A Spirited Valentine ...

[Quinnmac000]

Little Mermaid is one that should have been better, but I read the Broadway version and listened to the soundtrack, and it's a bit of a convoluted mess. As much as I love Hunchback, I'm a little glad it didn't make it to Broadway, because I think it still had some issues, and I didn't want to see it go the way of the Little Mermaid. Apparently Pinocchio has been adapted for the West End and will start sometime this year, so that should be an interesting production.

I have a lot of faith in the creative team for Frozen. The Lopez duo has a lot of prior success, so I have no doubt that they'll make something wonderful.

I'm just saying, unless its completely next level magical, I wouldn't expect the same success as Lion King and others especially in the Tony department. Especially with everyone poaching all the good writers, producers, directors and a lot of people noticing how similar Wicked is to Frozen (ironically worked on by the Lopez duo as well).

It's part of the reason the Freaky Friday musical they were developing failed.

 

[FigmentJedi]

Especially with everyone poaching all the good writers, producers, directors and a lot of people noticing how similar Wicked is to Frozen (ironically written by the Lopez duo as well).

Wicked was by Stephen Schwartz, who did lyrics on Pocahontas and Hunchback

 

[Quinnmac000]

Wicked was by Stephen Schwartz, who did lyrics on Pocahontas and Hunchback

They worked on Wicked as well.

 

[WDWTank]

Exactly it was always the little hidden gems which made a trip to WDW so enjoyable without them why bother going any longer.

Like the refrigerator in Muppets also the key under the mat

 

[DisLemur]

They worked on Wicked as well.

I think you are thinking of Idina Menzel, who originated the role of Elphaba aka The Wicked Witch of the West. Robert Lopez was developing Avenue Q at the same time Wicked was and would eventually beat it to win the Tony Award for best musical in 2004.

 

[kenny279]

They worked on Wicked as well.

I am sorry, but you are not correct. I am a huge "Wicked" fan and have been following that show for a while. It has music and lyrics by Stephen Schwartz and book by Winnie Holzman. It was produced by Universal. Check Wikipedia, but a book called "The Grimmerie, a Behind-the-Scenes Look at the Hit Broadway Musical" gives a very detailed history and lots of photos for fans. Kristen Anderson-Lopez current Broadway credits at the moment per IBDB.com is a musical called "In Transit". Robert Lopez's credits are the musicals "The Book of Mormon" and "Avenue Q". Once "Frozen" opens on Broadway it will be a credit. Neither were part of Wicked nor do they list Wicked in their own bios. I have attached his bio from the current "The Book of Mormon" playbill here.

 

[DisLemur]

I am sorry, but you are not correct. I am a huge "Wicked" fan and have been following that show for a while. It has music and lyrics by Stephen Schwartz and book by Winnie Holzman. It was produced by Universal. Check Wikipedia, but a book called "The Grimmerie, a Behind-the-Scenes Look at the Hit Broadway Musical" gives a very detailed history and lots of photos for fans. Kristen Anderson-Lopez current Broadway credits at the moment per IBDB.com is a musical called "In Transit". Robert Lopez's credits are the musicals "The Book of Mormon" and "Avenue Q". Once "Frozen" opens on Broadway it will be a credit. Neither were part of Wicked nor do they list Wicked in their own bios. I have attached his bio from the current "The Book of Mormon" playbill here.

Also the fact that Wicked's initial out of town tryouts were on the other side of the country in San Francisco, while Q was in NYC. The only direct link Wicked and Frozen have is Idina Menzel, who's portrayal of Elphaba likely got her cast as Elsa as the character changed direction. Remember at some point Elsa was going to be a villain voiced by Megan Mullaley. I think Idina also auditioned as Rapunzel in Tangled, which ultimately went to Mandy Moore.

 

[ford91exploder]

Continuing proof that you don't understand how things worked then or now.

Oh i have a very good idea of how things work with an outsourcing contract.

Yeah Garner-Holt probably has a technician or two onsite to perform 'routine' maintenance and perhaps replace a fuse or drive motor.

But a major failure is 'out of scope' and requires a separate contract to repair because no outsourcing contract is going to accept unlimited and unknown liability for custom extremely complex electromechanical devices.

Now this is probably before your time at one time WDI had a shop onsite which had the capability of completly overhauling most AA's. It went away during the 'bad Eisner' period

 

[peter11435]

Oh i have a very good idea of how things work with an outsourcing contract.

Yeah Garner-Holt probably has a technician or two onsite to perform 'routine' maintenance and perhaps replace a fuse or drive motor.

But a major failure is 'out of scope' and requires a separate contract to repair because no outsourcing contract is going to accept unlimited and unknown liability for custom extremely complex electromechanical devices.

Now this is probably before your time at one time WDI had a shop onsite which had the capability of completly overhauling most AA's. It went away during the 'bad Eisner' period

Yeah that's what I thought. Nothing in your post is accurate. You need to understand that you don't know everything, and you clearly have no understanding of the Disney Garner Holt agreement or how animation maintenance is handled.

