How one teenage whiz kid found himself in a world of international intrigue Warners saw Bugs as not only a better, hipper version of Mickey Mouse, but also the most important piece of intellectual property in the studio's film library, so the suits threw in everything they could to hype the release. Just three weeks before the premiere, Jordan himself cut the ribbon on a nine-story, 75,000-square foot studio store on Fifth Avenue. Joining His Airness at the VIP party that followed were such mid-'90s luminaries as Martha Stewart, Rosie O'Donnell, Mel Gibson and Tweety Bird. How could this movie not be a smash? The marketing was hitting all the right notes, including on the Internet – even if no one noticed or cared. A few blocks from the flagship Warners store, up on the 29th floor of 1375 Avenue of the Americas, working out of cramped cubicles and closets that doubled as office space, had cranked out what would become, over the next two decades, ever made.
At a time when asking to put a web address on a movie poster usually produced blank stares and then exasperated sighs, the site pushed all the limits of web development. There were inside jokes alongside animated GIFs, Easter eggs to be found and virtual reality 360s ahead of their time. It was free-flowing, unsupervised, guerrilla design work, all being done under the umbrella of one of the largest entertainment companies on the planet. The Space Jam website didn't exactly blow up online when it was launched, but studio execs also didn't care. The film raked in just over $90 million by the end of its theatrical run in North America, as well as another $140 million or so overseas. It remains, to this day, ever made.
Jordan and Bugs had carried the day and the site was soon forgotten, just another relic of an evolutionary moment in early web design, when code that couldn't load fast enough through a 56K modem wasn't code worth writing. The site lay more-or-less dormant for the next 14 years. But that changed for good in late 2010, when the Internet, exponentially bigger than it was in 1996, rediscovered the site – almost entirely unchanged from its initial launch. It was reborn as a viral sensation, the web's equivalent of a recently discovered cave painting. We laughed at the site because we couldn't believe anything was ever designed this way, but also because it still existed.
It remains one of the most faithful living documents of early web design that anyone can access online. Today, the Space Jam site's popularity has outlived almost everything to which it has been connected. The Fifth Avenue store.
Both stars of the movie's stars made forgettable exits in 2003 – Jordan with the Washington Wizards, Bugs with Looney Tunes: Back in Action. And every person directly associated with the site's creation has now left the studio.
But the site lives on, aging for 19 years but free from influence, to our enduring delight. Michael Jordan and Bugs Bunny at the opening of the Warner Bros.
Studio Store on October 23, 1996. Evan Agostini/Liaison The first movie website was created by MGM in October 1994 to promote the release of Stargate, the Kurt Russell/James Spader sci-fi adventure that would gross nearly $200 million worldwide, spawn several TV spinoffs and give director Roland Emmerich the juice he needed to next tackled another tentpole sci-fi film, Independence Day, which is now filming a sequel for 2016. So Stargate's role in modern Hollywood history is well-regarded, but reads like pure desperation: 'Click on the pictures below to learn more about what is sure to be one of the most exciting films of the year!'
The design was rudimentary, the copy uninspired, but it was a start. Don Buckley sure noticed. As Warner Bros.' Vice president for advertising and publicity, his entire job rested on being able to reach new audiences wherever they were hiding. And as an early adopter of the web, he had an epiphany before many of his peers. 'I was on the Internet before there were graphical browsers, and it was still fascinating to me,' he says.
'I spent way too many hours deep into the night exploring this netherworld. I was a movie guy and I thought, 'Oh, wait a minute, we can do some things here, we can market movies on the Internet.' It became as much a creative exercise as anything else, but it was this new playground that had presented itself.' The problem was Buckley couldn't convince his superiors to allocate much of a budget or staff to pursue this untapped area. Finally, with more prodding, management allowed him to hire a web designer away from Time Inc.' S Pathfinder portal, which mostly served to host sites for magazines like Entertainment Weekly and Sports Illustrated.
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Her name was Dara-Lynn Weiss, and she and Buckley helped create the site for Batman Forever in the spring of 1995, the studio's first true movie site. 'No one had really done web development to that point,' she says. Weiss taught herself HTML and SuperBASIC, staying up all night to read programming language how-to books and scour how other websites approached design. 'It was extremely onerous and painstaking, but I found it very exciting.' And while Weiss toiled away online, Buckley fought for more resources, more attention and more respect. 'Some of the people in publicity kind of considered us a pain in the ass,' he laughs. The photos he'd request for the sites were the same ones offered to newspapers and weekly magazines as exclusives.
Studio execs had a hard time understanding, perhaps rightfully so, how the Internet represented any serious means to finding an audience. 'I had to convince people within the studio that it was a good idea to put the website address on the poster,' Buckley says. 'There was a lot of resistance to that.'
'The job was awesome, but the drawback was that no one cared what we did,' Weiss adds. 'We got very little attention. My friends had no idea what I did for a living because they weren't online yet.' By the spring of 1996, Buckley had shown enough progress that he was permitted to hire not one but two more designers.
On March 25, Jen Braun and Michael Tritter both started at Warner Bros. Online, each with a very specific skillset and background. Tritter was an angsty 26 year old who had just returned from three years in Slovakia.
Armed with a politics degree from Oberlin, he was worldly and free-spirited and suspicious of authority. He loathed the idea of working for a corporate conglomerate like Warners. 'My disdain,' he tells me, 'was palpable.' On the other hand, Tritter needed a job, shared a mutual friend with Weiss and could write copy, and he soon warmed to Buckley's similarly boisterous approach. Braun, meanwhile, had grown up an hour outside of Cleveland in Massillon, Ohio (') and was a rabid basketball fan from the start. As a young girl, Braun and her parents drove to the Richfield Coliseum countless times to see Cavs teams led by Mark Price, Brad Daugherty and Craig Ehlo.
