Nineteen Eighty-Four Competition Arena

DisneyManOne

Well-Known Member
Week 5: The Other Spinny Thing
"The Windmill"

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Chance_Rides_logo.png
Hello there, my friends. For this project, I'll be serving as a representative of well-known amusement park ride manufacturer, Chance Rides. And, by golly, we've got a hot new ride for you: The Windmill!

The Windmill is an all-new take on the cheap-carnival-spinny-thing--but however, with today's progressive technology, this could easily take carnival rides to a whole new medium. I can basically describe as the Swinging Ship ride...but on steroids.

The whole thing starts with the base. The base is about six feet tall with lights flickering all around it (not shown in picture). The ride features four different vehicles. The vehicles are basically giant flat "droppy-thing" vehicles that seat up to four people. The vehicles are attached to two different poles on both sides of the base. Why are there two on both side? We shall soon find out.

At loading time, the vehicles are located one behind the other. Once all are seated, the ride vehicles are slowly taken up to the top of the base. A bell sounds. The sound of wind begins to pick up. And slowly, but surely, the ride vehicles start to sway from side to side. But as the ride goes on and the swaying gets higher, that's where the technological part comes in.

The poles that the vehicles are connected to are rigged with a special mechanism, so that when the time is right, the vehicles will actually be able to switch places as they sway (so, at one rotation, the vehicle in back would be in front, then at the next, the vehicle would be in back, and so on and so forth). This is the reason we call this ride "The Windmill".

After a few sets of dizzying rotations, the vehicles are brought back to their "neutral" positions and are slowly lowered back down again.

The good people here at Chance Rides hope that The Windmill will become a valuable part of any traveling carnival, providing just the right amount of old-timey carnival thrill with a healthy dose of new ride technology.
 

TheOriginalTiki

Well-Known Member
Original Poster
@Basketbuddy101

Creativity: 7.5/10 It's basically a Zipper on steroids.
Realism: 5/10 I think the height really killed it for me. There's a lot of regions that wouldn't allow a structure of that size to be built, let alone the practicality of transporting it. I also think the height/age restriction isn't the best idea.
Detail: 6.5/10 I appreciate the approach of having an interview, but feel a more traditional write up would have better served to describe the experience.
Presentation: 9/10 As always you crush it.

Total: 28/40

@IDInstitute

Creativity: 8.5/10 Great mix of different flat ride elements. Also love the name.
Realism: 8.5/10 Seems very practical.
Detail: 7/10 Serviceable.
Presentation: 8/10 A for effort! ;)
Total: 32/40

@DisneyManOne

Creativity: 7.5/10 I appreciate that you did a lot with a ride that doesn't have a large height to it.
Realism: 9/10 Can definitely see this happening, and it's accesible enough to be fun for teens and thrilling for kids.
Presentation: 7.5/10 Looks just fine.
Detail: 6/10 Not a ton there...

Total: 30/40

We'll see what @JokersWild has to say...
 

JokersWild

Well-Known Member
Apologies for the bare bones scores this time around. I lost track of time and I gots deadlines to meet.

@Basketbuddy101 - Intamin Worldwide's Ferris' Fire Wheel
Creativity: 9/10 - The idea is brilliant; a ferris wheel that doubles as an observation tower. This is definitely the most unique out of the bunch, I feel, and, you created an incredibly intriguing ride using two classic flat rides as a basis.
Realism: 5/10 - This takes a bit of a hit for me. Load seems like it would taking forever, and while that may work in a theme park like Knotts, or even Six Flags, I could picture this taking 15 minutes to load at a typical state fair. I also worry that, with the way I envision the load would work, it'd be a mechanical and logistical nightmare to load.
Detail: 7/10 - No problem here. I definitely could have used a bit more on the mechanics, though.
Presentation: 8.5/10 - Have an arbitrary ".5" for setting the presentation up like an interview.
Total: 27.5/40

@IDInstitute - The Hammock
Creativity: 8/10 - Interesting concept and ideas. Sounds like it would be a fun ride. I do like that you could make it as thrilling, or tame, as you'd like
Realism: 7/10 - Nothing terribly unrealistic. The only thing that worries me is that the chain and tension system sounds a little rudimentary to me. Perhaps I'm just thinking about it wrong, but it seems like a lot could go wrong with the seats being attached to chains that are constantly tightened and un-tightened.
Detail: 7/10 - No problem here.
Presentation: 7/10 - No problem here. Stunning models :p.
Total: 29/30

@DisneyManOne - The Windmill
Creativity: 7.5/10 - Very interesting idea. Very practical.
Realism: 9/10 - Probably the most realistic of the bunch, honestly.
Detail: 6/10 - Definitely could have used more.
Presentation: 7/10 - No problem here.
Total: 29.5/40
 

TheOriginalTiki

Well-Known Member
Original Poster
This weeks Rankings

1. @IDInstitute 61/80
2. @DisneyManOne
3. @Basketbuddy101 56.5/80

Did Not Submit
- @Flippin'Flounder
- @mickeyfan5534

Which means congratulations @IDInstitute, you are this week's Head of Household! Please announce your two nominees for eviction in this thread as soon as possible. Every contestant from this point forward will be playing in the Veto competition. Outgoing Head of Household @GMR710 has awarded @mickeyfan5534 with the penultimate Nomination Immunity of the season, so he cannot be nominated. As always if Veto gets used he is fair game as a replacement nominee.
 

