Power rangers is in early development but it's flipping super Sentai into being fully American which means it begins in the 70s. As for universal, no work yet but that's the next big entry. Covering flipped universal films (not yet sure which ones or how many). I believe it will be a slightly different format however.
The Disney Film Archives (A Shifted Disney Canon)
- Thread starter The British President
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Chapter One Hundred: Lady and the Tramp (1996)
Chapter One Hundred: Lady and the Tramp (1996)
(Concept Art)
If you ask people today what they think of Lady and the Tramp, they will tell you one of two things. They either love it and think it’s an underrated gem or they will tell you it was Disney’s biggest train wreck since the 80s. There seems to be no in-between either. At the time of its production, some in the staff knew the film would falter, but the question of why it did falter is clear. When the idea first came up, the Disney company was still young as the idea was first proposed back in 1937 when Disney Story artist Joe Grant came up with an idea inspired by the antics of his English Springer Spaniel Lady. He had approached Walt Disney with sketches of Lady. Disney enjoyed the sketches and commissioned Grant to start story development on a new animated feature titled Lady. That film soon faced issues, however, as the onset of the Second World War moved around films and thus the lady film concept laid dormant.
(Concept Art)
Cut forward to the 90s and Disney was enjoying a whole new era of success and though Walt had passed, Joe Grant still lived, through now in his 80s and since retired. The idea came back to light when Don Bluth met Grant when he was made a Disney Legend in 1994. And so, production on the newly named Lady and the Tramp began. With that, so did the issues. See Bluth believed in 2D films, but he also saw the future and the power of 3D animation. The studio itself was divided. The older generation who had been working in the studio since the 70s (some of them even going as far as the 60s) wanted to preserve 2D animation. They believed it was the only correct way to make films and by changing that format they insulted the memory of both Walt and UB. On the other hand, it was the newer generation who pushed for innovation and the chance to move forward. They believed that Walt and Ub favoured the push forward and would happily embrace 3D. Even the family members couldn't fully agree.
What is likely is that the pair would have been a mix of both. Calling for the preservation of 2D animation, as well as embracing CGI. The Squabbles in the studio by the time Lady and the Tramp came to production were reaching a fever pitch. The Disney civil war (which is wrongly named) was in full effect and in the middle-sat Don Bluth. Bluth was nearing his 60s and had been in charge of the animation studio since 1986. He was getting tired, the same overbearing workload that had affected past studio heads now became a crushing weight. Bluth longed to return to focusing on the art of filmmaking instead of the constant fighting the studio had devolved into.
Writer Tab Murphy was brought on board to write the screenplay. He attempted to work closely with Bluth to craft the story even as the studio seemed ready to burn to the ground. Yet trying to keep the studio together kept Bluth away from the writing. The studio could not see the disaster they were heading towards. After much debate, the film would be made in the 2D style, which annoyed some. In 1994, the film was scheduled for a Christmas 1995 release, though the film was delayed due to late animation, issues with the script and members of the animation crew quitting. The Disney Renaissance did not come to a slow and steady stop. It came to a crashing halt as the train came off the tracks and proceeded to crash at full speed into a wall. Lady and the Tramp was slammed for a lacklustre story, odd-looking animation and a rushed climax. Not since The Wind in the Willows had a Disney animated film taken such a beating.
Don Bluth, however, was able and ready to prevent disaster from consuming the studio. As said before, people call this Era the Disney Civil War, but it did not last long, enough to be termed that, nor did it last long enough for people to call it the Second Dark Age. It was more of a transition period from the Disney Renaissance into the Hybrid Era of the 2000s. Bluth knew his time was coming to an end at Disney, so he began to work closely with Katie Fleischer-Disney to prepare the studio and her for the transition. Bluth also signed the Hollywood Studio Agreement of 1997; an agreement put together by the studios that saw them agree to preserve 2D animation (as well as allowing them to move forward with innovation). And in the most important move, Bluth helped establish Disney-Luxo, which would take on the role of crafting CGI animated films.
