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> Cenerentola (Live Action), Walt Disney Pictures
nicolino
messaggio 12/6/2015, 14:25
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Pff... così in America esce quasi un mese prima rispetto all'Italia, strano! dry.gif
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Beast
messaggio 13/6/2015, 9:35
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CITAZIONE (nicolino @ 12/6/2015, 15:25) *
Pff... così in America esce quasi un mese prima rispetto all'Italia, strano! dry.gif

In tutta Europa il dvd/bd esce a fine agosto, negli USA esce il 15 settembre.
Credo che esca prima solo in Australia.


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nicolino
messaggio 29/6/2015, 8:39
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A un passo dal raggiungere i 540 milioni nel mondo, Cenerentola ha raggiunto già da metà settimana scorsa il traguardo dei 200 milioni negli USA.

Domestic: $200,306,000 37.2%
+ Foreign: $338,700,000 62.8%
= Worldwide: $539,006,000
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-Scrooge McDuck-
messaggio 29/6/2015, 12:06
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Caspita non l'avrei mai detto smile.gif Ormai davo per scontato che si fosse fermato prima, invece..
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Klauz_star
messaggio 30/6/2015, 18:44
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Bene ma che non gli venga in mente di fare il seguito come per "Maleficent" piuttosto sarebbe carino un cortometraggio basato sulla versione animata come bonus (ma dubito che lo realizzeranno)
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Scissorhands
messaggio 30/6/2015, 21:39
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Ve l'ho detto che ci sarebbe arrivata. smile.gif


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thanks to giagia
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Silselva
messaggio 16/9/2015, 1:19
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Due delle diverse scene eliminate previste per il servizio di streaming online Disney movies anywhere: (sono comunque sneak peek, in realtà durano di più)





Speriamo che nei prossimi giorni qualcuno le carichi tutte!


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veu
messaggio 15/11/2015, 14:02
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Da OrgoglioNerd:

Scena eliminata di Cenerentola - L'infanzia di Ella

Sul canale YouTube di Disney Italia è stato pubblicata un video tratto dal film di Cenerentola del 2015, diretto da da Kenneth Branagh.
Nella clip è lo stesso regista a presentare al pubblico alcune scene eliminata dal film e spiega il motivo per cui non sono state inserite nel film.

Il film è l'adattamento cinematografico della celebre fiaba di Cenerentola e remake in live action del film d'animazione del 1950.
Buona visione!


Video:

Click


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Klauz_star
messaggio 15/11/2015, 16:15
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Chissà quante idee e scene scartate... ad esempio in un primo momento la storia era molto più dark, e sopratutto hanno utilizzato scene pensate per il classico degli anni 50 come l'incontro con il principe nella foresta, o il rientro a casa delle sorellastre.
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Simba88
messaggio 26/12/2015, 20:23
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Mi sembra di aver capito che al cinema nei titoli di coda c'era la versione originale di "Strong"; su Sky invece ieri hanno inserito la versione italiana cantata da Arisa.


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Capitano Amelia
messaggio 27/12/2015, 0:12
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CITAZIONE (Simba88 @ 26/12/2015, 20:23) *
Mi sembra di aver capito che al cinema nei titoli di coda c'era la versione originale di "Strong";

Sì, confermo che c'era la versione originale. smile.gif


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Grazie Simba !

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Simba88
messaggio 27/12/2015, 17:18
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Se non l'avete ancora ascoltata, questa è la versione italiana:

https://www.youtube.com/watch?v=zbBTsDL4Rek


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nicolino
messaggio 17/1/2016, 14:42
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"Cenerentola" concorre al premio Oscar nella categoria "Migliori Costumi", ovviamente. smile.gif
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Klauz_star
messaggio 17/1/2016, 22:12
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Incrocio le dita... Lily James non è in lizza per nulla?

Comunque sono contento almeno per la candidatura...
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Capitano Amelia
messaggio 17/1/2016, 22:58
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CITAZIONE (Klauz_star @ 17/1/2016, 22:12) *
Incrocio le dita... Lily James non è in lizza per nulla?

Per quanto riguarda gli Oscar, no.


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Grazie Simba !

