Of the various behind-the-scenes stories that have now become apocryphal to the Pixar legend, it’s hard to beat the one associated with Finding Nemo. In the final few years of his time at the top of the Walt Disney Company, Michael Eisner was convinced that Pixar’s winning streak both at the box office and with critics was about to end with this animated feature, the first led by director Andrew Stanton. Eisner couldn’t possibly fathom, he told shareholders, how this movie about a clownfish desperately scouring the ocean for his missing (and only) son with a forgetful blue Tang at his side could ever hit it big with audiences worldwide. When he made these comments in 2001, he did so based on a work-in-progress screening that was, in three respects, vastly different from the final product: Marlin was voiced by William H. Macy, instead of Albert Brooks; the angelfish Gill was, in spite of being the leader of the fish in P. Sherman’s aquarium, lying about his sordid past; and Stanton chose to dole out a series of flashbacks explaining what happened to Nemo’s mother, Coral, instead of beginning the film this way.
Although the series lives on in shorter form, the final 20 minutes of Toy Story 3 is something of an emotional trip through the wringer (that is, if the film works as intended to the audience). Much in the same way that the opening sequence of Up is called out as an example of Pixar working at its tear-jerking peak, almost nullifying the impact of the rest of the film, Toy Story 3 has a lengthy climax culminating in a curtain call, all of which is meant as a massive payoff to a 15-year trilogy, a firm period on a franchise that could easily be extended on the silver screen for years to come. (Rumors will, of course, abound about a potential fourth Toy Story film; let’s only hope that this never comes to fruition.)
As expected, 2014 has been fairly quiet so far for Pixar Animation Studios fans. Seeing as both Monsters University and The Blue Umbrella didn’t receive any Oscar nominations, there’s no studio-specific rooting interest in the upcoming Academy Awards ceremony. The next Toy Story TV special won’t be on ABC until, presumably, this December. And, as we all know, there’s still nearly a year and a half until Pixar’s next new feature film, Inside Out. In the meantime, thus, this column could either choose to focus on a recent bit of fan art gone wrong, or accentuate the positive and discuss the ways in which Pixar has embraced the quirks and stylistic flourishes of live-action filmmaking over the years. The latter option is far more palatable and less likely to induce a massive headache on this writer’s part, quite frankly. (Quickly, regarding the former option: inserting Pixar characters into live-action movie posters is a fine idea. Inserting Frozone into the 12 Years a Slave poster, in place of Chiwetel Ejiofor, is at best wildly misguided, and at worst something far more despicable.)
Note: This column will discuss some third-act plot twists and general spoilers for The LEGO Movie. If you haven’t seen the film yet, consider yourself warned. (And also, see The LEGO Movie.)
In the nearly 20 years since Toy Story opened and kickstarted a revolutionary new period in mainstream feature animation, most of Pixar Animation Studio’s competition–even at the Walt Disney Company–has taken away the wrong lesson from that 1995 film’s success. A solid majority, though not all, of the computer-animated films that would follow in the 2000s and beyond focus on a few elements present in Pixar’s early work: famous actors, stylized and cutting-edge animation, adult-centric pop-culture references, and fast pacing. By themselves, and together, these elements shouldn’t instantly inspire dread. (Arguably, Toy Story 2 has all of these elements, and is one of Pixar’s early highlights.) However, a great deal of films from DreamWorks Animation, Blue Sky Studios, and other rivals lean so heavily on the aforementioned aspects that they leave out what matters most, and what’s present in almost every Pixar film: a lively, all-around spirit. A few non-Pixar animated films have felt like more than just a handful of elements concocted by a group of soulless executives–How to Train Your Dragon, Cloudy with a Chance of Meatballs, and the recent Frozen come to mind. These films all feel as if they were made by people who took the right lessons from Pixar’s early success; now, we can add a new entry to this too-small pile: The LEGO Movie.
