Meet The Robinsons is a perfect example of a story that can relate to almost everyone with the themes of overcoming failure while also having a unique and personal story of an orphan trying to find a family who understands him. You don’t have to be an orphan to connect with the story, that’s the whole point.
After all that's happened and is going on, I am SO glad Meet The Robinsons wasn't a hit, thus we will never have to worry about a terrible sequel that ruins the first one.
Also the director grew up adopted, so it was definitely a personal story. I loved the movie but ended up really latching onto it when I was in foster care, slightly older than Lewis. It was a fun movie already but the emotional beats were a genuine comfort during a scary time, like someone out there fully understood what I was struggling with and was telling me I'd be okay, and I'm sad to say I haven't felt that feeling again from Disney in years.
@@CubeytheawesomeAs of now, even dismembering isn't enough to kill a toym(Sid's toys). Stinky Pete even threatened to tear Woody apart. The only way to kill them is by incinerating them (TS3) and of course, a child won't play with ashes. Also, I know, 🤓☝
Toy story 5 should start with brutal and graphic and incredibly violent deaths of all the characters and then the rest of the movie is just a black screen
The fact that even that lady’s 13 year old son calling her company out on the decision for sequels being nothing but cash grabs just shows that even these people’s families don’t want Pixar to do this.
I don't think the animators want that either, its pesky executive meddling. There are so many interesting designs and concepts that are squandered by execs for not being marketable enough :\
@@closecall1516 - you know, I noted how odd a name "Cash" was at first, but didn't connect that that's probably why he used the term "money grab" (which sounds... less evocative? Weird?) over "cash grab".
I say this all the time the time that studios could save literal millions of dollars if they just asked random people about some of these ideas. Disney needs to get out of their bubble where they think they know what audiences want. Because they quite clearly don’t. A teenager just said what is obvious to any member of the public. There is little to no interest to seeing another Incredibles and don’t make one.
I have a feeling that comment will be ignored or chalked up to "He's just a dumb kid, he doesn't know what he's talking about! Who cares if he's part of the demographic we want to appeal to, he's wrong"
"Human...? What's that...? Is it that thing that give us the big funny numbers that we have sold our souls for? I think I've heard of it somewhere" - Every multi billion corporation CEO
Thats just corporate PR to say they should fire the writers that bombed at the box-office. I'm not sure how almost everyone in here seems to not realize it.
That describes Pixar’s entire catalog for the last decade, outside of, like, Inside Out. They’re baby movies now. Even if they’re not bad, they clearly aren’t trying to be something more like they used to. Hope they and Disney really wake up, but it’s not looking good
I think Dana Terrace put it best, “There’s something very disgusting about telling directors, writers, and artists their experiences and inspirations aren’t “appealing” enough for the masses”.
Note to self: When time travel is invented Bring Dana Terrace back in time and Replace Pixar's Toy Story With The Owl House and it'll maybe make more money than the first 3 Toy Story Films Combined at the box office, But They all still have to be G-Rated (Which can still have very scary and violent themes in them) and there's no LGBT until the third movie because it's released over a decade after it's prequels (Which is the excuse for why it had a long "hiatus") while the studio makes other high quality original animated films during that "hiatus".
The reason Lightyear bombed is because Buzz's character is meant to be a PARODY. He is a subversion of the cliche sci fi hero seen through the lens of a toy who thinks he's real, and the resulting character arc as he discovers that everything he knew was all a lie. The Lightyear movie tried to play that straight, and all we got was a cliche sci fi hero without the nuances and dynamics of him being a toy and being surrounded by other toys who know what they are.
They also tried to make it "gritty" and "hard sci-fi" even though Buzz Lightyear is meant to be a more Flash Gordon-style campy space opera. If they really want a Lightyear movie, at least embrace the zaniness instead of trying to make it "grounded".
It needed to be like the original Star Wars and Star Trek: campy and oftentimes ridiculous. Not like the sequels and modern Star Trek movies: gritty and self absorbed.
or, alternatively: likeable characters, cathartic action, a fun yet hateable villain.... like puss in boots. not every story has to be a tongue-in-cheek story about a dumb kid coming to terms with being a dumb kid, or a witty dumbed down version of the heroes journey with whedon-dialogue.
@@bearwynnDW is not made by Disney, they just have the rights to stream it on their platform, and part of that deal is them funding certain parts. It is still owned by BBC and Badwolf studios. Also, though I have stopped watching, I can confidently tell you that the last few seasons before Disney were the worst Doctor Who has been, both publicly received and critically, and, although I still dislike it for now, it is still better now than it was. All your gripes should be directed at the showrunner RTD (who was an old showrunner before Disney) who has full creative control. (PS: Disney is trash and if they did own DW it would be even more of a shit show)
Then again, if Disney didn’t buy Pixar, Circle 7 Studios would’ve kept churning out direct-to-video sequels of Pixar’s films and we would’ve never gotten the Toy Story 3 or Finding Nemo sequel we know today.
Man, I did not grow up a girl btw, but Turning Red is legit one of my favourite films too. It kind of wounded me when I read the headlines. On the flipside I have not watched Luca, it looked a bit boring. Feel a bit bad about that now.
@@vitorguerreiro3902 I daresay its a refutation of the idea put forward in the article: that because it's a story about a mother-daughter relationship, it must only be appealing to girls.
