16 примеров, как pixar и disney адаптируют известные мультфильмы под разные страны

Eliminations

The last team to finish the event is eliminated from the competition.

Tepui

Carl’s epic adventure required a destination both fantastic and plausible. When Director Pete Docter happened on a television documentary about the mysterious tepuis of South America, he discovered the perfect world to explore. The massive mile-high plateaus in Venezuela are among the most uncharted places on Earth. Pixar sent a team of artists for a look, and the film’s bizarre rock formations, exotic flora, towering waterfall, and fog-shrouded labyrinth can be traced to tepui landscapes. So fantastic were the images, Docter wondered if the very real Tepuis might look too incredible.

Alternative Versions

One month after the movie’s theatrical release (on December 7, 2001) a version with alternative end credits was brought into theaters. There, the credits are accompanied by a «blooper reel», followed by the musical «Put That Thing Back Where it Came From or So Help Me», performed by the cast. This version can be found as a separate feature on the collector’s Edition DVD and in the credits of the VHS and 4:3 full-screen DVD versions as well as the end credits of the R2-R5 widescreen version for Eastern Europe. As is common for Pixar movies, international versions differ in the contents. Many English inscriptions are either removed or replaced by more generic symbols, especially in Monstropolis and at the Scare-floor. For instance, the «Stalk/Don’t Stalk» traffic light is replaced by a green two-headed monster (for «Stalk») and a forbidding red hand (for «Don’t Stalk»). Additionally, an animation of Sulley telling Boo to go to sleep was changed for Non-English version, as in the US version, he holds up two fingers to illustrate «to» in «You — go — to — sleep». For the title sequence, language versions that do not use the Latin Alphabet replace the letters «W» «A» «L» T» «D» «I» «S» «N» «E» «Y» «P» «I» «C» «T» «U» «R» «E» «S» with eyeballs peeking out the doors. Several European DVDs contain only the «international» version, whereas the US DVDs and US/UK VHS and Blu-ray contain the «US» version. Some of the examples for alternative angles can be seen in the bonus material of the 2-Disc DVD and Blu-ray of the film.

The film was re-released in theaters in 3D on December 19, 2012, and it featured the outtakes in 3D during the credits just like the movie.

There is a parody of Monsters, Inc. in the Cartoon Network show, MAD. It is called «Poké-monsters, Inc.» and involves Ash Ketchum being released in the monster world rather than Boo.

Cast

Music

«Real Gone»

• Written by Sheryl Crow and John Shanks
• Performed by Sheryl Crow
• Produced by John Shanks
• Recorded by Jeff Rothschild
• Mixed by Jeff Rothschild and John Shanks
• Sheryl Crow Appears Courtesy of A&M Records

«Life Is A Highway»

• Written by Thomas Cochrane
• Performed by Rascal Flatts
• Produced by Dann Huff and Rascal Flatts
• Recorded by Justin Niebank and Mark Hagen
• Mixed by Justin Niebank
• Rascal Flatts Appears Courtesy of Lyric Street Records

«Find Yourself»

• Written by Brad Paisley
• Performed by Brad Paisley
• Produced by Frank Rogers
• Recorded by Richard Barrow and Brian David Willis
• Mixed by Justin Niebank
• Brad Paisley Appears Courtesy of Arista Nashville

«Behind The Clouds»

• Written by Brad Paisley and Frank Rogers
• Performed by Brad Paisley
• Produced by Frank Rogers
• Recorded by Richard Barrow and Brian David Willis
• Mixed by Justin Niebank
• Brad Paisley Appears Courtesy of Arista Nashville

«Our Town»

• Written by Randy Newman
• Performed by James Taylor
• Produced by Randy Newman
• Recorded by Frank Wolf and Frank Filipetti
• Mixed by Frank Wolf

«Route 66»

• Written by Bobby Troup
• Performed by John Mayer
• Produced by Steve Jordan

and John Mayer

• Recorded and Mixed by Niko Bolas
• John Mayer Appears Courtesy

of Aware/Columbia Records

«Rust-Eze Polka»

