Well, the big day is here and WALL-E is opening on thousands of screens across the country. There’s little I can say here to meaningfully elaborate on the excitement over the new Pixar feature or to underscore the breathless reviews the film has been getting. Adding to the excitement is the fact that we’ll be getting our first real look at the long in gestation Walt Disney Animation Studios film Bolt (unless you watch it online now). Wrap it all up with a new Pixar animated short, Presto, and we’re good to go.
And if that wasn’t enough, ladies and gentlemen, the fine folks at 2719 Hyperion and Imaginerding are holding an inaugural North Carolina Disney Blog conclave to view the film tomorrow, June 28th, in High Point, N.C. I’ve often been bewildered by the sheer density of Disney bloggers in North Carolina, as we seem to threaten California and Florida in the rankings of per capita number of Disney blogs. Between barbeque, college basketball, and Disney blogging, we’ve got it covered. So it’s only fitting that great minds meet and enjoy a little Pixar excellence in the process.
Although unconfirmed, it’s widely believed that Pixar director Andrew Stanton’s next film after WALL-E will be John Carter of Mars. The science-fiction film, based on the series of novels by Edgar Rice Burroughs, has been alternately rumored to be animated, live-action or a hybrid of both. Yet it is not Hollywood’s first attempt to film Burroughs’ tales of Barsoom - several studios have tried and failed over the decades to get a John Carter project off the ground. The first of these attempts was all the way back in the 1930s, and ironically this iteration of the tale was actually intended as an animated serial.
In 1931 Bob Clampett went to work at the Harman-Ising Studios, where the Disney expatriates were producing shorts for Warner Brothers. Here he worked on the early Looney Tunes and Merrie Melodies shorts, staying with Warners when Harman and Ising left and Leon Schlesinger took over the animation unit. Working with Friz Freleng and Tex Avery, Clampett would eventually become one of Warners’ legendary animators. Around 1936, however, he had an idea for striking out on his own.
Clampett approached Edgar Rice Burroughs about serializing his Mars novels in animated form. Burroughs, although unfamiliar with the animation world, was enthusiastic about the project and gave it his consent. Clampett worked for about a year on development with Burroughs’ son, John Coleman Burroughs. While still working for Warners, Clampett moonlighted on the John Carter project with assistance from animator Chuck Jones and eventually created a pencil test and demo reel.
Sadly, studio politics were just as wrongheaded then as they are now and executive interference eventually led to the demise of the project. MGM, who held the rights to Burroughs’ properties, didn’t understand the serious, science-fiction tone Clampett was trying to achieve. They instead wanted more slapstick, comical films and wanted Burroughs to adapt his more popular Tarzan character for animation. Eventually Clampett tired of the process and returned to Warners where he signed a new contract to direct.
The project never revived; animated shorts remained the domain of the funny animals and slapstick that had dominated them for years. The closest that Hollywood would come to the aesthetic of Clampett’s John Carter would be the Fleischers’ Superman shorts several years later. Clampett’s project, if realized, might have changed the face of science-fiction and animation forever.
This little history lesson is basically so I can show you this footage - the quite awesome demo that Clampett produced in 1936 to demonstrate his concept:
More information is available in this interesting article by Jim Korkis.
Frank Thomas, left, and Ollie Johnston in 2004’s The Incredibles
As I predicted, many heavy-hitters of the animation community have begun to share their thoughts and remembrances of Disney animator Ollie Johnston. One thing that is obvious from reading all these posts is that Johnston was universally loved and respected; it’s rare in any industry for such a prominent individual to pass on without anyone having something nasty to intimate about them. Johnston has been repeatedly described as a gentle, incredibly friendly and giving man as well as a fiercely talented animator. He was also one of the greatest personality animators in Disney history.
Below are some of the better tributes I’ve found to Ollie. I’ll add to this list as I come across more.
Yes folks, I’m back. I apologize to the small but valued handful of “regulars” here for taking a powder without notice, but c’est la vie. A too-short holiday in the mountains, a backlog of “real” work, some downtime as my web host moved its servers, March Madness (go Heels!) and the general azalea-blooming weather lately has been a distraction. More importantly, though, is the fact that most of the news out of the House of Mouse lately hasn’t been very inspiring.
