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> Maleficent 2, Walt Disney Pictures
veu
messaggio 17/10/2019, 0:02
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Guardate questa bellissima fan art di Aurora del Classico con l'abito di Elle Fanning:

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messaggio 17/10/2019, 0:04
Messaggio #290


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Dal sito Good Morning America:

Michelle Pfeiffer reveals what happened when she saw Angelina Jolie in full 'Maleficent' wardrobe for the 1st time

'Maleficent: Mistress of Evil' star Michelle Pfeiffer spills secrets on her new role

Michelle Pfeiffer is shaking things up on the silver screen as Disney's newest formidable queen in the "Maleficent" sequel.

The Academy Award-nominated actress told "Good Morning America" that "it was a lot of fun" to play the villainous Queen Ingrith.

"She is the Queen of Ulstead and she is somewhat damaged and proves to be a worthy adversary of Maleficent and we come face-to-face," she explained of her character. "I am also the future mother in law of Aurora," who is played by Elle Fanning.

Pfeiffer said that she had only seen Jolie in rehearsal where "everybody's sort of half done," but was stunned when they shot their first scene together in full hair, makeup, prosthetics, wigs and wardrobe.

"I hadn't really seen her fully in all of her glory and it was the scene where my character actually sees her for the first time and the doors open and there she is and it's stunning," Pfeiffer recalled, adding that it took her breath away. "I just thought, 'Imagine this walking into your dining room.' So I didn't really have to act much."




Spot della pagina Twitter Indiana sull'uscita del film tra due giorni, dedicato alla Regina Ingrith:

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messaggio 17/10/2019, 0:09
Messaggio #291


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In occasione dell'uscita del film la pagina Twitter Francese della Disney ha creato una sorta di "magia" che è un modo per omaggiare il film... Malefica si è impossessata della pagina e commenta il film e dà le sue impressioni:

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Ecco un esempio (su una scena già vista , quindi niente spoiler):

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messaggio 17/10/2019, 0:18
Messaggio #292


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Nuovi promo:

Disney's Maleficent: Mistress of Evil | Critics call it "Truly Fantastical" - In Theaters Friday!- Click

Maléfique : Le Pouvoir du Mal - Actuellement au cinéma | Disney - Click


Intervista a Angelina Jolie e Elle Fanning:

Angelina Jolie & Elle Fanning on Fairytales and Family | Maleficent: Mistress of Evil Interview - Click


Intervista a Angelina Jolie, Elle Fanning e Michelle Pfeiffer sul film:

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buffyfan
messaggio 17/10/2019, 2:22
Messaggio #293


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CITAZIONE (theprinceisonfire @ 16/10/2019, 18:51) *
La risposta della critica è decisamente tiepida: 50 per cento su rottentomatoes, con recensioni molto vicine a quelle di Aladdin.
Sembra che la Jolie abbia in realtà un ruolo abbastanza ridotto in questo sequel, e che la vera protagonista della scena sia la Pfeiffer, molto elogiata dai recensori.
Il punto debole parrebbe ancora una volta la sceneggiatura, con forti critiche anche all'abuso di CGI.


CITAZIONE (Daydreamer @ 16/10/2019, 19:59) *
A me ha colpito molto il fatto che le recensioni da me lette parlassero di come, invece, questa volta i set di scena fossero egregiamente realizzati dal vero con dispendio di creatività e competenza artigianale, rispetto al CGI del primo film, assimilabile, per look, a quello del regno di Oz o di Wonderland senza distinguo e particolare originalità.
Inoltre tutti elogiavano le performance degli attori (i soli con poco screen time si diceva fossero Aurora e Filippo), compresa la Jolie, definita la scelta perfetta, anche per la chimica sia con la Fanning che la Pfeiffer. Quello che dispiaceva è che ci fosse troppa carne al fuoco, con tante storie e personaggi ahimè ridotti, che sarebbero bastati e sufficientemente meglio esplorati in un ulteriore terzo film.

Io non penso riuscirò a vederlo subito, penso proprio non prima di settimana prossima.