The moment when Pixar caused a cultural shift in mainstream animated cinema wasn’t, as you would expect, with the release of their first film, Toy Story. That film inspired a shift in the animation industry, but the way in which general audiences’ response to animated films changed occurs roughly halfway through Toy Story 2. This film and Monsters, Inc. both represent the old and new in Pixar, a slight blend of honest and often-unexpected emotion along with clever and witty gags aimed at the pop-culture-literate members of the audience. Both, like A Bug’s Life, featured outtakes during the credits, a commentary on the prevalence of painfully similar blooper reels in live-action films; and both have a powerful moment that inspires the adults in the audience to tear up and reach for a tissue.
The gravitational pull of the endless Star Wars franchise is inescapable in modern cinema. Though there have only been six live-action films in the series, the vast ocean of toys, theme-park attractions, animated TV series, books, and more make it impossible to avoid, even before there were rumors of a new trilogy. After the Walt Disney Company purchased Lucasfilm in the fall of 2012, the rumors became truth: within just a few years (now under 2 years), a new trilogy of Star Wars films would be unveiled, following up on the events of Return of the Jedi. Since that time, it’s been assumed that Disney wouldn’t just make new live-action films in that galaxy far, far away. Why not make more animated films, or spin-off series, and so on? For now, at least, these are rumors.
Over the last decade or so (possibly even less than that), one trend in Hollywood has been planning ahead (often too far ahead). Marvel and their Cinematic Universe is a good example of this, as they set dates for future projects, from the upcoming Ant-Man in July of 2015 to an untitled project in May of 2016, well before such minor issues as a script or cast members are set in stone. The most obvious current example of this is the impending Star Wars sequel directed by J.J. Abrams. Its existence was announced before a director, a screenwriter, or a cast were. (As of this writing, though plenty of rumors abound, there are still no officially announced cast members, in spite of the film being set for release in December of 2015.)
As was discussed in this column throughout 2013, the year 2014 is going to be an interesting one for Pixar Animation Studios. We have to look well into 2015 for the company’s next feature, and between now and that time, there will only be more rampant speculation about the studio’s upcoming slate. (Here’s hoping, of course, that the neverending glut of Star Wars casting rumors as well as this or that Marvel movie’s unveiling overshadows everything out of Pixar, in case people spin it to the negative.) Last week, it was confirmed via Entertainment Weekly that this won’t be an entirely Pixar-free year: the short Party Central, from the Monsters University universe, will be attached to Muppets Most Wanted this March. The short has been ready for a long enough time that it was nearly included on the Monsters University Blu-ray, but its director, Kelsey Mann, mentioned in the article that the party’s bigness lends itself to a silver-screen presentation. Party Central continues a now-long line of Pixar films being extended into the world of shorts, and hopefully it fits well alongside Partysaurus Rex and Small Fry, among others.
When this column began its theme of highlighting the so-called “Pixar moment” in various Pixar films (we’re still waiting on that patent to go through), it was predominantly about focusing on moments of powerful emotion in films that are targeted primarily at the family audience. That animation can inspire adults and kids alike to grab for a tissue isn’t terribly unique—though few modern animated films would attempt to echo its impact, let’s not forget the iconic moment in Bambi when the title character’s mother is killed by a hunter—but Pixar’s later films, such as Ratatouille and Up, reach for emotion in surprisingly mature and complex fashion. So in starting off 2014 with a look at the Pixar moment in Pixar’s first film, Toy Story, you might think this column would look for the origins of those unforgettable, tearjerking moments.
What is the price of a decreasing amount of prestige? This is the question that may be worth asking most of all right now if you’re a fan of Pixar Animation Studios. As Samad pointed out on the Pixar Times home page, when the Golden Globe nominations were announced this past Thursday morning, Monsters University was not included among the nominees for Best Animated Feature. There is, to be sure, a necessary discussion to be had, not only about how seriously people do or should take the Golden Globes, as well as why, this year, they only nominated three films for Best Animated Feature. (On the latter point, Hayao Miyazaki’s final film, the exquisite and mature The Wind Rises, was nominated for Best Foreign-Language Film, but not Best Animated Feature, inexplicably. Also, the Hollywood Foreign Press Association, which hands out the Golden Globes, has a rule stating that if fewer than 12, but more than 7, animated features qualify in a given year, there can only be three Best Animated Feature nominees. As there were only 10 wide-release animated features this year, that must explain the small number of nominees, but just barely.)
