Crudelia, Walt Disney Pictures / Esclusiva Accesso VIP Disney+ Opzioni

[Daydreamer]

Che poi io spero che le clip e i trailer siano stati doppiati a parte, per poi trovarci nel film completo un'altra realizzazione e traduzione. Non piace neanche a me l'originale, ma lo preferisco certamente in questo film che nei Classici o nei Live Action dei Classici. Almeno qui ci si smarca e siamo di fronte a una storia nuova. Comunque una ragione ci deve essere, mi ricorda in parte la questione Raperonzolo/Rapunzel.

EDIT: il nome in originale è confermato da un comunicato stampa della Disney sul film, tra cui la trama in cui è chiarita la questione.

Da BadTaste

[...]La vincitrice dell’Academy Award® Emma Stone (La La Land) è la protagonista del nuovo film Disney live action Crudelia, che racconta gli esordi ribelli di una delle antagoniste più celebri, e alla moda, del mondo del cinema: la leggendaria Cruella de Vil (Crudelia De Mon). Ambientato durante la rivoluzione punk rock nella Londra degli anni Settanta, Crudelia segue le vicende di una giovane truffatrice di nome Estella, una ragazza intelligente e creativa determinata a farsi un nome con le sue creazioni. Fa amicizia con una coppia di giovani ladri che apprezzano la sua inclinazione alla cattiveria e insieme riescono a costruirsi una vita per le strade di Londra. Un giorno, il talento di Estella per la moda cattura l’attenzione della Baronessa von Hellman, una leggenda della moda incredibilmente chic e terribilmente raffinata, interpretata dall’attrice due volte premio Oscar® Emma Thompson (Casa Howard, Ragione e sentimento). Ma la loro relazione mette in moto una serie di eventi e rivelazioni che portano Estella ad abbracciare il suo lato malvagio e a diventare la prorompente, alla moda e vendicativa Cruella.[...]

[Logan232]

Io ormai rido per la disperazione. D'altronde, sono 20 anni che abbiamo dei "supervisori artistici" quantomeno discutibili. Prima il Grande (IRONIA) Morville, ora la sua adorata moglie Lavinia Fenu (della quale immagino il curriculum stellare che l'abbia portata a ricoprire una carica del genere) (IRONIA). Che schifo.

[Fulvio84]

Vorrei nominare un solo titolo in lavorazione o in uscita di cui sia veramente entusiasta ma la verità è che non c’è.
Sono estremamente deluso e amareggiato dalla disney odierna.
La repudio quasi

[Daydreamer]

Non c'è limite all'immaginabile, fortuna si tratta di partecipazioni cameo, in ruoli di secondo piano.

Crudelia: Damiano e Victoria dei Måneskin nel cast vocale italiano

Fonte: BadTaste

[Daydreamer]

Le prime reazioni sul fim pubblicate da The Disinsider sono belle scoppiettanti e decisamente positive.

[theprinceisonfir...]

Sono solo prime reazioni, che sappiamo essere spesso fuorvianti...ma quanto sarei contento di potere scrivere "io ve l'avevo detto"?

Sono anni ormai che vado perorando la causa di questo film come unico live action disney degno di nota, a suo modo sperimentale e rivolto ad un pubblico diverso da quello usuale.
Nonostante molti scetticismi, io ho sempre creduto in Emma Stone e nel regista e confido che davvero questo film possa costituire un precedente virtuoso per la Disney, sul quale impostare i prossimi progetti (con buona pace degli orrori imminenti, Sirenetta in primis...)

Altre reazioni ultra positive Via the Wrap.

Messaggio modificato da theprinceisonfire il 15/5/2021, 11:10

[Daydreamer]

Ci sarà una sequenza finale dopo i titoli di coda...Sinceramente mi aspetto il "Rudy" del rumoreggiato Dev Patel.
Comunque se il film fa il botto mediatico mi aspetto il sequel, come fu per la Malefica della Jolie. La Stone è sulla direzione giusta ma bisogna dare credito anche a Emma Thompson, che pare abbia tratteggiato un personaggio alla Miranda Priestley tutto da amare/odiare. Son contento, ultimamente sembrava recitasse facendo scelte a caso solo per far quadrare i conti in banca.