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Klauz_star
messaggio 28/1/2016, 16:26
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A breve esce in un film basato su Orgoglio e Pregiudizio... se la sua carriera prende il volo lo deve sicuramente a Cenerentola... e io l'ho trovata molto azzecata.
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veu
messaggio 17/3/2017, 23:43
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Dal sito Vulture ecco come avrebbe dovuto essere la prima idea del live action di Cenerentola:

Originally the story for 2015’s Cinderella was radically different. “She was cast out to stop a wedding that was of political import to the kingdom,” Bailey said. “She was left for dead, she had to fight her way through a forest and befriended a rogue knight.” But with the story having been remixed countless times before, the team eventually realized they should just do it straight.

In pratica era una versione Disney di Biancaneve e il Cacciatore...

come idea non era male, preferiamo quella finale che hanno scelto però non era male... magari la useranno tra alcuni decenni quando decideranno di realizzare alcuni spin off.



Qui un'intervista allo sceneggiatore del film, Chris Weitz:

Dal sito Mtv:

'CINDERELLA' WRITER REVEALS HOW TO REIMAGINE A MODERN DISNEY PRINCESS

CHRIS WEITZ TELLS US HOW NON-VIOLENCE MADE FOR A STRONGER "CINDERELLA."

Throughout the summer of 2015, moviegoers were treated to a whole gaggle of kick-butt feminist heroes, from "Mad Max: Fury Road" rebel Imperator Furiosa (Charlize Theron) to Black Widow (Scarlett Johansson) to the sassy and raunchy Barden Bellas from "Pitch Perfect 2." But earlier in the year -- way, way back in February -- a different sort of leading lady ruled the big screen, making a solid argument that kindness and non-violence work just as well as attitude and a big gun when it comes to bringing diverse female stories to the big screen.

"Cinderella is not a very contemporary heroine," Chris Weitz, who wrote the screenplay for the Lily James-starrer "Cinderella," told MTV News over the phone. "She doesn’t kick ass, she doesn’t start her own business, and she doesn’t run away from home even though she’s being abused. The question is, how you can make that something that contemporary audiences can accept at all? And I guess for us, she was a non-violence, passive resistance heroine. These are not fashionable ways to behave, but it was really interesting that she wins by having tremendous resilience."

It's definitely a fair argument that Ella -- who faces severe abuse at the hands of her stepmother (Cate Blanchett) -- could be seen as a bit of a pushover during certain moments in the film, like that time her stepsisters took over her bedroom, relegating our heroine to the attic. But according to Weitz, Ella's way of surviving is a lot more realistic for most people than, say, Jennifer Lopez's escape mission in "Enough" -- especially because there were "no social services" and little to no employment opportunities for women in Ella's time.

"There are many, many contemporary films and TV shows where the heroine is empowered by striking back -- and that’s great, but that’s not the position that people always find themselves in," Weitz explained. "Sometimes, [people are] in a bad situation, and they are going to have to love it or they’re going have to figure their way out. Through not some kind of act of violence or some amazing strategic coupe, but by actually having more resilience, more courage, more strength than what’s being thrown at them.

"And you know, the knock on 'Cinderella,' the story, is that you have to wait around for a prince to come and save you, but we wanted to address that by making the prince somebody who’s worthy of Cinderella’s attention, and who had been through a similar kind of suffering, so that it really made sense," Weitz continued. "The interesting thing to me is that Cinderella is never a princess at any time in this movie, by the end of the film she’s a queen, and it’s because of her character that she’s going to end up running the joint. So, unlike a princess who kind of sits around and looks good and gets to wear nice clothes, she actually is going to be on top."

Creating this version of Cinderella -- a version who is strong enough to deserve to win out at the end of the day, while still holding true to the more classic version of the iconic Disney character -- was important to Weitz when he was writing the script, since making something as classic as "Cinderella" comes with a lot of social responsibility.

"It’s going to matter a lot to people," he said. "A lot of adults are going to go in and it’s just a film like any other, but many children will go in and it’ll be one of the first movies they’ve seen, or it’ll be a movie they’ll see over and over again. It’ll be a movie that will really get to them. So you’ve got this amazing territory that you’ve got be very responsible with -- that’s the challenging part of it, is that you or I want to tell a Cinderella story that doesn’t end up being socially retrograde, that manages to take this character with a very traditional sense of romance and morality and gives children something that they can actually use."

A big part of how this worked, in addition to the aforementioned resilience, and James' strong performance, was actually due to a major makeover for Prince Charming -- or Kit, since our leading man finally has an actual name.

