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"
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 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".
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
@@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
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".
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!
"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.
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.
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
I know a lot of folks are dunking on Pete Doctor, when i was a kid, I wrote him a letter, and he wrote back and even included drawings of the UP characters - he was super encouraging to me as a young creative
@@kailey108he Is likely being made to say that. Him and my dad are friends and having gotten to know him a bit absolutely nobody is a bigger pro creative and personal story person than him. I think he’s kinda in damage mode and trying to keep the company afloat
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.
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.
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.
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.
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
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?
@@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
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"
@@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.
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.
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.
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.
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.
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
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
@@ProbablySoon-pv6ee Execs don't believe in them, so they don't invest in marketing. Couple that with streaming being an inherently unprofitable thing that is supplanting organic cinema viewings.
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.
ah yes of course pixar, movies about monsters that make money by scaring children, rats that can cook, and toys that come alive aren't "relatable" enough to make money
They are in that they aren't hyper fixated on someone's personal experiences. Anyone can relate to a job in a struggling economy, or wanting to fulfill your dreams, or jealousy over your friends meeting someone that is perceived as 'cooler'.
@@coletrainhetrickexactly what I felt schaf missed. For example, I am a born American. So a movie in which one of the main premises is immigration isn't going to be as relatable to me, because that's an experience I don't know. And because of that, there's no motivation to go see the movie. Part of what made early Pixar so successful was that the characters weren't human, or at least human in the way they are now. A story with monster characters is more relatable than a story with (as an example) Asian-American immigrant characters. Because it allows everybody to put themselves in the story, rather than one group.
@@theEWDSDS but wouldn't you be curious to learn more about experiences that aren't relatable to you, to potentially learn to understand them? How are you supposed to ever learn how an asian-american immigrant feels if you don't even watch a very easily digestable cute movie about it?
@@prisle honestly, no. Why do I go to a movie? To be entertained. When YOU decide to watch a movie is it because you want to learn about [insert demographic here], or is it because you want to watch something you will enjoy and remember?
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
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
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.
"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!
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.
“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
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.
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.
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.
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- 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.
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.
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.
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.
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
“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!”
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
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.
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?
Imagine failing to market a movie properly, and blaming it on the movie for not being relatable enough to everyone. That's like handing out invitations to a party you had last week.
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.
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”
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
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 like how Pixar thinks directors putting their personal stories into their movies is wrong when 1: Luca and Turning Red were released on Disney+ first and 2: Elemental sort of flopped because of how bad they marketed the movie
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
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
"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!
Toy Story: The story about someone learning to not let jealousy get the better of them. A Bug's Life: The story of a bullied group finding the courage to stand up for themselves. Incredibles: The story of someone that misses the good old days but learns that they need to appreciate what they have in the present. Cars: The story of someone who is focused only on their career until they learn to relax and enjoy the simple things in life. Ratatouille: The story of someone that wants to achieve their dream in spite of everyone else telling them they can't. Wall-E: A story of two souls finding love while also showing the need to keep the planet safe. Turning Red: A story about someone wanting to live their own life even if it doesn't correlate with what their family wants or expects of them. Wow, these are so not relatable!🙄
I think Turning Red is a really good example of what Pixar theme seems to be trying not to do anymore based on this article. Which is a shame, because it was quite a good movie, many people just seem to dislike it because the message didn’t quite resonate with them. Hence it not being “appealing to the masses”. It wasn’t “relatable” enough to the Disney adults I guess because it was a movie about the teenage experience with strict parents who stifle you. And also served as a big allegory for puberty.
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@@charleywilson2146 Yep... mass appeal is the name of Hollywood's game. And people are still dumbfounded when I tell them that's why The Owl House got canned for more kidcoms and a new season of Phineas and Ferb. And why Chicken Little did better in the box office than the 2D movies released around the same time.
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.
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.
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.
I saw the title of the video and the text in the thumbnail and thought, "Man, Pete Docter would be pissed at whoever came up with that mindset." But then hearing that the words in that interview came from Docter himself was a disappointingly huge gut punch!
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.