[veu]

Poster:






Il secondo poster (bellissimo) riprende quello giapponese:




Nuovi Tv spot:

https://www.youtube.com/watch?v=_XJ8GC-GnAk
https://www.youtube.com/watch?v=kKNo3GPlF7c
https://www.youtube.com/watch?v=JLn5NhSxz6A
https://www.youtube.com/watch?v=rNBLlupR-xs
https://www.youtube.com/watch?v=NNU51F7V8lY

[theprinceisonfir...]

Bellissimo il poster giapponese!

P.s. piccolo OT: Veu vi aspetto nel thread su "The Green Knight"!

[Hiroe]

Belli davvero!

...esce il giorno del mio compleanno!

[veu]

P.s. piccolo OT: Veu vi aspetto nel thread su "The Green Knight"!

andiamo a vedere!


Qui una featurette sui costumi del film:

Disney's Cruella | The Fashion Featurette - Click


Nuovo Tvspot:

Disney's Cruella | The Evil One - Click



Nuove clip:

Disney's Cruella | "Estella becomes Cruella" Clip - Click

The Drive - Click

[veu]

Poster Coreani:

[veu]

Dal sito D23:

7 Scintillating Stories from Cruella’s Filmmakers

In just a few days’ time, we’ll finally learn all about the rebellious early days of one of film’s most notorious—and notoriously fashionable—villains: the legendary Cruella de Vil…

Disney’s Cruella, set in 1970s London amidst the punk rock revolution, follows Estella (Oscar® winner Emma Stone)—a clever and creative young grifter determined to make a name for herself with her fashion designs. After befriending a pair of thieves who appreciate her appetite for mischief, the trio are able to build a life for themselves on the gritty London streets. One day, Estella’s flair for design catches the eye of the Baroness von Hellman (Oscar winner Emma Thompson), a terrifyingly stylish fashion legend. Their relationship sets in motion a course of events and revelations that will cause Estella to embrace her wicked side and become the raucous, and revenge-bent Cruella we know and love today.

It should come as no surprise that a film chronicling the start of such an iconic Disney character would also be a visual wonder. Directed by Craig Gillespie (Million Dollar Arm), Cruella also features the work of hair and makeup designer Nadia Stacey; production designer Fiona Crombie, and costume designer Jenny Beavan. D23 was lucky enough to attend a virtual press conference featuring all four filmmakers, who shared strikingly swank stories from behind the scenes; read on for a few of the morning’s memorable moments…

Craig Gillespie on his primary goal in directing the origin story for one of the greatest villains ever:
“Villains are always so fun to portray,” he explains, “because you have more license to do things that aren’t quite appropriate, [and you can] push the boundaries and create these larger-than-life characters. It was really important to me that it wasn’t black and white—obviously no pun intended there, with Cruella.” He chuckles, adding, “But I wanted there to be this gray area, and be able to empathize with the choices that she was making and the situations that she was responding to. And I wanted to do it in a way that was really fun.”

Jenny Beavan on her familiarity with the film’s 1970s London fashion, and what it felt like to see it all come to life again:
“Yes, I’m afraid I’m very old,” jokes the self-effacing Beavan, eliciting laughs from her fellow filmmakers. “I absolutely remember [the era], because it was that time after college when I was just beginning to work in theater—not film; I really wanted to be a set designer. And I was just beginning to earn a tiny bit of money [to buy clothing with]… I mean, it was really interesting how you kind of forget things, and then you do something like Cruella and it starts to all come back. The best moment [for me] was that very first day outside Liberty’s [a high-end department store in London that served as one of the film’s locations]. Oh my god, when I looked around at the crowd, it was like, ‘Oh, I had one of those!’ You know, that’s what we looked like! And actually, it was really fun.”

