Podcasts about Joe Ranft

Brent, Nate, and Kate open a strange door in the woods that leads to the 1993 American gothic stop-motion animated musical fantasy The Nightmare Before Christmas starring: Chris Sarandon, Danny Elfman, Catherine O'Hara, William Hickey, Glenn Shadix, Paul Reubens, Ken Page, Ed Ivory, Joe Ranft, Debi Durst, Greg Proops, Kerry Katz, Randy Crenshaw, Sherwood Ball, Carmen Twillie, Glenn Walters, and John Morris. Hosted on Acast. See acast.com/privacy for more information.

Tune in as 2CC properly embraces the holiday season with a full month of episodes to go along with that cheery theme! For this first week of December, Robert “Stew” Stewart (STEW World Order) is jumping back into his guest chair for a review and recap of The Nightmare Before Christmas, the 1993 stop-motion animation classic that takes us to Halloween Town and the shenanigans that its beloved king Jack Skellington cooks up after discovering the existence of Christmas. Screenwriter Caroline Thompson's frustrations with this movie and with the racism behind Oogie Boogie, the important reminder that Henry Selick (and not Tim Burton) directed the film, and a lyric in “Jack's Obsession” reminding Arthur of The Room stand out as a few of the subjects for this episode. Directed by Henry Selick, The Nightmare Before Christmas stars Chris Sarandon, Danny Elfman, Catherine O'Hara, William Hickey, Glenn Shadix, Ken Page, Paul Reubens, Edward Ivory, Debi Durst, Greg Proops, Kerry Katz, Randy Crenshaw, Sherwood Bull, Carmen Twillie, Glenn Walters, John Morris, and Joe Ranft. Spoilers start at 37:40 Source: Script Apart with Al Horner | The Nightmare Before Christmas with Caroline Thompson Create your podcast today! #madeonzencastr Here's how you can learn more about Palestine and Israel Here's how you can keep up-to-date on this genocide Here's how you can send eSIM cards to Palestinians in order to help them stay connected online Good Word: • Stew: Dropout • Arthur: The Penguin  Reach out at email2centscritic@yahoo.com if you want to recommend things to watch and read, share anecdotes, or just say hello! Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms! Follow Arthur on Twitter, Goodpods, StoryGraph, Letterboxd, and TikTok: @arthur_ant18 Follow the podcast on Twitter: @two_centscritic Follow the podcast on Instagram: @twocentscriticpod Follow Arthur on Goodreads Check out 2 Cents Critic Linktree

Mousetalgia's Best Ear Ever #6: Our first Pacific Northwest Mouse Meet from Aug. 23. 2010. Contact us at comments@mousetalgia.com. Mousetalgia reports on the Pacific Northwest Mouse Meet, where the team met Bob Gurr, Margaret Kerry, Disney author Jeff Kurtti, and more fascinating Disney insiders at a fan gathering near Seattle, Washington. Kristen beats trivia master Lou Mongello at the Disney Pyramid game, Dave greets Mousetalgia listeners, and Becky talks education with Bob Gurr. Meanwhile, Jeff reports on a John Canemaker event at the Walt Disney Family Museum featuring John's new book about animation legends Joe Grant and Joe Ranft. Plus - help send Jeff to the Archives, Mousetalgia plans a meet-up, and more!

This is a bit different, as Jennifer had spoken with someone who was close to Steve Jobs the day before, and alerted me that he might want to stop by the podcast for a chat. I didn't know that to be the case, but we had spoken to him before, so I prepared some questions beforehand. As noted, some of the questions to him, Jennifer could not know the answers. His comment that his relationship with Kubun Otogawa "saved his life so he could have his life" - was spot on, as he was a Zen Master that had a profound influence on Steven's life. The questions about his LSD trip, his last words, and his comments about Joe Ranft are on the money as well.  Jennifer isn't familiar with the controversy around his first daughter, who wrote a book about his bad behavior. But he was aware of it, and comments on it.  The point of this podcast is not to prove to anyone that "life goes on."  It's in the consistent and reproducible reports that people can seek the evidence that life goes on - because people can access anyone who has been on the planet, and ask the same questions and see if the answers differ in any fashion. To date, they have not. As noted, we've been at this for seven years, I've been filming these interviews for longer, and the 9 books out there have transcripts. There are two documentaries on Amazon Prime via Gaia - "Flipside" and "Hacking the Afterlife" that give context to what you're about to see or hear.  I apologize in advance to all those that this information will offend because of their world view or belief system. Having been filming people under hypnosis or without hypnosis accessing the same information, Jennifer is one of many mediums I've asked to be a cell phone to the flipside.   The fact that we're still doing it after seven years attests to our friendship.  The book she's talking about is "TUNING INTO THE AFTERLIFE: HOW TO STAY IN TOUCH WITH THE FLIPSIDE" is available on Amazon and Audible. The book includes a number of interviews with different people on the flipside, including my mom, a concert pianist.  The point of this podcast and these reports is to demonstrate to everyone how simple it is - but the key is to be open to the possibility, as noted by none other than Steve Jobs.

Toy Story | Tom Hanks | Tim Allen | John Lasseter | Pixar Animation Studios | [1995] Toy Story is a 1995 American computer-animated comedy film produced by Pixar Animation Studios and released by Walt Disney Pictures. The first installment in the Toy Story franchise, it was the first entirely computer-animated feature film, as well as the first feature film from Pixar. The film was directed by John Lasseter (in his feature directorial debut), and written by Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolow from a story by Lasseter, Stanton, Pete Docter, and Joe Ranft. Toy Story features music by Randy Newman, was produced by Bonnie Arnold and Ralph Guggenheim and was executive-produced by Steve Jobs and Edwin Catmull. The film features the voices of Tom Hanks, Tim Allen, Don Rickles, Wallace Shawn, John Ratzenberger, Jim Varney, Annie Potts, R. Lee Ermey, John Morris, Laurie Metcalf, and Erik von Detten. Toy Story takes place in a world where toys come to life when humans are not present, the plot focuses on the relationship between an old-fashioned pull-string cowboy doll named Woody and an astronaut action figure, Buzz Lightyear, as they evolve from rivals competing for the affections of their owner, Andy Davis, to friends who work together to be reunited with Andy after being separated from him. Before the film's release, executive producer and Apple Inc. co-founder Steve Jobs stated "If Toy Story is a modest hit—say $75 million at the box office, we'll [Pixar and Disney] both break even. If it gets $100 million, we'll both make money. But if it's a real blockbuster and earns $200 million or so at the box office, we'll make good money, and Disney will make a lot of money." Upon its release on November 22, 1995, Toy Story managed to gross more than $350 million worldwide. #ToyStory #TomHanks #PixarAnimationStudios #TimAllen #JohnLassater #DonRickles #JimVarney #WallaceShawn #JohnRatzenberger #AnniePotts #JohnMorris #ErikVonDetten #JossWhedon #AndrewStanton #JoelCohen #AlecSokolow #SteveJobs # BonnieArnold #RalphGuggenheim #RobertGordon #LeeUnkrich #RandyNewman #WaltDisneyPictures #BuenaVistaPicturesDistribution #AnimatedMovie #Animation #Classic #MovieByte #MovieBytePodcast #JustChillinEntertainment --------------------------------------------------------------------------- Follow Us: Facebook: https://www.facebook.com/moviebytepod... Instagram: https://www.instagram.com/movie.byte/ Twitter: https://twitter.com/byte_movie Podcast: https://anchor.fm/moviebyte A Just Chillin' Entertainment original production Follow Them: Facebook: https://www.facebook.com/justchillinent Instagram: https://www.instagram.com/justchillin... Twitter: https://twitter.com/JustChillingEn1 --------------------------------------------------------------------------- This Podcast is a critique of the movie which falls within "fair use" under Section 107 of the US Copyright Act of 1976. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We don't usually do animated movies but this week we got an option we couldn't pass up. It's the incredibly dark yet charming film The Brave Little Toaster, released June 19th, 1987. It's about a bunch of appliances that go on an adventure. Sure, we might be reading into the dark elements of it a little bit, but there's a lot of concepts in this movie that shocked us! Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

