Category: Entrepreneurs

Disney Animation is closing the book on fairy tales

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Dawn C. Chmielewski and Claudia Eller,

Once upon a time, there was a studio in Burbank that spun classic fairy tales into silver-screen gold.
But now the curtain is falling on “princess movies,” which have been a part of Disney Animation’s heritage since the 1937 debut of its first feature film, “Snow White.” The studio’s Wednesday release of “Tangled,” a contemporary retelling of the Rapunzel story, will be the last fairy tale produced by Disney’s animation group for the foreseeable future.
“Films and genres do run a course,” said Pixar Animation Studios chief Ed Catmull, who along with director John Lasseter oversees Disney Animation. “They may come back later because someone has a fresh take on it … but we don’t have any other musicals or fairy tales lined up.” Indeed, Catmull and Lasseter killed two other fairy tale movies that had been in development, “The Snow Queen” and “Jack and the Beanstalk.”
To appreciate what a sea change this is for the company, consider that a fairy tale castle is a landmark at Disney theme parks around the world and is embedded in the Walt Disney Pictures logo. Fairy tale characters from Disney’s movies populate the parks, drive sales of merchandise and serve as the inspiration for Broadway musicals.
Alas, Snow White, Sleeping Beauty, Ariel, Jasmine and the other Disney royals were all born in the 20th century. Now, different kinds of Disney characters are elbowing their way into the megaplexes and toy aisles, including Pixar’s “Toy Story” buddies Buzz Lightyear and Woody, Capt. Jack Sparrow from “Pirates of the Caribbean” and a platoon of superheroes from the recent acquisition of Marvel Entertainment.

The global power of Brazilian agribusiness

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The Economist Intelligence Unit

razil is world’s fifth-largest country by geographical area and the largest in terms of arable land. Although only a fraction of its land is exploited, the country produces a highly diverse array of agricultural goods. This puts Brazil in a unique position to lead the global agricultural sector in the medium to long term. With an abundant supply of natural resources–water, land and a favourable climate–it has the opportunity to be the largest agribusiness superpower, supplying the world market while also providing affordable food for its own population.
The country already ranks as the top global supplier of products as diverse as beef, orange juice and ethanol, and is expected to continue to expand its exports in other areas as well, such as cotton, soybean oil and cellulose. Its markets are also diverse: China is now the largest market for Brazilian agribusiness products, and sales to Eastern Europe, the Middle East and Africa are also growing rapidly.
To maintain this trajectory, Brazil must build on the significant improvements in productivity that underpin its current success and overcome the barriers to full realisation of its potential. Obstacles range from scarcity of credit to logistical logjams, from protectionist measures in key markets to environmental concerns.
Frontier regions are a testament to what is right, and wrong, with Brazil’s agribusiness sector. The rich harvests from the country’s vast hinterland have more than paid back public and private investment in research to create new plant varieties adapted to the region’s soil and climate. Large-scale production and professional management have helped to offset the high costs and tight margins of farming such areas. Attracted by the promise of growth, investors have both financed agriculture’s expansion and provided technological know-how. Yet agricultural endeavours in these regions are burdened by inadequate transport and insufficient storage capacity. Productivity in such segments as beef production and corn remains low. Margins remain tight.

Future Shock at 40: What the Tofflers Got Right (and Wrong)

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Greg Lindsay:

They predicted the “electronic frontier” of the Internet, Prozac, YouTube, cloning, home-schooling, the self-induced paralysis of too many choices, instant celebrities, and the end of blue-collar manufacturing. Not bad for 1970.


In the opening minutes of Future Shock, a 1972 documentary based on the book of the same name, a bearded, cigar-puffing, world-weary Orson Welles staggers down an airport’s moving walkway, treating the camera like a confidante. “In the course of my work, which has taken me to just about every corner of the globe, I see many aspects of a phenomenon which I’m just beginning to understand,” he says. “Our modern technologies have changed the degree of sophistication beyond our wildest dreams. But this technology has exacted a pretty heavy price. We live in an age of anxiety and time of stress. And with all our sophistication, we are in fact the victims of our own technological strengths –- we are the victims of shock… a future shock.”

