Well, this just sucks:
SAN FRANCISCO (Reuters) - The Walt Disney Co. is expected to close a
feature-animation studio in Orlando, Florida, on Monday, jeopardizing
the jobs of nearly 260 animators, the Orlando Sentinel said.
Some artists will be transferred to Burbank, California, where Disney's
corporate headquarters is located, but most of the employees, whose
credits include the films "Brother Bear" and "Lilo & Stitch," are
expected to lose their jobs, the paper said on Saturday.
Disney was a pioneer in hand-drawn animation, producing classic movies
such as "Snow White and the Seven Dwarfs," "Cinderella" and "Fantasia."
In recent years, however, computer-generated animation has become
increasingly popular as evidenced by movies like 2003's "Finding Nemo,"
made by Pixar Animation Studios.
The underwater adventure was the top-grossing theatrical release in the
United States last year, generating about $340 million.
Disney distributed "Finding Nemo" and has a contract with the
Emeryville, California-based company that expires at the end of next year.
No one at Disney headquarters was available to comment.
(Source: http://money.excite.com/ht/nw/bus/20040110/hle_bus-n10366236.html)
Author
Topic: 200401
(338 messages)
Kai Saarto
Disney Set to Close Animation Studio
Message 76 -
2004-01-11 at 10:27:54
Gianfranco Goria Su Fumetti.Org
Help: I'm looking for...
Message 77 -
2004-01-11 at 14:28:57
Hi! I'm collecting the National Geographic Magazine issues on which there
are articles about comic art and artists.
I alreday have the French edition about Carl Barks (june 2002) and about
Herg?/Tintin (august 2001), and the Italian edition about Carl Barks and
myself (july 2002). But I don't find anywhere the USA edition talking about
Carl Barks and don't know if there are other issues of the kind. Even just
the scans would be enough for me: can someone help me? Thanks anyway!
Gianfranco Goria - www.fumetti.org - www.afnews.info -
gianfranco.goria at fumetti.org
are articles about comic art and artists.
I alreday have the French edition about Carl Barks (june 2002) and about
Herg?/Tintin (august 2001), and the Italian edition about Carl Barks and
myself (july 2002). But I don't find anywhere the USA edition talking about
Carl Barks and don't know if there are other issues of the kind. Even just
the scans would be enough for me: can someone help me? Thanks anyway!
Gianfranco Goria - www.fumetti.org - www.afnews.info -
gianfranco.goria at fumetti.org
Søren Krarup Olesen
Where to be [OT]
Message 78 -
2004-01-11 at 17:03:22
ROB:
> I suggest that we move this discussion to DCML-Talk.org, as THIS is
> the very reason for which it was formed. By the way, - we've had
> almost NO ACTION there in the past few months.
Correct. However, the activity on this mailing list isn't that high
either and frankly I like a few off-topic things to be discussed here
once in a while--they make the list appear slightly less nerdish :-)
Especially such topics that (although not strictly being about Disney) I
believe are of general interest.
A mail "stamped" with this small "[OT]" can easily be deleted either
manually or automatically, besides, no one here reads all mails from A
to Z anyway...or perhaps I am wrong. Hi, Harry!
There is also the possibility to chat via our irc.inducks.org server
(port 6667, /join #dcml). Several minor problems and discrepancies can
be dealt with in no time. Discussions can be logged if requested etc. etc.
Best,
S?ren
> I suggest that we move this discussion to DCML-Talk.org, as THIS is
> the very reason for which it was formed. By the way, - we've had
> almost NO ACTION there in the past few months.
Correct. However, the activity on this mailing list isn't that high
either and frankly I like a few off-topic things to be discussed here
once in a while--they make the list appear slightly less nerdish :-)
Especially such topics that (although not strictly being about Disney) I
believe are of general interest.
A mail "stamped" with this small "[OT]" can easily be deleted either
manually or automatically, besides, no one here reads all mails from A
to Z anyway...or perhaps I am wrong. Hi, Harry!
There is also the possibility to chat via our irc.inducks.org server
(port 6667, /join #dcml). Several minor problems and discrepancies can
be dealt with in no time. Discussions can be logged if requested etc. etc.
Best,
S?ren
Shad Z.
TRON comic in Feb
Message 79 -
2004-01-11 at 19:55:03
----- Original Message -----
From: YMH at aol.com
>
> Wha? What Disney comics does TokyoPOP publish? Just the
> Monsters, Inc. manga?
