Animation in 2011/12. Oscar Predix and "Brave"

Will 2011 go down in history as the year when animation's hot streak finally cooled? Oh sure, bix box office awaits a great number of the toons arriving this year but box office isn't everything. You can be a huge hit and impress virtually no one (just look through some past box office charts and think about the way people talk about some of those "blockbusters") since audiences have a Pavlovian response to certain genres in certain decades with certain ubiquitous forms of advertising: Must Buy Ticket.

Will we see a 2006 rematch in Animated Feature?

It's hard to figure which animated films will be nominated for Best Animated Feature come January since half of the releases (literally by my count) are sequels. Sequels are judged differently than original fare. Half of our response (at the very least) is in the way the new film dialogues with the old. Does it add to the conversation, merely parrot it, deepen it, spoil it, change it? Once studio creatives get too self-referential or repetitive they can turn into a soulless production line workers and whole genres can become museum pieces rather than evolving vivid living things. The documentary Waking Sleeping Beauty, which I highly recommend to animation lovers, charts this very problem in regards to Disney. It documents the dwindling audience love and studio creativity in the 1980s through to its spectacular rebirth in the early 90s. It's a good film to see to remind ourselves that we can only borrow heat from past glories for so long before things gets chilly.

Click here for  Oscar charts / Animated Feature predictions

Here's a potentially happy visual extro that has nothing to do with this year's Oscars. Here are three concept drawings from Pixar's Summer 2012 feature BRAVE.

Since the delightfully cute-looking Newt was cancelled it's Pixar's only original film in the pipeline with sequels to Cars (this year) and Monster's Inc (called Monsters University in late 2012) bookending it. Brave (formerly titled The Bear and the Bow) features their very first lead heroine "Merida" (voiced by Kelly MacDonald), and was at one point going to be Pixar's first movie directed by a woman and then it wasn't and now it's (co)directed by her. It's also NOT a sequel. Let's hope it's great so that 50% of the population (the ones with vaginas) don't get blamed for spoiling Pixar's unbroken winning streak*.

*If you ask me this "ALWAYS PERFECT" business is a myth, a huge pitcher of Kool-Aid we all drank. It would be much healthier to let go of it. Though it made a billion dollars Cars (2006) is NOT a good movie. People are always (still) making excuses for it like "I didn't love it but..." Just stop making excuses. Accept that they've already stumbled once and we won't be pressuring them with this "Perfect!" myth. And we won't be so heartbroken when they start churning out a gazillion sequels. And they won't be so nervous about mixing up the formulas a bit or scared into only making sequels.

This & That: Pixar Classes, Taylor Animation, and Simulated Sex

The Film Doctor has nine notes on Zach Snyder's Sucker Punch.
Inside TV EW describes a truckload of new pilots. Which will make the cut for fall. Lots of movie peeps willing to say goodbye to movie stardom if their shows get picked up including Kerry Washington, Kat Denning, Zooey Deschanel and Patrick Wilson. Others like Anjelica Huston and Angela Bassett are less surprising since the film roles have dried up (Stupid Hollywood!)
Serious Film offers up Lawrence of Arabia in the Line Reading Hall of Fame.

Julie Christie and Donald Sutherland, post coital in DON'T LOOK NOW

Twitch has doubts about Simon Kook becoming the new Thai action star in light of Tony Jaa's problematic career trajectory.
Cartoon Brew want to learn about animation and story development from the Pixar folks? You can for $500 during their upcoming New York seminar.
Movie|Line As the weekend began they followed up with the suddenly in-the-news again story about the infamous sex scene between Donald Sutherland and Julie Christie in Don't Look Now. Love the ending of the article.

Besides, what better way to spend a Friday than by trying to figure out if two movie stars had sex 38 years ago?

As for his denial, Peter Bart's new book, and Julie Christie's 38 year old refusal to answer the question... Trust no one. The only thing that makes these stories fun is that you really can't trust anyone. Only the director and the stars know for sure. But I'll say this: it looks just as convincing as the sex scene in Lust, Caution but in both cases, who knows? Editing can be deceiving. Especially when the editing is rapid fire and jaggedy as it it in both films.

And here is one of those freaky Taiwanese animated news renditions this time on Elizabeth Taylor's passing. I know some people will consider this disrespectful, but it's of a piece with what they do.

They always manage to come up with a few visual gags that show a certain amount of perverse creativity and actual thought. (Remember Jake Gyllenhaal's fruity penis from that SXSW news bit?) Plus I bet Elizabeth herself would guffaw as she had a great bawdy sense of humor about herself and everything else, too.

