Eh, I didn't really read that as hard confirmation that there will be [x] number of sequels for any of those films, just that they have enough story planned out to allow them to do [x] number of sequels, if the franchises remain successful. And I'm mainly quoting this again just because it's funny, but...what emotion is that 'face' supposed to convey, exactly? Or is it just an all-purpose face, like a Dreamworks version of 'dull surprise'?
I think they're trying to portray the characters as smart asses, like "I'm all that", particularly with Po (Panda), Oscar (Shark Tale), and Megamind.
I don't see anything wrong with liking animation when you're in your twenties or beyond. If its a good quality story matched to equally good quality animation (see: Pixar) then the age of your audience will become a non-issue. Mind you I really feel sorry for Dreamworks, the perpetual red headed stepchild of CGI movies to Pixar's Übermensch within the industry. Everything they ever do can be prefaced with 'Not as Good as Pixar, but' and after a while that's gotta get them down.
It just seems that Dreamworks is always just played up more for laughs, as opposed to Pixar's having... charm?
Well the thing is, when I saw How to Train Your Dragon, I honestly thought they'd nailed it. They'd found their balance and their niche. And every thing I've seen of Megamind implies to me that the lesson did not take.
They can't seriously be thinking of doing SIX Kung Fu Panda movies. There is a limit to how many sequels a franchise can endure, Dreamworks. Look at Alien and Beverly Hill Cop. First one was good, second one was okay, third one was utter garbage.
How to Train Your Dragon was a very good movie. Inspiring moral, humor that wasn't over the top, and scenes in which, honestly, no dialogue needed to be said in order to convey the emotion or purpose. However, the lesson apparently did not take. The problem with the majority of Dreamworks animated endeavors is that they are all played as if they are supposed to be comedies, when there can be true emotional depth to an animated feature. Now, he Dreamworks brand of humor works very well in Shrek because Shrek is a parody of fairy tales, but you can't really have every movie be a "take X and put it in funny situation Y, hilarity ensues" sort of equation.
Too bloody right: the best example of which is 'Forbidden Friendship' which starts as Hiccup feeds Toothless the fish. Nearly 5 minutes of no talking but it remains a solidly executed example of Show, Don't Tell. I watched the movie with Audio Commentary and that was largely their intent with that scene. A lesser example is when Hiccup and Astrid go flying properly for the first time. I don't understand how they can finally make their masterpiece, their Toy Story, which includes their hero losing his lower leg (a scene they fought to keep, and did with backing from parents in test audiences) and after that go straight to Megamind. Jesus I need a stiff drink.