@@vitorguerreiro3902 The explicit mention of periods in Turning Red is a misunderstanding between the characters, it's not the premise of the movie. And while the the plot of the movie can be interpreted as an allegory to periods, why would that be a bad premise? Because it naturally resonates more with certain groups than with others? That's pretty dumb
The fact that Lindsey Collins son is named CASH. & even he knows Incredibles 3 is a cash-grab, is comedy gold right there. HIS NAME IS CASH I CAN'T BELIEVE IT.
It’s crazy how you can find a 300,000 word fanfiction written by one person with their entire being poured into that work with laughs and tears and a deeper perspective on humanity. And then there's this giant animation studio that can't be bothered to be creative.
i'm sure lots of people at Pixar would love to get creative, but thankfully Mr. Disney Executive no. 5 has already put their name on the Naughty list of animators to kick on the next layoff! Thank you Our Lord and Savior Mickey Mouse for taking care of the sharehol- I mean children!
this is actually interesting because Lightyear was an excellent sci fi movie, and was k1lled by being called Lightyear. Toy Story fans didn't want a serious grounded sci fi movie and fans of serious grounded sci fi did not want to watch a Toy Story spinoff. If they'd made it an original story, or maybe make "the mc is Buzz all along" a sort of easter egg, it'd done better.
@@LynnHermione It would still be mid, with the whole plot being Lightyear trying to correct his "mistake" even though no one seems to really care about being stranded on an alien planet. So the movie really is just Lightyear fighting the voices in his head.
@@LynnHermione it makes no sense fundamentally on its own as no one is even actually mad at him and other stuff is explained in i think this guys vid on it
Yeah haha nice. That's like the actress who played young Leia in the Kenobi show talking about ( I think it was the scene of hiding in the trenchcoat? ) and saying it didn't make any sense.
Personally I feel like these “unrelatable” movies are incredibly relatable. Luca is just kids having a fun summer. Turning Red is about a kid who wants control over her own life. Like… basically every person on the planet has been through that.
I LIKE when movies have perspectives I've never seen before. I don't relate to most GOOD movie protagonists, but they make me see something in the world that makes me think and feel and grow as a person. Having to see myself in everything I watch feels like such a selfish perspective
Luca was the first time I'd ever cried watching a movie (it opened the floodgates lol). His friendship with Alberto was something I'd never had and always wanted, but I had just recently found a friend like that at that point in my life, and seeing their relationship made me legitimately sob. It was wonderfully cathartic--I can't *fathom* calling Luca "unrelatable"
The thing is, you don't have to experience the same things as the author to relate to a movie. For example, I'm not asian nor an immigrant but with Turning Red I related to being anxious about the weight of expectations from your parents, and growing with a troubled relationship with my mother but eventually learning to love each other. That only shows if you put your heart in creating a movie people will relate to that film, one way or another.
Right? If you could only ever watch movies that fully represent your own life, the amount of movies you could watch you'd probably be able to count on one hand. Oh, MC is a guy? Well I'm not, so not relatable etc.
Exactly! I am from a German immigrant family with an overbearing well meaning but abusive mother that demanded academic perfection, with a family business and related to the movie 100%. I’ve cried both times I’ve seen it! But the people closest to me don’t have those experiences and they love it too! Bc it’s a good story with heart!
Turning Red is an awful movie. It represents everything wrong with Disney. The way the portray disobedience to parents as a good thing, the infamous “my panda my choice” phrase, etc. Parents simply revolted against politics in movies.
@@rodrigo445678 pArEnTs rEvOLtEd aGAiNsT pOLiTiCs oh puh-lease. This has nothing to do with politics, little mermaid, a now 35 year old Disney movie, also has themes of children rebelling against parents and guardians. So does Cinderella, moana, lion king, Pocahontas, Pinocchio, goofy movie, ect ect. It’s a common trope because people of all ages can relate to it. Are you a snowflake that’s triggered by turning red specifically or do you have zero media literacy?
Pixar was like "damn that franchise film lightyear flopped. You know that one film that had inbuilt marketability from the toy story franchise, but still flopped completely? Yeah i think we need to make more films like that."
To be fair, Lightyear is a different kind of spin-off. That movie had literally nothing to do with Toy Story outside of 2 characters named Buzz and Zurg. It also had a less light hearted tone compared to the Toy Story series. Lightyear feels like an original movie that had the minimum of IP recognition attached, and that’s why it didn’t attract the nostalgic audience or young kids. That’s why they’re focusing on more straightforward sequels like Toy Story 5 that are more likely to become hits.
It did have built in lore, it used NONE of it. They had a great cartoon series "Buzz Lightyear of Star Command" that canonically is the cartoon in the Toy Story universe that tells the origin story and adventures of Buzz Lightyear and his star command crew. It had established lore, colorful characters, built in antagonists. They instead did the equivalent of a "gritty reboot" for a toy-based cartoon that had nothing to do with Toy Story or Buzz Lightyear. Then they just stole the "plot twist" from the end of Lego Movie 2. It was colorless, joyless, and not really "for" kids at all.
