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The Magic Of Disney!

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25 Re: The Magic Of Disney! on Sat Aug 08 2009, 10:37


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Η Μικρή Γοργόνα

The Little Mermaid is a 1989 American animated feature produced by Walt Disney Feature Animation and based on the Hans Christian Andersen fairy tale of the same name. Distributed by Walt Disney Pictures, the film was originally released to theaters on November 17, 1989 and is the twenty-eighth film in the Walt Disney Animated Classics series. During its initial release, The Little Mermaid grossed over $84 million in the United States and an additional $99 million internationally.

The film is given credit for breathing life back into the animated feature film genre after a string of critical or commercial failures that dated back to the early 1980s. It also marked the start of the era known as the Disney Renaissance.

A stage adaptation of the film with a book by Doug Wright and additional songs by Alan Menken and new lyricist Glenn Slater opened in Denver in July 2007 and began performances on Broadway.


Ariel, a sixteen-year-old mermaid princess, is dissatisfied with life under the sea and curious about the human world. With her best fish friend Flounder, Ariel collects human artifacts and goes to the surface of the ocean to visit Scuttle the seagull, who offers very inaccurate and comical knowledge of human culture. Ignoring the warnings of her father (King Triton) and court musician (Sebastian the crab) that contact between merpeople and humans is forbidden, Ariel still longs to be part of the human world; to this end she has filled a secret grotto with all the human artifacts she has found. ("Part of Your World") While Sebastian, who was assigned to watch over Ariel and be sure she does not visit the surface again tries to convince her that its better to live under the sea than in the human world ("Under the Sea")

One night, Ariel and Flounder travel to the ocean surface to watch a celebration for the birthday of Prince Eric, with whom Ariel falls in love. A sudden storm hits, during which everyone manages to escape in a lifeboat except for Eric who goes and rescues his dog Max, who was still trapped on the ship. He saves Max but almost drowns but is saved by Ariel, who drags him to the beach. She sings to him, but when he stirs awake he sees a vision. She dives underwater when Max comes to Eric. Eric has a vague impression that he was rescued by a girl with a beautiful voice; he vows to find her, and Ariel vows to find a way to join Eric. ("Part of Your World (reprise)")

Triton and his daughters notice a change in Ariel, who is openly lovesick. Triton questions Sebastian about Ariel's behavior, during which Sebastian accidentally reveals the incident with Eric. Triton furiously confronts Ariel in her grotto, using his trident to destroy her collection of human treasures. After Triton leaves, a pair of eels, Flotsam and Jetsam, convince a crying Ariel that she must visit Ursula the sea witch, who can supposedly make all her dreams come true.

Ursula makes a deal with Ariel to transform her into a human for three days ("Poor, Unfortunate Souls"). Within these three days, Ariel must receive the "kiss of true love" from Eric; otherwise, she will transform back into a mermaid on the third day and belong to Ursula. As payment for legs, Ariel has to give up her voice, which Ursula magically traps in a shell she wears as a locket. Ariel's tail is transformed into legs and Sebastian and Flounder drag her to the surface.

Eric and Max find Ariel on the beach. He initially suspects that she is the one who saved his life, but when he learns that she cannot speak, he discards that notion—to both the frustration of Ariel and Max (who knows the truth). He helps her to the palace, where the servants think she is as a survivor of a shipwreck. Ariel spends time with Eric, and at the end of the second day, they almost kiss ("Kiss the Girl") but are thwarted by Flotsam and Jetsam. Angered at their narrow escape, Ursula takes the disguise of a beautiful young woman named "Vanessa" and appears onshore singing with Ariel's voice. Eric recognizes the song, and in her disguise, Vanessa/Ursula casts a hypnotic spell of enchantment on Eric to make him forget about Ariel.

The next day, Ariel finds out that Eric will be married to the disguised Ursula on a ship. She cries and is left behind when the wedding barge departs. Scuttle discovers that Vanessa is Ursula in disguise, and informs Ariel. Ariel and Flounder chase the wedding barge, Sebastian informs Triton and Scuttle is assigned to literally "stall the wedding." With the help of various animals, the nautilus shell around Ursula's neck is broken, restoring Ariel's voice back to Ariel and breaking Ursula's enchantment over Eric. Realizing that Ariel was the girl who saved his life, Eric rushes to kiss her, but the sun sets and Ariel transforms back into a mermaid. Ursula reverts to her true form and she kidnaps Ariel.

Triton appears and confronts Ursula, but cannot destroy Ursula's contract with Ariel. Triton chooses to sacrifice himself for his daughter, and is transformed into a polyp. Ursula takes Triton's crown and trident, which was her plan from the beginning. Ursula uses her new power to gloat, forming a whirlpool that disturbs several shipwrecks, one of which Eric commandeers. Just as Ursula is set to use the trident to destroy Ariel, Eric turns the wheel hard to port, in effect ramming the ship's splintered bowsprit through Ursula's abdomen.

With Ursula gone, her power breaks and the polyps in Ursula's garden (including Triton) turn back into the old merpeople. Later, after seeing that Ariel really loves Eric and that Eric also saved him in the process, Triton willingly changes her from a mermaid into a human using his trident. She runs into Eric's arms, and the two finally kiss. Ariel marries Eric in a wedding where both humans and merpeople attend.

26 Re: The Magic Of Disney! on Sat Aug 08 2009, 10:52


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28 Re: The Magic Of Disney! on Sat Aug 08 2009, 15:40


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29 Re: The Magic Of Disney! on Sat Aug 08 2009, 21:49


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min anisixeis thanoulh m ola me tin seira tha ta kanoume!!! teleia!!!ta exoume taktopoihsei ola pos tha boun!!


