• 19Eyl

    Salt Lake Tribune – Peter Behn of Park City has been a husband, a dad, a grandpa, a home builder and a real-estate broker. But to some people, he’ll always be best known as someone else – someone he became almost 70 years ago.

    A rabbit.

    Behn was the voice of Thumper in the Disney animated classic, “Bambi.” He recorded his lines for the movie in a Hollywood studio between 1938 and 1940, when he was 4 to 6 years old.

    “It was a fun thing that happened a long time ago,” says Behn, 72, who never appeared in another film and hasn’t sought to capitalize on his modest fame. “But I don’t hide it so much anymore. I’ve found that people get a kick out of it.”

    Thumper, as you may remember, was Bambi’s best pal and a shot of much-needed comic relief before the darker scenes that traumatized young viewers over the final third of the movie: the hound attack, the forest fire and, of course, the death of Bambi’s mother.

    Fun-loving and a bit of a rascal, Thumper got his name from his habit of thumping his hind foot. He had many of the movie’s most memorable lines, including, “Did the young prince fall down?” “If you can’t say somethin’ nice . . . don’t say nuthin’ at all” and my personal favorite, “Whatcha doin’? Hibernatin’?”

    When Disney began casting “Bambi,” its fifth animated feature, Walt Disney insisted on kids supplying voices for the young forest creatures instead of adults mimicking youngsters as Hollywood often does now. Behn (pronounced bane) won an audition through his dad Harry Behn, who co-wrote “Hell’s Angels,” the World War I drama famously directed by Howard Hughes.

    When little Peter showed up at the Disney studios in 1938, he was one of 30 kids trying out to voice animals in the film. It did not go well at first. Rejected for Bambi, Behn then spoke one of Thumper’s lines but failed to impress the casting director, who reportedly said, “Get that kid out of here. He can’t act.” However Ollie Johnston and Frank Thomas, two of the leading animators on “Bambi,” liked what they heard.

    “One of them said, ‘That kid would be perfect for the rabbit,’ ” says Behn, relating the account he heard years later. And so instead of sounding meek and cutesy, Thumper’s voice booms with young Peter’s exuberance.

    “Maybe [my voice] had a personality more than some other kids’, I don’t know. It’s just the way I was in those days – outgoing and not shy,” Behn says. “[Director David Hand] would say a line, and then I’d mimic it back at him. They actually changed part of the story line after they found my voice to make Thumper more of a lead character.”

    A production photo shows Peter in the studio holding a live bunny from a tiny Disney zoo built to help “Bambi” animators draw the animals. Behn recorded his dialogue off and on over the next two years – even after his father, wearying of the Hollywood lifestyle, moved their family to Arizona. For his work on the movie, Behn was paid about $4,000. He received no royalties.

    Behn saw “Bambi” when it came out in 1942, but his performance as Thumper made little impression on him. Instead, he recalls being scared by the fire. His brief acting career over, Behn moved with his family to Connecticut, graduated from Yale, spent two years in the Army and then settled in small-town Vermont. Unlike fellow child actor Donald Dunagan, who was terrified to tell his fellow Marines that he was the voice of Bambi, Behn wasn’t embarrassed by his Thumper past. He just didn’t talk about it.

    “For more than 30 years, nobody around me knew that I’d done this,” says Behn, who didn’t even tell his future wife until after they’d dated for a year. (She was unimpressed.) “Disney didn’t even know where I was.”

    Then, in the 1970s, one of his close friends casually mentioned Behn’s “Bambi” legacy to a newspaper reporter, who wrote a brief article. Other reporters came calling, amused that Thumper had resurfaced in the Vermont town of Warren, as in “rabbit warren.” Fan mail began arriving at the Behns’ home, much of it from Disney collectors seeking Peter’s autograph.

    In recent decades, Behn has appeared at a few Disney events – including an anniversary screening of the movie at Hollywood’s Kodak Theatre – and been interviewed for the two-disc “Bambi” DVD that came out in 2005. Although Behn’s grandkids don’t care much about his Thumper days, some adults beg him to recite lines from the movie. A few even ask him to thump his foot.

