Monday, April 22, 2013

How Pixar gets it right, every time

3 Guidelines Pixar Follows That Has Made Them The #1 Animated Film Company In The World





I don't have kids. But - with my extensive knowledge of animated films - you might think I do. I've watched the good, the bad, and the Polar Express so I consider myself an individual with a lot of knowledge about animated films.

 Parents often roll their eyes or grumble words of angst when they talk about the entertainment quality of the films they watch with their children. This reaction may stem from the fact that most television and film companies focus their efforts on entertaining the child (*cough Dora the Explorer cough*) while forgetting that often times there is an adult sitting beside the child watching just as intently – sometimes more.


While it is true that you can't please all the people all the time, Pixar is a company that has gotten pretty close. Children, adults, and critics simultaneously agree that Pixar creates great films. So how do they do it? What's their secret sauce? I'm going to share with you how Pixar got smart and followed 3 simple guidelines that catapulted them to the forefront of feature length animated films.. 


1. Tell a Good, Well-Rounded Story
When studios became equipped with the technical ability to produce animated films using groundbreaking computer technology, it was easy to get mired down with details of the visuals. Animation studios finally had access to fun new tools that create realistic elements like moving fur, life-like eyes, and action scenes that don't look like the first release of Super Mario Bros. Pre-Pixar computer animated films suffered with creating this type of realism simply because the technology had not yet been discovered.  So when the low-resolution clouds broke and 

Pixar had the capability of making high-quality computer animated films, they ran with it – and at the same time didn't forget to devote serious time and energy to story development. Pixar knows that story telling is the essence of any film - animated or not. 

Storytelling is at the root of every great film.  Some studios that create children’s films rest on silliness and tricks to maintain the attention of 5-year-olds, but Pixar has pushed beyond this and proven that a film can be not only watchable, but beloved by 5 year olds, 15 year olds…all the way up to 95 year olds. And it all begins with a captivating, heart warming, and most importantly: well-rounded story.


2. Tell the story from the point of view of a Dude (or a Dad)
Pixar took notice of a pattern: Most animated films - especially those from Disney - were told from the point of view of a female. Oftentimes the female is a vocally gifted princess who requires salvation from a male. This archetype has been used since the dawn of story-time, and it is still being used to this day.

As a departure from that theme, Pixar broke the mold of animated films by introducing their first feature film, Toy Story, as told from the point of view of two males: Buzz Lightyear and Woody. Also, the main human character is a little boy who owns all of the toys. This decision was key in not only creating differentiation from the animated film companies who maintained the animated theme of feminine protagonist/masculine hero, but it also created unconscious brand loyalty among male audiences of all ages. And Pixar succeeded in doing this without alienating their female audience.

In addition, Pixar shifted the plot lines of their stories to include those that revolved around dads. In a society where divorce has become more common than marriage, this shift has allowed Pixar to tap into the hearts of dads who spend time with their kids on the weekend doing things like going to the movies. Are dad’s more apt to go to movies that exemplify their lives and their story? You bet. Will Dad and child form a bond watching something that models their relationship? Yup. 

Finding Nemo is an obvious example of this shift with the two main characters being a father and son. But The Dad Strategy can also be found in Monsters Inc., Cars, and Up. 

Pixar took notice of a culture shift in this country and used it to it's advantage - again without alienating their female audience. 


3. Bring to life the things that we love
Disney has been anthropomorphizing objects in their animated films since its first film - Snow White and the Seven Dwarfs. In fact, most animated feature films include animals, or candlesticks, or trees that take on human-like characteristics. But Pixar took this strategy to another level by bringing to life specific objects that stir up nostalgia, that cause emotions involving attachment, and that we have an over-arching love for in typical American life. 

