Posts Tagged ‘Pixar’
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Nov15
DVD REVIEW – PIXAR SHORT FILMS COLLECTION, VOL. 1
November 15th, 2007 |
(1 votes, average: 1.00 out of 10)
In the golden age of cinema, audiences weren’t bombarded with commercials for Coca-Cola and wireless phone companies. They used to get a little more for their money. Newsreels, previews of coming attractions and even animated short films.
Modern audiences have become familiar with animation staples like Bugs Bunny and Tom & Jerry from constant reruns on televisions. But since the 1960’s, there have been few animated shorts to make it in front of a feature presentation.
Thank goodness for Pixar who keep the tradition alive with a delightful short before each of their theatrical releases. Finally, each of these shorts (along with some additional material) has been collected on DVD for the first time – The Pixar Short Films Collection, Volume 1.
The DVD collects 13 shorts from the company’s history. Films like “Gerri’s Game” and the Academy Award-winning “Tin Toy” audiences might already be familiar with. However more obscure films like “Red’s Dream” and “Knick Knack” may amuse. In a historical context, Pixar’s first effort “The Adventures of André & Wally B.” is fascinating if for no other reason than to demonstrate how far Pixar has come in it’s 20 year history.
It’s hard to say exactly who the audience for this collection is supposed to be. Animation enthusiasts will find plenty to examine in this collection, but casual fans may feel cheated by what’s included. Several of these films (having appeared in front of Pixar’s theatrical releases) have already been made available on those films corresponding DVD releases. I suppose the advantage is to have them all in one place, but that doesn’t exactly offset the price tag.
Each of the short films includes an audio commentary, which is valuable for further historical context or to highlight the small artistic touches that may have gone by unnoticed the first time around. However, some of the commentary is repetitive when compared to the collections lone extra feature, the documentary “Pixar Shorts: A Short History.”
The documentary itself is very interesting as it traces the steps of Pixar’s evolution as an offshoot of LucasArts in the 80’s, snapped up by Steve Jobs shortly thereafter and even their short stint as a computer processor and 3D software vendor. All of their early history is laid bare as a precursor to the world’s first fully computer animated movie, 1995’s Toy Story. People pretty much know the rest of the story from there out.
In the documentary, the original Pixar founders categorize themselves largely as nerds that got lucky. The goal was always to produce a completely computer animated feature. But it wasn’t feasible without experimentation. These guys were literally making it up as they went along – writing the programming and the software as they created. It was with benefactors like LucasFilm and Jobs that made that experimentation possible.
The Pixar crew is also quick to recognize that they weren’t the only team of effects men working toward this goal. They just got their first. A lot of credit is given to director John Lasseter for his creative vision in those early works that kept them one step ahead of the competition.
But the documentary isn’t the main attraction. In this case it’s the features. It’s hard to discuss all of them individually for their merits. Highlighting and specific shorts over others would be wholly subjective and pointless. But once you get beyond the initial experimental shorts and more into the professional grade stuff, there is lots of entertainment to be had. Even if you aren’t interested in the history of Pixar as a company, you’ll find enough here to laugh at and enjoy. It may not be worth the full price of admission if you aren’t Pixar nut like myself, but competitions will find it hard to resist.
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I am remiss to admit that I did not feature a review for Pixar’s 9th wonderful feature film Wall·E when it came to theaters in June of this year. Not only do I find it one of the company’s most heartwarming pictures but I also consider it to be one of the best films of the year.
Fortunately, we have the DVD release to reflect on and take the time to fully absorb the brilliance that is Wall·E.
For the uninitiated, Wall·E is a small, boxy robot left on Earth to clean up the mess left behind by humanity as they have shuttled themselves off-world on the dime of the global corporation Buy N Large. Our Wall·E is one of many, but the only one left still functioning. Day in and day out he performs the tasks he was programed to do – scoop trash into his tiny frame, compact it into cubes and stack them into spirling skyscrapers. He does his work efficiently, with no complaints… and totally alone.
Centuries in isolation have caused Wall·E to develop a personality. Like a beachcomber, he collects odd trinkets in an attempt to understand the history of a society that has long since abandoned him. He collects spoons and forks, hubcaps and adoringly watches an old videotape of Hello, Dolly – longingly looking for companionship.
