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> Maleficent: Signora del Male aka Maleficent 2, Walt Disney Pictures
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messaggio 12/6/2020, 23:32
Messaggio #433


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Sul Gobbo ha ritrattato perchè gli abbiamo inviato su Twitter il link dell'intervista a Don Hahn (che forse gli era sfuggita)...
anche secondo noi certe volte le spara grosse... e speriamo davvero che Maleficent 3 possa vedere la luce, a condizione di riavere entrambe, la Jolie e la Fanning nei rispettivi ruoli di Malefica e Aurora (non vogliamo un'altra roba alla Cacciatore e la Regina di ghiaccio senza il personaggio perno delle vicende del primo film, ovvero Biancaneve)


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messaggio 15/6/2020, 21:08
Messaggio #434


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Volete vedere com'è stato ideato il Castello di Ulstead?
Ecco qua (è spettacolare il lavorone immane dietro al film):

Click


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messaggio 13/7/2020, 21:55
Messaggio #435


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Dal sito Comingsoon:

E' stato consegnato il Nastro d'Argento Nuovo Imaie per il doppiaggio a Claudia Catani - Angelina Jolie / Emanuela Rossi - Michelle Pfeiffer in Maleficent 2


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messaggio 3/4/2021, 22:06
Messaggio #436


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Rispolveriamo questo topic perché abbiamo trovato alcuni articoli interessanti sulla realizzazione del film che ci pare giusto inserire.

Dal sito PostGuam:

Jolie’s daughter inspired backstory of ‘Maleficent'

When director Joachim Rønning took on Disney’s “Maleficent: Mistress of Evil,” creating something original was one of his priorities. And in building out the fairy tale world, the filmmakers came up with a backstory even bigger than their movie would have time to tell.

“Yes, the film is based on the characters of ‘Sleeping Beauty’ and the ‘Maleficent’ universe,” said Rønning in advance of the film’s release. “But it’s a continuation of an untold story.”

“Maleficent: Mistress of Evil” is set five years after the events of the 2014 movie that offered a new spin on a Disney classic. Aurora (Elle Fanning) is all grown up and making big life decisions, regardless of how Maleficent (Angelina Jolie) might feel about them. Maleficent’s relationship with Aurora remains a key part of the film, despite it being put to the test by potential in-law Queen Ingrith (Michelle Pfeiffer).

But the big revelation in “Mistress of Evil” is that Maleficent is not the only one of her kind. The film introduces the dark fey, who have all been living in exile from the human world, and digs further into Maleficent’s origins.

Among the new dark fey introduced are Conall (Chiwetel Ejiofor) and Borra (Ed Skrein), two leader figures of their community. Visually, the dark fey are a stark contrast to the various CGI fairies that populate the Moors. And they also look distinct from one another.

“As a civilization, they are very, very diverse,” said costume designer Ellen Mirojnick, who explained that the dark fey’s backstory informed how their different looks were developed.

Because one of the underlying themes of the “Maleficent” franchise is “man versus nature,” it was important for Rønning that the production’s team look to nature in crafting the dark fey and their civilization. And they were struck by a surprising source of inspiration while working at Jolie’s house.

“We were working on the script at her house together with the screenwriters,” said Rønning. “We were trying to crack the code to the dark fey because we wanted to have different factions.

“And then, one of (Jolie’s) younger daughters came in the kitchen one day. She had done a school project about biomes that you find in nature,” explained the filmmaker. “She had made this board with pictures of the different biomes, and we all just looked at each other like, ‘Brilliant, we have the different factions of nature here.’ That was a huge breakthrough for us.”

From there, the four different kinds of dark fey that are shown in the movie were born: The tundra fey, the forest fey, the jungle fey and the desert fey. These four different factions are as visually distinct as the environments they are based on.

The desert fey have wings with colors that evoke their environment, and wear things that appear bleached and rough and cracked. The tundra fey are all ice, with a palette of white and blues and grays. Green and wood are what inspired the looks of the forest fey, while the jungle fey aesthetic was all about endless colors.