Thus, the divide that had created issues and exploded with a lady and the tramp was already on the way to healing. It would take time to fully recover, as things did not go back to normal overnight. Katie Fleischer-Disney and Don Bluth looked forward to the future. Times were changing again, never being still. With the transition era in full effect, the question that Bluth turned to was what did they do next? They needed a movie that could prove they still had it. That lady and tramp was not the start of a return to films that were hated. Thankfully, 1997 would not deliver one film but two. As Hercules and Alice in Wonderland both offered two very different outings for Disney, all the while Disney-Luxo set out to prove itself before the century was out.
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I already used Pixar for a TV department so went looking for something else.
Thus this guy's name becomes the studio's name. So yes, this is a version of pixar.
Chapter One Hundred-One: Hercules (1997)
Chapter One Hundred-One: Hercules (1997)
The Song That Won An Oscar
To Go From the Train Wreck that was Lady and the Tramp to Hercules is a level of whiplash one may not have seen coming, but it was more likely than not that Hercules would have been a success whatever happened. Irene Mecchi and Linda Woolverton were hired to write another film after the success of The Lion King. Disney wanted to repeat that hit if they could, but Mecchi and Woolverton refused to remake The Lion King again, so they turned to mythology for their next outing. They considered a film about Zeus or maybe a film about Athena. It was Kaan Kalyon joining the team that gave them the idea to focus on Hercules. The three of them made an unlikely team, but between them, they began crafting the film. An animated social about Hercules. It was not what someone would expect but it was what was going to be.
The film also had two other things going for it. Firstly, it was the film debut of Katie Fleischer-Disney. By birth, Katie was a Disney, but by marriage, she had joined the Fleischer family. And that family was once iconic in the world of animation. That family had founded Fleischer Studios with its animators serving as pioneers of the animation world and introducing people to characters such as Koko the Clown, Betty Boop, Bimbo and Popeye the Sailor. Katie Fleischer-Disney had a lot to prove and so threw herself hard into the production of the film. She was set on making sure the film was done right, to make her father and husband proud, though more than anything, she did it for herself.
Secondly, the film was to be composed once again by Alan Menken and Howard Ashman. An iconic due they by now had reached a new level close to that of the Sherman brothers. The pair worked effortlessly together by 1997, so hiring them to craft the score for Hercules was a no-brainer for the studio. Ashman also served as a producer and thus worked closely with Katie Fleischer-Disney, establishing a new working friendship. Animator Joe Haidar became head of the animation on the film, a role he would soon take on for many of the films between 1997-2002. The music team decided to give the film a 60s feel to the music, taking inspiration from Little Shop of Horors.
As for casting, Chris O'Donnell was cast as Hercules, Julia Roberts as Meg, Sean Connery as Zeus, Jim Carrey as Hades and Danny Devito as Philoctetes. Hercules was released on July 3, 1997. It was a success. Not only did it smash the box office, but the film came close to overtaking Lion King, only falling slightly below. The film began Herculesmania as toys, comics and books soon flew off the shelf. Well, Lion King made more money at the box office; Hercules overtook it in terms of merchandise. Hercules is also praised as allowing a whole new generation to become interested in Greek mythology and history. What some feared would be a failure was a success. It was true that Hercules was a hero because it helped prove Disney had not returned to its old ways of the 1980s. If Hercules was a success for its traditional animation style and a strong return to the musical format, then Alice would soon prove that experimental animation could also prove to be successful.
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Chapter One Hundred-Two: Alice in Wonderland (1997)
Chapter One Hundred-Two: Alice in Wonderland (1997)
(Early Concept Art)
Like many other Disney films, Alice in Wonderland began its life long before its 1997 release, and it was one of the stories that had a connection to the studio, which ran back to the 1920s. Walt made a short film titled Alice's Wonderland in 1923 while working at the Laugh-O-Gram Studio. It was here that Walt’s fascination with Alice's Adventures in Wonderland and Alice Through the Looking-Glass began. Though, as fate would have it, no film adaptation of the books would come alive. Though three attempts were made. The first was in 1931 when Actress Mary Pickford approached Walt with a proposal for a feature-length adaptation of Alice in Wonderland. Yet, hesitation on Walt’s part saw Paramount Pictures secure the film rights for their live-action version. Just a few years later, the books were heavily considered to be made into the studio’s first animated production before they decided to go with an original story. The last attempt to make the film was in 1951, but disagreements over where to take the story and how much to adapt saw the idea shelved where it would remain.
