Favorite screenplays: Bambi part 4
Without ceremony or warning, Bambi must leave his mother lost in the snow and go off — somewhere — with his father. Wherever he goes off with his father, whatever he learns there, Disney withholds. The trauma of Bambi’s break with his mother lasts only a moment before it is spring.
Favorite screenplays: Bambi part 3
Summer turns to fall, and fall, for no stated reason, gets glossed over in a rush of colored leaves and turns to winter. Bambi is still tiny, still a child in this world where the rules constantly shift. Every time Bambi thinks he’s got the world figured out, no matter how cautious is his step forward, the world immediately slaps him down, changes the rules, makes him a baby again.
Favorite screenplays: Bambi part 2
Spring turns to summer, and Bambi’s mother takes him to The Meadow. On the way, the still-tiny Bambi informs his mother that they "are not the only deer in the forest." So the first section of Bambi is about Bambi meeting other animals, but the second section is about Bambi meeting his peers — other deer. It’s about how Bambi begins to learn his place in society.
Favorite screenplays: Bambi part 1
We start in a forest. And not just any forest. A dark, gorgeous, ancient-growth, primeval forest. This forest, we can see, has been around forever, untouched. The untouched quality is important: this is not the realm of civilization, this is the realm of nature.
Favorite screenplays: Bambi
I shouldn’t even be talking about Bambi here.
Check this out: Bambi is 70 minutes long, has only one clearly-defined act break, and has a protagonist who is not only passive, but who wants nothing definable or concrete. It has no visible antagonist and absolutely, positively, not the slightest rumor of a plot. It breaks every rule regarding what a compelling cinematic narrative is supposed to be.
Wait a minute.
I just realized, not only does the wicked queen order a huntsman to kill Snow White, she orders him to bring back her heart in a box. Not only does she order the huntsman to bring back Snow White’s heart in a box, she has a special fancy box built for exactly that purpose, on a moment’s notice.
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I’m trying to imagine the conversation between the wicked queen and the guy she hires to construct the box:
One for the books
My son Sam (8) has informed me that I am famous! A movie I co-wrote, Antz, is now in the Guiness Book of World Records, complete with poorly-scanned, over-saturated artwork. It was, apparently, the "first film with digital water." "The first movie to use computer software to simulate the properties of water was Dreamworks’ Antz (USA, 1998)," says the text. "Prior to this, computer-generated fluid effects were drawn, frame by frame, using graphics programs. Realistic water effects require powerful, physics-based computer simulations — at the time Antz was released, the only detailed studies of fluid dynamics were being carried out by scientists at the Los Alamos National Laboratory in New Mexico, USA, researching the flow of particles after a nuclear strike." If those Los Alamos boys had thought to put some talking ants in their studies they might have had something.
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Some thoughts on Fantastic Mr. Fox
Surprise of surprises, it’s turning into a wonderful autumn at the movies. As a rule, I don’t enjoy Wes Anderson’s movies, but I thought Fantastic Mr. Fox was a hoot and a half. And it’s very purely a Wes Anderson movie: a quirky guy set in a neurotic milieu triumphs through his quirkiness, all presented with a dry, self-aware wit. Normally, that kind of thing rubs me the wrong way but this movie bowled me over. Anderson should make more movies about talking animals.
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Venture Bros: Handsome Ransom
What does Hank want? Hank wants a father. Rusty is as close to a biological father as he’ll ever get, but Rusty has no interest in acting the role of father to Hank (Dean, it turns out, is a different story). Hank loves and idolizes Brock, who is now gone, replaced by the obnoxious, overbearing Sgt Hatred. Hank states outright that Hatred is not his father, and he refers to Rusty as a "honky" (which, to be fair, he is).
Time Out London loves me! Oh, wait.
Bala and Z? Or — Marx and Engels??
A well-meaning friend of mine saw today that Antz, a movie I co-wrote a long, long time ago, was recently named the 27th-best animated movie of all time by Time Out London! Yippee! That means I beat The Secret of NIMH! Take that, Porco Rosso! Better luck next time, Persepolis!
Let’s see what this prestigious arbiter of cultural taste has to say about this 27th-best animated movie of all time, a movie into which I, yay verily, poured into which my heart and soul! Hmm…
"…a drab and hamfisted Marxist allegory rammed down your throat…‘Antz’ may boast a great array of vocal talent, but it spends too much time pitching gags over the kiddies’ heads and flogging its adult credentials to ever get down to basics and actually entertain. Cartoons, of course, aren’t just for children, but ‘Antz’, in falling back on kid-friendlyby-the-numbers cartoon plotting, plunges between the stools of satire and slapstick." ALD
"ALD"’s point, of course, is that Antz sucks in comparison to A Bug’s Life, which, well, if that’s his or her opinion, I’ve read harsher. If one hates Antz, why put it on the list at all? Or, if you feel a special need to vent spleen upon a movie that blows it, run a special side-column about animated movies you hate.
But the reason I bring your attention to this folly is the idea that Jeffrey Katzenberg, the producer of Who Framed Roger Rabbit?, The Lion King, Beauty and the Beast and Aladdin, a man who was once described as "Satan" by a friend of mine because of his extreme capitalistic views, would make the first CGI-animated movie from Dreamworks a "hamfisted Marxist allegory." Mr. Katzenberg, let me assure the reader, can be described in many terms, but "Marxist" is not one of them. Not once in any of our story meetings was Mr. Katzenberg ever moved to utter the following: "No, no, no, no, no! Don’t you get it?! It’s a Marxist Allegory, and we’ve got to ram it down the audience’s throat!! After all, we’re a major Hollywood studio!!"