# Episodio #11- Los Aristogatos

An episode of [Hay un amigo en mí](https://invisiblenetwork.ai/podcast/1615418778), 13 Jun 2024, 52 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60341469/hay_un_amigo_en_mi_11_duquesa_sus_gatitos_y_la_larga_travesi_a_en_el_desierto_disney.mp3

Entramos de lleno en el trasfondo social de Los Aristogatos (1970), uno de los clásicos Disney más infravalorados, y debatimos sobre el porqué Disney se encamina hacia una nueva época oscura por falta de ideas originales y la necesidad de alimentar Disney Plus. Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/hay-un-amigo-en-mi--4305808/support. 🎧 PODCAST disponible en todas las plataformas de audio. AYÚDANOS a seguir adelante ➡ vozparalela.es/donar

## Transcript

[0:00] You' re listening to a parallel voice podcast. Help us move forward in
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[0:54] We are in episode number eleven and although it seems like a number without
[0:58] pity or glory, it is also a special episode because we started our journey
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[1:29] There is a friend, my script under Podcast, our telegram channel that we
[1:32] already had up to now and in the rest of social networks in parallel voice,
[1:38] made the corresponding introductions. We begin by analyzing and classic, it is
[1:53] not easy to put on the table another classic, Disney, after the last
[1:57] episode that we analyzed the lion king. But we are going to take the
[2:01] risk because we have again with us and we hope it will be a long
[2:07] - term collaboration with Javi Verdejo welcome again. Good morning, Javi, thank
[2:09] you very much. For another time coming here and nothing you know you always
[2:13] accepted an invitation to talk about Disney. You always seem to like the experience,
[2:16] that is to say, even though it has been true, make certain
[2:19] videos on social networks, but good. It' s always said that even
[2:23] if I speak ill, you speak good. You have to get used to
[2:29] mixing Disney and politics, because it' s a dangerous cocktail. As you
[2:34] will have heard from the music that we have in the background today we speak
[2:38] of the Aristo Cats, one of the classic guys most recognized and premiered in
[2:43] nineteen hundred and seventy, even though it premiered three years after the death of
[2:47] his own or Disney. It was the last project he had as such with
[2:51] his supervision. It premiered under the direction of his brother Roy' s studio
[2:57] which, in fact, would also die shortly afterwards. And for that reason
[3:00] it is considered that we have also discussed it in some episodes, such as
[3:07] the last case of the Golden Age before entering that dark age that would not
[3:10] end until the rebirth of the nineties, in which we have already spoken in
[3:15] some episodes. Well, yes, javi. There it is always compared to
[3:21] the films that have previous years and clearly we have the Book of the Forest,
[3:24] for example, as a predecessor even with a hundred a dalmatas. In
[3:30] fact, there are people in some articles. For example, in one spin
[3:32] off read a few weeks ago, aristogates were said to be good. I
[3:38] was surprised that in general the film is very little valued and that it is
[3:40] kind of a refrito among the lady the homeless on the street that a poor
[3:46] person knows a rich girl and I feel a dhalmatas because in the end it
[3:52] is a pet theft in exchange for money. I mean, in the end
[3:55] I also understand the context in which Disney is in this case, which is
[3:58] a little bit of a period, will be some pretty interesting innovations in terms
[4:02] of argumentation, that is, if I' m not mistaken the last one.
[4:04] I mean, Disney is always pointed out to be that princess movie company
[4:08] and all that. But then you see that in the movies he has,
[4:12] because they are much more than that concept of princess And now that you'
[4:15] ve seen him cats, although it' s a refrito, to me it
[4:18] looks like a movie that works quite well. I mean, in the context
[4:20] in which it is in which I think it has started to be valued a
[4:24] little bit more, especially because there are scenes that give for many memes,
[4:27] for much you have not seen some that are not very funny and in the
[4:30] end, what is a film, as an infant, but it is true
[4:32] that I think it stays a little in the shade, precisely because of the
[4:35] context in which it develops. I mean, Walt Disney dies presents him in
[4:39] a period. We already know when the leader dies, because it is a
[4:43] company, a country, whatever it is, because everything is a little dislocated.
[4:46] But I think it' s a movie that generally fits pretty well with
[4:50] what Disney is, both good and bad, that there are details that could
[4:54] be discussed a little bit about the movie. I am not speaking in the
[4:59] technical sense, but perhaps in a somewhat ethical or moral sense. We'
[5:02] ll get into that now. One of the aspects that I think was also
[5:04] happening in King Leon and in the great films of Sneck, which was the
[5:08] case of the music that was in charge of those of the Sherman brothers,
[5:12] who had taken care of previous films like Mary Poppins and that in the end,
[5:17] then, it really works, especially to set us in that France of
[5:23] belle poc of the first decade of the twentieth century that, besides getting the
[5:29] brothers Sherman that Moris se Valier, who was a French singer who had been
[5:32] very successful in the United States and was already retired because he was very old.
