I think everyone has noticed that in each decade a famous studio defines the goal of that generation of animated films. In the 90s and 80s, Disney reigned supreme with its Renaissance 2D animations. Everyone was kind of copying Disney at that time. Then in the 2000s, animation took a big leap with the arrival of 3D and by 2010 Pixar had taken the throne of computer-generated 3D animation with its more emotional scripts. In the midst of all this, there was a new, very discreet studio arriving on the market, called Sony Animation. Yes, the same Sony of electronics, PlayStation, the recording industry, which wanted its space in cinemas too, but precisely in the animation business. And it also started there with a very discreet little film, which no one was paying attention to, but which was also very nostalgic for today, called The Beast Will Catch You. Oh, who's this short guy here? Pimpão. Pimpão is your stuffed animal. Guys, anyone who has seen this movie knows that this movie is not bad. On the contrary, it's actually quite fun for today's times. But at that time the film was already more of the same even for the time it was released. And yet Sony showed signs that there was something different in their films, that they had a unique way of producing their animated films. Upstairs lived a naughty goblin who was always peeing. And guys, Sony has always had infinite money to risk the unknown and, most importantly, the desire to experiment. That's how it was born, it's making waves, right, with this completely new aesthetic, a documentary-style film made in animation, right, that didn't exist at the time, it was bold, it was completely different even for today. It's very rare to see a film like this made in animation, right, my dear? I am not. Then throw the mother to see if it bounces GL. Then came Cloudy with a Chance of Burgers, which ended up becoming a kind of school for Sony, because it was with this film that they found a formula for success when they nailed this more frenetic style, the exaggerated visual humor , the creative freedom. All of this became the basis for future sagas like Hotel Transylvania, which has the exact same style, like, man, it has the same essence, the same animation humor, everything from Tovendo Hamburguer. If you take a closer look, they are very similar. And that, this formula certainly inspired other studios like Illumination, right, which followed this exact same concept in the Despicable Me movies . And look, man, Sony had just arrived on the market and was already inspiring the competition to follow in its footsteps. I have to admit, this was fun. And today, folks, nowadays, the turning point has finally happened. Sony is once again editing the new meta of world animation. This new hybrid style of 2D with 3D, altered frame rates , glitch effects, this bolder visual narrative, it's not only leaving Pixar and Disney behind, but it's also creating a new identity, its own identity that has become a global reference and is being used as inspiration for the competition again. They managed to do it again. He wins, wins and wins. But what exactly did Sony do that was so different? What does he know that he's leaving many studios like Disney and Pixar behind? That's what we're going to find out in today's video. My name is Teles, you're on the Teleshow channel. And, guys, I want to take this opportunity to welcome our dear Ias, who has just become a member here on the channel. She also became a great friend of mine on Instagram. We talk almost every day. If you also want to have your name mentioned here in the videos and help the channel too, I invite you to become a member of the channel. Just click on the become a member button to find out about our benefits. Beauty? Now let's stop all this chatter and get straight to the video. [Music] Guys, in the beginning Sony was anything but consistent. And, guys, each film released by the studio presented a completely different style from the other, both in animation and narrative. And the public also received the films in a completely different way. There were films that were a hit and did very well at the box office, and there were films that simply flopped and didn't do well at all. There was no clear identity and you couldn't watch one of their films and tell if it was Sonia's or not. Like, things are going to get tough, it's getting crazy, it's raining hamburgers. These are films that have a totally different vibe from each other, you know? It's horrible, wonderful. At the same time, it is a little stroke of joy. But this all happened for a reason, guys. Sony didn't want to create its own brand. Sony was testing, experimenting and above all, it wasn't afraid of making mistakes. And if there was one thing that defines this initial phase of the studio, it is exactly that, this willingness to fail, to make mistakes in order to discover something new that the competition was not at all willing to pay the price to discover. How amazing, did you invent all of this? And after nailing it with Chovendo Hamburguer, which was a landmark both visually and narratively, Sony released Operação Presente, a film with a completely different feel. Look at that contrast, bro. Technically the film is well made. The narrative is very nice, but the film went completely unnoticed by the public and no one was interested in watching it in the cinema, man. It was another one of