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THE PRINCESS AND THE FROG IN BLURAY (Part 1): Interview with the directors John Musker and Ron Clements

Why did you choose New Orleans for this story? Is there anything to do with Katrina?

Ron Clements In fact, the idea of placing the story in New Orleans comes from John Lasseter, and he made that choice several years before Katrina. The reason is he loves this city and thought it would be a good place to put an animated film. When John took over Disney Animation in February 2006 he asked John Musker and I consider the idea of placing the fairy tale "The Frog Prince" to New Orleans. We have presented him the story that became the basis of the film. Was to About eight months before Katrina. John Musker and I visited New Orleans for the first time shortly after, and we had a front row seat to witness the terrible consequences left by Katrina. We really wanted to do everything we can to help the city recover.

Why did you choose from the history of the "Frog Prince" and translate well?

Ron Clements, John Lasseter asked us to study the fairy tale "The Frog Prince" and its location in New Orleans. We have liked the idea of a fairy tale with American, and place the story suggested the use of elements such as Voodoo, the Afro-American culture and music. The biggest feature, change the heroin into a frog when she kisses the animal came from a children's story called The Frog Princess, ED Baker, which Disney bought the rights in 2003. Many of the characters in our version, which Mama Odie, Tiana and Ray Cajun firefly are inspired s real people that we encountered in our research trips to New Orleans . Other features were introduced by the desire to use icons and archetypes of fairy tale to Disney , while playing with them to make a refreshing movie.

How important is John Lasseter in the world of animation for you?

Ron Clements Everyone is different, but John Lasseter's exciting, it gives very good advice, and has a huge passion and enthusiasm for animation. It's hard for me to imagine a better person to work for.

How long it takes he finished a movie like this?

Ron Clements We presented the film's story to John Lasseter in March 2006. We started working on a first script in the summer of that year. Visual development began soon after that and the music, the vocal casting and storyboarding began in the fall. Experiments animation began in the spring, followed by colorization. In all, it takes three and a half years from beginning to end, which is relatively fast for this kind of movie.

Mark Henn told me that the style and personality different characters were decided during a weekend in a complex hotelier. How and why did you choose this way of creating the characters? Do you think this approach was more exciting?

John Musker; Sometimes when developing these films, locking us into a different environment helps us to focus and cut us off from all distractions. There is no ONE correct way to do it, but ours was very collaborative and we were very I think helped. And then you go out in these beautiful landscapes of Ojai and you dream of playing golf.

Because Disney films undergo a lengthy process to amend the script, how the film's story is different the first version you've presented e ?

John Musker; This film is quite similar to the first version we presented e John Lasseter four years ago. Regarding differences, the character Tiana's father ran a greater role, and his dream of opening a restaurant was more than his father. At first, Louis the alligator was in fact a human, an accountant who dreamed of becoming a great jazz musician. Facilier has reais é his dream but he played a dirty trick by converting the same time alligator. Some names have changed: Dr. Facilier originally named Dr. Duvalier, but we wanted to avoid confusion with the leader of Haiti, which also bears this name. Some pieces of music have evolved: Basically, the song of Louis spoke of his passion for jazz. But we thought it would be better to have three characters in this song, and to highlight their differences in personalities and aspirations.

How late s different have you considered for The Princess and the Frog , and can you tell us about the purpose alternatives?

John Musker; The end of the film is the one we had planned from the beginning. The idea that they were married in frogs, and kiss again become human was already in an ancient script written by Greg Erb and Jason Oremland. We loved this fall and have always intended to keep it. From a musical standpoint, we thought a final song in the restaurant Tiana, but we had different ideas. That was the idea of John Lasseter to resume New Orleans , Tiana and sings in a more playful. We liked the idea. So we handed Tiana on the front of the stage, and it shows how much has changed since Naveen she sings and shows his emotions in public. We also had a stage in the lead with a duel between Mama Odie and Facilier, but we have abandoned because we could not include the main characters. Another scene showed the magic of Facilier turn against him. It was transformed into a fly and swallowed by a frog. There was also a planned invasion of frogs at Mardi Gras, taken from another scene where the father Facilier moved from Charlotte to hold a competition for the best dish of frogs to get rid of the bayou amphibians.

To what extent has influenced the Cinderella story The Princess and the Frog ?

