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Inviato da: Daydreamer il 28/9/2016, 15:01

Da http://www.comingsoon.net/movies/news/770967-jon-favreau-to-direct-live-action-lion-king-movie

Jon Favreau to Direct Live-Action Lion King Movie!

After a surprising tweet from the director earlier this morning, Walt Disney Studios has confirmed that director Jon Favreau is putting a new reimagining of The Lion King on the fast track to production. The Lion King movie follows the technologically-groundbreaking smash hit The Jungle Book, directed by Favreau, which debuted in April and has earned $965.8 million worldwide.

The Lion King builds on Disney’s success of reimagining its classics for a contemporary audience with films like Maleficent, Cinderella, and The Jungle Book. The upcoming Beauty and the Beast, starring Emma Watson as Belle, is already one of the most anticipated movies of 2017. Like Beauty and the Beast, The Lion King will include songs from the animated film. Disney and Favreau are also in development on a sequel to The Jungle Book. No release date has been announced for either film.

The Lion King (1994) is one of the biggest animated films of all time with a lifetime global box office gross of $968.8 million, including $422.8 million domestically. It won Academy Awards for the original song “Can You Feel the Love Tonight” (Elton John, Tim Rice) and original score (Hans Zimmer), plus two Grammy Awards, with the soundtrack selling over 14 million copies. In 1997, the stage production “The Lion King” made its Broadway debut, winning six Tony Awards; 19 years later, it remains one of Broadway’s biggest hits alongside several other productions running around the world, including London, Hamburg, Tokyo, Madrid, Mexico City, Shanghai, and North America. Translated into eight different languages, its 23 global productions have been seen by more than 85 million people across every continent except Antarctica.

Inviato da: veu il 28/9/2016, 15:18

Il Re Leone? sarà tutto CGI a questo punto. non è live action, solo gli ambienti saranno live action.

ma perché non fanno Aladdin? è l'unico degli anni 90 finora non annunciato (sebbene sia uno dei film con maggiori potenzialità). e potrebbero fare anche Raperonzolo in versione seria...
e soprattutto perché non rifanno Biancaneve che così la rilanciano visto che per il grande pubblico è spesso accantonata?

Inviato da: Daydreamer il 28/9/2016, 15:26

- C'è Genie in sviluppo, prequel sulla vita del Genio di Aladdin.
- C'è Rose Red in sviluppo, la storia di Biancaneve vista dal punto di vista della "sorella" Rosarossa (stile Maleficent tanto per capirci).

Inviato da: veu il 28/9/2016, 15:42

sì ma li faranno mai??? nel senso avranno presa sul pubblico??? non crediamo che Genies possa avere la stessa presa che ha un Aladdin... a meno che non inglobano pure oltre al prequel la storia del film come hanno fatto per Maleficent (che è la storia sia prequel sia del film, ok rivista ma la storia è quella)... la vediamo dura
E Rose Red? ma sarà vera o era un pesce d'aprile che è sfuggito loro e non hanno più avuto il coraggio di smentire? se fosse vera sarebbe bello perché Biancaneve diciamocelo pure deve essere rilanciata in qualche modo... però non si è più saputo niente.
Biancaneve non la rifanno mai, già nei sequel non c'era mai, Aladdin non è che sia poi tra i film su cui puntino di più (nonostante l'innegabile successo che è stato pressoché imbattuto, assieme al Re Leone, per decenni). E Raperonzolo in versione seria sarebbe da fare, ma forse questa fiaba non ha l'appeal di altri racconti.

Inviato da: LucaDopp il 28/9/2016, 15:58

Sempre peggio.

Inviato da: Daydreamer il 28/9/2016, 16:09

Per Genie sono portato a pensare anch'io che sia nel limbo (come il film su Trilli, Mulan, Peter Pan). Adesso che Burton ha terminato Miss Peregrine, dovrebbe mettersi a lavorare su Dumbo. Sembra certa Cruella (hanno già preso contatti con la possibile candidata al ruolo, Emma Stone), mentre Rose Red potrebbe essere una concreta possibilità (ci tengono a Biancaneve, se hanno cestinato Snow and the Seven con la Ronan è solo per l'avvento di Biancaneve e il Cacciatore nonché Biancaneve con la Roberts...per me aspettano solo qualche anno). Rapunzel non credo subito, c'è la serie tv da lanciare ed è un film ancora troppo recente e poco "classico", deve invecchiare ancora un po' secondo me.

Inviato da: CostanzaM il 28/9/2016, 16:17

Mah, secondo me l'unico live-action che avrebbe senso a questo punto sarebbe il Gobbo, nella nuova versione off-Broadway.
Più fedele al romanzo, canzoni vecchie e nuove, abbastanza diverso dal cartone da giustificarne un remake.

Inviato da: Simba88 il 28/9/2016, 17:31

Ahi!!
Immaginatevi animali realizzati in maniera fotorealistisca nella sequenza "Voglio Diventar Presto Re", un vero obbrobrio!
E spero, SPERO, che la sceneggiatura non sarà effettuata da Linda...

Inviato da: Scrooge McDuck il 28/9/2016, 20:01

Io personalmente non impazzisco all'idea di tutti questi live action, pur se fatti bene, perché rimango comunque dell'idea che sarebbe molto più interessante vedere quelle competenze artistiche di scenografi, costumisti e animatori su prodotti totalmente originali. Tuttavia capisco il motivo economico e riconosco anche il valore di alcune pellicole fatte dalla Disney fin'ora.
Detto questo, trovo molto stimolante il fatto che oggi come oggi si arrivi a definire un film "live-action" anche se la componente umana che vi appare nel video è nulla...apre a scenari nuovi e molto interessanti per me )

Inviato da: Daydreamer il 29/9/2016, 14:27

Ottima osservazione. Nessuno si è ancora espresso al riguardo ma sono pronto a scommettere (e sperare) che qualcuno dei personaggi potrebbe essere un umano. Il mio voto va certamente a Rafiki e in particolare alla magnifica versione del personaggio in versione femminile del musical; trovo che la storia raccontata dal punto di vista di una sciamana in live action potrebbe risultare molto interessante.

Inviato da: Bristow il 29/9/2016, 16:28

Questo ennesimo (e ridicolo) annuncio di un'altro live action solo a dimostrazione di chi dice che queste produzioni non sono legate ai soldi... XDD
Ormai son matti da legare...

Inviato da: LucaDopp il 29/9/2016, 17:36

C'è davvero qualcuno che lo dice? E comunque al giorno d'oggi non c'è nulla a Hollywood che non venga fatto unicamente per soldi.

Inviato da: Scissorhands il 2/10/2016, 22:07

Questo ennesimo remake "live action" davvero non ha senso... cosa avrà di live action? Sarà come il film animato. Se poteva esserci un motivo per il libro della giungla (avere un mogli in carne e ossa), qui mi manca davvero la motivazione (ah si ok, i soldi)...

tra tutti questo è davvero il progetto più boh ... vedremo...

(che poi Favreau deve fare pure il seguito del libro della giungla! Come diavolo farà?)

Inviato da: veu il 2/10/2016, 23:18

ma infatti se proprio volevano adattare un altro film del Rinascimento potevano fare Aladdin che di sicuro sarebbe stato un vero live action.
Il Re Leone sarà un film animato (la Disney nemmeno l'ha presentato come live action ma semplicemente come re-immaginazione del film) ma animato in CGI con sfondi in live action come Dinosauri per capirci.

che poi anziché il Re Leone non potevano fare Aida che almeno pur essendo un remake del musical sarebbe stato un soggetto originale tantopiù che in Europa quasi nessuno ha visto Aida di Elton John e sarebbe potuto essere spacciato alla massa come opera prima?

Inviato da: IryRapunzel il 3/10/2016, 22:04

Certo se decidessero di fare la versione del musical non sarebbe davvero male. Ma considerata la scelta di Favreau alla regia vorranno Il libro della giungla 3.

Inviato da: CostanzaM il 3/10/2016, 22:23

Magari!!!
Anni fa si vociferava che fosse in pre-produzione con Beyoncé come protagonista. Vorrei tanto rivederla in un musical. Magari farà Nala...

Inviato da: Scrooge McDuck il 4/10/2016, 12:58

Spacciare questo film come opera prima però cozza col primo intento di questa operazione della Disney: far leva sui film già famosi e popolari per portare la gente al cinema

Inviato da: Daydreamer il 13/10/2016, 22:21

La sceneggiatura sarà scritta da Jeff Nathanson, già autore per Disney dell'ultimo Pirati dei Caraibi: La vendetta di Salazar nonché dei film di Spielberg Prova a Prendermi e The Terminal. Un autore davvero solido.

Da http://variety.com/2016/film/news/lion-king-live-action-disney-writer-jeff-nathanson-1201888075/

Inviato da: Daydreamer il 1/12/2016, 13:20

Molto probabilmente si assisterà alla visione con dei visori, pare che il regista impiegherà la realtà virtuale più che una semplice tecnologia 3D.

Da http://www.comingsoon.net/movies/news/790753-jon-favreau-to-use-vr-tech-for-live-action-lion-king#/slide/1

Jon Favreau to use VR tech for live-action Lion King

Director Jon Favreau and his production team blew audiences away with the special effects used in Disney‘s live-action version of The Jungle Book. It was recently revealed that Favreau will not only be doing a sequel to the film, but he will take the helm on a live-action version of the 1994 animated film The Lion King as well. We just spoke to Favreau about both films and he revealed that he not only used some virtual reality technology for The Jungle Book, but that he’ll be using it a lot more in the live-action Lion King movie.

Favreau told us about how virtual reality tech is being developed faster than other effects tech because it’s a consumer-grade product. “A lot of the simulcam and motion capture technology that we use here, a lot of it was innovated around the making of ‘Avatar,’ and hasn’t really changed much, because there’s just not a lot of consumers,” he said. “There are a lot of people who watch, but not a lot of people who use the technology. So we were finding ourselves building around technology that hadn’t changed a lot in the last 10 years. But now as we’re exploring what is being developed for VR, and game engine technology, a lot of that was used to some extent in ‘Jungle Book,’ but as I look forward to developing this process further, there’s a lot over overlap.”

He explained that he got into this technology because he was working on a VR project called Gnomes and Goblins, which lead him to a tech startup where he watched The Blue; a virtual-reality blue whale encounter. He said, “I’d gone over at lunch just to see what the new VR technology was, and by the end of it, we were starting to try to figure out how to use VR in shot design. It’s kind of like if you have a person wearing the HMD, wearing the visor, [if it’s] is the audience member, you write code one way, but if that person is the camera, you’re using the same tools, but you’re kind of changing the work flow so that you’re using it to build the footage, as opposed to using the VR to observe the footage or experience the content. So what’s nice is that there’s so much innovation in this area, so much investment in these technologies, and they are really helpful.”

He mentioned how cool it was that there will be a ton of audience experiences with VR, but said there would be a lot of opportunities for a filmmaker, “even for traditional live-action theatrical work.”

We asked Favreau about how the tech would be used in the live-action Lion King. He said, “Being able to scout–and some of this we were doing with ‘Jungle Book’ as well, but the ability to actually design an environment virtually, and then to walk around in it with your crew, doing a scout. And to be able set shots and to be able to choreograph movement, and move set pieces around before you do the heavy versions of it. Because there’s a lot of really light files, again, the processing is getting better and the coding is very specific to game engines now, so that the files remain light, so you can experience them in real time, so you can move assets around in real time, and start to rough in what you want to do as a filmmaker. And finally, when you deliver it to the point where you’re actually turning it over, and rendering the stuff in a very expensive, time-consuming way, you’ve already made all your creative decisions using technologies that are more geared towards gaming.”

Favreau mentioned using game engines like Unity and Unreal. He said, “If you want to look at things in real time, especially in 3D, the game engines offer you a lot of opportunities to build upon that engine.”

Inviato da: Bristow il 5/12/2016, 18:19

Quindi solo perchè TUTTI fanno così a Hollywood anche la Disney si è dovuta o si deve adeguare...? Assurdo pensarla così...
Diciamo che è più comodo che fare qualcosa controcorrente o rischiare (con un film in 2D ogni 3-4 anni almeno) ...

Inviato da: Simba88 il 18/2/2017, 11:04

Il Re Leone: James Earl Jones sarà ancora Mufasa!

Il regista Jon Favreau ha annunciato su Twitter di aver trovato due degli attori che faranno parte del cast della versione live-action del Re Leone.

Si tratta di Donald Glover, che interpreterà il giovane Simba, mentre nientemeno che James Earl Jones sarà Mufasa. I due ovviamente doppieranno i personaggi, che saranno ricreati in CGI.

Nel film d’animazione del 1994 Jonathan Taylor Thomas doppiava il giovane Simba, Matthew Broderick il Simba adulto e Joseph Williams dei Toto lo interpretava nelle canzoni. Lo stesso James Earl Jones interpretava Mufasa.

Scritto da Jeff Nathanson, Il Re Leone non ha ancora una data di uscita, ma verrà realizzato dopo che Favreau avrà diretto il sequel del Libro della Giungla, in arrivo nel 2019, quindi verosimilmente uscirà due anni dopo.

Non sappiamo nulla sulla storia, se non che non sarà un remake vero e proprio del film d’animazione e che, come La Bella e La Bestia, conterrà anche le canzoni del cartoon su cui si basa. Jon Favreau e i Walt Disney Studios, oltre a questo lungometraggio, sono anche al lavoro sul sequel del già citato Libro della Giungla.

Fonte: Badtaste.it

http://www.badtaste.it/2017/02/18/re-leone-james-earl-jones-mufasa/222727/

Inviato da: Fra X il 18/2/2017, 16:34

Già!

Inviato da: Arancina22 il 18/2/2017, 19:58

Da quest'articolo ho appreso che Il Libro Della Giungla live-action avrà un sequel. Sopraffatta com'ero dalla quantità di live annunciati quasi con regolarità, quest'ultimo mi è evidentemente sfuggito alla vista...

Inviato da: Fulvio84 il 19/2/2017, 12:59

A discapito di altre trasposizioni live, questa la trovo veramente assurda.
Considerando che gli animali saranno tutti in CGI e che non c'è la presenza di neanche un solo essere umano, significa rifare un vero e proprio remake animato perchè la CGI è animazione...

Inviato da: brigo il 19/2/2017, 13:12

E' ciò che sto dicendo da tempo: come si può considerare un remake live-action un film realizzato quasi interamente in CGI?
In pratica, ne "Il libro della Giungla", l'unico effetto speciale era l'inserimento di Mowgli in carne ed ossa...
Allora diciamo che pure Wall•e era un live action, per via dei filmati di "Hello Dolly!" e della Axiom, e siamo a posto!

Inviato da: caninlegend il 19/2/2017, 16:43

Concordo! Questo non sarebbe nemmeno in Live Action!

Inviato da: Daydreamer il 20/2/2017, 18:52

Fino a prova contraria nessuno sa ancora la trama, degli umani potrebbero anche comparire. Aspettiamo ancora un po' prima di giungere alle conclusioni...

Inviato da: veu il 27/2/2017, 12:32

Notizia: pare che Elton John NON lavorerà al remake

Dal sito http://hollywoodlife.com/2017/02/26/the-lion-king-remake-music-elton-john-not-returning-disney/:

Elton John Not Returning To ‘The Lion King’ Remake With New Music: Disney Didn’t Ask

It’s tough to think of ‘The Lion King’ without thinking of Elton John — but apparently the remake won’t feature new music from the legend. We spoke with him exclusively before his annual Oscars party on Feb. 26, and he told us that he had no idea they were even making it.

“We didn’t even know it was being made,” Elton John, 69, told HollywoodLife.com before the 25th Annual Elton John AIDS Foundation’s Academy Awards Viewing Party in Los Angeles on Feb. 26. “So Disney hasn’t even told us about it — That is how good Disney are!”

Elton’s husband David Furnsih added that the answer was “we don’t know,” but Elton also added, “They (Disney) are the worst by the way!”

Well, that seems a little intense. Elton is responsible for the music of the show and the film in 1994, and it became one of the highest-grossing animated films ever, making $968.5 million. The live-action reboot is currently on trend, and the remake will follow 2014’s Maleficent, 2015’s Cinderella, and the soon to be released, Beauty & the Beast. We don’t know much yet about the live action remake film!

Jon Favreau will be directing the remake, Donald Glover will star Simba, while James Earl Jones will return to reprise the role of Mufasa. No other casting has been announced at this time, and we don’t yet know if any other names will be returning from the original cast.

Inviato da: Late Bloom il 2/3/2017, 17:39

Realizzare un remake facendo a meno di uno degli elementi che l'hanno reso iconico. Bella mossa.

Inviato da: K.Scar il 10/3/2017, 7:36

I Live Action sono belli se fatti con le favole classiche, è bello vedere Belle e Alice in versione umana, ma per quanto riguarda il Re Leone a cosa servirebbe ? inserire degli umani nella trama cambierebbe tutto, far recitare attori sotto la CGI nei ruoli dei vari Scar, Mufasa e Simba ancora peggio. Possono fare i Live Action del Gobbo di Notre Dame e di Pocahontas, quest' ultimo sarebbe il top.

Inviato da: veu il 17/3/2017, 23:47

Dal sito http://www.vulture.com/2017/03/beauty-and-the-beast-disneys-remake-machine.html:

(Favreau is currently mounting a new, hyperreal version of The Lion King, with Donald Glover as Simba and James Earl Jones returning as Mufasa.)

[...]

Favreau, hard at work on The Lion King, won’t just be referencing the original animated film. He’ll also travel to New York to meet with the team behind the Broadway production, and incorporate their ideas into the new film.

Inviato da: veu il 24/3/2017, 0:10

Dal sito http://myentertainmentworld.com/cms/feature-films/page/5/ e http://www.badtaste.it/2017/03/21/re-leone-riprese-live-action-partiranno-maggio/230648/:

Film Productions

Posted: March 17, 2017 at 5:20 pm EST

Title: The Lion King
Category: Feature Film
Genre: Adventure / Comedy / Drama
Shoot Date: May, 2017
Location: Los Angeles, CA
Story:
Set in the African Savannah, the story told of a young lion named Simba who loses his father Mufasa thanks to his evil uncle Scar, and is cast out into far reaches of the wilderness. Years later, he returns to reclaim his throne.




Le riprese del film inizieranno a maggio 2017

Inviato da: Daydreamer il 31/3/2017, 14:22

Da http://www.comingsoon.net/movies/news/832443-beyonce-is-the-frontrunner-to-play-nala-in-the-lion-king-remake

Beyonce is the Frontrunner to Play Nala in The Lion King Remake

Grammy Award-winning artist and actress Beyonce (Dreamgirls) is the frontrunner to voice the role of Nala in Disney‘s upcoming live-action remake of The Lion King, according to Variety. Though she hasn’t accepted the role yet, she is reportedly director Jon Favreau’s first choice to play the lion, first voiced by Moira Kelly (Twin Peaks: Fire Walk With Me) in the 1994 animated classic, with Sally Dworsky (The Prince of Egypt) providing the singing voice.

The Lion King is the latest in a line of live-action versions of Disney animated classics which include Beauty and the Beast and The Jungle Book. The Lion King cast includes Donald Glover (Community, Atlanta) as the young lion Simba and James Earl Jones (Star Wars) as Mufasa. Jones, of course, did the voice of Mufasa in the 1994 animated film. Matthew Broderick (Ferris Bueller’s Day Off) was the voice of the adult Simba, with Joseph Williams (the band Toto) doing the singing.

In addition to her extensive music career, Beyonce has been critically lauded for her role in the musical film Dreamgirls. She’s also appeared in Austin Powers in Goldmember as Foxxy Cleopatra, Epic where she voiced Queen Tara, and the thriller Obsessed.

ComingSoon.net recently spoke to Favreau about his work on The Jungle Book, during which he told us that he was planning to use VR technology on The Lion King. He explained that there is so much innovation going in for video games since they’re made for consumers. He said that not as much is being done in terms of behind-the-scenes technology for film.

Inviato da: Bristow il 7/4/2017, 14:16

Sarebbe il primo che si dimostra un vero artista! Che non si ripete per altri soldi o per maggiore popolarità...
la stessa cosa che a mio parere doveva fare SUBITO Menken con la Bella e la Bestia, rifiutando ogni manomissione col live action...

Inviato da: Capitano Amelia il 7/4/2017, 14:37

Alan Menken è misconosciuto fuori dagli ambienti disneyofili tranne che dai fan de "La piccola bottega degli orrori" e mi pare tutt'altro che uno affamato di soldi...
E comunque (lo dico da fan di Elton John) Elton non sta tornando perchè è contro i remake ma perchè ha avuto delle ruggini con la Disney per via di alcune questioni spinose legate a "Gnomeo e Giulietta", tant'e vero che il suo seguito (di cui non si è saputo più niente) lo stava realizzando lui personalmente. E il suo caso mi pare simile a quello di Robin Williams che finchè era litigato con l'azienda non doppiò il Genio nel primo seguito e nella serie di "Aladdin", salvo tornare a doppiarlo nel terzo seguito una volta riconciliatosi con la dirigenza.
Inoltre non mi pare che si sia detto da qualche parte che anche questo remake vorrebbero realizzarlo come musical...