“What I really hoped to achieve in terms of the entirety of the dark fey and their costuming was that you not really notice the costuming that much,” said Mirojnick. “Because they’re a species that all have to look organic, and not ‘costume designed.’”

Additionally, they had to consider the dark fey’s wings and their ability to fly with every design.

“You would look at something and say, ‘Do you believe that will go up in the air? Will that fly?’” said Mirojnick.

Production designer Patrick Tatopoulos explained that they had actually developed a full backstory for the dark fey to help explain their different looks as well as why they are all living in exile on an island. This includes the idea that the dark fey all originated in one place – their own version of the Cradle of Humankind.

“We had such a backstory for this and it’s not all necessarily revealed in the movie,” said Tatopoulos. “Their original world was that island. The island exploded, like a giant volcano, so they left many, many thousands of years ago and moved around the world, to different parts of the world, different climates. … But they’d been tracked and trapped by people through the centuries and they came back to their original island.”

This history helped guide the design of the island that Maleficent briefly explores during the film, and how the various factions of the dark fey re-created their different home environments.

Both Tatopoulos and Rønning explained that these details were very important to Jolie. As creatures that have been forced out of their homelands, the dark fey are essentially a band of refugees. Their backstory requires care and adds another dimension to the movie’s overall story.

Although the movie alludes to some of these elements, most of the dark fey’s backstory is not explicitly addressed during “Mistress of Evil” since the focus is on Maleficent actually meeting her kind for the first time.

“Sometimes you come up on backstories that are just here for us, the people working on the movie, to understand what we’re doing, and you don’t necessarily need or have the opportunity to reveal all of it,” said Tatopoulos. “But it’s fun. It’s one of the funnest things in the design world.”


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messaggio 3/4/2021, 22:15
Messaggio #437


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Sulla creazione del Castello... pensate le dimensioni: due volte la Torre Eiffel!
Tra l'altro il castello è creato come Medievale in stile gotico ma con alcuni aspetti già rinascimentali.
A vederlo sembra ispirato ai Castelli della Loira, come Chambord e gli altri.

Dal sito Today Online:

Meet The Guy Behind The Gorgeous Castles In Maleficent: Mistress Of Evil

Fans of sci-fi and fantasy films should be familiar with the name Patrick Tatopoulos.

The renowned Greek French production and creature designer is a frequent collaborator of directors Alex Proyas, Len Wiseman and Roland Emmerich, and has worked on vampires, werewolves, giant lizards, aliens, and superheroes. (Fun fact: Emmerich named Matthew Broderick’s scientist character in Godzilla after him.)

But there was one sandbox he never got to dip his toes into: a Disney movie. And that was why he jumped at the chance at working on Maleficent: Mistress of Evil, where Angelina Jolie reprises her role of the eponymous fairy, this time taking on a power hungry Queen Ingrith, played by Michelle Pfeiffer.

“It’s different from anything I’ve done before,” says Tatopoulos, 61, who studied at the Art Decoratif De Paris, the Art Applique’s De Paris, and the Beaux Art De Paris. “I’ve done tons of science-fiction and superhero films with characters like Batman and Superman and the like, but I’ve never designed a fairy tale.”

And it was fairy tales that inspired him to be a designer. “Coming off Superman v Batman: Dawn of Justice and Justice League, it’s fantastic for me to express myself in this world that is so different,” he says. Here, the LA-based Tatopoulos tells 8days.sg over the phone about the challenges of creating a fairy tale universe.

It's about time: After 30 years in the business, Patrick Tatopoulos got to work on his first Disney movie, 'Maleficent: Mistress of Evil'. I love the Disney cartoons, Tatopoulos tells 8 DAYS. It's good to be part of the family.

1. It’s his first Disney production!

In a career spanning three decades, Tatopoulos has worked with the likes of Roland Emmerich (Independence Day), Alex Proyas (Dark City), and Zack Synder (Justice League,) and Len Wiseman (Underworld) but he has never worked on a Disney project.