Cut to the 1990s and Hercules is in production under Katie Fleischer-Disney. That film was to be Disney’s typical musical-type affair when it came to movies. Don Bluth, now free from some of the more intense issues the studio faced, wanted to try something bold and something new. He believed that with Hercules being able to provide a normal family film, that he could make something more out there, something weirder and more fantastical. And to him, there was no more perfect story for that than the two Alice books. And so, Alice in Wonderland was put into production, to be released in 1997, the very same year Hercules would debut.
To craft a wild and wonderful film, Bluth took up directing duties but knew he needed the right team to help craft the film. Luckily for Bluth, he had worked with people in the past he believed would be perfect for the project. John Pomeroy, Gary Goldman and Will Finn all of whom had worked with Bluth before were hired to write the film with input from Bluth. It was decided early on to blend the two books instead of focusing solely on one of them. with Alan Menken and Howard Ashman both working on Hercules, Bluth turned to Danny Elfman to craft the score. Unbeknownst to Bluth, and others, Alice in Wonderland was to be one of the last films he would work as retirement loomed. As for casting, the team selected Drew Barrymore as Alice, Robin Williams as the mad hatter, Kathy Bates as the Queen of Hearts, Tim Allen as the white rabbit with Whoopi Goldberg as the Cheshire cat and Ian McKellen as the caterpillar.
On November 15th 1997, Alice in Wonderland was released to favourable reviews in theaters. Some parents did complain the film was not good for children, but this was offset by more interest from teenagers and other adults. Many were happy that Disney and, in turn, Bluth, had taken a chance on something new In terms of money. However, Hercules won that battle in 1997 and is considered the better of the two films. Despite this, Alice in Wonderland is often considered one of Bluth’s best films and many will defend the film and claim it is the best Disney film of 1997. Whatever you happen to believe, what is important in terms of history is that 1997 was a refresh for Disney. A solid foundation on which the studio would advance into the 2000s 1998 would bring about the chance for Disney-Luxo to prove not only itself but the future of CGI animation. And so, for Disney and the rest of Hollywood, things were looking up. Little did anyone know; events would soon come into motion that would shake the foundation of not just Hollywood but America itself.
(Early Concept Art)
Like many other Disney films, Alice in Wonderland began its life long before its 1997 release, and it was one of the stories that had a connection to the studio, which ran back to the 1920s. Walt made a short film titled Alice's Wonderland in 1923 while working at the Laugh-O-Gram Studio. It was here that Walt’s fascination with Alice's Adventures in Wonderland and Alice Through the Looking-Glass began. Though, as fate would have it, no film adaptation of the books would come alive. Though three attempts were made. The first was in 1931 when Actress Mary Pickford approached Walt with a proposal for a feature-length adaptation of Alice in Wonderland. Yet, hesitation on Walt’s part saw Paramount Pictures secure the film rights for their live-action version. Just a few years later, the books were heavily considered to be made into the studio’s first animated production before they decided to go with an original story. The last attempt to make the film was in 1951, but disagreements over where to take the story and how much to adapt saw the idea shelved where it would remain.
Cut to the 1990s and Hercules is in production under Katie Fleischer-Disney. That film was to be Disney’s typical musical-type affair when it came to movies. Don Bluth, now free from some of the more intense issues the studio faced, wanted to try something bold and something new. He believed that with Hercules being able to provide a normal family film, that he could make something more out there, something weirder and more fantastical. And to him, there was no more perfect story for that than the two Alice books. And so, Alice in Wonderland was put into production, to be released in 1997, the very same year Hercules would debut.
