentially more expensive than what we would normally be planning to do. But that's all part of the process of building a world-class animation studio."

Their CEO James Fong revealed that the 2018 mystery film is already in pre-production and it is codenamed ODW1.

"Executives are also deliberating over what to select for a second project, another animated film, but Fong said both should be in production simultaneously by next year. The two movies, he said, would follow the Kung Fu Panda 3 model — with versions in English and Mandarin — and are envisioned as co-productions with the Glendale campus. The content would be fully owned by Oriental DreamWorks."

Other than content rights, the Oriental DreamWorks animated films won't be made entirely at the studio? That's something I didn't expect, because my assumption was that ODW would make these films completely in-house with DreamWorks just distributing in the states and elsewhere. Interesting...

I think that very 2018 film will be Everest, a tale of a little girl and a yeti that's being developed by Jill Culton (former Pixar story artist, Open Season director), given the setting and whatnot. As for the next one? Will it be something that we know about? Or something we haven't heard of? DreamWorks'"development" slate is packed to the brim, too. It could be anything...

I just hope the budgets on these particular pictures aren't too high. I can imagine them being in the Illumination/Sony Animation ballpark, maybe around $70-90 million. Captain Underpants, coming spring 2017, is going to be handled by a Canadian studio called Mikros Image. DreamWorks' intention is to do that one film on a smaller budget, perhaps it'll be an offbeat lower budget film to go alongside the $120 million "safe" biggies like Boss Baby and The Croods 2. (Also opening in 2017.)

DreamWorks' current game plan is to release just two pictures a year, but I think that translates to "Two big-scale, $120 million-costing pictures a year". With a third smaller-budget film in a calendar year, they can have their cake and eat it too.

In other news, the studio is no longer working on The Tibet Code. The company, according to the article, couldn't come to terms with the rights owner of the original book. That would've been one of their first live-action productions.

Overall, DreamWorks invested $330 million into this studio and plan. It's very possible that it'll help the company a great deal, given the success of many of their films over there, future films being made there, and the rising Chinese box office in general.

B. Riley & Co analyst Eric Hold said...

"If China is going to surpass the U.S. box office in the next four or five years, having a strong foothold there is key. It could not only help turn [DreamWorks] around, it could be a major leg of the company."

Nice to see some optimism for DreamWorks. Best of luck to the studio and the company overall. Let's hope this road to recovery goes splendid, and then they have the power to take a creative risk once in a while...

Licensing Expo Bits

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The Licensing Expo just began in Las Vegas. I'll update this when more is revealed over the next few days...

June 9th - 4:26 PM EST: Of course, this is a prime spot for animated movie tidbits... So far, a lot of things have already been revealed. ComingSoon.net is usually on a roll when it comes to this, so a lot of the images will come from them...

Anyways...

On the Blue Sky end... Ice Age 5 is titled Ice Age: Collision Course. Here's the logo for the soon-to-be $700 million grossing film...


That's it for them, for now. Nothing on Ferdinand or Anubis...

On Illumination's end, first looks at the characters from next summer's The Secret Life of Pets other than the three that were revealed last year (sans Duke and Snowball)...




I expect the trailer to show up before Minions, I mean, why else wouldn't it? The character designs are nice. They're basically Despicable Me pets, but I'm not complaining, I always liked that film series' style...

Nothing on the Disney, Pixar, or DreamWorks end other than a Trolls tease from the latter of the three. However, it's nothing special, just an image of a troll doll's hairdo. No actual first look at the film or anything...

As for Paramount... Well, I'm reckoning this particular title might be a Paramount Animation film...


I haven't seen a Paramount release titled Amusement Park anywhere, so I'm assuming this is completely new. Given the look of the logo and the title, I think this could be one of the animation studio's mystery releases... Maybe. They are highly secretive, so who knows...

Hasbro's still gung-ho about their My Little Pony movie. 2017 is still the target year...


Not really animation, but here's something for Disney live-action's The BFG, which is being directed by Steven Spielberg. One of the only live-action Disney films I'm looking forward to, no less...


Why the UK release date below? Ah well, the logo looks different from the one Disney showed at CinemaCon...

Zoo Duo: 'Zootopia' Main Character Designs Revealed

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USA Today brings us a real but small first look at Walt Disney Animation Studios'Zootopia, including final renders of main characters Nick Wilde and Judy Hopps....


It's not much, but the character designs are pretty cool as expected. More than anything, I'm really looking forward to seeing the fully-rendered titular metropolis. The real meat here are the interviews with the directors, and the actors playing the two leads...

Director Rich Moore (Wreck-It Ralph) says the story is about animals "who would naturally never hang out or like one another in the beginning, but over the course of the movie develop a relationship and become friends..."

Jason Batemen says foxy Nick Wilde is a "crafty, sarcastic schemer, and that I've been doing in parts since I was 12. I foolishly said, 'What kind of voice do you guys want me to do?' And they just looked at me like I was an idiot and said, 'Just do what you do. Just talk.'" That description pretty much lines up with everything we've heard before, and that image more than sums up his character.

Moore describes Judy Hopps as a cross between Pollyanna and... Furiosa? Wow, what a mix! Furiosa was certainly the real star of the superb Mad Max: Fury Road, and it's good to see that the character - voiced by Ginnifer Goodwin - will be similar to her. Byron Howard (Tangled, Bolt), who is directing the film alongside Moore, says Hopps has been called "cute" all her life and she doesn't quite like that. The article also mentioned... There are situations where Judy becomes unhinged and "she gets hoppity emotionally," Goodwin says. She also won't be underestimated. "People mistake kindness for naivete or stupidity, and she is a good girl through and through. But she's not a dumb bunny."

Early on I was a bit concerned when reading the updated synopsis from not too long ago, it sounded like they traded in the "arrogant" personality for optimistic and opportunistic. With these descriptions, that doesn't seem like it's so anymore. She's optimistic, sure, she's dreaming big, sure... But she doesn't take any bull. I like that! Again, the Furiosa comparison... These two characters are going to be great!

The article also points out that the film will have the "buddy comedy vibe" of 48 Hours... Hmmmm... It was noted at Cannes that the film had some particular jokes that were definitely more on the adult-side, ones that were a little more front-and-center. Makes me wonder if this one will push its PG rating - which it will most likely get - a bit...

Goodwin describes the city of Zootopia as "fully immersive as though you walked into Disneyland... This movie is begging for an entire division of the theme park."

Best of all was this little tidbit...

Bateman's daughter Francesca, 8, may be first in line. "I showed her the teaser the other day on my computer," he says. "And she looked at me like, 'Oh, so that's where you disappear to. … OK, you actually do something I like.'"

The teaser, you say? Will it debut this week? Or next week? Inside Out opens in a week, the teaser for Zootopia was classified alongside the already-out Good Dinosaur teaser, so it's close! It would be lovely if it debuted this week, tomorrow even. I wouldn't be surprised, because usually when USA Today runs an article on an animated film, the teaser drops the next day...

