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> Frozen II - Il Segreto di Arendelle, Walt Disney Animation Studios
buffyfan
messaggio 20/12/2019, 19:18
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No beh, i 19 milioni mi sembrano improbabili a meno che non accada un miracolo di Natale. Io propendo pi per i 17/17.5 milioni. Che sempre un buon incasso, ma saremmo il Paese avanzato con il risultato pi deludente al mondo.

Messaggio modificato da buffyfan il 20/12/2019, 19:18
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Scrooge McDuck
messaggio 21/12/2019, 1:14
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CITAZIONE (buffyfan @ 20/12/2019, 18:18) *
No beh, i 19 milioni mi sembrano improbabili a meno che non accada un miracolo di Natale. Io propendo pi per i 17/17.5 milioni. Che sempre un buon incasso, ma saremmo il Paese avanzato con il risultato pi deludente al mondo.


Io sono abbastanza sconvolto per il risultato del Giappone. L, rispetto al primo, ha avuto un vero e proprio tonfo
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buffyfan
messaggio 21/12/2019, 3:04
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CITAZIONE (Scrooge McDuck @ 21/12/2019, 2:14) *
Io sono abbastanza sconvolto per il risultato del Giappone. L, rispetto al primo, ha avuto un vero e proprio tonfo

Si vero wacko.gif Ma alla fine fu il primo Frozen ad aver incassato una cifra astronomica che nessuno avrebbe mai immaginato, questo sequel se messo a paragone con altri classici degli ultimi anni sta andando comunque meglio. Poi, rimango convinto che se non avessero spremuto il franchise (vorrei dire "rotto l pa**e" ma mi sembra poco carino in un forum Disney) cos tanto in questi anni, sarebbe potuto andare meglio sia in Giappone che in Italia. shifty.gif
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Scrooge McDuck
messaggio 21/12/2019, 5:16
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CITAZIONE (buffyfan @ 21/12/2019, 2:04) *
Si vero wacko.gif Ma alla fine fu il primo Frozen ad aver incassato una cifra astronomica che nessuno avrebbe mai immaginato, questo sequel se messo a paragone con altri classici degli ultimi anni sta andando comunque meglio. Poi, rimango convinto che se non avessero spremuto il franchise (vorrei dire "rotto l pa**e" ma mi sembra poco carino in un forum Disney) cos tanto in questi anni, sarebbe potuto andare meglio sia in Giappone che in Italia. shifty.gif


Si comunque molto buono come risultato, e credo che con le festivit e tutto il resto potrebbe anche puntare ai 100 milioni a fine corsa, per pensavo sarebbe stato comunque pi simile al primo come incassi. A Tokyo Disneyland ricordo che Anna ed Elsa erano stampate OVUNQUE, persino nellinsegna allingresso del parco (e parliamo del 2015). Devono davvero aver saturato i poveri giapponesi con Frozen laugh.gif

Messaggio modificato da Scrooge McDuck il 21/12/2019, 5:17
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Fulvio84
messaggio 21/12/2019, 10:03
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La verit che i bambini di oggi sono pi volubili. Le figlie del mio migliore amico di 5 e 7 anni che impazzivano per Frozen Anna ed Elsa, adesso non sono neanche volute andare a vederlo il 2.
Comunque credo proprio che non ci possa lamentare degli incassi che sono astronomici in meno di un mese!


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Scrooge McDuck
messaggio 27/12/2019, 12:21
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Frozen sta avendo incassi con delle ottime tenute in queste feste, sia in USA che da noi.

Con la giornata di ieri arrivato ad un totale di poco inferiore ai 17 milioni, il che gli concede ottime possibilit di superare lincasso del primo Frozen. Il boxoffice da noi sar ancora bello ricco, almeno fino al 31 dicembre (il 1 gennaio esce Zalone che far terra bruciata).

