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Disney.com | Beauty and the Beast

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Not happy with life in her sleepy French village, Belle loves nothing more than curling up with a good book, but her own life becomes more exciting than the wildest story when she bravely offers to become the prisoner of a horrible Beast in an enchanted castle to spare the life of her father. Life in the castle holds many surprises, including a crew of enchanted household objects like the motherly teapot Mrs. Potts and dashing candlestick Lumiere. Belle discovers that there is more to the fearsome Beast than she can see at first, and it's her handsome suitor Gaston who proves to be the real monster. Only her true love can break the spell that has turned a prince into a Beast, and finally break the curse.

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Brad Bird Whips Up Ratatouille
"You're trying to get a lot of different ingredients to work well together -- that's what moviemaking is. It's very much like cooking and trying to make the ingredients balance just right," says Brad Bird. "You take every other art -- composition, design, acting, writing, cartooning, music, and sound -- you're trying to blend them all into one experience." And, maybe more than anyone, Bird is in a position to know. The director of Disney�Pixar's "The Incredibles" has spent many months cooking up his latest offering, with a talented crew of "cooks." Opening this Friday, June 29, Disney�Pixar's "Ratatouille" is a tale of creativity and honesty, as two unlikely friends join forces to take Paris' world of haute cuisine by storm. It's a unique blend of moviemaking, fine food, and ... rats. "People usually have a little laugh when they hear the premise, but then they go 'but ... RATS?'" Bird laughingly admits. "I think the guy who originally developed this idea, Jan Pinkava, actually moved away from them being ratty -- they had them all on two legs and shortened their tails. They didn't want any ratlike behavior. When I got on the project I went the opposite way, because I felt that the power of the story was about a rat who wants to enter the human world. He wants to cross over and be allowed to express himself creatively. If that's the core of the story, you don't want to deny him his rattiness. You want to play on it and show that he chooses to be nonratlike." And indeed, the film's protagonist, Remy, is downright appealing, with his delicate pink paws, wistful expressions, and translucent, squeaky-clean pink ears. For Brad, Remy's appeal goes beyond his looks -- he feels a certain kinship with his lead character. "This film was not my original idea, but when I got involved with it I found myself connecting with Remy. What he wants to do more than anything is express himself, but the world has not made it easy for him," Brad explains. It's a struggle he's familiar with himself. "I had a lot of really good, lucky breaks as a kid, but when I actually started working in the industry, I encountered a lot of obstacles." Those early experiences in overcoming roadblocks may have prepared Brad for "Ratatouille." Asked which part of the movie is his favorite, he laughs and replies "The part between the very beginning and the very end! It was a very difficult project for me because I was entering the film late and I had a very tight schedule. But I couldn't have a better studio on the planet to rally behind me than Pixar. I'm very, very pleased with end result. I couldn't ask for a finer crew to go through it with." "Ratatouille" was challenging, but then cooking up a masterpiece is never easy -- whether you're creating a magnificent souffle, or an enthralling film. It takes real dedication to perfection, including being willing to scrap what doesn't work. Pixar is famous for this -- never releasing a movie until it's not just "good enough," but the best it can be. Brad says it's not hard to find the inspiration behind this philosophy. "A lot of what makes Pixar work so well is, in fact, from the old Walt Disney play book," he observes. "Walt himself would go through a movie and take out sequences that had a lot of work done on them if they weren't playing well. Even 'Snow White' had a very long sequence that was all animated, where the dwarfs eat soup. He cut it at the last minute because it wrecked the flow of the story. The bottom line was that he wanted what was best for the movie, and I think this place is following very much in Walt's tradition in that regard." From a mouse with can-do spirit to a rat who's chasing a dream, "Ratatouille" fits nicely into the Disney tradition of stories about little guys who tackle big odds. It's a delicious addition to an animated legacy, and Brad is hoping that audiences will eat it up.