John Musker; Cinderella is certainly part of our influences to The Princess and the Frog . Because that broadly, it is a story of C endrillon, a story of oppressed the girl who swapped his work clothes against a prom dress. And more specifically, the scene of the Mardi Gras parade is inspired e the ball Cinderella. Mama Odie is a little of our fairy godmother good the bayou. Our designers such as Ian Gooding Lorelay Bove or more particularly, are huge fans of Mary Blair, the famous designer who has had a great impact on the Disney films of the 50s. I saw Cinderella many times when I was preparing to study at Cal Arts, and I was impressed to see how this movie is entertaining, and still is.

Films like Shrek refer to many different cultures. The Princess and Frog refers to aspects of Disney history, but a very special way. What use did you make of these references?

Ron Clements I love Shrek, but in our film, we have deliberately remained faithful to the historical period, and made no reference to modern times. As you noticed, we have a few nods to films Disney older, not really humorous purposes, but more as a tribute to Disney's legacy, while giving a fresh perspective.

There are a number of nods in the movie: The tram A113, the group Firefly Five Plus Lou ... Have you both attended the winks, where one of you is it the joker Record? Which is your favorite?

John Musker; I was a student at Cal Arts at the same time as John Lasseter and Brad Bird, talented among all my other classmates. We studied animation in the room A11, and I always wanted to put a reference in my projects that reminds my affinity with them. The Firehouse Five reference to just the two of us, I think. But I can not remember if it was thought that Eric Goldberg in "More Lou" instead of "Plus Two". We both saw Frank Thomas play the piano, and we wanted to honor him. I also wanted to caricature some of our colleagues in the characters, and admirers of the Prince are in fact based on Ali Norman Jen Kilger, Shanda Williamson, Elissa Sussman and Lorry Shea, all women who have worked hard on this production.

is the first time one of your movies released in Bluray. What do you think?

Ron Clements The image quality is impeccable. Even better than what most people can see the movies. And bonuses are very amusing. John and I were particularly enthusiastic the idea that Blu-Ray contain the complete movie in pencil drawing, in addition to the color version. For animation buffs, this is a great opportunity to see this process as few people can see it.

Sometimes the Blu-ray is described as too high resolution, and some believe that this harms the quality some movies.

John Musker; I love Blu-ray version, and Blu-ray and Pinocchio La Belle au Bois Dormant are extraordinary. I recommend the Blu-ray to all who seek the best version of the film. In addition, it has a full version of the film in pencil. For animation students and fans, it's a unique chance to see the movie as it was before it was finished

Ron Clements In the case of cartoon modern, while the final work on the color we're doing is a very high definition and digital format. It is in what format the movie is screened in digital cinemas, and is the perfect way to see it. On the coils, there is not much resolution and detail in digital format. For this, the Blu-Ray is the format that most closely approximates the ideal format film.

Is-this film is a reaction to the rage of the films in 3D graphics?

John Musker; Not really. We love Traditional animation , but we also love movies with computer graphics. We just thought that for this movie and the story he tells, and the expression of heat given off by the animation by hand were ideal.

Have you noticed a difference in how people identify with this kind of animation, compared to modern techniques and digital ? Do you think the animation traditional still has a place in a world of 3D technology?

Ron Clements I hope so anyway. The nominations for the Oscar for best animated film were interesting this year because they contained two stop motion films (Coraline and Fantastic Mr. Fox), a digital movie ("Up there"), and two animated movies to hand (our film and Brendan and the Secret of Kells). Good to see that diversity. They are all really a variety of techniques, and I do not think it necessary to use the same technique on each film.

Given its 2D, do you think that animation is a hand brake in a world where 3D is required?

John Musker; Good question. La Belle and The Beast has been reworked and converted to 3D, we'll see what the reactions. I do not think all movies are going to take the path of 3D. We must also see if the public sees 3D as a fad that will pass or as something that will stay.

Why " The Princess and the Frog " was animated by hand rather than by computer?

Ron Clements All films John Musker and I were directed animated films traditional . We love this medical um and we were very saddened to see Disney abandoned several years ago. Fortunately, even if has had great success with computer-animated movies, animation John Lasseter loves hand as we are. When he took charge of Disney Animation four years ago, he wanted to return this highly technical. The story seemed to be ideal for this, with its classic fairy tale side of his wealth, romance, warmth and magic that emerges.

What was it like to be the directors a film that was put on the front of the stage animation traditional ?

