Production
Rugrats Go Wild was originally made by Klasky Csupo's television unit, (directed by Mark Risley and written by Kate Boutilier) but after screenings, Paramount decided it should be shelved and remade into a feature film. The television version, a 90 minute special, still exists somewhere in the Klasky Csupo/Nickelodeon vaults.
Among the biggest hype this movie received was Bruce Willis voicing Spike, and the use of "Odorama" cards to enhance the viewing experience, Burger King and Blockbuster released a scratch and sniff piece of cardboard that was to be scratched and sniffed during the run of the movie. There were many complaints, however, that the only thing that the "Odorama" cards smelled like was cardboard. The Odorama card was somewhat of an homage to John Waters' (decidedly adult-oriented) film Polyester. Despite the homage, Waters felt he was ripped off and realized that New Line Cinema, the studio that released Polyester, didn't renew the copyright for Odorama. He later said that "a cheque would have been an homage". "Odorama" cards would later be released with the DVD release of the movie.
Early trailers for the film give the title The Rugrats Meet The Wild Thornberrys.
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“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“The society based on production is only productive, not creative.”
—Albert Camus (1913–1960)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)