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Up (4 Disc Combo Pack with Digital Copy and DVD) [Blu-ray]

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Up (4 Disc Combo Pack with Digital Copy and DVD) [Blu-ray]


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Detail Value
Binding
Blu-ray
EAN
0786936791068
Label
Disney*Pixar
List Price
$45.99
Manufacturer
Disney*Pixar
Product Group
DVD
Product Type Name
ABIS_DVD
Publisher
Disney*Pixar
Studio
Disney*Pixar
Title
Up (4 Disc Combo Pack with Digital Copy and DVD) [Blu-ray]
UPC
786936791068
Number Of Items
4
Format
Widescreen
Release Date
2009-11-10
Languages
English
Creator
Thomas McCarthy
Actor
Bob Peterson
Aspect Ratio
1.78:1
Audience Rating
PG (Parental Guidance Suggested)
Original Release Date
2009-01-01
Region Code
1
Running Time
96
Theatrical Release Date
2009
Director
Pete Docter
Additional Features
Number Of Discs

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User Reviews: Up (4 Disc Combo Pack with Digital Copy and DVD) [Blu-ray]

Ranked #10 in the category Blu-ray
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Featured Review

October 30, 2009 at 2:47 pm
MattH.
Reviewed by MattH.
Pros: superb in every respect: story, animation, sound, bonus features
Cons: none
Pixar’s Up is the studio’s latest marvel of humor, hope, and heart. Combining an exciting adventure tale with a more humanistic story of love lost and life reaffirmed, Up once again brings the celebrated animation studio another triumphant entry in their unbroken string of innovative computer animated adventures. Appealing characters of all ages and kinds and an engrossing tale set in a fantastic other worldly region of the Earth give Up its unique hold on one’s imagination. Despite some obvious fantasy elements, there will be moments during the film where you’re likely to forget you’re even watching animation. The characters and their situations become real, and the story becomes so enthralling that its form fades in your memory. It’s the hallmark of magnificent filmmaking to say that this is a great movie, not just a great animated movie.
 
Newly widowed Carl Fredericksen (Ed Asner) is deemed a public menace after attacking a building contractor who’s trying to get him to sell his property for big city building projects, and he’s sentenced to be sent to an old age retirement home. On the morning he’s to be taken away, the former balloon shop owner takes off in his house lifted by thousands of balloons and heads toward a remote section of Venezuela called Paradise Falls, a spot he and his late wife Ellie had always planned to visit but never got a chance to. Carl is surprised to find young scout Russell (Jordan Nagai) tagging along hoping to earn his last merit badge by helping the elderly. Once they arrive at their destination, they’re shocked to find themselves in the midst of once famous and now disgraced explorer Charles Muntz (Christopher Plummer) and his trained dog pack hunting a rare bird who’s capture will allow Muntz a chance to redeem his reputation. Carl and Russell, however, have made friends with the mother bird they’ve named Kevin and will do everything in their power to return the mother to her chicks. Aiding them is one of Muntz’s mistreated dogs Dug (Bob Peterson) who loves the care and attention lavished on him by the sweet-natured Russell.
 
The screenplay by director Pete Docter and co-director Bob Peterson (based on a story by those two and Tom McCarthy) touches on the theme of dreams unfulfilled and dreams realized in many different characters in the story. Part of the poignancy inherent in the story derives from each viewer having his own hopes for his life sometimes realized and sometime put on hold for the indefinite future, and seeing these fantasies sometimes become a reality gives the film such an uplifting feeling of purpose and achievement that one can’t help establishing a strong rooting interest with the tale’s protagonists. The master Pixar animators have now gotten so adept at storytelling that they can condense mountains of exposition into brief sequences that not only give us the background but accomplish it in such beautifully artistic ways. Two great examples are the newsreel which opens the film telling us about the fame and infamy of adventurer Charles Muntz and the unforgettably lovely and moving condensation of Carl and Ellie’s married life done in a five-minute pantomime sequence that’s as terrific as anything you’re likely to see at the movies in 2009. The animators also do little things just right, too: a graceful segue from Carl at Ellie’s funeral getting up, turning around, and entering the front door of his own house is accomplished with such unpretentious style and beauty that it’s breathtaking. So are numerous Road Runner-like sequences with Kevin escaping all of Muntz’s traps and, naturally, the climactic showdown between the good guys and bad which plays completely fair with each side’s strengths and weaknesses and delights all the more because it’s been set up so expertly all throughout the movie.
 