"Visions are worth fighting for. Why spend your life making someone else's dreams?"-Tim Burton Today's episode comes to you as per YOUR recommendation, passengers! Nope! It’s not another haunted tale about a murderous house or Another far fetched story about Moody having his colon cleansed by an alien with a shop vac! We asked who you wanted to hear about and you answered pretty much unanimously! You sexy sumbitches wanted to hear about none other than Mr. Burton! So today we are going to discuss all things related to the fantastic thrill ride known as BIG TROUBLE IN LITTLE CHINA! That’s right! Jack Burton! Kurt Russel and his big rig crushing through.. um... wait… hold on a second.Ok, that’s my bad…  it’s actually the OTHER Mr. Burton of importance, TIM BURTON! Tim Burton was born Timothy Walter Burton on August 25, 1958 in Burbank, California. His mother was Jean Burton, later the owner of a cat-themed gift shop, lending to the notion that she, too, was quirky before quirky became fashionable."I don't know about that," Burton frowns today. "I found it more horrific than quirky but that's my opinion. Opening a cat store in Burbank was just a very strange idea. I don't think it did very well." His father was William "Bill" Burton, a former minor league baseball player who was working for the Burbank Parks and Recreation Department. Tim's younger brother, Daniel, was born in 1961. Although he grew up in a typical American family in a typical American suburb, Tim did not have a typical, happy childhood. He recalls that he was a sad child who kept to himself. He didn’t even feel close to his family. His father wanted him to play sports and his mother tried to get him interested in playing the clarinet, but Tim resisted both. Although he did admit to playing baseball for a bit.      "I played baseball," he reluctantly admits. "My dad was a baseball player. He had been a professional athlete, and so it's easy for me to relate to that sort of dynamic with parents and kids, pushing and pulling them one way or the other."        He spent a great deal of his time in his room or watching TV. In talking of his strange childhood he recounts a story of his parents almost literally walling him in:             "When I was younger, I had these two windows in my room, nice windows that looked out onto the lawn, and for some reason my parents walled them up and gave me this little slit-window that I had to climb up on a desk to see out of. I never did ask them why. "But my parents are dead now, so I guess the answer will remain unanswered as to why they sealed me in a room. I guess they just didn't want me to escape." When he was ten years old, Tim went to live with his grandmother. She allowed him to spend even more time by himself, which he appreciated. He did not have many friends. Unlike other kids his age, he was not interested in after-school activities, sports, or popular music. He felt like he did not fit in, especially at school, where he was not a good student. Rumor has it that he attempted to burn the place down with everyone in it.  That rumor was actually started by ME, at this exact moment and of course it’s horse shit.  Although he felt alone in his world, Tim did find one thing that made him feel at home: monster movies. He spent many hours watching these movies on TV and in theaters. He identified with Frankenstein, Godzilla, and the Creature from the Black Lagoon. Tim felt that the creatures in the movies were not evil, rather, they were just misunderstood. In his mind, it was the people trying to destroy the creatures who were the real monsters. In the book Burton on Burton, he says, "I've always loved monsters and monster movies. I was never terrified of them, I just loved them from as early as I can remember."  Feeling more empathy for the monsters in the popular horror movies of the day than he did with the adults in his life, he says: "I don't know why but I always related to characters like Frankenstein. I think a lot of kids do; it's easier to relate to the monster in the sense of he's alone. Growing up, you could feel those feelings and the way you felt about your neighbours is like they're the angry villagers.”"I was never scared of monster movies. I could happily watch a monster movie but if I had one of my relatives come over, you'd be terrified." Those same basic facts are always trotted out about Burton's childhood.    The young Burton won a poster-designing competition when in the ninth grade, and his anti-litter design adorned the sides of Burbank's garbage trucks for a year;  he rarely mentions his younger brother; he wanted to be the actor who plays Godzilla; he played sports, but has since described himself as 'pushed' into this, he produced a number of Super-8 home movies that have since been lost. Those are the rest of the basics that you'll always find when looking for info about his childhood. In many ways, this is unsurprising. Burton himself has gone on record about the uneventful nature of his early life saying, “it's weird, but the only experiences I remember from childhood are the ones which had a major impact: fearful things, like from a scary movie." Going through numerous interviews, it does indeed seem that the only things from this time that actually stuck with him are scary movies and the odd cult TV show, be it The Prisoner or Gilligan's Island. Only when he's asked by interviewers to explain the origins of his images of a bleak, bland suffocating suburbia (like Frankenweenie, Edward Scissorhands, The Nightmare Before Christmas, Ed Wood or, pretty much every movie he’s ever been a part of.), alienated children (Vincent, Beetlejuice, Batman Returns, Mars Attacks! The Melancholy Death of Oyster Boy or… any…uh.. other movie… he’s, uh… ever been a part of), or heroes who seem 'weird' to the people around them (ya’ know… like pretty much ALL of his films) Only at these times does Burton, seemingly bored by such a line of questioning, roll out the usual anecdotes that seem to be accepted as representative of his childhood. When pressed, Burton's most regular description of his youth is to state something along the lines of, “if you didn't speak well, if you didn't hang out with the other children or didn't play sports, if you liked monster movies, you were strange.”? To the young Mr. Burton though, this outside status had advantages. The very fact that they categorised him this way allowed him to see the world from an external point of view.  "That meant my perception of normality was strange. For me, reality is bizarre." However, Burton clearly didn't see this aspect of his childhood as unique, nor did he consider that he was a special, isolated case. “Every time I looked around... it looked like everyone had their own private world. You didn't see too many people... paying attention. They were in their own special worlds." This was an idea that he would soon be able to explore in his short film, Vincent. It could be said that Burton has reshaped his own experiences in childhood to suit his later media image - that of the shy yet talented young artist and has now come to rely on them, maybe even believe them, exactly as another imaginative young man comes to believe his fantasies in Burton's first film to receive any kind of commercial release, “Vincent”. As Burton's friend and frequent collaborator Glenn Shadix put it, "the magazine idea of Tim is this weird, wigged-out, crazy person, and he's not like that, there's something very solid about him - yes, I think he always felt like a fish out of water growing up, but that doesn't mean his creativity is fuelled by pain or anger." Caroline Thompson, again both a friend and a collaborator, feels the same. For her, Burton's work has a "real affection for neighbourhood life... although he perpetuates this perception of himself as ... damaged, from my perspective it's just the opposite... he's escaped some fundamental damage that shuts most people down." Burton's life begins to be better documented from the time he first moved into the film world, having won a scholarship to the Disney-backed California Institute of the Arts (CalArts) in 1976. One of his short film projects while at CalArts, Stalk of the Celery Monster was soon deemed good enough by Disney to warrant offering him a job as an animator, and he shifted base to Disney's Burbank lot. Despite not being credited on the films, Burton’s initial tenure at Disney saw him working on both The Fox and the Hound and Tron. His work was enough to get him recognized by a couple of Disney executives, who allotted him a small sum of cash to develop a short film of his own based on a poem he had written. This came to be known as Vincent, a short stop-animation film that followed a boy named Vincent that wants nothing more than to BE Vincent Price, narrated by Price himself. Which is amazing because, well… it’s Vincent fuckin Price. While not anywhere close to what would be considered “Disney material” for the time, the short film was still a strong first effort from Burton as a director. “Vincent”, the short film, received accolades and awards, because it’s VINCENT FUCKING PRICE...and Burton would frequently reference it in his future works. Despite Vincent’s relative success, the short film only saw a small, limited release in a single Los Angeles movie theatre before being locked away into the Disney Vault. However, Burton’s effort on the film was not overlooked. He was given additional work as both an animator and a concept artist for Disney’s next feature animated film, “The Black Cauldron”. Not-so-affectionately known as the “black sheep of Disney films,” The Black Cauldron suffered a number of issues during production.  Creative differences between personnel led to animators leaving the project. After a screening of the film in 1984, Disney exec Jeffrey Katzenberg marched down to the editing room and started to cut the “scarier” scenes himself- It wasn’t until Disney CEO Michael Eisner stepped in that Katzenberg relented. Still, over 12 minutes of footage ended up being cut from the film. Dick move, Katzy… dick move. The Black Cauldron was a commercial and critical flop, with critics citing flat characters, scary visuals, and sloppy jumps in the animation as key reasons for the film’s failure. Probably because ol Katzy went in all willy nilly just chopping shit up. Again, I say… Dick move, Katzy… dick move. However, while production on The Black Cauldron was wrapping up, Burton was already hard at work on a project of his own.  While the troubled production wrapped up on The Black Cauldron in 1984, Tim Burton had managed to secure a budget for another short film through Disney.  Tim Burton’s Frankenweenie clocks in at just under half an hour and the cast included Shelley Duvall (The Shining), Sofia Coppola (Director, Lost in Translation), and Daniel Stern! Yes, THAT Daniel Stern. Marv from Home Alone and the narrator of the 80’s television hit show, “The Wonder Years”, which most of you are probably too young to know or remember and... you should be ashamed of yourselves. Anyway, Frankenweenie follows the story of a young Victor Frankenstein living in a picturesque white-picket-fence suburban neighborhood. All is well until his dog, Sparky, is struck by a car,  right in front of him. Ugh!  As characters named Frankenstein often tend to do, he sneaks out in the night to raid the grave of his former friend and straps the corpse to a table hooked up to a number of improvised electronic instruments.  One bolt of lightning later... and Victor’s pal is back to wagging his tail just as he did before the accident, just with a few more stitches (and from the looks of things, pieces of other people’s dogs).  From there, the film plays just as any other Frankenstein’s Monster story would, but instead of angry villagers, you have paranoid neighbors. Instead of a fearsome, misunderstood monster, there’s a spry, happy, reanimated pup. While the film is a call back to the golden age of the silver screen both in style and substance, Disney executives weren’t as impressed with the final product. FUCKIN’ KATZY! You know that scene chopping sonofabitch was involved.      Frankenweenie was meant to accompany the theatrical re-releases of The Jungle Book and Pinocchio, but after reviewing the film, the execs deemed that it was far too scary for the children that would be filling the theaters. Kids are pussies, just saying. The film was shelved, placed into the Disney vault alongside Vincent, and Burton was accused of “wasting money” on a kid’s film too scary to actually be seen by kids. Tim Burton was then fired from Disney after completing the film, stating that “It was a ‘thank you very much, but you go your way, and we’ll go our way’ kind of thing.” KATZY! You prick! Given that Frankenweenie was completed just after the disastrous 1984 screening of The Black Cauldron, it’s no surprise that Disney would want to distance themselves from yet another film that was “too scary.” Although Frankenweenie was not released to the public, it was shown in private screenings. Comedian Paul Reubens was at one of these screenings When he saw the film, and while NOT masterbating into a bucket of popcorn...this time, Reubens knew that Burton was the perfect person to bring his character, Pee-Wee Mother fucking Herman, to the big screen. Burton was twenty-six when he met Reubens. By then Reubens's character of Pee-Wee Herman was well developed. If you’ve been hog tied in someone’s basement for the last 30 years, Pee-Wee Herman was a grown man, but his bizarre and often immature behavior made him seem more like a spoiled child. He always dressed in a gray suit with a red bow tie. He had a large collection of toys, including his most prized possession: a shiny red bicycle. Which would inevitably be stolen by that fat fuck, Francis… I KNOW YOU ARE BUT WHAT AM I!!!??? Sorry. Ol TB (That’s Mr. Burton to you passengers) was thrilled when a representative from Warner Brothers Studios asked him to direct the movie Pee-Wee's Big Adventure. He liked the material and he needed another project since he had quit his job at Disney after finishing Frankenweenie. Or was asked to leave… or was shit canned… Either way He also felt that he understood the Pee-Wee Herman character. Ac- cording to Burton. "The Pee-Wee character was just into what he was doing. It was nice that he didn't really care about how he was perceived. He operated in his own world and there's something I find very admirable about that.” Like jerkin it in movie theaters… that really happened, passengers… look it up. In the movie, Pee-Wee's beloved bicycle is stolen. BY FUCKING FRANCIS! UGH! He goes on a Cross-Country trek to get it back, and on the way meets many interesting characters. Burton was careful to not put too many of his own ideas into the film. He understood that although he was the director it was really Reuben’s movie But Burton was still able to add some of his own personal touches. For example, there are two parts that feature stop-motion animation. Burton used this technique to animate a scene in which Pee Wee dreams his bicycle is being eaten by a tyrannosaurus rex. He also used stop motion to animate a truck driver named Large Marge. Many people think that Large Marge's distorting head is one of the funniest parts of the movie. “TELL EM LARGE MARGE SENT YA! Cool side story, the same group that animated the large marge scene also did the stop motion animation for the Wil Ferrel film, Elf. You know, the part where Buddy was heading off to NY to see his dad and the narwhal says “Bye Buddy! I hope you find your dad!” Yeah, that was the Chiodos Brothers. Even deeper, Jon Favreau, the director of Elf… and Iron Man… and the Avengers… he voiced the narwhal. Ok…. sorry… I’m a nerd. ANYWAY! Another way that Burton enhanced the movie was with his unexpected choice of composer for the musical score. Burton hired Danny Elfman, lead singer of the pop band Oingo Boingo, who’s song was our drink pop tune for this episode, to create music for the movie. Although Elfman had never scored a movie before, and literally almost said “NO” to the offer, the circus-like music he wrote turned out to be perfect for Pee-Wee's Big Adventure. The film was the first of many that Elfman would score for Burton. Ya know… like DAMN NEAR EVERY FILM HE’S EVER DONE!    The next film that Burton would direct would be none other than Beetlejuice! For those of you who for some ridiculous reason don't know, The plot revolves around a recently deceased couple who become ghosts haunting their former home, and an obnoxious, devious poltergeist named Beetlejuice from the Netherworld tries to scare away the new inhabitants. Beetlejuice's budget was US$15 million, with just US$1 million given over to visual effects work. Considering the scale and scope of the effects, which included stop motion, replacement animation, prosthetic makeup, puppetry and blue screen, it was always Burton's intention to make the style similar to the B movies he grew up with as a child. "I wanted to make them look cheap and purposely fake-looking", Burton remarked. The test screenings were met with positive feedback and prompted Burton to film an epilogue featuring Betelgeuse foolishly angering a witch doctor. Warner Bros. disliked the title Beetlejuice and wanted to call the film House Ghosts. As a joke, Burton suggested the name Scared Sheetless and was horrified when the studio actually considered using it. Which is fucking amazing. While working on Beetlejuice, warner bros approached Burton about working on Batman. Yes, Batman. One of the reasons that Burton wanted to direct Batman was that he felt that he understood the Batman character. He says, "I loved Batman, the split personality, the hidden person. It's a character I could relate to. Having those two sides, a light side and a dark one and not being able to resolve them."  It is important for Burton to connect to the characters he directs. Many observers believe this is why he tends to do movies about dark characters, who, like himself, have trouble fitting in with the people around them. Even though he is a well-known director, Burton often feels like an outsider. He has suffered frequent bouts of depression and has a reputation for being short-tempered and moody. In his twenties he had a hard time communicating with people and rarely made eye contact. Burton usually prefers to be alone rather than with other people. Even his appearance is unusual -he has pale skin, droopy eyes, and an unruly mop of dark hair. He dresses only in black. Sounds like me but with hair... Despite his reputation, Burton does have a few close friends. He’s also had three long-term relationships. The first was with German artist Lena Gieseke, whom he met while filming Batman. The two were married in 1989, During the first year of his marriage to Gieseke, Burton worked on Batman, a much bigger movie than anything he had worked on before. The production budget for Beetlejuice was $15 million. For Batman, it was $40 million. Burton filmed the movie at Pinewood Studios in Great Britain, where his sets took up most of the 95-acre backlot and seventeen soundstages Burton faced several challenges working on Batman. One of the first problems he encountered was resistance to his choice for the lead role. Burton cast the infamous Michael Keaton as the star of his movie. Many people doubted that Keaton would make a good Batman. Those people are what we at the train station like to call “dumbasses”. He did not have a muscular build and was not considered to be an action-adventure actor. Angry assholes wrote hundreds of letters to Warner Brothers demanding that the part be recast. But Burton stood by his decision. He told interviewer Alan Jones. "I looked at actors that were more the fan image of Batman, but I felt it was such an uninteresting way to go." Another challenge Burton faced was that the writers kept rewriting parts of the script during filming. The writers got new ideas or realized that certain parts of the script would not work as well as they had originally thought. The constant changes were confusing and frustrating for Burton. He struggled to make the movie flow smoothly and to be sure that the plot was not too hard to follow. He told Jones, "It was tough from the point of having no time to regroup after the script revisions: I never had time to think about them. I always felt like I was catching up.” Burton also felt the pressure of working on a big-budget picture. Studio executives had high hopes for the film. They had put a lot of money into it and expected it to make a lot of money back for them. In addition, millions of Batman fans were waiting to see how Burton would portray the beloved comic book character. This was also the first time that Burton had worked with a major star. Jack Nicholson, who played The Joker, was a superstar in Hollywood at this time. Burton met these challenges, and when Batman came out in 1989 it was a huge success. Most of the fans liked the darker Batman that Burton created. However, Burton himself was not happy with the film. He felt that he let the script unravel, which resulted in a confusing plot with holes and inconsistencies. Burton eventually agreed to make the sequel, Batman Returns, because he wanted to correct these mistakes. But before working on the second Batman movie, Burton did a project of his own. Between the two Batman movies, Burton wrote, produced, and directed Edward Scissorhands. The idea for the movie came from one of his many drawings. Burton drew constantly, both on and off the set. The drawing that inspired the movie was of a young man who had large, razor-sharp scissors instead of hands, In the movie, which has been described as a modern-day fairy tale. Edward is the creation of an inventor (played by Vincent fucking Price), who died before he could give Edward human hands. An unusually shy and gentle man, Edward is left to go through life unable to touch anyone without hurting them. He is taken in by a kind woman played by Winona Ryder, who later went on to be Will’s mom in stranger things, and for a while is welcomed by her neighbors, who are thrilled with his ability to sculpt shrubs and cut hair. But affection soon turns to fear! There is a violent confrontation, after which Edward is exiled from the suburbs. Burton cast Johnny Depp to play the part of Edward scissorhands. Burton felt that Depp had an innocent quality that was key to Edwards' character. He also thought that Depp had expressive eyes, which was important because the character does not speak very much. Burton and Depp worked well together and went on to become good friends. Though not a blockbuster, the movie did well. Most of the reviews from critics were positive, praising Burton's imaginative style. Many reviewers also noted that the movie was obviously a very personal one for Burton. In it, Burton's own feelings and life experiences are strong themes. Like Edward, Burton felt he did not fit in with his surroundings, especially when he was young. He talks about this in an interview with Kristine McKenna: "School is your first taste of categorization and you don't have to do much to be put in a weird category. I felt very lonely in school, and Edward Scissorhands was based on the loneliness I experienced as a kid." Burton may have felt lonely as a child, but by the time Edward Scissorhands was released, he was very much in demand. With four successful major motion pictures to his credit. Burton was one of the hottest directors in Hollywood.  