First-look: THE ODD LIFE OF TIMOTHY GREEN - A wonderful drama-fantasy!

Walt Disney Pictures has just premiered the Trailer B of its upcoming drama-comedy “The Odd Life of Timothy Green” starring Jennifer Garner (“Valentine's Day”) and Joel Edgerton (“Warrior”).

Academy Award®–nominated director/writer Peter Hedges (“Dan in Real Life,” What’s Eating Gilbert Grape?”) brings enchantment to the screen with “The Odd Life of Timothy Green,” an inspiring, magical story about a happily married couple, Cindy and Jim Green (Garner and Edgerton), who can’t wait to start a family but can only dream about what their child would be like.

When young Timothy (CJ Adams) shows up on their doorstep one stormy night, Cindy and Jim—and their small town of Stanleyville—learn that sometimes the unexpected can bring some of life’s greatest gifts.

Opening across the Philippines on August 2012, “The Odd Life of Timothy Green” is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.

3D for “BEAUTY AND THE BEAST” breaks new ground

Through the magic of Disney and the leaps in modern computer animation technology developed at the Walt Disney Animation Studios, a team of artists, under the guidance of stereographer Robert Neuman, found a way to breathe more dimensional life into “Beauty and the Beast” by turning it into an eye-popping 3D experience.

Numerous and dramatic challenges awaited Neuman and his team. In discussing the complications of making “Beauty and the Beast” into a 3D film, Neuman emphasizes that because there was no dimensional reality in which to put a second camera, he and his team had to invent a brand new set of computer tools that would allow the filmmakers to sculpt depth into the existing images and thereby create a second eye in order for the 3D to be achieved.

“In making a live-action film a director could simply add a second camera to get the second eye view,” Neuman says of the task that he and his team faced. He explains that the 3D conversion technique they came up with––pixel displacement––enables the artists to take each image and create a “depth map” that corresponds to that image. “The depth map is simply a grayscale image that allows our artists to sculpt out a relief map––the depth map––of the image. We’re then able to take that, apply it to the original image and displace the pixels to create a second eye view,” he says.

Producer Don Hahn adds, “I think we were the beneficiaries of having the original movie made on the CAPS system, which was the Computer Animation Production System that Disney created to produce animated movies back in the late ‘80s. We were able to store the movie on individual levels. In other words, if we had a scene of Belle and the Beast together at a table in the castle, we would have the characters on one level, and the table on another level, and the background on still another level. So we had a nice separation when we brought the scenes back online.”

The computer gives the filmmakers total control over that illusion. Objects that are close up, such as Belle and the Beast dancing, can create a very intimate environment, as though the audience is sitting right there in the scene. Or if a spectacular shot is required, perhaps of the countryside with Maurice going off to sell his inventions, that epic shot is given a more gentle treatment of 3D. Many factors are at play and the story is enhanced by that 3D decision-making. Stereographers like Robert are crucial to the process.

Take for example the famous ballroom sequence. Although spectacular in its original form, Neuman and his team of artists were able to enhance what was already one of animation’s most memorable scenes. “We use 3D to support the storytelling narrative,” Neuman says. “Like any other aspect of film, such as the music score, 3D is used to enhance big emotional moments and to help build up to the emotional climax. For those big moments we expand the 3D. We put more of the three-dimensional effects into it. For the ballroom scene it was vital to have the right sense of scale. We had to show the grandeur, the majesty of this ballroom. The key to it was to enforce the sense of perception of scale.”

Neuman further explains that the “Be Our Guest” number was especially suited to 3D. “Although it was a bigger challenge than the ballroom sequence because there were shots that had hundreds of levels and every level of artwork requires dimensionalizing, if you look at the original staging, the way the things are blocked and choreographed, you see that it already has a sense of dimensionality.”

The filmmakers agree that the techniques that enabled them to create “Beauty and the Beast” in 3D is so new that this could not have been done just five years ago. “The first time we ever did a dimensionalization was on ‘The Nightmare Before Christmas,’” Don Hahn says. “It was hard, very labor-intensive work. The results however were great, but it took a long time and was very expensive. It still takes a long time and it’s very expensive!” Hahn says.

