Tagged: Disney

Hugos for Who?

Hugos for Who?

The 2007 Hugo Awards, most prized of the science-fiction awards, just might wind up in the hands of longest running s-f teevee series of all time

Three episodes of Doctor Who from the past season were nominated in the best dramatic presentation – short form category: "School Reunion," the episode that reintroduced Sarah Jane Smith and written by Toby Whithouse,  Steven Moffatt’s "The Girl in the Fireplace," where the Doctor saves Madame de Pompadour from really neat looking robots, and the season’s two-part finale, "Army of Ghosts" and "Doomsday," written by executive producer Russell T. Davies and featuring the Cybermen and the Daleks in a battle scene that made 300 look like a Disney flick.

These three shows are up against an episode of Battlestar Galactica ("Downloaded) and an episode of Stargate SG-1 ("200."). As usual, the winner will be announced at the World Science Fiction Convention, to be held in Yokohama, Japan from August 30th to September 3rd.

The new season of Doctor Who begins in England this Saturday.

Song of the South to rise again?

Song of the South to rise again?

 

Disney’s first live-action motion picture (well, mostly), Song of the South, just might see the light of day once again. Locked up tight in their well-promoted archives since 1986 and never released on video tape, LaserDisc or DVD in the United States, the subject once again was raised at their annual shareholders meeting, this time in acknowledgement of a petition drive demanding the movie’s release. The petition has attained 115,000 signatures thus far.

It should be pointed out that Disney’s fear they might be seen as actively racist has not deterred them from releasing the movie overseas, and these prints have served as the basis of the great many bootleg editions that are commonly found in this country.

“The question of Song of the South comes up periodically,” Disney CEO Robert Iger told the Associated Press. “We’ve decided to take a look at it again because we’ve had numerous requests about bringing it out. Our concern was that a film that was made so many decades ago being brought out today perhaps could be either misinterpreted or that it would be somewhat challenging in terms of providing the appropriate context.”

The movie is historically important, and, of course, there’s that annoying First Amendment thing. It stars James Baskett as Uncle Remus and Hattie McDaniel as Aunt Tempy. Ironically, there weren’t a lot of starring roles given to blacks in 1946. Baskett was quite the star in the black movie circuit.

The song Zip-a-Dee-Doo-Dah won an Oscar as best picture, and the Splash Mountain rides at the Disney theme parks were inspired by the movie.

It is believed a DVD release will make a great deal of money for the House of Mouse.

JOHN OSTRANDER: Scattershot – TV Spots

When I and Mary, my sweetie, sit around doing the couch potato thing, it’s always best to head for the commercial free stuff because it’s guaranteed that a high percentage of the commercials are going to offend her to the point of a rant. Not that the rants aren’t entertaining but I have to keep reminding her, “It isn’t supposed to make sense; it’s trying to sell something.” Or “It doesn’t work for you because you’re not the target audience.”

Generally, I try to let the commercials just wash over me without really registering them but every so often some do. On rare occasion, such as with the Mac/PC commercials, it’s because I genuinely enjoy them. More often, something sticks like tar in my mind because either a) it is incomparably stupid and/or b) my brain, warped by years of pop culture, does something with it the makers of the commercial never intended. Such as our first scattershot target.

LUNESTRA. It’s a prescription sleep aid and, in the commercial, restless people in their beds at night are visited by a luminescent green luna moths after which they close their eyes. The ad-makers, of course, want us to interpret this as Lunestra bringing gentle, natural sleep. Given the moths’ glowing green nature, however, I’ve become convinced it’s stealing their souls and that the people shown are dying. To Mary’s vast amusement (and my own) I’ve taken to screaming at the TV when these commercials come on as if it were a horror film. “LOOK OUT! IT’S STEALING YOUR SOUUUUUULLLL! FOR GOD’S SAKE – WAKE UP! OH NO! IT GOT THAT WOMAN, TOO! CAN NOTHING STOP IT?!?” Try it the next time you see the commercial; great fun.

THE CLONE OF ORVILLE REDENBACHER. When Orville Redenbacher first brought out his own line of popcorn decades ago, he also made himself the company spokesman, always telling us his popcorn was better than these others yadda yadda yadda “. . . or my name isn’t Orville Redenbacher.” Well, Orville was no spring chicken when this all started and eventually died. Recently, they brought back some of the old commercials and that was all right. Kind of a nice retro feel; I thought they worked nicely. That evolved, however, so that they got somebody made up to look like him with a make-up job that makes him look more like a Disney animatronic. And they use the same tag – “. . . or my name isn’t Orville Redenbacher.” It isn’t. We know it isn’t. This Orville has an embalmed look that makes him really creepy.

