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Hiroe
CITAZIONE (Daydreamer @ 1/5/2020, 5:55) *
Non credo sia così Fulvio. Anche Johnny Depp e il suo Cappellaio Matto sono diventati iconici, non c'è parata o sfilata in cui non manchi qualcuno che gli fa omaggio e oggi, ogni volta che si parla del Cappellaio, viene associato al suo personaggio. Pure la Regina Rossa della Bonham-Carter tallona la Regina di Cuori del Classico tuttavia. Anche Will Smith ha caratterizzato molto il suo Genio e vedrai che col sequel lo imporrà ancora di più sull'immaginario del pubblico. E di Gaston/Luke Evans ne vogliamo parlare? Addirittura arriverà lo spin off!
Comunque credo si tratti più di una questione caratteriale del personaggio alla base, che non il divo di per sé, che deve essere sopra le righe e fuori dall'ordinario e non per niente sono praticamente sempre i cattivi...Tuttavia l'accoppiata col divo è fondamentale per suggellare l'impronta del personaggio.
Lady Tremaine è stata interpretata molto bene da Cate Blanchett e anche lei torna spesso nell'iconografia cinematografica...
Nel futuro avranno una loro chance anche Ursula/McCarthy, Crudelia/Emma Stone e sulla carta certamente Ade di Hercules e forse pure la Regina Cattiva di Biancaneve. La Disney, che è sempre attenta a tutto questo, cercherà di agguantarsi grossi nomi, disponibilità permettendo. Forse con Ursula non sono stati molto fortunati, sebbene non mi vengono in mente attori popolari e in voga al momento che avrebbero potuto migliorare il binomio personaggio/divo popolare, forse Lady Gaga (anche se è sempre stato un rumor, non c'è mai stata una proposta ufficiale) ma la McCarthy può sorprenderci, perché è quando meno te lo aspetti che il personaggio poi si impianta ancora di più nel tuo immaginario.

Quoto tutto, principalmente ho amato la Blanchett nella parte di Lady Tremaine.
veu
Crediamo che la Jolie come Malefica si sia imposta maggiormente rispetto agli altri personaggi dei live action, assieme al Cappellaio Matto di Johnny Depp o a Crudelia di Glenn Close perchè sono in fondo i tre protagonisti centrali delle rispettive pellicole (per Alice ricordiamoci che nel 2010 la promozione era molto puntata su Depp/Cappellaio Matto perchè la disney dopo il flop della Principessa e il Ranocchio - film animato - voleva nascondere tutto ciò che era femminile e Depp per Alice live action fu un ottimo richiamo anche per la fama di attira-pubblico che aveva all'epoca, conquistata con la saga dei Pirati dei Caraibi e dei vari film di Burton).

Per gli altri, è giusto omaggiare e come dice Alessio/Daydreamer anche secondo noi la creazione dei live actions non è per sostituire i film animati ma per rendere loro giustizia nell'immaginario popolare (soprattutto extra fans Disney) e invitarli a far riscoprire o anche scoprire il classico da cui sono tratti... per questo speriamo sempre che catalizzino un po' l'attenzione su Biancaneve...


Per quanto riguarda la regia di Burton per Maleficent - Il Segreto della Bella Addormentata... non sappiamo come e se avrebbe dato un'impronta al film, certo sarebbe stato diverso da quello mostrato, forse avrebbe dato un tocco autoriale ma alla fin fine crediamo che sia stato meglio puntare su qualcun altro. Non sappiamo se la Jolie e Burton avrebbero collaborato assieme alla stesura del film... chissà. Era interessato. Sarebbe stato bello sentire le motivazioni del perché non accettò la regia di Maleficent (si parlò di dissapori con la Disney - classici per Burton - ma poi tornò a fare Dumbo...)
theprinceisonfire
CITAZIONE (Daydreamer @ 1/5/2020, 5:55) *
Non credo sia così Fulvio. Anche Johnny Depp e il suo Cappellaio Matto sono diventati iconici, non c'è parata o sfilata in cui non manchi qualcuno che gli fa omaggio e oggi, ogni volta che si parla del Cappellaio, viene associato al suo personaggio. Pure la Regina Rossa della Bonham-Carter tallona la Regina di Cuori del Classico tuttavia. Anche Will Smith ha caratterizzato molto il suo Genio e vedrai che col sequel lo imporrà ancora di più sull'immaginario del pubblico. E di Gaston/Luke Evans ne vogliamo parlare? Addirittura arriverà lo spin off!


Angelina-Malefica, Glenn-Crudelia de Mon e i personaggi di Alice in Wonderland sono tutti entrati di diritto nell'immaginario collettivo. Ma il genio di Will Smith e Gaston di Evans, pur ricevendo una buona accoglienza, direi proprio che non hanno lasciato il segno.