“Beauty and the Beast” was the first hand-drawn film to be dimensionalized into 3D. Disney is the leader in the new technology and regardless of how sophisticated it is, as Hahn says, “It’s important for people to know that it’s not as simple as pushing a button or putting a quarter in a machine and a 3D movies out. It’s all about great artists like Robert Neuman and his crew who must make important creative decisions.”

Opening across the Philippines in Digital 3D cinemas on Feb. 22, “Beauty and the Beast” is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.

TANGLED "EVER AFTER” to debut short feature with “BEAUTY AND THE BEAST” 3D

Walt Disney Pictures has announced that "Tangled Ever After," the short film follow-up to their 2010 hit animated feature “Tangled” will be an added attraction to “Beauty and the Beast” 3D when it opens in the Philippines on Feb. 22.

By popular demand, directors Nathan Greno and Byron Howard are bringing back some of Disney’s most beloved characters when "Tangled Ever After" picks up where "Tangled" left off. The Kingdom is in a festive mood as everyone gathers for the royal wedding of Rapunzel and Flynn. However, when Pascal and Maximus, as flower chameleon and ring bearer, respectively, lose the gold bands, a frenzied search and recovery mission gets underway. As the desperate duo tries to find the rings before anyone discovers that they’re missing, they leave behind a trail of comical chaos that includes flying lanterns, a flock of doves, a wine barrel barricade and a very sticky finale. Will Maximus and Pascal save the day and make it to the church in time? And will they ever get Flynn’s nose right?

"Tangled Ever After" is the perfect accompaniment to "Beauty and the Beast", which is returning to the big screen in Disney Digital 3D and introducing a whole new generation to the Disney classic with stunning new 3D imagery. “Beauty and the Beast” was nominated for six Academy Awards, winning Oscars for Best Song, by the renowned Alan Menken and Howard Ashman, and Best Original Score (Menken).

“Beauty and the Beast” 3D is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.

A tale as old as time in “BEAUTY AND THE BEAST” 3D

One of the most popular and enduring romantic adventures the world has ever known became one of the most ambitious and entertaining animated motion pictures ever brought to the screen with Walt Disney Pictures' 30th full-length animated feature, ''Beauty and the Beast” which is coming to Philippine theaters for the first time in 3D.

This classic fairy tale about a beautiful young girl and her encounter with an enchanted beast has long fascinated and intrigued storytellers, filmmakers and their audiences. Through the artistry and imagination of the Disney creative team, an inspired song score by two Academy Award®–winning songwriters and the contributions of an enormously talented vocal ensemble, this age-old fantasy took on exciting new dimensions that are only possible through the magic of animation.

The "Beauty and the Beast" story is indeed “a tale as old as time" with variations on the central theme going as far back as Greek mythology. In 1550, Italian author Giovan Straparalo wrote the first account of the story as it is generally known. The tale grew in popularity during the 18th century with books by French authors Madam Le Prince De Beaumont and Madame Gabrielle di Villeneuve. In 1946, acclaimed French director Jean Cocteau used cinematic imagery and lyrical expression to bring this story imaginatively to the big screen ("La Belle et la Bete").

"Doing your own version of 'Beauty and the Beast' is as much a tradition as is the story itself," says producer Don Hahn. "Part of the fun is that each generation and culture adapts this story to be its own. The themes––you can't judge a book by its cover, and beauty is only skin deep–– are as relevant today as ever."

Screenwriter Linda Woolverton agrees, "The lessons of this story are truly timeless, especially for kids growing up today. It tells them to look beyond the surface and beyond materialism and that what is in their hearts and souls are the things that really matter."

The release of "Beauty and the Beast" in 3D comes at a time when both the art of animation and the 3D process are enjoying their greatest popularity.