In patria sta avendo dei cali minimi tra un weekend e laltro, segno che il passaparola buono e il film sta piacendo. Inoltre, sebbene lincasso in Italia sia inferiore in euro (e quindi siano inferiori i numeri di biglietti venduti) rispetto al primo Frozen, a causa del diverso cambio euro/dollaro nel 2019 e nel 2013 lincasso in dollari di Frozen 2 in Italia comunque pi alto rispetto a quello di Frozen.
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Hiroe
messaggio 27/12/2019, 15:06
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Buone news davvero. Se il film tiene ancora vuol dire che proprio buona la storia, se fosse stata una ciofeca il passaparola avrebbe rovinato l'affluenza del pubblico.

Le mie cugine (quelle di 26 e 21 anni) hanno visto il film e l'hanno reputato bello. Hanno detto che ci sono troppe canzoni rispetto al parlato, ma hanno adorato la canzone di Kristoff... Sono sempre pi curiosa *_* riporto che invece la cugina di 13 anni che era cresciuta a pane, Rapunzel e Frozen non andata a vederlo. Dopotutto credo che sia stato etichettato come film da bambine, e chi non vuole essere pi un bambino ne stia lontano volentieri.


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Daydreamer
messaggio 30/12/2019, 14:25
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Skyler Shuler di The Disinsider nelle sue storie instagram dice che improbabile l'uscita di un Frozen 3, ma di tenere d'occhio i progetti futuri di Disney+.

Chiss che non bolla in pentola qualcosa, tipo una serie tv d'animazione alla Rapunzel.

Messaggio modificato da Daydreamer il 30/12/2019, 14:26


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Hiroe
messaggio 30/12/2019, 16:45
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Si, direi che sarebbe meglio passare questi personaggi alle serie televisive e lasciar perdere i sequel di lungometraggi, imho.


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Logan232
messaggio 31/12/2019, 2:04
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Non capisco perch farsi tutti questi problemi. Se ci sar una buona storia, quando sar il momento, si proceder altrimenti no. Tra Toy Story 2 e 3 sono passati 10 anni.
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Daydreamer
messaggio 31/12/2019, 10:02
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Skyler Shuler di The Disinsider nelle sue storie instagram alla domanda circa i dubbi di un utente di fronte alla possibilit di un mancato sequel di Frozen 2 dati il successo di critica e incassi risponde con:

"Non posso dirlo ..."

Parere personale, qualcosa chiaramente in sviluppo per Disney+, io credo una serie tv animata o un corto.


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kekkomon
messaggio 31/12/2019, 11:35
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Probabilmente (!!) arriver una serie su Disney+ wink.gif


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Scrooge McDuck
messaggio 1/1/2020, 18:40
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Mi auto-quoto: Frozen ha abbattuto la soglia dei 18 milioni al boxoffice italiano.
Vedremo come regger allarrivo di Zalone, ma con le scuole chiuse per una settimana ancora abbiamo ancora qualche possibilit di superare lincasso del primo film...

CITAZIONE (Scrooge McDuck @ 27/12/2019, 11:21) *
Frozen sta avendo incassi con delle ottime tenute in queste feste, sia in USA che da noi.

Con la giornata di ieri arrivato ad un totale di poco inferiore ai 17 milioni, il che gli concede ottime possibilit di superare lincasso del primo Frozen. Il boxoffice da noi sar ancora bello ricco, almeno fino al 31 dicembre (il 1 gennaio esce Zalone che far terra bruciata).

In patria sta avendo dei cali minimi tra un weekend e laltro, segno che il passaparola buono e il film sta piacendo. Inoltre, sebbene lincasso in Italia sia inferiore in euro (e quindi siano inferiori i numeri di biglietti venduti) rispetto al primo Frozen, a causa del diverso cambio euro/dollaro nel 2019 e nel 2013 lincasso in dollari di Frozen 2 in Italia comunque pi alto rispetto a quello di Frozen.