Soon after Edward Scissorhands was released in 1990, Burton Began working on Batman Returns. Although the movie did very well at the box office, some critics felt that the character of Batman was even darker in this movie than in the first one. Burton agrees. He believes that the problems he was having in his personal life influenced how he directed the movie. His marriage to Gieseke came to an end during the filming, and a close friend committed suicide. Burton was depressed and struggled more than usual to relate to other people. His reputation for being inconsiderate and difficult to work with worsened. Burton's life improved dramatically on New Year's Eve in 1991 when he met model Lisa Marie. The two fell in love, and friends say that the relationship changed Burton's life. He became more focused and easier to work with, and even started dressing better!  During this time Burton was also working on The Nightmare Before Christmas. Burton had proposed this project to Disney ten years earlier. At that time Disney executives were not interested in producing the project. However, Disney still retained the rights to the project, and by 1991, the studio was eager to work with Burton, by then one of the most successful directors in Hollywood, Burton produced Nightmare, but most people don’t know that he did not direct it! Mainly because he was still working on Batman Returns. He also created the characters, wrote the script, and made sure that the crew stayed focused on his vision. The movie was done using stop-motion animation, a process that took so long that only about seventy seconds of film was shot each week. As a result, the movie took three years to complete. In the film, once again, Burton's main character is misunderstood by the people around him. Jack Skellington, the Pumpkin King of Halloweentown, decides that he wants to take over Christmas. But he does not quite understand the holiday. After kidnapping Santa Claus, Jack delivers strange and scary toys made by the spooky residents of Halloweentown. Children are terrified, and Jack's version of Christmas is a failure. The movie, however, was not. Well, at first it kind of was. Once again, Burton was praised for his originality. Although some parents thought the movie was too scary for children, Burton disagreed. He believes that children should decide for themselves if something is too scary and that adults should give them the freedom to make those choices. Disney initially pulled their name from the movie, releasing it on Touchstone pictures and simply calling it “Tim Burton’s Nightmare Before Christmas”. Well, the movie took on a life of its own and on a trip to China, one of the guys who had worked on the movie noticed that the characters were HUGE there and brought it to everyone's attention. Obviously, Disney took notice, because… money. That’s why. When you see it now, it’s got the “Disney” name all over it. It’s even on Disney plus… Oh. And Burton once put his foot through a wall because he didn’t like one of the scenes from The Nightmare Before Christmas.           In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy Cabin Boy, starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Life, but he handed the directing responsibility to Resnick once he was offered Ed Wood. Burton's next film, Ed Wood (1994), was of a much smaller scale, depicting the life of infamous director Ed Wood. Starring Johnny Depp in the title role, the film is an homage to the low-budget science fiction and horror films of Burton's childhood and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing to creative squabbles during the making of The Nightmare Before Christmas, Danny Elfman declined to score Ed Wood, and the assignment went to Howard Shore. While a commercial failure at the time of its release, Ed Wood was well received by critics. Martin Landau received the Academy Award for Best Supporting Actor for his portrayal of Bela Lugosi, and the film received the Academy Award for Best Makeup.         In 1996, Burton and Selick reunited for the musical fantasy James and the Giant Peach, based on the book by Roald Dahl which contains magical elements and references to drugs and alcohol. The film, a combination of live action and stop motion footage, starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics and was nominated for the Academy Award for Best Original Musical or Comedy Score (by Randy Newman). Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science-fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster Independence Day, which had been released five months earlier.  Sleepy Hollow, released in late 1999, had a supernatural setting and starred Johnny Depp as Ichabod Crane, a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With Sleepy Hollow, Burton paid homage to the horror films of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. Mostly well received by critics, and with a special mention to Elfman's gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, Sleepy Hollow was also a turning point for Burton. Along with change in his personal life (separation from actress Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing Planet of the Apes which, as Burton had repeatedly noted, was "not a remake" of the earlier film. Planet of the Apes did not do as well at the box office as the studio had expected, and it received mixed reviews. Many critics felt that the story was too slow and the plot contained too many holes. But most agreed that the movie was visually stunning. The ape world that Burton created is dark, filled with creeping vines and cavelike rooms. The apes that live in this world are also quite amazing, due to their elaborate costumes and makeup. Critics also praised the performance of Helena Bonham Carter, who had a starring role as an ape who tries to help the humans, Burton was also pleased with Carter's performance. The two struck up a friendship that quickly turned romantic. Shortly after the movie came out in 2001, Burton broke up with Lisa Marie. He began dating Carter and the two were soon engaged. Despite Planet of the Apes' disappointing reviews, Burton remained a sought after director. No matter what kind of reviews his movies received, the films were never boring, Burton was admired for his unique style and willingness to take chances.  Roald Dahl's classic book Charlie and the Chocolate Factory was made into a movie over thirty years ago with one of my favorite actors, Gene Wilder. Although many people loved the movie, Burton did not. He thought it was sappy. He also did not like the ways in which the movie was different from the book. He especially felt that the character of Willy Wonka was not portrayed as Dahl had written him. Burton wanted his version of the book to stick more closely to Dahl's original story Chocolate and Corpses Burton was given a budget of $150 million for Charlie and the Chocolate factory. A lot of the money for the movie went into building the elaborate sets and creating the amazing special effects that were needed to bring Dahl's story to life. In the story, Charlie Bucket and four other children find golden tickets in Wonka chocolate bars that allow them to visit Willy Wonkas mysterious chocolate factory. During the tour of the bizarre, amazing, and sometimes scary factory, each of the children except Charlie manages to get into serious trouble Burton cast Johnny Depp in the important role of Willy Wonka. Like many of Burton's characters, Wonka is depicted as a strange man who has issues with his family and who does not know how to relate to other people. One of the most incredible scenes in the movie is when Willy Wonka brings the five lucky children into the Chocolate Room. Rather than using computer-generated images (CGI) to create this room, Burton chose to build the entire set. The set takes up 45,000 square feet (13,716 sq m.) The landscape was all made to look edible and includes nearly seventy different kinds of plants, 30-foot (9m) trees, and a chocolate river with a 70-foot (21m) chocolate falls. Burton explains. ”We felt it was important to be in the environment and make it as textural as possible to give it as much reality as possible.... We spent months trying to find the right consistency to make the chocolate, to give it the weight so it didn't look like brown water." Burton needed nearly 250,000 gallons of the fake chocolate to make his river. One of the challenges of working with the gooey liquid, which is called Nutrisol, was that after a couple of weeks it started to smell really awful. It is in the Chocolate Room that the children first encounter the Oompa-Loompas, the little people who work in the factory. The Oompa-Loompas also perform four elaborate song-and-dance numbers. Although there are hundreds of them in the movie, they were all played by only one actor-a 4-foot (1.2m) dwarf named Deep Roy. Burton used several kinds of special effects to multiply the Oompa-Loompas. Remote-controlled robots were used when the Oompa-Loompas were shot at a distance and when they did not need to do anything too complicated Burton also used camera tricks to multiply Roys image. For these scenes, Roy was filmed hundreds of times from many different angles. In addition, Burton used CGI for some of the trickier Oompa-Loompa scenes Some of the same special effects were used in the scene in which forty squirrels shell walnuts and attack one of the children. Although some of the squirrels were robots or CGIS, most of them were real. Burton had them trained to sit on stools, crack nuts, and put the nuts on a conveyor belt. It took four months to train the squirrels because these animals are very difficult to work with. To learn the behavior, each squirrel had to repeat it about two thousand times. Although the scene was difficult and expensive to film, Burton was pleased with the result. Charlie and the Chocolate Factory was well received by audiences both young and old. People loved the spectacular world of the chocolate factory that Burton created, as well as the interesting characters. While filming Charlie and the chocolate factory, Burton, Carter, and Depp were also starting work on Corpse Bride. Corpse Bride (also known as Tim Burton's Corpse Bride) is a 2005 stop-motion animated musical fantasy film.  The film is based on a 19th-century Russian-Jewish folktale, which Joe Ranft introduced to Burton while they were finishing The Nightmare Before Christmas. The film began production in November 2003. Co-director Mike Johnson spoke about how they took a more organic approach to directing the film, saying: "In a co-directing situation, one director usually handles one sequence while the other handles another. Our approach was more organic. Tim knew where he wanted the film to go as far as the emotional tone and story points to hit. My job was to work with the crew on a daily basis and get the footage as close as possible to how I thought he wanted it." Corpse Bride received positive reviews from critics. The film was nominated for the 78th Academy Award for Best Animated Feature, but lost to Wallace & Gromit: The Curse of the Were-Rabbit, which also starred Helena Bonham Carter. In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.  2007 saw Burton put out his version of the Sweeney Todd tale. The film retells the Victorian melodramatic tale of Sweeney Todd, an English barber and serial killer who murders his customers with a straight razor and, with the help of his accomplice, Mrs. Lovett, processes their corpses into meat pies. The film stars Johnny Depp as the title character and Helena Bonham Carter as Mrs. Lovett. Grossing over $150 million worldwide, the film was praised for the performances of the cast, musical numbers, costume and set design, and its faithfulness to the 1979 musical. It was chosen by National Board of Review as one of the top ten films of 2007 and won numerous awards, including Golden Globes for Best Motion Picture – Musical or Comedy and Best Actor – Musical or Comedy, as well as the Academy Award for Best Art Direction. Bonham Carter was nominated for a Golden Globe Award for Best Actress – Motion Picture Musical or Comedy, and Depp received a nomination for the Academy Award for Best Actor. Although the film was not an outstanding financial success in North America, it performed well worldwide. In 2010 Burton released his Version of Alice in Wonderland. Loosely inspired by Lewis Carroll's fantasy novels, Alice's Adventures in Wonderland and Through the Looking-Glass, and Walt Disney's 1951 animated film of the same name, the film tells the story of a nineteen-year-old Alice Kingsleigh, who is told that she can restore the White Queen to her throne, with the help of the Mad Hatter. She is the only one who can slay the Jabberwocky, a dragon-like creature that is controlled by the Red Queen and terrorizes Underland's inhabitants. In this situation, Alice fights against the Red Queen to protect the world. Alice in Wonderland received mixed reviews from critics upon release; although praised for its visual style, costumes, production values, musical score, and visual effects, the film was criticized for its lack of narrative coherence and sombre tone.  Dark Shadows is a 2012 American fantasy horror comedy film based on the gothic television soap opera of the same name.The film performed poorly at the U.S. box office, but did well in foreign markets. The film received mixed reviews; critics praised its visual style and consistent humor but felt it lacked a focused or substantial plot and developed characters. The film was produced by Richard D. Zanuck, who died two months after its release. It featured the final appearance of original series actor Jonathan Frid, who died shortly before its release. It was the 200th film appearance of actor Christopher Lee, who you all know as Saruman from the Lord of the Rings movies and Count Fuckin Dooku from The shitty Star Wars movies. Dark shadows was Lee’s fifth and final appearance in a Burton film. Burton then remade his 1984 short film Frankenweenie as a feature-length stop motion film, distributed by Walt Disney Pictures. Burton has said, "The film is based on a memory that I had when I was growing up and with my relationship with a dog that I had." The film was released on October 5, 2012, and met with positive reviews. Burton directed the 2014 biographical drama film Big Eyes about American artist Margaret Keane (Amy Adams), whose work was fraudulently claimed in the 1950s and 1960s by her then-husband, Walter Keane (Christoph Waltz), and their heated divorce trial after Margaret accused Walter of stealing credit for her paintings. The script was written by the screenwriters behind Burton's Ed Wood, Scott Alexander and Larry Karaszewski. Filming began in Vancouver, British Columbia, in mid-2013. The film was distributed by The Weinstein Company and released in U.S. theaters on December 25, 2014. It received generally positive reviews from critics.  Next up was Miss Peregrine's Home for Peculiar Children. It is based on a contemporary fantasy debut novel by American author Ransom Riggs. Who may quite possibly have the coolest name in Hollywood. The story is told through a combination of narrative and a mix of vernacular and found photography from the personal archives of collectors listed by the author.  2019 saw Burton put out a live action adaptation of the Disney classic Dumbo. Yep! Burton was behind the new Dumbo movie. Plans for a live-action film adaptation of Dumbo were announced in 2014, and Burton was confirmed as director in March 2015. Most of the cast signed on for the feature in March 2017 and principal photography began in July 2017 in England, lasting until November. It was the first of four remakes of prior animated films that Disney released in 2019. I, personally, can’t stand these live action remakes and wish these hacks would come up with something original. LIKE SHIT EATING ROBOTS KNOWN AS THE FECAL FIGHTERS!! Anyway. The film grossed $353 million worldwide against a $170 million budget, which was not as commercially successful as Aladdin or The Lion King. Fuck those movies.Dumbo received mixed reviews from critics, who praised its ambition but said it did not live up to its predecessor.  Reviews were mixed for the movie. while audiences gave the film an average of an A- grade, critics were not as convinced, giving the movie an average of 3 out of 5 stars.  As for his personal life, as we mentioned, Burton was married to Lena Gieseke, a German-born artist. Their marriage ended in 1991 after four years. He went on to live with model and actress Lisa Marie; she acted in the films he made during their relationship from 1992 to 2001, most notably in Sleepy Hollow, Ed Wood, and Mars Attacks!. Burton developed a romantic relationship with English actress Helena Bonham Carter, whom he met while filming Planet of the Apes. Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay. Which is fucking hilarious and why we had to mention her again. Burton and Bonham Carter have two children: a son, William Raymond, named after his and Bonham Carter's fathers, born in 2003; and a daughter, Nell, born in 2007. Bonham Carter's representative said in December 2014 that she and Burton had broken up amicably earlier that year. It is unclear whether or not they were married; Bonham Carter has used the word divorce when discussing the end of their relationship while other news outlets state that they never married. In a 2005 interview with the Evening Standard, Bonham Carter speculated that Burton might have traits of Asperger syndrome.On March 15, 2010, Burton received the insignia of Chevalier of Arts and Letters from then-Minister of Culture Frédéric Mitterrand. The same year, Burton was the President of the Jury for the 63rd annual Cannes Film Festival, held from May 12 to 24 in Cannes, France. Burton's next big project — 'The Addams Family' series — is slated to release via Netflix in 2022, confirms Deadline. And as rumor has it, Burton wants Depp to portray Gomez Addams. Multiple 'sources' have hinted that Tim Burton has explicitly said he thinks Depp would be perfect as Gomez, and fans agree. Tim Burton directed movies ranked!https://editorial.rottentomatoes.com/guide/all-tim-burton-movies-ranked/ BECOME A PRODUCER!http://www.patreon.com/themidnighttrainpodcast Find The Midnight Train Podcast:www.themidnighttrainpodcast.comwww.facebook.com/themidnighttrainpodcastwww.twitter.com/themidnighttrainpcwww.instagram.com/themidnighttrainpodcastwww.discord.com/themidnighttrainpodcastwww.tiktok.com/themidnighttrainp And wherever you listen to your favorite podcasts. Subscribe to our official YouTube channel:OUR YOUTUBE