 

[asianway]

Yeah that's what I thought. Nothing in your post is accurate. You need to understand that you don't know everything, and you clearly have no understanding of the Disney Garner Holt agreement or how animation maintenance is handled.

No 3rd party contract will assume unlimited liability for maintenance.

 

[peter11435]

No 3rd party contract will assume unlimited liability for maintenance.

Correct. But he doesn't understand Garner holts role in animation maintenance.

 

[yensidtlaw1969]

Oh i have a very good idea of how things work with an outsourcing contract.

Yeah Garner-Holt probably has a technician or two onsite to perform 'routine' maintenance and perhaps replace a fuse or drive motor.

But a major failure is 'out of scope' and requires a separate contract to repair because no outsourcing contract is going to accept unlimited and unknown liability for custom extremely complex electromechanical devices.

Now this is probably before your time at one time WDI had a shop onsite which had the capability of completly overhauling most AA's. It went away during the 'bad Eisner' period

Side-stepping the other innacuracies of your perceived "understanding" . . . Garner Holt has nothing to do with the figures on the Jungle Cruise.

 

[jakeman]

Yeah that's what I thought. Nothing in your post is accurate. You need to understand that you don't know everything, and you clearly have no understanding of the Disney Garner Holt agreement or how animation maintenance is handled.

Side-stepping the other innacuracies of your perceived "understanding" . . . Garner Holt has nothing to do with the figures on the Jungle Cruise.

It doesn't matter if it's right or not.

It fits the perceptions and the rhetoric so therefore it will garner likes and be taken as fact by those that want it to be true.

Boy...that sounds familiar doesn't it?

 

[yensidtlaw1969]

It doesn't matter if it's right or not.

It fits the perceptions and the rhetoric so therefore it will garner likes and be taken as fact by those that want it to be true.

Boy...that sounds familiar doesn't it?

All the more reason to refute it

Was your use of the word Garner punintended?

 

[jakeman]

Ultimately this is true. It's a company issue. Right down the street these is a plethora of outdoor AAs on JP who have a heap load of maintenance issues and skinning issues to boot. Yet they still are maintenanced weekly and reskinned monthly in several cases. They do it when the park is closed and the AAs are just fixed.

Not that uni is infallible. There are plenty of effects and issues that haven't been repaired on plenty of rides. It ultimately comes down to budget and desire to repair certain things. But for Disney, it's another layer of red tape.
I believe @ford91exploder was simply mentioning the beurocratic layer they have, which is absolutely true.

You can say the sky is blue but if you state, as fact, that the reason it is blue is because the Earth resides inside the belly of a large space whale, then your point is not only lost, you are ultimately a liar.

All the more reason to refute it

Agreed. It's routinely disheartening the amount of people who come to @ford91exploder defense of his "truthiness" because they like the tone and purpose and don't necessarily care if there are actual facts to support it.

Was your use of the word Garner punintended?

lol It was not.

 

[the.dreamfinder]

Weekend Review #3: Let's Try Hard Not To Think About How The Cars Universe Works

Like seriously? This is the new "if Goofy and Pluto are both dogs, why does Goofy talk and stand on his hind legs?".

Recode's Peter Kafka interviewed Bob Iger's favorite analyst, Rich Greenfield of BTIG on the podcast Recode Media. Peter and Rich discuss the challenges facing legacy media companies in the quickly changing digital landscape and how they should navigate it. For those who've heard about Rich from reading Spirit's threads or have seen him on CNBC/Bloomberg, this is a good opportunity to hear him speak at length on his views. (Also, he is so right about Disney selling Pay TV rights to Netflix being a bad deal in the long run for TWDC.)

Essential Reading: Re-Imagineering
Going forward, this section of weekend review will be dedicated to writing from the past that is both informative for younger fans coming into the MAGIC scene and relevant to current events in the spheres of film and theme parks. Today's piece of essential reading comes from Re-Imagineering, a blog chock full of great critical essays from the mid-late aughts on the state of the Disney parks at the time. This essay about Ellen's Energy Adventure, titled "Audio Anarchronistics", really gets at the problems so many have with the Guardians overlay of DCA's ToT; how will this cheap, thematically inconsistent (ignoring the upcoming Marvel Land that could be much different than what has been proposed as a companion to M:B) attraction age in say 5-10 years? Disney has stood the test of time because it is timeless, but what are the implication of putting Marvel on the fast and cheap UNI IP multiplex model? Speaking of which...

Afrofuturism and "Black Panther"

So a trailer for this little movie called "Black Panther" came out last week and it was kind of a big deal. It is the first Marvel Studios film with a black protagonist with a largely black cast and crew, including director Ryan Coogler ("Creed" and "Fruitvale Station"). The film is also notable for being the first big budget Hollywood tentpole to be deeply influenced by Afrofuturism, a tradition that draws on African culture and combines it with science fiction and futurism which you can learn more about here, here and here. Wakanda is a product of this rich legacy and the production team on Panther has gone to great lengths to bring this world onto the big screen. The trailer offers us a glimpse into this world and Birth.Movies.Death's Siddhant Adlakha wrote a detailed break down of its contents, especially how it relates to Afrofuturism.