[5:35] The Serán brothers managed to convince him to sing the tune of the principle
[5:45] that they sang it English, but with that French accent so characteristic and that,
[5:48] in the case of the dubbing to Latin Spanish, in this case he
[5:53] was in charge of Carlos Petrel, who later we will talk about him,
[5:57] because he has very interesting stories, along with other actors of dubbing and,
[6:01] of course, the jazz that plays that important role as he had also played
[6:04] in the book of Selva, which is even considered as part of making refrito,
[6:08] of using the case of jazz for those people as low background, also
[6:14] in the case of cats. In the end, it is a resource that
[6:16] is used not only Disney, that is, it was used a lot in
[6:19] cinema. That' s true. In this case we speak of a film
[6:23] of the seventies and the element of jazz as an identifying music of a certain
[6:29] group in this case, since the African American population or the lower classes have
[6:33] always been made as with negative notations. I think a lot is pointed out
[6:39] to Disney, because it has the case of the book of the Jungle,
[6:42] that this has always been talked about the relationship of monkeys is with jazz and
[6:45] all that, but well, there is also the case of Dumbo with bodies
[6:50] bodies, but, for example, the Warner has been much more, more
[6:57] explicit with all of it, with its short animations. He' s always
[7:00] played a lot more with jazz. And although it is true that Disney,
[7:02] perhaps because of course he has put it especially in great productions, has been
[7:08] pointed out more, but it has been something that has been present in American
[7:11] cinema and to me what really strikes me a bit. It is that clearly
[7:13] the film comes out in the seventies and the great examples of the use of
[7:17] jazz as an element of soundtrack to identify certain social collectives, to population,
[7:21] to formalan. And all that was something like a little more than previous decades,
[7:26] that is to say the years, because that the 1930s, forties,
[7:30] fifties, in the seventies that has already passed, well, it has not
[7:31] happened, but since the struggle for civil rights had been consolidated And all that
[7:34] is used that element of jazz that in this film is not associated with the
[7:40] African American population, but the lower classes. But it' s a bit
[7:46] of a reproduction of that feature film has had. Yes, in fact,
[7:47] in addition, with what you commented about the lower classes, there has also
[7:50] been a lot of debate and there is always this revisionism of Disney movies as
[7:54] to what he hears racist or xenophobic stereotypes, in the specific case of cats,
[8:00] arrabaleros cats, which in the end there is each one of a nationality
[8:01] a little sterotyped, perhaps, not as much as you said in previous decades,
[8:07] but that it does exist, that there is a Chinese cat, that
[8:11] well, that almost the same thing I noticed yesterday watching the film that the
[8:13] Lady and Baún with Siamese kittens, there is a Russian cat, there is
[8:18] an Italian cat, there is an English cat and as in the end,
[8:24] well, they make those sterotypes so marked. But in the end it'
[8:30] s also like aristogatos happens to you a little bit, like the lady and
[8:33] the tramp, that is, they' re movies that are more or less
[8:37] set in the same era. It is true that he has seen cats in
[8:37] France, the biggest vagrant in the United States and this phenomenon of migration has
[8:41] clearly been put on him. All this in the neighborhoods, because in the
[8:46] largest of the homeless, for example, in the scene of the kennel,
[8:48] the cucumbers also represent different. So is one who is Soviet Russian, then
[8:54] in Chihuahua, who is Mexican. Des Well, they are a little problematic
[9:00] relationships and here we put that, that is, cats also present a little
[9:03] as different nationalities and also ethnic groups. And the case of the Seamas cat
[9:09] is the most obvious. I mean, the moment when he' s playing
[9:13] jazz and playing chopsticks. I have to be pinado and sounds the typical stereotypic
[9:18] melody that goes in to represent China. You' re saying wow, that
[9:24] ' s that little clear one, no, no, you don' t
[9:28] associate him and it' s got a lot to do with it. It
[9:28] is also true that a little clear, that is, are films that are
[9:31] set in the time when it is environment both the migratory phenomenon. But it
[9:35] is true that Disney, like at that stage, had a little fixation with
[9:37] the Chinese population, which also happens a lot in the cinema, that is,
[9:41] it is a little bit this phenomenon of ridiculing the Asian population that reduces
[9:48] everything with which Spain reduces it to Chinese as a label. But something also
[9:52] quite common in cinema, that is to say, in unison with diamonds is
[9:56] also made that stereotype and it has a lot to do with that to consolidate
[10:01] those migrant populations that came from the Chinese Revolution and everything that came to the
[10:05] United States and somehow, in the 1960s already consolidate populations and that' s
[10:09] when they begin to do all this stereotype. And in the end, that
[10:13] ' s because it doesn' t stop being a product of his time.
[10:16] And that' s going to reflect if maybe in the case of Paris,
[10:20] they could have better hidden it or they could hide it a little more,
[10:24] because Paris would be like the melting pot of artists and more than so many
[10:28] nationalities that they could have hidden it perhaps more from that part. As for
[10:33] the techniques of animation and that it is very curious that we see it also
[10:35] in movies when it used for the first time in hundredndal kills, what is
[10:41] called the xeros proxs that, by the way, I recommend that you see
[10:46] on what is based a video of the youtuberther on which is sought another hundred
[10:52] a dalmatas. You find it explaining a little bit that technique, how the
[10:56] drawings were passed through a technique to photocopy directly to the transparent sheets to color
[11:01] on them, and that also why we found those drawing strokes as a sketcher
[11:07] in the kittens and that had also happened in the cintun dan matas, which
[11:13] I personally love. There are people who see it as Chapuzami. Then I
[11:18] love it. It seems to me that he was a very important personality and
[11:22] especially in those watercolors that had already passed, as I say a hundred not
[11:26] to blankets. But in the case of this film in London, in the
[11:30] case of the aristogatos in Paris, which I think along with the music,
[11:33] because it puts us fully into that setting car you go well, yes,
[11:46] guau wow was uncle flame. And one very curious thing about watching the movie
[11:52] yesterday is that there are no people on the street. Yeah, there all
[11:56] the time you see the streets man, when tonight you' re worth I
[11:58] understand a little better, but you don' t see anyone on the street.