Inviato da: Late Bloom il 7/4/2017, 15:04

No, vi prego, vade retro Beyoncé

Inviato da: Capitano Amelia il 7/4/2017, 21:50

Ti fa antipatia?

Inviato da: LucaDopp il 8/4/2017, 2:54

Scusa ma l'hai letta la notizia? Non ritorna perché nessuno gli ha chiesto nulla (almeno finora), mica perché si è rifiutato lui.

Inviato da: Bristow il 10/4/2017, 15:52

Ma voi veramente vi bevete tutto? Esiste la diplomazia quando si dicono le cose...
Onestamente se la Disney ha chiesto a Menken di partecipare a Belle in live action perchè mai non lo dovrebbe fare lo stesso per il Re Leone...?

Inviato da: Capitano Amelia il 10/4/2017, 16:01

Se ci bevessimo davvero tutto, non faremmo notare la questione "Gnomeo e Giulietta"...

Inviato da: LucaDopp il 10/4/2017, 16:52

Sì certo, ci credo proprio che John nella stessa intervista abbia deciso di ricoprire la Disney di insulti ma non di rivelare di essere stato contattato. Grande diplomazia davvero. Poi tra Menken e John c'è un abisso in termini di rapporti con la società e di apporto ai film originali. E al momento non si sa neanche se hanno intenzione di inserire nel film canzoni nuove.

Inviato da: Late Bloom il 12/4/2017, 14:27

Diciamo che in "Epic" non mi ha convinto più di tanto. È chiaro che l'intento sia quello di unificare il parlato con le parti cantate ma non è detto che chi ha una bella voce sia anche in grado di doppiare.

Inviato da: veu il 23/4/2017, 20:16

Dal sito http://www.cinemablend.com/news/1650390/how-disney-is-approaching-the-lion-king-in-live-action-according-to-jon-favreau:

How Disney Is Approaching The Lion King In Live-Action, According To Jon Favreau

Director Jon Favreau is following up his incredibly successful Disney adaptation of The Jungle Book, with an even more beloved Disney classic, The Lion King. Recently, the director spoke about his approach to the popular story. Favreau seems to clearly understand that he's dealing with material that fans are passionate about, and he says that in order to properly adapt it, he has to be equally passionate. According to the director...

"When you're directing, you have to love [what you're making]. You have to love it to the point of obsession. I have to live, breathe, sleep it, dream it. If I'm going to do my best work, I need to be completely immersed... you look at the material and you get inspired, and then try to update it for our time. With the Disney stuff, people know even more... With Lion King, people really know [the original], and they grew up with it and it has emotional impact. I think about what I remember about The Lion King?"

Jon Favreau's comments during the Tribeca Film Festival (via Entertainment Weekly) are similar to something Josh Gad told me about Beauty and the Beast prior to its release. Because both of those films were newer, and stories that current movie fans had grown up with, the responsibility to do it "right" was much greater. The Lion King is one of Disney animation's biggest movies ever and as such the pressure to make a live-action version that lives up to its predecessor may be even greater than it was for Beauty and the Beast. Favreau's method for making sure that he does it right is apparently to simply immerse himself in the material.

The director said that he did something similar with The Jungle Book where he thought hard about what aspects of the Disney original he really remembered, knowing that those would be the moments that his film also had to have. Then, he was able to figure out how to incorporate those beats into his version of the story.

That doesn't mean, however, that Jon Favreau will simply be recreating everything from the animated original. While he talks about focusing on the film's iconic moments, he also talks about where he has the latitude to change things. The idea here seems to be that if the overall experience is still the one that people expect, the few places where things get changed up can actually make the experience better because people do still like to be surprised now and then. It seems like a strong formula. Most of the negative criticism that Beauty and the Beast received was from sources that felt the live-action version played it too safe and didn't do enough that was new with the material. If The Lion King is able to find the right balance, it could be an even bigger hit.

Inviato da: veu il 25/4/2017, 19:47

Dal https://twitter.com/Jon_Favreau/status/856930957365977088:

Data ufficiale di uscita del film: 19 luglio 2019

Inviato da: veu il 25/4/2017, 22:59

Trovati Timon e Pumbaa:

Dal sito http://www.hollywoodreporter.com/heat-vision/lion-king-cast-seth-rogen-billy-eichner-talks-voice-timon-pumba-997310?facebook_20170425:

Seth Rogen, Billy Eichner in Talks to Voice Timon and Pumbaa in New 'Lion King'

The duo joins Donald Glover as Simba and James Earl Jones as Mufasa.

Jon Favreau's Lion King may have found its Hakuna Matata. Seth Rogen and Billy Eichner are in talks to voice Pumbaa and Timon, respectively.

Donald Glover is set to star as Simba, while James Earl Jones will reprise his role from the 1994 animation as Mufasa.

Jeff Nathanson (Pirates of the Caribbean: Dead Men Tell No Tales) wrote the script for the live-action adaptation, which is being produced by Favreau and Jeffrey Silver.

In the original animation, Nathan Lane voiced the loud-mouth meerkat and Ernie Sabella tackled the kindly warthog.

Rogen, who has voiced animated characters in films including Kung Fu Panda, Monsters vs. Aliens and last year's Sausage Party, which he also co-wrote and produced, will next be seen in James Franco's The Disaster Artist. He is also set to star opposite Charlize Theron in the political comedy Flarsky. He is repped by UTA, Principal Entertainment and Felker Toczek.

Eichner is best known as the aggressively inquisitive host of Billy on the Street, which earned him a Daytime Emmy. He also stars in the Hulu series Difficult People and has been seen on Parks and Recreation and The Unbreakable Kimmy Schmidt. He is repped by UTA and 3 Arts.

These castings come on the heels of more big news for the Lion King production. Today, Disney gave the project a release date of July 19, 2019, along with several other upcoming productions including Indiana Jones, Frozen 2 and Star Wars: Episode IX.

Inviato da: veu il 11/7/2017, 23:09

E se vi sono difficoltà nella scelta dei casting interrazziali per Aladdin e Mulan, il progetto de Il Re Leone prosegue.
Annunciato l'interprete di Zazu: John Oliver.

Dal sito http://www.thewrap.com/john-oliver-joins-live-action-lion-king-zazu-bird-exclusive/.

Inviato da: veu il 13/7/2017, 22:24

Dal sito http://www.hollywoodreporter.com/heat-vision/d23-avengers-frozen-2-last-jedi-show-new-footage-1020660:

The Lion King and Dumbo

Will Disney show art or provide news of the live-action remakes of these animated classics, which recently started production? Jon Favreau, fresh off The Jungle Book, is making The Lion King (schedule for a July 19, 2019 release) in Los Angeles, again using virtual production techniques by reteaming with Jungle Book’s Oscar winning VFX supervisor Rob Legato and lead VFX house MPC. Announced this week, John Oliver will join the cast as Zazu. Castmembers also include Donald Glover (Simba), Seth Rogen (Pumbaa) and James Earl Jones (Mufasa). Meanwhile, Tim Burton has started production on Dumbo in the U.K., reteaming with collaborators such as four-time Oscar-winning costume designer Colleen Atwood. The cast includes Eva Green, Michael Keaton, Colin Farrell and Danny DeVito.


Al D23 verranno presentati nel panel dei live action Dumbo e Il Re Leone.

Inviato da: veu il 22/7/2017, 14:04

Dal sito http://www.laughingplace.com/w/articles/2017/07/18/d23-expo-recap-live-action-films-from-disney-marvel-and-lucasfilm/:

Presentazione del teaser al D23

But the most anticipated film in this category is The Lion King and Disney fan John Favreau was not about to disappoint 8,000 of his fellow card carrying D23 members. He explained that the film is very early in production, but the first question he asked when he was put on the project was "When is D23?" so he could get something ready. We were treated to Circle of Life fully animated to look live action and set to the song from the original film. It was absolutely breathtaking and we all turned into puddles when baby Simba sneezed.


Dal sito http://www.independent.co.uk/arts-entertainment/films/news/lion-king-live-action-jon-favreau-d23-description-donald-glover-simba-a7843496.html:

The Lion King: Footage from Jon Favreau directed live action adaptation at D23

A shot-for-shot recreation of 'The Circle of Life' was shown

Despite the majority of the world couldn’t attend Disney’s latest fan convention, D23, the company has decided to hold back footage from the Internet.

However, that hasn’t prevented numerous descriptions of everything that happened appearing online, including people’s accounts of the Avengers: Infinity War and Incredibles 2 trailers.

There was also a clip from Jon Favreau’s Lion King played to the packed audience, itself an almost shot-for-shot recreation of "The Circle of Life” from the original animation.

The scene saw rhinos, zebra, elephants and other animals gather around a huge rock where Rafiki presents the new baby Simba to the world.

“Jon Favreau's ‘Circle of Life’ plays out exactly like you might remember, but that baby Simba is EVEN cuter,” wrote Vulture’s Kyle Buchanan of the footage.

The Hollywood Reporter’s Aaron Couch called the clip “absolutely stunning”, while Gizmodo reporter Germain Lussier wrote on Twitter: “I can't stop crying”.


Dal sito http://ew.com/movies/2017/07/15/the-lion-king-live-action-d23/:


The Lion King live-action remake debuts stunning 'Circle of Life' opener


The Lion King first look? What a wonderful phrase.

Disney debuted its first glimpse at footage from the upcoming “live-action” adaptation of the beloved animated feature at D23, Disney’s biennial fan convention in Anaheim, California on Saturday.

As previously reported, the film will star Donald Glover as young cub-turned-king Simba and James Earl Jones reprising his role from the 1994 classic as Mufasa. Seth Rogen and Billy Eichner play Timon and Pumbaa, with John Oliver newly announced as Zazu.

Jon Favreau was tapped to direct the film after mastering the technology that brought animated animals into the relative real world with The Jungle Book. Much has been made of the idea that the “live-action” film features, yes, animated characters, and while Favreau didn’t elaborate on the difference between his process for The Lion King compared to his approach to Jungle Book (which featured a human character), the director did introduce the footage at D23 with something of an acknowledgment over fans’ interest in the approach. “We know how important this is. People want to understand what our approach is, what we’re doing, and as soon as I found out we were going to be doing this film, my first question was, when’s D23?” (It was at the convention that Favreau first showed off a peek at Jungle Book.)

The footage itself was a doozy, opening with the African sun rising over the Savannah while the familiar opening chant blares out to mark the beginning of “Circle of Life.” From there, audiences saw rhinoceroses, antelopes, cranes, zebras, and elephants (with birds and bugs hitching a ride on their tusks) answering the royal call and trotting over to Pride Rock. The action basically mirrors the 1994 film’s opening, rendered almost identically in the style of The Jungle Book, but to stunning degree; the iconic wide shot of Pride Rock zooms out to show an ever vaster panorama that essentially looks like the IMAX museum documentary version of Mufasa’s domain.

Rafiki then pops up, fully realized in the realistic animation style but with the unmistakable features of the cartoon baboon. Baby Simba rests in his mother’s arms when Rafiki anoints him, smudging oil across his forehead, drawing an aw-inducing sneeze from the little cub. Rafiki holds up the baby, the animals rise and bow, and Elton John’s “Circle of Life” reaches it symphonic peak before the familiar title card drops.

Following the footage (which received some of the loudest applause of the live-action panel), Walt Disney Studios chairman Alan Horn commented “I visit a lot of sets… this is the first time, I thought to myself, when I went to visit Jon making the film, I had a hard time understanding how you do this. And yet, they do. And I do know that Jon and his team will create something that is completely respectful and faithful to The Lion King you already know and love, just as he did with The Jungle Book.”

Inviato da: Simba88 il 23/7/2017, 11:10

"Elton John’s “Circle of Life” reaches it symphonic peak before the familiar title card drops"

Ci saranno effettivamente nel film le canzoni di Elton John?
Mi devo preparare a sentire "Voglio essere davvero un grande re" grazie all'adattamento nostrano degli ultimi anni?????

Inviato da: Arancina22 il 23/7/2017, 13:02

Abort mission!!!
Ogni volta che mi ricordano che probabilmente alcune canzoni verranno ri-adattate da noi trovo sempre meno motivi di andare al cinema a vedere questi rifacimenti deliranti e macinasoldi. Soprattutto un film che spacciano per live action quando l'unica cosa live action ad andar bene saranno i paesaggi alla documentario della National Geographic.

Scusate per la polemica che si ripropone, ma che ci posso fa'...

Inviato da: Daydreamer il 3/8/2017, 1:37

Da http://www.hollywoodreporter.com/heat-vision/chiwetel-ejiofor-talks-voice-scar-live-action-lion-king-1026338

Chiwetel Ejiofor in Talks to Voice Scar in Live-Action 'Lion King'

Donald Glover is voicing Simba in director Jon Favreau's re-imagining of the animated classic.
Chiwetel Ejiofor, who was nominated for an Oscar for starring in 12 Years a Slave, is in talks to voice the role of Scar, the traitorous villain in Disney’s live-action re-imagining of its classic, The Lion King, The Hollywood Reporter has confirmed.

Jon Favreau, who directed the live-action remake of The Jungle Book, is sitting behind the camera for King, which already boasts a stellar voice cast of Donald Glover as Simba, the young lion who would be king and James Earl Jones as his father, Mufasa (Jones voiced the character in the 1994 original).

Also lending their pipes to the pride are Seth Rogen, Billy Eichner and John Oliver.

Jeremy Irons voiced Scar, who betrays his brother Mufasa in order to steal the animal kingdom’s crown, in the animated version.

The new movie is currently shooting in Los Angeles.

Ejiofor was last ween on screen playing the troubled sorcerer Mordo in Marvel’s Doctor Strange.

Inviato da: Daydreamer il 7/8/2017, 21:34

Da http://www.hollywoodreporter.com/heat-vision/lion-king-alfre-woodard-cast-as-simbas-mom-disney-movie-1027011

Alfre Woodard Joins Disney's 'The Lion King' (Exclusive)

Donald Glover will voice Simba, and Mufasa will be played by James Earl Jones.
The pride's all here!

Alfre Woodard is the latest to join Jon Favreau's The Lion King, voicing Sarabi, Simba's mom. Woodard joins Donald Glover as Simba and James Earl Jones, who will be reprising his role as Mufasa. Madge Sinclair voiced Sarabi in the original 1994 Disney animated version.

Seth Rogen, Billy Eichner and John Oliver will also voice parts in the feature, which recently added Chiwetel Ejiofor to its roster to play the villain, Scar.

Jeff Nathanson (Pirates of the Caribbean: Dead Men Tell No Tales) wrote the script for Disney, with Favreau and Jeffrey Silver producing. Lion King is currently shooting in Los Angeles.

Woodard was most recently seen in the Sundance standout Burning Sands and Netflix's Marvel series Luke Cage. Up next for the Oscar nominee is the indie Saint Judy, where she stars opposite Common and Michelle Monaghan, and Clark Johnson's Juanita, where she plays the title role.

She is repped by ICM, Circle of Confusion and Gochman.

Inviato da: veu il 8/8/2017, 22:36

Dal sito http://www.thewrap.com/john-kani-rafiki-lion-king/:

‘Lion King’ Rafiki Casting: John Kani, ‘Civil War’ Actor, to Play Wise Baboon (Exclusive)

Actor who played Black Panther’s father, King T’Chaka, in “Captain America: Civil War,” will voice royal adviser to Mufasa

John Kani Rafiki Lion King


Disney’s live-action remake of “The Lion King” has found its Rafiki in “Captain America: Civil War” actor John Kani.

TheWrap has learned exclusively that Kani, who played Black Panther’s father, King T’Chaka, in “Civil War,” will voice the baboon who serves as the royal adviser to Mufasa and his family in the Pride Lands.

Last week, TheWrap exclusively reported that Chiwetel Ejiofor is in talks to voice the villanous Scar in the remake. Donald Glover already stars as lion cub Simba, James Earl Jones as his father Mufasa and John Oliver as Zazu.


The original “Lion King” is one of the biggest animated films of all time: It grossed $968.8 million globally and won an Academy Award for the original song, “Can You Feel the Love Tonight,” as well as its original score by Hans Zimmer.

It finished its theatrical release as the highest-grossing release of 1994 and second highest-grossing of all time. It has also spawned a Broadway adaptation and two direct-to-video follow-ups.

Earlier this month at Disney’s D23 presentation, Jon Favreau, who is directing the new film, surprised fans with a first glimpse at how the famous “Circle of Life” opening from the original “Lion King” would look in his new version. The brief clip featured photo-realistic CGI animals similar to those in Favreau’s remake of “The Jungle Book,” which earned an Oscar for Best Visual Effects. The clip ended with the iconic image of Rafiki presenting the newborn Simba to the animals of the Pridelands.

Inviato da: Simba88 il 12/8/2017, 9:00

Il cast!

Inviato da: veu il 5/9/2017, 23:02

Beyoncé potrebbe non solo interpretare Nala ma anche occuparsi della colonna sonora.


Dal sito http://hellogiggles.com/reviews-coverage/movies/beyonce-lion-king-nala-soundtrack/:

Beyoncé might produce the "Lion King" soundtrack, along with (possibly) voicing Nala

As if we couldn’t be any more excited for Jon Favreau’s live-action remake of The Lion King, Beyoncé is reportedly not only *this* close to solidifying a deal to voice Nala, she could even be producing the soundtrack.

This news comes on the heels of the announcement that Alfre Woodard and John Kani have joined the cast of the increasingly star-studded film.

The Captain America: Civil War actors will reportedly voice Simba’s mother Sarabi and wise baboon Rafiki, respectively. The rest of the A-list cast includes Donald Glover (Simba), James Earl Jones (reprising his role as Mufasa), Billy Eichner (Timon), Seth Rogen (Pumbaa), and John Oliver (Zazu). Chiwetel Ejiofor is also in talks to join the film as Scar.

With most of the star-studded cast announced, Nala is the sole main character whose voice actor remains a mystery.

It’s been widely reported that Favreau really wants Queen Bey to play the future queen of Pride Rock. We finally have an update, and it seems the director is very close to getting his wish. It’s a Disney miracle.

If Beyoncé is probably going to play Nala, why is Disney being so coy about announcing the casting?

According to The Tracking Board, the role of Nala has yet to be announced because Beyoncé’s potential involvement in the soundtrack is kind of a huge deal and has made the negotiation process a bit more complicated. If Bey is confirmed, the soundtrack could feature new songs by the singer, as well as classics from the original, animated film.

We’re keeping our fingers crossed that the deal comes through soon because the anticipation is almost too much to bear.

We’re getting seriously excited about the film, which will land in theaters in July 2019.

Inviato da: Scrooge McDuck il 7/9/2017, 10:07

Sarebbe sicuramente un'ottima spinta di marketing al film, senza contare che penso sia tra le migliori artiste in circolazione

Inviato da: Capitano Amelia il 7/9/2017, 17:03

Ho rivisto giusto ieri il Classico e continuo a pensare che come remake è il più forzato di tutti...

Inviato da: veu il 27/9/2017, 22:45

Dal sito http://www.nacion.com/ocio/cine/Ignacio_Corrales-Moving_Picture_Company-Harry_Potter_0_1660433958.html:

Podría ser El rey León, Godzilla, The Nutcracker and Four Realms o quizá Dumbo; lo cierto es que alguno de estos megaproyectos de Hollywood llegarán al cine con el aporte profesional de un costarricense.

El experto en iluminación y composición digital, Ignacio Corrales, acaba de ser contratado por Moving Picture Company (MPC), una de las empresas de efectos visuales más importantes del mundo.

[...]

El tico está muy emocionado, pues ya tiene una idea de los proyectos fílmicos en los que se concentrará cuando ingrese a MPC.

"En estos momentos, en Montreal, MPC está trabajando cuatro grandes proyectos. Entonces puede que me toque laborar en algunas de las películas live action de El rey León o Dumbo, o quizá en las cintas Godzilla o The Nutcracker and Four Realms. Eso no está definido, pero me gustaría que fuera El Rey León", expresó.

[...]


Traduzione: Ignacio Corrales, esperto di illuminazione e composizione digitale, è stato appena assunto dalla Moving Picture Company (MPC), una delle più importanti società di effetti visivi nel mondo.
L'artista è molto entusiasta, perché ha già un'idea dei progetti cinematografici in cui si concentrerà quando entra nel MPC.
"Al momento, a Montreal, il MPC sta lavorando a quattro grandi progetti, quindi potrebbe essere che lavoro in alcuni dei film d'azione dal vivo di Re Leone o Dumbo, o forse in Godzilla o The Nutcracker and the Four Realms. Non è ancora stabilito, ma vorrei che fosse il Re Leone ", ha detto.

Dall'intervista risulta quindi che l'animazione digitale di Il Re Leone sarà realizzata dalla MPC (e l'artista spera di lavorare a questo progetto)

Inviato da: veu il 24/10/2017, 23:05

Beyoncé sarà nel film? Questo è il dilemma dei fans da quando non è stata ufficializzata nell'immagine della Line Up
Nel mentre si scopre che Jack Whitehall, comico inglese, non farà parte del film sebbene avrebbe voluto parteciparvi.