“There’s a bunch of us production designers out there,” he Tatopoulos tells us. “And there are people with existing relationships with Disney for years and years, so it’s very hard to get [on their radar].”

All that changed when Norwegian director Joachim Ronning rang him up for Maleficent: Mistress of Evil. “I was lucky enough to meet him,” he adds. “He remembered that I could sketch and draw which was appealing to him. Not because he wanted to provide input… it was more about feeling that we could have a dialogue together very easily, sketching and talking together.”

2. Just because it’s a sequel doesn’t make his job any easier!

“The first thing for me was to make sure I revisited the first film and tried to learn the language and aesthetic that was already in place,” says Tatopoulos.

“What was great about this film is that I could closely follow the design of the first movie [by Dylan Cole and Gary Freeman] but I also had the opportunity to design new things. The Moors were something we’d seen in the first film, so there was already an aesthetic for that, but the world outside the Moors is a very different one. There is a new castle and a new town, and the world of the dark fey is a new world, and this landscape, these environments, were a very big part of the script.”

All in all, there are four worlds in Maleficent: Mistress of Evil: the fairy world of the Moors with Aurora’s castle; the town of Ulstead; Queen Ingrith’s castle; and the world of the dark fey. The style he came up with is medieval with a slight Gothic, revival aesthetic, like something you'd see at the turn of the century.

Indoor garden: Elle Fanning as Aurora on the Moors set, which was built on a Pinewood soundstage and featured two rivers with waterfalls, live exotic plants and real flowers.

3. Size matters!

“I’m a bit old school so I like to build practical sets,” says Tatopoulos who built the sets at Pinewood Studios outside London, using six soundstages and the studio’s colossal backlot.

For Queen Ingrith’s castle, “Joachim wanted it to be something out of this planet that’s really, really big — the biggest castle you have ever seen.” It was so big that it took up five soundstages. (In the real world, the castle would’ve been “a couple of Eiffel Towers” in height.)

Inside, the dining room was just as massive: a hall with a 30m high vaulted ceiling, a 19m long dining table, and an 8m high throne. “Everything had to be on a bigger scale to match the castle. You can’t just have a normal table or a normal throne or a normal banner. In a castle this big, it’s all got to be somehow representative of the scale of the overall castle Queen Ingrith wants you to feel little because that makes her feel bigger and better about herself.”

4. He would love to write a book about his Hollywood adventures!

“I have been approached by companies that want to publish my works,” says Tatopoulos who has only one feature as a director, 2009’s Underworld: Rise of the Lycans (that’s the one with Michael Sheen making whoopee with Rhona Mitra — a hilariously bonkers moment).

If he were to write a memoir, it would not just about his experiences but also how digital technology has revolutionised his craft.

“When I came to Hollywood, there was no Photoshop. The process was done on paper, using pencils and markers. We would print things. We would draw again. When we worked on Independence Day, we had to build models and composited them into a plate shot. With all the digital tools we have today, designers like us have to be in tune in the world of visual effects as well. The job of a visual effects supervisor and a production designer are getting more and more the same.”


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messaggio 3/4/2021, 22:17
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E qui una serie di interessanti aneddoti da parte del regista Ronning che tra l'altro dice di aver dovuto lavorare per due mesi solo sui 20 minuti sulle sequenze della battaglia tra Malefica, Aurora e Ingrith.

Dal sito D23:

How Director Joachim Rønning Made Magic in Maleficent: Mistress of Evil

It’s not unusual to hear Joachim Rønning ask, “What’s next?”

After continuing the adventures of Jack Sparrow in Walt Disney Studios Motion Pictures’ 2017 film Pirates of the Caribbean: Dead Men Tell No Tales, Rønning was approached to direct Maleficent’s next chapter. The Disney villain’s origin story had cast a spell on audiences in 2014, when Angelina Jolie played her in the live-action film, and Rønning jumped at the chance to explore the character’s past, present, and future. “This is my second sequel,” Rønning recently confirmed to D23. “I really love working with Disney!”