Ron Clements We love traditional animation Disney and were very happy to see her back at Disney. It was great to work with the best artists and animators on a subject that would allow them to express their talent. Skills related to this particular form of animation are rare and time consuming to master. Most of the time, knowledge is passed from master the student, the most experienced transmitting their knowledge to younger . This was true on this film, and it was great to see a new generation straight out of school to get involved in this film.

Princess and Frog was a mixture of animation experts traditional and beginners. What has this impacted the team?

John Musker; was a good mixture. The former support young leaders and young people have strong skills that brought a modern edge. Ourselves, we have been trained by the "9 Old Men", the legendary animators. Ron has worked with Frank Thomas, who hosted the Seven Dwarfs, Bambi and Captain Hook and others. I worked with Eric Larson who led Figaro the cat from Pinocchio, and Peggy Belle and the Tramp. One of the best ways to learn animation is the master-apprentice, when the most experienced pass on their knowledge. The enthusiasm of the young newcomers brought us joy and desire to give life to our designs. It is a skill a little aside, few people have mastered, but it is one of the most rewarding combination of art, drawing, comedy and entertainment.

What has changed in terms of techniques and how to work on a 2D film since The Little Mermaid or Aladdin ?

John Musker; The main techniques are relatively similar. The Little Mermaid was the last film to use the cells o s and where the characters were painted with real paint and not digital. On this film, we animated the characters on paper, as in The Little Mermaid and Aladdin. But for the first time we did the water effects, magic and shadow-free paper. They were made with a stylus on a tablet computer.

Ron Clements; There are several innovations. In terms of arrangement (staging, lighting and cinematography), we did something new about this movie. We have arranged each sequence in terms of movement and light and basic forms for characters with no animation. It's something that John Lasseter of Pixar has brought, and it was a very useful tool to help us to preview the movie in very specific ways. We also have new staining technique that allowed us to see scenes completely stained, while being free to make significant changes. We is testing paperless animation (facilitators draw on a digital tablet), but have had some problems with this technique we have not managed to resolve. That said, all bills (water, smoke, magic ...) have been fact s paperless.

What is the scene you're most proud of?

John Musker; The song My friends from beyond was very complicated to do in terms of animation, with magic, tarot cards, voodoo dolls of the choir and the whole choreography. We are pleased with the report and the work done by the host Facilier Bruce Smith, the dancer Dominique Kelly, the effects of Marlon West and by the color of Ian Gooding.

Soon, after this interview, with the presentation of all the characters in the film.

Thanks to Dorian (The Box) and Angeline!

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PRINCE OF PERSIA - THE SANDS OF TIME /

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PRINCE OF PERSIA - THE SANDS OF TIME: Interview with illustrator Julian Caldow

What exactly was your role on Prince of Persia - The Sands of Time?

I was part of the team of illustrators of the film, with Peter Popkin, Kim Frederiksen and Neil Ross. My job was to take the designs of production designer Wolf Kruger and adapt them to the locations determined by production. From these drawings it was possible to determine what should be built on the shelf and what should be added in postproduction. I also worked on the layout of the palace and more widely on the underground section of the finale Film, in close collaboration with the art director Rob Cowper.

How did you join this team?

Initially, they appealed to me as an artist, storyboard working in the London offices of production, but in Marrakech, they realized they were in desperate need of visual and as they knew that I also did the artwork, they asked me to join them on site for two weeks. Four months later, I was still there!

How did you work with Wolf Krueger? We do

not fit his vision. It adheres quickly. Wolf had a very clear vision and a great team. His office had prepared the ground carefully by bringing all sorts of references and iconographic it guides you through each idea carefully decorated. It is extremely accurate. You know immediately if you are wrong. It makes you very clear. By doing so, he really brings out the best of me.

Have you worked on eventually deleted scenes?

There is a particular scene that was deleted, that of the "Piston Room." It was a great machine that Dastan stone was run. I worked on for quite some time. It was a very complex machine with all kinds of Indian inscriptions. Everything was mapped in 3D, textured and verified. But this scene was replaced by that of the Sand Room on which I also worked in depth.

How did you approach the architecture of the sacred city of Alamut?

As I told you it was a mix of real locations and designs Wolf's ideas. I made some preliminary sketches to give a general idea to production and then Peter Popkin Tino Schaedler is specifically working on the layout. The end result is exactly the vision that Wolf was largely inspired by the famous painting of the Tower of Babel by Bruegel.