WRONG!! Breathing Air could be too much of a creative idea about how breathing different quality air can affect your lungs as well as different environmental factors in the air like pollutants could affect your overall health. It's too much of a creative and original idea,plus it isn't a sequel based off of a currently existing IP,so Pixar ain't interested in that! Also,I'm sure Disney would struggle to ham-fist some kind of forced diversity into a film like that,so they'd just end up abandoning it anyway. They'd probably just use it as a tax write off like WB did with that Wile E. Coyote movie.
"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.
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?
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"
The two things that BAFFLE ME about this, is 1. Pixar was quite literally BUILT off of movies inspired by it's directors lives/childhoods and 2. If it was just some corporate bozo who was just randomly in charge saying this that'd be one thing, but the fact it's Pete Doctor, who's been here since Toy Story 1 and has been responsible for some of Pixar's best movies, makes this THAT much more grim
"I'll greenlight a *thousand* sequels before I let this company die!"
lmao
XD
Sounds about right.
“And we’ll silence anyone who gets in our way!”
😂😂😂
The teenage son of a higher up at Pixar calling Incredibles 3 a "cash grab" is just hilaruous. That kids just telling it like it is.
It'd probably be better than the second one just by regression to the mean lol
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"
He called it a “money grab” but the kid’s NAME is Cash???
I still want it tho
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”.
Please have this pin
Yup.
Dana Terrace, the savior of Disney animated shows
Yet another person screwed over by Disney
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 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.
The fact that she named her son “CASH” in the first place really spells out that the corporate grind has already snared her brain
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 :\
@@closecall1516some people in our world just consciously or not live like caricatures of their corresponding group
@@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".
7:44 Here is the bad name for your child
Read at your own risk and curiosity
“If you try to appeal to everybody you will end up appealing to nobody”
"And when everyone wants to appeal to everybody, then no one will be."
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
Illumination rn be like:
It's the pilot seat thing again
@@pennysanchez7656 somehow, Facebook finds a way
I told my dad that Disney was making a Toy Story 5. His response was “Why can’t they let the toys die”
Same
If a toy dies, the other toys will have to watch the kid play with a corpse
Simple. Mickey Mouse said it best:
We’ve got to have,
MONEY…
@@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
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 talked up Elemental to everybody I knew because the trailers had done it so, so dirty.
And also just... the general bad look of the movie. I can't be the only one who thought it was ugly, right?
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.
My first thought was “Varian and the Seven Kingdoms” which was a rejected Disney project
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!
I knew you were talking about THAT the moment you mentioned the details.
"We shouldnt tell personal stories so that people can relate better to our stories"
You DO know how humans work, right?
you would be surprised!
"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.
Let’s save #CoyotevsAcme
Sounds like a lotta words to describe writing by ai
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.
Meet the Robinsons is so underrated, I wish Disney made more films like that.
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.
@@webbrowser4603You never know when it will become popular like with Megamind that got sequel
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.
I love that movie!
*(Lightyear tanks at the box office.)*
Pixar: Why would Turning Red do this?
So true
They hit the fucking sequels!!!
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
I know a lot of folks are dunking on Pete Doctor, when i was a kid, I wrote him a letter, and he wrote back and even included drawings of the UP characters - he was super encouraging to me as a young creative
i hope he's being forced to say this just for you because a change in mindset this harsh is too tragic
Write him again and tell him you still believe in his ability to stand behind creatives
@@kailey108he Is likely being made to say that. Him and my dad are friends and having gotten to know him a bit absolutely nobody is a bigger pro creative and personal story person than him. I think he’s kinda in damage mode and trying to keep the company afloat
Maybe they can make a movie about you giving that letter back to make him realize how to fix things.
There's nothing to save. If he's got a soul, he'll take his creativity and use it elsewhere. Because these people are soulless.
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.
Takes one to know one
@@grimoireweissfan6969 LMAO
… oh I totally missed that. That’s HILARIOUS
His name's short for Cashewmothy
😂😂😂😂
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".
Yeah... That doesn't make it good.
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.
@@frescopino7866 They already did that; there was a Lightyear movie before (and an animated series) and it did all that.
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.
If Pixar makes a sequel to Ratatouille and calls it Rata2ouille, I will never see one of their movies in theaters again.