Toy Story is a great example of this strategy because the film centers around a little boy's toy collection. For those of us who had a typical* American childhood, seeing classic American toys like Mr. Potato Head and Barbie come to life can provide a sense of connection between us and the film. We are connected to the film on a deeper level because of the familiarity of the object as well as the magical aspect of seeing that object come to life. Kids often pretend that their toys are alive, so in a way the film is providing a glimpse at a dream come true. 

Pixar's production of Cars pulls at other heart strings of ours by tapping into a long running fascination and love affair we have with automobiles. "Car people" are serious about their fascination and it's been noted that these fascinations usually start presenting themselves at a young age. So Pixar's choice to bring to life these beloved objects was no doubt carefully calculated and paid has off in droves.

It's also interesting to note that car collecting has generally been a male-centric hobby so Pixar's choice to bring to life these modern, man-made machines is one of genius and follows along with the second tenet: Tell the story from the point of view of a Dude (or a Dad). Dad's and kids around the nation have no doubt bonded over a shared love of cars, thanks to the introduction kids receive from this film. 


------------


And Thats it. That's what Pixar has done to succeed in making the most successful animated feature films of all time. I encourage other film houses to take notice because there is no denying that what they are doing works. Not only are they a hit with kids, but they win Academy Awards, have high rankings on top critic sites, and also have been rated as creating one of the Top 10 Greatest Series Of All Time for the Toy Story series. I'm excited to see what Pixar has in store for the coming years. I know when I sit down to watch a Pixar film, I'm in for a treat. 





*I realize that calling a childhood typical can be ambiguous and arguably non-existent but stay with me here. In actuality, I think our childhoods are more similar than we think - even when socio-economic status, geographical location, and other differentiators come into play. There are some unique archetypes of childhood that many of us can relate to and we can tap into particular emotions when these archetypes are brought out. 


Wednesday, February 27, 2013

2013 Academy Awards Recap




The Oscars are over 
The dresses are hung
The Xanax is shelved
The fat lady has sung.

Actually, there were A LOT of singers at this year’s show, and surprisingly none of them overweight…hmmm…

Ok, let's discuss.

Let’s start with Best Picture. Argo. Not a shocker. 

The love affair that Hollywood has with any film that has elements of war and with the love affair that Hollywood has with itself made this film a shoe-in for Best Picture. 

Set during the Iran Hostage Crisis in 1979, a CIA expert suggests fooling those silly Iranians by masquerading the hostages as a fake film crew from Canada in order to get them on a plane and home safe. If the film wasn’t based on a true story, I’d probably have thought the plot to be a bit lame.

Bottom line: Make a film about war and add in a part about film making itself and those 6,000 members of the Academy will predictably vote in your favor. I’d bet money that Zero Dark Thirty was a close second place.

Argo itself was fairly good, but not Best Picture material.

Daniel Day Lewis accepting his award for Best Performance by a Lead Actor


Now that that’s out of my system, let’s talk Daniel Day Lewis. What a dreamboat. His joke involving Meryl Streep was both hilarious and seemingly off-the-cuff. Though if it was rehearsed, I couldn’t be mad at him. The thing about Lincoln was that it bored me to tears, but it was still a great film. And that’s because of Daniel Day Lewis. He is one of the best actors of this time and I enjoy listening to his acceptance speeches almost as much as I enjoy watching him act. He is above all a remarkable man of his craft.

Ok, I’m back to my bitterness again. Jennifer Lawrence. Seriously I’m not happy. A half-baked romantic comedy managed to fool everyone this year into thinking that it was worth more than rom-coms of the past. And mind you, I love a good romantic comedy. I even have trouble choosing which one to reference in this tirade because there are so many that I love. But most (if not all) of them do not have a place at the Oscars. They are often trite, predicable, and unimaginative. And Silver Linings Playbook is no different.

Jennifer Lawrence plays a recent widow who falls into a friendship with Bradley Cooper’s character who is (gasp!) just returning from a mental hospital after he freaked out finding his wife with another man. That’s it. That’s the plot. Oh, and Jennifer’s character convinces Bradley’s character to help her with an upcoming dance competition that will ultimately bring the two of them together. A dance competition.