Anyways, the more I hear about this film, the more excited I get. This sounds like a Walt Disney Animation Studios film I want to see: Creative, different, ambitious, funny, promising a good story that mixes everything we come to expect from a Disney animated film...

Bring it on!

Pandas Everywhere!: 'Kung Fu Panda 3' First Look

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Right after unleashing a sneak peek of Disney Animation's Zootopia, USA Today has given us a look at Kung Fu Panda 3 earlier today, complete with stills!

As a lot of us already know, the plot involves Po finding the village where his father is from and where all the survivors of the panda genocide - caused by Kung Fu Panda 2 villain Lord Shen - live. However, the villainous Kai has defeated and taken the powers from other kung fu masters across China, so it's up to Po to train his village and save the world from this supernatural threat. It's definitely a huge-scale story, more than appropriate for the third installment in this already epic series.

First off, here's Po's father, Li (voiced by Bryan Cranston, who already provided a voice for DreamWorks - Vitaly in Madagascar 3)...


Jack Black describes the character as a fun-loving type, but the synopsis says all the panda survivors are like that... And clumsy too!

Here's a look at some of the other villagers, including the panda cubs...


The panda cubs apparently will be show-stealers, going by the article and some of Jack Black's comments. Minions-esque critters, perhaps? It'll be interesting to see the secret panda village itself...

I'm still wondering who that closer-to-home villain will be. Earlier synopses mentioned this, but I'm beginning to reckon that a third act twist/reveal is likely...

Finally, here's Mei Mei (voiced by Rebel Wilson)...


We got some particular details on this character. She's described as an "overeager", "wannabe" ribbon dancer. The article specifically states that the tale won't turn out to be a panda love story, so I guess the whole arranged marriage thing from the earlier synopses is a no-go?

Perhaps the most interesting tidbit of the peek was the mention of Po's adoptive father Mr. Ping's side of the story, and how he'll be concerned over the father-son reunion. Black said "He feels very protective." The Kung Fu Panda films never shied away from more emotional beats and such, especially the sequel, so I'd imagine that will bring in some good drama and sadder bits...

Anyways, with USA Today posting this, I reckon the trailer will be out very soon. If not tomorrow... Inside Out is around the corner, and DreamWorks has nothing to release this summer or for the rest of the year (remember when B.O.O. was set for this past Friday?), so it's either that or Minions. A teaser/short film (not dissimilar to Home's "Almost Home" teaser/short) was made and shown at advance screenings of Home, but I haven't heard or seen anything since other than rumors of it debuting at Comic-Con next month.

I kind of doubt it'll debut this week or next week, as I didn't see the teaser get a classification on the Alberta Film Ratings website. Maybe next month then... Minions or Comic-Con, then. I'm betting on the former if a teaser doesn't arrive before Inside Out. What say you? What do you think of this first look? Are you excited for the third chapter in the Kung Fu Panda series? Sound off below!

Welcome To Zootopia!: First Teaser Drops

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It's finally here, the teaser trailer for Walt Disney Animation Studios' next... Zootopia!


Certainly not the kind of a teaser I was expecting, and it also didn't show us a complete render of the titular city. I was hoping that it was going to show it at the end, after considerable build-up, but no-go...

Anyways...

The teaser probably does its job. I'm already seeing complaints, people saying it looks "too DreamWorks" (what DreamWorks are we talking about? Snarky mid-2000s DreamWorks?) or it looks "generic" or "too much like Chicken Little" (yes, because a concept dictates whether the movie will be good or not, regardless of the... *GASP* writing) or whatever. Just like the goofy Olaf and Sven on ice teaser for Frozen, this teaser is just... Well... A teaser! I reckon it's not made for you and I, but for the general public who need a little convincing to see this big animated picture in droves on opening weekend.

It does an okay job at introducing the mere concept of the picture, it's perhaps a little on-the-nose, but again, it should work on general audiences. You'll know when you see it before Inside Out in the theaters. If a majority of the crowd laughs (I remember when I saw Monsters University, the entire audience burst out laughing at the dreaded Frozen teaser), then it worked, regardless of what we may think. Me? I would love to see Disney do trailers that were epic like their early 90s trailers, but that's just me.

Disney Animation's teasers have adapted the Pixar strategy, and it's working so far.

So what do I like? I love the character designs, the humor works (love the bit with the goat/wildebeest-looking thing at the end), and the personalities of Nick Wilde and Judy Hopps seem to be well-established here. Again, I would've loved to have seen a glimpse of the city, but they're probably saving that for Annecy, and the proper trailer. That's my only beef, really.

What's also cool is that, like many reports have said before, the animals may walk and talk like people, but they still have their unique traits. I'm particularly interested to see where they'll go with that, it'll probably make for a lot of clever story bits and comedy. It more than differentiates it from other animated films that have gone done down this path, such as Disney's own Robin Hood.

That all being said, I don't need a teaser to convince me to see this film. They had me at A) It being a Walt Disney Animation Studios film, B) it being directed by Byron Howard and Rich Moore, and C) the concept. So like many animated movie teasers and trailers, it's not made for us, the people who are in the know about animation and know who made what (did Pixar make this???). Let's see if it works on the non-fans and average Joe-n-Jane moviegoers.

What did you think of the teaser?

'High in the Clouds' Progress Report

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Remember hearing about an animated feature based on the Paul McCartney children's book High in the Cloud?

Fall 2013 brought the previous update on the long-gestating CG feature. (Which was being talked about since roughly 2009.) We were told then that Disney veteran Tony Bancroft was going to direct it, and Shrek Forever After scribe Josh Klausner would write. We were also told that they were eying a 2015 release date...

We heard nothing since...


It's 2015 now, and Rolling Stone ran a story on it recently. It won't be coming any time soon, but it's still a go.

The details...

McCartney has written seven-to-eight new (!) songs for the picture, one of which will be a collaboration with Lady Gaga. (Not sure how I feel about that, but moving on.) It's got a new director, Cloudy with a Chance of Meatballs 2 director Cody Cameron. Klausner is still set to write the script. McCartney is also debating on whether he'll compose the film's score or not, which is interesting because his last film score was for the 1966 film The Family Way (which starred Hayley Mills), and he was barely involved with that too.

RGH Entertainment, the production house behind the project, is set to create a sizzle reel that they'll debut at the American Film Market in Santa Monica in November. Let's hope they get something done and have something to present, because I really want to see this thing move forward! I'm a massive Beatlemaniac through and through, and the thought of a McCartney animated feature is enough to sell me.

The book itself (the story was actually the subject of a 1997 short Tropical Island Hum that he worked on with the book's illustrator, Geoff Dunbar) is about a squirrel who is separated from his family after his home is destroyed by human development, and teams up with other animals to find a new home... An island, but on the way he will encounter all sorts of things, many ups and downs, including... War... This sounds a lot like Watership Down, actually, a British animated classic based on a classic British novel.

