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1604_7	persuade Sowmya to marry him, and she accepts his offer. Manohar marries Sowmya and Bala marries Meenakshi.
1604_8	Cast As per the opening and closing credits: Mammootty as Major Bala, former Indian Army officer Ajith Kumar as Manohar Tabu as Sowmya Aishwarya Rai as Meenakshi Abbas as Srikanth Manivannan as Sivagnanam Srividya as Padma Raghuvaran as Sowmya's boss Nizhalgal Ravi as Swaminathan Shamili as Kamala Anita Ratnam as Lalitha Unnikrishnan Namboothiri as Chandrasekhar Rukumani as Sivagnanam's mother Mohan Raman as Parameshwaran, Srikanth's assistant Dr. Mathrubootham as Manohar's father Sathya Priya as Manohar's mother S. N. Lakshmi as Chinnatha Sreeja as Vatsala Neelu as Allimuthu Varadharajan as Srikanth's interviewer Uma Padmanabhan as Srikanth's interviewer Malaysia Vasudevan as a film producer Arvind as Manohar's friend Gangai Amaren as himself Sundaramurthy as the Chennai house owner
1604_9	Guest appearances Dino Morea as Vinod Pooja Batra as Nandhini Varma Senthil as himself Rajiv Menon as an actor in Manohar's film (uncredited) Kalyani Menon as Meenakshi's music teacher (uncredited) A. R. Rahman as himself (uncredited) Production Development After the success of his directorial debut Minsara Kanavu (1997), Rajiv Menon was signed by producer Kalaipuli S. Thanu to direct a film in the final quarter of 1998. In November 1998, Menon announced he had begun pre-production work on a project titled Theekkul Viralai Vaithal, a title taken from a line by Subramania Bharati. The initial idea of the film came from a conversation between Menon and director Mani Ratnam about the contrast between Menon's life and that of his brother. While Menon entered the film industry, his brother focused on an academic career and later became an officer in the Indian Railway Accounts Service. Ratnam later suggested Menon should make a film on the subject.
1604_10	Menon wrote a screenplay based on the Jane Austen novel Sense and Sensibility and the project was renamed Kandukondain Kandukondain. The title was inspired by the phrase "kanden kanden Seethaiyai kanden" from Kambar's epic Kamba Ramayanam. Menon said the film's story of two sisters was reminiscent of those of him and his brother during difficult parts of their lives. The film was initially launched as a multilingual project in 4 languages (Tamil, Telugu, Malayalam and Hindi), though it was only released in Tamil with a subsequent Telugu-dubbed version titled Priyuraalu Pilichindi. Menon first wrote the story in English then dictated the dialogue in Malayalam; this was then translated into Tamil by Sujatha.
1604_11	In November 1999, when most of the production was complete, Menon—whose previous film performed poorly in rural areas—wanted to show a rough copy of Kandukondain Kandukondain to a village audience to ensure they could relate to the subject. After showing parts of the film to audiences in Udumalpettai and Pollachi, the team later held a group discussion before thanking the volunteers with gifts while receiving positive feedback.
1604_12	Casting
1604_13	Tabu was the first actor to be cast in the film; she was cast in the role of the elder sister Sowmya and Revathi was signed to dub for her character. The casting of the younger sister Meenakshi took longer to finalise; Menon initially approached Manju Warrier, who liked the script but was hesitant to commit to appear in the film due to her impending wedding with Dileep. He next discussed the role with Soundarya, whose team wanted to read the script before committing to the project. However, Soundarya's brother was not interested in letting her play a second heroine. Because Menon was still finalising the climax, he opted to explore other options and Kausalya was briefly considered. Aishwarya Rai was then signed onto the project, making her third appearance in Tamil films after roles in Mani Ratnam's Iruvar (1997) and Shankar's Jeans (1998). Despite being replete with Hindi film offers, Rai said she was a large fan of Menon's work and could strongly identify with the character, and
1604_14	accepted the offer. Menon and writer Sujatha presented two points of view in the female leads; while Sowmya accepts her destiny, Meenakshi wants to make her own life choices. While finalising the character arc of Sowmya, Menon drew inspiration from a person with whom he was familiar.
1604_15	Initially Menon cast Prabhu Deva, the lead actor of his previous film, in a leading role. Deva had played a key role in introducing Menon to producer Thanu but soon left the project. For the role of a former army general, Menon attempted to cast Parthiban but the actor's difficult relationship with Thanu meant they could not collaborate. Arjun Sarja was also approached but he was working in a different film genre during the period. Eventually, Menon cast Mammootty in the role. Abbas was cast in a role of a young businessman while Vikram dubbed for his character.
1604_16	Menon approached Prashanth to appear in the film in place of Prabhu Deva, but the actor demanded to be paired opposite Rai rather than Tabu. Menon did not want to switch the female lead actors and decided not to cast Prashanth. In January 1999, Menon met and narrated the script of Kandukondain Kandukondain to Ajith Kumar, who had been recovering from back surgery; Kumar agreed to portray the struggling film director character. While writing the character, Menon was inspired by his experiences as a junior technician looking to make a breakthrough in the film industry. Between signing for Kandukondain Kandukondain and its release in May 2000, Ajith Kumar had significantly expanded his box-office appeal through the commercial success of his other films.
1604_17	Srividya was signed to play the mother of Tabu and Rai while Shamili played their sister. Nizhalgal Ravi and debutant Anita Ratnam were also cast in the film with Malayalam actor Unnikrishnan Namboothiri making his debut as the bedridden grandfather. Prominent actors Raghuvaran and Manivannan were selected for supporting roles in the film while Hindi actors Dino Morea and Pooja Batra appeared in small character roles, with Batra playing an actor. Cameraman Arvind Krishna appeared in a small role as Ajith Kumar's friend.
1604_18	Rajiv Menon and Dhanu retained several of the technical team from his previous venture, adding Sujatha as a writer. Menon said he often thought of dialogue in Malayalam—his native language—before telling writer Sujatha to translate it into Tamil. A cinematographer himself, Menon chose to avoid that task in the project and appointed Ravi K. Chandran as the cinematographer. According to Menon, directing and filming at the same time was "strenuous", though he said he photographed almost 30% of Kandukondain Kandukondain because Chandran was briefly unavailable. Music of the film's music was composed by A. R. Rahman while lyrics were written by Vairamuthu; the pair argued during the production. Suresh Urs edited the film while Vikram Dharma directed stunts, Nagu directed arts and Rekha Prakash, Brindha and Raju Sundaram choreographed the songs. Costumes were designed by Nalini Sriram. Filming
1604_19	Scenes with Mammootty's soldier character were filmed in Munnar from February to April 1999, just before the outbreak of the Kargil War. The team were able to borrow a former military helicopter for the sequences. A large portion of the film's first half was filmed in the Kanadugathan area of Karaikudi. The team persuaded industrialist M. A. M. Ramaswamy to lend them his palatial Chettiar mansion for filming; they secured permission to use the property because the producer Thanu was an acquaintance of Ramaswamy. Menon submitted a one-page synopsis of the film to Ramaswamy, who gave his permission under the condition that a death scene was filmed elsewhere. Menon hired the Rao Bahadur house for the extra scenes. According to Menon, during filming in the Chettiar mansion, the unit bonded with Rai and Tabu, becoming good friends; Ajith Kumar learnt from Mammootty and the whole unit ate dinner together. Most of the project's first half was filmed within a week.