    Peter and Pam, his wife of 28 years, moved to Park City in 1997 for its outdoorsy lifestyle. Last year they built a handsome, eco-friendly home on a hillside north of town. It has solar panels, a wind generator and enormous tanks to collect rainwater, but no “Bambi” memorabilia. Behn has some old Disney stuff in a box, but he’s not sure where it is. The amiable retiree would rather ski or mountain bike than make a fuss over his role in one of the most iconic movies of all time.

    “I’m really not looking for a lot of recognition,” says Behn, whose eyes still have a boyish twinkle. “But I don’t mind talking about [Thumper]. I’ve realized that it gives people pleasure.”

  • 17Eyl

    The Sunday Times UK – It is often said that popular cinema was infantilised by the birth of the blockbuster in the mid1970s. But this diagnosis fails to take into account one striking fact: if adult-oriented film-making has suffered from dumbing down, children�s films are more sophisticated and, well, grown-up. Nowhere is this more apparent than in the work of the animation studio Pixar, acquired last year by its former production partner, Walt Disney. From late1980s shorts such as Tin Toy through to its revolutionary feature debut, Toy Story, and the forthcoming Ratatouille, the story of a rat working secretly in a Paris restaurant, Pixar has disproved the adage that you can�t please all the people all the time.

    A Pixar film typically combines the robust storytelling of old-school Disney with the imagination of Japan�s Studio Ghibli (a favourite of Toy Story�s director, John Lasseter). Equally vital is what you might call �edge� � a knowing wit manifested in sly gags or allusions, usually accessible only to older viewers. I remember noticing this first in Toy Story, when Mr Potato Head rearranged his features in a cubist style and announced himself as a Picasso. I laughed because it was a snappy gag; my then toddler laughed because Mr Potato Head looked goofy. By the time we reached the climax, in which disfigured toys round on a bully, in homage to Tod Browning�s Freaks, it was apparent we were enjoying the movie on entirely different levels.

    This approach ensures adults will willingly return to see Pixar films more than once with their offspring, then endure dozens of DVD viewings over the years, safe in the knowledge that the pleasure will not diminish. But this is nothing new. A glance at any Warner Bros cartoon from the 1940s and 1950s throws up all manner of adult humour with in-built longevity. The instances of Bugs Bunny cross-dressing � wearing lingerie in The Wabbit Who Came to Supper, or sporting blonde pigtails as Brünnhilde in What�s Opera, Doc? � could alone form the basis of a doctorate on subversion in mainstream animation, and probably have.

    �Our genre is family film, but we make films we want to see,� says Dylan Brown, supervising animator on Ratatouille. �That�s why it plays so well to adults and children.� Brad Bird, director of Ratatouille and The Incredibles, feels that animation is misrepresented. �The mistake everyone makes is to assume animation is a children�s medium,� he insists. �It�s not. It�s a medium, a method of storytelling. Those Bugs Bunny cartoons were originally made for cinema audiences going to see the latest Bogart; it�s only later that they got picked up for TV. They were never actually made for kids.�

    The spirit of Bugs, and more anarchic fare such as The Adventures of Rocky and Bullwinkle, lives on in the irreverent offerings of the Cartoon Network channel, home to the animator Craig McCracken (The Powerpuff Girls, Foster�s Home for Imaginary Friends). But, for my money, you can�t beat Dexter�s Laboratory or Kim Possible, a high-tech Nancy Drew featuring the villainous Señor Senior Sr, who converses partly in Talking Heads lyrics (�This ain�t no party! This ain�t no disco!�), and his son, Señor Senior Jr, whose insufficiently evil plans include setting up a night-club and overcharging for beverages.

    All of which is splendidly funny, and a direct result not only of Pixar�s features, but of The Simpsons. (Bird worked on the show between 1989 and 1997.) But children�s animation is now tipping so far in favour of adult viewers that it risks neglecting its core audience. In the postToy Story scramble to grab a slice of the Pixar cake, that studio�s pop-culture craziness has become ubiquitous, but its compassion and cast-iron narratives have not. The prime offender is DreamWorks, whose zany features with the PDI computer-animation studio � the Shrek trilogy, Madagascar, Shark Tale � are soulless by comparison with Pixar�s output.