Lightyear was Interstellar for kids with recycled assets and a recycled story. It was such a tragic waste. With how trendy 90's stuff is, I think leaning into it as a period piece woulda been a slam dunk. If it was supposed to be a 90's sci Fi formative experience for Andy, go all out. Use that Pixar magic to spoof old school movie effects and tropes of the day that have only gleaned more popularity as the zoomers dig into their pop culture history. I'll just watch the Starlight Brigade music video over and over and lament the death of color and fun in sci Fi for Disney. Seriously, don't try to watch the original Star wars on Diddnee plus where they "remastered" the shit out of it and sucked out all the color saturation. I Mark Hamil's 70's orange tan against that binary sunset was painfully missed.
Yeah. Lightyear should have done well. It failed entirely based on its merits. I think if they'd based the story on the cartoon series instead, it would have appealed to kids better, and it would have touched a nostalgic nerve for older fans. Lightyear honestly feels like a spin-off in name only. It wouldn't surprise me to find out the script was written as an original story, but they had Lightyear shoehorned into it for marketability.
Nah, a sequel to Wall.E would be even more unfathomable to me. But it wouldn't surprise me if they gave it a go anyway, just to trip and fall from the starting gate
@@DeubenRavy They'll basically make the same film again: "Oh no, the humans being fat, we can't walk properly! Let's remake more cars that produce carbon dioxide and rely on the butterfly effect, and then decide that we can't live on earth, so let's fly off to space again!"
The sequel to A Bug's Life: A Bug's Death And it's just a somber movie about the characters struggling with the unexpected death of Flik and reflecting on their own mortality.
@@shawklan27 I am not joking since there's still original films outside of sequels,reboots,remakes,and films based on famous toys,cartoons,comics,and other stuff in recent years
@@Mr.Feather130Sure they're making new things but man, especially Sony and other studios are still milking everything they have lately. It definetely didnt start with Disney, but most corps have focused on sequels and reboots with so so many old properties nowadays
When Cutthroat Island flopped, producers reacted "nobody wants to see pirate movies any more!" When The Dark Knight had a big box office, producers decided that dark and gritty and dark-- as in poorly lit-- superhero movies are never going away. When Mars Needs Moms flopped, they took the "Of Mars" off of the title of "John Carter Of Mars," thinking that "Mars" was a thing audiences didn't want to see. When Hunger Games got three successful sequels, it was open season on adapting every piece of barely-edited YA fiction on the market. Overcorrecting producers are as old as the film industry.
To be fair we do not point out instances where artists without studio interference end up messing things up, e.g. Ren and Stimpy. Artists can gravitate towards self-indulgence that relates to no one without exec interference, and execs can create something soulless without an artist getting to express themselves in the project. You need both to keep each other in check.
@@TheLazyFusspot_3428 “I’ll kidnap a thousand ideas before I let this company die!” I’ll be honest I had no idea how to parody that one sentence so if the above one sucks, that’s why mb
If you think about it, they waited 10 years; until the children who watched Inside Out to grow up to deliver this sequel. They did a similar thing with Monsters University
i’m sorry but they didn’t take 9 years just so they could wait for us to grow up lmaoo. it’s just how long it takes to make an animated movie in general. same with monsters university
The sequel being mediocre didn't kill the momentum of The Incredibles. Waiting 14 years for a sequel, building a hype that could never meet expectations and THEN being mediocre killed the momentum.
I'm like a year younger than The Incredibles so I literally waited my entire life at that point for a sequel and it was a bunch of nothing despite The Incredibles being such a rich and engaging film for all ages. That was the catalyst for doom for me. That was my Roman Empire.
More or less, i waited my entire Childhood for a sequel and...imagining that could be the sequel... nothing is better. Maybe i got older and understood more that making an Incredibles sequel was A BIG DEAL. But yeah, making it 14 years later and making that "meh" movie just make it worse.
People kept asking for an Incredibles continuation for a decade. With how long the sequel took to come out, expectations piled up that the movie being mediocre will feel much more devastating. Like, Cars 2 was a disaster, but it didn't come out too long after Cars 1 and people hadn't built up appreciation for the original yet. Then Cars 3 felt like a nice return to form.
So Pixar acknowledged the box office failure of Lightyear, a spinoff nobody wanted of a series that should have ended 14 years ago, but then somehow twisted that logic to mean that people want MORE of it? This amount of bullshit could make a dungbeetle blush.
I’m surprised the article didn’t mention Onward, since that film not only was based on Dan Scanlon’s experience growing up without a father, but also underperformed at the Box Office and was sent straight to Disney+
And guess why it did so bad? The marketing was ass! Almost all of these failed films are tied to poor marketing (ex Elemental trailers misconstruing the central themes of the film)
It also did badly because it released DURING the Covid pandemic in 2020. People weren't ALLOWED to go to cinema for safety reasons, so it didn't make much box office profit. If Disney are measuring Onwards box-office success for a film during the Covid Pandemic, they're doing it wrong
@@TheGreatCalsby It'd be more fair to judge the amount of views of the films with their ratings and reviews, for the films during the pandemic. By the time they'd release them in theaters, no wonder they'd do bad if many people already saw them.
Not to mention Luca, Turning Red, and Elemental all have some representation of a different culture in their story, which makes me raise an eyebrow of what they really mean when they want something for "everyone"
Unfortunately, movies about other cultures are alienating regular (and illiterate) people. It sucks, but it's true. If Americans can't see themselves in something, they don't like it.