Reader of the Day: Victor

Reader Appreciation Month wraps on Thursday but I hope y'all know The Film Experience appreciates you year round. We'll have Weekly Reader Spotlights for April because I'm having too much fun with it to quit at the moment. Today Victor in Brazil.

Nathaniel: Do you remember your first movie?
VICTOR: First moviegoing experience I actually recall - my mother told she had taken me before, but I don't remember - is Aladdin, when I was 8.  I really think it kind of had some deep effect in me, because if there are two things that I love they're musicals and animated films. I still know the lyrics of almost every song in in Portuguese and in English.

I can sing The Little Mermaid in Norwegian and English, so I feel you.
I grew up with the Disney musicals from the late 80's and early 90's. But First Movie Obsession, with capital M and O, was Moulin Rouge!. And that led me to The Film Experience.

Yes, we were all "Truth, Freedom, Beauty, but above all things Love" CRAZY for awhile there with that Bazmark classic. What's an Oscar injustice topic that gets you riled up?
Where can I start.... in general, I kind of hate every single Oscar that comes with "SORRY, YOU ARE GREAT AND WE ARE LATE!" written on the plaque, because every Oscar given as a career achievement award or a "sorry, you lost last year" award just increases the problem. Its like a freaking logarithmic progression, because every time they award someone for the wrong reasons (every reason other than "best perfomance") they make the situation 10, 100, 900, 3000, 50000 times worst.

It always comes back to certain years, right?

Giving Nicole the Oscar in 2002 for The Hours, because they liked her so much in Moulin Rouge!, makes Julianne Moore a loser for the crown jewel of her career. And Renee Zellweger, who lost in 2001 and 2002 and was snubbed in 2000, who we liked so much in Bridget Jones and Chicago, just shows up in 2003, gives the worst supporting performance of the year (or maybe the decade, or maybe ever?) and walks away with an Oscar just because she lost. See how it grow exponentially worst? 

The math is perplexing, I'll grant you that.

Did Jessica Lange really won her 2 Oscars for Tootsie and Blue Sky, or did she win for Tootsie because she couldn't win for Frances and won for Blue Sky because she had lost several times and they didn't want to give a 3rd one to Jodie Foster in less than 10 years, before she was even 35. I could give you a hundred examples.

It is perplexing math, always snowballing. What does your moviegoing diet consists of these days: theater? dvd?

Theater not so much, because its wasteland season in Brazil; the Oscar movies have come, gone and I've seen then all and the summer movies haven't arrived yet. Right now in Brazil, the biggest hit in theaters is called Bruna Surfistinha, the story of a middle class girl that becomes a low rate hooker, than a high rate hooker who blogs about her "job" and latter publishes a book, her memoirs of her life as a former prostitute. NO THANK YOU! - but I have to admit, i read the book.

So nowadays I'm most on a DVD diet. Recently bought and still sealed, all on the line to be rewatched: The Rocky Horror Picture Show, The Rose, Some Like it Hot, All About Eve (special edition), Moulin Rouge! (definitive edition), Nightmare Before Christmas, Death Becomes Her, Dogville, American History X and Beauty and the Beast (special edition with soundtrack!).

You're quite the collector. Okay. Five movies you think ought to be required viewing for all people of the Earth. Go!

Five. Just Five? I'll go by genre, ok. Musical: Cabaret; Comedy: Some Like it Hot; Drama: Sunset Blvd. ; Horror: Rosemary's Baby; Biopic: Amadeus. Sorry, really sorry to leave you out: Michael Nichols combo Who's Afraid of Virginia Woolf?/The Graduate and my beloved Moulin Rouge!

Akira Redux

You've heard that they're making a live action American version of Katsuhiro Otomo's Akira (1988), right? That's the sci-fi cartoon that really opened the Anime floodgates here in the States. I have a faint memory of seeing the movie in the theater when it arrived in the States -- I think 1990? -- and that memory involves two things: my jaw was mostly open throughout from the epic violent craziness, and my best friend at the time who I went to every movie with (hi Kevan!) turned to me during the climactic battle when Tetsuo transforms hideously into this blob like creature and said something silly like "quivering mounds of blubbery goo" in a dramatic but silly voice. We started giggling and a rather, um, large patron in front of us turned around to give us hateful looks. Embarrassing! But we were just reacting to the visuals on screen, I promise.

