UnReview: Meet the Robinsons, Disney Animation’s Return to Form

If you’ve been waiting since Lilo and Stitch or TheLion King for a Disney-animated movie to come along that you, your family, and friends could build the same kind of heart warming experiences around that you had as a kid, your wait is over.

Walt Disney Pictures’ Meet the Robinsons is the best animated film to come out of the Mouse House since that studio’s fabled second golden age of animation in the early ‘90s.

Meet the Robinsons is everything you use to expect of a Disney-animated film and more. It is exactly what a G-rated (General audience) film should be—entertaining and appealing for everyone from 5 to 95.

Although you’d probably never figure it out from the movie’s rather unimpressive trailer, Meet the Robinsons is the story of Lewis (Daniel Hansen and Jordan Fry), an extremely bright, inventive young orphan who longs nearly as much for a family of his own as he does to see his birth mother once again.

One day Lewis, who already has several clever inventions to his credit, comes to the realization that he already knows what his real mother looks like. He’s seen her, although at the time he was an infant staring into his mother’s face as she left him one rainy night, on the steps of an orphanage. All he has to do is to invent something that will help him go back in time and retrieve the memory of that night.

With a little help from roommate Mike “Goob” Ygoobian (Matthew Josten) and the support of his science teacher Mr. Willerstein (Tom Kenny), Lewis sets out to perfect the ‘Memory Scanner’. Posing as a Time Travel Agent, an energetic young lad named Wilbur Robinson (Wesley Singerman) approaches Lewis before he can even demonstrate his device. Robinson warns Lewis to be on the lookout for a mysterious character called Bowler Hat Guy (Steve Anderson).

Bowler Hat Guy, and his hench-hat Doris (Ethan Sandler), have been watching Lewis, and first manage to sabotage the Memory Scanner and then, after its sad and dejected inventor abandons it, steal the device for their own nefarious purposes.

Frustrated in his effort to keep Bowler Hat Guy away from Lewis and his invention, Wilbur soon realizes the only way to solve his problem is to help Lewis with his. Before Lewis can say yesterday, he’s whisked off to the future on an incredible time-traveling adventure.

Lewis’ journey takes him to a place even he couldn’t have imagined—a place where the impossible no longer exists: the future. There, Lewis encounters a family unlike any other—the sublimely funny and futuristic Robinsons—who will help him with some of the most important discoveries of his young life, not the least of which is his own limitless potential.

Not unlike Disneyland’s famous Space Mountain, which makes a brief cameo appearance in Future City, Meet the Robinsons is also something of a rollercoaster ride. In the words of a friend, “it’s sweet, funny, and quirky,” all at the same time. The characters and settings, inspired by the William Joyce children’s book A Day with Wilbur Robinson, are beautifully detailed and draw the audience—no pun intended—into the story. This is especially true of the Disney Digital 3D experience, which is among the clearest and brightest 3D yet.

Ultimately, it’s the story of Lewis’ journey of discovery, hilariously and touchingly told, in a series of unfolding revels that makes Meet the Robinsons truly worthy of being called a new Disney Classic. It is a ‘message movie’ and director Stephen Anderson and his team of writers, artists, and animators deliver that message without over sentimentalizing it one bit.

Like a lot of films, Meet the Robinsons drags slightly in the second act and the transition to act three is bumpy. After its dark beginning, however, the emotional payoff of the third act is so uplifting and genuine it had grown men weeping—and that was at a critics screening!

Undoubtedly, some of that roughness had to do with the changes in creative control and management that took place last year at Disney animation. Earlier this month at Disney’s annual meeting, John Lasseter, the creative leader of Walt Disney Animation Studios, talked about meeting Steve Anderson and seeing Meet the Robinsons for the first time. Even though the film was over two-thirds of the way through production, Lasseter urged Anderson, an orphan himself, to go back and personalize Lewis’ story with his own.

The notes Anderson received from Lasseter, Disney/Pixar president Ed Catmull, and some of the creative folks at Pixar Animation Studio resulted in pushing back the release of the film from the 2006 fall holiday season to spring of 2007, and many hours of overtime. It was money well spent.

