Going into the weekend, Oz the Great & Powerful has raked in $155,528,133 domestically, and an additional $136,800,000 worldwide, so it’s a certified success, despite the $300 million it took to make and market.
Walt Disney Studios has released the Opening Sequence to the Sam Raimi-helmed film and it’s worth a look if you have yet to see it in the theater.
[youtube]http://youtu.be/wvsQE3FRoLE[/youtube]
Disney’s fantastical adventure Oz The Great & Powerful, directed by Sam Raimi, imagines the origins of L. Frank Baum’s beloved wizard character. When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he’s hit the jackpot—fame and fortune are his for the taking—that is until he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who are not convinced he is the great wizard everyone’s been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out who is good and who is evil before it is too late. Putting his magical arts to use through illusion, ingenuity—and even a bit of wizardry—Oscar transforms himself not only into the great wizard but into a better man as well.
When small-time magician Oscar Diggs (James Franco) pulls one flimflam too many, he finds himself hurled into the fantastical Land of Oz where he must somehow transform himself into the great wizard—and just maybe into a better man as well.
Instead of having a calendar, I have a newspaper (kids: ask your parents). If it’s Tuesday, it’s Science Times. Wednesday it’s Dining. Thursday, my favorite, has Style and Home. Friday is two Arts sections. Saturday is Charles Blow.
And Monday shines a spotlight on the commerce in media in the business section.
This is great for me, because I write this column on Tuesday. This week, there was a discussion of the new Disney film, Oz the Great and Powerful, opening this weekend. It’s a big gamble for Disney, investing in characters they don’t own, at a time when many expensive fantasy films have not performed to expectations (I’m looking at you, Jack the Giant Slayer).
Hollywood is always looking for the next big thing. At the same time, the people making the financial decisions can be very conservative, especially when we’re talking big-budget special effects. So I guess what I mean is, Hollywood is always looking for the next big sure thing.
The problem is that money people are not always good judges about what the public will like. If it was only a question of appealing to the lowest common denominator, that would be simple, and the multiplex would play all Twilight all the time. That might bring in a steady rate of return, but eventually, the public would get bored and want to see something else. And that something else might cost a lot less than Twilight, and, while that movie not make Twilight money, would make a much more for each dollar invested.
This is why the movie companies look for ideas in other media. This is why they adapt stories from novels, or television shows, or even comic books.
Which brings me to the other story in Monday’s paper. David Carr wrote about The Walking Dead, and how it is more successful on cable’s AMC than many shows on the broadcast networks.
I haven’t been reading the comic, although Robert Kirkman is one of my son’s favorite writers. Still, I’m not surprised the show is so successful. Through dozens of issues, Kirkman wrote characters that appealed to people, that engaged them in a story. Other comics have spawned successful series on television, including Superman (with and without Lois in the title), Superboy, Flash, the Incredible Hulk and Green Arrow.
Comics have been less consistently successful as movies, and I think that’s because the producers do not have to rely as much on character. They seem to think a few good fight scenes will make up for ridiculous plots and people. Look at the difference in the way the Hulk was portrayed on television and on screen right up until The Avengers.
I think the difference is that Joss Whedon understands comics and why they are appealing. He’s actually written them. He has respect for the idea that the action flows from the character, not the other way around. He knows how to tell a character that has proven herself.
Which brings me to this week’s other hot topic. My old pal, Jerry Ordway, wrote a blog post about how difficult it is for comic creators of a certain age to get work. Jerry worked on the death and return of Superman story lines, the bestselling comics of all time. He continues to do work of excellent quality, but because he’s not the flavor of the month, he can’t get any assignments.
Other mass-market entertainment doesn’t play by these rules. Yes, it’s smart to always be scouting hot young talent, because it’s hot and it’s young. Even so, booksellers always want the next Stephen King book, or John Grisham, or J. K. Rowlings, and iTunes pushes Elvis Costello and Judy Collins. Martin Scorsese and Steven Spielberg still make movies.
The market appreciates proven talent because, well, it’s been proven. It would be great if comic book companies appreciated it too.
