Ratatouille = La historia entre Disney y Pixar

Me encontré con este artículo muy interesante, compara la historia de Ratatouille con lo que pasó entre Disney y Pixar cuando surgía, con los personajes claramente comparados con sus alteregos en la vida real xD

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Ratatouille as a Metaphorical History of Disney and Pixar


May 11, 2008 by The Editor



Contributed by Lucas R.


A gorgeous, well-crafted and charming
piece of cinema. The design was rich and warm and it made me feel nice
and happy just getting to watch that world. All of that is really
fantastic and worth more than the price of admission, but on top of
that I realized while I was watching, and delighted in the realization,
that the movie was a metaphor for Pixar!

Alright, let me explain (or try to
explain, because I tried telling a lot of this to the friends I saw the
movie with, got a bit carried away and jumped all over the place, and
mostly got smiles and nods).

First, we’ve got Gusteau, the almost
mythic chef who became a well-known phenomenon because of his work, and
because his work was so loved he grew and thrived and made an empire.
The empire lost some steam and with the help of some critical voices
pointing out the plateau, the momentum was lost and with that momentum
gone, the head of the empire died, but his empire kept on. So Gusteau
was Walt Disney.

That empire reached far, and despite
the energy behind the chef’s message had died, his work had spread and
the message itself still inspired, even inspiring someone far away with
a love for the same art to learn and grow their skills. That energy,
conviction and the excitement of challenges and creation sounds a lot
like Remy is Lasseter, discovering his raw tools at the beginnings of
Pixar, amongst people who are supportive but have no idea what he’s
doing, and folks who realize he’s got something but want to steer it to
fit their interest. Remy’s testing for poison while exploring some
ideas of food combination, Lasseter’s testing software and testing some
character interaction and storytelling with new and developing
technology. So yeah, Remy is Lasseter.

So, since the death of Gusteau/Disney,
the empire still exists, but isn’t in the hands of the person who began
it. It is being run now in a largely totalitarian way by a man without
the creative and inspirational vision of the creator, but with a mind
for keeping things afloat and profiting on cheapening and exploiting
the name and image of the company’s past in mostly cheap and easy ways.
In the movie, that’s Skinner; at Disney, that’s Michael Eisner. So
yeah, Eisner/Skinner is chugging along, riding high at the helm of
another’s empire and keeping many things running without any change and
discouraging talk of change, while at the same time making deals behind
the scenes to merchandise everything he can plaster the name of the now
long-dead Gusteau/Disney onto.

Next, we get a seemingly harmless and
ineffectual remnant of the old days who Skinner/Eisner lets on, but
dismisses out of hand and sets up in a place where he figures the guy
can’t do much/any harm. This new guy turns out to have ties to
Gusteau/Disney though, and starts to make some waves after he begins a
relationship with a little-known outside party that makes a splash out
of nowhere with their first big creative endeavor. Linguini is Roy
Disney. Roy staked himself to secure a relationship with Pixar and when
Pixar hit big with Toy Story, the eyes were on him,
largely like how Linguini could’ve stayed ineffectual and bullied into
impotence but found the potential greatness in a small outsider. To the
majority of the outside world, this new, great creation belonged to the
empire of Gusteau’s/Disney, while within Disney it was Linguini/Roy
Disney making a stir and the real power behind it all was Remy/Pixar.

The challenge to replicate the first
success and the scoffing that “meh, you can do it with soup/toys, but
let’s see if you can do it with something even Gusteau/Walt couldn’t
ever seem to pull off: a bug movie!” But by sticking to what he knew to
be best instead of trying to simply recreate what was done before,
Remy/Pixar pulled it off again and now people wanted more.

During this time, Linguini/Roy Disney
falls for Colette, who has worked very hard to get in and stay at the
kitchen/Disney studios and who thinks that the only way to work is to
tenaciously stick to the classic formulas and rules and immediately
jumps in with warnings that deviation can lead to disaster. She does
clue Remy/Pixar into some technical aspects of their work that do
improve his skill, but he blows past Colette because of his
experimentation and sense of artistry, and Linguini/Roy Disney is left
in the middle trying to be supportive of Colette while still providing
an outlet for Remy/Pixar and being pulled all around in the process.
Colette is Disney Animation (the department and the animators). She
viewed Pixar/Remy as a threat and an anomaly at the beginning, and
eventually had to bite the bullet and join in to be able to really make
anything worth making by the end of things. But I digress, back to
where we were in the story.

Roy/Linguini was now riding high, but
didn’t really understand his relationship with Remy/Pixar and was even
trying to steer them along himself, even though it was done pretty
innocently. Eisner/Skinner saw things slipping away and was grasping at
straws to find a way to keep control. He even tried to trap Remy/Pixar
(Skinner with a literal trap, Eisner with contracts) so he could take
advantage of what they were succeeding with and force it into his cheap
merchandising plans, but Remy/Pixar fought around that and finally got
Linguini/Roy to realize that for his relationship with Remy/Pixar to
really work, he’d have to take the support role instead of the
leader/sponsor role and give them the chance to be the force they are.
Still, when Remy/Pixar finally enters into Gusteau’s/Disney, the people
who were there running the machine left and Remy/Pixar found that they
had to rally their own forces with the reluctant Colette/Disney
Animation. In the end, Remy/Pixar finds out that they can’t just
continue in the shell of a former empire, they have to take the good
from that and make something new if they’re going to be able to succeed.

Finally, Anton Ego represents the
critics of animation in general. People who figure it’s all been done
to death already, but if you think you can impress them, then go ahead
and hit them with your best shot, because they don’t know what they
want out of animation, just that they don’t think they can be impressed
by it any more. With that challenge, the people in the studios figure
they should bank on something flashy and new and shiny, but Remy/Pixar
goes for something simple and nostalgic with enough of their own twist
to make it theirs without taking away from what makes the subject
matter belong to the audience, and instead of trying to make their
audience like something completely new, finds new ways to remind their
audience about something they already loved. It’s not so much a formula
as a recipe that Pixar has used well and continues to, and it’s the
kind of meal that stays with you and really satisfies.


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Además Ratatouille Owns todo lo que han hecho

Esa pelicula me da asco :S.

ETC_o_X escribió:Esa pelicula me da asco :S.

¿De que hablas?? Ratatouille rules da world! xD
Incluso esa pelicula a mi me da antojo xD....

Las ratas me dan asko, neta que senti ñañaras cuando la vi

ETC_o_X escribió:Esa pelicula me da asco :S.

Jajaja, a huevo. Pensé que yo era el único en el jodido mundo que pensaba así.

Ahh a mi nomas me dio cosa cuando toooodas las ratas se meten a cocinar... pero cuando Remy cocinaba no o_o era una rata limpia, xD hasta se lavaba las patas, tampococ caminaba usando las manos (patas xD) o.o lo que si me decepciono fue el Ratatouille ._. parecia una simple ensalada

Geez ami lo unico que medio me dio cosa fue cuando todas las ratas salian disparadas fuera d ela casa, pero se ve genial xD

Y aparte ese es el chiste del platillo ese >< se ve como una cosa comun y minúscula que no esperas gran cosa y en cambió termina haciendo maravillas o.o jajaaj me encantó esa escena cuando lo transporta a su niñez XD

Ahh esa escena de como reacciona el critico frente al ratatouille de remy estuvo tierna xDDD

En "Yakitate Japan!" hay ese tipo de escenas, pero claro xD se pasan de absurdas y exageradas cuando las personas prueban los diferentes panes que hace el protagonista (que a decir verdad... es un Seiya panadero xDDDDDDDDD)