TheOriginalTiki

Well-Known Member
Original Poster
All houseguests will be competing in this Power of Veto competition...

@IDInstitute
@GMR710
@DisneyManOne
@Flippin'Flounder
@Basketbuddy101
@mickeyfan5534

Week Five Power of Veto Competition
In the Key of Bluth
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As Disney fans, we all gravitate to that studio and Pixar when it comes to our favorite animated films, one would assume (and heck, if you're a Miyazaki/Ghibli fan those films are still technically distributed by Disney ; P) In terms of animation studios that can rival Disney, of course DreamWorks is the big name in the business right now. It didn't always used to be that way. In the late seventies to the early 90s, there was another studio that not only took on Disney, but defeated them several times at the box office, I'm talking of course about Don Bluth's production company Sullivan Bluth.

The run from Secret of NYMH through All Dogs Go to Heaven is still one of the most impressive in any animation studio, just in terms of how much those four films...also including the original American Tail and Land Before Time, made an impact on the generation that grew up with them. The secret recipe that Bluth always prided himself on is that you could plunge the audience into the absolute pit of darkness as long as there was a happy ending on the other side. For that reason Bluth's films, especially the ones of this era, took on a more dark and Gothic tone, complete with tons of subtext about spirituality. That is the true "Key of Bluth".

But then, after All Dogs Go To Heaven something happened to Bluth that leave animation fans to this day scratching their heads. His quality went downhill. How did a guy go from producing four masterpieces in a row in the form of Secret of NYMH, American Tail, Land Before Time, and All Dogs Go to Heaven to producing the trilogy of clunkers that is Rock-A-Doodle, The Pebble and the Penguin, and of course the crown jewel of Suck in the Bluth catalog known as A Troll in Central Park.



After that Bluth had a mild comeback with the critically acclaimed Anatasia and the sci-fi cult film Titan AE. After Titan though, the man disappeared and went into a public exile the likes of Bill Watterson or Alan Moore, leaving a very mixed legacy behind as a result of his work in the early 90s. What's worse about his legacy is that his best films have now been partially ruined in reputation thanks to the buisiness of sequels. While American Tail got off okay with a really good theatrical sequel and an alright direct to video sequel (fun fact: I owned Fievel Goes West as a kid and grew up on that...had no idea there was an original movie until much later! ;) ) franchises such as The Land Before Time and All Dogs Go to Heaven have had it much worse, with All Dogs receiving several bad sequels and TV shows and The Land Before Time practically turning into a poster child of an IP that got run into the ground due to corporate greed, and the franchise is now much more famous for the ridiculous number of crappy direct to video sequels than the fact that the original is one of the greatest animated films of its era. While The Secret of NIMH only got one sequel, "Timmy to the Rescue" is arguably THE single worst thing that a Bluth property has had the misfortune of being associated with.

So point is between Bluth's bizarre run in the 90s and the sequelization (is that a word :p ) of his classic work, his legacy while still prominent contains a bit of an asterisk. Your goal for this project is to remove that asterisk! You have two choices here. You can either pitch a Don Bluth comeback project set to be released in the future that has the potential to restore is legacy, or you can go the "alternate history" route and hypothetically pitch a sequel to one of his four eighties movies (NIMH, Tail, LBT, All Dogs) that is directed by Bluth himself and completely erases all other sequels in that franchise from this alternate history! If you go the "comeback project" route, you are allowed to use his video game IPs "Dragon's Lair" and "Space Ace", but be advised your creativity score might be affected as a result.

With the comeback film I want to see the spirit of Bluth on true display with what I was talking about regarding the dark Gothic atmosphere and spiritual undertones. With the sequel I want to see something that continues the story of the original film and stays faithful to the classic "dark Gothic" Don Bluth atmosphere that I've been hyping up so much. It's your choice rather you want to do the sequel or the comeback film. Just keep in mind that for the sequel you're doing an "alternate history" pitch and hypothetically erasing all other sequels from that franchise's timeline and making a direct sequel with Bluth himself at the helm. I know there was a lot of backstory to cover for this project so feel free to ask any questions. Also if you're looking to do some research I HIGHLY recommend going through this series of videos to get a more complete picture of the entire history of Sullivan/Bluth studios.



Good luck houseguests. This project is due Saturday August 22nd at 10:00 PM Eastern.
 

DisneyManOne

Well-Known Member
Week 5 POV Competition--In the Key of Bluth
Into the Woods
into_the_woods_logo.jpg
Now, I know what you're thinking...why do Into the Woods? Well, remember what Tiki said about the project...