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veu
messaggio 1/1/2020, 23:39
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Ecco un'immagine di Jin Kim per un buon 2020 con i personaggi di Frozen 2:





Quello che ha scritto nelle storie di Instagram Skyler Shuler trova conferma in un articolo intervista alla regista Jennifer Lee che parla di estendere l'universo di Frozen a Disney +.
Crediamo anche noi che sia una serie tv.
Se leggete l'articolo che riportiamo sembra che l'idea sia quella di far s che parte dello staff dei WDAS (e non quindi i Disney Toons ma proprio i WDAS) lavorer alle serie tv.

Dal sito DeadLine:

Frozen 2 Director Jennifer Lee On Crafting Sequel, Her Vision As Disney Animations Chief Creative Officer & The Opportunities Presented By Disney+

Before sitting down to pen the script for Frozen 2, director Jennifer Lee used every creative tool at her disposal to get inside the hearts and minds of her characters. Only in this way could Lee hit on a story for a sequel worth making, that would stand up to the first Frozen.

Directed by Lee and Chris Buck, Frozen was a critically acclaimed box office smash. Winning the Academy Awards for Best Animated Feature and Best Original Song, along with countless other accolades, the film centered on Elsa and Annathe newly-crowned Queen of Arendelle, who possesses wintry magical powers she cant yet control, and the loving sister who sets out to save her, alongside lovable snowman Olaf, iceman Kristoff, and reindeer Sven. In the sequel, Elsa is called to the North by a mysterious voice, and the whole group sets out once again on a spectacular quest, to find the origins of Elsas powers, and thereby save their kingdom.

Reteaming with Buck on Frozen 2, Lees mission with the film was to take her characters into a more adult realm, in which they would have to confront more serious questions about their lives. Pretty early on, we had this beautiful roadmap that our Director of Story, Marc Smith, drew, which is, as you grow up, what you face in lifethe obstacles you face, and what it feels like, Lee tells Deadline. I moved to New York City at the age of 21 from little Rhode Island, and the world just blew open for me. So, I think we were really modeling it after that part of life where youre not in between anymore. Youre stepping into the adult world and finding your way.

For Lee, the process of making the animated feature became all the more complicated last year, when she was named Chief Creative Officer of Walt Disney Animation Studios. Subsequently, she would have to figure out how to strike a difficult professional balance, completing and then promoting her film, while heading up perhaps the most reputable animation studio in the world. I dont recommend it, the director laughs. Im only half teasing, but I think part of the thing thats good is the way we work. The CCO is always so connected to whatever projects up next, and thats the priority, so theres a balance.

Chris and I did know how to divide and conquer, because our first Frozen, we had an 18-month schedule, from start to finish, Lee adds. With this, we had four-and-a-half years, [though] it still comes down to the wire.

Below, the director expands on the process of crafting Frozen 2, her vision for the studio, and the possibilities she sees in its new streaming service, Disney+.

DEADLINE: Heading into Frozen 2, you journaled in character as Anna and Elsa, and even filled out Myers-Briggs tests for them. How did these processes aid you in developing the sequels story?

JENNIFER LEE: The most helpful one for me was journaling as them. A big piece of why had to do, I think, with the sequel aspect. I had done a bit of journaling for characters when I wrote in the past, but it was more important this time because we had built the first one, and it was suddenly out in the world. Over time, wed heard a lot of feedback and ideas of who these characters are, and what should happen to them, and I found myself realizing if I was going to write further, I had to ground myself just in them, as people. And it was a really fun exerciseall of them werebecause Anna and Elsa particularly came out very clear.

They were very different; there was no worry of overlap. There was no sense of me deciding which way they should answer, or what they would say, and I think that actually gave me courage to write a sequel. I felt like, Oh, I know them. Itll be okay, not knowing how hard of a journey it would be. But I still have those journals. I pulled the Elsa one out the other day and wrote a very different story, but it all ends up actually with the same themes and issues. So, that was interesting to see.

DEADLINE: You were faced with an interesting situation after Frozen became a massive hit. Youd developed characters people connected to so strongly that they really had strong opinions about them, including ones that pertained to Elsas relationship status and sexuality. Was it difficult to take in this investment in your work, while sticking to your guns as a storyteller, with the sequel?