"It was great that we had Richard Madden, who’s incredibly winning and charming... he was actually a character worthy of being interested in; worthy of meeting of somebody like Lily James’ character," Weitz said. "Most of the time [Prince Charming] is a creep. Most of the time he’s kind of a stuffed white shirt; a really rich, good looking guy. So, yeah, it was really fun to do that. I think it’s great when casting comes through... he was never going to be Robb Stark, but that being said, I was a big fan of Richard Madden from 'Game of Thrones.' So, it was terrific. [Ella] goes into a real relationship with an equal."

With all of the thought that went in to making a Cinderella who stays true to the iconic Disney princess style while incorporating more feminist elements, it's good to know that Weitz's next project, the Felicity Jones-starrer "Rogue One: A Star Wars Story," is in good hands... though Weitz, who just welcomed a baby daughter earlier in the summer, maintains that cinema in general will be far better off when more Ellas are given a chance to tell the story.

"I think that it’s great that the 'Star Wars' franchise is really putting its chips down on strong heroines, and I think it’s about time," he concluded. "So, yeah -- listen, the situation isn’t really going to be rectified until there are as many female writers and directors as there are people like me, but meanwhile, I’d like to try to be part of the solution instead of part of the problem."




E qui intervista al regista, Kenneth Branagh:

Dal sito Mtv:

‘CINDERELLA’ DIRECTOR OPENS UP ABOUT HIS ANTI-GOOSE SENTIMENT

SIR KENNETH BRANAGH DOES NOT TRUST GEESE.

This year’s live-action “Cinderella” remake garnered rave reviews for its earnestness and sweetness, the gorgeous Lily James embodying the titular princess with grace and realism. The man behind the movie, Sir Kenneth Branagh, was very, very intentional about what kind of movie he wanted to make. No gritty reboots here.

“I really, really responded to Chris Weitz’s script, and I found nothing to be cyclical about in Cinderella’s attempt to listen and follow her mother’s invocation to have courage and be kind,” Branagh told MTV News in an interview in support of the film’s home release. “If, tonally, we could feel these were sort of genuine attempts from real people — not saints — but real people, who one the whole believed that the path of nonviolent resistance was a good one, and that you could turn the other cheek…I definitively said to Disney early on, my take is not going to be dark and gritty. My take is human and I hope humane and fun and funny, but it’ll be bright."

“It’s trying to find rather than just frankly saying life is a bad, difficult thing, that life contains endless challenges. As a friend of mine once said, life is flying through turbulence. But sometimes it’s nice to enjoy it when there’s a little bit of nice, clean fresh air and Cinderella represents that. I’m inspired by people who make big efforts in life. in this fairytale story, this girl makes a big effort. I’m on her side and I believe when she succeeds that I and other people who watch her and cheer her on can succeed too.”

Available on DVD and Blu-ray today, “Cinderella” feels like one of those movies that a certain category of child will watch every single day, begging for a double feature and never getting tired of it. Branagh said that when he was a kid, “Chitty Chitty Bang Bang” was that infinitely watchable movie for him.

“It’s very bright, very sunny. I always felt it was a very upbeat thing. It was a musical and I just as a little boy I kind of loved the inventive thing. In the beginning of that movie Thoracticus Potts creates breakfast in a kind of crazy self-invented kitchen. I could watch that sequence again and again and again. That was how I wanted my boiled egg every day, I wanted it to roll down a special track, I wanted it picked up with special things and dropped in there, and a knife to come off and mechanically cut the top off, I thought that was thrilling. I thought my goodness, what a wonderful start to the day that would be. As brilliant as my dad was and as good with his hands, I just wished that he could have invented with crazy kitchen and breakfast making equipment like the film.”

And no, the director has not missed the fact that people of all ages are absolutely bonkers for Disney princesses. His theory is that it’s about living your life “in a good way, in a creative way, in an imaginative way, in a different choice kind of way, rather than life as some people might tell you it is. Some people might tell you that means you’re a dreamer, or you’re unrealistic or you’re psychopathic, and for others it means, you know what, that’s a wonderfully optimistic way of transforming how to have fun in your life, if you live that way.”

“I think it goes beyond wearing cool or colorful or glittery things, but there is, it is somehow wrapped up in feeling that we can be and that we can lead lives that have some beauty in them. And I don’t just mean beauty of things or even physical beauty but sort of feel good and be positive and somehow I guess allow us to escape a little but also escaping int he real hope and belief that to be regal of spirit. That’s what I sort of take from the Disney princess thing is something to aspire to. It’s not a running away from life.”

And, of course, his favorite Disney princess is “Cinderella.” As if the man who put Lily James so beautifully into that glittering blue dress could answer any other way.