All of the filmmakers and artists who have been involved with the 3D transformation of “Beauty and the Beast” are in unanimous agreement that they take pride in being part of the great legacy of this iconic film. As stereographer Robert Neuman says, “It’s amazing to be able to take these great movies like ‘Beauty and the Beast’ and ‘The Lion King’ and give audiences a new way to see them again. Even if they're seeing it for the first time, or the one-hundredth time, this is a whole new experience for audiences.”

“It’s a privilege, really, and an honor to be able to bring this movie out,” says Don Hahn. “‘Beauty and the Beast’ has always been special in the hearts of the audience. From the first sneak previews that we did at the New York Film Festival, when it was still unfinished, to the original release, it’s always received a really warm reception. It’s great to go back and relive it now.

Opening soon across the Philippines, “Beauty and the Beast” is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.

SNEAK PEEK: “BEAUTY AND THE BEAST” 3D

Walt Disney Animation Studios’ magical tale “Beauty and the Beast” returns to the big screen in Disney Digital 3D™, introducing a whole new generation to the Disney classic with stunning 3D.

The film captures the fantastic journey of Belle (voice of Paige O’Hara), a bright and beautiful young woman who’s taken prisoner by a hideous beast (voice of Robby Benson) in his castle. Despite her precarious situation, Belle befriends the castle’s enchanted staff—a teapot, a candelabra and a mantel clock, among others—and ultimately learns to see beneath the Beast’s exterior to discover the heart and soul of a prince.

Featuring unforgettable music by Academy Award® winners Howard Ashman and Alan Menken, and an enormously talented vocal ensemble, “Beauty and the Beast” was the first animated feature to receive a Best Picture nomination from the Academy of Motion Picture Arts and Sciences.

One of the most popular and enduring romantic adventures the world has ever known became one of the most ambitious and entertaining animated motion pictures ever brought to the screen when ''Beauty and the Beast" premiered in 1991. This classic fairy tale has long fascinated and intrigued storytellers, filmmakers and their audiences. Through the artistry and imagination of the Disney creative team, an inspired song score and the contributions of an enormously talented vocal ensemble, this age-old fantasy took on exciting new dimensions that are only possible through the magic of animation.

"Beauty and the Beast" was the fifth classic fairy tale to be adapted as a Disney animated feature. The tradition began in 1937 with "Snow White and the Seven Dwarfs," which was based on the famous story by the Brothers Grimm. In the 1950s, Walt Disney and his animators successfully tackled two classic folk tales by French author Charles Perrault––"Cinderella" (1950) and "Sleeping Beauty" (1959). Another famous purveyor of fairy tales, Hans Christian Andersen, was the source of ''The Little Mermaid," Disney's 1989 release, which went on to become the Studio’s most successful animated feature up until that time.

Heading up the team was producer Don Hahn, a long-time Disney veteran, and two talented young directors, Gary Trousdale and Kirk Wise, who made their debut in that capacity on this film. Writer Linda Woolverton created a fresh and stylish screenplay which became the structural and emotional blueprint for the visual development and storyboarding phases. Ten supervising animators were assigned to specific characters and took on the task of bringing them to life with the assistance of an impressive group of character animators, cleanup artists and other key supporting players.

Opening soon across the Philippines, “Beauty and the Beast” is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.

MEET THE CHARACTERS OF “WINNIE THE POOH” !

“Winnie the Pooh and his friends from the Hundred Acre Wood are among the most entertaining and beloved characters ever animated by Disney,” says John Lasseter, executive producer of the new animated feature, “Winnie the Pooh.” The film will be shown starting Oct. 19.

“Literally borrowing a few pages from the great award-winning theatrical shorts of the 1960s that were created by Walt Disney and his team of legendary animators and storytellers, our directors, Don Hall and Steve Anderson, have done a fantastic job telling a fun and emotional new story,” Lasseter continues. “It’s a true joy to see these characters back on the big screen, and I know it will appeal to the child in everyone.”

WINNIE THE POOH (voice of Jim Cummings) is a self-described “bear of very little brain,” but the lovable bear who's stuffed with fluff has an uncommon, clear-eyed philosophy that’s admired worldwide. “There’s a wisdom to Winnie the Pooh that comes through in a very subtle way,” says producer Peter Del Vecho. “It’s about enjoying friends, enjoying family, enjoying life. It returns us to a simpler time.”