[12:01] It' s good to be a neighborhood, residential where they live and
[12:03] so on, but you can' t see anyone on the street at any
[12:05] time. You know that in the end a hundred a dalmata, so you
[12:09] see that people who want on a certain role, even if so as part
[12:13] of the stage. All that, but isn' t it true you haven
[12:13] ' t seen cats? He doesn' t show up, but I think
[12:16] he' s seen them, too. Cats, Unlike a hundred tundar matas,
[12:18] that is, in a hundred tarmatas in the end dogs that escape each
[12:22] one with their personality and all that, but they have not seen cats,
[12:26] that is, in the end cats are used as that representation of the population
[12:30] of Paris of the early tenth century good of France, because then, when
[12:33] they go to the countryside and all that and according to little that it is
[12:39] played to that the animals are those that, in some way represent the people
[12:43] in society. And I want to think that' s why we get out
[12:46] on that proma. They draw attention, because it is true that every difference
[12:48] of a hundred daminatas here the animals have no longer is that they have a
[12:52] personality marked as characters of a story, but that they are literally representing social
[12:58] groups of France, of the Pelepol. And then, well, he plays
[13:01] quite well, that is, on the one hand, the aristocracy, good
[13:03] bourgeois aristocracy, because in the end I want to remember that he was an
[13:09] opera singer or something. Yes, yes, that in the end I realized
[13:11] yesterday that it is not an aris cats, yes, but she is not
[13:16] an aristocrat of that rich family and so on, but she is an opera
[13:18] singer who has earned that fame, yes, yes totally. And then,
[13:24] because that represents quite well, especially that class dynamic, plus the film is
[13:28] about an inheritance. Yes, and we all know the property debate that'
[13:33] s like that basically, because that' s what exemplifies a little how class
[13:35] society works. And it is also a film that leaves as in very good
[13:41] place to the higher classes, Not to say, a movie where, because
[13:46] there is always charity, Not to say, when the film ends says because
[13:48] I will donate my inheritance to all the abandoned cats of ay how good you
[13:52] are I don' t know what, but then the butler has a little
[13:54] displaced. Yeah, that' s true, it' s something at all
[13:58] times. They say it' s a house, a huge mansion, that
[14:01] lives alone now, because at no time, that is, he has no
[14:03] family, because no moment has he had it since he had no children,
[14:07] that they have left or whatever. And instead, then we see Edgar,
[14:11] who is a mayler they took who lives in a cuchitril of hahan que vale,
[14:15] which is the service room, but man, you have the huge house
[14:18] empty, the good one has a ite to make a little more decent and
[14:22] that he has it cornered there in a garrilla, that is to say you
[14:26] even know a character that is clearly thought, for to be aware that he
[14:30] is the villain of the film and all that, but it is true that
[14:33] you do look a little in the background. In the end, of course,
[14:37] the biggest take has a legitimate complaint and is that a million dollar inheritance
[14:41] go to some cats that we want or it is not a bit, like
[14:45] saying hostia. You' ve been working for a lady a lot of time
[14:48] and you' re not going to win absolutely anything on top of a cuchitrill
[14:50] and all that. And of course, man, I' m not going
[14:54] to say you' re empathetic,' cause kidnapping cats and leaving them is
[14:58] ugly. But it is true that it reflected a dynamic, a bit problematic
[15:03] about who the good are, who the bad ones are. Then, it
[15:07] is true that cats, because they join with the arrabaleros, as they say
[15:09] in the film. But, well, we' ve seen that they also
[15:13] fall into stereotypes. And in the end, because the cat or bad And
[15:18] so in the end it rises from class category, which is a little again
[15:22] the social elevator game, very present in Disney movies, in this case through
[15:24] marriage, which as the best way to raise the social category through marriage.
[15:33] And cats, either they throw their party there or they never see them working.
[15:37] The roadmen aren' t working. It' s how they live life.
[15:41] They' re there that they don' t work, they don'
[15:45] t do anything at all, that then it' s a little bit so
[15:46] the typical stereotype of cinema. Not the lower classes do not work, they
[15:50] play music, but little more clear how their parties are made and if they
[15:54] go to the world of the artist totally. And it' s a little
[15:56] bit because in the end it reflects that, that is the image of that
[16:00] class society that there is in France, but developed for us to see there
[16:03] is that beautiful. The aristogates who are in a great mansion are what comes
[16:08] to educate those kittens in manners. Yes, it' s meant to be
[16:12] seen that way as much of the films Danima, and it' s too
[16:15] much for us to take care of our personal improvement. You must grow by
[16:22] growing up to be aristo efect your light from practicing your painting. A very
[16:27] important part of the film is also the voices, both the original version and
[16:32] the dubbing that was made later in Latin America. The case of the original
[16:37] version, for example, Duque is twice as vague, because well a consecrated
[16:40] film artist like Marlene Trish, good among you actresses of the 1930s or Thomas
[16:45] malile Fiel Harris, who had doubled yavalu and, in fact, in the
[16:52] doubled version of Castilian was the Mexican actor Tintan who called him who also doubled
[16:56] him, i e, they are typical Disney voices that we have recognized of
[17:00] those years and, in the case of the doubled version of Castella, in
[17:07] the case of Napoleon, we had Florencio Castello, who is that sevillana voice
[17:12] properly said is a morrotoiclet of two chain cylinders and a wheel of rechina,
[17:21] that of Lampera. I am sure that, researching in the end, it
[17:26] has a very curious history, as well as the one we talked about before
[17:30] Carlos Petrel, that both were Spanish artists, one Valencian another Sevillian, who
[17:36] were exiled during the Civil War. In the case of Carlos Petrel he fled
[17:38] first to France and then to Mexico. That' s why it contained that
[17:42] accent so French, so marked to sing the song. And in the case
[17:47] of Florencio Castello, he had fled directly to Mexico and was a true artist
[17:52] who had his own success saying Mexican and then, as for Disney, gave
[17:56] that voice, for example, to the vulture of one of the vultures of
[17:59] the book of the Jungle. And in the case of Napoleon, because that
[18:02] voice so characteristic that we have and following a little bit with the case of
[18:10] the characters, yes well, for example, curiosities about the film, in
[18:14] the case of Omali, that omaliy has a much longer name, but that
[18:18] only says it in the original version of the film, in the song,
[18:22] when it lends itself at the beginning, when it meets Duchess clear the part
[18:26] in Spanish, what we saw was I am descendant of those of the good
[18:33] tooth. But the original version says the full name, which is good pronounced
[18:36] in English a bit such is Abriam the Lazy justp crazy E BRM the les
[18:42] Hup. Yeah, how we' re doing is worth it today or Thomas
[18:55] or Malu house, which is the full name. And it is also the
[18:59] case that in the end, what you said not that good children are one
[19:02] of the uneducated kittens in those good manners and artistic techniques, which are in
[19:08] the case of Verlios playing the piano as the composer and in the case of
[19:14] Toulus painting as Toulus Lutreck, but that Mary only sings and moreover, has
[19:18] no name as an artist. I mean Mary, me all the time.