Fiona Crombie on the challenges of designing such a rich, robust world for the film:
As Crombie explains, “I think the biggest challenge was actually the number of sets. Cruella has great pace, and we move around a lot—and there’s lots of little moments that are important [and] that require different sets. So we were very busy; there were, you know, 120-odd sets to create across the course of the shoot. And some of them are enormous, and some of them are tiny little rooms. But I think one of the things that I’m most pleased about with the film is the level of detail in every single one of those sets.”In fact, Crombie and her team were so active during Cruella that it’s made her next project feel a bit different: “I’m making [another] movie at the moment, and sometimes I’m like, ‘I’m not busy enough. What’s happened?’,” she adds, chuckling.

Nadia Stacey on a surprising dilemma surrounding Cruella’s iconic hair:
“It was really busy at the time that we shot [the film], in terms of wig makers,” Stacey admits, “and we couldn’t get the white hair. It’s really hard to get hold of, because it has to be processed in a particular way. So I only had two wigs [for Emma Stone] for a long time! I kept using them and then changing them. [For instance], when Cruella has a bob with fringe [English for “bangs”], the fringe is a separate piece—so I changed things, took things off, added things to. Which kind of all works with who Cruella is. And then when I saw what Jenny was doing and how much she was changing up the costumes, it kind of all worked.”

“As Fiona was saying, it was so fast-paced,” she continues. “We were moving all the time, changing locations, changing scenes, and those moments with her were so kind of different every day that I was just kind of styling during the evenings, or the mornings before she came in, or even on [Stone’s] head. It was a pretty quick turnaround with everything, but very fun.”

Beavan on which real-life designers inspired both Cruella’s and the Baroness’ looks:
“I think Cruella comes out of the script, actually,” she explains. “I think the inspirations were various because she’s so diverse in all her different looks… I just looked at so much stuff. And then out of it, you kind of pull what appears to be the narrative thread. So of course I looked at Vivienne Westwood and Alexander McQueen and John Galliano and BodyMap [an influential British designer in the early ’80s], and I sort of dug into my past at [iconic London clothing store] Biba and, you know—just trying to really find all those things that we loved.”

As for the Baroness, “she’s actually terribly clear once you get into that mindset of who she is, where her influences came from, and her current situation,” Beavan says. “It was obviously a slight Dior [and] Balenciaga inspiration—all those great ’50s and ’60s fashion designers. [The Baroness] is a very good designer; she’s just slightly past her ‘sell-by date’. But she became clear in [my] working with a costume maker named Jane Law; we found a style for her—obviously asymmetric and very fitted, and very ‘snobbish,’ I think I’d call it. We just had fun!”

“I’m not a fashion designer,” admits Beavan. “I’m a storyteller with clothes. In fact, in my real life, I don’t have much interest in clothes. I just love telling stories with them. So for me, that was just brilliant.”

Gillespie on how he incorporated dalmatians into this film’s storyline:
“Obviously, the dogs are a large part of all of 101 Dalmatians,” the director explains. “But I wanted to bring them in in a more grounded way. We worked on story a lot, [in terms of] the role of the dalmatians and Cruella’s relationship to them… They’re very intertwined with her emotional journey. And then also, having these mutts that were part of their crew, and just being able to have fun with that—and design these [scenes] that were grounded in reality and plausible for dogs to be able to do. They were supporting characters in a way, and they had their own personalities and concerns… They have some great little moments.”

… and Gillespie chats about the chemistry between Cruella and her two cohorts, Jasper (Joel Fry) and Horace (Paul Walter Hauser):
“That is the heart of the film,” he admits. “It’s like, they’re our ‘family,’ the three of them. And they all play very different roles. I worked with Paul on the film I, Tonya, and I loved working with him [on Cruella]. He’s doing this humor, and you see the human being underneath it—the pain, and, y’know, where that humor might be coming from or what it’s deflecting or hiding. He gets to do all those layers with his humor. And then Joel is so accessible, and he has such a big heart. He was the heart of the show, and he’s sort of the moral compass for Cruella. He would call her [out] on stuff in a brotherly way. I felt that that dynamic between the three of them really worked beautifully. I’d give them room to improvise, and they could play off of each other so well. They’re all so talented that way. So it really made it feel effortless, natural, to have them in the room together.”

See Disney’s Cruella when it debuts in theaters, as well as on Disney+ with Premier Access (available in most Disney+ markets), on Friday, May 28.