Written, Performed and Produced by

Joey Miskulin

«Rollin’ In The Rearview»

• Written and Produced by Bruno Coon
• Performed by Jabu

«Songbird»

• Written and Performed by Kenny G
• Courtesy of Arista Records
• by Arrangement with SONY BMG MUSIC ENTERTAINMENT

«My Heart Would Know»
Written and Performed by Hank Williams
Courtesy of Mercury Nashville Records
Under License From Universal Music Enterprises

«Elvira»

Written by Dallas Frazier

«Star Spangled Banner»
Adapted and Performed by Jimi Hendrix
Courtesy of MCA Records
Under License From Universal Music Enterprises

«Route 66»

• Written by Bobby Troup
• Performed by Chuck Berry
• Courtesy of MCA Records
• Under License From

Universal Music Enterprises

«Sh-Boom»

• Written by William Edwards, Carl Feaster, Claude Feaster, James Keyes and Floyd McRae
• Performed by The Chords
• Courtesy of Atlantic Recording Corp

by Arrangement With Warner Music Group Film & TV Licensing

Thanks To Everyone At Pixar Who Supported This Production

Administration & Finance

• Shelli Geer
• Yvonne Brazil
• Nancy Case
• Ena Chan Cratsenburg
• Nils L. Erdmann
• Rachel Ergas
• Marty Eshoff
• Tim Glass
• Kentaro Hinoki
• Heather D.C. Jackson
• Mark Joseph
• Lisa McCampbell
• Molly Nealan
• Karen Perry
• Stephanie Pham
• Kristina Gordon Ruud
• Todd Shaiman
• Michelle Simons
• Chris Tachiki
• Wendy Dale Tanzillo
• Shari Villarde
• Deana Walker
• Annette Wang
• Sue Williams
• Kathy Wilt

Creative Services & Marketing

• Mary Murphy Conlin
• Kathleen Holliday
• Angela Bliss
• Tom Sarris
• James Roderick
• Leeann Alameda
• Cherie Hammond
• Desiree Mourad
• Jeff Raymond
• Clay Welch
• Ed Chen
• Jennifer Weinberg
• Steven Argula
• Amanda Sorena
• Erin Dogan
• Hilary Goss
• Debby Coleman

Consumer Products

• Kerry Phelan
• Michele Spane-Rivera
• Krista Sheffler
• Anne Moore
• Ben Butcher
• Emery Low
• Morgan Karadi
• Jonathan Rodriguez
• Kelly Bonbright

Facilities

• Tom Carlisle
• Craig Payne
• Joe Garcia
• Cherise Miller
• Keith Johnson
• Kent Barnes
• Paul Gillis
• Wendy Collins
• Kenny Condit
• Edgar A. Ochoa
• Marco Castellanos
• Brian Torres
• Peter Schreiber
• Kevan Parmelee

Pixar Shorts

Pixar University & Archives

• Randy Nelson
• Christine Freeman
• Elyse Klaidman
• Juliet Greenberg
• Elizabeth Greenberg
• Deborah Sadler
• David R. Haumann
• Samuel Daffner

Safety & Security

• Keith Kops
• Marlon Castro
• Joni Superticioso
• Gerald E. Hackett, III
• Ramon Hannon
• Paul Chideya
• Al Cimino
• Michael Hitson
• John Bennett
• Kristine Javier
• Richard A. Cogger
• Noah Skinner
• Brian Smith

Craft Services By Luxo Cafe

• Osvaldo Tomatis
• Antonio Alarcon
• Marie Nilsson
• Luigi Passalacqua
• Kristen Light
• Olga Velazquez
• Guillermo Segovia
• Candelaria Lozano
• Francisco Figueroa
• Francisco Martinez
• Jose Martinez

Trivia

• Dug is seen in the fourth panel

  In the Monsters, Inc. comic book mini-series, Laugh Factory, when Sid breaks into Boo’s room, Dug can be seen as a plush next to the Pixar ball.

