Interviewed via Jo Wheny, Millstein talked about storytelling, taking the audience through Disney’s birth more than 90 years ago and its next golden years, through its fall in the 1990s and down to the great fortune of ‘Frozen’ and the recent peak edition of “Big Hero 6. “
“We are encouraged through the inheritance of the animation division, which dates back 90 years,” said Millstein. “We those characters and stories as the beginning point and the finish point. “
But not long ago that it emphasizes the importance of not depending on the formula, and instead of “looking back” to “look impatient. ” “If you reproduce, you can’t finish with anything new and vital,” he said.
Then he drew the decrease in Disney’s years, referring to the era after the king in which Disney “was not so expensive and affectionately remembered as before. “
“If you look at the evolution of any organisation, it naturally has ebbs and flows,” he said.
Disney’s ailing fortunes in the 90s even raised the question at executive level as to its future, with the prospect of closure mooted.
“In success, you lose the spark of what made you successful,” Millstein said. “What has brought him infrequently, there’s an artistic threat, that Pixar had outdone us and made incredibly critical and critical films. “
But Disney’s acquisition of Pixar in 2006 rekindled Disney creatively. “We had at Disney Animation the opportunity to think deeply and work creatively with Pixar to regain our creative focus,” Millstein said. “But we had to figure out what made Disney unique.”
By putting Pixar in the lap, the artistic diversity of Disney revived and the animation department followed a more collaboration technique on the film business scale.
“Prior to John [Lasseter] and Ed [Catmull] coming onboard, every film was managed and produced on its own – we didn’t have a collective idea behind them,” Millstein said.
Disney brought “systemic change”, which meant that all directors, writers, animators and manufacturers “had to have the films of the other. ” Behind the concept, the “Story Trust”, a procedure “how to put a film on an operations table” and open it to the complaint of the organization.
For instance, with ‘Big Hero 6’, five or six screenings into the process, it was decided that the scene introducing the main robot character was not working well. “Late in the game, we said, ‘We have to rethink this.’ We realised it didn’t have the emotional resonance it needed.”
The scene was redrafted and reshot and was deemed much more emotionally engaging.
“We’re going to blow up movies that are too old because of the procedure: our brick wall is the release date,” Millstein said. “We are one hundred percent committed to the quality of our work. “
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