Ten Days of Remembrance: Walt Disney Quotes

In honor and celebration of the Ten Days of Remembrance tradition, I've listed ten of my favorite quotes from a man whose leadership and legacy continues to challenge and inspire me to dream:

All our dreams can come true, if we have the courage to pursue them. (Walt Disney)

When you believe in a thing, believe in it all the way, implicitly and unquestionable. (Walt Disney)

The way to get started is to quit talking and begin doing. (Walt Disney)

It's kind of fun to do the impossible. (Walt Disney)

Animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world. (Walt Disney)

Our heritage and ideals, our code and standards - the things we live by and teach our children - are preserved or diminished by how freely we exchange ideas and feelings. (Walt Disney)

You can dream, create, design and build the most wonderful place in the world, but it requires people to make the dream a reality. (Walt Disney)

I do not like to repeat successes; I like to go on to other things. (Walt Disney)

A man should never neglect his family for business. (Walt Disney)

We keep moving forward, opening new doors, and doing new things, because we're curious and curiosity keeps leading us down new paths. (Walt Disney)

Until next time...

JP

Walt Disney: Ten Days of Remembrance

Walter Elias Disney was born on December 5, 1901, and passed away on December 15, 1966.

The "Ten Days of Remembrance" is the tribute "holiday" I have informally celebrated in honor of Walt Disney's life, or more specifically, the impact and influence his vision and work has instilled in me.

Each year during this ten day span, I typically read a book detailing Walt's life, research to learn more about a specific studio project, and watch a memorable Disney film each day. Over the years, the nightly viewings have been presented chronologically, by genre or theme, or even randomly. The purpose has always been centered around the spirit of the experience rather than a particular practice or protocol.

I think Uncle Walt would proudly approve.

It may seem a bit eccentric, but this "season" is always a unique opportunity for me to personally celebrate the arts, imagination, and inspiration. Although it has previously been a time for individual reflection, my wife and children have since come to appreciate how much it has meant to me over the years, and now actively participate with enthusiasm. It's truly become a fun family tradition.

I hope that you may also be encouraged, in your own time and manner, to remember those that have inspired and challenged you to follow your dreams.

Until next time...

JP

Where The Wild Things Are

Where The Wild Things Are connected with me on a surprisingly personal level. While I have been a lifelong fan of Maurice Sendak's book (and artwork), the reaction I had to the film was curiously influenced by the strangely familiar connection I felt to Max. Watching this film felt like watching an alternate, untold story of my adolescence, and at times the cinematic empathy was powerful. As a creative, intellectual adult I am only just beginning to process internal darkness and volatility. Just because I was a smart (ass) kid and had a big imagination didn't mean I was equipped to process the emotions, loneliness, and isolation I often felt. Like Max, I eventually escaped feeling unknown through imagination and inspiration, into created worlds where I was fully known, and could fully know, the mystery of the surrounding Universe. The truth is that this illusion of escape was often misguided distraction in disguise. But it was still a gift. Sometimes primal feelings are not supposed to be tamed. Wild things, indeed…

In my opinion, the Spike Jonze film is a brilliant work of art that paints a lush landscape of childhood imaginings, where every thicket of trees is an ancient forest and every stretch of sand is an endless desert. It is a diverse and believable vision of men and monsters, and the artisans and actors bring them to life with stunning results. The practical creature-suit and CGI amalgams feel like the real future of created characters - physically present in the scene and digitally enhanced, pushing them seamlessly to the next level. At the very least, it's an enchanting story that will charm and challenge anyone who is open to its offbeat perspective.

Max is a bright, caring, and creative boy who has difficulty communicating his feelings and thoughts. Yet he remains open to life, and that makes him vulnerable. This leaves Max hurt, scared and very, very lonely. But life is hard, and Max is in danger. He is in danger of leaving behind the purest part of childhood - the part with backyard forts and unashamed imagination and wolf suits. After a fight at home, Max runs away in anger, and pretends to sail across the ocean until he comes to a lost island, inhabited by giant, furry, wild things. These wild things are an odd, dysfunctional group who fight amongst each other and who are essentially giant children themselves. They appoint Max as their king, and in time, the bonds they share are wonderful and heartbreaking and real.