A fairly common trend over the last few years has been a growing frustration among some people at the idea that the Christmas season is beginning earlier and earlier. Holiday music starts playing well before Thanksgiving, decorations go up near the beginning of November, and so on. In the world of film, the closest parallel is that of awards season (or the ever-expanding length of the summer movie season). There was a time when the Oscars were presented near the end of March. These days, it seems more likely that the Oscars ceremony might soon come near the beginning of February or beforehand. That, of course, has a ripple effect: every other awards body announces its victors before the Oscars, with some organizations starting, this year, as early as two weeks from now. But even the Oscars are jumping the gun, at least in terms of announcing some features and shorts that have made it onto their shortlists and longlists. Those lists include potential nominees for Best Animated Feature and Best Animated Short. For Pixar, there’s good and bad news within those lists.
The unsubtle art of product placement has been present in film dating all the way back to the era of the silents. As of late, however, people have grown so tired of seeing real-life products or brand names being painfully evident that it becomes the first topic to discuss, as opposed to the plot or characters. (A recent example is Man of Steel, in which Ma Kent works at the local Sears, per her prominently displayed nametag, which she’s seen wearing at home.) Product placement by itself is not automatically a bad thing. Sometimes, it’s used subtly enough by a filmmaker to not be obnoxious; using a fake generic name for Google or a similar search engine, for example, can often be worse than seeing a character just go to Google. On the flip side, some filmmakers or actors are so blatant about the product placement that it becomes satire; you’d have to look to TV for the prominent examples, such as David Cross hawking Burger King on Arrested Development or Tina Fey on 30 Rock looking into the camera and asking for “our money” after bragging about her cool new cell phone. To take money from sponsors and using their products in your film is a delicate balance, in short; being too obvious may bother audiences.
Watching business decisions get handed down from on high is always maddening, with the context for such choices being obscured from public view; all that can result is rampant speculation. So it is with the surprising announcement a few weeks ago from the Walt Disney Company that it was shutting down Pixar’s Canadian studio, located in Vancouver, British Columbia. The studio, which employed over 100 animators, had worked primarily in shorts related to preexisting properties, such as the Toy Story shorts Small Fry and Partysaurus Rex, as well as some of the Cars shorts released straight to DVD and Blu-ray. As of now, one of the reasons being bandied about for why the shutdown occurred is that a number of the tax loopholes that existed in the past in Canada have been tightened, giving Disney less profit on this extension of one of their most financially fruitful branches.
Though it isn’t the first of Pixar’s films to inspire audiences to reach for as many tissues as possible, Up may be the most universally successful at getting grown men and women to do some good old-fashioned ugly crying. Up, released in May of 2009, was the first of Pixar’s films to be presented in both 2D and digital 3D; that latter format allowed many to use their 3D glasses as a shield, to make sure no one around them saw the tears streaming down their cheeks. However, just as it’s a predictable response that the majority of people who saw Up were viscerally impacted by the first 10 minutes, the reaction to the film as a whole has also become slightly stereotypical, summed up as follows: the so-called “Married Life” montage, in which we watch the lead character, Carl Fredricksen, and his wife, Ellie, as they live their lives over multiple decades, culminating in her death at an old age, is excellent. It’s amazing! It’s emotional! And the rest of the film can’t even begin to compete with its devastating, heartbreaking finality.
Nearly 20 years after their first feature film, Pixar Animation Studios finally crossed over from the big screen to the small one last week with their inaugural television special, Toy Story of TERROR! Most Pixar devotees, if not all, know that before there was Toy Story or even characters like Buzz Lightyear and Sheriff Woody being storyboarded, there was A Tin Toy Christmas. Pixar originally wanted to expand upon its Oscar-winning 1988 short film Tin Toy by situating the title character in a holiday setting, before they decided (partly thanks to Disney’s urging) to ditch the training wheels of television and jump right into making feature films. Now, after decades of critical and commercial success, they chose to move back into television for real, bringing along Woody, Buzz, and the rest of the gang in the process. [Read more...]