1604_20	In May 1999, the crew along with Rai and Abbas went to Scotland to film the title song in Dornie with the castle of Eilean Donan as a backdrop. Menon used the location to show Rai's character Meenakshi is living in a fantasy world so he filmed the song with a blue and green theme. In comparison, the team wanted to contrast the colours for Tabu's song by using red and brown as the main colours. The production team subsequently planned a four-day trip to Egypt to film the song "Enna Solla Pogirai" with the Giza pyramids as a backdrop; however, the trip turned into a week-long schedule. The first part of the song was shot in Karaikudi with a train in the background. Rajiv Menon and actors Ajith Kumar, Tabu, Raju Sundaram and Ravi K. Chandran travelled daily for three hours from Cairo to film in the heat; one filming day was cancelled after Tabu fainted. Professional Kathakali artists were used for the song "Konjum Mainakale", and the video for "Yengay Yenedhu Kavidhai" was filmed
1604_21	against the backdrop of Chennai's monsoonal rains. Meanwhile, the song "Kannamoochi Yenada" was filmed with the leading cast at Kushaldas Gardens in Chennai. Some scenes featuring Rai were filmed at Menon's flat in Chennai.
1604_22	Kandukondain Kandukondain was delayed for six months due to the success of Rai's films Taal and Hum Dil De Chuke Sanam, which prompted the revival of other projects she had signed up to in that period. Menon's insistence composer A. R. Rahman reworked some of the music to provide a better fusion of classical and contemporary music also delayed progress. Filming ended six months behind the schedule devised by Menon but according to him, everything happened as planned. Soundtrack The songs in Kandukondain Kandukondain were composed by A. R. Rahman and the rights to the soundtrack album were bought by Saregama for a then-record sum of 2.2 crore. The soundtrack includes eight songs, one of which is based on a poem written by Subramania Bharati,
1604_23	"Kannamoochi" is set in the Carnatic raga Nattakurinji. Rajiv Menon, who is a fan of this raga, presented Rahman with the song "Kavalaiyai Theerpathu Naattiya Kalaiye" from Sivakavi (1943) and asked him to compose at least one piece based on the raga. "Kandukondain Kandukondain" is based on the Nalinakanthi raga, "Smayiyai" is based on jazz music, and "Enna Solla Pogirai" is a folksy and romantic song. Menon personally asked Shankar Mahadevan to sing the song "Enna Solla Pogirai". Release and reception
1604_24	A function was held to mark the release of the soundtrack to Kandukondain Kandukondain with Kamal Haasan in attendance. The film was initially scheduled for release in the 1999 Diwali season but delays led to the producers announcing it would be released on 1 January 2000, becoming the first film of the new millennium. Further delays due to the success of other films Padayappa and Vaalee ensured the film missed that date. The release of Mani Ratnam's Alaipayuthey led to the further postponement of the release of Kandukondain Kandukondain to May 2000.
1604_25	Kandukondain Kandukondain opened to positive reviews from film critics. The Indian Express stated; "A progressive film encouraging female independence, yet staying a warm family tale in essence, Kandukondain Kandukondain is the kind of film every intelligent movie-goer ought not to miss. Almost every supporting character pitches in an impressive performance, thus making Kandukondain Kandukondain a wonderful watch". In the review for Rediff, Shobha Warrier stated although the film has "too many songs, too little emotion", it has "a powerful story with intense and well-developed characters. One of the most poignant scenes in the film is Mammootty's outburst against the system, which forgets war heroes who lay down their lives for a cause." The film was commercial success and completed 150 days at the box office in Tamil Nadu. It was also successful in Kerala. It was initially unsuccessful in Kerala because Mammootty was not promoted as one of the lead artists. Menon chose to take the
1604_26	film to North Indian audiences but avoided dubbing it to avoid its script being lost in translation, and submitted a final version with English subtitles.
1604_27	The film was later released by Shyam Shroff of Shringar Films in a limited number cinemas in Mumbai and New Delhi, earning positive reviews from critics and performing well at the box office. Shroff said, "although the film didn't make pots of money ... it created tremendous brand equity". Shobhaa De said the films "word of mouth was spectacular" and the "reports were consistently good". Outlook gave the film a favourable review and wrote, "This winner of a new-age entertainer is actually a tribute to the 'complete'-ness of the ancient Indian film structure."
1604_28	Kandukondain Kandukondain was showcased at the Regus London Film Festival in November 2011 and critics from the UK newspaper The Guardian rated it as one of the top-12 films of the event's 270. Critic Peter Bradshaw said it "is an entertaining reinvention of the novel" and that "the richly complicated plot allows it to be exuberantly transposed to modern-day India", ranking it alongside Ang Lee's Crouching Tiger, Hidden Dragon and Cameron Crowe's Almost Famous. Menon continued to show the film across the world, including having screenings at the Washington Film Festival in April 2001, Locarno Film Festival in August 2002 and the Tiburon International Film Festival in March 2004. US-based Kino Films bought the home video rights to the film.
1604_29	Accolades 2001 National Film Awards Won — National Award for Male Playback Singer – Shankar Mahadevan for "Enna Solla Pogirai" 2001 Filmfare Awards South Won — Filmfare Award for Best Tamil Film — Kandukondain Kandukondain – Kalaipuli S. Thanu Won — Filmfare Award for Best Tamil Director — Rajiv Menon Legacy The script of Kandukondain Kandukondain was translated into English and published as a book by Westland Publishers in October 2000. Sanjay Leela Bhansali discussed the possibility of making a Hindi version of the film with Menon. Irrfan Khan held discussions to reprise the role of Major Bala. The project did not go ahead.
1604_30	Kandukondain Kandukondain became an important film in the careers of Kumar and Rai, showcasing both actors' versatility and ensured their successful careers in cinema. In an interview, Ajith Kumar stated how he understood his true self after acting in the film. The film's songs inspired several film titles: Enge Enadhu Kavithai (2002), Kannamoochi Yenada (2007), Konjum Mainakkale (2012) and Enna Solla Pogirai (2022). The character Anjali in the Telugu film Chi La Sow (2018) was inspired by Tabu's character in Kandukondain Kandukondain. References External links
1604_31	2000 films 2000 romantic drama films 2000s romantic musical films 2000s Tamil-language films Films about educators Films about film directors and producers Films about filmmaking Films about siblings Films about singers Films based on Sense and Sensibility Films scored by A. R. Rahman Films set in Chennai Films shot in Chennai Films shot in Egypt Films shot in Highland (council area) Films shot in Karaikudi Indian films Indian romantic drama films Indian romantic musical films Films shot in Chalakudy Films shot in Thrissur
1605_0	John Alan Lasseter (; born January 12, 1957) is an American film director, producer, screenwriter, animator, voice actor, and the head of animation at Skydance Animation. He was previously the chief creative officer of Pixar Animation Studios, Walt Disney Animation Studios, and Disneytoon Studios, as well as the Principal Creative Advisor for Walt Disney Imagineering.