Where The Wild Things Are is filled with melancholy, and every happy moment is bittersweet because it is offset by the thought of something sad or scary. The thought of being tackled and smashed under a pile of wild things or being eaten by a grumpy monster is scary. Scarier still is thinking about your family falling apart. Or not being understood. Or being alone. Or loving someone so much... and not being loved the same way in return. Thankfully, the film does not seem to be seeking a pulpit to preach these potential parallels. It's a story that's fundamentally sad at its core, but is also uplifting and wonderful in its hopeful belief that love and forgiveness are more powerful than fear or pain.

Perhaps Jonze hasn't so much adapted the book as he has revived its nostalgic insight. Certainly, the main elements of Sendak's story remain, but they are enhanced, enlarged, and seen through new lenses of revelation. Part of Jonze's revealing look at the truth of childhood is the way that he embraces emotional, psychological, and physical damage. The story doesn't flinch from joy or pain, and that's why it feels true.

Where The Wild Things Are is ultimately a modern day fairy-tale about the wonders and sorrows of growing up. It is also a beautifully simple tale about real acceptance, real imagination, and real love. In no way does it conform to the cowardly, preconceived expectations of how a children's film should be experienced. In fact, it isn't a children's film, at all. It is a film about the child in each of us, and the wild things waiting deep inside.

Until next time…

JP

The Marvelous World of Disney

After a $4 billion agreement, The Walt Disney Company is now the proud owner of Marvel Entertainment. An estimated 5000 characters (including Captain America, The Hulk, Iron Man, Spider-Man, and the X-Men) will be added to Disney's cast.

Considering that Disney already owns some of the most famous and popular properties in existence, along with the recent acquisition of Pixar, and now Marvel, the possibilities of creative expansion are proving to be virtually limitless.

"We believe that adding Marvel to Disney's unique portfolio of brands provides significant opportunities for long-term growth and value creation," Bob Iger, Disney CEO, said in a statement announcing the deal. The announcement was big; the deal may prove to be bigger, still.

But is this a good deal? Only time will tell. Disney has historically succeeded with a foundational formula of quality art and storytelling, which has been embraced, if not championed, by Pixar. Marvel is formidable in their own right, currently celebrating a 70
year anniversary, and comic book art and stories (not to mention lucrative feature films) are showing no signs of decreasing in demand.

News reports indicate that there are no immediate plans to have a Mickey / Spidey team-up. Nevertheless, it sounds like with the addition of Marvel's sizable infantry, the Magic Kingdom is well on its way to becoming an Empire.

"Disney is the perfect home for Marvel's fantastic library of characters given its proven ability to expand content creation and licensing businesses," said Marvel CEO, Ike Perlmutter. "This is an unparalleled opportunity for Marvel to build upon its vibrant brand and character properties by accessing Disney's tremendous global organization and infrastructure around the world."

Either way, Iger admits that Disney is now in a power position to renegotiate any deal with competitors, such as Sony, Universal, and Warner Brothers.

And we know that with great power, comes great responsibility.

Until next time…

JP

The Iron Giant: Celebrating Ten Years

Not long ago, I created a custom poster for my studio office, as a tribute to one of my favorite films of all time, The Iron Giant. The fact that the inspirational story is animated is an added bonus for me, and as I was working toward re-imagining the source material's look and tone, I began to consider how influential this modern masterpiece has been in my life and career.

In many ways, The Iron Giant models the class of artist and storyteller I dream of becoming.

In contrast, I have been rather underwhelmed following the rolling credits of many movies over the past several years. In truth, I am still a supporter of substance within a story. I find no satisfaction in meaningless dialogue, exploitative sensuality, and pointless plot twists. It seems that this recipe, along with oversized guns, endless ammo, and slow-motion explosions are Hollywood's status quo formulas for passable entertainment. And why not? Mindless violence, sex, and weak stories apparently sell tickets. And in an age where profit trumps purpose, film lovers become casualties as tickets become box-office weapons, and stories lose their souls.

Now imagine a story that asks: "What if a weapon had a soul?"

That's the foundational, thematic question of the vastly underrated and beautifully animated film, The Iron Giant. The film opened ten years ago to empty theaters and absentee acclaim. Almost seamlessly combining early CGI and traditional hand-drawn animation, the acclaimed (yet often ignored) feature animation debut by Brad Bird pondered how a paranoid, post-war America might react to an overwhelmingly powerful interstellar invader.