    While Pixar uses pop-culture buffoonery as the icing on the cake, for DreamWorks it is the cake: remove the jibes at Disney in Shrek, or the celebrity jokes in Shark Tale, and there�s not much left, least of all that sense of enchantment that is the lifeblood of fantasy. �Pop-culture references are easy,� sighs Bird, �and they give the audience a cheap thrill. But they don�t last. Take Disney�s Aladdin, which I like � when that came out, and I saw the genie doing an impression of [US chat-show host] Arsenio Hall, I thought, �This is going to mean nothing in 10 years� time.� We try to avoid that. People who know James Bond movies could feel their influence on The Incredibles, but hopefully you didn�t need to be familiar with them to enjoy the film.�

    If all this suggests Pixar is infallible, then last year�s Cars, the first of its films to be less than roadworthy, proved differently. While Ratatouille marks a return to previous exemplary standards, it might be too refined, in essence, to pull off the trick of satisfying all age groups.

    There�s the off-putting title, a plot involving paternity issues and a sinister restaurant critic called Anton Ego (will children even know what a restaurant critic is?), as well as a fairly mature moral: �Not everyone can become a great artist, but a great artist can come from anywhere.�

    Bird agrees it�s a challenge. �If we had market research at Pixar, like the rest of Hollywood, there�s no way Ratatouille would ever have been made. It�s got an almost unpronounceable title, named after a dish that�s obscure to most Americans, and it�s about rats in the kitchen. Oh, and French cooking. Not what you�d call a slam-dunk at the box office. But what governs whether or not something gets made at Pixar is how excited we feel about it.� Brown believes that the picture can engage across the generations: �Young kids who watch Ratatouille won�t understand the speech at the end about great art. But they can still get something out of it.�

    I have the evidence to prove it: my seven-year-old daughter has become obsessed with Remy the rat, even imitating his eating habits. Since seeing the film, she has sampled vegetables she would previously have dismissed out of hand, and is now an ardent fan of ratatouille as well as Ratatouille. In fact, she�ll eat anything if I tell her Remy likes it. Bird assures me that the picture marks the end of Disney�s long association with fast-food chains. �They�ve realised their brand really stands for something,� he enthuses, �and it can only be in their best interest not to align themselves with unhealthy eating. So you won�t be finding Ratatouille merchandise at any fast-food outlets.�

  • 15Eyl

    NY Daily News – The Disney Channel will turn into the Rock Channel for a night.

    Dwayne (The Rock) Johnson will appear on episodes of Disney’s “Cory in the House” and “Hannah Montana,” Sept. 21, just days before his new Disney film, “The Game Plan,” hits theaters.

    Johnson will be first seen at 8 p.m. in a “Cory” cameo in which he’s hired to be a presidential adviser on physical fitness.

    But it’s a comedy, so plot twists end with Johnson having tea with First Daughter Sophie, played by Johnson’s “Game Plan” co-star Madison Pettis.

    At 9, on “Hannah Montana,” Hannah (Miley Cyrus) tries to raise money for a new phone by sending a photo of herself. When that goes wrong, she tries to trade a shot of Johnson to the tabloids instead.

  • 14Eyl

    Hollywood Reporter – Disney Channel has lined up a slew of name talent to voice recurring and guest-starring roles in its new animated series “Phineas and Ferb.”

    Malcolm McDowell, Allison Janney, John O’Hurley, Jane Carr and Barry Bostwick have signed on for recurring roles in the music-heavy, 2-D animated comedy, while Sandra Oh, Steve Zahn, Billy Ray Cyrus, J.K. Simmons, French Stewart, Vicki Lawrence, Tim Curry, Geraldo Rivera, Evander Holyfield and father-and-daughter Joel and Jennifer Grey are among the guest stars who will voice characters.

    “We had a list of people we had worked with in the past or knew personally or just wanted … and we turned it over to the casting department, and they made it happen,” said Jeff “Swampy” Marsh, who created and executive produces the series with Dan Povenmire. Both also voice characters on the series.

    Povenmire noted that there was a “little mini-’Rocky Horror Picture Show’ reunion” with series regular Richard O’Brien, who was in the movie and wrote the “Rocky Horror” play, and his film co-stars Curry and Bostwick.

    Other guest voices include Mark and Brian, Dominic Wood, Jaret Reddick, Lucy Davis, Gwendoline Yeo and Vicki Lewis. The regular voice cast also includes Ashley Tisdale, Caroline Rhea and Kelly Hu, among others.

