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Finding Nemo

tonmo

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I had read somewhere that PIXAR and Disney are working on a Toy Story 3 for release in 2006... Andy donates the toys to his kindergarten or some such...
 

Clem

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"Toy Story 3" may be the price of release from indentured servitude.

Here's a Business Week article from autumn 2001 about the PIXAR/Disney marriage:

Toy Story 3: Out for Blood

Perhaps a "Finding Nemo 2" will involve a neurotic squid's attempt to rescue his paralarval offspring from NZ...

:roll:

Clem
 

tonmo

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Great article Clem! I favor Pixar's position. And all during this mess, my kids are missing out on another Buzz, Woody, Jessie and Bullseye tale. :x :evil: :yelling:
 
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Wow, Clem! Do you know any more about the current status of the Disney/Pixar relationship? The article's dated late 2001... I was just sharing these concerns with an animation-loving friend of mine...I just see Disney sucking the life out of Pixar and generally messing them up badly. The details discussed in this article kind of support my fears. I'd much rather see Pixar independent or in a relationship with a (hopefully) better company.

I must confess...a "Toy Story 3" makes me awfully nervous. They managed to get away with a brilliant sequel, but...the novelty's completely gone now, sequels always make me nervous, and can they really manage yet another fascinating, fresh story? I guess they could. Nobody's perfect, so I know Pixar will fall on its face once or twice someday...I just hope that they don't suffer any real damage from it, like, oh, Disney deciding they should run the whole company. :shock: I'm not meaning to specifically bash Disney...but I sure don't like the way they have been running things lately.

rusty
 

Clem

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Aloha Rusty,

Once PIXAR delivered "Finding Nemo" to Disney, it was free to start negotiating for a new deal, either with Disney or another studio. Warner Bros. is known to have conducted "informal" talks with Steve Jobs and PIXAR, while Eisner is said to remain confident that PIXAR will stick with them, perhaps in a new arrangement simillar to Lucasfilm's "Star Wars" deal with 20th Century Fox. Jobs and Eisner are said to be just barely on speaking terms, however, and Jobs wants PIXAR to own its creations. (This latest info is from Reuters and the NYTimes.)

I wonder if the plot of "Finding Nemo" is (in part) a veiled allusion to the Jobs vs Eisner struggle: neurotic parent attempts to rescue quirky child from greedy, thieving merchant.

:roll:

Clem
 
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I confess that I still love the various Disney "heroine" animations -- I suppose that's the perennial little girl in me -- though admittedly on close inspection they all seem to be the same heroine in different guises: Snow White, Cinderella, Sleeping Beauty, Ariel, Belle, Esmeralda, Jasmine, Pocahontas, Mulan, etc. Even Lady (of LADY AND THE TRAMP) was a classical Disney heroine in the body of a cocker spaniel! And of course FANTASIA is a true masterpiece (though from what I've heard Walt Disney hated it, probably too original for the old reactionary). Even FANTASIA 2000 had its moments: that charming "art deco" take on Gershwin's "Rhapsody in Blue", and the breathtaking, almost spiritual "flying whales" of Respighi's "Pines of Rome".

I also give Disney credit for bringing the magnificent SPIRITED AWAY to the awareness of western audiences. While TOTORO and MONONOKE did receive some attention in "art theaters" here, I suspect it was Disney Studio's involvement in SPIRITED AWAY that brought Miyazaki's brilliance to the attention of the general public in the English-speaking world.

That being said, I've always felt there was a sort of dark underbelly to the whole Disney thing. The standard Disney characters (Mickey Mouse, Donald Duck, Goofy) leave me absolutely cold, with the possible exception of Mickey as Dukas' "Sorcerer's Apprentice" which worked pretty well. They seem positively bland beside the frenetic wit of the Warner Bros. "repertory players" -- Bugs Bunny, Daffy Duck, et al. Additionally, the "Disneyfication" of Milne's delightful WINNIE THE POOH destroyed much of its charm, turning each one of those lovely "toy philosophers" into just another Disney character.

I also wonder whether the premise of the clever ANTZ was plagiarized by Disney for its far less edgy A BUG'S LIFE. The common explanation given is that both filmmakers happened to have the same idea at the same time, but whenever Disney is involved there is always the suspicion of their "cannibalizing" the ideas of more creative filmmakers.