Dal sito https://moviepilot.com/p/disney-the-lion-king-remake-fans-twitter-beyonce-casting/4388053:

Fans Are Demanding To Know If Beyoncé Is Actually In 'The Lion King' Live-Action Remake

Disney has been on a roll with its live-action remakes of its animated classics, and the studio is continuing this trend with director Jon Favreau's upcoming The Lion King remake. The film has assembled an impressive star-studded cast so far, consisting of reputable actors like Alfre Woodard, James Earl Jones, Donald Glover, Seth Rogen and Chiwetel Ejiofor. That's an impressive lineup of actors who'll undoubtedly be able to carry the weight of the film on their shoulders. But there's still one performer whom we've been dying to see join this cast: Beyoncé.

Back in March, Variety reported that #Disney was interested in having the singer play Nala, Simba's trustworthy companion. Nothing came out of that report, but our hopes were raised once again when, five months later, The Tracking Board revealed that Queen Bey was in final negotiations to join the film. Once again, things went quiet and we still haven't heard any news since that report came out. People have been understandably quite confused over her involvement as a result of that media silence, and now, we've gotten an idea of just how much people want to see Beyoncé in the remake.

The Hype For Beyoncé Joining 'The Lion King' Is Very Real

The Geeks of Color Twitter page recently posted an image featuring all the confirmed Lion King remake cast members. But continuing the frustrating mystery that's been her involvement, Beyoncé was missing from the lineup

As I'm sure you can imagine, the picture caused quite a stir online. Numerous Disney fans couldn't stop wondering what was happening with the beloved singer: Was she in the movie? Was she still in negotiations? Dozens of Twitter users voiced these concerns and questions in cheeky responses to the post:

we want the Beyonc announcement and we want it now pic.twitter.com/ereCtRlZSd
— . (@trillbey) October 12, 2017

We'll Just Have To Wait And See What Happens

I don't know about you, but I totally agree with the desperation going on around the interwebs. So, is Beyoncé actually in The Lion King? To be honest, it's tough to tell. Hearing an actor is in "final negotiations" to join a project doesn't mean said performer will officially end up signing the dotted line. As frustrating as it may sound, all we can do right now is hope for a confirmation from Disney or Queen Bey herself.

Admittedly, there are a slew of other talented actresses who could bring Nala to life, but there's just something special about having Beyoncé voicing her. Her personality and killer vocals make her one of those rare, perfect fits for the character. I'm crossing my fingers to know more about that situation sooner rather than later.

The Lion King is expected to make its way into theaters on July 19, 2019.



Dal sito https://www.thesun.co.uk/tvandshowbiz/4758845/jack-whitehall-disney-the-nutcracker-and-the-four-realms/:

Cracked it Jack Whitehall hits the big time after landing role in Disney’s 2018 blockbuster The Nutcracker And The Four Realms

The comic will take on one of the lead roles in the live-action adaptation of the classic ballet tale.

HIS A League Of Their Own co-star JAMES CORDEN has well and truly cracked America.

And now JACK WHITEHALL is following in his footsteps after landing his biggest gig yet.

I can reveal the Brit comic will star in Disney’s 2018 blockbuster The Nutcracker And The Four Realms, with KEIRA KNIGHTLEY, MORGAN FREEMAN and HELEN MIRREN.

Jack will take on one of the lead roles, Harlequin, in the live-action adaptation of the classic ballet tale.

The film will move him away from playing posh English men, as he did in BBC1’s Decline And Fall with EVA LONGORIA earlier this year, and in his latest drama Bounty Hunters on Sky1.

In an exclusive interview, he said: “I’d like to do more challenging stuff.

“You don’t ever want to be typecast.

“I just played MARC BOLAN in a thing for Sky, which was a very different role for me.

“Then I’m doing a Disney film where I play something else.

“It comes out next year and it’s called The Nutcracker. It’s very exciting.”

Fellow comic MIRANDA HART will join Jack in the movie, alongside top ballerina MISTY COPELAND and Twilight Saga actress MACKENZIE FOY.

The film, due out in November next year, tells the story of a young girl, Clara, who is given a Nutcracker doll which comes to life on Christmas Eve.

After landing his role, Jack admitted he is hoping to star in more Disney movies.

But he has been left disappointed after being rejected for a part in the upcoming live-action Lion King reboot.

He said: “I did say to them then that they should cast me in their Lion King remake.

“I kept pushing for it but no one bit — I was so sad.

“Me and James Corden as Timon and Pumbaa would be the dream.”

Disney has definitely missed a trick there.

Inviato da: Daydreamer il 2/11/2017, 7:45

E' la stessa Beyoncé a darne annuncio sulla sua pagina https://www.facebook.com/beyonce/photos/a.252225550600.296474.28940545600/10159693635960601/?type=3&theater, sarà lei a dare la voce a Nala, chiudendo così il ricco cast del film.

Di seguito la foto del cast da lei confermata e pubblicata

Inviato da: BennuzzO il 2/11/2017, 22:46

A me purtroppo Beyoncé non piace, riconosco la sua bravura... ma la sua voce mi irrita alquanto!
Sono felicissimo invece per Seth Rogen e Alfre Woodard, due attori che adoro!

Inviato da: Daydreamer il 4/11/2017, 11:58

Cosa distingue l'animazione CGI di questo film da quella tradizionale del Classico Disney, forse è "solo" una questione di tecnica e di regia...
Rimando all'analisi dell'Hollywood Reporter, una teoria che ha più di uno spunto interessante, anche sull'arte cinematografica in generale, se non altro almeno su quella futura.

Da http://www.hollywoodreporter.com/behind-screen/is-disneys-new-lion-king-an-animated-film-1054516?facebook_20171103

Is Disney's New 'Lion King' an Animated Film?

Is Disney’s retelling of The Lion King live action or is it animated?

It’s a question that was raised once again on Wednesday after the studio announced the voice cast for Jon Favreau’s adaptation. But frankly it’s a question that isn't new in the animation and visual effects community.

Once upon a time it was easy to distinguish between live action and animation. But as digital visual effects become more sophisticated, an increasing amount of live action motion pictures are now created in a computer.

This became particularly apparent in 2002, when Stuart Little 2, which starred a CG mouse in a live action-set story, qualified in the category for the Academy Award for an animated feature. It didn’t go on to earn a nomination, but it generated plenty of debate. As digital techniques have continued to grow in sophistication and realism, it has only blurred the lines further.

In the 90th Academy Awards rules, The Academy of Motion Picture Arts and Sciences defines an animated film as “a motion picture in which movement and characters’ performances are created using a frame-by-frame technique, and usually falls into one of the two general fields of animation: narrative or abstract. Some of the techniques for animating films include but are not limited to hand-drawn animation, computer animation, stop-motion, clay animation, pixilation, cutout animation, pinscreen, camera multiple pass imagery, kaleidoscopic effects created frame-by-frame and drawing on the film frame itself. Motion capture and real-time puppetry are not by themselves animation techniques.”

A key point is that “animation must figure in no less than 75 percent of the picture's running time. In addition, a narrative animated film must have a significant number of the major characters animated.”

The branch is very much aware of the blurring of the lines. In fact, the animated feature rules even state: “If the picture is created in a cinematic style that could be mistaken for live action, the filmmaker(s) must also submit information supporting how and why the picture is substantially a work of animation rather than live action.”

Under these guidelines, arguments could be made that certain films including Avatar and The Jungle Book could have been submitted for animated feature Oscar consideration. But the studios didn’t enter these films in the category. James Cameron and Jon Landau have asserted that Avatar is not an animated film, and they are among other filmmakers that share the same view.

These days, the term “virtual production” is commonly being used to describe films such as The Jungle Book, Avatar or Robert Zemeckis' The Walk. These are films in which a large amount of the final film is CG, but these still involved live action production techniques.

The Lion King’s VFX supervisor Rob Legato (who won Oscars for The Jungle Book, as well as Hugo and Titanic) has often said that production of The Jungle Book felt like a traditionally shot live-action movie, though it was filmed entirely on a bluescreen stage and only live-action element in the movie is Mowgli and whatever small piece of set Neel Sethi stood or climbed on. The rest is a photo-real CG jungle, and in the action sequences, the viewer is running or swinging alongside Mowgli thanks to cinematographer Bill Pope’s kinetic camera.

As to why Jungle Book took the virtual production route, Legato said at the time, “photographing a kid in the jungle and on a limited schedule is very difficult. A live-action shoot would be difficult, it wouldn’t look as good and It probably would be more expensive. With blue-screen, you are well on your way.”

But the techniques have been advancing at breakneck speed. Speaking at the National Association of Broadcasters Show last spring, Legato asserted that the virtual production process used to make The Jungle Book is “so outdated” from what they are doing on The Lion King.

“The ability to re-create anything and re-create it faithfully is the future of cinema," he said. "You shouldn't be aware that we were using a computer to make the movie.”

While many details about how the The Lion King is being made are still under wraps, Legato offered at NAB, "We are going to use a lot of virtual reality tools so it feels akin to what you are looking at [if you were on a real set]. You can walk around the set like a cameraman. [Wearing VR headsets] the actors can now walk into a scene and see the other actors and trees … and because you are in 3D, you get a realistic sense [of the environment]. That’s what we are incorporating in the next version of this.”

The first clip of The Lion King — the opening sequence — was screened last summer exclusively for attendees at Disney’s D23 Expo, and the audience went absolutely wild. It featured jaw-dropping photo-real shots of African landscapes and many types of animals. It ended with the iconic moment in which Rafiki introduces young Simba on Pride Rock as "Circle of Life" plays.

You would be hard-pressed to looked at those African vistas and realize it wasn't shot on location. But should this be considered an animated movie?

It’s a question The Hollywood Reporter asked Legato when The Jungle Book opened, and without hesitation, he said no. “I don’t consider this an animated movie,” he said. “I consider this just a movie, and this happened to be the best way to make it. We [made] it comfortable for Jon Favreau to come in and be able to direct as if it was a live-action film.”

Inviato da: veu il 9/11/2017, 23:57

Dal sito http://www.etonline.com/elton-john-hopes-be-involved-lion-king-remake-dishes-surprise-broadway-performance-exclusive-90682

With the live-action remake of Disney's The Lion King currently in production, Elton John says he's looking to get on board. [...] As for his whether or not he'll be participating in the upcoming live-action remake, John told ET, "Yes, I think so. I hope so." While the iconic singer wasn't able to tease any details about what his involvement would entail, it's hard to imagine any interpretation of The Lion King without John's musical compositions.

Inviato da: veu il 25/12/2017, 18:40

Elton John lavorerà al remake e potrebbe riscrivere alcuni suoi lavori o comporre nuove musiche e canzoni per il film.

Dal sito http://www.nydailynews.com/entertainment/gossip/confidential/elton-john-set-rake-article-1.3660427:

Elton John will make millions with live-action remake of 'The Lion King'

Sir Elton John will bank as much as $13 million thanks to the upcoming live-action remake of the Disney cartoon “The Lion King.”

The British pop star has agreed to a deal to rework his smash hit compositions from the 1994 animated musical film.

His hits “Circle Of Life” and “Can You Feel The Love Tonight” will be modified in the new version of the film that’s set for release in 2019.

Jon Favreau, who directed 2016’s “The Jungle Book,” is set to helm and it will feature the voices of Beyoncé as Nala, Donald Glover as Simba, Chiwetel Ejiofor as Scar, Seth Rogen as Pumbaa and Keegan-Michael Key as Kamari.

Disney Studios has secured John for the project, but will not announce it for several more weeks.

Insiders say that the licensing deal is worth at least $4 million, but will rise in commission from DVD sales and streaming. Earnings from new album sales and royalties on radio worldwide will boost his bank balance too.

And on top of that, ticket sales from “The Lion King” stage productions worldwide will likely increase dramatically after the 2019 film release.

A source in L.A. said: “Elton is working with Disney on this new ‘Lion King’ project. They have reached an agreement to present some reworked versions of the classic hits and perhaps some new work.

“The songs will be thread into the storyline. It is unthinkable when you have Beyoncé involved not to have her sing some of those iconic hits — and that means huge sales to a new generation. The deal is a huge one and will earn him millions at many stages. Obviously he will get a one off licensing deal followed by a cut in royalties from all aspects of the work.”

Sir Elton bagged a “Best Original Song” Oscar for his musical work on the original film for “Can You Feel The Love Tonight.” Two other tunes were nominated for Academy Awards in the same category — “Hakuna Matata” and “Circle Of Life.”

Earlier this month, John shocked fans by appearing at the 20th anniversary of the Broadway production of “The Lion King.”

The 70-year-old star will have to find time in his schedule to rework the musical tracks once he completes his residency at Caesars Palace in Las Vegas in May.

Inviato da: veu il 11/2/2018, 22:40

Dal sito https://www.thesun.co.uk/tvandshowbiz/5542574/theatre-legend-tim-rice-joins-sir-elton-john-and-beyonce-for-lion-king-remake-soundtrack/:

In an exclusive interview, Elton told me: “They need to have a new end credits song. There’s going to be four of our songs in the film, from the original: 'Can You Feel The Love Tonight', 'Hakuna Matata', 'I Just Can’t Wait To Be King', and 'Circle of Life'. And then there will be an end, closing song, and we’ve been speaking to Beyonce’s people and hopefully Tim and I and her can cook up something. That’s going out in 2019 as well. And it will be great to work with her. So we will see.”

And although it isn’t due to hit cinemas until July 19 next year, Elton revealed he has already been given a sneak peek. He teased: “I’ve seen a little bit of the opening of it, which is amazing. Jon Favreau is directing it, he did an amazing job on The Jungle Book. The film is going to be amazing.”


In sintesi, Elton John e Tim Rice stanno scrivendo una nuova canzone per il remake che sarà cantata da Beyoncé nei titoli di coda. Nessuna delle canzoni del musical di Broadway sarà presente nel film.

Inviato da: Arancina22 il 12/2/2018, 0:44

Non capisco perchè snobbare le canzoni della versione di Broadway...

Inviato da: Filippo il 12/2/2018, 14:16

Nemmeno io...

Inviato da: veu il 19/3/2018, 22:28

Dal sito https://disneyfilmfacts.com/2018/03/19/exclusive-scar-expected-to-have-a-different-look-in-the-lion-king-remake/:

EXCLUSIVE: SCAR EXPECTED TO HAVE A DIFFERENT LOOK IN THE LION KING REMAKE!

Disney’s reimagining of The Lion King is deep into production and if you were lucky enough to see the footage from last years D23 Expo then you know the films characters will have a familiar to them, except one fan favorite character.

We have exclusively learned from a source close to the project that the film’s villain Scar is expected to have a new look to him.

According to our source, The studio is considering making Scar a rare white lion with a weak/frail look to him, the idea is to give Scar a much different look from the rest of the lions in the film(Simba, Nala, Mufasa, Serabi). This would be drastically different from the dark orange and black we know from the classic animated film.

It should be noted that this is what is being considered and things can easily change in post-production.

The Lion King is directed by Jon Favreau, and stars Donald Glover as Simba, Beyoncé Knowles-Carter as Nala, James Earl Jones as Mufasa, Chiwetel Ejiofor as Scar, Alfre Woodard as Sarabi, John Oliver as Zazu, John Kani as Rafiki, Seth Rogen as Pumbaa, Billy Eichner as Timon, Eric Andre as Azizi, Florence Kasumba as Shenzi, Keegan-Michael Key as Kamari, JD McCrary as Young Simba and Shahadi Wright Joseph as Young Nala.

The Lion King hits theaters on July 19, 2019.

Inviato da: veu il 24/4/2018, 21:40

Dal sito http://deadline.com/2018/04/dumbo-tim-burton-disney-cinemacon-1202375647/:

Before the session ended, the studio also dropped “The Circle of Life” opening sequence to Jon Favreau’s The Lion King, which hits theaters July 19, 2019, and a behind-the-scenes look at the making of Guy Richie-directed live-action Aladdin.

As for Lion King, it’s shot for shot with the 1994 feature toon, but what a difference real animals (or what looks like real animals) makes. Baby Simba looks great, and there’s a shot of Rafiki rubbing his forehead with red dust and raising him to the other animals. A big cheer from the exhibitor crowd here in the Colosseum at Caesars Palace.


Da https://twitter.com/KnightGambit/status/988850289913479168:

The opening scene of the Circle of Life is shown for The Lion King! SIMBA LOOKS FUCKING ADORABLE #Disney #CinemaCon


Da https://twitter.com/disneyfilmfacts/status/988867741430960128:

“Circle of Life” sequence from Disney’s THE LION KING remake was shown at CinemaCon... people went nuts.

Same thing happened at last years D23 Expo!


Dal sito https://www.hollywoodreporter.com/behind-screen/disney-unveils-first-dumbo-footage-1105364:

Disney closed its presentation with a proof-of-concept clip for Jon Favreau's upcoming The Lion King — featuring a photo-real opening to match the animated classic, which concluded with the iconic moment in which Rafiki introduces an adorable young Simba on Pride Rock as "Circle of Life" plays. (This clip was first unveiled last year at D23.)

Scheduled for a July 19, 2019, release, The Lion King is again using virtual-production techniques, with Favreau reteaming with his Jungle Book Oscar-winning VFX supervisor Rob Legato and lead VFX house MPC.

Inviato da: veu il 25/4/2018, 9:42

Logo del film presentato al CinemaCon:




Moneta commemorativa per chi sta lavorando al film:

Inviato da: veu il 21/11/2018, 23:59

News da https://twitter.com/TheDisInsider/status/1065089592561258497:

* Il teaser trailer dovrebbe uscire il giorno del Ringraziamento in USA.

Inviato da: buffyfan il 22/11/2018, 15:28

Ma le cartucce le sparano tutte adesso? .... Prima Aladdin, poi Toy Story, poi Dumbo, la foto di Mulan.... non lasciano nemmeno il tempo di creare un minimo di Hype questi.

Inviato da: veu il 22/11/2018, 22:51

Dicono che il trailer esce tra alcune ore...

Inviato da: buffyfan il 23/11/2018, 0:34

Trailer italiano
https://www.youtube.com/watch?v=0SEqlCWMTMc

Inviato da: brigo il 23/11/2018, 9:08

Be', sì, in effetti è molto live action.

Inviato da: Hiroe il 24/11/2018, 20:09

Oddio che immagini spettacolari!! sono arrivati a dei livelli assurdi con la CGI.. tanto di cappello!

Inviato da: veu il 25/11/2018, 21:02

Il trailer è molto bello. Riprende quello del 1994/1995.

Segnaliamo che è il trailer più visto, nelle prime 24 ore, tra tutti i film Disney (eccetto Avengers: Infinity War)

Inviato da: Daydreamer il 27/11/2018, 8:09

Nel film farà la comparsa un personaggio inedito, quello di un toporagno, animaletto africano noto per la sua grande velocità, doppiato per l'occasione nella versione originale da Amy Sedaris. Considerando l'attrice, è probabile che il roditore sarà dotato di una bella verve comica e sarcastica.

Da https://variety.com/2018/film/news/lion-king-amy-sedaris-1203036261/

‘Lion King’ Adds Amy Sedaris in Original Voice Role (EXCLUSIVE)
By MATT DONNELLY

Comedian Amy Sedaris has joined the cast of Disney’s live-action “The Lion King” remake, numerous individuals close to the project tell Variety. She will voice an animal brand new to the kingdom that was established in the 1994 animated classic.

Under the purview of director Jon Favreau, Sedaris will play an elephant shrew — so named for long noses that resemble elephant trunks, the tiny mammal is native to Africa and known for its top speed.

The actress joins an impressive ensemble that includes Donald Glover, Beyonce, James Earl Jones, Seth Rogen, Billy Eichner, and Alfre Woodard. The film’s first teaser trailer dropped on Thanksgiving Day to great fanfare, generating 224.6 million global views, making it the second most-viewed trailer in history within 24 hours (Disney also owns the No. 1 title, “Avengers: Infinity War”).

Favreau and Sedaris previously worked together on his 2014 food-truck drama “Chef.” She is no stranger to animated voice work, having appeared in all five seasons of Netflix’s “BoJack Horseman” and the acclaimed 2016 indie “My Life as a Zucchini.” She was also a regular on Tina Fey and Robert Carlock’s Netflix comedy “The Unbreakable Kimmy Schmidt.”

She currently stars on the TruTV series “At Home With Amy Sedaris,” a sketch series for which she serves as co-creator, executive producer, and star.

Sedaris is repped by UTA and Schreck Rose Dapello Adams Berlin & Dunham

Inviato da: veu il 3/2/2019, 23:18

Da https://twitter.com/Skylerhxc/status/1091915382405746688:

I get this question a lot, but I’ve heard “Be Prepared” will indeed be in The Lion King remake.

Traduzione: La canzone "Be prepared" sarà ripresa nel remake.


Da https://twitter.com/TheDisInsider/status/1090969807527149568:

Q: New look at The Lion King. PS: Scar won't be white!

The DisInsider: Possibly changed in post production.

Traduzione: Scar, a differenza di quanto era stato detto in precedenza, non sarà bianco.


Logo:




I personaggi:

Inviato da: veu il 7/2/2019, 0:06

Poster Cinese uscito in occasione del Capodanno Cinese:

Inviato da: brigo il 7/2/2019, 0:26

Mi fa pensare a tanti classici, da Mulan a Koda, passando anche per Hercules se vogliamo, ma Il Re Leone non me lo ricorda per niente.

