Mattel Expands Global Licensing Agreement with Disney for Pixar Animation Studios Spanning New Releases and Iconic Blockbusters

Total Page:16

File Type:pdf, Size:1020Kb

Mattel Expands Global Licensing Agreement with Disney for Pixar Animation Studios Spanning New Releases and Iconic Blockbusters Mattel Expands Global Licensing Agreement With Disney For Pixar Animation Studios Spanning New Releases And Iconic Blockbusters May 1, 2019 - Mattel furthers its relationship with Disney and Pixar to build on the success of "Toy Story 3" and "Cars" franchises ahead of the highly-anticipated "Toy Story 4." - Mattel adds international rights to upcoming 2020 Pixar films, including "Onward," as well as Pixar Animation Studios' film properties "Coco," "Finding Nemo," "Monsters, Inc.," and "The Incredibles." EL SEGUNDO, Calif., May 1, 2019 /PRNewswire/ -- Mattel, Inc. (NASDAQ: MAT) today announced the expansion of its global licensing agreement with Disney to span new titles and to design and develop toys inspired by characters from all Pixar Animation Studios' film properties. Included in the new agreement are upcoming 2020 movie releases, including "Onward," as well as beloved titles, many of which are Academy Award® winners or nominees, "Coco," "Finding Nemo," "Monsters, Inc.," and "The Incredibles," among others. Mattel's licensing rights in North America, Europe, Latin America, Australia, and New Zealand include a wide variety of products, such as action figures, miniature and novelty figures, plush and playsets available beginning in May 2020. This agreement builds on Mattel's strong relationship with Disney and Pixar, which includes the success of "Toy Story 3" and the "Cars" franchise, ahead of the highly-anticipated "Toy Story 4," opening June 21, 2019. "Pixar is a legendary animation studio renowned for creating some of the most iconic and diverse sets of characters," said Janet Hsu, Chief Franchise Management Officer of Mattel. "We look forward to bringing these characters to children of all ages so they can create their own adventures and stories through play. This relationship is the latest example of Mattel's commitment to collaborate with globally-recognized franchises as part of our transformation into an IP-driven, high-performing toy company." "Whether under the sea, in the clouds, on the racetrack or in deep space, we're thrilled to bring Pixar's innovative creativity to life through new interactive play experiences with Mattel," said Josh Silverman, EVP Global Product Commercialization, Disney Parks, Experiences and Products. "These new lines of toys and products will celebrate Mattel's commitment to imagination and extend Pixar's iconic characters and stories in unique ways." About Mattel Mattel is a leading global children's entertainment company that specializes in design and production of quality toys and consumer products. We create innovative products and experiences that inspire, entertain and develop children through play. We engage consumers through our portfolio of iconic franchises, including Barbie®, Hot Wheels®, American Girl®, Fisher-Price®, Thomas & Friends® and MEGA®, as well as other popular brands that we own or license in partnership with global entertainment companies. Our offerings include film and television content, gaming, music and live events. We operate in 40 locations and sell products in more than 150 countries in collaboration with the world's leading retail and technology companies. Since its founding in 1945, Mattel is proud to be a trusted partner in exploring the wonder of childhood and empowering kids to reach their full potential. Visit us online at www.mattel.com. About Pixar Animation Studios Pixar Animation Studios, a wholly owned subsidiary of The Walt Disney Company, is an Academy Award®-winning film studio with world-renowned technical, creative and production capabilities in the art of computer animation. The Northern California studio has created some of the most successful and beloved animated films of all time, including "Toy Story," "Monsters, Inc.," "Cars," "The Incredibles," "Ratatouille," "WALL•E," "Up," "Toy Story 3," "Brave," "Inside Out," and "Coco." Its movies have won 36 Academy Awards® and have grossed more than $14 billion at the worldwide box office to date. "Toy Story 4," Pixar's 21st feature, opens in theaters on June 21, 2019. Contacts: News Media Dena Cook [email protected] View original content to download multimedia:http://www.prnewswire.com/news-releases/mattel-expands-global-licensing-agreement-with-disney- for-pixar-animation-studios-spanning-new-releases-and-iconic-blockbusters-300841403.html SOURCE Mattel, Inc..