They also do the Kim Possible and Lizzie McGuire "cine-manga"
(their word for comics made from film stills), which I think
counts as comics...
--
Shad Z. ^Q^
http://shadz.homestead.com/files/
HONK TO SEE PUPPIES
Sign along US 287, Loveland CO
--
___________________________________________________________
Sign-up for Ads Free at Mail.com
http://promo.mail.com/adsfreejump.htm
From: YMH at aol.com
>
> Wha? What Disney comics does TokyoPOP publish? Just the
> Monsters, Inc. manga?
They also do the Kim Possible and Lizzie McGuire "cine-manga"
(their word for comics made from film stills), which I think
counts as comics...
--
Shad Z. ^Q^
http://shadz.homestead.com/files/
HONK TO SEE PUPPIES
Sign along US 287, Loveland CO
--
___________________________________________________________
Sign-up for Ads Free at Mail.com
http://promo.mail.com/adsfreejump.htm
Eric Chun
Disney Set to Close Animation Studio
Message 80 -
2004-01-11 at 22:24:26
Disney Set to Close Animation Studio
<<Saturday January 10, 4:55 PM EST
SAN FRANCISCO (Reuters) - The Walt Disney Co. is expected to close a
feature-animation studio in Orlando, Florida, on Monday, jeopardizing the
jobs of nearly 260 animators, the Orlando Sentinel said.
Some artists will be transferred to Burbank, California, where Disney's
corporate headquarters is located, but most of the employees, whose
credits include the films "Brother Bear" and "Lilo & Stitch," are expected
to lose their jobs, the paper said on Saturday.
Disney was a pioneer in hand-drawn animation, producing classic movies
such as "Snow White and the Seven Dwarfs," "Cinderella" and "Fantasia."
In recent years, however, computer-generated animation has become
increasingly popular as evidenced by movies like 2003's "Finding Nemo,"
made by Pixar Animation Studios.
The underwater adventure was the top-grossing theatrical release in the
United States last year, generating about $340 million.
Disney distributed "Finding Nemo" and has a contract with the Emeryville,
California-based company that expires at the end of next year.
No one at Disney headquarters was available to comment.
2003 Reuters Limited. >>
_________________________________________________________________
Learn how to choose, serve, and enjoy wine at Wine @ MSN.
http://wine.msn.com/
<<Saturday January 10, 4:55 PM EST
SAN FRANCISCO (Reuters) - The Walt Disney Co. is expected to close a
feature-animation studio in Orlando, Florida, on Monday, jeopardizing the
jobs of nearly 260 animators, the Orlando Sentinel said.
Some artists will be transferred to Burbank, California, where Disney's
corporate headquarters is located, but most of the employees, whose
credits include the films "Brother Bear" and "Lilo & Stitch," are expected
to lose their jobs, the paper said on Saturday.
Disney was a pioneer in hand-drawn animation, producing classic movies
such as "Snow White and the Seven Dwarfs," "Cinderella" and "Fantasia."
In recent years, however, computer-generated animation has become
increasingly popular as evidenced by movies like 2003's "Finding Nemo,"
made by Pixar Animation Studios.
The underwater adventure was the top-grossing theatrical release in the
United States last year, generating about $340 million.
Disney distributed "Finding Nemo" and has a contract with the Emeryville,
California-based company that expires at the end of next year.
No one at Disney headquarters was available to comment.
2003 Reuters Limited. >>
_________________________________________________________________
Learn how to choose, serve, and enjoy wine at Wine @ MSN.
http://wine.msn.com/
Matthew Williams
TRON comic in Feb (Tokyopop)
Message 81 -
2004-01-12 at 00:57:47
I was just in K-Mart today, thumbing through a Lizzie McGuire comic (?) out
of idle curiosity, and I saw an ad for a Finding Nemo comic adaptation
coming soon. The ad was pretty light on details, though. I have the
Monsters Inc adaptation, and it's kind of neat, but something about the
whole big-eyed Manga style creeps me out. :)
Matt
of idle curiosity, and I saw an ad for a Finding Nemo comic adaptation
coming soon. The ad was pretty light on details, though. I have the
Monsters Inc adaptation, and it's kind of neat, but something about the
whole big-eyed Manga style creeps me out. :)
Matt
Gunnarsson, Joakim SE - HMJ
Disney Italy & Creators' Rights
Message 82 -
2004-01-12 at 10:22:21
Anyone on the list that can give a summary (in english) of the message about
Italian creators rights that Gianfranco posted last week?