Okay but what if Rata2ouille had remy in the coliseum while doing a cook off with Gordon Ramsey
@@theholyemu3716 REMY!!!! C'mere you! THE SALMON IS RAW IN THE CENTRE!!!!!
REMY!! YOU COOK LIKE A RAT FCKIN CHEF@@theholyemu3716
Okay but what if it was called Rata *twerking* and all the main characters started *twerking* on screen
Wait for Ratatoonies, an animated spinoff of remy’s offspring
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.
Pixar CEO: "Lightyear was the biggest bomb ever."
Also Pixar CEO: "Lets do more sequels and spinoffs. For Profit"
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.
they put too much greedy milk in their cereal, now they've become a money cult.
@@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
(in Ralph Wiggum voice) I'm in danger
Notice how they NEVER mentioned Soul because it was a near universally loved artistic film that was successful.
Is it by home media sales?
Because it's the one they worked on... it's Pete Doctor most recent work at Pixar. He's blaming everyone else but leaving his own stuff out.
I’ve never seen it, is it worth the watch?
@@jakobgallaher2353 yep.
@jakobgallaher2353 Its really fucking good and underrated
That child responding to the Incredibles 3 with "money grab" is absolutely based
That kid should run pixar..
Even that kid knows what's up, that's literally so tragic.
Agreed
Hell I can go as far as to say this kid should run Disney *AS A WHOLE*
Bob Iger sucks and he needs to be fired immediately
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.
Funny I read that comment when that part played
Gotta love corporations blaming actual creativity for their own poor marketing and management skills💀😭
"actual creativity" hahaha bro get real glorified therapy sessions for the directors aren't creative.
@@HappySuperFaceI think you need a therapy yourself if you think that way.
I honestly think they do this on purpose just so they can cheap out while making as much money as possible relying on nostalgia bait
I’m genuinely almost impressed by the consistency of studio execs taking the wrong lessons from the results of their films, good movie or bad movie.
Greed makes you dumb.
@@katherinealvarez9216but at least be like smartly greedy
This is what happens when companies are led by shareholders and short term profit margins instead of entrepreneurs and long term profits.
@@tau-5794 More like instead of workers and love of art
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.
I’m convinced Disney’s CEO is Syndrome at this point. “And when everything’s a sequel, nothing will be…”
Or Waternoose.
@@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
@@Rarest26 "I'll reuse a thousand marketable, relatable generic ideas before i let this company die!"
@@Duskool Yea that’s better thanks man, I really wanted to keep the word kidnap but that works better
@@Duskool "And I'll silence anyone who gets in my way!"
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?
@@rodrigo445678Do you think children should never have any autonomy?
The studio now preferring sequels over some people's own stories is the most Disney thing ever... and it's so depressing.
Good thing Lionsgate,Sony,Paramount,and Universal Pictures have let people making their own Original ideas for their film unlike Disney
@@Mr.Feather130 sounds like a joke
@@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
@@gravtycat9741 except a24 where they only focus on original ideas (mostly horror films)
Maybe Disney should make a personal story about an animation studio having an identity crisis inspired by themselves
That’s pretty much what the first Tron was about, in a way X)
Sorry, that's not relatable to everyone on planet earth
That would require far more self awareness than the corporate morons calling the shots could ever hope to have.
I would be there on the opening day to see if.
this is a great idea
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
And some of their big successes aren't relatable at all. No human has ever been a toy. That's so unrelatable. Must be why those movies flopped, right?
@@Ydubber777 Wholeheartedly agree! The idea I have to be in everything I see is genuinely annoying.
@@theshire9173 well toy story isn't about being a toy. It's about relationships and insecurity and selflessness. Universal human themes.
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"
"Being bought by Disney was the worst possible thing that ever could have happened to Pixar"
Marvel and Lucasfilm can relate to that statement
And also 20th Century Fox.
I think that those studios would've been ruined regardless of who they were bought out by
Dr Who is also now made by Disney and my god can you tell
@@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.
Pixar would reach its lowest point if they ever planned to make a sequel to A Bug's Life
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!"
No, that would fix literally everything.
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.
Genius.
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.
Toy Story 4 switch releases and that one came out great because it was a big risk factor for the studio
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.
