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> La Sirenetta (Live Action), Walt Disney Pictures
Klauz_star
messaggio 28/2/2017, 0:00
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Peccato che anche alla Disney certe idee vengono adesso, se gli fosse venuta nei primi anni 2000 quando Linsday era un'adolescente sarebbe stata perfetta.
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Eric
messaggio 2/3/2017, 14:47
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Dopo Letont omosessuale ho pensato che non sarebbe male se facessero Ursula travestito e sarebbe, a prescindere, un omaggio a Divine.


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Daydreamer
messaggio 2/3/2017, 19:12
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CITAZIONE (Eric @ 2/3/2017, 13:47) *
Dopo Letont omosessuale ho pensato che non sarebbe male se facessero Ursula travestito e sarebbe, a prescindere, un omaggio a Divine

Io ai tempi del primo "Alice in Wonderland" speravo nel compianto Philip Seymour Hoffman per la Regina di Cuori, perché avrebbe ripreso perfettamente il look delle originali miniature di Sir John Tenniel nel romanzo di Carrol.


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Bristow
messaggio 3/3/2017, 17:11
Messaggio #76


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Amo molto Lindsay come attrice, ha delle potenzialità pazzesche (molto più di una Watson) ma onestamente per Ariel la vedo grandetta... ma se la scegliessero sarei d'accordo...
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Klauz_star
messaggio 4/3/2017, 2:33
Messaggio #77


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A me Ursula piacerebbe interpretata da Missy Elliott o Queen Latifah.
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Arancina22
messaggio 4/3/2017, 2:41
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CITAZIONE (Daydreamer @ 2/3/2017, 18:12) *
Io ai tempi del primo "Alice in Wonderland" speravo nel compianto Philip Seymour Hoffman per la Regina di Cuori, perché avrebbe ripreso perfettamente il look delle originali miniature di Sir John Tenniel nel romanzo di Carrol.

Ci vorrebbe in tal caso un uomo (o una donna) che assomigli alla Regina Vittoria, date le illustrazioni di Tenniel. happy.gif


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Late Bloom
messaggio 5/3/2017, 12:02
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CITAZIONE (Logan232 @ 30/8/2016, 23:51) *
Come Ursula sarebbe perfetta Melissa McCarthy; se cercate delle immagini c'è proprio qualcosa nel viso che la ricorda molto.

Vero, indurendole un po' i lineamenti con il make-up ce la vedrei proprio. yes.gif
Per Ariel non ne ho proprio idea, esteticamente mi sembrano valide tutte le attrici da voi postate, anche se non le ho mai viste "in azione" e non so dire se come espressioni e movenze potrebbero andare...


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Verso l'infinito... e oltre! Ciao Fabrizio ❤️
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veu
messaggio 14/3/2017, 0:20
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Dal sito Flickering Myth intervista ad Alan Menken:

Amon Warmann: You’re about to return to The Little Mermaid in 2018. What can we expect from that, and is there any other film that you feel you have unfinished business with or would just like to add to?

I think it’s possible that Aladdin might precede The Little Mermaid. Lin-Manuel Miranda, I knew him as a kid. He was fanatic about The Little Mermaid as a kid. He went to school with my niece, that’s how I knew him… he’s involved with Mary Poppins right now, so when he’s available and producer Mark Platt is available I’m sure we’ll get into that. But I don’t know who’s going to be directing it or who’s writing the script, so there’s so much left to be determined on that. There’s discussion about Aladdin, there’s discussion about a sequel to Enchanted, and apparently another Little Shop of Horrors movie is in the works at Warner Bros. I’m also working on an original project at Universal



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veu
messaggio 15/3/2017, 15:56
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Dal sito Hollywood Reporter intervista ad Alan Menken:

What are you working on next?

A lot of film projects. Apparently, we're talking about a live-action movie-musical of The Little Mermaid. I had one meeting with Lin-Manuel Miranda and Marc Platt and that was it. It was great. I don't know who's directing it, I don't know who's writing it, but they're tied up in London for Mary Poppins Returns. I've known Lin-Manuel for much of his life; when he was a kid, he went to school with my niece.