Would be interesting to know what's happening.
/Joakim.
Italian creators rights that Gianfranco posted last week?
Would be interesting to know what's happening.
/Joakim.
Botto Armando
Disney Italy & Creators' Rights
Message 83 -
2004-01-12 at 10:31:18
From: Gunnarsson, Joakim SE - HMJ
> Anyone on the list that can give a summary (in english) of the message
about Italian creators rights that Gianfranco posted last week? Would be
interesting to know what's happening.
Here's a not-so-literal translation:
<< SILF/SLC/CGIL is the only Union in Italy taking care of workers in the
area of comics, cartoons and illustration. It's a part of CGIL, the major
Italian Union (5 million members). Since its foundation (Feb. 5th, 2000)
SILF has been active in proposing law reforms (the one about copyright is
currently being examined by the Parliament), in changing the status of
workers in the field of creative professions (by making those professions
officially recognized by the State, with consequent fiscal advantages and
proper retirement plans), and in helping its members face and win a number
of controversies.
One of these controversies is that opposing Italian authors to Disney
Italia, about the return of original drawings to the artists, and the
payment of royalties for story reprints.
Maybe because of the constant pressure from SILF, Disney Italia have already
modified the contract they offer to authors for "productions with
NON-classical characters", inserting royalties etc.; the same has not
happened yet for "productions with classical characters (e.g., Mice and
Ducks)".
The assembly of authors has decided not to use strikes or public
manifestations to get media support; instead, it was agreed to subdivide the
controversy into two phases. Phase 1 will be about return of original
drawings; Phase 2 will take care of royalties for reprints.
We are currently nearing completion of the first step of Phase1: SILF's
lawyer is about to send to Disney Italia a series of formal requests for
immediate return of original drawings to the authors under SILF's tutelage.
According to the Italian law, which is quite precise about that, those
drawings are illicitly kept by Disney Italia. If, after receiving the
requests, Disney Italia will be willing to discuss with SILF, Phase 1 could
be closed with an out-of-court settlement; otherwise, a proper legal action
will be taken.
To have a rough idea of the value of the drawings in question, let's suppose
200 authors (or heirs of authors) are involved, and each of them has
produced an average of 2,000 pages over 10 years of relationship with
Disney. Considering an average price per page of 150 Euro, we obtain a total
value of 60 million Euro (but the real figure is probably higher). It's
evident that a legal action could turn into a financial disaster for Disney
Italia (and maybe for the Walt Disney Co., major shareholder of Disney
Italia).
Phase 2 will be started immediately after the completion of Phase 1. The
case of royalties for reprints, too, is contemplated by the Italian law in
detail, and the amount of money involved is equally overwhelming. Also in
this case, then, an out-of-court settlement is desirable (also for Disney
Italia's survival).
However, Disney Italia has abruptly stopped the meetings with SILF, and no
further signals came from them. We are waiting to see their reactions to our
lawyer's first letters.
We are aware that the times could be rather long. Maybe a "strike" (like Don
Rosa's, who obviously prevailed) would have been a shortcut, but the authors
preferred to avoid such course of action, and they resolved to go for the
legal action only after the unforeseen unilateral suspension of the
meetings.
SILF still hopes that Disney Italia, in front of our lawyer's requests,
become again available to an agreement satisfactory for all the parts
involved, without putting to risk the future of Disney in Italy. In fact,
SILF has been (and still is) constantly notifying the company management its
willingness to re-open the discussion table. Of course, such re-opening can
take place anytime BEFORE the start of the (costly) legal procedures.
It should be noted that similar controversies with other publishers have
already been settled, obtaining both the return of the originals and the
royalties on reprints. >>
Ciao,
Armando
> Anyone on the list that can give a summary (in english) of the message
about Italian creators rights that Gianfranco posted last week? Would be
interesting to know what's happening.
Here's a not-so-literal translation:
<< SILF/SLC/CGIL is the only Union in Italy taking care of workers in the
area of comics, cartoons and illustration. It's a part of CGIL, the major
Italian Union (5 million members). Since its foundation (Feb. 5th, 2000)
SILF has been active in proposing law reforms (the one about copyright is
currently being examined by the Parliament), in changing the status of
workers in the field of creative professions (by making those professions
officially recognized by the State, with consequent fiscal advantages and
proper retirement plans), and in helping its members face and win a number
of controversies.
