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Standing committee (United States Congress)
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Main article: United States congressional committee
In the United States Congress, standing committees are permanent legislative panels established by the United States House of Representatives and United States Senate rules. (House Rule X, Senate Rule XXV.) Because they have legislative jurisdiction, standing committees consider bills and issues and recommend measures for consideration by their respective chambers. They also have oversight responsibility to monitor agencies, programs, and activities within their jurisdictions, and in some cases in areas that cut across committee jurisdictions. Due to their permanent nature, these committees exist beyond the adjournment of each two-year meeting of Congress.
Most standing committees recommend funding levels—authorizations—for government operations and for new and existing programs. A few have other functions. For example, the Appropriations Committees recommend legislation to provide budget authority for federal agencies and programs. The Budget Committees establish aggregate levels for total spending and revenue that serve as guidelines for the work of the authorizing and appropriating panels. Committees also provide oversight of federal agencies and programs.
The Legislative Reorganization Act of 1946 greatly reduced the number of committees. The membership of each committee is adopted at the beginning of each Congress, usually by adoption of a formal resolution. Each committee is assigned its own staff to assist with its legislative, investigative, and research functions. Several committees divide their work into sub units called subcommittees.
Committee sizes range from 6 to 50 members per committee. In the House, one person may not serve on more than two standing committees and four subcommittees at one time, though waivers can be granted to serve on additional committees. Also in the House, the House Republican Steering Committee assigns Republican representatives to their committee(s),[1][2] while the Steering and Policy Committee is in charge of assigning Democratic representatives to committees.[3] The Senate follows similar procedures, with senators being limited to no more than three full committees and five sub-committees.
Current number of standing committees[edit]
As of June 17, 2017, the Senate had[update] 16 standing committees and the House had 20 standing committees.[4] (The count is for standing committees only and does not include select or special committees or joint committees. See those articles for that information.)
See also[edit]
List of current United States House of Representatives committees
List of current United States Senate committees
Select or special committee
Standing Committee
Standing Committee of the National People's Congress (NPCSC)
Standing Committee (UK)
References[edit]
Jump up ^ https://www.gop.gov/resources/library/documents/rules/house-republican-steering-committee-113th-congress.pdf
Jump up ^ http://www.speaker.gov/press-release/republican-steering-committee-recommends-house-committee-chairs-114th-congress
Jump up ^ http://www.democraticleader.gov/newsroom/pelosi-announces-steering-policy-committee-co-chairs-members-2/
Jump up ^ Committees of the U.S. Congress
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2008 term opinions of the Supreme Court of the United States
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The 2008 term of the Supreme Court of the United States began October 6, 2008 and concluded October 4, 2009. The table illustrates which opinion was filed by each justice in each case and which justices joined each opinion.
Contents
[hide]
1 Table key
2 2008 term opinions
3 2008 term membership and statistics
4 Notes
5 Further reading
6 References
Table key[edit]

Delivered the Court's opinion

Joined the Court's opinion

Filed a concurrence

Joined a concurrence

Filed a dissent

Joined a dissent

Filed a concurrence/dissent

Joined a concurrence/dissent

Did not participate in the decision
Decisions that do not note an argument date were decided without oral argument. Decisions that do not note a Justice delivering the Court's opinion are per curiam.
Multiple concurrences and dissents within a case are numbered, with joining votes numbered accordingly. Justices frequently join multiple opinions in a single case; each vote is subdivided accordingly.
An asterisk ( * ) in the Court's opinion denotes that it was only a majority in part or a plurality. An asterisk in a joining vote denotes that the justice joined it only in part.
A dash ( - ) denotes that the Justice concurred or dissented without filing a separate opinion.
2008 term opinions[edit]
#
Case name and citation
Argued
Decided
Roberts
Stevens
Scalia
Kennedy
Souter
Thomas
Ginsburg
Breyer
Alito

1 Moore v. United States, 555 U.S. 1 October 14, 2008
2 Brunner v. Ohio Republican Party, 555 U.S. 5 October 17, 2008
3 Winter v. Natural Resources Defense Council, Inc., 555 U.S. 7 October 8, 2008 November 12, 2008
*
4 Bell v. Kelly,[1] 555 U.S. 55 November 17, 2008
5 Hedgpeth v. Pulido, 555 U.S. 57 December 2, 2008
6 Altria Group, Inc. v. Good, 555 U.S. 70 October 6, 2008 December 15, 2008
7 Jimenez v. Quarterman, 555 U.S. 113 November 4, 2008 January 13, 2009
8 Chambers v. United States, 555 U.S. 122 November 10, 2008 January 13, 2009
9 Herring v. United States, 555 U.S. 135 October 7, 2008 January 14, 2009
1
1 2
1
1 2
10 Oregon v. Ice, 555 U.S. 160 October 14, 2008 January 14, 2009
11 Waddington v. Sarausad, 555 U.S. 179 October 15, 2008 January 21, 2009
12 Locke v. Karass, 555 U.S. 207 October 6, 2008 January 21, 2009
13 Pearson v. Callahan, 555 U.S. 223 October 14, 2008 January 21, 2009
14 Fitzgerald v. Barnstable School Committee, 555 U.S. 246 December 2, 2008 January 21, 2009
