Hacker Cinema
Puss in Boots
2011 · Film · 90 min
Part of Puss in Boots Collection
Directed by Chris Miller
ActionAdventureAnimationComedyFamily
Long before he even met Shrek, the notorious fighter, lover and outlaw Puss in Boots becomes a hero when he sets off on an adventure with the tough and street smart Kitty Softpaws and the mastermind Humpty Dumpty to save his town. This is the true story of The Cat, The Myth, The Legend... The Boots.
2 positive10 neutralfrom 12 commenters
Where to watch
No streaming data for this title.
12 comments on Hacker News
I am pretty sure in anime that you have specific studios and directors who direct and animate fight scenes.
https://en.wikipedia.org/wiki/Yutaka_Nakamura
Is one who comes to mind. It requires a specialist and costs an outsized amount of money per frame compared to regular scenes. In western live action films it requires a director who intentionally wants to emulate that style and a studio that is willing to spend the money to do so. The incentives probably aren't aligned for big blockbusters to have well-choreographed fight scenes anymore.
There is obviously still an appetite for well choreographed fight scenes, but they are in the new Western feature-length animation projects (Spiderverse, Puss in Boots), probably because this generation of directors and animators grew up watching Yutaka Nakamura's fight scenes or RWBY.
But IMO asking why so much new media has bad fight scenes is like asking why so much new media has poor writing. It's a commodity that people probably didn't care about that much.
Nobody is "sexualizing your children" by showing them that gay people exist and that gasp they sometimes have feelings for one another. How scandalous.
> It’s gotten to the point where I was worried the Mario movie might have sex/gender propaganda in it. Luckily it was just a kids movie. There are few “just kids movies” these days. Puss in boots was the last one previously.
You didn't seem to have a problem with Mario's entire mission in the entire series to save his female love interest. Or the wedding references throughout the movie (you know, the ultimate culmination of a couple). Or the fact that Puss and Kitty got together at the end of the most recent Puss in Boots. Or the literally millions of other expressions of straight relationships in media day in and out.
But the second two men dare even hold hands? RED ALERT SEXUALIZING MY CHILDREN.
Go clutch your pearls elsewhere with this bullshit argument.
It’s gotten to the point where I was worried the Mario movie might have sex/gender propaganda in it. Luckily it was just a kids movie.
There are few “just kids movies” these days. Puss in boots was the last one previously.
If it was used in any of the Puss in Boots movies, then it was at least used in a Shrek spinoff...
The rendering in the Avatar movies is at the cutting edge. But quite apart from the very uninteresting storytellying there's something there that just doesn't work for me visually - I don't know if it's the uncanny valley effect of the giant skinny blue people with giant eyes or what, but I'd definitely rather watching something creative and painterly like the Puss in Boots movie, or even something like the Last of Us with really well integrated CG visuals and VFX that aren't necessarily top of the line, but well integrated and support a good story.
Puss in Boots was a fantastic movie for my 7-yr-old, in my eyes it's more like a hispano-western and the artwork is super interesting for me 40-yr-old. Watching it on a small screen where I constantly do breaks would be a shame.
We have a small movie theater in Linz, Austria, where they do do put up older movies, just a few months ago I was the only of two dressed as expected for Reservoir Dogs. And then they skip movies altogether and I have to the big one outside the city center. I wish they'd digitalize the movie-wishlist so I could enjoy older movies with friends that we actually want to see.
This is (basically) how voice assistants are structured today, and the results are... lacking. The core issue here is that you're still modeling this like a RPG conversation tree - which is inherently limiting.
You can use AI to help beef up the breadth of possible scenarios supported, but ultimately it's still a conversation tree.
Take two very plausible real-life conversations that can be had. We'll start with one that's a bit more mechanical and domain-limited:
A: "Can I get two tickets to the 8:30 showing of Avatar?"
B: "I'm sorry, but that showing is fully sold out. Would you like the 9:30 showing?"
A: "No that's too late, what else is showing around that time?"
B: "There is a showing of M3gan that starts at 8:40, is that ok?"
A: "Yeah, I'll have two tickets for that."
So in this case the customer went off-script. Your chatbot may be designed to predict intent and walk through a script - a well-edited and wide script, but the user can walk off the script at any time - in this case making a wholly separate query unrelated to the original ticket purchase.
Importantly also that the results of the query are then used to re-contextualize the original intent. This is a very normal conversation that practically no humans would have trouble with - but in a conversation tree-type model breaks very badly.
Now let's take it up another level:
A: "Can I get two tickets to the 8:30 showing of Avatar?"
B: "I'm sorry, but that showing is fully sold out. Would you like the 9:30 showing?"