To be fair Disney's been pretty adamant in their animated films for showing different countries and cultures. Moana, Coco, Princess and the Frog, Encanto, Raya and the Lame Ass Stupid Movie, Brave, Big Hero 6 (kinda), it's not exactly new to those three. In the renaissance too they had some variety of setting like Aladdin, Hercules and Mulan. I'm not saying Disney is famous for it's appreciation of minority groups, or even that it represents all these cultures in the best way (Pocohontas.....), but I don't think there's a secret conspiracy going on to silence cultural narratives all of a sudden. It's just another case of corporate ignorance and a constant need for growth over artistry
Lightyear sucked because it had nothing to do with the franchise, and it was something nobody wanted. Light year was the result of someone wanting to try something new, and insulting fans by throwing the Toy Story name on a movie that had nothing to do with it. The sequels never had this problem.
"It's almost as if becoming a CEO rots your brain and turns you into an empty corporate husk" Well yeah. I remember doing a paper on the Triangle Shirtwaist factory fire and the irony is that the bosses of that factory were themselves former sweatshop workers in an even _worse_ sweatshop.
- pixar wants mass appeal - gets fucking grilled by everyone, INCLUDING The Owl House creator Dana Terrace there was no way they thought "we want clear mass appeal" was a good idea to say in a fucking news interview
Disney says they want to be inclusive, but reject The owl house cause Luz wants to be with Amity. And let’s not forget it’s “too dark for the Disney brand” when Cars 2 kills off Doc with no explanation as to how he died.
@Cubeytheawesome it was actually because “the show didn’t fit the Disney brand.” This is already a flimsy response, but the fact they told almost nobody why they did it and announced it right after lumity became canon, thus proving that Disney will never respect the lgbtq community unless there’s financial incentives there
Note to self: When time travel is invented Bring Dana Terrace back in time and Replace Pixar's Toy Story With The Owl House and it'll maybe make more money than the first 3 Toy Story Films Combined at the box office, But They all still have to be G-Rated (Which can still have very scary and violent themes in them) and there's no LGBT until the third movie because it's released over a decade after it's prequels (Which is the excuse for why it had a long "hiatus") while the studio makes other high quality original animated films during that "hiatus".
@@Cubeytheawesomethat's not really a good example, because if anything, Disney took a very soft route with Docs death by ignoring what happened completely. Also the actor died, so it's not like it was part of the plan.
@@Cubeytheawesome What's funny about the whole "dark" thing is that they also let Guardians of the Galaxy 3 come out which was SUPER dark. Same goes for Pirates of the Caribbean 3. Methinks Disney's thing is they'll only let something be super "dark" if it's connected to a big moneymaking brand.
They of course utterly overlook the amount of effort, creativity, and passion (on top of the lack of extreme executive meddling that would otherwise hamper that) put into said movie that lets it work as its own stand-alone story on top of being a sequel that made it such a huge success both critically and in the box office.
Puss in boots was barely, BARELY a sequel, it felt more original and in it's own. I dare most fans of it never saw or cared about the 2011 film/"prequel"
@@IvannaRuizAgramonteI saw the 2011 prequel and still care for it and I know a couple of my friends who do the same while still loving PIB: The Last Wish.
Howdy! I'm an apprentice of Nate Wragg, a character designer who worked on Ratatouille, Toy Story 3, Captain Underpants, and a lot of other movies. (And according to his IMDB, both Puss In Boots - I had no idea about that! I'll have to ask him about that next class.) I remember in class (just a week ago, actually) my classmate asked the question of "is there ever a film that you didn't like working on?" and he said no, however, he had one thing to say. My mentor recalled the meeting for the storyboarders reviewing the final shot of Toy Story 3 and how it was deeply emotional to him and the others in the room. Tears were shed, and everyone put their heart and soul into making it the perfect ending to the series that they all had worked so hard on. It was emotional, and they felt it was the perfect closer to the trilogy. So, you can only imagine how upset he was when Toy Story 4 came out. He said that was the only Pixar film he didn't go to see in theatres. He says that part of the issue with the animation industry currently is that their schedules are being pushed up. Animators and writers are forced to push movies out within 1-2 years versus when they had 3-5 to work on it. Creative juices are burnt out much easier. In my opinion, it's a major issue and also is removing the aspect of 'growing with your audience' that I remember from old Dreamworks trilogies like How To Train Your Dragon. Nate Wragg has been a kind, caring, passionate, and incredibly patient mentor to me and it makes me sad hearing professionals talk about the way that the animation industry is going downhill. These are very creative and passionate people, and it's heartbreaking to see the life be taken away from things they work so hard on.
I still haven't watched Toy Story 4 and don't intend to. 3 ends the series so perfectly, I don't WANT to know what else the characters got up to after that.
I actually love toy story 4 and think it gets overhated sometimes but I also understand. It was still unecessary and 3 was the better ending. I despise the fact that we're getting a Toy story 5 though
As a human, I agree that Pixar needs to focus on stories that are "universally relatable" to audiences, like that movie where birds go back in time to the first Thanksgiving to get turkeys off the menu.
It's the sad reality of many different forms of entertainment now a days. Personally I think it's a direct consequence that came with switching out the passionate people on top with money oriented suits. Gaming industry especially is pretty much the same. Quality is second after marketability.