McCartney is no stranger to animation. There's Yellow Submarine, sure, but Paul embarked on some animated projects after the Beatles' breakup. Some got off the ground, some didn't (such as The Bruce McMouse Show). One notable example is Rupert and the Frog Song, but the ones that always fascinated me were Oriental Nightfish and Seaside Woman. The former was made by British animator Ian Emes in 1978, and it's very surreal and out-there, on top of having impressive animation. The song it's based on is an outtake from the Band on the Run sessions, the lead vocals on it were handled by his deceased wife Linda McCartney...


Seaside Woman came out two years later, and was directed by animation veteran Oscar Grillo, who would later consult on Men In Black and do visual development work for Monsters, Inc. The Annies honored him recently, and Seaside Woman was part of the montage, which caught me by surprise! Like 'Oriental Nightfish', 'Seaside Woman' was a Linda-sung leftover from one of the early Wings albums, the album in question being 1973's Red Rose Speedway. The song got a release in 1977 as a single. The short is pretty surreal like Oriental Nightfish, but much more playful and certainly less mysterious...


Anyways, I hope all goes well with this project. It seems like it's gone through quite a lot, so hopefully it finally takes the road to completion!

Meet The Dinos: Revised 'Good Dinosaur' Cast Revealed

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The new and revised cast for The Good Dinosaur has been revealed today!

Of course, many an animation fan and blogger knows what The Good Dinosaur went through over the past few years. Before its director change and rewrite in the summer of 2013, it had a full cast, one of the actors attached was John Lithgow (no stranger to animation, for he voiced Michael Eisner, I mean, Lord Farquaad in Shrek) and he said in an interview long after the director change that he was still set to voice the father apatosaur...

That is not so anymore. In fact, a good number of the cast isn't back...

The original cast looked like this...

Lucas Neff = Arlo
John Litghow = Poppa
Frances McDormand = Momma
Neil Patrick Harris = Arlo's brother Cliff
Judy Greer = Ivy, Arlo's sister
Bill Hader = Forest, Arlo's oldest brother

So... The new cast...

Raymond Ochoa (he's been in episodes of shows like 10 Items or Less and Hank) is the new voice of the teenaged protagonist Arlo, and it's a suitable choice since he's a teenager himself. Jeffrey Wright (Casino Royale, Boardwalk Empire) is voicing Arlo's father, Frances McDormand (Almost Famous, Raising Arizona, and DuBois in Madagascar 3) is still voicing the mother. She's the only one who has come back. Arlo only has one sibling now, a character named Buck, who will be voiced by teen actor Marcus Scribner (Black-ish).

I guess the dinosaurs being Amish-like farmers wasn't the only thing that went with Bob Peterson's take on the film. I guess they whittled down the amount of siblings because maybe there were too many characters? Or does the new story reduce the roles of the siblings? I don't know, we shall see...

As for the other faces outside of the apatosaurus family...

Steve Zahn will voice the pterodactyl, Thunderclap, whom we briefly see in the teaser. The trio of T-rexes we saw in those leaked images (two of which were in the teaser) are named Nash, Ramsey, and Butch. They'll be voiced by AJ Buckley (CSI: NYDisturbing Behavior), Anna Paquin (Rogue in the X-Men films, also the voice of the protagonist in the English dub of Steamboy), and Sam Elliott (needs no introduction!) respectively. The kid that Arlo befriends, Spot, will be voiced by child actor Jack Bright, who also did one of the kids' voices in Monsters University. Reports have said the character won't speak, so I assume the kid will make noises and such.

That's a pretty strong cast overall! A nice mix of bigger names, smaller names, and some I'm not too, too familiar with.


It's a bit strange considering that Lithgow said he was still set to voice Poppa, and that was after the director change and everything, and he made note of the "re-imagining" of the film's storyline. I wonder why all the actors for the characters that remained went? Was the story that radically reimagined? All we pretty much knew about the pre-Sohn version was that the meteor missed Earth, Arlo's from an Amish-like family of farmer apatosaurs, something awful happens and gets Arlo separated from his family, and then he meets a human being - bugs that are "pests" to the farmers...

Beyond that, we of course knew little else. The changes we've seen so far are significant, such as Arlo not coming from an Amish-like family and Spot the human being more like a wild animal than a typical caveman. Then of course, there's nature being more of an antagonist. The T-rexes seem like a threat, but we'll see what kind of role they'll play in the story. I'm reckoning they'll be like the anglerfish or seagulls from Finding Nemo, animals that are just hungry, not diabolical. I wonder if the T-rex trio, Thunderclap, and the raptors were in Peterson's version. If they were, I'd assume they were significantly different.

It seems like they kept a good chunk of the first act stuff and some of Peterson's main ideas, so I'm thinking everything else will be pretty different. A sort of Ratatouille-like overhaul, where a ton of things were changed. The finished film, directed by genius Brad Bird, still keeps some of the original creator's ideas and characters but from my understanding the main story was very much unlike the earlier version. On the other hand, something like Brave still highly resembled what its original director set out to make, but was structured differently by the replacement director with some changes here and there, but with the main story kept.

Nothing new for animated films, though. This happens a lot, whole films are re-imagined time and time again. Disney Animation themselves have an arm's-long list!: Classics like Pinocchio, The Rescuers, The Black Cauldron, Beauty and the BeastAladdin, The Lion King, The Emperor's New Groove and newer films like Bolt, TangledWreck-It Ralph, and Frozen!


Also, another tidbit I happened to miss... Thomas Newman, who scored Finding Nemo and WALL-E, is not going to be scoring this film. Who is his replacement? Not Michael Giacchino. Not Randy Newman.

Mychael Danna, of Life of Pi fame!

For a good while I was hoping that Pixar would venture outside the Randy-Thomas-Giacchino circle for their future films. Patrick Doyle did the score for Brave, and I was hoping that they would branch out more, so I'm very happy to hear that this will be Danna's first Pixar score. If you've seen Life of Pi, you'll know he's a great choice! Thomas Newman certainly would've knocked it out of the park, but hooray for Danna! Hopefully Thomas returns to score Finding Dory.

Now, let's see Pixar get Alexandre Desplat, Hans Zimmer, Marks Mothersbaugh, John Powell (who was, at one point, supposed to score this film), Alan Silvestri, and several others into the mix one day...

Anyways, what's your take on the new cast and absence of Arlo's other siblings? What do you think of Mychael Danna scoring the film? Sound off below!

'Jurassic World': A Box Office Lesson?

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I'm sure you've heard the news...

Jurassic Park IV, I mean... Er... Jurassic World, took in $82 million on its opening day alone. That's pretty massive! Let's see... That's actually the third biggest opening day gross of all-time, behind The Avengers (ended up making $207 million for the weekend) and Harry Potter and the Deathly Hallows, Part 2 ($169 million for the weekend)...