Inviato da: veu il 25/2/2019, 22:57

Nuovo trailer uscito per la notte degli Oscar:

https://www.youtube.com/watch?v=aQN75AKDwks


Nuovo poster (notate l'indicazione degli attori che sono le voci dei protagonisti):





Dal sito https://www.nytimes.com/2019/02/22/movies/lion-king-angelina-jolie-chiwetel-ejiofor.html?smid=tw-nytimesarts&smtyp=cur:

A WORD WITH

From ‘The Lion King’ to Angelina Jolie, Chiwetel Ejiofor Has a Lot to Talk About

For the last decade — as he snared an Oscar nomination for Steve McQueen’s “12 Years a Slave,” swaggered through the National Theater production of “Everyman” and wielded magical weapons in Marvel’s “Doctor Strange” — Chiwetel Ejiofor has had his mind on other things.

When he wasn’t racking up accolades in front of the camera, Ejiofor was figuring out how to step behind it and make a movie about William Kamkwamba, who at 13 saved his Malawi village from drought and famine by building a windmill.

The result, “The Boy Who Harnessed the Wind” — Ejiofor’s feature directorial debut, based on Kamkwamba’s 2009 best-selling memoir — arrives on Netflix on March 1 as well as in select theaters for a weeklong run.

“I read it when it first came out and immediately wanted to get the rights. I just had a strong instinct,” Ejiofor said. “It was talking about things that everybody was dealing with globally” — democracy, economics, the environment — “but concentrated on these people who were at the thin end at the wedge.”

“I found a project I loved so deeply that I was prepared to doggedly stick with over many years,” he added.

Born into a farming family, Kamkwamba (played by Maxwell Simba, with Ejiofor as his father, Trywell) was forced to quit high school after his parents couldn’t scrape together the tuition. Undeterred, he sneaked into classes and the library, where an American textbook called “Using Energy” inspired him to use bicycle parts to build a windmill to pump water for crops — and in the process keep his village alive as corrupt politicians abandoned it.

Kamkwamba was unable to return to school for five years, until his inventions captivated supporters who helped him gain entry into the African Leadership Academy, and then into Dartmouth, where he graduated in 2014.

In an interview at a Lower East Side hotel, Ejiofor, 41 — who is London-based and was on a work layover between the Sundance and Berlin film festivals, where his film captured warm reviews — spoke about his passion project.

Here are edited excerpts from the conversation.

Can you pinpoint the moment when you knew you had to make this movie?

I was very struck by this idea of a 13-year-old sneaking into school, and I considered what my attitude to school was when I was 13 — and the idea of how inconceivable it would be that I’d have tried to sneak past teachers in order to get into a double math class. For William to find his way through in that kind of situation just seemed extremely hopeful to me.

You first had to write the screenplay before shooting in 2017. Did the ideas behind his story shift during those years?

A lot of these ideas became almost more pertinent over time. When I started writing it, there really wasn’t a question mark over the nature of democracy in the Western world, so it seemed like a very African issue that this [corrupt politician] comes along and he’s beating people up at rallies. By the time we finished the film, these ideas of whether there are limits to democracy were everywhere, in the States and with Brexit. There was also the financial crash, and the idea of deregulation or unregulated markets was all people were talking about. Years later it’s so much more a part of how we think about the potential disastrous consequences of some of the actions — like looking at a famine that was really about unregulated grain prices.

As an actor, do you see the scenes in your head when you’re writing?

Yeah, I mean all of it. You hear the scenes, you play out the scenes. I would be seemingly crazy, walking around playing all the parts, just invested in all of the moments of the film.

What is William doing now?

Now he works in North Carolina and in Malawi, and through his organization Moving Windmills, he’s setting up an innovation center in Lilongwe [the capital of Malawi] to support young people who have ideas — innovators, inventors, thinkers — and put them in contact with people who could help them actualize their ideas.

Let’s talk about some of your other upcoming films. There was quite a twist with your character, Baron Mordo, at the end of “Doctor Strange.” Have you officially signed on to reprise the role in the sequel?

[Laughs] “I can neither confirm nor deny” type thing.

Hmm. You also have two Disney movies coming out. You’re playing Scar, the Jeremy Irons role, in the “Lion King” reboot with Beyoncé and Donald Glover. Did you feel any pressure reworking such a beloved film?

It’s just very exciting. Obviously the original was so incredible and so sort of legendary. But like anything else, you have to kind of put that to one side and just try and play the part and see what happens.

Could you maybe slip into your Scar voice for a moment?

[Laughs] We’ll have to wait and hear it.

How about “Maleficent 2”? There’s a mysterious blank on IMDb where your character should be named, though rumor has it you’re a possible love interest for Angelina Jolie.

[Putting on a plummy British accent] I don’t know how much I can say about any of this, really. I actually came to the first “Maleficent” quite late. But I was totally stunned by it and thought it was such an interesting take on the way that we view fairy tales, and how it imprints us with certain thoughts and feelings right from a young age that we carry through subconsciously. I think “Maleficent 2” expands that world in a fascinating way. And I’d worked with Angelina before [in “Salt”] and had a great time. She’s such a remarkable actress and just a force. It was very cool.

“The Boy Who Harnessed the Wind” is no fairy tale. You strove for authenticity by having the cast speak the native Chichewa, which required lots of subtitles. Is it a coincidence that it ended up on Netflix, like Alfonso Cuarón’s “Roma,” another heavily subtitled film?

When I started on the process with this film, there were only a few avenues that one could go, and those questions are really commercial questions because the authenticity would always butt heads with this idea of, “Does that affect the capacity for the film to reach an audience in the West?” In the meantime, Netflix arrives with a whole other way of accessing and engaging people. So being able to put the film into a limited release but at the same time allow it to reach a global audience is a kind of wonderful development for a film like this.

That’s what I loved about “Roma.” I loved the fact that people have reference points now in a way that they just never did. They couldn’t have a conversation about something as detailed and nuanced as the specifics of Mexico in the 1970s with anybody and now they really can. They have a place to start a conversation, and that’s a big kind of cultural change and has an impact.

Having a wider, more informed idea of the world is this very, very powerful possibility.

Inviato da: Daydreamer il 26/2/2019, 13:26

La cosa che mi fa venir da ridere è il poster italiano, dove campeggiano gli stessi nomi. Una cosa così provinciale non si può ma loro hanno voluto ripeterla dopo l'assurdità col Libro della Giungla e la censura dei doppiatori talent italiani.

Inviato da: veu il 4/4/2019, 23:10

Descrizioni delle sequenze mostrate al CinemaCon:

Dal sito https://www.indiewire.com/2019/04/the-lion-king-footage-cinemacon-rave-reviews-1202055502/:

The footage for “The Lion King” showed the famous “everything the light touches” scene between Mufasa and Simba. Like the teaser trailer that debuted last year, the scene is essentially a shot-for-shot remake of Disney’s animated “The Lion King.” However, the effects blew nearly everyone in attendance away.


Dal sito https://variety.com/2019/film/news/lion-king-new-footage-aladdin-cinemacon-1203179960/:

The roughly five minute clip followed a young Simba (JD McCrary) and his father Mufasa (James Earl Jones, returning in all his baritoned glory) as they survey their kingdom in the Pride Lands.

“Look, Simba, everything the light touches is our kingdom,” Mufasa intones, instructing the princeling that “a king’s time as ruler rises and falls like the sun. One day, Simba, the sun will set on my time here, and will rise with you as the new king.”


Dal sito https://comicbook.com/movies/2019/04/03/the-lion-king-cinemacon-footage-trailer-teaser/:

"Footage sees Mufasa sleeping and getting woken up by an enthusiastic and relentless Simba. Sarabi tells him, 'Your son’s awake.' They emerge from their cave near Pride Rock," ComicBook.com's Brandon Davis reported of the footage. "Simba is eager to learn from his father. His father, however, heads to the top of a rock to let out a roar. 'Dad? I’m not supposed to go up here,' Simba says . 'Look Simba,' Mufasa says. 'Everything the light touches is our Kingdom...One day Simba, the sun wil set on my time here, and rise with you as the new king.'

"'All of this will belong to me?'" Davis continued. "'It belongs to no one but it will be yours to protect.' 'Everything the light touches?...And beyond those shadows?' 'You must not go there Simba...While others look at what they can take a true king searches for what he can give.'"

"The two walk elsewhere, past impressively computerized spiders, elephant, and antelope. Simba questions how they protect the antelope when they eat them," Davis detailed. "Mufasa explains that when they die, they become the grass, and the antelope eat the grass. They are 'all united in the circle of life.' Zazu comes across them. Mufasa encourages Simba to pounce at him, hiding in the tall grass. Simba does just that before rolling around, laughing with his father."


Dal sito https://www.slashfilm.com/the-lion-king-footage-reaction/:

The footage begins with a redux of the first sequence in the original movie after the title card. Simba is looking out over the plains in the early morning. He trounces on his father Mufasa to wake him up, “You said I could patrol with you today, and it’s today. Let’s go!”

Simba asks, “What’s first? Chase away evil intruders?” Instead, they walk towards the top of Pride Rock. Simba usually isn’t allowed up there. Mufasa takes him to the very end of the cliff and gives him the speech about “Everything the light touches is our kingdom.”

Still young with a lot to learn, Simba asks, “All of this will belong to me?” Mufasa corrects him, “It belongs to no one. But it will be yours to protect. A great responsibility.” This is where he also warns him not to go into the elephant graveyard where the hyenas live.

Mufasa continues to talk about Simba’s future responsibility as king, “While others search for what they can take, a true king searches for what he can give.” That’s some sage advice from a lion that a lot of people in power today should heed pretty quickly.

Suddenly, the king’s majordomo Zazu shows up. And since it’s the voice of John Oliver, when the bird says, “Come on, it’s the news!” you can’t help but chuckle. Of course, Mufasa and Simba play a little prank and scare him, just like the original movie.

Inviato da: Simba88 il 10/4/2019, 15:21

Nuovo trailer (preparate i fazzoletti!)

Versione italiana:
https://www.youtube.com/watch?v=DLwmEdOsW8s

Versione originale:
https://www.youtube.com/watch?v=7TavVZMewpY

Inviato da: nicolino il 10/4/2019, 16:54

Per quanto uno possa essere contro i remake live action, sfido chiunque a non emozionarsi almeno un pochino con questo trailer.

Inviato da: brigo il 10/4/2019, 16:59

Effettivamente, quando ho visto il facocero cantare, un brivido lungo la schiena mi ha pervaso.

Inviato da: Eric il 10/4/2019, 17:34

Si emozionante... ma è solo grazie alla musica epica e famosa che ti riporta indietro nel tempo . Vedendo i personaggi divento molto scettico, mi sembrano troppo finti, freddi, a momenti non si capisce quale sia Nala o Sarabi.
Mi chiedo come potranno rendere in CGI alcune scene (e certi sguardi) per me significative del film d'animazione:
Lo sguardo di terrore e tristezza di Sarabi quando non crede alla parole di Simba riguardo all'assassinio di Mufasa, gli occhi stracolmi di paura di Simba e di disperazione durante la scena degli Gnu e la morte di Mufasa, Il terrore sul volto di Scar quando capisce il tradimento delle Iene, lo sguardo innamorato ( e "sessuale") di Nala durante "L'amore è nell'aria stasera" e molte altre... scene che secondo me non renderanno con questo film.

Inviato da: nicolino il 10/4/2019, 18:29

Sono d'accordo più o meno su tutto.
Dubito che i dettagli che dici verranno resi bene, anzi, dubito che abbiano dedicato tempo a tali finezze, dato che non lo hanno fatto fino ad ora con gli altri live action.
L'unica speranza che ho in più rispetto agli altri live action risiede nel fatto che l'approccio di questo regista, per il libro della giungla, è stato molto interessante e assolutamente più maturo rispetto agli altri. Staremo a vedere...

Inviato da: Arancina22 il 10/4/2019, 19:24

L'emozione che ho provato in questo trailer è data dalle musiche di Zimmer e dalla voce di Luca Ward. Non da ciò che ho visto, freddo, piatto, da documentario della BBC (che adoro, ma non è il prodotto che sto cercando).
Per me continua a essere un grande, gigantesco no.

Inviato da: Daydreamer il 10/4/2019, 19:40

Possibile che il piccolo Simba sia così mono espressivo? Certo è fotorealistico. Ma come detto prima, il Classico è un'altra cosa. Mi ha colpito molto un articolo di Mereghetti sull'ultimo numero di Ciak. Foto realismo, la gente non vuole più le favole, non lavora più di immaginazione e fantasia, vuole ricondurre tutto a un (aggiungo io cinico e scientifico) realismo :/.
Detto ciò le atmosfere del Libro della Giungla, lo stile adulto e dark mi avevano troppo colpito e anch'io, come nicolino, sono molto curioso di vedere questa nuova versione cosa ci offrirà.

Inviato da: veu il 23/4/2019, 13:48

Manifesto Giapponese:

https://pbs.twimg.com/media/D40qPRRUEAEJPNB?format=jpg&name=large

Inviato da: Hiroe il 25/4/2019, 11:44

Nel manifesto giapponese Simba sembra un orsetto!

Inviato da: veu il 25/4/2019, 21:46

Dal sito https://ew.com/movies/2019/04/25/the-lion-king-cover-story/:

The Lion King: EW visits the set of Disney’s rule-breaking beast of a remake

A young lion and a veteran filmmaker contend with legacy in Disney’s groundbreaking reimagining of one of the most treasured animated movies ever made.

The elephant in the room is that there’s no elephant in the room. Or lion, hyena, or zebra, for that matter. In fact, it’s quite possible there are no indigenous African animals anywhere whatsoever within a 25-mile radius of this Playa Vista, Calif., production facility. And yet there are roars and squawks and grunts and growls, sounding out from any given corner of this secluded little studio, and if a visiting tourist knows where to look, they may even spot a majestic creature up onscreen with fur so fine, skin so textured, and eyes so exquisitely piercing that they’d bet their kingdom the animal was real.

The blurred lines of reality have never looked sharper than in Disney’s July 19 tentpole The Lion King, a summer blockbuster-in-the-making that refreshes a classic movie with a pioneering photo-real animation technology for a film experience that will be, simply, wild. As the latest animated Disney film to be reimagined for new audiences (in a string of “live-action” remakes that has earned more than $5 billion since 2010), The Lion King has put the Hollywood herd on high alert since the studio first announced its intent three years ago to remake the 1994 cartoon epic with director Jon Favreau. His successful adaptation of The Jungle Book wowed audiences in 2016, using cutting-edge tools to bring exotic animals to astonishing animated life (a technology that his collaborators at visual-arts firm MPC have only further developed since). But even Favreau would tell you: The jungle and the savannah are two vastly different beasts, and no beast roars louder than The Lion King.

Released in June 1994, the film remains the highest-grossing hand-drawn animated movie ever made. It was the No. 1 movie worldwide that year, Disney’s biggest-ever opening weekend at the time, and it would make pop culture history at the Oscars (winning for Hans Zimmer’s score and Elton John and Tim Rice’s ballad “Can You Feel the Love Tonight”), on stage (where the 1997 Broadway musical is, per Forbes, the most profitable entertainment property ever created), in stores (where the haul from total merchandise sales exceeded $1 billion in its first year alone) and even at cinemas again (when a 3-D re-release set a domestic theatrical record in 2011). The simplest explanation for its success is its story: a Hamlet-inspired, African-set fable of a young lion prince named Simba forced to fill the vast footprints of his late father, the fallen king Mufasa. It’s a heroic coming-of-age journey, epic in scope and universal in Western and non-Western culture alike — and while that certainly hasn’t changed 25 years later in screenwriter Jeff Nathanson’s adaptation, this lion cub is about to grow up in a whole new Africa.

“It feels like we’re restoring a classic historic architectural landmark — how do you update it without changing the personality of it? How do you take advantage of all the new technological breakthroughs but still maintain the soul and the spirit of the original Lion King?” Favreau, 52, tells EW on set. “I think this film is a culmination of all the live-action adaptations that Disney has done of their animated classics. The idea of taking these characters and this music, just as the stage play took it, sticking closely to the story but reinventing it for a different medium… I thought that this technology would be separate enough from the animated film that it felt fresh and new, yet completely related to the original. And by the time Jungle Book was done, we had a lot of facility with this technology, so you’re hitting that part of your stride where you’re saying, ‘Now, what can I really do with this?’”

Much of the trailblazing technical team from The Jungle Book has returned for a second trip to the animal kingdom (plus a few new additions who geeked out from afar and pounced at the opportunity to join Favreau), but there’s one big caveat: Whereas Jungle Book counted a flesh-and-blood human (Neel Sethi as Mowgli) among its characters — hence, “live-action” — Favreau has no human star this time around. So despite what you may have heard about Disney’s “live-action Lion King,” be prepared to leave that label behind and acquaint yourself with the newest buzzy phrase in filmmaking: virtual production.

“By removing the one physical element of Mowgli, we were no longer tethered to the fact that we had to have blue screen or an actual set or real cameras, so everything became virtual at that point,” Favreau explains. “Once that gave us the freedom to operate without actually having to move through physical photography, it allowed us to open ourselves up to a whole new approach, and that’s why it feels different than Jungle Book. We’ve basically built a multiplayer VR filmmaking game just for the purposes of making this movie.”

Imagine it: To get to the Lion King set, simply pop on a virtual-reality headset like EW did way, way back in the summer of 2017. Look upwards and you realize you’re at the bottom of Pride Rock, the film’s majestic mountain centerpiece. Look down and you see your VR avatar, a little green humanoid… ball… thing. A few hundred feet above you, Favreau’s VR avatar (the same blob but blue) floats gracefully in the sky beside the summit of Pride Rock. Using the controller in your real-life hand, you eventually figure out how to fly up and join him, and suddenly there you are, suspended in the clouds alongside the director, watching a scene play out between two animated lions on the rocky, sun-drenched peak.

Animators have used keyframe CGI and the recorded dialogue of actors to create a rough master animation of today’s scene, in which Mufasa (James Earl Jones, reprising his 1994 role) teaches young Simba (JD McCrary) about the bounds of the kingdom he’ll one day inherit. While each “take” of the animated lions’ performance is the same, the VR technology has afforded Favreau the freedom to shoot the scene from any nook, cranny, or even mid-air vista view of Pride Rock. Every set piece, from shadowy elephant graveyards to lush romantic waterfalls, can be as freely explored as any open-world 3-D video game, allowing Favreau, his director of photography Caleb Deschanel, and the crew to scout locations together in real time in virtual reality. They can lay down camera positions and find their shots, just as they would on a physical set, only without having to relocate heavy camera units, chase the light of a dwindling sun, or coerce animal actors into doing their scenes once more with feeling. When “shooting” finally begins, camera movements are encoded onto video, and there’s even a little virtual video village where other crew members in the VR volume can watch what’s happening. It’s all to say: Save for the fact that everyone happens to be floating in the middle of the African sky, you’d swear this whole endeavor was just one craft-services table away from an actual movie set.

“The whole reason for all of this is to make an animated film feel live-action — to have a real crew come in, interface with an animated film, and make all the camera decisions that you would on set, instead of somebody sitting at a keyboard programming in the camera moves,” Favreau explains. “If you look at the way we’re covering and cutting [the animated performances], all of that is related to traditional cinema.” What the filmmakers are ultimately searching for is a marriage of state-of-the-art character animation with the kind of gorgeously gritty cinematography you might find in a nature documentary. Kinetic, impulsive camerawork capturing beautifully rendered animal behavior. An imperfect shot of perfect action.

“There are times when I follow the animal and it jumps and I miss the action and we have to do it again because I didn’t operate perfectly, and there are times when I didn’t operate perfectly and it looks even better,” says Deschanel, a 50-year cinematography vet. “Virtual reality is more a tool than the end result. You have to live in it, in a weird way, and feel what it’s like to be at Pride Rock in order to decide what you want to do and where you want to do it. But other than that, you really are doing exactly what you do when you make a movie.”

If it’s all still hard to visualize, then Favreau says hakuna matata. “The hope is that none of this will matter when people actually see it,” he concedes. “We hope it will feel like something different and something that’s as emotionally engaging as a film with real animals using real cameras. And as we introduce the material to people, they’ll begin to understand — or at least be confused in a way that’s creatively compelling.”

The thing is, you just can’t mess with The Lion King.

Not because of its quantifiable metrics or its grand Shakespearean undertones, but for the particular pristine nostalgia it holds among young and millennial audiences as a formative film that dealt with fatal themes. “I once heard it referred to as the crown jewel of the Disney movies, and for me at least, it’s for sure the one that hit me the hardest, that taught me the most lessons about life and death and many things in between,” says Seth Rogen, 37, who voices Simba’s non-worrying warthog pal Pumbaa. “Whenever Jon has shown me [footage], I weep uncontrollably because it does just hit a raw nerve in some ways and taps directly into these feelings from my childhood, but updates them with a scope that is heavily impactful to me as an adult.”