those titles that ended up falling into the limbo of forgotten animations. This can't be my system and failsafe. It must have been a mistake, sir. Error. After that came that bet on the Smurfs franchise, a project that, although it is far from being memorable or creative, right, had a good commercial return, helped keep the studio financially healthy there. They managed to collect well at the box office. It wasn't exactly a creative coup, but at least it brought a little profit to Sony's coffers . We're in a real mess, that's for sure. Yeah, thank goodness they left our po. But then came the lowest point of this phase of the studio, right, man, which was the release of The Emoji Movie, a failure that was almost unanimously met with critical and public acclaim. Today it is remembered as one of the worst animated films ever produced in history, man. And the studio itself recognized that this film was a mistake and a path they shouldn't have taken. But as I was saying, the studio was willing to make mistakes, right? And this movie certainly showed what they shouldn't do. Oh no, that's bad. I'm at home, so I prefer constipation. And another big problem for Sony at that time was overexploiting its franchises. Like, things are going to get tough, for example, because he won four films in less than 10 years. Man, the first one had a budget of around 80 million dollars, a pretty considerable budget, right, for an animated film. And he managed to raise 200 million in literature. It was a huge success, but the last one was only produced in 5 million. Look at that contrast, bro. A sequel that went straight to DVD with extremely inferior quality and that even felt like a disrespect to the first film, the original 2006 film, right? Have you never seen this werewolf man? Oh, wait a minute. I've never seen my brain, but I'm pretty sure I have one. Hotel Transylvania also followed the same path, guys. They used that famous formula from Tachu Burger in the first film, which was a huge success: the exaggerated characters, that frenetic visual humor, the fast-paced narrative, and so on. This was so explored and used in the sequels to the point of being exhausting. And four films later, the public was already saturated with watching Hotel Transylvania, you know? And the worst part is, this happened, folks, in 2022, a time when audiences were already demanding more sophisticated animations, both in terms of visuals and the film's script. And you know what's most curious? is that Sony already knew everything I'm telling you. In 2018, it released one of the most acclaimed films in the history of animation called Spider-Man: Into the Spider-Verse. They had already tasted the flavor of success, they already knew the right path they should take, and yet they insisted on exploring old, worn-out formulas in Hotel Transilver 4. Right, exactly. And it always ruins everything. That's the problem. Hey guys, these setbacks, as painful as they were, were fundamental for the studio to become what it is today. They taught Sony what not to do and more than that, they helped the studio refine its vision and understand what its audience wanted to see and what will really impress them. And Sony's big turning point was in 2018, when they had the rights to Spider-Man for theaters and decided to invest in an unprecedented film based on the Teoso stories that had not yet been explored in theaters, which was the story of Maisos Morales. No, no, no, no, no. How can there be two Spider-Men? There are no two Spider-Men. They exist. [Music] The impact of this film was immediate, guys. Visually, it broke all the conventions of what we expected from an animated feature film. While most studios were seeking hyperrealism or following those traditional 3D formulas, Spider-Man arrived with two feet in the door, suggesting a totally unusual aesthetic, right? mixing comics with burno graphics, 2D art superimposed on 3D animations, more vibrant colors and a totally different use of the film's frame rate. Guys, for those who are more into cinema, changing the film's frame rate is almost an insult, because people record films at 24 frames per second and keep switching back and forth, it was almost disrespectful, right, man? And they changed the firm rate when the scenes became more fluid and sometimes they became more stuck, you know? This gave a totally bold and stylish aesthetic to scenes that suited this film very well . This had never been done before in cinema, at least not like this, right? This was the kind of boldness that cinema needed at the time, something that broke all the rules and said : "I don't care if cinema is made in 24 frames per second, my film will have 12 frames in this scene, if I want, and it will look cool." Spider-Verse wasn't just a technical revolution, it was also an aesthetic game-changer. He showed us that it's possible to tell a story in a completely different way, right? With this visual freedom, with this frenetic rhythm, with this aesthetic used, without losing the emotional depth that the film demands. I am Spider-Man. [Music] And, guys, the market felt it, okay? felt the impact after Spider-Verse a lot. Other studios began to follow suit, also adopting what became known as the hybrid animation style. DreamWorks releases Puss in Boots 2, right, which abandoned that realistic 3D style of the first film, started posting this stylized sequence with the