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...Washington Post, columnist Robert J. Samuelson has suggested that Michael Eisner, the CEO of the Walt Disney Co., pay Michael Ovitz's severance package out of his own pocket. The $90 million Ovitz is due to receive for flopping as an executive, Samuelson says, has become a "public relations calamity" that Eisner could end by simply picking up the check...

Author: /time Magazine | Title: DEEP POCKET, SHORT REACH | 10/20/2005 | See Source »

...years later, when Disney was involved in a controversial effort to build a history theme park near the Civil War battlefields of northern Virginia, the company wanted the state to pitch in $132 million for the necessary road improvements--a demand that was contributing to what was steadily becoming a genuine public relations calamity. By that time, Eisner was making $202 million a year, so I suggested publicly that he pay for the roads himself. That would still leave him an annual take of $70 million. We knew he could live on that, because...

Author: /time Magazine | Title: DEEP POCKET, SHORT REACH | 10/20/2005 | See Source »

...theory, I suppose, the Disney board could just subtract $90 million from Eisner's paycheck, with the notation "turkey hiring." Never happen. That would be a negabonus...

Author: /time Magazine | Title: DEEP POCKET, SHORT REACH | 10/20/2005 | See Source »

...Postino from Italy and Like Water for Chocolate from Mexico--are nice romantic dramas about love and loss. They were brilliantly promoted by Miramax. But they didn't extend film language as Fellini's or Godard's films did; instead, they gave audiences that warm-puppy feeling. Any Disney movie can do that. So can many of the American independent films that have filled the old foreign-language slots at art houses. And you don't have to read subtitles...

Author: /time Magazine | Title: CINEMA: FELLINI GO HOME! | 10/20/2005 | See Source »

Your article on the switch from hand-drawn to computer-generated [CG] animation at Disney [Sept. 26] mentioned me and my colleague Andreas Deja as "respected animators ... [who] resisted making the switch to CG." I won't speak for Andreas, but in my case, that statement just isn't true. First, I'm not a Disney employee, even though I continue to work for the company on numerous projects. They include a test with Roger Rabbit animated in CG to prove we could do a squashy-stretchy character, a stereoscopic CG version of Aladdin's genie and, most recently...

Author: /time Magazine | Title: Letters: Oct. 24, 2005 | 10/16/2005 | See Source »

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