Companionship comes in the form of a sleek and elegant probe droid named EVE, sent to Earth to search for signs of plant life. What follows is an adventure that takes Wall·E off Earth and reconnecting with the remnants of humanity living on-board a luxury star cruiser before leading them home.
The commentary track from director Andrew Stanton reveals a lot. While he admit that the movie hits on themes of environmentalism, consumerism and some of the more slothful tendencies of humans coddled by technology, he never set out to make a “message” movie. Stanton identifies himself as the type of person who likes to keep his politics to himself and was not interested in preaching to the audience. The themes established in the film developed out of the “reverse engineering” of the film’s core concept – a robot left on Earth all by himself and what would that feel like?
Stanton’s commentary reveals a lot about Pixar’s film making process. They establish a simple premise and start asking questions.
“Okay, he’s a robot alone on Earth? What is he doing there? He’s cleaning up. He’s a janitor. Why? Because that seems like a lonely job to do. Why is he alone? Because humanity left Earth. Why? Rampant consumerism ruined the planet. Oh, so he’s cleaning up what they left behind? Yeah! Are there other robots helping him? There were, but the broke down. So then he must have been working for a very long time? Let’s say 700 years. But he doesn’t spend the entire movie by himself? How do we introduce conflict? A probe robot visits Earth. What’s it doing? Looking for plant life. Why? Because then humanity can come back to Earth.”
And so on and so on. I reveals a simple extrapolation process in the writing and gives you the impression that the film’s “message” was a lot less deliberate and serious than some people took it.
In addition to the movie, the three disc special edition contains bountiful extras well worth your time. Most stunning is a deleted scene introduced by Stanton that was pulled from the film in the 11th hour. It’s the trash compactor scene right before the third act where, instead of Wall·E being damaged, it’s EVE who is nearly beyond repair. As Stanton explains, the scene was in the movie all the way up until test screenings. Meaning it had cleared the years of script revisions, storyboards, animatics and made it’s way to full render. This NEVER happens in animated movies, much less computer animated movies that require hundreds of hours of rendering time. It wasn’t until the test screening that Stanton realized his mistake and completely reconfigured the last act of the film. For the rarity of this alone, the scene is fascinating.
The extras also include an hour and a half long documentary called The Pixar Story, which reveals the history and inner workings of the company, excellent featurettes on sound design, visual design, set design, character development and score and – as advertised – a hilarious new short called Burn·E featuring the trials and tribulations of a service robot trapped outside the hull of the ship as seen in the movie.
I strongly believe that Wall·E is a film we’ll still be talking about 50 years from now. Not just from it’s timely message (accidental or not), but for the risks taken by Stanton and Pixar to deliver an emotional and engaging story that makes you care about robots in a way you never thought possible. It’s economical and engaging story will be something families and film buffs will be returning to year after year.
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Wanna know the best way to start your week? MONSTER SQUAD REFERENCES!
You’re welcome.
Speaking of monsters, I saw Monsters vs. Aliens this weekend and, unfortunately, was NOT bowled over. I’m not exactly sure what went wrong other than it fell into that same trap of pop culture references and soullessness that other Dreamworks animated movies seem to fall into.
Maybe I went in with my expectations too high after the success of Kung-Fu Panda last year. But Monsters vs. Aliens is just more of the same.
There are a few laughs to be had. Great line delivery from Stephen Colbert as The President and Will Arnett as The Missing Link. But, unbelievably, it’s Seth Rogen who steals the show as the indestructible blob, B.O.B.
Much like B.O.B., Rogen has crafted an indestructible slacker/stoner/moron persona that brings the biggest laughs in this film. He’s pretty much the only character having a good time while the rest of the world is falling down around him and his cluelessness and confusion makes him instantly endearing.
The rest of the movie is a cheap girl-power parable wrapped up in a few action pieces that have been strung together. Pretty much the best thing it had going for it was the 3D. But even that was a little annoying when they were pulling cheap moves like a guy hitting a paddle-ball toward the screen.
Really, Dreamworks? Why not shoot a scene at a kids birthday party so someone can blow a party noisemaker that uncurls into in our faces.
