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> La Bella e la Bestia (Live-Action), Walt Disney Pictures
veu
messaggio 10/7/2017, 22:58
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Biancaneve per noi invece dovrebbe essere più classica, del resto hanno già realizzato una versione sulla Regina e una di tipo fantasy alla Maleficent. La versione disneyana secondo noi dovrebbe essere molto più classica. Ci vedremmo bene un musical sulla scia di quello della Cannon degli anni 80

Anche a noi l'idea di Maleficent, Oz e Alice non era dispiaciuta affatto, anzi ci piaceva eccome, speriamo che realizzino presto il sequel di Maleficent e magari in futuro pure quello di Oz.

Nel racconto originale Belle chiede al padre una rosa e questa ripresa nel film live ci è piaciuta, era la cosa di cui sentivamo più la mancanza nel classico animato, il regalo della rosa è il mezzo che fa scatenare il tutto e questa scelta di inserirlo come richiamo alla fiaba classica è un punto a vantaggio del film


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Fulvio84
messaggio 11/7/2017, 11:35
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CITAZIONE (veu @ 10/7/2017, 22:58) *
Biancaneve per noi invece dovrebbe essere più classica, del resto hanno già realizzato una versione sulla Regina e una di tipo fantasy alla Maleficent. La versione disneyana secondo noi dovrebbe essere molto più classica. Ci vedremmo bene un musical sulla scia di quello della Cannon degli anni 80

Anche a noi l'idea di Maleficent, Oz e Alice non era dispiaciuta affatto, anzi ci piaceva eccome, speriamo che realizzino presto il sequel di Maleficent e magari in futuro pure quello di Oz.

Nel racconto originale Belle chiede al padre una rosa e questa ripresa nel film live ci è piaciuta, era la cosa di cui sentivamo più la mancanza nel classico animato, il regalo della rosa è il mezzo che fa scatenare il tutto e questa scelta di inserirlo come richiamo alla fiaba classica è un punto a vantaggio del film


sono d'accordo, per Biancaneve voglio un live action quanto piu' fedele possibile biggrin.gif
Un incrocio tra quello che hanno faccto con Cenerentola e La bella e la bestia andrebbe bene.
Comunque la storia di biancaneve richiede decisamente un'atmosfera un po' dark, vuoi per ambientazione e periodo storico, vuoi per la cattiveria/presenza della regina che pervade l'intero racconto


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Klauz_star
messaggio 11/7/2017, 13:56
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In realtà di Biancaneve con sfumature horror ce ne sarebbe una del 1997 la famosa "Biancaneve nella foresta nera" con Sigurney Weaver nel ruolo della regina cattiva... poi i film in cui parlate sono sicuramente quello del 2012 "Mirror mirror" e "Biancaneve e il cacciatore"... in cui hanno scelto delle ottime attrici per il ruolo della regina cattiva (Roberts e Theron).
La futura trasposizione live action disney me l'aspetto molto cupa, però se ci dovranno mettere le canzoni direi di no. (ma ne parliamo nell'apposito topic).

Nel live action de "La bella e la bestia" amo troppo Gaston... è uscito benissimo, mentre ho notato che le tre corteggiatrici di Gaston qui hanno l'abito dello stesso colore (rosa) e sono molto insignificanti (non che nel cartone avessero molto ruolo, però erano carine con un colore diverso).


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veu
messaggio 11/12/2017, 15:32
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Da https://www.badtaste.it/video/la-bella-e-la...nation/283614/:

La Bella e la Bestia: la Disney punta a varie nomination all’Oscar

La Walt Disney considera La Bella e la Bestia, l’adattamento in live-action del Classico di animazione, un possibile candidato per varie statuette alla prossima edizione degli Oscar.
Lo studio ha infatti inoltrato all’Academy un promo “For Your Consideration”, a mezzo del quale intende sottoporre all’attenzione dei membri votanti il film di Bill Condon con Emma Watson e Dan Stevens.
Il live-action, che ha ricevuto critiche miste, è stato uno straordinario successo al botteghino incassando oltre un miliardo e duecento milioni di dollari.
Potete vedere il nuovo promo del film nel video in alto.
Cosa ne pensate? In quali categorie potrebbe essere candidato il film? Ditecelo nei commenti!
Nel cast Emma Watson (Belle), Dan Stevens (Il principe / Bestia), Ian McKellen (Tockins), Ewan McGregor (Lumiere), Luke Evans (Gaston), Emma Thompson (Mrs. Potts), Kevin Kline (il padre di Belle, Maurice), Gugu Mbatha-Raw (Spolverina), Stanley Tucci (Cadenza), Audre McDonald (Garderobe).
Scritto da Stephen Chbosky ed Evan Spiliotopoulos, La Bella e la Bestia è diretto da Bill Condon.
A comporre le musiche del film è Alan Menken (autore della colonna sonora del classico Disney originale) e Tim Rice, che hanno riproposto le canzoni originali assieme ad alcune nuove tracce.