Joe Ranft was one of the most prolific storytellers in the Pixar canon. Working at first for Eric Larsen at Disney, working on Lion King and Beauty and the Beast among others, then moving over to work with Jon Lassiter at Pixar as the head of the story dept - Joe was responsible for the story's and characters in Toy Story, Bugs Life, Cars and others.Unfortunately a car accident took his life in 1995. He left behind his family, and brother who works in the industry.  Having seen the film "Soul" and realizing how much of a documentary it is - meaning that a number of the story points are also story points in the "Flipside" research I've been doing for over a decade (the Great Beginning, classrooms of newly formed souls, guides and teachers who watch over them, how a person comes from there to hear - how we choose our journeys in advance based on the lessons we need to or want to learn, etc) I thought for our New Year's podcast Joe would be an ideal candidate.He has messages for his family and friends, including Jon Lassiter, including Pete Docter, co writer and director of Soul.  For those who don't know who he is, they should know him - he's one of the "mentors" for 22 in the film "Soul" that's posted on the wall her list of mentors she's "defeated."  The name of the main character appears to be named after Joe - and from their review (the flipside review of the film) they loved it. They said "It was more accurate than you think" as well as giving it a 98% accuracy for "how to explain it to people on the planet. (however, pointing out that once one is on the flipside, it's about 15% accurate in terms of that more vast experience.)  You want to talk to the flipside? Anyone can, and this is just one of the 42 examples from this year. Happy New Year. 

