Author: Robert Greenberger

On Tuesday, the eagerly-awaited Blu-ray edition of Beauty and the Beast finally comes out and Walt Disney has been making certain we all know it. Yesterday, we presented a chat with Alan Menken, who helped make the music sound so wonderful. Today, we hear from Paige O’Hara, the talent voice actress who made Belle a memorable heroine.

Question: Did they incorporate any of your features when they drew Belle?

Paige O’Hara: Oh yeah. The eyes and cheekbones and the way she raised her eyebrow and pushed her hair out of her face—that was me. Little things and expressions. When I looked at the wall, there were pictures of Elizabeth Taylor and Grace Kelly and Audrey Hepburn up, and my little funny picture was there too. The fact that she wasn’t so perfectly beautiful made the film that much more successful. She is a little odd. Of course that’s the character and I identified with her. I was odd as a kid. I was into Gershwin. I definitely identified with Belle. More girls than not feel that way I think.

Question: How excited were you to be part of such a legendary Disney title?

Paige O’Hara: You know, Mary Poppins is my favorite film and I loved Bambi and all the other Disney animated films. I was always an artist as well so I appreciated the animation too. Playing Belle was a dream come true.

Question: The film won two Academy Awards. Tell me what it was like being there.

Paige O’Hara: Oh it was incredible. It is the only animated film to ever be nominated for Best Picture so it holds that stature as well. I was really excited. We had heard rumors about the songs being nominated and there was a lot of discussion about celebrities performing our songs, but Mr. Eisner and Mr. Katzenberg insisted that the original artists get to sing their songs. That was really, really wonderful. It was the only time I sang with Angela Lansbury and Jerry Orbach. Angela introduced me at the Academy Awards. I remember we were backstage and of course I was going to be singing live which was scary so I was shaking. She was shaking too. She patted me on the butt and said if, “I had your voice, I wouldn’t be shaking. Don’t be nervous.”

Question: What else do you remember about the experience?

Paige O’Hara: It was fun being a part of the parties. Honestly, the worst part about the Oscars was that I didn’t like my dress—the one I performed in. They told the designer to put me in blue and it was this blue and white dress that looked more like Bo Peep or Dorothy. It was way too frilly and not very “Belle-y.” It was a checkerboard pattern. I had to perform in that dress, but afterwards I got to change into a beautiful Bob Mackie teal green gown. I even made one magazine’s Top 3 Best Dressed list!

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In case you missed it, Walt Disney is finally releasing their wonderful Beauty and the Beast on Blu-ray this coming Tuesday. The movie, which earned an Academy Award nomination for best picture, is getting the full PR treatment and they provided us with this interview with composer Alan Mencken, whose work with the late Howard Ashman re-energized the films during the 1980s and 1990s.The combo pack will include the Blu-ray, a standard DVD and a digital copy for your personal use.

Alan Menken has composed huge hits such as THE LITTLE MERMAID, ALADDIN, HERCULES, POCAHONTAS   and ENCHANTED and   has won more Oscars than any other living person. He sat down for the following  interview.

Question: You have been involved with so many wonderful Disney films, what does BEAUTY AND THE BEAST mean to you?

Alan Menken: BEAUTY AND THE BEAST has been a perennial favorite of people who love Disney animation. They   have a continued appetite to know more about it and to see it enhanced. That is incredibly gratifying. I love the film too. I just watched it  again and it is gorgeous. It is possible that it is even more beautiful than it was when it debuted. It is very gratifying to have this “Diamond Edition”.

Question: Can you explain what it was that you did musically  with BEAUTY  AND THE BEAST?

Alan Menken: All  Howard and I did  was to tell the story, which is very romantic. The setting is   timeless and I just went to my gut, which is what I always do. With  this one, Howard was in his last days, although at the beginning I didn’t know that, but by the end of working on it, I knew that this was  a great artist’s last creation. I am sure that emotion informed what we did. We worked with a palette of French and classical and Broadway music and it was a culmination of a certain kind of  emotion for us. Also all these projects we do – whether it is THE LITTLE MERMAID OR BEAUTY AND THE BEAST or ALADDIN –  are  homages. This  one is an homage to the most romantic  parts of the Disney canon. Maybe I was channeling something special I don’t know, but it was clearly romantic and timeless and I credit Howard with a lot of what we came up with.

Question: The music has everything: from poignancy, to humor and ultimately joy, how did you convey that spectrum of emotions?

Alan Menken: That is what we always aim to do.  As an ideal, the Disney musical   is  always a combination of things that are joyful and things that are wistful and scary too and BEAUTY has all those elements. I can only be as good as the stories I am telling and  the characters that I am bringing to life. And with this film we were bringing some powerful things to life.

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Doctor Who The Visual Dictionary

By Neil Corry. Jacqueline Rayner, Andrew Darling, Kerrie Dougherty, David John and Simon Beecroft
144 pages, DK Publishing, $24.99
 
Your first thought is, why on earth are we reviewing this book when it came out last year? The answer is – because this is a brand new edition, incorporating only some of the previous edition’s material and thoroughly revised to incorporate the known exploits of the eleventh Doctor.

The problem with fact books based on ongoing franchises is that almost immediately, the facts are outdated. Wisely, this new volume covers the entirety of the fifth season of the current version of the BBC’s perennial [[[Doctor Who]]] and is being released in that fallow period between the season ending and the Christmas Special.

Interestingly, Matt Smith’s Doctor is merely an insight to the brightly colored Daleks fronting this book, which is in the traditional large DK guidebook side. The Doctor’s equipment, friends, and foes certainly deserve large pages in which to luxuriate in the minutia. And boy is there plenty of detail here. Taking a cue from the [[[ Star Trek]]] tech manuals, the multitude of authors provide pseudo-scientific explanations to how things work. We get a nice double-gatefold examining the TARDIS and now we know what each station does. Yet, the cut-aways for the new Sonic Screwdriver do not give us any idea where the readout display goes.

Visually, the book covers the five seasons beginning with the Christopher Eccleston revival, heavily favoring the current Matt Smith era. The text, however, delves through the years with some information dating back to the earliest days of the Doctor so fans of the entire series will appreciate the acknowledgment of the past.

There, of course, can be quibbles. Some 20 pages are spent on the Daleks in all their colorful glory while the Doctor and his eleven incarnations get a mere six pages. Torchwood is under-represented as is dear old Wilf.

In some cases, we learn more about the alien races here than we ever did on the series, which enriches them to a degree. The photography and layout is visually engaging and clean to comprehend which is greatly appreciated.

If anything is missing, is some sort of timeline, establishing the various eras and worlds visited by the Doctors, which probably deserves a book of its own. This is a fine collection to flip through and cherish until the next edition rolls out. You have to love the Doctor to fully appreciate this treasure trove of information but most of us here at ComicMix fall into that category. Be sure to tell Santa you want this.