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@hector-chorizo-rivera
i come from the universe where everything is the same except disney heroines get like an ounce of their fathers' obviously dominant genes and their clothes are like 80% more historically accurate. it's beautiful here.
another go at briar rose this time because i was exhausted doing her other one last night :']
also the historical inspo for her peasant and royal looks :]
and belle's too --
By 十七声言禾
𝕯𝖎𝖘𝖓𝖊𝖞 𝖛𝖎𝖑𝖑𝖆𝖎𝖓𝖘 𝖈𝖔𝖓𝖈𝖊𝖕𝖙 𝖆𝖗𝖙 ➔ 𝕱𝖎𝖓𝖆𝖑 𝖋𝖎𝖑𝖒 ⬧︎ 𝔭𝔞𝔯𝔱 2
𝕯𝖎𝖘𝖓𝖊𝖞 𝖛𝖎𝖑𝖑𝖆𝖎𝖓𝖘 𝖈𝖔𝖓𝖈𝖊𝖕𝖙 𝖆𝖗𝖙 ➔ 𝕱𝖎𝖓𝖆𝖑 𝖋𝖎𝖑𝖒 ⬧︎ 𝔭𝔞𝔯𝔱 1
Last one from the archives
Not to get emo on main but you ever think about how the troop sang about their dreams of finding “a girl worth fighting for”, and they think their girl worth fighting for is one of romance, but the song abruptly comes to a halt when they find a different girl worth fighting for.
A tiny girl that had been killed at the hands of the Huns. A child too weak, too small to have any chance of withstanding the murderous invaders. That is their girl worth fighting for.
This is fucking horrific
It’s also worth noting that ‘A Girl Worth Fighting For’ is the last song in the movie. Up until here, it’s a fun movie, and the imminent invasion feels like it’s just there to keep the plot moving, and to provide a little bit of drama to spice things up. None of the soldier’s are quite taking this seriously yet; sure, Mulan wanted to save her father from the draft, and on some level she was aware that he would die if he went to war, but beyond that she’s interested in not being caught, and not shaming her family. Her motives are good, but they’re entirely self centered. All the other soldiers are more or less in the same boat - they want to get tougher, they want to impress girls, they want to be cool soldiers. Shang’s easily the most serious of the bunch at first, and even then it’s just because training bad soldiers will reflect poorly on him, and important people are paying attention.
The abrupt ending of ‘A Girl Worth Fighting For’ is the wake up call. The soldiers and the audience get slapped in the face with the realization of what’s really at stake here. China is being invaded. Villages are burning, civilians are dying, and this isn’t going to stop until the country is conquered or the invaders are defeated. This is not a fun musical, this is a major crisis.
Mulan is such a good movie for so many reasons, but the abrupt tone shift is such a major reason why. It’s an excellent commentary on the reality of war, and it being a kids movie just meant they had to make their point without showing any actual gore, which I’d honestly say makes it that much more poignant.
That moment, when they come over the rise and see the razed village is one of the best scenes in film. Period. Somehow, instead of giving me tonal whiplash, it took my breath away, and that’s one fuck of a balancing act.
when the genre of a story is used to enhance what's telling
When you take a fun musical kids film with fun catchy songs and make war a key part of it and instead of going "oh no but the whiplash" the mood whiplash is instead used ONCE, deliberately, permanently, to help the audience feel, even on a meta sense, that something just changed forever
Did anyone tell Ford (bonus doodles: Family Movie Night)
arguably one of the funniest moments in all of television
CANNON HUMAN FORD?? (PLEASE LIKE THE ORIGINAL BELOW )
Credits ;
“I have something to show you. Something you won't believe.” Photographer: York In A Box Cosplayer: Jason Mahn Taken at DragonCon 2016.
if you have time, go check out the list of palestenian fundraisers! Anything counts!!
Vetted Hi, my name is Abdulkarim Al-madhoun “Karam” , I am 19 years old… Abdulkareem Madhoun needs your support for Desperate plea: Help my
I think the most fun part of monsters inc is boo calling sulley “kitty” and mike wazowski by full government name
Completely true-to-life from my interactions with toddlers
Haha… yeah… that’d be crazy…
Today I learned 3D animation is a horror show outside the camera's field of view.
