Film

You Know You’re Successful When Someone Copies Your Idea

Here’s an old one for you.

No, it’s certainly not Mickey Mouse and if you watch the whole thing, you’ll see ‘Minnie’ engaging in some things that Walt would never have allowed get off the animator’s table!

From what I can tell (thanks to this post over on Classic Cartoons), it’s by the Van Beuren Studios and features the characters of Milton and Rita Mouse.

Released in 1930 at just about the time that Mickey was gaining traction with audiences, Circus Capers makes it seem pretty clear as to how Milton came about.

What’s interesting though is that someone was copying Walt at all. I’m willing to bet he found it amusing on some level, that as someone who was derided Hollywood for making animated films and who ran up against con-men everywhere he went, was actually being copied from by someone else!

Copying has pervaded the Hollywood ecosystem pretty much since its inception. It goes for other forms of creation too, books, paintings, songs, you name it, if you become a success, people will attempt to emulate you. Of course, the real money can’t be found in copying someone, only in creating something new that people like.

Is copying all bad though? Nah, I don’t think so. I’m willing to wager that the blatant knock-offs only served to increase the popularity of Mickey and Minnie. Walt was right to sue in this case though as Milton and Rita are blatant carbon copies. He won the case, most likely as a violation of trademark no copyright.You can be sure though, that whenever a major studio decides to copy an idea, they’ll have an army of lawyers pour over it to make sure it can stand up in court as an original idea.

In the end, I think Milton and Rita did Mickey and Minnie no harm at all. By that stage, Disney had enough experience as a studio to out-create others and Walt’s eye for quality ensured that their films would resonate most with audiences around the world.

I, on the other hand, continue to await the day when someone copies me. 🙂

 

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Five Reasons Why The Animated Film Market Isn’t Saturated

With the recent failure of Mars Needs Moms, there has been some speculation that the market has become saturated as everyone seeks a slice of the the lucrative pie that is animation (the link is behind the New York Times subscription wall so nuts to them) . While it would certainly appear this way, I doubt that that is the case. Here are the reasons why.

1. On Average, less than one animated film a week comes out

Sometimes there appears to be a deluge, but for the most part, oftentimes animated films have it all to themselves when they are released. They are more likely to have to compete against a live-action film aimed at their audience than another animated one.

2. The market is tightly controlled

The cinematic market for films is tightly controlled by both the large studios and the large cinema chains. They are the gatekeepers in terms of what can be shown and when. While competition between the studios is good, there is often agreement when it comes to when films are shown, to avoid clashes that end up splitting both films audiences.

3. The big boys have a schedule

The two most prolific animated studios, Disney and DreamWorks, have a set schedule that they do not tend to differ from. Disney has one Pixar film a year with normally at least one Disney-branded one as well. DreamWorks had hoped to to about 2.5 films a year (that’s 3 in five) but that has since been pulled back to something more manageable for Jeffrey Katzenburg’s studio. The point is that both studios don’t really differ in the amount of films they offer.

4. Standards are being raised

Arguably, ever since Pixar burst on the scene in 1995, the standard for animated films has been raised spectacularly, and I’m not talking visually here. Storytelling, character and direction have all fallen under the Pixar influence. Nowadays the audience fully expects to see films as complete and complex as what John Lasseter and Co. put out and they have become merciless if they feel disappointed. Witness the recent failure of Delgo (Elliot Cowan’s favourite film) or the relatively poor performance of Battle for Terra. The list can go on, although no studio should be under the illusion at this point that the audience will accept anything.

5. The Core Audience Isn’t Changing

Unlike the customers for other forms of films, the core market for animated films isn’t really moving. Kids that are watching these films generally aren’t the ones downloading them from the internet. That may change someday, but for now, the vast majority of parents are more than willing to take their kids to the cinema. Unlike say, an R rated film, whose potential audience may just decide to download the film from the internet before it is even released and skip themselves a heck of a lot of hassle. The point is, the market is actually growing (slowly) so until we see a rapid upswing in the number of animated films, it is highly unlikely that the market is saturated.

 

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The Brilliant Opportunity That Mars Needs Moms Offers Disney

Via: Mayerson on Animation

At this point, we should have all read the headlines and the aftermath of what appears to be one of the biggest flops in recent years. However, from what I have read, it would appear that things are mostly focused on the rather unnerving presence of the characters in the uncanny valley more-so than any other aspect of the movie. Rotten Tomatoes has a good smattering of both sides. It seems the story is actually pretty decent and overall, it’s not the worst film ever released. It’s just the characters are so darn fugly.

With the prospect of writing off somewhere in the region of $150 million or more, there would appear to be very few options open to the studio for this rejected project.

Such a statement is true, if looked at in the traditional sense of release windows, DVD sales, cable TV rights and so forth (yeah, broadcast networks figure in ‘so forth’ although they would take the place of cable in Europe).

What if say, Disney looked at this ‘failure’ as an opportunity? “Impossible!” I hear you say. Ah, but such failure can often force companies to experiment and explore new methods of revenue.

For example, the film’s already lost money at the cinema, and is unlikely to reap back its cost in DVD sales either. Would you not agree that this represents a great opportunity for Disney to experiment with online streaming? No, not the kind it does already, but with real, honest-to-goodness online streaming, where everyone can watch and share without restriction?

The film’s already lost money so that is now a sunk cost, they’ll never get that back, but they can focus on exposure. Again, from what I’ve read, the film isn’t as bad as it’s made out to be. Perhaps it’s just because the film’s core audience has not been found yet.