Should you see Monsters vs. Aliens. If you’re a fan of animation, 3D movies and cheesy sci-fi from the 50’s and 60’s, I’d say “yes.” If you’re a fan of laughing or have laundry to fold, I’d say “no.” I don’t really regret going. But it could have been executed much better.
Switching topics, I wanted to let everyone know that I will be at the Emerald City Comicon in Seattle this Saturday and Sunday, April 4 – 5. I’m going to have a table on Artist Alley and you can find me at H-05.
I’m a little nervous about going because this will be the first convention I’ve flown out of state to attend. Typically I only go to conventions I can drive to so I can save on cost. But I found a cheap flight to Seattle and Emerald City was too good to pass up (they have an excellent reputation and are very welcoming to web comics).
Part of my nervousness stems from not knowing anyone at the convention. Sure, there will be a lot of web comics people there like Scott Kurtz, Jeph Jacques and the guys from Penny Arcade. But these guys operate WAY out of my league and they aren’t people I’ve really had an opportunity to interact with socially before.
When I go to Wizard World Chicago ever year, I get to hang out with Gordon McAlpin, Joe Dunn and the rest of the Digital Pimp crew. We set up shop next to each other and goof off for 8 hours while we try to sell our wares. In Seattle, I’ll kind of be own my own.
Well, that’s not entirely true. To take the sting out of travel expenses, I’m splitting a room with Indigo Kelleigh from The Adventures of Ellie Connelly. So at least there is someone I can hang out with after being on the show floor all day. Or, if he has better places to be, I could always go see Fast and Furious the weekend.
Oh! I should probably mention that I was invited to speak on a panel at the convention! Yeah – it’s the Business of Webcomics panel at 1:00 PM, Sunday, April 5 in panel room 3AB.
I’ll be in a room, talkin’ web comics with Robert Khoo from Penny Arcade, Danielle Corsetto from Girls With Slingshots and Jeph Jacques from Questionable Content, doing my best not to sound like an idiot. It’s an amazing opportunity and I want to say thanks to the show organizers for including me! If you’re coming to the show that day, check it out!
Is anyone reading this planning on going to the convention this weekend? If so, can you talk about it a little bit in the comments section? I just want to get a general sense of what to expect. I’m sure everything will be fine, it’s just the unknown that’s eating at me a little bit.
If nothing else, it’ll be a real treat to meet fans from the West coast. This will be my first trip to your neck in the woods and I’m eager to meet you!
Thanks again for reading and I’ll talk to you soon
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May27
In honor of Pixar’s Up coming out this Friday, today’s incentive sketch is my own rendition of the movie’s septuagenarian protagonist, Carl Fredricksen. To view it, simply vote for Theater Hopper at Top Web Comics.
An additional bit of business before we get on with the blogging: Monday’s comic was delayed by the Memorial Day holiday, but was posted on Tuesday. So if you were away from the site for whatever reason on Tuesday and want to view it, click here.
I don’t know if today’s comic captures the level of righteous indignation I normally express against Pixar-haters. If I wanted to, I could have really gone on a rant. I suppose that’s what this blog is for!
This is something I’ve noticed when it comes to Pixar films: The first trailer comes out about a year to 8 months before the film hits theaters. There are people (like myself) who are immediately excited about it and then there are… others who want to pick it apart.
Now, far be it for me to say these people don’t have a right to pick things apart. If I apply that logic, then that logic can be applied against me. Considering what I do here, picking things apart is my bread and butter. So I’m not saying these people don’t have the right to a negative critical opinion.
What I *AM* saying is that these critics are on the losing side of history.
Since its inception, Pixar has been putting out quality film that not only push the boundaries of 3D animation, but achieve mass and critical acclaim for their emphasis on solidly constructed stories.
Why then, when the teaser trailers come out, do some people automatically poo-poo them? I’ve seen it done with nearly every movie the studio has produced since A Bug’s Life and some people refuse to let it go.
Considering Pixar’s unprecedented string of hits, I can only assume that these people want Pixar to fail.
Everyone has an axe to grind. I know this. One only need look at my baseless grudges against Ben Affleck and Shia LaBeouf for proof of this.