There is now a spiritual successor to this nightmare fuel...
I think we can update the expression "you don't want to know how the sausage gets made" to "you don't want to see the reverse perspective of 3D animation."
Oh god, what if they animated sausage making?
My Disney Landback series. Indigenous girlies taking back the narrative.
(old art) a gravity falls comic from september 2022: "sleepover"
i debated on whether i even wanted to put this on my new blog since the formatting + text is hard to look at and the quality is godawful (not by accident either. for some reason i just drew it that way) plus i don't like how it looks overall anymore. but i'm still proud of the writing and i know a lot of people appreciated this comic in the past, so i may as well post it again :)
15 more pages under the cut!
THE HYENAS WERE GOOSE STEPPING, YOU DUNCE.
That's quite a bit more evocative than "sharing is caring", my friend.
That's more like if you were protesting outside of an Amazon warehouse donning a Che Guevara shirt.
You see folks, it is just a literary device.
And as we all know, literary devices are apolitical.
The first two examples used political references. I didn't even get out of the goddamn As.
The mental gymnastics of denial are wild.
Movies have always been political. They have always had woke messaging.
And you lived up to your moniker because these are some bad opinions.
Director Kirk Wise, screenwriter Linda Woolverton, and actor Robby Benson on casting the Beast [x]
They gave me an incredible amount of freedom. I didn't want Beast to be a cartoon character. I played it as though I were doing a Broadway show. As if this was a living person. And I wanted him to be funny. By funny, I don't mean shtick or one-liners. I am talking about real comedy. When real comedy works, and is truthful, especially with the Beast, it comes out of the fact that he is so pathetic. For some reason, I really understood that. Ha! Because of that, they gave me a lot of leeway. [x]
My first audition was recorded on, of all things, a Sony Walkman. As a musician, I had branched out into recording engineer and loved to play with sound. When I saw the Sony Walkman I knew it had a little condenser microphone in it, and if I were to get too loud, the automatic compressor and built-in limiter would 'squash' the voice— and there would be very little dynamic range to the performance. I did a quick assessment and wondered how many people who had come in to audition for the part were making that error: playing the Beast with overwhelming decibels, compressing the vocal waveforms. I decided to give the Beast 'range.' Because of my microphone technique, and an understanding of who I wanted Beast to be, they kept asking me to come back and read different dialogue. After my fifth audition, Jeffrey Katzenberg the hands-on guardian of the film, said the part was mine…
Beauty and the Beast was so refreshingly fun and inventively creative to work on that I couldn't wait to try new approaches to every line of dialogue. Don Hahn is one of the best creative producers I have ever worked with. The two young directors, Kirk Wise and Gary Trousdale, were fantastic and their enthusiasm was contagious. I not only was allowed to improvise, but they encouraged it. It never entered my mind that I was playing an animated creature. I understood the torment that Beast was going through: he felt ugly; had a horrible opinion of himself, and had a trigger-temper. Those are things that, if done right, are the perfect ingredients for comedy. Painful and pathetic comedy— but honest. The kind of comedy I understood...
In the feature world of Disney animation, the actors always recorded their dialogue alone in a big studio, with only a microphone and the faint images of the producers, writers, directors and engineer through a double-paned set of acoustic glass. Paige O'Hara and I became good friends; it was her idea that for certain very intimate scenes, such as when Beast is dying, we record together. We were able to play these scenes with an honest conviction that is often absent in the voice-over world...
The success of this film was the culmination of a team effort but I must say, the honors go to the animators— and for me (Beast), that's Glen Keane — and to Howard Ashman and Alan Menken. This was the perfect example of a crew who 'cared'. And the final results (every frame) of the film represent that sentiment. [x]
I watched the live action version of "Can You Feel the Love Tonight" on Youtube and I was not ready for the utter lack of emotions from the CGI animals.
Nala looking concerned about Simba hiding something about his past, a comparison:
Also, in CGI this song called "Can You Feel the Love Tonight" does not take place at night.
