Pixar's Soul Taps Into Viewer's Souls

Total Page:16

File Type:pdf, Size:1020Kb

Pixar's Soul Taps Into Viewer's Souls Page 5 Pixar ’ s Soul Taps Into Viewer ’ s Souls By Alex Gast Staff Writer Disney Pixar ’ s newest crea- Joe Gardner, tion, Soul , brings a different view to voiced by Jamie how life should be lived. Foxx, in the The newest movie from newest Pixar Pixar Animation Studios, which film, Soul. Photo was directed by Pete Docter, via IMDb. brought to the world a story that teaches about life ’ s little moments. The story follows the life of Joe Gardner, voiced by Jamie Foxx. Joe is a rather ordinary man living life in the grand world of New York City. He ’ s a part - time middle school the help of any mentee soul who is not rather tremendous: it had a great sound- music teacher just trying to get by. yet on Earth. Unfortunately for him, he track, and an animation style which fans He has a dream of becoming a pro- gets stuck mentoring the most trouble- of Pixar films have grown to love over fessional jazz musician, and his some soul of all: Soul 22, voiced by the years. It had a much heavier theme world revolves around his passion Tina Fey. The story ensues from here, and overall meaning than some other for jazz music. and Joe and Soul 22 work together to Pixar films, and it was meant to hit home When the film begins, Joe try and get Joe back to Earth. Although deep down, quite literally, in the view- is offered a full - time job of middle Joe does eventually succeed, it is not in er ’ s souls. Frankly, this movie is sort of school music teacher at his school, the way he intended. Along the journey almost telling you to not watch this mov- but he is apprehensive about accept- to correct another mishap, he learns im- ie, to go out and enjoy all of the little ing, still wanting to chase his dream portant life lessons, most importantly to things in life for what they really are, and of being a professional jazz musi- enjoy the little things in life and never to stop wasting your time when these cian. Later that day, he gets a call take for granted all that he has around things are not permanent. It makes view- from a former student, Curley, who him. ers really ponder some of their life choic- is now a jazz musician himself: he The movie, which was released es and the meaning of things in their life, plays drums in a famous jazz musi- on Christmas day, was a trendsetter and long after the film is over. cian ’ s quartet in town. Curley ex- history maker in several ways: it There were some minor plot plains that their regular pianist has marked the first Pixar feature - length holes, but that is to be somewhat ex- skipped town, leaving them without film not to be released worldwide to pected in something that is really also a sufficient emergency replacement. theaters and was released exclusively to meant for kids to view and be able to He offers Joe a tryout with the quar- Disney+ in countries that have the comprehend. Other reviewers online tet, and if he impresses the band ’ s streaming service. The movie features have complained that the ending was leader, who is one of Joe ’ s jazz other voice actors such as Questlove (as kind of an easy - out end to the story and idols, then he can come back later in Curley), Graham Norton (Moonwind), was a display of lazy writing, but I the night and play with the quartet Angela Bassett (Dorthea Williams), thought it wrapped up Joe ’ s story rather at a show. Joe, finally thinking he Daveed Diggs (Paul), and Rachel House nicely and left the rest of the events after has gotten his big break, is ecstatic (Terry), among others. The film also to the viewer ’ s imagination. I would rate about the opportunity. features a soundtrack of various jazz this movie highly and would definitely Just as he thinks his luck compositions, each fitting into a differ- recommend a watch for those interested. has changed, however, he clumsily ent part of the story. Ultimately, Soul hits viewers runs through the streets of New The film can best be described, right where it intends to --- in the soul. York City and experiences a bad for those who may be somewhat of fall. Suddenly, he awakens to find movie connoisseurs, as a mash up of La his soul and body have separated, La Land and a Pixar animation style and he is waiting to go into the most closely resembling that seen in “ Great Beyond. ” Joe, not wanting to Inside Out . The film also seems to pull be dead on what he deems “ the best moments and images from other Pixar day of his life, ” tries to escape, but classics to contribute to the overall dis- soon falls into a place called the tinctness of the picture. The film is real- Great Before. Here, Joe is mistaken ly unlike any other Pixar films in that it for a different “ mentor ” soul and featured, for the first time, an adult hu- learns he can get back to Earth with man character as the main protagonist. I thought that the movie was .
Recommended publications
  • Adventures in Animation Go Behind the Scenes of Your Favorite Pixar Films in This Interactive Exhibition!
