jeffrey-katzenberg

It’s the roaring 50’s and the times…they are a changin’. Say hello to three stir crazy gals: a rolling pin named Penny (Jennifer Aniston), a fry pan named Fran (Beyoncė) and a fridge named Bridget (Melissa McCarthy). For these three homemakers the day-to-day routine just isn’t cutting the mustard. So they decide TO give up their day jobs and taste test new professions.

Penny starts rolling the beat with the NYPD, battering up bad guys and flattening out crime. Meanwhile, hot headed Fran heats things up down at the firestation with her flame resistant attitude. Finally, a chilled out Bridget proves she ain’t no ice queen by doing all the heavy lifting over at the construction site–whilst never losing her cool.

They’re so smitten with their brand new careers that they try to help find new jobs for all their old friends, even the kitchen sink! However, they soon discover that not ENOUGH cooks can spoil the broth, and find themselves out of the frying pan and into the fire- literally! So it’s time to cut the apron strings, give the domestic life the cold shoulder, say goodbye to your chores and get OUT OF THE KITCHEN.

Join Penny, Fran and Bridget in this kitsch-en classic from the creators of Monsters Vs Aliens and Soap Opera.

  • WILL FERRELL: Hey I was just the villain in the Lego Movie doing the exact same character voice as Megamind
  • JONAH HILL: Hey I was totally another nerdy obsessive superhero in it too
  • THE LEGO MOVIE: Hey don't mind me I'm just over here being awesome and making tons of money and already getting a sequel
  • JEFFREY KATZENBERG: hmmm you know this gives me an idea...
  • MEGAMIND FANDOM: ?????
  • WILL FERRELL: ?????
  • JEFFREY KATZENBERG: Lets do a Shrek 5!!
  • MEGAMIND FANDOM: YOU'VE GOT TO BE KIDDING ME
variety.com
DreamWorks CEO Jeffrey Katzenberg Seals $391 Million Payday After Comcast Buyout
By James Rainey

“On Tuesday, executives and board members got their turn, as Comcast’s $3.8 billion purchase of DreamWorks closed  — with outgoing CEO Jeffrey Katzenberg’s writing a heartfelt final memo to his workers, on the day he received a more than $391 million cash-out package. The founder (along with Steven Spielberg and David Geffen) of one-time uber studio DreamWorks SKG walked away with 10 times more money than the next highest ranking studio employee, President Ann Daly.

Katzenberg suggested in a farewell memo to employees that his final hours as DreamWorks boss were filled with anything but thoughts about newly-claimed riches or about ‘the beautiful campus, the fountain, the panini maker or even the movies.’ Instead, he said said that when he drives out the DreamWorks gates for the final time he will think about people — 'incredibly talented individuals from around the globe, united by an amazing goal: to bring joy, wonder and laughter to the world.’

[Katzenberg] will work as a consultant to Comcast. And he will serve as Chairman of DreamWorks New Media, including looking for growth possibilities for properties like the studio’s Awesomeness TV unit.

Sources said Katzenberg got to sell a total of 9,186,260 shares he held variously via direct ownership, a trust and a series of entities he owns with his wife Marilyn. That part of the deal netted him more than $376.6 million. He also got to exercise options on more than 1 million additional shares, priced at $24.28 a share and at $35.30 a share — bagging $14.9 million more.”

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Press Conference of HOW TO TRAIN YOUR DRAGON 2 with Jeffrey Katzenberg, Bonnie Arnold, Dean Deblois, Jay Baruchel, America Ferrera, Djimon Hounsou, Cate Blanchett and Kit Harrington at Cannes Film Festival 2014

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The Prince of Egypt Appreciation Week: [Day 1] – Open:  Animation Appreciation

Animation is pure creative expression. It is pure artistry in that every single thing you see and hear in a frame, is out of someone’s imagination.” – Jeffrey Katzenberg, Executive Producer of The Prince of Egypt

Now this is a story all about how
Katzenberg lies and twists it around~

As of November 3, 2013, Turbo has grossed $82,807,215 in North America, and $184,800,000 in other countries, for a worldwide total of $267,607,215.[7] The film cost $127 million to produce,[5]and DreamWorks Animation spent between $150 million and $175 million to market it.[6] Despite having one of the lowest grosses in the DreamWorks Animation history,[54] Turbo is still expected to be profitable, calculating in Netflix television series Turbo: F.A.S.T.,[28] and assuming successful performance from home video and consumer products.[55]