As with all Pixar films, the voice casting is sublimely superb. Ed Asner simply is Carl, grumpy and bitter at the beginning and slowly coming around to see that life is not over because his marriage is. Jordan Nagai’s hyperactive Russell is perfection, the embodiment of every restless kid who talks too fast and can’t sit still for a minute since he finds everything around him so thrilling. Co-director Bob Peterson does such an ingratiating job with the faithful Dug that he’ll soon become everyone’s favorite pooch. Christopher Plummer takes his time establishing Muntz’s sinister qualities but once there relishes in his insidiousness.
 
 
Video Quality
 
The film has been framed at 1.78:1 and is presented in 1080p using the AVC codec. Though presented in 3-D in certain theatrical engagements, only the 2-D version is offered here, but it’s a showstopper, among the greatest animation encodes you’re ever likely to see. The amount of incredible detail in clothing weaves, hair, leather, stone, leaves, even the gray stubble on Carl’s face gives every indication of being three dimensional. Colors are eye-popping where appropriate and subdued when necessary, but those jungles of South America pop with the many varieties and shades of color available to the animators, and there’s no hint of banding. Even the balloons, transparent when freshly inflated and becoming opaque as they lose buoyancy, are incredible to look at. The film has been divided into 35 chapters.
 
 
Audio Quality
 
The DTS-HD Master Audio 6.1 sound mix is the usual incredible Pixar masterwork with the available channels immersed in all manner of sounds in the city and jungle. The powerful thunderstorms rock the LFE channel, and Michael Giacchino’s lilting music, particularly the waltz tune that underscores many of the Carl-Ellie moments, gets spread to wonderful effect in the fronts and rears. The audio here is a classy, adept sound mix that gives the film a wonderfully antique feel that’s completely unique.
 
 
Special Features
 
The audio commentary is a part of the exquisite Pixar Cine-explore feature where director Pete Docter and co-director Bob Peterson talk about the film while picture-in-picture windows open showing many of the sketches, storyboards, rough animation, behind-the-scenes recording moments, home movies, and the like to extend their discussion.
 
All of the bonus features are presented in 1080p on both discs one and two.
 
“Partly Cloudy” is the animated short which accompanied Up in theaters. Featuring a frazzled stork at the mercy of a cloud god who creates the babies for Earth’s less cuddly creatures, it’s hilarious for 5 ¾ minutes.
 
“Dug’s Special Mission” is a new short featuring favorite character Dug in a moment in the movie before he had met Carl and Russell and is being given worthless missions by Alpha and the other dogs in the pack. It runs for 4 ¾ minutes.
 
“Adventure Is Out There” is a fascinating 22 ¼-minute documentary detailing the fact-finding expedition many of the production team took to Venezuela with tour guide Adrian Warren as they explored the mountains of the region for visual ideas for the film.
 
“The Many Endings of Muntz” finds the directors discussing alternative ideas for the way the evil character of Muntz was going to be dealt with in the movie. This informative featurette done with rough animation runs 5 minutes.
 
The disc is BD-Live encoded, but the network was not operational during the review period.
 
The first disc features trailers for Dumbo, Ponyo, Toy Story 3, The Princess and the Frog, and Santa Buddies.
 
Disc Two contains additional documentaries on the film and a game for the family to play together.
 
“Geriatric Hero” gives 6 ½-minutes of discussion on the evolution of the character of Carl from conception through final execution.
 
“Canine Companions” introduces Ian Dunbar, a dog behaviorist who worked with the animators in getting the proper looks and reactions to the pack of dogs which inhabit the movie and who play vital roles in the story. This feature runs 8 ½ minutes.
 
“Russell: Wilderness Explorer” examines the character of Russell, his inspiration, the development of the character, and the search for the proper child to voice him for the film. This runs 9 minutes.
 
“Our Giant Flightless Friend, Kevin” is a humorous look at the different treatments for the mythical bird Kevin before the final incarnation was arrived at. This lasts 5 minutes.
 
“Homemakers of Pixar” is a 4 ½-minute examination of Carl and Ellie’s house which plays such a massive role in the film. It’s seen in drawings and in actually built miniatures before being committed to computer animation.
 
“Balloons and Flight” discusses the difficulties and challenges of animating both the thousands of balloons used in the movie as well as the dirigible that’s Muntz’s home. This feature runs 6 ½ minutes.
 
