關於 a whole new world 1992 ，我們在網路上蒐集到這些相關的討論、資訊與評價

น่ารักมากกกกกกก ฮือออออออ😭💕💖💖💖💖

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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

アラジンの"A Whole New World"、英語（対訳付き）と解説載せました。
1992年オリジナル版と現行版の歌い方の違いについても触れています。
https://bit.ly/2Xi0MyQ

"A Whole New World" is the key song from Disney's 1992 classic animated feature film Aladdin, which was composed by Alan Menken along with lyrics written by Tim Rice. It is a love ballad performed by Aladdin (Brad Kane) and Jasmine (Lea Salonga) during a magic carpet ride around the world.

新的一年帶給大家一個全新的世界

Original singer / 原唱： Aladdin (Brad Kane) and Jasmine (Lea Salonga)
Cover翻唱/Harmony和音：許靜雯 Lisa Hui
錄像拍攝/剪輯 VIdeographer & Video edit：許靜雯 Lisa Hui
灯光 Lights：李廷川 Lee Ting Chuen
中英文翻譯字幕 Translation ：許靜雯 Lisa hui / 李廷川 Lee Ting Chuen




Video by mike lacoste from Pixabay
Video by Leif Lensgraf from Pixabay
Video by Victor Salazar from Pixabay
Video by Vimeo-Free-Videos from Pixabay
Video by Anderson Campos from Pixabay
Video by Tomislav Jakupec from Pixabay
Video by Jacques Barrette from Pixabay
videos/id-1225/ by Joe Hackney from Pixabay
Video by Vimeo-Free-Videos from Pixabay
Video by Tomislav Jakupec from Pixabay
Video by mike lacoste from Pixabay
Video by invisiblepower from Pixabay
Video by FindingFootage from Pixabay
Video by Vimeo-Free-Videos from Pixabay
Video by Engin Akyurt from Pixabay


#Aladdin #AwholeNewWorld #MenaMassoudNaomiscott
#Princess #jasmine #Lisahui #disney #disneysongs #disneycover #迪士尼 #leasalonga #bradkane #opera #disneyopera #harmonies #acapella #waltdisneypictures

#Aladdin #Speechless #二胡
Aladdin-Speechless 二胡版 by 永安 (Erhu Cover by YungAn)

《阿拉丁》（Aladdin）是一部於2019年上映的美國歌舞奇幻電影，由蓋·瑞奇執導並與約翰·奧古斯特共同撰寫劇本。電影改編自著名民間故事《阿拉丁》及1992年迪士尼同名動畫，並由威爾·史密斯、梅納·馬蘇德、娜歐蜜·史考特、馬文·坎薩林、納維德·奈嘉班、納西姆·帕杜雷德和比利·馬格努森主演。電影於2019年5月24日在美國上映。

被大讚為迪士尼公主系列電影中最成功的選角－娜歐蜜·史考特（Naomi Scott），其實有一段曾經發片但沒受到注意，戲劇試鏡也一直被拒絕的過往。但《阿拉丁》的主題曲《Speechless》讓全世界看見她，也為迪士尼系列電影帶來新氣象！下面就讓我們先來欣賞電影MV：
https://youtu.be/mw5VIEIvuMI

《Speechless》是1=A，二胡演奏時，DA定弦，41弦指法。這首歌旋律簡單，節奏固定，二胡演奏上唯一的困難點就是音域高，高音區的音色控制與揉弦是一大難點。樂曲前半段，刻意壓抑內心的情緒，控制右手的表現力不要太放過。樂曲進入高潮後，放開右手運弓，弓頭與揉弦都可以加強。演奏時心中默唱，注意揉弦速度要足夠。右手運弓關注貼弦點，感受手前臂重量，並把這個重量確實傳達到弦上。我的二胡演奏上還有很多不足的地方，請各位朋友繼續給予指點囉！