15 Spears v. United States, 555 U.S. 261 January 21, 2009
1
-
1
16 Crawford v. Nashville, 555 U.S. 271 October 8, 2008 January 26, 2009
17 Kennedy v. Plan Administrator for DuPont Sav. and Investment Plan, 555 U.S. 285 October 7, 2008 January 26, 2009
18 United States v. Eurodif S. A., 555 U.S. 305 November 4, 2008 January 26, 2009
19 Arizona v. Johnson, 555 U.S. 323 December 9, 2008 January 26, 2009
20 Van de Kamp v. Goldstein, 555 U.S. 335 November 5, 2008 January 26, 2009
21 Nelson v. United States, 555 U.S. 350 January 26, 2009
22 Ysursa v. Pocatello Ed. Assn., 555 U.S. 353 November 3, 2008 February 24, 2009
1
2
*
23 Carcieri v. Salazar, 555 U.S. 379 November 3, 2008 February 24, 2009
24 United States v. Hayes, 555 U.S. 415 November 10, 2008 February 24, 2009
*
25 Pacific Bell Telephone Co. v. linkLine Communications, Inc., 555 U.S. 438 December 8, 2008 February 25, 2009
26 Pleasant Grove City v. Summum, 555 U.S. 460 November 12, 2008 February 25, 2009
1
2
3
2
1
4
27 Summers v. Earth Island Institute, 555 U.S. 488 October 8, 2008 March 3, 2009
28 Negusie v. Holder, 555 U.S. 511 November 5, 2008 March 3, 2009
29 Wyeth v. Levine, 555 U.S. 555 November 3, 2008 March 4, 2009
1
2
30 Bartlett v. Strickland, 556 U.S. 1 October 14, 2008 March 9, 2009
1
*
1
1 2
1 3
31 Vaden v. Discover Bank, 556 U.S. 49 October 6, 2008 March 9, 2009
32 Vermont v. Brillon, 556 U.S. 81 January 13, 2009 March 9, 2009
33 Kansas v. Colorado, 556 U.S. 98 December 1, 2008 March 9, 2009
34 Knowles v. Mirzayance, 556 U.S. 111 January 13, 2009 March 24, 2009
*
*
*
35 Puckett v. United States, 556 U.S. 129 January 14, 2009 March 25, 2009
36 Rivera v. Illinois, 556 U.S. 148 February 23, 2009 March 31, 2009
37 Hawaii v. Office of Hawaiian Affairs, 556 U.S. 163 February 25, 2009 March 31, 2009
38 Philip Morris USA Inc. v. Williams,[2] 556 U.S. 178 March 31, 2009
39 Harbison v. Bell, 556 U.S. 180 January 12, 2009 April 1, 2009
1
2
40 Entergy Corp. v. Riverkeeper, Inc., 556 U.S. 208 December 2, 2008 April 1, 2009
41 14 Penn Plaza LLC v. Pyett, 556 U.S. 247 December 1, 2008 April 1, 2009
1 2
2
2
2
42 United States v. Navajo Nation, 556 U.S. 287 February 23, 2009 April 6, 2009
43 Corley v. United States, 556 U.S. 303 January 21, 2009 April 6, 2009
44 Arizona v. Gant, 556 U.S. 332 October 7, 2008 April 21, 2009
2
2
1 2*
2
45 Ministry of Defense and Support for Armed Forces of Iran v. Elahi, 556 U.S. 366 January 12, 2009 April 21, 2009
*
*
*
46 Shinseki v. Sanders, 556 U.S. 396 December 8, 2008 April 21, 2009
47 Nken v. Holder, 556 U.S. 418 January 21, 2009 April 22, 2009
48 Cone v. Bell, 556 U.S. 449 December 9, 2008 April 28, 2009
49 FCC v. Fox Television Stations, 556 U.S. 502 November 4, 2008 April 28, 2009
1 3
*
* 1
3
2
2 3
3
50 Dean v. United States, 556 U.S. 568 March 4, 2009 April 29, 2009
1
2
51 Kansas v. Ventris, 556 U.S. 586 January 21, 2009 April 29, 2009
52 Burlington N. & S. F. R. Co. v. United States, 556 U.S. 599 February 24, 2009 May 4, 2009
53 Arthur Andersen LLP v. Carlisle, 556 U.S. 624 March 3, 2009 May 4, 2009
54 Carlsbad Technology, Inc. v. HIF Bio, Inc., 556 U.S. 635 February 24, 2009 May 4, 2009
1
2
3
3
55 Flores-Figueroa v. United States, 556 U.S. 646 February 25, 2009 May 4, 2009
1
1
2
56 Ashcroft v. Iqbal, 556 U.S. 662 December 10, 2008 May 18, 2009
1
1
1
1 2
57 AT&T Corp. v. Hulteen, 556 U.S. 701 December 10, 2008 May 18, 2009
58 Haywood v. Drown, 556 U.S. 729 December 3, 2008 May 26, 2009
*
*
*
59 Montejo v. Louisiana, 556 U.S. 778 January 13, 2009 May 26, 2009
1
1
1
1* 2
60 Abuelhawa v. United States, 556 U.S. 816 March 4, 2009 May 26, 2009
61 Bobby v. Bies, 556 U.S. 825 April 27, 2009 June 1, 2009
62 CSX Transp., Inc. v. Hensley, 556 U.S. 838 June 1, 2009
1
2
63 Republic of Iraq v. Beaty, 556 U.S. 848 April 20, 2009 June 8, 2009
64 Caperton v. A. T. Massey Coal Co., 556 U.S. 868 March 3, 2009 June 8, 2009
1
1 2
1
1
65 United States v. Denedo, 556 U.S. 904 March 25, 2009 June 8, 2009
66 United States ex rel. Eisenstein v. City of New York, 556 U.S. 928 April 21, 2009 June 8, 2009
67 Boyle v. United States, 556 U.S. 938 January 14, 2009 June 8, 2009
68 Indiana State Police Pension Trust v. Chrysler LLC, 556 U.S. 960 June 9, 2009
69 Polar Tankers, Inc. v. City of Valdez, 557 U.S. 1 April 1, 2009 June 15, 2009
1
1
*
* 2
70 Nijhawan v. Holder, 557 U.S. 29 April 27, 2009 June 15, 2009
71 District Attorney's Office for Third Judicial Dist. v. Osborne, 557 U.S. 52 March 2, 2009 June 18, 2009
1
1* 2
*
1
1
72 Yeager v. United States, 557 U.S. 110 March 23, 2009 June 18, 2009
1 2
*
1 2
1 2
73 Travelers Indemnity Co. v. Bailey, 557 U.S. 137 March 30, 2009 June 18, 2009
74 Gross v. FBL Financial Services, Inc., 557 U.S. 167 March 31, 2009 June 18, 2009
1
1 2
1 2
1 2
75 Northwest Austin Municipal Util. Dist. No. One v. Holder, 557 U.S. 193 April 29, 2009 June 22, 2009
76 Forest Grove School Dist. v. T. A., 557 U.S. 230 April 28, 2009 June 22, 2009
77 Coeur Alaska, Inc. v. Southeast Alaska Conservation Council, 557 U.S. 261 January 12, 2009 June 22, 2009
* 1
2
78 Melendez-Diaz v. Massachusetts, 557 U.S. 305 November 10, 2008 June 25, 2009
79 Safford Unified School Dist. #1 v. Redding, 557 U.S. 364 April 21, 2009 June 25, 2009
* 1
2
* 1 3
80 Atlantic Sounding Co. v. Townsend, 557 U.S. 404 March 2, 2009 June 25, 2009
81 Horne v. Flores, 557 U.S. 433 April 20, 2009 June 25, 2009
82 Cuomo v. Clearing House Assn., L. L. C., 557 U.S. 519 April 28, 2009 June 29, 2009
83 Ricci v. DeStefano, 557 U.S. 557 April 22, 2009 June 29, 2009
1 2
2
2
#
Case name and citation
Argued
Decided
Roberts
Stevens
Scalia
Kennedy
Souter
Thomas
Ginsburg
Breyer
Alito
2008 term membership and statistics[edit]
This was the fourth term of Chief Justice Roberts' tenure and the third and last full term with the same membership, as Justice Souter retired after the term finished.