The ghouls gotta get in the guillotine queue. I'm lookin at "let them lose their apartments" Iger, "bury finished movies for tax write offs" Zaslav (RIP Coyote vs Acme) and the most rotten "gonna replace all these workers with AI asap" Katzenberg.
I work at a small animation studio in France (as a head writer) and trust me, we are struggling with the same shit : the broadcasters are fighting hard against anything original or even slightly ambitious
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Did they seriously think Elemental tanked because it was autobiographical and not because their atrocious marketing campaign made the movie seem like a cliche romance?
Frrr. I dogged on the movie so hard before actually watching it, but when my sister eventually dragged me to see it, I saw how wrong I had. Ember and Wade had so much genuine chemistry, and the conflict between them at the end made so much sense and was anything but contrived. I'm glad it's getting the recognition it deserves.
YES THANK YOU! What kept me from seeing Elemental was the marketing team making it look like the most boring thing on earth. Like, show me that passion and heart and I'll be there!
That's exactly why I didn't watch Elemental. I didn't know that it was autobiographical until it was brought up in a video about it. I saw the trailer scene where Wade flexes his muscles and Ember compliments him and went, "oh so this is just a Romeo and Juliet parody, no thanks".
I saw Inside Out 2 on the memory of how great the first was, but… …I really regretted it. It wasn’t a TERRIBLE movie? But I found it uninspired and utterly forgettable.
@LionKimbro I loved it, even more than the first one. While the structure was somewhat straightforward, the storytelling and overall story was very good.
Pixar's most profitable, toyetic IP is Cars... a giant tribute to the classic car culture of Route 66 in the 60s. That's just as specific as, if not more than, being an Asian immigrant teenager in Canada in 2001, but kids ate it up worldwide. Absolutely getting the vibe that there's something fishy about this development in relation to minority representation.
Yeah, reminds me of Disney's more slimier 'Trying to have a cake and eat it too' moments where they relegate scenes with minorities to be easily removed in post or undermarket them if they're the main characters and then simultaneously brag about being more diverse while also saying these sort of 'personal stories' don't sell. Like it really is obvious what the implication of relating to the largest common denominator is here.
I'm just glad they managed to crank out Luca BEFORE they changed their guiding star. Luca is pretty much my childhood but set in Italy instead of Norway, and I can't watch it without ugly-crying
It's always going to be one of the movies I will remember whenever I want to watch something in a lazy afternoon. The simple, low stakes tone of the movie made a lot of people dislike it, calling it "unambitious", and everybody has their own opinions, so okay. For me, it's a feel good movie and I wouldn't want it any other way.
Everyone has a favorite. Inside Out stands as my favorite movie for its depiction of emotions as not inherently "good" or "bad". It helped me process a lot of anger issues and self-loathing I had as a kid, not really knowing how to process feelings like anger and sadness maturely.
@@MegaChickenfish mine definitely is Meet the Robinsons. I liked it as a kid but it became a very huge comfort film for when I was put in foster care and the film was so empathetic by showcasing a lot of the complex and scary emotions that comes with not really being wanted by your own family and not knowing why. It helps that the director grew up adopted. The film just really means a lot to me and I love that it didn't gloss over the cliche orphan trope and instead adamantly examined how that affects a child's psyche. I wish this movie gained more traction, it was great.
Something about Pixar sequels is the original movies aren’t made for sequels, they are a open shut story. At the end it feels like a TOTAL end, it just feels weird to start the story again over and over again
@@BlueberryCheesecake8That movie in particular had a universe and characters worth exploring, and due to being a prequel, they didn't drag out the first movie's story, rather expanding on the characters backstories, and I agree: The movie was AWESOME!
@@FranciscoPetrucioJunior monsters universe feels perfect for exploration since it’s the plot is kinda grounded in a reality similar to ours (energy crisis, companies using unethical practices considering changing into more ethical practices, public education, disabilities, etc.)
It’s just that Simpsons meme of “am I out of touch. No, it’s the children (and artists, and everyone else) who are wrong.” Like nOoOoo it can’t be because we’re making horrible business decisions.
"Luca" made me sob as someone with multiple disabilities. I adore that film. When the grandmother said "aome people, they'll never accept him. But some will. And he seems to know how to find the good ones." That hit me deep. The friendship between Luca, Alberto and Guilia was so sweet, and while the boy's story was to me a fantastic representation of acceptance, Masimo talking about his own disability so openly was great. It was the first Pixar I ever felt seen by, that I saw myself in. It's my second favourite Pixar film after "Ratatouille" and it should have won the Oscar. But fuck inclusive stories I guess. They're not even taking the fucking pandemic into account. I love Pixar but my God this hurts. Also, "Up" was basically about a man wanting to die. He knew he'd run out of food and resources in South America. He knew he'd have no way to call for help. It was a suicide attempt that was thwarted by a kid, a bird and a dog. Who, along with Ellie, taught Carl that life is still worth living after her loss. Pete Docter directed that. That makes his comments more deplorable.
Fuck man HE DIRECTED THAT AND IS NOW SAYING THIS SHIT?? That really does make it so much worse wow... On a seperate note, what you said about "Luca" is genuinely heartwarming, never heard of it and def wanna check it out now!