Branagh also addressed the seeming anti-goose sentiment in his movie. (Never forget when the goose-footman told Cinderella, “I can’t drive, I’m just a goose.”) What’s up with that, Sir Ken? Why the goose hate?

“It’s all I’m saying is a subtle warning. It’s saying to the children of the world, if you are out and a goose comes up and says may I drive you in my carriage, even for a short while, even with your folks watching, you’ve got to be careful,” he said. “They’re really well intentioned, but fundamentally flawed in their skill levels as drivers. It’s a piece of harmless advice.”


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veu
messaggio 1/9/2018, 11:46
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Visto che nel topic dello Schiaccianoci si è parlato un po' dei costumi del film, mettiamo un'intervista alla costumista di Cenerentola.

Dal sito Vanity Fair:

First Look: The Making of Cinderella’s Wedding Gown

Costume designer Sandy Powell tells us about the thousands of hours of work, and many, many crystals, that went into Disney’s new live-action fairy tale.

by PAUL CHI
FEBRUARY 11, 2015 11:32 AM

Sixty-five years after Walt Disney released the animated film Cinderella, the beloved fairy tale is heading back to the big screen on March 13 as an epic, live-action romance. Costume designer Sandy Powell drew inspiration from the 19th century and the 1950s to reimagine the looks of characters from the classic cartoon for director Kenneth Branagh’s remake.

“I wanted the costumes to be bold and have an explosion of color as if it were a picture book,” says Powell, 54, a three-time Oscar winner. “But at the same time, I wanted the clothes to be true to each character and believable.” In a fairy tale movie, as you might imagine, “believable” can be stretched. Powell’s work on Cinderella included an twelve-layer ball gown, a single dress that took more than 550 hours to make, and eight pairs of shoes made of Swarovski crystal—none of which were ever worn by Cinderella herself.

When it came time to dress Cinderella (Lily James from Downton Abbey) for her magical wedding to the Prince (Game of Thrones alum Richard Madden), Powell says it was crucial that the happily-ever-after gown be unlike the showstopping, blue gown she wears to the ball. “Creating the wedding dress was a challenge. Rather than try to make something even better than the ball gown, I had to do something completely different and simple,” she says. “I wanted the whole effect to be ephemeral and fine, so we went with an extreme-lined shape bodice with a long train.”

She constructed a beige colored, long-sleeve, silk organza gown with a floral print to represent the simplicity of the princess-to-be. “Cinderella wins the Prince’s heart through her goodness, so I wanted to show this through her clothes,” Powell explains. “I wanted her to stay modest and pure even though she was going to be a part of royalty.”

A team of seamstresses meticulously cut, sewed, and stitched together the elegant, to-the-floor–length gown for nearly a month. Once it was assembled, the frock was given to the artists who intricately hand painted flowers onto the gown. It took 16 people and 550 hours to complete the dress. However, all the hard work put into the picture-perfect gown was nearly lost. While the production crew snapped photographs of James in the gown, she stood too close to a small electric heater and the dress caught on fire. “It was a disaster! The entire top layer was completely burned and it had to be redone. It wasn’t like, ‘Is Lily O.K.?’ All we were concerned about was the dress, because only one wedding dress was created due to time and budget,” says Powell.


For the Prince’s wedding-day attire, Powell chose a military aesthetic similar to the animated character, but with tailoring from the 1950s thrown in. “The silhouette and the shape of the shoulders is from the original animation,” she says. “But we created more of a fitted look and dressed him in less masculine colors such as blue, green, and white.” The wool military jacket, which was dyed a light blue to accentuate Madden’s eyes, boasts gold bullion and crystal-sequenced braids that were hand embroidered in Pakistan.

Powell began working on concepts for the characters’ looks almost two years before principal photography began in the summer of 2013 on the soundstages of England’s Pinewood Studios. The British designer viewed the animated film before starting her design process just out of curiosity, but she was influenced subconsciously by the size of the ball gown in which Cinderella makes her dramatic entrance to the palace ball. She began with the sketch, below.

“I wanted to make the gown look enormous,” she says. “The gown had to look lovely when she dances and runs away from the ball. I wanted her to look like she was floating, like a watercolor painting.” To convey a weightless, flowing dress, the voluminous skirt was composed of more than a dozen fine layers of fabric that included crepeline silk, printed polyester, and iridescent nylon in different shades of blue and turquoise. Underneath those layers, James wore a corset and petticoat. In the end, nine versions of Cinderella’s ball gown were created, each featuring more than 270 yards of fabric and 10,000 Swarovski crystals. It took 18 tailors and 500 hours to complete per dress.