[19:23] Seeing the film yesterday I noticed that he is a character as annoying, as
[19:29] he feels with a character like Torpe, that all the time he is angry
[19:33] with his brothers who are have that development and she good sings, but little
[19:38] more does represent you quite well that education that was given to him in the
[19:44] ladies. Yeah, it does increase and it' s constantly in the movie.
[19:47] That' s not what the ladies do to the phrase I said.
[19:48] Besides the ladies, they never start conflicts, but it' s always not
[19:53] like I' m always a little lady. Just start the dishes finish yes
[20:00] totally and in fact good. His talent is singing and it was also very
[20:06] typical of the higher classes. He will learn to sing, to that,
[20:10] to recite to sew. It was rare, because he dedicated himself to playing
[20:14] an instrument that was supposed to be playing, the piano and all that.
[20:18] But always as in a context of you. A lady you' re to
[20:21] show the harp as a duvet, of course, to show you in society
[20:26] and it reflects it quite well. But it' s true that it generates
[20:30] a character I love it, I mean, I think it' s a
[20:33] wonderful character. But it is true that in general, I understand that maybe
[20:37] I don' t like her so well, because that' s because she
[20:40] designs her to be irritating, since I' m a little lady, I
[20:42] ' m a lady, treat me like a lady. And but it also
[20:45] reflects that idea of education. It is women, since they are small in
[20:49] bourgeois societies, who are prepared to show themselves in an event, in a
[20:55] gala, in a and in the end it is that which is developing,
[20:57] while the other two, for yes, they develop talents, but they do
[21:02] not focus on you gentlemen you are such in fact, it can be a
[21:07] revaler cat. Sure, actually, thank you very much. That' s
[21:08] been played a little. That all of a sudden they see a cat to
[21:11] Thomas or Mali and all of a sudden it' s like ay. I
[21:12] want to be a rabble cat, I want to be like getting rid of
[21:18] all this that another Disney classic, not to say, the rich one who
[21:23] wants to experience what it means to be, but without losing the comfort of
[21:26] clear always tart the conversation and without making the characters with a worse social status,
[21:34] because they change their situation unless the rich one stores their hand and does
[21:37] a very good charity work to them, not like suddenly my inheritance to a
[21:42] cat shelter. It is not a film that reflects quite well this idea of
[21:47] the rich and the poor may be in touch, but we leave everything as
[21:52] it is. We are not going to disrupt the system, as it is
[21:57] quite well reflected by the truth. Yeah, actually, when they say goodbye
[22:00] before Edgard knows they' re back, when they say goodbye, duke and
[22:06] or bad tells him if I could and she tells him that things are.
[22:10] It doesn' t say it exactly like that, but and that things are
[22:15] like that, it can only be that you ascend to that upper class by
[22:22] adopting it and taking the picture well pinnadito, as it hurts, lepinna a
[22:27] madame like they never always get down. It' s like it can go
[22:30] up that, to see neither do we all like to live well tonces we
[22:34] want to rise social class. No, but it' s true that it
[22:36] ' s a bit. The idea of the character that begins in poverty and
[22:38] becomes a rich person is already, as there is suddenly, you are already
[22:41] completely happy, you are already wonderful and clear. That typical message of happiness
[22:48] is in the rich. Those below do not aspire to happiness if they are
[22:52] a comic resource of walking look at the mood of the plain people in the
[22:57] grace of the people, no longer as it is always said. And so,
[23:00] man, that classical dynamic that we always see in this kind of representations,
[23:07] and something that hit me a lot because not so much at the time,
[23:12] but because in movies of those same years it doesn' t happen.
[23:15] That' s the case with the pyropes, that is, everything they say.
[23:18] Charming, beautiful, yes, I am very honored. Beautiful, we
[23:22] ' ll fly to Paris on a magic carpet. Hey, gorgeous. I
[23:26] ' m fine, honey. We' ll see each other down without affection.
[23:30] Let' s see if you can get rid of that pair of cute
[23:34] owl bursies how nice chickens you loved today I bear poetry, cheap, right,
[23:42] oh, not any of that. All women love to hear those nice
[23:48] things, but a lot of times, that is to say to get hit
[23:55] and that in other movies of that time you don' t see and maybe
[24:00] I don' t know if it' s because they allow that license,
[24:03] first at the time and then, second, because Thomas or bad and good,
[24:07] is a cat from the street and a seducer, as the lockers say,
[24:12] the twins, loquacious or why, but it hits a lot or so
[24:15] it' s a little bit. It creates a kind of ethics around relationships
[24:18] to the sexual affective, which differs very well also according to the class,
[24:22] not to say the upper classes, the way is like presentation in society,
[24:26] marriage or something a little more than then reality. We all know that we
[24:32] don' t already know you make a historical archive of illustrious figures of Aristo
[24:37] history and clear, that is, the presence of dear ones in quotation marks.
[24:41] It was something that was present. But, well, the film is
[24:44] a reflection that not that it' s how the upper classes have that ethics
[24:47] and it' s the lower classes that somehow get out of them that maybe
[24:51] they have because they' re a little rogue, they' re like Thomás
[24:55] or bad and they' re already traveling. They don' t have anywhere
[24:56] to be. They' re playing instruments, all that' s simple partying
[25:02] and then, about that they get attention. In the case of the two
[25:04] British socas, when his uncle appears, who is a drunk, who is
[25:11] a little bit, I was living in the movie and I say see I
[25:15] think I remembered that it was his uncle and it is said in the film
[25:18] something so that either they called him uncle or somewhere waldo, uncle gualdo.
[25:22] And I mean Uncle Gualdo played his nieces a little. Yes, yes,
[25:26] he means and in the end he represents me a little. It' s
[25:29] a mouth that' s escaping if records ran away from a local or something
[25:33] like that because they wanted him, leopética, of course, they wanted kitchens,
[25:37] yeah, yeah, and he comes out there. He' s completely
[25:41] drunk with the joker in a broken way and suddenly his nieces show up and
[25:47] he gets over her a little while they sound like hahaha. I don'
[25:49] t know what like Laughter or look at Gualdo' s or way to me
[26:00] and see what my dear ones knew I say cool nephew what a charm.
