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This morning at 6.31 am (British Summer Time), Johnny and Clara Mackintosh (and their Old English sheepdog, Bentley) made history: thanks to NASA and its Mars Curiosity rover, they became the first literary heroes to literally land on another world. And all broadcast live in Times Square – wow!

Johnny, Clara and Bentley, lowered to the Martian surface on the back of Curiosity (courtesy JPL)

The descent was scary (I wrote a piece about it for Bookzone4Boys) – even NASA had described it as “seven minutes of terror”. Eventually the Mars Science Laboratory landed by “skycrane” in Gale Crater, a perfect location to examine millions of years of Martian geology in one go. Onboard was a microchip onto which had been etched the names of some of the people of Earth, the very first ambassadors to land on another planet. And among those names were:

• Johnny Mackintosh
• Clara Mackintosh
• Bentley Mackintosh

I confess I’m delighted to say “Keith Mansfield” was also included.

Some great fictional stories have been set on Mars, but the paper or celluloid that tells them remains firmly grounded here on our island Earth. John Carter may have disappointed in cinemas lately, but Edgar Rice Burroughs’ series of “Barsoom” books are classics. A film that brought the red planet properly to life saw the now-Governator of California star as Doug Quaid in Dutch director Paul Verhoeven’s 1990  masterpiece, Total Recall. Why anyone feels the need to remake a movie that was originally so stunning is a mystery, but I’ll reserve judgement until I’ve seen Len Wiseman’s remake.

As a child I grew up reading the late, great Ray Bradbury, whose thoughtful Martian Chronicles helped inspire the stories I’ve written. In the first two Johnny Mackintosh books there are mentions of Mars and Johnny and Clara always intend to go there, yet somehow they never quite get round to it. In Battle for Earth they finally make the trip (I won’t spoil it for future readers by saying whether or not they find Martians).

David Bowie famously sang “Is there life on Mars?” and in a fun Doctor Who tribute, Steven Moffat christened the first fictional human settlement “Bowie Base One”. I’ve written a few pieces on whether or not there’s life of some kind on the red planet over at my Keith Mansfield website.

We’ve always found Martian exploration difficult. On page 3 of Johnny Mackintosh: Battle for Earth we read:

“Johnny and Clara had been planing their first ever visit to Mars, with Johnny telling his sister about all the probes scientists had sent to the red planet, but which had mysteriously failed to arrive.”

and then, a little later on page 61:

“Early space probes had taken intriguing but inconclusive photographs of the Martian surface, showing what were called the Pyramids of Elysium, next to what appeared to be a gigantic human face gazing upward. Johnny had always meant to visit and see for himself. For his part, Alf was curious to hear about the probes that had gone missing, so Johnny repeated the conversation he’d had with Clara, in a little more detail. Given the great expense of space exploration, the failure rate for Mars was unusually high. It wasn’t only Beagle 2 that had bitten the dust as it neared the planet. Over the years, around half the missions launched had failed for one reason or another.”

Of course the “giant face” is no more than an optical illusion, but sometimes you can’t let details like that get in the way of a good story. I first came across the pyramids through Carl Sagan’s Cosmos and these don’t only feature in Johnny Mackintosh – Total Recall also centred around the mysterious “pyramid mine”.

Nowadays we know a huge amount about this near neighbour, not least because there are actually three satellites in permanent orbit around the red planet. In the 1970s we sent the twin Viking landers to search for life (you can see a third in the Smithsonain Air and Space Museum in Washington DC). These tantalized, but also frustrated. Given the track record of previous Mars missions, this one played it relatively safe so the spacecraft set down in what proved rather dull areas – and that’s where they remained. The great thing about Curiosity is that it’s mobile.

Mars rover family portrait showing Sojourner, one of Spirit/Opportunity and then Curiosity (courtesy NASA)

We’ve come a long way in a short space of time with Mars rovers. The first was Sojourner, a little add on to the Pathfinder mission that landed in 1997. It was the size of a remote-controlled child’s toy and could only travel a few metres from the main landing station, getting up close and personal with a few interesting nearby rocks. Sojourner started the ball rolling, and the momentum was magnificently maintained by another pair of twin landers, the Mars Exploration Rovers Spirit and Opportunity, which set down early in 2004.