Between Bluth's bizarre run in the 90s and the sequelization (is that a word :p ) of his classic work, his legacy while still prominent contains a bit of an asterisk. Your goal for this project is to remove that asterisk! You have two choices here. You can either pitch a Don Bluth comeback project set to be released in the future that has the potential to restore is legacy, or you can go the "alternate history" route and hypothetically pitch a sequel to one of his four eighties movies (NIMH, Tail, LBT, All Dogs) that is directed by Bluth himself and completely erases all other sequels in that franchise from this alternate history!

With the comeback film I want to see the spirit of Bluth on true display with what I was talking about regarding the dark Gothic atmosphere and spiritual undertones.

And what could represent "dark Gothic atmosphere" better than a musical that shows the dark side of fairy tales? Plus, Into the Woods is inspired by the Brothers Grimm versions of the stories, themselves involving the idea of God.

The film serves as a reminder to the people of this day and age about what painstakingly attentive hand-drawn animation can do, just as The Secret of NIMH, Land Before Time and All Dogs Go to Heaven
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The film opens with a bit of live-action, involving a child (unknown actor) asking his grandfather (Chip Zien, who originated the role of the Baker in the Broadway production) if he could read him a bedtime story. The grandfather is happy to oblige, and proceeds to say those four magic words: "Once upon a time..."


With that, the music starts up, the book flies open and we find ourselves in an animated village. In the "Prologue", we are introduced to four characters, who each have a wish: Cinderella (voice of Laura Benanti), the daughter of a wealthy man who has been reduced by her wicked stepmother and stepsisters into becoming their skivvy, wishes to attend the King's festival; Jack, a simple poor boy, wishes that his cow, Milky White, would give milk; and a Baker (Denis O'Hare) and his Wife (Amy Adams), who wish they could have a child.

We are also introduced to Little Red Riding Hood, who wishes for bread from the Baker to take to her grandmother's house, which they reluctantly give...along with a couple--no, a lot of--sweets for herself. Meanwhile, Jack's weary mother, who wishes for gold, nags him into selling the cow, and Cinderella's stepmother and stepsisters Florinda and Lucinda tease her about wanting to attend the King's festival.

The Baker's neighbor, an ugly old Witch (Bernadette Peters), reveals that the source of the couple's infertility is a curse she placed on the Baker's line after catching the Baker's father in her garden stealing vegetables, including six "magic" beans. In addition to the curse, the Witch took the Baker's father's newborn child Rapunzel. She explains the curse will be lifted if the Baker and his Wife can find the four ingredients that the Witch needs for a certain potion; "the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold," all before the chime of midnight in three days' time. All begin their journeys into the woods — Jack goes to the market to sell his beloved pet Milky White, Cinderella's family goes to the Festival while Cinderella goes to her mother's grave to ask for guidance, Little Red goes to her grandmother's house, and the Baker, refusing his wife's help, goes to find the ingredients.

Cinderella visits her mother's grave--a willow tree upon which doves that have been sent from Heaven to aid her roost--and receives a beautiful gown and golden slippers from her mother's spirit. Jack encounters a Mysterious Man (voiced by Chip Zien--a reference to the stage show, where the Narrator and Mysterious Man are played by the same person) who mocks him for trying to sell his cow for more than a "sack of beans" and then vanishes. Little Red Ridinghood meets a hungry Wolf (note: the Wolf should not be portrayed as cartoonish, but rather, like a real-life wolf) who convinces her to take a detour on her way to Granny's ("Hello, Little Girl").

The Baker runs into his Wife in the woods. They are squabbling over her presence when they come across Jack with Milky White. Not having the money necessary to buy the cow, they convince Jack that the beans the Baker has found in his father's old hunting jacket are magic and buy the cow for five of them. Jack bids a tearful goodbye to his cow, and the Baker orders his wife to return to the village with the cow. He has qualms about being so dishonest, but his wife reasons that the chance to have a child justifies their trickery ("Maybe They're Magic").

The Witch has raised Rapunzel as her own daughter, keeping her locked away from the world in a tall tower in the middle of the woods, accessible only by climbing Rapunzel's long, golden hair ("Our Little World"). However, on this day a handsome prince spies the beautiful Rapunzel and resolves to climb the tower himself. In another part of the wood, the Baker has tracked down Little Red. Following the Witch's advice, he attempts to simply steal the red cape, but her ensuing temper tantrum guilts him into returning it. When Little Red arrives at her grandmother's house, she is swallowed by the Wolf. The Baker, in pursuit of the cape, slays the Wolf, pulling Little Red Ridinghood and her grandmother from the beast's innards. Little Red rewards him with the red cape, reflecting on her new experiences ("I Know Things Now").

Meanwhile, Jack's mother angrily tosses the beans aside and sends her son to bed without supper. As Cinderella flees the Festival, pursued by another handsome prince and his steward, the Wife helps her hide. As a giant beanstalk begins to sprout from the ground next to Jack's cottage, the Baker's Wife spots Cinderella's pure gold slippers. She tries to chase after Cinderella but inadvertently allows Milky White to run off, leaving the Baker's Wife without the slippers or the cow.

