sedati
Well-Known Member
Avatar 5 has been written - even though 2 isn't out yet
That's planning ahead, eh?
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General Disney Movies/Studios News
- Thread starter MisterPenguin
- Start date
www.digitalspy.com
- Disney is slowing spending on content while Wall Street is punishing its stocks for the lack of dividends and blaming it on D+'s current losses (tho, still on track to be profitable in 2024).
- Writers' strike
- Kang material probably delayed until Disney knows the fallout from Jonathan Majors' accusations against him
- There has been complaints from SFX studios about the amount of high-pressure turn-out of SFX for movies. Some people complained that Quantumania's SFX were bad (I disagree), which is blamed on the SFX crews being diverted to Wakanda Forever. So, there is a pinch point in the SFX output.
- It should surprise no one that Avatar movies are delayed. If you are surprised.... may God have mercy on your soul.
erasure fan1
Well-Known Member
They were typical Disney special effects. The recent trend for Disney has some great shots, a lot of average, and then there's Modok. Lol
I think there's been 2 or 3 scenes in just about every special effects heavy production, that just looks amateur. You can tell they are just stretched too thin.
Variety has a new Q&A article with Pixar's Peter Docter - here are a few of the questions and his answers.
Can you talk about the strategy behind putting releases on Disney+?
We made “Soul” for the big screen. We looked at every frame. There’s so much detail and gorgeous imagery and work that was done that you can’t quite appreciate on a smaller screen. However, there was a pandemic going on. On one hand, we were so thankful that there was Disney+ so that we could release the film and people could see it. Otherwise, it would just sit on a shelf for a year and a half.
In the long run, there’s been a bit of a mixed blessing because we’ve trained audiences that these films will be available for you on Disney+. And it’s more expensive for a family of four to go to a theater when they know they can wait and it’ll come out on the platform.
We’re trying to make sure people realize there’s a great deal you’re missing by not seeing it on the big screen. In the case of “Elemental,” it’s a beautiful spectacle, there’s detail everywhere. I think you feel it more and it’s a better experience. There’s the shared experience as well, that you get to see it in a room with strangers, and there’s something about the energy that comes from other people that makes the whole experience more vibrant and interesting.
What’s your take on the idea that audiences prefer established IP and aren’t as keen on new and original characters like Luca and The Good Dinosaur?
My dad was a musician. He always talks about music as a combination of the comfort of familiarity and surprise. If it tips in either direction, it doesn’t work. If you can tell where every next note is going to fall, you’re like, “hmmm.” But if every note is a surprise, and you don’t know where it’s going, and it’s so foreign, it doesn’t work either. So, most people generally gravitate towards music which is a sweet spot, somewhere in the middle.
Right now, the world seems to want the comfort of what they know, which is sequels, and movies based on things like comic books or video games. But all of these things were original at one point. I think it’s essential for us to develop new original stories, which are harder to publicize, harder to get people excited to go see them. But I think audiences deserve it. They want to find that surprise, along with the comfort of the expectation. We have our share of sequels in the works. We’re doing a sequel to “Inside Out,” so you get to go back inside the mind of Joy and Sadness. We have another “Toy Story,” so Woody and Buzz are back. And we have a few other projects, but it’s always a balance.
You mentioned “Toy Story” and “Inside Out,” would you like to revisit “Cars,” “Nemo” or even the “Incredibles” as potential sequels?
It’s all fair game. Our philosophy from the beginning has been the same, and it’s unchanged. The people have changed, but the approach is the same. We tap people that we believe in and that feel like they have talent and something to say. We ask them to talk about things that are important to them. If this is impactful and powerful to a person, they’re going to get on the screen, and it will resonate with audiences. We’re looking to tap these amazingly talented people I get to work with to talk about universal stories that are about life issues that we all face. Our movies on the surface are about fish, cars and monsters, but just below that, they’re really about all of us, and the challenge of dealing with loss, becoming a parent, to finding our place in the world. So, it’s the same philosophy that we’ve had from the beginning, just with different people in those directors’ seats.
How are you looking at getting audiences back to movie theaters?
It does seem like certain audience members are more likely to go back from what the research has shown. First of all, when you’re young, you feel like you’re immortal and danger is not for you. It does seem that audiences are going back. I think audiences with kids and families with kids are more reluctant. It’s not just health, it’s the cost. It’s not a cheap outing to go to the theater and buy popcorn. It’s a great time, but they really are very selective about what they’re going to go see. That’s where it is tougher to have original films because if you’re going to bet on something, you’re probably going to say, “I’ve seen that before. I know I like it and let’s go with the sequel.”