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30 Re: The Magic Of Disney! on Sat Aug 08 2009, 23:17


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Mulan is a 1998 American animated feature film produced by Walt Disney Feature Animation, and released by Walt Disney Pictures on June 19, 1998. The thirty-sixth animated feature in the Walt Disney Animated Classics, and a part of the Disney Renaissance, the film is based on the Chinese legend of Hua Mulan,[2] and was the first of three produced primarily at the animation studio at Disney-MGM Studios in Orlando, Florida.[3] It was directed by Tony Bancroft and Barry Cook, with the story by Robert D. San Souci and Rita Hsiao, among others.


Critical reaction
Reception of Mulan was mostly positive, gathering a 87% fresh rating from Rotten Tomatoes.[9] Stephen Wong described the visuals as "stunning,"[10] Kyle Suggs described the visuals as "breathtaking,"[11] and Dan Jardine described the visuals as "magnificently animated."[12] Film critic Roger Ebert gave Mulan three and a half stars out of four in his written review. He said that "Mulan is an impressive achievement, with a story and treatment ranking with Beauty and the Beast and The Lion King". Negative reviews described it as a "disappointment." The songs are accused of not being memorable, and slowing down the pace of the movie.[13] Some reviewers suggest that the film is "soulless" in its portrayal of Asian society.[14]

Music by Jerry Goldsmith
Distributed by Walt Disney Pictures
Release date(s) June 19, 1998
Running time 90 minutes
Country United States
Language English, Mandarin
Budget $70,000,000[1]
Gross revenue $304,320,254
Followed by Mulan II (2005)

This movie was also the subject of comment from feminist critics. Mimi Nguyen says the film "pokes fun at the ultimately repressive gender roles that seek to make Mulan a domesticated creature."[15] Nadya Labi agrees, saying "there is a lyric in the film that gives the lie to the bravado of the entire girl-power movement." She pointed out that she needed to become a boy to do it. Kathleen Karlyn, an assistant professor of English at the University of Oregon, criticizes it suggesting "In order to even imagine female heroism, we're placing it in the realm of fantasy". Pam Coats, producer of Mulan, aimed to produce a character that exhibits both masculine and feminine influences, being both physically and mentally strong.[16]

Box office performance
Mulan's opening weekend box office figures were $22.8 million,[17] placing it as the second highest grossing movie that week to The X-Files.[18] It went on to make $120 million domestically and $304 million worldwide, placing it the second highest family film of the year, behind A Bug's Life, and the 7th highest of the year overall.[19] While Mulan outgrossed the two Disney films which preceded it, The Hunchback of Notre Dame and Hercules, its box office returns failed to match those of the Disney films of the early 1990s such as Beauty and the Beast, Aladdin, and The Lion King.[20] Top international releases include United Kingdom ($14.6 million) and France ($10.2 million).[21]

Mulan won many Annie Awards. The film itself won the award for Best Animated Theatrical theatres. Individual achievement awards were awarded to Pam Coats for producing; Barry Cook and Tony Bancroft for Directing; Rita Hsiao, Christopher Sanders, Phillip LaZebnick, Raymond Singer and Eugenia Bostwick-Singer in Writing; Chris Sanders for Storyboarding; Hans Bacher for Production Design; David Tidgwell for Effects Animation; Ming-Na for Voice Acting Mulan; Matthew Wilder, David Zippel and Jerry Goldsmith for music and Ruben A. Aquino for Character Animation. Tom Bancroft and Mark Henn were also nominated for Character Animation.[22] It was also nominated for an Academy Award for Original Music Score in 1998, but was beaten by Stephen Warbeck's score for Shakespeare in Love.[23] The music score also received significant praise. Jerry Goldsmith won the 1999 BMI Film Music Award and was nominated for a Golden Globe Award for Best Original Score in 1998. Matthew Wilder and David Zippel were also nominated for a Golden Globe Award for Best Original Song the same year for "Reflection". They were beaten by The Truman Show and "The Prayer" from Quest for Camelot respectively.[24]

Reception in China
Disney was keen to promote Mulan to the Chinese, hoping they might replicate their success with their 1994 film The Lion King, which was one of the country's highest-grossing Western films at that time. Disney also hoped it might smooth over relations with the Chinese government which had soured after the release of Kundun, a Disney-funded biography of the Dalai Lama that the Chinese government considered politically provocative.[25] China had threatened to curtail business negotiations with Disney over that film and, as the government only accepts 10 Western films per year to be shown in their country, Mulan's chances of being accepted were low.[26] Finally, after a year's delay, the Chinese government did allow the film a limited Chinese release, but only after the Chinese New Year, so as to ensure that local films dominated the more lucrative holiday market.[27][28] Kelly Chen, Coco Lee (Taiwan version) and Xu Qing (Mainland version) voiced Mulan in the Cantonese and Mandarin dubs of the film respectively, while Jackie Chan voiced Shang in all the three dubs.

Mulan originally began as a short, straight-to-video film titled "China Doll" about an oppressed and miserable Chinese girl who is whisked away by a British Prince Charming to happiness in the West. Then Disney consultant and children's book writer Robert San Souci suggested making a movie of the Chinese poem, "The Song of Fa Mu Lan" and Disney combined the two separate projects.[4]

Development for Mulan began in 1994, after the production team sent a select group of artistic supervisors to China for three weeks to take photographs and drawings of local landmarks for inspiration; and to soak up local culture.[5] The filmmakers decided to change Mulan's character to make her more appealing and selfless[6] and turn the art style closer to Chinese painting, with watercolor and simpler design - opposed to the details of The Lion King and The Hunchback of Notre Dame.[7]

To create 2,000 Hun soldiers during the Huns' attack sequence, the production team developed a crowd simulation software called Attila. This software allows thousands of unique characters to move autonomously. A variant of the program called Dynasty was used in the final battle sequence to create a crowd of 3,000 in the Forbidden City. Pixar's photorealistic RenderMan was used to render the crowd. Another software developed for this movie was Faux Plane which was used to add depth to flat two-dimensional painting. Although developed late in production progress, Faux Plane was used in five shots, including the dramatic sequence which features the Great Wall of China, and the final battle sequence when Mulan runs to the Forbidden City. During the scene in which the Chinese are bowing to Mulan, the crowd is a panoramic film of real people bowing. It was edited into the animated foreground of the scene.[8]

Last edited by Iro-Thaly on Sat Aug 08 2009, 23:42; edited 1 time in total

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31 Re: The Magic Of Disney! on Sat Aug 08 2009, 23:21


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32 Re: The Magic Of Disney! on Sat Aug 08 2009, 23:38


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Edw einai ta link apo tin tainia me tin seira!!!