The next morning, Jack describes his thrilling adventure after he returns from climbing the beanstalk and finding a castle of two married giants, whom he robbed unnoticed ("Giants in the Sky"). He gives the Baker five gold pieces he stole from the giants to buy back his cow. When the Baker hesitates, Jack climbs back up the beanstalk to find more. The Mysterious Man emerges and taunts the Baker, stealing the money. The Baker's Wife confesses she has lost the cow, and she and the Baker split up to look for it. Cinderella's Prince and Rapunzel's Prince, who are brothers, meet and compare the misery of their newfound and unobtainable loves ("Agony"). The Baker's Wife, who is eavesdropping, takes note when Rapunzel's prince mentions that he is in love with a girl in a tower with hair "as yellow as corn." The Baker's Wife fools Rapunzel into letting down her hair and pulls out a piece of it. Meanwhile, The Mysterious Man gives Milky White back to the Baker.

The Baker's Wife and Cinderella meet again, and the Baker's Wife makes a desperate grab for her shoes, almost succeeding before Cinderella flees. The Baker and his wife reunite, now with three of the four items. The Baker admits that they will have to work together to fulfill the quest ("It Takes Two"). Jack arrives with a hen that lays golden eggs and attempts to buy Milky White back, but the cow suddenly keels over dead as midnight chimes. The Witch discovers that the Prince has been visiting Rapunzel and begs Rapunzel to stay with her ("Stay with Me"). When Rapunzel refuses, the Witch angrily cuts off Rapunzel's hair and banishes her to a desert. The Mysterious Man gives the Baker the money to buy another cow. Jack encounters Little Red, who is now sporting a wolf skin cape and a knife for protection, and tries to impress her by telling her about the kingdom of the Giant. When she refuses to believe him, he is goaded into returning once again to the Giant's home to steal a magic harp.

Cinderella, returning from the last night of the festival, describes how the Prince had spread pitch on the stairs to prevent her from escaping. Caught between wanting to escape and wanting to stay, she eventually resolves to let the Prince decide, leaving him one of her slippers as a clue to her identity ("On the Steps of the Palace"). The Baker's Wife frantically tries to convince her to give up her other shoe, offering her the sixth magic bean in exchange for it. Cinderella throws the bean aside, but trades shoes with the Baker's Wife and flees, while unbeknownst to anyone a second beanstalk starts to grow. The Baker arrives with another cow; they now have all four items. The Prince's Steward grabs the slipper from the Baker's Wife, and they are fighting over it when a great crash is heard and Jack's mother runs in to report that a Giant seeking revenge from Jack for stealing his magic harp has fallen from the first beanstalk when Jack chopped it and is dead in her backyard. The Prince, more concerned with finding Cinderella, waves her off and departs with one of the slippers, giving the other to the Baker and his wife. Jack, to the relief of his mother, returns with the magic harp. The Witch discovers that the new cow is not pure white; it is covered with flour. However, the Witch is able to bring Milky White back to life and instructs the Baker and his Wife to feed the items to her. Jack tries to milk her, but no milk comes. The Baker's Wife admits that the hair is Rapunzel's, and the Witch furiously explains that the magic will not work because the Witch has already touched Rapunzel's hair. The Mysterious Man tells the Baker to feed the hair-like corn silk to the cow. Now Milky White gives milk which is the potion. The Witch reveals that the Mysterious Man is the Baker's father. The Witch drinks the potion, and suddenly the Mysterious Man falls dead, his reparation complete, the curse is broken, and the Witch is transformed into a beautiful young woman, reversing the effects of the curse of ugliness by which she was punished by her mother, because the Baker's father stole the beans from her.

Cinderella's Prince searches for the girl whose foot fits the slipper; the stepsisters try but can only get it on by cutting off parts of their feet. Cinderella appears, her foot fits the slipper, and she becomes the Prince's bride. Rapunzel has borne twins in the desert where her Prince finds her. The Witch attempts to curse the couple, only to find that her powers have been lost.

At Cinderella's wedding to the Prince, Florinda and Lucinda are blinded by birds as they try to win Cinderella's favor. The Baker and his wife appear with their new baby boy. Everyone but the Witch and the stepsisters congratulate themselves on being able to live happily "Ever After," though they fail to notice another beanstalk growing sky-high...

Before they can finish the song, a great rumbling occurs. The Witch, who has been elsewhere, reports of enormous footprints that have ruined her garden. The characters conclude that the cause of the rumbling is...another Giant! Once again, everyone heads Into the Woods, but this time the mood is somber and the birds have stopped singing.

While everyone else is drawn back into the woods, Rapunzel has fled there in a hysterical fit, her treatment at the hands of the Witch having driven her mad. The Baker, his Wife, and Little Red get lost in the woods and find Cinderella's family and the Steward, who reveal that the castle was set upon by the Giant. The Witch arrives as well, bringing news that the Giant has destroyed the village and the Baker's house. Suddenly, thunderous footsteps are heard and the Giant appears. To the shock of all, this Giant is a woman who has come from the second beanstalk and is the widow of the Giant that Jack killed by chopping down the beanstalk. Her booming voice proclaims that she wants Jack's blood in revenge. To satisfy the Giantess, the group realizes they must give her someone, but are unable to decide on whom...