For those who can’t wait to see it on the big screen with Oz the Great and Powerful this weekend, Disney has released the new Iron Man 3 trailer online.
Marvel’s Iron Man 3 pits brash-but-brilliant industrialist Tony Stark/Iron Man against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man?
Starring Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Stephanie Szostak, James Badge Dale with Jon Favreau and Ben Kingsley,Marvel’s Iron Man 3 is directed by Shane Black from a screenplay by Drew Pearce & Shane Black and is based on Marvel’s iconic Super Hero Iron Man, who first appeared on the pages of Tales of Suspense” #39 in 1963 and had his solo comic book debut with The Invincible Iron Man #1 in May of 1968.
Genre: Action-adventure
U.S. Release date: May 3, 2013
Cast: Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Rebecca Hall, Stephanie Szostak, James Badge Dale with Jon Favreau and Ben Kingsley
Director: Shane Black
Producer: Kevin Feige
Executive Producers: Jon Favreau, Louis D’Esposito, Charles Newirth, Victoria Alonso, Stephen Broussard, Alan Fine, Stan Lee, Dan Mintz
Screenplay by: Drew Pearce & Shane Black
Hair Shirt By Patrick McEown Abrams/SelfMadeHero, 119 pages, $24.95
A second chance at love or happiness is often cause for celebration, but as Patrick McEown explores in his graphic novel Hair Shirt, it is not always for the best. From the murky cover color through the final page, the book’s emotional spectrum tends towards the dark and troubled.
We’re in a non-descript, unnamed city when John, a college student seemingly scared of everything, chances upon Naomi, a childhood friend who always represented the promise of more. As they take up with one another again, their other connections with the world drop away and McEwon tightly focuses on what they bring to the relationship and what they bring out of the other.
Growing up, John and Naomi’s older brother were best of pals, doing everything together. That is, until the family relocated across town for some unexplained by clearly sinister reason. Chris and John reconnected in high school and by then the damage was done; they were completely different people with little in common. Chris was a troubled adolescent, hinting at abuse which was masked through obnoxious behavior. As a result, John drifted towards a deeper, more interesting relationship with the shy, and equally damaged Naomi.
After Chris dies, a victim of a car accident, the mother and Naomi flee for the west coast and she vanishes from John’s life. McEown shows us that neither can fully let go of their personal demons but merely hints at them, without really showing us what makes them tick. As a result, the hair shirt he metaphorically knits, the symbol of penance, makes little sense. We’re at least given hints what happened to Naomi; what made turned John into an introspective loner is never explored or explained.
Similarly, McEown, whose work captured our attention with Grendel: Warchild and went on to a varied career that stretches from Disney Adventures Magazine to storyboarding Batman Beyond uses a very muted color palette from beginning to end. Despite the heavy paper stock, some of the pages are just too dark to properly make out what’s happening. The various flashbacks probably could have benefitted from
Neither character appears to have a direction with their studies, nor do they seem to attend classes or do homework, but instead try to figure out what has happened to them. Naomi is nowhere near as annoying or self-destructive as her brother, but the trauma she endured in the past also prevents her from properly loving John. Instead, she keeps egging him into a physical relationship with Shaz, a zaftig mutual friend.
Additionally, the razor thin balloon tails can disappear inside the dark colors so some of the conversations between characters can be difficult to follow. There’s a lot left unsaid and open for interpretation so this emotionally wearing story could benefit from clarity wherever possible.
This is anything but your typical romance given how damaged both protagonists are but it’s also hard to find someone to root for given how dysfunctional they are. For John at least, the story’s conclusion offers us a glimmer of hope while poor Naomi is left with her inner demons, the one person who understood her now driven away.
This is bleak, difficult territory and despite the dark colors, McEown’s artwork is emotionally evocative and his dialogue has a nice natural ring to it. Love is never simple but it’s clearly what most everyone is seeking, even in the dismal city where memories are as vivid as the people close by.
