Showing posts with label Howard Ashman. Show all posts
Showing posts with label Howard Ashman. Show all posts

Tuesday, October 1, 2013

'Part of Your World,' Ariel's 'I Want' Song

"In almost every musical ever written, there's a place--it's usually about the third song of the evening, sometimes it's the second, sometimes it's the fourth, but it's quite early--and the leading lady usually sits down on something. Sometimes it's a tree stump in Brigadoon, sometimes it's under the pillars of Covent Garden in My Fair Lady or it's a trash can in Little Shop of Horrors. But the leading lady sits down on something and sings about what she wants in life. And the audience falls in love with her and then roots for her to get it for the rest of the night." -- Howard Ashman


Jodi Benson, the voice of Ariel, remembers Howard Ashman and making The Little Mermaid.




The Little Mermaid Diamond Edition is available today on Blu-ray Combo Pack.

Sunday, June 23, 2013

'Monsters University,' 'Oz' on Blu-ray, and Howard Ashman Part 3 Inside The Mouse Castle Lounge

Behold, the wonderful land of Oz!
It's always nice to have guests who can do the heavy lifting for you in a podcast. Today's episode of The Mouse Castle Lounge includes plenty of guest talk and celebrity soundbites. It certainly made my job easier to shut up and let them have their say. I'm pretty sure you'll enjoy them too.

First, we'll hear from the cast of Oz the Great and Powerful, which debuted on home video this month. This is a movie that surprised me when it hit theaters in March. I didn't expect to enjoy it as much as I did. I was fearful it would be just another soulless, mindless exercise in CG effects (kind of like Tim Burton's Alice in Wonderland, to which it had been compared). Guided by the steady and creative hand of director Sam Raimi, however, Oz turned out to be a highly entertaining fantasy-adventure that more than holds its own next to 1939's Wizard of Oz, not to mention the original Oz books by L. Frank Baum. In the Lounge, Raimi talks about the efforts that not only went into making the film, but also went into putting together the bonus features that are included on the Blu-ray disc. Stars James Franco, Mila Kunis, Rachel Weisz, Michelle Williams and Zach Braff give their behind-the-scenes input as well.

Next, we'll be on the blue carpet for the premiere of Monsters University in Hollywood. The prequel to Monsters Inc. opened this weekend to favorable reviews and big box office returns ($82 million). Billy Crystal (back as the voice of Mike Wazowski), John Lasseter and director Dan Scanlon chime in with what makes the Monsters franchise and its characters so special.



Finally, I'll have part three of my very special conversation with Sarah Ashman Gillespie as we wrap up our discussion of her late brother, Howard Ashman. Howard had a legendary career with Disney, co-writing the songs for The Little Mermaid, Beauty and the Beast and Aladdin. In 1991, he died far too young at the age of 40 from complications associated with AIDS. Sarah speaks candidly about her brother's illness and the support he received from his family, friends and colleagues at a time when very little was known about the disease and society's attitude towards it was oftentimes less than sympathetic.

Famous and fascinating people doing most of the talking. That's my kind of show. Please enjoy today's edition of The Mouse Castle Lounge.



The Mouse Castle Lounge can also be heard on iTunes and Stitcher.

Related: Sarah Ashman Gillespie, Part One
             Sarah Ashman Gillespie, Part Two


Saturday, June 8, 2013

Maurice Sendak and More Howard Ashman Inside the Mouse Castle Lounge

Howard Ashman
It's Howard Ashman Part 2 in The Mouse Castle Lounge as I continue my conversation with the late lyricist's sister, Sarah Ashman Gillespie. In part one, we talked about Sarah's website and blog, Howard Ashman: Part of His World, and discussed Howard's early career. Today, we talk about how Howard and his musical collaborator Alan Menken met, a partnership that would produce classic song after classic song for the Disney animated features The Little Mermaid, Beauty and the Beast and Aladdin. Sarah and I also discuss how Howard brought his east coast theatrical sensibilities to the west coast and made them work in the world of film animation.