In North America, on its opening day the film earned 5.8 million in 3,552 theaters.[56] The film opened to #3 in its first weekend, with $21,312,625, behind The Conjuring and Despicable Me 2,[57]having the third lowest all-time opening for a DreamWorks Animation computer-animated film, or adjusted for inflation and 3D prices, the lowest ever for a DWA CG film.[58] Turbo’s domestic performance was a disappointment for DreamWorks Animation, which had expectation for their films to be “$150 million, $200 million grossing movies.”[59] Jeffrey Katzenberg, DreamWorks Animation’s CEO, attributed less than expected gross to the bad release date, set in the middle of over-crowded summer marketplace, having an original film compete with five other animated films[54] ― by about 100% more than before.[60]

UH HUH OKAY AND THEN THERE’S MEGAMIND WHICH THEY MADE EVERY EXCUSE IN THE BOOK FOR ABANDONING WHEN IT WAS UP AGAINST TANGLED AND HARRY POTTER oh yeah five films that’s cute TRY DISNEY AND HARRY-GIGANTIC-FANBASE-POTTER

(also dare I add that Despicable Me is another villain movie mhm gee I wonder why people like that more than racing snails DURP DE DURR)

Megamind opened to $12,530,397 on opening day, and earned $46,016,833 over the three-day weekend, taking the No. 1 spot and averaged $11,668 from around 7,300 screens at 3,944 theaters. The opening was a bit higher than How to Train Your Dragon, which earned $43.7 million back in March 2010. It was the fifth-highest opening for an animated feature in 2010. In its second weekend, it repeated at No. 1 and dropped 37% to $29,120,461 for a $7,374 average from 3,949 theaters, and bringing its 10-day cumulative total to $88,822,635. On its third weekend, it fell 45% to $16,012,831 and finished second to Harry Potter and the Deathly Hallows – Part 1, averaging $4,237 from 3,779 theaters. Over Thanksgiving weekend, it held well with just a 22% drop to $12,575,778 and slid to third place behind Harry Potter and the Deathly Hallows – Part 1 and Tangled (it earned $17,304,307 over the five-day Thanksgiving period). Following Thanksgiving, the film fell a sharp 61% in its fifth weekend to $4,936,851 and finished in sixth place.

The film closed in theaters on February 24, 2011 (a day before it was released on DVD and Blu-ray), after grossing $148,415,853 in the U.S. and Canada as well as $321,885,765 worldwide.[1]The final gross was on the low end for a DreamWorks Animation film, but was still a box office success since it beat its $130 million budget. It is the sixth highest-grossing animated film from 2010 worldwide, behind Toy Story 3 ($1.063 billion), Shrek Forever After ($753 million), Tangled ($591 million), Despicable Me ($543 million), and How to Train Your Dragon ($495 million). The film also became the highest-grossing film worldwide in both Ferrell and Fey’s careers.[34][35] It was also the second highest-grossing superhero comedy film, behind The Incredibles.

The film also had theatrical releases around the world. It was supposed to be released in Japan sometime in 2011, but because of the earthquake and tsunami in Tōhoku of that year, the Japanese release has been postponed indefinitely.[36] It was unknown if it would ever be released in Japan. However, it was later added by iTunes in the same region as a downloadable video.

hm about all that

In April 2011, DreamWorks Animation’s CEO, Jeffrey Katzenberg, commented that the studio did not have plans to produce future movie genre parodies like Shark TaleMonsters vs. Aliens, and Megamind, saying that these films “all shared an approach and tone and idea of parody, and did not travel well internationally. We don’t have anything like that coming on our schedule now.”

and then there’s every employee that’s tried to feed me the story of how it didn’t do well financially. Really? REALLY?

and then there’s The Croods, which they didn’t waste a second to franchise:

In North America, the film earned $11.6 million on its opening day.[55] On its opening weekend, the film topped the box office with $43.6 million from 4,046 locations, a vast improvement over the DreamWorks Animation’s directly preceding release Rise of the Guardians,[56] yet still below some of the studio’s other original films, like Megamind and How to Train Your Dragon.[57]

cute

On April 17, 2013, it was announced that DreamWorks Animation has started developing a sequel to the film, with Sanders and DeMicco returning to direct the sequel.[65]

this was released to America march 22nd and they waited like three weeks to announce this

On February 13, 2013, DreamWorks Animation filed a trademark for The Croods for “entertainment services in the nature of an animated television series,”[67] hinting that DreamWorks is developing an animated TV series spin-off of The Croods, in the same vein as other DreamWorks TV series spun-off from popular films. In April 2013, Jeffrey Katzenberg, CEO of DreamWorks Animation, declared The Croods as their sixth franchise, saying that a TV series is expected, along with other “location-based entertainment.”[9]

I feel like the only person seeing all this and seething with rage I CALL IMMENSE BULLSHIT ON KATZENBERG

oh and ha ha Dreamworks has no money right hurting so bad from Guardians right

Katzenberg Offered to Pay $75 million for Three Extra ‘Breaking Bad’ Episodes

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Jeffrey Katzenberg, the CEO of DreamWorks Animation, told an audience of TV execs at the Mipcom mart in Cannes that six weeks ago he offered to commission three extra episodes — totaling 180 minutes — of “Breaking Bad.” He offered to pay $25 million per episode, he said.