This column doesn’t often traffic in the oft-familiar conversational tack you’ll see online, amounting to someone saying, “Boy, this carton of milk really spoiled badly! Here, smell it, and take a swig, too!” Essentially, the Pixar Perspective doesn’t often wade into the world of hate-reading, which isn’t too far removed from hate-watching certain TV shows or movies, or even hate-following people on Twitter or Facebook. It can be easy, fun, and cynically enjoyable to read something so purely terrible or backwards-thinking, specifically knowing that said article or blog post or book is designed to push your buttons. Typically, it’s better to be above such a visceral pastime, even when the topic centers on a certain animation studio in Emeryville, California. Today is not a typical one, unfortunately.
Now that Pixar’s moved itself off the 2014 release calendar, it’s quickly becoming apparent how painful that absence will be. (Necessary, clearly, and hopefully beneficial. But it’s also very painful.) The best possible evidence is to look and see what other animated movies are getting unveiled in 2014. If you’ve gone to see Cloudy with a Chance of Meatballs 2 since it opened a couple weeks ago (and if you haven’t, you may want to stay home, even—or especially—if you’re a fan of the far wittier original), you may have seen a peek of the future of animation, with trailers for such films as Free Birds—opening in just a few weeks—and The Nut Job. (The former is a presumably wacky story about turkeys trying to save themselves from being Thanksgiving dinner, and the latter is about a squirrel breaking into a nut store, and why are neither of those jokes?) Though there’s plenty more coming in 2014, such as The Lego Movie and How to Train Your Dragon 2, what little has been displayed of what’s to come only serves to emphasize how impactful Pixar’s absence will be.
Inevitability is, sometimes, the worst of all feelings. It’s easy to deny something is going to happen, even if all logic and evidence points to it being the case. But allowing yourself to accept the inevitable can be more satisfying than if you remain stubborn and obstinate. If you consider a piece of pop culture like Breaking Bad (allow the indulgence, please), you’re looking at a story that had a very clear and inevitable ending for many of its characters. We can wish that some of them might have escaped whatever fates they arrived at, but when logic points to the grave as being where they’ll wind up, there’s not much of a point in hoping otherwise. Denying the inevitable is easier than acceptance, but as much as we may imagine other possibilities, the latter option is healthier.
Pixar may have a problem with a lack of female representation among its directors, but that’s not the case with many of its female characters. The concern over the disparity of active female characters in mainstream filmmaking has grown (rightly) louder over the last couple of years; though this has been a problem in big-budget films for a very long time, it’s become truly galling because it shows a perceived lack of progressivism in a culture that is often painted as being potentially too progressive. No doubt, there is a disturbing inequality in the number of male versus female directors, writers, and producers in Hollywood. Pixar may not be perfect, but to presume, as some have, that it is similarly failing in representing strong female characters in its films is wildly inaccurate.
Trends always crop up in movie news, whether they’re based in fact or not. As such, the trend last week was cinema icons announcing their retirement. (Or, in the case of the most famous purported retiree, Jack Nicholson, sources said that he had already retired, then other sources backtracked and said the initial claim wasn’t true. Even though he’s got nothing in the pipeline. So you never know.) Specific to this column, Hayao Miyazaki, the master behind Japan’s Studio Ghibli animation studio, announced that his newest film, The Wind Rises, would be his last. Now, it’s worth noting that Miyazaki has said in the past that he’d retire, but this time, at least, he seems fairly serious about leaving behind the director’s chair. Many words will be written about Miyazaki’s influence and about the great films he’s made over the last 30 years from Princess Mononoke to My Neighbor Totoro. If he’s going to stick to his guns this time, if The Wind Rises is Miyazaki’s final directing effort, then it may be high time to wonder who will take up his mantle of making animation for everyone, not just for kids.