aesthetic of paintings , the frame rate also dynamic, right? And the result was one of the studio's most praised films in years . Kate, a life with you is all I could ask for. Nickelodeon also did the same thing with Teenage Mutant Ninja Turtles: Mutant Mayhem, which completely embraced this graphic aesthetic, right? mixing elements of this graffiti style, more washed out colors, glitch effects to create something more chaotic and authentic at the same time. And now we come to the current moment of this studio that recently appeared with films like The Mitchell Family, a film that completely embraced this hybrid aesthetic with visuals that mix this aesthetic of scribbles, collage, hand-made textures , these graphic effects that look like they are coming straight out of a creative teenager's notebook. The narrative was also really cool, right? It reflects exactly on that. Faster cuts, exaggerated visual jokes and a chaotic energy that works perfectly for the time it was released, for the time we're living in now, which is more of an internet language, you know? And we have no idea what we're doing. And of course, we were all waiting for a sequel to Spider-Verse and they give us Spider-Man through Spider-Verse, which is Spider-Verse. Do you want me to take care of that one or? Oh, bro. This sequel took everything that had already worked in the first film and raised the bar to zero. Man, everything in this movie got so much better. The level of visual complexity has increased. Each universe with its own identity. Each Spider-Man has his own visual identity, each character is animated in different styles and everything works in a very harmonious way on the screen. Dude, you're not my vulture. Hold on. Are you made of parchment? What cursed world have you brought me to? The film basically feels like a work of art and movement with an attention to detail that borders on the absurd. You're like, [ __ ], how was this possible? It was a true demonstration of the strength of what Sony is capable of doing today. And maybe that's why the third film is taking so long to make. Maybe they thought of something even crazier that isn't currently possible. So they need more time, a few more years to get this idea off the ground. And that's okay, bro. We're waiting for this event to arrive because we know it will be worth watching every frame of this film. He's Miles and he wasn't invited. Oh, he wasn't invited, but he came anyway. So it is. The new guy must be falling head over heels for you. No, you didn't understand. And more recently, K-pop Damon Hunters arrived. A film that could easily have shot itself in the foot. A risky proposition that made the film flirt with something cheesy, but which brought surprising results. Nails make up style so disgusting visual of a musical group of Korean demon hunters with colorful, exaggerated visuals and full of anime clichés and teenage musical aesthetics. Dude, it was the kind of idea that could go very wrong, it could age very badly in a few years, okay? But in my opinion, they got it right again. Man, this movie knows exactly what it is. He knows what he's doing. The film plays with these clichés, exaggerating on purpose when necessary, but it balances itself very well so as not to become too cheesy or forced. Guys, I'm already thinking about making a video just about this movie, so if you really want to, leave a like on this video so I know if you're supporting a review about K-pop Demon Hunters or not. Beauty? This is going to be our biggest show. The biggest songs of the biggest steps. That means a lot of carbs. For the fans. Guys, the truth is that we are witnessing Sony Animation living its true golden age. They understood what the audience wants to see on screen. And more than that, they are willing to deliver something new, visually bold, authentic and technically innovative narratives for us to watch. All this success is not by chance, it is deserved, because Sony is one of the few studios that actually paid to see. They tested, they took risks and when they made mistakes, they used that mistake as a learning experience. Each stumble became fuel, and today these mistakes are part of what strengthened the studio's identity. I sincerely hope that Sony doesn't fall into the temptation of repeating the formula that's working today until it becomes tiring and exhausting, like what happened with Hotel Transylvania, right, man? Because what makes son special nowadays is precisely the courage to experiment, to explore new languages, to invest money in new ideas, new trends, new ways of telling stories, while many studios are just surfing the wave of what has already been done, following the path that Sony has already left open for them to follow, right, man? And for me, today Sony is right exactly where Disney is stumbling, not for lack of talent , but for fear of making mistakes, for prioritizing financial return above all else rather than a creative vision, for suffocating the work of artists with these corporate decisions by chief executives sticking their noses where they don't belong, taking all the soul out of the business. I already recorded a video just talking about this, right, Disney, Pixel doing wrong things. So I'm leaving this video on the screen for you to watch now. and I'll wait for you there, okay? I hope you enjoyed this video. A big hug from your friend Teles and see you later. [Music]