Feeling inspired, Rønning began by assembling an accomplished creative team to help bring his vision to life. Key players included director of photography Henry Braham; production designer Patrick Tatopoulos; costume designer Ellen Mirojnick; composer Geoff Zanelli; film editors Laura Jennings and Craig Wood; visual effects supervisor Gary Brozenich; makeup designer Paul Gooch; special makeup effects designer David White; and stunt coordinators Simon Crane and Jo McLaren; among others. Jolie had already signed on to star in and produce the film with Duncan Henderson and Joe Roth, and actors Elle Fanning and Sam Riley signed on to reprise their roles as Aurora and Diaval, respectively. Executive producer Linda Woolverton also returned as a co-screenwriter; together, with co‐screenwriters Noah Harpster and Micah Fitzerman‐Blue, they crafted a screenplay that picks up several years after the events of the first movie.

“I was interested in some sort of an origin story for Maleficent discovering she’s not the only one—the only Dark Fey,” Rønning said. “And all of that made the universe bigger.” It helped that Jolie “is very hands on when we work on the scripts,” he added. In fact, he admitted the scriptwriting process “never stopped” on set. “That’s what I’m doing when we break for lunch on set; I continue working on the script and running it by her. Our days started in the makeup trailer, where she’d sit for a couple hours getting her horns and her cheekbones and all that done. And I was there with her; it’s where we worked.”

Rønning wanted to “take it to the next level,” which is why he turned to Michelle Pfeiffer, who was cast to play Prince Philip’s mother, the cunning Queen Ingrith. Early on, the Queen of Ulstead devises an evil plan to divide humans and fairies forever. Pfeiffer was “at the very top of my [casting] list,” Rønning said, as she’s “one of the few who can go up against Maleficent… or Angelina, for that matter!” To his delight, Pfeiffer delivered—and then some! “I just felt so lucky to have her there every day on set,” he said. “Those days are the best days, you know? When you have Michelle Pfeiffer, Angelina Jolie, and Elle Fanning battling it out in front of your camera, you really do feel so privileged.”

Principal photography took place at the iconic Pinewood Studios outside London in the summer of 2018. Most sets were built practically on six soundstages and on the studio’s backlot, which were enhanced with visual effects in post-production. A week was also spent filming on locations in and around the U.K., including Syon House Lake, Burnham Beeches, and Windsor Great Park. “There are always going to be a lot of effects shots…. but we always prefer shooting elements and set pieces,” Rønning explained. “Things that are huge parts of the story, we wanted that on camera as much as possible.”

The Dark Fey nest where Maleficent connects with her clan—led by Conall (Chiwetel Ejiofor) and Borra (Ed Skrein)—is the perfect example of a practical set supplemented by visual effects. “The Dark Fey nest is so vast and so big; there is no way you can build that,” Rønning said. “You build elements, then you put the characters in there—it’s like a little igloo—and the rest is on the computer. The process took a year to plan. We stood on set with the actors, and we’d already built it on the computer, so they could look at the monitor and look around, and then they could ‘see’ what they’re looking at.”

Rønning also estimated he spent about nine months working with two editors on the climactic 20-minute battle scene at Queen Ingrith’s castle. “In order to map it out, you plan for a year. You draw it, you have models, you have miniatures, you have 3-D models in the computer. You sit with the screenwriters to be as structured as you can… and then you begin editing and just throw it all out the window!” Rønning said with a laugh. “Then you discover it again, and you start putting it together again. It’s probably the most difficult thing you can edit—and probably what we spent the most time editing.”

With a production as big as this, no detail is too big or too small—down to the vibrant hue of Maleficent’s lipstick. “We spent hours and hours talking about the shade of red,” Rønning said. “Nothing is left to chance here. It’s all about planning, planning, planning.” Maleficent: Mistress of Evil opens in theaters October 18, 2019.