Justice
Appointment history
Agreement with judgment
Opinions filed
Seniority
Name
President
Date confirmed
%
#
Total
01 !Chief Justice Roberts, JohnJohn Roberts Bush, George W.George W. Bush September 29, 2005 7001819000000000000♠81.9% 68/83 8 4 2 3 17
02 !Associate Justice Stevens, John PaulJohn Paul Stevens Ford, GeraldGerald Ford December 19, 1975 7001627000000000000♠62.7% 52/83 9 3 2 15 29
03 !Associate Justice Scalia, AntoninAntonin Scalia Reagan, RonaldRonald Reagan September 26, 1986 7001843000000000000♠84.3% 70/83 11 7 1 3 22
04 !Associate Justice Kennedy, AnthonyAnthony Kennedy Reagan, RonaldRonald Reagan February 18, 1988 7001940000000000000♠94% 78/83 7 4 1 1 13
05 !Associate Justice Souter, DavidDavid Souter Bush, George H. W.George H. W. Bush October 9, 1990 7001699000000000000♠69.9% 58/83 8 2 1 10 21
06 !Associate Justice Thomas, ClarenceClarence Thomas Bush, George H. W.George H. W. Bush October 23, 1991 7001819000000000000♠81.9% 68/83 9 5 3 4 21
07 !Associate Justice Ginsburg, Ruth BaderRuth Bader Ginsburg Clinton, BillBill Clinton August 10, 1993 7001699000000000000♠69.9% 58/83 7 1 1 9 18
08 !Associate Justice Breyer, StephenStephen Breyer Clinton, BillBill Clinton August 3, 1994 7001735000000000000♠73.5% 61/83 8 7 3 11 29
09 !Associate Justice Alito, SamuelSamuel Alito Bush, George W.George W. Bush January 31, 2006 7001807000000000000♠80.7% 67/83 7 8 1 6 22
Notes on statistics:
Opinion counts only include the bench opinions listed above; opinions relating to orders or in-chambers opinions are not included.
Agreement with the Court's judgment does not guarantee agreement with the reasoning expressed in its opinion. A justice is not considered in agreement if they dissented even in part. Agreement percentages are based only on the listed cases in which a justice participated and are rounded to the nearest one-tenth of one percentage point.
Totals
74 41 15 62 192

Notes[edit]
Jump up ^ The Court's per curiam opinion in Bell v. Kelly dismissed certiorari as improvidently granted.
Jump up ^ The Court in Phiip Morris USA Inc. v. Williams dismissed certiorari as improvidently granted. The Court had rendered an opinion at a previous stage in the litigation; see Philip Morris USA Inc. v. Williams, 549 U.S. 346 (2007).
Further reading[edit]
Justices Return to Work, With Less Meaty Docket, Adam Liptak. The New York Times, October 4, 2008.
References[edit]
2008 Term Opinions of the Court, Supreme Court of the United States, archived from the original on October 11, 2014, retrieved March 20, 2010 .
[hide]
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The Brave Little Toaster
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the film. For the novel, see The Brave Little Toaster (novel).
The Brave Little Toaster
British release poster
Directed by
Jerry Rees
Produced by
Donald Kushner
Thomas L. Wilhite
Screenplay by
Jerry Rees
Joe Ranft
Story by
Jerry Rees
Joe Ranft
Brian McEntee
Jim Ryan
Based on
The Brave Little Toaster
by Thomas M. Disch
Starring
Deanna Oliver
Timothy E. Day
Jon Lovitz
Tim Stack
Thurl Ravenscroft
Wayne Kaatz
Colette Savage
Phil Hartman
Joe Ranft
Jim Jackman
Music by
David Newman
Edited by
Donald W. Ernst
Production
company
Hyperion Pictures
The Kushner-Locke Company
Wang Film Productions
Distributed by
Hyperion Pictures
Release date
July 13, 1987 (1987-07-13) (Los Angeles)[1]
Running time
90 minutes
Country
United States
Language
English
Budget
$2.3 million[2]
Box office
$2.3 million (estimated)
The Brave Little Toaster is a 1987 American animated comedy[3] film adapted from the 1980 novel The Brave Little Toaster: A Bedtime Story for Small Appliances by Thomas M. Disch. The film was directed by Jerry Rees. The film is set in a world where household appliances and other electronics come to life, pretending to be lifeless in the presence of humans. The story focuses on five appliances— a toaster, a gooseneck lamp, an electric blanket, a radio, and a vacuum cleaner—who go on a quest to search for their original owner.
The film was produced by Hyperion Animation along with The Kushner-Locke Company. Many CalArts graduates, including the original members of Pixar Animation Studios were involved with this film.[4] While the film received a limited theatrical release, The Brave Little Toaster was popular on home video and was followed by two sequels a decade later: The Brave Little Toaster to the Rescue (1999) and The Brave Little Toaster Goes to Mars (1998).[5]
Contents
[hide]
1 Plot
2 Voice cast
3 Production
3.1 Conception and financing
3.2 Writing
3.3 Casting
3.4 Recording
3.5 Animation
3.6 Music and sound
4 Soundtrack
5 Themes
6 Release and home media
7 Critical reception
7.1 Awards and nominations
8 Legacy
9 References
10 External links
Plot
Toaster is the leader of a group of appliances consisting of an antique radio, a gooseneck lamp, Lampy; an electric blanket, Blanky; and a vacuum cleaner, Kirby, who belong to their master, Rob. They wait every day at Rob's cottage for his return with an increasing sense of abandonment, causing Blanky to hallucinate about finally seeing Rob return. One day towards the end of July, the appliances are devastated to learn that a real estate broker is selling the house. Not wanting to accept the fact that the Master would abandon them, Toaster decides that the group should head out and find Rob. The appliances connect a car battery to an office chair pulled by Kirby and set out into the world, following Radio's signal broadcasts from the city, where Rob lives.