• Dug’s shadow in Ratatouille.

  In Ratatouille, as Remy runs through an apartment building, Dug’s shadow can be seen on a wall. Ratatouille was released two years before Up, but Up was in production.

• Dug has the same yelp as Scud.
• Dug was awarded the Palm Dog Award by the British film critics as the best canine performance at Cannes Film Festival, beating out the fox from Antichrist and the black poodle from Inglourious B******s.
• As seen in the credits, Dug has a mate and several puppies, possibly a spoof of Disney’s One Hundred and One Dalmatians.
• Dug is the only dog owned by Charles Muntz that is not named after a Greek letter. Interestingly enough, there isn’t a dog named Delta seen in the film, so it’s possible that Dug is Delta.

Места

Радиатор-Спрингс

Радиатор-Спрингс — вымышленный городок, находящийся в также вымышленном Карбюраторном округе. Здесь разворачивается основное действиемультфильма «Тачки». Прообразом городка Радиатор-Спрингс, по всей видимости, послужил полузаброшенный городок Пич-Спрингс (Peach Springs), расположенный в 58 километрах к западу от города Селигман в штате Аризона.

Ранние годы

Когда-то, вероятно, сразу после постройки, Радиатор-Спрингс был очень популярен. Находился он на трассе 66. Здесь жили многие тачки. Луиджи при необходимости всегда мог продать им шины, а Мэтр — отбуксировать. Фло угощала посетителей своим топливом, а Рамон делал стильные татуировки… Всякий житель здесь был при своём деле, и город представлял собой «клаксоновый рай», как выразилась Салли.

Заброшенный городок

Через несколько лет после постройки Радиатор-Спрингса в обход города было проложено новое скоростное шоссе номер 40, и тачки стали активно им пользоваться с целью экономии времени. Путь по трассе 66 уже никто не выбирал. Радиатор-Спрингс опустел, многие его постоянные жители уехали, и осталось только 12 тачек: Док Хадсон, Луиджи, Шериф, Салли, Мэтр, Филмор, Сержант, Фло, Рамон, Шланг, Гвидо и Лиззи. Им пришлось перейти на бесплатное предоставление своих услуг, поскольку платные услуги больше некому было предлагать.

Переворот

Так они жили очень долго, пока незнакомый красный автомобиль не выпал из трейлера неподалёку от города и не выехал на эту трассу… Это был Молния Маккуин. Неожиданно ворвавшись в ночной Радиатор-Спрингс, он попытался удрать от преследующего его Шерифа, снес памятник Стэнли (основателю города) и протащил его за собой, разрушив дорогу. Точно так же случайно водрузив памятник на прежнее место, Молния в конце погони отключился. Очнулся он на штраф-стоянке, с блокиратором на левом переднем колесе. Его повели в суд и признали виновным. В наказание он должен был отремонтировать дорогу. Сначала гонщик пытался халтурить, поскольку опаздывал в Калифорнию, и заасфальтировал дорогу наспех. Эту работу не приняли — пришлось Маккуину отскребать свой «труд» и всё делать заново. За это время Молния влюбился в Салли и уже не торопился покинуть Радиатор-Спрингс. Поэтому на этот раз он поработал на славу, и дорога получилась лучше, чем была.

Помимо дороги, Молния сделал для Радиатор-Спрингс много полезного. Он помог каждому в городе. Купил у Луиджи шины. Заправился у Филмора. Испытал прибор ночного видения у Сержанта. Перекрасился у Рамона. Приобрёл сувениры у Лиззи. Починил неоновые вывески и светофор.

Так бы он, наверное, и остался в городе, поскольку его жизненные ценности уже изменились… Однако его обнаружили репортеры, которых к месту событий вызвал по телефону Док. Молния всё-таки уехал на гонку. Тогда Хадсон Хорнет решает последовать за ним (с целью загладить свою вину, в первую очередь перед Салли), взяв с собой почти всех жителей города.