This thing is going to make $180 million minimum on opening weekend. If audiences really loved it, it could go even higher!

This thing will most likely surpass $350 million at the domestic box office and $800 million worldwide. $1 billion is definitely in play. It already opened with $130 million overseas alone!

Now... How much did it cost?

Reports say $150 million.

$150 million.

Yes, Universal, Amblin, Legendary Pictures, and everyone involved put together a franchise entry that was guaranteed to make a lot of money from the get-go, for $150 million.

Now they've could've spent $200 million on it. $250 million even. They'd still make it back.

But they didn't. They spent $150 million.

Now, as for the Mouse House. You probably know what I'm going to say next.

Tomorrowland. An original sci-fi story that wasn't based on any familiar IP (it uses imagery and ideas from the iconic Tomorrowland of the Disney theme parks, that's about it) with not a lot of action, spectacle, and boom-bang-pow craziness. A sci-fi story that's definitely more about ideas than spectacle. It's an adventure, sure, but a different kind of adventure and one that presents ideas. Ideas, especially in sci-fi films, can sometimes set audiences off. Look at how many people are saying Tomorrowland is "preaching" something that it actually isn't...

How much money did Disney spend on Tomorrowland? $190 million. For Disney, the picture would've have to have made over $450 million at the worldwide box office. Well maybe Tomorrowland wasn't meant to be a no-holds-barred blockbuster that big. Maybe it was meant to be a movie that made roughly $300 million worldwide.

The Lone Ranger? Same deal. Adaptation of a property that's well-known to boomers, but anyone younger than that? Well still, it was certainly a riskier project because it wasn't a sequel, reboot, remake, or adaptation of something a ton of moviegoers know. Why in the world would you spend $225 million on that, let alone $125 million? With a $225 million budget, it probably had to make $560 million minimum! Well maybe a movie like The Lone Ranger isn't meant to be a blockbuster that big. Even recent films based on familiar IPs - from Teenage Mutant Ninja Turtles to Godzilla to Oz The Great and Powerful - didn't make that much!

John Carter of Mars and Prince of Persia, also fine examples.

Disney isn't the only one doing this...

Sony Pictures threw $255 million at The Amazing Spider-Man 2, and they were somewhat justified, for all the Spider-Man films made serious bank worldwide. Spider-Man 3 in particular, grossed $890 million against a $258 million budget. Nearly 3 1/2x that then-massive budget. Reboot The Amazing Spider-Man cost a pretty massive $230 million (how? It didn't look it, at all), and it made 3x its budget, with a solid $752 million. However, that was quite a drop-off from Spider-Man 3. Its overseas gross was a little behind Spider-Man 3 but above Spider-Man 2, but the domestic performance wasn't exactly up to snuff...

Sony assumed that The Amazing Spider-Man 2 would pick up from there, because despite opening a bit lower than expected, Amazing Spider-Man was a bit leggy and picked up steam. So instead of keeping the cost the same, or dialing it down, they threw $255 million at the movie and a massive amount at the marketing. Remember how aggressive the marketing for that film was last year? Tons of trailers, ads, major things were spoiled! Perhaps Sony assumed it would make much more than the first, and coupled with a guaranteed-big overseas gross, they were a-ok.

But they weren't.

Audiences clearly didn't like Amazing Spider-Man 2. After a very strong $91 million opening, it collapsed. It pulled a very bad 2.21x multiplier, the worst multiplier for a Spider-Man movie and just a horrible one. Period. Overseas it collected an excellent $506 million. That added up to a great $709 million gross...

But wait, that gross wasn't great!

You heard that right, $708 million not being a great gross. It failed to make 3x its budget. It barely surpassed 2.5x. Sony wasn't happy, they deemed it a disappointment. How they would've handled the series in the future without Marvel essentially stepping in and confiscating it is a mystery for the ages. They probably would've thought twice about the budgets for the dead third installment and the aborted Sinister Six spin-off, or maybe they wouldn't have.

To think $708 million isn't enough to cover the expenses... $708 million. Gross. Absolutely disgusting...

The Amazing Spider-Man 2 was a guaranteed blockbuster from the start, being a Spider-Man movie, but Sony had to throw that much money at it when they could've spent $200 million on it. Or $150 million.

Sony Pictures is also not Disney, they don't have a safety net that's as wide as Disney's.

Even Warner Bros. isn't off the hook.

Man of Steel. Obvious smash, right? It's the iconic Superman coming back! But with a Christopher Nolan flavor! Look at The Dark Knight, Inception, and The Dark Knight Rises, $1 billion worldwide each. Actually, before I go on, they got a bit cocky with the budget for Rises. The Dark Knight had cost a good $180 million and made that back 5 1/2x. They went and spent $250 million, assuming it would cover it. Thankfully, it performed very well and quadrupled that mammoth budget...

So the logic was, throw $225 million at Man of Steel, for that would also catch on and easily make it back.

But...

Man of Steel opened big. $116 million. Massive! It's got $300 million in the bag! It missed $300 million domestically, legs were so-so. Had many audiences loved the picture like they loved Batman Begins and The Dark Knight Rises, it would've flown past $350 million domestically. Overseas it did solid business, and it finished with $668 million worldwide. Warner Bros. was certainly happy, but not jumping for joy. It was viewed as a slight disappointment...

That's right, $668 million a slight disappointment. Certainly below 3x the $225 million budget, and overall expectations...

Had Man of Steel made $750 million worldwide, would they have even questioned bringing Batman into the next installment? I kinda think they would've made a proper sequel next had the film really lived up to their expectations.

Warner Bros. and Legendary Pictures also overspent on various films. $195 million went to Jack the Giant Slayer, I guess the assumption was that a PG-13 update on a classic fairy tale was a surefire $450 million-grossing film. Well, Snow White and the Huntsman didn't do just that a year earlier, and this was before the fad really kicked off. Jack the Giant Slayer was a bomb. Edge of Tomorrow cost $178 million, and it was based on an unfamiliar IP, and apparently happened to be a hard sell. It had a very leggy run and did good business overseas, but it really wasn't enough to cover the budget. Back in 2009, $130 million was spent on Watchmen, based on an IP that wasn't exactly mass audience-friendly. The R-rated superhero epic was a flop. Maybe they didn't expect a hit, maybe they just wanted Zack Snyder to make something cool since he gave them 300.

Other times they were a little more conservative. Godzilla cost $160 million, and it tripled its budget. $165 million went into Interstellar, rather than $200 million, and it still would've made it back. $110 million went into 300: Rise of an Empire, and good thing they didn't go big, because it tripled its budget. With a $150 million budget, it wouldn't have done just that. They also didn't overspend on Zack Snyder's disasterpiece Sucker Punch, and it still flopped anyway. Clash of the Titans cost $125 million, its sequel cost more and it barely doubled the budget. Lesson learned.