[26:07] Very, sir, yes, very ladies and of course it is a slightly
[26:12] cree representation to say you never see anyone of the aristocracy in that state.
[26:17] You only have the banker, but the banker didn' t overdo it.
[26:21] He' s not a slightly more comical character, either, but you say
[26:25] " fuck" The other representations by social classes are yes. In fact,
[26:30] she gets a lot shocked when good, when they feel bad and they try
[26:33] to teach her how to swim and good, because to grab hold of their
[26:37] tails and they get very shocked. And then she says but her husband is
[26:41] or isn' t, and she says I' m not, and she
[26:45] says what a scandal, that he' s a woman- hunter, a
[26:48] picaflor. Well you see I' m not exactly your husband didn' t
[26:56] say it is or, it isn' t, well, I don'
[27:03] t love it today. He' s such a scoundrel, unreproved ungodly,
[27:07] and look. This is it. Ticonisi together a scoundrel, no doubt,
[27:11] eyes together look incidents and smiles of ice cream and his chin is very weak.
[27:17] He' s definitely a decades- long seducer of alluring innocent women.
[27:21] Yeah, yeah, that' s double that double standard. Not to say,
[27:23] on the one hand, he hesitates a lot with the subject, that
[27:27] is, when he grabs it. If the scene, when it' s
[27:30] drowning, pulls you by the tail, already it' s scanned, but
[27:33] as in a very conical tone, like ay tes, barrels, you put,
[27:36] the scene is she' s like being like uy please, they bit.
[27:41] Yeah, yeah, they itch, but then when they see that ah
[27:44] but you think a real itch. It' s not like you' re
[27:48] a seducer and na' s a real pickle. How troublesome you are not
[27:51] married, you are with a woman and when her children are again that aristocratic
[27:55] ethics of what you are doing, no, no, it is not right,
[28:00] but then at the same time they play a lot of flirting not that
[28:07] double morale, because we have said the double of morality of the bourgeoisie,
[28:10] not a closed marriage idea. But how many of those marriages, for they
[28:15] were real, few or none and at least it was the husband who left
[28:19] later, for love adventures, so to speak. Besides, I find it
[28:29] very paradoxical all these articles that were said not to be a movie, not
[28:36] so much that it wasn' t a good movie, but that it wasn
[28:38] ' t a great Disney classic when, instead, in Lockhole it worked wonderfully,
[28:44] it cost four million dollars and raised one hundred and ninety. I mean,
[28:45] it was a real hit. And I don' t know if maybe
[28:51] what you' re saying, maybe today it' s worth more than before.
[28:53] I think in general it is a thing that has always happened with the
[28:57] cinema, which turns out to be a lying one at a given moment,
[29:00] then it is lost in time and others that ride us that yazzo then are
[29:06] revalued quite. And now it' s true that with the whole debate now
[29:10] they' ve actually measured a movie. Its success is much more relative than
[29:12] at that time, that is, then it was basically what you took out
[29:17] in the box office and undeniably the aristogatos. It worked very well, but
[29:19] now it' s true that we have other mechanisms to see if a movie
[29:22] like that is a success. No, I mean, there' s merchandising,
[29:25] there' s sales, advertising, the sale of soundtracks all that doesn
[29:27] ' t mean, it reminds me a lot of case the debate with the
[29:32] little mermaid that the liefaction is true that it failed to triple its budget,
[29:37] which is like the barrier by which it is often said that a film has
[29:41] been profitable or not, but learned a lot merchandising. The Disney Plus streaming
[29:45] platform reproduces a lot of the most views. I mean, now that success
[29:49] is more relative, but I think you have more tools so that if something
[29:53] hasn' t worked out for you in the box office, at least you
[29:57] haven' t managed to overcome that barrier because in other lines, that is
[30:00] to say and well it hasn' t been done much, but in streaming
[30:03] it has been a success, well, but it has been measured a lot
[30:07] merchandising and here we have seen cats, since man only has the element of
[30:10] the collection and it was a success. But then it' s true that
[30:11] it' s a movie that I think will be mostly in the context where
[30:15] it' s from a moment when Disney, well, just passed away and
[30:18] the company is still structuring and that, we crack or we don' t
[30:23] start that darker stage of Disney anymore, and that' s why there'
[30:26] s a little bit left in the oblivion I' m sure, that it
[30:30] was a successful movie, at least in terms of box office, but of
[30:33] course, in the seventies it was like the only formula to measure success.
[30:34] Plus the prizes you got later. And now we have many more sales formulas
[30:38] to say if something is a success. Well, thank you so much,
[30:45] Javie, for coming to your second episode and we look forward to seeing you
[30:48] in the next one. Thank you so much. You know he accepted any
[30:51] invitation to always talk about Disney. I' m available great. Thank you.
[31:00] The magician of Jan yes with Antonio Toca, Antonio Toca, the magician
[31:10] of Jensei your magic has come here, also up to this new studio.
[31:14] Welcome hello apprentice how you' re doing, well, very well. Of
[31:18] course, now if we heard you well before, now we hear you with
[31:22] a wonderful voice. How flattering you are that we three for this episode number
[31:29] eleven to see what we can bring worth Mira. Recently a Boppigger meeting with
[31:37] a presentation of results was held and in the United States they are usually held
[31:45] every four months. I think that the quarter( s) are usually made
[31:49] a call with investors and stated those investors in a news that has been collected
[31:56] in one of these media. We, who do not have in secret,
[32:00] are our source of inspiration, which are not so secret, because we almost
[32:04] always say they are the same. He said that from now on they were
[32:08] going to bet more on the sequels, that they were going to adjust the
[32:15] developments more and that they were going to bet on the quality that understood them,
[32:20] that they were going to give them these sequels above the original films.
[32:22] Of course, as we have talked about in many other episodes before, this
[32:29] strikes me completely. Previous men, of course, one is very good.