“Composing for Characters” finds composer Michael Giacchino talking about his various themes for the movie and showing the orchestra laying down tracks for the film. This runs 7 ½ minutes.
 
“Married Life” is the most interesting of these second disc featurettes, a complete discussion of various ideas the production staff had for one of the film’s most priceless scenes and showing us how some ideas were thrown out and the sequence modified to the perfect scene it later became. We’re shown the entire 9 ¼ minute rough animated version of the sequence allowing us to see what was retained and what was jettisoned as being unnecessary or ill-fitting to the mood of the sequence.
 
The Global Guardian Badge Game allows from one to three players to take part in a geography game involving either national or world geography with differing skill levels being offered.  
 
The third disc in the set is a DVD of the film.
 
The fourth disc in the set is a digital copy of the film with instructions enclosed for installing on PC and Mac devices.
 
   
In Conclusion
 
Up is sheer perfection, either as a movie or as a Blu-ray release with exquisite picture and sound and a raft of bonus features that touch on every aspect of the filmmakers’ art. Highest recommendation!
 
 
 
Matt Hough
Charlotte, NC
1 person found this review useful


Article: Up (4 Disc Combo Pack with Digital Copy and DVD) [Blu-ray]

AN INTERVIEW WITH PETE DOCTER: DIRECTOR OF DISNEY/PIXAR’S UP

 
How did you come up with the movie’s storyline?
 
A number of years ago, I was sat in a room, throwing around ideas with co-director Bob Peterson and a lot of the themes we came up with were about ‘escape’ and ‘getting away’. We kept coming back to the idea of this floating house that felt cool and poetic – and the idea of ‘getting away from the world’ seemed to strike a chord with us.
 
What made you choose a 78-year-old man as the protagonist in Up?
 
Well, we had always wanted to do something with an old man – specifically, someone with a lot of attitude. We had fun playing around with the idea of this grouchy guy who would slam the door in people’s faces. It was something we hadn’t really seen before in animation.
 
You’ve created a story about a 70-year-old man in a society that’s obsessed with youth… Carl doesn’t have hairs on his ears or too many liver spots. Are you trying to keep an ideal vision of growing old?
 
It’s definitely idealized and caricatured, but I look at the veins in my own hand and I think, ‘Well, you wouldn’t want to see that on a cartoon character.’ Everything is simplified to be more appealing – and we certainly did that with Carl’s wrinkles and the pockmarks on his nose. He’s definitely a senior citizen with his hearing aid and walking stick, but he also has a fun look to him.
 
How has the story changed over the four years of production?
 
In the very first draft, we had Carl wanting to float off to be with his wife. She had died and he wanted to be with her, so he floats away at the end of the first act. However, we didn’t really know where the story would go after that, so we had to give him a more concrete goal. Eventually we gave him this back-story with the dream of getting to Paradise Falls in South America.
 
Why did you pick South America?
 
Early on, the story was set on a tropical island because I’m a big fan of tropical islands. I thought to myself, ‘Well, if we have to do research on a tropical island, that won’t be so bad.’ But there have been so many movies where a character gets stuck on a tropical island and we wanted something different, so we had to think up something new. We needed a location where Carl could get stuck with this kid. It couldn’t be somewhere where he could just turn to the police and say, “Here, take care of this youngster.” We wouldn’t have a movie if that was the case.
 
So you decided on the tabletop mountains of Venezuela?
 
Exactly. One of the guys at Pixar had a video of these mountains in South America called the tapuis – and they were perfect. Why? Well, one of the major themes of the movie is adventure. If you think about adventure, South America is one of the few places in the world where new things are being discovered all of the time. Even to this day, you hear stories of a new species of monkey being discovered that nobody has heard about until now. That’s amazing. This place is so full of secrets, darkness and mystery. That seemed like a good setting.
 
Was Russell the wilderness explorer always in the story?
 
No, he wasn’t. At first, we had the idea of a grouchy old man who was stuck in his ways. Carl wasn’t really living life. He just wanted to be left on his own, but by the end of the movie he’s reaching out and connecting with Russell and his new family. We thought, ‘What’s going to change Carl?’ And the answer we came up with was a kid.
 
Where did you get the idea of the talking dogs?
 
The dogs came from an idea that Bob Peterson and I developed early on. We tried to make the dogs think about subjects that real dogs think about, like food and squirrels. We had one idea where Dug was a failed science experiment from a Russian satellite that crashed in the mountains, but ultimately we came up with the idea of Charles Muntz – the main villain in the movie.
 