Hanging with the Rat Pack
Mickey and Goofy. Buzz and Woody. Ariel and Flounder. Pinocchio and Jiminy. Marlin and Dory. Both Disney and Pixar have given us many great duos --friends through thick and thin, good times and bad ... brioche and garbage??? Yes, Disney"Pixar's newest pals will take us from the rubbish heap to haute cuisine. Remy the rat and Linguini the garbage boy might make an odd pair, but they're the heart and soul of "Ratatouille," coming June 29. Linguini's a bumbling would-be chef, and Remy is a rat with a refined palate and a dream. Together, can they conquer the world of fine French cookery? Or will Paris smell a rat? Linguini and Remy may be unique among Disney's buddies in one respect -- they've never met! Patton Oswalt, the voice of Remy, and Lou Romano, the voice of Linguini, recorded their vocal parts at different times and will not meet face to face until the film's premiere. "It's strange knowing that these characters are so tight in the film, and never meeting until after the film is completely finished!" laughs Lou. The two have a lot in common, however, including a real-life love of fine food -- just like their on-screen counterparts. Lou tells us, "I enjoy good food and usually anywhere I visit, a part of what makes it great is the food. My dad and my Italian grandmother cook really well, and food was a big part of our growing up." "I'm such a foodie, and my enthusiasm for food and wine helped me get the role," says Patton. "So it was pretty easy for me to rhapsodize about bread or cheese or certain spices." But because Remy is such an epicure, the "Ratatouille" team took Patton on a flavorful field trip to a citadel of fine cooking. "They did take me to a 17-course meal at the French Laundry in Yountville [California]. It was amazing! There was a butter course, even a salt course where we tried different kinds of salt." An even bigger treat for Patton was getting to work with Pixar. "Getting this role is kind of like the cherry on top of a sundae that already had a cherry on top of it!" he laughs. "I got to tour the Emeryville [California] campus and meet all these animators and sound guys. I'm a big animation nerd, so these people really mean something to me! Getting to go in and see the process going from pencil on, it just blew me away." A Pixar tour wasn't necessary for Lou -- as a Pixar artist, his relationship with the studio, and with "Ratatouille" director Brad Bird, goes back quite a few years. Lou was a visual development artist on "The Iron Giant" and the production designer of "The Incredibles." "Ratatouille" gave him a chance to wear a different hat -- and to take part in a long Pixar tradition of animators voicing characters on-screen (after all, Brad Bird himself voiced the flamboyant Edna Mode, who stole the show in "The Incredibles.") Lou explains how he got the role. "I was working on 'The Incredibles' at the time, and early on in the 'Ratatouille' production process they were cutting their first reels. They asked me to come in and read for Linguini, I think partly because they were basing the character on me a little bit -- just physically. So they thought they'd have me try to do the voice work as a scratch track." It soon became obvious that Lou WAS the perfect Linguini. What makes "Ratatouille" so tasty a cinematic treat? Lou and Patton are unanimous -- the secret is Brad Bird and his animators. "It's leagues above everything I've ever done! It's like playing in your high-school band, then suddenly you're with the Miles Davis Trio at Minton's. It's a different league, a totally different world," says Patton. "I thought it would be hard to work without the other actors there -- but the thing is, you've got Brad Bird. In his mind, he has the whole script plus everyone else's performances, the exact intention of every scene -- he's a genius. He's just a genius! I don't use that world lightly, but he truly is. There's no one else like him." Lou agrees, "I think part of what was helpful in doing this role was feeling safe with Brad. He's good with actors in helping them feel safe in the recording studio. It's a little strange when you're by yourself, talking to imaginary people and rats, and he really creates a context for what the scene is about." At the film's premiere, Lou and Patton hope to meet at last, and make their on-screen friendship a real-life one as well. It's a delicious prospect all around!