One of these controversies is that opposing Italian authors to Disney
Italia, about the return of original drawings to the artists, and the
payment of royalties for story reprints.
Maybe because of the constant pressure from SILF, Disney Italia have already
modified the contract they offer to authors for "productions with
NON-classical characters", inserting royalties etc.; the same has not
happened yet for "productions with classical characters (e.g., Mice and
Ducks)".
The assembly of authors has decided not to use strikes or public
manifestations to get media support; instead, it was agreed to subdivide the
controversy into two phases. Phase 1 will be about return of original
drawings; Phase 2 will take care of royalties for reprints.
We are currently nearing completion of the first step of Phase1: SILF's
lawyer is about to send to Disney Italia a series of formal requests for
immediate return of original drawings to the authors under SILF's tutelage.
According to the Italian law, which is quite precise about that, those
drawings are illicitly kept by Disney Italia. If, after receiving the
requests, Disney Italia will be willing to discuss with SILF, Phase 1 could
be closed with an out-of-court settlement; otherwise, a proper legal action
will be taken.
To have a rough idea of the value of the drawings in question, let's suppose
200 authors (or heirs of authors) are involved, and each of them has
produced an average of 2,000 pages over 10 years of relationship with
Disney. Considering an average price per page of 150 Euro, we obtain a total
value of 60 million Euro (but the real figure is probably higher). It's
evident that a legal action could turn into a financial disaster for Disney
Italia (and maybe for the Walt Disney Co., major shareholder of Disney
Italia).
Phase 2 will be started immediately after the completion of Phase 1. The
case of royalties for reprints, too, is contemplated by the Italian law in
detail, and the amount of money involved is equally overwhelming. Also in
this case, then, an out-of-court settlement is desirable (also for Disney
Italia's survival).
However, Disney Italia has abruptly stopped the meetings with SILF, and no
further signals came from them. We are waiting to see their reactions to our
lawyer's first letters.
We are aware that the times could be rather long. Maybe a "strike" (like Don
Rosa's, who obviously prevailed) would have been a shortcut, but the authors
preferred to avoid such course of action, and they resolved to go for the
legal action only after the unforeseen unilateral suspension of the
meetings.
SILF still hopes that Disney Italia, in front of our lawyer's requests,
become again available to an agreement satisfactory for all the parts
involved, without putting to risk the future of Disney in Italy. In fact,
SILF has been (and still is) constantly notifying the company management its
willingness to re-open the discussion table. Of course, such re-opening can
take place anytime BEFORE the start of the (costly) legal procedures.
It should be noted that similar controversies with other publishers have
already been settled, obtaining both the return of the originals and the
royalties on reprints. >>
Ciao,
Armando
Sgarciab
Disney Italy & Creators' Rights
Message 84 -
2004-01-12 at 13:57:34
Botto Armando:
>>To have a rough idea of the value of the drawings in question, let's
suppose
200 authors (or heirs of authors) are involved, and each of them has
produced an average of 2,000 pages over 10 years of relationship with
Disney. Considering an average price per page of 150 Euro, we obtain a
total
value of 60 million Euro (but the real figure is probably higher).
In fact, 200 x 2,000 x 10 x 150 = 600 million Euro. (OK, it's overwhelming,
anyway).
BTW: 150 euro/page? It seems a very high price to me. What's that figure?
Is it the amount which an author is paid for his/her work? Or is it the
"market value" of the comics stuff owned by Disney?
Thanks,
Santiago.
>>To have a rough idea of the value of the drawings in question, let's
suppose
200 authors (or heirs of authors) are involved, and each of them has
produced an average of 2,000 pages over 10 years of relationship with
Disney. Considering an average price per page of 150 Euro, we obtain a
total
value of 60 million Euro (but the real figure is probably higher).
In fact, 200 x 2,000 x 10 x 150 = 600 million Euro. (OK, it's overwhelming,
anyway).
BTW: 150 euro/page? It seems a very high price to me. What's that figure?
Is it the amount which an author is paid for his/her work? Or is it the
"market value" of the comics stuff owned by Disney?
Thanks,
Santiago.
Botto Armando
Disney Italy & Creators' Rights
Message 85 -
2004-01-12 at 16:17:43
Santiago wrote:
>>To have a rough idea of the value of the drawings in question, let's
suppose 200 authors (or heirs of authors) are involved, and each of them has
produced an average of 2,000 pages over 10 years of relationship with
Disney. Considering an average price per page of 150 Euro, we obtain a total
value of 60 million Euro (but the real figure is probably higher).