So that brings me back to Jurassic World...

What did Jurassic World have going for it?

The franchise. Jurassic Park made $900 million back in 1993. No 3D, no IMAX, much lower ticket prices... Lost World, however, made significantly less, ditto Jurassic Park III. Those sequels weren't made long after the original came out. The wonder and awe of the original couldn't be replicated in the sequels, particularly the third one. Jurassic World was actually once thought to be a 2008 release, and it was then titled Jurassic Park IV. Maybe it's a good thing they waited, because...

Nostalgia.

90s nostalgia is in full swing right now, and nostalgia in general can be a force to be reckoned with if handled right...

Jurassic Park is iconic and beloved, and it's been 14 years since the underwhelming third film. Do audiences care now? No, it's a new Jurassic Park movie and it's a 90s throwback. Of course everyone went! It didn't matter if the original's amazing achievements were imitated several times over from the mid-90s up until now. It didn't matter if the dino effects and stuff were nothing new in the world of 2015, it was a new Jurassic Park movie and the first one in over a decade. Nostalgia!

It makes me wonder how Independence Day 2 will do next summer. Independence Day was fresh back in 1996 with its alien destruction and fx spectacle, and of course, today, that's nothing special. However, Independence Day turns 20 next year. I bet the nostalgia is going to work in that film's favor, too. Oh, and the original grossed $800 million back in 1996. Again, with lower ticket prices than today's, no 3D, no IMAX, and an international market that's nowhere near as big as today's, you get the picture.

I bet similiar nostalgia will help make Finding Dory a monstrous box office behemoth. Non-sequel Pixar films that audiences end up liking make over $200 million domestically, easily. Add in the nostalgia and the film being a sequel to a beloved hit, and boom. As long as it satisfies audiences, that is. Monsters University sorta-kinda did that, with better legs it would've topped $300 million domestically. I expect Finding Dory to become Pixar's highest grossing film next year, if not the highest grossing animated film. I think it can do it. The original made nearly $900 million worldwide twelve years ago.

Universal probably knew some serious pieces were in place here. Maybe they didn't predict that it would open with $180 million! (Apparently they were thinking in the low 100s) They probably knew it would easily top $500 million worldwide... But...

They spent $150 million on the film.

I applaud that. If they do this with future would-be blockbusters (they spent $190 million on Furious 7, so they don't do this all the time), I will applaud them.

Maybe Disney should've thought of that when green lighting Prince of Persia, John Carter of Mars, The Lone Ranger, and Tomorrowland...

Maybe you don't need to spend so much money on a big fx spectacle picture that'll be a big blockbuster. That way, less disappointment, more gain, and a figure like $600 million isn't considered "not enough"...

New Blue: Sony Animation's Smurfs Reboot Gets Title and First Look

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A first look at Sony Animation's all-animated Smurfs movie reboot is now here...

Sony Animation had scored a big worldwide hit with The Smurfs back in 2011, a movie that was leggy domestically but exploded overseas. Two years later, The Smurfs 2 didn't quite replicate that success. The first one was no great opener by any means, but the sequel opened terribly. Good legs couldn't help it, but fortunately for the studio, overseas grosses were still strong but not as strong. The pic still made 3x its budget.

As many of you know, both films weren't very well-received. They seemed to be more for the kiddies than anyone else, unlike a good family film that both kids and adults can enjoy...

But both made good money, so why would Sony scrap the third one? Most studios probably wouldn't flinch, they'd go ahead and make the third one anyway. For a little while it was set for a summer 2015 release, but Sony Animation instead opted to reboot the franchise, really reboot it. Then they pushed it back a year, and then pushed it back some more. It's now opening in spring 2017, which will be less than four years after the second one.

They announced that the reboot would be all-animated, and it wouldn't be connected to the two hybrid films in any way. Best of all, they said it would be closer to the original comics by Peyo, rather than the 1980s Hanna-Barbera television series. It also wouldn't be a Smurf movie in name only. Director Kelly Asbury (Shrek 2, Gnomeo & Juliet) even set up a production blog for it, and now, the film has a title...

Get Smurfy...

Big shock, I don't care for that title. That, I think, should've been the name of the two hybrid films! I think it fits them perfectly, not what this is supposed to be...

But a title's a title, the film itself looks and sounds like it could be decent. It seems like the crew behind it really wants to make something entertaining and something that isn't an insult to the comics or the audience.

Earlier today, Sony Animation had given us a first look at the what the film's visual style will look like, and who the new cast will be...


I like the look of it already, even if they haven't shown much. It's very Peanuts Movie-esque, the kind of CG that doesn't aim for hyperrealism and goes a more unique, cartoony route. The designs are definitely closer to the comics, too. I think it's also pretty similar to the style that was going to be used for the in-limbo Popeye, also a Sony Animation project for those who don't know.

Though we only know three members of the cast, we at least know that no one from the last two are returning. No Katy Perry as Smurfette or anything. Demi Lovato, however, isn't a replacement I'd call ideal, but then again I have to consider that Lovato's filmography is mostly just Disney Channel/teenybopper junk that she probably had to do, and that it's no indicator of who she is as an actor. (Take Zac Efron, for instance. He's more than left the Disney Channel box, but some people still think of that when his name pops up.) She could surprise with this kind of role. Rainn Wilson (The Office) will voice Gargamel, who only voice acted once in his career, in DreamWorks'Monsters vs. Aliens back in 2009. However, he was the villain in that movie, so he's probably a good choice for Gargamel. Mandy Patinkin will voice Papa Smurf, and his voice acting resume isn't very big either, but he seems like a good choice as well. That's pretty much it for the cast, I'm surprised Sony hasn't opted to reveal more of it, but...

I will say one thing. Actually, I've been saying this ever since they announced this project...

I still applaud Sony Animation for rebooting this, let alone thinking about it. I think another animation studio wouldn't have fretted too much over how Smurfs 2 performed and would've just went ahead with another hybrid film like it. I wouldn't have thought that this studio would reboot an entire series for the sake of making a better quality film, or at least something that was respectful of the source material. But here we are...

I'm cautiously optimistic for this, but again, I'm glad Sony Animation went ahead with this decision. Hopefully it's the Smurfs movie we should've gotten. What's your take on the reboot? Do you think it'll be better than its predecessors? Do you think it could be a decent film? Sound off below!

Don't Fret About The Dinosaurs

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I see a lot of people have been worrying about an upcoming Pixar film again...

Putting all my thoughts on how a good chunk of the Internet acts when it comes to Pixar post-Cars 2 aside, here's something I've been noticing...

(And before you read on, this is another opinion piece.)

When The Good Dinosaur's new cast was revealed by Disney and Pixar this past Friday, there was a barrage of complaints and concerns all over the map. It appears that a lot of people thought that Pixar changed the cast for the film that very day, or that week, or month...