UM

“The last series cost about $3.5 million an episode. So they would make more profit from these three shows than they made from five years of the entire series,” he said.

GEE WHAT DID MEGAMIND COST TO MAKE

$130 million

and you would spend MORE THAN HALF OF THAT BUDGET ON THREE EPISODES OF A SHOW I AM SO DONE WITH YOUR LIES

also dare I point out the 6.9 million likes on Facebook wow seriously who the heck would want more Megamind stuff gee sorry we’ve totally been wrong this whole time

HAPPY THIRD YEAR ANNIVERSARY TO THE MEGAMIND TEAM THAT WORKED SO HARD AND IT’S PAINFULLY FRUSTRATED FANDOM

Epic Movie (Re)Watch #112 - The Prince of Egypt

Originally posted by dreamworksmoments

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: DVD

1) The head of Jeffrey Katzenberg, the head of Dreamworks animation at the time and one of the former big wigs at Disney, had been pitching an adaptation of Moses’ story from Exodus to Disney far before he started Dreamworks with Steven Spielberg. During an early meeting of Dreamworks Katzenberg recalls that Spielberg looked at him during the meeting and said, “You ought to do The Ten Commandments.”

2) I think the opening disclaimer is a nice touch.

“The motion picture you are about to see is an adaptation of the Exodus story. While artistic and historical license has been taken, we believe that this film is true to the essence, values and integrity of a story that is a cornerstone of faith for millions of people worldwide. The biblical story of Moses can be found in the book of Exodus.”

3) Music plays an incredibly important role in this film, mostly for setting its grand storytelling and dark tone. This is clearly apparent from the opening song “Deliver Us” which depicts the suffering of the Hebrew people in Egypt and also the hope of Moses.

Originally posted by holden-caulfieldlings

4) This film also does an excellent job of immediately establishing the brotherly relationship between Moses and Ramses. It’s fun and honest, which makes the following events all the more heartbreaking.

Originally posted by somehow-you-will

5) Val Kilmer is quite effective in the role of Moses, being able to provide a healthy balance of his youthful joviality and privilege early on and the wisdom that would come to define the character later.

6) This film has three noteworthy actors who have very little lines. The first two of these are Patrick Stewart as Pharaoh Seti and Helen Mirren as The Queen.

Originally posted by ofallingstar

Neither of them sing, so their lines are few and unfortunately Mirren feels wasted in the part (less of a comment on her acting, which is top notch as usual, and more from the lack of screen time). Stewart, however, gives Seti some depth. We see him as father and ruler, both roles where he cares about his people, but also murderer of Hebrew babies which gives him a sinister feel.

7) Moses could have been painted as a spoiled brat while acting as prince of Egypt, but he takes responsibility for his actions and mistakes while also trying to shield Ramses from some of their father’s heavy expectations.

8) Tzipporah is established as fierce as heck from the get go.

Originally posted by spypartygifs-blog

Kept as a foreign slave in her first scene, she still fights back with great vigor despite being in a room who don’t care if she dies by the hands of the pharaoh. Michelle Pfeiffer imparts some of the strength she brought to Catwoman into the part and it’s a wonderful take on the biblical figure.

9) Sandra Bullock may have more lines than Helen Mirren, Patrick Stewart, and (later) Danny Glover, but for some reason I’m always wanting more of her and her character Miriam by the time the film ends. I like what I see, I just wish there were more of her in the film (I think).

Originally posted by holden-caulfieldlings

10) For some reason I don’t feel the way about her brother Aaron, who is voiced wonderfully by Jeff Goldblum. That may be because we see Aaron develop from non-believer to believer over the course of the film (wheres Miriam is consistently good and believing in Moses) and Jeff Goldblum plays both the doubter and the supporter well.

Originally posted by radioactivelizzy

11) Continuing with the excellent music in this film, “All I Ever Wanted,” carries with it that sense of grandeur as well as the heartbreak of Moses denying his true heritage.