Making "The Little Mermaid" Sing on Broadway
The world's most beloved mermaid has a new song on her lips these days -- and so do her friends and foes. When "The Little Mermaid" made its triumphant debut on Broadway, the beloved and familiar tunes from the film were all there, but they were joined by many more. And the man who gave Ariel new words to sing is lyricist Glenn Slater. Now, with the release of "The Little Mermaid" Original Broadway Cast Recording on CD, you don't need to travel to Manhattan to hear the new sounds of "The Little Mermaid" -- Sierra Boggess (Broadway's Ariel) and the rest of the cast can join you right on your stereo whenever you please. Glenn sat down and told us about working with legendary "Little Mermaid" composer Alan Menken, what you'll hear on the cast album, and how the words were found to let us become even more part of Ariel's world. In spite of a long working relationship with Alan, which began with plans for a sequel to "Who Framed Roger Rabbit" that never materialized, Glenn admits that writing for "The Little Mermaid" was an intimidating prospect. "Even though I've been working with Alan for years at this point -- obviously, the songs he worked on with Howard Ashman, in the 20 years since the film came out have become modern classics," he tells us. "Everybody knows every word of those songs, and they're so beloved that almost nothing anybody could write would be able to stand up to them. But happily for me, Alan said that 'I think you're the one who can write songs that will match up with Howard's. Let's see what we can do.'" The greatest challenge for the songwriting team, Glenn explains, was that the music in the movie was almost TOO good. "The songs in the film are not only perfectly written, but they're also pretty much perfectly placed. They belong exactly where they belong and they tell you everything you need to know about the characters at that moment," he says. "So, with the new songs we ran into an immediate problem -- 'Poor Unfortunate Souls' is such a perfect song for Ursula, but in a stage show that song wouldn't appear until the end of the first act. How could we do a musical in which one of our lead actresses didn't sing at all until an hour into the show? Obviously she needs something to sing before that, but she says pretty much everything she needs to say in 'Poor Unfortunate Souls.' Same thing with Ariel -- when she sings 'Part of Your World,' it's such a clear window into her soul that you can't imagine a better statement, but it comes 30 minutes into the show so we needed to give her a song to enter with." The solution was to create songs that tell us more about the characters and their relationships than we learned in the movie. For instance, "Ursula now has a song called 'I Want the Good Times Back,' which gives us a little insight into the backstory between her and Triton, and her motivations for doing what she does for the rest of the show and begins to lay out what her overall plan is -- we don't find out that she's actually after Triton until fairly late in the film, but now we learn at the very beginning that this is part of a larger plot on her part." Likewise, Ariel's entrance song, "The World Above," lets us know that, as Glenn puts it, "she's not simply falling in love with Eric -- what attracts her to the upper world isn't just Eric and isn't just these things, it's the sense that she has found a world that is the right place for her in a larger sense." Eric never sings in the film, but on stage he reveals that his love for Ariel is based on some common ground like her, he feels that his world is not the place where he belongs. "We have written him a song called 'Her Voice,' that's his version of 'Part of Your World,' to express what he's longing for and how it's embodied in this person he's found," says Glenn. "And we've given him a song in the second act called 'One Step Closer' to let the audience in on a moment when we can see the two of them falling in love. We wanted to show why these two people belong together." And both that humor and the scope of the Broadway experience are captured in full on the album. Glenn assures us that "It's pretty much what you would hear on stage. The album has been designed so that you will be able to get a complete sense of the story, listening from beginning to end. It gives you a sense of the grandeur that you will experience onstage, and the phenomenal talent that we've put on that stage." It's also, he observes, a great introduction for those who plan to see the show at the Lunt-Fontanne Theatre. "Everybody comes into the theater knowing and loving the movie songs, and the new songs sort of hit you as an intriguing but not entirely digested experience, because you're hearing them for the first time. So if you do get a chance to listen to the cast album before you come to the theater, you can really experience the score as a whole."
The Eternal Allure of a Princess
Ever since "Snow White and the Seven Dwarfs" first graced the screen in 1937, little girls everywhere have been enchanted by Disney Princesses. But don't be fooled into thinking that these ladies, with their sparkly dresses and long cascading hair, are just another bunch of pretty faces. They make strong choices, help those less fortunate, and ultimately champion the underdog. The success of "Snow White" shows that princess appeal is nothing new. It was the highest-grossing film ever until the release of "Gone with the Wind." The worldwide gross for "Snow White" was $8.5 million - in an era when a child's ticket cost 10 cents. The princess tradition continued after "Snow White," with Disney film versions of the enduring fairy-tales "Cinderella" and "Sleeping Beauty." Although "Sleeping Beauty" was Walt Disney's most extravagant animated feature ever at the time of its release, the princess genre quieted after its release. It wasn't until the late '80s and early '90s that the Princesses returned -- in what has been called an animation renaissance at the Walt Disney Studio. Belle, Ariel, and Pocahontas led the way in new classics like "Beauty and the Beast," "The Little Mermaid," and "Pocahontas." This revival introduced a new generation of princesses to a new generation of princess followers. The Insider decided to talk to young girls to find out what it is that makes Disney Princesses as appealing in 2007 as they were in 1937. Here's what they had to say. Ellie, 4, loves Aurora from "Sleeping Beauty" because she likes "her pink sparkly dress." Her sister Hazel chose Mulan as her favorite because "she is sporty and I like her black hair." Like Ellie, many girls are drawn in by the sparkly dresses and princess couture. Let's face it, these ladies have outfits to envy! Whether it's Ariel with her crimson hair and pearls fresh from the ocean adorning her neck, or Cinderella in her shimmering blue ball gown and glass slippers, there is a look for every aspiring fashionista. There is more to these princesses though, than stylish wardrobes. They teach kids to be kind to others, to be true to themselves, and to never stop dreaming. They aren't just living the life any little girl would dream of - they're also great role models. Ruby, 6, said her reason for loving Disney Princesses is that "every princess is very helpful and nice. Sleeping Beauty helped the fairies and the fairies helped her because she was nice to them." While all Princesses might be nice, they aren't all alike. Mulan, Pocahontas, and Jasmine are all princesses who show little girls that no matter what culture you come from or what you look like, you can embrace what makes you special and still be a princess. They send the message that "It's great to be unique," both in how you look and what you choose to achieve. According to Cameron, that is exactly why Ariel from "The Little Mermaid," is her favorite. At 9 years old, Cameron identifies with this princess of the sea because "she believes in herself. If she dreams something, she makes it happen." She says that she likes Ariel because "she's sort of different from all the other princesses because she's a mermaid - and she has a great voice." It's no wonder these princesses have such a following. In the end, the message the girls are getting is that you don't have to dress in a tiara to be a princess. You can be you and be a princess just the way you are.
