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#kirk wise
adaptationsdaily · 6 months
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THE HUNCHBACK OF NOTRE DAME (1996) dir. gary trousdale & kirk wise
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animations-daily · 1 year
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Claudia Christian as Helga Sinclair ATLANTIS: THE LOST EMPIRE (2001) dir. Kirk Wise, Gary Trousdale
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thewaltcrew · 6 months
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Director Kirk Wise, screenwriter Linda Woolverton, and actor Robby Benson on casting the Beast [x]
They gave me an incredible amount of freedom. I didn't want Beast to be a cartoon character. I played it as though I were doing a Broadway show. As if this was a living person. And I wanted him to be funny. By funny, I don't mean shtick or one-liners. I am talking about real comedy. When real comedy works, and is truthful, especially with the Beast, it comes out of the fact that he is so pathetic. For some reason, I really understood that. Ha! Because of that, they gave me a lot of leeway. [x]
My first audition was recorded on, of all things, a Sony Walkman. As a musician, I had branched out into recording engineer and loved to play with sound. When I saw the Sony Walkman I knew it had a little condenser microphone in it, and if I were to get too loud, the automatic compressor and built-in limiter would 'squash' the voice— and there would be very little dynamic range to the performance. I did a quick assessment and wondered how many people who had come in to audition for the part were making that error: playing the Beast with overwhelming decibels, compressing the vocal waveforms. I decided to give the Beast 'range.' Because of my microphone technique, and an understanding of who I wanted Beast to be, they kept asking me to come back and read different dialogue. After my fifth audition, Jeffrey Katzenberg the hands-on guardian of the film, said the part was mine…
Beauty and the Beast was so refreshingly fun and inventively creative to work on that I couldn't wait to try new approaches to every line of dialogue. Don Hahn is one of the best creative producers I have ever worked with. The two young directors, Kirk Wise and Gary Trousdale, were fantastic and their enthusiasm was contagious. I not only was allowed to improvise, but they encouraged it. It never entered my mind that I was playing an animated creature. I understood the torment that Beast was going through: he felt ugly; had a horrible opinion of himself, and had a trigger-temper. Those are things that, if done right, are the perfect ingredients for comedy. Painful and pathetic comedy— but honest. The kind of comedy I understood...
In the feature world of Disney animation, the actors always recorded their dialogue alone in a big studio, with only a microphone and the faint images of the producers, writers, directors and engineer through a double-paned set of acoustic glass. Paige O'Hara and I became good friends; it was her idea that for certain very intimate scenes, such as when Beast is dying, we record together. We were able to play these scenes with an honest conviction that is often absent in the voice-over world...
The success of this film was the culmination of a team effort but I must say, the honors go to the animators— and for me (Beast), that's Glen Keane — and to Howard Ashman and Alan Menken. This was the perfect example of a crew who 'cared'. And the final results (every frame) of the film represent that sentiment. [x]
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amatesura · 1 year
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The Hunchback of Notre Dame (1996)
dir. Gary Trousdale, Kirk Wise
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scenes-inside-my-head · 5 months
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Beauty and the Beast (1991)
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90smovies · 1 year
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in-love-with-movies · 2 years
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Atlantis: The Lost Empire (2001)
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nerds-yearbook · 11 months
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On June 15, 2001 Disney released Atlantis: The Lost Empire. It was the first tradionally drawn Disney animated feature to recieve a PG rating since The Black Cauldron (1985). Marc Okrand developed a language specifically for this film. The film takes place in 1914, involving academic Milo Thatch (Michael J Fox) and a group of mercenaries (voiced by Jim Varney, Corey Burton, Claudia Christian, James Garner, Jaqueline Obradors, Don Novello, and Phil Morris) sent in search of the lost city of Atlantis. When they actually find the futuristic place, they meet the king (Leonard Nimoy) and his daughter Kida (Cree Summer). ("Atlantis: The Lost Empire", Animated Flm, Event)
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conformi · 1 year
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Gae Aulenti, Palazzo Branciforte, Palermo, Italy, 2007-2012 VS Gary Trousdale and Kirk Wise, Beauty and the Beast, 1991
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ariainstars · 1 month
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Beauty and the Beast: You Can’t Save Someone from Themselves
The Disney version of Beauty and the Beast from 1991 is my favourite movie and I must have watched it twenty-five times, if not more.
But when you watch a piece of media so often, you naturally discover inconsistencies in the plot, or simply details that you don’t understand or don’t quite like.
For me, I was critical for a long time about how naïve Belle is: she never knows the nature of the spell the Beast’s castle is under, she never asks and no one tells her. My point about this was that she remained oblivious to the things going on around her, trying to make the best of a situation that was out of the ordinary but never quite knowing why. I found that this detail somewhat made Belle look like a fool.
Looking back now, I see things differently. The fact that Belle is not aware of the enchantresses’ spell is a major plot point and one of the most interesting and positive characteristics of the story’s heroine.