To craft a wild and wonderful film, Bluth took up directing duties but knew he needed the right team to help craft the film. Luckily for Bluth, he had worked with people in the past he believed would be perfect for the project. John Pomeroy, Gary Goldman and Will Finn all of whom had worked with Bluth before were hired to write the film with input from Bluth. It was decided early on to blend the two books instead of focusing solely on one of them. with Alan Menken and Howard Ashman both working on Hercules, Bluth turned to Danny Elfman to craft the score. Unbeknownst to Bluth, and others, Alice in Wonderland was to be one of the last films he would work as retirement loomed. As for casting, the team selected Drew Barrymore as Alice, Robin Williams as the mad hatter, Kathy Bates as the Queen of Hearts, Tim Allen as the white rabbit with Whoopi Goldberg as the Cheshire cat and Ian McKellen as the caterpillar.
On November 15th 1997, Alice in Wonderland was released to favourable reviews in theaters. Some parents did complain the film was not good for children, but this was offset by more interest from teenagers and other adults. Many were happy that Disney and, in turn, Bluth, had taken a chance on something new In terms of money. However, Hercules won that battle in 1997 and is considered the better of the two films. Despite this, Alice in Wonderland is often considered one of Bluth’s best films and many will defend the film and claim it is the best Disney film of 1997. Whatever you happen to believe, what is important in terms of history is that 1997 was a refresh for Disney. A solid foundation on which the studio would advance into the 2000s 1998 would bring about the chance for Disney-Luxo to prove not only itself but the future of CGI animation. And so, for Disney and the rest of Hollywood, things were looking up. Little did anyone know; events would soon come into motion that would shake the foundation of not just Hollywood but America itself.
Lemme guess, 911?
Interesting cast and I can definitely see Robin Williams as the Mad Hatter but who would be the March Hare? And sad to see Bluth retiring soon.
This looks like a great film. I would watch this.Chapter One Hundred-Two: Alice in Wonderland (1997)
(Early Concept Art)
Like many other Disney films, Alice in Wonderland began its life long before its 1997 release, and it was one of the stories that had a connection to the studio, which ran back to the 1920s. Walt made a short film titled Alice's Wonderland in 1923 while working at the Laugh-O-Gram Studio. It was here that Walt’s fascination with Alice's Adventures in Wonderland and Alice Through the Looking-Glass began. Though, as fate would have it, no film adaptation of the books would come alive. Though three attempts were made. The first was in 1931 when Actress Mary Pickford approached Walt with a proposal for a feature-length adaptation of Alice in Wonderland. Yet, hesitation on Walt’s part saw Paramount Pictures secure the film rights for their live-action version. Just a few years later, the books were heavily considered to be made into the studio’s first animated production before they decided to go with an original story. The last attempt to make the film was in 1951, but disagreements over where to take the story and how much to adapt saw the idea shelved where it would remain.
Cut to the 1990s and Hercules is in production under Katie Fleischer-Disney. That film was to be Disney’s typical musical-type affair when it came to movies. Don Bluth, now free from some of the more intense issues the studio faced, wanted to try something bold and something new. He believed that with Hercules being able to provide a normal family film, that he could make something more out there, something weirder and more fantastical. And to him, there was no more perfect story for that than the two Alice books. And so, Alice in Wonderland was put into production, to be released in 1997, the very same year Hercules would debut.
To craft a wild and wonderful film, Bluth took up directing duties but knew he needed the right team to help craft the film. Luckily for Bluth, he had worked with people in the past he believed would be perfect for the project. John Pomeroy, Gary Goldman and Will Finn all of whom had worked with Bluth before were hired to write the film with input from Bluth. It was decided early on to blend the two books instead of focusing solely on one of them. with Alan Menken and Howard Ashman both working on Hercules, Bluth turned to Danny Elfman to craft the score. Unbeknownst to Bluth, and others, Alice in Wonderland was to be one of the last films he would work as retirement loomed. As for casting, the team selected Drew Barrymore as Alice, Robin Williams as the mad hatter, Kathy Bates as the Queen of Hearts, Tim Allen as the white rabbit with Whoopi Goldberg as the Cheshire cat and Ian McKellen as the caterpillar.
