13 items from 2014
Here’s how big Thursday-night TV used to be: During the mid-’90s, when NBC populated the evening with Friends and Seinfeld and ER, some 75 million Americans made a point of watching at least a portion of that lineup every week. Two decades on, like everything else in TV, the numbers for that night are a whole lot smaller. Last season, the combined average audience on Thursday for ABC, CBS, NBC, and Fox was around 33.5 million viewers — or about the same as the audience for ER or Seinfeld alone at their peaks. More distressing for the networks, nearly 7 million viewers had abandoned Thursdays in just the previous year. With dramatic declines like these now common throughout the week, after decades of Chicken Little predictions about the impending demise of network TV (or the notion of one or more of the Big Four moving to the somewhat friendlier climes »
- Josef Adalian
Into the Storm is released in UK cinemas today, and Flickering Myth TV were lucky enough to sit down with a bunch of the film’s stars. Second up (watch our first interview here) is our chat with actors Max Deacon (Summer in February, I, Anna), Nathan Kress (Chicken Little, iCarly) and Alycia Debnam Carey (Dream Life, Dance Academy) – to chat about their experiences on the movie, which you can watch below.
Taking the disaster movie genre and giving it a found-footage twist, here’s the synopsis for Into the Storm:
In the span of a single day, the town of Silverton is ravaged by an unprecedented onslaught of tornadoes. The entire town is at the mercy of the erratic and deadly cyclones, even as storm trackers predict the worst is yet to come. Most people seek shelter, while others run towards the vortex, testing how far a storm »
- Oliver Davis
Today marks the release of actor/filmmaker Zach Braff’s second directorial outing in Wish I Was Here, and it’s only his second film in a decade, after making his writing and directing debut with Garden State. During the past decade, he hasn’t even done too much in the way of movies, even after he left his hit television show Scrubs. Still, he’s got a new flick in theaters and I’m thrilled to have him back. Oddly enough though, a few articles this week have sort of bemoaned his return, so I wanted to counteract that negativity with some positivity, since I’m quite fond of his talents and hope he’s here to stay now. So, once again, I’m providing the optimist’s counterpoint. Braff spent the past ten years trying to get different projects off the ground, but they just never came to pass. »
- Joey Magidson
The announcement was made Friday by Adam Goodman, who oversees animation as president of the Paramount Film Group. Disalvo had disclosed the move in a Tweet three weeks ago.
After 16 amazing years at Walt Disney Animation Studios. Being so fortunate to be the Head of Animation on Disney’s Frozen. (1/3)—
Lino Disalvo (@LinoD) June 05, 2014
Disalvo is a 16-year veteran of Walt Disney Animation Studios, where he served as supervising animator on “Tangled” and “Bolt.” His other film credits include animating on “Meet the Robinsons” and “Chicken Little.”
Paramount said Disalvo will be assisting Goodman and the Paramount Animation team to build a “world-class feature animation studio.”
“From its inception, we have aspired to work with the industry’s greatest artists and storytellers, »
- Dave McNary
Sixteen-year Disney veteran Lino Disalvo has joined Paramount Animation as creative director.
Disalvo recently served as head of animation on Frozen and started out at the Walt Disney Company as a character animator.
The announcement came from Adam Goodman, President of the Paramount Film Group, who oversees Animation for the studio.
Disalvo will report to Paramount Film Group president Adam Goodman, who oversees animation of the studio.
“From its inception, we have aspired to work with the industry’s greatest artists and storytellers, and Lino’s addition to our little animation family is thrilling given his incredible talent,” said Goodman.
Next up for the division is The Spongebob Movie: Sponge Out Of Water from directors »
- email@example.com (Jeremy Kay)
Collectively, humanity has done great things with science. We have split the atom, travelled into space, and given a 33-year-old man plastic surgery to make him look the spitting image of teen heartthrob/racist Justin Bieber. Our greatest minds have explained the unexplainable, from Galileo realising that world was round (and being killed for the it) to…whatever it is Brian Cox does. Look, it made sense when he explained it, but as soon as the show was over we forgot about everything except his dreamy face, okay? Can you really blame us?
Explaining things isn’t really science’s Mo, though. All empirical research and scientific theories are supposed to do are posit ideas of what could be, and disproving old ideas, so that eventually we get left with something approaching the truth. The boffins have done a reasonably good job of explaining everything in the known universe so »
- Tom Baker
The Monolith of 2001: A Space Odyssey is one of the most cryptic icons in all of pop culture. Back in the heat of the cultural conversation about the film, moviegoers wanting to crack the secrets of those sleek alien obelisks concerned themselves with many questions about their motive and influence. Do they mean to harm humanity or improve us? Do those who dare engage them flourish and prosper? Or do they digress and regress? To rephrase in the lexicon of Mad Men: Are these catalysts for evolutionary change subversive manipulators like Lou, advancing Peggy with responsibility and money »
- Jeff Jensen
Brass-knuckled negotiations are nothing new in the TV business. But there has traditionally been an understanding that getting the best deal shouldn’t mean crippling the other side — not out of benevolence, but simply to leave the well viable for the day when you have to return to it.