    JUNE – JULY 2015 Sparks!A Newsletter for Members and Friends of the Museum of Science Adventures in Animation Go behind the scenes of your favorite Pixar films in this interactive exhibition! ovie theater audiences became witnesses to a filmmaking revolution Min late 1995 when Pixar Animation Studios released Toy Story. The movie was the first of its kind—a feature-length computer-animated production, and critics as well as the general public were enthralled to see something so fresh and groundbreaking on the big screen. Nearly 20 years and 14 highly successful films later, Pixar continues to impress and delight. While people throughout the world enjoy these films, the science and technology behind them remains a mystery for many. This will change in late June when the Museum hosts the world premiere of The Science Behind Pixar, our newest temporary exhibition. “The interactive exhibition gives people the opportunity to learn about the jobs our filmmakers do every day and tackle similar problems,” says Ed Catmull, president of Pixar and Disney Animation Studios. “It’s a great demonstration of how much creativity and imagination is involved in the science, technology, engineering, art, and math thinking essential to our filmmaking process.” Inside This Issue What It Takes to be a 3-D Animator! • Making Movie Magic The Science Behind Pixar takes you through the production pipeline as you see how your favorite characters like Buzz • Let’s Celebrate July 4th! Lightyear and WALL•E as well as the worlds they live in are • Big Fun on the Big Screen Continued on next page Continued from cover created.
    [Show full text]
  • Toy Story: How Pixar Reinvented the Animated Feature
    Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation.
    [Show full text]
  • Masculinity in Children's Film
    Masculinity in Children’s Film The Academy Award Winners Author: Natalie Kauklija Supervisor: Mariah Larsson Examiner: Tommy Gustafsson Spring 2018 Film Studies Bachelor Thesis Course Code 2FV30E Abstract This study analyzes the evolution of how the male gender is portrayed in five Academy Award winning animated films, starting in the year 2002 when the category was created. Because there have been seventeen award winning films in the animated film category, and there is a limitation regarding the scope for this paper, the winner from every fourth year have been analyzed; resulting in five films. These films are: Shrek (2001), Wallace and Gromit (2005), Up (2009), Frozen (2013) and Coco (2017). The films selected by the Academy of Motion Picture Arts and Sciences in the Animated Feature film category tend to be both critically and financially successful, and watched by children, young adults, and adults worldwide. How male heroes are portrayed are generally believed to affect not only young boys who are forming their identities (especially ages 6-14), but also views on gender behavioral expectations in girls. Key words Children’s Film, Masculinity Portrayals, Hegemonic Masculinity, Masculinity, Film Analysis, Gender, Men, Boys, Animated Film, Kids Film, Kids Movies, Cinema, Movies, Films, Oscars, Ceremony, Film Award, Awards. Table of Contents Introduction __________________________________________________________ 1 Problem Statements ____________________________________________________ 2 Method and Material ____________________________________________________
    [Show full text]
  • MONSTERS INC 3D Press Kit
    ©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor .
    [Show full text]
  • Batkin, Jane. " Mirrors and Shadows: Duality, Illusion and the Divided Self in Toy Story." Toy Story: How Pixar Reinvented the Animated Feature
    Batkin, Jane. " Mirrors and Shadows: Duality, Illusion and the Divided Self in Toy Story." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 153–166. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 23:05 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 53 Chapter 10 M IRRORS AND SHADOWS: DUALITY, ILLUSION AND THE DIVIDED SELF IN TOY STORY J a n e B a t k i n Somewhere we have a sinister and frightful brother, our own fl esh- and- blood- counterpart, who holds and maliciously hoards everything that we would so willingly hide under the table 1 — Ann Casement Pixar’s cinema is one of friendship, family and the bonds that are created within its seemingly child- centric universe. Beneath the surface, however, lie shadows, otherness and a curious fracturing of self. Ellen Scott writes about Pixar’s ability to broach ‘dark existential themes’ with its audience; 2 i t b e c o m e s a cinema of maturity and one that is unafraid of confrontation. Such themes resonate with us, from the absence of the parent in Monsters, Inc. (Pete Docter, 2001) to the lost child in Finding Nemo (Andrew Stanton, 2003), identity crisis in Inside Out (Pete Docter, 2015) and bereavement in Up (Pete Docter, 2009).