Einai mia apo tis agapimenes m tainies....exei apisteuth mousiki mias kai o Jerry Goldsmith einai o sintheths einai adiamfisvitito!!!o idios exei kanei kai tin moumia 1 2 kai apo paidika to Mystiko tou Nimh gia opion einai pio psagmenos tha to kserei....The secret of nimh sta agglika...o anthropos einai talento...apla foveros...

edw einai to video me to pio telio instrumental gia emena....dn iparxei pragmatika....kai sta agglika to reflection to leei i cristina aguilera!kai sta ellinika i despoina vandi!!

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33 Re: The Magic Of Disney! on Sun Aug 09 2009, 17:47


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Lady and the Tramp is a 1955 American animated feature film produced by Walt Disney and released to theaters on June 22, 1955 by Buena Vista Distribution. The fifteenth animated feature in the Walt Disney Animated Classics series, it was the first animated feature filmed in the CinemaScope widescreen film process.[1] The story centers on a female American Cocker Spaniel named Lady who lives with a refined, upper middle-class family, and a male stray mutt called the Tramp.

Characters' development

The Tramp
In early script versions, the Tramp was first called Homer, then Rags and Bozo.[2] However in the finished film, the Tramp never calls himself a proper name, although most of the film's canine cast refer to him as "the Tramp." The Tramp has other names that are given to him by the families he weekly visits for food, such as Mike and Fritzi. However, he doesn't belong to a single family, so his name is never confirmed.[3]

Aunt Sarah
The character that eventually became Aunt Sarah was softened for the movie, in comparison with earlier treatments. In the film, she is a well-meaning busybody aunt (revealed to be the sister of Darling's mother in the Greene novelization) who adores her cats. Earlier drafts had Aunt Sarah appear more as a stereotypical meddling and overbearing mother-in-law.

Si & Am
Earlier versions of the storyline, drafted in 1943 during the war, had the two cats appear as a sinister pair, suggesting the yellow peril. They were originally named Nip and Tuck.[2] In Ward Greene's novelization, they tearfully express remorse over causing the Tramp's impending execution by hiding the rat's body as a joke, and then try to make amends, while in the film they do not partake of the climactic scene.

Jim Dear and Darling
In pre-production, Jim Dear was known as Jim Brown, and Darling was named Elizabeth. These were dropped to highlight Lady's point of view. In a very early version, published as a short story in a 1944 Disney children's anthology, Lady refers to them as "Mister'"and "Missis". To maintain a dog's perspective, Darling and Jim's faces are rarely shown. The background artists made models of the interiors of Jim Dear and Darling's house, and shot photos and film at a low perspective as reference to maintain a dog's view.[4]

The film's opening sequence, in which Darling unwraps a hat box on Christmas morning and finds Lady inside, is based upon an actual incident in Walt Disney's life when he presented his wife Lily with a Chow puppy as a gift in a hat box.[5]

The Beaver in this film is similar to the character of Gopher in Winnie the Pooh and the Honey Tree, down to the speech pattern: a whistling noise when he makes the "S" sound. This voice was created by Stan Freberg, who has an extensive background in commercial and comedy recordings. On the Lady and the Tramp Platinum Edition DVD he demonstrates how the effect was done, and that a whistle was eventually used because it was difficult to maintain the effect.[4]

The rat, a somewhat comical character in some early sketches, became a great deal more frightening, due to the need to raise dramatic tension.


In 1937 legendary Disney story man Joe Grant[6] approached Walt Disney with some sketches he had made of his Springer Spaniel named Lady and some of her regular antics. Disney enjoyed the sketches and told Grant to put them together as a storyboard. When Grant returned with his boards, Disney was not pleased and the story was shelved.[7]

In 1943 Walt read in Cosmopolitan a short story written by Ward Greene, called Happy Dan, The Whistling Dog.[2] He was interested in the story and bought the rights to it.[8]

By 1949 Grant had left the studio,[6] but Disney story men were continually pulling Grant's original drawings and story off the shelf to retool.[7] Finally a solid story began taking shape in 1953[8], based on Grant's storyboards and Green's short story.[7] Greene later wrote a novelization of the film that was released two years before the film itself, at Walt Disney's insistence, so that audiences would be familiar with the story.[4] Grant didn't receive credit for any story work in the film, an issue that animation director Eric Goldberg hoped to rectify in the Lady and the Tramp Platinum Edition's behind-the-scenes vignette that explained Grant's role

Critical reception
Despite being an enormous success at the box office, the film was initially panned by many critics: one indicated that the dogs had "the dimensions of hippos," another that "the artists' work is below par".[16] However the film has since come to be regarded as a classic.