> In fact, 200 x 2,000 x 10 x 150 = 600 million Euro. (OK, it's
overwhelming, anyway).
Nope... I did not mean "2,000 pages per year", but "a total 2,000 pages
distributed over 10 years". Two thousand pages per year means over 5 pages
per day - you have to draw faster than your shadow in order to achieve such
figures ;-)
> BTW: 150 euro/page? It seems a very high price to me. What's that figure?
Is it the amount which an author is paid for his/her work? Or is it the
"market value" of the comics stuff owned by Disney?
I guess Gianfranco should answer to this question, as I only translated what
he wrote...
Ciao,
Armando
>>To have a rough idea of the value of the drawings in question, let's
suppose 200 authors (or heirs of authors) are involved, and each of them has
produced an average of 2,000 pages over 10 years of relationship with
Disney. Considering an average price per page of 150 Euro, we obtain a total
value of 60 million Euro (but the real figure is probably higher).
> In fact, 200 x 2,000 x 10 x 150 = 600 million Euro. (OK, it's
overwhelming, anyway).
Nope... I did not mean "2,000 pages per year", but "a total 2,000 pages
distributed over 10 years". Two thousand pages per year means over 5 pages
per day - you have to draw faster than your shadow in order to achieve such
figures ;-)
> BTW: 150 euro/page? It seems a very high price to me. What's that figure?
Is it the amount which an author is paid for his/her work? Or is it the
"market value" of the comics stuff owned by Disney?
I guess Gianfranco should answer to this question, as I only translated what
he wrote...
Ciao,
Armando
Mike Rhode
Help: I'm looking for... (semi OT)
Message 86 -
2004-01-12 at 16:24:52
> Hi! I'm collecting the National Geographic Magazine
> issues on which there
> are articles about comic art and artists.
Gianfranco, I can help you out a bit since my wife's
one of their archivists. BTW, Louis Glanzman did a
lot of illustrations for them, ala:
Aikman, Lonnelle. 1975. Patriots in Petticoats
[illustrated by Louis Glanzman]. National Geographic
Magazine (October)
> I alreday have the French edition about Carl Barks
> (june 2002) and about
> Hergé/Tintin (august 2001), and the Italian edition
> about Carl Barks and
> myself (july 2002)[I didn't know about this
one!-MR]. But I don't find anywhere the
> USA edition talking about
> Carl Barks and don't know if there are other issues
> of the kind. Even just
> the scans would be enough for me: can someone help
> me? Thanks anyway!
Here's the answer to your main question:
Unknown. 2002.
No Mickey Mouse artist: Donald's illustrator looked to
the Geographic [Carl Barks].
National Geographic (June)
Here's others relevant to this group:
De Roos, Robert and Thomas Nebbia (photographer).
1963. The magic worlds of Walt Disney. National
Geographic (August): 159-207
Grosvenor, Melville Bell. 1963. Walt Disney: Genius of
laughter and learning [editorial]. National Geographic
(August): 157
Some others:
Unknown. 2000. Out of this world [cartoonist turned
explorer Anthony Fiala]. National Geographic (January)
Su, Jennifer. 2002.
'Peanuts' gallery pays tribute to the art of Charles
M. Schulz.
National Geographic Traveler (September): EA3
and there was an Asterix bit in the 1960s that I don't
have a citation for at the moment.
One from their children's magazine:
Donovan, Amy. 2000. Spotlight on... Charlie Brown
['Peanuts' in children's magazine]. National
Geographic World (September): 27
Kiffel, Jamie. 2003.
Anime-nia! Why Japanese anime is so hot in America.
National Geographic Kids (January/February): 23-25
Anyone wanting a list of everything I've found so far
can go to the Comics Research Bibliography at
http://www.rpi.edu/~bulloj/comxbib.html but everything
else is mostly a list of Louis Glanzman illustrated
articles.
Mike Rhode
__________________________________
Do you Yahoo!?
Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
http://hotjobs.sweepstakes.yahoo.com/signingbonus
> issues on which there
> are articles about comic art and artists.
