By Ray Stern
By Ray Stern
By New Times
By Amy Silverman
By Stephen Lemons
By Stephen Lemons
By Monica Alonzo
By Chris Parker
Yet nearing the finish line, it looked like Fox might have dropped the ball completely.
Says Cullinane, "When you look at a space movie like that, you could've had some amazing [product] tie-ins. Guns and dolls and spaceships. There was nothing. None of us actually knew why there wasn't any tie-ins. The only TV ads I saw were on the FX channel, which is part of Fox. I didn't see any pre-publicity. If you're not going to advertise, have tie-ins, or kids going around wearing Titan tee shirts and hats, you're not gonna make any money. That just shows the interest that was in it. If it was a hit, it would be a major bonus for everybody, but they weren't going to put any more money into it. They felt they put enough into the studio. When we started the movie, there were great plans, but by the end nothing was happening."
Plenty was happening to Pearse Cullinane in the ensuing months. He was still waiting on his green card, making payments on a home equity loan on top of a mortgage, buying new furniture, leasing a car and marrying a woman with three kids. And he developed "itchy feet" when he heard Fox was opening up a new soundstage in Sydney, Australia, home of Rupert Murdoch.
"I've got family there, I'd like to see my brothers, and they were looking for people at the studio," marvels Cullinane. "Mind you, this was before I even filed a suit. I went to Fox and said, 'Get me my visa, get me a flight, I'll brush the floors, anything,' just to get into a new studio. I would've been in heaven; a city I really love, give me an average Australian wage -- 600, 700 bucks a week -- and I'd be happy. What an easy way out that would've been for them. All my benefits would still be intact, I'd still work for Fox. Why wouldn't you do that? They never got back to me."
The February purge was imminent, but the writing was on the wall as early as January.
Joyce Grossman is Retention Expansion Outreach Program manager for the City of Phoenix (or "REO not Speedwagon," as she calls it). It's her job to encourage businesses to stay in Phoenix once they're here.
"I had been with them doing a routine visit, just before that announcement broke. They indicated that corporate already made a decision that they could do cartooning cheaper offshore and they're taking it into Southeast Asia now," Grossman says. ". . . what I found is that [Fox Animation Studios] were being forced, costwise, to get it down to nothing. They gave no indication that they were about to lay off workers, just that they weren't growing."
Just think of all the devastation one little cartoon about the end of the world has caused.
To hear Fox Filmed Entertainment's bean-counters tell it, Titan cost $80 million to make, a deceptive figure because it tallies in the true $55 million cost and piggybacks the losses incurred by Bartok and the downtime when the studio had no movie projects after bagging Planet Ice. If the meter were still running, they'd probably toss in the $12 million it cost to shut its Phoenix studio for good.
It mattered little that most animation studios carry a crew of 600 and take two to three years to produce one full-length film, and Fox's Phoenix studio did it in fewer than 18 months with a third of the personnel. Nothing screams savings on a ledger sheet louder than eliminating hundreds of jobs, especially since this studio was championed by Fox Filmed Entertainment chairman Bill Mechanic, who was fired a week before the Phoenix studio closed.
Titan's dismal $22.5 million in U.S. box office receipts gave Rupert Murdoch the most recent excuse to can Mechanic. Other recent disappointments approved by the former chairman were Anna and the King, Fight Club and The Beach. It also mattered little that the "robust first quarter" that Fox boasted of one month after Mechanic's ouster was because of films in production during Mechanic's tenure -- X-Men, which has grossed $144 million, and Big Momma's House, which has collected more than $114 million.
Appearance is everything.
Titan's crash-and-burn takeoff inspired a July 24 article in the New York Times that stopped just short of officially declaring traditional 2-D animation a dead cause and cited the lukewarm public reception to other recent efforts: DreamWorks' The Prince of Egypt and The Road to El Dorado, and Warner Bros.' The Iron Giant. DreamWorks recently laid off a good number of animators, with Warner rumored to be closing a studio.
No one knows what kind of golden parachute Don Bluth and Gary Goldman received from Fox, but they are back to the drawing board, looking to the Internet to distribute their films and recruiting new talent, young animators who'll work cheaply and live like gypsies until 2-D animation bounces back into public favor.
Then there's Arizona, which is losing the infusion of revenue from the studio and its employees. After the first layoffs, Linda Peterson Warren, director of the Arizona Film Commission, was told the studio planned to restructure to be more efficient. She heard of the studio closing the night before it happened.