A: "No that's too late, what else is showing around that time?"
B: "There is a showing of M3gan that starts at 8:40, is that ok?"
A: "I need something kid-friendly unfortunately. What do you have on that front?"
B: "Puss in Boots would be good if your kid like animated movies, there's a showing a little before, at 8:20. Is that ok?"
A: "Yes, two tickets please."
So in this case the user is expecting some type of situational intelligence that merges two areas (ticket buying, movie information and recommendations) and where references to each area must flow smoothly back and forth and inform each other. This level of dynamism is practically impossible to model using conversation tree-type approaches (even AI-assisted conversation trees, which have wider coverage but the same rigid structure).
This is a good example of where current approaches to the problem space produce very rigid, mechanical conversation agents that require the user to have deep knowledge of the (expected) conversation structure, which inhibits discovery of new capabilities and also is intimidating for novices who have not yet internalized the expected scripts.
There's a popular movie called "Puss in Boots". That's what I had to think of first.
That's great! I'll be sharing that site with my homestay family, who have kids aged 6 and 9. On Monday this week I asked the older one to read a Wikipedia list of Disney films and Dreamworks Animation movies and here's the list she made, which you can compare with the ones on your site:
Alice in Wonderland; Toy Story 3; Incredibles; Pinocchio; Lion King; The Tale of Despereaux; Winnie the Pooh; Maleficent; Cinderella; Frozen; Frozen II; Moana; The Santa Clause; Coco; Pirates of the Caribbean; The Princess and the Frog; Brave 2012; Beauty and the Beast; Born in China; The Boss Baby; Abominable; Trolls World Tour; Gift of the Night Fury; Shrek (all); The Grinch; Book of Dragons; Kung Fu Panda; Puss in Boots; Dawn of the Dragon Racers; Marooned ; Prince of Egypt; Peter Rabbit; Aladdin 1992; Aladdin 2019; Shark Tale; Wallace and Gromit; Chicken Run; Bee Movie; Turbo 2013; Home 2015; Captain Underpants; Tangled 2010; Harry Potter; Despicable Me; Despicable Me 2; Minions; The Secret Life of Pets; The Little Ghost; Waking Sleeping Beauty; Cleopatra in Space; My Neighbour Totoro
I don't know for sure, but I don't think Bandersnatch drove the Netflix interactivity work, rather vice versa. Charlie Brooker (whose previous work includes reviewing video games and TV shows, both of which underpin aspects of Bandersnatch, not least the name itself) is an obvious choice for Netflix to approach to see if this has wings, because if Brooker can't do anything with it, then it's not going to come off any better in someone else's hands. Also the Black Mirror anthology style means a misstep is easily forgiven / forgotten by fans. If you hate "San Junipero" (you are a weird person and don't deserve love) that doesn't taint "Nosedive" or "White Bear". If you found "Shut Up And Dance" too awful to think about, you can enjoy "Hang The DJ" or "The National Anthem" despite that. If "Bandersnatch" failed it wouldn't change anything else, at worst fans would be annoyed that time was wasted filming for Bandersnatch instead of some other episode.
Netflix had previously landed several less important interactive works in 2018, such as Puss in Boots, before attempting Bandersnatch. And this approach is effective at reducing bootlegging - there aren't existing tools that let "pirates" make an interactive video, so if you want the actual experience you'll be stumping up for Netflix. That means it helps underpin their financials.
For additional seasons of their existing shows, they already have sunk costs for sets, props, and all that jazz. I don't know much about the economics of production, but I'm sure there's some sizable cost savings from leveraging those existing assets during subsequent seasons (same for movie sequels).
They've also been pumping out animated kids shows quite heavily. Those are almost certainly less expensive per hour than a lot of their blockbuster hits, and would easily allow for a 66% increase in content-hours with only a 20% budget increase. And, anecdotally, are the types of shows that keep subscriptions active long after parents stop actively watching things. Kids get attached to characters easily, can watch the same season repeat dozens and dozens of times, and benefit from consistency (i.e. not app hopping between Amazon Video, Netflix, Hulu, etc). And the value of Netflix during times like extended traveling and running errands is not to be underestimated.
My subscription would have gone long ago if my daughter weren't so attached to some of their Originals. They're really good at making spinoffs of popular movies (like the Puss in Boots spinoff from Shrek) and popular toys (like Ever After High, based on the Monster High dolls).
A friend of mine works in film, so I know the ballpark costs from conversations with him. You can find production costs for films on the net fairly easily.
Puss in Boots, for example was $130 million and Kung Fu Panda 2 was around $150 million. So you're looking at 1.25m to 1.5m per minute.