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Daydreamer
messaggio 4/4/2021, 6:31
Messaggio #439


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Non finirò mai di stupirmi di fronte all'incredibile cura e sbalorditivi dettagli considerati in siffatte produzioni. Dovremmo sempre tenerlo a mente prima di sentenziare la condanna aprioristica di film di tali portate, con un comparto tecnico a dir poco eccellente.
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messaggio 10/4/2021, 13:36
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CITAZIONE (Daydreamer @ 4/4/2021, 7:31) *
Non finirò mai di stupirmi di fronte all'incredibile cura e sbalorditivi dettagli considerati in siffatte produzioni. Dovremmo sempre tenerlo a mente prima di sentenziare la condanna aprioristica di film di tali portate, con un comparto tecnico a dir poco eccellente.


Il valore tecnico di Maleficent- Signora del male è altissimo, tra i migliori mai espressi dai live actions Disney. Certamente la sceneggiatura debolissima e alcune scelte discutibili di regia hanno impoverito di molto l'esito complessivo della pellicola, ma rimane - a mio parere - il tentativo più riuscito di incursione nel vero fantasy.


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messaggio 10/4/2021, 18:55
Messaggio #441


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CITAZIONE (theprinceisonfire @ 10/4/2021, 14:36) *
Il valore tecnico di Maleficent- Signora del male è altissimo, tra i migliori mai espressi dai live actions Disney. Certamente la sceneggiatura debolissima e alcune scelte discutibili di regia hanno impoverito di molto l'esito complessivo della pellicola, ma rimane - a mio parere - il tentativo più riuscito di incursione nel vero fantasy.


quali sono le scelte di regia discutibili? siamo curiosi

la sceneggiatura non la troviamo così male, anzi per una volta hanno saputo estendere la storia e toccare anche aspetti particolarmente drammatici (pensate che l'eccidio delle Fate al matrimonio è ispirato alla Notte di San Bartolomeo, con l'eccidio degli Ugonotti... la Regina Ingrith ricorda molto certi dittatori che il mondo ha visto ed è davvero una Cattiva forte). Anche il fatto di non aver snaturato Aurora facendola diventare guerriera o una saccente ma lasciandola proprio femminile e romantica ci è piaciuto (così come la linea alla Romeo e Giulietta tra Filippo e Aurora con i due regni in guerra è molto aulico come tematica così come la paura del diverso per Malefica, che è un tema attuale, vista non solo da parte degli occhi di chi vede il diverso - tematica che si richiamerebbe alla Bella e la Bestia - ma anche come il "diverso" vede se stesso e la possibilità di essere accettato. Se poi aggiungiamo anche l'idea di accoglienza dei popoli e il rispetto della Natura, questo film, prendendo spunto dall'originale di Charles Perrault - che viene pure citato nei titoli di coda - segue poi una linea estremamente moderna e attuale)

Secondo noi Maleficent - Signora del Male è uno dei migliori film della Disney fatti finora... magari avessero fatto così anche altri sequel (come quello di Biancaneve e il Cacciatore per capirci)...


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messaggio 11/4/2021, 23:01
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CITAZIONE (veu @ 10/4/2021, 19:55) *
quali sono le scelte di regia discutibili? siamo curiosi


Quasi tutta la scena della "battaglia" finale e il matrimonio stesso sono fortemente "anti-climax", perché la maggior parte del dramma avviene off-screen o comunque in assenza di primi piani, spesso con riprese frenetiche. Il regista ha un buon tocco per quanto riguarda l'aspetto "fotografico" delle inquadrature, ma non nell'impatto drammatico e già in "Pirati dei caraibi- la vendetta di Salazar" aveva mostrato dei limiti sotto tale aspetto. Comunque ha un'ottima mano per l'estetica fantasy, credo che potrebbe dirigere grandi film fantastici se venisse supportato da sceneggiature più forti che coprano le sue debolezze.


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messaggio 12/4/2021, 15:18
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Infatti mi piacerebbe per Raperonzolo.
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