Recommended publications
  • Auto Retailing: Why the Franchise System Works Best
    AUTO RETAILING: WHY THE FRANCHISE SYSTEM WORKS BEST Q Executive Summary or manufacturers and consumers alike, the automotive and communities—were much more highly motivated and franchise system is the best method for distributing and successful retailers than factory employees or contractors. F selling new cars and trucks. For consumers, new-car That’s still true today, as evidenced by some key findings franchises create intra-brand competition that lowers prices; of this study: generate extra accountability for consumers in warranty and • Today, the average dealership requires an investment of safety recall situations; and provide enormous local eco- $11.3 million, including physical facilities, land, inventory nomic benefits, from well-paying jobs to billions in local taxes. and working capital. For manufacturers, the franchise system is simply the • Nationwide, dealers have invested nearly $200 billion in most efficient and effective way to distribute and sell automo- dealership facilities. biles nationwide. Franchised dealers invest millions of dollars Annual operating costs totaled $81.5 billion in 2013, of private capital in their retail outlets to provide top sales and • an average of $4.6 million per dealership. These service experiences, allowing auto manufacturers to concen- costs include personnel, utilities, advertising and trate their capital in their core areas: designing, building and regulatory compliance. marketing vehicles. Throughout the history of the auto industry, manufactur- • The vast majority—95.6 percent—of the 17,663 ers have experimented with selling directly to consumers. In individual franchised retail automotive outlets are locally fact, in the early years of the industry, manufacturers used and privately owned.
    [Show full text]
  • General Rental Information
    GENERAL RENTAL INFORMATION Our rates include: unlimited mileage (except when indicated differently), reduction for damage and theft, car radio, VAT road tax, preparation of the vehicle, registration fees. Our rates do not include: total elimination of penalty reduction for damage and theft, fuel, refuelling service charge, fines, optional clauses (Mini Kasko, Pai, Super Kasko, Gold Kasko, Road Assistance and Plus), extras, supplements, fees for additional services related to fines, tolls, parking tickets and any penalties or charges imposed by authorities, entities, dealers in relation to the circulation of the vehicle, and anything not expressly included. Please note: Vehicles must be returned during office opening hours. If the customer returns the vehicle during the closure of the local office, he will be held liable for all damage to the vehicle that could be caused during the time between the vehicle has been parked and the opening of our office when our local staff collect it. If the rental period exceeds 30 days, you must complete the procedure and accept the obligations deriving from article 94, paragraph 4 bis of the Italian Road Traffic Code, referring to the update of the Vehicles National Register. JOPARKING SRL is not responsible for anything that may occur in the event of non- compliance with these obligations. The vehicle is delivered in perfect condition and it has to return back in the same conditions. Minimum and maximum age: Minimum age allowed for car rental is 23 years. If the driver's age is between 19-20 years of age, upon payment of the "Young Driver", at a cost of € 24.59 + VAT per day, it is possible to rent cars belonging to the groups A/B/C.
    [Show full text]
  • Disney•Pixar's “Finding Dory”
    Educator’s Guide GRADES 2-6 Created in partnership with the Educational Team isney•Pixar’s “Finding Dory” welcomes back to the big convinced his biological sonar skills are on the fritz; and Dscreen everyone’s favorite forgetful blue tang Dory Destiny (voice of Kaitlin Olson), a nearsighted whale shark. (voice of Ellen DeGeneres), who’s living happily in the reef Deftly navigating the complex inner workings of the MLI, with Marlin (voice of Albert Brooks) and Nemo (voice Dory and her friends discover the magic within their flaws, of Hayden Rolence). When Dory suddenly remembers friendships and family. that she has a family out there who may be looking for Directed by Andrew Stanton (“Finding Nemo,” “WALL•E”), her, the trio takes off on a life-changing adventure across co-directed by Angus MacLane (“Toy Story OF TERROR!”), the ocean to California’s prestigious Marine Life Institute and produced by Lindsey Collins (co-producer “WALL•E”), (MLI), a rehabilitation center and aquarium. In an effort to Disney•Pixar’s “Finding Dory” swims home on Digital find her mom (voice of Diane Keaton) and dad (voice of HD October 25 and on Blu-ray™ November 15. For Eugene Levy), Dory enlists the help of three of the MLI’s more information, like us on Facebook, https://www. most intriguing residents: Hank (voice of Ed O’Neill), a facebook.com/PixarFindingDory, and follow us on Twitter, cantankerous octopus who frequently gives employees https://twitter.com/findingdory and Instagram, https:// the slip; Bailey (voice of Ty Burrell), a beluga whale who is instagram.com/DisneyPixar.