Meet the Robinsons is not a musical like The Lion King; however, like Disney’s Tarzan, it has some wonderful songs written for the film by Rufus Wainwright, and Rob Thomas. Additionally, British singer, songwriter Jamie Cullum does a bang up job as the singing voice of Frankie the Frog, a big band crooner and the Danny Elfman soundtrack is as clear and bright as the images on the screen.

Although the voice cast includes fine performances by Angela Bassett, as Mildred, and Tom Selleck, in a small but pivotal role, Robinsons breaks with the current trend of casting “bankable big-name” film and television stars in the leading roles. Wesley Singerman gives voice to a 13-year-old Wilbur Robinson that everyone from Baby Boomers to Gen Y’ers can identify with. Equally up to the task are Daniel Hansen and Jordan Fry, who voice Lewis across the full spectrum of childhood emotion. Veteran performers Tom Kenny, Laurie Metcalf, and Adam West round out the superb cast.

Meet the Robinsons is the first Disney CG-animated film designed specifically to be exhibited in digital 3D. It will be shown in Disney Digital 3D on over 600 screens nationwide, making it possible for audiences in virtually every major city in the country to see it in 3D.

Whether you seek out a digital 3D screening or just visit your neighborhood multiplex, you should go see Meet the Robinsons as soon as possible, and start your next round of memorable Disney-animated movie-going experiences!

First Black Princess in Disney Animation

The Walt Disney Co. has started production on an animated musical fairy tale called “The Frog Princess,” which will be set in New Orleans and feature the Walt Disney Studio’s first black princess.

The company unveiled the plans Thursday at its annual shareholders’ meeting in New Orleans.

John Lasseter, chief creative officer for Disney and the Disney-owned unit Pixar Animation Studios, said the movie would return to the classic hand-drawn animation process, instead of using computer animation that has become the industry standard. He called the film “an American fairy tale.”

“The film’s New Orleans setting and strong princess character give the film lots of excitement and texture,” Walt Disney Studios Chairman Dick Cook said.

The movie will be scored by Randy Newman, who also wrote the music for Disney’s “Toy Story,” “A Bug’s Life,” “Toy Story 2,” “Monsters, Inc.” and “Cars.”

Newman performed a song from the score for the shareholders.

John Musker and Ron Clements, who co-directed “The Little Mermaid,” “Aladdin” and “Hercules” will co-direct the movie. The pair also wrote the story for the film.

Disney said its new animated princess – Maddy – will be added to its collection of animated princesses used at the company’s theme parks and on consumer products.

The film is set for release in 2009.

The past is Disney's future

The Walt Disney Studios will continue its fairy tale legacy in animation by taking moviegoers on an all-new "once upon a time" musical adventure with its 2009 release of "The Frog Princess," it was announced March 8 by Dick Cook, chairman of The Walt Disney Studios, and John Lasseter, chief creative officer for Disney and Pixar Animation Studios.

A musical set in the legendary birthplace of jazz – New Orleans -- "The Frog Princess" will introduce the newest Disney princess, Maddy, a young African-American girl living amid the charming elegance and grandeur of the fabled French Quarter. From the heart of Louisiana's mystical bayous and the banks of the mighty Mississippi comes an unforgettable tale of love, enchantment and discovery with a soulful singing crocodile, voodoo spells and Cajun charm at every turn.

"The Frog Princess" is based on an original story written by Disney's acclaimed filmmaking duo John Musker & Ron Clements ("The Little Mermaid," "Aladdin," "Hercules"), who will also direct. Oscar®-winning songwriter/composer and New Orleans native Randy Newman ("Toy Story," "A Bug's Life," "Toy Story 2," "Monsters, Inc." and "Cars") will write songs and the score for this project. Peter Del Vecho, a 12-year Disney animation veteran, will produce.

Commenting on the announcement from The Walt Disney Company's 2007 Annual Meeting of shareholders, Cook said, "We're pleased to be here in the heart of New Orleans to announce 'The Frog Princess,' a great story with all the ingredients that go into making an extraordinary motion picture experience.

Like many of Disney's most popular fairy tales, it has elements of magic, fantasy, adventure, heart, humor, and music. The film's New Orleans setting and strong princess character give the film lots of excitement and texture. We're also thrilled to have John Musker, Ron Clements and Randy Newman lending their talents and creative energies to this project. John and Ron helped to usher in Disney's second golden age of animation nearly two decades ago with 'The Little Mermaid,' and are on track to create the Studio's next great fairy tale adventure."

