Elio (Pixar - June 2025)

Disney Irish

Disney Irish

Premium Member
DKampy said:
I agree that Original movies are not bringing the crowds for the most part…However in defense of F1 I think we won’t get an idea where the movie is trending till the drop off next week… IMO… 57 million is great for what original movies typically open at these days….which the original projection I saw were around 35…. And the gross kept improving from there… which says there is some word of mouth there

I saw F1 this weekend at our Dolby ultra screen on Sunday…the theater was nearly sold out except for the front couple of rows…. which has me thinking maybe this is one of those films that people need to see on a premium screen.., granted our local theater usually does decent… no matter what movie I see there is usually a sizable crowd… but that was a surprise to me…. Our largest theater being that crowded for a non holiday Sunday matinee for a film being shown in multiple theaters…. I am guessing the other theaters were more sparse then usual
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Not really thread for it, but how did you like F1?
 
Animaniac93-98

Animaniac93-98

Well-Known Member
I don't see how the movie could have done worse than it did had they gone along with the director's cut, especially since they spent more money to give us the final edit.

The original version may have stirred more controversy, but at least people would have known it existed and that it wasn't a generic "kiddie movie"
 
Tha Realest

Tha Realest

Well-Known Member
coffeefan said:
Sure they can, but that's eliminating Pixar's competitive advantage. If this is a sign of Pixar's future then they will be a shell of their former self, with only sequels to movies created during their golden years having tremendous success.
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Pixar’s competitive advantage is melding technological innovations with air-right storytelling, coupled with a managerial/creative brain trust that tweaks and fine tunes the story. This is how Toy Story 2 was salvaged. I submit that Pixar’s competitive advantage does not lie with mollifying disgruntled employees that react petulantly when someone as talented and accomplished as Pete Docter (the COO of the subsidiary) offers notes.
 
Phroobar

Phroobar

Well-Known Member
Tha Realest said:
Pixar’s competitive advantage is melding technological innovations with air-right storytelling, coupled with a managerial/creative brain trust that tweaks and fine tunes the story. This is how Toy Story 2 was salvaged. I submit that Pixar’s competitive advantage does not lie with mollifying disgruntled employees that react petulantly when someone as talented and accomplished as Pete Docter (the COO of the subsidiary) offers notes.
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Problem is we haven't had that air-tight storytelling since Coco. The brain trust was getting priorities from Disney execs.
 
Tha Realest

Tha Realest

Well-Known Member
Phroobar said:
Problem is we haven't had that air-tight storytelling since Coco. The brain trust was getting priorities from Disney execs.
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Since Coco, we’ve had:

Incredibles 2 (93%RT)
Toy Story 4 (96%RT)
Onward (88%RT)
Soul (95%RT)
Luca (91%RT)
Turning Red (95%RT)
Inside Out 2 (91%RT)

Lightyear, Elemental, and Elio are the only real critical misses, but at least one of those overcame a slow start and legged out a win. I don’t see how you could argue the other post-Coco films weren’t coherent and well/crafted stories.
 
Tha Realest

Tha Realest

Well-Known Member
Phroobar said:
Like Zootopia 2 and Frozen 3. Does Disney Feature Animation even have an original movie in the pipeline?
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They presently have an “unannounced” film to be released in Nov ‘26. Not sure if that’s still accurate but they did announce this as part of a slate in 2023.
 
Phroobar

Phroobar

Well-Known Member
MisterPenguin said:
Maybe you'd want to see what Lasseter has been up to in order to understand why Disney doesn't want to see what Lasseter has been up to.
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He's Apple's property.

Spellbound - Let's make a fantasy kids movie about divorce staring Rachel Zegler.
Wondla - a woman tries to find her place in the world with her robot mom.
Luck - the struggle between Luck and Misfortune

and a couple of shorts.
 
coffeefan

coffeefan

Well-Known Member
Tha Realest said:
Pixar’s competitive advantage is melding technological innovations with air-right storytelling, coupled with a managerial/creative brain trust that tweaks and fine tunes the story. This is how Toy Story 2 was salvaged. I submit that Pixar’s competitive advantage does not lie with mollifying disgruntled employees that react petulantly when someone as talented and accomplished as Pete Docter (the COO of the subsidiary) offers notes.
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That's not what that means. It's not as simple as having a recipe any company can just follow to duplicate.
 
Disney Irish

Disney Irish

Premium Member
Phroobar said:
He's Apple's property.

Spellbound - Let's make a fantasy kids movie about divorce staring Rachel Zegler.
Wondla - a woman tries to find her place in the world with her robot mom.
Luck - the struggle between Luck and Misfortune

and a couple of shorts.
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He's actually head of Skydance Animation, now joined with Paramount Animation post-merger.

They produced a couple projects that were distributed by Apple, but are not actually part of Apple. Of that list only Luck and Wondla were Apple, Spellbound was Netflix.
 

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