On their journey, the appliances encounter numerous harrowing adventures where they learn to work together. Shortly after stopping to rest within a forest, a nightmare where Rob and Toaster get tortured by an evil smirking clown dressed as a firefighter followed by a violent storm during nightfall wakes Toaster and the others with the storm blowing Blanky up into the trees, and Lampy risks his life by using himself as a lightning rod in an attempt to recharge the group's dead battery. After recovering Blanky the next morning, they try to cross a waterfall, but during an attempt to cross it, everyone falls in except for Kirby, who dives after them and rescues them, and the appliances wash up into the middle of a swamp. After losing both the chair and the battery, the group resorts to pulling a disabled Kirby through the swamp. After losing their balance and almost drowning in a mud hole, they are rescued by Elmo St. Peters, the owner of an appliance parts store, where they get scared by a group of partially dismantled or disfigured appliances, who have lost hope and are at risk of being disassembled or sold, almost in a prison-like motif. When Radio is removed from a shelf and about to have his radio tubes extracted, the appliances frighten St. Peters by pretending to be a ghost and flee to the city, while most of the worn-out appliances flee the store and return to their masters' homes.
Rob, who is now living in an apartment as a young adult and is about to depart for college, leaves with his girlfriend Chris to return to the cottage and retrieve the appliances to take with him. After secretly witnessing this, Rob's newer appliances in the apartment become resentful. When the appliances arrive at Rob's apartment, the newer appliances explain that they are "on the cutting edge of technology". After answering Toaster and the other four appliances their question of what they mean by singing their song to them, they kick them into the apartment's dumpster from the window, where they are shortly transported to Ernie's Disposal, a junkyard. Thinking that the cottage has been broken into and trashed, and his original appliances stolen, Rob and Chris return to his apartment, where his black and white television, who originally lived with the appliances, broadcasts false advertisements to encourage Rob and Chris to go to Ernie's Disposal to find Toaster and the other four appliances, and bring them back.
At the junkyard, the appliances are tormented by a maniacal crusher with its henchman, an evil tower crane with an electromagnet that picks up junk and places them on its conveyor belt that leads to the crusher. When they discover that Rob is in the junkyard, they are encouraged that he still needs them after all, and then, they attempt to foil the magnet in order to allow Rob to find them. After being foiled numerous times, the magnet decides to pick up Rob as well as his appliances, and drops them on the conveyor belt. Toaster makes a heroic sacrifice by jumping into the crusher's gears to disable it just in time to prevent it from killing Rob and destroying his appliances. Rob survives and returns back to the apartment with all of the five appliances in tow, including a mangled Toaster. And then, Rob repairs Toaster and takes the five appliances with him to college, along with Chris.
Voice cast
Deanna Oliver as the Toaster, a gallant and inspiring Sunbeam leader of the five appliances. Jerry Rees, the film's director, called the character the warm one who is right enough to put up with everyone else. And the other characters seeing themselves reflected in its surface, feel an immediate kinship.[6]
Timothy E. Day as Blanky, an electric blanket with an innocent, childlike demeanor. He also voices young Rob in the flashbacks.
Tim Stack as Lampy, an easily impressed yet slightly irascible Tensor desk gooseneck lamp.
Stack also voiced a man named Zeke.
Jon Lovitz as the Radio, a vacuum tube-based dial alarm radio, whose personality parodies loud and pretentious radio announcers. Rees performed Radio's singing voice, as Lovitz was working on Saturday Night Live at the time.[6]
Thurl Ravenscroft as Kirby, a very deep voiced, individualistic upright Kirby-styled Hoover vacuum cleaner who dons a cynical, cantankerous attitude towards the other appliances.
Wayne Kaatz as Rob ("the Master"), the original human owner of the five appliances. Appearing as a child in flashbacks, Rob, now an adult, is leaving for college.
Colette Savage as Chris, Rob's tomboyish girlfriend.
Phil Hartman as the Jack Nicholson-sounding air conditioner, who resides in the cabin with the five appliances. He loses his temper while arguing with the appliances and explodes, and is repaired by Rob near the end of the film.
Hartman, doing an impression of Peter Lorre, also voiced the Hanging Lamp in the appliance parts store.
Joe Ranft as Elmo St. Peters, an owner of a spare parts shop, where he disassembles broken machines and sells the pieces.
Jerry Rees as a number of the worn-out appliances.
Jim Jackman as Plugsy, a pear-shaped table lamp with a light bulb upgrade in Rob's apartment.
Jonathan Benair as a black and white television who lives in Rob's apartment and is an old friend of the five appliances.
Judy Toll as Mish-Mash, a hybrid appliance consisting of a can opener, a gooseneck lamp, and an electric shaver.
Mindy Stern as Rob's mother, an unseen character.
Both Toll and Stern also voice the Two-Faced Sewing Machine in Rob's apartment.
Randall William Cook as the Entertainment Complex, an entertainment complex system in Rob's apartment.
Randy Bennett as Tandy, a Tandy-styled Hewlett-Packard home computer who is the leader of the modern machines, who reside in Rob's apartment. While they were benevolent in the original novel, here they are jealous and antagonistic towards the main characters.
Louis Conti as the Spanish TV Announcer
Production
Conception and financing
The film rights to The Brave Little Toaster, the original novel by Thomas M. Disch, were purchased by the Walt Disney Studios in 1982, two years after its appearance in the publication Science Fiction and Fantasy Magazine.[7] After animators John Lasseter and Glen Keane had finished a short 2D/3D test film based on the book Where the Wild Things Are, Lasseter and producer Thomas L. Wilhite decided they wanted to produce a whole feature this manner.