We also take a look at Howard's famous temper, which could avail itself to anyone who didn't quite embrace or understand the creative passion of its owner--as illustrated in this cartoon by Beauty and the Beast director Kirk Wise following a less-than-successful story meeting with Howard and co-director Gary Trousdale:


But wait, there's more! Also in the Lounge, we pay a visit once again to the Walt Disney Family Museum and take a look at their new Maurice Sendak exhibit: 50 Years, 50 Works, 50 Reasons. My guest is guest curator Anel Muller, who gives us insight into Sendak's work, which was more than just his seminal children's book Where the Wild Things Are. He was a gifted writer, illustrator and set designer...and he was a huge Disney fan. Who knew?


It's all about beauties, beasts and wild things in this edition of The Mouse Castle Lounge.  Enjoy!



The Mouse Castle Lounge can also be heard on iTunes and Stitcher.

Related: Sarah Ashman Gillespie, Part One
             Sarah Ashman Gillespie, Part Three

Wednesday, May 22, 2013

Ashman Talks Ashman: Sarah Ashman Gillespie in the MCL

Sarah Ashman and Howard Ashman in 1983
Last week, I posted a birthday tribute to Howard Ashman, the late writer and lyricist who, with composer Alan Menken, wrote some of the all-time great Disney songs for The Little Mermaid, Beauty and the Beast and Aladdin. This week, I'm happy to share part one of my conversation with Howard's sister, Sarah Ashman Gillespie, who manages the website Howard Ashman: Part of His World, a celebration of her brother's life and legacy.

Howard Ashman's story is one of both great achievement and unfulfilled promise. A talented wordsmith with a passion for theater, he found success off-Broadway writing and directing the musical Little Shop of Horrors and later adapting the screenplay for the popular Frank Oz-directed film version. Success on Broadway eluded him, however. Smile, a comical and sentimental send-up of teen beauty pageants that he wrote with composer Marvin Hamlisch, flopped and closed at the Lunt-Fontanne Theatre in early 1987 after only 48 performances.

Ashman's talent would not be denied, however. When Disney came calling in the late 1980s, he and Menken found themselves at ground zero of perhaps the biggest movie studio comeback in Hollywood history and became one of the driving forces behind Disney's animation renaissance. Ashman's death from AIDS in 1991, months before the release of Beauty and the Beast, is one of the great tragedies in entertainment. He was at his creative peak when he passed away, and although the body of work he left behind was impressive and beloved, we are left wondering what musical and theatrical magic might have happened had he lived.

In part one of my interview with Sarah, she talks about the origins of her website, Howard's early career and how he was pursued by Disney. Enjoy!



The Mouse Castle Lounge can also be heard on iTunes and Stitcher.

Related: Sarah Ashman Gillespie, Part Two
             Sarah Ashman Gillespie, Part Three

Friday, May 17, 2013

Remembering Howard Ashman

Today would have been the 63rd birthday of the late writer, lyricist and director Howard Ashman. With composer Alan Menken, Ashman wrote the great songs of Disney's animation renaissance during the 1980s and 90s: "Part of Your World" and "Under the Sea" from The Little Mermaid; "Be Our Guest" and "Belle" from Beauty and the Beast; "Friend Like Me" and "Prince Ali" from Aladdin--among so many others.

Ashman had a passion for musical theater and a gift for clever wordplay that coalesced brilliantly during his time at Disney. In this clip from the 2009 documentary Waking Sleeping Beauty, we see Ashman in action, coaching Jodi Benson, the voice of Ariel, through a recording of "Part of Your World." He goes on to explain why that song and others like it are critical in theater and film to make audiences "fall in love" with the leading lady.


With Menken, Ashman won two Academy Awards for "Under the Sea" and "Beauty and the Beast." In 1991, Ashman died far too young at the age of 40 from complications arising from AIDS. Both he and Menken were named Disney Legends in 2001.