It also feels Indian influence.

The city of Alamut was supposed to be geographically closer to India. That's where these influences come from their amazing water palace, details Red Fort in New Delhi, Fort Jodpur Saraswathi and temples in Rajasthan.

How did you manage to find the right balance between realism and fantasy?
The key is, I think the scale. While ensuring that the details ring true. In my case, I have invented nothing stylistically speaking. It was really a question of adapting details borrowed from ancient monuments to the structures of a surreal level.

Have you referred to the original game?

Not at all. When I have done, I had no access to a console. I saw some screenshots, but in the end, I confined to the ideas of Wolf. I understand that the game designers were pretty happy with what they saw. These are the characters who were really close to those of the game

What is your favorite illustration?

Hard to say. I am generally pleased with what was done. Of course, when I look at my drawings, I tend to see my mistakes first. I leave it to others to choose the most successful. That said, I tell my first 3D version of the Piston Room, mainly because the reaction of Wolf has been very positive.

What was the figure most difficult to achieve?
Again the Piston Room, by its complexity. There was also the Room of Sand by the time we had to do it. I wish I had the dagger at the end of the shoot!

A word about Clash of the Titans, which you also participated as an illustrator?

A great experience. Soon, many freedoms. Martin Laing was the chief designer. Someone very well. We met on the Batman of Tim Burton. I'm mostly occupied with Olympus, whose design has changed many times during production. Initially, Martin wanted an Olympus opened on the elements, but it would have cost a fortune in terms of effects. Weird, because everything has radically changed in postproduction.

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YEAR OF THE NEW GENERATION TO DISNEYLAND PARIS: Interview with the Creative Director Kat de Blois

What is your assessment of the Travel Directory?
was really .... Magic! We have carried out no less than eight exciting projects. It was a lot of work and gave us the opportunity to use consultants from around the world. It was very rewarding. And who better than Mickey could have a party so big?

How did the idea germinated in the year of the new generation?
In fact, we wanted to associate this new wealth that represent the Disney films of the last ten years the idea of the festival. This idea came from discussions "Blue Sky" in which we go outside, such as the Château de la Belle au Bois Dormant, and it starts to dream of what might be do it again, to celebrate, translate and bring to life these wonderful films live in three dimensions, through our parks and interactivity with our visitors. Artists studios Disney invent all sorts of wonderful worlds and our role is to find ways to make them real. The word "festival" has also inspired many. For centuries, Europe is crossed and lively festivals of all kinds in the streets celebrating the culture of each country, each region and on our side, we wanted to celebrate this spirit in our stories and characters.


How did you choose the characters that would embody the year of the new generation ?
We have chosen in the spirit that we wanted to give our Festival. Take The Incredibles. They are super heroes, but at the same time, these are people who live normal lives like you and me. Somewhere, they show us that everyone can be a superhero. And the link between all these new characters and the classic is, of course Mickey and his friends, because as you know, "it all started with a mouse! . They have themselves met these new characters through the year of the new generation and wanted to share this experience with our visitors and other classic Disney characters. In this sense, we wanted our festival also speaks of another relationship, that of friendship. This is expressed in particular through the presence of Lilo and her unlikely friendship with an alien came from across the galaxy, Stitch! Similarly, you have the friendship between the adorable little Boo and the big monster from Monsters, Inc. Sulley.

You mention here the new show The Incredible Visit Disney park Disneyland.
Exactly. It was an opportunity for us to meet the characters that were not used to seeing on our parks. I was talking about Boo, but there's also Mike Razowski and Angel, Stitch's girlfriend. From the perspective of the creative process, it was a real challenge to combine for example the world of Buzz and Woody in Toy Story, Mickey and his friends, and develop a number that will allow you to immerse yourself in 2 minutes this world. Thus the dancers at their disposal toy boxes in which they will be able to draw new accessories to transform themselves and accompany Mickey and his friends in each different table.
We also worked the soundtrack. We used to music that are not necessarily music for musicals. Composers like Alan Menken and Phil Collins wrote the themes to be perfect staged. But it is more difficult with the music from Toy Story, for example, to the extent that they do not participate in the action film. Rather, they accompany. It was therefore necessary to make the music danceable and singable. To do this, we used a process called "Routining. This means that we will in the studio with the musical director. We're all standing around five bars of music already recorded, and movements in search for different musical accents.

