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…]
Pixar is currently a subsidiary of Disney (the animation studio’s official name is Disney/Pixar), but it was not always that way. Actually, when Michael Eisner was CEO of the Walt Disney Company, and the contract previously agreed upon between Pixar and Disney was coming to an end, the two companies developed quite the contentious relationship. Eisner’s successor, Bob Iger, swooped in and worked hard at repairing the ties between the two companies before ultimately buying Pixar. Before that, though, Disney was working on Toy Story 3, without Pixar’s involvement. After the break, take a fascinating look at the Toy Story 3 we never saw! [Read more…]
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.)
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.
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…]
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.
Over the last two decades, Pixar Animation Studios has been able to top its competitors by reaching an almost unattainbly high level of quality. Pixar isn’t worried, it seems, with topping DreamWorks, but topping only what they’ve done in the past. Those rival studios—really, any studio making a family film, animated or not—are judged against whatever Pixar makes, but the Emeryville, California company raises the bar mostly so they can clear it before anyone else does. We may become rapidly disappointed at their output when they release something like Cars 2 after Toy Story 3, but it’s only because when Pixar delivers on a promise of brilliance, they do so in such unbelievable, ridiculous, unexpectedly moving ways. Their various consecutive runs of quality are unparalleled in the modern film industry, which they’ve worked hard to be separate from. Pixar works with Disney, fully ensconced in the culture of Hollywood, but being placed hundreds of miles north makes them feel totally separate, even now. And yet, there is one disturbing trait they share with the greater film industry, one that needs to be fixed soon: Pixar has a woman problem.