I already mentioned that I see the overused formula as one of the reasons the ディズニー Renaissance eventually ended. But there is one other thing which was both the maker and the downfall of ディズニー in that era: computer animation.
Back in the days when Walt ディズニー was still alive, hand drawn アニメーション was both time consuming and expensive – actually, it was expensive because it was so time consuming. All the animators had to get paid after all. At the same time, there wasn’t really much appreciation for the work done – 映画 like Fantasia または Sleeping Beauty, which were impressive pieces of animation, tended to initially bomb in the box office. It didn’t pay off immediately to spend too much time on creating small masterpieces, so the アニメーション studios eventually started to cut the costs down wherever possible.
This “keep the costs low” policy is the most obvious in “Robin Hood”. It’s one of my favorites, but it equals a Disney-B-Movie, since it’s full of reused animation. The carefully アニメーション of “Jungle Book” was もっと見る the exception than the rule (but then Walt ディズニー was heavily involved in that project). It’s not that the 映画 from this time are bad, but compared to the works of the 50th, they look a little bit cheap.
The computer or, to be もっと見る precise, a new technique called CAPS, was a godsend for animation, because it helped to keep the costs down without compromising the quality. Beforehand they would have never managed to 表示する a new movie every 年 (hence the constant rereleases). Never mind that the computer allowed them to push アニメーション on a new level.
But it also meant that smaller companies could do ディズニー knock-offs much もっと見る easily. In the 90th, everyone seemed to think that they could and should do an animated movie. Some of them, like “The 白鳥, スワン Princess”, were surprisingly good, most of them are better to be forgotten as fast as possible. Even Don Bluth caved in, jumped on the band wagon and produced “Thumbelina” and “Anastasia”.
But the real “danger” for the アニメーション studios lurked elsewhere: A small company called ピクサー・アニメーション・スタジオ paired up with ディズニー and produced CGI-movies with growing success. This might sound strange, since ピクサー・アニメーション・スタジオ is によって now even part of the ディズニー Company, but the different branches of ディズニー do concurrent with each other when they are producing for the same target audience. The company as a whole will survive, but a branch which doesn’t have enough success will get shut down eventually.
With the start of the 21th century, ピクサー・アニメーション・スタジオ was on the 上, ページのトップへ of its game and produced one success after the next. And the アニメーション studios were trying to find a new direction. And they had to face もっと見る concurrence than ever. DreamWorks landed a hit with “Shrek”, which was basically a declaration of hate for Disney. On 上, ページのトップへ of this, successful movie series like Harry Potter, Lord of the Rings and Narnia got the attention of the audience. Finally, the 2D アニメーション was shut down and the アニメーション Studios were forced to jump on the CGI Bandwagon.
I can’t emphasis enough how stupid this idea was. There were three aspects which made the アニメーション studios so successful: Quality, innovation and tradition. The executives had already jeopardized the quality aspect によって allowing the ディズニー Toon studios to produce direct-to-video sequels to some of the masterpieces, even going so far as allowing a theatrical release in some countries for them. Now they forced the アニメーション studios to abandon their tradition and doing what everyone else already did.
Needless to say this plan backfired spectacularly. What they didn’t understand was that it doesn’t really make a difference if a movie is 2d または 3d, if it’s traditionally animated または CGI (or stop-motion), it just has to be well done to catch the interest of the audience. And while there are some 映画 which don’t get the attention they deserve (Treasure Planet for example), in the end, quality will prevail, as the belated success of Fantasia, Sleeping Beauty and Tron proves.
Back in the days when Walt ディズニー was still alive, hand drawn アニメーション was both time consuming and expensive – actually, it was expensive because it was so time consuming. All the animators had to get paid after all. At the same time, there wasn’t really much appreciation for the work done – 映画 like Fantasia または Sleeping Beauty, which were impressive pieces of animation, tended to initially bomb in the box office. It didn’t pay off immediately to spend too much time on creating small masterpieces, so the アニメーション studios eventually started to cut the costs down wherever possible.
This “keep the costs low” policy is the most obvious in “Robin Hood”. It’s one of my favorites, but it equals a Disney-B-Movie, since it’s full of reused animation. The carefully アニメーション of “Jungle Book” was もっと見る the exception than the rule (but then Walt ディズニー was heavily involved in that project). It’s not that the 映画 from this time are bad, but compared to the works of the 50th, they look a little bit cheap.
The computer or, to be もっと見る precise, a new technique called CAPS, was a godsend for animation, because it helped to keep the costs down without compromising the quality. Beforehand they would have never managed to 表示する a new movie every 年 (hence the constant rereleases). Never mind that the computer allowed them to push アニメーション on a new level.
But it also meant that smaller companies could do ディズニー knock-offs much もっと見る easily. In the 90th, everyone seemed to think that they could and should do an animated movie. Some of them, like “The 白鳥, スワン Princess”, were surprisingly good, most of them are better to be forgotten as fast as possible. Even Don Bluth caved in, jumped on the band wagon and produced “Thumbelina” and “Anastasia”.
But the real “danger” for the アニメーション studios lurked elsewhere: A small company called ピクサー・アニメーション・スタジオ paired up with ディズニー and produced CGI-movies with growing success. This might sound strange, since ピクサー・アニメーション・スタジオ is によって now even part of the ディズニー Company, but the different branches of ディズニー do concurrent with each other when they are producing for the same target audience. The company as a whole will survive, but a branch which doesn’t have enough success will get shut down eventually.
With the start of the 21th century, ピクサー・アニメーション・スタジオ was on the 上, ページのトップへ of its game and produced one success after the next. And the アニメーション studios were trying to find a new direction. And they had to face もっと見る concurrence than ever. DreamWorks landed a hit with “Shrek”, which was basically a declaration of hate for Disney. On 上, ページのトップへ of this, successful movie series like Harry Potter, Lord of the Rings and Narnia got the attention of the audience. Finally, the 2D アニメーション was shut down and the アニメーション Studios were forced to jump on the CGI Bandwagon.
I can’t emphasis enough how stupid this idea was. There were three aspects which made the アニメーション studios so successful: Quality, innovation and tradition. The executives had already jeopardized the quality aspect によって allowing the ディズニー Toon studios to produce direct-to-video sequels to some of the masterpieces, even going so far as allowing a theatrical release in some countries for them. Now they forced the アニメーション studios to abandon their tradition and doing what everyone else already did.
Needless to say this plan backfired spectacularly. What they didn’t understand was that it doesn’t really make a difference if a movie is 2d または 3d, if it’s traditionally animated または CGI (or stop-motion), it just has to be well done to catch the interest of the audience. And while there are some 映画 which don’t get the attention they deserve (Treasure Planet for example), in the end, quality will prevail, as the belated success of Fantasia, Sleeping Beauty and Tron proves.
Does anyone find it weird that Beast/Adam was eleven when the spell was put on him? I mean the spell 発言しました that on his twenty first birthday the 花 would loose it's last petal and in the song Be Our Guest Llumiere says that they'd been rusting for ten years. Isn't it strange that he changed his mind on letting her in based on her looks as an eleven 年 old? Even もっと見る so that he was the one who answered the door? Where were and are his parents? I know this is short but does anyone have any theories on these ideas?