3D and special effects, and retreads. The death of movies.
You might as well just put on headphones and a visor and inject yourself with thorazine…
This last paragraph makes no sense. It’s word jumble.
Animation wizard Henry Selick has seen the remastered “Coraline.” And he loves it.
“It’s gorgeous. I saw it about a week and a half ago and it very much represents the original dream of how to use the 3D really well,” Selick said during a surprise appearance at Variety‘s “Laika Celebrates Coraline’s 15th Anniversary” panel at Annecy Animation Festival. “It took the original concept to a greater height.”
[…]
“I’ve gotten used to seeing ‘Coraline’ in 2D over the years, but nothing looks better in 3D than stop-motion,” Selick said, looking back at his years at Laika. “I was never more spoiled. I got support there like nobody’s business. Nobody was saying: ‘No, we don’t need that, we don’t believe in that.’ It was a place that would take crazy risks. I asked Phil Knight why he was getting into animation and he said, ‘Well, I’ve got a son [Laika’s president and CEO Travis Knight] who’s a genius.’ I said, ‘What do you want out of it?’ He replied, ‘I want to win.’ That’s what I went into and that’s what I found.”
It’s funny what’s considered artistic risk now, if you can even figure out what it is they’re saying. What was there to question? The more spectacle the better — this kind of commercial cannibalization of an old media product makes perfect business sense. And isn’t that what it’s all about?
This is also a big cheat now too — this isn’t the same handmade stop-motion puppetry thing it used to be. There’s a lot of computer enhancement and 3D printing and CGI going on. You might as well just stick to 3D animation.
You want to know a secret?
We were quite familiar with that late-70s Cal Arts crowd, especially the Burbank version (which is where they all congregated), and each one of them was a pretty goofy and proudly subliterate lightweight.
The things that gave them delight and satisfaction — it was a depressing thing to see if you at all cared about stuff and were trying to make an effort. There was also a vague anti-girl thing about them which was equally uncomfortable to be around. Familiarity with women would have definitely given these guys a better critical sense of the world. And better ideas.
Over the years you know how many young female Disney employees we caught crying to themselves after work in the neighborhood, or at school during night classes? You know why that was?
If so then you know what we’re talking about.
It’s so depressing. The 1910s and the 1920s had the Modernists and the Bloomsbury Group for starters. The Harlem Renaissance too (a white term of course but it still meant something).
Look what we got.
Burbank, California 