12) Moses’ nightmare is one of the most memorable non-musical sequences out of the film (not THE most memorable but one of them), and this is done both through the unique hieroglyphic art style and the lack of dialogue. It is true visual storytelling.

13) Remember how I said Tzipporah is fierce as heck? Well, that continues throughout the film when she decides to drop Moses into a well as a bit of payback for being a prince of Egypt (although she does help him out because he helped her escape the palace).

14) Danny Glover is the third actor who doesn’t have enough lines. He plays the role of Jethro, a character with about ten spoken lines (more or less) and then the rest of his role is in song. And Danny Glover doesn’t sing the song.

Originally posted by holden-caulfieldlings

In the little dialogue Glover does give though, he is able to establish Jethro as a man who’s heart is as big as his stature. I just wish we’d heard more of him.

15) I mentioned in The Road to El Dorado the effectiveness of using a song to cover large gaps of time. This film is no different, initial with Jethro’s song “Through Heavens Eyes.” It’s a rousing and hopeful number which talks of the Hebrew god and how we can only know our worth when trying to look through (one guess what I’m going to say next) heaven’s eyes. In that time we cover Moses learning what a free life is from these people, his growing humility, and his blossoming relationship with Tzipporah (and eventual marriage).

Originally posted by holden-caulfieldlings

16) The Burning Bush.

Val Kilmer provides the voice of god in this film, although that wasn’t the initial plan. Originally all the actors in the film were going to voice god at the same time, and were told to whisper so they wouldn’t overpower each other. When the time came to record Kilmer’s lines, they realized someone had to speak louder. It was a happy realization, as the filmmakers later noted that god usually speaks to us as the little voice in our own heads. And it parallels the Cecil B. Demille version of The Ten Commandments where it is said (although I don’t think confirmed) that Charlton Heston also provided the voice of god while also playing Moses.

17) Moses telling Tzipporah about his encounter with the burning bush is another fine example of how filmmaking is primarily a VISUAL medium. We don’t hear a word they saw to each other, but we see him talking and we see her reaction and we know EXACTLY what is happening.

Originally posted by quaslmodo

18) Ralph Fiennes performance as Ramses is at its best when Ramses becomes villainous and conceited. Hmm, Ralph Fiennes playing a villainous and conceited villain. Sounds familiar…

Originally posted by yerr-a-wizard-harry

19) Playing with the Big Boys is the only real villain song in this film.

Performed by the evil lackeys Hotep and Huy (who are voiced wonderfully by Steve Martin and Martin Short respectively), the song shows off just how dark things in the Egypt really are and how tricky these two “magicians” are. Martin and Short breathe wonderful life and evil fun into the song, and even recorded their dialogue together. And the scenes uses wonderful use of darkness and shadows to make us feel like Moses is in over his head. Which in a way, he is. But the film wouldn’t be interesting if things were easy for the protagonist.

20) The growing conflict between Moses and Ramses is heartbreaking and I give credit to all those involved in this film for that. The directors, the writers, the animators, Val Kilmer & Ralph Fiennes, everyone. We see them go from the best of friends to archenemies and neither of them wants to be in that position. But they are, and they each think they’re doing what is best for their people. It hurts a lot to watch.

21) “The Plagues” is also a great example of how this film condenses what could have been a massive chunk of time into a little two-and-a-half minute song.

It also does not make light of the plagues either. The plagues were horrible. True wrath of god type stuff that ruined people’s lives. And this song is an epic but dark representation of just what those were like while also developing the conflict between Moses and Ramses.

22) I’m not as familiar with my biblical readings as maybe I should be, but I like that this film depicts Moses reaching out to Ramses one last time before he releases the final plague. It is one final reminder that they are or, more appropriately, were brothers. And they almost seem to understand each other, to make peace. But they don’t. Meaning the final and most awful plague is released.

23) I don’t want to get into my own theological beliefs or philosophies, but I am always sickened about the death of the first borns of Egypt.

The scene is animated beautifully but the entire thing is heartbreaking. The idea of a god who will take away the lives of children just to get what he wants, even though he later claims that we are all his children, just never sits right with me. I just…it sickens me. That’s all I can say. It sickens me.

24) “When You Believe” is probably THE song from this film. It won the Oscar for best original song that year, beating out “I Don’t Wanna Miss A Thing” by Aerosmith. It is the perfect representation of the power of hope and belief which is the central theme of this film. Michelle Pfeiffer and Sally Dworsky (along with the film’s chorus) do an excellent job performing the song written by Stephen Schwartz, but the pop version performed by Whitney Houston and Mariah Carey is just as good.