Lady and the Tramp was named number 95 out of the "100 Greatest Love Stories of All Time" by the American Film Institute in their A Hundred Years...A Hundred Passions special.[17]

# Title Length
1. "Main Title (Bella Notte) / The Wag of a Dog's Tail"
2. "Peace on Earth (Silent Night)"
3. "It Has a Ribbon / Lady to Bed / A Few Mornings Later"
4. "Sunday / The Rat / Morning Paper"
5. "A New Blue Collar / Lady Talks To Jock & Trusty / It's Jim Dear"
6. "What a Day! / Breakfast at Tony's"
7. "Warning / Breakout / Snob Hill / A Wee Bairn"
8. "Countdown to B-Day"
9. "Baby's First Morning / What Is a Baby / La La Lu"
10. "Going Away / Aunt Sarah"
11. "The Siamese Cat Song / What's Going on Down There"
12. "The Muzzle / Wrong Side of the Tracks"
13. "You Poor Kid / He's Not My Dog"
14. "Through the Zoo / A Log Puller"
15. "Footloose and Collar-Free / A Night At The Restaurant / Bella Notte"
16. "It's Morning / Ever Chase Chickens / Caught"
17. "Home Sweet Home"
18. "The Pound"
19. "What a Dog / He's a Tramp"
20. "In the Doghouse / The Rat Returns / Falsely Accused / We've Got to Stop That Wagon / Trusty's Sacrifice"
21. "Watch the Birdie / Visitors"
22. "Finale (Peace on Earth)"

Music by Oliver Wallace
Editing by Don Halliday
Studio Walt Disney Pictures
Distributed by Buena Vista Distribution
Release date(s) June 22, 1955
Running time 75 minutes
Country United States
Language English
Budget $4 million
Gross revenue $93,602,326
Followed by Lady and the Tramp II: Scamp's Adventure

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34 Re: The Magic Of Disney! on Sun Aug 09 2009, 17:54


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36 Re: The Magic Of Disney! on Mon Aug 10 2009, 03:59


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latremenh ennoeite kai ayth What a Face bounce


37 Re: The Magic Of Disney! on Mon Aug 10 2009, 06:36


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Music by Alan Menken
Howard Ashman
Tim Rice
Editing by Mark A. Hester
H. Lee Peterson
Distributed by Walt Disney Pictures
Release date(s) Limited:
November 11, 1992
November 25, 1992
Running time 90 min.
Country United States
Language English
Budget $28,000,000
Gross revenue $504,050,219
Followed by The Return of Jafar

Aladdin is a 1992 American animated feature produced by Walt Disney Feature Animation and released by Walt Disney Pictures. The 31st animated feature in the Walt Disney Animated Classics series, the film is based on the Arab folktale of Aladdin and the magic lamp from One Thousand and One Nights. Several characters and plot elements are also based on the 1940 version of The Thief of Bagdad.[1][2] Many aspects of the traditional story were changed for the film—for instance, the setting is changed from "China" to a fictional Arabian city, Agrabah.[3] It was released at the peak stretch of the era known as the Disney Renaissance beginning with The Little Mermaid.

The film was directed by John Musker and Ron Clements, both of whom had just finished writing and directing The Little Mermaid (1989). The musical score was written by Alan Menken, with lyrics written by Howard Ashman and Tim Rice. Aladdin features the voices of Scott Weinger, Jonathan Freeman, Linda Larkin, Frank Welker, Gilbert Gottfried, Douglas Seale, and, as the Genie of the lamp, Robin Williams. Although this was not the first time in which a major actor such as Williams provided voice-over work for an animated film, it was the first major American animated feature film in which particular attention was paid to a celebrity voice cast member, such as a major movie star, in the film as part of its promotion. This has led to a subsequent increased attention to the casts of later productions, as a major element of animated film marketing. Aladdin was released on November 25, 1992 to positive reviews, and was the most successful film of 1992, earning over $217 million in revenue in the United States, and over $504 million worldwide.[4] The film was followed by two direct-to-video sequels: The Return of Jafar (1994) and Aladdin and the King of Thieves (1996), and an animated television series, Aladdin, set between the two sequels.

In 1988, Howard Ashman suggested Disney make an animated musical adaptation of the story of Aladdin. After writing a story treatment and songs with partner Alan Menken, [13] a screenplay was written by Beauty and the Beast writer Linda Woolverton.[14] Then directors John Musker and Ron Clements joined the film, picking Aladdin out of three projects offered, which also included an adaptation of Swan Lake and King of the Jungle - which eventually became The Lion King.[15] Musker and Clements wrote a draft of the screenplay, delivered in 1991 to studio chief Jeffrey Katzenberg. Katzenberg thought the script "didn't engage", and only approved it after rewrites from the screenwriting duo of Ted Elliott and Terry Rossio.[13] Among the changes to the script were the removal of the character of Aladdin's mother, Princess Jasmine made into a stronger character, Aladdin's personality was reworked to be "a little rougher, like a young Harrison Ford,"[13][16] and reworking the parrot Iago, originally conceived as a "British" calm and serious character, into a comic role after the filmmakers saw Gilbert Gottfried in Beverly Hills Cop II. Gottfried was cast to provide Iago's voice.[17] Each character was animated alone, with the animators consulting each other to make scenes with interrelating characters. Since Aladdin's animator Glen Keane was working in the California branch of Walt Disney Feature Animation, and Jasmine's animator Mark Henn was in the Florida one in Disney-MGM Studios, they had to frequently phone, fax or send designs and discs to each other.[12]

Style guide depicting the main characters. The animators designed each one based on a different geometrical shape.[18]One of the first issues that the animators faced during production of Aladdin was the depiction of Aladdin himself.[19] Director and producer John Musker explains:

“ In early screenings, we played with him being a little bit younger, and he had a mother in the story. [...] In design he became more athletic-looking, more filled out, more of a young leading man, more of a teen-hunk version than before.[19] ”

He was initially going to be as young as 13, but that eventually changed to eighteen.[19] Aladdin was designed by a team that included supervising animator Glen Keane, and was originally made to resemble actor Michael J. Fox. During production, it was decided that the design was too boyish and wasn't "appealing enough," so the character was redesigned to add elements derived from actor Tom Cruise, rapper MC Hammer, and Calvin Klein models.[7]

Most characters' designs were based on the work of caricaturist Al Hirschfeld,[9] which production designer Richard Vander Wende also considered appropriate to the theme, due to similarities to the swooping lines of Persian miniatures and Arabic calligraphy.[12] Jafar's design was not based on Hirschfeld's work because Jafar's supervising animator, Andreas Deja, wanted the character to be contrasting.[20]

