Tag Archives: Pixar

Incredibles Animated Sequel

incredibles_2Dis­ney CEO Bob Iger con­firmed to the Dis­ney share­holder meet­ing that Pixar is actively work­ing on a sequel to their 2004 hit film The Incred­i­bles. While very lit­tle other infor­ma­tion was released, Iger did state the orig­i­nal direc­tor Brad Bird was work­ing on the script for The Incred­i­bles 2. Iger also men­tioned the stu­dio is in work on a sec­ond sequel to Cars, Cars 3.

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Good Dinosaur Woes Continue at Pixar

dinosaur1Pixar’s mis­for­tune asso­ci­ated with the ill-fated ani­mated film The Good Dinosaur seem to be con­tin­u­ing. A short two months after announc­ing that the fea­ture would be held back a year– and only three since chang­ing up the films direc­tor– Pixar is lay­ing off 50–60 artists asso­ci­ated with the film at its Emeryville, Calif., headquarters.

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PIXAR Shutters Canadian Studio

Pixar-CanadaThree short years after open­ing it’s first satel­lite stu­dio in Van­cou­ver, Pixar announced that the stu­dio is to be shut down. The stu­dio was located in the Gas­town area of Van­cou­ver, which has seen a recent boon in ani­ma­tion shops that have recently moved to the Cana­dian town. “A deci­sion was made to refo­cus oper­a­tions and resources under the one roof,” said Dis­ney spokesper­son Barb Math­e­son from Toronto. Dis­ney is the par­ent com­pany of Pixar. Approx­i­mately 100 artists and employ­ees are now unem­ployed by this unex­pected news.

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Pixar Looking Dry in 2014

dinosaur1For the first time since 2005, Pixar will not have a fea­ture film release in a cal­en­dar year. Dis­ney has just announced that the trou­bled pro­duc­tion The Good Dinosaur has been pushed back to a 2015 release date, leapfrog­ging over Inside Out. This is the sec­ond release date roll back for the film, orig­i­nally intended for this hol­i­day sea­son. Disney’s Frozen took that slot.

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Cartoon for the Day: One Man Band

One Man Band

One Man Band

While it was eight years ago today that PIXAR released One Man Band, it almost another half year for any­one to see it. Well, any­one that wasn’t in France at Annecy, at least. DO you remem­ber what film this was ulti­mately paired with for it’s the­atri­cal release?

Like most PIXAR shorts, the story was short… and the char­ac­ters sweet. Two street per­form­ers com­pete for a small child’s last coin.

Release date reflects first show­ing at the 29th Annecy Inter­na­tional Ani­mated Film Fes­ti­val in Annecy, France. Gen­eral release was attached to PIXAR Films Cars on June 9, 2006.

Vio­lin­ists who “por­trayed” the char­ac­ters are Clay­ton Haslop (“Tre­ble”) and Mark Robert­son (“Tippy”). The score was recorded at the Para­mount Scor­ing Stage uti­lized a 38-piece orches­tra as well as the two soloists.

Brave wins Golden Globe for Best Animated Feature

Golden Globe

Golden Globe

The highest-grossing ani­mated film of 2012 won the Golden Globe Award for Best Ani­mated Fea­ture Film on Sun­day night.

Brave, co-produced by Pixar Ani­ma­tion Stu­dios and Walt Dis­ney Pic­tures, made $237.2 mil­lion in North Amer­ica alone to have the seventh-highest gross of any movie — ani­mated or oth­er­wise — released last year.

It won out in the cat­e­gory over fel­low Dis­ney releases Franken­wee­nie (Walt Dis­ney Pic­tures) and Wreck-It Ralph (Walt Dis­ney Pictures/Walt Dis­ney Ani­ma­tion Stu­dios; Walt Dis­ney Pic­tures), as well as nom­i­nees Hotel Tran­syl­va­nia (Colum­bia Pictures/Sony Pic­tures Ani­ma­tion and Rise of the Guardians (Dream­Works Ani­ma­tion LLC).

Brave direc­tor Mark Andrews received the Golden Globe from come­dian Sacha Baron Cohen, who feigned drunk­en­ness onstage.

Holy cow! Being brave is about being true to your­self and allow­ing your loved ones the same free­dom,” said Andrews.

The Golden Globes are pre­sented by the Hol­ly­wood For­eign Press Asso­ci­a­tion. Sunday’s awards cer­e­mony aired live on NBC.

