...Do you have some central point
to make besides the obvious Draggie-girl "Nobody should EVER fire Saint Christopher!", and digging up the Taggie-spinners from '06 to "prove" it?
My favorite Lasseter quote also came from Steve Hulett via the Blog, around the early studio work for Gnomeo & Juliet:
http://animationguildblog.blogspot.com/ ... uliet.html
Insiders say a well-known Pixar executive asked last week at a meeting: "Why are we making this?"
After a long silence (SFX: crickets), the exec said "Well, we're not." .
There's a reason morale was low between '05-'10, and not just because they had to cancel that CGI redo of Peter Pan that Eisner wanted to make.
Some fans born at the wrong time think that Lilo & Stitch is the greatest animated film since The Lion King (I'm being ironic about both, can you tell?), and some, like me, look at it and say "...Why did they make it?"
Under Stainton & Eisner after the 90's Renaissance burned out, there was NO studio identity to the productions. None. One half of the production let animators pursue pointless pet projects while reigning them in at the same time, the other was too busy trying to "reinvent" the studio into something that passively-aggresively hated and mocked itself, to apologize for the PC dogpiling they were taking from a population still in love with a big green ogre who hated princesses. It was no longer a matter of "Waking Sleeping Beauty", it was a matter of Waking Ariel.
(I remember when the Florida studio used to give animation tours, and when the guide said that the animators were in '03 production on Brother Bear, and believed lil' Koda would be, quote, "The next Great Disney Character", at that moment, you could actually feel
everyone on the tour thinking the same awkward "...Dear lord, he's actually serious.
Should we say anything, or just smile?
What Lasseter brought, with a whip or without it, was a sense of story and emotion to the productions, and Chicken Little was just about the biggest edge-of-the-cliff sign that that was what the productions were sorely lacking--If he installed a little too much "discipline", well, just take a look at what a story looks like when you write one without it. If Pixar taught Lasseter the strategy of how to get the team to write a coherent, sympathetic story "or else", well, you got a better one?
Stainton and Lasseter were both ready to give up on Meet the Robinsons, but watch it today if you want to understand 00's Disney: Before & After.