Now, one decade later, the cult classic stands out as one of the most intellectually and emotionally moving science-fiction tales in recent history.

Although financially considered to be a box-office flop, The Iron Giant is anything but a failure. It's a humorous, moving, and fantastic analysis of paranoia on parade, and how it can be stopped if we decide to stop using our fists and start using our hearts and minds.

Ten years later, the quality and style of The Iron Giant still impresses, and its stature has only grown. Since then, Brad Bird has risen with a vengeance, writing and directing animated feature films like Pixar's The Incredibles and Ratatouille. As much as I love these most recent achievements, in my opinion, The Iron Giant remains Bird's greatest triumph.

Happy 10th Anniversary, Iron Giant. Thank you for a beautiful story about a boy and his robot, and for reminding us that a heroic heart is not forged from power, but born from the soul.

Until next time…

JP

Journey To Everest

I recently had the opportunity to create some promotional artwork for a new documentary film, Journey To Everest. The project was relatively simple, consisting of a theatrical release poster and DVD packaging.

Although the film was completed before I became personally involved, it was a welcome opportunity to share this incredible story.

In October of 2008, six American trekkers traveled to Nepal with the goal of reaching Everest Base Camp. The journey took a dramatic turn after a routine local flight was overbooked, and the team was forced to wait 24 hours before beginning the long ascent to Everest. That cancelled flight, they soon discovered, crashed into a mountain covered by dense fog, killing all passengers on board. After being miraculously bumped from that deadly plane crash in the Himalayas, the team began the 18,000 foot ascension, but not everyone would make it.

As the expedition unfolds and the team struggles with the decision of continuing the trek, their faith comes to the forefront as they experience the Hindu/Buddhist world of Kathmandu, Nepal, while facing the challenges of the dangerous and remote Everest Region.

The world they encountered was a world apart; alive with color, pageantry, and passion. From crowded streets to breathtaking vistas available nowhere else on earth, these travelers began to see themselves and their world in a different light; to regard their fellow human beings, however different their culture may appear, as fellow sojourners and children of the same God.

The film ultimately tells the story of six real people as they discover the depths of who they are and a new perspective on their purpose for living. While Journey To Everest is a well produced documentary about a quest to conquer the world's highest peak, it is also much more. It is as much about scaling the heights within your own soul as it is about reaching any physical summit. It is as much about learning to trust things you cannot see with your eyes as it is about trusting your teammates. It is as much about compassion as it is about conquering the natural world.

Following the filming of the documentary, Nashville has recently received approximately 200 Nepali immigrants with the potential of many more on their way. These new Tennessee citizens have experienced, to no surprise, a culture shock and are faced with complexities and uncertainties regarding food, sustainable shelter, employment, education, transportation, communication, health, as well as social and spiritual needs.

Journey To Everest is a David Kiern film and an Epiphany Documentary Films production.

Until next time...

JP

The Ancient Path

I am often attracted to ideas that stir both the soul and the imagination.

I was recently invited to develop the cover art for an introspective and inspirational project entitled The Ancient Path, presented in the form of a book and companion album. Both installments were written by Craig Smith, the latter produced by Paul Mills. The book and album can both be downloaded for free at theancientpath.net website. All proceeds from donations are given to humanitarian efforts in the small villages and jungles of Central America.

The purpose of the project, according to the author, is "to use the truth within Psalm Twenty Three to increase our level of trust in the Shepherd of our souls, lead us into His presence, and experience more of His peace and His rest."

The timing of the opportunity was quite fitting, as each day I become more and more aware of my life's journey, and perhaps more importantly, my desire to create within that journey an epic story.

To settle for anything less than the best possible version of that voyage, I believe, would be a self-defeating act of villainous sabotage. May I have the strength of character to conclude not as the villain, but as the victor of my tale.

May we each become the heroes of tomorrow's legends, known fully to ourselves and others as just and courageous, seeking truth above knowledge, our dreams full of wonder, and our hearts full of love.

My spirit echoes the words of the author, as a challenge and confession:

"I find myself somewhat of an odd emissary, for the very message I bring is also the one I seek."

Until next time...

JP