John Lasseter added, "Aside from being longtime friends and colleagues, John and Ron are two of the most influential and imaginative filmmakers in the animation medium, and I am so excited to be working with them in bringing their creative vision for 'The Frog Princess' to the big screen. They've come up with an original story that is deeply rooted in the fairy tale tradition, and it's filled with great humor, emotion, and musical moments. Randy Newman brings fun and excitement to every project, and I couldn't think of a better choice to deliver some wonderful New Orleans style music."

John Musker & Ron Clements have directed and produced five feature films for Disney including "The Little Mermaid" and "Aladdin." Additionally they received story and/or screenplay credits as well. Musker began his career at Disney in 1977, after studying character animation at California Institute of the Arts (CalArts). He started as an assistant animator and went on to animate on "The Fox and the Hound."

Clements started at Disney in the Talent Development Program, and went on to serve a two-year apprenticeship under Disney animation legend, Frank Thomas. He moved from in-betweener to assistant to animator/storyman with credits on such films as "Winnie the Pooh and Tigger Too," "The Rescuers," "Pete's Dragon," "The Fox and the Hound," and "The Black Cauldron."

Randy Newman is a 17-time Oscar® nominee and winner (in 2002) for his song, "If I Didn't Have You," from the Disney/Pixar film, "Monsters, Inc." Among his many achievements, he has contributed songs and musical scores for such other Pixar animated features as "Toy Story," "A Bug's Life," "Toy Story 2," "Monsters, Inc." and "Cars." Newman's impressive list of film credits also includes scores for "Ragtime," "The Natural," "Parenthood," "Awakenings," and "Pleasantville." He was inducted into the Songwriters Hall of Fame in 2002, and his other career milestones include three Grammy Awards, an Emmy, the first Henry Mancini Award for Lifetime Achievement, and an Annie Award.

Peter Del Vecho began his association with Walt Disney Feature Animation in 1995, following a 15-year stint working as a stage manager, production manager and associate producer in the world of live theater. From 1986-95, he worked for the renowned Guthrie Theater in Minneapolis, leaving there as associate producer. At Disney, Del Vecho was the production manager on "Hercules" and associate producer on "Chicken Little," among other projects. A native of Boston, he received a degree in Theatre Arts from Boston University.

Maddy, the animated heroine in "The Frog Princess," will also join The Walt Disney Company's venerable court of beloved Disney princesses as they continue to enjoy the royal treatment at Disney's theme parks, consumer products, publishing, Internet and other businesses worldwide.

Animation fans don't have to wait to 2009 to satisy their animation cravings, they will be pleased with genre fare this year. Disney's Meet the Robinsons, is due out Mar. 30, DreamWorks Animation's Shrek The Third lumbers into theaters May 18 and Bee Movie is on tap for Nov. 2, and Pixar's Ratatouille is slated for June 28.

Disney classics

Taking the "cradle-to-the-grave" strategy literally, Disney has introduced a whole new generation to Mickey and its other core characters (Donald Duck, Pluto, Goofy, et. al) via the toddler-targeted Disney Channel skein "Mickey Mouse Clubhouse."

It's a money move on Disney's part: The munchkins who fall in love with Mickey today will be the kids who clamor to visit Disneyland tomorrow. In turn, those tweens will become the teens who wear Mickey-branded merchandise and then adults who spawn Mickey-loving kids of their own.

"No question this is the most beloved and important character to the Disney company," says Disney Channel Worldwide entertainment prexy Gary Marsh. "Certainly, the conversation internally has been trying to, if not reinvent, then reintroduce Mickey to this new generation. Our goal is, in success, that this character will be exposed to 500 million people."

Mickey's rebirth as a character for the under-5 set is paying off: Earlier this month, "Mickey Mouse Clubhouse" posted its best ratings yet among kids 2-5, improving the channel's "Playhouse Disney" block by almost 40% vs. last year. Show regularly finishes in the top 10 basic cable rankings with the high-chair demo.

But even more key to the Disney empire, the show has further awakened what had been a stagnant character. Beyond his star turns in the first half of the 20th century, Mickey was known more from his role as a Disney mascot (seen in the company's logos and merchandising) than from any recent entertainment.