LEE: Yeah. It was definitely something we had to discuss, to make sure we all felt comfortable with where we were going, because I think its one thing to respond, and react, and love the way the characters are being embraced and talked about. But its another thing to make that choice from the outside in. What we decided, really, is there are a lot of areas where we overlapped with our audience, and those were easy for us. They were clear, they pointed to something, and we werent afraid of those.

But in areas where [fans] were bringing new things to itthing we knew the character wasnt ready to addresswe knew we couldnt do it, because it just felt like it wasnt going to feel authentic. You mentioned Elsa getting in a relationship or not, and when I was journaling, and doing the personality and psychological tests, it really revealed that she was nowhere near ready for a relationship. Because her only lifeline to the real world was her sister. She was still shy, withdrawn, wrestling with her powers, so I knew we werent ready to go there with her.

The interesting thing for me would be, I havent sat down with her now. I dont know who she is, where shed go next. Someday, maybe Ill have the courage to sit down and explore, Okay, now shes at one with her powers, living the life shes meant to live. What does that mean for her? But I dont know if I will.

DEADLINE: Over the four and a half years you spent putting Frozen 2 together, were any screenings particularly memorable? Can you recall specific moments when you felt like the film was clicking into place?

LEE: For me, it was a wrestle many times. What was interesting is, along the way, we wrestled less with the overall story, and more with how to balance all the elements. The one that I felt was the biggest breakthrough was actually pretty significantly late in the process. Theres a moment where you look at the film you have and it is cluttered, and too complicated, and too dark, too this and that. But you look at it and you all agree what it needs; theres no question. So, all the extra conversations of, Can we make the character bigger and funnier?it all falls away.

That was as late as June of this year, so its scary. If you dont find your way in that, you know the films not ready. They always come together at their own pace, but I remember that moment where we reorganized how we executed the opening of the movie. We simplified the backstory, but we let ourselves hold hands on letting it be a more complex story, and letting it expand the way it did. No one was wrestling anymore; we could all see it. And I think that, for me, was when I knew, Okay. For better or worse, this is Frozen 2. For all of us, this is what its meant to be. But it took all the way till June, so it was a very hectic, very anxious summer.

DEADLINE: Youre now over a year into your tenure as Walt Disney Animation Studios Chief Creative Officer. What can you tell us about your vision for the studio, going forward?

LEE: I think the main thing for us is growing as storytellers, expanding on the legacy, and supporting the legacy, in ways that are timeless and then timely, and thats always a juggle. But other initiatives for us are, we want to tell the stories of the world, by the people of the world. We want to be creating partnerships and opportunities for a diversity of filmmakers. We say this and mean this: Talent is universal; access is not. So, we work really hard to grow talent from within, and make sure were spotting it rightthat were using all the tools to do that, and then finding new talent to join us. Disney+ is a great opportunity for us, growing.

You know, Walts big thing was always that you cant rest on your laurels. You have to keep changing and pushing yourself creatively, trying things youve never tried before and being fearless, and I want to make sure we keep doing that. Its scary taking risks. Theres no reliable formula, but at the same time, we are a studio [where] all 800 of us stay together, film after film. We push each other; we challenge each other. Its a very unique experience. I feel very lucky. But I also know those things are how were going to keep being worthy of being Walt Disney Animation Studios, which means a lot to us.

DEADLINE: Could you elaborate on your thoughts, when it comes to Disney+? What opportunities do you see in the streaming service?

LEE: The greatest thing for us at Disney Animation is it allows us to experiment more with technology, and develop new talent. You know, it takes all of us to do one film a year800 people. Most of us are working on one, and theres a percentage on the one after that, at the same time, and that doesnt provide for taking big risks in any other way than with that film, or with the films that are up next, or with the films five years from now. Weve always done shorts programs and things, but that was limited, in how we could reach the world with it.