In that regard, Favreau’s cast and crew are filled with Seth Rogens: fervent, vocal fans who reminded the filmmaker of the production’s precarious locus at the intersection of hands-on visual reinvention and hands-off narrative preservation. Not that Favreau needed any reminding. “There are so many places you can’t go with this,” he declares — but can you teach an old lion new tricks? “It’s amazing how much you can change, but if you reference the proper memory points, it feels like you’re completely being true to what came before. The trick is to quantify those things. Figure out what those connection points are. There’s a checklist: ‘What do I expect to see if I go see this?’ And there were about six things on that list for Jungle Book.” Favreau chuckles: “This one has about 60.”

So the director tried to identify impactful opportunities where he could safely expand on the piece for modern audiences — for instance, in casting. “It’s almost like we’re relaunching a classic stage piece, casting it in a way that brings a new spin to it and makes it exciting and interesting,” he says. Favreau found his anchor in zeitgeist-shaking actor-musician Donald Glover, who leads the pride as adult Simba, a role he took at the onset of a star-making career stretch that included his hit FX series Atlanta, his quadruple-Grammy-winning song “This is America,” and his scene-stealing role in Solo. “[The Lion King is] a timeless story, but I think the way Favreau has constructed it, it’s a very timely story as well,” Glover, 35, tells EW. “I just wanted to be a part of a global good.”

Glover’s castmates have no lack of global reach among them, either: Music icon Beyoncé Knowles-Carter voices Simba’s betrothed, the powerful lioness Nala; comedy stars Billy Eichner and Rogen, whom Favreau tasked with modernizing the film’s humor, lounge and laze as the responsibly irresponsible Timon and Pumbaa; Oscar nominee Chiwetel Ejiofor brings his dramatic gravitas to the depraved black-sheep prince Scar; and the legendary James Earl Jones, at 88, booms once again in his role as king Mufasa. The ensemble also includes John Oliver as avian major domo Zazu, Alfre Woodard as queen Sarabi, John Kani as mystic mandrill Rafiki, and Eric André, Florence Kasumba, and Keegan-Michael Key as a reimagined trio of hyenas loyal to Scar.

Even the cast can’t believe the cast. “I think I screamed when I found out Beyoncé was going to be in the movie,” says Shahadi Wright Joseph, 13, who voices young Nala. “And when I found out she was going to be playing older me, I really had to step my game up and think about what Beyoncé would want.” McCrary, 11, who pads around the Pride Lands as young Simba, gushes, “Donald Glover is so talented that I actually did have to take it into consideration, because if Simba is going to grow up to be some sort of figure and you know of it, you have to keep that motive.” Ejiofor says of the towering Jones: “For those of us who grew up with James Earl Jones and his voice, the comfort of that is going to be very rewarding in taking us on this journey again. It’s a once-in-a-generation vocal quality.” Rogen raves of Knowles-Carter, “I was once shoved aside by her security guards backstage at the Grammys.”

The characters themselves are just as formidable as the celebrities playing them. Names like Simba, Rafiki, Timon, and Scar have spent nearly a quarter-century etched into pop culture, and now presented a new batch of actors with a daunting yet thrilling opportunity to reinvent. “As an actor, I 100 percent don’t think I’m right for every role — there are a lot of roles I don’t think I’m right for even in movies I’m making — but Pumbaa was one I knew I could do well,” says Rogen, whom Favreau e-mailed with a casting offer shortly after the film’s announcement. “Truthfully, I probably would have been a little insulted if he didn’t ask me to.” Eichner was slightly less assured: “People way more famous and successful than me would have killed for this part. I’ve heard about some of them!” The actor, 40, counts Nathan Lane, the original portrayer of meerkat Timon, as a personal musical-comedy hero. “It’s such a great role that allows you to do so much,” says Eichner. “But I’ve learned that the bigger the project and the bigger the names that you’re working with, the more you have to ignore it. If you get to the soundstage and you’re thinking, ‘Oh my God, what a full-circle moment! Nathan Lane did it originally! Beyoncé’s in this!’ then you’re paralyzed creatively. You just have to put that out of your head in order to get the job done.”

Yet for a star of Beyoncé’s stature, the scrappy black-box stage of The Lion King may arguably be the most intimate she’s performed on in years. “Although her persona onstage is bigger than life, she’s very down to earth and is very much dedicated to having a life that is human-scale,” says Favreau, who reached out to the singer on the whim that she might be interested in playing Nala. “I think that part of [her joining the film] is that she’s got young kids, part of it is that it’s a story that feels good for this phase of her life and her career, and she really likes the original very much. And then, of course, there are these wonderful musical numbers that she can be involved with, and my God… she really lives up to her reputation as far as the beauty of her voice and talent.”

Favreau earmarked the film’s music as its other major arena ripe for renewal. With all five songs from the 1994 film (including “Be Prepared” and “I Just Can’t Wait to Be King”) featured again, he hoped to spark collaborative magic by reuniting the original music team of Zimmer, John, Rice, and arranger Lebo M. to revisit their work alongside the new influences of Childish Gambino and Mrs. Carter. Favreau notes, “[One thing] I didn’t do for Jungle Book is double-down on the music and find people who were going to reinterpret this and bring something new and fresh to it. Each iteration of The Lion King seems to bring its own spin to the music while still feeling related to what we all connect to as The Lion King. And so having Donald Glover and Beyoncé involved, not trying to create new songs but trying to build on what people remember and love about the old ones, has been really fun and formative.”

Zimmer, faced with reevaluating his Oscar-winning score, was initially hesitant to return. “I have worked very hard to not ruin things through improvement,” he tells EW. But as he performed the music of The Lion King (with Lebo M., no less) during his live concert tour over the past three years, he began to understand his role in this circle of second-life. “We had been playing the same notes, but we were playing them differently, putting all our emotion, all our humanity into it — we weren’t playing a movie. And so I suddenly realized what my place in this new version was: to try a big experiment and use my band and orchestra, go back to Africa, work with Lebo and the chorus and extraordinary musicians from all over the world, and really make this a performance,” says the composer, 61. “What I can ultimately do is add that energy, add that passion, and add that nostalgia, all without changing the notes too much. I’m being truthful to the ambitions that I didn’t quite manage to achieve the last time around. At the same time, it means so much to people, [so] the only thing I can offer them is to put my heart into it and make it a celebration. Make it shine, make it joyful, make it emotional, make it an experience. If there is one story or film in the world that I can think of at this very moment in time that can lend itself to truly becoming an experience, it is this.”

At least on the back-end, the 2019 experience has already shown itself to be markedly different for alumni of the 1994 film, which was famously underestimated even up to its release by Disney suits who considered it a genre-confusing, princess-less B-project, second in priority to Pocahontas. “We didn’t know we were working on a phenomenon,” admits Zimmer. “But we were playing and writing about the things that mattered to us. We had no commercial thought in our head at all — and I’m treating this version absolutely the same way. I am doing this strictly for the people for whom it means something. I’m working my musicians to the bone because I want to get that performance. I want to smell sweat and blood in this studio.”

An argument is not just an argument — and a scene is not just a scene — when it’s between two ferocious lions. “There’s something quite interesting in knowing that you’re always holding a lethal capacity,” muses Ejiofor, 41, who describes his diabolical version of Scar as more “psychologically possessed” and “brutalized” than the cartoon counterpart. “Especially with Scar, whether it’s a vocal quality that allows for a certain confidence or a certain aggression, to always know that at the end of it you’re playing somebody who has the capacity to turn everything on its head in a split second with outrageous acts of violence… that can completely change the temperature of a scene.” But incisors notwithstanding, Favreau’s actors were directed to eschew any presuppositions about animal behavior and treat their beasts as humanely as humanly possible — a relief, for some. “I wasn’t sure if I was going in there and, no pun intended, hamming it up,” says Rogen. “The physicality of Pumbaa is so unanalogous that it thankfully just did not seem like me crawling around on all fours was the best idea. Also, I was lying, pun was intended.”

All things animal were left in the paws of Favreau’s animators. Each scene began with Favreau directing the actors in a black-box theater rigged with microphones like a live sitcom taping (except Jones, who recorded his part in a studio in New York). Those sessions became the actual vocals used in the film, and any camera footage became a reference for the animators to translate the performers’ motions — expressions, gestures, distances, hesitations — into animal equivalents. “All those little subtle cues that actors give, animals have their version of, so what a human would do with its face, a lion might do with its whole body,” Favreau expounds. Master animations were created for each story beat, which would then be loaded into the VR volume and shot (see: paragraph 8), at which point the actors had the chance to enter the virtual stage and see how their scenes were progressing (and, per Favreau’s signature belief in iteration, take any potential stabs at re-recording).

“It was really amazing,” Glover says of the director’s techniques. “I’ve never seen anything like it. To be able to have that type of mobility in an actual world is the first of its kind, I think. How he melded new and old tech was really inspiring.” Ejiofor adds, “I’m sure he had to do this with everybody — you would spend the first 25 minutes of a session just talking with Jon about how all of this was being achieved. The technology just seemed so next-generation and out there. But to know that an audience is going to be experiencing something that is absolutely brand new, that has never been seen before, and thereby is able to connect to and engage with the story in this totally unique way is, to me, an extraordinarily exciting thing to be a part of.”

Perhaps just as significant was the simple act of actors recording together — a rarity in animation, but one that can help actors unlock key character dynamics, like with Timon and Pumbaa. In The Lion King’s translation from colorful cartoon to NatGeo docu-chic, it’s Eichner and Rogen as the film’s comic relief who embody the project’s complex mission of calibrating a proper tone for a photo-realistic production. “The aesthetic style of this movie is so wildly different from the original that there are certain aspects of that type of voiceover acting that Nathan Lane and [original Pumbaa] Ernie Sabella did which would, as great as it is, simply feel completely out of place in this version, which is not to say that we don’t nod to it here and there where we can, but we didn’t lean into that style quite as much,” says Eichner. “Nathan and Ernie were literally coming out of a legendary production of Guys and Dolls on Broadway, which I saw as a kid, actually, and they really leaned into that old-school, vaudeville, Borscht Belt-inspired sensibility for Timon and Pumbaa. Seth and I are obviously not coming out of a production of Guys and Dolls, but I think overall our dynamic is a bit more conversational. I’m not saying it’s subtle, but it is conversational.” (Rogen equates the Timon and Pumbaa relationship to something more akin to marriage: “They’re very, very, very close friends, and like any two people who spend a lot of time together, they start to have things that bother one another about each other. Like, meerkats are very quick, fast-paced animals, and warthogs are… a little on the slower side.”)

Other characters needed no such reinvention. Favreau says Mufasa is the one character whose lines have changed the least from the original 1994 script, and that same general immunity applies to the actor voicing him. “James Earl Jones would do a take and then ask me for direction, and I honestly couldn’t give an answer! I was like, ‘You’re Mufasa!’ Everything he said sounded perfect because it was him saying it,” recalls the director, who even now in post-production still can’t quite believe that Jones agreed to revisit Mufasa’s old stomping grounds. “He could have just as easily said no. His voice could have sounded different. There’s a lot of ways this could not have worked out. And that all of the stars aligned and there I was listening to him record… I felt something very powerful happening. It felt like a very significant milestone when we recorded him, and it was hard to not feel like an audience member. Even for me as a filmmaker, it’s very hard to do your job during those moments when you just get lost in it.”

If the stars aligned for the first Lion King, those luminary ladies seem to be getting back into formation. Early prognosticators are tracking the four-quadrant film to be one of the, if not the, biggest of the year (in the company of heavyweights like Avengers: Endgame, Frozen 2, Toy Story 4, and a Star War, no less — all Disney, of course). But the intangible aftereffects of Favreau’s film stand to be just as striking.

There’s a cultural impact to be had, as Glover, Ejiofor, and others in the ensemble agree that the casting of predominantly black actors adds a powerful dimension to a piece that, in 1994, found its African princes in Matthew Broderick and Jonathan Taylor Thomas (no shade, but still). “The Lion King is a wonderful opportunity to bring in a cast of black actors to play these extraordinary iconic roles,” says Ejiofor. “Obviously I feel very connected to anything African because of my heritage and that’s why it’s a very special experience to me. It’s wonderful that both Jon Favreau and Disney have really pushed to engage with that kind of casting.” Wright Joseph adds, “Representation is really important because you have all of these amazing characters inspiring little black girls and black boys. I [know] Nala inspires little girls because that happened to me when I was younger. I literally said that I wanted to be her. She’s a great role model.”

The moviemaking community may also feel the floor rumbling as Favreau decisively breaks ground with new technology. Industry leaders Magnopus, Vive, Oculus, Unity, and others have lent crucial assists in The Lion King‘s virtual production; the concept itself has been bandied about for several years now, but veterans on The Lion King’s team compare the potential filmmaking disruption of a fully-realized virtually-produced feature to that of James Cameron’s Avatar (which some of them even worked on in 2009). Alumni of The Jungle Book, too, dubbed a game-changer just three years ago for blurring the lines between artifice and authenticity, acknowledge how they’ve topped themselves here. “The time was ripe to do this, but no one was doing it,” says production visual effects supervisor Robert Legato, a three-time Oscar-winner. “This was a push to make a film that broke the conventions of what you’d imagine these types of films could be, and it’s just literally force of will. You choose to make a movie one way and if the result happens to be good, you can see how you can apply it to other things, and that’s not as common as you’d think. Everybody does VFX movies, everybody does animated movies, everybody does live-action movies—but to mix all of them together to make something that belies how it was done is, I think, the game-changing portion of all this.”

In some ways, that’s where this newfangled Lion King, for all its hornbills and whistles, might feel right at home under the classic Disney banner: Walt, famous for his insatiable obsession with cutting-edge technology, likely would have been the first to enter the VR volume every morning and the last to take off his headset each evening, while outside the virtual space his legacy of family storytelling lives on. “Isn’t this how we’re supposed to spend our lives? Aren’t we supposed to try to do excellent things and have a good laugh while we’re doing them?” says Zimmer. “Since we did The Lion King the first time, look how the music business has fallen apart. We’re never going to get our six-platinum album for this anymore. We’re truly not doing it for the money. We’re not doing it for the record sales. We’re doing it because we have to. Because we have to give back to this audience that has supported this story all these years.”

And history would suggest that The Lion King, both ancestor and infant heir, can expect a long reign ahead yet. “Seth and I looked at each other early on and said, ‘No matter what else we do in our lives, more people around the world for years, decades, maybe centuries to come will hear our voices in this than they’ll see us in anything else we ever do,” says Eichner. “Long after we’re gone, this movie will be seen by children who haven’t even been born yet. So all you can really do is sit back and laugh at the absurdity of how enormous it is.”

Enormous. Revered. Impossible to forget. Ahh, there’s that elephant.

Inviato da: veu il 29/4/2019, 22:21

Poster Russo (molto bello):

Inviato da: veu il 1/5/2019, 13:18

Dal sito https://ew.com/movies/2019/04/29/the-lion-king-scar/:

The Lion King’s Chiwetel Ejiofor on the diabolical psychology of Scar

There’s a very different game of thrones going down on the African savanna.

Prepare for the coup of the century when the villainous Scar, The Lion King’s biggest source of shade besides Pride Rock itself, comes alive onscreen like you’ve truly never seen him before in Jon Favreau’s photo-realistic remake of the Disney classic. Audiences will have Chiwetel Ejiofor to thank for the 2019 interpretation of the vengeful character, who has spent 25 years reigning as one of Disney Animation’s greatest villains—and will unfurl his plan to unseat Mufasa this summer with an extra layer of high-definition terror.

Ejiofor, 41, recalls being “right in the pocket” of The Lion King’s key age demographic when the original film was released in 1994. “I just remember thinking the whole spectacle was mindblowing,” the Oscar nominee tells EW. “Even as a young person, I was aware that it was matching two things: This really beautiful, intricate story with these huge, grand, classic, almost Shakespearean themes, but presented in a way that was delicate and affectionate and fun and upbeat in places and then deep and mysterious and dark in others. A real rollercoaster of an emotional journey. And Scar was this great villain right there in the heart of the piece.”

If Shakespeare’s villains are among the most famous antagonists ever created, Scar is the next best thing. Inspired by Hamlet baddie Claudius, the formidable lion is fueled by a black-sheep complex of jealousy and ego, making for an extraordinarily deadly rivalry with his older brother and principal obstacle to the throne, the venerated king Mufasa.

After speaking with Favreau about the director’s plans for the character, Ejiofor wasted no time in setting out to understand the mindset of a madman-with-a-mane. “I was interested in understanding the real psychology of Scar, the psychology of a person who always feels as if they have been somehow mysteriously overpassed by the fates, by the gods themselves. That sense of not being in the rightful place and therefore living in a kind of parallel universe to the one that you’re supposed to be in — what sort of psychology would that mean, and what would it go to over a period of time?” muses Ejiofor.

The answer: A relationship with his brother that’s been “completely destroyed and brutalized” by Scar’s obsessive way of thinking, and even worse, an awareness by Scar himself of just how insane he’s become. “He’s unable to get through it, but he has a self-knowledge about it, that he’s so possessed with this disease of his own ego and his own want, and at the same time, not being able to control that and having no parameters for it,” Ejiofor says. “So when that distance between what he wants, which is to be king, becomes even greater by the arrival of Simba, it just sends him onto this whole different track. The psychology of it! I was just so intrigued trying to find and root that.”

On his journey to dive deep into the diabolical, Ejiofor also faced double duty in figuring out how to parse those discoveries and differentiate his Scar from the original incarnation. Voiced by Jeremy Irons, the character’s 1994 debut involved a delicious blend of feigned melodrama and incisive terror, a performance Ejiofor calls “iconic and fascinating and beautiful.” But the actor urges what many in the cast of 2019’s Lion King know to be true: to dwell too long on an iconic character is to shoot yourself in the paw. “You can’t really wear anybody else’s clothes,” he explains. “I completely loved Jeremy Irons’ performance when I was growing up, but you want to find your own way into it through your own psychology, your own choices as an actor, and your own decision-making as a person. You can’t do a version of it because it doesn’t come from you — it comes from Jeremy. So in that sense, you have to go on your own journey and find the character who is absolutely always your own way. You have to find it for yourself.”

Helping matters is Scar’s new look in the 2019 film; his onyx mane and olive skin have been made slightly more naturally occurring (per the film’s efforts to be as authentic to the animal kingdom as possible) but don’t make Scar any less menacing or recognizable as the savanna-renowned sociopath he is. “He’s a character that, inside and out, is really a core reflection of all that is going on, all of that trauma that’s kind of worn in Scar and outside of Scar as well,” says Ejiofor. “He carries all of that with him, which I think is really powerful, and there’s definitely a certain darkness to that and a kind of pain to it as well. A stealth, tortured pain.”

And then there’s “Be Prepared,” a not-so-stealth pronouncement of Scar’s schemes sung by the lion to his audience of loyal hyenas (led by Eric André, Florence Kasumba, and Keegan-Michael Key). After months of speculation, Favreau confirmed to EW that the tune will in fact be featured in the film—but that’s not to say it’s not a surprise worth preparing for in and of itself. “As opposed to going into the specifics, in a broader sense one of the things that I was absolutely thrilled about was Hans Zimmer being on board this,” says Ejiofor. “The music that he brought to the first Lion King was so extraordinary in all of its detail and all of its richness and all of its color, and so the hope, in whatever particular form that [“Be Prepared”] takes in this version, is that we still have a sense of all of that wonder and all of that wonderful orchestration that Hans brings to the first movie.”



Dal sito https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-lion-king-aladdin-disney-remakes-20190425-story.html:

With new versions of ‘Aladdin’ and ‘The Lion King,’ Disney straddles nostalgia and novelty

[...]

The new version of “The Lion King” — boasting an all-star vocal cast including Donald Glover as the young lion Simba alongside Seth Rogen, Beyoncé, Alfre Woodard and, returning to provide the voice of elder lion Mufasa, James Earl Jones — has faced even greater scrutiny. Poring over the film’s recently released trailer, some fans criticized the look and sound of the film’s villain, Simba’s uncle Scar, voiced in the original movie by Jeremy Irons and in the new version by Chiwetel Ejiofor.

While he didn’t personally grow up with the original “Lion King,” Favreau said he fully understands the reverence for the film, which, like “Aladdin,” has spawned direct-to-video sequels and a Broadway musical. Indeed, with “The Lion King” still reigning as the highest-grossing traditionally animated film of all time, the intensity of interest comes as no surprise.

“I pay attention [to the fans] because it’s their movie too,” Favreau said. “They grew up with this thing, and there’s some sort of collective understanding between the filmmaker and the audience around the world of what the essence and spirit of ‘The Lion King’ is. You can’t react and overcorrect to each comment because there’s such an array of different specific opinions. But you can get a sense as you listen to the zeitgeist reverberating that people seem to be connecting with it.”

While the new “Lion King” has been widely referred to as a live-action version, in reality it’s a different kind of animal, taking the immersive computer-generated animation of “The Jungle Book” and pushing the technology even further.

“The environments are all digital and the animals are all digital,” said Favreau. “Everything is generated by a computer — except for one shot. There’s one shot in the movie that’s a real shot of a real environment that I put in just to see if anybody would be able to pick it out.” (Asked for a hint of what that shot might be, Favreau demurred: “Let’s wait. That’ll be a trivia question.”)

Having now worked on two remakes of beloved Disney films, Favreau is perhaps more aware than anyone of the particular challenges involved. When his “Lion King” opens, he just hopes fans of the original film will walk into the theater with an open mind.

