Winning the Rat(atouille) Race

Now that the dust has settled from the 2007 summer movie box office derby, I thought it was a good time to reflect again on a certain little rat and and what has been his very much understated impact on an industry that so often can only find validation in skewered number crunching and hollow punditry.

It has been just a little less than four months since Ratatouille was released in theaters, yet it is fast approaching a worldwide box office gross of a half a billion dollars. And it remains one of the most critically acclaimed films of 2007. It has for the most part shed the loud but still generally minimal anti-Disney-Pixar-merger baggage that some analysts kept handcuffing to it, but there is still the occasional saber rattle from those unwilling to give up what has become an increasingly weak supposition.

Ratatouille is certainly an unqualified success, both critically and financially. In animated circles, while it could not compete quite on the level of the well-established Shrek franchise, its box office remained greater than that of The Simpson's Movie, despite that film's blockbuster $70 million opening and over saturated media blitz.

I will unapologetically acknowledge that I have long championed the Disney-Pixar marriage. For doing so, I have been described by some as an uneducated pollyanna with a clear fan-rooted bias, clinging to an unrealistic view of what is ultimately a financially driven dynamic. By not consistently addressing Disney's entertainment endeavors from perspectives relating to corporate politics and fiscal performance, I have been told that I am essentially engaging in Mickey Mouse journalism of the most irresponsible nature.

It is a criticism that truly befuddles me.

I have always attempted to apply my college education in journalism and communications to my efforts here at 2719 Hyperion. Blogs tend to be very personal reflections of their authors rather than disciplined exercises in journalism, and in that regard, 2719 Hyperion very distinctly represents my lifelong passion for Disney entertainment. But I feel that that does not necessarily preempt the need to apply long respected principles of journalistic responsibility to what is still a very public forum for ideas and information.

When reporting news and writing feature stories, I strive for accuracy and always attempt to clearly attribute my sources. If a source is questionable or unnamed, I make every effort to identify it as such. Reviews, criticisms, and commentaries are labeled as such to reflect their typically subjective content and opinions.

But, at the end of the day, I'm still essentially doing what I do because I love Disney. As the header says, I'm addressing the many worlds of Disney entertainment. Entertainment.

And the heart of Disney entertainment is unbridled, inspired creativity, rooted in the dogged determination, passion and unbending commitment to quality demonstrated by the company's founder and namesake. Sure, it is an idealistic sentiment that has at times been undermined by uninspired executives, boardroom politics and monetary motivations. But it is in fact the nucleus of Disney fandom. We do not arrive at our passions because of interests in corporate governance, financial ledgers and monetary projections.

And while one could never at any point deem those subjects irrelevant, when it comes to Disney entertainment, they must always be viewed within the context of supporting creative visions and providing quality products. I begrudge no one who embraces the task of reporting or commenting on the Disney company from a strictly fiscal perspective. It is simply not my mission here.

What was so incredibly frustrating about the sound bites and punditry that emerged following the Disney-Pixar acquisition was that it was all about numbers. Everything about the merger was quick to be judged solely on basis of box office revenues. The financial performances of Cars and then Ratatouille became the focal points of discussions while their creative merits were either completely ignored or quickly dismissed.

At a recent conference with analysts from Goldman Sachs, Disney CEO Bob Iger made the following comments that speak to financial strategies rooted in creative dynamics, as relating specifically to the Pixar acquisition:

Well, I think the number one success would be the strengthening of our management, in particular our creative management in animation at the company. John Lasseter and Ed Catmull are applying their talents, which are considerable, to Disney animated films. Their first film will be out the end of next year, meaning next calendar year, called Bolt, which is renamed from American Dog, which we feel very optimistic about. But in general, the leadership that they brought to Disney animation I think has been not just greatly needed, but really impactful. I think the results that we will ultimately see from that, and time will tell, will make a big difference.

He concluded his presentation by saying:

I think more than anything, focusing on quality and creative success is critical, and creating more ways to generate creative success is also very important. So we're very optimistic about the company's prospects.

Creative success. Quality. And nowhere are those words more fitting than in describing a little character named Remy, both within the context of the wonderful story that was Ratatouille and the creative process the film ultimately came to validate and represent.

And a half a billion dollars ain't nothing to sneeze at either.