BURBANK, Calif. (February 28, 2013) – Dane Cook has been tapped to voice the lead character Dusty, a plane with high hopes in Disney’s Planes. Inspired by the world of Cars and directed by Disneytoon Studios veteran and aviation enthusiast Klay Hall (King of the Hill, The Simpsons), Disney’s Planes is an action-packed 3D animated comedy adventure about Dusty’s dream of competing as a high-flying air racer—and his decidedly unfortunate fear of heights. The film takes off in theaters in 3D on Aug. 9, 2013.
“Dane Cook brings unmatched charisma and brilliant comedic timing and instincts to the character,” said Hall. “He gives Dusty a great edge.”
Cook is well known for his appearances on Comedy Central and HBO specials, and for his successful comedy albums. He recently guest starred on Louie opposite Louie C.K., and his film credits include starring roles in a host of films, including My Best Friend’s Girl opposite Kate Hudson, Dan In Real Life opposite Steve Carell, and Mr. Brooksopposite Kevin Costner. The actor/comedian just signed a deal with NBC Entertainment and Universal Television to develop a new project starring Cook.
The all-new story offers an exciting cast of characters and centers on Dusty’s high-flying dream. But Dusty’s not exactly built for racing, so he turns to a seasoned naval aviator who helps Dusty qualify to take on the defending champ of the race circuit. Dusty’s courage is put to the ultimate test as he aims to reach heights he never dreamed possible, giving a spellbound world the inspiration to soar. The film is produced by Traci Balthazor-Flynn and executive produced by John Lasseter.
Of all the classic animated films, Peter Pan may be the one that has spread its influence furthest. From James Kirk’s reference to the second star on the right to Michael Jackson’s compound being called Neverland, the enduring story of the boy who didn’t want to grow up resonates with us all.
Walt Disney has shined its latest crown jewel to a brilliant luster in the Diamond Edition release of Peter Pan, a combo pack featuring Blu-ray, DVD, and Digital copy (along with a Storybook app for tablets). Said to be one of Disney’s favorite stories, he intended it to be among his earliest releases but circumstances delayed it from being completed until its 1953 release. As a result, some of the lush rotoscoping we saw in Snow White is replaced with complete hand-drawn animation, but it also means some of the figures, from Smee to the Lost Boys are exaggerated and cartoony.
Still, the film moves nicely and takes us on a grand adventure as we quickly move from London to Neverland, from pirates to Indians, all set to one of the strongest scores of the Disney treasure trove. Everyone loves the notion of never having to grow up, take on adult responsibilities, and the problems that come with them. As with all Disney adaptations, it takes great liberties at times with the source material, which means entire generations incorrectly recognize this as the canonical version. One of the charming additions to the original 1904 J.M. Barrie play that Disney used as the template, moreso than the prose versions that followed, was having George, the father, note he too once saw Peter when he was a boy.
The film is a delight to see once more even though critics will decry the stereotypical appearance of Tiger Lily and the Indians. Thankfully, we also understand that the underlying stories were a product of their time and certain allowances can be made without getting all PC.
The timeless tale works because of the story, the music and the fine voice work of Hans Conried (father/Hook), leading a cats that also includes Bobby Driscoll (Peter). Kathryn Beaumont (Wendy), Paul Collins (John) and Tommy Luske (Michael).
The transfer from film to high definition is pretty flawless and only the true connoisseurs will recognize the modest color modifications made during the restoration process in this, the seventh jewel in the Diamond collection. There remains a richness to the color that can be tricky to preserve so kudos to the team. Even better is the sound mix, preserving the score and songs, sound effects and dialogue.
Diane Disney-Miller introduces us to the usual trove of extra material, the highlight of the program. Roy Disney is represented with his audio commentary, picked up from the Platinum release. If you haven’t heard it, he nicely recounts many of the stories behind the film’s evolution.