Pooh is a loyal friend to his neighbors in Hundred Acre Wood. He’s always willing to lend a helping paw—and he’s more than happy to share a jar of honey with anyone who’s interested. Indeed, Winnie the Pooh has an endless craving for honey or a smackerel of whatever is at hand to soothe that insatiable “rumbly in his tumbly.”

PIGLET (voice of Travis Oates) is a soft-spoken and skittish little fellow whose generosity and humility far outweigh his meager size. His fastidious movements, anxious wringing of his hands and adorable stutter—“Oh d-d-d-dear”—convey his nervousness and fear of the unknown. “The wonderful thing about Piglet is he’s frightened of everything and yet he still goes out and faces the world alongside his friends,” says Travis Oates, who provides the voice of Piglet.

TIGGER (voice of Jim Cummings) is an exuberant, one-of-a-kind creature with the famously springy tail. He acts on every impulse, and his boisterous manner often leads him to leap before he looks. Tigger's bouncing is a pure expression of his utter zest for life—a joy he's always eager to share with his friends.

Tigger’s unique personality extends to his original use of language, which often results in his trademark twists of phrase and malapropisms. Says Tigger to Eeyore: “We just need to get you Tiggerized!”

EEYORE (voice of Bud Luckey) is everyone's favorite delightfully dismal donkey. But Eeyore doesn't see himself as gloomy—he just has low expectations. He’d likely be shocked—and perhaps somewhat disappointed—to learn that he takes center stage in the new film. According to supervising animator Randy Haycock, “Eeyore actually plays a pretty significant role in this movie, maybe more significant than any of the other films, because the central storyline revolves around the fact that he’s lost his tail and everybody’s trying to help him find a new tail.”

OWL (voice of Craig Ferguson). Everyone knows that owls are the wisest of all creatures, and Owl knows everything—at least, he thinks he does, even if his information (and his spelling!) often turns out to be not quite right. Although Owl can be a know-it-all, he does want to help his friends. But it’s his effort to help that often stirs up trouble in the Hundred Acre Wood, and Owl stirs it up better than ever in this new adventure.

RABBIT (voice of Tom Kenny) is perhaps the smartest of the Hundred Acre Wood friends (at least he thinks so), and is often the self-appointed leader of the group. “If I had to pick one word to describe Rabbit,” says Tom Kenny (who’s also the voice of SpongeBob SquarePants), “I’d say he’s a ‘fussbudget’—he’s very fussy, organized, he likes his garden a certain way, he likes his house a certain way, he doesn’t like unexpected visitors—people just showing up at his door throws off his routine and he’s all about routine.”

KANGA (voice of Kristen Anderson-Lopez) -- Mom to Roo—is a warm, protective kangaroo. She certainly has her hands (and pouch) full with young Roo, but she manages him with love and patience.

ROO (voice of Wyatt Hall) is a wild young adventurer who wants to go everywhere and try everything. No matter the situation—or his mother’s objections—Roo throws himself right in the middle of all the action. Sometimes Kanga’s over-protective mothering tries Roo’s patience, but in the end there’s no place better than being cuddled in his mama’s pouch.

ZOOEY DESCHANEL tunes in for “WINNIE THE POOH”

 He’s a bear of very little brain. She’s half of the acclaimed band She & Him and the star of the hit new sitcom, “New Girl.” Now, Winnie and Zooey Deschanel come together on the big screen in Walt Disney Animation Studios' all-new adventure “Winnie the Pooh,” which opens in theaters starting October 19.

Deschanel (“(500) Days of Summer”) joins Winnie the Pooh and all of his friends in the Hundred Acre Wood, performing three songs for the film, including her own take on the classic “Winnie the Pooh” theme song, “A Very Important Thing to Do” and the original end-credit song “So Long,” which was written by Deschanel and performed with She & Him bandmate M. Ward.