    The show, which drew 10.8 million viewers to a sneak peak that aired Aug. 17 after the premiere of “High School Musical 2,” centers on the ingenious Phineas Flynn and his resourceful stepbrother Ferb Fletcher, who set out to conquer boredom and make every day of summer vacation count for something.

    “We are in business with top-notch creators who developed the most unconventional conventional series,” said Adam Bonnett, the network’s senior vp original programming. ” ‘Phineas and Ferb’ has the relatable sibling relationships of ‘Even Stevens,’ the smart humor of ‘The Simpsons’ and the clever storytelling of ‘Curb Your Enthusiasm’ plus a dynamic musical number … all in 11 minutes.”

    The next sneak peak airs at 10:45 p.m. Sept. 28, with the official series premiere set for January.

  • 13Eyl

    Broadway World – With its final performance this Sunday, September 9, Disney’s pre-Broadway engagement of The Little Mermaid has sold-out its entire seven week run at the Ellie Caulkins Opera House at the Denver Center for the Performing Arts.

    Featuring the Oscar-winning score and music from the 1989 film, eight-time Academy Award-winner Alan Menken has written eleven new songs with lyricist Glenn Slater that blend with those originally written with Howard Ashman. The book for the new musical is by Pulitzer Prize and Tony Award-winning playwright Doug Wright.

    Led by director Francesca Zambello, The Little Mermaid’s team of artists includes Olivier Award winner Stephen Mear (choreography), George Tsypin (scenic design), Tatiana Noginova (costume design), Tony Award(R) winner Natasha Katz (lighting design), John Shivers (sound design), Angelina Avallone (make-up design) and David Brian Brown (hair design).

    “The Little Mermaid, based on the Disney film and the classic fairy tale by Hans Christian Andersen, takes place in a magical kingdom beneath the sea, where a beautiful young mermaid named Ariel longs to leave her ocean home to live in the world above. But first, she’ll have to defy her father, the king of the sea, escape the clutches of an evil sea witch and convince a prince that she’s the girl with the perfect voice,” explain press notes.

    The pre-Broadway cast features Sierra Boggess as Ariel, Sean Palmer as Prince Eric, Norm Lewis as King Triton, Tituss Burgess as Sebastian, Eddie Korbich as Scuttle, Jonathan Freeman as Grimsby, Derrick Baskin as Jetsam, Tyler Maynard as Flotsam, Cody Hanford and J.J. Singleton as’Flounder, and Sherie Rene Scott as Ursula.

    Broadway previews of The Little Mermaid will begin at the Lunt-Fontanne Theatre (205 West 46th Street) on November 3, 2007, with an official opening on December 6, 2007. Visit www.disneyonbroadway.com for more information.

  • 13Eyl

    New York Post – September 10, 2007 — THE bosses up at ESPN may not realize it, but tonight is one of the biggest in ESPN�s history. Tonight is when ESPN conclusively proves that it gets it or that it just doesn�t care, and whether it considers you a valued and intelligent customer or just another moron to be taken for a ride in Disneyland.

    What ESPN did to Monday Night Football, last season – MNF�s first on ESPN – remains among the most pathetic and widely ridiculed exercises in TV history. ESPN�s plan was to, 1) Exploit the games to sell everything Disney, especially ABC and ESPN goods, and, 2) Entertain those who had no interest in watching the game, thus the telecasts were designed for the approval of one person in every, oh, 10,000.

    ESPN�s plan was so successful that what little remained of ESPN�s premise as the nation�s all-sports network was destroyed. NFL games served only as the lure. ESPN had long been moving in such a direction, but MNF in ESPN�s hands sealed it. Mickey Mouse was working a bait-and-switch, the dirty rat.

    MNF on ESPN, last season, was the worst weekly joke ever played on a national sports audience. Even dopes quickly wised up to the fact that they were the ones being, ahem, Jacked Up! MNF on ESPN was watched in spite of ESPN.

    That�s why tonight�s ESPN MNF doubleheader – another exercise in excess as the games are bound to collide (the second is scheduled to kick at 10:15 and ESPN�s pre-game, we kid you not, begins at 1:30 p.m.) – holds historical significance.

    Throughout the offseason, ESPN folks were heard to issue mild acknowledgements that perhaps ESPN went a bit too far, last season, that abandoning NFL telecasts for lengthy sessions with �Dancing With The Stars� and �Desperate Housewives� performers was, perhaps, a bit much.