“Like no offense, but DreamWorks making a couple bad movies in a row, is not the downfall of the studio. That’s just another Tuesday for them. The same applies to Pixar, yeah obviously they’ve been really hit or missed for over a decade now. But just because the studio isn’t pupping out constant masterpieces anymore… that definitely doesn’t mean they’re dead. For every Cars 2 or the Good Dinosaur, there’s always eventually gonna be a Coco, or Soul to balance things out.” Thank Primus that you’re not under the belief that when Pixar & DreamWorks makes bad movies, they go into a downward spiral.
well, Pixar topic is more complicated because objectivily they don't have bad films, just aren't good that's a big difference. Cars 2 is stupid but funny at some parts, Good Dinosaur at least have nice animation, Lightyear is a masterpiece just if we make the headcanon that it was produced by Illumination
holy fucking shit i hate that mindset. Disney releases Raya and people don't like it "is this the END of DISENY? is disney DEAD?!" then they release Encanto and people like it "is this the DISNEY RETURN we've been waiting for? DISNEY'S BACK BABY!" -> they release Wish and people don't like it "DISNEY IS DEAD AND HAS BEEN FOR THE LAST 15 YEARS"
@@atoucangirl Raya feels like it would have worked much better as a mini-series to give the world more time to breathe. It's practically an ATLA-style party adventure visiting several different cultures and as a movie they just rush through it all
“Money is such a beautiful word.” “I know, I know…” “It’s soars in the air like a beautiful bird.” “I know, I know” “Better than that, it makes me feel like an aristocrat!”
The thing is…those “autobiographical takes” like Luca, Soul, and Turning Red are like the best Pixar films of recent memory. (At least in my opinion) And the audacity to say “hey you guys shouldn’t make films inspired by your lives and we should make more sequels instead” is just disgusting and stupid.
@@pennysanchez7656true, but, in a weird way, that makes me happy. Back in the late 2010’s, it felt like Disney was just able to buy everything up and reign supreme. But no, turns out having dopey executives take control of beloved franchises only removes the soul (and monetary gains) from said franchises. It’s hilarious. I hope Disney continues to flop as they remove the soul of everything they own
Turning red wasnt for me, bit i wont deny that its good, luca and soul are great and elemental brought itself back financially quite impressively. This artical is basically nothing but BS
Watching recent films like Illumination’s Migration and The Garfield Movie, it’s devastating to see how this movement towards marketability on a corporation standpoint has impacted animation as a whole. You can tell that the people inside of these projects still wish to push that passion, push that narrative- the animation and art direction for these two films were INCREDIBLE. It’s so sad to see these monopolized corporations mute the voices of artists, while at the same time being the only option for a stable career until indie gets more of a leg. I’m a student in animation right now, and I’m so scared to enter the field because I know how my voice will be silenced and strained. Yes, I’ll be making my living on art, but I’m terrified that I will be sucked of the joy.
Baasically all of Illumination's movies except literally their very first one are perfect examples of the most sterilized, mass market garbage. And the sad thing is: they're insanely successful. Which means it's only going to get worse.
As someone who watched Avatar: The Last Airbender when it first came out, to the point I remember eating dinner in the playroom for the series finale, and had it be one of the reasons I always wanted to make my own animated fantasy… only to see it get a live-action adaptation, and the state of animation as a whole… I’m not an even an animator, and I find that demoralizing. I can’t imagine how you feel.
Even as a person who never immigrated, I related HARD to Elemental and Turning Red. I was pressured to take on my dad’s business and carry the family tradition, but was inspired by my significant other to choose what I want rather than doing what my family wanted me to do. And as a child, I was my mother’s mini-me through and through, I’d do anything to make her happy, even if it meant neglecting my own emotions. But with the help of my friend group, I’d learned to stand up to my mother and voice how I felt. And now we’re on much better terms, with my mother recognizing me as an individual rather than an extension of herself. Long story short, people can relate to a story even if they aren’t relating to the main theme. Certain aspects can hit that heart string all the same and have people resonate with even the small things.
From what I've heard, almost every person who has viewed those films felt some form of connection / relation to them- which is why the argument that autobiographically-driven films aren't relatable is so strange.
The fact Disneyland is doing a Pixar festival all summer long, and the only two films not mentioned are the good dinosaur and lightyear speaks volumes to me. Even cars 2 has something.
One of the biggest pieces of advice I've gotten from my poetry professor is that the more specific a poem is the more people while relate to it not because people relate to the specific experience but to the feelings being explored around that experience. Specificity is one of the greatest tools in a creator's tool box.
And Toy Story 3 is like their last big thing they do until they focus on too many sequels until the early 2020s where they go back to making original films...and then they do it again recently!
So far, I think Pixar still has a leg up on Disney simply because they're not cranking out a bunch of bland live-action remakes that suck all the charm out of the original movies. But going by the direction Pixar seems to be going, I think it's only a matter of time...
@@emuanon34 fr, but it really sucks that Encanto is buried beneath so many soulless Disney movies (being in the 2020s). It gets overlooked by the bad and no one talks about it anymore
It wouldn't surprise me if the reason Pete said these things is not because he actually believed in them, but because he was practically forced to at gunpoint.
At this point, who the hell cares anymore? Everyone we ever knew and looked up is a piece of sh*t. They're just like them. Like one of those empty shells of who they were supposed to be, but never got the chance to. No one is worth saving when it comes to Hollywood. Not even God wants to save them.