Mars panorama using composite images from Opportunity, showing the rover’s own tyre tracks (courtesy NASA)

Larger, more independent and mobile, it was hoped these two would function for around 90 days. Spirit lasted fully five years, becoming immobile on 2009 and finally ceasing communication in 2010. Opportunity is still going! These two have shown that we are more than capable, not just of landing on Mars, but traversing its surface.

Curiosity being put through its paces on Earth (courtesy of JPL)

Curiosity is in a different league altogether. Weighing nearly a tonne, it’s around the size of a small car. It doesn’t move quite as fast, travelling at what’s almost literally a snail’s pace, but wherever it goes, Johnny, Clara and Bentley will go with it. I hope they and I are able to move across the surface of this faraway world for many years to come.

Buy the first book in the series, Johnny Mackintosh and the Spirit of London.

Buy the third book in the series, Johnny Mackintosh: Battle for Earth in which Johnny and Clara visit Mars.

Disney’s John Carter, a live action film, was the first VFX movie to be directed like a keyframed feature animation. Animator Patrick Giusiano put this interesting video together, showing the process involved with animating his shots.

Cartoon Brew | Permalink | No comment | Post tags: Andrew Stanton, John Carter

If you still haven’t had your fill of “Why John Carter Failed” articles, then don’t miss New York Magazine’s lengthy read “The Inside Story of How John Carter Was Doomed by Its First Trailer.” The piece goes to excruciating lengths to absolve Disney marketing of any wrongdoing over the film’s US box office performance, and lays the blame squarely at the feet of Andrew Stanton:

While this kind of implosion usually ends in a director simmering in rage at the studio marketing department that doomed his or her movie, Vulture has learned that it was in fact John Carter director Andrew Stanton — powerful enough from his Pixar hits that he could demand creative control over trailers — who commandeered the early campaign, overriding the Disney marketing execs who begged him to go in a different direction.

The article, juicy as it is, should be taken with a grain of salt. Much of the information in the article appears to be sourced from public statements by Stanton, and only one anonymous “Disney marketing insider” is identified as having been interviewed. There are factual errors too that made me question the piece’s accuracy—the writer claims that Disney marketing approached the New Yorker in September 2011 to profile Stanton, when in fact, if you read the New Yorker piece, the writer of that piece said he’d been working on it since April 2011. At best, NY Mag’s takedown offers one version of how the film’s marketing plan derailed. The real story is likely far more complex, and won’t be understood until some point in the future.

A more insightful piece is the aforementioned New Yorker profile of Andrew Stanton, which has finally been posted online. Unlike an earlier New Yorker piece about Pixar that left me unimpressed, this profile sheds much light on Stanton’s personality and his collaboration with the lauded Pixar “Braintrust.” In spite of the profile’s positive tone, Stanton comes off as overly self assertive and oblivious to the effect of his comments, like:

“We came on this movie so intimidated: ‘Wow, we’re at the adult table!’ Three months in, I said to my producers, ‘Is it just me, or do we actually know how to do this better than live-action crews do?’ The crew were shocked that they couldn’t overwhelm me, but at Pixar I got used to having to think about everyone else’s problems months before all their pieces would come together, and I learned that I’m just better at communicating and distilling than other people.”

(Illustration by Luis Grañena)

Cartoon Brew | Permalink | 11 comments | Post tags: Andrew Stanton, John Carter, The New Yorker

As Ward Kimball’s biographer, I am obligated to share with you this post on Progress City, U. S. A. that talks about the time Ward oversaw the animation of John Carter of Mars as part of his TV special Mars and Beyond.

It’s a matter of personal taste whether you prefer Ward Kimball’s vision of a thoat:

Or Andrew Stanton’s vision of a thoat:

Cartoon Brew | Permalink | No comment | Post tags: Andrew Stanton, John Carter, John Carter of Mars, Mars and Beyond

In a rare trifecta, animation artists ruled the top three spots at the box office this weekend. The number one spot, with an estimated $35 million, belonged to the TV adaptation of 21 Jump Street. It heralded the live-action feature directing debut of Phil Lord and Chris Miller, who were the co-creators of MTV/Teletoon’s Clone High and the directors of Sony’s Cloudy with a Chance of Meatballs. Second place went to Illumination Entetainment’s The Lorax which earned an estimated $22.8M in its third weekend, pushing its total to a robus $158.4M. Rounding out the top three was Andrew Stanton’s John Carter, which dropped 55% from its first weekend to an estimated $13.5M. The Disney flop’s two-week total is $53.2M and is headed to a final domestic tally of $90-100M.