Growing Up with Nine Old Men (41 minutes): The nine key animators to work under Walt and to train the next two or three generations of talent are given their due in this piece. There is a nice assortment of Deleted Songs and Scenes (15 minutes), rescued from the Disney Vault, two deleted scenes and two deleted songs, presented using the original storyboards, concept art, rough cel elements and key frames. The previous DVD Bonus Features are here so this is as comprehensive a collection of Peter Pan material as you are going to find. For parents sharing the disc with their children, there is the optional Disney Intermission so you can pause the film and keep the kids entranced with clips and activities.
We’re less than a month away from the release of Sam Raimi’s Oz the Great and Powerful, coming from Disney on March 8. Can James Franco make us forget Frank Morgan’s indelible performance as the Wizard in 1939’s classic MGM musical version of L. Frank Baum’s immortal novel? No one is sure yet but the trailers look cool and here’s a just-released clip for you to sample.
[youtube]http://youtu.be/c1u5r1CXcLE [/youtube]
Disney’s fantastical adventure Oz The Great and Powerful, directed by Sam Raimi, imagines the origins of L. Frank Baum’s beloved wizard character. When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he’s hit the jackpot—fame and fortune are his for the taking—that is until he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who are not convinced he is the great wizard everyone’s been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out who is good and who is evil before it is too late. Putting his magical arts to use through illusion, ingenuity—and even a bit of wizardry—Oscar transforms himself not only into the great wizard but into a better man as well.
Oz The Great and Powerful is produced by Joe Roth, with screen story by Mitchell Kapner and screenplay by Mitchell Kapner and David Lindsay-Abaire. Grant Curtis, Palak Patel, Josh Donen and Philip Steuer are serving as executive producers. “Oz The Great and Powerful” opens in U.S. theaters on March 8, 2013.
Walt Disney Animation sets hearts aflutter with their charming blend of hand-drawn and computer animated short Paperman. This short ran last year with Wreck-It Ralph, making for a double-barreled win for the stuido.
Here is a chance to see it for the first or fifth time and it’s perfect to share with your Valentine on this red letter day.
Greetings, past-dwellers. Tis I, Marc Alan Fishman, the sage of the future! I traveled here to the past, via my patented DC Direct TimeSphere. It was only $299.99 at my local comic retailer (which in the future is just Amazon Prime…)! I come to you, this random Saturday morning, on a mission from ComicMix 8.0. I’ve come to give you hope that in 2013, everything changes. Hold on to your bow ties, time lords. Let me give you the glimpse of what will become of your industry.
In 2013, the rumblings began. You see every time a creator got uppity in the past, they dropped those immortal words: “Creator-owned is the future, man.” And every time those creations (not of Marvel or DC, mind you) became one with the zeitgeist, the word revolution spread across the artist alleys of convention floors like a plague. Ah, I know. I know. You say “but that means nothing, FutureBeard… no one will ever take down the Man!” And, in a sense, you are right. The Man, thanks to lucrative movie franchises only made the big two stronger. Much like Coke and Pepsi, so too grew Disney and Warner Bros. until they were simply entertainment forces of nature. But therein lies the seeds of change.
It will all happen so slowly, you may not notice it. DC’s New52 and Marvel Now continued to polarize the ever-aging fanbase. The movies and TV series connected to them (both live action and cartoon) never lead to direct increases in comic book sales. They were, in essence, two distinct media with distinct audiences. It took a while to figure out ourselves… but our NerdVerse Historian, King Alan Kistler decried it, and it was written; while there will always be crossover, there wasn’t (and will never be) a movie or comic to unite them all.
And with that knowledge, spreading like primordial ooze across the vast lands of Nerdtopia, came with it the paradigm shift.
Through careful and meticulous planning and the support of the not-as-big-as-you’d-hope-but-still-pretty-big fan base… established creators turned towards indie-or-self-publishing outlets. Crowd-sourced, and then sold for profit directly towards their bottom line, these creators proved that even without a corporate overlord signing a check… a meager living could be made. And this is how the pebble begins to roll down the mountain.