And no, I don’t think either of the parents’ characters contributed anything of value to this film so please spare me the “What about DeNiro?” or “Jacki Weaver was great!” 

Blah. They were beige. The whole film was beige.

Jennifer Lawrence's graceful fall


Aside from all of that, I do give Ms. Lawrence kudo’s for falling so gracefully up the stage that at first I thought it was on purpose. And during her speech, I just pretended she was receiving the Oscar for her role in Winter’s Bone – A much, much better performance that certainly deserved recognition over Silver Linings Playbook. This is proof that the Academy votes politically, and not based on artistic merit.  

I’ve already spoken my adoration for Beasts of the Southern Wild in a previous post so it’s no surprise that I was favoring the film and its nominations to win. I had the opportunity to watch each and every nominated film this year and I will report that Beasts of The Southern Wild held steady as my number one choice.

But I have watched too many Oscar shows to be naïve enough to think this film had a chance. Quvenzhane Wallis may be one of the most talented 9-year-olds on the planet, but she doesn’t play the Oscar game so she never stood a chance. I was really expecting Jessica Chastain to win Best Actress. She seemed to have the politics thing down and her performance was good. So it would have been a good fit both politically and artistically.

Quvenzhane Wallis on the Red Carpet
Christophe Waltz and Anne Hathaway were definites for me. Both played very affective and effective characters so I was glad for both of their wins. And I’ll excuse the fact that Anne Hathaway was only on screen for about twenty minutes in Les Miserables because it was an unbelievable twenty minutes of character acting.

And the last category that I’ll make comment of is Documentary Feature. I was pleased to see Searching for Sugarman win but I would have been ecstatic if the winner was How to Survive a Plague. In fact, this category was full of great submissions and I would recommend most of them. Invisible War was high on my list as well as 5 Broken Cameras so the good news of this Oscar Season is that this category was full of talent.



So that’s a wrap on this years show, I’ll try next year to not expect The Academy to vote with their brains – then perhaps I wont be disappointed. Until next year movie-lovers!

Here’s my official list (in a very particular order) of nominated films that are a must-watch:

1. Beasts of the Southern Wild
2. How to Survive a Plague
3. Django Unchained
4. Life of Pi
5. Flight
6. Amour
7. Hitchcock
8. The Master
9. Mirror Mirror 

Thursday, January 10, 2013

Oscar Noms are in!



Here's some initial impressions:

I'm very excited to see my girl, Quvenzhané Wallis of Beasts of the Southern Wild in the nominations for Best Actress- That little girl nailed the art of expressing the loneliness of being a kid;  the loneliness that so many adults forget existed as they grow older. Wallis plays Hush Puppy, a child who lives an unusual life in a Bayou of New Orleans called The Bathtub - before and after the levees broke. 


Quvenzhane Wallis
To all who have yet to see it, this is my pick for Film of the Year. Last year my pick was Drive,and I am glad to have found my pick for this year to be as engaging and affecting as last year's. 

There are mostly the usual suspects for Best Picture, Best Actor, and Best Actress although I can't say this bothers me. I find that The Academy makes great decisions for the nominees - a statement I cannot say is the same for the actual winners. 

For once though, I can say I have seen one of the animated shorts before the nominees have been announced; usually this category evades me. Paperman was superb and certainly deserves the nod. 


Paperman

And I am pleased to see Mirror Mirror nominated for Best Costume Design. That film slipped past most critics and audiences and deserves more recognition for being funny, smart, and overall a great fairytale film. I cannot say the same for Snow White and the Huntsman. 

Having yet to see every picture that is nominated, I will reserve judgement for my picks for each category. And I may just have to change my mind for Film of the Year also...Lincoln, Django Unchained and Life of Pi I have yet to see, among several others. 

The 85th Annual Academy Awards air February 24, 2013. I'll be watching, will you?