Nuovo promo:

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


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brigo
messaggio 11/12/2017, 16:21
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CITAZIONE (veu @ 11/12/2017, 14:32) *
La Bella e la Bestia: la Disney punta a varie nomination all’Oscar


No, gRazzie. wink.gif
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Daydreamer
messaggio 11/12/2017, 19:49
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Ai Golden Globes è stato ignorato, la vedo dura.


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nicolino
messaggio 12/12/2017, 20:56
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Per quanto ci siano aspetti del film che mi siano piaciuti (forse più legati al fatto che sia una copia del cartone, e quindi per forza maggiore qualcosa di buono la deve avere), mi fa sorridere come la Disney consideri davvero questo film anche solo accostabile agli Oscar.

Invece il fatto che propongano Emma Watson come migliore attrice mi porta a pensare ben altro.
Credevo fossero consapevoli del fatto di averla scelta solo perché avrebbe portato grandi incassi e non di certo per le sue doti di attrice (inesistenti). Pensavo, insomma, fossero furbi. Invece sono proprio degli idioti.
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LucaDopp
messaggio 12/12/2017, 22:51
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CITAZIONE (nicolino @ 12/12/2017, 19:56) *
il fatto che propongano Emma Watson come migliore attrice

Quando l'avrebbero fatto?
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Arancina22
messaggio 13/12/2017, 2:42
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Ma per favore, questo live action agli Oscar...?! Roftl.gif
Saving Mr. Banks, quello sì che era molto più degno di entrare in zona premi... E invece tra la poca promozione in tal senso da parte della Disney (per come l'ho percepito io) e l'Academy in sè, in pratica è stato snobbato...


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Fra X
messaggio 17/12/2017, 15:58
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CITAZIONE (Klauz_star @ 9/7/2017, 22:34) *
nell'attacco al castello nel cartone andavano solo uomini mentre qui ci sono anche donne


Non per sollevare l' ennesimo pippone sulla Hollywood femminista di questo periodo, però trovo più logica e verosimile la scelta del cartone. Un pò perché siamo nel XVII, XVIII secolo ed un pò perché poi i figli se il papà non torna almeno ci pensa la mamma. Quì se morivano tutti e due? XD Mah!

CITAZIONE (Fulvio84 @ 11/7/2017, 10:35) *
Comunque la storia di biancaneve richiede decisamente un'atmosfera un po' dark, vuoi per ambientazione e periodo storico, vuoi per la cattiveria/presenza della regina che pervade l'intero racconto


Magari! Però riuscirebbe ad avere la stessa cupezza in quanto a messa in scena del classico? Fiero di essere smentito, ma la Disney ora come ora ha abbandonato certi toni. Mi piacerebbe vedere un Biancaneve con lo stile de "Il drago del lago di fuoco". Chissà! Mai dire mai, ma non sono ottimista! Spero di essere smentito.

CITAZIONE (veu @ 11/12/2017, 14:32) *
Cosa ne pensate? In quali categorie potrebbe essere candidato il film?


Le più prevedibili. XD Costumi, effetti speciali, sonoro... la colonna sonora non penso possa essere candidata visto che lo è già stata ed ha vinto nel 92. XD Al massimo una delle canzoni nuove.

CITAZIONE (brigo @ 11/12/2017, 15:21) *
No, gRazzie. wink.gif


eheheh.gif

Messaggio modificato da Fra X il 17/12/2017, 16:07
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veu
messaggio 1/9/2018, 12:43
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Visto che nel topic dello Schiaccianoci si è parlato un po' dei costumi del film, mettiamo un'intervista alla costumista de La Bella e la Bestia.