On November 15th 1997, Alice in Wonderland was released to favourable reviews in theaters. Some parents did complain the film was not good for children, but this was offset by more interest from teenagers and other adults. Many were happy that Disney and, in turn, Bluth, had taken a chance on something new In terms of money. However, Hercules won that battle in 1997 and is considered the better of the two films. Despite this, Alice in Wonderland is often considered one of Bluth’s best films and many will defend the film and claim it is the best Disney film of 1997. Whatever you happen to believe, what is important in terms of history is that 1997 was a refresh for Disney. A solid foundation on which the studio would advance into the 2000s 1998 would bring about the chance for Disney-Luxo to prove not only itself but the future of CGI animation. And so, for Disney and the rest of Hollywood, things were looking up. Little did anyone know; events would soon come into motion that would shake the foundation of not just Hollywood but America itself.
For the Record, Don Bluth will not be killed off. But yes, 9/11 will happen soon. And it will have its effects.
Billy Crystal could work, it's sometimes hard to cast everyone but it's easier now we are in the 90s compared to say the 40s.
Disney-Luxo's first film is up next!
Billy Crystal could work, it's sometimes hard to cast everyone but it's easier now we are in the 90s compared to say the 40s.
Disney-Luxo's first film is up next!
Just a heads up, Toy Story 5 just recently got an official release date, along with Tron Ares and the Mandalorian & Grogu film, so you may want to include it in your shuffled lineup as well.
Mandalorian & Grogu not yet! There's enough star wars content to warrant an entirely separate story
between the video games, the movies, books, tv shows etc etc.
And as much as i dislike the idea of a toy story 5, will see if i cant add some of the more recent films to the list. and reshuffle em again.
I understand, there is definitely a lot there to handle on it's own.
Maybe it could be one of those straight-to-DVD sequels that were so popular in the late 90s/early 2000s for Disney? It feels like something they would do in the context of this ATL.
I did consider having a third Disney studio open to make sequels to some of the animated films. A bit like IRL but only the good sequels.
Chapter One Hundred-Three: The Great Locomotive Chase (1998)
Chapter One Hundred-Three: The Great Locomotive Chase (1998)
The Film's Main Star: Leonardo DiCaprio
The Film's Main Star: Leonardo DiCaprio
Hyperion Pictures, hopeful for another successful film after the decent reception of Robin Hood, was in need of another major hit to secure its future. The late 90s saw a resurgence of historical-based adventure films, prompted by the success of movies like Titanic. Disney briefly considered making a film about another ship but quickly decided against it. They turned to writers Dean Devlin and Steven Zaillian to write the script. The pair worked together to search through American history to find a suitable place for a story. Ultimately, it came down to two choices: a movie set during the American Civil War or the War of 1812. After much debate, the team sought the advice of Don Iwerks, the seasoned head of the studio known for his keen eye for storytelling. With his guidance, the team settled on the American Civil War as the best period for a story to take place. The pair agreed early on to focus on blending historical accuracy with engaging storytelling.
With the writers working on plotting the film, the studio turned once again to find a director. As much as some in the studio wanted to try to hand the movie over to an up-and-coming director, Don Iwerks vetoed the idea. Iwerks was soon set to retire and wanted the studio to be on solid ground again before his departure. Nobody but a select few at the time knew he was closing in on his final years working at the studio. The Choice of who should direct the film surprised many when the press announced it. Indian Filmmaker and actor Shekhar Kapur was selected. He gained international recognition and acclaim in 1994 with the biographical film Bandit Queen, based on the infamous Indian bandit and politician Phoolan Devi. Though some did question the Choice, the team was ready to assemble the movie.
After working to find a story, the writers selected an event that happened in 1862 when, during the American Civil War, volunteers from the Union Army, led by civilian scout James J. Andrews, hijacked a train and took it northward toward Chattanooga, Tennessee, doing as much damage as possible to the vital Western and Atlantic Railroad. Confederate forces pursued them on foot, and later on, they pursued a succession of locomotives despite changing some of the events to make them fit into a film. The production team brought Civil War-era experts to consult throughout the filmmaking process. These experts also helped the design team build replicas of the locomotives used during the Great Locomotive Chase. Don Iwerks is known for praising the team's efficiency and ability to work closely with the historical advisors who were hired to help them.
