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...cartoon revival was dramatic on the big screen as well. Disney, which slumped after Walt Disney's death in 1966, regained its touch in the mid-'80s under the urging of Jeffrey Katzenberg, the new studio boss, and Walt's nephew Roy Disney, who godfathered a new generation of animators. The Little Mermaid (1989) not only proved that joy could again be a component of movie craftsmanship, it earned $84 million in its North American theatrical release. Last year's Beauty and the Beast outgrossed Mermaid by $50 million and was the first cartoon feature nominated for an Oscar...

Author: /time Magazine | Title: Aladdin's Magic | 11/9/1992 | See Source »

...difficulty of matching either Disney's financial commitment to animation (about $40 million a feature, compared with $12 million to $20 million for the others) or its artists' mastery of a storytelling form that the studio invented, misplaced and then, spectacularly, rediscovered. Walt meets Mickey; Disney loses touch; Katzenberg & Co. find Aladdin's lamp...

Author: /time Magazine | Title: Aladdin's Magic | 11/9/1992 | See Source »

...AIDS last year) suggested a Disney cartoon musical of the Aladdin story. After he wrote six songs and a story treatment, Musker and Clements (The Adventures of the Great Mouse Detective, The Little Mermaid) took over. But something was wrong with the story. "It just wasn't compelling," Katzenberg says. "Aladdin's journey didn't engage." At first, the hero had a mother with a personality forceful enough to overwhelm the callow hero. But then, every character and event did. "We would look at the story reels," Katzenberg said, "and even Jasmine was blowing him away." A year into development...

Author: /time Magazine | Title: Aladdin's Magic | 11/9/1992 | See Source »

Studio boss Jeffrey Katzenberg has promised his new producers total artistic freedom. In Hollywood, though, where Disney is notorious for tinkering with every aspect of production, cynics wondered when the honeymoon would sour. And what films might the Merchant Ivory team make for Disney? The Importance of Being Ernest Scared Stupid? Three Men and a Portrait of a Lady? Howard the Duck...

Author: /time Magazine | Title: Honey,I Sent the Kids to Oxford | 8/10/1992 | See Source »

...deal made sense from two angles: quality and quantity. Katzenberg, / who thinks today's movies are worse than ever, was truly touched by the art and heart of Howards End. He also knows that Disney, like any big studio, needs product, and Merchant Ivory is the most prolific of boutique moviemakers, producing over 30 films during their 30-year partnership...

Author: /time Magazine | Title: Honey,I Sent the Kids to Oxford | 8/10/1992 | See Source »

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