Io condivido le recensioni tiepide. La CGI dei personaggi plasticosa e poco realistica, effetti speciali di livello superiore. La vera protagonista è la Pfeiffer forse perché ha il ruolo che in teoria fin dall'inizio avrebbe dovuto avere Malefica. Inoltre, Jolie e Pfeiffer condividono talmente poche scene insieme che il rapporto tra le due praticamente non è stato sviluppato. Aurora quantomeno è più matura rispetto al primo film.. comunque sia questo sequel ha poche idee innovative.. la trama di base principale è identica al primo film, cioè Malefica che diventa "cattiva" per un torto subito e si redime grazie ad Aurora, e il rapporto tra Malefica e Aurora sembra quello tra Ralph e Vanellope nel sequel di pochi mesi fa. Insomma, polpettone fantasy che si guarda per passare due ore al cinema. Aladdin su tutt'altro livello.
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nicolino
messaggio 17/10/2019, 8:28
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Chissà perché tutto ciò non mi stupisce...
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Fulvio84
messaggio 17/10/2019, 8:55
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CITAZIONE (buffyfan @ 17/10/2019, 2:22) *
Io condivido le recensioni tiepide. La CGI dei personaggi plasticosa e poco realistica, effetti speciali di livello superiore. La vera protagonista è la Pfeiffer forse perché ha il ruolo che in teoria fin dall'inizio avrebbe dovuto avere Malefica. Inoltre, Jolie e Pfeiffer condividono talmente poche scene insieme che il rapporto tra le due praticamente non è stato sviluppato. Aurora quantomeno è più matura rispetto al primo film.. comunque sia questo sequel ha poche idee innovative.. la trama di base principale è identica al primo film, cioè Malefica che diventa "cattiva" per un torto subito e si redime grazie ad Aurora, e il rapporto tra Malefica e Aurora sembra quello tra Ralph e Vanellope nel sequel di pochi mesi fa. Insomma, polpettone fantasy che si guarda per passare due ore al cinema. Aladdin su tutt'altro livello.


esattemente quello che mi aspettavo....una trama banalotta per un film che vale essere gusardato per la bellezza di scene e costumi.
La verita' e' che avrebbero dovuto fare Malefica veramente cattiva fin dall'inizio, a quanto pare e' piu' volubile di Trilly invece


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buffyfan
messaggio 17/10/2019, 10:43
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CITAZIONE (Fulvio84 @ 17/10/2019, 8:55) *
esattemente quello che mi aspettavo....una trama banalotta per un film che vale essere gusardato per la bellezza di scene e costumi.
La verita' e' che avrebbero dovuto fare Malefica veramente cattiva fin dall'inizio, a quanto pare e' piu' volubile di Trilly invece

Però sbagliare è umano preservare diabolico eheheh.gif avevano l'opportunità di tornare sui loro passi con questo sequel, eppure... Tra l'altro il primo film ha avuto moltissime critiche proprio per Malefica che non è Malefica, e speravo ne avessero tenuto conto e invece. Ametto che il sottotitolo Signora del Male mi ha pure fregato, la Disney ha fregato tutti.... la Disney è diabolica!! eheheh.gif Roftl.gif
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messaggio 17/10/2019, 11:56
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CITAZIONE (buffyfan @ 17/10/2019, 10:43) *
Però sbagliare è umano preservare diabolico eheheh.gif avevano l'opportunità di tornare sui loro passi con questo sequel, eppure... Tra l'altro il primo film ha avuto moltissime critiche proprio per Malefica che non è Malefica, e speravo ne avessero tenuto conto e invece. Ametto che il sottotitolo Signora del Male mi ha pure fregato, la Disney ha fregato tutti.... la Disney è diabolica!! eheheh.gif Roftl.gif


DIsney is the new Mistress of Evil
Roftl.gif


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theprinceisonfir...
messaggio 17/10/2019, 19:11
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Faccio fatica a ricordare l'ultimo progetto live action della Disney avente per punto di forza la sceneggiatura; qualcuno forse potrebbe citare Tomorrowland, ma in verità credo si debba arretrare sino al primo pirati dei Caraibi...
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buffyfan
messaggio 17/10/2019, 20:13
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CITAZIONE (theprinceisonfire @ 17/10/2019, 19:11) *
Faccio fatica a ricordare l'ultimo progetto live action della Disney avente per punto di forza la sceneggiatura; qualcuno forse potrebbe citare Tomorrowland, ma in verità credo si debba arretrare sino al primo pirati dei Caraibi...

