Disney's record-setting year

Yesterday, as Disney announced that Toy Story 3 had become the first animated film to cross the $1 billion mark in global box office, it also trumpeted another significant milestone, becoming the first movie studio to have two films released in the same year gross over $1 billion worldwide.  It's a remarkable achievement, as both Alice in Wonderland and Toy Story 3 have easily surpassed whatever high expectations anyone might have set for them.  When you add in the success of Iron Man 2, which was distributed by Paramount but produced by Disney-owned Marvel Studios, it's been an unprecedented year of success at the box office for Disney.

Well, almost.  After all, there were those two high-profile releases from Disney's resident hit-maker, Jerry Bruckheimer.  First it was Prince of Persia, which kicked off the summer with designs to be the next big Disney franchise in the vein of Pirates of the Caribbean.  Next came The Sorcerer's Apprentice, which reunited the director, producer and star of the National Treasure films for another attempt at a new franchise.  Both have been pretty big busts.  With combined budgets of over $350 million, plus marketing and release costs that likely exceed $200 million, the two films together have brought in about $480 million worldwide.  In other words, they've lost a lot of money.  In hindsight, it seems pretty clear that Disney would have been better off continuing the Narnia series instead of trying to build a new fantasy franchise from scratch.  And it seems equally clear that Bruckheimer, Nicolas Cage, and Jon Turteltaub should focus their energies on National Treasure 3.  Then again, what's a loss of a few hundred million dollars when you are raking in over $2 billion?

Looking at the rest of the year, Disney still has two big releases yet to come.  The first is Rapunzel Tangled, the latest animated princess film for the holidays.  The marketers at Disney have no idea what to do with this film and American audiences.  They are so paralyzed by the relatively disappointing performance of The Princess and the Frog that they are completely scared of selling this film for what it is, which is a slightly new twist on a classic fairy tale told in the Disney style.  As a result, audiences are going to have no idea what this movie is and they aren't going to go see it.  Just compare one of the international posters, which still uses the original title, with the domestic poster.  Which one makes more sense and is more appealing?  I'm afraid Disney animation may have another disappointment on their hands.

Finally, there's Tron: Legacy.  In contrast to Tangled, Disney has been marketing this film brilliantly.  if the film is anywhere close to as good as what we've been shown so far, it should be a solid hit for the studio.  Hopefully, when 2010 comes to a close, Disney will still have plenty to cheer about.

Looking for Prince Charming

After the billion-dollar performance of Alice in Wonderland earlier this spring, Disney executives must have been thinking that 2010 would be a record setting year for the studio at the box office. With Toy Story 3 and Tron: Legacy still to come, that may yet be the case. But with Memorial Day weekend now behind us, it’s clear that Disney’s path to box-office glory has hit a speed bump.

Prince of Persia: The Sands of Time was supposed to be the next big Disney franchise. Based on a popular video game, Prince of Persia was an opportunity to launch a new adventure series in the mold of Pirates of the Caribbean that would appeal to audiences of all ages, spawn multiple sequels, sell shelves of merchandise, and maybe even inspire new attractions in the parks. The film had a promising pedigree, with hit-maker Jerry Bruckheimer producing and Harry Potter veteran Mike Newell directing. Leading up to its opening weekend, the marketing was so ubiquitous that clearly no expense was spared. Alas, the film opened in second place for an anemic $37.8 million for the four-day Memorial Day weekend (only $30 million for the Friday to Sunday period). Prince of Persia, which cost an estimated $200 million to make and heaven only knows how much to market, will be lucky to gross even $100 million at the domestic box office, and so this new franchise is already over before it got started.

Ironically, Prince of Persia was conceived, at least in part, as sort of a replacement for another adventure franchise that Disney had chosen to abandon for its perceived poor performance. 2005’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe ended up as one of Disney’s biggest all-time hits, with a domestic gross of nearly $300 million and a global gross of over $700 million. With Narnia, Disney had seemingly found its own family-friendly, fantasy-literary series on par with Harry Potter or The Lord of the Rings.