It's funny, because the PS2 game of the Incredibles IS the sequel everybody wanted.
They just needed to make it a movie
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.
Lightyear: *flops hard, leaves no cultural footprint*
Pixar: "Yes, more of that!"
Waiter!!! Waiter!!! More bland spinoffs please!!!
@@axXxelp21And leave out the passion! Im allergic to that!
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.
@@rosemulet There was an old Buzz Lightyear of Star Command cartoon had a bit of an audience.
@@funkydiscogod the cartoon was a lot better honestly
"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.
7:40 "her son, Cash, reminds her that sequels shouldnt feel oportunistic"
Who told this kid to be goated with the sauce
of course her kid is named cash
That statement is bloated lol he actually just heard the idea and told her nobody would like it... Kinda the same thing I guess lmao
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.
Literally, 4 of the top 5 highest grossing Pixar films are sequels.
@@YouScareMe1 what are you arguing for?
Not only that mostly nobody wanted it...
BUT THEY MADE IT AWFULLY.
new sentence just dropped and I'm using it now thank you so much lol
@@andresanguianozuniga6798 I was hoping for Buzz Lightyear of Star Command, and I got a mess. 😂
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
That is legit awesome! I am glad to hear there’s still people in the industry who still care about what makes a good story!
the corporate higher ups in this industry are scum.
👍- all solid films for the most part,
wait there was a Captain Underpants movie/tv-show!?
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
No way it's already been 10 years.... Inside Out is a pretty new movie, right?... O.O
duck you, Man wtf. My day is ruined.
@@DiamondAppendixVODsalmost 10, 9 years
And Toy Story 3!
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
I get the feeling that when they say "appealing to everyone" it's less about appealing to audiences and more about appealing to executives.
If only for the fact that execs aren't people
That's exactly what they're saying
You ask for original movies yet no one sees the original movies when they release
Appealing to everyone (important)
@@ProbablySoon-pv6ee Execs don't believe in them, so they don't invest in marketing. Couple that with streaming being an inherently unprofitable thing that is supplanting organic cinema viewings.
Pixar started off at a nice medium rare, but now they’re well done; Pixar is COOKED
Bro let’s watch the video before we give our takes 😭
@@croboculous9975🤫🤫🤫
Nah it’s raw as heck they don’t even try to cook it anymore 😂
And DreamWorks is cooked by universal since universal is now having DreamWorks future films outsourced
...They burnt my shake...
Even Mr. Krabs would be embarrassed of the Pixar executives' massive greed
He's not wasting his hard-earned money by going to a theater, that crap is expensive as hell.
At least he has standards. He doesn’t waste money like Pixar does, he just likes keeping it for some weird reason.
He at least sells a good product
@@moca_moca not really
Mr. Krabs would be proud
pixar really took one look at "puss and boots: the last wish" & is now acting like they can do the same thing with their sequels
girl fr tho
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"
@@ChiWillettwhy are you assuming their gender
@@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.
"And when everything's relatable, nothing will be..."
*evil laughter*
“And when _everyone_ can relate..”
*“..No-one **_will.”_*
*evil maniacal laughter ensues: HAHAHAHHAHAHAHAAHAHAHAHHAAHHAHA*
@@DrownedWick8 Already beat you to it bud.
@@alanaolmes4480 Was that a pun? "Bud"?
Also ye you did XD
ah yes of course pixar, movies about monsters that make money by scaring children, rats that can cook, and toys that come alive aren't "relatable" enough to make money
Monsters powering their society on children's screams.
They are in that they aren't hyper fixated on someone's personal experiences. Anyone can relate to a job in a struggling economy, or wanting to fulfill your dreams, or jealousy over your friends meeting someone that is perceived as 'cooler'.
@@coletrainhetrickexactly what I felt schaf missed. For example, I am a born American. So a movie in which one of the main premises is immigration isn't going to be as relatable to me, because that's an experience I don't know. And because of that, there's no motivation to go see the movie.
Part of what made early Pixar so successful was that the characters weren't human, or at least human in the way they are now. A story with monster characters is more relatable than a story with (as an example) Asian-American immigrant characters. Because it allows everybody to put themselves in the story, rather than one group.