Dal sito Vanity Fair:

How Jacqueline Durran Created Costumes Fit for a Princess and a Prime Minister
The Oscar-winning costume designer’s work on Beauty and the Beast and Darkest Hour involved equal measures of mimicry and re-invention.
by ANNA LISA RAYA

SPECIAL ISSUE 2017

One is a British statesman who helped change the course of modern history, the other a Disney princess adored by children. Winston Churchill and Belle couldn’t be more different characters for a costume designer to tackle, tasks made especially difficult because the source material for both is so well known. For Oscar winner Jacqueline Durran, the process of transforming Gary Oldman into Churchill for Darkest Hour, and Emma Watson into Belle for the live-action version of Beauty and the Beast, required months of research, preparation, and on-set work, but that was the only similarity. She talked to Vanity Fair about the distinct paths she took with the two projects.


VILLAGE PEOPLE
“My favorite bit of the whole movie is when Belle [Watson, right] wakes up in the village, the window opens, and she says, ‘Bonjour!,’ and then you go into the song. You see the whole world of color and pattern—that’s how I wanted the village to be. That was created from an 18th-century reference: a collection of prints of French regional costumes. We had them all over the walls.”


CLOAK OF MANY CRYSTALS

“An amazing amount of work went into the prince’s costume [worn by Dan Stevens, above] in the opening ball sequence, which you don’t really see. It’s got a whole custom embroidery of different kinds of grotesque animals stitched into the pattern. It’s embellished with 20,000 Swarovski crystals that took five days to stitch on.”


MODERN PRINCESS

“There was a wonderful moment when Emma put on the blue dress. She felt we had really given her a new, re-invented Belle. An ‘active heroine’—it was a catchphrase.”


THE YELLOW DRESS

“Emma was interested in not being a traditional princess. We started with looking at different ways of approaching the yellow dress. . . . In the end, it came down to the fact that, really, whatever you want to do with the dress, there is an expectation based on the animation. If you stray too far, it feels like you’re not giving the audience the dress they’re expecting. . . . But if I had actually produced the animated costume, it would have been quite simple and flat and lacking in detail. It’s not a very detailed drawing, when you get down to it. So, I looked to 18th-century France as an inspiration—the historical date and location of the movie. Also, Disney and everybody involved wanted Belle’s dress to be different from the Cinderella dress [in the 2015 live-action movie]. Emma didn’t want to be corseted. She was a more modern princess.”

A BEAST OF A COSTUME

“A lot of work was done on the beast [Stevens] as well. We started with a prosthetic beast and made all the costumes to physically film on, then at the last minute it was changed to a C.G. beast. We had to send in the actual costume, the pattern pieces, and the fabric. Then all of that was programmed into a computer, which generates how the garment will move.”


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Hiroe
messaggio 10/9/2018, 19:14
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Non sono stata molto felice di questo remake, sembra una brutta copia del film animato... Con Emma Watson che, scusate, è troppo spigolosa per interpretare un ruolo dolce e delicato come Belle... Troppe, veramente troppe musiche, e non sono riuscita a percepire quel pathos proprio del Classico anni 90...
Sono contenta che almeno sia un adattamento piuttosto fedele al Classico, ma avrei preferito la formula usata per Cenerentola.


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veu
messaggio 13/1/2019, 19:20
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Novità:

Alan Menken parla dei live-action di La Bella e la Bestia, Aladdin e La Sirenetta.

Da Makeitbetter:

Disney Legend Alan Menken Dishes on Live-Action ‘Aladdin,’ ‘The Little Mermaid,’ and That Time Lin-Manuel Miranda Begged for His Autograph

Think of the greatest Disney films and songs in recent memory and chances are you’ll find yourself humming an Alan Menken melody for the rest of the day. From “Under the Sea” to “Be Our Guest” to “A Whole New World,” to name a few, the eight-time Oscar-winning composer and pianist (who also happens to have plenty of Grammy and Tony Awards on his shelf too), has more hits to his name than many of the most recognizable songwriters in history. We have Menken to thank for the music of The Little Mermaid, Beauty and the Beast, Aladdin, Pocahontas, Hercules, Tangled, Enchanged, Newsies, and the list goes on and on.

Recently, Menken has begun bringing the story of his incredible career journey to the stage in his one-man show, “A Whole New World of Alan Menken.” In the show, Menken accompanies his own singing and storytelling on the piano, performing some of his most beloved songs and sharing the stories behind them. Ahead of his upcoming performance at Chicago’s Auditorium Theatre on March 30, I had the chance to ask Menken about everything from how he got his amazing start, to what he really thinks about all of those Disney live-action films and what it’s like to work with some of the (other) biggest names in the business, like Lin-Manuel Miranda, Guy Ritchie, Benj Pasek and Justin Paul.