You then find the Castle Stage, which opened last year with the show's Party Time ... with Mickey and his friends. What lessons have you taken a year of practice in this new scene like no other?
It is true that it is always nice to come back on stage and we know we wanted to strengthen this aspect "360" by creating an experience in some way "ambulatory." This means that, not being seated as a theater, visitors can follow our show going around the stage. They can choose a character or a particular family and really follow their every movement on stage. By its nature, this scene naturally invites a degree of interactivity and gives you the freedom to choose what you want, when you want to see. In this spirit, we worked on timing, on elevators, escalators and effects to make visibility even better than last year, drawing on the behavior of spectators as we observed during the year earlier. That moreover not bad helped and guided to stage this incredible Visit Disney.

There was also a lot of work on the costumes, I think.
Imagine that for each table, specifically Mickey is dressed to party in every world that we are experiencing. Thus he spends Green Soldier costume for Toy Story to the Hawaiian shirt Lilo & Stitch, through the deck head of Ratatouille and the jacket of Dixieland The Princess and the Frog. We also worked on the costumes of dancers, plus accessories, badges and all sorts of little things that change very quickly on their T-shirt. In this way, the audience really feels the passage from one world to another because the audience can see these changes on stage, squarely before them. It was a real challenge for Sue Lecash and his team also modular design clothes, and find materials that can wear in all weathers, for all temperatures, with colors that remain vivid to live each universe.

How did you decline the concept the year of the new generation as different stories of the Disney parks, whether the Disneyland and Walt Disney Studios?
The idea is that all the characters of the new generation come to Disneyland Paris, but obviously not all in one place! They are thus "parachuted" in the middle of our usual activities. So if you see Disney's Stars'n'Cars - In car with Disney stars, a ride where the cars are the stars, you'll discover a whole new car, which is a kitchen made for walking Remy from Ratatouille, and c is a new opportunity for a small number to the Busby Berkeley on the Place des Stars! Side Princesses, Disney's Parade of Dreams was the best place to host Tiana, especially the chariot Dreams of Romance, which closes the parade in a wonderful garden where you can find all the Disney Princesses in the company of their Prince. And so it is naturally found there along with Naveen Tiana, New Orleans with a touch that is grafted in the music of the parade. Regarding the Express Train of the Stars Disney, which highlights all of our families favorite Disney characters, of course we have reserved a car specifically for this new generation. This car is therefore added to the VIP Disney, Goofy, Pluto, Chip & Dale and the others, and that of the new Disney Classic meeting between the generations.
Finally, we imagined Monsters, Inc. - The Academy scary!, A course of shock for all visitors wishing to meet both Sulli, shake hands and be photographed with him, but s' Try to Scream-o-meter, a concept that integrates seamlessly with the history of this park dedicated to the sound and special effects and receive a small badge "I cried with Sully!"

All of these events is also perfectly related to park attractions, starting with the long-awaited Toy Story Playland Park Walt Disney Studios.
You know, we are "one big, happy Disney family! We always work closely with our imagineers, but also with our friends in the catering department as the Restaurant of the Stars with Remy, or at Buzz Lightyear's Pizza Planet Restaurant Buzz Light year theme. There is always how to liaison with all divisions and all departments of Disney because everyone wants to join the party.

What is your favorite event this year the new generation ?
I dreamed for years: have a cancan on the music of Offenbach at the Chateau de la Belle au Bois Dormant! We designed a burlesque Cancan with giant vegetables around Remy and Emile, the kings of French gastronomy in Ratatouille. The chefs are then in a panic, trying to do everything at once: Cancan dancing and cooking! It was really fun to set up! And every time I see him, I chills!

year of the new generation started a few weeks ago. What are the first reactions you have identified in the parks?
We already have interesting feedback. Our visitors appreciate that they welcome this new generation of stories, characters and music. It is a celebration that will unfold over the next ten months, allowing you, going from one park to another, completely different experiences, new and always exciting.

Discuss New Generation is about the same time sharing between generations.

Our festival is for the whole family, from children to grandparents. Everyone has their favorite character and we imagined a festival where small could pull the handle of their grandfather to show their Buzz Light year, while their grandfather would speak of Peter Pan by showing that he knows everything both fly! By combining now the new Disney characters in our parks, our Festival unites all these stories from different times, for the sake of the whole family, in keeping with the ambition of Walt Disney to Disneyland, that is ie create a theme park where all generations can, together, have fun and share moments.