    [Show full text]
  • Disneyland® Park
    There’s magic to be found everywhere at The Happiest Place on Earth! Featuring two amazing Theme Parks—Disneyland® Park and Disney California Adventure® Park—plus three Disneyland® Resort Hotels and the Downtown Disney® District, the world-famous Disneyland® Resort is where Guests of all ages can discover wonder, joy and excitement around every turn. Plan enough days to experience attractions and entertainment in 1 both Parks. 5 INTERSTATE 4 5 2 3 6 Go back and forth between both Theme Parks with a Disneyland® Resort Park Hopper® 1 Disneyland® Hotel 4 Downtown Disney® District Ticket. Plus, when you buy a 3+ day ticket before you arrive, you get one Magic Morning* 2 Disney’s Paradise Pier® Hotel Disneyland® Park early admission to select experiences 5 at Disneyland® Park one hour before the Park opens to the general public on select days. 3 Disney’s Grand Californian Hotel® & Spa 6 Disney California Adventure® Park *Magic Morning allows one early admission (during the duration of the Theme Park ticket or Southern California CityPASS®) to select attractions, stores, entertainment and dining locations at Disneyland® Park one hour before the Park opens to the public on Tuesday, Thursday or Saturday. Each member of your travel party must have 3-day or longer Disneyland® Resort tickets. To enhance the Magic Morning experience, it is strongly recommended that Guests arrive at least one hour and 15 minutes prior to regular Park opening. Magic Morning admission is based on availability and does not operate daily. Applicable days and times of operation and all other elements including, but not limited to, operation of attractions, entertainment, stores and restaurants and appearances of Characters may vary and are subject to change without notice.
    [Show full text]
  • On Family Films
    FAMILY FILMS ON TITLE GENRE RATING 101 DALMATIANS: SIGNATURE COLLECTION (2019) ADVENTURE/ANIMATION G ABOMINABLE (2019) ADVENTURE PG ALADDIN (2019) ADVENTURE/COMEDY PG ALEXANDER AND THE TERRIBLE, HORRIBLE,NO GOOD… (2014) COMEDY/FAMILY PG ALICE THROUGHT THE LOOKING GLASS (2016) ACTION/FAMILY/FANTASY PG ALPHA & OMEGA 2 (2013) FAMILY TV-G ALPHA & OMEGA: FAMILY VACATION (2014) FAMILY TV-G ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (2015) COMEDY/FAMILY/MUSICAL PG AMERICAN TAIL (1986) FAMILY G ANGELS SING (2013) DRAMA/FAMILY PG ANGRY BIRDS MOVIE 2 (2019) ADVENTURE/ANIMATION/FAMILY PG ANNIE (2014) COMEDY/DRAMA/FAMILY PG ART OF RACING IN THE RAIN (2019) COMEDY/DRAMA PG ARTHUR CHRISTMAS (2011) COMEDY/FAMILY PG BARK RANGER (2014) ACTION/FAMILY/ADVENTURE PG BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019) DRAMA PG BEAUTY AND THE BEAST (2017) FAMILY/MUSICAL/ROMANCE PG BIRDS OF PARADISE (2014) FAMILY PG BORN IN CHINA (2017) DOCUMENTARY G BOSS BABY (2017) COMEDY/FAMILY PG BUTTONS: A CHRISTMAS TALE (2019) FAMILY PG CALL OF THE WILD (2020) ADVENTURE/DRAMA PG CAPTAIN UNDERPANTS:THE FIRST EPIC MOVIE (2017) COMEDY/FAMILY/ADVENTURE PG CARS 3 (2017) COMEDY/FAMILY/ADVENTURE G CATS (2020) COMEDY/DRAMA PG CHRISTOPHER ROBIN (2018) COMEDY/FAMILY PG CLOUDY WITH A CHANCE…2 (2013) COMEDY/FAMILY PG COCO (2017) COMEDY/FAMILY PG CROODS: A NEW AGE (2020) ADVENTURE/ANIMATION PG DESPICABLE ME 2 (2013) FAMILY PG DESPICABLE ME 3 (2017) COMEDY/FAMILY/ADVENTURE PG DIARY OF A WIMPY KID: THE LONG HAUL (2017) COMEDY/FAMILY PG DOG'S JOURNEY (2019) COMEDY/DRAMA PG DOG'S PURPOSE (2017) COMEDY/DRAMA PG DOG'S WAY HOME (2019) DRAMA/ADVENTURE PG DOLITTLE (2020) ADVENTURE/COMEDY PG DORA AND THE CITY OF GOLD (2019) ADVENTURE/COMEDY PG DR.