As many animation fans may know, The Good Dinosaur's original intended cast was far different from the one that's final. Lucas Neff, Neil Patrick Harris, Judy Greer, John Lithgow, and Bill Hader were all announced as the players back in August 2013. You know what occurred in August 2013? The D23 Expo...

At the D23 Expo, Pixar opened their future movie slate panel with a presentation of The Good Dinosaur. A presentation that quite frankly seemed to get mixed responses. Director Bob Peterson was surprisingly absent, instead his co-director Pete Sohn and Pixar producer Denise Ream took the stage. There, they revealed the cast, plot details, and many other things...

However, something happened in the summer of 2013. In August 2013, it was announced that Bob Peterson had been removed as director from the film. John Walker, who was set to produce, departed the project and went on to Brad Bird's Tomorrowland. (If you haven't seen it and it's still playing, go see it!) This happened with Brave, and Cars 2. That was almost three in a row, and people inevitably got worried and speculated like crazy. It was the same deal once again: John Lasseter and the Brain Trust don't want people outside their circle to direct films, are too controlling creatively, etc. etc.

Weeks later, Pixar announced that the film would be pushed back from its intended May 2014 release to Thanksgiving 2015, giving the studio a lot of time to turn the story around and then start production...

Peterson getting removed from the director's chair may have been reported in August of that year, but Peterson stopped tweeting in June. That, coupled with the no-show, makes me think that he was removed as director a little while before the announcement...

His replacement director was ultimately Pete Sohn, but Disney and Pixar would not announce this until October of last year. Back when Peterson was removed, we were told that Sohn, along with John Lasseter, Lee Unkrich, and Mark Andrews were in the process of reshaping the film. When Sohn was named director (within the studio, not announced to the public) is a mystery, though it must've been no later than May of last year. Why? Have a look at this...

Pixar President Ed Catmull had also talked about the film being restarted and reimagined, all the way back in March 2014. The film that we're getting this autumn must've been set in stone a long while ago...

As for the new voice cast that was revealed last week?

If you notice, many of the original actors aren't attached because their characters were written out of the film. Arlo, the apatosaur protagonist, was supposed to have a couple siblings: Ivy (Judy Greer), Cliff (Neil Patrick Harris), and Forrest (Bill Hader). A new brother character named Buck is the only sibling Arlo will have in the film, and he's being voiced by Marcus Scribner, no one from the original cast.

It's safe to assume that the siblings were written out of the film back in fall 2013, when the story was being restarted. Also, the roles of the main characters must've changed, which could explain why Lucas Neff isn't voicing Arlo anymore, ditto John Lithgow no longer voicing the father.

John Lithgow had this to say back in August of last year...

"I recorded the entire role in Good Dinosaur. They have now dismantled it and completely reimagined it, and it is a fantastic new story. So I’m gonna record again on it within the next month. Don’t worry. It’s coming and it’s gonna be better than I ever imagined... But me and Frannie McDormand, we’re still playing Momma and Poppa dinosaur."

They completely took the film apart and "completely reimagined it", he said. This wasn't a Brave-like overhaul, what they did to this picture was not dissimilar to what they did to Ratatouille. I'm sure you know the story. In early 2005, Ratatouille wasn't in tip-top shape. Its director and originator, Jan Pinkava, was given another chance to turn it around... But Pixar's brass didn't approve of it once again, so Pinkava was off of the project he himself came up with. Brad Bird, fresh off of The Incredibles, was chosen as his replacement. They reimagined it, big time! That was a good 2 1/2 years before the film came out...

The Good Dinosaur was restarted in fall 2013, around 2 years before its release date. This is also nothing new in the world of animation. Directors come and directors go, some come on very late in the game. Changes are made at the eleventh hour to animated features that are often considered to be the greatest. The Lion King, anyone? How To Train Your Dragon's also a fine example, too. Sometimes it doesn't work out...

To hear some people talk, you would've thought that Pixar did what I just explained within a week... Last week...

That's not the case, folks. The Good Dinosaur went through its turnaround period in the fall of 2013 and it must've been in better shape by early 2014. Now as for the voices... Animation production doesn't take as long as it used to. Walt Disney Animation Studios, for example, began animation production on Frozen sometime in early 2013... No more than a year before its release! It seems like it takes Pixar about a year to do the actual animation production...

With that estimate, The Good Dinosaur began actual animation production last autumn. Approximately around November or maybe even December. Maybe they started it earlier in the year!

Anyways, Lithgow was still set to voice the Poppa apatosaur back in August 2014. Maybe scheduling conflicts got in the way, maybe something didn't work out, but again... I highly doubt that Pixar reassembled the film's cast recently. It must've been in place before 2015 began. I can't see Pixar replacing a voice actor, let alone a good amount of voice actors, this late in the game. It rarely even happens in big-scale animation, from what I've seen. (Feel free to correct me here.) There was the whole Al Pacino/Despicable Me 2 issue, and Colin Firth departing Paddington, and I have no idea when Madds Mikkelsen left Kung Fu Panda 3, but... Moving on...

Again... The Good Dinosaur was restructured and reimagined a while ago, not just recently. The reimagining was announced and talked about as far back as spring 2014, even before that! With the restructuring came a lot of changes, Lithgow says it was "completely reimagined" so the fact that the remaining characters have new voice actors (sans the mother, who will still be voiced by Francis McDormand) indicates that their roles must've really been changed. For starters: Arlo's a teenager, Lucas Neff is not, his new voice actor Raymond Ochoa is. The dinosaurs are no longer Amish-like farmers, so that's a big change right there. Nature is the main antagonist, it seems like it wasn't in the pre-Sohn version. We have no idea what else was changed, and we might not know via the "Art Of" book or Blu-ray bonus features... We'll have to rely on sources for that one!

But I see some people acting as if they sat on it for a year and a half, and then all of a sudden said "Let's reimagine the story and recast it!" last week.

The Good Dinosaur was pushed back right after it was announced that the director was off of the project. That was in September 2013. Also... The Good Dinosaur pushed Finding Dory out of fall 2015 and all the way to summer 2016. Pixar pushed a highly-anticipated sequel back to make way for an original film that needed fixing. If Pixar didn't care, they would've either rushed a mangled up Good Dinosaur to May 2014 (not dissimilar to what happened with Cars 2), or they would've made it their summer 2016 release because Finding Dory was a higher priority in a business sense.

In fact, they probably thought it was going to be delayed anyway. Long before the announcement. Even if they didn't decide on delaying it until September 2013, they still delayed it and they gave themselves plenty of time to reshape everything. They didn't just set it aside, not with it being the next after their next. Why would Pixar do so such a thing?

Or does that particular negative chunk of the Internet have such low faith in Pixar, after three films that weren't to their liking, that they would believe that Pixar would do just that? I don't know about you, but where I was, I really got hit with the hyper-negative stick the day the new cast was announced. All of it seemed to smack of ignorance of how animation production works, coupled with bias and what appeared to be personal baggage.