    [Show full text]
  • Michael Giacchino
    MICHAEL GIACCHINO AWARDS & NOMINATIONS FILM: ASCAP COMPOSERS CHOICE JOJO RABBIT AWARDS NOMINATION (2020) ASCAP Film Score of the Year 73RD BRITISH ACADEMY FILM JOJO RABBIT AWARDS NOMINATION (2020) Best Original Score THE SOCIETY OF COMPOSERS AND JOJO RABBIT LYRICISTS NOMINATION (2019) Outstanding Original Score for a Studio Film HOLLYWOOD MUSIC IN MEDIA SPIDER-MAN: FAR FROM HOME AWARD (2019) Original Score – Sci-Fi Fantasy HOLLYWOOD MUSIC IN MEDIA JOJO RABBIT AWARD NOMINATION (2019) Original Score – Feature Film ANNIE AWARD (2019) THE INCREDIBLES 2 Outstanding Achievement in Music INTERNATIONAL FILM MUSIC THE INCREDIBLES 2 CRITICS AWARD NOMINATION (2019) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC JURASSIC WORLD: FALLEN CRITICS AWARD NOMINATION KINGDOM (2019) Best Original Score for a Fantasy/Science Fiction/Horror Film HOLLYWOOD MUSIC IN MEDIA THE INCREDIBLES 2 NOMINATION (2018) Best Original Score - Animated Film ASCAP FILM AND TELEVISION ZOOTOPIA AWARD (2017) Film Score of the Year ASCAP Composers’ Choice Award The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 MICHAEL GIACCHINO HOLLYWOOD MUSIC IN MEDIA COCO NOMINATION (2017) Original Score - Animated Film INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION NOMINATION (2017) Composer of the Year INTERNATIONAL FILM MUSIC DOCTOR STRANGE CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for a Fantasy/Science Fiction/Horror Film INTERNATIONAL FILM MUSIC ZOOTOPIA CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC
    [Show full text]
  • Can Pixar Still Go Up? by RICHARD CORLISS
    TIME, Monday, Jun. 24, 2013 Can Pixar Still Go Up? By RICHARD CORLISS Among the freshmen at Monsters University, Mike Wazowski stands out like any creature who's basically an eyeball with feet would. With the brains, drive and guts to be a BMOC (Big Monster on Campus), Mike lacks just one talent: shock appeal. His "Boo!" is a lullaby to kids who need the sleep scared out of them. "If you're not scary," the dean says, "what kind of a monster are you?" Back in 1995, when Pixar birthed Toy Story--the company's, and the world's, first computer- generated feature--some people wondered what kind of a cartoon it was. Disney had recently set the standard with sumptuous, hand-drawn retellings of familiar tales (The Little Mermaid, Aladdin, Pocahontas) involving human characters. Instead, John Lasseter and his gang of rebel innovators devised clever stories around the objects that the CGI technology of the time could reasonably render: toys, insects (A Bug's Life), fish (Finding Nemo) and those anti-toys, the working-class ogres of Pete Docter's 2001 Monsters, Inc. Pixar junked Disney's dewy realism for a style that looked like what your computer might produce on its own if it had an impish mind and a wise heart. History was on Pixar's side. Within a decade, the old 2-D format that had fed feature animation from Snow White and the Seven Dwarfs to The Lion King was kaput, replaced by the pixels of Pixar, DreamWorks Animation (Shrek, Madagascar) and Fox's Blue Sky (Ice Age).
    [Show full text]
  • Press Release
    Press release CaixaForum Madrid From 21 March to 22 June 2014 Press release CaixaForum Madrid hosts the first presentation in Spain of a show devoted to the history of a studio that revolutionised the world of animated film “The art challenges the technology. Technology inspires the art.” That is how John Lasseter, Chief Creative Officer at Pixar Animation Studios, sums up the spirit of the US company that marked a turning-point in the film world with its innovations in computer animation. This is a medium that is at once extraordinarily liberating and extraordinarily challenging, since everything, down to the smallest detail, must be created from nothing. Pixar: 25 Years of Animation casts its spotlight on the challenges posed by computer animation, based on some of the most memorable films created by the studio. Taking three key elements in the creation of animated films –the characters, the stories and the worlds that are created– the exhibition reveals the entire production process, from initial idea to the creation of worlds full of sounds, textures, music and light. Pixar: 25 Years of Animation traces the company’s most outstanding technical and artistic achievements since its first shorts in the 1980s, whilst also enabling visitors to discover more about the production process behind the first 12 Pixar feature films through 402 pieces, including drawings, “colorscripts”, models, videos and installations. Pixar: 25 Years of Animation . Organised and produced by : Pixar Animation Studios in cooperation with ”la Caixa” Foundation. Curator : Elyse Klaidman, Director, Pixar University and Archive at Pixar Animation Studios. Place : CaixaForum Madrid (Paseo del Prado, 36).