The story they chose was The Brave Little Toaster, and this became the first CGI film Lasseter ever pitched.[8] But in their enthusiasm, they ran into issues pitching the idea to two high level Disney executives, animation administrator Ed Hansen, and Disney president Ron W. Miller. During Lasseter and Wilhite's pitch, the film was rejected due to the costs of having traditionally animated characters inside then-expensive computer-generated backgrounds.
A few minutes after the meeting, Lasseter received a phone call from Hansen and was instructed to come down to his office, where Lasseter was informed that he was dismissed. Originally set to commence at the Disney studios with a budget of $18 million, development was then transferred to the new Hyperion Pictures, which had been created by former Disney employees Tom Wilhite and Willard Carroll, who took the production along with them after Wilhite successfully requested the project from then-president Ron Miller. As a result, the film was financed as an independent production by Disney, with the aid of electronics company TDK Corporation and video distributor CBS/Fox Video.[7]
The budget was reduced by $12.06 million to $5.94 million as production began, approximately a third of the budget offered when in-house.[7] Despite providing funds to get it off the ground, Disney was not actually involved with production of the film.[7] Rees later commented that there were external forces at work that had the right to say this was a cheap film that could be shipped overseas, which the staff objected to and therefore were willing to make sacrifices to improve the quality of the film despite its limited budget. They were dedicated to making something they were proud of rather than simply producing a kid's film, and to following the Disney's Nine Old Men influenced storytelling. They also aimed to "not belittle it because it happens to be drawn". Tom Wilhite helped to maintain the creative integrity of the project.[9]
Writing
In 1986, Hyperion began to work on the story and character development. Jerry Rees, a crew member on two previous Disney films, The Fox and the Hound and Tron, and co-writer of the screenplay along with Joe Ranft, was chosen to direct the project.[7] He had been working on an animated adaptation of Will Eisner's The Spirit with Brad Bird, and received a call from Wilhite asking him to develop, write, and direct, explaining that The Brave Little Toaster was being adapted into a short, but that a feature film was possible if handled correctly.[9] Joe Ranft and Rees worked on developing the story. The storyboards were designed by Jerry, Joe, along with Alex Mann and Darrell Rooney. When animators ran out of pages to storyboard, Rees sat down and wrote more of the script.[9] Much work had to be done to adapt the book, for example there are only around four lines of dialogue that ended up in the movie.[9]
There was a junkyard sequence in the original text, but it took place in the middle of the film. However, Rees decided that it should instead serve as the film's finale because the setting is the graveyard for appliances.[9] He also wanted a definitive moment that earn the Toaster the title of "brave", so had the Toaster jump into the gears to save his Master, a plot point that wasn't in the book.[9] Having the character's voices in his head when writing the script helped to personalize the dialogue. Rees even reworked some of the already-completed script in order to customize sections based on the actors' personalities.[9] After cutting together the storyboards and scene-planning in Taipai, production manager Chuck Richardson explained the logistics issues - the film would be 1:50 minutes long. As a result, Rees cut around 20 minutes worth of the story – these deleted scenes that have not been released to the public.[9]
Casting
Rees was still in the process of writing when he decided to find actors. Many auditioners presented cartoony, exaggerated voices, which displeased him, because they didn't believe their characters or bring a reality to the role.[9] As a result, he sought out voice talent from The Groundlings improvisational group,[7] after being recommended by Ranft who took classes there, and appreciated the honesty and naturalism they gave to their performances.[9]
Many of their members, including Jon Lovitz (Radio), Phil Hartman (Air Conditioner/Hanging Lamp), Tim Stack (Lampy), Judy Toll (Mish-Mash), and Mindy Sterling (Rob's mother) voiced characters in the film. Already established as an actor through Tony the Tiger and Dr. Seuss' How the Grinch Stole Christmas!, Thurl Ravenscroft was cast as Kirby the vacuum cleaner. Heading the ensemble cast were Groundlings performer Deanna Oliver as Toaster, and newcomer Timothy E. Day as Blanky.[7]
Oliver originally auditioned for Air Conditioner using a Bette Davis impression, but accepted the lead when offered.[9] Rees, who had conceived Toaster as a female character, later recalled an anecdote where a crew member "slammed the door and walked out" because he had hired a woman to play the lead role.[9] Day had never done acting work before, and had asked his mother to take him to auditions after becoming fascinated with a child actor voice-over.[9] The actors brought a lot of comedy and funny moments to the dark themes that shrouded the film.[9]
Recording
Recording sessions did not take place at Disney; the crew found and renovated a small derelict property in Hollywood.[9] When recording, Rees first had each scene delivered as written, and then allowed the voice actors to play around with the dialogue, and ended up using many of the improvised lines in the final film.[9] His direction primarily consisted of ensuring the performances were as natural and realistic as possible.[9] Some of the recordings were done in group sessions.
For example most of Oliver's recording sessions were with Stack and Rees.[9] After being cast, Jon Lovitz got an opportunity to appear on Saturday Night Live. Because Rees had written the part for Lovitz, he tried to find a way to keep him in the film, and ended up doing a marathon recording session, recording all his lines of dialogue on one night. Rees then performed as the stand-in for Lovitz when the others were recording.[9] Rees described Day as an "amazing performer", who would ask about his character's motivation and the context of each scenario before recording his lines.
He was nicknamed "one-take Timmy" due to nailing the emotional truth of the text so quickly, such as crying loudly or delivering a line with a quiver in his voice.[9] Comparing this film to the sequels, where a high note was dubbed by another singer due to being off-key, Olivier noted that in this film it would have been kept in due to being part of the character.[9]
Animation
The crew initially worked on pre-producing the film for six months in Los Angeles in 1985, and then a staff of ten people moved to Taiwan with Rees for another six months to work with Taiwan's Wang Film Productions Company Limited (headed by James Wang) for the principal animation,[7][not in citation given] then returned for a third six-month work period for post-production in the U.S.[9][1] Rees' wife Rebecca was the film's directing animator, and she taught classes to the Taiwanese animators in order to improve the quality of their output.