But unlike the Harry Potter franchise, which has released nearly all of its films on a compressed 12 or 18-month schedule, there was a gap of two and a half years between Lion and its sequel, The Chronicles of Narnia: Prince Caspian.*  In addition, Prince Caspian was pushed from the holiday release date that had served its predecessor so well and was released in May 2005, the start of the summer movie season, right between the much buzzed-about Iron Man and the intensely anticipated Indiana Jones and the Kingdom of the Crystal Skull. To make matters even worse, the film was marketed badly . Instead of building on the goodwill held toward the first film and the returning characters, Disney pushed Prince Caspian as a dark and intense action movie and tried to position the new title character as a teen heartthrob.

With the long gap between films, the unfavorable competition and an ill-suited marketing effort, Prince Caspian unsurprisingly debuted to a soft $55 million on its way to a total domestic box office take of $141 million and a total global box office haul of $419 million.**  Given that this was far below the performance of the first Narnia film, Disney re-considered its commitment to the franchise. The decision was complicated by the fact that Disney shared the costs and profits for the Narnia films with Walden Media, which actually controls the rights to the books. Walden Media had already begun pre-production on the third Narnia film, The Voyage of the Dawn Treader, which was originally slated to be released in May 2010. After haggling with Walden over budget costs, release dates and other issues, Disney walked away from the partnership and Walden will now release Dawn Treader in December with 20th Century Fox.  Prince of Persia was then fast-tracked by Disney to fill the May 2010 slot and here we are.

In hindsight, Disney would have been much better off sticking with the Narnia franchise instead of trying to build a new franchise from scratch. While both Prince of Persia and Prince Caspian cost north of $200 million to produce, Walden had agreed to scale back the budget for Dawn Treader to something in the range of $140 million. Furthermore, Disney would have only been on the hook for half of that because it shared the financial risk (and reward) for Narnia with Walden Media, limiting its exposure in the event of failure. With Prince of Persia, Disney shoulders all of the loss on its own but would have probably been obligated to make significant payouts to Bruckheimer had the film been a success.  With regard to marketing costs, it’s always easier to sell an existing brand then to introduce something new and unknown to the masses.

Finally, the fact the Narnia is already an established brand with at least one well-regarded and popular film to serve as an anchor makes it easier to profit from subsequent films, regardless of how successful they are at the box office.***  The release of a new franchise film inevitably reinvigorates interest in the older films resulting in new sales of DVDs and other merchandise. Simply the ability to bundle the films together as a new box set of the "Narnia Trilogy" could provide new revenue. And because of Narnia’s literary roots, it has a much higher likelihood of enduring as an “evergreen” property that can sustain ventures long after the movies are done, such as theme park attractions.****

In this tale of two princes, Disney simply chose the wrong prince.  Had Dawn Treader been released by Disney in place of Prince of Persia, it is very plausible that it would have out-performed Prince Caspian or at the least done no worse than Prince of Persia.  But Disney would have spent less money overall and had more opportunity for ancillary revenue.  Nonetheless, I have a feeling that a certain cowboy and space ranger will still provide a fairy tale ending for Disney’s summer.



* The tight release schedule serves three purposes: 1) it maintains public interest in the franchise, particularly among fickle younger movie goers; 2) it achieves some efficiency in production costs; and 3) it ensures that the young actors don’t age beyond their characters in between films.
** Although Prince of Persia has debuted to a decent start in international markets and could still prove to be a success in that regard, its opening weekend abroad was 17% lower than the foreign debut of Prince Caspian.
*** It's worth noting that among fans of Narnia, Dawn Treader is widely considered to be the most popular book in the series, while Prince Caspian is generally one of the least popular. 
 **** Disney created a temporary walk-through attraction the Narnia films at Disney’s Hollywood Studios in Orlando.  Rumors of a permanent Narnia-themed attraction have percolated on Disney fan message boards for years.