[32:31] I' ve provoked yu yu no, but good is that this is it.
[32:35] We have followed a series of news because of course you also find out
[32:39] that, for example, Wis has done in Locker gave the data, which
[32:46] gave two hundred and fifty- two million dollars in Locker. At my national
[32:50] level or in total. But of course, the film has lost. It
[32:53] ' s got about$ 130 million and that' s had the pull of
[32:57] being Disney' s 100- year movie, because, as such, the
[33:00] movie, at least from my point of view, doesn' t have you
[33:04] You didn' t like it, I, I didn' t have the
[33:07] courage to watch it and I didn' t, but here comes me.
[33:10] It' s like, and you know, I start dancing and I start
[33:14] playing things and I realize that I see. I' m starting to wonder
[33:17] whether it' s worth the party from a true story to a story,
[33:22] it' s part of an anecdote or one of a whole point that'
[33:28] s getting the star out of the desires. I think it' s not,
[33:30] well, from there, to see how you build a movie, how
[33:34] you build it, you have to have a long story. In fact,
[33:37] this is coming to be, because we could momentarily do so. Although you
[33:38] are told that Wis is an original film in the method of this, not
[33:40] because part of a character or an earlier character of other films, as it
[33:47] could be very fassa does not stop being a sequel or net that is a
[33:52] prequel. But of course you' ve seen the trailer already let' s
[33:57] show Fashan uh no, you know what I think. Better, you know
[33:58] what I think, and the trailer I recommend that you already know what I
[34:01] think of these movies that make you animated and be animated a real animation,
[34:07] they are not animated again another animated movie. But of course, they catch
[34:10] a famous Disney character again and see how they play. Not that a movie
[34:14] like they did with Cruela, although Cruel was good, a movie or another
[34:19] series of characters and if they' re going to pull more, I don
[34:23] ' t miss you they' ll make one with him. I imagine they
[34:25] told the youth of Captain Garfiod I guess to know what they come up with
[34:30] or the balul or they pull out of it and tell a story of Balus
[34:35] and they haven' t told it already you lose it okay, then you
[34:40] start thinking and you say they' ll bet on the ones, because they
[34:43] bet on the sequels. Obviously, if you go to the economic results of
[34:46] the last Disney movies, because, besides, I think that ijar gave you
[34:50] losses and I think that well, I don' t know, I'
[34:54] m not sure about gear, but it didn' t work because the movie
[34:57] isn' t good. Things as they are and the strange world also made
[35:01] losses and I think the data that came to be released in cinema yes,
[35:06] yes, yes. It' s hard a little bit. Yeah, I
[35:07] was gonna tell you percent more gave more losses than Wis' s own.
[35:12] But a strange world. It wasn' t an original nana, because it
[35:16] was a movie, a series, from a movie the sixties, a fantastic
[35:20] world, I think not a fantastic world, yes or no, well,
[35:23] it was a series movie, well, very good, really, it was
[35:24] very good. One me is a movie, I' d have to look
[35:28] for your name because it was something really, but I' d recommend it
[35:29] to you. But not leaving, it wasn' t origin, it was
[35:31] original in its own way and it didn' t work, like the environmental
[35:36] message. And all this, because it has not worked, has not arrived.
[35:37] Because, well, it comes with another one of the news, which
[35:42] is that we can spin and that' s why Dio' s movies,
[35:45] why animated movies now go almost all streaming and a few are released in cinemas.
[35:50] Yes, there, I did want to ask you how financially Disney makes
[35:53] up for it, that is, you put it on a platform so that
[35:58] people are already subscribed. I mean. There' s no extra payment for
[36:00] that movie. You' re supposed to do the whole tour, because the
[36:04] ideal is to premiere in cinemas, premieres on your platform, sale of the
[36:12] DVD or whatever you have in the movie' s merchandose, you go through
[36:16] televisions and then you add out the accounts. H Wis doesn' t lose
[36:20] that much money, because he' s getting all the money out of all
[36:22] these things I' m telling you. But of course, the problem with
[36:24] Disney, apparently, is that its production costs are very high, that is,
[36:29] to give you an example. If it might cost Wis two hundred million
[36:32] euros, dollars, euros and two hundred million of the film, which cost
[36:37] two hundred million, you think that, for example, Spiderman' s last
[36:38] one hasn' t gone above 100 the cost of the film. It'
[36:42] s okay, if the cost of the Wis movie drops a hundred million,
[36:45] the profitable movie, then you figure out what Disney has to do and why
[36:52] he puts the issue of sequels into the issue of sequels. What you avoid
[36:55] in many cases is at the time of production, character development, story development,
[37:01] if you have to develop it, but you have the format or initial
[37:05] idea, you already have it mounted that here meets the other problem that Disney
[37:08] has and with the problem that Bobbigger had when he gave it his arm to
[37:13] twist said that in the strike of writers he stood firm and stopped. Disney
[37:22] was standing for a long time. For this reason, Helio, which is
[37:25] the original story he is going to bring out, Pixel, has been delayed
[37:30] to two thousand twenty- five. Many films have been delayed in the end,
[37:31] obviously by sy Out. It opens now in June, but heals that
[37:37] he had the premiere project before. I don' t know if it got
[37:40] to him. I don' t think so, because what they did is
[37:44] they can push two backwards and delay Helio' s. I understand it and
[37:49] in a way it has its logic because in the marketing part to development of
[37:53] marketing strategy, advertising and all that with the backhand you already have almost everything
[37:58] done, you have quite done. Spending is lower with that more successful movie
[38:01] already correct. That' s where the Boppiger says they' re gonna bet
[38:07] on movies with the sequels to quality. Well, quality is already misunderstood the
[38:10] way I did when the time there was a sequel, I made myself tremble.
[38:15] But, well, I see it logical because he' s afraid.