At Disney, there's also the Aladdin live-action movie, a developing sequel to Enchanted, and the Tangled TV show, and at Warner Bros., there's apparently going to be another Little Shop of Horrors adaptation. And I've been working on an original musical for Universal [with Josh Gad and Jeremy Gerelick] — Steven Schwartz and I wrote a whole score and lots of songs. It's a lot of fun. And also, my first animated movie in over a decade, but nothing's greenlighted.


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Eric
messaggio 22/3/2017, 3:24
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CITAZIONE (Eric @ 2/3/2017, 13:47) *
Dopo Letont omosessuale ho pensato che non sarebbe male se facessero Ursula travestito e sarebbe, a prescindere, un omaggio a Divine.

Quelli della Disney mi hanno letto Roftl.gif

http://movieplayer.it/news/la-sirenetta-al...i-ursula_49500/


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Arancina22
messaggio 22/3/2017, 9:53
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Grandi nomi coinvolti come al solito! Harvey Fierstein in questo caso... mi preoccupa dal lato del reparto vocale. Fierstein è famosissimo, oltre che per il suo grande talento di produttore, attore, compositore, anche per la sua voce gracidante.
I fan della Sirenetta che si aspettano una Ursula tonante e che non conoscono quest'aspetto potrebbero non gradire.
Ovviamente peró siamo ancora in trattative, vedremo.


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Late Bloom
messaggio 22/3/2017, 11:01
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Beh una cosa è ispirarsi a una drag queen per realizzare un personaggio animato, un'altra è inserirla in carne e ossa e tenerla sullo schermo per gran parte del film. Sarebbe una scelta coraggiosa visto il polverone già suscitato con LeFou per una scena che dura sì e no un paio di secondi... Chissà, speriamo si vada in questa direzione. Mi piace questa Disney che, seppur timidamente, cerca di liberarsi un minimo da certe limitazioni dovute al target di riferimento.


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Verso l'infinito... e oltre! Ciao Fabrizio ❤️
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Klauz_star
messaggio 22/3/2017, 13:42
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Alla Disney hanno voglia di uscire dal politicamente corretto.
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Daydreamer
messaggio 22/3/2017, 17:12
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Sarebbe una scelta formidabile l'idea di un uomo en travesti e questi rimbalzi di tweet nonché il buon feedback di LeTont in B&B mi fanno ben sperare. Per conto mio è un sì convinto. L'unica cosa che vorrei è che il sesso restasse ancora femminile, un po' come Edna in Hairspray, e che si riproponesse l'idea del musical, ovvero che Ursula sia la sorella esiliata di Re Tritone, magari approfondendo drammaticamente il rapporto tra i fratelli. Pensare di aggiungere il risvolto di un fratello allontanato e pure Drag, che diventa la cattiva che tutti conosciamo non mi piacerebbe molto, perché sembrerebbe una terribile conseguenza e un brutto messaggio da trasmettere al pubblico.


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Capitano Amelia
messaggio 22/3/2017, 20:53
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CITAZIONE (Eric @ 22/3/2017, 2:24) *

Per me è interessante che stiano scegliendo di restituire ad alcuni personaggi WDAS le loro nascoste origini LGBT (che però credo si chiuda qui, ricordo che siano solo loro due di cui si ha conferma), anche se però al momento siamo ad un semplice desiderio di Menken e Fierstein che però approverei pur continuando a non apprezzare questa fissazione a riadattare in versione impoverita (visto che non c'è più l'animazione, ma una interpretazione attoriale) i Classici. Fierstein fisicamente come Ursula ce lo vedo, sul cantato non saprei perchè lo conosco solo in "Mulan"... E concordo con Daydreamer sulla questione di non rendere Ursula come una M to F anche perchè drag queen e transessualità non sono assolutamente sinonimi.


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Grazie Simba !

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veu
messaggio 23/3/2017, 0:32
Messaggio #88


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Dal sito Deadline:

The Little Mermaid is in the works with Kingsman screenwriter Jane Goldman, Lin-Manuel Miranda and La La Land producer Marc Platt.

