Finally, someone got it! In all the years that I've said the quote to friends and family, no one ever got it unless I explained it to them! They always figure a happy girl is scatterbrained and an unhappy one is distracted.Let's try another letter...J! Jike wrote:Hmm, I think I may have gotten the souffle thing. You just don't want to do anything if your unhappy, but if you're happy you may want to do too much and get too excited.
First, it's WIST time with the bolded parts, and also, I still feel she came back to tell him. It all goes back to my "it's not really true until you say it out loud" theory, as Belle wanted to finally and ultimately proclaim her friendship (and, of course, love) for him. So yes, she is primarily going back to save him, but also she wants to share that earth-shattering mind-blowing make-anyone-weak-at-the-knees proclamation of friendship...and love. There's a great song from the 80s called "Friends and Lovers" which essentially is the same idea, though it plays more towards the "Lovers" angle (it was written as a love ballad for Shane and Kimberly on Days of our Lives). But it still gets the same message across: "you're my friend, and I want you know know that."Mije...sounds like Midge...which reminds me of a character in Doctor Who and one of Barbie's friends...and how the hell did I remember the name of one of Barbie's friends? wrote:I didn't quote the rest because, well, I don't think she came to the castle thinking part of it was to tell him she was his friend, I think they both already knew that, I think it was all about saving him. <snip> Maybe they thought they were friends but then realized it was more romantic later. I think when Belle said she loved him, she meant beyond friends. You don't french a friend like that, which is exactly what she did after she said she loved him.
You mean this?Jime wrote:I did wonder if the Beast could have transformed into a human corpse, but I think the stab was either not fatal or the spell returned him to his exact former self (physically, of course) so it erased the wound. I guess the spell could have healed the wound as reward, like how I wondered if the prince never aged or the spell just decided to remove the aging as reward.
WIST#21:
Disney Duster: Time must have stopped, or the magic spell was like "since you learned your lesson...we'll let ya look young and hot, too."
The idea of Enchantress always watching (or keeping his curse in the corner of her mind, ready to check on him when necessary), was not really something I got from the movie, it was partly from my own BATB treatment and also just some random musings in the air. Kind of like how Mufasa appears to Simba in The Lion King (*gasp*...I'm referencing TLK?). He only appears to Simba that one time, but for all we know, he's been watching him ever since the little creep ran away. With the Enchantress, there's always the likelihood that she was interested in every curse she made, and would watch all her victims to know when their punishment was over, if they learned their lesson, etc.J is getting boring, let's use U now. Miku! wrote:As for the Enchantress, I thought the magic almost had a mind of it's own and did everything that would make Belle and the prince happy, but I could understand if the Enchantress was like some godly figure who knew what was going on and sent down the sparkles. Somehow I'd like to think she died but her magic lived on, and I have no idea why, maybe because I think the Enchantress was a b*tch
Plus, it's more chilling to have the idea of Big <strike>Brother</strike> B*tch always watching.
We could assume that he had the same human physiology inside, with all the organs in the same place, but he just looked like a beast. Where he was stabbed looks to be a rather vital place, it may have hit his spinal column, or if it was lower, his kidneys. (I'm not too good on the human body, and I'm basing this all on what I remember of the scene).Muke...no, that doesn't sound good...Uike...no wait, I got it...Ukelele Mike! wrote:I still don't see why the stab would be fatal if it was just in his back and he was a strong Beast.
But either way, I don't think the stab was fatal either, though it was fatal enough emotionally (going back to the "can't a guy catch a break?" thinking) that Beast thought it was fatal.
It really makes a lot of sense when it's viewed with the movie. Basically, Elise has been under the watchful eye of her manager WF Robinson, and he told her that one day, a man would come and change her life forever (or something similar), and that she would know who he was. And until then, she really would not need to pursue any romantic entanglements, as no man would really be the one unless she decided he was.U is boring too. Let's try C. Mice...ha! wrote:Well, the dialogue is confusing and perhaps even sexist.
Then she meets Richard, who's traveled through time to meet her (yeah...), and indeed, he has changed her life in ways she never imagined. She's not sure if he's that "one" that Robinson told her about, but for the first time, she's willing to pursue some kind of relationship, to see if he is. When he sits in to watch her perform in a play at the Grand Hotel, she initially follows the script, then suddenly deviates and goes into her monologue. It's not a part of the play at all, but she realizes that Richard indeed IS the one, and she's speaking to him, and him alone. It's love at its most raw and most perplexing state. It's a love that exists solely to exist, and it permeates the air around us, but only few people will ever recognize it and embrace its goodness. The fact that she can steer it all back to the play is convenient too.
(I originally had a couple paragraphs explaining how I thought the entire thing was interpreted, but I don't want it to hinder your eventual viewing of the movie despite me somewhat explaining portions already, so I'll leave it at that for now.
I think it's pretty balanced how emotional I get in life or watching movies, but I tend to actually *show* the emotion more when watching a movie than I do with real life. I think earlier in this thread I said that while I don't wear my emotions on my sleeve, I may openly show certain feelings and such around certain people.Cime wrote:Wait, so you get more emotional with movies...than with people in real life? Or you just get that emotional more often with movies than people in real life?I've got it! Lbert! wrote:I'm pretty much the polar opposite...
Sorry, I didn't know you felt that way about it (or romance films). I was really recommending it solely for the torch song (ahh, the torch song...my favorite type of song in a musical), as it seemed the best description of your relationship with your beastMeci wrote:Thank you, but I don't want to watch romantic movies to deliberately feel sad or love for my beast. I think in a way, in another plane, it almost cheapens real love or will present ideas that will never happen to me and my beast.Lbert wrote:If you really wanna get emotional with your "beast", watch The History Boys, namely the part where Posner is singing "Bewitched, Bothered, and Bewildered".
That's why it's called acting, hon!C is boring now...let's go with R. Mire wrote:Which also brings me to why I recently am not sure if I want to act, because I don't want to use my real feelings for my beast in a character who's supposed to love some girl in some musical!
But I can see where you're coming from. I almost never feel connected to a character I portray (in the few and far between times that I've acted in a play, I prefer either writing them or doing backstage work), and while it's beneficial for some to tap into their own real feelings, I've never liked that method. Hehe, method.
Then again, people make the argument that no matter how great an actor someone is, there are some emotions you just can't fake, and I think love can be one of them (though it depends on how well or how bad the role is written, and how great or how lousy the actor is).
I love musicals, but I usually prefer if its story benefits from the songs, and not the other way around (a bunch of songs that have to be connected via a story...like Newsies). There are usually two schools of musical, the first is "when you've got nothing left to say, sing a song", and the second is "when you've got a lot to say, sing a song". I usually prefer the second, where the mere dialogue is not enough to convey a person's thoughts, and so they break out into song.Mike & Ike with a R become Mire & Ire... wrote:except you did confuse me when you said:I thought you liked musicals. Why cut down the songs? Can't the songs be dramatic and character building, which is usually what good songwriters strive for in musicals? And live-action musicals can have lots of singing...Lbert, I promise I'm only using it for this post wrote:...but I'm sure there's enough material (along with more dramatic and character building elements to cut down on the songs) that would help Disney to make a live-action movie.
I guess it comes from my preference to dialogue over music, as I love dialogue-heavy scenes in both film and TV (and love writing dialogue as well). With Beauty and the Beast, I felt that for the animated version, the amount of songs they had was fine, as it was balanced out with dialogue, and all within a reasonable runtime. For live-action musicals, having it be song after song with only a few instances of dialogue to string them together, it rarely ever succeeds (at least to me). That's why I said for more dramatic/character building moments to cut down on the songs. Some parts of the story I feel are better expressed through a well-written scene, while others will shine as a song.
I've heard a couple songs from the Broadway version (since they're in the Classic Disney CDs), "Home" and "If I Can't Love Her". While I love the arrangement for both (especially how some notes in the latter echo the opening notes of the animated film), I felt that both are pretty much there for padding, and if I had to pick one of them to keep, it'd probably be "Home".
Then again, I haven't heard the other songs yet, or seen the musical (dammit...) so there may be more padding to come and those two may turn out to be the most essential new songs...
"IF is the most powerful word in the English Language" (Tegan, Castrovalva).Merpugilliam 'Meri' Brown wrote:As for Beauty and the Beast's stage version, if you ever want to see your B&B a live-action movie musical (if I ever become a director, I would like to come to you to help me make your dream come true when I don't have other projects)
I'm holding you to that offer, and know that it's mutual (I'd love to help when you bring live-action Cindy to screen!).
(And two Doctor Who references in a row, netty will be so proud! Although one's slightly modified!)
I've read a few reviews of the Broadway version, but I had no idea that they were really that vile towards it! Makes me a bit sad that they're criticizing it based more on the Disney name than on the show's own merits (then again, maybe the show's own merits are worth the criticisms?).Out with the R, let's try H. Hi Me! wrote:, you should research what critics hated about it. Almost every theater geek and critic says Disney's shows only make money and last on Broadway because of tourists. This bars Tarzan because that was not a hit movie, it needs to be a Disney classic to work, and it bars The Lion King because that actually is what critics and theater geeks consider a good show, more for the theatrics than the story and songs, though, I believe.
Oh wow, I don't think I've heard about that! I'm not sure if I'd want to work it into my treatment (it's more gothic in nature and less "magical" in the happy-sparkles-sense), but I love the idea of slowly losing one's humanity (which is also countered/mirrored in Beast, as he's slowly gaining it back).Deadly Little Miho...which reminds me that I haven't seen Sin City in a little over a year and a half...and don't plan on watching it anytime soon wrote:One thing that is not a big spoiler is the enchanted objects. Instead of actually being the objects when Belle meets them, they are slowly transforming until they are fully objects by the spell's end. This makes them more believable because then they can be half human half objects and you can see how this works better for live theater. The actors can move better, show their face and facial expressions, and be human-sized! But some people thought it added a more emotional element as the castle servants lose their humanity.
I honestly have no idea. Once a week, if you have the time? I hope the site isn't down for good!Mihe Cereal wrote:I meant how often should I check to see if it is working?Escapay, I actually did get the Mikey thing a few times when I was younger. wrote:Until it works again, it's a very cute animation.
Mike, Mije, Miku, Mice, Mire, and Hi Me wrote:OMG! I love you (as much as a friend you know on the internet can)!Scalps wrote:Scalps
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