Personalmente, Saving Mr. Banks (per quanto romanzato) e Il Drago Invisibile non sono male. Riguardo ai live action dai classici, Cenerentola si salva eccome. Per il resto le sceneggiature Disney sono tutte più o meno sullo stesso livello, ma penso sia dovuto al fatto che devono mantenere un certo equilibrio e non possono mai azzardare più del dovuto. Non vorrei mai essere uno sceneggiatore ingaggiato dalla Disney con tutti i paletti che metteranno. wacko.gif

Messaggio modificato da buffyfan il 17/10/2019, 20:14
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messaggio 17/10/2019, 20:21
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CITAZIONE (buffyfan @ 17/10/2019, 20:13) *
penso sia dovuto al fatto che devono mantenere un certo equilibrio e non possono mai azzardare più del dovuto. Non vorrei mai essere uno sceneggiatore ingaggiato dalla Disney con tutti i paletti che metteranno. wacko.gif


E infatti, come da post di qualche giorno fa, si sono pure affidati ad un tool digitale perché faccia il lavoro al loro posto! Una cosa squallida e gelida.
Comunque, tra le buone sceneggiature, mi sento di aggiungere anche il Libro della Giungla. Aladdin, concordiamo quasi tutti, non è da buttare.

Messaggio modificato da Daydreamer il 17/10/2019, 20:21


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messaggio 18/10/2019, 0:04
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Qual è la questione del tool digitale? MA PER LE SCENEGGIATURE???
Alessio, ci chiarisci che cosa significa questa cosa perchè non l'abbiamo proprio capita?

Comunque secondo noi sono molto più problematiche le sceneggiature e i soggetti TUTTI UGUALI dei film animati degli ultimi 10 anni (con la storia trita e ritrita del viaggio, le gag, le sequenze filler per allungare il brodo, l'assenza di storie d'amore, ecc) rispetto a quelli dei film live action che comunque almeno variano tra loro... ok saranno anche remake ma almeno sono differenti l'uno dall'altro...


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messaggio 18/10/2019, 0:07
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Qui vi segnaliamo un articolo sui costumi del film:

Da Variety:

How ‘Maleficent’ Sequel’s Characters Drove Costumes and Special Effects Makeup

The art of making sequels demands a fine balance between revisiting an existing world and giving the audience something new to chew on. For Disney’s “Maleficent: Mistress of Evil,” costume designer Ellen Mirojnick and special effects makeup designer David White started with the familiar and built things out from there.

“This movie is a fantastic example of how [the look of a film] can flourish from the lead character, and let you explore the world in a greater way,” says White, who designed prosthetics on the first “Maleficent” and was Oscar nominated for “Guardians of the Galaxy.”

The sequel, due in theaters Oct. 18, sees Angelina Jolie reprise the titular role from the hit 2014 feature, which itself was inspired by the villainess from the studio’s 1959 animated classic, “Sleeping Beauty.” This time, Prince Phillip (Harris Dickinson) proposes to Princess Aurora (Elle Fanning), who accepts. But the prince’s mother, Queen Ingrith (Michelle Pfeiffer), plans to use the wedding to divide faeries and humans, putting Maleficent and Aurora on opposite sides of the conflict. Joachim Rønning (“Pirates of the Caribbean: Dead Men Tell No Tales”) directs.

White spent months creating looks for at least 20 characters, all influenced by the environments that spawned them — desert, forest, tundra and jungle — and each having its own color palette, textures and style.

The magical part-human, part-bird creatures were among those that varied in appearance based on where they originated. “The ones from the tundra are very cool and have a lot of feathers. The desert ones are very warm and have a sandy kind of cracked-mud feel to them, but they don’t look wrong together,” says White, who credits extensive camera tests that involved all departments with ensuring everything would match on screen.

Each of the prosthetic pieces created for the creatures was carefully hand-crafted for the actors based on casts of their faces. That way, “I can tell how much weight or protrusion of a cheekbone is necessary,” White says.