    Does that mean ESPN is preparing to remove some, much or all of the insult from its NFL telecasts? Or will ESPN, because it owns exclusive rights to the games – because viewers are stuck, no options – again invite the nation�s ridicule and disgust and consider it a small price to pay in exchange for serving the Disney Fatherland?

    We�ll find out, starting tonight.

  • 13Eyl

    The Hollywood Reporter – TORONTO — Commercial director Joseph Kosinski is in final negotiations to develop and direct “Tron,” described as “the next chapter” of Disney’s 1982 cult classic. Sean Bailey is producing via the Live Planet banner, as is Steven Lisberger, who co-wrote and directed the original film.

    Kosinski, who last month signed on to helm the remake of “Logan’s Run” for Warner Bros. Pictures, will oversee the visual development of the project and have input on the script, which is being written by “Lost” scribes Eddie Kitsis and Adam Horowitz. Story details are being kept secret.

    The original, about a computer programmer thrust into a computer and forced to fight in games he helped create, is remembered for its sci-fi gladiator-style battles and groundbreaking special effects. It was the first movie to use computer-generated images instead of models and other optical effects in conjunction with live action. The arcade game based on the movie was so popular that it earned more than the movie.

    When making the original, in order to convince the studio to take a chance on a first-time director, Lisberger shot a test reel, financed by the studio, involving the deadly Frisbee battle. In a case of historical synchronicity, sources said one of the things Kosinski will be doing is working on a sequence involving the movie’s Light Cycles to work out his vision for the movie. Sources also said visual effects personnel, for many of whom “Tron” was an inspiration to enter the business, already are jockeying for pole position to work on the sequence.

    Brigham Taylor is overseeing for Disney.

    Kosinski is a former architect whose specs caught the attention of director David Fincher, who convinced Kosinski to move to Los Angeles, where he joined the director at commercial house Anonymous Content. Kosinski then moved quickly up the ladder, eventually directing award-winning spots for Nike, Apple and Nintendo that gained notice for their use of computer technology that erased the lines between reality and CGI.

    Kosinski is repped by Endeavor and Michael Sugar and Bard Dorros at Anonymous Content.

  • 13Eyl

    Variety – Walt Disney Television is axing its femme-skewed U.K. daytime web ABC1.

    Company topper John Hardie said the two-year-old net couldn�t generate enough advertising coin because it was available only during the day on Freeview, Blighty�s digital terrestrial platform.

    �While ABC1 successfully found a strong audience in daytime, the inability to get access to a Freeview primetime spectrum together with our focus on the Disney brand led us to the conclusion that it was best to move on,� said Hardie, exec VP and managing director, Walt Disney Television, Europe, Middle East and Africa.

    ABC1 will cease transmission in the next few weeks.

    A Disney spokeswoman said no decision had been made on whether to sell ABC1�s Freeview slot or to launch another service. Space on Freeview is limited, and any sale is likely to prove lucrative.

  • 11Eyl

    Disney Television

    * Mickey Mouse Club Scrapbook by Keith Keller (Grosset & Dunlap, 1975)

    * The Official Mickey Mouse Club Book by Lorraine Santoli (Hyperion, 1995)

    * The Wonderful World of Disney Television by Bill Cotter (Hyperion, 1997)

  • 08Eyl

    Lost to end in 2010 

    Lost Image PromoAnyone who listens to the official Lost Podcast knows that the executive directors have always wanted the show to end on their terms. In fact, they have been lobbying to choose an end date so the show won’t get cut abruptly. Their rationale is simple, the show can’t work for ever. Unlike most dramas where new story lines can constantly be developed, Lost has a beginning, middle and end.

    Now the press is reporting the end date, 2010. This AP article, which probably is running in countless papers across the country, blames the lower ratings this season as the cause for the date. It paints this decision as a last ditch effort to save the show.

    I couldn’t disagree more. To me, as a rabid Lost fan, this is great news. The writers will have parameters to work in that will help reveal certain plot factors throughout the story. They don’t have to fear ABC and its programming decisions. The show is going to jump three fold in quality over the next 3 seasons. I can’t wait to see it.

   

This sites Seo Optimised by Seo Uzmanı