Sports television has seemingly lost heed of this logic, putting greed ahead of practicality, and feelings of invulnerability ahead of common sense.
The protracted negotiations between the Los Angeles Dodgers’ SportsNet La and DirecTV — which at press time has continued to balk (heh heh) at acquiescing to team partner Time Warner Cable’s asking price for the baseball-dedicated network — comes on the heels of an explosion of regional, narrowly skewed channels, sprouting up in the belief that live sports is a commodity no distributor dares be caught dead without.
That might be true, but the fact Angelenos love the Dodgers shouldn »
- Brian Lowry
It’s the weekend of Rio 2. Of bright colors and latin pop and Bruno Mars deciding he can act. And birds — big birds, small birds, bright birds, scheming Jermaine Clement birds. Rio 2 is the latest in a long tradition of bird-themed animated films; a tradition that dates back all the way to Disney’s early shorts like Chicken Little and The Ugly Duckling, and the feature-length The Three Caballeros. Then, sixty years of almost nothing. Once the digital age brought about a slew of new animated features, birds returned en masse. Our new heroes sported ruffled feathers and powerful wingspans. They also choked our cinemas to death with so many forgettable animated bird flicks. Surf’s Up, Happy Feet, Valiant, Free Birds and so forth. The future is dotted with more of the same with Storks, Angry Birds and The Penguins of Madagascar all planning to invade theaters in the next year or two. Now »
- Adam Bellotto
Tim here, to celebrate, and by “celebrate”, I mean “lament” the ten-year anniversary this month of the film that more or less killed traditional animation at Disney. Back in April, 2004, all that anybody could talk about was anything else imaginable other than Home on the Range, a Western comedy feature the voices of Roseanne, Judi Dench, and Jennifer Tilly that during its opening weekend only managed to scrape itself up to the #4 spot at the box office. This was to be expected. Disney had already announced prior to the release of Brother Bear the previous fall that once they cleared out the pipeline, they’d be abandoning 2D animation forever, and given the quality of most of their work in the 2000s, nobody could really be terribly offended by that decision for any strong reason other than nostalgia. Let me put it this way: I, in 2004, was easily the biggest Disney lover I knew. »
- Tim Brayton
You have every right to be skeptical.
Starting in 1994, with the release of "The Return of Jafar" -- a direct-to-video sequel to "Aladdin" that auspiciously did not feature the vocal talents of Robin Williams -- Disney, under the increasingly pushy leadership of Michael Eisner, put out a steady stream of direct-to-video sequels, spin-offs, and alternate versions that did nothing to actually strengthen their respective brands. Instead, the endless sequels wore down consumers who were used to quality productions from Disney and not, say, "Cinderella III: A Stitch in Time." Because, of course, the one thing missing from the original "Cinderella" was "Back to the Future II"-style time travel.
When Disney absorbed Pixar and put Pixar executive John Lasseter and Ed Catmull in charge of the creative side of the company, that meant that the company's approach to the direct-to-home video product also changed. Planned sequels to "The Aristocats" and »
- Drew Taylor
Feature Mark Harrison 5 Mar 2014 - 06:39
For every animated movie that gets made, there are dozens more that never make it. Mark looks at some failed Disney projects...
In the age of the internet, Hollywood studios are much quicker to announce the projects they have in development than they used to be. Now that the demand is there, there's a huge turnover of movie-related news every day, and if you follow it in any significant way, there are probably a whole bunch of projects that you've heard about, maybe even gotten excited about, that never came to fruition.
Still, it's not only via the easier availability of such information that we know about projects that never came to be. At a studio like Disney, projects will get as far as being fully developed in animatic form before falling apart, and the artefacts left behind from such abridged projects have made for some fascinating reading. »
With two Academy Award nominations and a world-wide box office of just over $865 million, it’s fair to say Frozen has been a massive success for Disney. After Pixar came on the scene with Toy Story back in 1995, the films produced by Walt Disney Animation Studios itself have taken a back seat. For every Hercules, you have films like Brother Bear, Chicken Little and Meet The Robinsons.
This doesn’t mean that all the ‘proper’ Disney films since Pixar came on the scene have been bad, but Frozen must be considered a resounding return to form. Could this be the start of a new golden period for Disney? From 1989 to 1995 the studio released The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King and Pocahontas – all classics of the animated genre. Frozen seems to represent a return to form for the Mouse House on their old non-Pixar stamping ground, »
- Brian Chapman
13 items from 2014
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