Cartoon Brew | Permalink | No comment | Post tags: 21 Jump Street, Andrew Stanton, Chris Miller, Illumination, John Carter, Phil Lord, The Lorax

Disney’s John Carter, a live action film, was the first VFX movie to be directed like a keyframed feature animation. Animator Patrick Giusiano put this interesting video together, showing the process involved with animating his shots.

Cartoon Brew | Permalink | No comment | Post tags: Andrew Stanton, John Carter

AWOOGA! ALL HANDS ON DECK!

Arcade Fire soundtrack — check — but the remake by Peter Gabriel? “My body is a cage.” So this is a remake of AVATAR?

Yes it is! White man comes to savage land as savior and leads them against six-armed green guys and rescues atmosphere!

But — no Woola? A brief glimpse of Tars Tarkas. Incomplete grade.

Likes: Taylor Kitsch looks good. Lynn Colllins looks great as Dejah Thoris but she is wearing lots of clothes and the red Martians don’t look very red.

Unknown if like or unlike: Looks like Pixar is playing this very straight, which I guess you would have to. And considering that Avatar is the highest grossing movie ever — and was pretty much a rip-off of John Carter — its success made making this finally possible and so we have come full circle IP wise.

We don’t usually post trailers for live action films but have, when time to time, one is closely related to our field (Brad Bird’s Mission Impossible, Cameron’s Avatar and Disney’s The Muppets come to mind). Pixar’s Andrew Stanton (Finding Nemo, Wall-E) has been working on a live action adaptation of Edgar Rice Burroughs’ The Princess of Mars for the past few years, and the trailer has just been unveiled. There’s plenty of CG character animation involved (did Pixar animators do it?) and lots of action. The movie will be released in March – and I’m crossing my fingers for its success.

Cartoon Brew: Leading the Animation Conversation | Permalink | 6 comments | Post tags: Andrew Stanton, John Carter

Fresh off his success with his self published SACRIFICE – already sold out and a second printing on the way — Sam Humphries has a gig writing JOHN CARTER: THE GODS OF MARS for Marvel, an all-ages five issue mini-series which is apparently based on the second Mars novel by Edgar Rice Burroughs. The art is by Ramon Perez, fresh off TALE OF SAND, his Jim Henson adaptation for Archaia. This is a team we can get behind! The cover is by Julian Totino Tedesco
 
“Gods of Mars is going to be a blast — tons of action and intrigue in a fantastic environment,” said Humphries. “From Landridge and Andrade to Edgar Rice Burroughs himself, there’s an impressive foundation of awesome John Carter stories to build on. Combined with Marvel having the most exciting comics going on right now, and most talented editors in the industry – I can’t wait to get myself to Mars.”
 
The book goes on sale in March.

Over at MTV News, sixteen upcoming movies were pitted against one another to determine the winner of the “MTV Movie Brawl 2012.” In the final round, almost four million votes were cast and Cosmopolis (a Don DeLillo adaptation starring Twilight actor Robert Pattinson) emerged victorious over The Hunger Games (starring Oscar-nominated actress Jennifer Lawrence).

In an interview with MTV, director David Cronenberg explained how he first learned about the brawl: “Cosmopolis, while I think in terms of what it is as cinema is pretty hefty, but in terms of budget and promotion, it’s an underdog compared to something like the Dark Knight franchise. I really didn’t think we would have much of a chance. That really got my attention.”

In the video embedded above, MTV caught up with Cosmopolis actor Paul Giamatti to get his reaction on the movie’s win. Several of the Movie Brawl film are literary adaptations including John Carter, The Avengers, Snow White & the Huntsman, The Hobbitand The Dark Knight Rises.

continued…

New Career Opportunities Daily: The best jobs in media.

Straight from the Super Bowl, the extended version of the John Carter spot.

 
Awesome.

Too little, too late?

Do not count out Andrew Stanton and Pixar!