Cars (2006) G | 1h 57min | Animation, Family, Sport | 9 June 2006 (USA) A hot-shot race-car named Lightning McQueen gets waylaid in Radiator Springs, where he finds the true meaning of friendship and family. Directors: John Lasseter, Joe Ranft (co-director) Writers: John Lasseter (original story by), Joe Ranft (original story by) Stars: Owen Wilson, Bonnie Hunt, Paul Newman

Cars (2006) G | 1h 57min | Animation, Family, Sport | 9 June 2006 (USA) A hot-shot race-car named Lightning McQueen gets waylaid in Radiator Springs, where he finds the true meaning of friendship and family. Directors: John Lasseter, Joe Ranft (co-director) Writers: John Lasseter (original story by), Joe Ranft (original story by) Stars: Owen Wilson, Bonnie Hunt, Paul Newman

These thirteen things about The Brave Little Toaster my not be the greatest thing since sliced bread, but we guarantee you that they're no burnt offerings. During pre-production, Jon Lovitz was cast in Saturday Night Live. Jerry Rees, who had been writing the character of Radio with Lovitz in mind, pleaded with him to stay in Los Angeles long enough to record his voice tracks. Lovitz agreed, despite protestations from his agency. Rees quickly finished the screenplay and hustled Lovitz into the recording studio, where his entire performance was then captured in one, marathon session. Halfway through filming, Donald Kushner thought that the nightmare scene should be cut from the film; due to the clown being extremely frightening to younger children. He also stated that the junkyard scene "Worthless" should be cut from the film, due to one of the cars driving into a crusher on purpose, using a suicide reference. For unknown reasons, the scenes were left in the film. Was originally in development at Disney, with John Lasseter set to direct. Lasseter planned to use a combination of traditional hand-drawn animation and computer generated imagery for the characters, making it the first animated feature to attempt it. Executives, however, lost interest when the projected costs became too high. Lasseter was fired by Disney and then co-founded Pixar, while the rest of the team took the film outside and managed to produce it independently. The completed film was eventually bought by Disney, shown on the Disney Channel and became a cult hit. In 2006, the official website of Hyperion Pictures posted a image of a possible fourth film in CGI; however, that film was never produced. When Blanky imagines the Master arriving home, there is a brief shot of him floating down the stairs. Behind him on the wall are four paintings, each representing the functions of the other four appliances: a candle, a radio, bread on a stick over a fire, and a broom. The hanging lamp (voiced by Phil Hartman) is based on Peter Lorre in both voice and appearance. The Air Conditioner, also voiced by Hartman, is based on the voice and intense acting style of Jack Nicholson. According to Jerry Rees, very few prints of the film were made for exhibition due to limited funding. The print that Disney ultimately used for home video release is believed by Rees to be one that extensively toured the festival circuit, due to his recollection from each screening of noticing the picture frame "wobble" very early in the film. On the other hand, Prim Leisure's DVD in the UK uses a fresh transfer from an international print. However, the film has yet to receive a High Definition transfer even 30 years later. This film is considered by many to be the prototypical Pixar film. Many of Pixar's most important members, including Joe Ranft and John Lasseter, were involved with The Brave Little Toaster's production. It also contains tropes that have become common in Pixar films: objects with human-like qualities, a long journey that changes the characters, and dark adult themes hidden in the guise of a children's film. Even the famous code A113, which is seen in all of Pixar's films, appears as the Master's apartment number. In the scene where the TV tries to convince the Master to go to Ernie's disposal, there is a shot of the character pulling paper out of a filing cabinet. One of the sheets of paper has a near-topless woman (with stars covering her nipples) on it. Composer David Newman considers his score for the film to be the best of his entire career and has stated that working on it was one of the highlights of his life. In a 2010 interview at Cal State, Northridge,voice actress Deanna Oliver revealed that at her son's deployment ceremony to Afghanistan, some of the soldiers who were fans of the film had brought their toasters with them for her to autograph. The German and Serbian dubbed versions of the film swap the genders of two main characters: Toaster is voiced by a man, and Lampy is voiced by a woman. Recording sessions did not take place at Disney; the crew found and renovated a small derelict property in Hollywood. Rees' direction primarily consisted of ensuring the performances were as natural and realistic as possible, and ended up using many of the actor's improvised lines in the final film. Unusual for the time, some of the recordings were done in group sessions. Yes, we know that it isn't a "Walt Disney" movie....