    [Show full text]
  • Light Pruning on Toy Story 4
    Light Pruning on Toy Story 4 Vaibhav Vavilala [email protected] Pixar Animation Studios Culling lights in this shot dropped the light count from 8400 to 260, and render time from 98 hours to 48. ©Disney/Pixar. ABSTRACT constructed an object-to-light linking table in a prepass render, and Pixar films have recently seen drastically rising light counts via then used this table in-render to exclude certain lights from being procedural generation, resulting in longer render times and slower considered for a given piece of geometry. However, no automated interactive workflows. Here we present a fully automated, scalable, light culling system has existed in the RIS-era until now. and error-free light pruning pipeline deployed on Toy Story 4 that With regards to geometry culling, Pixar employs metrics pruning, reduces final render times by 15-50% in challenging cases, acceler- that removes out-of-frustum, occluded, or tiny objects in a scene ates interactive lighting, and automates a previously manual and to reduce memory usage and speed up renders. However, lights error-prone task. that meet the criteria for metrics pruning can easily contribute meaningful illumination, so such geometry-based techniques do CCS CONCEPTS not directly transfer to light culling. The Disney Hyperion renderer executes a pre-process before • Computing methodologies → Rendering. each render called Cache Points that locally computes important KEYWORDS lights for thousands of regions in a scene, reducing light selection cost and wasted light samples [Burley et al. 2018]. Our approach Rendering optimization, RenderMan, Universal Scene Description, instead caches lighting data in a cheap, low-resolution probe render, Katana, Light Path Expressions such that subsequent renders do not pay the cost of a pre-process.
    [Show full text]
  • To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
    To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation.
    [Show full text]
  • An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under
    [Show full text]
  • TOY STORY 4 from Cinema to Classroom Watching the Film
    Name: Class: TOY STORY 4 From Cinema to Classroom Watching the film... Bo Peep changes a lot between the original Toy Story and Toy Story 4. Let's think about how she changes and why. How would you describe Bo Peep in Toy Story 1 (or during the flashback)? How would you describe Bo Peep in Toy Story 4? What do you think made her change? Which version did you prefer and why? Name: Class: TOY STORY 4 From Cinema to Classroom Inspired by the film... Bonnie is nervous on her first day of Kindergarten. As a result, she makes Forky and he becomes her new favourite toy Why was Bonnie nervous about her first day in Kindergarten? Think of an unusual favourite toy you had and why you liked them Forky is made out of re-purposed rubbish. Design your own simple toy using recyclables you find in class or at home. Name: Class: TOY STORY 4 From Cinema to Classroom Making the film... WATCH: Behind the Scenes of Toy Story 4 (5 mins) https://www.youtube.com/watch?v=qbzWRzmDnLE Pick out 3 different people from the video - state their job and summarise what they did on the film The film makers talked a lot about scale - making sure the characters and the sets were all the right size. They did research and created concept art to make sure things were a good fit. Now it's your turn to become a concept artist! Create concept art for what a Toy Story scene would look like in your classroom.