1605_1	Lasseter began his career as an animator with The Walt Disney Company. After being fired from Disney for promoting computer animation, he joined Lucasfilm, where he worked on the then-groundbreaking use of CGI animation. The Graphics Group of the Computer Division of Lucasfilm was sold to Steve Jobs and became Pixar in 1986. Lasseter oversaw all of Pixar's films and associated projects as executive producer. In addition, he directed Toy Story (1995), A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011). From 2006 to 2018, Lasseter also oversaw all of Walt Disney Animation Studios' (and its division Disneytoon Studios') films and associated projects as executive producer.
1605_2	The films he has made have grossed more than $19 billion (USD), making him one of the most successful filmmakers of all time. Of the eight animated films that have grossed more than $1 billion, five of them are films executive produced by Lasseter. The films include Toy Story 3 (2010), the first animated film to pass $1 billion, Frozen (2013), the 3rd highest-grossing animated film of all time, as well as Zootopia (2016), Finding Dory (2016), and Incredibles 2 (2018). He has won two Academy Awards, for Best Animated Short Film (for Tin Toy), as well as a Special Achievement Award (for Toy Story).
1605_3	In November 2017, Lasseter took a six-month sabbatical from Pixar and Disney Animation after acknowledging what he called "missteps" in his behavior with employees. According to various news outlets, Lasseter had a history of alleged sexual misconduct towards employees. In June 2018, Disney announced that he would be leaving the company at the end of the year when his contract expired, but took on a consulting role until then. On January 9, 2019, Lasseter was hired to run Skydance Animation. Early years John Alan Lasseter was born January 12, 1957, in Hollywood, California. His mother, Jewell Mae (née Risley; 1918–2005), was an art teacher at Bell Gardens High School, and his father, Paul Eual Lasseter (1924–2011), was a parts manager at a Chevrolet dealership. Lasseter is a fraternal twin; his sister Johanna Lasseter-Curtis, who became a baker based in the Lake Tahoe area, is six minutes older.
1605_4	Lasseter grew up in Whittier, California. His mother's profession contributed to his growing preoccupation with animation. He often drew cartoons during church services at the Church of Christ his family attended. As a child, Lasseter would race home from school to watch Chuck Jones cartoons on television. While in high school, he read The Art of Animation by Bob Thomas. The book covered the history of Disney animation and explored the making of Disney's 1959 film Sleeping Beauty, which made Lasseter realize he wanted to do animation himself. When he saw Disney's 1963 film The Sword in the Stone, he finally made the decision that he should become an animator. He then read Preston Blair's book about animation, and made flipbooks based on Blair's walk cycles. One of his friends had a Super 8 camera that shot single frames, which was used to shoot some of his earlier animation efforts.
1605_5	Lasseter heard of a new character animation program at the California Institute of the Arts (often abbreviated as 'CalArts') and decided to follow his dream of becoming an animator. His mother further encouraged him to take up a career in animation, and in 1975 he enrolled as the second student (Jerry Rees was the first) in the CalArts Character Animation program created by Disney animators Jack Hannah and T. Hee. Lasseter was taught by three members of Disney's Nine Old Men team of veteran animators—Eric Larson, Frank Thomas and Ollie Johnston—and his classmates included future animators and directors like Brad Bird, John Musker, Henry Selick, Tim Burton, and Chris Buck. During his time there, he produced two animated shorts—Lady and the Lamp (1979) and Nitemare (1980)—which each won the student Academy Award for Animation.
1605_6	While at CalArts, Lasseter first started working for the Walt Disney Company at Disneyland in Anaheim during summer breaks and got a job as a Jungle Cruise skipper, where he learned the basics of comedy and comic timing to entertain captive audiences on the ride. Career
1605_7	First years at Disney Upon graduating in 1979, Lasseter immediately obtained a job as an animator at Walt Disney Productions mostly due to his success with his student project, Lady and the Lamp. The studio had reviewed approximately 10,000 portfolios in the late 1970s in search of talent, then selected only about 150 candidates as apprentices, of which only about 45 were kept on permanently. In the fall of 1979, Disney animator Mel Shaw told the Los Angeles Times that "John's got an instinctive feel for character and movement and shows every indication of blossoming here at our studios ... In time, he'll make a fine contribution." At that same time, Lasseter worked on a sequence titled "The Emperor and the Nightingale" (based on The Nightingale by Hans Christian Andersen) for a Disney project called Musicana. Musicana was never released but eventually led to the development of Fantasia 2000.
1605_8	However, Lasseter soon felt that something was missing: after 101 Dalmatians, which in his opinion was the film where Disney had reached its highest plateau, he felt that the studio had lost momentum and was often repeating itself. Between 1980 and 1981, he coincidentally came across some video tapes from one of the then new computer-graphics conferences, who showed some of the very beginnings of computer animation, primarily floating spheres and such, which he experienced as a revelation. But it was not until shortly after, when he was invited by his friends Jerry Rees and Bill Kroyer, while working on Mickey's Christmas Carol, to come and see the first light cycle sequences for an upcoming film entitled Tron, featuring state-of-the-art computer-generated imagery (CGI), that he saw the huge potential of this new technology in animation. Up to that time, the studio had used a multiplane camera to add depth to its animation. Lasseter realized that computers could be used to make films
1605_9	with three-dimensional backgrounds where traditionally animated characters could interact to add a new level of visually stunning depth that had not been possible before. He knew adding dimension to animation had been a longtime dream of animators, going back to Walt Disney.
1605_10	Later, he and Glen Keane talked about how great it would be to make an animated feature where the background was computer animated, and then showed Keane the book The Brave Little Toaster by Thomas Disch, which he thought would be a good candidate for the film. Keane agreed, but first, they decided to do a short test film to see how it worked out and chose Where the Wild Things Are, a decision based on the fact that Disney had considered producing a feature based on the works of Maurice Sendak. Satisfied with the result, Lasseter, Keane and executive Thomas L. Wilhite went on with the project, especially Lasseter who dedicated himself to it, while Keane eventually went on to work with The Great Mouse Detective.
1605_11	Lasseter and his colleagues unknowingly stepped on some of their direct superiors' toes by circumventing them in their enthusiasm to get the Where the Wild Things Are project into motion. The project was canceled while being pitched to two of Lasseter's supervisors, animation administrator Ed Hansen, and head of Disney studios, Ron W. Miller, due to lack of perceived cost benefits for the mix of traditional and computer animation. A few minutes after the meeting, Lasseter was summoned by Hansen to his office. As Lasseter recalled, Hansen told him, "Well, John, your project is now complete, so your employment with the Disney Studios is now terminated." Wilhite, who was part of Disney's live-action group and therefore had no obligations to the animation studio, was able to arrange to keep Lasseter around temporarily until the Wild Things test project was complete in January 1984, but with the understanding there would be no further work for Lasseter at Disney Animation. The Brave Little
1605_12	Toaster would later become a 2D animated feature film directed by one of Lasseter's friends, Jerry Rees, and co-produced by Wilhite (who had, by then, left to start Hyperion Pictures), and some of the staff of Pixar would be involved in the film alongside Lasseter.