3 Animated Features up For British Academy Awards

British Academy of Film and Television Arts (BAFTA)

British Acad­emy of Film and Tele­vi­sion Arts (BAFTA)

Brave,” “Franken­wee­nie” and “Para­Nor­man” are the three nom­i­nees announced Wednes­day in the Ani­mated Film cat­e­gory of the EE British Acad­emy Film Awards, also known as the BAFTAs.

Mark Andrews and Brenda Chap­man were sin­gled out for recog­ni­tion for Brave. Direc­tor Tim Bur­ton was named in con­nec­tion with Franken­wee­nie, while Sam Fell and Chris But­ler were cited for Para­Nor­man.

In the cat­e­gory “Out­stand­ing Debut By a British Writer, Direc­tor or Pro­ducer,” direc­tor James Bobin is nom­i­nated for his role in Disney’s partly ani­mated The Mup­pets.

For Short Ani­ma­tion, the nom­i­nees are Here to Fall (Kris Kelly and Eve­lyn McGrath), I’m Fine Thanks (Eamonn O’Neill) and The Mak­ing of Long­bird (Will Ander­son and Ainslie Henderson).

The British Acad­emy Film Awards are sim­i­lar to the Oscars in the United States.

Lin­coln received 10 nom­i­na­tions, the most of any film. Lin­coln is nom­i­nated for Best Film, Adapted Screen­play, Orig­i­nal Music, Cin­e­matog­ra­phy, Pro­duc­tion Design, Cos­tume Design and Make Up & Hair. Daniel Day-Lewis is nom­i­nated for Lead­ing Actor, Tommy Lee Jones is nom­i­nated for Sup­port­ing Actor, and Sally Field is nom­i­nated for Sup­port­ing Actress.

The EE British Acad­emy Film Awards take place Sun­day, Feb­ru­ary 10 at the Royal Opera House, Covent Gar­den, Lon­don. The cer­e­mony will be hosted by Stephen Fry and will be broad­cast exclu­sively on BBC One and BBC One HD, pre­ceded by a red car­pet show on BBC Three. The cer­e­mony is also broad­cast in all major ter­ri­to­ries around the world.

The awards are pre­sented by the British Acad­emy of Film and Tele­vi­sion Arts (BAFTA), an inde­pen­dent char­ity that sup­ports, devel­ops and pro­motes the art forms of the mov­ing image by iden­ti­fy­ing and reward­ing excel­lence, inspir­ing prac­ti­tion­ers and ben­e­fit­ing the public.

Blue Umbrella serves as cover for Monsters U.

The Blue Umbrella

The Blue Umbrella

To be released just before the new fea­ture film Mon­sters Uni­ver­sity on June 21, the six-minute short Blue Umbrella will be the first Pixar film to be made by one of its tech­ni­cal artists.

Cam­era and stag­ing artist Saschka Unseld is the direc­tor. Amidst the rain in a singing city, two umbrel­las -– one blue, one red -– fall eter­nally in love.

The blue umbrella notices and takes a shine to the red umbrella. Dis­tance and nat­ural forces halt their attrac­tion, but objects on the street — such as con­struc­tion signs and a mail­box — come to life to help bring them together again.

Unseld, 36, is a Ger­man native who began work­ing with Pixar in 2008. He got the idea when walk­ing in San Fran­cisco and spot­ting an umbrella lying in the gut­ter on a rainy day.

It was the sad­dest thing. I stood there and won­dered what had hap­pened to him. I think that was when I got the idea of giv­ing him a story,” he recalled.

At first, Unseld got ideas for char­ac­ters by tak­ing iPhone pic­tures on San Fran­cisco and New York streets. He asked col­leagues to do like­wise when they went to such places as Chicago and Paris. One char­ac­ter in the film was inspired by his photo of a man­hole cover just two from his San Fran­cisco home.

Mean­while, he was lis­ten­ing to singer Sarah Jaffe’s music. While shoot­ing an ani­ma­tion test on his iPhone, he timed it to her voice.

Jaffe can be heard in the final film: “She’s been there for me since the inception.”

A pho­to­re­al­is­tic look was needed, accord­ing to Unseld: “If we made it styl­ized and car­toony, the magic of those things com­ing to life would be com­pletely gone.”

This entailed tech­niques not pre­vi­ously used by Pixar: global illu­mi­na­tion, in which light is sim­u­lated as being emit­ted and reflected off sur­faces, and deep com­posit­ing, where images hold­ing three-dimensional data are lay­ered. This results in deeper plays between light and shadow, and greater depth of field.