But whereas Affleck and LaBeouf have earned condemnation for their public antics and their sometimes questionable choices in movie rolls, Pixar has been turning out hit after hit after hit. 10 blockbusters, by my count. TEN classic films that can stand shoulder-to-shoulder to some of the most technically innovative and engrossing films in all of animation.
Is Pixar headed for a fall? The realist in me says “eventually.” At some point they’re going to trip over their own feet. Maybe it’ll happen with Toy Story 3. Maybe it’ll happen with Cars 2. Despite the fact that Toy Story 2 is probably one of only a handful of sequels better than the original, sequels are generally a bad idea. So who knows?
All I’m saying to the haters is stop anticipating it so readily. Because you know it and I know it… the minute that trailer for Up with the talking dog came out, you were all over this movie like white on rice. You’re gonna see it and you’re gonna love it, just like all the other Pixar films.
Please, leave the self-aggrandizing predictions to professionals like myself. ;D
Who else is excited about Up this weekend? Leave your comments below!
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Continuing my exploration of all things Up, today’s sketch is of Russell, of the Wilderness Adventurers. My version of Russ seems a little more awkward than what’s presented in the movie (if that’s possible). Consider this a version of Russell that’s maybe a few years older than his on-screen counterpart. I tried to stay loose with the sketch, but didn’t quite get the proportions right. To see the sketch, vote for Theater Hopper at Top Web Comics.
Incidentally, Theater Hopper has been slipping down the list a little bit over at Top Web Comics and I’m wondering if it has any relation to the kind of sketches I’m doing.
In the past, I would draw sketches that were a continuation of the joke in the comic. Lately, I’ve been drawing more stand-alone pieces. Renderings of characters from movies. Is this a factor in your voting? Let me know in the comments below and be mindful of Monday, June 1 when the Top Web Comics counter resets. If we can get in the Top 10 early on, there’s a greater likelihood we can stay there! I’m going to need everyone’s help, so I’m putting the idea in your heads now.
As you know, both Up and Drag Me To Hell come out today. During Monday’s recording of The Triple Feature, Joe pointed out that the family-friendly film in competition with director Sam Raimi’s return to horror was great counter programming.
I felt like I was onto something when I commented that not only were the two movies at the opposite ends of the spectrum in terms of their content, but also in terms of the geography they explored. Up floating among the clouds and Drag Me To Hell lurking in the depths of the Underworld.
I shared my observation to Cami and she said it was “quite profound.” She may have been humoring me, but it was enough for me to try and figure out a way I could work it into the comic.
As for the answer to Tom’s quandary in today’s comic, I don’t think it would surprise anyone that I’m more interested in seeing Up. Cami and I are seeing it tonight. But my interest has been piqued by the strong reviews Drag Me To Hell has been getting. I guess Joe from Joe Loves Crappy Movies saw an early screening of it and was over the moon about it. Critical response has been strong, too. 95% positive at Rotten Tomatoes. I guess Raimi still has the old horror touch!
I’m not a big fan of horror, but I respect Raimi a great deal. It goes without saying how awesome the Evil Dead trilogy is. But those films have a low-tech charm. I don’t know if I could stomach full-blown Raimi sitting in the middle of a booming surround-sound theater.
One thing Raimi is particularly adept at are “loud noises” scares – frightening reveals you can see a mile away, but punctuated by piercing musical shrieks. I HATE those kinds of scares. I do better with movies that employ this tactic when I’m at home and can control the volume.
I’m very curious to know what Raimi has up his sleeve, but I think this one is going to have to be a rental for me. I’m too much of a weenie otherwise.
What about you guys? Are you feeling up to the challenge of seeing Drag Me To Hell in a gigantic booming theater without peeing your pants? Or are you like me and going to chillax with Pixar and Up for two hours instead?
Leave your comments below!
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The first order of business today is a call to arms. Today is June 1. That means the ranking list over at Top Web Comics has been reset. If we’re going to crack the Top 10, this is our best opportunity. So, please, for The Gipper… vote for Theater Hopper at Top Web Comics right now.
For your trouble, you can see how Truman handles the Buzz and Woody uprising in his own inimitable style!