1605_13	Lucasfilm/Pixar While putting together a crew for the planned feature, Lasseter had made some contacts in the computer industry, among them Alvy Ray Smith and Ed Catmull at Lucasfilm Computer Graphics Group. After being fired, and feeling glum knowing his employment with Disney was to end shortly, Lasseter visited a computer graphics conference in November 1983 at the Queen Mary in Long Beach, where he met and talked to Catmull again. Catmull inquired about The Brave Little Toaster, which Lasseter explained had been shelved. From his experience at Lucasfilm, Catmull assumed Lasseter was simply between projects since Hollywood studios have traditionally laid off employees when they lack enough productions to keep them busy. Still devastated at being forced out of the only company he had ever wanted to work for, Lasseter could not find the strength to tell Catmull that he had been fired.
1605_14	Catmull later telephoned Smith that day and mentioned that Lasseter was not working at Disney. Smith told Catmull to put down the phone and hire Lasseter right now. Lasseter agreed instantly to work freelance with Catmull and his colleagues and joined them for a week of December 1983 on a project that resulted in their first computer animated short: The Adventures of André & Wally B., meant to prove it was possible to do character animation on a computer. After his work on the Where the Wild Things Are-test, Lasseter assumed hand-drawn characters in a CGI environment was the only way, but Catmull insisted it could be done, it was just that nobody had given it an attempt before. Because Catmull was not allowed to hire animators, he was given the title "Interface Designer"; "Nobody knew what that was but they didn't question it in budget meetings". Lasseter spent a lot of time at Lucasfilm in the San Francisco Bay Area in the spring of 1984, where he worked together closely with Catmull
1605_15	and his team of computer science researchers. Lasseter learned how to use some of their software, and in turn, he taught the computer scientists about filmmaking, animation, and art. The short turned out to be more revolutionary than Lasseter first had visualized before he came to Lucasfilm. His original idea had been to create only the backgrounds on computers, but in the final short everything was computer animated, including the characters.
1605_16	After the short CGI film was presented at SIGGRAPH in the summer of 1984, Lasseter returned to Los Angeles with the hope of directing The Brave Little Toaster at Hyperion Pictures. He soon learned that funding had fallen through and called Catmull with the bad news. Catmull called back with a job offer, and Lasseter joined Lucasfilm as a full-time employee in October 1984 and moved to the Bay Area. After that, he worked with ILM on the special effects on Young Sherlock Holmes, where he made the first fully computer-generated photorealistic animated character, a knight composed of elements from a stained glass window. This effect was the first CGI character to be scanned and painted directly onto film using a laser. Lasseter and Catmull's collaboration, which has since lasted over thirty years, would ultimately result in Toy Story (1995), which was the first-ever computer-animated feature film.
1605_17	Due to George Lucas's financially crippling divorce, he was forced to sell off Lucasfilm Computer Graphics, by this time renamed the Pixar Graphics Group, founded by Smith and Catmull, with Lasseter as one of the founding employees. It was spun off as a separate corporation with Steve Jobs as its majority shareholder in 1986. Over the next 10 years, Pixar evolved from a computer company that did animation work on the side into an animation studio. Lasseter oversaw all of Pixar's films and associated projects as executive producer. As well as Toy Story, he also personally directed A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011).
1605_18	He has won two Academy Awards, for Animated Short Film (Tin Toy), as well as a Special Achievement Award (Toy Story). Lasseter has been nominated on four other occasions—in the category of Animated Feature, for both Monsters, Inc. (2001) and Cars, in the Original Screenplay category for Toy Story and in the Animated Short category for Luxo, Jr. (1986)—while the short Knick Knack (1989) was selected by Terry Gilliam as one of the ten best animated films of all time. In 2008, he was honored with the Winsor McCay Award, the lifetime achievement award for animators. Return to Disney
1605_19	Disney announced that it would be purchasing Pixar in January 2006, and Lasseter was named the chief creative officer of both Pixar and Walt Disney Feature Animation, the latter of which he renamed Walt Disney Animation Studios. Lasseter was also named principal creative adviser at Walt Disney Imagineering, where he helped design attractions for Disney Parks. He oversaw all of Walt Disney Animation Studios' films and associated projects as executive producer. He reported directly to Disney Chairman and CEO Bob Iger, bypassing Disney's studio and theme park executives. He also received green-light power on films with Roy E. Disney's consent. In December 2006, Lasseter announced that Disney Animation would start producing animated shorts – 2D, CGI, or a combination of both – that would be released theatrically. Lasseter said he sees this medium as an excellent way to train and discover new talent in the company as well as a testing ground for new techniques and ideas.
1605_20	In June 2007, Catmull and Lasseter were given control of Disneytoon Studios, a division of Walt Disney Animation Studios housed in a separate facility in Glendale. As president and chief creative officer, respectively, they have supervised three separate studios for Disney, each with its own production pipeline: Pixar, Disney Animation, and Disneytoon. While Disney Animation and Disneytoon are located in the Los Angeles area, Pixar is located over 350 miles (563 kilometers) northwest in the Bay Area, where Catmull and Lasseter both live. Accordingly, they appointed a general manager for each studio to manage day-to-day business affairs, then established a routine of spending at least two days per week (usually Tuesdays and Wednesdays) in Southern California.
1605_21	Lasseter is a close friend and admirer of Japanese animator Hayao Miyazaki, whom he first met when TMS Entertainment sent a delegation of animators to the Disney studio in 1981 and showed a clip from Miyazaki's first feature film, The Castle of Cagliostro (1979). Lasseter was so deeply moved that in 1985 he insisted on showing that clip and other examples of Miyazaki's work after dinner to a woman he had just met (who would become his wife). He visited Miyazaki during his first trip to Japan in 1987 and saw drawings for My Neighbor Totoro (1988). After Lasseter became a successful director and producer at Pixar, he went on to serve as executive producer on several of Miyazaki's films for their release in the United States and oversaw the translation and dubbing of their English language soundtracks. In addition, the forest spirit Totoro from My Neighbor Totoro makes an appearance as a plush toy in Toy Story 3 (2010).
1605_22	Lasseter is a member of the Academy of Motion Picture Arts and Sciences and served nine consecutive years on its board of governors from 2005 to 2014 when he had to relinquish his seat due to term limits. His last position on the board was as first vice president. Lasseter received a star on the Hollywood Walk of Fame in Hollywood in 2011, located at 6834 Hollywood Boulevard. Allegations of sexual misconduct and exit from Disney/Pixar In November 2017, Lasseter took a six-month leave of absence after acknowledging allegations of workplace sexual misconduct that he described as "missteps" with employees in a memo to staff. The alleged misconduct towards employees included "grabbing, kissing, [and] making comments about physical attributes". The alleged conduct became so well known that, according to Variety, at various times, Pixar had "minders who were tasked with reining in his impulses".