These thirteen things about The Brave Little Toaster my not be the greatest thing since sliced bread, but we guarantee you that they're no burnt offerings. During pre-production, Jon Lovitz was cast in Saturday Night Live. Jerry Rees, who had been writing the character of Radio with Lovitz in mind, pleaded with him to stay in Los Angeles long enough to record his voice tracks. Lovitz agreed, despite protestations from his agency. Rees quickly finished the screenplay and hustled Lovitz into the recording studio, where his entire performance was then captured in one, marathon session. Halfway through filming, Donald Kushner thought that the nightmare scene should be cut from the film; due to the clown being extremely frightening to younger children. He also stated that the junkyard scene "Worthless" should be cut from the film, due to one of the cars driving into a crusher on purpose, using a suicide reference. For unknown reasons, the scenes were left in the film. Was originally in development at Disney, with John Lasseter set to direct. Lasseter planned to use a combination of traditional hand-drawn animation and computer generated imagery for the characters, making it the first animated feature to attempt it. Executives, however, lost interest when the projected costs became too high. Lasseter was fired by Disney and then co-founded Pixar, while the rest of the team took the film outside and managed to produce it independently. The completed film was eventually bought by Disney, shown on the Disney Channel and became a cult hit. In 2006, the official website of Hyperion Pictures posted a image of a possible fourth film in CGI; however, that film was never produced. When Blanky imagines the Master arriving home, there is a brief shot of him floating down the stairs. Behind him on the wall are four paintings, each representing the functions of the other four appliances: a candle, a radio, bread on a stick over a fire, and a broom. The hanging lamp (voiced by Phil Hartman) is based on Peter Lorre in both voice and appearance. The Air Conditioner, also voiced by Hartman, is based on the voice and intense acting style of Jack Nicholson. According to Jerry Rees, very few prints of the film were made for exhibition due to limited funding. The print that Disney ultimately used for home video release is believed by Rees to be one that extensively toured the festival circuit, due to his recollection from each screening of noticing the picture frame "wobble" very early in the film. On the other hand, Prim Leisure's DVD in the UK uses a fresh transfer from an international print. However, the film has yet to receive a High Definition transfer even 30 years later. This film is considered by many to be the prototypical Pixar film. Many of Pixar's most important members, including Joe Ranft and John Lasseter, were involved with The Brave Little Toaster's production. It also contains tropes that have become common in Pixar films: objects with human-like qualities, a long journey that changes the characters, and dark adult themes hidden in the guise of a children's film. Even the famous code A113, which is seen in all of Pixar's films, appears as the Master's apartment number. In the scene where the TV tries to convince the Master to go to Ernie's disposal, there is a shot of the character pulling paper out of a filing cabinet. One of the sheets of paper has a near-topless woman (with stars covering her nipples) on it. Composer David Newman considers his score for the film to be the best of his entire career and has stated that working on it was one of the highlights of his life. In a 2010 interview at Cal State, Northridge,voice actress Deanna Oliver revealed that at her son's deployment ceremony to Afghanistan, some of the soldiers who were fans of the film had brought their toasters with them for her to autograph. The German and Serbian dubbed versions of the film swap the genders of two main characters: Toaster is voiced by a man, and

They were so big that it took more than one continent to contain them. These thirteen things that you probably didn't know about The Rescuers Down Under, should satisfy your cravings for squeaky sleuths until the inevitable live action version comes out. This was Eva Gabor's last film before her death in 1995. A third Rescuers movie was planned for 1996, but after her death, this and all future Rescuers movies were scrapped. In the original Rescuers film, the albatross Orville was voiced by Jim Jordan, who died two years before this film released. The producers didn't want to replace Jordan, so Orville was replaced with the character's brother Wilbur, voiced by John Candy. This is a reference to the Wright brothers, Orville and Wilbur, the inventors and pilots of the first functional airplane. Disney's first animated sequel. This would later carry on with Fantasia 2000 and Winnie the Pooh, whilst the rest of the sequels would be straight to video. This was the first 100% digital feature film ever made. The animation and backgrounds were done traditionally but all of the coloring, many effects, and the final film printing was all done digitally. This was also the first film produced with Disney's Academy Award-winning "CAPS" production system, which cut the production time down by at least six months. On its initial release, this film was preceded by the Mickey Mouse short subject The Prince and the Pauper. Interestingly enough, this was only the second Mickey Mouse short made since the 1950s, with the first being Mickey's Christmas Carol, which was made to accompany the 1983 re-release of The Rescuers. The twisted version of "Home on the Range" that McLeach sings was not performed by George C. Scott. It was instead sung by the voice of Joanna, Frank Welker. This is the least successful film released during the Disney Renaissance between 1989-1999. After it only grossed $27,931,461 from that weekend's box office, Disney executive Jeffrey Katzenberg pulled all television advertisements for the film. Opening on the same weekend as Home Alone, which went on to gross more than ten times as much, did not help its cause. This financial failure discouraged Disney from releasing subsequent non-computer-animated sequels in theaters with very few exceptions. Originally Wilbur's calendar was to have a picture of Bart Simpson from The Simpsons; which can be seen in the original animatic. A lifelong Disney fan, Bruce Broughton jumped at the chance to compose the score and turned down an offer to score Home Alone to work on this film. Is the last Disney Film to be accompanied by a Featurette that's over 20 minutes long, up until Pixar's Coco 27 years later. The first Disney animated feature to use fully-rendered CG backgrounds. Storyboard artist Joe Ranft constantly bolstered the creative morale of his crew, but rarely drew storyboard sequences himself. In addition to this, Ranft entered creative disagreements with the studio management and marketing executives, including one disagreement where he optioned for the casting of an Aboriginal Australian child actor to voice Cody, which was overridden with the decision to cast "a little white blonde kid." Noting the rise of Americans becoming more environmentally conscious, this marks as the studio's first film since Bambi to have an animal rights and environmental message. The Rescuers Down Under (1990) G | 1h 17min | Animation, Adventure, Crime | 16 November 1990 (USA) The R.A.S. agents, Miss Bianca and Bernard, race to Australia to save a little boy and a rare golden eagle from a murderous poacher. Directors: Hendel Butoy, Mike Gabriel Writers: Jim Cox (animation screenplay by), Karey Kirkpatrick (animation screenplay by) Stars: Bob Newhart, Eva Gabor, John Candy

They were so big that it took more than one continent to contain them. These thirteen things that you probably didn't know about The Rescuers Down Under, should satisfy your cravings for squeaky sleuths until the inevitable live action version comes out. This was Eva Gabor's last film before her death in 1995. A third Rescuers movie was planned for 1996, but after her death, this and all future Rescuers movies were scrapped. In the original Rescuers film, the albatross Orville was voiced by Jim Jordan, who died two years before this film released. The producers didn't want to replace Jordan, so Orville was replaced with the character's brother Wilbur, voiced by John Candy. This is a reference to the Wright brothers, Orville and Wilbur, the inventors and pilots of the first functional airplane. Disney's first animated sequel. This would later carry on with Fantasia 2000 and Winnie the Pooh, whilst the rest of the sequels would be straight to video. This was the first 100% digital feature film ever made. The animation and backgrounds were done traditionally but all of the coloring, many effects, and the final film printing was all done digitally. This was also the first film produced with Disney's Academy Award-winning "CAPS" production system, which cut the production time down by at least six months. On its initial release, this film was preceded by the Mickey Mouse short subject The Prince and the Pauper. Interestingly enough, this was only the second Mickey Mouse short made since the 1950s, with the first being Mickey's Christmas Carol, which was made to accompany the 1983 re-release of The Rescuers. The twisted version of "Home on the Range" that McLeach sings was not performed by George C. Scott. It was instead sung by the voice of Joanna, Frank Welker. This is the least successful film released during the Disney Renaissance between 1989-1999. After it only grossed $27,931,461 from that weekend's box office, Disney executive Jeffrey Katzenberg pulled all television advertisements for the film. Opening on the same weekend as Home Alone, which went on to gross more than ten times as much, did not help its cause. This financial failure discouraged Disney from releasing subsequent non-computer-animated sequels in theaters with very few exceptions. Originally Wilbur's calendar was to have a picture of Bart Simpson from The Simpsons; which can be seen in the original animatic. A lifelong Disney fan, Bruce Broughton jumped at the chance to compose the score and turned down an offer to score Home Alone to work on this film. Is the last Disney Film to be accompanied by a Featurette that's over 20 minutes long, up until Pixar's Coco 27 years later. The first Disney animated feature to use fully-rendered CG backgrounds. Storyboard artist Joe Ranft constantly bolstered the creative morale of his crew, but rarely drew storyboard sequences himself. In addition to this, Ranft entered creative disagreements with the studio management and marketing executives, including one disagreement where he optioned for the casting of an Aboriginal Australian child actor to voice Cody, which was overridden with the decision to cast "a little white blonde kid." Noting the rise of Americans becoming more environmentally conscious, this marks as the studio's first film since Bambi to have an animal rights and environmental message. The Rescuers Down Under (1990) G | 1h 17min | Animation, Adventure, Crime | 16 November 1990 (USA) The R.A.S. agents, Miss Bianca and Bernard, race to Australia to save a little boy and a rare golden eagle from a murderous poacher. Directors: Hendel Butoy, Mike Gabriel Writers: Jim Cox (animation screenplay by), Karey Kirkpatrick (animation screenplay by) Stars: Bob Newhart, Eva Gabor, John Candy