[38:16] But the problem is that the movies are direct. There are very few that
[38:22] are released on streaming, i e sorry, they all go on streaming and
[38:25] few are released in the cinema. Okay. There was another news that told
[38:29] you that one of the biggest films of the year in the first four months
[38:32] is with a fupanda to four vale is a sequel. It was the third
[38:37] era, but I had raised, I think it was more than$ 500
[38:43] million. I had a fundraiser. Of course it also takes into account that
[38:45] with streaming it was the variable how much they raise in movies. The concept
[38:50] changes, because what was once best in a five- hundred- year animated
[38:52] film of these great productions or Gordo studio, five hundred million was not much,
[38:58] because they thought it could be more with the theme of streaming and that
[39:00] people think about it to go to the clearest cinema. Yeah, that'
[39:02] s a very good piece of poetry. That' s a very good fact,
[39:07] of course. It works with fufanda. Four of them worked, but
[39:09] of course, then that' s what you think, and because many other
[39:14] movies don' t show up in movies and not in streaming. We started
[39:17] from the base that was another problem that when they launch the platform forced by
[39:21] the pandemic theme, Disney has to make one for a strong bet, because
[39:24] Dinete Plus has to feed him and the way he has to feed them with
[39:28] good premieres and quality premieres. You know we' ve talked many times about
[39:32] those four films that premiere almost in a row or a war Red, Luca
[39:39] and Ray and Soul to Raya la Rayas and it was the cinema. These
[39:44] pizzar four were good movies or a good thing there was a big movie that
[39:46] was Soul and there were three pesos. The other films that you could say
[39:50] were series to say from the old B series. But the movies that work
[39:53] very well why, because they had a good story and it was noticed that
[39:57] there was a script worked and it was well directed and they were stories in
[40:01] which they bet. What' s going on is that you realize at Disney
[40:04] the last ones that have premiered, well, you like the radio one.
[40:07] You can' t like Princess Disney all this stuff, but, for example,
[40:10] the last one, the only one works that charm and sometimes you start
[40:15] thinking because it' s not a Disney movie proper. Inside Disney the studio,
[40:21] because there is a lot of work there that the one who prepared to
[40:25] develop today looked at him. It seems to me that I was prepared and
[40:29] developed the band and they are the right mitanda. Well, yeah, you
[40:30] ' re better at names. I' m an old sorcerer and I forget
[40:37] the names. And you realized that the power of the film really charmed me
[40:42] was the originality of the songs and songs and the truth that the film is
[40:45] out of my mind. He' s really watching coconut in the movie.
[40:49] It was a good movie and you realize you say it' s okay.
[40:53] So why Disney doesn' t follow the same process that goes on with these
[41:00] other studios with the theme of animation, because let' s say that right
[41:05] now the great producer and distributor of animated cinema in the world is Netflix,
[41:07] which is the one making a lot of movies that they have on their platforms.
[41:12] But the idea he has taken needs to make his films is the production
[41:17] and making of the films. They are given over to other small studios for
[41:22] making or talking to a producer or who has their agreements with an animation studio
[41:29] and with them they make the film. So you' re wondering why Disney
[41:34] doesn' t do that or is considering doing that for this lack of ideas,
[41:37] not lacking ideas. Mainly it' s here is the issue of costs
[41:40] in a way it' s going to do it because now, like nests
[41:46] that, as you know, first was thought of as an animation series and
[41:50] they realized they didn' t have movies to premiere and they said good.
[41:52] We took the animation series. We' ll see what we do and make
[41:55] a movie. I don' t know what' s gonna come out of
[41:58] it It' s cute. I don' t see much history, but
[42:00] for example in Bayan' s case, I wasn' t going to make
[42:02] a real action movie. Or it goes in parallel a second part and the
[42:06] real action part. I just think the real action thing is more fats because
[42:07] it' s a fake trailer than there is. There are no moody moments.
[42:13] There' s only cute two to do the animation. I imagine you
[42:16] ' ll depend on the actor. Without really that animation a movie in real
[42:22] action, well and then they make you like a Ladin with Will Smith,
[42:25] well. Anyway, I' d rather they don' t do it as
[42:28] good. In Ladin' s case, Robin Williams has to start from the
[42:30] fact that he was no longer among us. But Robbie william wasn' t
[42:32] gonna be Ladin' s character. It was ah well, from Ladin there
[42:37] said the gen genius and then what they are going to do is they have
[42:42] decided in a certain way to look for ways to reduce costs. I mean,
[42:45] as you know Disney, not only do they have animation studios in Burban,
[42:49] California, but they have many other places. And then they' ve
[42:53] decided to split the film' s production between the Burban studio and the studio
[42:58] they have in Vancouver, Canada. Let' s just say, I guess
[43:00] the costs were lower. Personal issue. Whatever it is, I don'
[43:04] t know, but it' s supposed to lower costs, so let'
[43:07] s say that the film' s profitability in principle has to be higher.
[43:10] But of course we make it profitable and go back to the old times that
[43:15] we have talked about not feeding the beast. It does not feed the beast
[43:25] if you remember when sometimes we have commented it is not to look for economic
[43:31] profitability, which takes precedence over the quality of history, which was a thing
[43:36] that the pizzar team defended very much. What about this Disney sequel theme.
[43:44] It was before that that Pixar entered the Disney part and looked for stories and
[43:50] developed new Disney stories and movies. It was Pizza who was in charge of
[43:53] Disney in that part of production, in the stories. Now you have the
[43:58] feeling that the other way around, the other way around, and then,
[44:01] in the face of this lack of stories, you ask yourself again. The
[44:04] same goes for why they don' t look outside or because we' ve
[44:07] talked about it in another chapter. Plus, all those stories or movies or
[44:12] development of ideas that they have at Disney that they threw back because they didn
[44:17] ' t serve them, and of course, you put that pantry on.
