By MCN Editor editor@moviecitynews.com

Disney Announces 3D Foursome

FOR IMMEDIATE RELEASE

DISNEY AND DISNEY•PIXAR FAVORITES POISED TO RETURN TO
THEATERS IN 3D
‘Beauty and the Beast,’ ‘Finding Nemo,’ ‘Monsters, Inc.’ and ‘The Little Mermaid’ Will Make 3D Theatrical Debut in 2012 and 2013
BURBANK, Calif. – October 4, 2011 – On the heels of the phenomenal success of The Lion King 3D – which will cross the $80 million mark at the domestic box office today – The Walt Disney Studios has announced limited theatrical engagements for four of its classic films for the first time in 3D. The following titles from Walt Disney and Pixar Animation Studios will be released in 2012 and 2013:
·         Beauty and the Beast – January 13, 2012
·         Disney•Pixar’s Finding Nemo – September 14, 2012
·         Disney•Pixar’s Monsters, Inc. – January 18, 2013 (Monsters University, a prequel to the original film, arrives in theaters in Disney Digital 3D on June 21, 2013)
·         The Little Mermaid – September 13, 2013

“Great stories and great characters are timeless, and at Disney we’re fortunate to have a treasure trove of both,” said Alan Bergman, President, The Walt Disney Studios. “We’re thrilled to give audiences of all ages the chance to experience these beloved tales in an exciting new way with 3D – and in the case of younger generations, for the first time on the big screen.”
Originally released in 1991, Beauty and the Beast is a classic “tale as old as time” that follows the adventures of Belle, a bright young woman imprisoned in the castle of a mysterious beast and his enchanted staff, who must learn the most important lesson of all – that true beauty comes from within. Beauty and the Beast was the first animated film ever nominated for an Academy Award® for Best Picture, earning an additional five Oscar® nominations and winning two. It has grossed $380.4 million worldwide.

First released in 2003, Disney•Pixar’s Finding Nemo takes audiences into a whole new world in this undersea adventure about family, courage and challenges. When Marlin, an overly cautious clownfish living in the Great Barrier Reef, helplessly watches his son get scooped up by a diver, he must put aside his fears of the ocean and leave the safety of his coral enclave to find Nemo. Buoyed by the companionship of Dory, a forgetful but relentlessly optimistic fish, Marlin finds himself the unlikely hero in a seemingly impossible land-and-sea rescue.Finding Nemo won an Academy Award® for Best Animated Feature and was nominated for three others. With a total of $867.6 million worldwide, it was the second highest-grossing film of 2003.
In 2001, Disney•Pixar released Monsters, Inc. Lovable Sulley and his wisecracking sidekick Mike Wazowski are the top scare team at Monsters, Inc., the scream-processing factory in Monstropolis. But when a little girl named Boo wanders into their world, it’s up to Sulley and Mike to keep her out of sight and get her back home.Monsters, Inc. shattered every DVD-era home entertainment sales record when 11 million DVD/VHS copies were sold during its first week of release. It won an Academy Award® for Best Song and has grossed $526.9 million worldwide.

Released in 1989, The Little Mermaid, stars Ariel, a fun-loving and mischievous mermaid, off on the adventure of a lifetime with her best friend, the adorable Flounder, and the reggae-singing Caribbean crab Sebastian. But it will take all of her courage and determination to make her dreams come true and save her father’s beloved kingdom from the sneaky sea witch Ursula. One of the most celebrated animated films of all time, The Little Mermaid was nominated for three Academy Awards®, winning two. It has grossed $228.9 million worldwide.

ABOUT THE WALT DISNEY STUDIOS
For more than 85 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company (NYSE: DIS) was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. Feature films are released under four banners: Walt Disney Pictures, which includes Walt Disney Animation Studios and Pixar Animation Studios; Disneynature; Marvel; and Touchstone Pictures, which includes the distribution of live-action films from DreamWorks Studios. Original music and motion picture soundtracks are produced under Walt Disney Records and Hollywood Records, while Disney Theatrical Group produces and licenses live events, including Broadway theatrical productions, Disney on Ice and Disney LIVE!.  For more information, visit www.waltdisneystudios.com.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch