Tangled Discussion Part VI: Let the Drama continue...

[Super Aurora]

Love Flynn's nipple piercing.

no thanks.

[LySs]

It's walugi. The guy who makes these comics make a on going joke how weird, bizarre, and ugly Walugi is.

Lol I love those comics.

I wonder if Waluigi's-girl reads them.

[Jules]

Love Flynn's nipple piercing.

no thanks.

What? It's strawberry flavoured.

[phan258]

What? It's strawberry flavoured.

Oh is it? How do you know?

[ajmrowland]

Also take into consideration that movie audiences of today are interested in differents things from the audiences of the 50's.

Yeah, but little boys still like Dragon fights

They're just quicker-paced these days.....and bigger.

same goes for Heroes, action figures, and tv.

[ajmrowland]

The audience connection part is thrilling, but that nickname still makes me cringe. The only one I really like is 'Blondie,' and that's from the film anyway (although I don't like 'Goldie' much...)

'Zel' is even worse.

Well, at least it doesnt start with RAP-any nickname with that letter combination would be distastrous.

Rapunzel
Anuplerz
Punzrela

Anagrams dont work with the name.

[Goliath]

my favorite Rapunzel fanart is not appropriate for here unfortunately

The one I send you via PM?

Also, what do you guys think of Rapunzel's 'nicknames' in the fandom, like Punzie, ect? Personally I really, really do not like them. I mean, you could be called worse, but.....

"Punzie"? Do they think she's a niece of Fonzie?

[disneyprincess11]

<iframe title="YouTube video player" width="640" height="390" src="http://www.youtube.com/embed/yX0wzxI94QQ" frameborder="0" allowfullscreen></iframe>

Ahhhhh thanks for posting!

[Super Aurora]

my favorite Rapunzel fanart is not appropriate for here unfortunately

The one I send you via PM?

no it's some other one I found. Involve bondage and shit. I look around a lot of place on the internet.

[Disney's Divinity]

Rapunzel's fan nicknames just show how much this movie has resonated with the audience. I can't recall any other Disney princess having that level of connection.

Really? Cinderella's been called "Cindy" for years.

I'm not sure what nick-names were necessary for Ariel, Belle or Jasmine--all 1 or 2 syllables. Ari? The B? Jaz? I'm not sure if this is an accurate measure of popularity.

I love how it's pretty much just.... you know, gay porn.

Well, they’re probably just gay models at the moment.

Unless there’s some pictures I missed--nah, I would never miss those.

[phan258]

"Punzie"? Do they think she's a niece of Fonzie?

Now I keep seeing Rapunzel going "eeeeyyyyy" in my head and bursting out laughing at random (often inconvenient) times, so thanks for that LOL.

Actually that strikes me as something Flynn would say/do....and he'd only be half joking.

ETA: Belle = The B =

[Sotiris]

Ahhhhh thanks for posting!

You're welcome

[Jules]

Oh is it? How do you know?

Flynn told me while he was drunk. He has an entire fruit-flavoured set. No sugar.

[mokka456]

I posted When Will my Life Begin extended version without the watermark:

http://www.youtube.com/watch?v=_ebDDCQnx-E

[Sotiris]

Interview: Tangled Executive Producer and Animation Supervisor Glen Keane by Luke Bonanno
http://www.dvdizzy.com/tangled-glenkeane-interview.html

[Sotiris]

[Sotiris]

Tangled: Glen Keane, Nathan Greno & Byron Howard
http://cinephilemagazine.blogspot.com/2 ... byron.html

I wonder if we could just start with talking a little about the genesis of the film? Way back in the 1940s, Disney himself was contemplating the idea of a Rapunzel film and finally, all these years later, it comes to fruition. I know it was a project that Glen was very passionate about and had worked on earlier, then after a health scare you [Greno & Howard] took over before he came back in a different role. Could you perhaps talk a little about the project from that perspective?

Glen: I was working fourteen years ago on Tarzan, and typically as you’re animating, it’s kind of a lonely job, you’re in your office by yourself thinking ‘What am I going to do next?’. [...] Maybe it’s being an artist at Disney for 36 years, you start to think you’re in a tower sometimes, how do you break out? How do you become yourself? I started to develop it and at a certain point presented it to Michael Eisner and he said ‘Yes! Let’s do it!’ I’d done all these drawings but he said ‘There’s one thing Glen, I want you to do it in CG’ and I said ‘Michael, do you like these drawings? Because you can’t do them in CG! You can’t get everything I love about hand-drawn animation in CG!’ and he said ‘But that’s why I want you to do it that way, find a way to take the best of both worlds, put them together.’ I really thought it was a very honest challenge, so I took that and continued to work on it until about 2008 when I had a heart attack and had to step back from it. Fortunately Byron and Nathan were there and I don’t think you can direct a picture without making it your own, and they took the story and started again. I think you’re always building on something that’s there underneath you, but they really took the film and made it as personal as I was making it. I was really thankful that they were there. So I continued on in a role overseeing the animation and if I had been directing, I wouldn’t have been able to spend the time drawing and working with them to bring the things that I think, personally, I can bring to a film.

Byron: [...] You see how beautiful the animation is in the film and that’s because Glen’s influence is in there, so every animation session Nathan and I would be there in front of this group of about forty animators acting out the movie scene by scene. He would be Flynn and I would be Rapunzel sometimes, we’d switch back and forth, and the interesting thing was Glen would be there with an electronic drawing tablet called a Cintique and he’d be watching us very quietly when two seconds later there’d be this beautiful drawing of Nathan or myself or one of the other animators as Rapunzel or Flynn. Then the animators would take that back to their desks and make their animations a thousand times better than it was. You can see the results on screen, that collaboration.

Nathan: Everyone in the studio loves Glen, he’s been a mentor for all of us, you can’t put a price on this guy. When he had to step out of his original role and John Lasseter came to us and asked if we’d like to continue with the movie, Byron and I wanted to do it for Glen. Like Glen was saying, you have to bring your own vision to one of these films., you can’t just take what was there and keep going but to Glen’s credit he had a number of great things already in place, so we could see what he had done in different stages of the development process, which was really helpful, we got a lot out of that.[...]

Your original vision is hand-drawn, and your tradition is hand-drawn animation, and I know there’s an element of that with the storyboarding and so forth, but how did you find it, moving from one world to another?

Glen: It’s interesting, you have to put down your pencil in a way. I haven’t been animating myself, I don’t know how to animate on the computer. I had two guys who were phenomenal animators by my side, John Kahrs and Clay Kaytis, and we kind of filled in the gaps where each of us was weak. They were the guys who really found tools for me to participate, so I could actually contribute. There’s something that’s really unusual when you draw, it’s intuitive and the computer is not intuitive at all. The way you would design a face in a computer animated film, you’d design half of it and you’d hit duplicate and the second half is exactly like the first half. There’s no human being whose right side of their face looks like the left side of their face, if you do you’re a robot, you’d immediately be repulsed by someone you’d meet who looked like that. Now, every CG film, that’s how characters are designed, except this one. We never hit that duplicate button, we sculpted one side and we sculpted the other side, her teeth are just a little bit wonky, one eye is often just a little bit bigger than the other, there’s an imperfection that we’re drawn to. I remember reading a book once called Feminine Beauty which analysed what attracts us to a beautiful woman, it mentioned a strangeness, something just a little off that we put a lot of effort into. I remember something that Byron and Nathan were pushing constantly was ‘breathing’, a sense that the character’s living, it adds a lot to your acceptance of these characters as real.

I know, Glen, you’re in town with your wife Linda, and I was struck by the similarities between her and the character of Ariel in The Little Mermaid whom you designed, and that your family have featured in some way in many of your character designs. She is in fact a real mermaid, no?

Glen: That’s right, maybe the shells are a little smaller than Ariel’s… Sorry Linda… You know, every animator drew the shells according to his preference and they change size quite often if you watch carefully. My son Max, when it came time to do Tarzan, was constantly skateboarding everywhere. I’d just been animating Tarzan swinging on a vine and it had felt really boring and passive, but when I saw my son doing these extreme sports, I thought ‘Man, that’s so much more interesting. What if Tarzan was a tree surfer?’. That whole influence went into the character. Early on with Rapunzel, I thought ‘Who do I know who has that creativity?’ and I remembered my daughter when she was a little kid asking my wife if she could paint the ceiling, my wife wouldn’t let her but by the time we got to making this film, my daughter was graduating from art school in Paris so we hired her, an when you see Rapunzel paint on the walls, that’s actually my daughter Claire’s painting.

[SillySymphony]

More 'Tangled' artwork by Claire Keane:
http://artofdisney.canalblog.com/archiv ... 13551.html

I just love the atmosphere of the first 12 pieces where I can see a little bit of Giselle in Rapunzel. Maybe Claire's style is just so "Enchanted" to me or maybe because the movies were overlapping in production...probably a little of both.

[Jules]

Sotiris, I think that the blogger who maintains the Art of Disney site does a wonderful job. I only wish their website were in English. I can read French a bit, but at best I only get the gist of what is written.

A few months ago Disney were threatening to bring down the site. I don't know how the site-owner got out of that scrape, but I imagine it must have been some sort of agreement.

[Sotiris]

Sotiris, I think that the blogger who maintains the Art of Disney site does a wonderful job. I only wish their website were in English. I can read French a bit, but at best I only get the gist of what is written.

I use Google translate; granted the translation is quite bad at times but it remains legible enough.

A few months ago Disney were threatening to bring down the site. I don't know how the site-owner got out of that scrape, but I imagine it must have been some sort of agreement.

Really? Haven't heard a thing. I hope it doesn't go down eventually. It's such an incredible source of Disney artwork. It seems odd that Disney would care about a site that features only artwork, especially when most Disney "Art of" books are OOP, but also because the official Facebook page of WDAS used to have the website in question in their "Likes" list.