....that is, until they realize that the grandfather is still commenting on the actions from the sidelines. Suddenly, a series of animated hands pop out of the book, and drag the grandfather inside. So begins the obligatory Don Bluth-traumatizer-scene. (I know this part was played for laughs in the show, but I want this to be scary!) Everyone offers her the grandfather as a sacrifice, but he convinces them how lost they would be without him. As he is returned to the real world, he comforts his nervous grandson. Nevertheless, the Witch pulls him back in--as well as his grandson, who has clinged onto his leg--,throws him into the Giantess's arms and he is killed upon being dropped. The grandson rails against the Witch for killing his grandfather, and in a fit of rage, attempts to sacrifice her to the Giant. The others try to restrain him and he tries to fight back. The scuffle is broken by a loud scream. It's Rapunzel, who enters in another hysterical fit.

As the Witch attempts to comfort Rapunzel, Jack's mother finds the group and aggressively defends her son, angering the Giantess, and the Steward clubs Jack's mother to quiet her, inadvertently killing her. As the Giantess leaves to search for Jack, Rapunzel runs into her path and is trampled (this, according to TV Tropes, can be considered an accident or suicide) to the horror of the Witch and her Prince ("Witch's Lament").

The Royal Family continue on their way, fleeing to a hidden Kingdom despite the Baker's pleas for them to stay and fight the Giant. The Witch declares she will find Jack and sacrifice him to the Giant, and the Baker and his Wife decide they must find him first and split up to search, leaving Little Red and the grandson with their child. The Baker discovers Cinderella at her mother's destroyed grave and convinces her to join their group for safety. However, as for the Baker's Wife, she has lost her way, stumbles into the path of the Giant, and is consequently killed by a falling tree.

The Baker, the grandson, Little Red, and Cinderella await the return of the Baker's Wife when the Witch drags in Jack, whom she found weeping over the Baker's Wife's body. The Baker, grief-stricken when he learns of his wife's death, unwittingly agrees to give Jack to the Giantess, as does the grandson, still traumatized by his grandfather's death. This causes an argument between the Baker, the grandson, Jack, Little Red and Cinderella ("Your Fault"). The five characters first blame each other for their predicament, until finally they all decide to blame the Witch for growing the beans in the first place. Disgusted, the Witch scolds them for wasting time blaming people, and for doing the "nice thing" instead of the "right thing". In an attempt to get away from them, she throws away the rest of her magic beans, reactivating her mother's curse and making her vanish ("Last Midnight").

The grieving Baker flees, but is visited by his father's spirit who convinces him to face his responsibilities ("No More"). The Baker returns and helps plan killing the Giantess, using Cinderella's bird friends to peck out the Giant's eyes at an area smeared with pitch, where Jack and the Baker can finally deliver a fatal blow. Cinderella stays behind to protect the Baker's child and the grandson. Little Red returns with the news that her grandmother has been killed by the Giantess. Meanwhile, the Baker tells Jack that his mother is dead. Jack vows to kill the steward in revenge until the Baker convinces him that killing the steward will not benefit anyone. Cinderella comforts Little Red and the grandson, and tries to answer her qualms that killing the Giant makes them no better than she is, while the Baker explains to Jack that everyone is responsible for the choices they make, good or bad. ("No One Is Alone").

The five remaining characters slay the Giant, and resolve to band together and rebuild. The spirit of the Baker's Wife appears to comfort her mourning husband advising her husband to tell their child their story. The Baker begins to tell the story using the same words as the narrator did at the beginning of the play as the Witch and the rest of the deceased appear with a final moral: "Careful the things you say, Children Will Listen."
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Gothic Elements
Where to begin? There's plenty of disturbing elements--the Baker slitting the Wolf's stomach to rescue Little Red and Granny, the stepsisters' feet getting the chop and pretty much all of the second half of the film.

Spiritual Undertones
Apart from the aforementioned "birds from Heaven", there's also ideals about Armageddon and resurrection. For example, when the travelers go into the woods after the rumbling, the sky is now mysterious--red and orange and yellow--and the trees have fallen all over, and there's even an animal carcass or two.

But, as for the resurrection, once the Giant is killed, the sky is pale blue and white, and all the dead characters come down to sing "Children Will Listen".

Film Stats
Name: Into the Woods
Directed by...Don Bluth
Screenplay....Don Bluth and James Lapine
Music....Stephen Sondheim


Witch...Bernadette Peters
Baker....Dennis O'Hare
Baker's Wife...Amy Adams
Grandfather/Mysterious Man...Chip Zien

Studio: Sullivan Bluth
Distribution Company: MGM
Release Date: November 5th, 1987
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I really love the idea of a Don-Bluth helmed adaptation of Into the Woods, and I really hope that if this happens, Bluth will become a recognized name and hand-drawn animation will be resurrected.

