It is sometimes easy to forget just how far-reaching the popularity of Pixar’s films is – Toy Story, Monsters, Inc., and Cars are the only three films from the animation studio whose foreign grosses were lower than their domestic intakes. Pixar is undoubtedly an international brand that connects with people of all ages, backgrounds, and languages. The studio puts in a significant amount of work to ensure the films connect to diverse audiences – after the break, watch a video that demonstrates this! [Read more…]
The ambitious La Place de Rémy in Disneyland Paris is much more than a collection of Ratatouille attractions. It is an immersive experience that transports you to the Paris that was seen in the film, from the Parisian streets, to the kitchen that Remy cooks in, to the restaurant where his family and friends dine. In the final part of our exclusive interview with Roger Gould, the creative director of Pixar’s Theme Parks Group, he describes how Pixar’s films have been turned into groundbreaking lands at Disney Parks and what it takes to bring them to life. Read the interview after the break!
In Part 1 of my interview with Roger Gould, creative director of Pixar’s Theme Parks Group which just oversaw the opening of the Ratatouille plaza in Disneyland Paris, he described the behind-the-scenes development of the exciting new addition. In Part 2, after the break, he speaks more about the technology as well as the story of the headlining attraction, Ratatouille: L’Aventure Totalement Toquée de Rémy, and the restaurant, Bistrot Chez Rémy. Although visiting the park is second to none, in terms of experiencing the ride, there is something special about being walked through an attraction by one of those responsible for it. Check out Part 2 of our interview here!
La Place de Rémy at Disneyland Paris’ Walt Disney Studios park, inspired by the world of Ratatouille, is one of the most ambitious Pixar projects we have seen to date inside of a Disney Park. Following the tremendous success of Cars Land at the Disneyland Resort in California, it has quite the reputation to live up to, but after its grand opening to the public last week, signs are pointing to another great development from the Disney and Pixar collaboration. Inside the mini Ratatouille land, you will find stunning architecture that is pulled right from the film, an attraction that shrinks you to the size of a rat and places you in the chaotic world of a chef’s kitchen, and a restaurant themed in a way that further immerses you into Remy’s world. I had the opportunity to speak in-depth with Roger Gould, the creative director of Pixar’s Theme Parks Group, about the development process and the land’s unique details. Go inside the mind of Gould and get a closer look at La Place de Rémy after the break!
Stephy Coffey does some seriously appealing character design. Lovely ladies and dashing gents fill her portfolio pages. There’s lots to like about her great work. Her conceptual work and illustrations are sure to please. Check them out for yourself at her blog. She’s really outdone herself with this all-American tribute to Pixar just in time for the 4th of July. Take a closer look at her artwork and read more about Stephy in her own words after the break!
While Universal Studios in Orlando, Florida was generating buzz last week over its preview of The Wizarding World of Harry Potter: Diagon Alley, Disneyland Paris was holding its own with a first look at its (breathtaking) new Ratatouille mini-land, attraction, and restaurant. A fitting home for the film’s Paris setting, the huge new addition to the European Disney Park has been in development for approximately six years, and it looks like it has been worth the wait. After the break, get your closest look yet at the fantastic detail in the land and restaurant’s design, and get a glimpse at first footage from the headlining attraction!
A few weeks ago, this column discussed the concept of risk-taking at Pixar Animation Studios. Recently, one of the studio’s head honchos, Ed Catmull, admitted that the growing reliance on creating sequels as well as original films is in part because sequels were financially less risky. Perhaps, when considering the cost of marketing as well as how much certain movies or characters make in merchandising, that may be true. But simply looking at the box-office takes of Pixar films proves that Catmull’s statement is faulty: as daring as their stories may be, no Pixar film can be categorized as a flop. As much as we may presume that original storytelling is riskier than relying on sequels in financial terms, at Pixar, it’s almost as if they can tell whatever stories they want and people will pay no matter what.