@@theEWDSDS but wouldn't you be curious to learn more about experiences that aren't relatable to you, to potentially learn to understand them? How are you supposed to ever learn how an asian-american immigrant feels if you don't even watch a very easily digestable cute movie about it?
@@prisle honestly, no. Why do I go to a movie? To be entertained.
When YOU decide to watch a movie is it because you want to learn about [insert demographic here], or is it because you want to watch something you will enjoy and remember?
If anything, commonality is what is hurting, not only Pixar, but the entire animation industry right now.
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.
I think it’s more Disney and Pixar that are suffering. Because animation like Dreamworks and Sony are doing great
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.
@@theultimitelifeform8548megamind 2 ?
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
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.
@@morganicsmoothie964remember when the Onward marketing team posted a video that was literally just Tom Holland and Chris Pratt watching the trailer?
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"
The “Everyone” is more than likely the Shareholder Parasites that influence all corporations to become insatiable greed machines methinks
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.
**white**
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
Disney has always been a reactionary company so it's a return to the norm I guess
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.
@@joaopaulolimacavalcante3050 It is simple, and charming, and the relationships between the protagonists are natural and believable.
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.
Same! The kids are so well written as children, they really feel like how my sister and I and our friends were at that age 💙
@@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.
"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!
True, as someone who has been controlled by a tiny rat to cook in a kitchen I can relate to the film Ratatouille in a way that no one else can.
@@Coconut-219you really don't understand media literacy huh
@@GingerWizzard1994 I think Coconut-219's being sarcastic and making a joke.
It’s like insulting people’s capacity for empathy 😭 literally everyone was touched by Up because emotional story make you emotional
Very ironic that I got an inside out 2 ad before this.
Ha I got an Inside Out 2 ad too.
Literally same.
Fuckin same
Pixar invades earth
Same here!
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.
“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"
Greetings, Decepticon
@@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
Unfortunally, now that Inside Out 2 is aleeady a massive hit, they are gonna get the message that sequels are the key to success.
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.
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.
Ah yes, using a rat to control your body and do all the cooking for you. How universally relatable, right?
Ok but this is a bad point because both of you are just recounting the plot which is completely different to the story.
Wait, jokes aside, what movie is that? It sounds hilarious.
It reminds me of Chicken Run, but that's Aardman Studios. 😂❤
@@LoveMyUnusualit's called Free Birds
@@LoveMyUnusual Free Birds. Highly recommend for a fun time
Pixar trying not to fuck up yet again for the 27th time (IMPOSSIBLE):
Ignore that goofy ass bot by the way-
Oh yeah, all 27 Pixar films are totally fuckups
I haven't clicked the link, and I don't want to...
@@HorribleMapping.mp4 Just a zoo video. Not time worthy.
@@luigi16852 Funni. :3
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
I do have a soft spot for Monsters University
@@BlueberryCheesecake8 monsters university is a prequel tho
@@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!
And sometime when they re-tell the story, they change portions of it that make the story worse.
@@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.
Cooked by what? A rat?
In FRANCE?!?!
bdum tsss
I snorted so loud my chihuahua came into my room looking for me
Nah, there is certain rat I know that could cook better then this.
Rats Make Me Crazy.Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy.Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy. Crazy? I Was Crazy Once. They Locked Me In A Room. A Rubber Room. A Rubber Room With Rats. And Rats Make Me Crazy.
- 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.
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.
@@randomname9723 funny since illumination is anti ai
@@marcusaaronliaogo9158I mean, everyone has standards
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.
Rare Illumination W @@marcusaaronliaogo9158
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.
It's genuinely impressive how often CEOs take away the wrong lessons every time
And it's also f*cking disappointing
The sad thing is... They probably didn't in this case. They're chasing dem Illumination dollars and have a good chance of succeeding
They’re cold blooded lizards trying to imitate human beings
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.
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.
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
An Up sequel called Down would be so ridiculous I actually wouldn't mind if they made it.
Tf would that be about? A grown up version of that one kid with a child that has down syndrome?
Extra points if it’s a commentary about the state of the animation industry
The one kid is elderly with a cat and takes a girl scout to the center of the eart with an RV with a drill on it
at least that would be funny
is it just following Ellie's slow march toward death
the "we've got to have... money" meme encapsulated perfectly.
