Word: disneyized
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Altman says that beginning last winter, "about the time all the studios saw ((The Player))," he started being courted by the unlikeliest of people. "Even Disney wants to do something with me," he marvels. Of course, being Robert Altman, he only wants to make the not-obviously-commercial films that interest him. For most of the past decade, he tried and failed to develop a script about the Paris haute couture scene, and now "I'll probably get it done next year -- I imagine directly as a result of the heat on The Player." He is negotiating a development deal...
...Disney's French theme park makes few bows to local mores...
...French Intellectual on this week's opening of the $3.9 billion Euro Disney theme park outside Paris, quoted in a special anti-Disney supplement to Le Figaro...
After seeing Walt Disney's Mary Poppins for the first time, every American child between the ages of three and ten wants a nanny. Someone who doesn't need public transportation because she had her umbrella. Someone who hangs out with chimney sweeps. Someone who breaks into song every five minutes. Someone, in other words, who is supercalifragilisticexpialidocious...
Computer graphics as movie art form -- a technical advance that leapfrogs over the wondrous and cumbersome stop-motion puppeteering of such effects geniuses as Willis O'Brien and Ray Harryhausen -- is just a decade old. The Disney film TRON, which took place inside a video game, was the first to explore the new technique. In the Steven Spielberg-produced Young Sherlock Holmes (1985), a computer-generated knight wielding a sword leaped out of a stained-glass window and menaced a priest. Morphing, the big news in special effects, made its debut in Willow (1988): a reclining tiger is smoothly transformed...