For those of you who are unfamiliar, the film is about a gang member biker Kaneda and his efforts to stop his powerful psychic friend Tetsuo from destroying Neo-Tokyo, an artificial city of sorts built after the destruction of the real Tokyo by another psychic boy named Akira who is still alive but imprisoned. (It takes place in 2019.) The new version will be directed by Albert Hughes (The Book of Eli) and the adaptation was done by Steve Kloves (The Fabulous Baker Boys, the Harry Potter franchise).

Though it was to be expected that the American remake would Americanize the story (it'll now take place in a futuristic New York City. Will they call it "New New York"?), some of us were stupid enough to hope that they'd realize that America does not equal caucasian. When your movie is based on a famous Japanese movie, it's not like you couldn't win lots of street cred and fan favor by casting Japanese Americans in the lead roles. Hell, even just Asian Americans of any type would win you non-racist points, as you'd still be acknowledging that people of color should maybe lead properties that are non-white in origin. Oh sure, you can say "there are no bankable Asian American actors" but how will there ever be if they're never given opportunities? And here's a thing Hollywood often forgets in their risk averse decisions: remakes of famous movies as well as virtually all genre titles, are sold primarily on their brand awareness and on their genre. This may be an unpopular theory but even something like Inception. Consider: What sold more opening weekend tickets? The folding city in the trailer or Leonardo DiCaprio's name in the trailer. The latter cost them 8 figures. This is why I've never understood why Batman in his multiple incarnations always requires an expensive leading man; BATMAN IS THE STAR, not the actor. Movie producers used to understand this. Christopher Reeves was not famous when he signed on for Superman and it sure didn't hurt that film's box office. District 9's box office wasn't hurt by using an (excellent) unknown in the lead role. With certain genres (mostly the "geek" genres: superhero, sci-fi, horror) the genre and the concept is the star.

My points is this. New York City is not lacking for diversity. I am white and I am most definitely a minority in my neighborhood. So why do movies set in NYC always seem lily white? And surprise: Actors come in all nationalities and skin colors, not just American/British/Australian and white.

illustration by taka0801

The actors being discussed for the lead roles of Kaneda and Tetsuo, who'll obviously have to be renamed Ken and Todd, are the following: Robert Pattinson, Andrew Garfield, James McAvoy, Garrett Hedlund, Michael Fassbender, Chris Pine, Justin Timberlake and Joaquin Phoenix. That's a lot of different acting styles and accomplishments and types and even ages. So basically, once again, we see that casting has nothing to do with what's required for roles or what tone a film is aiming for, it's just "whoever is on the studio's lips" each time. Sad. Casting is an artform, too. I really wish we'd see some acknowledgement that it is.

If The Film Experience were a massive site with millions of readers I'd demand a casting call right here. I'd be asking for all unknown or 20to30something Asian actors with excellent English skills, physical action film aptitude, and movie star good looks to send in their headshots and reels and I'd be packaging it all up with the top 20 and sending it Warner Bros way. Freelance casting director for hire!

Daniel Henney, Won Bin, Chang Chen, Masahiro Motoki, Takeshi Kaneshiro, Dennis Oh, Matsuyami Kenichi and Hiroshi Tamaki

Seriously, I don't understand why I can spend (literally only) 15 minutes brainstorming and come up with a couple of handfuls of Asian actors that might be cool to think about / test / consider for these roles (even allowing for the studio's random age ranges and no discernable "type") if they spoke English well -- surely some of them do, especially the American ones! ;)  -- but Hollywood studios with all of their casting resources and their budgets and their months of pre-production work don't ever even consider meeting with any of them? Do they even look at headshots? Do they even know that male actors of Asian descent exist? I'm beginning to wonder.

I suppose the most we can hope for at this point is that they deign to let Ken's (née Kaneda) love-interest Kei keep her Asian-ness. Every once in awhile the studios will let an Asian actress play a girlfriend. But Asian men? Forget about it. Shame.

Need More Akira? We'll be celebrating again in April in our "Hit Me With Your Best Shot" series. It's collaborative so join in.

Are you a new reader? Welcome. Please consider subscribing or bookmarking - some more pieces on animated films and Asian cinema coming up. We've been in the mood.

Another article addressing this problem -- though not Akira related:
Asia Pacific Arts "Hot Asian Actors Hollywood Doesn't Yet Realize It Needs"

Tues Top Ten: Toy Story

I'm in a toon'ful mood. What can I say? After some time with Disney's dogs, how about Pixar's toys?