Today’s comic calls back to something very specific in Theater Hopper’s history. Back in 2005, Cami gave Tom an early Christmas present – Dewey, the havok-wrecking monkey. Truman and Dewey didn’t get along with each other, which is expected when a new pet is brought into the home. But things came to a head after Tom snuck Dewey into a screening of King Kong. It fill him will all sorts of terrible ideas. Of course, Truman came to the rescue the only way you can possibly hope to stop a rampaging monkey… buy flying a biplane, guns blazing.
I don’t know if you’ve seen Up yet, but if you’ve seen the trailer, you’ve probably seeing Dug the talking Dog. Dug is a member of a larger pack of talking dogs and, well, long story short… at one point, three of them fly biplanes.
YOU TOTALLY STOLE MY IDEA, PIXAR!
Please note my tongue placed firmly in cheek because I TOTALLY stole the dog-flying-a-bi-plane gag from Charles Schultz, to whom we all owe a debt of gratitude.
But, yeah… I have to admit it was my own comic that came to mind when I watched that scene in the movie.
Describing the dogs in biplanes scene makes me realize how completely odd Up is. Maybe even a little to idiosyncratic for its own good. But I don’t care. I love, love, LOVED this movie. Despite its flourishes, Up is probably Pixar’s most emotionally relevant film to date.
I never thought Pixar would be capable of making me care about their characters as much as they were able to hook me with Wall-E and Eve. If they can make you care about robots in love, they can do anything.
As we know, Up is the story of Carl Fredrickson, a widower who ties thousands of balloons to his house and flies it to South America. But what we don’t know is where Carl got the idea.
In the film’s first act, we’re introduced to Carl’s childhood sweetheart, Ellie – a girl who, in all likelihood, for who the term “moxie” was invented. It is her childhood dream to build a house next to Paradise Falls. In a stirring, wordless montage, we see the couple grow old together, scrimping and saving to fund their bold adventure into the jungle. Before long, Ellie succumbs to old age, leaving Carl to fend for himself. Punctuated by Michael Giacchino’s brilliant score, both Cami and I were an emotional wreck after watching that scene. That’s when Up got its hooks into us – deep. After that, you’ll pretty much let a movie get away with anything – even a trio of talking talks flying biplanes.
I can’t stress the value of Giacchino’s score in this one, folks. Occasionally when Carl looks to the heavens and speaks to the ethereal Ellie, Giacchino’s score returns to the first act and drags up those memories of a life spent together. Carl’s pain becomes our pain as we remember alongside him. Absolutely fantastic work. That’s why I was disappointed to learn that Disney is not releasing the Up original soundtrack as a physical CD, but in digital download only.
I think what I appreciate most about Up, is that even though it is pulling your heartstrings, it never feels manipulative. It feels completely organic to the story. Carl’s quest to the Amazon is completely in service to his wife’s wishes. Love that conquers continents. The romantic in me can’t resist.
Additionally, Carl is joined by a young stowaway, Russell – a motormouth “Wilderness Explorer” seeking to collect his “Assisting the Elderly” badge so he can become a Senior Explorer. Rotund, yet hyperactive, Russell’s backstory as a child of divorce is only alluded to. But it is a powerful representation of what he hopes his obsessive collection of badges will achieve – his father’s attention and approval. Russell never says as much in such detail, but the animators make his despondency clear on his face. That’s note-perfect storytelling, folks. If nothing else, Pete Docter’s direction does a fantastic job of showing and not telling.
In addition to Up being Pixar’s more emotionally affecting film, I will also go out on a limb and say it is it’s funniest. Lots of rapid-fire jokes throughout, mainly courtesy of its animal cast introduced in the second act – Dug, the aforementioned talking dog and Kevin, an exotic 9 foot tall bird that joins them on their journey.
Things fall apart a little bit in the third act as Carl and Russell bump into the recluse adventurer Charles Muntz who has tucked himself away in the tabletop mountains seeking to capture one of Kevin’s species to bring back to the civilized world. At this point, the film becomes more of a farce than an adventure and if I were to lob any criticism toward the film, it would land here.
But as I said earlier, these details are almost incidental to the primary plot device of seeing Carl through on his epic quest. His is almost a Quixotic folly, but you believe in the love for his wife and cheer him on.