茉莉公主唱《Speechless》的時候，我整個起雞皮疙瘩。
這首歌帶給我的震撼，甚至超越了阿拉丁的經典曲《A Whole New World》！

========================

Aladdin-Speechless 二胡版

原唱：Naomi Scott
詞曲：Alan Menken／Benj Pasek／Justin Paul
原曲發行：2019年5月22日
二胡錄製：2020年10月15日
簡譜：永安
二胡：永安

1=A BPM=125
Here comes a wave
一陣浪潮襲來
6134
Meant to wash me away
注定要將我沖離
317 121
A tide that is taking me under
潮水將我湧入
7671 712 21
Swallowed in sand
流沙將我吞噬
6134
Left with nothing to say
留下的是無話可說
317 121
My voice drowned out in the thunder
我的聲音在雷聲中淹沒
7615 31 32

But I won't cry
但我不會哭
1356
And I won't start to crumble
也不會開始崩潰
565 325
Whenever they try
無論他們怎麼嘗試
13536
To shut me or cut me down
要封閉我或剪除我
653 617

I won't be silenced
我將不會沉默
117 63
You can't keep me quiet
你無法叫我始終安靜
2321 52
Won't tremble when you try it
我將不再顫抖 在你試著要我安靜的時候
12 215 56
All I know is I won't go speechless
我所知道的是我不再緘默
176 176 176

Cause I'll breathe
因我將張口呼吸
17 63
When they try to suffocate me
當他們試圖阻礙我
22321 522
Don't you underestimate me
你別低估我了
712 21 556
Cause I know that I won't go speechless
因為我知道我不再緘默
176 176 176

Written in stone
刻寫在石頭上
6134
Every rule, every word
每條法則 每一個字
3171 21
Centuries old and unbending
千朝萬代 堅定不屈
671 712 21
Stay in your place
你就留在那別動
6134
Better seen and not heard
好好看著別出聲
317 121
But now that story is ending
這故事現在就要終止
615 31 32

Cause I
因為我
56
I cannot start to crumble
我不會崩潰
717 665 6
So come on and try
所以放馬過來試看看吧
31756
Try to shut me and cut me down
試著封閉我然後剪除我
36653 617

I won't be silenced
我不再保持沉默
117 63
You can't keep me quiet
你無法叫我始終安靜
2321 522
Won't tremble when you try it
我將不再顫抖 在你試著要我安靜的時候
12 215 56
All I know is I won't go speechless
我所知道的是我不再緘默
176 176 176
Speechless
緘默
23

Let the storm in
讓風暴進來吧
17 63
I cannot be broken
我不會因此破碎
2321 522
No, I won't live unspoken
不 我不再活在無言之中
112 15 56
Cause I know that I won't go speechless
因為 我知道我不再緘默
176 176 176

Try to lock me in this cage
試著將我關進牢籠中
17 66717
I won't just lay me down and die
我不再只是墮落自己然後逝去
712 43316
I will take these broken wings
我將乘著這破碎的翅膀
176 671 5
And watch me burn across the sky
看著我在天空中發光發熱
441 322 12
And it echoes saying
而它將發出回響說道
1244 34

I won't be silenced
我將不再保持沉默
3 21 23
No you will not see me tremble when you try it
不 你將不會看到我顫抖 在你試著要我安靜的時候
123 21 2175 56
All I know is I won't go speechless
我所知道的是我不再緘默
176 176 176
Speechless
緘默
23

Cause I'll breathe
因我將張口呼吸
243 21
When they try to suffocate me
當他們試圖阻礙我
123 21 522
Don't you underestimate me
你別低估我了
123 45 321
Cause I know that I won't go speechless
因為我知道我不再緘默
176 176 176
All I know is I won't go speechless
我所知道的是我不再緘默
176 176 121
Speechless
緘默
23

END

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Enjoy my arrangement of the song "A Whole New World" from Aladdin!

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Composer(s): Alan Menken

Arrangement © Marioverehrer (2019)
Original Music © Walt Disney (1992)