‘Money Heist’ makers give sneak peak of new thriller
‘Money Heist’ makers give sneak peak of new thriller/node/1389281/lifestyle
‘Money Heist’ makers give sneak peak of new thriller
Actress Irene Arcos (L), Spanish actor Alvaro Morte (C) and Spanish actress Veronica Sanchez (R) pose during a photocall for "The pier" TV series as part of the Mipcom, on October 16, 2018 in Cannes, southeastern France. (AFP)
CANNES: The makers of “Money Heist,” the most-watched non-English language series in Netflix history, premiered their new show “The Pier” Tuesday, a romantic thriller also set in Spain.
Its creators Alex Pina and Esther Martinez Lobato told reporters that the new series was equally gripping — but in a “much more emotional way” — as they gave a sneak preview of the first episode at MIPCOM, the world’s top entertainment market in Cannes.
But while “Money Heist” (called “La Casa de Papel” in Spanish) takes place over 11 nail-biting days inside the Spanish Royal Mint as a crack team of crooks try to pull off the biggest robbery in history, “The Pier” is mostly shot outside in one of Spain’s most beautiful national parks.
Interview with the director and stars of ‘The Lion King’
Jon Favreau, Chiwetel Ejiofor, Seth Rogen and Billy Eichner discuss Disney’s latest blockbuster remake.
‘We’re trying to live up to people’s imagination of what they remember ‘Lion King’ being,’ says Favreau.
Updated 18 July 2019
DUBAI: There are few movies as resonant as Disney’s 1994 classic “The Lion King.” From its beautiful animation and memorable songs by Hans Zimmer and Elton John to its devastating emotional punch, the film has become a touchstone for an entire generation, one of the few films that unite nearly every person who has seen it across the world.
Now, 25 years later, director Jon Favreau (“Iron Man,” “The Jungle Book”) has brought “The Lion King” to life again for a new generation. Sitting in London, the first thing Favreau asks Arab News is whether we were part of the “Lion King” generation, and we were, mentioning to Favreau just how expansive the film still feels to us.
“That’s part of the challenge here! We’re trying to live up to people’s imagination of what they remember ‘Lion King’ being. We would watch it next to one another and there’s certain sequences that hold up incredibly well that we tried to follow shot-for-shot like (the opening sequence) ‘Circle of Life,’ but there’s other areas where we had the opportunity to update it and make it feel a bit more grounded in reality,” Favreau tells Arab News.
Remaking it for a new generation seems obvious, but — to borrow from another Disney classic — it was a Herculean task for Favreau and the huge animation team that supported him. This version remains fully animated, but uses cutting-edge technology to make the entire film photo-realistic. The characters, story, and songs remain, but the film looks more like a David Attenborough nature documentary than an animated movie.
It wasn’t just the technology that proved challenging, either. Making sure that audiences still connect with these beloved characters without the expressiveness of classic Disney animation was something that gave Favreau pause.
“I worked on ‘Jungle Book,’ so I had some experience in this area,” he says. “Pretty early on, we got to try some different things and when you go to human, you think it would make you feel more but it really feels kind of bizarre, at least to me. I was limited if we were to go photo-real. If you go stylized like Pixar it’s great, you can do whatever you want. If we go ‘Madagascar’ you can make them stick their tongues out. The minute you start hitting photorealism, you hit the uncanny valley when you push the performances beyond what the real animal could do. Part of what makes it look so real is we limited what we allowed the animators to do.”
To be sure that audiences would connect with the characters, Favreau relied a lot on the voices that supported them, bringing in an all-star cast including Beyoncé as Nala, Donald Glover as Simba, Chiwetel Ejiofor as Scar, and Billy Eichner and Seth Rogen as Timon and Pumbaa.
“If you look at a character like Pumbaa, to me he’s the most fun example, because when people saw pictures of Pumbaa they were like, ‘Oh my god! That’s horrifying! That thing looks like a monster!’ But when you watch the movie and you hear Seth Rogen’s voice coming out of it and the way the animators animated his body and what the character represents and feels, you have a tremendous connection to it. It’s a testament to the power of using techniques that we borrowed from documentaries or other films, where we limit ourselves to not anthropomorphize the characters,” says Favreau.
Eichner and Rogen both tried to remain true to the characters, but also stay true to themselves. “My idea from the beginning was that Jon cast us for a reason,” says Eichner. “He could have cast pretty much any actors. Anyone would have killed to do these roles and be in this movie. It wasn’t the right time to try a new persona. It would have been very strange had I all of a sudden had a deep resonant baritone. I figured he wants Seth to sound like Seth and me to sound like me — or at least what our public comic personas sound-like — and hopefully they’ll complement each other, which they did. Our goal was not to try a new character but to be as funny as possible together.”
As funny as Rogen and Eichner are in the film, it is still aimed firmly at kids — something Rogen hadn’t really considered prior.
“It wasn’t something that even occurred to me until we were making the movie and I was performing the bully scene,” he says. “I was like, ‘Oh, this is for kids!’ I have never done anything that was ever trying to instill any wisdom into kids in any way shape or form.”
The film’s wisdom, like the original, is far-reaching, exploring truths not only of family and loss, but of the corrupting nature of ambition and power, which Ejiofor explored in his role as Scar.
“Often, when people are obsessed with power and status, they aren’t really worried about what they do with it, they’re just concerned about getting it. It’s not something that’s connected to any kind of nurturing aspect for a community or anybody else. It becomes about the nature of obsession — obsession with power and status, and maybe status more than power, even though they are related,” says Ejiofor. “That’s one of the things that’s engaging and fun about the film and its themes.”