“You have to enter the process with a humility and make a case for not just watching the original,” Favreau said. “You have to be additive to the experience and dimensionalize it. You have to surprise people but also deliver on their expectations. And that’s the game.”

Inviato da: veu il 31/5/2019, 22:43

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Video promozionale:

https://www.youtube.com/watch?v=mz-kufoFris

Inviato da: veu il 4/6/2019, 22:54

Nuovo promo in cui si può sentire la voce di Beyoncé:

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


Manifesto:




Dal sito https://d23.com/we-just-cant-wait-to-see-king/:

We Just Can’t Wait to See King

Viewed from the outside, the ordinary box of a building in Playa Vista, California, where director Jon Favreau and the rest of his production team are busy at work on the upcoming Favreau-directed version of The Lion King seems the most pedestrian of places to bring roaring back to life one of the most beloved films in the Disney canon. But inside, Favreau and company have created a state-of-the-art, purpose-built studio, one where advanced VR (virtual-reality) and live-action filmmaking techniques meet photorealistic computer-generated animation to tell this timeless story in an all-new way.

Favreau’s career has been in full-throttle ascent since appearing on TV shows such as Seinfeld and Friends and movies such as Rudy (1993) and PCU (1994). His big break came with the indie film Swingers (1996), which he wrote, starred in, and co-produced. In 2003 he directed the Will Ferrell hit Elf, and went on to direct and produce major box-office hit films for The Walt Disney Studios. His directing credits include Iron Man (2008), Iron Man 2 (2010), and The Jungle Book (2016). In addition to working on The Lion King, Favreau is currently writing and executive producing the live-action Star Wars television series for the new Disney+ streaming service, The Mandalorian. He was recently named a Disney Legend and will be inducted in August at D23 Expo 2019 in Anaheim, California. The man’s on a roll.

For someone who could be excused for feeling a little pressure, Favreau, dressed casually in khakis and navy blue polo shirt, stands in the center of the warehouse-sized set appearing focused rather than frantic. He says that The Lion King “has the feeling of a live-action shoot, because that’s the way I learned to direct. It wasn’t sitting in a chair, looking over somebody’s shoulder or at a computer. I’m used to being in a real location, and there’s something about being in a real 3D environment that gets my brain firing.”

In addition to using photorealistic computer-generated animation to create this visually majestic film, the latest in VR technology is used primarily to convey that live-action feeling. Virtual sets are designed and created on a computer. Then, using VR technology, virtual environments are constructed that let filmmakers go virtually on to a set, say the Pride Rock set—and scout the environment and set up shots, almost as if they were really in Africa.

“A lot of doing a movie is just walking around, and talking, and so there might be as many as six of us [on the VR stage] wearing goggles talking about a shot. You have the same communication, the same chain of command, the same rhythm to the day.”

Favreau says the new Lion King cleaves largely to the animated film. “We are working off a story that works really well, but the more we looked at, the more we challenged the story. There were certain things that needed addressing to make it feel more appropriate to this medium, but as far as the characters, the story, the themes, the music, we really felt that people were very connected to the original, and so hopefully if you are a fan of the original you will look at our film and say, ‘I feel like I saw The Lion King.’”

Favreau thinks The Lion King’s timelessness makes it the perfect story for new adaptations. “When you see the stage play, you still feel a connection to the animated film,” he says. “Both exist with very close storylines and much of the same music, just different people are playing the characters in a different medium. They don’t seem redundant. You can see the animated film, and you can see the stage show, and love both of them and see them as two different things. The challenge for us is to create something that feels like a completely different medium than those two productions.”

In the end, Favreau hopes The Lion King feels emotionally as realistic as if audiences were watching live creatures. “That’s the trick here,” he says. “Because I don’t think anyone wants to see another animated Lion King, because [that film] still holds up really, really well. Doing The Jungle Book gave me a lot of encouragement. I saw The Lion King as a great opportunity to springboard, refine the tools, and tackle this beloved story in a new way.”

Inviato da: veu il 5/6/2019, 22:28

Dal sito https://www.hollywoodreporter.com/news/disney-beyonces-makeup-artist-team-lion-king-collection-1214805:

Beyoncé's Makeup Artist Sir John Teams With Disney for 'Lion King' Collection



Beyoncé's longtime makeup artist created a beauty line inspired by the African landscape.
To celebrate the release of The Lion King on July 19, Disney recruited Beyoncé’s makeup artist Sir John to create a makeup line inspired by the movie.

Sir John has created looks for a cast of big names, including Rosie Huntington Whiteley, Khloé Kardashian, Priyanka Chopra and Serena Williams, but he is perhaps best known for his work with Beyoncé, who is voicing the character Nala in the photo-real virtual-production remake of the cult cartoon.

The pair initially met at Tom Ford’s first womenswear show in 2010 and hit it off; Sir John quickly became Beyoncé's go-to for everything from album art, music videos, concert tours and even her Super Bowl show and iconic September 2018 Vogue cover.



So when the makeup artist first revealed he had a makeup line in the works last fall, speculation grew that he was working on a line with Beyoncé herself. "Disney first approached me last August, just as I was wrapping up [reality TV competition show] American Beauty Star," Sir John told The Hollywood Reporter. "They told me B was voicing Nala and asked if I’d be interested in doing a line of cosmetics for them."

Sir John was hesitant at first, however. "I was kind of like 'She’s sold separately.' But they said, 'No we want to work with you and we want you to license it and find a partner to produce the collection.'" Sir John immediately reached out to Luminess Cosmetics, a brand known among professionals for its innovative airbrush technology, to help him realize his sweeping vision for the line, with a very tight deadline.



Past Disney makeup collabs have included a Disney Villains Collection with ColourPop and, most recently a MAC Disney Aladdin Collection based around Princess Jasmine’s character. Sir John's aim to create a makeup line around a lion cub rather than a Disney princess didn’t pose a problem.

"It was actually a plus, because I didn’t have a character limiting my creativity.... I didn’t have to design a collection for Cinderella. I also think women appreciate the grace and beauty of big cats, whether it’s a jaguar, leopard or cheetah. They are so regal and so dangerous, but have a feminine quality that speaks to my clients, who are strong women," he says.



The resulting collection is presented in visually stunning packaging, made from etched enamel seven layers deep, where each layer has been lasered out to reveal the rose gold compact. "I fell in love with the packaging before the product — even as a makeup artist," says Sir John. "It’s a collectors item."

As for the makeup itself, "The line is for every woman," he says of the limited edition products, which include a Kingdom Sculpting Palette, Can't Wait to be Queen Eyeshadow Palette, Be Brave Matte Lipsticks, Be Prepared Liquid Lipsticks, Legacy Tinted Lip Balms and a Circle of Life Highlighter. The shade names draw on both characters and scenes from the film — the eye palette includes Nala, King, Pride Rock and African Clay, for example.

"I was inspired while on safari in South Africa for Global Citizen, and I remember looking at how warm and rich the colors were, and I didn’t need to look any further than the landscape," Sir John says.

The collection will launch June 15 at Luminess Cosmetics online. Prices start at $24.







E ora veniamo ad un articolo più interessante, su come considerare questo film, live action o animato? Risponde il regista Jon Favreau. E il sito riportato sotto pone una serie di interessanti questioni.
Leggetelo

Dal sito https://www.cartoonbrew.com/ideas-commentary/jon-favreau-made-an-animated-lion-king-but-he-still-doesnt-want-you-to-call-it-an-animated-film-175028.html:

Jon Favreau Made An Animated ‘Lion King,’ But He Still Doesn’t Want You To Call It An Animated Film

Jon Favreau, the director of Disney’s 100%-fully animated remake of The Lion King, is claiming in a new interview that he doesn’t think the film should be considered animated.

If you’re confused, don’t worry. That’s part of Disney’s marketing strategy. Here’s a breakdown of what’s happening:

Does Favreau think the film is live action?
No, Favreau clearly understands that he made an animated film. He just doesn’t want people to call it an animated film. In an interview with Slashfilm, he spoke about how the film was fully key-frame animated: “[T]here’s no real animals and there’s no real cameras and there’s not even any performance that’s being captured that’s underlying data that’s real. Everything is coming through the hands of artists.” But rather than stating the logical conclusion, he added a curveball: “But to say it’s animated I think is misleading as far as what the expectations might be.”

Favreau goes on to say that the viewing experience will be more special if you don’t know you’re watching an animated film:

It also changes the way you sit and watch it. Because hopefully, you could just watch it without it being introduced. If we put up that Rafiki footage and didn’t say what it was, some people might know, some people might not know how it was done, but it causes you to be present and mindful and pay attention because you’re trying to figure out what you’re looking at. And that’s a great disposition to be in as an audience member.

Favreau adds, “I think calling it live-action is also not appropriate either.” In fact, he recently told an interview that the film only has one live-action shot, which he snuck in as a joke to see whether audiences could tell the difference between the live-action shot and everything else that was animated.

What about all the actors in the film?
The actors in the film are only voice actors; functionally, Donald Glover’s performance as Simba is the exact same thing that Matthew Broderick did on the original Lion King. Initially, there had been some confusion about the role of the actors; some had suggested that they may have done motion capture performances, in the fashion of an Andy Serkis performance. That wouldn’t make it any less animated, but it could’ve helped Disney make the argument that this was not a typical animated film. However, as Favreau confirmed in the most recent Slashfilm interview, there was no performance capture used in the film. It’s all keyframed traditional animation.

The vfx supervisor Rob Legato has spoken about using virtual production. Couldn’t that be considered live-action?
Virtual production is an innovative filmmaking technique that can be used in the service of either a live-action film or an animated film. You can read our in-depth explainer of the technique here. It is, however, still a technique (akin to stop motion, hand drawn, cinematography, or cg). The final imagery that appears in any film can only be classified as one of three things: live action, animated, or a hybrid combination of the two. In the case of The Lion King, the imagery is 100% animated, achieved through a combination of virtual production and cg animation techniques.

Why would Disney run a coordinated campaign to convince people The Lion King isn’t animated?
There has clearly been a concerted effort from the Disney Company, from the president of Walt Disney Studios Motion Picture Production to the vfx supervisor, to not call The Lion King an animated film. Disney, however, has also stopped calling it a live-action film, as Disney CEO Bob Iger had done earlier, since it’s clearly not. Everything about the film’s publicity, including the prominent use of actor’s names in film posters, is intended to obfuscate the film’s actual production technique.

The exact reasons that Disney has turned their promotion of this film into a farce is not entirely clear — that’s an internal decisionmaking process to which no one is privy. Here’s our best guess: The Disney studio has been on a years-long campaign to recreate its animated films as live-action product. All of its other live-action versions have had live-action performances in them, even if they incorporated plenty of animation, too. Clearly, being honest about The Lion King would complicate the marketing of the film, and would put the studio in a defensive position of explaining why they made an animated remake of an already animated film.

Further, it’s no secret that commercial animation in the United States carries a negative association with children’s content, which is ironically an association that has formed due to Disney’s own outsized influence in the industry. An animated film that breaks the mold and has a more mature sensibility is a tougher sell to the general public than simply re-labeling something as a live-action film and avoiding the stigma of being labeled a children’s film.

If The Lion King were accurately labeled as an animated film, it would also create a headache for the company during awards season. That means The Lion King would be competing for end-of-year awards with other animated films. In a year when Disney has no original films (only sequels like Frozen 2 and Toy Story 4), a technically innovative animated film like The Lion King could emerge as a critical pick for best animated film of the year, thus hurting the studio’s traditional divisions that create animation. A recent report on Indiewire suggests that Disney has already planned ahead and won’t run The Lion King for best animated film, instead pushing it for a visual effects Academy Award, thus leaving a clear path for Frozen 2 and Toy Story 4 to make unimpeded Oscar runs.

Why is it such a big deal to accurately label The Lion King as an animated film?
First things first: animators deserve credit for their work. A campaign to diminish the efforts of animators on a fully-animated film further reduces the visibility of the thousands of animation and vfx artists who worked to make this film. Cg animators are already underpaid and overworked — now, Disney is pretending that they don’t even exist, a completely unethical and indefensible position.

Secondly, The Lion King is poised to be the most innovative and technically progressive animated film released in 2019. It points to a direction that animated films have been heading for years — photorealism — and pushes the use of virtual production techniques as far as any animated film has to date. Whether or not you’re on board for photorealistic animation, it’s already here and used extensively in live-action filmmaking. Now, we’re seeing convincing photorealistic animation in an entirely animated environment. This is a big technical leap forward for the art of animation. Innovation in our art form deserves to be celebrated, not belittled and hidden from the public.

Inviato da: veu il 17/6/2019, 23:03

Nuovi Poster:

Poster Cinese:




Poster internazionale:

Inviato da: veu il 20/6/2019, 23:41

Nuovo spot in cui si sente Can You Feel the love tonight cantata da Glover e Beyoncé:

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

Inviato da: veu il 25/6/2019, 23:12

Nuovi poster:










Tv Spot:

https://www.facebook.com/DisneyTheLionKing/videos/342917399731432/

https://www.facebook.com/cinemark/videos/451724255620910/

Inviato da: veu il 1/7/2019, 22:42

Qui potete vedere Zazu:

https://www.youtube.com/watch?v=wYR4HJGQSbo

Inviato da: veu il 2/7/2019, 23:08

Beyoncé è qualcosa di spettacolare!

Inviato da: Daydreamer il 7/7/2019, 22:05

Notizia bomba. Marco Mengoni doppierà Simba nei dialoghi e nelle canzoni dell'edizione italiana.

Mengoni ne da notizia sulla sua pagina Facebook, dove esegue un pezzetto de "L'amore è nell'aria stasera".

Inviato da: buffyfan il 8/7/2019, 0:51

Non so come se la cavi nel doppiaggio, ma nel canto… porca vacca, è praticamente il miglior cantante maschio che abbiamo adesso in Italia. Ottima scelta. Poi, mi sta pure simpatico, sebbene non sia un suo fan e conoscerò un paio di sue canzoni! Adesso, la curiosità per la voce di Nala è alle stelle..

Inviato da: Daydreamer il 8/7/2019, 7:03

Prima di Mengoni, anche la cantante Cheryl Porter, sempre attraverso FB, annuncia che eseguirà "Il Cerchio della Vita" nel film.

Inviato da: BennuzzO il 8/7/2019, 9:45

Mengoni è pazzesco e su questo non discuto. Anche Elisa (che pare doppierà Nala) lo è, innegabilmente.
La mia perplessità si manifesta riguardo al parlato... saranno in grado entrambi di non far sentire troppo la loro provenienza?
Sulla Porter non mi pronuncio, è un personaggio che tollero talmente poco che è meglio che stia zitto.

Inviato da: Daydreamer il 8/7/2019, 13:24

Confermata Elisa su Nala. Da https://www.badtaste.it/2019/07/08/il-re-leone-elisa-sara-nala-nelledizione-italiana/380453/

Inviato da: veu il 10/7/2019, 21:30

La canzone "Spirit" cantata da Beyoncé:

https://www.youtube.com/watch?v=qt2IhFRwdPQ&feature=youtu.be

Inviato da: Simba88 il 11/7/2019, 10:11

Edoardo Leo e Stefano Fresi tra i doppiatori italiani (probabilmente di Timon e Pumbaa).

Fonte:
http://www.bestmovie.it/movie-for-kids/giffoni-2019-il-re-leone-anteprima-talent/703356/

Inviato da: nicolino il 12/7/2019, 5:42

Sono uscite le canzoni in italiano sul canale Vevo Disney.
Io veramente sto arrivando a limiti di sopportazione assurdi.

“Io l’ho già capito!”
“Cosa?”
“Ma loro ancora no!”
“Chi”
“Si stanno innamorando e il nostro trio ADESSO diventerà un duo”.

E niente. Lei se non storpia, se non stupra e infrange ogni logica musicale possibile non è soddisfatta. Grazie al cielo lo vedrò in inglese.

Inviato da: Simba88 il 12/7/2019, 7:07

Però per la prima volta, in tutte le canzoni, non è stata cambiata una singola parola (temevo "Voglio diventare subito un Re")!

La voce di Simba nel canto è di Simone Iuè, lo stesso di Miguel in Coco!

https://www.youtube.com/watch?v=x8nHyjFmsLs

https://www.youtube.com/watch?v=7cbc-xasujE

https://www.youtube.com/watch?v=QS3wjVDpG_c

https://www.youtube.com/watch?v=6-V4T8turMM

https://www.youtube.com/watch?v=WscoO7b2Svo

Inviato da: Daydreamer il 12/7/2019, 8:35

Cosa combinerà con La Sirenetta? Non fosse bastevole la discutibile produzione che si sta palesando. Qui ha avuto gioco facile perché gli animali hanno un "labiale" diverso dagli umani, non si sono presentate le solite difficoltà.



Ha una voce melodiosa e acuta , mi aveva molto colpito nel live action de La Bella e la Bestia, dove doppiava il Principe da ragazzino, nel pezzo inedito "Quei giorni passati".

Inviato da: Daydreamer il 12/7/2019, 10:49

Polemica a parte, pare fosse stata contattata la Pausini prima di Elisa per la voce di Nala

Da https://www.rollingstone.it/musica/news-musica/il-re-leone-elisa-risponde-alla-polemica-scatenata-da-una-dichiarazione-di-laura-pausini/467883/

‘Il Re Leone’, Elisa risponde alla polemica scatenata da una dichiarazione di Laura Pausini
"Mentre molti di voi scrivevano messaggi pieni di rancore io e Laura ci scrivevamo che ci vogliamo bene"

Sul web si è scatenata una polemica tra i fan di Laura Pausini e quelli di Elisa, dopo che la prima ha risposto alla domanda di una follower: “Lau, ma doppi un personaggio de Il Re Leone?”.
“No, anche se mi piace molto, ma non ho potuto farlo per via di altri impegni che avevo”, ha replicato la Pausini su Instagram. “Ma lo farà Elisa, è bellissima la sua voce. Io sono grande fan!”. La risposta sarebbe stata letta dal seguito di Elisa come un implicito riferimento al fatto che la Toffoli sia stata chiamata a doppiare Nala solo dopo il rifiuto della Pausini.

Ma Elisa è intervenuta per mettere a tacere la polemica con un lungo post, accompagnato da una foto di lei e Laura Pausini che si tengono per mano durante un’esibizione:”Di solito tendo ad occuparmi di musica e poco altro, ma credo di avere un potere, un peso, una voce e una responsabilità”, ha esordito. “Non so per quale ragione in quest’epoca pare ci sia sempre un bel po’ di posto per l’odio e per la negatività. […] Io scelgo l’onestà, la positività, la meritocrazia, la chiarezza, la trasparenza, il coraggio”.

Poi ha ringraziato chi l’ha difesa, ma ha comunque invitato tutti ad evitare altri scontri, aggiungendo: “Se fossi una seconda scelta non me ne vergognerei, quello che dispiace è l’aver sentito una versione totalmente diversa da questa. Ma non importa, credetemi”.
Elisa ha anche sottolineato di essere felicissima dell’opportunità, perché il doppiaggio è sempre stato uno dei suoi sogni: “Ho provato una felicità e una gioia enormi quando mi hanno chiamata, e ho dato tutta me stessa nelle parti cantate e in quelle recitate. Ho fatto il miglior lavoro possibile e ne sono fiera”.
Poi la Toffoli ha fatto riferimento alla Pausini: “Non è bello che questa situazione crei odio tra i nostri fan, o tra i fan del film… Mentre molti di voi scrivevano messaggi pieni di rancore io e Laura ci mandavamo messaggi dicendoci che ci vogliamo bene”.
La risposta della Pausini non si è fatta attendere: “Per questo e mille altri motivi sei una grande donna e amica. Come ci siamo dette già tra noi.. ti voglio bene”.

Inviato da: BennuzzO il 12/7/2019, 11:31

Ma menomale che la Pausini era occupata!

Inviato da: Arancina22 il 12/7/2019, 13:55

Eccole qua, le aspettavo al varco: le prime recensioni che lamentano l'atomico effetto uncanny valley di questo film. Alé!

Recensione di https://www.indiewire.com/2019/07/the-lion-king-review-2019-1202157153/

‘The Lion King’ Review: Disney’s Remake Is a Disastrous Plunge into the Uncanny Valley
Unfolding like the world's longest and least convincing deepfake, the new "Lion King" fatally misunderstands what once made Disney special.

Recensione di https://slate.com/culture/2019/07/lion-king-review-2019-remake-uncanny-valley-beyonce.html

Disney’s Lion King Remake Is a Dazzling Safari in the Uncanny Valley
Everything the light touches is both photorealistic and vaguely inexpressive (unless it’s voiced by Billy Eichner).

Inviato da: Daydreamer il 15/7/2019, 7:27

Interessantissimo "Dietro alle Quinte" del doppiaggio del film e in generale dell'adattamento e doppiaggio dei film Disney in Italia. Se non ci sono "bugie" o esagerazioni, devo dire che non immaginavo un lavoro così certosino, o almeno non nei giorni d'oggi.

