Morday Morning United Cartoons took the lead in celebrating the world of unborn child television and film to bring the people of Los Angeles together and help the creatures affected by the wildfire earlier this year. A non-profit organization and the recently launched american cinematheque Care carries the movietoasts its 40th anniversary and hosts a monthly series of screenings to support fundraising efforts.
At the event, the director of the 1985 film, Arna Selznick (who also worked Star Wars: The Ewoks and The droids Series), and Care Bears fan eric bauza (Looney tunes), the current voice of the most active bugn bunny and the history of SMCU Animation Championg, was on hand for a Q & A Care Bears fans who are young and young at heart.
IO9 caught up with Bauza and Selznick to talk about the past of animation and it exists as part of the measures to keep the films similar Care carries the movie on the screen and pass them on to the new generation.
IO9: Eric, What’s done Care carries the movie 40 years of Annivil is the perfect film to kick off Saturday’s Carroons Morning Cartoons United Screening series? And what inspired you to take up series hosting duties?
Eric Bauza: It’s kind of a neat thing because it’s in the news now, where people are connected and filled with their screens and phones. I recently saw an article that says time on our feature and time on social media has dwindled and plateaued. And if you’re wondering why they’ve been doing a lot of these tests of the birth of things or pop-ups or just things that get people out of the house, because people have also been difficult in the face of this aspect of AI. And it almost kind of has this funny effect of “Can I trust what I see now?”
But I think it’s fun and I have a real experience, many people fill the seats to know: “Watch for 40 years Care carries the movie with a room full of people who love it Care carries the movie. ” So it’s like having a reason to enjoy the theater; It’s a good reason to take the kids out and present it so that mom and dad grow up watching, and maybe they’ll catch that same blood.
IO9: Arna, how was it to experience this film again on the big screen with a crowd?
Arna Selznick: It was actually surprising to me because, you know, I haven’t watched it at all since maybe maybe five years after I did it. So that’s like 35, almost 40 years ago. It was fun and there were many adults in the audience. I thought there would be a lot of families and children. There were some families and children, but not really a children’s audience. It was an audience of fans. So it was very different. I think it was cool [hearing] John Sebastian, who wrote several songs, and Carole King, and the work he did on our opening song and “Forest of Emotions”. We were very lucky to find these people and I think they just enriched the film so much and I enjoyed hearing those spaces and songs and voices when we had this test.
Bauza: There was a moment when the care of Bele Bele Cousins Songo appeared and people were beating with blood and song. That doesn’t happen. That only happens in the church, if you are in the gospel church. I mean, maybe that’s what we need, a week, a cartoon week.
IO9: Arna, can you share some insight into the creative process and the challenges involved in delivery Care carries the movie in life?
Selznick: I had a lot of fun, but it was also a lot of work to do this show. I just happened to be doing a big feature for a big movie Rock & Rule… The kind of motion picture movie that didn’t do all that well at the box office but is still being made well enough that fans know about it. So we were all like, “okay, what do we do next?” And the guy who runs the studio really needs to find something solid financially to keep our team going because behind the scenes Rock & Rulewhich was a big production, it ended up being like, “Yeah, the studio doesn’t have money for any of your money
So we started doing it Strawberry Shortcake. I watched 64 episodes of An inspector’s gadget [on] a story that falls [and] Star Wars: Ewoks and Droids. So I mean, Care Bears It was a way to keep a very talented Canadian team, mostly Canadian but also from other countries, and we had a real kind of family there.
IO9: Eric and Arna, what would you say about Care Bears’ A unique tale that has made up beloved characters that have resonated with audiences for decades?
Selznick: I think there are many reasons. I think, first of all, they just loved the toys. Let’s face it. So we started with something that had a lot of momentum. And there were people; I mean, I remember Care Bears Being kind of like, “If you had one, you were lucky,” because they sold out so fast and they had to make more. And I think even the company, the American Sanings Company and those actors from Cleveland who produced the care bears were a little surprised that they just took off like a rocket.
So, yeah, so they were just flying off the shelves and they found out that the care bear was actually there, you know, people were going, “yeah, I got one.” So it was a bit of a mania for a while. We have delivered the film at a critical time. So our film got a lot of eyes on it because of the toys. And then we felt like we should, you know, follow it up with a good story so it’s not just a toy ad.
Bauza: You know, what’s so funny is that I have this weird story about breaking into my house. I lived in Dolodo Toronto with my mother, my father, and my brother in a small apartment, then he moved to a nearby village. And I remember living in this childhood home and moving to a different one, I really don’t want to move.
But when I moved to a new house, when I ran up the stairs to the basement, whoever lived there before me left this manager. Care Bears Sign on the wall. It was like a tender kiss of the tender heart that was said Care Bears, as a logo. I liked it Care Bears growing up like a child. I had a tender heart. And just the idea of these magical bears that live in the clouds
I don’t even remember asking, like, where does its power come from when it makes you see? I mean, it’s so important and it’s just the innocence of being a child. You don’t know them [it]. They take their star beams and aim them wherever they want. But in the movie, we learned that sometimes it’s not enough. They need to introduce new characters to finish the job. It’s still something we want our children to know. And that is, you know, sharing is caring, and taking care of each other. And you know that those lessons and those good people and those good people and that good hair they’re giving have to win at the end of the day for a talking book you get at an amusement park.
Selznick: Pete Stotter was our screenwriter and he developed the story and we tried to make it about the characters in the story. And when we got the list of bears, they were just emotional. They had nothing more than that. So, you know, serious bear was obviously a strong guy, [and the rest are] All these types of interesting types of small variations in good feelings. But when we got caught up with them, I think we really had to have a brand from scratch and create legends.
So you know, the idea of care – the lot, the way they were spread out in the world in a very protective way, they used a calculation method, and all of that came from the mind – all of that came from what they heard and how they connected with the audience. So that was something that I think we felt obligated to do something that was a story that would really deliver these characters that were like, you know, nice fluffy fluffies that [kids] he knew. But what and who are they? That story was a great idea that maybe children could tell each other as they play with their toys.
IO9: What was your own theater-like experience? LA is known for being a HUB for revival screenings as part of film preservation and has such a passion for visual media. Many people my age were admitted for the first time Care carries the movie In vys so I think it was really neat to see it in the crowd.
Bauza: So we worked with Park Circus, MGM’s distributor. And it was a new 4K restored version that had – I don’t think it was shown that much. Everyone at Cloudco [the current name of what was once American Greetings Entertainment] he was very impressed with how beautiful it looked. And Arna also commented on what a wonderful print we were looking at, because we were clean and healthy. There was no fight or anything.
Selznick: Yes, it was a really good version of the screen. I mean, we didn’t work extensively and I regret that it wasn’t a big maudecreen so the curtains had to close on the format but it’s still thinking, very quickly. How can I explain it? I was just watching other people’s reactions and listening to how many people laughed about it and most of the laughter was very warm and friendly and occasionally because it was our time.
I appreciated all the reactions; They all really understood and like I said to you, the singing and drumming was really amazing because we had a few songs, “no one has one of my favorite songs and it was nice to feel like you were in the theater. I don’t have to worry about all the shots and how they fit together; I can just break away and sit back and watch it with the audience and enjoy it.
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