Хотя Молния и не выиграл, но поступил благородно: помог Кингу, которого столкнул с дороги Чико, доехать до финиша. Так восторжествовала идея Дока Хадсона о том, что в жизни есть что-то поглавнее, чем слава и призы.

Радиатор-Спрингс в наши дни

Молния Маккуин прорекламировал город одним своим появлением в нём. Теперь Радиатор-Спрингс так же популярен, как прежде. Молния не забыл отблагодарить своих новых друзей: например, Филмор нашел таких же хиппи, как и он; в магазин Луиджи по рекомендации Маккуина приехал настоящий Феррари, а Мэтр полетал на вертолете Dinoco — крупнейшего спонсора гонок. Сам же Молния приобрёл в городе гараж и устроил в нём свою «штаб-квартиру». Также здесь купил дом и Кинг.

В Радиатор-Спрингсе построен железнодорожный вокзал, строится автостоянка (по рекомендации Шерифа).

Лос-Анджелес мотоспорт автодром

Лос-Анджелес мотоспорт автодром — это стадион, на котором обычно проходят гонки за Кубок Большого Поршня. Автодром был построен в 1946 году, когда гонки стали популярны. Тогда ещё там не продавались сувениры и стояли такие же фонари, как на улице. Зал не освещался совсем, и спасали тачек лишь фары. Но не у всех они были.

Зал вмещает в себя 100 000 тачек, при этом в нём довольно широкие проходы между партерами. Самый знаменитый работник — Брайан, продавец сувениров.

Трейлеры и палатки команд располагаются на травяном покрытии.

Прием

Театральная касса

Критический и общественный отклик

Награды Академии

Filmography

Feature films

On November 22, , Pixar Animation Studios forever impacted the future of film-making, storytelling and the medium of animation with the release of its first feature film Disney·Pixar’s Toy Story. Released nine years after the founding of Pixar, Toy Story exhibited years of creative and technical achievements from a small group of passionate computer scientists and animators, led by present day President Ed Catmull and Chief Creative Officer John Lasseter. The film, marking the birth of the new medium of computer animation, went on to become the highest grossing film of 1995 with $362 million in worldwide box office receipts. Lasseter, director of Toy Story, was honored with a Special Achievement Academy Award for his «inspired leadership of the Pixar Toy Story team resulting in the first feature-length computer animated film.»

Since Toy Story’s release in 1995, Pixar Animation Studios, in partnership with Walt Disney Studios Motion Pictures, has also created and produced A Bug’s Life (1998), Toy Story 2 (1999), Monsters, Inc. (2001), Finding Nemo (2003), The Incredibles (2004), Cars (2006), Ratatouille (2007), WALL•E (2008), Up (2009), Toy Story 3 (2010), Cars 2 (2011), Brave (2012), Monsters University (2013), Inside Out (2015), The Good Dinosaur (2015), Finding Dory (2016), Cars 3 (2017), Coco (2017), Incredibles 2 (2018), Toy Story 4 (2019), Onward (2020), and Soul (2020). The feature films have resulted in an unprecedented streak of both critical and box office successes, and combined to gross more than $6 billion at the worldwide box office. The first 10 feature films, through Up, have garnered 35 Academy Award nominations, nine Oscars, six Golden Globes and numerous other accolades. The company has also been given special thanks in some of Disney’s other non-Pixar based films, such as the 2016 remake of The Jungle Book.

Pixar’s upcoming films are Luca (2021), Turning Red (2022), and Lightyear (2022).

From toys, bugs, monsters, fish, superheroes, and cars to rats, robots, grumpy old men, fearless young girls, human emotions, dinosaurs and skeletons, Pixar’s talented creative and technical teams have given audiences of all ages some of the most beloved characters in film. Pairing these unique, relatable characters with compelling stories and immersive, believable worlds, Pixar continually delivers on its promise to truly entertain audiences all over the world.