An animated film led the US box office for the second week in a row: Illumination Entertainment’s The Lorax dropped 44% from its first week for an estimated earning of $39.1 million. Its two-week total now stands at $122 million, making it the top grossing film of the year to date. It is currently pacing $3.5 million ahead of Illumination’s biggest hit Despicable Me, which went on to earn $251.5 million domestically.

This weekend also saw the debut of John Carter, the first live-action feature from Pixar director Andrew Stanton (WALL·E, Finding Nemo). The megabudget sci-fi film, with a reported production cost of $200-300 million and marketing costs of $100 million, was positioned as Disney’s next “tentpole” property, along the lines of the Pirates of the Carribean franchise. It opened weakly, as expected by most industry observers as well as the Disney studio itself, with an estimated $30.6 million, on a par with the opening for Disney’s Prince of Persia, which opened with $30.1 million. It trailed the debut of last year’s sci-fi Cowboys & Aliens which opened with $36.4 million. The film’s saving grace may be its overseas performance, where it has opened powerfully, especially in Russia, and has already racked up over $70 million.

One can’t even begin to imagine the pressure that Stanton is under, but he hasn’t been particularly graceful in dealing with the film’s critical reception. In interviews, Stanton has been defensive about the film’s budget, and over the weekend, he wrote an oddly worded tweet that blamed moviegoers as “jaded” if they didn’t enjoy his film:

Studio Ghibli’s The Secret World of Arrietty added an extra $402,000 boosting its US total to $17.6 million. It is the fourth highest-grossing anime film ever released in the US, behind only Pokemon: The First Movie, Pokemon: The Movie 2000, and Yu-Gi-Oh! The Movie.

Cartoon Brew | Permalink | No comment | Post tags: John Carter, The Lorax, The Secret World of Arrietty

Well, it’s official, JOHN CARTER is being labeled a disaster, a flop, an “Ishtar” and anything else that signifies profit-and-loss ratio infamy. The media decided a while ago that this movie was going to be a disaster for Disney, and after finishing #2 for the weekend with barely $30 million—despite making over $100 million worldwide—every ill omen has been seen as sagacious.

And the hate is baffling. Although it has only 50% on Rotten Tomatoes, if you read the reviews, the good ones read about the same as the bad ones. Critics weren’t wildly enthusiastic about the movie, but it didn’t suck.

In fact, the word of mouth is good. People who went in with an open mind seem to have been entertained.

I saw JOHN CARTER Thursday at an IMAX 3D and I loved it. It was no THE DESCENDANTS, but it was a well-made yarn, filled with wonder. Yeah I said it. WONDER. The John Carter books are hardly the Lord of the Rings — I didn’t need every klunky archaic line used. And screenwriter Michael Chabon and Andrew Stanton knew that. So they weren’t afraid to tinker and modernize many things.

What they did keep intact was the unbridled imagination of the original, a vision unencumbered by anything that reeks of marketing or focus groups. Here is a passage from the second book, THE GODS OF MARS, that sums up everything I like about Barsoom:

Its hairless body was a strange and ghoulish blue, except for a broad band of white which encircled its protruding, single eye: an eye that was all dead white–pupil, iris, and ball.

Its nose was a ragged, inflamed, circular hole in the centre of its blank face; a hole that resembled more closely nothing that I could think of other than a fresh bullet wound which has not yet commenced to bleed.

Below this repulsive orifice the face was quite blank to the chin, for the thing had no mouth that I could discover.

The head, with the exception of the face, was covered by a tangled mass of jet-black hair some eight or ten inches in length. Each hair was about the bigness of a large angleworm, and as the thing moved the muscles of its scalp this awful head-covering seemed to writhe and wriggle and crawl about the fearsome face as though indeed each separate hair was endowed with independent life.

But then, this has been a story that people have been trying—and failing— to bring to the screen since at least 1936. Nearly 80 years. In that year, animator Bob Clampett worked on a proposed animated version for…Walt Disney.

As others have written here, had this film actually been made—instead of SNOW WHITE—what a different world we would live in. John Carter would have had to be an animated movie. What has stymied people for years was the technology to make it.

The more recent attempts at making a movie — from Robert Rodriguez, to Kerry Conlan to Jon Favreau and so on—all faltered for probably the same reasons the movie that did get made has been vilified: too weird and yet too