The makeup designer says he relies on instinct for much of that process, with the goal to make a creation edgy without looking fake or unrealistic. “You take it to the right level, so it’s not too much but it has to be enough to read,” he says. “Otherwise, it’s not worth doing. So there’s a very delicate balance.”

During her first read of the script, Mirojnick often comes up with a kernel of an idea that survives to the end of the creative process. While she joins a team very early in the pre-production stages, she emphasizes that she avoids becoming overly attached to a single idea. “You’re not hired just to execute; you’re hired to be part of the collaborative process,” she says.

Once actors are cast, Mirojnick, an Emmy winner for “Behind the Candelabra,” says she has to further evaluate her work. No matter how elaborate or simple a costume is, “not every actor fits what you created,” she says. In the end, “our hope always is that the costumes look effortlessly natural — like there’s no other choice that could have been made.”

The department heads must collaborate on practical matters as well. The desert characters’ costumes had a lot of webbing, straps and open areas that needed to be filled by makeup and prosthetics.

“We had to go through each area and literally tick off how many pieces of prosthetic we needed to add and what you wouldn’t see,” says White. “Otherwise, we would be doing things that weren’t relevant, and it would waste time and energy. We used the designs for the costume to know exactly what to pinpoint to make it work.”

The costumes’ construction had to support not only the needs of the different departments but also the scripted action. With Queen Ingrith’s silver dress, “we use stretch and elastic within the construction, which is different than just the presentational dress,” says Mirojnick. Hidden gussets and areas of stretch don’t appear on camera but give Pfeiffer the ability to move as needed.

Of all the costumes Mirojnick designed for the film, that silver dress remains one of her favorites. “Ingrith is luxuriously fierce,” says the costumer. “She’s a queen that wants it all no matter what she has to do to get it. She’s a woman on a mission, going into battle in an armor made from Italian spun silver, Swarovski pearls and diamante crystals.”


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messaggio 18/10/2019, 0:11
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Tornando alla questione sceneggiature... non siamo bipolari stasera ma è per riprendere il discorso... ci hanno detto che il film è abbastanza dark seppure non del tutto perchè un Disney e che la Regina Ingrith è una sorta di Hitler con la sua idea di genocidio del popolo fatato, tematiche molto forti. Abbiamo anche sentito dire che le parti da commedia sono decisamente limitate, per non dire pressochè inesistenti e in generale dicono che sia migliore del primo film.



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messaggio 18/10/2019, 5:17
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CITAZIONE (veu @ 18/10/2019, 0:11) *
Tornando alla questione sceneggiature... non siamo bipolari stasera ma è per riprendere il discorso... ci hanno detto che il film è abbastanza dark seppure non del tutto perchè un Disney e che la Regina Ingrith è una sorta di Hitler con la sua idea di genocidio del popolo fatato, tematiche molto forti. Abbiamo anche sentito dire che le parti da commedia sono decisamente limitate, per non dire pressochè inesistenti e in generale dicono che sia migliore del primo film.


concordo solo per il fatto di Ingrith, per il resto ci sono scenette comiche squallidissime, alla fine soprattutto ce n'è una che avrei evitato del tutto... di dark c'è pochissimo e il film è alquanto inutile. Per la prima metà non riuscivo proprio a capire dove volessero andare a parare. Un elemento finale tra l'altro, a mio parere, mette in discussione l'intera trama del primo film. Potevano risparmiarsi 'sti soldi insomma...
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messaggio 18/10/2019, 6:55
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CITAZIONE (veu @ 18/10/2019, 0:04) *
Qual è la questione del tool digitale? MA PER LE SCENEGGIATURE???
Alessio, ci chiarisci che cosa significa questa cosa perchè non l'abbiamo proprio capita?


Sì ragazzi, mi riferisco al topic "La Disney adotta uno strumento per monitorare le sue sceneggiature per evitare pregiudizi di genere".