Casting was a crucial component once again for the studio. Producer Jon Landau aimed for a blend of established stars and emerging talents, which the studio would continue to do into the early 2000s. To this effect, the team cast Leonardo DiCaprio as the Union leader, James J. Andrews. Alongside him, a supporting cast included Edward Norton, Cate Blanchett, and Jeffrey Wright. Filming took place throughout Georgia, close to the actual location where the real event took place. The film was the birth of a few innovative solutions that allowed them to capture the moving trains up close and use CGI to amplify real-life practical effects. Despite efforts to hire John Williams to hire the score, he declined, so the studio selected Hans Zimmer, who worked to create a modern soundtrack that reflected the period.
The Great Locomotive Chase premiered on the 4th of July, 1998, in Atlanta, Georgia. The film opened to impressive box office numbers upon its release, driven by positive reviews and strong word-of-mouth. Critics praised the film for its direction, performances, and particularly the integration of historical elements. Disney’s live-action production seemed to be back in business, and Don Iwerks could not have been happier. He was 69 years of age, and the stress of the last few years impacted his health significantly. He began searching for a successor around the time of this film’s release. Rumours circulated in the press about his departure, with many suggesting he would turn to someone in his family, and well, this was likely going to be the cast; the question of just which child it would be was a prominent one for 4/6 children had followed their fathers’ footsteps into Hollywood. As the studio basked in the glory of The Great Locomotive Chase, another film loomed on the horizon, a film very, very different that would kickstart a new trilogy that children and teens alike would very soon come to adore.
Chapter One Hundred-Four: High School Musical (1998)
Chapter One Hundred-Four: High School Musical (1998)
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(Alan Menken and Howard Ashman)
The 1990s was not only a period of reassurance for Grand epic historical movies. Teen comedies and musicals have also seen a sharp rise in popularity. Hyperion Productions had not made a teen-focused movie in a while, and their last musical was released in 1974. Charlie Iwerks, the 32-year-old son of Don Iwerks, noted that the studio needed to improve in that department and now had a chance to correct itself. Times, however, had changed massively since the studio produced and released Camp Rock 2: The Final Jam. Musical tastes had changed, as did how teens were presented in movies. To This end, Charlie Iwerks and his sister, Ann Iwerks, worked closely together, leveraging their unique skills and perspectives, to propose that the studio should tap this untamed market and seek to create something that would set a new standard. After much debate, the project was finally greenlit in the summer of 1996, with Don Iwerks entirely focusing on his final feature film. Charlie and Ann Iwerks, with their combined expertise, agreed to co-produce the project.
(Alan Menken and Howard Ashman)
The pair knew who they wanted to write the script and direct the project early on. That man was John Hughes. At the time, he was best known for his coming-of-age teen comedy films, which had honest depictions of suburban teenage life. However, Hughes was extremely apprehensive about taking on the project at first. He had never directed nor written a musical before and thus did not believe he was the right man for the job. To ease his fears, veteran musical writer Bronté Woodard. After Woodard was brought into meetings with Huges. He agreed to join the project. Together, the pair worked to craft a story that focused on contemporary teenagers with an effort to capture the spirit of high school through song and dance. Plans to set the film in the 60s were scrapped out of fear it would clash with the grease films, and thus, it was set in the modern day of 1998. The script underwent several revisions to ensure it appealed to both teens and their families.