Credo che il punto chiave non sia tanto nella popolarità dei grandi antagonisti, quanto nell'insieme di tre elementi fondamentali: personaggio eccentrico/iconico, attore di grandissima fama e film di provenienza memorabile, nel bene o nel male.
Belle interpretata da Emma Watson ha due di queste caratteristiche, ma non è un personaggio eccentrico; il genio di Will Smith sembrerebbe averle tutte e tre, ma il film da cui proviene non è memorabile in quanto davvero troppo vicino al classico animato, cui si sovrappone.

La Crudelia di Emma Stone avrà una grande chance di lasciare il segno.
veu
Contate poi che la Malefica di Angelina Jolie è molto tormentata, una lettura diversa dal Classico.
La Crudelia di Glenn Close è pazza quanto serve e i personaggi di Alice in Wonderland (Cappellaio Matto su tutti) sono iconici perché strambi, pazzi e "anomali" rispetto alle controparti animate.
Forse anche questo è un aspetto che rende l'idea del perché hanno avuto così presa sul pubblico.

Vedremo come sarà la Crudelia di Emma Stone... secondo noi se l'avessero giocata alla Joker potrebbe uscire fuori una nuova interpretazione della sua "pazzia" o eccentricità
Daydreamer
CITAZIONE (veu @ 1/5/2020, 23:50) *
Vedremo come sarà la Crudelia di Emma Stone... secondo noi se l'avessero giocata alla Joker potrebbe uscire fuori una nuova interpretazione della sua "pazzia" o eccentricità

Oddio, io mi aspetto una cosa stile Il Grinch...Un demonio a causa di un trauma, che alla fine si fa anche comprendere dal pubblico e far voler bene. Ma non credo ci sarà redenzione come per Malefica. Non credo la faranno diventare buona.
veu
Crudelia con Emma Stone (che condivide lo sceneggiatore con Maleficent - Signora del Male) crediamo non venga resa come buona, magari inizia che lo è e poi diventa cattiva e viene giustificata la sua cattiveria, ma buona non lo è, lo dissero chiaramente. Per questo crediamo che fosse sullo stile di Joker, questi eroi che sono crudeli ma che alla fine parteggi per loro perché la loro crudeltà è giustificata...
Se Maleficent era una sorta di Wicked (come già lo era Frozen), Cruella potrebbe essere una sorta di Joker... non conosciamo Il Grinch, come film non siamo mai riusciti a guardarlo (nè lui nè The Mask che venivano sempre trasmessi più o meno in coppia anni fa)...
veu
Dal sito Movie Locations:

Maleficent | 2014

LOCATIONS | Hertfordshire; West Sussex
DIRECTOR | Robert Stromberg
CAST | Angelina Jolie, Elle Fanning, Sharlto Copley, Imelda Staunton, Lesley Manville, Juno Temple, Sam Riley, Brenton Thwaites, Kenneth Cranham, Janet McTeer

Robert Stromberg’s revisionist retelling of the Sleeping Beauty story is filmed mainly on sets built at Pinewood Studios in Buckinghamshire – famous as the longtime home of the James Bond movies.

Even a fantasy needs some grounding in reality, and two National Trust properties provide the open countryside.

The enchanted Forest is the Ashridge Estate in Hertfordshire, which fulfilled a similar role in another re-tooled fairy-tale movie, the 2014 musical Into The Woods.

Ashridge is a country estate and stately home in the Chiltern Hills about 2 miles north of Berkhamsted and 20 miles northwest of London.

The estate is comprised of comprises 5,000 acres of woodlands, known as Ashridge Forest, along with commons and chalk downland, currently owned by the National Trust.

The neo-Gothic Ashridge House, currently home to the Ashridge Executive Education program of Hult International Business School, is featured as ‘Marston-Tyne Military Prison’ in Robert Aldrich's 1967 The Dirty Dozen.

Maleficent's beautiful Arcadian Moors are the grounds of the Petworth Estate in the South Downs of West Sussex.

Those hills and vistas are not quite the natural, untamed countryside they seem to be. The 700 acres were carefully fashioned to fit the 18th Century ideal of a rural paradise by famous landscape designer ‘Capability’ Brown.

They provided a favourite subject for painter JMW Turner, who regularly stayed at Petworth House, which is seen in Mike Leigh’s 2014 biopic Mr Turner, starring Timothy Spall.

The Queen (Cate Blanchett) goes riding with Walter Raleigh through Petworth's rolling green hills in Shekhar Kapur’s Elizabeth: The Golden Age, while the chapel of Petworth House is used for the wedding of Redmond Barry to Lady Lyndon in Stanley Kubrick’s 1975 masterpiece Barry Lyndon.
veu
Qui una serie di ricerche grafiche, artwork e studi sul film (bellissimi!!!):

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veu
Un po' del dietro le quinte del film e approfondimenti sul film da parte del produttore Don Hahn.