1605_23	In June 2018, Disney announced that Lasseter was leaving the company at the end of the year, taking a consulting role until then. Skydance Animation On January 9, 2019, Lasseter was hired to head Skydance Animation, which will produce animated films with Paramount Animation and Ilion Animation Studios. In a statement, Lasseter said "I have spent the last year away from the industry in deep reflection, learning how my actions unintentionally made colleagues uncomfortable, which I deeply regret and apologize for. It has been humbling, but I believe it will make me a better leader." An investigation conducted prior to his hiring found that no previous claims of sexual assault, propositioning or harassment had been filed against Lasseter, and "[...] there were no findings of secret settlements by Disney or Lasseter to any parties asking for a settlement." Personal life
1605_24	Lasseter lives in Glen Ellen, California with his wife Nancy, a graduate of Carnegie Mellon University, whom he met at a computer graphics conference in San Francisco in 1985. Nancy majored in computer graphics applications, and for a short period of time was a stay at home mother and worked as a computer graphics engineer at Apple Computer. They married in 1988, and have four sons together in addition to Nancy's son from a previous relationship, born between and 1997.
1605_25	The Lasseters own Lasseter Family Winery in Glen Ellen, California. The property includes a narrow gauge railroad named the Justi Creek Railway (for the "Marie E.", the locomotive Lasseter purchased from Ollie Johnston) approximately long, including a train station and water tower Lasseter purchased from former Disney animator Ward Kimball. Their residence has a swimming pool with a lazy river that runs through a cave. Lasseter owns a collection of more than 1,000 Hawaiian shirts and wears one every day. Lasseter also inherited his late father's passion for cars; besides having directed two films about them, he watches auto races at Sonoma Raceway near his home and collects classic cars, of which one of his favorites is his black 1952 Jaguar XK120. On May 2, 2009, Lasseter received an honorary doctorate from Pepperdine University, where he delivered the commencement address.
1605_26	His influences include Walt Disney, Chuck Jones, Frank Capra, Hayao Miyazaki, and Preston Sturges. Lasseter's favorite film is Walt Disney's Dumbo. Filmography
1605_27	Feature films {\| class="wikitable" ! rowspan="2"\|Year ! rowspan="2"\|Film ! colspan="6"\|Credited as \|- ! Director ! (Original)Story by ! ExecutiveProducer ! Other ! Voice Role ! Notes \|- \| 1981 \| The Fox and the Hound \| \| \| \| \| \| rowspan="2"\| Animator \|- \| rowspan="2"\|1985 \| The Black Cauldron \| \| \| \| \| \|- \| Young Sherlock Holmes \| \| \| \| \| \| Computer Animation: Industrial Light & Magic \|- \| 1986 \| Castle in the Sky \| \| \| \| \| \| Executive Creative Consultant: US version \|- \| 1987 \| The Brave Little Toaster \| \| \| \| \| \| Character Designer \|- \| rowspan="2"\|1989 \| The Little Mermaid \| \| \| \| \| \| 3D Version \|- \| Kiki's Delivery Service \| \| \| \| \| \| Executive Creative Consultant: US version \|- \| 1991 \| Beauty and the Beast \| \| \| \| \| \| 3D version \|- \| 1992 \| Porco Rosso \| \| \| \| \| \| Executive Creative Consultant: US version \|- \| 1994 \| The Lion King \| \| \| \| \| \| 3D version \|- \| 1995 \| Toy Story \| \| \| \| \| Commercial Chorus 1
1605_28	\| Modeling and Animation System Development \|- \| 1998 \| A Bug's Life \| \| \| \| \| Harry / Singing Grasshopper 1 \| \|- \| 1999 \| Toy Story 2 \| \| \| \| \| Blue Bomber \| \|- \| 2001 \| Monsters, Inc. \| \| \| \| \| \| \|- \| 2002 \| Spirited Away \| \| \| \| \| \| US version \|- \| 2003 \| Finding Nemo \| \| \| \| \| \| \|- \| 2004 \| The Incredibles \| \| \| \| \| \| \|- \| 2005 \| Howl's Moving Castle \| \| \| \| \| \| US version \|- \| rowspan="2"\| 2006 \| Cars \| \| \| \| \| \| Screenplay \|- \| Tales from Earthsea \| \| \| \| \| \| US version \|- \| rowspan="2"\| 2007 \| Meet the Robinsons \| \| \| \| \| \| \|- \| Ratatouille \| \| \| \| \| \| Executive Team \|- \| rowspan="3"\| 2008 \| WALL-E \| \| \| \| \| \| Senior Creative Team \|- \| Tinker Bell \| \| \| \| \| \| \|- \| Bolt \| \| \| \| \| \| \|- \| rowspan="4"\| 2009 \| Up \| \| \| \| \| \| Senior Creative Team \|- \| Ponyo \| \| \| \| \| \| Director: English Dub, US Version \|- \| Tinker Bell and the Lost Treasure \| \| \| \| \| \| \|- \| The Princess and the Frog \| \| \| \| \| \| \|-
1605_29	\| rowspan="3"\| 2010 \| Toy Story 3 \| \| \| \| \| \| Senior Creative Team \|- \| Tinker Bell and the Great Fairy Rescue \| \| \| \| \| \| \|- \| Tangled \| \| \| \| \| \| Studio Leadership \|- \| rowspan="2"\| 2011 \| Cars 2 \| \| \| \| \| Galloping GeargrinderJohn LassetireFuzzy Dice Casino Car \| Senior Creative Team \|- \| Winnie the Pooh \| \| \| \| \| \| Studio Leadership \|- \| rowspan="3"\| 2012 \| Brave \| \| \| \| \| \| Senior Creative Team \|- \| Secret of the Wings \| \| \| \| \| \| \|- \| Wreck-It Ralph \| \| \| \| \| \| Studio Leadership \|- \| rowspan="3"\| 2013 \| Monsters University \| \| \| \| \| \| Senior Creative Team \|- \| Planes \| \| \| \| \| \| \|- \| Frozen \| \| \| \| \| \| Studio Leadership \|- \| rowspan="4"\| 2014 \| The Pirate Fairy \| \| \| \| \| \| \|- \| Planes: Fire & Rescue \| \| \| \| \| \| \|- \| Big Hero 6 \| \| \| \| \| \| Studio Leadership \|- \| Tinker Bell and the Legend of the NeverBeast \| \| \| \| \| \| \|- \| rowspan="2"\| 2015 \| Inside Out \| \| \| \| \| \| rowspan="2"\|Senior Creative Team \|-
1605_30	\| The Good Dinosaur \| \| \| \| \| \|- \| rowspan="3"\| 2016 \| Zootopia \| \| \| \| \| \| Studio Leadership \|- \| Finding Dory \| \| \| \| \| \| Senior Creative Team \|- \| Moana \| \| \| \| \| \| Studio Leadership \|- \| rowspan="2"\| 2017 \| Cars 3 \| \| \| \| \| \| rowspan="3"\| Senior Creative Team \|- \| Coco \| \| \| \| \| \|- \| rowspan="2"\| 2018 \| Incredibles 2 \| \| \| \| \| \|- \| Ralph Breaks the Internet \| \| \| \| \| \| Studio Leadership - uncredited \|- \| 2019 \|Toy Story 4 \| \| \| \| \| \| \|- \| rowspan="2"\| 2022 \| Luck \| \| \| \| \| \| rowspan="2"\| \|- \| Spellbound \| \| \| \| \| \|- \| rowspan="2"\| TBD \| Pookoo (TBD film)\|Pookoo\| \| \| \| \| \| \|- \| Ray Gunn\| \| \| \| \| \| \|}
1605_31	Short films, featurettes, and TV specials Television series Documentaries Other credits Reception Critical, public and commercial reception to films Lasseter has directed as of January 9, 2021. See also A113 List of Pixar films List of Pixar shorts List of celebrities who own wineries and vineyards References External links Richard Verrier and Dawn C. Chmielewski, Fabled Film Company May Get a Reanimator, Los Angeles Times'', January 25, 2006 Fortune Magazine interview with John Lasseter – includes biographic information KCRW's The Treatment: John Lasseter and Andrew Stanton (02/04) KCRW's The Treatment: John Lasseter (06/06)
1605_32	1957 births Animators from California American male screenwriters American animated film directors American animated film producers American chief executives in the media industry Animation screenwriters California Institute of the Arts alumni Directors of Best Animated Short Academy Award winners Walt Disney Animation Studios people Walt Disney Parks and Resorts people Disney executives Disney people Living people People from Whittier, California Pixar people Inkpot Award winners Primetime Emmy Award winners Special Achievement Academy Award winners Computer animation people Film directors from Los Angeles Annie Award winners Student Academy Award winners People from Glen Ellen, California Lucasfilm people Pixar Screenwriters from California Toy collectors American storyboard artists
1606_0	Craniofacial regeneration refers to the biological process by which the skull and face regrow to heal an injury. This page covers birth defects and injuries related to the craniofacial region, the mechanisms behind the regeneration, the medical application of these processes, and the scientific research conducted on this specific regeneration. This regeneration is not to be confused with tooth regeneration. Craniofacial regrowth is broadly related to the mechanisms of general bone healing.
