ROYGBIV (Single Link Vimeo, 1:28)
Every Pixar movie is connected. I explain how, and possibly why. Several months ago, I watched a fun-filled video on Cracked.com that introduced the idea (at least to me) that all of the Pixar movies actually exist within the same universe. Since then, I’ve obsessed over this concept, working to complete what I call “The Pixar Theory,” a working narrative that ties all of the Pixar movies into one cohesive timeline with a main theme.
Every film Pixar has produced has landed in the top fifty highest-grossing animated films of all time. What's their secret? Mathematics. Oh, and 22 Rules of Storytelling. [more inside]
The implication is, you’re making it for a group that you are not a member of—and there is something very insincere in that. If you’re dealing with a storytelling medium, which is a mechanized means of producing and presenting a dream that you’re inviting people to share, you’d better believe your dream or else it’s going to come off as patronizing. Innovation lessons from Pixar: An interview with Oscar-winning director Brad Bird (PDF) or (HTML, registration required)
Revisiting Cinefex - a nostalgia wormhole into the golden age of model work and practical effects and the odd piece of early CG via backissues of the quarterly magazine of motion picture visual effects. The latest issues covered touches on Young Sherlock Holmes's Stained glass knight - mainstream cinema’s first fully-rendered CG character created by Industrial Light & Magic's Pixar group.
Does It Matter If the Heroine of 'Brave' Is Gay? [Contains spoilers for Brave]
It was bound to happen eventually. After a quarter-century, 26 Academy Awards, and an unparalleled streak of eleven artistic and commercial triumphs, Pixar's latest project, Cars 2, is Certified Rotten. Critics have assailed the film as a slick but hollow vehicle for Disney's $10 billion-dollar Cars
merchandising industry "lifestyle brand," replacing the original's serviceable tale of small-town redemption with zany spy games, hyperactive chase sequences, and even more lowbrow aww-shucks potty humor from Larry the Cable Guy. But it's not all bad news! Along with a fun new Toy Story 3 short, preceding today's (3-D) premiere showings is a first look at next year's Brave -- a darkly magical original story set in ancient Scotland featuring the studio's first female lead (and director). Evocative high-res concept art [mirror] is available at the official website, and character sketches have leaked to the web, with the apparently striking teaser trailer sure to follow. Also, be sure not to miss the sneak peak of Brave's associated short, "La Luna"!
Kyle Munkittrick, a program director at the Institute for Ethics and Emerging Technologies and a grad student at NYU, writes an interesting essay on understanding Pixar's movies through relationships between the human and non-human characters -- and perhaps shaping how an entire generation sees life and reality.
A video montage tribute to Pixar Animation Studios by video mash-up maker and film-lover Leandro Copperfield. [more inside]
Toy Story 3 hits theaters today, and it's already winning universal acclaim as an enchanting and heartbreaking wonderwork, employing understated 3D and a "real-time" perspective that deftly capitalizes on the nostalgia and can't-go-home-again angst of a generation that grew up with the series. It has a strong pedigree, with 11-year-old predecessor Toy Story 2 the rare sequel to equal its forebear, 1995's Toy Story (itself the first CGI feature in history). And it joins a lofty stable of films: over the last 15 years, Pixar has put out an unbroken chain of ten commercial and critical successes that have grossed over $5 billion worldwide and collected 24 Academy Awards (including the second-ever Best Picture nom for animation with Up), a legacy that rivals some of the greatest franchises in film history. But there's rumbling on the horizon. Although the studio has been hailed for its originality (of the 50 top-grossing movies in history, only nine were original stories -- and five of them were by Pixar), two of their upcoming projects are sequels, both of them based some of their least-acclaimed films (Cars 2 in 2011 and Monsters, Inc. 2 in 2012). And while 2012 will also bring
The Bear and the Bow Brave, the first Pixar flick to feature a female protagonist [previously], fellow newcomer Newt has been canceled. With WALL-E/Up/Toy Story 3 guru Andrew Stanton focusing on his 2012 adaptation of John Carter of Mars and with forays into live-action already in development, does this mark the end of the golden age of Pixar? Or is this latest entry lasting proof that even the toughest case of sequelitis can be raised to the level of masterpiece? [more inside]
Pixar has released ten feature films thus far, and none of them have had a female main character. This has not gone unnoticed. In fact, it has been the subject of commentary for years. But when Linda Holmes at NPR weighs in on the subject (with thoughtful comments), some of the counter-blogs get downright nasty.
People have been trying to make the appearance of three-dimensional movement almost as far back as the first movie cameras. The very first efforts used stereoscopy (more pre-vious-ly), which wasn't functional for theater-settings. In 1915, the first public test of 3D film was deemed unsuccessful, as images presented with green/red lenses detracted from the plot, but that didn't stop people from trying to make 3D films. Polarized glasses are another inexpensive method of simulated 3D, while shutterglasses are a more costly method. Up to 1998 or so, there were approximately 187 3D movies made, not counting porn, cartoons and shorts (which bring the 1998 total to 263). 2009 is supposedly the year that 3D movies really take off, as it has been reported that 3D films are expected to gross over $1bn (£700m) at the box office next year, a five-fold increase on their $200m haul in 2008. There are some really big titles coming, including the "3D drug trip" that is Avatar, and all of the announced future Pixar releases will get the Digital Disney 3-D treatment. But 3D isn't limited to the big screen and big companies. The next format war could be over 3D TV. And now the independent production company MeniThings has released the feature-length movie, Battle for Terra. [via mefi projects, and a bit more on the movie after the jump] [more inside]
Visual in jokes from Pixar Animation.
Pixar Dumps Disney: "It is impossible to know how bad this is for Disney." On the other hand: Disney can begin creating sequels to all of Pixar's films, something it could not do under its current arrangement and is almost certain to exploit. On the third hand: One film executive suggested that Mr. Jobs could now be considered a candidate to run Disney if indeed Mr. Eisner ever left.
The Incredibles is what you get when you give Iron Giant director Brad Bird the keys to the Pixar machine.
It's the plot, stupid. USA Today runs their usual insightful commentary about the upcoming release of Lilo and Stitch. It obsesses over the absence of CGI graphics pointing to Atlantis as evidence for the failure of traditional animation to draw box office. Funny me, I thought that Atlantis bombed because of a plot better left in 50s serial format, a cast of sterotypes rather than characters, and no sense of humor beyind dirty French jokes repeated over and over again. And is huge success of Pixar due to their pioneering animation, or their brilliant comic talent? What causes FX myopia anyway? Granted I can understand why fanboys obsess over the wrong things in a movie. Do the studios set it up by trying to hype each new summer release as the next big technical development (while the artistic development gets trumped by Waking Life and Insomnia?)
Great article on "Shrek" & computer animation by Stephanie Zacharek at Salon.com. I don't deny that the form has possibilities, but I've been getting really impatient waiting for the day the guys at the Pixar/Dreamworks sweatshops realize that the really exciting moments in art only come when you leave some gaps for the viewers to close themselves.