Finally, the history of the entire Disney concern is fraught with instances of suppression. In the middle and late '60s, men and boys with long hair (read: "hippies") were explicitly barred from entrance to Disneyland. Fast-forward several years to an incident of two young (gay) men who were thrown out of Disneyworld for simply dancing together at one of the clubs there. I imagine that all this has changed in recent years, but it still makes one wonder. (I find it ironic that nowadays, fundamentalists of various religions are opposed to Disney Studios for being "too liberal" -- I suspect these people would have felt perfectly at home in the "old Disney" era.)

Please forgive the rant (and a non-ceph-related one at that)! The opinions expressed herein are not necessarily those of the moderators or anyone else on TONMO, and I don't want to turn this thread into a sociopolitical controversy -- I just tend to get emotional over certain subjects, and I guess Disney is one of them :talker:

Getting serious for a change,
Tani
 

tonmo

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Additionally, the "Disneyfication" of Milne's delightful WINNIE THE POOH destroyed much of its charm, turning each one of those lovely "toy philosophers" into just another Disney character.
I don't disagree, but I should say that I agree with my wife's assessment that the Disney intepretation of the Pooh characters represent the best group of friends out of any children's characters anywhere, period. I can't think of any other children's program where friendships between the characters are so strong.

Speaking of Pooh and Disney lawsuits, there was one not to long ago where Milne's family sued claiming Disney didn't have rights for merchandizing, etc., etc. Their victory in court would theoretically translate to the tearing down of any Pooh likenesses at Disney World, etc. etc. etc. Not sure where that one left off... Clem? :smile:

And, BTW, don't you feel that this is pertinent discussion? This particular forum is one of my personal favorites, because I've always been fascinated by the entertainment industry's interpretations of octopuses, for children and adults alike. Therefore, any analysis of Disney (either its characters or the corporation itself) is quite welcome and enlightening in my book, especially in the context of this Finding Nemo release. 8)
 
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Tani--check out Clem's earlier link, and also this one:

http://movies.yahoo.com/news/mc/20030527/105402660000.html

Clem can clear me up if I'm wrong about some of this...I don't know all the details, but it seems clear that Pixar has been HIGHLY independent from the beginning. Not for lack of trying on Disney's part, but these stories strongly suggest Pixar has kept itself effectively clean of Disney influence. They are NOT owned by Disney, but rather have a contract with them requiring them to make movies which Disney then owns...the benefit to Pixar being that they have a great resource for distributing/marketing their movies, something Pixar can't do themselves. Their respective CEOs (Eisner and Jobs) hate one another, and there have been constant struggles over how much influence Disney can exert. I get the distinct impression that such influence is basically nil, and that Disney is not pleased about that--hence, their own efforts at building a CGI animation house, as seen in Dinosaur.

Currently Disney and Pixar are negotiating a new contract, as Finding Nemo was the last Pixar had to deliver under contract. I would assume that the terms of this contract would be crucial to how independent Pixar can remain. Frankly, I don't trust Disney to not mess Pixar up if they somehow gained control, so I wouldn't mind seeing them sign with someone else, or perhaps even finding a way to do everything Disney used to do for them themselves.

All this seriousness before watching such a fun flick! :shock: :heee:

rusty
 

Clem

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TaningiaDanae said:
I also wonder whether the premise of the clever ANTZ was plagiarized by Disney for its far less edgy A BUG'S LIFE. The common explanation given is that both filmmakers happened to have the same idea at the same time, but whenever Disney is involved there is always the suspicion of their "cannibalizing" the ideas of more creative filmmakers.
Taningia,

(My/space-bar/is/broken.)

"A/Bug's/Life"/was/a/PIXAR/ creation./Dreamworks/ripped/ the/premise /off/for/"Antz."/ Katzenberg/was/still/at/Disney/ while/"Bug's/Life"/ was/gestating/at/ PIXAR,/and/ rushed/"Antz"/into/production/ at/Dreamworks/so/they/could/ beat/"Bug's/Life"/to/ the/theaters/ (and/screw/Eisner,/Katzenberg's/ nemesis)."Antz"/was/much /less/visually/ accomplished/than/"Bugs"/in/part/because /speed/was/of/ the/essence.

These/guys/make/Mesonychoteuthis/look/amiable.

Tony/I/don't/know/if/the/Pooh/has/fled/the/Kingdom/yet.

Worst/space-bar/ever.

Clem
 

tonmo

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SpaceMan to the rescue! :bonk: Um, I had to throw a few spaces in there to allow the line to break once in a while... :roll:
 

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