1606_1	Function Craniofacial regeneration is necessary following injury to the facial tissue. This can occur during surgery, where doctors fracture the face of a patient in order to correct craniofacial abnormalities such as cleft lip, Apert syndrome, Treacher Collins syndrome, Oligodontia, Cherubism, Crouzon syndrome, Pfeiffer Syndrome, Craniosynostosis, or Goldenhar Syndrome. Other applications include corrections to birth defects (such as hypertelorism), maxillofacial surgery, craniosynostosis, rare craniofacial clefts, or removal of tumors. This regeneration can also be necessary following trauma to the face, most often due to automotive accidents.
1606_2	Craniofacial defects are most common congenitally (present at birth), with an estimated prevalence of 1 in 700 live births (270,000 children per year). Common corrective procedures include intracranial surgeries (making room for brain growth through skull expansion), Cleft palate surgeries (repairing a gap in the roof of the mouth), and Cleft lip surgeries (closing a gap in the lips). Most patients who suffer from craniofacial abnormalities have a normal life expectancy, but symptoms are often present throughout the patient's life. Common symptoms and features of a craniofacial defect include abnormal cranial morphology, difficulty in cranio-related functions such as breathing, hearing, swallowing, or speech, or facial paralysis.
1606_3	Research and historical context In the 1970s, mesenchymal stem cells (MSCs) were discovered by A.J. Friedenstein. Mesenchymal stem cell research has yielded the most promising results for craniofacial regeneration, as MSCs can be found in many types of postnatal tissues, including orofacial tissues. Alginate hydrogel, which contains nerve growth factor, has been used to deliver stem cells to tissues during regeneration.
1606_4	Stem cells While there is a lack of craniofacial-specific clinical trials regarding stem cell therapies, there has been great effort in identifying craniofacial-specific stem cell populations, precursor cells that can give rise to many specific structures of the skull. Such stem cells include bone marrow mesenchymal stem cells (BMMSC), adipose-derived mesenchymal stem cells (AMCs), muscle satellite cells (MuSCs), periodontal ligament stem cells (PDLSCs), and stem cells from human exfoliated deciduous (SHED teeth). The following section will outline the two most promising stem cell populations in craniofacial bone regeneration.
1606_5	Bone marrow mesenchymal stem cells (BMMSC) BMMSCs have been reported to repair craniofacial defects. In 1994, it was demonstrated that when BMMSCs were grown in culture with dexamethasone, ascorbic acid 2-phosphate, and inorganic phosphate, they differentiated into functional osteoblast-like cells. However, when challenged in vivo, it was reported that only “a little over half” of the mice with the differentiated BMMSCs showed potential to develop bone structure. Developments in BMMSCs application to bone repair have nonetheless been proven successful in many animal models including canines, mice, and sheep.
1606_6	Adipose-derived mesenchymal stem cells (AMCs) AMCs have also showed promise in craniofacial bone regeneration. In 2014, George K. Sándor performed a small size clinical trial (n = 13) on patients with craniomaxillofacial defects where AMCs were transplanted with scaffolds of either bioactive glass or β-tricalcium phosphate in an attempt to reconstruct the defect. β-tricalcium phosphate scaffolds are characterized by their porous three-dimensional synthetic scaffold structures that stimulate growth, migration, and differentiation in human cells leading to bone reparation. This study saw 10 out of the 13 patients successfully integrate the AMCs and scaffolds. In 2017, the National Institute of Dental and Craniofacial Research (NIDCR) awarded $24 million to two centers focused on craniofacial disease and injury research.
1606_7	Mechanism & Important Factors Following facial tissue injury, craniofacial regeneration occurs in a sequence of steps. The process of regeneration is initiated by an inflammatory response to injury, followed by angiogenesis, leading to mesenchymal stem cell (MSC) differentiation. Additional related steps include the healing process and nerve regeneration, which is briefly covered.
1606_8	Inflammation During inflammation, there is a disturbance of connective tissue (collagen) for release necessary healing proteins. Inflammation is a normal indication of injury and activates macrophages, which recruit lymphocytes to the site of injury. These lymphocytes secrete cytokines. Cytokines are proteins that are assist in mediating the immune response to inflammation. The presence of cytokines stimulates angiogenesis and MSCs differentiation into osteoblasts, which eventually constitute new bone. Chronic inflammation, which mimics aging, has been shown to negatively affect bone regeneration. The exact reasoning behind the limit on inflammation needed for bone regeneration is not completely understood in the context of immune responses.
1606_9	Angiogenesis and VEGF Angiogenesis occurs after inflammation and it is the formation of blood vessels from previously existing ones. This process takes place in the form of fast outgrowth and organization of blood vessels. Angiogenesis occurs in organ regeneration, tissue healing, and neoplasia processes. It has been shown that angiogenesis is highly dependent upon extracellular and inflammatory signals such as cytokines, proteases, and growth factors. Integrins, a type of transmembrane receptor protein, have been shown to be important for angiogenesis. When they are inhibited, specifically integrin α5β1, angiogenesis does not occur. Targeting integrin αvβ5 was shown to have a negative effect on vascular endothelial growth factor (VEGF)-dependent angiogenesis. This was not shown directly in conjunction with craniofacial regeneration.
1606_10	Angiogenesis allows for oxygen, nutrients, inflammatory cells, cartilage, and bone progenitor (precursors) to reach the site of regeneration. Animal models that enhanced angiogenesis also showed enhanced regenerative abilities. Angiogenesis is also temporally significant for bone regeneration. It has been shown that osteoblasts that originate from vascular endothelial growth factor (VEGF) signaling play a crucial role for the development of new bone during regeneration. VEGF is also a key regulator of angiogenesis. VEGF has two known roles in bone regeneration: promotion of endothelial cell proliferation and migration, and the activation of osteogenesis. Despite this knowledge, the mechanism by which VEGF controls bone homeostasis is poorly understood.