Recently, I had the pleasure of speaking with Ashman's sister, Sarah Ashman Gillespie, about her brother's life and legacy. Sarah manages the website Part of His World, a labor-of-love tribute to Howard, full of history and fond remembrances from Sarah and some of the people who knew and worked with Howard, including Alan Menken, Jodi Benson and John Musker. I'll post part one of my conversation with Sarah this weekend in The Mouse Castle Lounge.

Happy Birthday, Howard.  You are missed.

Monday, May 23, 2011

Thirty Days of Disney Movies, Day Twelve - Favorite Love Story

As I compiled this list of Disney movies, many of the categories required me to do my homework: re-watch films I hadn't seen in ages and even see a few I'd never seen before and knew only by reputation. It's been fun to do side-by-side comparisons and see how these great movies have held up over time.

A few categories needed no research at all, because the choices were so obvious. Disney's best love story is one of them. It's the "tale as old as time" and the finest feature film of Disney's third "golden age" of animation.

Beauty and the Beast.

Tale as old as time;
Song as old as rhyme.
The movie often gets categorized as just another Disney princess film (particularly for Disney merchandising purposes), but it's important to understand how much Beauty and the Beast breaks the mold of the typical fairy tale story. Our heroine, Belle (Paige O'Hara), isn't some waifish ingenue waiting for her prince to come. Quite the contrary. She's intelligent, literate and responsible, looking after her eccentric inventor father, Maurice (Rex Everhart), and fending off the advances of the ruggedly handsome, but exceedingly vain and arrogant, Gaston (Richard White). Belle is also incredibly beautiful, but probably doesn't realize it. She's too busy losing herself in books and pondering what adventures await in the outside world. This isn't normal for the residents of the provincial French village where she lives. They happily follow their same routines day after day--and think Belle is a bit odd.

When Maurice loses his way in the woods and is held captive inside a remote castle lorded over by a monstrous beast, Belle selflessly offers to take his place. In doing so, she sets the stage for one of the greatest romances in movie--let alone Disney--history.

The beast of the castle was once a selfish young prince, now cursed by an enchantress as punishment for his cold-hearted ways. He will remain a monster until someone can see through his ugliness and fall in love with him. But, this must happen before a magical rose, kept under glass inside the castle, loses its petals. If the last petal drops without true love being found, the prince will remain a beast forever.

We can sing, we can dance;
After all, miss, this is France.
Also under the spell of the enchantress are the beast's house servants, who have been turned into all manner of household objects. They include the butler/candelabra Lumiere (Jerry Orbach), the head-of-staff/clock Cogsworth (David Ogden Stiers) and the kitchen maid/teapot Mrs. Potts (Angela Lansbury). All see the presence of Belle in the castle--even under these dire circumstances--as an opportunity for the spell to be broken, so they set about to make her as welcome as they can and try to push her and the beast together. They know there is good in their master that belies his appearance and actions. He just needs the right person to bring it out.

Beauty and the Beast tells its story using a classic musical theater structure (small wonder it would become the first Disney feature adapted to the Broadway stage). The opening number, "Belle", is fun and energetic as it introduces us to the main characters of the village. In a matter of minutes, we learn everything we need to know about them (Belle is a "funny girl," Gaston is a pompous jerk). All the songs, penned by composer Alan Menken and lyricist Howard Ashman, are memorable, from the endearing title tune to the exhilarating production number "Be Our Guest."

Both audiences and critics responded enthusiastically to Beauty and the Beast. It was nominated for four Oscars, including Best Picture, the first animated feature film ever to be so honored. In an era when Best Picture nominations were limited to five films (instead of the current ten) and when there was no Best Animated Film consolation prize, this was an amazing achievement and a testament to the timeless quality of the film.

Beauty and the Beast (along with its predecessor The Little Mermaid), was Disney's triumphant return to quality feature animation after a fallow period of more than 25 years. With beautiful animation, classic tunes and a love story for the ages, it ranks as one of Disney's all-time bests.

The 30-Day (or so) Movie Challenge continues tomorrow with the best Disney chick flick. No, really.

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