Traduzione: Jane Goldman (sceneggiatrice di Stardust e dei due recenti film sugli X Men) si occupa della sceneggiatura del film.


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messaggio 23/4/2017, 19:55
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Dal sito Pedestrian:

Disney Composer Hints At New 'Little Mermaid' Songs W/ Lin-Manuel Miranda

You'd have to be a shut-in to not realise that Disney is on something of a live-action reboot roll right now.

And while the monster production + corresponding media circus that is 'Beauty and the Beast' has been taking headlines and box offices by storm, another Disney classic is quietly, almost underway: a live-action reboot of 'The Little Mermaid'.

Bonafide Disney Legend Alan Menken – the composer behind the 1989 classic, as well as other stalwarts of Disney's golden age including 'Aladdin', 'Pocahontas', 'Hercules' and the aforementioned 'Beauty and the Beast' – is teaming up with Broadway darling Lin-Manuel Miranda to score the upcoming production.

The good news? It'll feature all the classic numbers, including the Oscar-winning 'Under the Sea'. The better news? Menken basically confirmed to PEDESTRIAN.TV that the duo will be writing new songs, too.

Menken stopped by Melbourne over the Easter Long Weekend, where the hit musical 'Aladdin' just opened after a knock-out run in Sydney.

When asked if the new 'Little Mermaid' would include new musical numbers as well as the originals, Menken replied:

"We haven't started that yet. I imagine there will be, 'cause I'm going to be collaborating with Lin-Manuel Miranda, I doubt he's not gonna want new songs."

That's not a 'no', which at this point, basically means it's a 'yes'. #Logic.

It also turns out that Miranda, like the rest of us, grew up with the Disney classics.

"Lin, I knew him when he was a kid," said Menken. "He was a huge 'Little Mermaid' fan. He went to Hunter High with my niece, Jenny, and I hear from my sister" – here Menken puts on a heavy New Yorker accent – "'Oh there's this very talented young boy, Lin-Manuel Miranda, and he's such a fan, would you sign this poster for him', and I said sure. And here we are, working together."

Which brings us to a little fan theory. It appears that a Disney reboot (either stage or screen) equals the addition of musical numbers, and usually a combo of songs cut from the original film and completely new material at that.

We've seen it in 'Beauty and the Beast', the stage production of 'Aladdin', and we'll almost definitely be seeing it in 'The Little Mermaid'.

So does that mean 'The Lion King' reboot – which already has one major musical artist confirmed (Donald Glover a.k.a. Childish Gambino as Simba) and is reportedly wooing another (Beyoncé as Nala) – will bring us original tunes as well? Possibly by the artist(s) involved? Possible a Glover / Beyoncé duet??

The phrase "literally dead" is too-often used, so we will have to be content with 'figuratively ceasing to breathe and just getting spiritually fucked up' instead.


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messaggio 9/5/2017, 22:28
Messaggio #90


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Dal sito LGBTQ Nation:

Will Disney cast Harvey Fierstein as Ursula in ‘Little Mermaid’ reboot?

Right now Harvey Fierstein is starring off-Broadway in “Gently Down the Stream,” a love story set at the dawn of the internet dating scene, but soon he could be acting under the sea in Disney’s latest live-action reboot: The Little Mermaid.

The original animated film’s Oscar-winning composer, Alan Menken, revealed to the British tabloid Gay Times his dream of casting Fierstein as the evil Ursula in his next project after Beauty and the Beast:

“I’ve wanted Harvey,” Menken told the website. “I’ve wanted Harvey Fierstein to play Ursula. I would kill for that!”

That same day last month, Fierstein accepted via social media.

Harvey Fierstein via twitter: "Alan Menken... Your wish is my command!!!!" "Oh, Alan, no need to kill anyone. Your wish is my command. As for the rest of you... Oh, you poor unfortunate souls!!!!"

And the very concept of Fierstein as the nasty undersea sorceress created 20,000 leagues of buzz. But so far, Disney has remained mum.

Broadway World reported Disney has already hired what it called an “all-star team to write music for a live action feature adaptation of Hans Christian Anderson’s The Little Mermaid, featuring multi-Tony Award winning composer Lin-Manuel Miranda,” working alongside Menken.