Then some argue that the film could still be terrible because it is a troubled production. It is a troubled production, sure, but the film itself could turn out to be great despite the hell it went through. Not like it's the only film that's a troubled production. Several great films - animated or live-action - were troubled productions, some of which were hellishly troublesome! A few examples off the top of my head: Apocalypse Now, Groundhog Day, Jaws! Animation? Hell, there's tons of them: Pixar's own Toy Story 2 and Ratatouille, the former got its big reimagining less than a year before it opened! Disney has an arm's long list of them! Pinocchio was stopped and restarted around 2 years before it came out, The Lion King was no cakewalk, neither was The Emperor's New Groove or Tangled! Frozen saw last minute changes the year it came out and it got all this acclaim!

So it being a troubled production ultimately means nothing right now. Many not-so-troubled productions turn out to be critically panned films. Again, it's not a clear-cut indicator of the film's quality...

So why the excessive negativity over this picture? Is it because Inside Out is that sparkling, perfect, 90-something percent winner critical darling? Are we so worried that Pixar will pendulum swing back to Cars 2-ville with this feature? What is it?

As for the teaser popping up in June, rather than earlier...

I went over this.

The Good Dinosaur is Pixar's first autumn release since The Incredibles. When did that come out? 2004. Long time ago...

Walt Disney Animation Studios' recent streak of CG hits were all November releases. Their marketing campaigns all began in the Junes of their respective years. For example: Wreck-It Ralph. Film opened in November, teaser debuted in June. That was a short frame! Same goes for Tangled, Frozen, and Big Hero 6. It didn't matter, the films all did well and were all well-received. All four of them.

Pixar also has/had a whole other movie to promote. They wanted to focus solely on Inside Out before getting the marketing campaign rolling for The Good Dinosaur. That's totally understandable, for Inside Out - despite being a guaranteed Pixar hit - is a pretty risky picture. Sure they could've released a Good Dinosaur teaser in February or March, but did they really have to? When they could plug the living daylights out of the first feature in line?

Don't fret, I say.

Let's just... Wait and see...

D23 Animation Preview

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On the official D23 website, Disney has revealed what we'll see and hear during the presentations for Walt Disney Animation Studios and Pixar!

From the website...

"Filmmakers will unveil never-before-seen footage from Pixar’s upcoming The Good Dinosaur and Finding Dory and Disney Animation’s Zootopia and Moana. The event will include surprise announcements, musical performances, and appearances by the films’ star voice talent."

Surprise announcements, you say?

I'm going to take a guess...

Walt Disney Animation Studios' presentation is going to climax with... An announcement of what will be their 3/9/2018 release, if it's still set for 3/9/2018. (Imagine that swapping places with Pixar's mystery 11/22/2017 release!)

If this mystery film remains a March 2018 release, what could it be? Giants? Dean Wellins' project? Something we've never heard of before? If it moves up to November 2017, then I reckon it would be Frozen 2. Who knows, who knows!

As for Pixar...

What's the film that will follow Toy Story 4? So far, the next release is set for 11/22/2017. Even if it moves, I think it'll be an original project. I can't see Pixar releasing three sequels in a row, because Toy Story 4 is the picture that will next after Finding Dory. Is it the Day of the Dead film that Lee Unkrich is doing? Mark Andrews' film? Something that's never been hinted it in the past?

I'm sure this expo will be a knockout, I'm certainly excited...

Pure Pixar Perfection: An 'Inside Out' Review

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Inside Out...

This film is Pixar in total "keep moving forward" mode...

From the concept to the storytelling to the way everything is handled... This is a big step forward for family-friendly animated features, I'd argue.

Inside Out, in reality, is more of an adults' film that just happens to be suitable for most children to watch. My line of thinking is similar to that of Walt Disney's, the films of his and the films of Pixar's are not children's films. They are family films, which means that there is something in each of those films for everyone to enjoy. The kids usually love the visuals or they laugh at the jokes they get, adults laugh at almost every joke, detect every strong story beat, and they admire the imagination in these films, whilst appreciating the craftsmanship...

Inside Out, much like some of Pixar's other films (The IncrediblesWALL-E, and director Pete Docter's own Up come to mind) and Walt's best, takes one step beyond. Inside Out on the surface could be your typical adventure film for the whole family, but set in the brain. Instead, it doesn't skirt around the ideas it has the potential to explore. It has the comedy, the laughs, the exciting parts... But most of the excitement and everything else is strengthened by its concept alone, and how the Pixar wizards pull it off.

The film has a resonance that is so strong, the ambitions are massive. This is easily the most ambitious film, thematically, that Pixar has ever tackled. Not once does it play it safe, and it hits several emotional beats as if it was no big deal. The screenplay alone achieves such a Herculean task: You have an overjoyed 11-year-girl who is moving with her family to a rather unwelcoming (to them) new location, the story is about her emotions and how they guide her through her life, anything could happen here! Yet the Pixarians come up with such a rock-solid plot that keeps everything believable, and it really does make you think about how you think!


All the little ins and outs of thinking, and especially what might've went through your mind at around age 11, are covered. Their interpretation of how the brain works and why you think the things you think is nothing short of highly imaginative. That alone makes the film great, its sheer creativity. Remember how Pete Docter's first directorial film established a unique world where monsters need to scare Earth kids for energy and how it all works? He does the same magic here, but with several layers of depth. Every little thing and detail is so clever, and its all part of some of Pixar's most colorful, oddball, and eye-popping visuals ever put to screen.

The writing definitely matches the booming creative sparkle and the spectacular execution of the concept, the script is tied tight to those elements and manages to give us truly memorable characters, laugh-out-hilarity, exciting action-packed moments, and... As expected... A ton of gut-punches. If anyone needs an example of why Pixar films nail it in the emotional department, this is your thesis. The sad and heart wrenching moments are among some of Pixar's strongest, on the level of 'Married Life', Toy Story 3's incinerator sequence, and Sulley saying goodbye to Boo.

Without any hassle, the film is able to mesh these moments with the more zany, upbeat, and fun moments. There are several parts that are very surreal and kooky, it's almost Yellow Submarine-esque in a way. Most of the time, I had no idea where it was going to go or how it would go about one particular stretch! Even though I knew what the outcome would most likely be, the way the story is told is so fresh, it keeps you enthralled and it's pretty on the move. It's never too fast though, it's perfectly paced like Pixar's best.


The animation... I don't even need to say. It's Pixar, but what truly works is how the two worlds are designed. The real world is essentially following the Toy Story 3 and Monsters University aesthetic in every way, as it looks lovely and is colored, lit, and realized perfectly. The world of Riley's brain is so exciting to lay your eyes on, as all the different sections inside are unique in their own ways. That of course, is emphasized by the lighting and color work, some of the best in a Pixar film. The character animation on the emotions themselves? Also flawless. Fear, for instance, is very cartoony in his looks and movements. Joy is bouncy and fast, Sadness is almost sloth-like. Disgust is like a mix between glamour girl and neat-freak, while Anger is rough in his movements. The mannerisms and attitudes? Again, all done so perfectly...