The animators also had a mixture of ex-Disney employees and college graduates from CalArts.[9] Every day, they had to do what would normally be done across a two-week period at Disney.[9] The colour stylist was veteran Disney animator A. Kendall O'Connor, a member of Disney's feature animation department from its first feature Snow White and the Seven Dwarfs,[7] and Oliver likened the light-hearted frog sequence to Merrie Melodies.[9] A massive TDK sign was included by Rees as the company was a big sponsor.[9] The animators used many visual cues to help inform the audience about plot and character. For example during Toaster's nightmare at the beginning of the film, he burns toast and emits smoke, which symbolises his guilt and fear of being responsible.
They deduced Toasters would be afraid of things like forks and falling into the bathtub while plugged in, so included them in this sequence. Oliver described the transition from bathtub sparks to lighting outside the house as proper filmmaking.[9] Similarly, Blanky being a certain shade of yellow bears significance to the plot. In the beginning of their journey, the other characters dismiss him, even Toaster when he tries to snuggle him. Then Toaster encounters a flower that is the same colour, who also wants to snuggle. After explaining it is just a reflection, he walks away, thereby making the flower wilt. The next moment shows Toaster proactively rescuing Blanket. The idea is that the flower informs Toaster that his actions will make Blanky wilt too.[9]
Music and sound
The film score of The Brave Little Toaster was composed and conducted by David Newman and performed by the New Japan Philharmonic. Newman's score for this movie was one of his earlier works and apparently one that he felt very close to. He did not view it as a cheerful one, and decided to give the film a dramatic score to reinforce the serious nature of many of the film's themes. In writing the score, Newman, "tapped into an inherent sadness in being abandoned and seeking reunion."[6] Rees admired his "rich, classical style", and chose him so that the film wouldn't have "cartoon music".[1] Rees stated that Newman would attempt to get into the headspace of the characters, and thought in the terms of the inanimate objects being real characters.
Rees told that Newman's score was as "grand as anything he would ever do", rather than composing the music differently due to the medium being animation.[9] He wove death, joy, love, loss, and struggle into the work. Newman's composing style was influenced by his philosophy that behind every "chord of joy" lies an element of sadness, whether it being the knowledge it won't last forever, that it is a facade for a deeper emotion, or that joy itself comes from sadness.[9] He used lush strings in the opening scenes to convey a sense of longing.[1] As the characters are introduced, the score becomes more lively, and each character has their own theme, influenced by their personality. For example Kirby is a grumpy and old vacuum cleaner, and so Newman provides a theme consisting of low chords, whereas Radio was given a brassy fanfare to reflect his self-important personality. These musical motifs wove their way into the entire movie score.[1]
At some points, the style of music was used to provoke an emotional response, for example when the Air Conditioner breaks down, the orchestra first trembles and then bursts with energy. After this the music returns to a somber tone, as the appliances start to realise that there is truth to what he said.[1] When they explore the outside world for the first time, the music fills with a "pastoral grandeur", and when they enter the woods, strings, flutes, bells and brass are used to convey the simultaneous magic and danger of the outdoors. The film also contains a Busby Berkeley Italian opera-esque sequence containing a fish.[1] The score was finally given a limited release in 2004.[10] The film contains four original songs ("City of Light", "It's a B-Movie", "Cutting Edge", and "Worthless") that were written by Van Dyke Parks. Rees "felt uncomfortable with the full Broadway book musical approach", and his philosophy was that the songs should be part of the action and plot without stopping for a big production number.
Rees specifically wanted characters to be able to break out into song whenever they wanted to, similar to the films of the Hollywood Golden Age.[1] Once they were written, Newman used the songs in his own score. For example the first song in the film, "City of Light", displays the character's naivety and apprehension, and contains a motif that gets more complex as the film goes on.[1] This approach made the score more cohesive. "It's a B-Movie" is filled with black humour and an ominous pipe organ as the mutant appliances scare the main characters. The synthesizer-driven "Cutting Edge" sees the Master's state-of-the-art appliances boast about how great they are. The poignant number "Worthless" is a track filled with piano, strings, guitar, and vocals which are abruptly cut off when the singing cars are crushed. The junkyard sequence's climax evokes feelings of desperation, danger, suspense and real world peril. Newman "reprises the score's subtle and varied themes over the end credits".[1] Newman wrote and orchestrated the score over a 50-hour period, which included embarking on a 12-hour flight to Japan to record with the orchestra in Maeda Hall.
The New Japan Philharmonic gave the score a "luxurious sound" that was impressive given the limited resources available.[1] The sound effects were not from a library, and were instead created using Foley, with various real world objects around Los Angeles being used in the score, such as objects in antique stores. This technique was used because Rees wanted to create new characters with new sounds.[9] The sound mixers, including former Disney studio mixer Shawn Murphy who recorded the score, asked how they would do their job due to the film being animated, and Rees explained that they should mix it like any other film, instead of thinking of the it like it were a cartoon.[9][1]
Soundtrack
The Brave Little Toaster: Original Motion Picture Soundtrack
Soundtrack album by David Newman and Van Dyke Parks
Released
2002
Genre
Soundtrack
Label
Percepto
Track listing
Main Title (2:24)
They All Wake Up (2:44)
Blanket's Dream* (2:29)
The Air Conditioner Blows (1:21)
They Decide to Go (:54)
They Look for Transportation* (:51)
Out Into The World (1:41)
“City of Light" (3:01)
Blanket Looks for a Place to Sleep (1:05)
The Pond/Busby Berkley/The Meadow(5:37)
Toaster's Dream (1:17)
The Storm (1:38)
Blanket is Blown Away (1:39)
The Waterfall (1:00)
Vacuum Rescues the Group (1:31)
They Sink in the Mud (1:28)
In the Shop (:58)
Blender's Motor is Sold (1:31)
“It's a B-Movie” (3:05)
Radio is Stalked (1:05)
Happy Travel (1:14)
Into the City (1:31)
“Cutting Edge” (2:30)
Junkyard Montage (1:25)
“Worthless” (4:28)
Finale (7:03)
End Title (3:36)
Tracks marked with * contain dialog/sound effects Tracks in quotation marks are performed by cast[11]
Themes
Director Jerry Rees described the main message is the film asks is: "what would it be like to be an appliance, and feel good when you're useful, and help people..."? He also explained that the film's themes included a "fear of being abandoned and wanting to be reunited with somebody that you love..." - the opposing forces of feeling like you're worthless and the joy of redemption.[12] Another important notion was that of "valuing things from the past and taking them...into the future", both in terms of objects and relationships.[9] All of the main characters have personalities that are unique twists on the appliance functionality.