“The music for the project is being described as ‘a remix of pre-existing songs’ from the 1989 Disney animated classic,” the website reported, “for which Menken won two Academy Awards. Marc Platt will produce the film alongside Miranda.”

Will the waves of favorability from Fierstein’s fans win over Disney? The spokespeople at the House of Mouse haven’t responded our inquiries as of press time. But we’ll keep you posted.


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Arancina22
messaggio 10/5/2017, 0:03
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Nulla di nuovo per ora, quindi. Chissà...


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messaggio 13/6/2017, 15:00
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Novità:

Alan Menken aggiorna sul film live-action della Sirenetta.

Da Billboard:

Alan Menken Talks Working With Guy Ritchie on Live-Action 'Aladdin,' Progress of 'Little Mermaid'

The world is lucky this year’s Songwriters Hall of Fame Johnny Mercer Award honoree didn’t follow in the footsteps of most men in his family and become a dentist. We wouldn’t have a calypso crab named Sebastian, a jazzy Genie or the homage to Sinatra, Chuck Berry and other “neighborhood” crooners in Broadway’s A Bronx Tale.

Multiple Grammy-, Tony- and Oscar-winning composer Alan Menken pauses from his work on the Guy Ritchie-directed live-action Aladdin treatment -- a live-action Little Mermaid, as well as a sequel to Enchanted and new theatrical take on his Little Shop of Horrors are also on his short list -- to share how he creates the distinct worlds his projects live in.

Menken will be honored along with Pitbull, Ed Sheeran and others at the 48th SHOF induction gala on Thursday, June 15 in New York.

Your work with Disney animated musicals has defined much of your career. Did you have any initial reservations taking the job?

I don’t remember reservations particularly. I remember nervousness about the underscore aspect of it because that was a new skill for me. There’s the songwriting aspect and then there’s the film composer aspect, and film composer aspect was new to me but I was determined to tackle that because I’d already created shows. With Little Shop of Horrors I’d created all the songs, plus all the music in between, and yet none of that music was actually eligible for any of the awards and it felt strange to have someone else’s name -- a very talented man named [composer] Miles Goodman -- there but not me.

Talk us through writing “Under the Sea,” one of your most celebrated songs, co-written with Howard Ashman, from your very first Disney musical film 1989’s The Little Mermaid.

It was incredibly unusual to have that kind of a song be an Oscar-winning song at that time. They tended to be more pop tunes attached to a big movie, so that was obviously transformative. We had seen some artwork, but in general we come in not only as songwriters but as musical theater dramatists. Whatever progress the writers and animators have made, we’re going to take that story and reshape it so it supports [song selection] in the most effective way possible. Our job is to get in there before they go any further, and to restructure. For instance, the decision to have Sebastian be a Caribbean crab as opposed to a stuffy English crab was in service of a song concept. And the decision to have Ursula be inspired by Divine came from the songwriters.

Where do you even begin with the process of structuring a musical?

Music is a gestalt. Songs are a life force and they have specific vocabulary to them. You hear a few notes, and they take you into a world of association. And it’s our job to figure out what world we want to bring people into. When we decided to have the vocabulary of the Genie in Aladdin be Harlem jazz, and Fats Waller, that obviously defined Aladdin. It would have been an entirely different project. In the description there were two genies originally -- the Genie of the Lamp and the Genie of the Ring. The Genie of the Ring was described as being black, and having actually an earring in his ear and sort of looking like a hipster, and that brought us to a feeling of Harlem. You brainstorm with various ideas, but when one clicks, it totally defines the project.

When we came up with the vocabulary for “Carrying the Banner” in Newsies, it was somewhere between ragtime and R&B. Then you go, “There’s the DNA that’s going to tell the story,” and it puts it into a world that somehow makes sense to us. It may not make sense on a totally logical level, but it makes sense on a gut level. When we defined Sister Act and did it for Broadway with disco and psychedelic funk and 70s-style pop music, that took it out of the Motown of the original movie and gave it another world to live in. When we decided to do A Bronx Tale with the music of the neighborhood -- there was Dion and the Belmonts and Frank Sinatra and Otis Redding -- that defined the score.