Life After Lost

Yes, it's true.  February 2 marks the beginning of the end as Lost rapidly approaches the premiere of its final season.  One of the inevitable questions is "What happens next?  Is this really the end?"  As executive producers Carlton Cuse and Damon Lindelof pointed out in a recent interview, Lost is a franchise that is worth billions to the Walt Disney Company, so you know they're going to do something with it in the future.  Now I don't think that means that fans should start freaking out about some hackneyed Lost: The Next Generation or some lame spinoff like that.  Disney is a company that prides itself in its ability to exploit creative properties across multiple platforms.  In other words, think beyond television. 

For one group of fans, that means "Disneyland."  They are circulating an online petition asking Disney to create a Lost theme park attraction.  It's an idea that actually makes alot of sense.  Lost is a unique fantasy/adventure with a devoted fan base that would love to experience the adventure for themselves.  But I don't think it is the type of franchise that would translate well into a thrill ride or even a traditional "dark ride."  Would a Lost fan be content to sit in a slow-moving car that passively takes you through a diorama of Dharma stations and island locales?  I don't think that would be satisfying.  The television show is full of mysteries that beg for answers, and often create more mysteries.  It's great big puzzle game.  And that's what the Disney's Lost Experience (that's as good a name as any, right?) should be.

The Disney theme parks have already been aggresively looking into ways to make their attractions more interactive.  This has resulted in new rides like Toy Story Mania! and the interactive Kim Possible quest at Epcot.  In December 2008, Disney even experimented with, well, the Muppet Experiment, an online and text message based scavenger hunt that sent participants roaming around Disney's California Adventure park.  The Kim Possible adventure and the Muppet Experiment offer the best model for what could be a truly unique Lost attraction.

Imagine entering into a mainland Dharma station, like the Lamp Post.  Or perhaps a special corporate facility run by Charles Widmore or the Hanso Foundation.  You watch a series of orientation videos explaining that, several years after the crash of Oceanic 815, you are being sent to the Island to explore its unique properties, maybe to locate a specific item that was left behind or to answer some unresolved mystery about the castaways.  You are given a unique handheld device through which Widmore or whomever your benefactor is in the storyline can maintain contact with you and which allows you to send back information (they even take a picture of you as a security measure).  You then enter a submarine, where you are given a few last minute instructions and then fall asleep (really, the sub would just blackout).  And when you exit the submarine a few moments later, you are no longer on the mainland.  You are on the Island -- a fully realized environment based on locations from the show that you can explore and interact with. 

As you follow the clues given to you on your handheld device and input the correct responses, you trigger different responses from the things around you.  Perhaps you locate a hidden Dharma station and unlock it, or maybe you activate a video greeting from Dr. Pierre Chang in the Dharma barracks.  Wandering through the jungle you may hear whispers.  Once you've solved all of the puzzles, you finally find your way to the Temple and have a close encounter with Smokey.  And strangely, as you look into Smokey, you see your own image reflected back at you (it looks alot like that security picture you took at the beginning of your journey).  Best of all, there can be multiple combinations and variations of puzzles for you to solve and things on the island for you to interact with, so it's a different experience each time. 

I don't know about you, but that sounds like a pretty great attraction to me.  It would offer a unique, immersive, interactive, and repeatable experience that would excite fans but also engage regular theme park visitors.  Hopefully, Disney could engage Cuse and Lindelof to participate in planning the attraction so that it would nicely compliment the "official" Lost storyline.  As to where it would go, I thing the most natural fit would be the Disney's Hollywood Studios park at Walt Disney World, where it would fit in thematically and where there is hopefully enough space to build the large indoor/outdoor environment that would be necessary.  "Armchair imagineering," where fans like me daydream about what ride they want to build, is usually a fruitless endeavor.  But the possibilities here are so exciting, and fit in so well with what Walt Disney Parks & Resorts is already trying to do, that it was irresistable to me to put my thoughts down.  My hope, really, is that the Imagineers are planning something even better.  Namaste!