Originally posted by holden-caulfieldlings

25) I think the most memorable part of this film has to be the parting of the Red Seas. And it could just be for this image alone:

Originally posted by neverlandpixy

That is such a powerful image which really gets across the wonder of what we’re seeing. A representation of the scene which few if any adaptations of the Exodus story have ever lived up to and which I think only animation can bring to life so wonderfully.

26) After the Red Sea crashes down and Ramses is washed away, we see Moses looking off in the distance and hear Ramses screaming, “MOSES!” The filmmakers have suggested that this may be in Moses’ head and that Ramses might actually be dead. I like that idea. It shows Moses still has hope for his brother.

27) And since this is an adaptation of Exodus, of course it has to involve the Ten Commandments in some way. I’m just glad that it’s the last shot of the film. A nice way of ending the story.

It makes sense to end a family film there, as opposed to Moses finding his people worshipping a false idol (a golden cow, I think) and smashing the tablet before God destroys the idol and forces his people to wander the desert for 40 years to kill off the rebellious generation. Oh, and Moses didn’t get to go into the promised land.

(GIF originally posted by @rocktheholygrail)

What’s not family friendly about that?


The Prince of Egypt is a great animated film who’s popularity has unfortunately lost steam in recent years. It represents its story well without beating you over the head with the religion, the animation and music are gorgeous, and the voice acting is top notch (if a little wasted at times). I highly recommend you see it.

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Song from Muppet Christmas Carol that Jeffrey Katzenberg had cut from most versions (including theatrical and current blu-ray) because he throught it was too sad for kids. 

Kind of a really important song in Scrooge’s development, and the base of a fantastic reprisal at the end of the film (the love we found), so if you’ve never heard it before, well, here you are!

Alright, the movie doesn’t come out for another four days, and I’m honestly trying not to judge too harshly until I actually see it, but the original Beauty and the Beast was one of the movies I watched during my transatlantic flight yesterday and it helped to clarify something I’d already been thinking of with the whole “LeFou is gay” thing.  Several years ago, Disney executive Jeffrey Katzenberg talked about what went into the making of the 1991 Beauty and the Beast.  The storyline they had in 1989 wasn’t going anywhere, so they decided to make it a musical and sought the talents of lyricist Howard Ashman and composer Alan Menken.  The production team had to move to accommodate Ashman, who was in the hospital, fighting AIDS-related complications at the time.  Under Ashman’s influence, the story changed to give the Beast a bigger role as a sympathetic and even tragic character who truly deserves his happy ending. 

Many of Ashman’s lyrics were influenced by his own illness and his experiences of being stigmatized as a gay man with AIDS…and really, as a gay man in general.  Consider this scene, and think of how this is the same sort of language that anti-LGBT politicians and activists use to demonize LGBT people, often word for word.  The townspeople who become an angry mob here are the same ones who, in the opening song, are friendly enough in greeting Belle but comment on how she’s “different from the rest of us.”  It’s about how our neighbors and other people we’ve always known can lash out.

In March of 1991, right after the first screenings of the finished film, members of the production team went to visit Ashman in the hospital.  His weight had dropped down to just 80 pounds, he had lost his sight, and he could barely speak.  They told him the film had gotten glowing reviews from the critics at the advance screening, and he was happy to hear it.  Four days later, Ashman died.  When Beauty and the Beast was released in November of that year, it came with the following dedication:

“To our friend Howard, who gave a mermaid her voice and a beast his soul, we will be forever grateful. Howard Ashman 1950–1991.” 

That’s why, when the team behind the new movie announced that LeFou would be gay, I was more than a little apprehensive.  That’s why I was even more apprehensive when I heard the decision was meant to be a tribute to Ashman.  It would be making explicit Disney’s long history of implicitly queercoding villains.  It would be Disney patting itself on the back for its progressiveness in what may very well be nothing more than a throwaway line.  It would be telling those who have been petitioning Disney for LGBT representation that the best bone that could be thrown to them would be a character who bullies those who are different.  A character who’s a sidekick, trailing covetously after the hypermasculine villain even though he mistreats him.  A character whose name means “The Fool.”  A character at the head of the mob that originally represented those who wanted to see people like Howard Ashman destroyed.

Again, it’s still a few days until the movie comes out and I don’t have much to go on.  Apparently they’re making changes to the 1991 story, so I don’t honestly know what to expect.  I do know that I’ve been looking forward to this movie since I first heard about it, and the LeFou news replaced much of my longtime excitement with fear.  In order for these seriously bad implications to not reach the new film, LeFou’s character would have to be 100% different, even with a different name and a different purpose in the story.  I don’t know what changes they’ll be making, but right now my hopes on this front could not be lower.