How much input did you have into the score and music of the movie?
 
From the beginning, we talked about wanting the score to feel classic, like the music from a 40s or 50s movie. I didn’t point to anything in particular, although I did talk about wanting Ellie’s theme to be very simple. I wanted people to be able to imagine it playing on a music box. The score Michael Giacchino came up with was so beautiful. There are wonderful, tender moments as well as action – and Ellie’s theme is played in many different ways. He did a fantastic job.
 
What’s it like to work with Giacchino?
 
Michael is a great collaborator, which is exactly how we work at Pixar. There aren’t loads of individual artists working by themselves in isolation. It’s a much more collaborative process than that at Pixar – and Michael is exactly the same. He was a real joy to work with.
 
The movie features many novel devices, such as black and white sequences and silent sequences… Were there any techniques you couldn’t use?
 
There are no rules. You do whatever the audience needs to understand what you’re trying to say. Our philosophy at Pixar is: Try to make something that really speaks to people. We’re the first audience who gets to see these movies, but we’re just stand-ins for the audience in general. We know that at some point my eight-year-old daughter is going to see this and my grandmother is going to see this – along with everybody in between. We’re just trying to make the best film we can and we use whatever seems to feel right.
 
How much of an influence was Hayao Miyazaki on the look of Up?
 
Miyazaki is an amazing filmmaker and one of the things he does really well is pay attention to little details. I love the way he looks at little things like the way water falls in a puddle. He focuses on things that don’t really seem important to the story, but they really place you there. When you watch his films, you feel like you can almost smell and taste everything on screen. We tried to learn as much as we could from him, although the look of our movies is very different.
 
Pixar is famous for incorporating sneaky hidden references throughout their movies… What hidden gems can fans find in Up?
 
There are a lot of Pixar in-jokes hidden in the film. For starters, you can hear John Ratzenberger in this movie and he’s been in every Pixar movie so far. If you look closely, you will also be able to see things like the Pizza Planet truck, which showed up in Toy Story. It’s been in every Pixar movie, so you can definitely see it in a few shots in Up. If you look closely, you can see a ball with a star on it at one point in the movie. Well, this is the ball from Toy Story and Luxo Jr.
 
What else can we see?
 
There are loads of hidden references, but I’m not giving everything away here. At the end of Monsters, Inc. Boo holds some toys and one of them is a fish, which is Nemo from Finding Nemo – but the audience didn’t know that at the time. Finding Nemo hadn’t been released at that point, so he was a secret character put in there. There’s a character from Toy Story 3 that you don’t know about yet that turns up in Up. Good luck finding it…

 

 

Character Facts
  • Up has 330 characters and variants.
  • The aviator cap is worn eight times in the movie.
Carl
  • In Up, Carl Fredricksen's hometown is Bloomington, PD, which the sharp eye may be able to spot on Carl's mail. The fictitious location is a nod to director Pete Docter (PD), whose own hometown is Bloomington, Minnesota. The distance from that part of Minnesota to Angel Falls is 3,268 miles.
  • Carl Fredricksen's last name came from relatives of director Pete Docter.
  • Carl Fredricksen is so stylized that he's only three heads high. Most people are about seven heads tall.
  • Director Pete Docter animated Carl in the last scene of the film.
Ellie
  • Ellie is named after and voiced by Pete Docter's daughter, Elizabeth “Elie” Docter. She also drew some of the pictures in the adventure book.
Russell
  • One of Russell's merit badges is the Luxo Jr. ball. He also has a badge for 2D Animation, Toe Touching, Knot Tying, and many others.
  • Jordan Nagai was 7-years-old when he was cast as Russell.
Muntz
  • Muntz's jacket is the first time in Pixar history where a cloth garment is made of fur.  No CG animals were harmed.
Dug
  • Dug's Greek dog pack name was Lambda.
  • Dug is voiced by Up’s co-director, Bob Peterson.
Kevin
  • Kevin is 13-feet tall.
  • Director Pete Docter voices some of the bird noises for Kevin.
  • Pixar created new feather technology just for Kevin, but it's used three other places as well: Ellie's parrot, a feather duster, and the feathers on Muntz's wall.
  • Kevin's design is based on many birds, including an ostrich (legs), cassowary (feather shapes), Monal pheasant (feather iridescence), heron and other large birds (behavior), toucan, quail, and peacock (beak and "dongles" on its head).

 

 

 

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