Release Date
2010 (USA)
Plot Outline
After a retooling, the film will be based again on the literary origins of the famous fairy tale, in the veins of Classics like "Snow White" and "Cinderella": described as a traditional, character-driven fairy tale it will speak to a modern audience, with a different new style of its own.
Cast
Kristin Chenoweth ... Rapunzel (voice) (rumored)
Matthew Gray Gubler ... Young Prince Flynn (voice) (rumored)
Dan Fogler ... Prince Flynn (voice) (rumored)
Grey DeLisle ... Madame Gothel / Evil Witch (voice) (rumored)
David Schwimmer ... Father Sam / Mr. Sunton (voice) (rumored)
Carolyn Lawrence ... Mother Amy (voice) (rumored)
Peter Sallis ... Gramps Franklin (voice) (rumored)
Pam Hyatt ... Granny Claire (voice)
Kevin Linehan ... Narrator (voice)
Concept Artwork
Animation
QUOTE
The film will be made in CGI, though Rapunzel will resemble traditional oil paintings on canvas: "There’s no photoreal hair. I want luscious hair, and we are inventing new ways of doing that. I want to bring the warmth and intuitive feel of hand-drawn to CGI.
"For inspiration, Keane and his animators are referencing a painting by French Rococo artist Jean-Honore Fragonard, The Swing, applying a certain richness that they have never attained in animation before. A fairy tale world has to feel romantic and lush. So we were able to duplicate the shot with the girl on the swing in 3D, to do a dimensional tree where the leaves turn, but it still feels like it has calories if you look at it too long. Very painterly. The next step was to do an animated human character: to get a softness, a feel of blood in the veins. I want skin moving across bone and tendon and there’s a subtlety to this. The thing is, I don’t want realism."
"Kyle Strawitz really helped me start to believe that the things I wanted to see were possible… that you could move in a Disney painterly world. He took the house from Snow White and built it and painted it so that it looked like a flat painting that suddenly started to move, and it had dimension and kept all of the soft, round curves of the brushstrokes of watercolor. Kyle helped us get that Fragonard look of that girl on the swing… We are using subsurface scattering and global illumination and all of the latest techniques to pull off convincing human characters and rich environments."
One of the main ambitions of the makers of Rapunzel is to create movements that are just as soft and fluid as of that in the old Disney Classics.
"For inspiration, Keane and his animators are referencing a painting by French Rococo artist Jean-Honore Fragonard, The Swing, applying a certain richness that they have never attained in animation before. A fairy tale world has to feel romantic and lush. So we were able to duplicate the shot with the girl on the swing in 3D, to do a dimensional tree where the leaves turn, but it still feels like it has calories if you look at it too long. Very painterly. The next step was to do an animated human character: to get a softness, a feel of blood in the veins. I want skin moving across bone and tendon and there’s a subtlety to this. The thing is, I don’t want realism."
"Kyle Strawitz really helped me start to believe that the things I wanted to see were possible… that you could move in a Disney painterly world. He took the house from Snow White and built it and painted it so that it looked like a flat painting that suddenly started to move, and it had dimension and kept all of the soft, round curves of the brushstrokes of watercolor. Kyle helped us get that Fragonard look of that girl on the swing… We are using subsurface scattering and global illumination and all of the latest techniques to pull off convincing human characters and rich environments."
One of the main ambitions of the makers of Rapunzel is to create movements that are just as soft and fluid as of that in the old Disney Classics.
New - Visual Development
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