“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!”
"I'm here for money
Money"
Because it’s true. It’s the only thing Disney cares about, it was never about art.
Pixar really took Woody's iconic line, _"LET 'EM COOK",_ way too personally as the goose is cooked.
Guess the guys running Pixar really like foie gras.
Both of your pfps are really fitting for this video.
@@ghosthuntermike2592 lol true
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
Everybody: We don't want more sequels
Disney & Pixar: You know I think people want more sequels
Let’s save #CoyotevsAcme
Because people keep SEEING them. It’s still profitable! Why can’t people understand this?
@@ToonyTalesX People get angry and confused when companies make products that have the highest chance of profit
Also everybody: *keep supporting the sequels with their money and make them more successful than the originals*
Thats not even true. People always say they don't want sequels and the go and watch the sequels.
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.
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?
Pixar has been in a rut since 2014 and has only made a couple of great films since then, most of them are merely fine at best.
@@azurai3934 I am aware.
Greed.
Imagine failing to market a movie properly, and blaming it on the movie for not being relatable enough to everyone. That's like handing out invitations to a party you had last week.
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.
Cars missed the oppurtunity to go in depth about the Cars equivalent of WW1 and WW2.
@@CubeytheawesomeSame with Trolls.
That wouldn't have been relatable enough 😔
Yep, what’s left unsaid is that they view white stories as inherently relatable, because they view whiteness as the default. Disgusting.
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.
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”
Ntm one of the people who they laid off is the woman who literally saved everyone by having the only existing copy of Toy Story 2
@@rudevoices9204 Seriously?!
@@rudevoices9204 Wow. That is just a different kind of evil. What a way to value your long time employees.
@@rubenduenas5881yup, which was honestly the first sign of how bad things have gotten for pixar after lightyear dropped and bombed
I’m mentally preparing myself for the inevitable AI announcement.
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.
There’s the consequence of being bought by a major company.
@@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
They are amazing movies. The audacity of that interview is wild
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
Pixar is going down the route of Illumination and Disney and it's really sad since Pixar used to make some amazing films
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 like how Pixar thinks directors putting their personal stories into their movies is wrong when 1: Luca and Turning Red were released on Disney+ first and 2: Elemental sort of flopped because of how bad they marketed the movie
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.
I really hope your right
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
@@nevaehhamilton3493the economy? Really?
Given how Docter has created a bunch of gorgeous films, I really hope it's the first one. Pete, blink twice if you're being held hostage.
Pixar will become what Disney started to become on the 2010s, just lazily rely on nostalgia and easy recognizable names
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!
Disney didn’t become that until the late 2010’s
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...
I’ll defend Tangled, Wreck It Ralph, Frozen, Moana, and Encanto but everything else I agree is trash.
@@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
I hate corporationism. Art deserves way better.
This is why I’m an anti capitalist
@@cloudskat3r same, mate, same.
call it what it is,
capitalism, bow down to shareholders
Ironically, we can look at this like Syndrome does. When you try to relate to everyone, you end up relating to no one.
"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!
Toy Story: The story about someone learning to not let jealousy get the better of them.
A Bug's Life: The story of a bullied group finding the courage to stand up for themselves.
Incredibles: The story of someone that misses the good old days but learns that they need to appreciate what they have in the present.
Cars: The story of someone who is focused only on their career until they learn to relax and enjoy the simple things in life.
Ratatouille: The story of someone that wants to achieve their dream in spite of everyone else telling them they can't.
Wall-E: A story of two souls finding love while also showing the need to keep the planet safe.
Turning Red: A story about someone wanting to live their own life even if it doesn't correlate with what their family wants or expects of them.
Wow, these are so not relatable!🙄
Up: learning to move on from a loss
Finding Nemo: learning to let go and have faith again, and the powerful bond between father and son
Pete Doctor is a plastic insect superhero automotive robotic rodent who has no ties to China or Canada... so... y'know.
I think Turning Red is a really good example of what Pixar theme seems to be trying not to do anymore based on this article. Which is a shame, because it was quite a good movie, many people just seem to dislike it because the message didn’t quite resonate with them. Hence it not being “appealing to the masses”.