Schaf: *doesn’t believe Pixar is having its downfall* The literal first thing he reads from the interview: “We can’t make a profit, our brand is devalued, we laid off 200 people, and we’re banking our future on one movie”
It's just so crazy to me. Take Miles or Gwen, for example, very specific perspectives but characters that can be incredibly relatable. Just because of how well written they are, as if they were people. The arguments against a generic lead are just insane. Any character can be relatable or well loved by the masses as long as they're written well with passion and experience.
I think it’s also important to note that because they waited so long to release Luca, Turning Red, and soul theatrically- it came to theaters in the middle of a Disney boycott. I absolutely love these films- but even I didn’t go to see them.
@@jacindaellison3363I think they came out when conservatives started boycotting them bc of the lightyear movie, and now people r boycotting because they sent money to the IDF to help kill people
@@jacindaellison3363 it was called for by the BDS movement because Disney supported Isreal, the country that is unaliving every single Palestinian right now.
I'm in art college (or *was*, just graduated), and Kelsey Mann, the guy directing Inside Out 2, came to speak in one of my classes, since he was friends with my professor. He's a very nice and funny guy, and gave a presentation about his experience trying to get into Pixar, with it being full of rejection, growth, and perseverance. He was actually very glad to not have gotten into Pixar his first try, as the experiences he had in the interim, both the good and the bad, made him the artist he was today, and he wouldn't trade it for the world. It was solely because of this talk that I plan to see Inside Out 2 when it comes out, because he seemed so excited and proud of it and I want to give this man a good first directorial debut. However, if it wasn't for this talk, I wouldn't have even bothered at all to see this movie. I am so burnt out on sequels, reboots, and the corporatization of Disney and Pixar, that I forget about the artists who try to put in their own personality and life into these stories. And if this stripping away of personal experiences does go forward, and replaced with bland appeal and regurgitation, I don't think I can ever watch another one of their movies again.
Sequelitis: a stupid disease for a studio to have. Also THANK YOU for calling out the people clowning on Pixar for a couple of bad films at the start of the video, it has gotten annoying. Literally every company has done some bad movies. Though it's still disappointing to see them sink this low. Just...why?
As a person who could not relate any less to Luca and Turning Red I still loved the former and really liked the latter. I am perfectly capable of finding OTHER PEOPLES perspectives both engaging and interesting because I love learning about new things.
"I'm afraid to say it's not 2003 anymore... it's not about impactful writing and films with genuine experiences, these days it's about generic relatability and bland sequels fuck you do you want a chicken nugget?"
@@FeliciathedollUnfortunately, that’s the natural cycle of capitalism. Create something unique > it makes a lot of money > milk the hell out of that one product until the money dries up > repeat the cycle.
I’m gonna guess that the higher-ups at Disney forced Pete to say that, so that Disney wouldn’t get ALL of the heat… because Disney. But if he wasn’t, then Peter really got the “oh wait, you still have a heart, let’s just get rid of that” CEO treatment.
Lol as if that's ever gonna happen! I really hate it when people have hope for lost causes that have allowed themselves to get sucked in to the capitalist event horizon, of which there is no escape from that mindset. Our economy is in shambles because of people like Docter.
I mean, that would make sense, Bob Iger was the first one to say that they would start focusing more on secuels than original projects. Disney execs are probably the ones to have forced the production of TS5, Incredibles 3 and Finding Nemo 3 and they just send Pete Docter so he can come up with some BS to give a "reason" for these decisions at Pixar. If not, well... We better remember their golden age with love bc it ain't coming back in a long time
What I also hate about this situation is that it doesn't seem like there's any comprehension that the movies audiences love the most happen to be stand alone movies and not sequels. Take for example Ratatouille, WALL-E, Up, Coco, etc, everyone likes these movies. Meanwhile Cars 2, Lightyear, toy story 4, Incredibles 2 etc, are all movies people dislike. This trend isn't limited to Pixar, look at what Disney is doing with all their remakes. People have consistently disliked Disney's cash grab nostalgia remakes. This trend shows that audiences like original, mature, well told stories that have been developed and thought-out from passion and creativity, not a thoughtless slop sequel that only exists because of a brand name nostalgia bait cash grab.
On the other hand, the highest grossing Pixar film of all time is the Incredibles 2 and the highest grossing animated film overall is The Lion King live action remake, so I don't think they care what is critically acclaimed
“No more culture specificity! We don’t want our audiences to be unable to relate to Generic Protagonist #29!” Ignoring the fact that some of the better animated movies of recent years- Luca, Coco, Turning Red, etc- came from taking a specific culture and setting it as a vital element for an amazing story. This is just… how do execs keep learning all the wrong lessons on how to make a movie people will pay to see?
It’s sad because some of the Pixar sequels still retain solid character development and story integrity. I will die on the “Toy Story 2 is the best one” hill.
@@alanaolmes4480I'm also looking forward to the sequel it makes sense, we're gonna get to see Riley grow with new emotions I just hope they don't flunk it badly. Same goes with Deadpool 3 and uh Star Wars has no hope the new director is gonna destroy the franchise.. While it is satisfying to watch the empire fall it's a shame they ended up like this.
I put the blame on Disney. If Pixar remained independent like pre-2006, they wouldn’t be putting a huge focus on sequels or shift away from personal stories.