Is your writing technique the same across genres?

It’s writing songs within the structure of telling a story, so it becomes a platform for diverse songwriting, for a writing process that’s broader than just figuring out a song. You’re also dealing with always pushing the story forward, with casting the voices, with the orchestration, with the arrangements. If it’s a film with the underscore in between, if it’s a musical, what’s happening on stage, if it’s a TV series like Galavant -- there’s a richness to the experience. But in each case I want my collaborator in the room and in each case we discuss what is the song we need to write to go in this spot that’s going to be the most effective for storytelling and the project. There are times I will write a song independent of a theatrical or a musical with a capital M context but even then its all about the assignment. It’s not about sitting down and what’s in my heart today. I have lots of personal feelings of my own, but at this stage in my life and career I’m very much driven by assignment.

What was your experience writing the three new songs for the live-action theatrical version of Beauty and the Beast? Did you slip back into that world easily?

In that case, it was redefining the palette. The director, Bill Condon, had a pretty strong idea, and I felt the same way, that he wanted to ground it a little more in 18th century France and also open up backstory, so we knew where Belle and Maurice had been before they came to this little town, and we got a sense of who that young prince was before he became the Beast. And that informed all the new songwriting. If we had decided we wanted to emphasize comedy let’s say, it would’ve been an entirely different process. But the comedy and lightness was already there. So once the language was there, the process became easier for me to slip into. With every project you’re walking into a different house. Each one is a different locale, a different structure, a different feeling. I never take a song out of the trunk from one project and throw it into another, because each project to me is its own separate stream.

And up next is a live-action Little Mermaid?

But first is a live-action Aladdin, most people don’t know that. First there was a live-action Little Mermaid, but both the producer and my collaborator on that, Lin-Manuel Miranda, are working on Mary Poppins in London, so Aladdin has now jumped ahead of it and that’s what I’m in the thick of now.

Can you give us any teasers of what to expect with Aladdin?

It’s a very fluid process. Guy Ritchie is directing and he’s never directed a musical before so it’s going to be a lot of attempts to reinvent the wheel. Where it’s re-inventable, we will do it and where it’s not, we will discover that together. But it has to be a very fast discovery process because at this point shooting is supposed to start in August.

What advice do you give young songwriters?

One thing I’ve learned, if there’s any question about a song, just push it aside and start working on another. Don’t ever try to hang on to a song just because it’s a “good song.” It’s irrelevant. Songs are only really good if they’re good within the context of the project. It takes maturity and experience, but once you learn that lesson, it takes a lot of burden off you. There are so many shades and possibilities of songs and the job is not to try to shoehorn in the song you love. I also tell young artists, what’s precious is not your songs, what’s precious is your talent and your love of the process, so just go back and write another and another and another. Sometimes people have the mistaken value of, “You’ve got to stick to it.” But stick to it doesn’t mean you have to stick to one song, one artist. Stick to it means stick to your talent.

What does receiving the Johnny Mercer Award mean to you?

When you look at the list of people who’ve been honored with the Mercer Award, it’s amazing. My dad is now 96, and he would sit at the piano and play all the old classics, and those are the first people who are honored on this list. So, it’s like “Oh my God, amazing.” Are you happy I didn’t become a dentist? [laughs]. All the men in my family have been dentists.


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Daydreamer
messaggio 18/7/2017, 9:18
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Da BadTaste

La Sirenetta: Alan Menken conferma che Lin-Manuel Miranda lo affiancherà per le musiche

Dopo il successo del suo musical Hamilton, Lin-Manuel Miranda si sta dedicando sempre di più al cinema, forte di una partnership con la Disney che sta entrando sempre più nel vivo. Il musicista ha co-scritto le canzoni di Oceania, e ha partecipato alle riprese di Mary Poppins Returns nei panni di Jack al fianco della protagonista Emily Blunt.
Ora Miranda si prepara ad affiancare un altro grande, per il remake live-action della Sirenetta. Si tratta di Alan Menken, compositore delle musiche del film originale del 1989. A confermare la notizia, diffusa già l’anno scorso quando venne annunciato il film, è stato Menken domenica alla D23 Expo. Menken ha scritto le musiche di alcuni dei film d’animazione più importanti della Disney, e ha vinto otto premi Oscar.