Blanky is a security blanket but is insecure without its owner, the bright Lampy is mentally dim, Kirby is supposed to hold everything inside but has a nervous breakdown, Toaster is warm and reflective so can easily empathise, and Radio is constantly switched on and entertaining.[9] He has the philosophy that despite being inanimate, they each symbolised things we actually feel.[9] As the foundation for writing the story, Rees reasoned that the characters would only be happy if they were being used by the Master.[9] As a result of this, a major aspect of the film is about inanimate objects becoming alive when you are not observing them.[9]
As opposed to other films of the time, The Brave Little Toaster was able to include dark, scary, edgy, or risqué content due to being an independent feature. They were able to explore the "wouldn't it be fun if" places that Disney wouldn't allow. They rejected the false dichotomy of being joke-driven or overly sincere, and instead incorporated both elements as that is how real conversations work.[9]
Release and home media
The film's premiere was at Wadsworth Theatre in Los Angeles on July 13, 1987.[1] With the producer help, the film premiered in various festivals, including the Los Angeles International Animation Celebration in 1987, and the Sundance Film Festival in 1988. It made history as the first animated film ever exhibited at Sundance, and remained the only one until 2001's Waking Life.[13]
Though the prize went to Rob Nilsson's Heat and Sunlight, before the awards ceremony, Rees claims he was told by the judges that they considered Toaster the best film but they could not give the award to a cartoon as they considered people would not take the festival seriously afterwards.[14] Though it is sometimes thought that the film was not released in cinemas because it failed to find a distributor,[15] in reality arthouse film distributor Skouras Pictures took on the distributing rights for the theatrical release, and was going to do evening screenings, noting it was more for college and young adult than kids.
Disney, who had invested in the video and television rights,[9] according to Rees did not want competition so moved their release date up and prevented it from being financially successful in theatres, forcing Skouras to withdraw their deal.[1] The film premiered on The Disney Channel on February 27, 1988. To compensate, Hyperion continued its plan to enter the film into various festivals, and managed to secure limited theatrical airings at arthouse facilities across the United States, such as spending two weeks at New York's Film Forum in May 1989, and shortly in Washington D.C. in March 1990.[13] This helped to give the film a cult following.
Rees thinks most people discovered the film through syndication on The Disney Channel, or through home video releases.[9] In July 1991, Walt Disney Studios Home Entertainment purchased the North American video rights and released the film to home video format and LaserDisc. In the UK, the VHS tapes were released under Video Collection International (1990s) and Carlton Video (2000s), while in the USA and Australia, Walt Disney Home Video and Roadshow Home Video have the rights respectively. ITC Entertainment syndicated the film international as of the NATPE 1991 TV trade show.[16]
In Spain, Divisa Home Video and Aurum Produccines were in charge of distribution, the former during the 2000s. Disney's VHS was re-printed throughout the '90s onward, and it enjoyed popularity as a rental amongst children. The DVD was released in September 2003, to tie in with the film's 15th anniversary. In the UK, Prism Leisure Corporation was in charge of distribution. Their license has since expired, but the disc can still be found on UK-shopping sites. Disney's releases commonly use a Laserdisc transfer from the early 90's, while Prism Leisure's DVD uses a fresh transfer from an international print.
Critical reception
The film has garnered a 75% rating on the reviews website Rotten Tomatoes, based on only 12 reviews.[3] Mary Houlihan-Skilton of Chicago Sun-Times gave a positive review, but found a problem with the "storytellers us[ing] caricatures of Peter Lorre, Jack Nicholson, Mae West, Joan Rivers and others to portray them. This is so old. It's been used forever and should be given a rest."[17]
The Washington Post called it "a kid's film made without condescension",[18] while The New York Times said "visually the movie has a smooth-flowing momentum and a lush storybook opulence".[19] TimeOut said the film had "a winning combination of inventive characters, amusing dialogue, excellent voice-overs, likeable tune and first-rate animation".[20] Deseret News wrote it is "a wonder of the movie industry...a funny, occasionally thrilling animated feature aimed at kids, but with a sophisticated sensibility intended to reach their parents as well."[21] The staff of Halliwell's Film Guide called it an "odd fantasy of pots and pans with no more than adequate animation",[22] and director Roland Joffe told Rees he was "moved to tears", something "he never expected from talking animated appliances."[6]
Projection Booth, Film Freak Central, Arizona Daily Star, and Internet Reviews all gave the film their highest rating, describing it as "among the finest animated films Disney never made",[23] "Blade Runner for children",[24] "an overlooked classic [and] utterly rewatchable fable",[24] and "an absolute delight for people of all ages"[25] respectively. Needcoffee.com gave the film a 4/5, writing that despite a questionable premise, "it's an actually cute and extremely fun animated flick".[24] Las Vegas Review-Journal,[24] Movie Mom at Yahoo! Movies,[24] and eFilmCritic.com all gave the same score, the latter describing it as a "perfectly charming kid's flick about adventuring appliances".[24] Northwest Herald gave a 3/5,[24] EmanuelLevy.Com and Talking Pictures gave a 2/5,[24] and Spirituality and Practice gave a 1/5.[24]
Awards and nominations
Year
Nominee/work
Award
Result
1988 The Brave Little Toaster Primetime Emmy Award for Outstanding Animated Program Nominated
1988 Jerry Rees Sundance Film Festival Grand Jury Prize, Dramatic Nominated
1988 The Brave Little Toaster Parent's Choice Award Won
Legacy
