Toy Story 3

Disney has announced they are beginning production *without* Pixar. They plan to release it in the summer of 2008.

This is a good example of why Disney has become and evil corporation. It isn’t that they aren’t within their rights contractually to make this movie…they own the sequel rights (although they have to split profits with Pixar). It’s that Toy Story is by John Lassiter and without him, honestly, who cares?

June is Miyazaki Month

I just watched the trailer for Howl’s Moving Castle, the latest epic from Studio Ghibli.

I am a fan of anime. Before Saturday morning was filled with butchered dubs, my friends and I were picking up classics like Akira and watching them for hours on end. We were lost in cyberpunk. Soon, I sought out other greats of the genre, like Ranma 1/2 and The Hakkenden.

Eventually, my passion for the medium waned. I went to college and the amount of funds available for spending on $25 videotapes went away. About that same time, I discovered the comics work of Neil Gaiman. I devoured his completed Sandman epic.

Then one day I read about him rewriting the screenplay for a film titled Mononoke Hime, or Princess Mononoke. I read about the effort he was putting into it and that Disney had signed a deal to dub and release the film domestically. I was excited, but the process was long, so it would take a while for everything to be done.

I was still in Mississippi when Princess Mononoke made its way into limited release. Needless to say, it didn’t run anywhere nearby. When it finally was released on dvd, I was in awe. I already knew what the medium of anime was capable of, but the epic nature of the story and the beauty in every frame left me in awe.

When the follow up film was released, based upon the critial success of Mononoke, Spirited Away was given a wider release. I was living in Albuquerque and I watched the first showing of it, the day it opened. Again, at the end of the film, I felt different. I had watched a film that had so much to say on so many levels. Like many Miyazaki films, there were no clearcut villains. There were just people (or entities) doing their best to do what they do. In the end, the film won that year’s Oscar for Best Animated Film, a honor that made me proud to be an American fan of film.

His works are things of such exquisitness. They transcend the screen and touch your soul.

Needless to say, I will be seeing Howl’s Moving Castle and I suggest every one else does, too.

Ah, corporations

Watching Lost tonight, I saw credit card commercial. The commercial was showing someone graduating from college and then progressing through various moments from life. Interstitials of themed credit cards marked the various periods, i.e. the college themed credit card, the business card, the disney card, ad nauseum. This was all done to the tune of Five for Fighting’s 100 years.

This corruption of American culture by businesses trying to filch money from our pockets has gone on too long. This is what happens when corporations own everything. Corporations own the music publishing…they own the songs; they own the movies we watch. The hallmark characters of our lives belong to media companies that are only concerned with how they can best exploit their properties for profit.

The art of multiple generations has been corrupted and our elected leaders keep taking steps to keep us from being able to reclaim it. Mickey Mouse was due to enter the public domain this decade, along with hosts of other songs and movies. The entertainment industry paid their money and got Senator Sonny Bono of California to give them the legislation they needed to protect their properties.

The deadlines for these properties to go into the public domain will never arrive. We the people have too little power and too little interest in changing things. We don’t care enough about our culture to stop it from being copywrited and sold to the highest bidder. We will not be content until we have to pay a license fee to hum the tune of the latest, greatest pop single.

We are a sorry excuse for a country and a culture for selling our inner most thoughts and dreams.


I have been reading biographies this year. I read A. Scott Berg’s book on Katharine Hepburn and having really enjoyed it, I picked up his biography of Samuel Goldwyn.

As one of the most prolific independent producers in the history of film, Sam has a special place in cinema. Some quick things you pick up about Goldwyn are that he was a tyrant, he had a heart, he was deeply committed to his craft and while not always the nicest guy, he did appreciate the good work people did for him.

Sam made smoleans off his films and paid for them all himself. He put his name, his money and his company on the line with every movie he made. His wife was crazy every time he took out a bank loan in the beginning of his independent producer career, but he always did ok. He had a gift for knowing what the movie going public wanted to see.

Since Sam was the boss, he could go out on a limb, spend millions of dollars on a movie and have it tank because he didn’t have to answer to anyone. All he did was find material he liked and did the best he could with what he had. By not being beholden to a corporate parent, he could make a Danny Kaye musical and follow that with something not so universal like Porgy and Bess.

Today, with the exception of MGM (for the time being), all the movie studios are owned by a corporation. Corporations have to make a profit and have to increase their profit every year or speculators on Wall Street will say bad things about them, the stock buying public will become scared witless and a massive sell off of the company’s stock will occur hurting the financial position of the company.

So how do you keep your company with tons of profits coming in? A) make more money, B) cut costs or C) both.

This is why hand drawn animation is no longer being done in the United States. With Disney’s Home On the Range, traditional hand drawn animation has left the building. Disney believes that the reason that their animation efforts have tanked at the box office is because people hate hand drawn stuff and only want to see computer animation, like Pixar and PDI do. They forget that Tarzan and Lilo and Stitch both did great in their releases and made tons of money for the company while both being primarily hand drawn.

Interestingly, what most of the CG movies have had that a lot of Disney’s recent films have not had is something Disney had in abundance in its early days: heart. When you watch Buzz and Woody in Toy Story or Shrek and Donkey in Shrek, you watch because they used good writing and clever gags to make you feel for the characters and that makes you want to watch them again and again. While Tarzan was more of an action romp, Lilo and Stitch had heart to spare. When Lilo is shunned by her friends when she tells them of the maladies of her homemade doll, my heart completely went out to her. She became real and all I wanted in the end was for that little girl to be happy.

Her being CG would not have enhanced that feeling at all.

Anyway, back on topic: Disney’s bad script decisions have made the animation division seem like a lead bathing suit. Take the poor scripts, animators who make very nice wages thanks to their union and a company with bottom-line-itis and you get massive layoffs and an all out conquest for the golden fleece.

This lets you cut both your expenses buy completely decommissioning a whole department and it allows you to ship what little hand drawn stuff you have left to cheap Korean animation mills. Granted, the stuff out of those animation mills isn’t the best in the world, but in Disney’s mind, it doesn’t matter since its not CG no one cares.

So, I have told you what the problem is, but what can be done to reverse or stop this trend? The short answer? Nothing. As long as large corporations hold the keys, they will be beholden to Wall Street and will have to have year over year profit increases. The long answer is still grim, but there is a small chance for hope. The current crop of animators and animation students have to not give up on their art form. They have to find idea people to come up with several excellent scripts and they have to band together and create at least three hand drawn masterpieces. This is a task so great that all who take it up are destined to fail, but at the same time, as long as someone out there is trying, slaving and pouring their soul into a hand drawn project, they keep the medium alive.

It’s a war to keep an art form from dying, a struggle to keep a form of expression from lapsing and a vain attempt to squeeze one last feat of brilliance out of a medium that is capable of so much more than live action or CG.

Fans of this art form need an army to fight for them. They need animators who refuse to give up and who will go to their desks and draw.

Artists, we need you, now more than ever.