1606_11	In addition, VEGF is necessary for a specific bone regeneration pathway called intramembranous ossification, where mesenchymal tissue is directed towards bone formation. This involves the direct differentiation of bone progenitors to osteoblasts (contrary to a cartilage intermediate in endochondral ossification). Many primary literature papers have demonstrated that a loss-of-function experiment against VEGF in the osteoblast precursors significantly reduces ossification in craniofacial bone structures, highlighting the essential role of VEGF in craniofacial regeneration.
1606_12	Mesenchymal Stem Cells (MSCs)
1606_13	Osteogenic tissue is fibrous tissue that can become bone tissue (marrow, endosteum, nutrient artery, and periosteum). Bone regeneration takes place during fracture healing and bone remodeling that takes place throughout life. Bone healing also tends to occur without scar formation and with full functional capacities being restored. Growth factors, such as bone morphogenic proteins (BMPs), are important in inducing the differentiation of MSCs during bone regeneration. Bone regeneration in adults appears to mimic bone development during embryogenesis, except for the requirement of inflammation to initiate the regenerative process. Another difference between bone development and regeneration is the decreased number of osteoprogenitor cells during regeneration. During embryogenesis, MSCs aggregate and condense, creating cartilage. Some of these cells differentiate, creating membranous ossification (bone tissue formation) while some committed osteoprogenitor cells from the periosteum (type
1606_14	of osteogenic tissue) and undifferentiated multipotent MSC from the bone marrow lead to callus formation, which aids in fracture healing.
1606_15	Undifferentiated MSCs are limited in adults, but these cells along with committed osteoprogenitor cells are both involved in callus formation. Along with MSCs and osteoprogenitors, mechanobiology also influences bone regeneration. Simply put, compression can enhance bone apposition. This is known as Wolff's law, which essentially states that bone remodeling occurs to counter and adapt to loads placed upon it. Mature osteoblasts are differentiated precursor cells found in the bone marrow. MSCs are typically found in the bone marrow stroma. MSC differentiation is induced by a cocktail of morphogens and other factors. Human MSCs have been shown to differentiate with a cocktail of dexamethasone, isobutyl methyl xanthine, insulin and rosiglitazone (a peroxisome proliferator-activated receptor γ2 (PPAR-γ2) agonist) in vitro.
1606_16	Scientific understanding of bone regeneration in vitro is limited. Thus, in vivo assays have been explored. One such assay is the “gold standard” assay, created by A.J. Friedenstein. His test utilizes diffusion chambers (open system) in which he implanted MSCs into immunodeficient mice. When this was done, he observed that MSCs formed bone and bone marrow. His test has also been used to demonstrate self-renewal and maintenance of “stemness” in serial implantations.
1606_17	Healing Process One week following injury there are two ossification fronts lying at the end of each bony fragment. In between these two fragments is an intermediate zone consisting largely of fibroblasts and poorly differentiated osteoblasts. Fibroblasts proliferate in this area, arising from marrow cells with fibroblastic potential. From the 1st to the 3rd week following injury, regenerated bone begins to fill in the gap between the two bony fragments. The first osteons begin to appear within the depths of the growth zone and there are numerous hypertrophied vessels. The medullary canal appears by means of osteoclastic resorption.
1606_18	Nerve Regeneration
1606_19	Following facial injury it is also critical to restore nerve function to avoid facial paralysis. Often, patients who received surgery following injury or tumor resection suffer extensive nerve damage. This is a serious problem given the importance of facial expressions and speech for communicating in human society. For many who endure such nerve damage, they recover after 12 months; however, others may never fully recover. While there is not currently much modern medicine can do for these patients, the cutting edge of care is now nerve grafting. These grafts are taken from the masseter muscle, which controls mouth movement, or the hypoglossal nerve which controls the tongue. To avoid denervation caused by lack of stimulus, surgery should be done as soon as possible; however, it is often difficult to determine if a patient will recover naturally or whether nerve grafting is required. Generally this distinction can be made by 6 months post injury and grafting occurs soon after. Nerve
1606_20	grafting works through lessening the degenerative effects of denervation and by accelerating the regeneration of motor neurons. This works through providing nerve signaling distal to the site of injury, helping the regenerating nerve to find the correct path. More than half of patients (57%) of patients who receive nerve grafts showed signs of nerve function within 6 months of receiving a graft.
1606_21	Experimental Models Current approaches to craniofacial research are spearheaded by a branch of the U.S. National Institutes of Health, named the National Institute of Dental and Craniofacial Research (NIDCR). With regards to regenerative medicine, the NIDCR invested $52 million in “basic, translational, and clinical” regenerative research in 2017. These experiments include but are not limited to:
1606_22	Microengineering blood vessels: enhancing current engineering of nutrient-rich blood vessels to promote transplanted tissues and bone precursor cells (cells that will give rise to bone structure). Proper engineering of these circulating blood vessels would alleviate pressure on newly implanted cells or craniofacial structures. Designing stronger cartilage: challenging cartilage cells in vitro (in the laboratory) with harsh conditions to mimic the environment of a craniofacial defect. It is vital that laboratory-generated cartilage be comparable in strength to natural cartilage. Isolating bone stem cells: purifying stem cells from a collection of human fat tissue that can generate bone in vivo (animal models).
1606_23	Researchers are also implementing many genetic tools to further understand craniofacial regeneration. Developmental biologists have been reported to use laser capture microdissection and fluorescence-activated cell sorter (FACS) to create an array of genes involved in craniofacial development. Identification of specific genes necessary in craniofacial development can lead to striking transgenic experiments. These types of procedures involve genetically editing organisms to understand the function of their genes. For example, using Cre-recombinase, an enzyme which makes specific cuts in the genome, researchers were able to knockout the expression of Sp8, a gene hypothesized to be essential for face development. In the resulting mouse model, it was observed that facial development was significantly impaired, yet a tongue and a mandible were present (see image). Transgenic animal models is just one way in which researchers are attempting to understand craniofacial abnormalities.
1606_24	Causes of craniofacial injury Physical injury
1606_25	These injuries happen predominantly in young males, often as a result of traffic accidents which result in 22% of all craniofacial trauma. Craniofacial injuries can result in death due to brain damage and airway blockage. Following serious injury resulting in airway blockage, the standard of care is to intubate, which involves inserting a flexible tube into the trachea to maintain airflow, followed by immediate surgical intervention (41% of injuries). Mechanical ventilation (65% of injuries), blood transfusion (28% of injuries) and tracheostomy (22% of injuries) are also common following trauma. Head injuries often coincide with craniofacial trauma, extradural hematoma (bleeding in between the skull and the dura mater), and subdural hematomas (bleeding between the dura mater and the brain). Injury to the skull included fractures of frontal bone (20.15% of injuries), sphenoid bone (11.63% of injuries), orbital roof (13.18% of injuries), and fracture of cribriform and ethmoid bone
1606_26	complex (13.18%) with associated cerebrospinal fluid rhinorrhea.