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messaggio 18/10/2019, 18:57
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CITAZIONE (The Little Merman @ 18/10/2019, 5:17) *
concordo solo per il fatto di Ingrith, per il resto ci sono scenette comiche squallidissime, alla fine soprattutto ce n'è una che avrei evitato del tutto... di dark c'è pochissimo e il film è alquanto inutile. Per la prima metà non riuscivo proprio a capire dove volessero andare a parare. Un elemento finale tra l'altro, a mio parere, mette in discussione l'intera trama del primo film. Potevano risparmiarsi 'sti soldi insomma...


Potresti dirci con più precisione cosa intendi con scenette comiche squallidissime e di quella finale che avresti evitato del tutto? Scrivicelo sotto spoiler, che siamo troppo curiosi
L'elemento finale è quello in cui Malefica diventa una Fenice?

ma tra l'altro viene detto il vero nome di Malefica? è Magnifica come dicevano tempo fa?


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messaggio 18/10/2019, 20:05
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CITAZIONE (The Little Merman @ 18/10/2019, 5:17) *
concordo solo per il fatto di Ingrith, per il resto ci sono scenette comiche squallidissime, alla fine soprattutto ce n'è una che avrei evitato del tutto... di dark c'è pochissimo e il film è alquanto inutile. Per la prima metà non riuscivo proprio a capire dove volessero andare a parare. Un elemento finale tra l'altro, a mio parere, mette in discussione l'intera trama del primo film. Potevano risparmiarsi 'sti soldi insomma...

ma poi, o forse me lo sono perso io ma il re come si è risvegliato?

comunque forse è migliore del primo film per me, ma ci voleva poco xD il livello rimane basso, però. Poi ognuno ha i suoi gusti. smile.gif EDIT: anche se poi apri Instagram vedi le stories della Disney e ti cascano le braccia per i commenti di chi ha visto il film tra "fantastico", "bellissimo" e "il miglior film che abbia mai visto" andiamo bene! Roftl.gif huh.gif

Messaggio modificato da buffyfan il 18/10/2019, 21:09
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messaggio Ieri, 14:38
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Guardate questa parodia del film:

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messaggio Ieri, 14:53
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Intervista a Linda Woolverton (la sceneggiatrice del film):

Dal sito Indiewire:

Disney’s Most Valuable Screenwriter Has Had Enough of the ‘Strong Female’ Trope

Linda Woolverton, the woman who brought Belle, Maleficent, and a billion-dollar movie to Disney, speaks her mind.

Linda Woolverton, the Disney screenwriter who reimagined Belle as a bookworm and crafted Sleeping Beauty’s Maleficent into a fearsome antihero, has heard the “strong female character” trope since her earliest years at the studio, and she doesn’t have a lot of patience for it. “It’s just an easy term,” she said in a recent interview with IndieWire. “What does it mean?”

She answers her own question, with a take on what it could mean, or at least what it should mean. “It means somebody who is proactive in their world, who affects their world, isn’t a victim, even victimized by it — or if they are victimized by it, they take action to change that for themselves. They look at the world in interesting ways, maybe another way than the culture does. That makes a strong woman if she’s vocal about it, or even goes about trying to make change without being vocal about it. There are so many interesting ways to describe women besides just strong, even this pure difficult strength. It’s strong-willed.”

Woolverton’s first project for Disney was one that haunted the studio for decades: “Beauty and the Beast.” Walt Disney himself put it into development after the success of his studio’s first animated feature, the 1937 classic “Snow White and the Seven Dwarves,” but scores of writers failed to crack the tale of a beautiful young woman and the cursed beast she grows to love.

Some 40 years later, Disney hired children’s theater producer-turned-animated TV writer Linda Woolverton to script a new version of the story. And not only did the first-time screenwriter become the studio’s first woman to write an animated feature for the studio, her vision also propelled “Beauty and the Beast” to instant classic status and a worldwide gross of over $600 million adjusted. The 1991 film also became the first animated feature to be nominated for the Academy Award for Best Picture, and began Woolverton’s long and illustrious career as one of Disney’s most bankable screenwriters.

If you grew up on modern Disney classics, chances are, Woolverton was part of their creation. She contributed early story ideas on both “Aladdin” and “Mulan,” co-wrote “The Lion King,” and helped kickstart the studio’s live-action craze with her original idea for a grown-up “Alice in Wonderland.”