Women often believe they can or must “fix” a guy who’s in some kind of trouble, with their love, their wisdom etc. And it never works. If a person has some problem that needs to be fixed, they must do so themselves willingly; someone else can only be by their side.
We learn early on that the Beast / Prince is not actually evil, but “selfish, spoilt and unkind”. Belle is the antithesis to this, being generous, altruistic and kind. Most of all, she’s not scheming.
Belle never tries to redeem the Beast. At first, she fears and resents him; then, seeing that he’s making an effort, she gives him a second chance. The actual change comes from the Beast himself, who is well-aware that it is in his hands to break the spell, for himself and also for the people who live with him and depend on him.
For all her maturity and independence, Bell is an innocent girl. She does not imagine that the Beast is a prince, and that he might actually be the right partner for her.
That is why their relationship develops in a natural way: the Beast at first tries to control their relationship and fails, and Belle never tries to control it. She does not search for self-validation by trying to influence someone who obviously has a long way to go. Belle never feels superior to the Beast; when she resents him it’s a pure act of self-protection, untainted by any attitude of the kind “I know better than he does”.
Beauty and the Beast contains a lot of beautiful messages, and this is maybe the most important one if you’re a female watching it: don’t ever try to change a man, or anyone else for that matter. Loving someone means being ready to forgive and giving them a second chance; wanting to “fix” someone is an act of power.
Love and power are opposite to one another. If one partner controls or tries to control the relationship, it’s doomed.
That is why the story of Beauty and the Beast feels so genuine: it’s pure and untainted by the unnecessary drama that is part of so many stories which are allegedly about “love” but lack the most important essence of any healthy relationship: trust.
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moratoirenoir · 3 months
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gainaxvel3o · 4 months
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I find it personally annoying when people talk about Disney movies like the company manifested them out of nowhere.
Like, Ron Clements and John Musker directed The Little Mermaid. They also did Aladdin, Hercules, Treasure Planet and Moana.
Kevin Lima and Chris Buck did Tarzan, Roger Allers and Rob Minkoff did The Lion King, Gary Trousdale and Kirk Wise did Hunchback of Notre Damé.
Even if their styles are similar, these were still movies made by people. I wish we talked more about the people behind our childhood memories, especially when they do work for other companies. Chris Buck did Surf's Up for example.
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Beauty and the Beast (1991, Gary Trousdale and Kirk Wise)
08/02/2024
Beauty and the Beast is a 1991 animated film directed by Gary Trousdale and Kirk Wise, produced by Walt Disney Feature Animation and distributed by Walt Disney Pictures.
It is the 30th Disney Classic, it is the third film of the Disney Renaissance, and is based on the fairy tale Beauty and the Beast by Jeanne-Marie Leprince de Beaumont, taking some ideas from the 1946 film of the same name. The film's music was composed by Alan Menken, while Howard Ashman, to whom the film is dedicated (he died a few months before the film's release), was the author of the lyrics.
Beauty and the Beast was released in the United States of America on November 13, 1991. The film grossed $331 million at the worldwide box office against a budget of $25 million, and received widespread acclaim for its romantic narrative, animation (particularly the ballroom scene), the characters and the musical numbers. It was the first animated film ever to be nominated for the Academy Award for Best Picture, and remained the only one until 2010 and 2011 when, after the number of possible nominations for the statuette had been increased from five to ten, it was joined by Pixar's films Up and Toy Story 3. It ended up winning two, for best soundtrack and best song (the famous Beauty and the Beast, sung by Céline Dion and Peabo Bryson in the final duet). The film was also awarded three Golden Globes: best comedy/musical film, soundtrack and original song, as well as other international awards.
After the success of the 3D re-release of The Lion King in 2011, the film returned to cinemas in 3D on 13 January 2012 in American cinemas, while in Italy it was released on 13 June of the same year.
In 2002, the film was selected for preservation in the National Film Registry of the United States Library of Congress because it was "culturally, historically, or aesthetically significant".
A long time ago, in a distant country in France, there lived in a magnificent castle a prince with a handsome and charming app9, but with a spoiled, selfish and bad character.
One winter night, an older beggar woman arrived at the castle asking for asylum from the cold and offering a rose in exchange. At that point, the beggar woman transformed into a fairy; seeing the prince's selfishness, the fairy transformed him into a horrible Beast, and his servants into furnishing objects. Despite everything, however, she also granted him a chance at redemption: the rose was enchanted and would remain in bloom until the prince's twenty-first birthday.
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firawren · 1 year
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God bless Gary Trousdale and Kirk Wise for letting Howard Ashman, a gay man, keep this lyric in "Gaston":
Not a bit of him's scraggly or scrawny!
That's right! And every last inch of me's covered with hair!
And letting Andreas Deja, a gay man, keep in the wink that Gaston does when he says the word "inch":
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Men who love men, appreciating the only good thing that Gaston has going for him
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