Gianfranco, I can help you out a bit since my wife's
one of their archivists. BTW, Louis Glanzman did a
lot of illustrations for them, ala:
Aikman, Lonnelle. 1975. Patriots in Petticoats
[illustrated by Louis Glanzman]. National Geographic
Magazine (October)
> I alreday have the French edition about Carl Barks
> (june 2002) and about
> Hergé/Tintin (august 2001), and the Italian edition
> about Carl Barks and
> myself (july 2002)[I didn't know about this
one!-MR]. But I don't find anywhere the
> USA edition talking about
> Carl Barks and don't know if there are other issues
> of the kind. Even just
> the scans would be enough for me: can someone help
> me? Thanks anyway!
Here's the answer to your main question:
Unknown. 2002.
No Mickey Mouse artist: Donald's illustrator looked to
the Geographic [Carl Barks].
National Geographic (June)
Here's others relevant to this group:
De Roos, Robert and Thomas Nebbia (photographer).
1963. The magic worlds of Walt Disney. National
Geographic (August): 159-207
Grosvenor, Melville Bell. 1963. Walt Disney: Genius of
laughter and learning [editorial]. National Geographic
(August): 157
Some others:
Unknown. 2000. Out of this world [cartoonist turned
explorer Anthony Fiala]. National Geographic (January)
Su, Jennifer. 2002.
'Peanuts' gallery pays tribute to the art of Charles
M. Schulz.
National Geographic Traveler (September): EA3
and there was an Asterix bit in the 1960s that I don't
have a citation for at the moment.
One from their children's magazine:
Donovan, Amy. 2000. Spotlight on... Charlie Brown
['Peanuts' in children's magazine]. National
Geographic World (September): 27
Kiffel, Jamie. 2003.
Anime-nia! Why Japanese anime is so hot in America.
National Geographic Kids (January/February): 23-25
Anyone wanting a list of everything I've found so far
can go to the Comics Research Bibliography at
http://www.rpi.edu/~bulloj/comxbib.html but everything
else is mostly a list of Louis Glanzman illustrated
articles.
Mike Rhode
__________________________________
Do you Yahoo!?
Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
http://hotjobs.sweepstakes.yahoo.com/signingbonus
Botto Armando
Disney Italy & Creators' Rights
Message 87 -
2004-01-12 at 17:17:14
I wrote:
>> BTW: 150 euro/page? It seems a very high price to me. What's that figure?
Is it the amount which an author is paid for his/her work? Or is it the
"market value" of the comics stuff owned by Disney?
> I guess Gianfranco should answer to this question, as I only translated
what he wrote...
Gianfranco answered to me privately (in Italian), here's what he wrote:
<< 150 Euros is the average "market value" of an original page in Italy (of
course, originals by Scarpa, Carpi, Cavazzano, De Vita cost much more than
that).
And, once more, those pages are *not* "owned by Disney". According to the
Italian law, publishers have no ownership of original art, unless explicitly
specified by an "ad hoc" contract - and Disney Italia has never stipulated
any contract of the kind. >>
Ciao,
Armando
>> BTW: 150 euro/page? It seems a very high price to me. What's that figure?
Is it the amount which an author is paid for his/her work? Or is it the
"market value" of the comics stuff owned by Disney?
> I guess Gianfranco should answer to this question, as I only translated
what he wrote...
Gianfranco answered to me privately (in Italian), here's what he wrote:
<< 150 Euros is the average "market value" of an original page in Italy (of
course, originals by Scarpa, Carpi, Cavazzano, De Vita cost much more than
that).
And, once more, those pages are *not* "owned by Disney". According to the
Italian law, publishers have no ownership of original art, unless explicitly
specified by an "ad hoc" contract - and Disney Italia has never stipulated
any contract of the kind. >>
Ciao,
Armando
L. Schulte
School/Diligence/Animation
Message 88 -
2004-01-12 at 19:33:18
Don Rosa mentioned "his" Scrooge never went to college, wanting to learn
things on his own through hard work. It struck me today, looking at and
meditating on some of my students' miserable efforts in various subjects,
that there is a growing atmosphere in America that Scrooge would find
appalling: getting rich quick through lotteries, gambling, or
swindles. The fastest growing city in America right now is Las Vegas, a
city that is based on the "entertainment industry", which should strike
people as an odd phrase, but does not.