[Daydreamer]

Diverse curiosità sul film: Crudelia: la data di uscita, il cast e le curiosità sul film Disney in arrivo al cinema e in streaming! >> BadTaste

[Daydreamer]

Da BadTaste

Da Tonya a Crudelia: il regista Craig Gillespie ci racconta il suo fascino per le outsider | EXCL

Dalla storia, vera, di Tonya Harding a quella fittizia di Crudelia.
Una “villain” in carne e ossa passata da fulgido esempio di tutto quello che di bello gli sportivi a stelle e strisce hanno da dare e insegnare alla gente a “Nemico pubblico N1” per la ben nota aggressione alla pattinatrice rivale Nancy Kerrigan. E una cattiva nata dalla penna di Dorothy Gladys “Dodie” Smith diventata immortale e leggendaria prima grazie a La carica dei cento e uno, il classico d’animazione Disney del 1961 diretto da Wolfgang Reitherman, Hamilton Luske e Clyde Geronimi e poi grazie all’indimenticabile Glenn Close dei due live action di svariati anni fa.

Non è di certo un caso che nella non lunghissima, ma interessantissima filmografia di Craig Gillespie si possano leggere questi due titoli nelle ultime due righe della lista. C’è una ratio che soggiace al tutto. In attesa di vedere poi Pam & Tommy, la serie sul complicato rapporto fra la rockstar e l’ex PlayMate di Playboy che Craig Gillespie sta dirigendo per Hulu. In occasione del Global Junket virtuale di Crudelia, è stato lo stesso regista a raccontarci il suo amore per i “misfits”, i disadattati, gli outsider.

Ciao Craig, per prima cosa, da fan del cinema anni ottanta, finalmente ti posso ringraziare per il tuo remake di Fright Night, che ho amato.
Oh grazie, molto gentile!
Passando a Crudelia, come è stato organizzare questi set a 360° pieni di comparse in costume?
Sono molto meticoloso e penso sia un bene in circostanze come queste in cui tutti devono sapere con precisione cosa sta accadendo. Per prima cosa sono solito fare questa lista d’inquadrature col mio direttore della fotografia, Nicolas Karakatsanis, per capire e lavorare sul ritmo interno alla scena. Personalmente poi sono solito girare come monto i film. Ogni inquadratura arriva dopo l’altra per raccontare organicamente la storia. Quindi quando arriva il momento di girare effettivamente, tutto tende a essere già molto organizzato anche per le maestranze nei termini dell’allestimento della scena che viene successivamente. Pianificare con precisione rende più scorrevole la lavorazione di un film. O, per lo meno, è quello che spero.

Parlami della trasformazione di Emma Stone in Crudelia
Quando ho ricevuto la sceneggiatura del film l’ho subito apprezzata, ma mi pareva che ci fosse ancora bisogno di un sacco di lavoro. Strutturalmente era ben fatta, ma a livello di tono si poteva fare di più col personaggio. Ho collaborato con Tony McNarama, che aveva già lavorato con Emma per La Favorita, la Disney mi ha accordato il permesso di affidare a lui un po’ di riscrittura della sceneggiatura. Ed è a quel punto che tutto ha acquisito senso ai miei occhi, la dinamica fra Estella e la Baronessa, tutto il secondo atto, avevamo davvero qualcosa di emozionante su cui lavorare. Ed è lì che è arrivata Emma Stone. Penso che per un attore avere a che fare con un personaggio così iconico come Crudelia cercando anche di mantenerlo in un qualche modo ancorato alla realtà non sia facile. Dover far sì che il pubblico possa empatizzare con lei restando, allo stesso tempo, fedele alle aspettative su una villain come lei. Nella nostra prima settimana di lavoro insieme ci siamo focalizzati principalmente su questo, su come raggiungere questo equilibrio.