And when the Bulls were in town, she would make sure to bring her zoom-lens camera, scamper down near courtside and take photos of Jordan from as close as she could. She was mesmerized by his skill and athleticism. This fandom was pushed to its limits when Jordan hit in May 1989 – she cried as Ehlo crumpled in defeat – but he nonetheless held a special place in her basketball memories. The photos she'd snapped foretold a future career that depended on an artistic eye. The following year, Braun enrolled at the University of Cincinnati and majored in graphic design. Before she graduated in 1995, she created the school's website as her senior project.
She only got a B – 'They never actually saw it on a computer,' she says, 'only as a printout!' – but the site survived for years. Braun created a 'digital portfolio' – essentially a collection of Macromedia Director files, perhaps 2 to 3 megabytes each, loaded onto a bulky SyQuest disk – and sent out copies to potential employers in New York and San Francisco. She eventually took a position at Pathfinder, where she met Dara-Lynn Weiss. When Buckley poached Weiss, Weiss poached Braun just a couple months later. Weiss saw the group as its 'own little fiefdom,' and 2,500 miles away from Warner headquarters in California, Buckley's online unit surely operated as if it was an independent design collective.
Wednesday lunch meetings intended for brainstorming ideas would last for hours on end, and everyone pushed each other as to how their sites could stand apart from the tame approach that defined traditional marketing. They worked on, for the 1996 summer blockbuster Twister, was made to look like an old green-type computer terminal.
After you ',' an email warned you about a 'tornado developing 30 miles east' and wondered whether you would like to be a volunteer storm chaser (Sure! Why not?) From there, you were taken to the (SWIRL) site and supplied with various tornado-related stats, important tornado terminology, even practical advice for what to do if you are ever caught in a tornado's path. ('Absolutely avoid buildings with large free-span roofs. Stay away from west and south walls.' ) Even the wallpaper was dotted with rain clouds poking out little lightning bolts. Buckley's team wasn't interested in theater times and plot synopses; their sites were meant to be fully formed online experiences.
By that fall, Buckley's crew was a fully operational, smooth-running gaggle of coding revolutionaries. Their office bible wasn't the notes they received from Warner Bros.' Consumer products division but rather, an indispensable 800-page beast of a book that became more tattered and dog-eared as time went on. (Tritter still has his personal copy on his home office bookshelf.) They had mastered the basics, Twister had fostered their creative spirit, and once Braun hired her fall design intern, a University of Cincinnati undergrad named Andrew Stachler, the core team was now assembled and ready to tackle its most ambitious project to date: Space Jam.
Jen Braun's notes for the original 'Space Jam' site. To hype the site, Braun and Tritter designed a placeholder site, done up in the style of an old subway station, with Space Jam movie posters adorning the background and a subway car full of Looney Tunes characters. It proved to be exceedingly difficult to execute – 'a nightmare,' Tritter remembers – with its meticulously coded tables and pixel spacers. Alas, the placeholder page has been lost to history. But the rest of the actual Space Jam site, which is what you see today, was a more gratifying experience for Buckley's team.
The opening galaxy of icons is both minimalist and cartoonish but with functional site section names: Jam Central for movie facts and filmmaker bios, Lunar Tunes for soundtrack info, Stellar Souvenirs for sound clips and screen savers, and so on. Even today, with its basic HTML, pre-broadband file sizes, and Flash-free architecture, the site is easy to navigate, even on a mobile phone. The movie clips, encoded in QuickTime, are somewhat grainy but still viewable. Nothing was designed to still work after 19 years; it was simply designed to work. 'I didn't think it was limiting,' Braun says. 'I liked to find creative solutions. We used 1-pixel blank GIFs everywhere and stretched them.
We found really creative ways to make things look the way we wanted. There's so much technology out there now, but I still write HTML where, if you don't have a style sheet, the page will still work. I still try to keep to the core values.' Braun and Stachler handled the design, while Tritter and Weiss wrote much of the copy, which is arguably the funniest component of the site as it still exists. To read some of the wording that made it to the site is to become convinced that Buckley's team was subject to minimal oversight and even less corporate interference.
According to Buckley, the approvals process back then amounted to this: 'Yeah, that looks good, let's launch.' The site's tone has a casual feel that borders on nonchalance, the kind of that younger teens might embrace. Here you've got footage taken from additional cameras on the set (and called 'b-roll' by those in the biz) in which Michael Jordan plays against several men who are both shorter than he and less talented at the sport of basketball. The little green men will later be digitally removed and replaced with cartoons. Neat stuff, huh.: Learn how megastar Michael Jordan got a big kiss from classic wisecracking hero Bugs Bunny!
Watch as Michael Jordan plays basketball against many strange men in green suits and facemasks – who never appear in the film! If these jaded descriptions sound like they were written by someone with zero interest in the NBA and a slightly subversive worldview, that was Tritter in 1996. 'I knew nothing about any sports, especially basketball,' he confesses. 'The irony now is that now I have an 8 year old who only wants to talk about basketball.' Tritter's wry wit also shows up embedded within the source code of many of the site's pages, still very much visible today if you know where to look ('Model Rocketry is fun and educational,' 'Go ahead and jump. Might as well jump,' 'Oy, am I tired').
Sans context, they seem like a hodgepodge of pop-culture references and nonsensical ramblings, but it was Tritter's way to keep the overwhelming monotony of coding at bay and, at the same time, put a little of his personality on display. 'You can tell what music I was li.
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