It wasn’t “relatable” enough to the Disney adults I guess because it was a movie about the teenage experience with strict parents who stifle you. And also served as a big allegory for puberty.
@@charleywilson2146 Yep... mass appeal is the name of Hollywood's game. And people are still dumbfounded when I tell them that's why The Owl House got canned for more kidcoms and a new season of Phineas and Ferb.
And why Chicken Little did better in the box office than the 2D movies released around the same time.
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.
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.
Disney boycott?! What happened?
@@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
Disney boycott??
@@jacindaellison3363 it was called for by the BDS movement because Disney supported Isreal, the country that is unaliving every single Palestinian right now.
@@yeeyeeyeeye ooooh! Thanks.
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.
Well to be fair we shouldn’t be encouraging being italian
I saw the title of the video and the text in the thumbnail and thought, "Man, Pete Docter would be pissed at whoever came up with that mindset." But then hearing that the words in that interview came from Docter himself was a disappointingly huge gut punch!
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.
Can’t wait for Pixar’s most relatable film : Breathing air
People with copd and asthma will not relate well to this movie
My asthamtic butt: Well, this isn't relatable
I don’t know why but that kinda sounds like a title for a Pixar short film
Jesse, we need to breathe
WRONG!! Breathing Air could be too much of a creative idea about how breathing different quality air can affect your lungs as well as different environmental factors in the air like pollutants could affect your overall health. It's too much of a creative and original idea,plus it isn't a sequel based off of a currently existing IP,so Pixar ain't interested in that! Also,I'm sure Disney would struggle to ham-fist some kind of forced diversity into a film like that,so they'd just end up abandoning it anyway. They'd probably just use it as a tax write off like WB did with that Wile E. Coyote movie.
Suddenly that time Katzenberg said Dreamworks weren’t gonna do any more genre parody’s doesn’t feel nearly as lame now.
He is way too excited to replace movie making staff with AI. What a turd.
This isn’t a Pixar decision, this is a Disney decision
Despite the massive financial success of Inside Out 2, D23 just confirmed every Pixar fan's worst fears.
HERE COMES THE SEQUELS!
Becoming CEO is the downfall of creativity. Even if its not immediate, it gonna happen
Agreed. It is destroying creativity as we speak.
"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?"
@@rotundmonibuv5103 "Eew that's disgusting."
@@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.
Schaffrillas - Uploads
Me: Drops Everything I'm doing and grabs the snacks
#ReleaseCoyotevsAcme
Come on everybody
Real
9:49 comparing Pete Doctor to DARTH VADER is the craziest but sadly realest thing I’ve seen all week
At least Darth Vader had a change of heart at the end.
@@liammcnicholas918 even if it was way too little, way too late.
It's an apt description. Because Bob Iger is the Emperor.
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.
The had Steve Jobs as the CEO at some point. Don’t forget that.
Apple has also become bland after he died.
"We're supposed to help people!"
"We're supposed to help OUR PEOPLE! Starting with out stockholders, Bob! Who's helping THEM out, HUH?"
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?
Whether it came from him or he was made to be the scapegoat of other exec’s decisions, this is a dark, dark revelation from the company. 😞
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?
@@Wesbenfield Asking questions in disbelief, rhetorical or otherwise, is a common way to express surprise in the English language.
Greed got to him. Probably ran out of ideas to make original content. It’s eventually was going to happen.
@@Little1Cave Skibidi Skibidi toilet?
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"
@@admiralAlfonso9001 I could be one of the writers or board artists pitching jokes.
@@mr.thumbsup8335 True but at least they are still getting paid to make art.
actually Pete Docter isn't COMPLETELY rotted by Disney. He just vetoed a live-action Ratatouille remake that Josh O'Connor suggested.
He said that, but then he said that statement might bite him in the butt eventually, so we still could see Pixar remakes being forced out.
The two things that BAFFLE ME about this, is 1. Pixar was quite literally BUILT off of movies inspired by it's directors lives/childhoods and 2. If it was just some corporate bozo who was just randomly in charge saying this that'd be one thing, but the fact it's Pete Doctor, who's been here since Toy Story 1 and has been responsible for some of Pixar's best movies, makes this THAT much more grim