Of course, what Carl discovers after the task is complete and the lesson learned that adventure can be found in your own backyard, become profound for their simplicity. Carl traversed the globe keeping everything familiar to him within arms reach. But in order to achieve peace, Carl has to let go of everything that was keeping him locked inside a widower’s despondency. We witness his growth as a characters and as all his pain is lifted off his shoulders. It’s an amazing transformation.
I can’t recommend Up highly enough. It is far and away my favorite film of 2009.
What about you? Did you see Up this weekend? Did you succumb to it’s emotional right hook or did the film’s eccentricities get in the way? Leave your comments below!
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I don’t know that I have anything specific to say about Monday’s comic except that there is a genuine level of excitement for Pixar releases that is mutual between Cami and I in our household. We look forward to them every year – both in the theaters and on DVD. We were fortunate enough to get an extra helping of Pixar a couple of weeks ago when Toy Story was back in theaters. It was kind of like Christmas in July at our house.
Up comes out on DVD and Blu-ray tomorrow and I’m excited to talk about it. I have to hold back, however, because I’m reviewing a copy sent to me last week that will be posted to the site on Tuesday.
Without getting too specific, the Blu-ray looks phenomenal and the bonus material is very insightful. I always felt like co-writers/directors Pete Docter and Bob Peterson had built layers into Up – some that were obvious and some that were not. So it’s very interesting to watch the behind-the-scenes documentaries and the character development that occurred.
There is an excellent alternate scene/animatic called “Married Life” that plays out in great conceptual detail an altogether different montage events in the marriage between Carl Fredricksen and his beloved wife Ellie. That montage delivers an emotional sucker punch in the finished movie and I am pleased to report that even the alternate montage still packs a wallop.
I think it’s a testament to the storytelling going on her that allows you to become so invested in these characters early on, without a word of dialogue spoken. Even when the details are changed, it’s still fantastic.
We might talk a little bit about Up on tonight’s The Triple Feature – I don’t know.
I know Joe saw both A Christmas Carol and The Box, so hopefully he has some insights on those two movies that he’d like to share. Otherwise, it’s a bit of a crapshoot!
I hope you’ll join us as we record the show live, tonight at 9:00 PM over at Talkshoe. Fell free to submit any questions or suggestions for topics of discussion to group@thetriplefeature.com. You can also communicate with us through our Facebook page.
See you later!
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Nov11
With 9 smash films and nearly 15 years of film making under their belts, one might assume that Pixar would celebrate in grand fashion with their 10th theatrical release. Instead, with Up, Pixar has delivered their most unconventional and absurdly layered film to date.
Carl Fredricksen, the 78 year-old widower at the heart of Up is an unusual protagonist. Arthritic, grumpy and boxed in by life, he is partnered by the youthful and exuberant “Wilderness Explorer” Russell as he sets off for adventure to South America.
Up hooked us with its visual signature of a tiny house being lofted into the air by tens of thousands of balloons. But the story takes an unusual left turn when Carl and Russell finally land in South America.
Surrounded by strange vistas and a lush, but harsh environment, the duo is greeted by the affable and endearing Dug, the talking dog. Things only get weirder from there as the pair encounters a 13 foot tall iridescent bird, a crazed long-forgotten explorer and dirigibles.
The unusual details of the story are what sets Up apart from previous Pixar films. But it’s the rich metaphors and subtext that make Up truly engaging.
At its core, Up is a movie about lost opportunities, obsession the struggle to “fix” the past ruins the opportunity to enjoy the present.
Each of the main characters deals with this in some way. Russell uses over achievement and collects Wilderness Explorer badges to attract the attention of his absent father. There is one small space left on his sash full of accomplishments – a badge for “Helping the Elderly” and it’s missing directly over his heart.
Carl is trying to make up for lost time by going on the adventure his never got to go on with his wife. But since he can’t bear to leave behind his belongings and all of his memories, he takes them with him by setting the house aloft. The house becomes a symbol for his wife – something he has to learn to let go of by the end of the film.
Muntz, the story’s villain, is corrupted completely by his obsession to trap a rare bird in order to bring it to civilization and repair his damaged reputation. His relentless pursuit is ultimately what leads to his literal downfall.