So, until then...
 
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Basketbuddy101

Well-Known Member
The Diplomat’s Flight

“The Diplomat’s Flight” tells the story of a family of “Scurries,” sentient squirrels who escape from a colony where mankind coexists with a wildly-intelligent species of squirrels. The film will attempt to redeem Don Bluth’s film legacy, and on that note, it will be presented in the style of past films such as “The Secret of Nyhm.” The film will utilize dark, murky colors to portray a cross between a utopian and dystopian world. With a whopping 100 million dollar budget, this is perhaps Bluth’s final chance to make a film that reaches the artistic heights of “The Land Before Time” and the commercial success of “An American Tail.” Rather than make the society of animals in this film hidden away from humans like in traditional Bluth films, the studio will opt to reinvent this phenomenon and truly explore the relationship between man and animal.

Cast of Main Characters:

Rody Cornwald: A skilled farmer, Rody is a peaceful squirrel with a hopeful disposition. While a bit of an idealist, Rody is also sly and agile. He lives only to feed his family and the rest of Wyndale in the process.

Becka Cornwald: As Rody’s wife, Becka is supportive yet cautious of her husband. She’s more concerned about keeping her family safe and together than questioning why things are the way they are.

Toofie Cornwald: Rody and Becka’s infant son. Toofie was so named for his one tooth which he uses to crack nuts open. Toofie can’t speak, but is surprisingly agile, much like his father.

Ramona Cornwald: Rody and Becka’s young daughter. Ramona aspires to be like her father, but is cautioned by her mother to be reserved and cautious so as to keep herself out of trouble.

Quinn Chatterworth: The leader of the “Peacock Company,” a society of cynical squirrels who refused to be a part of Wyndale in their distrust of the humans. Chatterworth is distrustful of everyone except his men, and only helps Rody and his family because of their shared species.

Professor Simon Peppernut: A brilliant yet slightly ‘nutty’ scientist and inventor, Peppernut is one of the most prominent members of the Peacock Company. He has a thorough understanding of medicine, which he plans to use against the humans at the request of his superiors.

Archie: The only sympathetic human character in the film. Archie is kind and, much like Rody, happens to be an idealist.

Character Concept Drawings:


Opening Narration:

Opening Narration: “Once men lived among the creatures of the land, animals of different shapes and colors. And so men hunted them and lived without ever once fearing them. But hidden in the trees were watchers, and they too were like man, and so man had at last met his match. It was then that a great famine spread across the land, killing every creature in its path; man was on the brink of starvation, but the watchers came down from their homes and fed man the nuts from the trees, saving them from certain death. These watchers, Scurries, sought only to make peace with man, to create a world where two knowing species could work together and live beside one another, and for a time, it was so. The men built great machines and the Scurries worked the land for food, and together, they traded, coexisted, and it was good. The men admired their strength in brawn, but the Scurries admired their strength in mind, and they wrote books, created music, and wrought a culture altogether, surpassing man’s own culture. And so man, with all his brawn and machines, became the animal…and the shadow of the Scurries had finally been cast….

The Diplomat’s Flight: Act I

Sentient squirrels called “Scurries” live among humans. The Scurries trade the food they cultivate to the humans in exchange for tools and other supplies. The world in which they live is thus perfectly balanced, as the squirrels produce the food and the humans build their world with the help of their great machines. The men built houses in the trees for the Scurries to celebrate their union, and we are introduced to the great city of “Wyndale,” where the buildings are made of wood, ropes, and large stones. Our main character, Rody Cornwald, is a simple Scurry farmer who is seeking permission from the city council to build a new grain silo. The request is denied, and Rody finds himself heading home from Wyndale City Hall. On his way out, he sees a man glare at him. Rody thinks little of it at first, but is shocked to find that the man has a Scurry foot hanging from the inside of his coat pocket. Rody carefully follows the man, making sure not to be seen. He eavesdrops on a secret “Humans Only” meeting and finds that the mayor is planning to eradicate the “Rodent Menace” by plowing down their treehouse homes.

Rody appears unwilling to believe the conspiracy, but in a somewhat disturbing scene, we find that each member of the meeting has the same Scurry foot as Rody noticed before. Rody hurries home, urging his neighbors to flee the colony but they don’t believe him. One of them notes that “Humans are more civilized than you give them credit for, Cornwald!” At home, Rody warns his wife, Becka, and urges her to prepare “a month’s worth of nuts.” Rody’s son and daughter, Toofie and Ramona, help to gather the nuts. The attack comes sooner than expected, however, and to the family’s horror, the humans are destroying the treehouses with the same contraptions that they built to level the land. The family escapes by boat and travels over the “Still Sea,” leaving their home behind.