1606_27	The usual surgery used to treat severe craniofacial injury occurs in three stages. Craniotomy is performed immediately, followed by orbitofacial repair 7–10 days later and finally cranioplasty after 6–12 months. Genetic disorders Treacher Collins syndrome, cherubism and Stickler syndrome are all examples of rare genetic conditions that cause facial deformities. These diseases manifest symptoms in the head, face, mouth, or neck region, and they influence both appearance and function. These disabilities can lead to sleep apnea, poor oral health, and speech impediments. Treacher Collins syndrome
1606_28	Treacher Collins syndrome is a rare autosomal dominant condition. Symptoms usually include downward-slanting palpebral fissures and hypoplasia of the zygomatic arches. Patients can also suffer from hypoplasia of the mandible, cleft palate, lower eyelid coloboma, microtia, atresia of the ear canal, and hearing loss. Treatments can include reconstructive surgeries of the eye, ear and zygomatic arch, orthodontics and hearing aids. Cherubism Cherubism is a rare autosomal dominant condition caused by mutations in the SH3BP2 gene. Patients afflicted have symmetrical enlargement of the jaws, caused by the replacement of bone with fibrous tissue. In the most severe cases, the orbital floor is affected, which results in upward-looking eyes. In some cases, patients are afflicted with missing and displaced teeth. Treatments include tooth removal and transplantation and removal of intra-bony soft tissue.
1606_29	Stickler syndrome Stickler syndrome is a rare autosomal dominant connective tissue disorder estimated to affect approximately 1/7500 newborns. Symptoms include retrognathia, maxillary hypoplasia, cleft palate, hearing impairment, musculoskeletal anomalies and cardiac defects. Treatment generally includes supportive care for musculoskeletal deformities, recognition and treatment of early hearing loss, and reconstructive surgery. Surgery
1606_30	Facial surgery is often voluntary to make features more aesthetically pleasing. Rhinoplasty is exceedingly common, with 220,000 procedures occurring each year. They are used for improving the outward appearance of the nose and for improving nasal airway flow. The first step is an incision into the columella, the skin connecting the nostrils. Surgeons can then remove cartilage and bone to correct a dorsal hump, wide tip, or crooked nose. They are also able to correct deviated septums, which are a common airway blockage. Once this is completed, the incisions are closed and splits are placed to maintain stability during the healing process. Aesthetic surgery is also common following tumor resections, where plastic surgeons correct soft tissue or bone misalignments that occurred due to the removal of a tumor. These procedures can involve bone grafts from the pelvis or ribs to replace removed bone and implantation of titanium plates and screws to hold pieces of bone together. References
1606_31	Healing Facial bones Skull
1607_0	The Mechelen incident of 10 January 1940, also known as the Mechelen affair, took place in Belgium during the Phoney War in the first stages of World War II. A German aircraft with an officer on board carrying the plans for Fall Gelb (Case Yellow), the German attack on the Low Countries, crash-landed in neutral Belgium near Vucht in the modern-day municipality of Maasmechelen within the Province of Limburg. This prompted an immediate crisis in the Low Countries and amidst the French and British authorities, whom the Belgians notified of their discovery; however, the crisis abated relatively quickly once the dates mentioned in the plans passed without incident. It has been argued that the incident led to a major change in the German attack plan, but this hypothesis has also been disputed. The crash
1607_1	The incident was caused by an error by the German aviator Major Erich Hoenmanns, the fifty-two-year-old base commander of Loddenheide airfield, near Münster. On the morning of 10 January, he had been flying a Messerschmitt Bf 108 Taifun, an aircraft used for reconnaissance, liaison, and other miscellaneous roles, from Loddenheide to Cologne when he lost his way; extensive low fogbanks obscured his view of the landscape. In response he changed course to the west, hoping to regain his bearings by reaching the River Rhine. However, having already crossed over the frozen and indistinguishable Rhine at the moment he changed direction, he left German territory flying all the way to the River Meuse, the border in this area between Belgium and The Netherlands, and ended up circling Vucht.
1607_2	At that moment, Hoenmanns seems by mistake to have cut off the fuel supply to the plane's engine by moving a lever inside the cockpit. The engine spluttered, then stopped, and Hoenmanns was forced to land in a nearby field at about 11:30 AM. The aircraft was severely damaged. Both wings were broken off when they hit two Canadian poplar trees as he sped between them; the heavy engine tore off the nose section. The plane was damaged beyond repair, but Hoenmanns survived unscathed.
1607_3	Had Hoenmanns been alone in the plane, nothing of great significance would likely have happened, apart from his internment for landing without permission in a neutral country. However, he had a passenger, one Major Helmuth Reinberger, who was responsible for organising the 7. Flieger-Division's supply, the formation that was to land paratroopers behind the Belgian lines at Namur on the day of the coming attack. Reinberger was going to Cologne for a staff meeting. The previous evening, over a drink in the mess, Hoenmanns had offered to fly him there. Usually, Reinberger would have had to make the tedious trip by train, but Hoenmanns needed some extra flying hours anyway and wanted to take his laundry to his wife in Cologne. Hoenmanns was unaware that Reinberger would be carrying documents related to the German plan for the attack on The Netherlands and Belgium, which on the day of the flight was decreed by Hitler to take place a week later on 17 January.
1607_4	Only after landing, Hoenmanns became aware that Reinberger was carrying secret documents when they asked a farmhand, Engelbert Lambrichts, where they were, to be told that they had unknowingly crossed Dutch territory and landed just inside Belgium. On hearing this, Reinberger panicked and rushed back to the plane to secure his yellow pigskin briefcase, crying that he had secret documents that he must destroy immediately. To let him do this Hoenmanns, as a diversion, moved away from the plane. Reinberger first tried to set fire to the documents with his cigarette lighter but it malfunctioned; he then ran to the farmhand who gave him a single match. With this Reinberger hid behind a thicket and piled the papers on the ground to burn them. But soon two Belgian border guards arrived on bicycles, Sergeant Frans Habets and Corporal Gerard Rubens. Seeing smoke coming from the bushes, Rubens rushed over to save the documents from being completely destroyed. Reinberger fled at first but
1607_5	allowed himself to be taken prisoner after two warning shots had been fired.
1607_6	The two Germans were taken to the Belgian border guardhouse near Mechelen-aan-de-Maas (French: Malines-sur-Meuse). There they were interrogated by Captain Arthur Rodrique, who placed the charred documents on a table. As a diversion once more, Hoenmanns asked the Belgian soldiers to let him use the toilet; Reinberger then tried to stuff the papers into a burning stove nearby. He succeeded but yelled with pain when lifting the extremely hot lid of the stove. Startled, Rodrique turned and snatched the papers from the fire, badly burning his hand in the process. The documents were now locked away in a separate room. The failure to burn them made Reinberger realise that he would surely be shot, for letting the attack plan fall into the hands of the enemy. He decided to commit suicide and tried to grab Rodrique's revolver. When the infuriated captain knocked him down, Reinberger burst into tears, shouting 'I wanted your revolver to kill myself'. Hoenmanns supported Reinberger saying: 'You
1607_7	can't blame him. He's a regular officer. He's finished now.'
1607_8	Two hours later officers from the Belgian intelligence service arrived, bringing the papers to the attention of their superiors in the late afternoon.
1607_9	Initial German reaction

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