![]() ![]() We have probably a balance of development that tips much more towards new properties and creating new things for our company, and yet those legacy titles, as I said, they're very emotionally important. ![]() I'm very, very proud of that show as well. We did the first animated adaptation of it. We just also produced Harriet the Spy for Apple. At the same time, new properties and properties that my father never touched are a big part of our company now. When you own something that you've inherited, and it's your father's work, an emotional level of that legacy work, it's important to get it right. When we reboot a show like Fraggle Rock, which we just did for Apple, or create a television series based on Dark Crystal, which we did for Netflix a couple of years ago, we will put the best and most talented of all of our collaborators on those programs to make sure that they are impeccable. There were many things that didn't get sold to Disney and our legacy titles of Dark Crystal, Labyrinth, Fraggle Rock, and newer legacy shows like Farscape, which actually is my brother's show, and is now old enough to be considered a legacy show. Now everybody knows that's a great place to protect the future of your characters. He was ahead of it because he was the first person to sell his legacy characters to Disney before George Lucas and John Lasseter and Marvel. My father himself had seen Disney as the ultimate home for The Muppets. ![]() I think that was a very legacy-conscious move. The Muppet Show, Muppets were sold to Disney. The characters and the shows that we inherited are very important to us, and in some cases, we as a family made the choice to take care of the legacy by setting it up somewhere. We look at technical innovation as a big part of the legacy, but what you would consider the most typical aspects of taking care of a legacy has to do with legacy characters. He wanted to democratize production through shooting with handycams and telephones, and he was way ahead of its time on all of those things. He wanted to do interactive television, which he tried. He wanted to do something in stereoscopic 3D, which he did. He became the master puppeteer, and I think, arguably, the most important puppeteer, but he started with a goal to work in television. ![]()
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