Four years after the two success of what would become Tim Burton’s “Alice in Wonderland,” Woolverton wrote another female-focused twist on an old fairy tale for the studio, retrofitting the classic “Sleeping Beauty” tale into “Maleficent.” Starring Angelina Jolie as the eponymous fairy who curses bouncing baby Princess Aurora by way of a nefarious spindle, Woolverton’s version is told from Maleficent’s perspective and offers a more complex examination of some long-standing archetypes. It made nearly $760M at the global box office.

“Now that we’ve made a lot of progress as women,” Woolverton said. “Now [that] we’ve gotten ourselves in a position of like, ‘Oh, we can actually do things now,’ let’s do it. Let’s just not repeat the past, or not just take out a male protagonist and plunk in a female protagonist and call it good. I think that the feeling now that ‘Wow, we can have women flying around, and shooting rays at things, and blowing buildings up, just like the men always did’ — that’s great, but I think it’ll get really boring really quick, unless we add something, really the truth about ourselves.”

This is a topic that really gets Woolverton going. She continued: “To me, it’s like, ‘You know what? We’ve broken the door down, good for us. We slammed the door down through a variety of reasons, and we had a lot of leaders who helped us, and a lot of movements that helped us, like the #MeToo movement and others. Now we’ve stormed the castle, and we slammed the doors, and now we’re standing on the door, kind of like huffing and puffing. Okay, now the question for me is, okay, now what are you going to do with it? What are you going to do with it?’ That’s what I want to see.”

Another thing Woolverton would love to see: She wants company at the top. With “Alice in Wonderland,” she became the sole female representative among billion-dollar films credited with only one screenwriter. It’s not a record she wants to hold alone anymore.

“Take it away! Take it away,” she said. “Hopefully, I just broke the door down and let the stream flood in. That just kind of happened. The biggest coup with ‘Alice’ was the fact that it proved a female protagonist can bring in box office, and that changed everything. That for me, more than the number — because I didn’t make $1 billion, that’s not in my bank account — but the fact that that did that, it changed everything for storytelling, because then studios were willing to put money behind female protagonists.”

Despite the outsized scale of Woolverton’s animal-centric spins on classic Shakespearean storylines and classic fairy tales, she said nothing works without humanity. “If you write from your truth, and if you can fit some of that in a big, gigantic blockbuster movie — well, you have to if you’re going to make it touch people,” she said. “You have to go down into your soul. That makes you vulnerable, and it’s always scary to put that out there in the world. All these movies are really scary for a writer. Your name’s up there.”

And while it isn’t always just Woolverton’s name up there — the animated “Lion King” has no less than 27 credited writers — she works alone. Her scripts might go through passes with other writers, often returning to her for a final polish, but she’s a one-woman band. Asked if she’d ever take on a writing partner, Woolverton said, “No, that’s not me. I think that’s for luckier people than me, because it’s really going to be a lot more fun than sitting by yourself. I just can’t do that.”

Writing a sequel, she said, presents a specific set of issues: No matter how well she did the job the first time, returning means having to go back and untangle the story knots that she might have unknowingly created.

“You go down a lot of wrong roads first,” she said. “[With “Maleficent: Mistress of Evil”], the challenge was, okay, what is interesting? The first one, it ended. She flew away and the world was all put back together again. To me, the most compelling relationship in the first movie is her relationship with Aurora and how that healed her. What happens in a relationship between a mother and daughter when the daughter becomes independent and wants to make her own way in the world, wants to have her own opinions, wants to make her own choices?”

For this film, Woolverton added another of her trademark elements: an unexpected villain that can’t help but feel weirdly timely. Maleficent goes up against the war-mongering Queen Ingrith (played by Michelle Pfieffer), a nutty leader who is desperate to eradicate beings she sees as “different.” However, Woolverton said she doesn’t put a lot of energy into being contemporary.

“It takes a long time to make a movie, so unless it’s a movie about politics, you can’t be too timely,” she said. “I’m not talking about specifics of what’s going on right now, I’m talking about larger global themes. If it starts to smack of the particular current whatever’s going on, that’s not good. It won’t be a classic if you do that. You have to find that balance where it’s relevant to people and it’s significant, it means something. I always want to nudge the culture forward a little bit with these characters, but you can’t get really specific about it.”

