Brad Bird’s The Incredibles has long had many political meanings read into it. Perhaps most controversial is how well the film lines up with Ayn Rand’s objectivist movement. It’s also quite popular with politically conservative types as well — the National Review named it number two on their list of the top 25 conservative movies. Tom Elrod, over at The House Next Door, points out that The Incredibles isn’t the only Pixar film that could be read conservatively in a recent post. He argues that while Pixar’s movies may not be politically conservative, you could apply a more relaxed notion of conservatism to many of their films due to their focus on preserving the family unit.
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George and AJ is a short film-cum-animatic that, until today, was only officially available as an extra with the iTunes release of Up. Now, though, the clip is online and you can see it after the break.
Like Burn-E or Jack Jack Attack before it, this is a side story to the main narrative of the associated feature film, in this case featuring Shady Oaks caretakers George and AJ dealing with the aftermatch of Carl’s big escape. George and AJ was written and directed by Josh Cooley
Two months after Norwegian lamp manufacturers Luxo AS threatened surprise legal action, it seems that they and Pixar have settled their dispute over the hop-happy anglepoise mascot. Details are of course shrouded in the expected fog of corporate secrecy but, thankfully, there’s no longer going to be any need to get the courts involved.
If there was some kind of payment agreed, there’s not any indication of how much. There has been some kind of amicable agreement, however, and it seems that Luxo Jr. will remain the Pixar front man, the lavish collectors set of Blu-rays and replica lamp will stay on the market and the six-foot RoboLuxo can keep entertaining the crowds at Disney’s theme parks.
Posted on Tuesday, September 8th, 2009 by David Chen
In this week’s /Filmcast, Dave Chen, Devindra Hardawar and Adam Quigley reflect on the prospect of a fifth Rambo film, assess the merits of Mike Judge’s Extract and Robert Siegel’s Big Fan, and try to dissect the Boondock Saints phenomenon. Special guest Jordan Hoffman joins us from UGO Movieblog.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next Monday at 9 PM EST / 6 PM PST at Slashfilm’s live page as we review Shane Acker’s 9.
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The manufacturers of the Luxo lamp, model for Pixar’s mascot, have ended over two decades of happy cooperation by the two companies by this week filing a lawsuit against the animation studio. While they have been more than happy for Pixar to use the likeness of their product on screen, the lawsuit seems to have been brought about by both the new Luxo Jr. replica lamps that Disney will be packaging in the Premium Combo Pack release of the Up Blu-Ray, and a nifty looking animatronic 6ft-tall Luxo Jr. that has been making an appearance at Walt Disney World (and who you can see in action after the break).
Posted on Monday, August 24th, 2009 by Brendon Connelly
After the break, a video interview in which Terry Gilliam and I discuss The Imaginarium of Dr. Parnassus, The Man Who Killed Don Quixote and his real plans for adapting Philip K. Dick. But first…
Who doesn’t love Pixar? Okay, apart from Armond White? Not many folk, no? And it seems like Terry Gilliam is as enamored with the powerhouse animation studio as the rest of us. Speaking at a BFI special event career retrospective last Friday night, Gilliam came around to discussing the state of modern animation. After praising Pixar for their films, noting how they are clearly a studio run by “creative people” and not suits, and commenting on how much of the bold political cinema he’s seen recently has been in animated family films, Gilliam also let on that he wants to work for the studio. He revealed that he met Andrew Stanton at the premiere of Wall-E and quite sincerely told him to “hold the door open” for him.
According to an interview at MTV, Pixar‘s Up was originally an even more overt adventure movie, as a subplot featured Carl Fredricksen protecting a giant egg (laid by the bird Kevin) that is believed to be a sort of fountain of youth. The fact that a subplot was dropped from the film isn’t a big deal, as it happens all the time in many films of all types during development, but this detail provides an interesting glimpse into the film as it was originally conceived. Read More »
There are still plenty of secrets to be revealed when it comes to Pixar‘s Up, and that even goes for those lucky folks to have seen the 45 minute preview presentation (I’m looking at you, Peter Sciretta). The latest juicy crumb to have fallen from the high table reveals the basic design of the film’s main villain. I’ll pop the full size picture below the break (too tall to go at head of the story) and then you can tell me who – if anybody he looks like to you.
Editor’s Note: Because the villain doesn’t really appear in the first 45 minutes of the film, this might be considered a spoiler. Continue at your own risk.
Last night at the New York Comic-Con, the IGN Theater was cleared for a special screening of the first 45 minutes of Pixar’s new film, Up. Only the first 300 people in line (plus a few dozen people approved by the studio) were allowed access to the footage. Director Pete Docter and producer Jonas Rivera took to the stage beforehand to let us know that the footage we were about to see was slightly incomplete, with music still yet to be done, sound effects yet to be recorded, and some CGI still missing [For the record, they could have fooled me: The footage we saw looked great and didn’t have any placeholder storyboards or animatics. The music was also pretty good]. The two will be wrapping up production of the film in the next 6 weeks. Hit the jump for spoiler-free video reactions, followed by a detailed description of the first 45 minutes of Up.
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