Most people immediately associate you with some of the most beloved Disney songs of all time, but they might not know where your career really launched, with your collaboration with Howard Ashman, first on God Bless You, Mr. Rosewater, and then on Little Shop of Horrors. How did that come about?
Alan Menken: When Howard and I met, I was initially a composer/lyricist and I was working in the BMI Musical Theatre Workshop with a wonderful teacher named Lehmen Engel and just writing lots of shows and trying to make a name and playing in cabarets and doing the things you need to do to make a living. Howard was looking for a collaborator for God Bless You, Mr. Rosewater, which was an adaptation of the Kurt Vonnegut novel. We decided to work together and that became our first musical together.

Rosewater ran Off-Broadway but it was a little too big to run Off-Broadway. There were 14 in the cast, and yet it had an Off-Broadway sensibility. So Howard said, “OK next show we’ll make it a little more economical. I see no more than eight characters plus this puppeteer and puppet. And that of course turned out to be Little Shop of Horrors, our first hit together.

And then Howard was ultimately responsible for bringing you on board for your first work with Disney, and your collaboration was really the beginning of a hugely successful period for Disney. How did that happen?
Coming to Disney was actually our coming back together as a collaboration. Howard had a choice about who he would ask, and I was blessed that he came back to me and we embarked on The Little Mermaid.

The other part of the story is that unbeknownst to many, the AIDs crisis was robbing us of so much talent. Howard was sick at the time but was not letting anybody know.

It was an amazing time for us, working together. When we wrote Little Mermaid I did not know anything about his health situation. It was only at the Oscars for Little Mermaid that it was no longer possible for him to keep it from everyone. So I knew about it when we began working on Beauty and the Beast, which he never lived to see, and we had also begun work on Aladdin.


So there was that period of intense creativity in the midst of a lot of human drama and the creation of all those movies. And, of course, they ended up being an incredible renaissance. You don’t know you’re in the middle of history while you’re in the middle of it, but we were.

Collaboration has been so important to the music you’ve created. Is your co-writing process always the same or is each project totally different?
Some are more different than others. The first prominent collaborator after Howard was Tim Rice when he came aboard to help me finish Aladdin. That could not be more different from Howard and most of my collaborations because, number one, we had an ocean separating us most of the time. And when we didn’t we had to work in a very intensive multi-tasking process. We were working on a number of songs at the same time. Then we would separate and then come back together. And also just as a personality and as an artist, Tim and his work with Andrew Lloyd Webber is very different from the way I worked with Howard. But at the end of the day it’s still about a composer at the piano and a lyricist kind of pacing around the room.

Let’s talk about the deluge of Disney live-action remakes coming down the pipeline. Beauty and the Beast was a big hit that really delivered for audiences and creatively seemed to fall somewhere between the animated original and Broadway stage version. What’s the creative mindset for these? Is it to remain as true as possible to the original? Do you feel pressure because audiences love those originals so much?
Well, I feel a protectiveness. Animation and theater are both mediums where the writers, especially songwriters, really move into the center of the co-creative process. For a live-action movie, it is truly a director’s medium, so it’s very dependent on what the director wants.

Bill Condon [director of Disney’s live-action Beauty and the Beast] is a huge Broadway fan, so even when we didn’t fit songs from the Broadway show into the movie, he still wanted some of those themes to be reflected in the underscore. He wanted to be very close to the theater style, but he also wanted to dig deeper into the authenticity of the 18th century and of France.

You’re now working on live-action versions of Aladdin [release date: May 24, 2019] and The Little Mermaid [release date: to be announced]. How are those being approached?
Each director has their own sort of biases about how they might want to approach an adaptation. Guy Ritchie [director of upcoming live-action Aladdin, release date May 24, 2019] is not known for musicals at all.

Guy really wants to infuse much more of a contemporary pop sensibility into the storytelling and the songs of Aladdin. We’ve been doing that and that’s been a lot of fun, but you walk a line knowing that we want to stay as true as possible to what audiences already know and love and are invested in.

On Aladdin I’ve been working with Benj Pasek and Justin Paul, who’ve been my lyricists on the new songs, and I’m rewriting or updating some of the iconic songs that Howard and I wrote.


