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ANIMATION WORLD MAGAZINE - ISSUE 5.6 - SEPTEMBER 2000
Summer's Sleepers and Keepersby Martin "Dr. Toon" Goodman What do a chicken, a dinosaur, and a hundred-foot high wave all have in common? Filmgoers would have an easier time with this question than any ornithologist, paleontologist or oceanographer who might be looking for the answer: All three were premiere animated stars of the Summer 2000 box office. Filmgoers who are also animation aficionados, however, might be able to answer our riddle in more depth: None of the above were produced through the method of traditional cel animation. This fact alone makes the past year an interesting one for animated feature films, and in this month's column we will discover a few other facts that may hold clues as to how these films will be animated, produced, marketed and finally received by the public in the future. In doing so we will explore the "do's" and "dont's" of building a successful animated film based on some of the major offerings of the past year. Let me begin by averring that animated features will always be with us. The tradition is a long one, and the public seems to support these features with enough dollars to make the effort lucrative. There are now enough skilled animators available to give any studio a decent shot at making a feature film, and we expect to see at least two or three quality efforts per year. In fact, it would be hard to imagine American cinema bereft of animated features; after all, it was this country that first exploited their mass appeal. The fact that the vast majority of animated features tend to fade well before reaching the $65 million mark in profits has not deterred any present or future efforts to give us more of them, and at present, broad-banding is not prevalent enough for Web technology to co-opt the form. Unless one counts on audiences to spend seventy-five hours downloading an entire feature film (or believes they will be content to view it in endless five-minute segments), we will continue to file into our local multiplexes to enjoy animated features, silo-sized soft drinks and cavernous tubs of popcorn. And now, without trailers, commercials, or reminders to place trash in the proper receptacles, let's go to the movies and see what some recent features have to teach us. (All grosses are current through July 21, 2000 due to my deadline structure.)
Dinosaur (Disney Studios) What they did right: Paid attention to the fact that virtually every feature completely animated in CGI broke the hundred-mil mark. Took their time in developing a project that originally began in 1994. Did all the work in-house at the new TSL (The Secret Lab) digital studio to ensure quality and continuity. Recognized the selling potential of dinosaurs to a young audience, but shrewdly picked up on those adults who had their appetites to see "real" dinosaurs whetted by Jurassic Park. No Broadway numbers. Made over three million hours of computer time show on screen without detracting from character development. Developed tie-ins and ancillary products without the promotional overkill typical of early-nineties Disney. What they didn't do right: Characters were fine but the script was a rehash of common Disney themes including a misfit hero with one or more missing parents, comic relief characters with anachronisitc speech, a sadistic and arrogant villain who falls to his death (Is this a prerequisite for every Disney villain of late? Do they audition by bungee jumping?), and an all-too familiar romantic subplot. However, one must realize that Dinosaur is very much a product of the Disney stable and would strongly bear its stamp. At least we'll probably be spared Dinosaurs on Ice. What we learned: Digital rules. Between Pixar and Disney proper, one formula for an animated blockbuster has now been firmly established -- go CGI and watch the profits fly. Study the past successes of other studios that have used a certain genre and determine how to best embellish upon them. Research the tastes of your target audience and develop a concept that just can't lose. Finally, play within your audience's expectations and don't take any undue risks unless they involve spectacular visual effects; if people expect a Disney story, give 'em a Disney story.
Pokemon: The First Movie (Distributed by Warner Bros.) What they did right: Managed to get hold of a pre-existing film while the product was at its hottest. Does anyone remember The Power Rangers or Teenage Mutant Ninja Turtle movies that finally appeared more than a year after most kids had dumped their action figures into the local landfill? Didn't pay a Squirtle's worth for the labor-intensive work of an animated feature, guaranteeing almost pure profit. Ditto for publicity; this feature literally sold itself due to the proliferation of product into the pre-teen market. What they didn't do right: Pulled it before it hit the $100 million mark. This feature should have stayed in the afternoon matinee market in smaller theaters for another month or two, supported by tournaments. What we learned: Timing is everything. Develop a film script at the first sign of popularity and job it out to a dozen animation studios need be to get the speed factor. Don't worry about editing or continuity too much; millions will roll in regardless. Kids will hardly pause to consider mise en scène or proxemic patterns, and adults are well resigned to opening their wallets on cue. Team Rocket should work half as hard.
Chicken Run (Aardman Animations/DreamWorks SKG) What they did right: Used two experienced directors, Nick Park and Peter Lord. Capitalized on the popularity of a previous success, Wallace and Gromit. DreamWorks took a strictly hands-off approach and let Park and Lord shape their own vision. Stop-motion process looked fresh and different compared to recent cel and CGI features. Strong script built on cinematic references (prisoner-of-war films) which are not recycled often in American movies. Distinctive, grand musical score which contrasted amusingly with the silly animation (as in the South Park feature). Likeable characters backed by strong voice acting. What they didn't do right: (Only for those who like to quibble.) A few conundrums in the plot. How could the circus, which seemed to value Rocky immensely, shoot him off-course for what seemed to be miles? How could a makeshift flying machine manned by chickens manage to hoist a full-grown human so high into the air for such a distance? Who cares? THEY ESCAPED! What we learned: There is room out there for a wide range of animated styles and mediums. The three top-grossers above represent CGI, cel and stop-motion respectively. A small studio can flourish creatively under the auspices of a much larger one without the need for a tight leash. This unmistakably British feature, along with Pikachu and company, may be sending the strong signal that American audiences will be more receptive to imported animated features in the future. Anybody ready to distribute Help! I'm A Fish?
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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.