[44:19] That, on the one hand, you start thinking, but why don'
[44:21] t they get it back. For example, dream Words recovered the cat with
[44:25] last wish boots in a film that had been discarded and eventually ended up making
[44:30] it. And another of our top tweets on the animation theme wondered that I
[44:35] wish, dream Works those four or five or six movies that you have retired
[44:39] because it didn' t seem right, because at that time you couldn'
[44:44] t make the story. He' s thinking about doing it again what I
[44:47] ' m telling you more. For example, when Disney bought all the Blue
[44:53] Skype it belonged, I think it was I don' t remember the producer,
[45:00] well, but when he bought Blusky decided to close Blusky with all the
[45:04] developed films or concepts, developed ideas and threw them back and what he did
[45:07] and there you found that in the case that neither Mona is seventy- five
[45:12] of the seventy- five percent movie made and yet they decided that they weren
[45:15] ' t doing it. He took Netflix to everyone has tas at last okay,
[45:19] because you can think that if you see Lemona, then of history,
[45:22] Disney has little, but it was not very good movie and it was a
[45:25] very profitable movie. In fact, Netflix really bet, has put it on
[45:30] her and distributed it. It worked very well for him. So many things
[45:34] come together, so Bobpiger says they' re going to bet on quality and
[45:39] they' re going to throw away with the sequels. Well, you say
[45:44] yes, but you' re not going to try or in this Disney case.
[45:50] What he' s going to try is to weather the storm of the
[45:53] strike and that the latest films haven' t worked well in the box office
[45:58] and see how they get through, but that they have many, many options
[46:04] or many open paths to go, because they also start from a base that
[46:07] they do. Movies from large American animation studios usually work very well in the
[46:13] United States, especially in the box office and in Europe or on the outskirts
[46:19] of Europe, because European films that are going to make the opposite path to
[46:23] being lost in Europe and are going to be released in the United States as
[46:28] they do not have any distribution of charge from large schools, because there I
[46:31] said no, it is that they do not like, is that they are
[46:35] not seen. But you don' t see them because even critics and vegans.
[46:39] For example, here is Garfield, in Spain it works very well in
[46:45] Garfield' s animated film, which is recently and instead you go to the
[46:46] United States, and that of Rond dragon keper which is a Spanish film and
[46:52] so there in the United States. I think if on the first weekend here
[46:54] Garfield has got three million euros, there in the United States the one of
[47:00] dragon Ke, but it has arrived four hundred thousand dollars. Such a thing
[47:04] has come no more. When it' s a country ten times more they
[47:06] win it. If there' s no pri you saw it had one the
[47:09] idea went to eight hundred screens or something like that. But, well,
[47:13] they don' t see them because they don' t know her. I
[47:15] was supposed to see him at best. They see it as something very for
[47:17] people, very cultured European, very exclusive. I don' t know.
[47:22] Not good. If it were anime, don' t worry it would have
[47:25] worked there. Apparently, the only cinema that looks like animation outside that they
[47:28] do is the anime. The same goes for a French European film called Marx
[47:31] Mars attacks or Martha ATCs is litim Burton. No, but, well,
[47:37] I don' t know what name we had and now I don' t
[47:40] remember, but it' s a French movie. He' s going through
[47:42] the same thing as the Dragon Kipper. It' s a question of what
[47:45] to think. This is a little bit of a whirlwind. I don'
[47:47] t know if there' s any left. The ideas that I want to
[47:51] explain to you or comment that are good, but what you think is that
[47:54] no eye, it is not sequelae by sequelae. It' s not because
[48:00] the study really has problems. You have to take out the dough, you
[48:05] have to push ahead with the expenses or with the production or with the shareholders
[48:13] or all of this. They do have to do something about respect and they
[48:17] ' ve decided to throw around. I know I' m not much of
[48:22] a friend of this kind. Tell me the story, work on it and,
[48:27] above all, maybe give a good treatment to the original stories you have.
[48:30] If you don' t, you have few, at least treat them
[48:32] well, you will have to talk, that there will be someone doesn'
[48:36] t have to be an original Disney idea within the studio. There may be
[48:38] a study that sees with a Cojonuda idea, as it did how it started
[48:44] with Pizzar exactly the same and me with others that there are always. For
[48:45] example, I can always think of the example of the little spirit I remember.
[48:50] My idea was that it was a Disney movie and Disney just distributed it
[48:52] clearly and prevent yourself from avoiding a series where you create all the winnings,
[48:58] but it' s true for the studio would be the whole. Thank you.
[49:00] I don' t know what they want. I don' t understand
[49:02] why everything has to be done from top to bottom properly raised at Disney.
[49:07] When you realize that many times, especially on the theme of music, collaborations
[49:10] outside the studio with people outside the studio have worked much better, because all
[49:15] the soundtracks, the most remembered ones are with people outside and they have done
[49:19] it. And so also keep in mind that when Walt Disney is around,
[49:25] Sney' s classics were a lot of animation time and five years always fed
[49:30] up with the intended employee. Now here, in a way noted, they
[49:35] have tried to lower, or adjust or trim. Well, I don'
[49:42] t know. I think we' re early. As we have commented in
[49:46] other chapters, we are facing a dark age, yes, no, well,
[49:52] dark no, but good we read below. Although, as you say,
[49:53] this is a viving I imagine that then, in a few years,
[49:57] back to the story, to go up, to climb up, namely,
[50:00] I don' t know and I have no idea, because in the end
[50:05] it will depend if the sequels work well. It seems to me that we
[50:09] have many stories of sequels that are coming and prequels and we will see about
[50:13] all the learning quality You tried to replace yourself with a broom. Well they
[50:21] ' ve had, but thank you so much if you liked this new magic
[50:28] castillon. We hope you want to come back. Yeah, yeah, we
[50:30] ' ll come back, we' ll come back, but I' ll
[50:36] talk to you about a little something before I come here to see how long
[50:37] I have. In a few weeks we will see very well, thank you
[50:39] very much. They have had as always a pleasure to you as always,
[50:58] for up to here in our episode number eleven, the first with betical group,
[51:02] and we hope that you have enjoyed it and, above all, we
[51:06] await the following goodbye ablar and perhaps ah señor Es, his sweetness. What
[51:14] I tell you must recur, because woe or, yes, woe or a
[51:22] friend roy The time will pass your love will go. You don' t
[51:37] know better than to know what a friend is to me. Yeah, a
[51:43] friend, good friend. Many a little smarter than that may be see more
[51:54] of a fit who can make a friend. You know.

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