Da https://nientedadire.it/2019/07/15/il-doppiaggio-del-re-leone-fiamma-izzo-e-le-polemiche-dei-talent/

Il doppiaggio del Re Leone: Fiamma Izzo e le polemiche dei talent

Questo mese le voci di corridoio sono autentici ruggiti.
Mi riferisco al gran parlare che si sta facendo proprio circa le voci (guarda un po’) scelte per il doppiaggio del nuovo live action di casa Disney: l’attesissimo “Il Re Leone”.
Sì perché alcuni tra i ruoli più importanti di questo film, nell’edizione italiana, sono stati affidati a dei talent. Nella fattispecie, abbiamo Marco Mengoni nel ruolo di Simba da adulto, Elisa nel ruolo di Nala, Massimo Popolizio su Scar, Stefano Fresi ed Edoardo Leo rispettivamente su Pumbaa e Timon, e Toni Garrani su Rafiki.
E qui i corridoi di internet sono stati intasati da voci. Voci entusiaste delle scelte, ma anche e soprattutto, voci furenti e preoccupate, dal momento che in passato, più di una volta i “talent” prestati al doppiaggio non hanno reso un buon servizio ai film per i quali sono stati scelti.
Ma che cosa c’è dietro al doppiaggio di un film importante come “Il Re Leone”? Quanto sappiamo davvero del lavoro che viene svolto per edizioni italiane di questo livello?
Non sono mai stato un grande amante del “fenomeno-talent”, ma ho letto e sentito di tutto: critiche che hanno parlato di “scelte arbitrarie”, di “siamo i soliti italiani”, di “ma non potevano richiamare i doppiatori del cartone animato?”…
Ed ecco che, per rispondere a queste ed altre perplessità, questo mese porto tra le nostre voci di corridoio una voce più che autorevole: quella di Fiamma Izzo.
Fiamma non è soltanto un’attrice, dialoghista, direttrice di doppiaggio e imprenditrice, nata all’interno di una delle più grandi famiglie del doppiaggio italiano: è anche una straordinaria cantante lirica che ha calcato i palchi più importanti al mondo. È una, per capirci, che all’arte dell’interpretazione ha dedicato la vita, e che è un’esperta di Disney, avendo diretto il doppiaggio dei recentissimi “Aladdin”, “Il ritorno di Mary Poppins”, “Ralph Spaccatutto” e “Ralph Spacca Intarnet”, “Frozen” e, appunto, “Il Re Leone”.
Dall’assegnazione di un film al primo turno di doppiaggio passano mesi interi di organizzazione, riunioni creative, mail con la produzione americana a tutte le ore del giorno e della notte. Niente è lasciato al caso.

«Una volta che il film viene assegnato a un direttore», ci spiega Fiamma, «si prepara una scheda con gli attori originali, indicando per ciascuno di loro se e da chi sia già stato doppiato. In questa scheda il direttore indica anche delle preferenze personali che possono ricadere al di fuori delle cosiddette “established voices” (“voci abituali”, NdA). Una volta ricevuta questa scheda, la distribuzione (in questo caso la Disney, ma vale per tutte le major), di concerto con il reparto marketing, vaglia la possibilità di utilizzare dei talent e la comunica al direttore che fa delle proposte. Se la distribuzione le approva, si procede con i provini».
Sì, perché anche i talent devono sostenere dei provini.
«Più di una volta è capitato che i provini dei talent siano stati scartati e che la distribuzione americana abbia scelto dei doppiatori di professione».
Talent o no, spesso non è facile trovare la voce giusta. Pensate che prima di scegliere Luca Ward per il ruolo di Mufasa, sono stati fatti e mandati in America venti provini di attori tra i 50 e gli 80 anni. Per non parlare di Simba e Nala da bambini: sono stati ascoltati moltissimi piccoli attori e attrici prima di scegliere Vittorio Thermes e Alice Porto, anche se, ci racconta Fiamma,
«Vittorio aveva conquistato tutti già al primissimo ascolto».
Durante la chiacchierata, Fiamma risponde anche a una delle domande che più spesso è risuonata a gran voce tra gli scontenti dei talent: perché due cantanti per Simba e Nala?
«Perché entrambi i personaggi, all’interno del film, avevano delle canzoni molto complesse da un punto di vista tecnico e interpretativo, a fronte di una parte recitata quantitativamente piuttosto contenuta. Sempre più spesso, dall’America vogliono che le parti recitate e quelle cantate siano affidate alla stessa persona, ragion per cui la Disney ha ritenuto pratico cercare i talent proprio tra i cantanti».
Fiamma aveva già lavorato con Marco Mengoni nel film “Lorax”, per cui quando è stata valutata la possibilità di coinvolgerlo, lei ha “appoggiato la mozione” con entusiasmo.
Certo però che le voci del film d’animazione erano un’altra storia… Vittorio Gassman, Tullio Solenghi, Riccardo Rossi, Laura Boccanera, Sergio Fiorentini…
«Il primo diktat arrivato dalla Disney America è stato quello di non utilizzare in nessun caso le voci del film d’animazione», spiega Fiamma. «L’unico ruolo per il quale non era stato imposto il veto era Mufasa, ma trattandosi del compianto Vittorio Gassman e non avendo ancora la possibilità di lavorare in link col Paradiso, abbiamo dovuto cercare altrove».
E di provini ne hanno fatti veramente a non finire. Sono stati provinati tutti i doppiatori che avevano già prestato la voce ai vari attori del cast, e tutti questi provini sono stati mandati in America dove è avvenuta la scelta.

A questo proposito, Fiamma ci tiene a sfatare un mito:
«Si è diffusa la leggenda metropolitana che in America scelgano in base alla somiglianza della forma d’onda sonora raffigurata sui grafici di un computer. Ecco. No. Proprio no. Voci diversissime tra loro, anche quella di un uomo e quella di una donna, potrebbero avere forme d’onda quasi identiche: scegliere con quel criterio sarebbe assurdo. Le persone preposte alla scelta dei doppiatori valutano in base a quanto trovino convincente la pasta vocale unita all’interpretazione».
Dovete sapere che, quando sosteniamo un provino su parte, noi doppiatori dobbiamo registrare un annuncio:
«Testing for [nome del personaggio], [nome del doppiatore]».
«È la prima cosa che sentono», dice Fiamma. «E più di una volta li ho visti scartare il provino senza neanche sentirlo perché l’annuncio non li convinceva. È il motivo per cui insisto sempre con i miei attori affinché “interpretino” anche l’annuncio con la voce e i modi del personaggio».
Il doppiaggio de “Il Re Leone” è andato avanti per tre intense settimane durante le quali i professionisti hanno lavorato su ben quattro versioni preliminari del film prima di completare la versione definitiva che è uscita nelle sale di tutto il mondo, e in queste settimane gli attori si sono scontrati con la difficoltà di calarsi nei ruoli di animali. Seguire un leone piuttosto che un attore umano in carne e ossa ha richiesto una concentrazione particolare: perfino attori navigati come Massimo Popolizio ed Edoardo Leo hanno detto più volte a Fiamma «Aiutami perché non so che appigli trovare». È stato un processo di immedesimazione attoriale completo. Ci sono stati anche dei vincoli molto precisi dal punto di vista del testo: Fiamma ha curato anche i dialoghi, e nel copione originale, le battute riprese alla lettera dal film d’animazione erano segnate in rosso: per quelle, la direttiva era di attenersi all’adattamento originale.
A tutte queste sfide, Marco Mengoni ed Elisa hanno risposto con grande generosità e dedizione. Mengoni si è trovato davanti alla difficoltà di dover doppiare Simba in due momenti molto specifici: il ragazzotto che vive all’insegna dell’Hakuna Matata e poi l’adulto che prende coscienza del proprio ruolo all’interno del cerchio della vita.
«Una volta capito il passaggio, Marco ha chiesto di rifare gran parte delle scene che aveva già doppiato, affrontandole alla luce della nuova consapevolezza. Lavorare con lui ed Elisa, due cantanti, è stato molto stimolante: il loro approccio era prettamente musicale. Loro sentivano delle note all’interno delle battute e riproponevano quelle stesse note in italiano. Il mio lavoro di direttrice è stato far capire loro che le note dell’inglese non sempre vanno bene per la recitazione italiana, e in quei casi occorreva trovare soluzioni che, pur discostandosi dai suoni originali, restituissero il valore emotivo delle battute».

Ma nel live action de “Il Re Leone” non ci sono solo Marco Mengoni ed Elisa.
Il ruolo di Rafiki, ad esempio, è stato affidato a Toni Garrani, attore di lungo corso che, abbiamo scoperto parlando con Fiamma, conosce molto bene lo Swahili e che quindi ha potuto interpretare anche le battute nella lingua africana presenti nel copione.
Stefano Fresi ha doppiato Pumbaa. Oltre a essere un bravissimo attore, Fresi ama molto il doppiaggio.
«Ha messo anima e corpo nel lavoro. Per lui era un sogno poter dare la voce a un personaggio disneyano. Oltretutto, è un cantante straordinario: la sua difficoltà più grande è stata stonare per rendere buffa l’esecuzione di “Hakuna Matata”».
Prima che il film esca nelle sale di tutto il mondo (e qui sfatiamo un altro mito: non è vero che si doppia solo in Italia! Ci sono almeno altri venticinque paesi in tutto il mondo nei quali i prodotti audiovisivi sono localizzati tramite il doppiaggio), viene effettuato un controllo ad opera di supervisori preposti dalla distribuzione americana, e più di una volta è capitato che, a film finito, questo o quel ruolo dovessero essere rifatti perché, in ultima istanza, il supervisore non era soddisfatto della voce scelta.
La stessa Fiamma è sempre molto critica circa il proprio lavoro.
«Vado sempre a vedere un paio di volte i film che dirigo. La prima volta da pura spettatrice, e cerco di godermeli per quello che sono. La seconda volta vado a caccia degli errori. In questo caso specifico, è stato bello perché ho dimenticato tutto: non sentivo più Marco Mengoni, Elisa, Edoardo Leo, Massimo Popolizio, Luca Ward o Emiliano Coltorti. Ognuno di loro era entrato perfettamente nel corpo dei rispettivi personaggi».
Resta una diffusa perplessità circa l’utilità effettiva di questi remake in live action di grandi classici dell’animazione: perché rifare qualcosa che non solo è stato già fatto, ma che ha segnato la storia del cinema?

«Sono approcci diversi», ci dice Fiamma. «I film originali sono dei capolavori immortali, ma hanno un linguaggio narrativo figlio della loro epoca, qualcosa con cui il pubblico dei giovanissimi di oggi potrebbe faticare a entrare in sintonia. Il senso artistico di questi live action è proprio quello di riproporre delle storie e dei personaggi così importanti in una chiave che sia più immediata per le nuove generazioni. Senza voler annullare i grandi capolavori dai quali sono tratti, ma anzi, magari invogliando i più giovani a riscoprire quelle storie».
Fiamma Izzo ci ha regalato uno spaccato molto chiaro di che cosa significhi lavorare su prodotti di questa importanza. È un lavoro del quale si sa poco o nulla ma del quale si parla sempre di più.
Il gusto personale del pubblico è e resta un valore fondamentale, su questo non ci piove, ma mettiamola così: questa nostra chiacchierata privilegiata con Fiamma non vuole spegnere le numerose voci di corridoio che circolano su “Il Re Leone” o sul doppiaggio in generale. Speriamo solo di aver reso quelle voci un po’ più informate, perché un film può piacere o non piacere, un doppiatore può piacere o non piacere, un talent può piacere o non piacere, ma lasciate che ve lo dica: molte delle critiche più feroci, certe volte, lasciano davvero senza niente da dire.

Inviato da: winnie & pimpi il 2/8/2019, 8:08

L'Huffington Post ha recentemente contattato tredici animatori che hanno lavorato alla versione animata de Il Re Leone, e molti di loro si sono rifiutati di rilasciare commenti. Un animatore che preferisce restare anonimo ha dichiarato: "Mi metterei solo nei guai a commentare il live action", mentre un altro ha ammesso: "C'è un enorme risentimento verso questi remake 3D da parte delle troupe dei 2D originali. Forse se avessimo qualche tipo di royalty sarebbe diverso."

David Stephan, che ha lavorato al film del 1994 curando tra l'altro l'iconica scena d'apertura (quella col brano Il cerchio della vita), riassume bene il pensiero di molti colleghi. "Se chiedi alla crew dell'originale Il Re Leone" ha commentato, "la maggior parte di loro risponderebbe: C'era davvero bisogno di farlo? Ecco, fa un po' male."

Per Stephan è triste pensare che i film da fare siano decisi solo in base al tornaconto economico. "Ora la Disney si è tolta la maschera e sembra sbattertelo in faccia: Sì, vogliamo solo fare soldi. È deludente per un artista, era uno studio fondato sulla creatività e sull'arte."

https://cinema.everyeye.it/notizie/re-leone-animatori-film-originale-delusi-live-action-391839.html

Inviato da: Hiroe il 3/8/2019, 1:34

Belli entrambi gli articoli, grazie day e Winnie per la condivisione.

Inviato da: veu il 5/8/2019, 17:06

In appena 20 giorni Il Re Leone ha già superato il miliardo di incassi.

Da http://www.bestmovie.it/curiosita/live-action-il-re-leone/707526/:

Il Re leone di Jon Favreau: ecco perché è sbagliato definirlo live action
Di Sara Palmas - 02/08/2019

Ed eccoci finalmente arrivati ad agosto, il mese del live action Il Re leone. Arriverà nelle sale il 21 agosto il remake diretto da Jon Favreau.

Il regista di Iron Man, Iron Man 2, torna alla regia del rifacimento di un grande classico Disney dopo Il libro della giungla, uscito nel 2016.

Insieme ad Aladdin – altro remake in live action del 2019 -, Il Re leone ha superato il miliardo di dollari al box office mondiale, in appena 20 giorni di programmazione. Un traguardo esorbitante che ci sorprende moderatamente. L’amore intorno a questi due grandi classici è sempre stato fortissimo, pertanto, un’acclamazione così entusiastica era quasi scontata.

Il 9 agosto, il live action Il Re leone approderà in Giappone. L’Italia chiuderà il calendario di programmazione il 21 agosto.

Live action Il Re Leone
Chiamarlo live action, in realtà, è errato. Il remake Disney de Il Re leone è stato quasi interamente creato al computer.

Come spiegato dallo stesso regista, ci sono ben 1490 inquadrature realizzate al computer da animatori e artisti CG. Solo una è reale, girata in Africa, inserita per vedere se qualche spettatore particolarmente attento se ne sarebbe accorto, notando la differenza. Alla fine è stato proprio Jon Favreau a rivelare quale fosse questa inquadratura “dal vivo”.

Si tratta della prima inquadratura, quella che apre il film e il Cerchio della vita.

Inviato da: veu il 12/8/2019, 22:23

Da https://www.ilbosone.com/2019/08/12/il-re-leone-il-live-action-polverizza-i-record-di-incassi/:

Il Re Leone: Il live-action polverizza i record di incassi
Scavalcato anche l'inossidabile Frozen, l'ultima opera targata Disney si prepara ad entrare nella leggenda

La Disney sta scommettendo sempre di più sui remake, e sembra una scommessa vinta: dopo lo strepitoso successo di Aladdin, anche Il Re Leone (che noi potremo vedere sul grande schermo dal 21 di Agosto) conquista un successo strepitoso al botteghino e si piazza al primo posto nella classifica dei film Disney con gli incassi migliori di sempre.

Sembrava che i numeri di Frozen fossero imbattibili, ma il pubblico ha promosso l’opera di Jon Favreau a pieni voti: gli incassi complessivi finora sono stati di 1,334 miliardi di dollari a livello globale, contro gli “appena” 1,276 miliardi di Frozen. Ampiamente superata ogni prospettiva di guadagno, dunque, per un film che aveva sì creato un’enorme hype tra i fan della casa di produzione, ma che aveva anche sollevato diverse perplessità.

LIVE ACTION O FILM D’ANIMAZIONE? DISNEY PIGLIA TUTTO
Le maggiori critiche erano sorte a proposito della scelta di utilizzare la tecnica del Photo-Realism, un metodo di animazione che però ne stravolge ogni regola, apportando un estremo realismo, appunto, ad ogni minimo dettaglio, così da rendere il film più un documentario che un “cartone animato” classico. I fan avevano fatto notare che i personaggi principali mancavano di quell’aspetto caricaturale che aveva segnato il successo de Il Re Leone originale, ed erano sorti molti interrogativi circa la capacità del pubblico di potersi identificare meglio nella storia.

Favreau ha sempre difeso le sue scelte estetiche scommettendo su tecniche innovative e d’avanguardia che secondo lui avrebbero spinto gli spettatori ad approcciarsi in modo diverso al film, ed entrare in una nuova e innovativa fase per quanto riguarda l’animazione.

La Disney ha presentato il suo prodotto come un live-action, nonostante molti addetti ai lavori contestassero il fatto che l’assenza di attori in carne ed ossa e di un vero e proprio set rendesse l’opera un film d’animazione. Il dibattito è andato avanti fino all’uscita del film, e successivamente fino ai risultati del botteghino, che come abbiamo appreso, hanno premiato la scelta della casa di produzione di portare avanti progetti sempre più originali.

Quale che sia la definizione corretta per il remake, Il Re Leone ha stracciato ogni record in ogni categoria; sarebbe non solo il film d’animazione con i maggiori incassi di tutti i tempi, ma anche il live-action targato Disney di maggior successo di sempre, scavalcando il fortunatissimo La Bella e la Bestia con una bravissima Emma Watson.

Altri record stracciati: il film sarebbe al primo posto per i guadagni sia tra i remake che tra i musical di maggior successo di sempre, e per ora si è già portato ad un ottimo nono posto nella classifica di film con i migliori incassi in assoluto.

Numeri che confermano un’annata super favorevole per la Disney, che con gli ottimi incassi dei suoi film targati Marvel, primo fra tutti l’amatissimo Avengers:Endgame e il già citato Aladdin, ha dimostrato di saper soddisfare al meglio l’enorme aspettativa del pubblico. La prossima sfida se la giocherà con l’ultimo capitolo della saga di Star Wars, L’ascesa di Skywalker, che approderà nelle sale italiane il 18 Dicembre e chiuderà una fortunatissima trilogia.

Noi aspettiamo con ansia di poter vedere Il Re Leone, soprattutto dopo che il pubblico mondiale lo ha grandemente apprezzato, ma siamo sicuri che per le generazioni più vintage, nulla potrà sostituire il fascino del film del 1994. E voi, siete pronti a rivivere le avventure di Simba e dei mitici Timon e Pumbaa?

Inviato da: veu il 14/8/2019, 13:33

Da https://www.animeclick.it/news/82121-non-solo-anime-il-re-leone-diventa-il-film-danimazione-con-il-maggior-incasso-di-sempre:

NON SOLO ANIME: IL RE LEONE DIVENTA IL FILM D'ANIMAZIONE CON IL MAGGIOR INCASSO DI SEMPRE
Il remake de Il Re Leone scavalca Frozen: Sorpasso in vetta alla classifica del box-office per il miglior film d'animazione con il maggior incasso di sempre.

Il remake del film Il Re Leone uscirà nelle sale cinematografiche italiane il 21 agosto, ma già ora, a quasi un mese dall'esordio internazionale, è ufficialmente il film d'animazione che più ha incassato nella storia. Il record è stato stabilito grazie ai guadagni ottenuti in Giappone (dove è uscito il 9 agosto) superando il precedente record di Frozen. L'avventura delle principesse Elsa e Anna ha racimolato nel mondo 1,290 miliardi di dollari, mentre quella di Simba ha raggiunto ad ora quota 1,334 miliardi.



Per completezza, ecco la top 10 degli incassi relativi alle pellicole d'animazione. È interessante notare che otto titoli su dieci sono remake, sequel o prequel: fanno eccezione 'Frozen' e 'Zootropololis'.

1 - Il re leone (2019): 1.334.603.826 dollari
2 - Frozen (2013): 1.290.000.000
3 - Gli incredibili 2 (2018): 1.242.805.359
4 - Minions (2015): 1.159.398.397
5 - Toy Story 3 (2010): 1.066.969.703
6 - Cattivissimo Me 3 (2017): 1.034.799.409
7 - Alla ricerca di Dory (2016): 1.028.570.889
8 - Zootropolis (2016): 1.023.784.195
9 - Toy Story 4 (2019): 989.978.368
10 - Cattivissimo Me 2 (2013): 970.761.885

Inviato da: veu il 18/8/2019, 14:25

Da https://www.comicbookmovie.com/disney/the-lion-king-dethrones-black-panther-to-become-tenth-highest-grossing-movie-worldwide-a170056:

THE LION KING Dethrones BLACK PANTHER To Become Tenth Highest-Grossing Movie Worldwide

Since hitting theaters in July, Disney's The Lion King has now roared to a worldwide box office total of $1.351 billion, cracking the top 10 highest-grossing movies of all time (surpassing Black Panther).

There's a new king in town.

Jon Favreau's live-action remake of The Lion King has surpassed Marvel's Black Panther at the worldwide box office to become the tenth highest-grossing film ever.

According to Box Office Mojo, The Lion King now sits at $1.351 billion worldwide, knocking 2018's Black Panther down to the 11th spot at $1.346 billion. At the end of the day, they are both under the Disney banner so Mickey Mouse is probably pleased either way.

Of The Lion King's worldwide total, $487.4 million (36%) has come stateside while the remaining $853.8 million has been made overseas in international markets.