We do have a balance of those. But right now, with “Elemental,” it’s an original. What we’re trying to do is to lean on the spectacle, the scope, the scale and all those things that just make for a different and more impactful experience. Yes, you can see it on your small screen, and it’ll be cool there too. But there is something about being in the dark and seeing it on the big screen with the sound and music. The music by Thomas Newman is great. He knocked it out of the park. When you go to the theater, it’s this rich immersive experience, and you feel like you’re in the middle of the score. So, those would be the reasons I would think people would want to go see it in a theater.
Find the full Q&A below.
variety.com
Can you talk about the strategy behind putting releases on Disney+?
We made “Soul” for the big screen. We looked at every frame. There’s so much detail and gorgeous imagery and work that was done that you can’t quite appreciate on a smaller screen. However, there was a pandemic going on. On one hand, we were so thankful that there was Disney+ so that we could release the film and people could see it. Otherwise, it would just sit on a shelf for a year and a half.
In the long run, there’s been a bit of a mixed blessing because we’ve trained audiences that these films will be available for you on Disney+. And it’s more expensive for a family of four to go to a theater when they know they can wait and it’ll come out on the platform.
We’re trying to make sure people realize there’s a great deal you’re missing by not seeing it on the big screen. In the case of “Elemental,” it’s a beautiful spectacle, there’s detail everywhere. I think you feel it more and it’s a better experience. There’s the shared experience as well, that you get to see it in a room with strangers, and there’s something about the energy that comes from other people that makes the whole experience more vibrant and interesting.
What’s your take on the idea that audiences prefer established IP and aren’t as keen on new and original characters like Luca and The Good Dinosaur?
My dad was a musician. He always talks about music as a combination of the comfort of familiarity and surprise. If it tips in either direction, it doesn’t work. If you can tell where every next note is going to fall, you’re like, “hmmm.” But if every note is a surprise, and you don’t know where it’s going, and it’s so foreign, it doesn’t work either. So, most people generally gravitate towards music which is a sweet spot, somewhere in the middle.
Right now, the world seems to want the comfort of what they know, which is sequels, and movies based on things like comic books or video games. But all of these things were original at one point. I think it’s essential for us to develop new original stories, which are harder to publicize, harder to get people excited to go see them. But I think audiences deserve it. They want to find that surprise, along with the comfort of the expectation. We have our share of sequels in the works. We’re doing a sequel to “Inside Out,” so you get to go back inside the mind of Joy and Sadness. We have another “Toy Story,” so Woody and Buzz are back. And we have a few other projects, but it’s always a balance.
You mentioned “Toy Story” and “Inside Out,” would you like to revisit “Cars,” “Nemo” or even the “Incredibles” as potential sequels?
It’s all fair game. Our philosophy from the beginning has been the same, and it’s unchanged. The people have changed, but the approach is the same. We tap people that we believe in and that feel like they have talent and something to say. We ask them to talk about things that are important to them. If this is impactful and powerful to a person, they’re going to get on the screen, and it will resonate with audiences. We’re looking to tap these amazingly talented people I get to work with to talk about universal stories that are about life issues that we all face. Our movies on the surface are about fish, cars and monsters, but just below that, they’re really about all of us, and the challenge of dealing with loss, becoming a parent, to finding our place in the world. So, it’s the same philosophy that we’ve had from the beginning, just with different people in those directors’ seats.
How are you looking at getting audiences back to movie theaters?
It does seem like certain audience members are more likely to go back from what the research has shown. First of all, when you’re young, you feel like you’re immortal and danger is not for you. It does seem that audiences are going back. I think audiences with kids and families with kids are more reluctant. It’s not just health, it’s the cost. It’s not a cheap outing to go to the theater and buy popcorn. It’s a great time, but they really are very selective about what they’re going to go see. That’s where it is tougher to have original films because if you’re going to bet on something, you’re probably going to say, “I’ve seen that before. I know I like it and let’s go with the sequel.”
We do have a balance of those. But right now, with “Elemental,” it’s an original. What we’re trying to do is to lean on the spectacle, the scope, the scale and all those things that just make for a different and more impactful experience. Yes, you can see it on your small screen, and it’ll be cool there too. But there is something about being in the dark and seeing it on the big screen with the sound and music. The music by Thomas Newman is great. He knocked it out of the park. When you go to the theater, it’s this rich immersive experience, and you feel like you’re in the middle of the score. So, those would be the reasons I would think people would want to go see it in a theater.
Find the full Q&A below.
