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Published by מאיה אלדר, 2020-05-14 16:39:53

maya eldar

maya eldar

May 2020

03 - Title
04 - Intro
06 - Enviorment
08 - Technichal Info & Outro

03

The Lion
King 2019

Jon Favreau’s photorealistic copy of the
classic 1994 animated feature is a virtual
triumph – but why go to the effort?

04

Disney’s money-spinning mission to
recycle its animated back catalogue with
“live action” remakes continues apace.
In the past few years we’ve had Tim
Burton’s Alice in Wonderland and
Dumbo, Kenneth Branagh’s Cinderella,
Bill Condon’s Beauty and the Beast and
Guy Ritchie’s Aladdin. Coming up are
Niki Caro’s Mulan, Rob Marshall’s The
Little Mermaid, and many, many more.

Although consistently profitable, the
reason for these reboots’ existence
remains questionable.

05 Did Emma Watson make a better Belle
than the drawn star of Disney’s 1991
animation just because she’s “real”?
With this new (and peculiarly faithful)
version of The Lion King, however, the
question is not whether a “live action”
remake can improve on an animated
classic. Rather, it’s what we should call
an animated movie that eerily mimics
reality while featuring no “live action”
whatsoever.

Anyone who’s enjoyed an effects-laden
21st-century superhero movie will know
that entire sequences (and indeed
characters) are effectively hi-tech
animations.

06

We open with a carnival of bewilderingly
lifelike creatures (from “the crawling ant
to the leaping antelope”), merrily
gambolling through the Circle of Life.
Remember that sense of wonder you felt
seeing the majestic herds of dinosaurs
for the first time in Jurassic Park? I got
that same sensation gazing at these
frolicking beasts, as they follow the
familiar story of a young lion’s struggle
to live up to his idolised father,
wondering whether I should be
applauding the animators or animal
trainers. While Aslan in the Chronicles of
Narnia movies may have shimmered
with an air of digital artificiality a decade
ago, Mufasa’s mane looks so natural you
feel you could reach out and stroke it.

07

As for the savanna landscapes, their
apparent tangibility seems perfectly
suited to the phrase that echoes
throughout The Lion King: “everything
the light touches”. It’s as if
cinematographer Caleb Deschanel had
physically ventured into another world,
bathed in the honeydew glow of an
everlasting “magic hour”. Equally well
evoked are the haunting hues of the
expedition to find the elephants’
graveyard, and the barren landscapes of
the post-Mufasa pride lands, “heavy on
the carcass”.

08

All these settings were designed within a
game engine, then rendered as virtual
environments through which a “camera
crew” could move, mimicking the angles
and imperfections of live-action
shooting. The effect is impressive,
lending an apparent human touch to a
computer-generated world, creating the
reassuringly physical illusion of
happenstance.

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