For the scenery design, layout supervisor Rasoul Azadani took many pictures of his hometown of Isfahan, Iran.[8] Other inspirations for design were Disney's animated films from the 1940s and 50s and the 1940 film The Thief of Bagdad.[12] The coloring was done with the computerized CAPS process, and the color motifs were chosen according to the personality - the protagonists use light colors such as blue, the antagonists darker ones such as red and black, and Agrabah and its palace use the neutral color yellow.[8][9] Computer animation was used in a number of scenes in the film, such as the tiger entrance of the Cave of Wonders and the scene where Aladdin tries to escape the collapsing cave.[9]

Musker and Clements created the Genie with Robin Williams in mind; even though Katzenberg suggested actors such as John Candy, Steve Martin, and Eddie Murphy, Williams was approached and eventually accepted the role. Williams came for voice recording sessions during breaks in the shooting of two other films he was starring in at the time, Hook and Toys. Unusually for an animated film, much of Williams' dialogue was ad-libbed: for some scenes, Williams was given topics and dialogue suggestions, but allowed to improvise his lines.[9] It was estimated that Williams improvised 52 characters.[21] Eric Goldberg, the supervising animator for the Genie, then reviewed Williams' recorded dialogue and selected the best gags/lines. Goldberg and his crew then created character animation to match Williams' jokes, puns, and impersonations.[9]

The producers added many in-jokes and references to Disney’s previous works in the film, such as a "cameo appearance" from directors Clements and Musker and drawing some characters based on Disney workers.[11] Beast, Sebastian from The Little Mermaid, and Pinocchio make brief appearances,[8] and the wardrobe of the Genie at the end of the film—Goofy hat, Hawaiian shirt, and sandals—are a reference to a short film that Robin Williams did for the Disney/MGM Studios tour in the late 80's.[11]

Robin Williams' conflicts with the studio
In gratitude for his success with the Disney/Touchstone film Good Morning, Vietnam, Robin Williams voiced the Genie for SAG scale pay ($75,000), on condition that his name or image not be used for marketing, and his (supporting) character not take more than 25% of space on advertising artwork, since Toys was scheduled for release one month after Aladdin's debut. For financial reasons, the studio went back on the deal on both counts, especially in poster art by having the Genie in 25% of the image, but having other major and supporting characters portrayed considerably smaller. Disney's Hyperion book, Aladdin: The Making Of An Animated Film, listed both of Williams' characters "The Peddler" and "The Genie" ahead of main characters, but was forced to refer to him only as "the actor signed to play the Genie".[7]

Williams and Disney had a bitter falling-out, and as a result Dan Castellaneta voiced the Genie in The Return of Jafar, the Aladdin animated television series, and had recorded his voice for Aladdin and the King of Thieves. When Jeffrey Katzenberg was fired from Disney and replaced by former 20th Century Fox production head Joe Roth (whose last act for Fox was greenlighting Williams' film Mrs. Doubtfire), Roth arranged for a public apology to Williams by Disney. Williams agreed to perform in Hollywood Pictures' Jack, directed by Francis Ford Coppola, and even agreed to voice the Genie again for the King Of Thieves sequel (for considerably more than scale), replacing all of Castellaneta's dialogue.[22]

Main article: Aladdin (soundtrack)
Composer Alan Menken and songwriters Howard Ashman and Tim Rice were praised for creating a soundtrack that is "consistently good, rivaling the best of Disney's other animated musicals from the '90s."[23] Menken and Ashman began work on the film together, with Rice taking over as lyricist after Ashman died of AIDS-related complications in early 1991.[24] Although fourteen songs were written for Aladdin, only six are featured in the movie, three by each lyricist.[25] The DVD Special Edition released in 2004 includes four songs in early animations tests, and a music video of one, "Proud of Your Boy", performed by Clay Aiken,[26] which also appears on the album DisneyMania 3.[27]

"The original story was sort of a winning the lottery kind of thing. When we got into it, particularly coming in at the end of the 1980's, it seemed like an Eighties 'greed is good' movie. (...)Like having anything you could wish for would be the greatest thing in the world and having it taken away from you is bad, but having it back is great. We didn't really want that to be the message of the movie"
—Ron Clements[12]
The filmmakers thought the moral message of the original tale was not appropriate, and decided to "put a spin on it", by making the fulfillment of wishes seem like a great thing, but eventually becoming a problem.[12] Other major themes include not trying to be what the person is not - both Aladdin and Jasmine get into trouble faking to be different people;[8] the Prince Ali persona fails to impress Jasmine, who only falls for Aladdin when she finds out who he truly is -[28] and being "enprisoned", a fate which occurs to most characters - Aladdin and Jasmine are stuck to their lifestyles, Genie is attached to his lamp and Jafar, to the Sultan - and is represented visually by the prison-like walls and bars of the Agrabah palace, and the scene involving caged birds which Jasmine later frees.[8] Jasmine is also depicted as a different Disney Princess, being rebellious to the royal life and the social structure,[29] and trying to make her own way, unlike the princesses who just wait for rescue

Box office
Aladdin grossed $19.2 million in its opening weekend, reaching number two at the box office — behind Home Alone 2: Lost In New York.[31] It took eight weeks for the film to reach number one at the US box office, breaking the record for the week between Christmas and New Year's Eve with $32.2 million.[39] The film held the top spot five times during its 22-week run.[40] Aladdin was the most successful film of 1992 grossing $217 million in the United States and over $504 million worldwide.[4] It was the biggest gross for an animated film until The Lion King two years later.[41] As of 2009, it is the third highest grossing traditionally animated feature worldwide, behind The Lion King and The Simpsons Movie

