Word: cgi
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Dates: during 2000-2009
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...force of nature. By American animation standards, these are plot holes, which the guys at Pixar, Disney or DreamWorks would caulk in an afternoon's brainstorming session. But Miyazaki, though highly esteemed by those bright folks, isn't of their breed. For one thing, he's never gone fully CGI; he sticks with the two-dimensional cartoon style established by Walt Disney, which he, through stubbornness as much as subtlety, has brought to anachronistic perfection. Ponyo is totally handmade. "I think animation is something that needs the pencil, needs man's drawing hand," he told the press at Venice...
...Handmade art is on the wane; machine art is here to stay. The gentle crafts of acting, of sculpting witty dialogue, of a director's subtle sense of where to lead the camera and the audience may be in decline, but the second-unit guys and stuntmen and CGI wizards are at the top of their game. It's not the highest form of the seventh art, but it is one of the original definitions of the medium to make cinema kinetic, to make movies move...
...special-effects-heavy movie, such as Transformers 2, could switch from filming actors to CGI work if a strike occurred. Meanwhile, one studio is planning a pre-emptive "super junket" for the press - the actors for several of its July and August films are doing their publicity now in case a strike prevents them from working later...
...would sound like cult-leader talk from anyone else. But a visitor to Pixar HQ in Emeryville, Calif. (where the upscale cafeteria serves iced tea, not Kool-Aid), finds a workforce that is able to channel a child's sense of play and wild imagination into the business of CGI moviemaking. The trick: never grow up. Lasseter's office shelves groan with hundreds of gewgaws from Pixar films. "I love toys," he says unabashedly. "A lot of animators love toys...
...machine can have life, feelings, personality--is at the heart of many Pixar movies, beginning with Lasseter's '80s shorts Luxo, Jr. (whose lamp became the i in the company's logo), Red's Dream and Tin Toy, all made to demonstrate the possibilities of the infant CGI medium but with the savvy and sentiment of a natural storyteller. Stanton says he has seen Luxo, Jr. dozens of times, yet, "Miraculously, I get caught up every time" in the wordless story of father-and-son lamps. Take that 2-min. experiment from 1986, and WALL?E is the logical romantic...