In terms of the music, a surprise was to be had as the team hired Alan Menken and Howard Ashman. Well, this may seem normal as the pair had worked with Disney often, but they had not, in fact, worked on many live-action films for Disney. The pair wanted to set the movie apart from their animated musical scores, so they set out to blend traditional musical elements with contemporary 90s music. High School Musical’s soundtrack would also start a new marketing tactic for the studio. The soundtrack was released one month before the film as part of its promotional strategy, with singles played on radio stations and music television channels nationwide. The soundtrack itself consisted of 13 songs; these songs are:
1: Start of Something New
2: Now Or Never
3: What I've Been Looking For
4: The Truth Inside
5: Stick to the Status Quo
6: When There Was Me and You
7: Bop to the Top
8: Proud and Free
9: Man Of Mystery
10: Unbreakable
11: Breaking Free
12: We're All in This Together
13: High School Musical Megamix
2: Now Or Never
3: What I've Been Looking For
4: The Truth Inside
5: Stick to the Status Quo
6: When There Was Me and You
7: Bop to the Top
8: Proud and Free
9: Man Of Mystery
10: Unbreakable
11: Breaking Free
12: We're All in This Together
13: High School Musical Megamix
Casting High School Musical was more straightforward than the crew had anticipated, for they needed actors who could both act and sing. The casting directors also sought fresh faces that could embody the film’s energetic and optimistic spirit. Justin Timberlake was cast as Troy Bolton, while River Phoenix was chosen for George Montez. As for the other cast members, Sarah Michelle Gellar was cast as Sharpay, Neil Patrick Harris was cast as Ryan with Will Smith as Chad, Christina Aguilera as Kelsi and Christina Vidal as Taylor. The producers clarified that they wanted younger actors to play the roles to get an autunitic feel. They worked closely with the casting directors to get the casting done right.
Disney went all out on the Film's marketing, pushing it out further than they had before starting a new era of bold marketing for the company. The trailer was shown frequently on TV, and promotional singles played heavily on radio stations nationwide. Behind-the-scenes specials that appealed directly to the target demographic were shown on the Disney channel. When the Film was released on October 11th, 1998, it was evident that the push had been worth it. The Film became an immediate hit, and its cast catapulted to new levels of fame. Reviewers praised the Film’s positive message, catchy music, and relatable characters. The Film's success prompted a renewed interest in musical films targeted at younger audiences and sparked a wave of similar productions. The film also led to increased soundtrack album sales, influencing how Disney music was integrated into film marketing strategies.
High school musical fever was intense, and the question of what would happen next was on the minds of many. The film smashed box expectations. Could they do it again? Little did anyone know that a trilogy was being formed right there and then. As for Charlie and Ann Iwerks, they had greatly impressed their father. This film made his choice of successor easier. High Musical 2 was quickly greenlit for August of 2001. Hopes were high that it would be as big a hit as the first film. Disney even considered a TV show. As for high school musical, it has gone down as one of Disney’s best live-action films in the 90s, proving the studio still had it in them. It is often considered one of the better musicals of the 90s, a testament to the legacy of Alan Menken and Howard Ashman.
High School Musical in the 90s? Damn I might actually check it out if this was OTL's version
Coming up in the years before America gets turned upside down
Atlantis: The Lost Empire (1998)
The Great Mouse Detective (1998)
Discovery Island (1998)
Haunted Mansion (1999)
Pinocchio (1999)
Lilo & Stitch (1999)
The Walt Disney World Explorer (1999)
Disney Magic Kingdoms (1999)
Inside Out (2000)
The Hunchback of Notre Dame (2000)
Brother Bear (2000)
Epic Mickey (2000)
Tokyo DisneySea (2001)
Disney's California Adventure Park (2001)
Make Mine Music (2001)
High School Musical 2 (2001)
And then the towers fall
Atlantis: The Lost Empire (1998)
The Great Mouse Detective (1998)
Discovery Island (1998)
Haunted Mansion (1999)
Pinocchio (1999)
Lilo & Stitch (1999)
The Walt Disney World Explorer (1999)
Disney Magic Kingdoms (1999)
Inside Out (2000)
The Hunchback of Notre Dame (2000)
Brother Bear (2000)
Epic Mickey (2000)
Tokyo DisneySea (2001)
Disney's California Adventure Park (2001)
Make Mine Music (2001)
High School Musical 2 (2001)
And then the towers fall
I've been especially waiting for this one, please let TTL's treatment be good
Wonder how these will go
Well isn't that ominous
In real life, it's safe to say that the towers falling hurt Disney since tourism levels dropped.
Projects like the second half of Disney's Pop Century Resort were not built, and Hollywood itself self-censored the towers out of films.
We already know one of the Disney family are in the towers on 9/11
Projects like the second half of Disney's Pop Century Resort were not built, and Hollywood itself self-censored the towers out of films.
We already know one of the Disney family are in the towers on 9/11