Aladdin also received many award nominations, mostly for its music. It won two Academy Awards, Best Music, Original Score and Best Music, Original Song for "A Whole New World" and receiving nominations for Best Song ("Friend Like Me"), Best Sound Editing, and Best Sound.[55] At the Golden Globes, Aladdin won Best Original Song ("A Whole New World") and Best Original Score, as well as a Special Achievement Award for Robin Williams, with a nomination for Best Motion Picture – Musical or Comedy.[56] Other awards included the Annie Award for Best Animated Feature,[57] a MTV Movie Award for Best Comedic Performance to Robin Williams,[58] Saturn Awards for Best Fantasy Film, Performance by a Younger Actor to Scott Weinger and Supporting Actor to Robin Williams,[59] the Best Animated Feature by the Los Angeles Film Critics Association,[60] and four Grammy Awards, Best Soundtrack Album, and Song of the Year, Best Pop Performance by a Duo or Group with Vocal and Best Song Written for a Motion Picture, Television or Other Visual Media for "A Whole New World"

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38 Re: The Magic Of Disney! on Mon Aug 10 2009, 06:40


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39 Re: The Magic Of Disney! on Mon Aug 10 2009, 07:17


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Oriste kai ta videos t Aladdin!!me tin seira

enjoy guys!!

Na sas pliroforiso oti tin fwnh tou aladdin tin kanei o cristos stasinopoulos o opoios exei kanei kai tin fwnh kai tou prigkipa kornhliou stin tosodoula pou einai ergo Don Bluth....tin yasmin tin kanei i katerina giamalh ..omos kai oi dio apo oti kserw dn kanoun allo metaglotiseis exo na tous akouso apo tote!!!twra o cristos stassinopoulos ermineuei kommatia tenorou epeidh einai kai tenoros.ektos apo ithopios!exei poli wraia kai melwdikh fwnh kai aksia ton epileksane anamesa se tosous gia ton aladdin..tote eixe protovgei kai apo tin drammatiki sxolh!..kai i idia i dinsey ton vraveuse gt itan mia apo tis kaliteres erminies ston aladdin pagkosmios!!

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40 Re: The Magic Of Disney! on Mon Aug 10 2009, 07:44


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Snow White and the Seven Dwarfs

Snow White and the Seven Dwarfs is a 1937 American animated feature based on the fairy tale of the same name by the Brothers Grimm. It was the first full length animated feature to be produced by Walt Disney, the first to be considered a Walt Disney Animated Classic[3] and the first American animated feature film in movie history.

Walt Disney's Snow White premiered at the Carthay Circle Theater on December 21, 1937, and the film was released to theaters by RKO Radio Pictures on February 4, 1938. The story was adapted by storyboard artists Dorothy Ann Blank, Richard Creedon, Merrill De Maris, Otto Englander, Earl Hurd, Dick Rickard, Ted Sears and Webb Smith from the German fairy tale Snow White by the Brothers Grimm. David Hand was the supervising director, while William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, and Ben Sharpsteen directed the film's individual sequences.

Snow White was one of only two animated films to rank in the American Film Institute's list of the 100 greatest American films of all time in 1997 (the other being Disney's Fantasia), ranking number 49. It achieved a higher ranking (#34) in the list's 2007 update, this time being the only traditionally animated film on the list. The following year AFI would name the film as the greatest animated film of all time.

In 1989, Snow White and the Seven Dwarfs was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant."


Through a textual prologue the audience is told that Princess Snow White is a princess living with her vain and wicked stepmother the Queen. Fearing Snow White's beauty, the Queen forced her to work as a scullery maid and would daily ask her Magic Mirror "who is fairest one of all." The mirror would always answer that the Queen was, pleasing her.

At the film's opening, the Magic Mirror informs the queen that Snow White is now the fairest in the land. The jealous queen orders her huntsman to take Snow White into the woods and kill her, demanding that he bring her the dead girl's heart in a jeweled box as proof of the deed. The huntsman instead spares Snow White's life, and urges her to flee into the woods and never come back, bringing back a pig's heart instead.

Lost and frightened, the princess is befriended by woodland creatures who lead her to a cottage deep in the woods. Finding seven small chairs in the cottage's dining room, Snow White assumes the cottage is the untidy home of seven children. It soon becomes apparent that the cottage belongs instead to seven adult dwarfs, who work in a nearby mine. Returning home, they are alarmed to find their cottage clean and surmise that an intruder has invaded their home. The dwarfs find Snow White upstairs, asleep across three of their beds. The princess awakens, introduces herself, and the dwarfs, save one named Grumpy, welcome her as a house guest after they learn she can cook. Snow White begins a new life cooking and keeping house for the dwarfs.

The queen eventually discovers the girl is still alive when the mirror again answers that Snow White is the fairest in the land. Using magic to transform herself into an old hag, the queen goes to the cottage and tricks Snow White into biting into a poisoned apple that sends her into a deep sleep, which can only be broken by love's first kiss. The dwarfs chase the old hag up a cliff and trap her. She tries to roll a boulder over them but lightning strikes the cliff she is standing on and she falls to her death.

The dwarfs return to their cottage and find Snow White seemingly dead. Unwilling to bury her body out of sight in the ground, they instead place her in a glass coffin trimmed with gold in a clearing in the forest. Together with the woodland creatures, they keep watch over her body through the seasons.

After several seasons pass, a prince learns of her plight and visits her coffin. Captivated by her beauty, he kisses her, which breaks the spell and awakens her. The dwarfs and animals all rejoice as Snow White and the prince ride off to the prince's castle.