Disney films aimed at a younger audience are inevitably packaged with lessons like the importance of family, the need to battle evil in all forms, the joy of accepting others (and yourself), and the happiness that comes with striving to build a better world. That’s an assignment Woolverton readily accepts. “I’m always looking at, ‘Okay, what are we saying here?’ I don’t even say the word ‘theme,'” she said. “I say, ‘Well, what are we saying with that?’ If it doesn’t feel right to me in terms of how it depicts women, or it doesn’t smack of the character, or what is it saying about young women today, my voice in the room is like, ‘We are impacting generations and culture around the world. What are we saying?’

She continued, “It’s a really important thing to question constantly and really check in with your higher self. What is it that you’re imparting with this, and is it worthy? Is it worthy of all this time, energy, effort, and money?”

While Woolverton has not worked on the recent and incredibly popular live-action versions of some of her animated hits, she’s not resistant to them. If anything, she sees the value in bringing her kind of magic to a new generation. “It’s interesting to the audience to see somebody they love, somebody like Emma Watson playing Belle. That’s cool, right?,” she said. “Let’s go see Emma Watson, or Beyonce playing Nala. It’s a sort of nostalgic thing, we’re going to get that feeling again, and we’re going to give it to our kids who didn’t get that original at the same time we got it, and we can share that. … I think that’s a really good reason to do it. It’s bringing it to life in a different way for a new generation.”

Still, she conceded, “Some are more successful than others.” Which might be why the woman who helped create “The Lion King” and “Beauty and the Beast” isn’t focused on more remakes and reimaginings, but is instead eager for something entirely new.

“We need originality,” Woolverton said. “We need new stories. We need stories from different ethnicities and different cultures, which animation’s doing really great at. We need to do that in live-action as well, I think. I’m talking about the world, not just necessarily Disney. I don’t think we need to be remaking anything else. Let’s create things. Creation, that’s what women are best at. We create, right? We bring life.”

“Maleficent: Mistress of Evil” is in theaters October 18.


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Dal sito Film Music Reporter:

‘Maleficent: Mistress of Evil’ Soundtrack Details

Walt Disney Records will release a soundtrack album for the fantasy adventure Maleficent: Mistress of Evil. The album features the film’s original music composed by Geoff Zanelli (Pirates of the Caribbean: Dead Men Tell No Tales, Disturbia, Christopher Robin). Also included is the original song You Can’t Stop the Girl by Bebe Rexha, which has already been released as a digital single. The soundtrack will be released digitally tomorrow, October 18 and will be available to stream and download here. Maleficent: Mistress of Evil is directed by Joachim Rønning and stars Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Chiwetel Ejiofor, Sam Riley, Harris Dickinson, Ed Skrein, Imelda Staunton, Juno Temple and Lesley Manville. The movie explores the complex relationship between the horned fairy and the soon to be Queen as they form new alliances and face new adversaries in their struggle to protect the moors and the magical creatures that reside within. The fantasy sequel is being released in theaters nationwide this weekend by Walt Disney Pictures.

Here’s the album track list:

1. Mistress of Evil (1:33)
2. Poachers on the Moors (4:24)
3. What Is Going on Here? (4:31)
4. Ulstead (2:39)
5. Etiquette Lessons (2:05)
6. All He Wanted Was Peace (4:50)
7. We Have Her (3:49)
8. We’re Dark Fey (3:53)
9. Pinto’s Recon Mission (1:52)
10. It Is Love That Will Heal You (2:07)
11. Origin Story (2:30)
12. You Don’t Have to Change (2:01)
13. The Dance of the Fey (2:11)
14. Back to the Moors (1:14)
15. Our Fight Begins Now! (1:45)
16. Your Majesty, They’re Coming from the Sea (2:16)
17. I’ve Made My Choice, You’ll Have to Make Yours (3:33)
18. Protecting Our Kind (2:42)
19. Maleficent Returns (5:09)
20. The Phoenix (4:41)
21. Hello, Beastie! (3:42)
22. Time to Come Home (5:49)
23. You Can’t Stop the Girl – Film Mix – Bebe Rexha (2:39)


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