The biggest challenge of all was bringing Cinderella’s famous glass slipper to life. Instead of using glass, Powell designed a five-inch heel made out of Swarovski crystal based on a shoe from the 1890s that she saw in a museum in Northampton, England. “The most important thing was the shoes had to sparkle, which meant it had to be made out of crystal because glass does not sparkle,” she explains. Eight pairs of the shoes were created, but James wore none due to the fact that crystal has no movement. To appear on-screen as if she were wearing glass shoes, the visual effects department turned her leather shoes she wore on set into crystal. “Just like the Fairy Godmother,” Powell says, “we can do magic.”


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Klauz_star
messaggio 18/9/2018, 16:29
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CITAZIONE (veu @ 18/3/2017, 0:43) *
Dal sito Vulture ecco come avrebbe dovuto essere la prima idea del live action di Cenerentola:

Originally the story for 2015’s Cinderella was radically different. “She was cast out to stop a wedding that was of political import to the kingdom,” Bailey said. “She was left for dead, she had to fight her way through a forest and befriended a rogue knight.” But with the story having been remixed countless times before, the team eventually realized they should just do it straight.

In pratica era una versione Disney di Biancaneve e il Cacciatore...

come idea non era male, preferiamo quella finale che hanno scelto però non era male... magari la useranno tra alcuni decenni quando decideranno di realizzare alcuni spin off.



Avevo letto che in origine doveva essere più dark come alice, e che il regista doveva essere tim burton... ne sono state scritte diverse versioni ma alla fine ha vinto la versione più fedele al classico (con le scene inizialmente concepite per il classico e riciclate), ad esempio oltre a Emma Watson si era parlato pure di Amanda seyfried.... da quello che ho capito nella storia originale doveva fermare un matrimonio che era alla base di un complotto, di quello ne è rimasta una piccola traccia con il personaggio di Selina che fa una comparsata al ballo come promessa sposa del principe ma poi scompare.

a me piace il live, hanno puntato alla semplicità.
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Hiroe
messaggio 18/9/2018, 21:37
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Anch'io ne ho apprezzato la semplicità, lasciamo le rivisitazioni incredibili agli altri, secondo me..
Per Burton, meno male il film si è salvato! Spero che non volessero fare il brand dei Remake burtoniani di tutti i classici, sarebbe stato ridicolo... Anzi, mi fa piacere che i remake siano un po' diversi tra loro:) Burton per qualche film ci sta bene, ma è sempre stato uno spirito ribelle, i film che gli hanno imposto di fare sono quelli venuti peggio.


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Klauz_star
messaggio 23/9/2018, 12:30
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A me sarebbe piaciuto se ci fosse stata una parte musical, ma come hanno detto i veu, ci sono stati problemi di tempistiche, sopratutto perché non pensavano che il musical tornasse in auge, dopo "frozen" però a me va bene cosi, mi piace che in questo contesto hanno inserito delle scene scartate dal classico e hanno provato a mettere qualcosa di nuovo (come la morte del re) oppure approfondire il carattere della matrigna.

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messaggio 7/10/2018, 18:37
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CITAZIONE (Klauz_star @ 18/9/2018, 17:29) *
a me piace il live, hanno puntato alla semplicità.


Ed hanno fatto bene. happy.gif
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messaggio 7/10/2018, 18:40
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CITAZIONE (veu @ 18/3/2017, 0:43) *
Dal sito Vulture ecco come avrebbe dovuto essere la prima idea del live action di Cenerentola:

Originally the story for 2015’s Cinderella was radically different. “She was cast out to stop a wedding that was of political import to the kingdom,” Bailey said. “She was left for dead, she had to fight her way through a forest and befriended a rogue knight.” But with the story having been remixed countless times before, the team eventually realized they should just do it straight.

In pratica era una versione Disney di Biancaneve e il Cacciatore...


wacko.gif Con di nuovo uno stile Chris Hemsworth che mena! eheheh.gif
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veu
messaggio 15/6/2020, 20:57
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Dal sito Movie Locations:

Cinderella | 2015

LOCATIONS | London; Oxfordshire; Berkshire
DIRECTOR | Kenneth Branagh
CAST | Lily James, Cate Blanchett, Richard Madden, Helena Bonham Carter, Nonso Anozie, Stellan Skarsgard, Derek Jacobi, Hayley Atwell, Ben Chaplin, Gerard Horan, Josh O'Connor

After Thor and Frankenstein, Kenneth Branagh brings another legendary character to the screen with this refreshingly straightforward, romantic live-action update of Disney’s own 1950 cartoon.