These story elements are framed beautifully by the bevy of mini-documentaries among the Blu-ray’s bonus materials. The character studies for Carl and Russell are particularly insightful.
Carl, for example, is one of Pixar’s most stylized human characters and the decision to make him so was very deliberate.
Animators noted that, as a septuagenarian, Carl’s movements would very limited. His physical restrictions mirror his world view as every shot Carl appears in before going to South America he is placed inside some kind of box. He is either looking out of a window or the camera is looking at him through a door frame. He lives a very interior life. As a result, Carl himself became very square shaped, with hard-edged and inflexible features. A boxy character living in a boxed-in world.
Alternatively, the rotund Russell is almost egg-shaped. This reflects the nurturing he requires in the absence of his father. It becomes Carl’s instinct to take care of him.
Another fantastic bonus feature is the original story concept behind the 10 minute montage of “Married Life” – the emotional gut punch the starts the movie and leads Carl toward his adventure.
Assembled through animatics (animated storyboard concept drawings) and set against Michael Giacchino’s brilliant score, the alternate version of “Married Life” is just as emotional and affecting as what ended up in the movie – a testament to Pixar’s storytelling process.
It should be noted that there is also an excellent piece on Ciacchino’s contributions and how he transformed a simple, heart wrenching four-note melody into a glorious score.
Another great example of the lengths Pixar animators will go to capture their subject material is the engrossing :22 minute documentary “Adventure Is Out There,” which details how directors Pete Docter and Bob Peterson traveled with a team of animators to remote and nearly inaccessible tepius mountains of Venezuela.
Other features include audio commentary, the theatrical short “Partly Cloudly,” a second animated short called “Dug’s Special Mission” (that runs parallel to the main storyline in Up) and several other production features detailing the care, craft and precision Pixar executed to bring their unique vision to the screen.
The direct digital transfer to Blu-ray looks sumptuous as one might expect and the Blu-ray edition of the film comes with a digital copy and regular DVD copy as well (for your portable DVD player, I assume?)
Up may not be Pixar’s best film, but it is certainly one if it’s most ambitious. Despite its eccentricities, the emotional core of the story is potent – easily making it one of the best movies of the year.
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In 2001, the proposition of Monsters, Inc. must have been a scary one for Disney / Pixar.
Coming fresh off the success of Toy Story 2, A Bug’s Life and the original Toy Story (all directed by Pixar King John Lasseter)Pixar put an unproven director in the driver’s seat for Monsters, Inc. – Pete Docter.
Of course, time would prove that Docter’s madcap vision of a world inhabited by monsters who collect the screams of human children to power their communities proved to be a smash hit. But it’s interesting to learn about the behind-the-scenes hand wringing that occurred at Pixar before the release of the film.
One of the bonus features of the movie is a film makers round table with Docter, co-director Lee Unkrich, producer Darla Anderson, and script supervisor Bob Peterson (who also lent his voice to the surly clerical worker Roz in the movie). In their round table, they discuss not only their uncertainty over the somewhat complex idea of a world powered by screams, but also the real-life intrusions that threatened the success of the film.
For example, I had completely forgotten how Monsters, Inc. had come out one short month after the terrible events of 9/11. An even that lead Pixar to wonder if they should push the film back. Ultimately, according to the feedback they received, the film became a refuge for families looking to steer themselves away from the unending and horrible coverage of that day. The insight that the round table provides certainly adds a layer of enjoyment to hard-core fans of the film.
Eight years after its theatrical release Monsters, Inc. holds up incredibly well and the Blu-ray transfer gives the film a candy-coated shot in the arm. Colors are richer, details are more pronounced. Even the hair on Sully’s arms looks more refined. A more perfect version of the film I can’t imagine unless you were sitting in Pixar’s offices, watching it over the shoulder of one of the animators.
In terms of extras, the Blu-ray doesn’t bring much that’s new to the table. A short documentary about a Monsters, Inc. ride at Disneyland Toyko made me want to hop a flight to Japan immediately and an interactive game featuring over 100 doors intimidates more than it inspires gameplay.