If Disney is closing its animation studio because it thinks the animation
style is at fault, Disney again is showing how out-of-touch it is. Pixar
Studios is a success because of their stories, not the computer
animation. "Brother Bear" was just not a very compelling story, more
politically correct eco-fable than an inventive adventure like "Finding Nemo".
things on his own through hard work. It struck me today, looking at and
meditating on some of my students' miserable efforts in various subjects,
that there is a growing atmosphere in America that Scrooge would find
appalling: getting rich quick through lotteries, gambling, or
swindles. The fastest growing city in America right now is Las Vegas, a
city that is based on the "entertainment industry", which should strike
people as an odd phrase, but does not.
If Disney is closing its animation studio because it thinks the animation
style is at fault, Disney again is showing how out-of-touch it is. Pixar
Studios is a success because of their stories, not the computer
animation. "Brother Bear" was just not a very compelling story, more
politically correct eco-fable than an inventive adventure like "Finding Nemo".
Arie Fachrisal
Mickey Mouse Leaves Disney + flipism
Message 89 -
2004-01-12 at 20:35:32
I'm a bit confused by this. Since i dont quite udnerstand about it, allow me
to ask as a newbie. what actually is that? Mickey Mouse icon made as like he
exists in real-life, is the purpose so he will be identified easier with the
public (kids) ? or is he a representative of the higher group of people in
Disney corp? sorry about this question but i just gotta ask. it's one of
those things about MM as rl character that i havent yet truly understand.
Keep On Quacking,
Arie Fachrisal
PS about flipism, anyone out there ever try out flipism once in a while for
some rl decisions? i tried that several times after reading the Barks story
and fascinatingly(or stupidly) i sometimes still like to flip for those
oh-not-so-important decisions nowadays. for me it's kinda fun (or maybe
stupid in another's eyes but they prolly havent read the Barks story) :-P
> From: Cord Wiljes <cord at wiljes.de>
> Subject: Mickey Mouse Leaves Disney
> In a further sign of tension at the top of one of the nation's media
> giants, Walt Disney Co icon and executive vice president Mickey Mouse
> stepped down from the board of directors and, in a scathing letter,
> called on chairman and chief executive Michael Eisner to resign.
>
> "This has been the hardest decision I've ever made," Mickey wrote to
> Eisner. "But your egregious mismanagement has left me with no choice."
>
> More here: http://watleyreview.com/2003/120903-3.html
>
> Or was he laid off?
>
> Cord
to ask as a newbie. what actually is that? Mickey Mouse icon made as like he
exists in real-life, is the purpose so he will be identified easier with the
public (kids) ? or is he a representative of the higher group of people in
Disney corp? sorry about this question but i just gotta ask. it's one of
those things about MM as rl character that i havent yet truly understand.
Keep On Quacking,
Arie Fachrisal
PS about flipism, anyone out there ever try out flipism once in a while for
some rl decisions? i tried that several times after reading the Barks story
and fascinatingly(or stupidly) i sometimes still like to flip for those
oh-not-so-important decisions nowadays. for me it's kinda fun (or maybe
stupid in another's eyes but they prolly havent read the Barks story) :-P
> From: Cord Wiljes <cord at wiljes.de>
> Subject: Mickey Mouse Leaves Disney
> In a further sign of tension at the top of one of the nation's media
> giants, Walt Disney Co icon and executive vice president Mickey Mouse
> stepped down from the board of directors and, in a scathing letter,
> called on chairman and chief executive Michael Eisner to resign.
>
> "This has been the hardest decision I've ever made," Mickey wrote to
> Eisner. "But your egregious mismanagement has left me with no choice."
>
> More here: http://watleyreview.com/2003/120903-3.html
>
> Or was he laid off?
>
> Cord
Frank Stajano
Mickey Mouse Leaves Disney + flipism
Message 90 -
2004-01-12 at 21:21:27
At 2004-01-12 18:35, Arie Fachrisal wrote:
>public (kids) ? or is he a representative of the higher group of people in
>Disney corp? sorry about this question but i just gotta ask. it's one of
>those things about MM as rl character that i havent yet truly understand.
It's just a satirical comment, a funny parody of earlier reports on the
well-known RDisney vs Eisner dispute.
Frank (filologo disneyano) http://www-lce.eng.cam.ac.uk/~fms27/
>public (kids) ? or is he a representative of the higher group of people in
>Disney corp? sorry about this question but i just gotta ask. it's one of
>those things about MM as rl character that i havent yet truly understand.
It's just a satirical comment, a funny parody of earlier reports on the
well-known RDisney vs Eisner dispute.
Frank (filologo disneyano) http://www-lce.eng.cam.ac.uk/~fms27/