THE BURGER KING. The only creepier company spokesman on TV right now is the Burger King. You’ve seen him. Human body and an oversized plastic head that seems modeled after a young Henry VIII. The effect is like one of these licensed characters you see walking in a parade or in a theme park. Then they put him into situations that frankly make my flesh crawl. One of the commercials for BK’s breakfast line-up had a guy waking up in the morning and the Burger King was there in bed with him. The tag was “Have breakfast with the King.” The only thing I could think of was, “Dude, I don’t care how much you drank last night or how late their late night window is open, this is just wrong.” Not because the BK might be gay; it’s because he’s not human. Note to commercial makers: I don’t buy products where the commercials creep me out.

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Comic Abstraction at the Museum of Modern Art

Comic Abstraction at the Museum of Modern Art

The good news is that a big name, first tier, grown-up institution, the Museum of Modern Art, is doing a show on comic art.

 

The bad news is that we’re still being nibbled to death by ducks; the show is a rather narrow view of the medium, a look at how 13 artists are using the visual conventions associated with comic art. Sometimes it’s one convention to a practitioner; sometimes they can handle as many as a half a dozen.

 

The Modern (www.moma.org) is spiffy enough to have an online exhibition, which can at least let you in on the main ideas. I don’t have to tell you the value of staring at a wall-sized painting vis a vis a reproduction on a screen, but in this case especially you can understand the ideas at work here. If you don’t buy the idea, then you can probably skip a trip to the show. It fits in one of their smaller temporary exhibition spaces, fewer than two-dozen pieces altogether in about four rooms, artfully arranged, like spaces in the primate habitat at the zoo to seem like a few more.

 

It took me a half hour to look at it closely, most people were in and out in less time than that.

 

The Museum feels the need to expand their scope to “slapstick, comic strips and films, caricature, cartoons, and animation.” This says, to me, that, they still need to add things to comic art to make a show. It also says they are still bedeviled by the use of “comic” to refer to both the medium and a point of view. They are in sight of the transcendent critical vision here: that comic art is a medium, not a genre.

 

But that’s their contribution to critical literature; the show makes a lot more sense looking at it than reading about it.

 

As usual, the artists are ahead of the museums. They know the comic artists have great powers, most of them have been reading comics all their lives, just like the rest of us, at least in the Sunday paper. They know a speedline from a thought balloon, clean line from brushwork. They have such respect for comic art technique that most of them don’t go near it, as such, exploring instead the equally wide seas of painting.

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ROBERT GREENBERGER: Super-Heroes D2DVD to your home!

ROBERT GREENBERGER: Super-Heroes D2DVD to your home!

We’ve spent the last few weeks looking at how Hollywood operates, optioning properties, including comic books, which they think might work as a movie or television series. With the success of 300, we also paused to examine how full the calendar was getting the next few years and wondered if a glut was coming.

If that’s the case, what alternatives might there be?

Television remains skittish with comic book properties despite the runaway success of Heroes. Beyond Smallville, there are no comics-related shows on prime time and none likely to be added to the 2007-08 schedule (to be announced in May). Cable, with dozens and dozens of channels, has one: Painkiller Jane on Sci-Fi.

Animated fare, either for Saturday mornings or weekday afternoons, has turned away from comic books for source material, preferring anime imports or original productions. The last handful of attempts have not been resounding successes such as the WB’s Legion of Super-Heroes.

But there are new signs of life in the still growing Direct to DVD market, a.k.a. D2DVD. Here, producers go for the familiar as they crank out sequel after sequel on shoestring budgets and churn them out like so much shovelware, clogging the shelves at mass merchandisers from Sam’s Club to Best Buy. In 2006, D2DVD releases generated $1.3 billion in revenue, and that’s expected to grow 5% to 7% this year, according to Variety.

This is fertile ground for all the comic book publishers but so far only the majors are exploiting it to the fullest.

The earliest releases were not from DC, but from Warner animation, starting with Batman: Mask of the Phantasm. The story worked and the look matched that of the successful Bruce Timm/Paul Dini animated series and played better than expected so got upgraded to feature film release. Unfortunately, the subsequent efforts: Batman & Mr. Freeze: Sub-Zero, Batman vs. Dracula and Batman: Mystery of the Batwoman fared less well both creatively and financially.

