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.)
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.
Think back, if you will, to May 30, 2003. Just over ten years ago, Pixar Animation Studios released Finding Nemo into theaters to widespread critical and commercial success. But, for the purposes of today’s column, we won’t be considering that film as a whole, nor will we focus on its impending sequel. No, what we’ll look at today is what was attached to the Finding Nemo prints at theaters nationwide: a teaser trailer for The Incredibles, the first Pixar film from Brad Bird. The teaser featured footage that—as is customary for such advertisements—never appeared in the finished film. (Of course, the gag at the crux of the teaser—that the former Mr. Incredible had let himself go to the point where he couldn’t fit inside his old super-suit anymore—is used to fine effect in the movie, just in a different context.) Nevertheless, this first marketing salvo for The Incredibles demonstrated in less than 2 minutes the kind of movie audiences could expect: there would be physical humor borne from character development and there would be an old-fashioned design and ethos to the world this mysterious Mr. Incredible inhabited. The rest, we’d have to wait and find out about…in nearly 18 months. If you are really interested in knowing animation details of the movie then visit sustainabilitystreet .
There is a real sense of personality to the art of Kansas-based designer and illustrator Luke Bott. While his work definitely showcases an attention to detail and precision that characterizes all good design, there is a personality and a sense of humor that shines through in all of his pieces. That is what initially attracted me to his work and ultimately made me seek him out for our PixArt August feature. Check out this fantastic Mr. Incredible he did for us, as well as his website for more of his artwork. I think the Mr. Incredible piece captures all the great aspects of his best work. Read on for more about the artist in his own words!
The D23 Expo runs from Friday through Sunday, celebrating the worlds of Disney, Pixar, Marvel, and Lucasfilm. As a result, there will be a host of exclusives offered at booths throughout the show floor and at the Dream Store and Disney Store. The exclusives often create an air of excitement due to their unavailability outside of the show. Their limited nature also means attendees have to make their way to their respective locations in order to ensure they do not sell out. We are excited to reveal a brand new line of Disney∙Pixar products that will make their debut at the show’s Disney Store. Find details and images after the break!
It’s high time that Pixar Animation Studios made a musical. In some ways, it’s been high time for them to make a musical ever since they started making features. From the beginning, the people at the top of Pixar’s food chain tacitly, vocally avoided making animated musicals in the same way as many of Walt Disney Animation Studio’s most beloved classics, either from the 1930s and 1940s or from the Disney Renaissance period. Pixar has defined itself, and the genre of computer animation as a whole, by refusing to have its characters break into song and dance on the regular. But why hold back on embracing one of the ironclad tenets of mainstream feature animation? All this refusal represents is a strange, stubborn unwillingness to be risky.
We’re just a few weeks away from the debut of Pixar’s first prequel – Monsters University opens June 21 in theaters everywhere. To celebrate, we asked you to submit your best Monsters Mash-Up. Take any of the characters from the ‘Monsters’ universe and smash ’em up with just about anything else. The results have been unsurprisingly entertaining! In this first batch alone, we see monsters invading the worlds of Star Wars, The Incredibles and The Lord of The Rings.
As unlikely as it may have seemed a few years ago, or even a few months ago if you were stubbornly holding out against the truth, there will be a sequel to the 2003 Pixar classic Finding Nemo, opening in 2015. Of course, more than 30 months from its release, we know very little about Finding Dory, aside from that title, its release date, the involvement of Albert Brooks and—in a more pronounced fashion—Ellen DeGeneres, and little else. But that title can, if nothing else, allow us to assume we have a general notion of what the film will entail: instead of the harried, neurotic Marlin searching the ocean for his son Nemo, he’ll have to do so for the unlikely friend he picked up on that first journey, Dory. These are the facts—at least based on Disney’s recent press release—but those meager crumbs have inspired a great deal of worrisome Internet fervor in the last couple weeks.
Consciously or not, we often look for the existence of the human in the art we consume. Sometimes, that presence is visible, and sometimes it’s just outside of the frame of the filmmaker’s camera or the words on the author’s page or inches away from the artist’s canvas. But we want and expect some form of humanity to be present in what we watch or read. In film, this manifests differently in live-action versus animation, the latter of which has been criticized for the “uncanny valley” effect, when human characters are rendered in such a way that’s off-putting, distracting for perhaps being too realistic, uncomfortably human. Pixar Animation Studios has not yet fallen into the uncanny valley, but it’s interesting to watch the evolution of their computer-animation technology from as far back as their pre-feature shorts up to Brave, in part because so much of their work is infused with the presence of humans even when none physically appear. Except for the films in the Cars franchise.