The Diplomat’s Flight: Act II

After their escape, Rody and his family row toward the unexplored regions of the land. After a little under a month at sea, Becka announces that they are quickly running out of food. Suddenly, the family’s raft is intercepted by a large submarine known as “The Peacock.” The family meets Professor Simon Peppernut, a fellow Scurry and the “proud inventor” of the submarine. Peppernut tells the family that the submarine is “like a small city,” and that its residents are “independent from Wyndale.” Before elaborating on this, he is interrupted Captain Quinn Chatterworth, a rogue Scurry who “never trusted those humans in the slightest.” Chatterworth was always suspicious of the humans, and thus decided to recruit his colleague, Simon Peppernut, to help him build the secret vessel and form the “Peacock Company.” Chatterworth declares that to keep the society’s existence a secret, Rody and his family are not permitted to leave. He does, however, offer the family room and board.

Chatterworth explains to Rody that humans are selfish and dangerous, and that the Scurries could never hope to coexist with them. Rody informs Chatterworth of the destruction on Wyndale, and Chatterworth notes that “things are as [he] feared” and that he is “not surprised” in the slightest. With that, Chatterworth alerts the company aboard the submarine of the news, and officially wages war against the humans. Rody, sickened by the destruction he’s witnessed, pleads to Chatterworth to abandon the counterstrike and seek settlement somewhere else, but Chatterworth refuses, noting that “it’s us or them at this point.” Chatterworth and Peppernut plan to attack the humans by spreading a mysterious disease into the air with one of Peppernut’s air dispenser contraptions, a disease that is “sure to give them a taste of their own medicine.” Becka, fearing the humans, urges Rody to go along with Chatterworth’s plan, but Rody is insistent on a “diplomatic approach.” Frustrated with Rody’s disposition, Chatterworth argues that if they don’t return to destroy the humans, they will eventually be found and killed.

The Diplomat’s Flight: Act III

A year goes by and the Scurries finalize the disease and ready to dispense it. Rody again insists that they try to make peace with the humans, but Chatterworth is most insistent on his own decision. Rody asks to come along with the company back to shore, promising to “scope out the landscape” and be “first in line” in his call for peace. The company agrees, and Rody leaves his family at the submarine for safekeeping in a heartfelt scene. After boarding a smaller submersible vessel, Rody and the company arrive off the coast of Wyndale, and Rody swims ashore to explore the landscape. He travels along the outskirts, at one point being chased by a rabid wild dog, which he attempts to fend off with a spear but to no avail. Rody is forced to crawl up a destroyed treehouse. A few days pass and Rody is forced to sit in what used to be the treehouse home of a fellow Scurry; the wild dog circles the treehouse endlessly in the hope of making Rody his next meal. Several days go by and Rody, unable to leave the barren treehouse, begins to starve. One day, he sees a man below fight off the wild dog with a spear of his own, sending it limping away. Rody attempts to hide but the man sees him and asks him to come down. Rody cautiously agrees and the man greets him peacefully.

The man, named Archie, explains that he left Wyndale “a long time ago” because he “knew that trouble was brewing.” Rody inquires as to what happened to the rest of the men and Archie explains that they died of starvation without the help of the Scurries. Archie notes that he was “never truly one of them,” and that the only reason he came back to Wyndale was for supplies for a long journey that would take him “somewhere a little more peaceful in the world.” He recalls his horror in finding that both species had been removed from the face of Wyndale. Rody asks Archie if the survivors of each species could ever truly coexist, but before Archie can answer, they find that the company is fast approaching. Archie bids goodbye to Rody, and hopes to see him again one day, running off into the nearby forest. Rody finds that the company is overjoyed by the extinction of the humans. They inform him that they are planning to rebuild the land as a “shining new symbol of the dominant Scurry society.” They inform Rody that his family is waiting for him at the docked submarine onshore. The company pleads Rody to stay, as he is one of the “few farmers” among them, but Rody refuses, remarking that he needs to get away from things and “find somewhere a little more peaceful in the world.”
 

mickeyfan5534

Well-Known Member
The Picture of Dorian Gray
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Don Bluth is back with his masterful touch in the dark, beautifully animated, gothic tale The Picture of Dorian Gray. While mostly remaining faithful to the book, there are a few changes to make the extremely dark tale lighter, for instance, Basil leaves for good instead of being murdered by Dorian and the setting is updated to range from the late 1800s to the 1920s. My choice of The Picture of Dorian Gray is because of one reason. This book has had a horrid run in movies and deserves to be done justice as a dark gothic film.

Casting:
Dorian Gray: Alexander Vlahos
Lord Henry Wotton: David Tennant
Basil Hallward: Matt Smith
Sybil Vane: Bonnie Wright
James Vane: Ben Barnes
The Duchess of Monmouthe: Helen Mirren
Alan Campbell: Daniel Radcliffe

Statistics:
Director: Don Bluth
Screenplay: Don Bluth and Niel Gaiman, adapted from the novel by Oscar Wilde
Music: Danny Elfman
Distributed by Universal Pictures
Release Date TBA
 

TheOriginalTiki

Well-Known Member
Original Poster
Sorry @GMR710, we need to move on tonight so with that in mind here are my scores.