Additional features include those already packaged on the Collector’s Edition that was released in 2002. The animated shorts “Mike’s New Car” and “For the Birds”, storyboards, a database of monsters featured in the film, and multiple gag reels.
However, the Blu-ray package gives you a bevy of formats including a digital copy of the film as well as a DVD copy of the film, which are nice bonuses.
As a Pixar fan, I have no problem replacing all of my DVD copies with Blu-ray editions of the film. I believe they are the most authentic reproductions of the movies possible and a visual treat. However, it would have been nice to see a few more extras with the film and I probably wouldn’t have minded waiting another 2 years for a 10th anniversary edition if it meant getting additional content.
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What do you guys think of Tom and Cami’s totally 70s kitchen wallpaper? Pimpin’, right?
If you’ve been following me at all on Facebook the last couple of days, you’ll know that I’ve been wrestling with a creative decision regarding the production of comics related to Toy Story 3. It seems no matter what I do, I keep thinking up jokes for this movie. Good jokes, too (or so I tell myself.) Jokes that I don’t want to let go to waste. It’s times like these that I lament making the decision to go to one comic a week.
Certainly nothing is iron-clad, though. I’m not purposefully restricting myself to one comic a week. If I have the time and the inclination, I have no problems throwing in a bonus comic or two.
The problem is that I don’t have the time at the moment. I’m wrapping up one of my summer night classes and I’m going two times a week. I’m reading case studies, writing essays and putting the finishing touches on a group project. I pretty much have time for work, school and sleep right now. It sucks, but after next Tuesday, I will have completed this latest gauntlet.
A few people have stepped up and volunteered themselves to illustrate my scripts – which is very generous. But I’ve never collaborated like that before and I’m very protective of my ideas. It’s hard to turn people down without sounding like a selfish jerk.
Some readers have told me to spread the comics out over the next three weeks. By their estimation. Toy Story 3 will still be the most popular movie in the country, so the jokes will still be timely. Looking ahead at the release schedule, maybe they’re right. Knight and Day? Grown Ups? The Twilight Saga: Eclipse? The Last Airbender? None of these movies inspire me like Toy Story 3 does.
So let’s talk about Toy Story 3 for a little bit, shall we?
Cami and I took Henry to the movie on Saturday and all of us had a blast. All three of us have been talking about it all weekend. Henry’s investment in the film has been exacerbated by a toy purchase reflecting on of the characters in the film. But, by in large, all of us have remained captivated by the film.
It’s been 11 years since Toy Story 2 and 15 years since the groundbreaking, original Toy Story. Despite a span of nearly two decades, the legacy and strength of Andy’s band of misfit toys remains in tact.
Pixar shows great care and concern for their flagship characters by maintaining the time line of the original films. Andy is now 17 years-old and heading off to college and he doesn’t have time for childish things. In a demonstration of both profound love and profound futility, his toys make a last-ditch effort to reconnect with their distant owner by hiding his cellphone in a dog pile beneath them in his toy chest. His disinterest signals the coming of their obsolescence.
The anxiety of these characters has always been something Pixar scribes have captured well on screen. The essence of the Toy Story movies have always been about the fear of abandonment and irrelevancy. In many ways, these toys reflect more about the human condition than any movie “aimed” at children has a right to. But it is because of these profound themes that audiences relate so well to Buzz, Woody and the rest of the gang. It’s the same reason we are so sad to see them go. Many of us have grown up with these characters. Like Andy, we’re being forced to say goodbye. But at the same time, we know we have to.
I won’t bore you with the plot details of the movie. How, in a series of misunderstandings, the toys end up donated at a daycare center whose toy population is run with a benevolent-on-the-surface strawberry-scented teddy bear. I won’t complicate my review by rehashing the Rube Goldberg-like escape plan hatched by Woody and his friends in the second act. I certainly won’t reveal where Andy’s toys finally end up. You need to experience all these things on your own because their staging and execution is absolutely brilliant. Especially the ending.
The ending of Toy Story 3 is note-perfect. It never talks down to us or makes us feel foolish for investing so much in these characters. It is a sublime love letter to fans of the Toy Story films that will leave you beaming while it breaks your heart.
Bring Kleenex.
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