DVDizzy Forum

Semaj wrote:

PheR wrote:The next Disney Princess should be a Latina, just saying

She'd better have a huge ass or they can forget it.

TheValentineBros wrote:

Semaj wrote: She'd better have a huge ass or they can forget it.

Or bigger breast.

PheR wrote:The next Disney Princess should be a Latina, just saying

AladdinFan wrote:

PheR wrote:The next Disney Princess should be a Latina, just saying

They need too. It's a big risk if Disney does a Latina princess movie.

Neal wrote:And a Mariachi Cucaracha as her sidekick.

PheR wrote:

Neal wrote:And a Mariachi Cucaracha as her sidekick.

You all know it'll gonna be a Chihuahua LOL
Damned, so many stereotypes, So you think 'latina' means Mexico? well, no wonder people say americans are bad at geography (thats your own stereotyoe hahaha), even it was true, Tiana wasn't a BigMac eater yelling all the time and Belle didn't have armpit hair and smell bad (well, not sure about the beast LOL), neither Jasmine was a terrorist.

PheR wrote:Tiana wasn't a BigMac eater yelling all the time

ajmrowland wrote:^Ninja'd

Goliath wrote:

PheR wrote:Tiana wasn't a BigMac eater yelling all the time

Bill O'Reilly was surprised Tiana didn't ask for any "motherfucking ice tea".

Goliath wrote:Meanwhile, I've been watching the 'When will my life begin'-segment over and over and over again and every time I do, I love the animation, the voicework and the character of Rapunzel even more. I especially like Rapunzel's facial expressions when she sees "it's like 7:15", when she smells the cake she has baked, and when we see her from above when she's painting her wall and she's looking up at her drawing of the 'floating lights'. It's those little touches that make the animation distinctively 'Disney'.

Scarred4life wrote:

ajmrowland wrote:^Ninja'd

What?

PatrickvD wrote:

TheValentineBros wrote:Or bigger breast.

and an attitude... "watchu lookin' at?!?!"

Sotiris wrote:This is fan-made of course but it's cute:

<iframe width="425" height="349" src="http://www.youtube.com/embed/78An3GNI8bI" frameborder="0" allowfullscreen></iframe>

"I was brought on as a producer in late 2006", Roy Conli says. "Glen asked talented story artist Dean Wellins to co-direct. Dean is very strong with story structure. Together, Glen and Dean began re-architecting the whole story".

The artistic style of the film changed, too. Art director Dave Goetz explains, "They wanted to shift to something that was more moody, playing to the contrasts of light and dark. They were taken with the style of Rembrandt paintings, for their dramatic theatrical lighting and their color palette, which is mostly earth toned". Although it was visually rich, many of the project team agreed that in both art and story it was losing the feel of an animated fairy tale.

Greno and Howard set about examining the existing work on Rapunzel. Greno says, "The version in development showed dramatic potential and character potential, but the take was very dark. Byron and I have a different sensibility. One problem lies in the original fairy tale: It has a very dark threatening core story--a helpless baby girl is kidnapped by a cruel and uncaring woman.

"Now, a lot of Disney movies have a sinister core--Cruella de Vil wants to skin puppies for their fur! The trick is to find ways to balance these elements with lighter, fun entertainment and create a visual style with the same balance".

Co-Art Director Dan Cooper saw the transformation in story and art. "It turned upside down. We went from a Rembrandt-meets-Ridley-Scott vision to something more like Cinderella--bright, cheerful, saturated, even in its darker story elements. More indicative of a traditional Disney feel. It's just lighter. In all senses of the word, lighter".

"When Byron and Nathan came on", visual effects supervisor Steve Goldberg says, "the 'reset' button got slammed very, very hard. Not just with story, but also with art direction, and that was a huge impact".[...]The world of the film has been scaled to feel charming, cozy, and inviting. Buildings are never more than two or three stories tall, so they don't feel imposing. Horizons are obscured so the world feels small. Surfaces and environments curve to envelop the viewer.

Super Aurora wrote:I dunno why people say that if animated film is "dark" it's not a good thing. While I like the current one and have no problem with it, I would like to see how Glen would of taken the approach.

I also don't see them saying what made Glen's ver. so dark and moody. What was in Glen that made it so?