La notizia rassicurerà chi teme che il nuovo film sia sostanzialmente la riproposizione live-action del classico animato (come accaduto con La Bella e la Bestia): ci saranno invece nuove canzoni e nuove musiche. Miranda è un grandissimo fan della Sirenetta, tanto da aver chiamato suo figlio Sebastian. Il musicista è coinvolto nel film anche come produttore insieme a Marc Platt.


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Klauz_star
messaggio 18/7/2017, 10:26
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e qui dobbiamo aspettare il 2020?
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messaggio 21/7/2017, 0:25
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Dal sito Broadway World:

VIDEO: Pasek & Paul to Team with Menken on Live-Action ALADDIN; Miranda Confirmed for LITTLE MERMAID


At the D23 Expo held over the weekend in Anaheim, CA, famed composer Alan Menken confirmed reports that Tony winner Lin Manuel Miranda will be joining him on Disney's highly anticipated live-action THE LITTLE MERMAID remake. "For the live-action THE LITTLE MERMAID, I'm writing additional songs with lyrics by HAMILTON and MOANA songwriter Lin-Manuel Miranda." Menken confirmed to the crowd.

He went on to reveal additional exciting news about Disney's live-action ALADDIN remake. "For the new songs in the live-action ALADDIN, my lyricists are the amazing young talents, who this year won the Oscar for LA LA LAND and the Tony for DEAR EVAN HANSEN, Benj Pasek and Justin Paul." Check out the announcement below and click here to watch Alan Menken perform medleys of your favorite Disney songs at D23!

The 1992 animated musical fantasy film Aladdin was the 31st Disney animated feature film, and was part of the Disney film era known as the Disney Renaissance. The film was directed by John Musker and Ron Clements, and is based on the Arab-style folktale Aladdin and the Magic Lamp from One Thousand and One Nights. THE VOICE cast featurEd Scott Weinger, Robin Williams, Linda Larkin,Jonathan Freeman, Frank Welker, Gilbert Gottfried, and Douglas Seale. The musical score was written by Alan Menken and features six songs with lyrics written by both Howard Ashman and Tim Rice, who took over after Ashman's death. Aladdin was released on November 25, 1992 and was the most successful film of 1992, earning over $217 million in revenue in the United States, and over $504 million worldwide. The film also won many awards, most of them for its soundtrack. The film is considered by many as the best film that came out during the Disney Renaissance. Aladdin's success led to other material inspired by the film, including two direct-to-video sequels, The Return of Jafar and Aladdin and the King of Thieves, an animated television series of the same name.



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Daydreamer
messaggio 6/12/2017, 21:01
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Rob Marshall sta diventando una garanzia per Disney.

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Rob Marshall Top Choice To Helm Disney’s Live Action ‘The Little Mermaid’

by Mike Fleming Jr
December 6, 2017 9:32am

EXCLUSIVE: Disney has made Rob Marshall the top choice to direct The Little Mermaid, the live action adaptation of the animated classic musical that will have new songs by Hamilton‘s Lin-Manuel Miranda and Alan Menken, sources said. Miranda and Marc Platt are producing. I’ve heard that Marshall has been offered the movie, and will take until after the holidays to decide.

Marshall, who helmed the Oscar-winning Chicago, most recently directed Mary Poppins Returns, the new installment of another Disney classic which stars Emily Mortimer, Emily Blunt, Colin Firth, Meryl Streep, Lin-Manuel Miranda, Angela Lansbury and Dick Van Dyke. That film is set for release December 25, 2018. He also directed by billion dollar grossing Pirates of the Caribbean: On Stranger Tides for Disney.

While everyone is buzzing about the overwhelming theatrical powerhouse Disney will become if it acquires the film, TV and international assets of Fox, Disney’s live action division has been putting together some blockbusters in its own right. Nearly done is Aladdin with Will Smith playing the genie, and next up is The Lion King, with Beyonce heading that ensemble. Marshall is repped by CAA.


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