Shorts

Pixar Animation Studios has long believed in making short films. In 1986, Pixar’s first-ever short, Luxo, Jr., launched a new direction in animated film-making, using three-dimensional computer animation to tell a story. Since then, nearly every feature film that Pixar has released has included a short beforehand, bringing back a tradition that was once an expected pleasure for film goers.

Pixar’s shorts have helped foster and develop technologies and talent at the studio, but they are mostly made for one simple reason: love of the art form. From Tin Toy‘s (1989) toy-tormenting baby to Partly Cloudy‘s (2009) adorable storks, Pixar’s shorts have delighted audiences and earned critical praise, garnering nine Academy Award nominations and three Best Animated Short Film Academy Awards. Day & Night, the studio’s most recent short, debuted in theaters with Toy Story 3.

Television

Pixar has also released several TV series, including:

• Toy Story Treats
• Buzz Lightyear of Star Command
• Cars Toons
• Toy Story Toons
• Monsters At Work (Upcoming)

19 — «Храбрая сердцем» (2012)

Еще один мультфильм, выпущенный Pixar в так называемое «смутное» время студии —  между вторыми «Тачками» и приквелом «Корпорации монстров». «Храбрая сердцем», сочетающая в себе мотивы сказок братьев Гримм и Ганса Христиана Андерсена, и довольно однозначный феминистический подтекст, словно застряла между консервативным диснеевским творчеством и пиксаровским авангардизмом. Мультику, рассказывающему историю строптивой рыжеволосой принцессы Мериды, не хватило авторской смелости и парадоксальности, которыми так славятся работы Pixar. Из-за этого «Храбрую сердцем» проще всего спутать с классическими диснеевскими мультами про принцесс. В этом нет ничего плохого, но от Pixar мы всегда ждем сюрприза, а тут его не случилось.

Creative Team

Pixar’s creative department is led by Chief Creative Officer John Lasseter, an Academy Award-winning director and animator. Under the guidance of Lasseter, Pixar has built a creative team that includes a department of highly skilled animators, a story department and an art department. This team is responsible for creating, writing, and animating all of Pixar’s films. Pixar strives to hire animators who have superior acting ability — those able to bring characters and inanimate objects to life as though they have their own thought processes. In order to attract and retain quality animators, the company founded Pixar University, which conducts three-month long courses for new and existing animators. Pixar also has a complete production team which gives the company the capability to control all elements of production of its films. Pixar has successfully expanded the production team so projects may be worked on simultaneously.

Reception

Critical Response

Toy Story has received universal critical acclaim since its release in 1995. It holds a rare 100% Certified Fresh rating on review aggregator Rotten Tomatoes and 92/100 on Metacritic. Time named it the 8th best film of 1995. In 2003 it was ranked ‘the greatest animated movie of all time’ by the Online Film Critics Society.

More recently, famous movie director Terry Gilliam praised the film and said it’s «a work of genius. It got people to understand what toys are about. They’re true to their own character. And that’s just brilliant. It’s got a shot that’s always stuck with me when Buzz Lightyear discovers he’s a toy. He’s sitting on this landing at the top of the staircase and the camera pulls back and he’s this tiny little figure. He was this guy with a massive ego two seconds before… and it’s stunning. I’d put that as one of my top ten films, period.»

Box Office Results

Toy Story was the number one movie of the year in 1995 (beating Batman Forever and Apollo 13), according to Box Office Mojo. It opened the day before Thanksgiving and made almost $10 million on Wednesday and Thursday, plus another $29 million over the weekend. It was the number one film for its first 3 weekends, and then again the last weekend of December. During its theatrical run, it grossed $191.8 million domestically and $362 million worldwide. At the time it was the third highest-grossing animated film, behind The Lion King and Aladdin.

Plot

Set in a humanless world of elves, trolls, sprites, and «pretty much anything that would be on the side of a van in the ’70s«, the movie follows two teenage brothers whose father died when they were young; now, they’re «on a quest through this mundane, modern fantasy world to somehow find a way to spend one last magical day with their father.»