* Directed by David Hand (supervising)
William Cottrell
Wilfred Jackson
Larry Morey
Perce Pearce
Ben Sharpsteen

* Produced by Walt Disney

* Written by Brothers Grimm (fairy tale)
Ted Sears
Richard Creedon
Otto Englander
Dick Rickard
Earl Hurd
Merrill De Maris
Dorothy Ann Blank
Webb Smith

* Starring: Adriana Caselotti
Lucille La Verne
Pinto Colvig
Roy Atwell

* Music by Frank Churchill
Paul Smith
Leigh Harline

* Distributed by RKO Radio Pictures

* Release date(s): December 21, 1937 (premiere)
February 4, 1938 (US) April 5, 1938 (Canada)

* Running time: 83 minutes

* Country: United States

* Language: English

*Budget: $1,488,423

* Gross revenue: $66,596,803

41 Re: The Magic Of Disney! on Mon Aug 10 2009, 07:54


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43 Re: The Magic Of Disney! on Mon Aug 10 2009, 08:07


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thea tainiaaa


44 Re: The Magic Of Disney! on Thu Aug 20 2009, 04:40


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The Aristocats is an animated feature produced and released by Walt Disney Productions in 1970. The twentieth animated feature in the Walt Disney Animated Classics series, the film is based on a story by Tom McGowan and Tom Rowe, and revolves around a family of aristocratic cats, and how an alley cat acquaintance helps them after a butler has kidnapped them to gain his mistress' fortune which was meant to go to them. It was originally released to theaters by Buena Vista Distribution on December 11, 1970. The title is a pun on the word aristocrats. It was the first movie to be produced without Walt Disney's supervision and was not a commercial success.

The film's basic idea — an animated romantic musical comedy about talking cats in France — had previously been used in the UPA animated feature Gay Purr-ee.

Disney planned to release a sequel, The Aristocats II, in December 2005, set to release in 2007, but production was cancelled in early 2006

The film is set in Paris, France, in 1910, and centers around a mother cat named Duchess and her three kittens Marie, Berlioz, and Toulouse. The cats live in the mansion of retired opera singer Madame Adelaide Bonfamille, along with her English butler Edgar.

Madame Adelaide, early on, settles her will with her lawyer Georges Hautecourt, an aged, eccentric old friend of hers, stating that she wishes Edgar to look after her beloved cats until they die and then inherit the fortune himself. Edgar hears this from his own room and believes (based on the fable that cats have nine lives) that he will be dead before he inherits Madame Adelaide's fortune, and plots to remove the cats from a position of inheritance. He sedates the cats by putting an entire bottle of sleeping pills into the cat's food and then heads out into the country side to dispose of them. However, two hound dogs named Napoleon and Lafayette, ambush Edgar, biting his rear and his leg. After the conflict, Edgar escapes leaving behind his umbrella, bowler hat, the cats' bed-basket, and the sidecar of his motorcycle. The cats are left in the country side, while Madame Adelaide, the mouse Roquefort, and Edgar's horse Frou-Frou discover their absence.

In the morning, Duchess meets an alley cat named Thomas O'Malley, who ultimately offers to guide her and the kittens to Paris. From their meeting onward, Duchess is enamored of the handsome O'Malley and he with her; the kittens, too, are enraptured though he takes a moment to be fond of them.

The cats have a struggle returning to the city, briefly hitchhiking on the back of a milk cart before being chased off by the driver. Marie subsequently falls into a river and is saved by O'Malley. O'Malley himself is then rescued from the river by a pair of English geese, Amelia and Abigail Gabble, who are traveling for Paris. Assuming he is learning to swim, the two geese attempt to help him, nearly drowning him in the process. Upon their return to dry land, Amelia and Abigail join the cat group on their way back to Paris, all of them marching like geese.

Traveling across the rooftops of the city and exhausted, O'Malley offers his "pad" for them to spend the night. In doing so, the cats meet Scat Cat and his band, close friends to O'Malley, who perform "Ev'rybody Wants to Be a Cat". After the band has departed and the kittens in bed, O'Malley and Duchess spend the evening on a nearby rooftop and talk, while the kittens listen at a windowsill. Though it is obvious they both have feelings for each other, Duchess ultimately turns him down, out of loyalty to Madame Adelaide. Edgar, meanwhile, retrieves his sidecar, umbrella, and hat from Napoleon and Layafette (who had made beds out of them) with some difficulty.

In the morning, the cats make it back to the mansion, and O'Malley sadly departs. Edgar recaptures the cats in a sack and briefly hides them in an oven. Roquefort is dispatched to pursue O'Malley for his help. He does so, whereupon O'Malley races back to the mansion, ordering Roquefort to find Scat Cat and his gang. Peppo the Itailan cat scares Roquefort. He tries to escape but ends up getting caught by Scat Cat. After nearly being eaten, Roquefort tells him that he was sent by O'Malley and that Duchess, Marie, Berlioz, and Toulouse are in need of help.

Edgar places the cats in a trunk which he plans to send to Timbuktu, Africa. O'Malley, Scat Cat and his gang, Roquefort and Frou-Frou all fight Edgar, while Roquefort frees Duchess and kittens. In the end, Edgar is booted into the trunk, locked inside, and sent to Timbuktu himself. Now believing that Edgar has simply disappeared, Madame Adelaide rewrites her will to exclude Edgar and include O'Malley; simultaneously, Madame Adelaide starts a charity foundation providing a home for all of Paris' stray cats. The grand opening thereof, to which most of the major characters come, features Scat Cat's band, who perform a reprise of "Ev'rybody Wants to Be a Cat".

International release dates
Brazil: February 20, 1971
Argentina: May 14, 1971
Australia: August 5, 1971
Italy: November 13, 1971
United Kingdom: November 22, 1971
Sweden: December 4, 1971
Spain: December 6, 1971
France: December 8, 1971
West Germany: December 16, 1971
Finland: December 17, 1971
Trinidad and Tobago: December 20, 1971
Denmark: December 26, 1971
Norway: December 26, 1971
Iceland: December 29, 1971
Hong Kong: January 20, 1972
Japan: March 11, 1972
Portugal: October 25-27, 1977, February 6, 1978, February 10, 1978, February 14-16, 1978
Mexico: December 6, 1978
Pakistan: April 20, 1981
Russia: March 27, 2008
Romania: March 27, 2008
Bulgaria: March 27, 2008

Directed by Wolfgang Reitherman
Produced by Winston Hibler
Wolfgang Reitherman
Written by Ken Anderson
Larry Clemmons
Eric Cleworth
Vance Garry
Tom McGowan
Tom Rowe
Julius Svendsen
Frank Thomas
Ralph Wright
Starring Phil Harris
Eva Gabor
Liz English
Gary Dubin
Dean Clark
Sterling Holloway
Roddy Maude-Roxby
Music by George Bruns
Richard and Robert Sherman
Georges Bizet (songs)
Distributed by Buena Vista Pictures
Release date(s) December 11, 1970 (premiere)
December 24, 1970 (regular)
Running time 79 minutes
Country United States
Language English
Budget $4,000,000 (estimated)

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45 Re: The Magic Of Disney! on Thu Aug 20 2009, 04:42


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thanks para polu iro mou!!!!!! Wink I love you

teleia douleia!!!!!