Under the Sea, Onstage at Last
"Ariel is such a beloved Disney Princess -- I always loved her, and all the people who come to the show who I meet afterwards, they just love her. It's because she's so independent and has such a big heart," says Sierra Boggess. Sierra is in a position to know Ariel better than anyone these days -- the young actress is playing the role of everyone's favorite Princess on Broadway in "The Little Mermaid," Disney's newest theatrical spectacular. Even beyond the excitement of making her Broadway debut, becoming "part of Ariel's world" is truly a dream come true for Sierra, who fell in love with the animated classic "The Little Mermaid" from the moment it was first released. "I was seven when the movie came out, so I memorized it!" she says. In fact, "The hardest stuff for me during rehearsal was a few little lines that were just slightly different from the movie -- and in my head, I knew the lines from the movie!" Compared to that, learning to "swim" onstage was a breeze. Sierra shared with us the secret to gliding under the sea: "We have Heelys, which are those shoes with wheels on them, that we see kids zooming around all the time on," she confesses. "That has been really fun, because it's such an inventive way to portray being underwater. The two little boys who alternate in the role of Flounder -- because they're 12 and 11 years old, they live on those Heelys in real life. The things they can do are amazing! All of us watch them in rehearsal." Tooling around the stage on wheeled shoes does, as you might imagine, have its hazards. "Pretty much all of us have fallen at one point or another in rehearsal," Sierra laughs. "Luckily, we haven't had anybody completely wipe out on stage. But it's a really cool way to get around backstage -- we zoom back and forth!" Putting the cast under the sea in a convincing way was only one of the challenges the production faced -- another was expanding the story for Broadway, while remaining true to the spirit and feel of the film. In that department, composer Alan Menken came to the rescue. The co-composer of the film's songs returned to craft new songs with lyricist Glenn Slater. "Alan Menken is a brilliant, brilliant composer. His songs are beautifully written, and the new songs just kind of flow together with the old songs we love so much," says Sierra. "I especially love a number I get to sing in the second act, that kind of tells what's going on in my head, called 'In My Wildest Dreams.' It's so beautiful! And it's based on part of the underscoring in the movie. When I heard the song, I said 'I've heard this melody before!' -- and it was because it's the music in the movie." "Scuttle the seagull also has two fantastic new numbers -- he doesn't get to sing in the movie," says Sierra. But her favorite musical moment comes from another new song. "I get to dance with Sean Palmer who plays Prince Eric, and he's teaching Ariel how to dance to one of Alan's new songs -- 'One Step Closer.' The song is gorgeous, and there's the excitement of Ariel learning to dance & plus there are these Sierra moments of realizing 'Sean Palmer is such an incredible dancer, and here I am dancing with him!' Wow, I'm really starstruck. Everyone wants to dance with a prince!" she laughs. Those starry-eyed moments underline how much Sierra has in common with the Little Mermaid herself. The actress says that Ariel's experience is easy for her to portray, because like the character, she is getting the chance to explore a whole new world. "It's so cool being in New York and seeing all the posters for 'The Little Mermaid' around -- it's a bit surreal. There's a song in the show where she's so excited and going 'Look at that! Look at this!' and it comes quite naturally to me to do that song, because she's stepping out into a brand-new place and it's like that for me too!" Audiences can enter Ariel's world too at Broadway's historic Lunt-Fontanne Theatre -- until recently the home of Disney's "Beauty and the Beast." Just make sure you leave your Heelys at home.

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