This film is unique in that it attracted a substantial amount of talent from both old and new sources. Many of the cast and crew members went on to have successful careers in the animation industry. Co-writer Joe Ranft became a script supervisor at Pixar, while animators Glen Keane, Kirk Wise and Kevin Lima went on to animate and co-direct films of the Disney Renaissance, such as The Little Mermaid, Beauty and the Beast, Aladdin, Pocahontas and Tarzan. Keane would also go on to produce the 2010 animated film Tangled. Effects animator Mark Dindal directed Disney's The Emperor's New Groove and Chicken Little, as well as Warner Bros.' Cats Don't Dance. Character designer Rob Minkoff directed The Lion King, Stuart Little, Stuart Little 2, and Mr. Peabody & Sherman. After directing a financially unsuccessful film The Marrying Man in 1991, Jerry Rees now directs Disney theme park films.[4] Voice actors Jon Lovitz and Phil Hartman wound their way onto animated series such as The Simpsons. Many have noted that this film shares similarities to the Toy Story franchise, also worked on by John Lasseter. Rees saw it as "the next inanimate object feature".[9]
The Brave Little Toaster was followed by two sequels a decade later: The Brave Little Toaster to the Rescue (1999) and The Brave Little Toaster Goes to Mars (1998).[5] The former is based on the sequel to Disch's novella while the latter is a brand new story. While reuniting most of the cast, they had a new director and crew, and were released out of chronological order. Rees noted that the original film was made out of pure love and not thought of as a kid's film or a product, and that he had heard the new approach was a more commercial venture.[9] Deanna Oliver felt that despite Ramirez being a talented director who handled the franchise with care, instead of "film" and "character driven", the project seemed more about getting it done because it could be made. Neither Rees nor Oliver have watched the finished sequels. Waterman Entertainment is currently in the process of developing a remake.[9]
Despite its limited release, the cult following of the film has seen the cast and crew get substantial recognition throughout the world. Rees recalled a situation where a person he was doing an online project with messaged him on IMDB, discovering his work on TBLT, and explained how deeply the film affected him due to teaching life lessons. He appreciated this genuine reaction from a real person.[9] Oliver went to the Afghanistan deployment ceremony for her son in June 2010, and he had told Brave Company his mother played Toaster, so they brought toasters with them for her to sign, which the soldiers took to the country with them. She also received fan art from one of the soldiers.[9] The consensus among people who worked on the film such as Tom Wilhite and Donald Kushner is that the original is the one that has the cult following as opposed to the sequels.[9] Rees said that when his future Pixar friends saw the film, they appreciated it despite the animation due to the heavy financial and time constraints.[9]
References
^ Jump up to: a b c d e f g h i j k l m n "Newman_BLT_Score". Jerryrees.com. Retrieved May 28, 2014.
Jump up ^ Datlow and Windling (2001), p. xlv.
^ Jump up to: a b The Brave Little Toaster at Rotten Tomatoes. Retrieved March 29, 2007
^ Jump up to: a b The Animated Movie Guide - Jerry Beck - Google Books. Books.google.com.au. October 28, 2005. Retrieved May 27, 2014.
^ Jump up to: a b Ball, Ryan (July 9, 2008). "Brave Little Toaster Scribe Dies". Animation Magazine. Retrieved May 22, 2017.
^ Jump up to: a b c d "I'm Jerry Rees, Director of "The Brave Little Toaster" - ask me anything.". Reddit. September 18, 2012.
^ Jump up to: a b c d e f g h i Beck (2005), pp. 40-41.
Jump up ^ "Waterman Gives 'Brave Little Toaster' a New Lease of Life (Exclusive)". TheWrap. Retrieved May 27, 2014.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au "The Brave Little Toaster Interview". YouTube. September 19, 2010. Retrieved May 27, 2014.
Jump up ^ "The Brave Little Toaster Interview". YouTube. September 19, 2010. Retrieved May 28, 2014.
Jump up ^ "Brave Little Toaster Soundtrack CD".
Jump up ^ The Brave Little Toaster Interview. September 19, 2010 – via YouTube.
^ Jump up to: a b "The Brave Little Toaster DVD Review". Dvdizzy.com. Retrieved May 28, 2014.
Jump up ^ "The Brave Little Toaster Interview". YouTube. September 19, 2010. Retrieved May 25, 2014.
Jump up ^ Disney, Pixar, and the Hidden Messages of Children's Films - M. Keith Booker - Google Books. Books.google.com.au. Retrieved May 27, 2014.
Jump up ^ "AISLES OF PROGRAMING AT NATPE: ITC Entertainment" (PDF). Broadcasting: 94. January 14, 1991. Retrieved June 15, 2017.
Jump up ^ Houlihan-Skilton, Mary (February 26, 1988). "`Brave Little Toaster' tells heartwarming tale". Chicago Sun-Times. Retrieved August 6, 2014 – via HighBeam Research. (Subscription required (help)).
Jump up ^ Simpson, Paul (2004). The Rough guide to Kid's Movies. Rough Guides. ISBN 1-84353-346-4.
Jump up ^ Holden, Stephen (May 31, 1989). "Movie Review - The Brave Little Toaster - Review/Film; The Odyssey of a Band of Lonely Gadgets". NYTimes.com. Retrieved May 25, 2014.
Jump up ^ "The Brave Little Toaster | review, synopsis, book tickets, showtimes, movie release date | Time Out London". Timeout.com. Retrieved May 25, 2014.
Jump up ^ Chris Hicks (March 6, 1990). "Film review: Brave Little Toaster, The". Deseret News. Retrieved May 25, 2014.
Jump up ^ Gritten, David, ed. (2007). "The Brave Little Toaster". Halliwell's Film Guide 2008. Hammersmith, London: HarperCollins Publishers. p. 161. ISBN 0-00-726080-6.
Jump up ^ "The Projection Booth: The Brave Little Toaster (1987): A". Projectionbooth.blogspot.com.au. February 25, 2008. Retrieved May 25, 2014.
^ Jump up to: a b c d e f g h i "The Brave Little Toaster - Movie Reviews". Rotten Tomatoes. Retrieved May 25, 2014.
Jump up ^ "Review for The Brave Little Toaster (1987)".
Datlow, Ellen and Windling, Terri (2001). The Year's Best Fantasy and Horror. ISBN 0-312-04450-X. St. Martin's Press. Retrieved March 29, 2007.
Beck, Jerry (2005). The Animated Movie Guide. ISBN 1-55652-591-5. Chicago Reader Press. Retrieved March 29, 2007.
External links
Film portal
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Information at Disney.com
The Brave Little Toaster on IMDb
The Brave Little Toaster at The Big Cartoon DataBase
The Brave Little Toaster at AllMovie
The Brave Little Toaster at Rotten Tomatoes
The Brave Little Toaster at Jerry Rees website
24 page analysis of The Brave Little Toaster history
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