46 Re: The Magic Of Disney! on Thu Aug 20 2009, 04:49


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47 Re: The Magic Of Disney! on Thu Aug 20 2009, 07:40


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eimai tsifths gatos lol!
gatos moustakatos cat
thn latreuw thn tainia
ths agapw tis gates
pame loipon
vadisma ths xhnas Laughing


48 Re: The Magic Of Disney! on Fri Aug 28 2009, 06:58


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49 Re: The Magic Of Disney! on Fri Aug 28 2009, 07:30


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Bambi is a 1942 American animated feature produced by Walt Disney and based on the book Bambi, A Life in the Woods by Austrian author Felix Salten. The film was released by RKO Radio Pictures on August 13, 1942, and it is the fifth film in the Walt Disney Animated Classics series.

The main characters are Bambi, a white-tailed deer, his parents (the Great Prince of the forest and his unnamed mother), his friends Thumper (a pink-nosed rabbit), and Flower (a skunk), and his childhood friend and future mate, Faline. For the movie, Disney took the liberty of changing Bambi's species into a white-tailed deer from his original species of roe deer, since roe deer don't inhabit the United States, and the white-tailed deer is more familiar to Americans. This film received three Academy Award nominations for Best Sound, Best Song for "Love Is a Song" and Original Music Score.

In June 2008, the American Film Institute presented a list of its "10 Top 10"—the best ten films in each of ten "classic" American film genres—after polling over 1,500 people from the creative community. Bambi placed third in animation

A doe gives birth to a fawn in the thicket whom she names Bambi. After he learns to walk, Bambi befriends Thumper, a young rabbit, and while learning to talk he meets Flower, a young skunk. One day his mother takes him to the meadow, a place that is both wonderful and frightening. There he meets Faline, a doe-fawn, and his father, the Great Prince of the Forest. It is also during this visit that Bambi has his first encounter with man, who causes all the animals to flee the meadow. During a harsh winter, Bambi and his mother go to the meadow and discover a patch of new grass, heralding the arrival of spring. As they eat, his mother senses a hunter and orders Bambi to flee. As they run, gun shots ring out. When Bambi arrives at their thicket, he discovers his mother is no longer with him. He wanders the forest calling for her, but she doesn't answer. His father appears in front of him and tells Bambi "your mother can't be with you anymore," then leads him away.

In the spring, an adult Bambi is reunited with Thumper and Flower as the animals around them begin pairing up with mates. Though they resolve not to be "twitterpated" like the other animals in love, Thumper and Flower each leave with newly found mates. Bambi is disgusted, until he runs into Faline and they become a couple. As they happily dance and flirt through the woods, another buck, Ronno, appears who tries to force Faline to go with him. Though he initially struggles, Bambi's rage gives him the strength to defeat Ronno and push him off a cliff and into a river below.

That night, Bambi is awoken by the smell of smoke. His Father explains that Man is in the forest and they must flee. Bambi goes back to search for Faline, but she is being chased by hunting dogs. Bambi finds her in time and fights off the dogs, allowing Faline to escape. With Faline safe, Bambi runs but is shot as he leaps over a ravine. The Great Prince finds him there and urges him back to his feet. Together, they escape the forest fire and go to a small island in a lake where the other animals, including Faline, have taken refuge.

At the end of the film, Faline gives birth to twin fawns, Bambi stands watch on the large hill, and the Great Prince silently turns and walks away

Bambi was released in theaters in 1942, during World War II, and was Disney's 5th full-length animated film. The famous art direction of Bambi was due to the influence of Tyrus Wong, a former painter who provided eastern and painterly influence to the backgrounds.[citation needed] Bambi was re-released to theaters in 1947, 1957, 1966, 1975, 1982, and 1988. It was released on VHS in 1989 (Classics Version), 1997 (Masterpiece Collection Version), and digitally remastered and restored for the March 1, 2005 Platinum Edition DVD.[9] The Platinum Edition DVD went on moratorium on January 31, 2007.[10] The Masterpiece Version was the first Disney Video to be THX certified.

Bambi lost money at the box office for its first release, but recouped its considerable cost during the 1947 re-release.[11] Although the film received good reviews, the timing of the release, during World War II, hurt the film's box office numbers. The film didn't do so well at the box office in America, and the studio no longer had access to many European markets that provided a large portion of its profits.[11] Roy Disney sent a telegram to his brother Walt after the New York opening of the film that read: "Fell short of our holdover figure by $4,000. Just came from Music Hall. Unable to make any deal to stay third week...Night business is our problem."[11]

What also hurt box office numbers is the realistic animation of the animals, and the story of their fight against the evil humans in the story. Hunters spoke out against the movie, saying it was "an insult to American sportsmen."[11][dead link] The criticism, however, was short-lived, and the financial shortfall of its first release was made up multiple times in the subsequent re-releases.[11]

Today, the film is viewed as a classic. Critics Mick Martin and Marsha Porter call the film "...the crowning achievement of Walt Disney's animation studio." In June 2008, the American Film Institute revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Bambi was acknowledged as the third best film in the animation genre.

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