Dan Scanlon also described more details about the «modern suburban fantasy world» the film inhabits. It’s a world where magic existed long ago, but because of difficulty and complication, people simply lost interest and instead created machines to do both the magic and the mundane. «The world is basically a mix of the fantastic and the everyday«, Scanlon explained as concept art showed slices of recognizable suburbia, albeit with goblins and creatures. «There are mushroom houses that line the streets with satellite dishes sticking out the top of them and a minivan parked in front of each one. There are no humans… but there are winged unicorns everywhere. They’re basically rodents, possums eating all the trash out of your bins.»

Score Recorded At Sony Pictures Scoring Stage & Signet Sound Studios

Orchestra

Color Timer

Terry Claborn

Negative Cutting By

Buena Vista Negative Cutting

Reception

Box office results

In its opening weekend, Cars grossed $60.1 million, lower than previous Pixar films such as The Incredibles and Finding Nemo. In the United States, the film held onto the #1 spot for two weeks before being surpassed by Click and then by Superman Returns the following weekend. It went on to gross $461,981,522 worldwide (ranking #6 in 2006 films) and $244,082,982 in the U.S. (the third highest-grossing film of 2006 in the country, behind Pirates of the Caribbean: Dead Man’s Chest and Night at the Museum). It was the highest-grossing animated film of 2006 in the U.S., but lost to Ice Age: The Meltdown in worldwide totals.

Critical reception

Cars received positive reviews, and has 75% on the Tomato meter. Critics stated that Cars did not do as well critically as the other films. «The movie is great to look at and a lot of fun«, says critic Roger Ebert, «but somehow lacks the extra push of the other Pixar films.» Reeling Reviews wrote that the film’s only real drawback is its failure to inspire awe with its visuals and to thoroughly transport with its storytelling.

Production

The idea for Monsters, Inc. started with a lunch in . At this lunch was John Lasseter, Pete Docter, Andrew Stanton, and Joe Ranft. One of the ideas that came out of the brainstorming session was a movie about monsters. Docter started working on the script in and with Harley Jessup, Jill Culton, and Jeff Pidgeon completed a draft treatment in February, 1997. The initial story did not have the character of Mike Wazowski. He wasn’t added until a story review meeting between Pixar and Disney in April of 1998. The movie went into production in .

Particularly challenging in the production process was the rendering and animation of Sulley’s hair. Each of the more than 2 million hairs on his body was required to move independently, collect snow particulates, react to wind, bounce around when he moved, and cast shadows on the other hairs. Obviously, this would be impossible for animators to do efficiently by hand, so Pixar set up a new simulation department that would develop computer programs to automatically mimic real-world physics in animation. It took a long time to make these tools reliable, and for the longest time any degree of realism in Sulley’s hair was not possible. They are still far from easy to use. One exceptionally bad early test (an animation of Sulley clumsily trying to navigating an obstacle course) resulted in the hairs stretching, going through objects, sticking to the floor, and glitching out. These tools were eventually brought to the point of being workable (if imperfect), and were adapted to work on Boo’s clothing. Pixar continues to add capabilities to these tools to the present day.

The Himalayan scenes were also particularly tricky. The Abominable Snowman’s cave didn’t have a clearly defined ceiling, floor, and set of walls, so the lighting team had considerable difficulty getting the shadows in this scene to look right. Sulley’s sled ride and subsequent wipeout were probably the most difficult scenes in the entire movie, requiring the hair simulators to be finished and perfected before the snow particles could be brought into the mix.

The release of Monsters, Inc. was almost delayed by a lawsuit brought by Lori Madrid against Pixar, Disney and Chronicle Books. The suit alleged the defendants had stolen her story There’s a Boy in My Closet, which she had mailed out in October 1999 to a number of publishers, including Chronicle Books. The plaintiffs had requested a temporary injunction against the release of the film. Judge Clarence Brimmer, Jr. had a hearing on the injunction on November 1, 2001, the day before the movie was to be released. He judged against the injunction, and the entire suit was thrown out on June, 26, 2002.

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