Don’t get me wrong; this isn’t 2001 and we aren’t facing the constant strikeouts of the Eisner-Pressler regime. But perhaps my hopes got the better of me with the management change and I expected more than the singles and weak doubles we’ve been seeing lately. I certainly expected a damn sight more than this, but there will be more on that later. The point is that while many things in the Disney empire are OK on the micro level, at the macro level there’s a distinct lack of vision. Things are continuing to slide, and that’s a problem.
But I’m back, and here are a few tidbits to get the pump primed:
Thankfully the EPCOT Central blog is back at work, and have a post about EPCOT’s current state that touches on the themes I mentioned above.
Alain Littaye hits us with a slew of concept art - from Disney’s America (with props to me!), California Adventure before its budget was slashed, and the Disney-MGM Studios (1, 2). He also has some interesting photos from the Carousel of Progress.
The Hallmark Channel has acquired a 99-film library of classic Disney films to air on their network. According to the press release, the deal includes:
Disney’s “The Shaggy Dog,” “Flubber,” “Old Yeller,” “The Parent Trap,” “The Incredible Journey,” “The Princess Diaries,” “Freaky Friday,” “The Santa Clause,” “Bedknobs and Broomsticks,” “That Darn Cat,” “The Love Bug,” “The Shaggy Dog,” “Mighty Joe Young,” “Babes in Toyland,” “The Cat from Outer Space,” “Gus,” “Return to Snowy River,” “Snowball Express,” “White Fang,” “The Apple Dumpling Gang” and “Swiss Family Robinson.”
While it’s great that people are going to be able to see these films on television, and they’ll be made available to a new generation of fans, I can’t help to think that it’s sad that Disney doesn’t have their own cable outlet to show their classic films. Why, maybe someday there could be an entire “Disney Channel”, so to speak, that could show Disney material 24 hours a day! Oh I know, it’s just a pie in the sky dream… but wouldn’t that be a great idea? Man, I know I’d watch that channel all the time! But what do I know? I’m old enough to drive so Disney doesn’t really care what I think…
Old EPCOT geeks like myself will remember SMRT-1 from the glory days of CommuniCore. The Paleo-Future blog has a nice piece of concept art I’d never seen before, but the point of the link is the blog itself. You should definitely check it out, as it’s one of my favorites.
Page down for some nice side-by-side comparisons of scenes from Enchanted.
I was extremely saddened to read on Blue Sky Disney this evening that artist and illustrator Dave Stevens passed away yesterday. Stevens, 52, had been fighting a long battle with leukemia.
A masterful artist, Stevens specialized in styles reminiscent of the 1930s and 40s. He reveled in the lost art of the pinup girl, and his drawings crackled with art-deco style and film serial excitement. He wasn’t prolific; a notoriously slow artist, he did things with pen and ink that most artists could not achieve with an array of brushes and paint. I’ve always been fascinated by artists that work in pen and ink; such simple tools can yield amazing results in the hands of someone as meticulous as Stevens.
Sadly, many might not even know of Stevens’ work, or what place it has on a Disney blog. In 1982, Stevens created the Rocketeer in the pages of Pacific Comics’ Starslayer #2. Over the next thirteen years the Rocketeer would make occasional appearances in print but his connection to Disney comes through the 1991 film adaptation, The Rocketeer. This film, perhaps more than any other, is the most underrated film in the entire Disney canon. Directed by Joe Johnston and with a fantastic cast and score by James Horner (portions of which are still played at EPCOT Center’s “Fountain of Nations”), The Rocketeer deserves far more attention than it has received.
Improperly marketed by Disney, and opening the same weekend as Terminator 2: Judgement Day, The Rocketeer underperformed at the box office and plans for a sequel were scuttled. This was a character that deserved a franchise, and one of my personal obsessions is the idea of creating a ride based on the film for the Hollywood Studios park. Oh, what one could do with a KUKA robocoaster and The Rocketeer…
Unfortunately, Stevens rarely returned to the character himself, and plans to continue the Rocketeer’s adventures after 1995 never came to fruition. We only have a handful of stories scattered amongst different publishers by which to remember Cliff Secord, the Rocketeer. Thankfully Stevens himself continued to work, but not on comic projects. Mostly it seems he spent recent years doing art by commission, and selling his famous pinups at comic shows across the country. Perhaps someday the Rocketeer will continue in some form - it would be a fitting tribute to an artist lost far before his time.
Read an excellent remembrance of Stevens at The Beat Contribute to the American Cancer Society, because… screw cancer. More at The Comics Reporter