Inside Out is pure Pixar perfection. Not only is it a raw, resonant story that manages to make you laugh and wreck you without fuss, it's also innovative and out-there. At times it hits the zany and bizarre, but it makes sure it explores the surreal with carefulness. On top of that, it's so thematically rich and everything just blends to make the perfect stew. It just connects so wonderfully, it's hard to put into words or a mere review. I don't think any of this, for the time being, is doing the film any justice...

Best of all, it shows that a family film - animated or not - can be something truly profound whilst being wholly entertaining. It takes some major risks and succeeds, it doesn't the typical garden-variety family film themes, it digs deep. It sits right alongside the best Walt films and the Pixar films that really went one step beyond...

~

Of course, no Pixar film review on here is complete without a review of the inevitable attached short film...

Lava...


Is it any good?

When it ended, I was thinking, "If Paperman and The Blue Umbrella did not exist, this would've been seen as fresh, creative, and unique." Two anthropomorphic volcanoes, and how geography is woven into their love story, is a great idea for animation! I know others weren't as impressed as I was, thinking it was too generic. Yes, it is essentially Paperman and Blue Umbrella with volcanoes, yes it's simple and sticky-sweet, but... The execution was very good, and had this short have been released in a world where those other shorts didn't exist, I think it would be loved. Every frame is beautiful, and it's just fun to watch and listen to. The song itself isn't bad, either...

In all, another fine short from the Emeryville house accompanying their latest masterpiece...

I suppose I can talk a little bit about the special screening I attended... On this very day, Pixar screened the film in select theaters and attached a Q&A with Docter and Amy Poehler. The Q&A was mostly fun to watch, surprisingly very little fluff, though I was hoping Docter would've corrected the interviewer when he called animation a genre! Anyways, the talk was informative and it revealed some details on the film's journey from idea to actual film. Also, points to Amy Poehler for bravely saying that Mater is one of her favorite funny Pixar characters!

Prior to the short and the film, we get a special behind-the-scenes at Pixar look. It was like the usual studio tours you've seen before, but it was fun. I kept my eyes open during key parts, noticing Finding Dory concept art. John Lasseter's appearance was especially fun, as he made sure you didn't see inside the Toy Story 4 story room... Also, never-before-seen Good Dinosaur animation! A nice treat before the show, alongside the Zootopia and Good Dinosaur teasers...

Trailer Train: 'Hotel Transylvania 2', 'Peanuts', and 'Secret Life of Pets'...

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Talk about pulling out all the stops...

The trailer reel that's going to be attached to Inside Out on Friday was already pretty big to begin with: The Good Dinosaur, Zootopia, Kung Fu Panda 3 (one more day!)... Now add a new trailer for Blue Sky's The Peanuts Movie to the list, along with Sony Animation's Hotel Transylvania 2's first full trailer, and a teaser for Illumination's The Secret Life of Pets...

First, Hotel Transylvania 2...


If you've been here long enough, you'll know that I wasn't the biggest fan of 2012's Hotel Transylvania. I think animation mastermind Genndy Tartakovsky took a seriously troubled film - as it was in development since 2006 and went through roughly six different directors before he assumed the mantle - and somewhat salvaged it, as it did have some funny jokes and bits, and some really inspired, cartoony animation. However, I found the story to be average and I felt the tone was all over the place. It was, surprisingly, forgettable. Some characters stood out, but that was about it for me.

This trailer did have a lot of bits that made me laugh (the lullaby bit at the beginning in hilarious!), but then again, so did the trailer for the first Hotel Transylvania. On the whole, this was your typical animated film trailer, editing-wise: Noise, jokes, some story bits. I'll wait till the reviews for this one, because I heard some not-so-good things that happened behind the scenes. Again, I wasn't too big on numero uno, but Genndy's had this film from the start unlike the first film so there is some hope...

Oh, and the animation is great.

Moving on...

The Peanuts Movie...


Another visually splendid-looking film (from the beginning, I love its style), and now that we have a real look at the story, it looks like it respects the iconic Charles Schulz comic. I mean, why else wouldn't it? His son and grandson wrote and produced the film, and producer Paul Feig is a diehard Peanuts fan. He reminded us not too long ago that it was in good hands...

There are cliches present in this trailer and it's very comedy-based, but at the same time I think there's more to it than some of us may think. Also, the song choices are certainly not appropriate, but this is a trailer after all so hearing a popular song is expected. I want to see it, though I'm a bit cautious. Let's hope they not only make something that's worth of the comic and the classic films and specials based on it, but something that's really good too.

Lastly, and this was my favorite of the bunch... The Secret Life of Pets!


I can't quite say what I think of Illumination as a studio just yet. Their debut film, an all-original story, I thought was really good. It took familiar family movie tropes and had great characters, really good old-fashioned slapstick mixed with some quirkiness, and a lot of heart. Their second film, however, was a kiddie flick. Their third was a mediocre Dr. Seuss adaptation (to be fair, almost all movies based on Dr. Seuss books aren't good - stick with the animated TV specials!), and their fourth? Despicable Me 2 was entertaining enough and had some laughs, but it didn't go all out and was ultimately forgettable. I expected better from that one...

Minions? It looks really fun from all those trailers (Universal really knows how to market their films), hopefully it's what Despicable Me 2 should've been...

So now we're at an all-original story again, and it looks pretty promising. I like Illumination's weird, cartoony aesthetic, plus the jokes are all good here, especially the final one! It doesn't show much, being a teaser and all. (Despicable Me 1 & 2's teasers showed so little.) I'm sure the next teaser, or full trailer, will give us the plot and we'll see how it looks from there.

However, I think it has the potential to be as good as Despicable Me. Sure, films like Despicable Me don't really move American feature animation forward, but they do a lot right. There's nothing wrong with a safer family film done right (like, really right), and that's what I thought Despicable Me was. So yes, I always thought this project had something going for it, the teaser's cute and very funny, I'm excited to see more.

Lastly, I'll talk about Kung Fu Panda 3...

The film's Chinese trailer leaked onto YouTube on Saturday, but DreamWorks had it pulled immediately. I was out all day so I missed the epicness, but someone uploaded a chopped up version of the trailer, which also got pulled... It looked incredible, and it made heavy use of the series' trademark traditionally-animated sequences. I wonder how much of that style will be in the finished film. It looks darker, but in a good way, the villain looks pretty menacing, and it looks like the DreamWorks team have really raised the stakes. I couldn't be any more excited!

What are your thoughts on these trailers? What are your thoughts on these upcoming films? Sound off below!
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