Such an experiment is unlikely to cost them much and it would be useful in allowing the company to figure out where revenue can be made online. They could even play around with things. Like say, “watch Mars Needs Moms online and earn the chance to purchase a signed poster!” or something like that. There are plenty of ways of offering incentives to fans and sadly, a conglomerate like Disney has long since lost the knack of seeking out and exploiting such revenues.

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Irish Week: Do All Dogs Go To Heaven?

It’s that time of the year again, when everyone pretends to be Irish and the real Irish milk it from the American tourists for all it’s worth. St. Patrick’s Day is on Thursday so until then, this post is part of a series on Ireland and Irish-related animation. You can browse the full series here.

Via: Wikipedia

I’m afraid my time has been squeezed for today’s post so instead, I am suggesting you all go out and watch All Dogs Go To Heaven, a film that was (for the most part) produced in Dublin. My memory of it is fairly hazy but feel free to comment below if you have any thoughts on the film. Hopefully we can get a nice wee discussion going. 🙂

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Has Pixar Jumped The Shark With The Posters For Cars 2?

Via: The Animation Blog

Some say the bigger question is whether Pixar will jump the shark with Cars 2 itself, but it is still too early to tell. However, when it comes to the promotional posters, I think they’ve already done it.

The reason is simple, the posters are rather lackluster in overall design. Don’t get me wrong, they look nice, but if you’re going to ape classic Grand Prix posters, you might as well do it right.

As far as I know, Cars 2 involves a world-wide race of some sort, so it would seem like a great idea to release a few posters featuring the characters in famous cities around the world, right? Yes, of course. Pixar has been here before with the Wall-E and UP teaser posters (created by Eric Tan) that it released before those films hit the cinemas. Personally, I think they’re a great idea to drum up support from the fans and to promote the film in a slightly different and off-beat manner.

So far they has succeeded. The posters for Wall-E had a kind of quirky, Googie-like charm to them and the UP posters relied heavily on the old travel ads of the past to make light of the film’s plot.

However, when it comes to Cars 2, I think they’ve missed the mark only slightly. The main elements are certainly there. The car at the forefront, the background definitely waaay in the back. There’s no chance of mistaking where the action is or what is going on.

The main problem that I can see, though, is the character themselves. It’s just them! Sure there are a few cars in the background racing along, but for the most part, it is just a single character with a few speed lines drawn in to show that they are supposed to be moving.

How does that compare with a real Grand Prix poster? Check out the samples below.

Via: Wikipedia

Via: AllPosters.com

A race to the finish line? A duel to the death? I certainly think so. There is so much more action portrayed, so much more excitement! I want to see that Grand Prix! Just be thankful I can’t find the poster where the car literally has flames coming out the back of it!

So you see why I think the Cars 2 posters are a bit tame. They allude to the great posters of the past, but they are, at best, a timid recreation with none of the excitement and drama of the real thing. Cars 2, by the sounds of things, could certainly have benefited from a harder edge but perhaps that was vetoed by someone along the line.

So how far off are they? Check out this poster for the antique Monaco Grand Prix held last year. A thoroughly modern poster but with all the classic elements of the genuine article. It can be done.

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Is Luc Besson Stirring Up Some Animated Goodies?

Via: /film and Bleeding Cool

By the looks of the image above, yes he is.

By the looks of things, ‘A Monster in Paris’ may turn out to be an interesting sort of film. I don’t know about you, but the first thing that popped into my head was Gru from Despicable Me. Must be the broad shoulders.

As /film points out, there is still little if any info on the plot so for now, we’re left guessing and it is still early stages as the film isn’t scheduled to be released until late this year (2011) in France with a wider release after that. Hopefully we’ll have the full details soon. I’m curious to see how the differences between American and European CGI films have changed over the years.

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What If Disney Had Produced Pixar Sequels Instead?

Via: Bob & Rob

The answer may be found over on the blog of Bob & Rob, otherwise known as Bob Hilgenburg and Rob Muir, screenwriting duo.The image above is from their version of Toy Story 3.

They’re recently been posting some of their work from what was known as Circle 7 over on their blog. Don’t know what that is? Never mind, I didn’t either until recently. Basically, Circle 7 was set up by Disney after their relationship with Pixar began to go south with the goal of producing sequels to the five Pixar films released under the original agreement of which Disney owned he rights to. Circle 7 was shuttered when Disney bought Pixar and was quickly swept under the rug as if it had never happened.

It is only now that we are starting to see some fragments of what could have been. While there are only stills and a short animatic-esque sequence to be had, you can piece together the jigsaw puzzle to come up with a rough idea of what things could have looked like.

Having said that, it is impossible to tell how these films would have turned out like. It’s quite possible they could have been good, like the recent Tinkerbell films, or they could have gone the other direction, as in the many, many sequels to Aladdin.

Either way, it seems that Pixar has been handed the reigns for producing the sequels now, as if to give them a sheen of authenticity and pedigree. I remain to be convinced however.

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David OReilly’s Freudian Review of Tangled

Disclaimer: I don’t normally post stuff that isn’t suitable for all ages but this is a slight exception. Exercise restraint if you are easily offended!

Yesterday (Thursday), in an amusing hour and a half, David OReilly (the Irish fella that has a wicked sense of humour, and who made these films) watched Tangled. He tweeted his thoughts as follows:

http://twitter.com/davidoreilly/status/43354415456976897

http://twitter.com/davidoreilly/status/43356373060292609

http://twitter.com/davidoreilly/status/43358448968155136

http://twitter.com/davidoreilly/status/43363060357926912

http://twitter.com/davidoreilly/status/43367503044419584

http://twitter.com/davidoreilly/status/43386156641038336

Lastly his recommendation:

http://twitter.com/davidoreilly/status/43388148054626304

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