The nadir may have been hit last year when they rushed out the ill-conceived Superman: Brainiac Attacks which resembled neither the animated continuity nor the Superman Returns feature film. Both were played off on the Cartoon Network.

Fortunately, it came and went with little fanfare and was totally eclipsed last summer when DC announced they were finally working as full partners with Warner animation in creating animated adaptations of classic DC stories from the company’s rich and deep library.

The first four announced releases, for those who missed the news, are:

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Disney animates black princess

Somewhere, Ororo Munro is yawning.  And even the folks at Warner who parodied Snow White are wondering what took them so long.  But Disney is finally getting around to creating its first black princess to star in her own animated movie.

The protagonist’s name is Maddy, the fairy tale (which will debut in 2009) is to be called The Frog Princess, and the setting will be New Orleans, where Disney’s annual shareholders’ meeting is currently taking place.  It also marks Disney’s return to 2D hand-drawn animation.  John Musker and Ron Clements wrote the story and will direct the film (they co-directed The Little Mermaid and Aladdin so not too shabby there), and in a real shocker, Randy Newman was announced as doing the score.

Lest we forget the real reason the company makes these announcements at annual shareholders’ meetings in the first place, Disney assured the happiest crowd in the world that Maddy "will be added to its collection of animated princesses used at the company’s theme parks and on consumer products."

Auschwitz paintings update

Dr. Rafael Medoff, director of the David S. Wyman Institute for Holocaust Studies, has emailed industry professionals an update on their efforts to help Dina Babbitt, a survivor of Auschwitz whose portraits of fellow concentration camp victims (which commandants forced her to paint) are currently in the possession of  (and on display at) the Auschwitz-Birkenau Memorial and Museum in Poland.  Mrs. Babbitt, a retired animator and ex-wife of legendary Disney animator Art Babbitt, has been struggling to have her original artwork returned to her for three decades, and last fall Dr. Medoff enlisted the help of fellow animators, cartoonists and comic book creators – an effort  spearheaded by comics legend Joe Kubert.

Dr. Medoff’s latest letter states that "In recent weeks, the Wyman Institute has been circulating a petition among attorneys and legal scholars, supporting Mrs. Babbitt’s struggle.  It will be sent shortly to the Polish authorities, and released to the public and media."

The Wyman Institute is organizing an auction of comic and cartoon artwork to support Mrs. Babbitt’s struggle.  I The auction will include artwork donated from Ralph Bakshi, John Romita Sr. and John Romita, Jr., "Butch" Guice, Walter Simonson, Don Perlin, Lynn Johnston, Drew Geraci, Dave Simons, Sal Amendola, Jon Bogdanove, James E. Lyle, Jim Keefe, Guy Gilchrist, Mike Vosberg, Rob Stolzer, John Cassaday and Greg Theakston, with many others pledging to contribute. 

ComicMix will bring you auction details as the date approaches.

 

Pirates get pirated

Pirates get pirated

World Entertainment News Network reports that Disney is considering legal action against an organization called Sinful Comics after they produced a "raunchy" strip featuring Pirates Of The Caribbean actors. British newspaper The Sun reports Sinful have created a comic strip, which sees movie beauty Keira Knightley being seduced by co-stars Johnny Depp and Orlando Bloom.

No, we don’t have a link to the Sinful Comics website. You think we want to take Disney on?

Yet?

 

Eisner group bids $385.4 million for Topps

The Sporting News and AP reports that a buyout group that includes former Disney CEO Michael Eisner and Chicago private-equity firm Madison Dearborn Partners LLC. has paid over a third of a billion for the Topps Company, the makers of sports cards, Garbage Pail Kids, Wacky Packages, the classic Mars Attack! series, and even the occasional comic book.

The deal drew immediate opposition from Topps director Arnaud Ajdler, who said Tuesday he had not yet been in touch with other major shareholders. He thought the deal should be abandoned because negotiations did not go through a proper process and that the Eisner-led offer undervalues the company.

The board approved the deal in a 7-3 vote, with Ajdler and two others opposed. The company said it will solicit better offers over the next 40 days. The deal requires regulatory approval and a vote by Topps shareholders.

Running the Mickey Mouse outfit

Running the Mickey Mouse outfit

The New York Times has a long article on John Lasseter, who has been tapped to become the chief creative officer of animation for the Walt Disney Company after founding Pixar. Good reading, particularly with Lasseter reviving the 2-D animation department – with a strong focus on story.

Yes, story. The New Disney. It ain’t just pretty pictures anymore.