La scena più complicata da girare?
Guarda, ogni settimana sul set ci trovavamo ad affrontare delle sfide più complicate della precedente, però quando collabori con gente come Emma Stone ed Emma Thompson tutto diventa più semplice. Logisticamente ti direi la scena col camion della spazzatura. Girata a Londra un sabato notte. Avevo solo 8 minuti a disposizione per ottenere l’ultima inquadratura di lei sul camion della nettezza urbana. C’era un po’ di panico effettivo dovuto alle ristrettezze temporali che ci erano state permesse per lavorare in esterni.
Quanta libertà hai avuto nel poter andare oltre i soliti confini del film Disney?
Totale. Anzi, colgo l’occasione per chiedere perdono [ride, ndr.]. È divertente perché tutte le persone coinvolte a livello produttivo – e bada bene che parlo da amante dei film Disney – dicevano “Non stiamo facendo un film Disney”. Ci è stata data questa opportunità e credo che, da un certo punto di vista, si aspettassero che facessimo qualcosa del genere, anche perché io arrivavo dritto dalla regia di Tonya e considerato il template decisamente punk che mi era stato dato per lavorare. Ci sono stati dei momenti in cui tiravamo un po’ troppo la corda e hanno provato un po’ di nervosismo, ma sono sempre riuscito a portare le scene agli estremi che potevo raggiungere. E devo anche rendere il giusto merito alla produzione della Disney che le ha lasciate tutte nel film.

Tonya, Crudelia, ora la serie su Tommy Lee e Pamela. Ti stai costruendo un bel pantheon di personaggi sui generis.
[Ride, ndr.] In realtà, una larga fetta della mia filmografia sembra avere a che fare con dei personaggi disadattati, outsider. E ancora non sono riuscito a razionalizzare il perché di questa cosa. Lars e una ragazza tutta sua, anche Fright Night per certi versi, sono naturalmente attratto da queste figure e da queste tematiche. Capire perché, emotivamente, sono in quella data maniera o perché siano stati ostracizzati dal prossimo. Avere un quadro completo della vita di questi personaggi, per poterli osservare ed eventualmente giudicare con cognizione di causa. Come nel caso di quanto è accaduto a Tonya dove la sovraesposizione e la narrazione mediatica hanno avuto un ruolo non indifferente. Sono affascinato dal prendere delle vicende dove abbiamo tutti un’infarinatura di base e mostrarle da un’altra prospettiva.[...]

[veu]

Interessante intervista, Alessio! grazie!

Qui dal sito D23:

Cruella Chronicles: Hear from Emma Stone and Emma Thompson!

If you’re anything like us, you’ve spent years wondering just how Cruella De Vil became the villain we know (and obsess over) today. All that fabulous fashion, all that hair-raising ruthlessness… what a delicious combo! And now, thanks to Disney’s Cruella—debuting in theaters (and on Disney+ with Premier Access, available in most Disney+ markets) in just a few days time—we’ll all get the inside scoop on what really happened during the iconic character’s rebellious early days…

There might be no one better to divulge all the behind-the-scenes intel about the making of the film than its two stars: Academy Award® winners Emma Stone (Estella/Cruella) and Emma Thompson (Baroness von Hellman)! Luckily, D23 was privy to a rollicking virtual press conference with “the two Emmas”—to better help delineate questions, moderator Grae Drake called on Stone and Thompson using a variety of hilarious nicknames (example: “Stoney Baloney”)—where they revealed some totally memorable stories about their Cruella experience. Don your best deconstructed ballgown, stomp the proverbial runway, and enjoy!

Stone on how the chance to delve into the origins of an iconic Disney villain came about:
“I loved [the original animated] One Hundred and One Dalmatians,” she admits. “I especially loved that the dogs looked like their owners. I always thought that was so funny. And I remember as a kid trying to see if dogs did in fact look like their owners—and a lot of times, they do. But yes, I loved the [animated film] and I thought Cruella was such a fun character.”

Stone’s trajectory towards Cruella wasn’t as clear-cut as one might expect: “It wasn’t as straightforward as getting a call to play [the role],” says the actor. “It was about six years ago. Long before we shot the movie, there was [just] an idea; Disney has all this history, all these characters, and they brainstorm… I think taking the character and putting her in the ’70s works; as much as she is Cruella from One Hundred and One Dalmatians, she’s also not, because you’ve taken a character and created this whole new story for her—with fun nods to One Hundred and One Dalmatians, obviously. I think once [director] Craig Gillespie and the screenwriters came on board, it really started to fly and get very exciting. It was like, ‘Oh my God, we’re making Cruella!’ It’s unbelievable.”

