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“You’re here watching us flap our wings,” Favreau says to me with a grin as he prepares for another take. When VR cinema failed to sweep away standard Hollywood blockbusters, the iceberg effect kicked in again: Guess VR won’t spark a film revolution after all!įavreau and crew don headsets and enter the virtual environments of The Lion King. Alas, a century of filmmaking conventions wasn’t undone so easily. With 360-degree video placing viewers inside the movie, some predicted that “VR cinema” would be so transformative that audiences might never again be satisfied with watching a flat theater screen. Companies like Oculus realized that consumer VR hardware was finally viable, and the public began to reimagine the realm of virtual possibility-one that included a new approach to filmmaking. As the Los Angeles Times wrote in 1995, “The technology is starting to find an important place in real estate, construction, medicine and many other realms.” Pop culture had made the public think of VR as an entertainment medium, but that limited view effectively turned the technology into an iceberg, the paltry tip of which bore little resemblance to the enormity of what lurked beneath popular awareness.Ī decade or so later, the smartphone came along, spawning an industry of miniaturized displays and sensors that facilitated VR’s 21st-century rebirth. When VR dropped off the cultural radar, it found a second life in the vast market situated next door: industrial application.
Visibility and viability are very different things, of course. As abruptly as it had boomed, VR faded, eclipsed by the immediacy and accessibility of the web. Besides, something called the internet had gone wide. The equipment was heavy and uncomfortable, and it delivered laggy graphics. Still, for all the psychedelic dreams that trickled from science fiction to celluloid, virtual reality couldn’t seem to worm its way into our actual lives. (Now that’s the most ’90s sentence possible.) Even the NBC sitcom Mad About You had an episode in which its lead characters toyed with investing in a VR startup, ultimately putting on headsets for virtual run-ins with Christie Brinkley and Andre Agassi. (If you think that’s the most ’90s sentence possible, you’re almost correct.) Johnny Mnemonic and Strange Days, two cyberpunk films that made VR a significant part of their imagined futures, were both in production.
#Lion king friday maya cinema movie
Michael Crichton had just published his erotic corporate-sabotage thriller Disclosure, in which data gets visualized in a virtual world soon after, the novel was made into a movie starring Michael Douglas and Demi Moore. The year the original Lion King came out, Hollywood writers were in the grip of VR fever. Seth Rogen gives life to Pumbaa, Simba’s farting, singing warthog friend. If you’ve seen the trailer, there’s one other obvious fact: The new Lion King rides an atomically thin line between CGI animation and live action. James Earl Jones reprises his role as the murdered king Mufasa, joined this time around by Chiwetel Ejiofor, Beyoncé, Donald Glover, Seth Rogen, and others. The film’s Bambi-meets- Hamlet plot, in which an African lion cub named Simba flees his savanna-ruling family after his father’s death, is nearly identical to the 1994 megahit that remains the highest-earning G-rated movie of all time.
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The Lion King is the next installment in Disney’s series of reworked animation classics, which includes not just The Jungle Book but also live-action updates of Cinderella and Aladdin. In fact, it’s hard to describe the film at all. Today, it’s hard to describe Favreau’s latest project, the much-anticipated Lion King remake, without thinking of Pete Becker.
Becker, convinced his idea would change the world, pressed on. Moss 2 would only schedule appointments for January.
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Just Becker, a tech whiz who-before wooing Monica in a six-episode arc-had become a gazillionaire by creating a piece of business software called Moss 865.
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Not the star filmmaker who would make Elf a holiday classic or who’d launch the Marvel juggernaut by directing Iron Man or who’d update The Jungle Book for the CGI generation. For the 26 million people who watched Friends in the mid-’90s, Jon Favreau was Pete Becker.
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