Lunch with Phoebe Philo

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Vanessa Friedman

Phoebe Philo, the 37-year-old creative director of Céline, is surprisingly frail for someone who a year ago accomplished the Herculean feat of turning the river of trend and washing fashion’s Augean stables clean of decorative bling. A 2010 nominee as British Designer of the Year, she was also behind one of the most heralded collections at last week’s women’s wear shows in Paris.



Medium height, with wispy brown hair and prominent cheekbones, her thin frame swamped by a black leather jacket and a long, man’s shirt over slouchy black trousers, she can seem almost fragile. On the other hand, she has chosen St John, a restaurant in Clerkenwell, London, known for its “nose to tail” menu of offal and other meaty innards, so clearly she has a carnivorous, protein-packing side.



“Well, it’s run by a friend,” she says when she arrives in the stripped-down white space and sits at the paper-covered table. “And it has a straightforwardness that I quite like. It’s very to-the-point.”



To wit: there are “peas in the pod” on the menu. Literally. Undressed, unshelled, peas in the pod, like the kind you get in the market. Or, as Philo says, like the kind that might have “come right from the garden”. She orders some of those with fresh lemonade – the kind they make in America, with just lemon juice, water, and sugar – plus a green salad, some cured mackerel and a roast beef sandwich, because she “rather fancies some white bread”. I opt for lemonade, some cauliflower and lentils, a green salad and a cheese plate. Philo looks at me appraisingly.

Teddy, J.P. and Henry

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Ed Wallace

The last seven years have had much in common with the period of 1893 to 1900. But the turmoil this country experienced during the first few years of the 20th century also seems to be mirrored in the events of today.


Certainly the nation once witnessed the rise of the more radical elements, whether they were far-left anarchist movements or center-left progressives. Those movements attested to a very real battle being waged for the heart and soul of what the American Century would become. Its apex was marked by one president’s assassination and by the dreams of an inventor who wanted to revolutionize our mobility.



Given what has transpired over the last two years, it is haunting to read Teddy Roosevelt’s letter to Congress and his personal thoughts on companies whose sole reason for existence is to make their owners wealthy without regard to the damage they were doing to society. One wonders what would have happened if today’s Wall Street Masters of the Universe had been confronted in a White House with the same resolve that Roosevelt showed to J.P. Morgan.

Foxconn: The Man Who Makes Your iPhone

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Frederik Balfour & Tim Culpan:

The interview took place at Longhua, the entrance to which looks like a border crossing, with seven toll-booth-like lanes and uniformed guards. Although drab and utilitarian, the campus is a fully functioning city, with fast-food joints, ATMs, Olympic-size swimming pools, huge LED screens that flash public-service announcements and cartoons, and a bookstore that sells, among other things, the Chinese-language translation of the Harvard Business Review. Prominent on display are biographies of Gou, one of which collects his many aphorisms, including “work itself is a type of joy,” “a harsh environment is a good thing,” “hungry people have especially clear minds,” and “an army of one thousand is easy to get, one general is tough to find.”



Foxconn is now the biggest exporter out of China, and its general is the richest man in Taiwan, estimated by Forbes to have a personal fortune of $5.9 billion. He says he cannot confirm that figure, however, as he does not keep track. “I have one guy in charge,” Gou says in heavily accented English that he picked up while touring the U.S. in the 1980s. “Every year he gives me a piece of paper and says, ‘Hey, this is how much.’ I think for me, I am not interested in knowing how much I have. I don’t care. I am working not for money at this moment, I am working for society, I am working for my employees.”



The colossus that Gou (pronounced “Gwo”) runs today started with a $7,500 loan from his mother. His first world headquarters was a shed he rented in 1974 in a gritty Taipei suburb called Tucheng, which means Dirt City in Mandarin. Gou, then 23, had done three years of vocational training and served in the military. He then worked for two years as a shipping clerk, where he got a firsthand view of Taiwan’s booming export economy and figured he ought to stop pushing paper and get into the game. With the cash from his mother, he bought a couple of plastic molding machines and started making channel-changing knobs for black-and-white televisions. His first customer was Chicago-based Admiral TV, and he soon got deals to supply RCA, Zenith, and Philips (PHG).