Stone and Thompson on what drew them to their characters…
“It’s interesting, because there is a sort of rejection of Estella that comes at a point,” says Stone. “Estella is sweet, but she’s not fully embodied. So I would say there is something about Cruella that’s pretty enticing, because she just is who she is. She’s in full acceptance and autonomy there. So I am pretty interested in that Cruella world. She does some things—[there are] some lines that I don’t think I would necessarily cross. But to be honest, I sorta prefer Cruella. It’s so much fun to do. For a lot of roles, if you’re someone like me, that has a face that’s made of full rubber—I used to always try and contain a little bit; ‘teaspoons,’ instead of ‘buckets.’ But when you get to throw buckets, it’s a joy.”

As for the Baroness, “I drew on the life, obviously,” Thompson jokes—adding, “I think if my husband were in the room, he’d say, ‘And no acting required, really.’” But in all seriousness, Thompson “had such fun playing her. I’ve been asking for quite a number of years if I could be a villain—a proper villain. And I spent decades playing what my mother used to call ‘good women in frocks.’ And now I got to play a really evil woman in frocks. But oh boy, the frocks! I mean, they wore me, actually, is what happened. I had just the best, best time. Every time [Stone] and I would come on set, we’d just look at each other and walk around each other—like we were sculptures or works of art or something, which we were. In a way, everyone created the Baroness, and then I sort of stepped in and just said the words.”

Speaking of the film’s awe-inspiring “frocks”—not to mention the wigs, and the shoes…
“My very, very favorite outfit, that was absolutely ludicrous, was the dress that I wear on the garbage truck,” Stone admits. “And it was just phenomenal—I mean, it’s nothing you would ever be able to even remotely wear in real life. So it was such a ‘moment.’ There was also that insane skirt [I wear] when I cover the car. That was epic, too; trying to walk up onto a car and then cover an entire car with a switch of the skirt was just fantastic.”

“Those were moments that were real, weren’t they, Emma?” adds Thompson. “You were really [doing all that]—I was there for those bits, and none of it is CGI. It’s all real. You actually walked onto the car and pulled the material around, and you did it about a million times because it was hard… I love that about [this film], that it wasn’t a ‘CGI movie.’”

As for Thompson’s costuming, her recollections of becoming the Baroness are—as you might expect—merrily vivid: “My underwear was like a sort of ship’s rigging,” she comically explains. “There were people hauling on ropes. [Using the bathroom] was hard and involved a team of people. And the shoes were a real challenge, because I don’t wear anything higher than a flip-flop in real life. I had wigs as well—so I was a great deal taller than I’m used to being. I used to have to move in and out of spaces sideways as well, and generally I had three dalmatians at my feet, too! So yeah, the underwear was a big ordeal—not for [Stone], obviously, because she’s as slender as a lily…”

Stone laughs, interjecting: “Your costumes had such structure… I mean, you had some very intense, shapely costuming!” Ever self-effacing, Thompson adds, “The thing is, Emma, you’re little and slight. What you don’t have, if you have flesh [like me], then what you can do is just what they used to do in the olden days—you take the flesh, and you squeeze it in the middle. It moves up and down like toothpaste in a tube. So you can really make kind of quite extreme shapes, and that’s really good fun.”

Thompson on a memory from her youth that came flooding back, thanks to Cruella’s incredibly realistic production design…
“It was very touching, actually,” Thompson admits. “The red London buses are very different now, they look a lot different. But when I was a little girl, they [looked like they do in the film]—they looked exactly the same. And it was the same bus number that brought me into town from where I lived, which is where I still live, because I’m weird,” she adds, chuckling. “But it was the same bus—the 159, and it was the little ‘hop-on, hop-off’ bus. When I saw that this was the bus [Stone] gets on… it just was like being little again; being a teenager, going into London to maybe buy myself a top, you know—which would have cost maybe 50 pence or something, because we’d only just gone decimal. It was the dark ages,” she jokes.