Dal sito Buzz Feed:

"Maleficent" Took Over 10 Years To Hit The Big Screen And Here's The Story Behind It

Fun fact: the movie was originally intended to be a Tim Burton film!

It may be hard to believe, but it's been over five years since Maleficent first cast a spell on audiences. The movie was not only one of the highest-grossing films of 2014 (and the highest-grossing of Angelina Jolie's career), but it was also one of the first films that helped usher in the era of the Disney live-action remake.

But, unlike the live-action remakes that have followed, Maleficent was not a direct remake of its source material, but rather a creative retelling. In fact, a lot of the originality of the story is likely due to the film being in development for over a decade before it finally hit the big screen. So on the eve of the release of its sequel, Maleficent: Mistress of Evil, we dug up this (never before published) interview with the film's producer, Don Hahn (who also produced the animated classics Beauty and the Beast and The Lion King, among others), where he talked about everything from the long process of bringing the film to life to what it was like working with Jolie.

How did you first get involved with bringing Maleficent to the big screen?

Don Hahn: It started off as a project in animation in around 2003. I then pitched it to Tim Burton... actually I went over to Tim with three ideas to pitch. The first one was Frankenweenie, which had been an early [Disney] short film of his, and we talked about what a great movie it would make if he wanted to expand upon it in stop-motion animation film and he said, "Oh, that's great. Let's talk about it." Which of course we ended up doing Frankenweenie.

The second idea I pitched Tim was a The Nightmare Before Christmas sequel, and he said, "No, there's nothing else to talk about. What are we going to do, Nightmare Before Arbor Day?" And then the third idea I pitched him was Maleficent — I actually had a Marc Davis [the animator who designed Maleficent] drawing with me. I took the drawing and I said to him, "What about Walt Disney's Maleficent?" And he said, 'GIVE ME THAT!' and he pinned [it] up on his board and said, "OK, I'm in."

Tim was really excited about it and he actually helped develop it for a few months before his schedule got clogged up and a then number of things happened, and he had to go do Dark Shadows.

Speaking of Tim Burton, what was his version of the film going to be like? Was it going to be traditional animation or stop-motion animation?

DH: By the time we got to Tim the movie was going to be live action; we had already moved it out of animation. Tim had just finished Alice in Wonderland, so the movie probably would've been very stylized, but not in the same way Alice was since they're both a very different style of fantasy films, Maleficent being a little more earthbound."

Was Tim Burton's version of the film close to the final outcome?

DH: Oddly enough, yes. I mean, it did go through a million changes after Tim could no longer make the film. But the essence of it — digging into the origin of Maleficent, a character we know very little about — stayed very true throughout the whole project.

Also, during that brief Tim era we brought in Linda Woolverton [screenplay writer for Beauty and the Beast and The Lion King] who ended up writing the final script. And, of course, Linda and Tim had worked together on Alice in Wonderland, and I had worked with Linda on Beauty and the Beast, which was the first film I produced and it was her first screenplay — so we go way back. Linda's brilliant, and she stuck with the project and so did I, then Sean Bailey, who is president of Walt Disney Studios, brought in Angelina Jolie, and it just took off from there. Angelina and Linda are both incredibly smart and fearless in terms of storytelling and fearless in terms of making changes to the story in order to make it more relevant to audiences.

What did Angelina Jolie bring to the character of Maleficent that audiences might not be aware of?

DH: I think it's important to point out that Angelina is not just an actress, she is also a filmmaker, and because of that you are getting a wide range of contributions. In the original fairy tale, Maleficent is pretty black-and-white; she's evil, she wasn't invited to the christening, so she puts a curse on everybody and leaves. And I think what's interesting about Angelina, and certainly what Linda brought to the script, was these shades of gray. That you have this evil character that the audiences didn't quite understand and then you reveal through the story why she is evil, why she got her wings clipped, then how she softens and shows she has a heart inside.

One of Angelina's major contributions was her ability to give a very restrained performance; she could have been very broad and cartoony, because there's lots of live-action retellings of animated movies where the lead actor is just zany. So it easily could've become that, but it's because she holds back, she allows you to say, "Wow what an interesting, ethereal, dark character. Why does she [Maleficent] act that way?" And then we see why as she slowly opens up, peels back layers of the onion to see what's inside. So then you start to see hints of warmth with baby Aurora, or when she lifts little Aurora (who was played by her daughter Vivian) in her arms and plays with her. So you see moments of connection, but she doesn't just overly show you that, she's very restrained — which is the brilliance of Angelina as an actress. And, yes, then of course she gave input from the costume design, to the horns, to the facial applications — those Lady Gaga cheeks. You're getting a tremendous contribution from an actress, who is far more than an actress.