    [Show full text]
  • M Onsters, in C
    PIXAR M onsters, in c ABOVE: Pete Docter (left), a 10-year Pixar veteran and the director of Disney/Pixar’s animated comedy "Monsters, Inc.," poses with Academy Award®-winner John Lasseter, executive producer of the film and director of the three previous Disney/Pixar features, "Toy Story," "A Bug’s Life," and "Toy Story 2." BELOW: Docter (right) with "Monsters, Inc." producer Darla K. Anderson (center) and co-director Lee Unkrich (left). "Monsters, Inc.," directed by Docter, co-directed by Unkrich and David Silverman, and produced by Anderson, features the voices of John Goodman, Billy Crystal, James Coburn, Steve Buscemi, Jennifer Tilly, John Ratzenberger, Bonnie Hunt, and Mary Gibbs. Executive producers are Lasseter and Andrew Stanton. Music is by Randy Newman. Buena Vista Pictures distributes. M IBB-5 photo credits: (above)ERIC CHARBONNEAU; (below)MAGGIE HALLAHAN Permission is hereby granted to newspapers and magazines to reproduce this picture on the condition it is used in connection wi th direct publicity for the movie in which it appears and that it is accompanied by “© Disney/Pixar. All rights reserved.” All other use require prior written consent of Disney/Pixar. PIXAR M o n s te r s , in c . ABOVE: Billy Crystal (left), who gave voice to Mike Wazowski, clowns around off-mic with John Goodman (right), whose voice helped bring Sulley to life. Both actors were the filmmakers’ first choices for the characters they play in Disney/Pixar’s "Monsters, Inc.," the fourth animated feature from Disney/Pixar. BELOW: “If they didn’t have each other...” (L-R) Crystal, executive producer John Lasseter, composer Randy Newman, director Pete Docter, Goodman, and producer Darla K.
    [Show full text]
  • The Racial and Cultural Other in Animation: the Mexican
    The Racial and Cultural Other in Animation: The Mexican Portrayals of The Book of Life and Coco as Case Studies of Contemporary Representational Politics Master’s Thesis Literary Studies: English Literature and Culture University of Leiden Thijs Raaijmakers March 13, 2019 Supervisor: Dr. J. C. Kardux Second Reader: Dr. M. Newton Table of Contents Introduction ............................................................................................................................. 1 Methodology ............................................................................................................................ 2 Social Context .......................................................................................................................... 5 Chapter 1 Reading The Book of Life: an Insider’s Take on Mexican Culture ................ 10 1.1 Reception ........................................................................................................................ 11 1.2 Production ...................................................................................................................... 17 1.3 Content ............................................................................................................................ 22 Conclusion ...................................................................................................................... 32 Chapter 2 Coco Plays it Safe: Pixar and the Limitations of Respectful Portrayals ........ 34 2.1 Reception .......................................................................................................................
    [Show full text]
  • Masculinity, Fatherhood, and the Hardest Bodies in Pixar
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ David S. Braught Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught Master of Arts Film Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Michele Schreiber Committee Member _________________________________________ Eddy Von Mueller Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught M.A., Emory University, 2010 B.A., Emory University, 2008 Advisor: Matthew Bernstein, PhD An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2010 Abstract In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S.
    [Show full text]
  • Theatrical Shorts Home Entertainment Shorts Sparkshorts Toy Story Toons Disney + Cars Toons
    Documento número 1 THEATRICAL SHORTS HOME ENTERTAINMENT SHORTS SPARKSHORTS TOY STORY TOONS DISNEY + CARS TOONS 35 Las aventuras de André y Wally B. Luxo Jr. Año 1984 Año 1986 Duración 2 minutos Duración 92 segundos Dirección Alvy Ray Smith Dirección John Lasseter El Sueño de Red Tin Toy Año 1987 Año 1988 Duración 4 minutos Duración 5 minutos Dirección John Lasseter Dirección John Lasseter 36 La Destreza de Knick Geri’s game Año 1989 Año 1997 Duración 4 minutos Duración 5 minutos Dirección John Lasseter Dirección Jan Pinkava Vuelo de Pájaros Boundin’ Año 2000 Año 2003 Duración 3 minutos y 27 Duración 5 minutos segundos Dirección Ralph Eggleston Dirección Bud Luckey 37 El hombre orquesta Lifted Año 2006 Año 2007 Duración 4 minutos y 33 Duración 5 minutos segundos Dirección Andrew Jimenez Dirección Gary Rydstrom Presto Parcialmente nublado Año 2008 Año 2009 Duración 5 minutos y 17 Duración 5 minutos y 45 segundos segundos Dirección Doug Sweetland Dirección Peter Sohn 38 Día & Noche La Luna Año 2010 Año 2012 Duración 5 minutos y 57 Duración 7 minutos segundos Dirección Teddy Newton Dirección Enrico Casarosa Party central Azulado Año 2014 Año 2013 Duración 6 minutos Duración 7 minutos Dirección Kelsey Mann Dirección Saschka Unseld 39 Lava Sanjay’s Super Team Año 2015 Año 2015 Duración 7 minutos Duración 7 minutos Dirección James Ford Murphy Dirección Sanjay Patel Piper: Esperando la Marea Lou Año 2016 Año 2017 Duración 6 minutos Duración 6 minutos Dirección Alan Barillaro Dirección Dave Mullins 40 Bao Mike’s New Car Año 2018 Año 2002 Duración 8 minutos Duración 4 minutos Dirección Domee Shi Dirección Pete Docter Roger L.
    [Show full text]