Hello and welcome to twenty-ninth episode of Fanboy Nation’s Toon-In-Talk, your rendezvous for animation interviews. Concluding Whitney’s longer than expected series the Ladies of Animation is an interview with Academy Award winner director Brenda Chapman. Brenda is best recognized for her work as the writer and director of Pixar‘s Brave and the director of DreamWorks’s The Prince of Egypt. She also had an extraordinary career at Disney working on Beauty and the Beast, The Little Mermaid, and The Lion King. Brenda Chapman has since embarked on an independent creative career with her husband, director Kevin Lima. Show Notes Brenda Chapman is the director of Brave and Prince of Egypt. She has worked in the animation industry since the early days of the Disney Renaissance and first worked on The Little Mermaid. As many an animator, Brenda grew up watching Looney Toons and through close, personal connections contacted Disney Feature Animation, who sent her a brochure about CalArts. The main influence on Brenda’s work was her mother. Brenda had the privilege to know legendary animator Joe Ranft and he encouraged her to concentrate more on storytelling. Brenda has experience storytelling for the screen and page. The biggest difference for her is that regular prose writing demands more detail that is usually visually communicated. When Brenda was applying for jobs after CalArts, she put together a portfolio consisting of her clean-up work and tossed in a storyboard in the back. Disney loved her storyboard over her clean-up animation. She shared that the only reason why Disney hired her was due to her gender, but once she was in the department Brenda never felt any discrimination. Whitney is curious about the chaotic neutral will o’wisps in Brave and Brenda clears up her confusion. Brenda shares the lowdown on George Lucas’s Strange Magic that delivered an odd story. In short, there wasn’t much of a story to begin with. Brenda shared that getting a greenlight and keeping her job on an animated film are some of the biggest challenges she faced. Brenda is keeping busy with many writing projects and is starting a company with her husband. Brenda’s husband, Kevin Lima, isn’t a stranger to animation. He directed Disney’s Tarzan, Enchanted, and A Goofy Movie. Brenda declares that girls need to get out there and animate.

http://www.attractionchecklist.com - This episode, we say goodbye to A Bug's Land by riding Tuck & Roll's Drive 'Em Buggies, Francis' Ladybug Boogie, Flick's Fliers and Heimlich's Chew Chew Train.  Joining me today to ride and review is Suzie and our pal John B. deHaas joins me for a Heimlich's Chew Chew Train Review.  Recorded on August 18, 2018. The attraction audio recorded for this episode is available exclusively to the Saturday Morning Media Patron Patron.  Support the show and get fun Bonus content over at http://www.patreon.com/saturdaymorningmedia INTRO TRANSCRIPT: Welcome to Attraction Checklist. On today’s supersized episode, we bid goodbye to A Bug’s Land at Disney California Adventure by experiencing 4 of the area’s attractions, Tuck & Roll’s Drive ‘em Buggies, Francis’ Ladybug Boogie, Flick’s Fliers and, of course, Heimlich’s Chew Chew Train. This area is described on the Disneyland website in the following manner: “See the world from a bug's perspective in this playful land full of insect-sized surprises based on the Disney·Pixar film, a bug's life!”  Only Tuck and Roll’s Drive ‘em Buggies has a height requirement of 36” the rest have no height restrictions. Before we take a final ride on all these attractions, here are five fast facts about A Bug’s Land. 1. The area’s anchor attraction, It’s Tough To Be a Bug was a Disney California Adventure opening day attraction, but the rest of the rides opened in an area known as Flick’s Fun Fair in the newly names area A Bug’s Land on October 7, 2002. 2. The storyline behind A Bugs Land is the bugs built the A Bugs Land attractions when they saw Disney California Adventure being built next to them.  The imagineers discovered the bug theme attractions while building The Twilight Zone Tower of Terror and then opened the land to all. 3. Several of the voice actors from A Bug’s Life provided their voices for attractions in A Bug’s Land including Dave Foley as Flick and Joe Ranft as Heimlich. 4.  On March 20, 2018, Disney announced that A Bug’s Land would close to make way for a new Marvel Themed Land opening in 2020.  The rides featured on today’s episode closed on September 5, 2018. 5.  While not totally confirmed, so therefore not really a fact, it is assumed that Flick’s Fliers will be moved over to Pixar Pier when A Bug;s Land closes.  The attraction will be retimed to the Disney Pixar movie Inside Out for an attraction called the Emotional Whirlwind. Now it’s time to bid farewell to A Bug’s Land with a ride of four of it’s different attractions.  Along for the adventure today is Suzie, but John B. deHaas also took one last ride on Heimlich’s Chew Chew Train so that attraction will feature two reviews!  These are binaural recordings so put on your headphones as we head to Disney California Adventure to say goodbye to A Bug’s Land. Photo by Lisa M. Cohen Episode edited by Stephen Staver   FOLLOW US http://www.facebook.com/attractionchecklist  http://www.facebook.com/saturdaymorningmedia  http://www.twitter.com/SaturdayMMedia  https://plus.google.com/+Saturdaymorningmedia  https://www.linkedin.com/company/saturday-morning-media http://www.youtube.com/user/SaturdayMorningMedia?sub_confirmation=1 FOLLOW GRANT http://www.MrGrant.comhttp://www.twitter.com/toasterboy  https://instagram.com/throwingtoasters/ DISNEYLAND WEBSITEhttps://disneyland.disney.go.com/au/disney-california-adventure/a-bugs-land/ - site may become deactivated in the future WIKIPEDIA https://en.wikipedia.org/wiki/A_Bug%27s_Land Show ©2018 Saturday Morning Media/Grant Baciocco

Chay discusses why they're watching films on an exercise bike... technically it's an eliptical. Films mentioned in order: Ice Age: The Meltdown (Carlos Saldanha, 2006) Cars 2 (John Lasseter & Brad Lewis, 2011) Ice Age: Dawn of the Dinosaurs (Carlos Saldanha, 2009) Ice Age (Chris Wedge & Carlos Saldanha, 2002) Cars (John Lasseter & Joe Ranft, 2006) Seven Samurai (Akira Kurosawa, 1954)

Bryan and Peter start the show with their goals and predictions for the BAA 10K. They also talk about the uniquely challenging and powerful experience that is the Harvard stadium workout with November Project Boston. Then, they meet the rest of the How Was Your Run Today? team under the tent at the BAA 10K. Joining them are Brian O’Donovan, Jennifer Shih, Greg Shea, Corinne Griffiths, Jeremy Shaw-Munderback, Theresa Lynn, Joe Ranft, Rachel Mitton, Amy Salt, Igor Babushkin, Paul Davies, and Social Media Guru Anna Brooks. And, filling in for the under-the-weather Wesley Finnemore, Meb Keflezighi!!!  

In Episode 36 of The Cinescope Podcast, Chad and Melanie talk about one of their favorite movies, Finding Nemo! The Cinescope Podcast on iTunes Show Notes Finding Nemo on iTunes Finding Nemo soundtrack on iTunes Stats Released May 30, 2003 Dir. Andrew Stanton (A Bug's Life, Wall-E, John Carter, Finding Dory) Written by Stanton, Bob Peterson, David Reynolds Music by Thomas Newman (The Shawshank Redemption, Little Women, Meet Joe Black, American Beauty, The Green Mile, Lemony Snicket's A Series of Unfortunate Events, Cinderella Man, Wall-E, The Help, Skyfall, Saving Mr. Banks, Bridge of Spies, Spectre, Finding Dory, Passengers) Starring Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe, Brad Garrett, Allison Janney, Austin Pendleton, Stephen Root, Vicki Lewis, Joe Ranft, Geoffrey Rush, Andrew Stanton, Bob Peterson, Barry Humphries, Eric Bana, Bruce Spence, John Ratzenberger Contact Melanie Twitter Instagram Chad Twitter Facebook Letterboxd Cinescope Facebook Twitter Anchor Station Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guest: Melanie Grant.

Does manipulating time on the page make your script feel more cinematic? Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker and founder of TangoEDIT - to discuss manipulation of time... ... on the page! Cinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema's use of time on the page, the more of an "I'm watching a movie" feeling you can generate for the reader. Or, as Chas puts it, writing like you'd edit. We discuss use of white space, super-present tense, decompression & compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar. NB: Stu refers to '-ing' words as 'present participles', John August (cited below) refers to 'present progressive'. Turns out there's a subtle difference between the two - see What Is the Difference between Present Participle and Present Progressive. Grammar esoterica FTW. LINKS John August: On the present tense John August: Present tension Scriptnotes: Ep 52: Grammar, Guns and Butter TVTropes: Decompression in Comics Storyteller's Journal: Decompression: Writing Comics Like Movies Wikipedia: Soviet Montage Theory Wikipedia: The Kuleshov Effect YouTube: The Kuleshov Effect - Original experiment YouTube: Hitchcock on Pure Cinema - The Kuleshov Effect No Film School: How Hitchcock Used Editing to Turn 'Rear Window' into a Masterpiece of Visual Storytelling No Film School: The History of Editing, Eisenstein, & the Soviet Montage Kubrick Corner: Kubrick and the Kuleshov Effect PULP FICTION by Quentin Tarantino & Roger Avary Miramax (YouTube): Mia Overdoses MovieClips (YouTube): A Shot of Adrenaline THE BOURNE IDENTITY by Tony Gilroy MovieClips (YouTube): Bank Evacuation Plan THE BOURNE ULTIMATUM by Tony Gilroy and Scott Z. Burns and George Nolfi, Screen Story by Tony Gilroy MovieClips (YouTube): Ross and Waterloo WOMAN IN BLACK by Jane Goldman YouTube: Woman in Black - scary scene RAIDERS OF THE LOST ARK Screenplay by Lawrence Kasdan, Story by George Lucas YouTube: Indiana Jones Fight Scene #1 (terrible quality) YouTube: Lego Indiana Jones and the Fight on the Flying Wing UP Screenplay by Bob Peterson and Pete Docter, Story by Pete Docter, Bob Peterson and Tom McCarthy YouTube: Married Life - Carl & Eddie THE UNTOUCHABLES by David Mamet MovieClips (YouTube): Knife to a Gun Fight YouTube: The Odessa Steps And Its Descendants ACMI Dreamworks Animation: Interrogating Gingy Temple of the Seven Golden Camels: Presentation Storyboards by Joe Ranft (short article of pitching storyboarded sequences in animation) Goodreads: Cinematic Storytelling by Jennifer Van Sijll Khrob Edmonds' Twitter:  @KhrobEdmonds TangoEdit - Collaborative, Cloud-based Editing: http://www.tangoedit.com TangoEdit Watermark - Watermark video: http://watermark.meteor.com Director's Guild of America: A Tribute to Director Steven Spielberg Draft Zero: DZ-05: Shifting Audience Point-of-View Subscribe to the podcast via iTunes or RSS. Please send feedback to ask at draft-zero.com or via our web form or @draft_zero on twitter. Please considering rating us on iTunes! or sharing us on the Social Medias!

