Boxoffice-July.1997

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u n< i\ # II. 1. t/'L' a Qjmposer Alan Menken, the eight-time Oscar winner whose Disney credits have included "Beauty and the Beast," "The Hunchback of Notre Dame," "The Little Mermaid" and "Aladdin," says Egan brought a "wonderful wry quality" to the role of Meg. "She's tough and yet vulnerable." Menken's coUabothing in this show has a twist Nothing is quite straight on, except for the emotions." Danny DeVito's big musical number, "One Last Hope," is played as a flamboyant pastiche of vaudeville and Broadway show tunes. Menken urged him to "think Jimmy Durante." But, recalls the composer, DeVito "didn't do Hercules" also pokes sly, self-referential fun at Disney merchandising tie-ins by showcasing "Hercules Stores" peddling hero-worshipping souvenir products, including such items as vases featuring Here's valiant visage. There's a certain eternal verity to such gags, the filmmakers believe, because LABORERS OF "HERCULES": (left to right) Helmers Ron Clements and John Musker recently signed exclusive pacts with Disney: Tate Donovan takes inspiration from a likeness of the film's hero; and James Woods gets down as the god Hades. rator on "Hercules" was lyricist David Zippel, a Tony winner for "City of Angels" and a newcomer to Disney animation. Working with Musker and Clements is "a riot," Menken says, "because each song becomes a standout song. You have less of the kinds of songs that are built in and forwarding plot in a compUcated way. The songs they like me to write and that make them really fun are production numbers, comedy numbers, and heavily stylized numbers. 'Hercules' is just so funny, so fastpaced, so entertaining." of the most daring Oneaspects of "Hercules" is its incorporation of African-American musical idioms to convey hope, idealism and soulfulness, a suggestion by the directors that Menken and Zippel eagerly embraced. The five Muses making up the film's Greek chorus—Calliope, Thalia, Clio, Meljxjmene and Terpsichore, sung by Lillias White, Vaneese Thomas, Cheryl Freeman, LaChanze and Roz Ryan—v(x;alize in a style Menken describes as "sort of New Orieans funk," a blend of gospel with rhythm and blues. That element was added to give the film "a styli.stic twist that you wouldn't normally expect" says lyricist Zippel. "Becaase cvery- Jimmy Durante. It sounded like Danny DeVito singing, and it really worked." Another example of the film's incessant stream of showbiz in-jokery is James Woods' motor-mouthed portrayal of Hades as what Clements calls "the hippest villain we've ever HERC" JERK: Hades is a blue-haired fast talker with teeth as sharp as a talent agent had, a Hollywood-agent type of personality. When [fonner agent) Michael Ovitz was here |as president of the Walt Disney Co. until his departure last December], we couldn't say that. Now wc can." the Greek gods filled a function in their society much like that now performed by movie stars or the British royal family in today's mediasaturated culture. By offering this "gende parody" of the machinery by which heroes are created, Musker and Clements have a lowkey moral message in mind for the young among their family audiences. "In becoming sort of the Michael Jordan of his day, Hercules learns there is more to being a hero than being an action hero," Musker says. "Understanding the difference between celebrityhood and genuine heroism is good for kids today." The movie's bustling city of Thebes, beset by myriad nauiral disasters, is meant to evoke contemporary New York or Los Angeles— plijce in which, as Clements puts it, "they need a hero but ihey don't believe in heroes. I lercules finally attains heroism when he's not trying to. That's when he letuns a self-sacrificing attitude. He finds that heroism has to come from the heart." j^^, .^^ ^^ ^^y^^.^^ i^y. of "Aladdin" was influenced by Persian art. the ancient Greek setting of "Hercules" inspired its own offbeat style of animation, evoking the art of Attic pottery. "'Hercules' has a two-dimensional quality, more stylized. less representational, and more
' digital sound? Digital sound is more realistic, more dynamic, more spectacular— d a powerful audience attraction. Without it, any exhibitor today at a big disadvantage. y Dolby Digital? There are far more Dolby Digital titles (900 released and annoui r . d) an any other digital fomiat—and every print has a digital soundck. If you book a Dolby Digital title, you get a print with a Dolby r gital soundtrack—no exceptions, no excuses. And when it comes to sound, no name is more familiar to audiences than "Dolby." 't it expensive? Dolby Digital is remarkably affordable today. The price of ocessors has come down significantly, and projector manufao ers now offer cost-effective soundheads integrating both digital and analog readers. What support does Dolby provide? Only Dolby offers a choice of exciting digital traOers, plus marketing aids from window signs to lobby posters. What's more, as improvements to the Dolby Digital process are developed, they are included right on Dolby Digital prints as software that automatically loads into your theatre's processor to update it. ow can I find out about upcoming Dolby Igital titles? A regularly updated list of Dolby Digital films, both leased and announced, is posted at www.dolby.cotfi; e Dolby web site. You can also contact Dolby iboratories directly for the list. t should I do when I'm ready to Dolby Digital? Call Dolby Laboratories "r your Dolby thcc. . equipment supplier. . e Z'; ^ ; Dolby Laboratories Inc. 100 Potrero Avenue. San Francisco, CA 94103 .phone 4 1 5-558-0200 Fax 4 1 5-863- 1 373 Kjiton Bassen Wiitshirc SN4 8QJ Englan • V842101 iwvw.dolb). '-phone +44-(0) 1793-842 1 00 Fax +44-(0) >97Dolb>-Labf,r- ' ••"' 7- and ihc doubtc-D symbol are [mdcmarlcs i >lby Laboratories !>y
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