Before you get too carried away about the prospect of swirling round that sumptuous ballroom, remember that Branagh seems to like working in the studio and most of the film was shot on stages at Pinewood Studios near Iver Heath in Buckinghamshire, home of those great British institutions, the Bond films and the Carry On... series.

In fact, the Grand Ball was filmed on Pinewood’s 007 Soundstage, the largest in Europe. The gigantic set (here come the stats: 50 yards long, 35 yards wide and 30 feet high) was designed by Dante Ferretti, the Production Designer who worked with Pier Paolo Pasolini and Federico Fellini, and went on to design The Aviator, Shutter Island and Gangs Of New York for Martin Scorsese. Ferretti took visual elements from such displays of architectural bravura as the Louvre, the Opera Garnier and the Hotel de Soubise in Paris, as well as the UK’s Blenheim Palace.

The interiors for the family house of Ella (Lily James) were also built in the studio, but the exterior was constructed in Black Park Country Park, which backs onto the studio and has predictably seen in countless productions.

Blenheim Palace, in the village of Woodstock in Oxfordshire, not only provided inspiration for the look of the palace, the vast estate provided its gardens. You’ll remember the coaches rattling over the Palladian style Grand Bridge just below the house, which divides Blenheim’s Lake from Queen Pool.

One of England's largest houses, Blenheim was designed by Sir John Vanbrugh as the family seat of the Dukes of Marlborough, the Churchill family, and was named after the Battle of Blenheim. Built around 1720, it went on to become the birthplace of wartime Prime Minister Sir Winston Churchill.

Blenheim Palace previously supplied the exterior of ‘Elsinore’ for Branagh’s 1996 film of Hamlet, and has also hosted filming for the 1998 film of TV’s The Avengers, Stanley Kubrick’s Barry Lyndon, The Young Victoria and King Ralph (it’s currently seen as the Palace in TV’s The Royals).

The woodland, where Ella first meets Prince Kit (Richard Madden) as he leads a stag hunt, is an area called Bears Rails in Windsor Great Park, which which surrounds the royal residence of Windsor Castle in Berkshire. The ancient woodland, which takes its name from the legend that animals for Royal bear-baiting were once kept here, is also featured in another fairy-tale film, Snow White And The Huntsman.

A couple more real locations include the Palace room in which the Prince Kit and his men practise their fencing skills, which is the Painted Hall of the Old Royal Naval College, King William Walk, London.

The college was designed by Sir Christopher Wren and the Hall was used as the dining room of the naval hospital until the College moved out. Painter James Thornhill collaborated with architect Nicholas Hawksmoor for nineteen years on this trompe l’oeil extravaganza. It was here that the body of Lord Nelson lay in state.

The Painted Hall, also seen in The Madness Of King George, Lara Croft: Tomb Raider, Quills, the 1998 film of The Avengers, Michael Winner’s 1983 remake of The Wicked Lady, is open to the public. You can see the College’s exterior in countless films, including Pirates Of The Caribbean: On Stranger Tides, Thor: The Dark World, as ‘Paris’ in Les Misérables and – very briefly – in The Dark Knight Rises.

The sculptural water feature at Cliveden House Hotel, Taplow, northeast of Maidenhead on the B476 Hedsor Road on the Berkshire / Buckinghamshire border, was copied to provide the 'Shell Fountain', seen as Cinderella arrives at the Royal palace for the Ball.

And as the palace timepiece counts down the fateful strokes to midnight, the glittering gold face is that of the clock tower at Cliveden.

Once home to the Astor family, Cliveden – now part stately home, part luxury hotel – was the real site of events recounted in the 1989 movie Scandal, and supplied the interior of ‘Buckingham Palace’ for the 1965 Beatles film, Help! as well as appearing in Carry On – Don’t Lose Your Head and Guy Ritchie's 2009 Sherlock Holmes, with Robert Downey Jr.




the bridge on the palace grounds: Blenheim Palace, Woodstock, Oxfordshire




the exterior of the palace: Blenheim Palace, Woodstock, Oxfordshire




the Palace’s gilt clock: Cliveden House, Taplow, Buckinghamshire


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