But to bring this back to the theme parks for a second, I want to visit this world badly. However, the current path that the Bobs have put us on will never get us there because they don't have the confidence in Marvel to truly recreate worlds like Wakanda for guests to explore and return to again and again. Themed entertainment, even if it's just adapting existing properties is capable of so much more than just being a highly profitable ancillary revenue stream. 'Tis a shame indeed.

Let's Dig Into The Design of BLACK PANTHER by Siddhant Adlakha BMD

Portfolio Review: The Personal Art of Bill Cone and Sharron Calahan

So to conclude this weekend review, let's take a look at the work of two the artists who helped create the look and feeling of the world of "Cars", visual development artist Bill Cone and cinematographer Sharon Calahan. Both are long time Pixarians who have been with the studio since "Toy Story". In addition to their work at Pixar, they are both prolific plein air painters. Here's a sample of their work.

Bill Cone

Pastel

Pastel

Sharon Calahan

 

[brb1006]

Weekend Review #3: Let's Try Hard Not To Think About How The Cars Universe Works

Like seriously? This is the new "if Goofy and Pluto are both dogs, why does Goofy talk and stand on his hind legs?".

Recode's Peter Kafka interviewed Bob Iger's favorite analyst, Rich Greenfield of BTIG on the podcast Recode Media. Peter and Rich discuss the challenges facing legacy media companies in the quickly changing digital landscape and how they should navigate it. For those who've heard about Rich from reading Spirit's threads or have seen him on CNBC/Bloomberg, this is a good opportunity to hear him speak at length on his views. (Also, he is so right about Disney selling Pay TV rights to Netflix being a bad deal in the long run for TWDC.)

Essential Reading: Re-Imagineering
Going forward, this section of weekend review will be dedicated to writing from the past that is both informative for younger fans coming into the MAGIC scene and relevant to current events in the spheres of film and theme parks. Today's piece of essential reading comes from Re-Imagineering, a blog chock full of great critical essays from the mid-late aughts on the state of the Disney parks at the time. This essay about Ellen's Energy Adventure, titled "Audio Anarchronistics", really gets at the problems so many have with the Guardians overlay of DCA's ToT; how will this cheap, thematically inconsistent (ignoring the upcoming Marvel Land that could be much different than what has been proposed as a companion to M:B) attraction age in say 5-10 years? Disney has stood the test of time because it is timeless, but what are the implication of putting Marvel on the fast and cheap UNI IP multiplex model? Speaking of which...

Afrofuturism and "Black Panther"

So a trailer for this little movie called "Black Panther" came out last week and it was kind of a big deal. It is the first Marvel Studios film with a black protagonist with a largely black cast and crew, including director Ryan Coogler ("Creed" and "Fruitvale Station"). The film is also notable for being the first big budget Hollywood tentpole to be deeply influenced by Afrofuturism, a tradition that draws on African culture and combines it with science fiction and futurism which you can learn more about here, here and here. Wakanda is a product of this rich legacy and the production team on Panther has gone to great lengths to bring this world onto the big screen. The trailer offers us a glimpse into this world and Birth.Movies.Death's Siddhant Adlakha wrote a detailed break down of its contents, especially how it relates to Afrofuturism.

But to bring this back to the theme parks for a second, I want to visit this world badly. However, the current path that the Bobs have put us on will never get us there because they don't have the confidence in Marvel to truly recreate worlds like Wakanda for guests to explore and return to again and again. Themed entertainment, even if it's just adapting existing properties is capable of so much more than just being a highly profitable ancillary revenue stream. 'Tis a shame indeed.

Let's Dig Into The Design of BLACK PANTHER by Siddhant Adlakha BMD

Portfolio Review: The Personal Art of Bill Cone and Sharron Calahan
View attachment 210288

So to conclude this weekend review, let's take a look at the work of two the artists who helped create the look and feeling of the world of "Cars", visual development artist Bill Cone and cinematographer Sharon Calahan. Both are long time Pixarians who have been with the studio since "Toy Story". In addition to their work at Pixar, they are both prolific plein air painters. Here's a sample of their work.

Bill Cone

Pastel

Pastel

View attachment 210300
Sharon Calahan

But I find people thinking to hard about the Cars Universe to be amusing. I think you're taking this to seriously.

 

[Kman101]

Correct. But he doesn't understand Garner holts role in animation maintenance.

Nope, he just looks for any thread and any excuse to post the same rhetoric. I never got bothered by it like some but it's constant and in nearly every thread. We. Get. It.

 

[Quinnmac000]

I think you are thinking of Idina Menzel, who originated the role of Elphaba aka The Wicked Witch of the West. Robert Lopez was developing Avenue Q at the same time Wicked was and would eventually beat it to win the Tony Award for best musical in 2004.

You are right. Sorry my bad.

 

[Quinnmac000]

Mario Kart Patent
http://www.bizjournals.com/orlando/...patent-hints-more-about-nintendo.html?ana=twt