Do you know if Angelina was a fan of the character before getting involved with the film?

DH: She was! When she was a kid, she grew up with Disney — like all of us. But a dark interesting, glamorous character like Maleficent was something that really appealed to her. And if she was ever going to play a Disney character in a film, that was the character she would want to play.

There has been a lot of talk about the scene where Maleficent got her wings clipped as a metaphor for rape. Was that intentional?

DH: Audiences (and everyone) will draw their own conclusions about that scene, and I suppose that's what, in a large sense, fairy tales are: You read into it what you need to read into it. For us, getting your wings clipped is a very ancient idea going back to the story of Icarus, so when you get your wings clipped you lose your freedom, you don't have your voice really — like the scene in The Little Mermaid, where they literally take her voice so she can become human, this was that same scene. The moment where she lost her freedom, by having her wings clipped, by a man she had a romantic interest in.

So I completely understand why people read into it; that's not a bad thing. For us as storytellers it was a scene where she suffers the ultimate insult in every way, by taking away the freedom for Maleficent to live her life the way it was meant to be.

In the same vein, were you surprised by people calling this a male-bashing film?

DH: (laughs) No, I wasn't. But I found it [the movie] fresh because we have a legacy of hundreds of years of stories of princesses who are worthless until their princes show up. And this originally was one of them. In the original fairy tale she is not only worthless, but has to fall asleep for a hundred years until the right guy comes along and says, "OK, you can have a life now because your man is here." And that type of story is, I guess, great for 1959, but for audiences and society now it's an antiquated and inappropriate story to tell. So it's not any more male-bashing than many other movies, but I feel we weren't looking to take a harsh look at men, but instead to a closer look at where love comes from. And love can exist between this fairy godmother and Aurora, as can it be sustained between prince and princess, that love comes in many different forms and it can even break the curse between these two characters. That was a far more interesting story than just having a prince kiss and awaken her; it was something fresh and a topic that hadn't been explored before.

So does it male bash? I'll leave that to audiences to decide whether it does or not. Does the film have strong female characters? Yes, and thank God! Thank God. Being able to have actresses like Elle Fanning and Angie, to tell a story that is essentially about love, and peeling back layers of our individual woundedness, and being vulnerable to each other, what a great story that is. And in part, I feel that is why the movie has been such a success.

Speaking of success, one of the big things today is to build theme park attractions based on blockbuster movies. Is that something that is in the works?

DH: I honestly don't know, but being the Walt Disney Company, of course we'll have plans. It's part of the business to want to capitalize on successes. The cool thing about the character of Maleficent is that it's already at the center of the Walt Disney Company because it's part of the Sleeping Beauty story, and literally in the center of Disneyland as part of Sleeping Beauty Castle. So I am sure at some point there might be an attraction connected to this movie, but that wouldn't be unusual since the Sleeping Beauty story has already been connected to Disney for so long.

Lastly, are there any plans to bring other Disney villains to the big screen?

DH: No, but I was asked that recently and I thought, How cool would it be to do, like, an Ursula movie? It would be amazing. Villains are always the favorite characters, and they have such rich, cool personalities. I mean, there must be so much to those characters for them to be the way the are. Gaston, Scar, Ursula, and all the other villains are messed up characters, and they're probably more like us than we would like to think, because they're complex characters. We're neither good nor evil; we're full of contrasts and contradictions. That's why the villains are so interesting, 'cause they're full of contradictions too.

So no, we haven't talked about it really, but we probably should.
nicolino
Sempre la solita pippa e sempre il solito gettare la solita valanga di m... sui film del passato, definendoli inappropriati e per la società moderna, quando qui di inappropriato ci sono solo i film di bruttezza inaudita quali Maleficent.

Chissà perché questi idioti non si chiedono come mai le principesse "worthless" del passato e i film che loro criticano tanto (ma grazie al quale guadagnano milioni) sono e continueranno sempre ad essere considerati classici del cinema, quando le loro schifezze finiscono immediatamente nel dimenticatoio.

Per quanto mi riguarda, sono sempre meno attratto a questa nuova faccia della Disney e ormai sto perdendo ogni tipo di interesse per i loro prodotti.
Daydreamer
Per la verità si criticano più le fiabe di base, che non il film Classico. E comunque Maleficent non ha snaturato Aurora, che rimane un personaggio femminile, romantico ma certamente più attivo. Inutile dire che i modelli pensati per le bambine di oggi non sono più fare la cuoca e l'angelo del focolare. Credo che il produttore si sia terribilmente espresso male; non credo affatto disprezzi i Classici ma quel tipo di racconto non può essere proposto paro paro alle nuove generazioni, non siamo ipocriti (senza offesa nicolino, parlo in generale).
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