The New York Times's Brooks Barnes has some tantalizing details on "Escape From Tomorrow," the art-house movie I blogged about yesterday, which was shot in part at Walt Disney World and Disneyland:
His cast and crew spent about 10 days filming at Walt Disney World in Orlando, Fla., and two weeks at Disneyland in Anaheim, Calif., he said. The end credits cite the involvement of over 200 cast and crew members, although only small groups entered the Disney parks at one time to avoid drawing attention.
Still, there were moments during filming that Disney clearly knew something was up, Mr. Moore said. “I think they probably just thought we were crazy fans making a YouTube video, which is something that happens a fair amount,” he said. He added, “Look, I have amazing memories as a kid from going to the parks. I think Walt Disney was a genius. I just wish his vision hadn’t grown into something quite so corporate.”
Barnes (and the headline writer) focus on whether this infringes Disney's copyright. Judging from what I've read about the film, this sounds like fair use to me. Film insurers routinely require that filmmakers go far beyond what copyright demands and act as though fair use doesn't exist, but the Stanford Fair Use Center has an insurer that will extend coverage to any film that complies with its broad, sensible fair use guidelines.
Disney World Horror Fantasy Raises Knotty Copyright Issues
Sean Bonner’s posted his share of viral images over the years, but the most recent time was a little different: he tweeted a picture of an anti-Trump political sticker he spotted in Tokyo, created by street artist 281_Anti nuke.
Vince Weaver is reimplementing Portal — “the cake acquisition simulator released in 2007” — to the Apple II series of computers, bit by bit — inspired by the fact that the Apple II hires mode has “the perfect Aperture Science orange and blue colors.” He’s released a disc image of the game in Apple Basic, […]
We’ve followed Annalee Newitz’s career here for more than a decade, from her science writing fellowship to her work as an EFF staffer to her founding of IO9 and her move to Ars Technica and the 2013 publication of her first book, nonfiction guidance on surviving the end of the world and rebooting civilization: now, I’m pleased to present an exclusive excerpt from Autonomous, her debut novel, which Tor will publish in September 2017, along with the first look at her cover, designed by the incomparable Will Staehle. As her editor, Liz Gorinsky, notes, “Autonomous takes an action-packed chase narrative and adds Annalee’s well-honed insight into issues of AI autonomy, pharmaceutical piracy, and maker culture to make a book that’s accessible, entertaining, and ridiculously smart.” I’m three quarters of the way through an early copy, and I heartily agree.
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The 2016 World Series game 7 will undoubtedly go down in history as one of the greatest baseball games of all time. With endless suspense, a nefariously-timed rain delay, and extra innings, it reminded over 40 million viewers why they love America’s pastime – and why all bets were truly off in 2016. Savor the […]