First of all, I'm surprised nobody took the sequel approach as I figured that would be the easier option. Perhaps the whole "alternate history" aspect was too complicated? Secondly, I'd like to acknowledge that having all the Veto challenges be film based is rather limiting, and while there will still be some challenges like this in future seasons, expect some more variety. That's what this trial run is all about...ironing out the kinks as we see them come up!

@DisneyManOne

Creativity: 6/10 You gave very good reasons for why this would fit in Bluth's style, but very little by way of making it stand out from the recent Disney adaptation...not to mention the rights issue...
Detail: 8/10 Very well written, though I wish you'd taken more liberties with the story.
Realism: 5/10 Again, I struggle to see this being made especially with the Disney film being a big financial success.
Presentation: 7.5/10 Pretty solid job all around. Maybe a bit too much plot synopsis...

Total: 26.5/10

@Basketbuddy101

Creativity: 7.5/10 The sentient animals thing could be considered a cliche, but you did a good job establishing a rich mythology to back up the rather familiar environments. Definitely feels like a return to a NYHM style of "world-building".
Detail: 9/10 Very well thought out and rich story!
Realism: 8/10 Seems feasible, has all the proper Bluth elements and I could see this standing up strong in a crowd funding campaign, which is honestly the way I picture any sort of comeback film going down.
Presentation: 7.5/10 Loved the character designs, but you left me wanting more!

Total: 32/40

@mickeyfan5534

Creativity: 7/10 Definitely not the first thing I would think of, and the material lends itself well.
Detail: 2/10 Hardly anything here besides a cast and very basic pitch.
Realism: 8/10 It's a public domain story, so I can see it working in a real world context.
Presentation: 5/10 Not much to say either way...

Total: 22/40
 

JokersWild

Well-Known Member
@DisneyManOne - Into The Woods
My first question is why would this be Bluth's comeback? It certainly shares similarities with Bluth's films, mainly in his films' rather dark tones, but you've neglected the fact that Disney just released a film version this past December. You could have mentioned it in an explanation, but you really didn't. Yes there is the alternate history idea that tiki mentioned, but you kind of just brushed over all of the logistics.

Onto the film. I find it interesting that you're starting it with a live action segment. I wasn't quite sure how I felt about it initially, but after a small bit of thought, it makes perfect sense. It's a nice way to keep the story teller separate from the actual story of the film. I do also enjoy that you kept the sacrifice scene intact as well. That's something I wish the film had, though I understand why it didn't.

That attention to detail creates a small problem for me, however. You didn't really change anything from the stage show. With this, we would have a three hour animated film. While certainly not bad, it really isn't the most realistic goal.

I also really appreciate the casting. Bernadette Peters plays an amazing witch, and I was very happy to see her in this film. All in all, it certainly wasn't a bd project, but I think you kept way too close to the original stage production, and I also wish you tried to differentiate this from the Disney adaptation.
Creativity: 6/10 - You didn't really do a ton with this, honestly. Story-wise, you really didn't attempt to change anything, or make this adaptation worthwhile, aside from the fact that it's animated.
Realism: 4.5/10 - Going by your plot, this seems like it would be a 3 hour movie, which is exceptionally long for an animated feature. You also have this film releasing the same day it premiered on Broadway. That...doesn't really make sense. It's certainly not something that would ever happen in real life, at least.
Detail: 8/10 - No problems here.
Presentation: 7/10 - No problems here.
Total: 25.5/40

@Basketbuddy101 - The Diplomat's Flight
This certainly felt like the most Don Bluth-like of the projects. It was original, it used many elements from past Bluth productions, and it seemed like a lot of fun.

I really enjoy that you kind of tweaked the anthropomorphic animals trope into a world where animals and humans live together to an extent, each knowing of the other's existence. That was an interesting direction to take it in, definitely.

All in all, this was definitely a great project and idea.
Creativity: 8/10 - Great ideas present. Definitely felt like a Don Bluth film.
Realism: 9/10 - Probably the most realistic of the bunch. I could definitely see this as a Bluth film.
Detail: 9/10 - Great amount of detail.
Presentation: 7/10 - No problems here.
Total: 33/40

@mickeyfan5534 - The Picture of Dorian Gray
Is it possible to go too dark in a Bluth film? I feel you may have done it. While Dorian Gray is certainly a great idea, I feel as though the character and story is too depraved for a family film. To censor it would be a disservice to both the book and its' author, I feel.

In terms of the actual film, you didn't really give any detail. Why are you updating the film to the 1920s era rather than the late 19th century? What happens in this film? Is it a straight retelling of the book with minor edits to make it more family friendly?

I do find it very interesting that you have Neil Gaiman writing the script. He's a rather nice choice for a screenwriter.

All in all, there are very interesting ideas present here. I just wish that there was more detail so we knew what exactly you were doing.
Creativity: 7/10 - Very interesting ideas. Dorian Gray is certainly a choice I wasn't expecting. I'm mainly docking you because you didn't really do anything different with the story, or really develop it past the basic idea.
Realism: 7/10 - I still think that the book is too dark for something like this.
Detail: 2/10 - There's nothing here, honestly.
Presentation: 7/10 - No real problem here.
Total: 23/40
 

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