While the old Warner Bros. cartoons were saturated on TV for decades, the Mickey shorts from the 1940s and 1950s weren't as widely seen through the years. By the time both Mickey and Bugs Bunny appeared in 1989's "Who Framed Roger Rabbit," it was clear Warner Bros.' strategy had paid off: Bugs Bunny still came off as a contemporary character, while Mickey seemed out of place.

Behind the scenes, Disney execs were battling over the soul of Mickey. Execs including Michael Eisner and Jeffrey Katzenberg were anxious to push Mickey, Minnie, Goofy, Donald, Daisy and Pluto back out into the world. On the other hand, traditionalists (rumored to include Roy Disney) felt the characters needed to be protected -- and the risk of injuring the core franchise was too great.

Many Disney execs were especially opposed to bringing Mickey and friends to television, which was seen as a step below theatrical animation.

"There was a constant schizophrenic discussion taking place within the company," says one former Disney animator. "Everyone agreed on one level that counting on people to know Mickey from cartoons from the 1950s was impossible... There was a push, 'We gotta do something with Mickey.' But then there was a pull, 'Yeah, but we can't risk damaging him with second-class material.' "

Slowly, the barriers began to fall -- first with ancillary characters on shows like "Duck Tales" and "Chip and Dale Rescue Rangers." Then Goofy was given a showcase in "Goof Troop."

At that point, it became OK to dust off the core Disney six. First came 1999's "Mickey Mouse Works," which featured new shorts in the classic Mickey cartoon style. That was followed in 2001 with "House of Mouse," which starred Mickey as a nightclub owner (wrapped around bits from "Mouse Works" and classic Disney cartoons).

But "Mickey Mouse Clubhouse" reps the most ambitious attempt yet to bring the classic characters to TV. It's also the first time Mickey and company have been rendered in computer-generated animation (handled by a firm in India).

"Mickey Mouse Clubhouse" has a wider reach than any other Mickey-themed program, airing on 25 Disney Channels and eight Playhouse Disney channels around the globe. Show is also distributed to territories where Disney doesn't run its own kid-centric channel.

Because this is corporate icon Mickey, Marsh says extra care was put into the show's development. The company also conducted massive amounts of research with caregivers and their young children.

"There's no question there's a focus and a care with Mickey that is probably greater than any other character," he says. "It's the most beloved and important character to the Disney company."

Mickey and pals talk to the camera and engage viewers in helping him solve a problem (by counting, figuring out which gadget to use or other interactive games). Many episodes are based on nursery rhymes, such as the seg where Daisy needs help in finding her wayward sheep.

The new version also strips away much of the past history of Mickey and friends (Goofy, for example, is no longer a father), keeping the characters straightforward and uncomplicated.

The success of "Mickey Mouse Clubhouse" has already spurred Disney to dust off another franchise, Winnie the Pooh, and adapt it for the tyke aud. Geared toward introducing a new generation to the bear and his pals in the Hundred Acre Wood, "My Friends Tigger & Pooh" will also be produced with CG animation. It launches in May.

"Clubhouse," which bowed last year, comes as programming blocks geared toward the diaper- and potty-training set have become the biggest growth story in kids TV. The genre has created megastars out of characters such as "Dora the Explorer," "The Wiggles" and Disney's "Little Einsteins."

But compared to such properties, programs featuring classic characters like Mickey have a quick leg up at launch.

Jessi Dunne, VP of global toys at Disney, notes that there's an immediate windfall when it comes to merchandising familiar brands. Toys can go on store shelves a few months after a show premieres, rather than the customary 18- to 24-month delay that's usually enforced to guard against shipping toys for a new show that flops.

"With 'Little Einsteins,' even as well as it's done in the ratings, we have to let kids sit with the characters and buy into the songs and everything else," Dunne says. "But everyone knows Pooh, everyone knows Tigger. We have an advantage that way."

Marsh says development comes first and merchandising later -- noting that parents still control the TV when it comes to the under-5 crowd, and they demand some educational and learning curriculum with the shows.

But once they feel comfortable with the program, he adds, parents have been quick to embrace the business portion of preschool fare.

"Parents want to buy toys and merchandise that help interact with their children," says Marsh.

Parents will also watch characters they're familiar with -- and that's where Mickey and Winnie again have an advantage.

"If we can create images and stories that kids today will remember the same way, then we will have done our job very well," Marsh says.

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