Pixar Boss Pete Docter Admits the Studio ‘Trained’ Families to Expect Disney+ Debuts, Says Bad ‘Elemental’ Buzz at Cannes Was ‘Confusing’
Pete Docter, Pixar’s creative chief officer, is hoping the animation studio’s 27th release, “Elemental,” will draw families to movie theaters this weekend. Peter Sohn’…
variety.com
8 Disney films are being re-released in theaters for 2-week runs in celebration of Disney's 100th anniversary.
See the link below for more details.
See the link below for more details.
They should have included Encanto to give it a chance to be over all profitable in theaters to make up for it's shortened theatrical run.
tcool123
Well-Known Member
I would love to see Beauty and the Beast and Lion King in theaters as I've never seen them in that format before. Overall a solid lineup, but disappointed there's not more variety. Seems wrong to not include some of the Walt era animated films, hopefully this is meant to be a test and more showings occur throughout the holiday season and 2024.
erasure fan1
Well-Known Member
I'd go see lionking if it's not the version with morning report in it. Lol
BlakeW39
Well-Known Member
still haven't seen two of those. Soul I can watch on Disney+ and Encanto I'm not a huge fan of. The music is great but the plot is meh to me.
erasure fan1
Well-Known Member
Encanto would be a maybe. The soundtrack alone would get some people to go. As for the others, I highly doubt it.
tcool123
Well-Known Member
I saw Encanto in theaters twice it was good
Def looked prettier.
This question can be applied to all of these rereleases, is anyone going to show up with Disney+ around?
Midsummer Box Office Hitting $1.88 Billion, -2% From 2022
We’ve had a couple of tentpole missteps here this summer, read Indiana Jones and the Dial of Destiny this weekend with $60M, The Flash and Elemental; putting the running summer box office at …
deadline.com
TalkingHead
Well-Known Member
Sort of a ridiculous selection for the 100th anniversary considering there’s nothing here from the pre-1990s.
Mary Poppins would’ve been an obvious choice, not to mention any of the animated classics that never play in theaters anymore. Roger Rabbit would have sold tickets.
Casper Gutman
Well-Known Member
Yes.
Phroobar
Well-Known Member
Except not enough to put them in the black. They are already streaming and released to blu-ray.
Disney, Despite ‘Indy’ & ‘Elemental’ Misfires, Leading 2023 Global Box Office With $3.4B
Disney Leads 2023 global box office with $3.4 billion despite Indiana Jones, Elemental bombing
deadline.com
We can knock Disney all we want over less-than stellar post-Covid results on Marvel, Pixar and Lucasfilm titles, but the fact of the matter is the brands are still delivering, making the theatrical motion picture studio the continued box office leader with $3.4 billion worldwide for the period of Jan. 1-July 2.
That breaks out to $1.35 billion domestic and $2.05 billion abroad, and this is off of seven theatrical releases so far in 2023. Exhibitors can continue to give thanks that the former practitioner of theatrical day-and-date on streaming is no longer doing so and committed to a theatrical window, thus seeing the financial vibrancy of a downstream model post-pandemic. The riches of that trigger concession sales for theater owners and other exhibition ancillary businesses and beyond (i.e. Imax).
Disney’s global take so far this year is 3.9x that of Paramount’s ($871M with five movies), 3.8x that of Warner Bros ($898M with six movies) and 3.1x that of Sony ($1.1 billion with 15 movies) and more than Paramount and Warner Bros combined. Universal is second for the year to date with an estimated $2.89 billion off 14 titles, propelled by Illumination’s Super Mario Bros at $1.33 billion, the highest grossing film of 2023 YTD.
Disney is also leading at the U.S./Canada box office towering ahead of Universal ($1.13B), Sony ($589M), Paramount ($398M) and Warner Bros ($264M). As we told you a few days ago, Disney is also No. 1 at the summer stateside box office with $811M, generating 44% of the near $1.9 billion season for May 1-July 2.
In the Disney Marvel Studios box office war with Warner Bros. DC, the last three Marvel movies —Black Panther: Wakanda Forever, Ant-Man and the Wasp: Quantumania and Guardians of the Galaxy Vol. 3 combined totaled $2.1 billion worldwide which blows away DC’s trio of Black Adam, Shazam: Fury of the Gods and The Flash which did $773M worldwide. GOTG3 is the second highest grossing movie of the year at $837M, and Ant-Man and the Wasp: Quantumania at $476M is bigger than Black Adam‘s $393.2M last year.
Among the top 20 grossing films of the year to date, Disney owns five of them: GOTG3 ($837M), Little Mermaid ($525M, No. 5), Ant-Man and the Wasp: Quantumania ($476M at No. 6), Elemental at No. 12 with $188M and Indiana Jones and the Dial of Destiny with $131M at No. 16.