2011 is the 25th anniversary of Pixar Animation Studios (they opened their doors in February 1986!) so I wanted to look back a bit at their marvelous output. I enlisted some other people from around the web to chime in too, so we'll have the results of an informal poll later on. But to start, let's look at the ten best moments from their first full length feature, TOY STORY (1995). Do these choices line up with yours?

TOP TEN MOMENTS IN TOY STORY (1995)

Hey Etch, Draw!

10. I almost went with Mr Potato Head's "Hey look I'm Picasso" bit but Woody's showdown with Etch-a-Sketch is the best visual gag during the movie's extended opening scene. It's a perfect illustration (nyuck nyuck) of Pixar multiple joke approach. It's three gags in one: visual, verbal, cinematic.

09 INSIDE BUZZ'S VISOR.
Pixar's always been adept at endearing you to their stable of characters. But one of the most confident things about Toy Story -- remarkably confident given that it was their first feature -- is that both Buzz and Woody are pitched as hero and villain at some point. Woody is selfish and bossy (especially in the first half) and they don't really soften that and your first moment "inside" Buzz's persona, a great point of view shot, is from inside his bubble where he's breathing like he's Darth Vader. It's a fun reference but it also sets up the possibility that he's the antagonist that Woody's protagonist believes him to be.

08 YOU'RE A TOY.
Buzz Lightyear seeing himself on TV. A shock to his senses (of self.)

Buzz is greater than Woody and here's why. Woody is a dog; he's desperate for Andy's love and affection 100% of the time, content to follow. Buzz is a cat; he enjoys Andy but his sense of self worth comes from his actual sense of self.

07 "MRS NESBITT"

Poor Buzz. He's never been able to roll with improv like the other toys. My other favorite part of this scene is the headless dolls "Marie Antoinette and her sister"

06 CODE RED
The opening birthday party reconaissance mission. The monkeys and the green aliens have since replaced them as this franchises' favorite multiple character gag, but The Bucket of Soldiers are so endearing in their complete lack of humor. They have some weird old school pull, don't they? The're not brightly colored or showy of personality or funny looking. The mission is everything!

05  Sid performing 'double bypass head surgery.' Buzz's indignant response is so hilariously straight-faced.

I don't believe that man has ever been to medical school.

04 "WILL ANDY PICK ME?"

Sometimes Woody's three film flipflopping between "favorite toy" confidence and disabling insecurity annoys, but this scene, is so beautifully lit (the magic hour) and it makes so much of such a tiny thing (who will Andy take to dinner at the Pizza Palace?) that it sends you right back to any childhood or adolescent (or vulnerable adult) moment where some minor thing was THE ONLY THING THAT MATTERED, LIFE OR DEATH. But it's really the use of the Magic 8 Ball that sends the scene to movie perfection. "Don't Count On It."

Goddamn it that Magic 8 Ball is a bitch.

03 The repeated shot of "ANDY" written on Woody and Buzz's shoes. In permanent ink!  Aren't you jealous of every boy named Andy who can watch these movies and pretend it's literally their toys that the movie is about?

02 SID'S COMEUPPANCE

We toys see everything...

...SO PLAY NICE.

The follow up shot of him terrified of his sister's doll is the perfect capper. "Don't you wanna play with Sally?"

01 "THE CLAW"
Subsequent Toy Story's have regurgitated the joke too often, dulling its neon bright genius, but I still had to give this absurdly clever Pizza Planet flourish the top spot. Everything about the sequence works wondrously starting with Buzz Lightyear's entrance, which is the best kind of pop culture comedy. It plays off universally understood genre tropes -- in this case sci-fi -- rather than referencing one specific property and therefore dating itself.

I come in peace.

And then it soars ever higher. "The claw!!!!" Pixar's process must allow for a lot of brainstorming because you rarely feel they haven't explored every comic possibility of a scene or a character or an environment.

One of the unsurpassable joys of moviegoing (and live theater) is the communal rush you can feel when a piece of art is connecting with everyone in the room. I saw Toy Story on opening night at a huge packed theater in Utah with my brother. Had the theater been empty I'm sure we would have laughed heartily. But would the mad euphoria have set in? We were giggling so hard, we couldn't stop; the laughs were ricocheting back and forth like they were made of rubber. (It wasn't until I saw the film a second time that I remembered anything about the next couple of scenes.)  It's not only one of my single favorite moviegoing memories, it's one of my single favorite memories of my brother.

Do you remember the first time you saw Toy Story?