Being relatable isn't the only thing that makes a story good either. It's also about sharing that perspective and experience to those who DON'T relate to it
So basically Pixar is seeing their recent movies preform like trash and think that instead of improving and making BETTER movies, they should instead make more sequels for existing ips because people will pay regardless of the quality? That’s bs.
Or at least market them better? That's not important but at least it's not "Erase the personal voice and art of the artists and see what makes us money quick."
The people working at Pixar currently are different than the people that worked on the hit Pixar films a decade ago. So the Pixar Studio current year is Pixar in name only as Disney is more strict with what it does.
Wait…Pete Docter said all this? THE Pete Docter? The guy who gave us some of the best original Pixar movies and essentially Defined the Prime of Pixar? The guy who made Up, Monsters Inc, Inside out and more recently Soul??? That same guy is talking about how sequels are the only way to move forward??? What happened? Did Lightyear’s underperformance really do that much damage to the studio and to the creative minds within the studio?
Why are their so many questions? Like do you want to emphasize a point? Is there some reason for this? Do you really not like sequels? Why not? Is there some point to this? Do you really like personal stories? Why? Is there some point to this?
There was a gay couple in Strange Worlds and Lightyear on screen in a lot of countries, what do you WANT??? Stfu and come spend your gay money in our parks! (Morrrre sarrrrcasm)
You know what's extra disappointing about this? Now new writers and directors under Disney and Pixar are no longer given the freedom to make their own stories. Heck, this is already happening NOW with Inside Out 2 and Moana 2. The directors and writers for both Inside Out and Moana aren't returning to their respective sequels, but instead new creatives that have never directed a single movie (Kelsey Mann, David G. Derrick Jr., etc.) are in charge of continuing SOMEONE ELSE'S passion project, not theirs.
That's not what they said. They only said that the movies will be less autobiographical. Let me explain it like this. I am an aspiring animator who grew up watching cartoons. Does that mean I have to make a movie about an aspiring animator who wants to make cartoons. That might be cool to see but not necessarily. What if I want to make a movie about people fighting each other in giant robots in a post apocalyptic wasteland. If I make a movie about robots in a post appoclypitc wasteland I can still throw in elements from my life. I can base the characters off my brothers, my mother, people I know, etc.
@@icecreamhero2375What you’re saying has nothing to do with the original comment. They were talking about how Moana 2 and Inside Out 2 have different directors. How are you going to make the move about people fighting each other in giant robots personal to yourself if you aren’t directing the movie?
@@icecreamhero2375 No I get that, but I was trying to emphasize the point that these new directors and writers are being thrown into sequels they had no involvement with originally, while the original creators are no longer included. Original movies, autobiographical or not, will still be made, but Disney/Pixar's heavy focus on sequels makes them much more rare. I bet if you ask the new directors for Moana 2 or Inside Out 2 how they feel about their role, they'll probably feel privileged to continue these stories, but I highly doubt these sequels are their "dream project"
"Relatability" is such a creatively dead phrase now. What executives call "relatable" is just the status quo of media, rather than what people actually relate or connect to. Turning Red was intensely relatable for Mei's relationship to her friends and her mother, and how she was learning to become her own person rather than someone's child. Soul was relatable in struggling to find spark in your life and needing to take time to understand your passions. Up was relatable in how we can throw ourselves into crazy things to avoid confronting difficult emotions and grief. But we all know what isn't "relatable" about Elemental, Turning Red, or even Luca. It's so easy for executives to blame these directors' passion and personal experiences on why their films aren't """relatable"""" despite those same passions and personal experiences being the reason art gets made at all!
the notion "personal stories aren't relatable" literally hurts my brain. like, yes, this one director is the ONLY person on earth to [*checks notes*] struggle with parental expectations, be an immigrant, or *be italian*. there are definitely not millions of people that can relate to one or more aspect of these films, or still connect with them even if they can't explicitly directly relate.
9:19 when I heard those interview quotes I was shocked this was coming from Pete Docter. I really enjoyed hearing him talk about the behind-the-scenes process at Pixar.
as someone who's favorite pixar film is wall-e, i am scared. the thought of wall-e getting a sequel never crossed my mind (let alone a bad sequel) but now, it feels like a very real and very frightening possibility
Wall-E getting a sterilized corporate sequel is such the PERFECT antithesis to everything that the original stood for. It’s poetic how appalling that timeline would be.
@@Glory2Snowstar even worse is that seems to be the only way theyd cash in on walle. They aren’t focusing on disney plus anymore so they couldn’t make say a bunch of shorts of walle messing around on earth during the 700 year gap. Which sucks bc while i would prefer no walle franchising, id acc be ok with some walle shorts. But no, if executives remember walle, they’re hitting the sequel button.
Being brutal, the interview felt like a coded way of saying 'no more cultural specific stories' or in other words, 'we are putting the woke away because the economy has tightened'.
@@Feliciathedoll Preach. Artistic integrity only goes as far as the bottom line in Disney's world it seems. As ever, the suits take away the wrong lessons.
The problem with Pixar is the same as the problem with Marvel and Star Wars - Disney. Before Pixar were bought by Disney in 2006, they made this little film that you might have heard of called THE INCREDIBLES, arguably their darkest and most adult film, and one of their most acclaimed ever. Coincidence? I think NOT.