    [Show full text]
  • Collisions with Passenger Cars and Moose, Sweden U
    Collisions with Passenger Cars and Moose, Sweden U. BJORNSTIG, MD, PHD, A. ERIKSSON, MD, PHD, J. THORSON, MD, PHD, AND P-O BYLUND, UC The passenger car sizes have been classified according Abstract: The number of collisions between motor vehicles and to weight, with "small" denoting <1,100 kg, "medium- moose is increasing in many countries. Collisions with large, high sized" from 1,100-1,450 kg, and "large" cars >1,450 kg. animals such as moose cause typical rear- and downward deforma- The percentage of cars of different sizes was 38 per cent, 53 tion of the windshield pillars and front roof, most pronounced for per cent and 10 per cent, respectively. small passenger cars; the injury risk increases with the deformation The persons interviewed usually had a clear idea of the of the car. A strengthening of the windshield pillars and front roof deformation ofthe windshield pillars (A-pillars) and car roof; and the use of antilacerative windshields would reduce the injury 15 per cent had taken photographs which verified the accu- risk to car occupants. (Am J Public Health 1986; 76:460462.) racy of the answers given. All data presented have been projected to reflect 650 accidents involving 1,309 car occupants (of whom 989 were Introduction injured). In the Figures 2-4, numbers superimposed on vertical bars denote this projected number. Sampling uncer- In Sweden, the number of reported road accidents tainty ranges from ±2.5 per cent at the 5-95 per cent end to involving large wildlife and motor vehicles has increased ±5.8 per cent at the 50 per cent end.
    [Show full text]
  • WHY NEMO MATTERS: ALTRUISM in AMERICAN ANIMATION by DAVID
    WHY NEMO MATTERS: ALTRUISM IN AMERICAN ANIMATION by DAVID W. WESTFALL B.A., Pittsburg State University, 2007 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Department of Sociology, Anthropology, and Social Work College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2009 Approved by: Major Professor Dr. L. Susan Williams Copyright DAVID W. WESTFALL 2009 Abstract This study builds on a small but growing field of scholarship, arguing that certain non- normative behavior is also non-negative, a concept referred to as positive deviance. This thesis examines positive behaviors, in the form of altruism, in the top 10 box-office animated movies of all time. Historically, studies focusing on negative, violent, and criminal behaviors garner much attention. Media violence is targeted as a cause for increasing violence, aggression, and antisocial behavior in youth; thousands of studies demonstrate that media violence especially influences children, a vulnerable group. Virtually no studies address the use of positive deviance in children’s movies. Using quantitative and ethnographic analysis, this paper yields three important findings. 1. Positive behaviors, in the form of altruism, are liberally displayed in children’s animated movies. 2. Altruism does not align perfectly with group loyalty. 3. Risk of life is used as a tool to portray altruism and is portrayed at critical, climactic, and memorable moments, specifically as movies draw to conclusion. Previous studies demonstrate that children are especially susceptible to both negativity and optimistic biases, underscoring the importance of messages portrayed in children’s movies. This study recommends that scholars and moviemakers consciously address the appearance and timing of positive deviance.
    [Show full text]
  • The Walt Disney Company: a Corporate Strategy Analysis
    The Walt Disney Company: A Corporate Strategy Analysis November 2012 Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeff Harrison at [email protected]. In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/case-network.html "Walt was never afraid to dream. That song from Pinocchio, 'When You Wish Upon a Star,' is the perfect summary of Walt's approach to life: dream big dreams, even hopelessly impossible dreams, because they really can come true. Sure, it takes work, focus and perseverance. But anything is possible. Walt proved it with the impossible things he accomplished."1 It is well documented that Walt Disney had big dreams and made several large gambles to propel his visions. From the creation of Steamboat Willie in 1928 to the first color feature film, “Snow White and the Seven Dwarves” in 1937, and the creation of Disneyland in Anaheim, CA during the 1950’s, Disney risked his personal assets as well as his studio to build a reality from his dreams. While Walt Disney passed away in the mid 1960’s, his quote, “If you can dream it, you can do it,”2 still resonates in the corporate world and operations of The Walt Disney Company.
    [Show full text]