This is just the latest milestone for The Lion King which passed Frozen — another Disney pic — last week to become the highest-grossing animated film of all time. Of course, with Frozen 2 — a very highly anticipated sequel — hitting theaters this November, it'll be interesting to see if Disney can break its own records again.

At this point, it seems like Disney is competing against itself at the box office. Of the top six highest-grossing movies of 2019, Disney is responsible for five of them: Avengers: Endgame (#1, $2.795B), The Lion King (#2, $1.351B), Captain Marvel (#3, $1.128B), Aladdin (#5, $1.035B), and Toy Story (#6, $1.002B).

Inviato da: The Little Merman il 21/8/2019, 19:58

Visto questo pomeriggio. Visivamente molto bello per carità, davvero ben fatto e certe scene riprendono il classico fotogramma per fotogramma. Tuttavia a differenza degli altri live action sono uscito dal cinema un po’ perplesso. È davvero così identico al cartone (anche se quello emoziona molto di più a mio parere) che non ho trovato davvero il senso di rianimare qualcosa che è già animato. Inoltre il doppiaggio l’ho trovato un po’ così.. Mengoni pessimo nella recitazione, l’ho trovato davvero inascoltabile... Elisa invece se l’è cavata bene secondo me.

Inviato da: Daydreamer il 21/8/2019, 20:01

'nnamo bene , per me non c'è fretta, attenderò gli amici che me lo proporranno.

Inviato da: Simba88 il 23/8/2019, 13:51

Il Re Leone supera i 5.5 milioni di euro in incassi in due giorni!

Incassi stellari al box-office italiano, per essere fine agosto, e questo grazie ovviamente a il ciclone Il Re Leone. Giovedì il film Disney ha infatti raccolto quasi 2.5 milioni di euro, con un calo contenutissimo rispetto al giorno d’esordio e un totale di ben 5.5 milioni di euro in due giorni (mercoledì, nei definitivi, aveva raccolto quasi 3.1 milioni di euro, battendo Avengers: Infinity War e diventando il quarto miglior debutto di sempre in Italia).

Fonte: Badtaste.it
https://www.badtaste.it/2019/08/23/il-re-leone-incassi-box-office-italia-giovedi/387851/

Inviato da: buffyfan il 23/8/2019, 14:08

Il film ha lasciato anche me perplesso. E' probabilmente il "live action" che ad oggi ha meno senso in assoluto. Non è inguardabile come altri, per carità, ma non lascia nulla dopo la visione. Funziona solamente perché ricalca di pari passo il Classico (meglio rispetto a La Bella e la Bestia) e per la colonna sonora, che colpisci emotivamente sempre e comunque. Poi, nonostante sia una copia carbone, non comprendo come mai in questo film il finale mi sia sembrato molto frettoloso. Nel Classico questa sensazione non l'ho mai avuta. Boh. Rimando un giudizio definitivo alla terza visione. Aladdin vince a mani bassi, comunque (almeno a mio parere). Detto ciò, era evidente che avrebbe incassato benissimo. Spero superi Avengers da noi, ma non perché sia meglio, ma per la mia ostilità verso i film Marvel!

Inviato da: Simba88 il 26/8/2019, 15:30

Il Re Leone vince il weekend e sale a 14 milioni in incassi in cinque giorni

Ovviamente è Il Re Leone a vincere il weekend al box-office in Italia, con incassi veramente straordinari che lo avvicinano ad Avengers: Endgame negli andamenti. Il film raccoglie 10.9 milioni di euro tra venerdì e domenica, che diventano 14 milioni in cinque giorni (dall’esordio di mercoledì): insomma, è già il terzo maggiore incasso dell’anno dopo Avengers: Endgame (30.2 milioni) e Aladdin (15.4 milioni), consegnando l’intero podio della classifica del 2019 alla Disney.

Fonte: Badtaste.it
https://www.badtaste.it/2019/08/26/il-re-leone-incassi-italia-weekend/388230/

Inviato da: Filippo il 26/8/2019, 20:52

Ragazzi ma sono solo io il pazzo che si chiede come sia possibile tutto questo successo? Io durante la visione di questo film mi sono annoiato a morte e per quanto sia una copia del film d'animazione , questo non mi ha suscitato nulla...
Forse sono stati i pregiudizi? non so ma anche la colonna sonora mi è sembrata un gradino in meno rispetto alla precedente , forse per via delle scene con più pathos e drama? o la colpa va a quegli animali inespressivi (giustamente)?
Sono tutte domande che mi pongo perchè mi sento uno scemo.

Inviato da: The Little Merman il 26/8/2019, 21:00

Condivido ogni singola parola.
La colonna sonora del film precedente tra l'altro mi dà i brividi ogni volta. Questa invece l'ho trovata piattissima.

Inviato da: buffyfan il 26/8/2019, 21:03

A parte Il Cerchio della Vita che è rimasta pressoché identica, anche io ho trovato la colonna sonora piattissima. Prima fra tutti Can You feel the love tonight. Eliminando il coro, hanno eliminato la parte migliore della canzone.

Inviato da: Filippo il 26/8/2019, 21:22

Ma il "piattume" è dato da un'assenza , abbastanza importante , di recitazione nel canto. Avendo studiato in un'accademia di Musical posso dirvi benissimo che loro cantano e basta. Non trasmettono nulla ovviamente , perchè non sanno recitare e si vede anche nel doppiaggio. La recitazione nel canto è impotantissima quanto nel parlato ,si parla di musical per questo. Il canto viene utilizzato come altro strumento , oltre il parlato , per trasmettere un messaggio , i pensieri , i discorsi , l'anima dei personaggi . Qui, non lo fanno. Non ne son stati capaci. Aggiungerei , e concludo , che gli eccessivi virtuosismi non hanno aiutato per niente, anzi.

Inviato da: CostanzaM il 27/8/2019, 15:58

C'è da dire che, anche in originale, Beyoncé fa più Beyoncé che Nala

Inviato da: Daydreamer il 27/8/2019, 17:26

Oddio, domani mi tocca...Ed entro in sala con un entusiasmo che non vi dico...

Inviato da: LaBestia il 27/8/2019, 21:14

Io abito in Francia e non potendo tornare in Italia a breve termine per motivi lavorativi non me lo vedrò al cinema (non ho la benché minima intenzione di sorbirmelo in francese, come ho fatto con Dumbo per esempio). Tuttavia, ho visto qualche video girato di soppiatto nei cinema italiani e devo dire che il doppiaggio parlato, soprattutto di Mengoni, è davvero imbarazzante. Sulla questione canzoni, l'unica che mi piace più dell'originale è Io cerchio della vita (adoro Spagna ma amo Cheryl alla follia). Tra l'altro trovo che la sua voce black abbia servito meglio il sound della canzone (la frase finale è cantata meglio, con più pathos grazie ad una nota sorretta più a lungo rispetto a quella del 94). Sono d'accordo su L'amore e nell'aria stasera ma il problema sta a monte : elisa ha semplicemente ricopiato i gorgheggi di Beyoncé. Dei gorgheggi, appunto..

Inviato da: buffyfan il 27/8/2019, 22:32

Elisa ha strafatto, molto più di Beyoncé.. A prescindere che i gorgheggi in una canzone del genere non hanno senso, è una canzone d'amore non una canzone per mostrare la propria tecnica vocalica. Ma Beyonce non ha fatto tutti quei voli pindarici con i gorgheggi come fatto da Elisa, ed anche Mengoni ne ha fatti diversi non presenti nella versione originale inglese. Insomma, quelli che ci sono erano superflui in inglese, ed in italiano li hanno pure aumentati.
Comunque il film ha tutte le carte in regola per superare i 30 milioni di incasso in Italia, potrebbe anche raggiungere i 40 milioni se continua a tenere bene per tutto settembre. Ha già superato l'incasso totale di Aladdin. Vedremo…. Sicuramente il 2019 sarò un anno ricchissimo al box office italiano dopo anni di magra, grazie a Dumbo, Aladdin, Avengers, Il Re Leone, Frozen 2, Star Wars, il film di Zalone e probabilmente It 2.

Inviato da: Filippo il 28/8/2019, 12:03

Assolutamente si. Il problema è alla base.

Inviato da: Daydreamer il 28/8/2019, 23:44

Ma esco lieto, mi ha intrattenuto. Sono convinto che le aspettative dei fan spesso rovinino la visione, entriamo troppo con un senso di critica chirurgica, attenti a trovare ogni difetto, ma non mi aspettavo molto e infatti, secondo me, le critiche mosse, tipo al doppiaggio dei talent, sono state molto gonfiate ed esagerate. Lavoro rispettabile, senza infamia e senza lode, di certo non ha rovinato il film. Di nuovo credo che il live action non intende sostituire i Classici, ma a rilanciarli, come delle curiosità, dei guilty pleasures. Ho assistito alla proiezione in sequenza dei trailer di Mulan, Maleficent 2 e Frozen II. Goduria "all made in Disney" e il pubblico era chiaramente gongolo di ciò. Alla Disney sono sulla strada giusta per continuare ad incassare, mi spiace per i detrattori ma questo è quello che ho pensato io.

Inviato da: Simba88 il 17/9/2019, 14:07

Il Re Leone batte Avengers: Endgame, è il primo incasso dell’anno

Con i 702 mila euro incassati venerdì 6 settembre, il film d’animazione arriva a 30.5 milioni di euro, battendo Avengers: Endgame nei risultati definitivi (negli infrasettimanali lo stava già battendo da tempo). Il Re Leone diventa quindi il primo incasso dell’anno, ed è la prima volta dai tempi di Avatar che due film superano i 30 milioni nello stesso anno.

L’Italia è uno dei pochi paesi dove Il Re Leone ha battuto Avengers, ottenendo comunque risultati straordinari. Negli USA il film d’animazione ha superato i 524 milioni di dollari, mentre in tutto il mondo ha oltrepassato il miliardo e mezzo di dollari.

Fonte: Badtaste.it
https://www.badtaste.it/2019/09/07/il-re-leone-batte-avengers-endgame-e-il-primo-incasso-dellanno-box-office-italia/390628/

Inviato da: veu il 14/1/2020, 23:42

Il Re Leone è stato nominato come migliori effetti speciali al BAFTA (British Academy Film Awards) 2019




Il Re Leone è stato nominato nella categoria Migliori Effetti Visivi agli Oscar. Nessuna nomination per la canzone di Beyoncé.

Inviato da: veu il 23/2/2020, 21:17

* Robert Legato, supervisore degli effetti speciali del film, spiega perché Il Re Leone viene considerato un live action e non un film animato.

Dal sito https://deadline.com/2020/01/the-lion-king-vfx-supervisor-robert-legato-jon-favreau-oscars-interview-1202846127/:

VFX Supervisor Robert Legato Breaks Down The Innovations Behind ‘The Lion King’

The VFX wizard behind such films as Titanic and Apollo 13, Robert Legato has made it his mission in recent years to advance the art form of photorealistic computer-generated animation.

Winning his third Oscar in 2016 for his work on Jon Favreau’s The Jungle Book, Legato then reteamed with the director on a CG remake of The Lion King, taking the techniques and technology he’d developed for the former film to new heights, and a new degree of sophistication.

Referred to now as “live-action animation,” the visual style Legato developed for Jungle Book was immediately appealing to Favreau, because it gave him the ability to tell spectacular, otherworldly stories with a pristine live-action aesthetic.

Filmed on a blue screen stage in Los Angeles, The Lion King was carefully crafted by a team of live-action filmmakers, with state-of-the-art rendering tools and VR technology at their disposal. The latter allowed cast and crew to step into a digital facsimile of the African savannah, with 58 square miles of CG landscapes created for the film.

Even with what he’d achieved on Jungle Book, Legato knew the risks he was taking with The Lion King. At a certain point, he says, his second endeavor with Favreau felt like one “fraught with peril.”

“But that’s what makes moviemaking fun,” he adds, “is rising to the occasion.”

While the work of Legato and his team earned an Oscar nomination last month, it’s also been met with some controversy. Throughout the 2019 awards season, certain critics have raised questions, as to how the film should be discussed. Is The Lion King an animated film, a VFX triumph or both?

Below, Legato gives his thoughts on the matter, after breaking down in detail the process of bringing the film to life.

DEADLINE: Coming onto The Lion King, what did you feel you needed to refine, in terms of the techniques and technology you’d developed for The Jungle Book?

ROBERT LEGATO: It was mostly little, incremental fixes on the way fur was rendered, and particularly the way landscapes were rendered, because in Jungle Book, I was not entirely happy with our landscape work. We got it good enough, and used traditional matte paintings and other things that were okay. But if we’re doing a movie about landscapes, we have to fix that. We have to make that as believable as the fur on the creatures.

So, we ended up using the technology that was developed to create fur [for that purpose]. Instead of individual strands of hair that react to light exactly the way they would in real life, we did it with grass, and weeds, and foliage, which we didn’t do in Jungle Book to any degree. If you look for miles, you’re talking millions and millions of blades of grass, so that became a huge software rendering challenge that you now have to fix. “We want that. It looks great, but man…That would take you 500 hours a frame to render.” So, you have to figure out how to do what you like, and then get it so it’s production ready.

Being a cameraman from my early days, the other thing for me was extending the art form of cinematography to a film that’s totally created in the computer—to bring live-action shooting into the environment of this sort of film. So, we used VR. We got rid of the system that we used for Jungle Book, which works great, but [doesn’t allow you to] feel immersed in the landscape. It makes it kind of remote. What isn’t remote is creating a 360-degree set, with animals that you can direct and move around, so we did that.

We created this methodology of getting ourselves into the set, as you do with a full crew. You have the cameramen, and the director, and the visual effects supervisor, and all the various people you need in the environment at the same time, being able to communicate by saying, “I think the shot would be better over here,” or “What if we move the waterfall and add a mountain over here?” And all of the sudden, you start to really excite your intuitive nature of filmmaking, and it just comes to you. It’s magic. So, we created a system that would allow our intuition to be accessed freely in real time—a VR system five or six people can be in at one time.

You needed to see it lit. You needed to be able to move things around in real time, and do very fast iterative changes. You’d tag team on top of a change, to the next change, to the next, and all of the sudden, you’ve done quite a bit of iterative work that would take forever in a normal computer environment. You’d never get to that level unless you did it this way. So, that became a huge innovation for us on the creative end.

Then, we had Caleb Deschanel, a word-class cameraman, who’d be able to walk in and go, “I see the shot. I see where I’d put a dolly. I would use the steadicam for this shot.” The fact that all that was accessible means he could access his many years of experience, and not be inhibited by the technology or science of it, and just start getting into the art.

So, that’s primarily the big innovations. Then, along the way, the more you make something look realistic on the computer…[There’s] ray tracing, which basically is a light simulation. When the light hits something, it bounces off something else, and that bounces off and gets reflected here. It’s so complicated that it looks real, because that’s what we see every day. When you don’t have all those little steps, your brain doesn’t exactly know why it’s off, but it is. The whole thing feels a little artificial, where we went to great pains to make it realistic. MPC [Moving Picture Company] developed technology to allow us to do that, because it’s really computationally heavy, but yields these great results. If we could do a whole film like that, shot after shot, you would tend to convince the audience that it was conventionally photographed—and that conventional photography, it’s of a high order.

DEADLINE: Could you elaborate on the step-by-step process by which you brought the film to life?

LEGATO: We started with this trip to Africa, [which] was our guide to the type of location we wanted to create for each scene. That got translated into the computer and designed, and when it’s designed in a computer, it’s a 360 view. Whatever you put into it is what you see. Once we put it into our VR environment, we could walk around and look 360, and travel from place to place. So now, it’s a real location. It has terrain, it has ups and downs, it has trees that block the sun. Now, you light it, and when you light it, you light it like the sun. So now, you have a facsimile of what it would feel like if it were dead photoreal—which we’re later going to make it, but not at that step.

Then, you know from the script what the actors are saying and doing. You record that, and you have their animal facsimiles that are also in 360. Once you enter the VR world, you can start moving them around, and you direct things to camera. Now that you can see 360, you create a camera that limits the scope of what you’re seeing to a shot, and then you block out to make that shot optimized.

Then, we say, “He should start by the tree. We should walk from point A to point B, and maybe hop on this rock. That might be fun, if he’s a cub and he’s playful.” Then, the other one would fall behind, and they’d have to run and catch up—all the various little bits and pieces that make something come to life. The animator goes off and makes a facsimile version of that, not the final version—because it’s a lot of work to get all the secondary animations, and all the things that make you believe it—but enough to get it so we could photograph it. And we’d photograph shot after shot, like live-action dailies. You’d shoot with a 50[mm lens], and then you’d shoot the reverse with a 25, and you’d do a crane shot and a steadicam, and cut them all together like you would live-action dailies.

You piece it together, and add the voices as you’re doing it. That’s what we’re seeing, when we’re photographing, is their speaking, and we’d basically time our scene to that. Then, when that scene feels good, sometimes Jon would go in and re-record the voices. Because now, we have a little more specificity, and a little more behavior that might change the scene. All of it was very fluid—constantly being directed and redirected, as we were doing it.

Once we have an edit, and the animation tells the story, but it’s not beautiful yet, the animators can go in and perfect every moment and every eye twitch—all the tiny, little touches that make a really good performance.

DEADLINE: Was the voice work for the film done in a traditional kind of booth?

LEGATO: [The actors] were actually on a stage, because it’s all a timing issue. If you have the set built before you record them, then they could see and walk around the set, and even see each other as the animals that they are. We didn’t go quite that far, but they were on the same stage that we photographed everything on, and we had them in VR so they could get a sense of it. Then, they’d take the goggles off, and instead of them being in a booth—not that we didn’t do that, too—they were free to walk around a 50-by-50 foot area. We’d mike them with traditional mikes that you’d have on a regular set, so they were free to just act it out and just feel the moment. We photographed that, and that got interpreted into the animal behavior.

How the animators did Scar, one of my favorite characters in the movie, is to me, such a perfect blend of the actor and the animal that he is portraying. We were all in lockstep with one another, and we made what I’d like to think is a really great and believable villain.

DEADLINE: Which scenes in The Lion King did you find the most challenging, either to conceptualize for the remake or to bring to fruition?

LEGATO: For me, one of them was Mufasa’s death. Now that it’s real looking, how far do you [go] before it becomes hard to watch? You know it’s going to be an emotional scene, so that took iterations of taste. “We think that may be too much, and maybe too graphic.” You know, it was always going to be as tasteful as we could make it. But it is for kids, and you don’t want to completely lose the audience at that point. So, that took a bunch of time to do. Besides being fun to do, the action scenes always take a while, because it’s a shot-by-shot thing that you need to see put together, before you can determine if it’s working or not.

The ones that were hardest for me [involved] keeping this live-action vibe going, and also doing a musical number. Even in a regular musical, it gets into theater quickly because it’s not natural. I mean, you don’t break into song necessarily, unless you find a deft way of doing it. So, there’s a little bit of a leap that you have to make right off the bat, just filmically. And then what is that leap, when you’re trying to continually convince the audience it’s a photoreal, live-action movie? So, that took a bunch of tries—how much Busby Berkeley do we put into it? How much Busby Berkeley do we put into the performers? Maybe there’s a balance between what they’re doing and what the camera’s doing, to make it feel fun, but not take you out of it. It’s more the artistic balance than it was a physically difficult thing to do.

DEADLINE: What you’ve done with The Lion King has proven somewhat controversial, in the sense that the film is hard to fully pin down. In essence, the debate seems to be, is this animated film, or is it a visual effects spectacle? What do you make of all this?

LEGATO: Well, it’s controversial for the sake of controversy, more than anything else. In point of fact, all visual effects movies are trying to make you believe what you’re seeing, and they all employ the same tools. If we do a car crash, you’re animating a car, you’re animating the damage that happens, you’re animating the fireball. You’re doing all the various things not to look animated, because that would kill what you’re seeing.

What we’re doing is exactly the same thing. So, to call it animation is now steering it into a thing that we strove hard not for it to be. We wanted you to believe that what you’re seeing is real, so I net out that while it’s controversial, we set out to make a live-action movie, using the restrictions of live-action. And you’d have to call everything that uses animation ‘animation,’ to call Lion King animation, as well. All the Marvel movies, anything where the actor’s not really doing the stunt, it’s animated, using the same exact software and everything else.

What’s different in ours, slightly, is that the whole movie was done that way. But the movie was done to create the illusion that what you’re seeing is real.

Inviato da: theprinceisonfire il 29/4/2020, 23:34

Come ogni anno, Deadline Hollywood ha pubblicato la classifica dei film di maggior profitto per l'anno appena trascorso. Il Re Leone si è piazzato in terza posizione, come potete leggere https://deadline.com/2020/04/the-lion-king-movie-profit-2019-jon-favreau-1202916432/

Il profitto netto è di 580 milioni di dollari, con un ritorno di investimento per dollaro di 1.93 (cioè ogni dollaro investito ne ha fruttati 1.93).

I dati sono comprensivi dei proventi da home video e merchandising. Il risultato lo definirei ottimo, anche se credo che il budget di partenza sia stato davvero troppo elevato, arrivando a 621 milioni di costi complessivi. In ogni caso, un successo strepitoso per la disney.