Imagining his future success, he practiced signing his name in English over and over until he had perfected it. He remains proud of it today, walking over to a whiteboard during the interview and signing with a schoolboy flourish. It looked like the perfect cursive script from the credits of I Love Lucy.

A Conversation with Jay Rosen on “The Problem With News Media in America Today”

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The Economist

What is the biggest problem with the news media in America today?



Mr Rosen: The cost of changing settled routines seems too high, but the cost of not changing is, in the long term, even higher. A good example is the predicament of the newspaper press: the print edition provides most of the revenues, but it cannot provide a future. I know of no evidence to show that young people are picking up the print habit. So if the cost of abandoning print is too high, the cost of sticking with it may be even higher, though slower to reveal itself. That’s a problem.



Another example is the decline of trust. In the mid-1970s over 70% of Americans told Gallup they had a great deal or fair amount of confidence in the press. Today: 47%. Clearly, something isn’t working. But revisions to the code of conduct that has led to this decline would be seen by most journalists as increasing the risk of mistrust. I’ve tried to argue that the View from Nowhere—also called objectivity—should be replaced by “here’s where we’re coming from.” That strikes most people in the American press as dangerous and unworkable. But the current course is unsustainable: trust continues to decline, with a big acceleration after 2003. When I mention this to journalists, they say: “Trust in all big institutions has declined, Jay.” Which is true (except for the military). But is that really an answer? You’re supposed to be the watchdogs over dubious actors. Why aren’t you an exception?



I could go on, but I think you see the pattern. Change is too expensive; the status quo is unsustainable.

Airplane at 30! The ride of their livesIs Airplane! the funniest film ever? John Patterson talks to the three nobodies from Milwaukee whose movie sparked a comedy

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John Patterson:

When David Zucker was a schoolkid in Milwaukee in the 1960s, one of his teachers made a prediction. “She said to me once, when I was fooling around in class, ‘Zucker, I know one day I’ll be paying good money to see you make me laugh, but right now, get your ass back in that chair and crack that book!'”


She was right. This badly behaved schoolkid would go on to reinvent US screen comedy with a movie called Airplane!, which he co-directed and co-wrote. Today, speaking in Manhattan, David is feeling a little rough. He was out the night before, it turns out, celebrating the film’s 30th anniversary with the movie’s co-creators, his younger brother Jerry and their lifelong friend Jim Abrahams. “I just couldn’t get out of bed this morning,” he says.



Well may they celebrate. Airplane! made $83m on its first release in 1980 (on an outlay of a mere $3.5m), and launched an entire comedy franchise, from the Police Squad TV shows to the Naked Gun movies they grew into – reconfiguring, in the process, one-time 1950s romantic lead Leslie Nielsen into a comic hero. Somewhere along the way, Zucker, Abrahams and Zucker (ZAZ for short) also inspired Saturday Night Live, launched another comedy titan of the 1980s, John Landis, and even gave the Farrelly brothers their big writing break.

My death is so full of life that we’re having scheduling problems

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Chris Gulker:

So we’re at that stage of life that many would, and have, described as “dying.” True enough, we’re noticing some of the icky stuff – creeping paralysis and numbness on the left side, and the weakness and reduced mobility that go with it. We have less stamina, particularly late in the day and there’s creeping fatigue – I’m napping and sleeping more. Things I used to do relatively easily are getting harder – dressing, getting in and out of cars, walking, especially late in the day.



That I’m able to do these things at all at this point in the progression of my disease has a lot to do with my “Heidi muscles,” the legacy of three years with trainer and rehab specialist Heidi Engel. She’ll be the topic of a post in the very near future, complete with her exercise regimen for dying people (yes, it makes sense!).