For The Little Mermaid, I’ll be collaborating with Lin-Manuel Miranda, and he, as I think people know, is a huge Little Mermaid fan. Growing up, he went to the same school as my niece in New York and my sister said, “Oh there’s this boy, Lin-Manuel Miranda—and he loves it [The Little Mermaid], and could you sign this poster for him?”

He was insanely zealous about [The Little Mermaid] and also about musical theater and you can see that in who he’s become as a writer. The passion pours out of him. His son is named Sebastian, if that gives you an indication of how much of a fan he is.

Wow, so you gave your autograph to a young, Little Mermaid-obsessed Lin-Manuel Miranda and now you’re working together on the new film? How cool—he’s so talented.
And so smart.

I think we’ll have a lot of fun writing this. We have not started yet. I believe the process will start probably within a few months. And I don’t know what the spots will be but I’m really excited about us working together on that.

I think everyone is excited about that collaboration!
Ralph Breaks the Internet: Wreck-It Ralph 2 came out recently and probably the most talked-about scene is when Vanellope [played by Sarah Silverman] has a run-in with all of the other Disney princesses. Soon after, she’s given her own princess “I Want” song, “A Place Called Slaugher Race,” which you wrote, and which, as Sarah herself said, is quite “subversive.”

It’s a little along the lines of the thing I did for Sausage Party, the Seth Rogan and Evan Goldberg film. A couple years ago I wrote the opening number for it [Menken also scored the film]. I feel like I was kind of like a piece of found art put in for comic purposes. [Laughs.]

Sarah Silverman said working with you was a dream come true for her. That must have been fun for you too to work on that song with her and with Gal [Gadot].
As soon as we got into the room together I had heard Sarah was a big Little Shop fan so I went to the piano and started playing “Somewhere That’s Green,” and she did the whole song as a perfect Audrey literally within five minutes of us meeting. And then of course we got to work on her song. We had a blast in the studio and it was a lot of fun and the success of it has been a great surprise. I’m really pleased.


One of the things that’s so special about the projects you’ve done and continue to do is the way that they bridge the generations with these new live-action films bringing things full circle for parents like me who’ve grown up on the animated films, and now we’re doing the first the animated, then live-action film and stage versions with our kids. Are you having fun doing so much revisiting? Are you eager to get some time to work on new original projects?
Yes, yes—I’m answering the second question. I’m eager to go new, and I have new, here and there. BUT, I’m also blessed that people keep wanting to go back to the old. One of my animated musicals is being adapted to the stage now. It will be announced soon, but I can’t share it yet!

It’s Mermaid coming, it’s Disenchanted which is coming along. Apparently another adaptation of Little Shop of Horrors is coming along. We’re talking about a lot of other animated [films] that I think are going to come to the screen. So yeah, there’s a lot going on.

So I guess the problem is really that you were just too good from the start—no time for anything new because everyone wants you to keep redoing the same great stuff we all know and love!
[Laughs.] I guess so. But, I get to write new songs and work with new people and that’s always a lot of fun.

I have two young boys who are big fans of your music. How about some parenting advice: You’ve said that as a child you were more interested in creating your own music than practicing the songs assigned to you by teachers. You’ve raised two daughters who are artists and performers. What advice do you have for parents who see a creative spark in their kids? How do you nurture that and help them without being overbearing?
Encourage them. Praise them when it’s appropriate. Don’t overpraise them when it’s not. Encourage them to always be doing something new. Encourage them to know how precious their talent is. And keep helping them go onto the next thing and the next thing and the next thing.

Whatever it is, you’ve got to do what you’re passionate about because you love it, and not because you want a result. And then just give them freedom to explore. Don’t try to cut to a full flowering before their time because sometimes it doesn’t happen until you’re in your 30s or 40s. Just make sure the thing they want to do all day is the thing they do.

I was passionate about music, I just hated to practice. But still, it was important that I learned basic skills. I would learn the beginning of a Beethoven sonata and I would just make up the rest of it myself.

So don’t make them stay within the lines too much…
But remind them that there are lines! They know. They’ll be a good partner with you on what they need.

Those of us in Chicago are lucky enough to get the chance to see you perform live on stage in your upcoming one-man show, “A Whole New World of Alan Menken.” What can the audience look forward to?
Basically, I talk through my life and my career and we have three screens of visuals. I pick out the songs that are inevitably the highlights of my career and they’re what people know. I play and interact with the audience and bounce up and down on the piano and knock myself out for about two hours and have fun.


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