But to have Disney+, whether its something from the Frozen canon or something brand new and original, we have a range of artists now. Some have just done completely original shorts, and were really looking to them. Are they the next generation of feature directors? Then, we have others who are inspired by something off of one of our films that already exists, and it gives a chance for them to develop that IP, and a new technology to go along with it, for real-time rendering and things like that.

It makes us stronger for our features, but it also makes us stronger because we have avenues for all the talent to reveal themselves. So weve been loving this. We have a Short Circuit program: Anyone can submit blind submissions, and then get to do a two-minute short. We have shorts that we have given opportunities for people to do; were looking at series. So, for us, the real issue is going to be a balance of time and resources, to make sure that everyone is well paced in all they want to do. We couldnt be more excited, but it is a challenge because animation isnt fast and it isnt cheap. So, you have to be really thoughtful about it, and we have long-term and short-term goals that well keep developing.

DEADLINE: Have you thought yet about the possibility of a third Frozen film?

LEE: I know this sounds crazy, but Im still hoping we did right by Frozen 2. Im still in that overwhelming position of, our kids just went out to the world. Everything feels final, but also bittersweet. Time will tell if we have more story to tell, or if anyone even wants it. So, there you have it. [laughs] Right now, I feel very done.


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Daydreamer
messaggio 2/1/2020, 0:24
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Mi piace la Lee, ha le idee chiarissime e si sposano benissimo con la tradizione e il sogno di Walt, come pure la sua voglia di innovare e sperimentare. Voglio credere che siamo in buone mani e che ci far sorridere con i nuovi progetti a venire smile.gif


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veu
messaggio 6/1/2020, 0:41
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Da Variety:

Frozen 2 Is Now the Highest-Grossing Animated Movie Ever

In a box office achievement fit for royalty, Disneys Frozen 2 is officially the highest-grossing animated movie in history.

The sequel has generated $1.325 billion at the global box office, pushing past Frozen ($1.281 million) and Incredibles 2 ($1.243 million) to secure the top spot. Though Jon Favreaus remake of The Lion King is entirely computer generated and earned $1.65 billion in 2019, Disney considers it a live-action reboot rather than an animated flick. Either way, the benchmark only solidifies Disneys place as the preeminent force on all things animation the studio is now responsible for the top three biggest cartooned movie of all time.

Frozen 2, a sequel to the 2013 musical sensation, was the third-biggest film of 2019 after Disneys Avengers: Endgame ($2.79 billion) and The Lion King ($1.65 billion). In the U.S., Frozen 2 has collected $449 million and remained in the top five for an impressive seven weeks straight. Overseas, the family-friendly film brought in $875.4 million to date. Outside of North America, Frozen 2 amassed the biggest bounty in China ($118 million), followed by Japan ($103.8 million), Korea ($96.2 million) and the United Kingdom ($65 million).

Frozen 2 notched a number of box office milestones since debuting on Nov. 22. It launched with $130 million, setting a November record for an animated movie and becoming the first animated title outside of summer to surpass triple digits in its first weekend. The movie also set a new pinnacle for the Thanksgiving box office, earning $123 million over the five-day holiday frame.

Jennifer Lee and Chris Buck returned to direct Frozen 2, again following the adventures of Anna and Elsa (voiced by Idina Menzel and Kristen Bell) as they embark outside of their kingdom of Arendelle to uncover the secrets of their past. The voice cast also includes Jonathan Groff, Josh Gad, Sterling K. Brown and Evan Rachel Wood.

Despite the ubiquitous success of Frozen and its sequel, Lee told Variety she was very surprised by the milestone.

We just found out, Lee told Variety at the BAFTA Tea Party on Saturday afternoon. Im really excited. I think were always surprised.

Upon hearing the news, she turned to Buck, her co-director, and said, Frozen 2 just passed Frozen 1.

Asked about another sequel, Buck responded: Were going to skip three and go right to four.