As well, Unseld slowed film­ing to 12 frames per sec­ond — half the usual rate for movies — at some points. He also var­ied expo­sure times, thus result­ing in dif­fer­ent rhythms of rain.

Unusu­ally, Unseld was direct­ing some of his ear­lier cam­era and stag­ing co-workers. Often, he said, he felt guilty when he would send them back with many notes for revi­sions after they had show him their work.

If you give some­one all that feed­back to do all that work, I was used to doing part of that work. Here, I just had some­one go off and do all that work by him­self. That was a very new expe­ri­ence for me,” he said.

At the same time, how­ever, he con­sid­ered his back­ground advan­ta­geous for good com­mu­ni­ca­tion with them. “If you work in one of those tech­ni­cal depart­ments, it’s really nice if you have a direc­tor who really under­stands you because you can talk the same lan­guage,” he said.

A clip from The Blue Umbrella can be seen on our web­site now.

Cartoon of the Day: Tokyo Mater

Tokyo Mater

Tokyo Mater

Release with the Dis­ney fea­ture Bolt, Tokyo Mater was part of Pixar’s Cars Toons series based on the char­ac­ters from the hit movie Cars. This series of short car­toons fea­ture the char­ac­ters Mater and Light­ning McQueen in var­i­ous the­atri­cal shorts.

In Tokyo Mater a rou­tine tow­ing assign­ment lands Mater in Tokyo where he is chal­lenged to a drift-style race against a nefar­i­ous gang leader and his posse of nin­jas. With the help of his friend, “Dragon” Light­ning McQueen, and some spe­cial mod­i­fi­ca­tions, Mater attempts to drift to vic­tory and become “Tow-ke-O Mater, King of all Drifters.”

Pre­miered on The Dis­ney Chan­nel on March 12, 2010.

The fourth released in the “Cars Toons” series. The “Cars Toons” shorts debuted in Octo­ber 2008 and reached 78.3 mil­lion unique total view­ers in 2009, includ­ing 26.6 mil­lion among tar­get age group kids 2–11.

Netflix, Disney Announce Feature Film Agreement

Walt Disney Studios

Walt Dis­ney Studios

Net­flix Inc. and The Walt Dis­ney Com­pany announced Tues­day a new multi-year licens­ing agree­ment that will make Net­flix the exclu­sive United States sub­scrip­tion tele­vi­sion ser­vice for first-run ani­mated and live-action fea­ture films from The Walt Dis­ney Studios.

Begin­ning with its 2016 the­atri­cally released fea­ture films, new Dis­ney, Walt Dis­ney Ani­ma­tion Stu­dios, Pixar Ani­ma­tion Stu­dios, Mar­vel Stu­dios and Dis­ney­na­ture titles will be made avail­able for Net­flix mem­bers to watch instantly in the pay TV win­dow on mul­ti­ple plat­forms, includ­ing tele­vi­sion, tablets, com­put­ers and mobile phones. Also included in the agree­ment are high-profile Dis­ney direct-to-video new releases, which will be made avail­able on Net­flix start­ing in 2013.

Sep­a­rately, Dis­ney and Net­flix have reached agree­ment on a multi-year cat­a­log deal that brought to U.S. Net­flix mem­bers Tues­day such beloved Dis­ney movies as the ani­mated Dumbo, Poc­a­hon­tas and Alice in Won­der­land.

Dis­ney and Net­flix have shared a long and mutu­ally ben­e­fi­cial rela­tion­ship and this deal will bring to our sub­scribers, in the first pay TV win­dow, some of the highest-quality, most imag­i­na­tive fam­ily films being made today,” said Ted Saran­dos, chief con­tent offi­cer at Net­flix. “It’s a bold leap for­ward for Inter­net tele­vi­sion, and we are incred­i­bly pleased and proud this iconic fam­ily brand is team­ing with Net­flix to make it happen.”

With this cutting-edge agree­ment, we are thrilled to take our highly val­ued rela­tion­ship with Net­flix to the next level by adding Disney’s pre­mier films to their pro­gram­ming lineup,” said Disney-ABC Domes­tic Tele­vi­sion pres­i­dent Jan­ice Marinelli. “Net­flix con­tin­ues to meet the demands of its sub­scribers in today’s rapidly evolv­ing dig­i­tal land­scape, and we are delighted that they will have much ear­lier access to our top-quality and enter­tain­ing slate,” she continued.

Finan­cial terms of the agree­ment were not disclosed.