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Up! Where They Belong – Disney, Pixar, and the New Golden Age of Animation
The selection of the Disney/Pixar film “UP” in the Best Picture category of the 2010 Academy Awards returns Disney to its rightful position as the undisputed king of the animated film, a throne it has held for most of the past 100 years. Putting aside the debates on what is an animated film (some say this appeal for the Avatar of the creator of Up), this marks only the second time that an animated feature has been nominated for the award (the first was a Disney film another – Beauty and the Beast. , of 1991, which is somewhat lost in thought to The Silence of the Lambs, which, it can be argued, resembles Beauty and the Beast in more ways than one.)
Although popular opinion has Avatar as a front-runner to win Best Picture, the mere fact of Up’s nomination is a justification of Disney’s purchase of the company in 2006 and a testament to the courage and commitment of Pixar chairman and CEO Steve Jobs, and the genius- very creative John. Lassetter, now Chief Creative Officer of Pixar, and also of Disney Animation Studios.
Disney’s wisdom in not only appreciating the financial value of Pixar, but also the artistic value of its creative team, brought the company back almost full circle to the early days of animation, when the founder Walt Disney quickly realized that he would not have an opportunity. to achieve your creative and business goals individually, and organize using the best artists and writers available.
His first major collaboration was with friend and former colleague Ub Iwerks, with whom Disney had worked at the Pesmen-Rubin Commercial Picture studio in Kansas City. Although Iwerks is not the only animator with whom Disney worked, he is most famous on the first films, most notably in his development of the now iconic Mickey Mouse from the earlier Disney feature Oswald the Lucky Rabbit, the rights to which were lost in it. contract dispute. Using Iwerks’ new character, Disney took the risky step of investing in new sound film technology, introduced the previous year in The Jazz Singer.
Although 1928’s Steamboat Willie, starring Mickey Mouse in his third appearance, is often cited as the first animated cartoon, it was actually preceded in 1926 by Max and Dave Fleischer’s My Old Kentucky Home, and in 1928 by The Night Clock, which was created by Paul Terry, later the founder of Terrytoons. Neither of these predecessors were successful at the box office, but Steamboat Willie was a sensation. With him, Disney moved into the big time, and began a very dynamic phase in which many cartoons of Mickey Mouse (including his first two – Plane Crazy, and The Gallopin’ Gaucho – were reproduced with sound) are released each year, along with a number of other titles featuring a growing stable of popular characters.
Disney has combined technical excellence with artistic excellence and business acumen, and this combination of characteristics allows him and his company to be at the forefront of the entertainment industry, a position that is compelling four years later when he signed Technicolor to a two-year contract for his exclusivity. using their new color processing technique for cartoons.
In the late 1930s, Walt Disney was eager to develop the animation even further. He took the risk, but eventually made the leap into animated feature films with the hugely popular and successful Snow White and the Seven Dwarfs in 1938, a film that began several decades of box office dominance for Disney, with such iconic films as Bambi (1942), Song of the South (1946), and Cinderella (1950) join modern classics such as The Little Mermaid of 1989, and Beauty and the Beast (1991), in the pantheon of great films – animated and otherwise.
It is not surprising then, that the Disney company recognized the potential of the new landscape of computer animation when Pixar produced the first animated feature film in 1995. Disney and Pixar entered into a distribution partnership for Toy Story and the subsequent Pixar sequel which, though not without occasional contractual disputes and personnel strikes, eventually leading to Disney’s purchase of a majority stake in Pixar. True to the history of both directors in film animation, the quality of Pixar’s work has steadily improved, and with the appointment of John Lassiter (also a one-time Disney animator) as creative director of both companies, no reason to doubt. that this will continue. It may only be a matter of time until a Disney/Pixar movie gives it the recognition and respect that this often-unrecognized art form has deserved since the early days of animation.
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