When those small books became big hits, their creators soon became corporations unto themselves. And then, those same creators, backed by their cultivated fan base, combined into local studios to consolidate their power. No longer mere islands adrift in freelance work, these micro-states began dictating what they published on their own terms. And yes, even on the outskirts of these creator-states… smaller unknown (cough… cough… unshaven…) studios took to the same open road and formed bonds that could not be broken. And now, from the future where I come to you, I’m proud to say that the industry has never been stronger, where creators are no longer afraid to present their own ideas… and take home enough to support continuing doing it again.
Now, don’t cry for Marvel or DC. They still have a large foothold of the rack-space. But their talent pool is a wide berth of only the young unknowns, and the old guard who chose never to leave. The young, lured in by the shiny opportunity. The old, still fearing the unknown, and clinging to the terrible contracts that deny them anything more than pittance while their creations bring in countless millions in other mediums.
And yes, occasionally some of the Indie Nation takes on an old favorite. And they sell magnificently. But here in the future… after that tale has been told, they are reenergized to return to their own pocket universes. It’s a glorious time for sequential fiction. It happened in dribs and drabs over the aughts. Image’s old image (heh) of splashy pastiche universes gave way to intelligent, and brilliantly crafted mini-series. Dark Horse, IDW, Boom!, Avatar, Dynamite, and others began looking towards those self-sustaining garage bands in the artist alley and gave them a powerful ally to help build their brands.
The Internet, social media, and most important, peer-to-peer connections via conventions spread the word of the DIY-revolution. Indie comic creation became the new rock-and-roll. And 2013 my friends… was where those faint rumblings began to move the needle towards the utopia I live in now. Suffice to say: keep your eyes and ears open. More importantly: keep supporting your favorite creators when they make the leap away from the dark side.
I should also note, in case you’re curious:
Superman ditched the Nehru collar. Grant Morrison’s consciousness was transferred to a super-computer. Rob Liefeld eventually got his eyesight checked, and realized the error in his proportions. He redrew every ounce of work he produced up until 2015. Afterwards, his wrist looked like Cable’s, circa 1996. Unshaven Comics optioned the rights to the Samurnauts to Sony Pictures. Brad Bird directed the first of 17 successful films. Subsequently, Unshaven Comics erected a 75 foot golden beard in the heart of downtown Chicago.
And, finally, Alan Moore eventually forgave DC. Shortly after, he ascended to Snake Mountain and has since lived as the NecroLord of Fourth Realm. He still puts out books every year, and they are still amazing.
You won’t need magical powers to take a journey down the Yellow Brick Road; just point your favorite browser to the latest Chrome Experiment, “Find Your Way to Oz.” Developed in collaboration with Disney and UNIT9 in anticipation of the upcoming film, Oz The Great and Powerful, this experiment takes you through a dusty Kansas circus and leads to a vibrant land, following in the footsteps of the Wizard himself.
[youtube]http://youtu.be/_2iDDI6Stx0[/youtube]
Like any good circus, there’s plenty to keep you entertained: compose your own music, play with a fun photo booth and create your own movie with a zoetrope. The path to Oz also involves confronting an ominous tornado; surviving it completes the journey, enabling fans of the movie to watch an exclusive unreleased clip from the film.
Chrome Experiments like “Find Your Way to Oz” would have been impossible a few years ago. Since that time, the web has evolved and allowed developers and designers to create immersive beautiful experiences. For “Find Your Way to Oz” the 3D environment was built entirely with new technologies such as WebGL and CSS3. It’s enhanced by rich audio effects thanks to the Web Audio Application Programming Interface (API). The photo booth and zoetrope were built using the getUserMedia feature of WebRTC, which grants webpages access to your computer’s camera and microphone (with your permission).
For the best experience, you’ll need to use an up-to-date computer built to handle intense graphics. It also works best with a webcam and a modern browser that supports WebGL and WebRTC, like Chrome. The experience also works best on For tablet or smartphone users, we have a smaller scale yet equally enjoyable experience that you can try with the latest Chrome browser on your Android device, iPhone or iPad.
If you want to learn more, or run away and join the developer circus, you can get an explanation of the technologies used on the Chromium blog or in Google’s technical case study.