Stone and Thompson on the trajectory of their characters—an association that sets the course of a now-iconic Disney villain’s life:
“Of course, we’re acting, so we’re not really being mean [to each other],” says Thompson. “I mean, there is nothing more fun than pretending. I found pretending to be mean came horribly easily… The Baroness is hardened, completely, and believes in that hardness. She thinks that’s the only way—and that’s what’s so unusual about her, actually. Like Emma [alluded to earlier], I am very interested in the dark side of a female character, because they’re so rarely allowed to be dark. You know, we’re all supposed to be nice and good, aren’t we? And bad mothers are simply unforgivable. I mean, nobody can find the words for the ‘bad mother.’ We don’t know about where they’ve all come from and how they’ve developed, but the Baroness is just so single-minded—and she says this wonderful thing. She says, ‘If I hadn’t been single-minded, I might have had to put my genius at the back of the drawer.’ Like so many other women of genius who died without producing anything and without using their genius… And actually, it is a very good point. So whilst, as Emma says, I wouldn’t necessarily walk that path, her commitment to her own creativity is rather admirable. And difficult, probably.”

Stone agrees: “I don’t think I would ever be able to play a character if I truly thought, ‘Oh, they’re just bad; they’re just a villain.’ Do you think anybody evil walks through the world thinking they’re evil? I mean, I don’t think so. I think they think they’re right. They think they’re correct. Who walks through life thinking, ‘I’m the bad guy’? It doesn’t really make sense for playing a human being. Maybe for playing some type of a robot,” she adds, chuckling.

She continues, “It’s very ‘nature versus nurture,’ this story. So what [Estella] would find a weakness early on—or what her mother would deem a weakness early on, with just her ability to really ‘hit the ceiling’ quickly, her volatility, her reactiveness—becomes her strength, through her creativity and through her genius. It’s interesting. I think it really is a movie about how your weaknesses [can] become your strengths, in a way.”

Cruella premieres in U.S. theaters—and on Disney+ with Premier Access (in most Disney+ markets)—on Friday, May 28. Don’t miss it!

[veu]

Manifesto spagnolo:

[theprinceisonfir...]

Bellissimo poster! Il film sta ricevendo recensioni positive, attualmente è al 70 % su Rottentomatoes.
Particolarmente lodati i costumi (già si parla di Oscar) e la performance di Emma Stone, oltre alla colonna sonora; qualche dubbio destano, invece, la sceneggiatura ed il tono del film (con netta alternanza fra commedia e dramma).

Messaggio modificato da theprinceisonfire il 26/5/2021, 22:43

[The Little Merma...]

Appena tornato dal cinema, tra l'altro contentissimo ed emozionato perchè non ci andavo dal 14 febbraio 2020.
Il film è molto molto carino, a livello visivo e di costumi uno spettacolo, ma ho trovato vari elementi negativi:
- verso la fine tende ad esagerare un po' e diventare surreale come sempre...
- le scenette e le battute che tendono ad essere comiche le avrei totalmente eliminate perchè cadono nel ridicolo (il doppiaggio italiano non aiuta) e rovinano un po' il film.
- infine non capisco se il film si presenti come prequel del classico e dei 2 live action, perchè in tal caso molte cose non quadrerebbero

[veu]

The Little Merman, Anita ha un ruolo nel film? o è solo una comparsata?

[The Little Merma...]

The Little Merman, Anita ha un ruolo nel film? o è solo una comparsata?

ruolo molto marginale

Messaggio modificato da The Little Merman il 26/5/2021, 23:49

[Daydreamer]

Già si parla di sequel, le attrici amerebbero farlo in stile Il Padrino - Parte II, una sorta di prequel/sequel... e con Glenn Close coinvolta!

Fonte: Rotten Tomatoes

[Fulvio84]

Già si parla di sequel, le attrici amerebbero farlo in stile Il Padrino - Parte II, una sorta di prequel/sequel... e con Glenn Close coinvolta!

Fonte: Rotten Tomatoes

magari ci spiegano come ha fatto Anita a passare da un'etnia all'altra nei vari film

[The Little Merma...]

il sequel mi sembra più che scontato.
Comunque visti i cambiamenti apportati all'interno del film, credo che la saga si discosterà totalmente dal classico... un po' come per Maleficent.