Frozen 2 was Disneys sixth 2019 release to reach $1 billion in ticket sales and Star Wars: Rise of Skywalker will soon become its seventh. Thats the most billion-dollar films from a single studio in one year.


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Hiroe
messaggio 6/1/2020, 3:22
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Wow!!! Difficile pensare a risultati migliori di quelli ottenuti quest'anno!


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Daydreamer
messaggio 6/1/2020, 11:00
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Frozen 2 non porta a casa nulla dai Golden Globes.


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Scrooge McDuck
messaggio 6/1/2020, 12:21
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CITAZIONE (veu @ 5/1/2020, 23:41) *
Da Variety:

[i]Frozen 2 Is Now the Highest-Grossing Animated Movie Ever


In realt il titolo ambiguo perch, come citato anche dallarticolo, Il re leone saldamente il film animato col pi alto incasso (praticamente impossibile che Frozen riesca a raggiungerlo)
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veu
messaggio 6/1/2020, 20:30
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Crediamo che intendano film animato Frozen 2 e non conteggino Il Re Leone (remake) perch seppure entrambi animati in CGI c' una differenza: mentre Frozen 2 stato ideato interamente come film animato, Il Re Leone (remake) ha una creazione stile quella dei live action con fotogrammi di paesaggi ecc fotorealistici (e la struttura di ideazione del film simile a quella dei live action). Ci chiederete allora perch Dinosauri (stessa tecnica del Re Leone remake) considerato animato e tra i classici? la risposta boh, l'avevano inserito per arrivare, nel 2010, a 50 Classici con Rapunzel e ci rimasto... in tutta onest non chiara la questione.


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brigo
messaggio 6/1/2020, 20:41
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CITAZIONE (veu @ 6/1/2020, 19:30) *
Crediamo che intendano film animato Frozen 2 e non conteggino Il Re Leone (remake) perch seppure entrambi animati in CGI c' una differenza: mentre Frozen 2 stato ideato interamente come film animato, Il Re Leone (remake) ha una creazione stile quella dei live action con fotogrammi di paesaggi ecc fotorealistici (e la struttura di ideazione del film simile a quella dei live action). Ci chiederete allora perch Dinosauri (stessa tecnica del Re Leone remake) considerato animato e tra i classici? la risposta boh, l'avevano inserito per arrivare, nel 2010, a 50 Classici con Rapunzel e ci rimasto... in tutta onest non chiara la questione.


Immagino c'entri qualcosa il mocap, tecnica che in "Dinosauri" non mi sembra sia stata utilizzata.
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Scrooge McDuck
messaggio 7/1/2020, 11:36
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Resta il fatto che il Re leone un film animato al 100% dove non c nulla di real e solo la Disney si ostina a considerarlo un live action (quindi ora sta sbandierando a destra e manca che Frozen il pi alto incasso per un film danimazione, quando dal punto di vista tecnico non lo ).
Anche ai Golden Globe Il re leone era candidato tra i migliori film danimazione, per dire.
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brigo
messaggio 7/1/2020, 14:00
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CITAZIONE (Scrooge McDuck @ 7/1/2020, 10:36) *
Resta il fatto che il Re leone un film animato al 100% dove non c nulla di real e solo la Disney si ostina a considerarlo un live action (quindi ora sta sbandierando a destra e manca che Frozen il pi alto incasso per un film danimazione, quando dal punto di vista tecnico non lo ).
Anche ai Golden Globe Il re leone era candidato tra i migliori film danimazione, per dire.


Su questo sono totalmente d'accordo.
Anche perch allora non dovrebbero essere opere d'animazione tutti i film realizzati con la tecnica del rotoscopio (cosa, ovviamente, assurda).
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messaggio 7/1/2020, 19:00
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Pensiamo anche noi come Brigo che si riferiscano al fatto che nel Re Leone 2019 vi sono alcuni aspetti mocap che altrove non ci sono... forse l'unico modo per differenziarli, anche se onestamente il Re Leone 2019 un film animato.


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