Mousetalgia reports on the Pacific Northwest Mouse Meet, where the team met Bob Gurr, Margaret Kerry, Disney author Jeff Kurtti, and more fascinating Disney insiders at a fan gathering near Seattle, Washington. Kristen beats trivia master Lou Mongello at the Disney Pyramid game, Dave greets Mousetalgia listeners, and Becky talks education with Bob Gurr. Meanwhile, Jeff reports on a John Canemaker event at the Walt Disney Family Museum featuring John's new book about animation legends Joe Grant and Joe Ranft. Plus - help send Jeff to the Archives, Mousetalgia plans a meet-up, and more!

We shed real tears at the loss of Paul Newman, whose legendary looks and powerful screen presence dominated the movies for years and whose charitable work (through the Hole in the Wall camps for seriously ill children and Newman's Own) set an elegant example of how one man can make the world a better place. The easiest way to introduce your kids to one of our greatest movie stars is to show them Butch Cassidy and the Sundance Kid. Starring Newman at the height of his confident power and featuring Robert Redford in his breakout role, the film is a giddy love-poem to the vanishing ways of the West. Cool, even vintage cool, always translates... The kids were immediately grinning along with the comedic relationship between the two stars and can quote the film's most famous lines , "Who ARE those guys?!". Butch Cassidy has plenty of gun play -- the two heroes famously head out to their deaths in the last frame of the picture -- and shows the men with prostitutes and drinking alcohol. But, we think this classic is fine for kids over 10, as long as parents get on the couch and discuss the racier scenes (fast forwarding works, too.) You'll remember the plot turns -- it's just like riding a bicycle, which is exactly what Redford and Newman do with Katherine Ross to the tune of "Raindrops Keep Falling on My Head". (Rated PG for violence, Directed by George Roy Hill). The Sting reunited Redford and Newman as two card-playing con men in a beloved and complicated film which won 7 Academy Awards, including Best Picture. Don't try to explain (or even understand) the plot. Just sit back and enjoy the Joplin rags as you watch these two movie stars win over a new generation. (Rated PG, also directed by George Roy Hill). Paul Newman played the voice of Doc Hudson in Cars, a great film for younger kids. We happen to have covered this film last week - for more, please visit our website. Kids get a charge out of knowing Newman was a race car driver in real life, placing second in Le Mans in 1979. (Rated G, directed by John Lassiter and Joe Ranft). If your kids know Newman only because they've seen his face on Newman's Own popcorn bags and salad dressing bottles, that's okay, too. Be sure to let them know that Newman's Own gives every single penny of profit to charity. For more about Newman, click here to last month's Vanity Fair article - the photos alone are worth five minutes.

Cars (2006) G | 1h 57min | Animation, Family, Sport | 9 June 2006 (USA) A hot-shot race-car named Lightning McQueen gets waylaid in Radiator Springs, where he finds the true meaning of friendship and family. Directors: John Lasseter, Joe Ranft (co-director) Writers: John Lasseter (original story by), Joe Ranft (original story by) Stars: Owen Wilson, Bonnie Hunt, Paul Newman

They were so big that it took more than one continent to contain them. These thirteen things that you probably didn't know about The Rescuers Down Under, should satisfy your cravings for squeaky sleuths until the inevitable live action version comes out. 13. This was Eva Gabor's last film before her death in 1995. A third Rescuers movie was planned for 1996, but after her death, this and all future Rescuers movies were scrapped. 12. In the original Rescuers film, the albatross Orville was voiced by Jim Jordan, who died two years before this film released. The producers didn't want to replace Jordan, so Orville was replaced with the character's brother Wilbur, voiced by John Candy. This is a reference to the Wright brothers, Orville and Wilbur, the inventors and pilots of the first functional airplane. 11. Disney's first animated sequel. This would later carry on with Fantasia 2000 and Winnie the Pooh, whilst the rest of the sequels would be straight to video. 10. This was the first 100% digital feature film ever made. The animation and backgrounds were done traditionally but all of the coloring, many effects, and the final film printing was all done digitally. This was also the first film produced with Disney's Academy Award-winning "CAPS" production system, which cut the production time down by at least six months. 9. On its initial release, this film was preceded by the Mickey Mouse short subject The Prince and the Pauper. Interestingly enough, this was only the second Mickey Mouse short made since the 1950s, with the first being Mickey's Christmas Carol, which was made to accompany the 1983 re-release of The Rescuers. 8. The twisted version of "Home on the Range" that McLeach sings was not performed by George C. Scott. It was instead sung by the voice of Joanna, Frank Welker. 7. This is the least successful film released during the Disney Renaissance between 1989-1999. After it only grossed $27,931,461 from that weekend's box office, Disney executive Jeffrey Katzenberg pulled all television advertisements for the film. Opening on the same weekend as Home Alone, which went on to gross more than ten times as much, did not help its cause. This financial failure discouraged Disney from releasing subsequent non-computer-animated sequels in theaters with very few exceptions. 6. Originally Wilbur's calendar was to have a picture of Bart Simpson from The Simpsons; which can be seen in the original animatic. 5. A lifelong Disney fan, Bruce Broughton jumped at the chance to compose the score and turned down an offer to score Home Alone to work on this film. 4. Is the last Disney Film to be accompanied by a Featurette that's over 20 minutes long, up until Pixar's Coco 27 years later. 3. The first Disney animated feature to use fully-rendered CG backgrounds. 2. Storyboard artist Joe Ranft constantly bolstered the creative morale of his crew, but rarely drew storyboard sequences himself. In addition to this, Ranft entered creative disagreements with the studio management and marketing executives, including one disagreement where he optioned for the casting of an Aboriginal Australian child actor to voice Cody, which was overridden with the decision to cast "a little white blonde kid." 1. Noting the rise of Americans becoming more environmentally conscious, this marks as the studio's first film since Bambi to have an animal rights and environmental message. The Rescuers Down Under (1990) G | 1h 17min | Animation, Adventure, Crime | 16 November 1990 (USA) The R.A.S. agents, Miss Bianca and Bernard, race to Australia to save a little boy and a rare golden eagle from a murderous poacher. Directors: Hendel Butoy, Mike Gabriel Writers: Jim Cox (animation screenplay by), Karey Kirkpatrick (animation screenplay by) Stars: Bob Newhart, Eva Gabor, John Candy

These thirteen things about The Brave Little Toaster my not be the greatest thing since sliced bread, but we guarantee you that they're no burnt offerings. 13. During pre-production, Jon Lovitz was cast in Saturday Night Live. Jerry Rees, who had been writing the character of Radio with Lovitz in mind, pleaded with him to stay in Los Angeles long enough to record his voice tracks. Lovitz agreed, despite protestations from his agency. Rees quickly finished the screenplay and hustled Lovitz into the recording studio, where his entire performance was then captured in one, marathon session. 12. Halfway through filming, Donald Kushner thought that the nightmare scene should be cut from the film; due to the clown being extremely frightening to younger children. He also stated that the junkyard scene "Worthless" should be cut from the film, due to one of the cars driving into a crusher on purpose, using a suicide reference. For unknown reasons, the scenes were left in the film. 11. Was originally in development at Disney, with John Lasseter set to direct. Lasseter planned to use a combination of traditional hand-drawn animation and computer generated imagery for the characters, making it the first animated feature to attempt it. Executives, however, lost interest when the projected costs became too high. Lasseter was fired by Disney and then co-founded Pixar, while the rest of the team took the film outside and managed to produce it independently. The completed film was eventually bought by Disney, shown on the Disney Channel and became a cult hit. 10. In 2006, the official website of Hyperion Pictures posted a image of a possible fourth film in CGI; however, that film was never produced. 9. When Blanky imagines the Master arriving home, there is a brief shot of him floating down the stairs. Behind him on the wall are four paintings, each representing the functions of the other four appliances: a candle, a radio, bread on a stick over a fire, and a broom. 8. The hanging lamp (voiced by Phil Hartman) is based on Peter Lorre in both voice and appearance. The Air Conditioner, also voiced by Hartman, is based on the voice and intense acting style of Jack Nicholson. 7. According to Jerry Rees, very few prints of the film were made for exhibition due to limited funding. The print that Disney ultimately used for home video release is believed by Rees to be one that extensively toured the festival circuit, due to his recollection from each screening of noticing the picture frame "wobble" very early in the film. On the other hand, Prim Leisure's DVD in the UK uses a fresh transfer from an international print. However, the film has yet to receive a High Definition transfer even 30 years later. 6. This film is considered by many to be the prototypical Pixar film. Many of Pixar's most important members, including Joe Ranft and John Lasseter, were involved with The Brave Little Toaster's production. It also contains tropes that have become common in Pixar films: objects with human-like qualities, a long journey that changes the characters, and dark adult themes hidden in the guise of a children's film. Even the famous code A113, which is seen in all of Pixar's films, appears as the Master's apartment number. 5. In the scene where the TV tries to convince the Master to go to Ernie's disposal, there is a shot of the character pulling paper out of a filing cabinet. One of the sheets of paper has a near-topless woman (with stars covering her nipples) on it. 4. Composer David Newman considers his score for the film to be the best of his entire career and has stated that working on it was one of the highlights of his life. 3. In a 2010 interview at Cal State, Northridge,voice actress Deanna Oliver revealed that at her son's deployment ceremony to Afghanistan, some of the soldiers who were fans of the film had brought their toasters with them for her to autograph. 2. The German and Serbian dubbed versions of