“This has been one of the most fun experiences I’ve ever had,” says Deschanel. “And I’ve just been thanking my lucky stars that I was able to work on this movie, because it’s delightful.”

The filmmakers were drawn to Deschanel’s signature style. “She was the perfect choice to do the ‘Winnie the Pooh’ song—a classic theme from the Sherman Brothers,” says co-director Don Hall. “Her music actually embodies the underlying spirit of the movie. We’re taking something that has vintage roots in the sixties, but spinning it in our own way and updating it. If you listen to Zooey’s music with She & Him—that’s their sound to a tee.”

Adds co-director Stephen Anderson, “It’s a perfect way to start the movie, letting the audience know right off the bat that this is Winnie the Pooh like you know him, but it’s something for today. We wanted to keep the same charm as the original, but give it a fresh spin, a contemporary feel, and she opens the movie with so much freshness, so much energy.”

“It’s always fun to have a contemporary artist rediscover a classic and that’s exactly what Zooey did,” says producer Peter Del Vecho. “She brought her own personality to the song—when she sings about introducing the individual characters, it’s as though she’s known them her whole life—and she has.”

“I’m a big fan of Winnie the Pooh and all his friends,” says Deschanel, who also plays the ukulele in the song. “It’s really hard to pick a favorite: Winnie the Pooh is so special, he loves honey and he’s just cool. Eeyore is amazing, I love Eeyore. And Piglet is so small. It’s really a four-way tie between Winnie the Pooh, Eeyore, Piglet and Tigger.”

Among the songs Deschanel performed for the film is “A Very Important Thing to Do”—a song that helps illustrate the contest the friends from the Hundred Acre Wood take on to find Eeyore a new tail. She also lent her voice to “Everything is Honey” and “Pooh’s Finale,” joining Jim Cummings (the voice of Winnie the Pooh and Tigger), Tony Award®-winning songwriter Robert Lopez (“Avenue Q”) and other cast members.

For the end-credit song, Deschanel teamed up with Ward to perform “So Long,” a song Deschanel wrote. “When I was writing ‘So Long,’ I just held the images for the end credits in my mind,” she says. “I spent a number of days tinkering with ideas, melodies and chord progressions that I thought would fit the images, the new music being written and the original Sherman Brothers stuff-- but still be my own thing. The song definitely has its own feel, but also pays respect to the original.”

Deschanel plays piano for “So Long” and turned to the instrument when it came time to write the song. “I usually write on piano because that's the first instrument that I learned when I was a little kid,” she says. “All of my musical theory knowledge is in linear piano form.”

Her heart, however, is in the vocals. “I’m always thinking in terms of vocals, and arranging a fabric of vocals is the most exciting part. I love to sing backup parts—I always try to squeeze in as many as possible,” she says. “It’s fun; it’s my style.”

An all-new “WINNIE THE POOH” charms its way to the big screen

Walt Disney Animation Studios returns to the Hundred Acre Wood with the endearing animated feature “Winnie the Pooh.” Featuring the timeless charm, wit and whimsy of the original featurettes, this all-new movie reunites audiences with the philosophical “bear of very little brain” and friends Tigger, Rabbit, Piglet, Owl, Kanga, Roo…and last, but certainly not least, Eeyore, who has lost his tail.

Inspired by three stories from A.A. Milne’s books in Disney’s classic, hand-drawn art style, “Winnie the Pooh” will be shown soon.

“The entire story takes place in the course of a day,” says director Don Hall. “It’s business as usual in the Hundred Acre Wood. Pooh wakes up absolutely famished and he happens to have no honey. So that sets him out on his journey, which is ultimately derailed—first by a contest to find Eeyore a new tail.”

Pooh later finds a note from Christopher Robin that reads: “Gone out. Busy. Back soon.” But then Owl misinterprets the note, proclaiming that the boy has been captured by a creature called a “Backson.” Soon, the whole gang is on a wild quest to save Christopher Robin from the imaginary culprit. It turns out to be a very busy day for a bear who simply hoped to find some honey.

“We always set out to make a movie that will transcend generations—appeal to kids, entertain their teenage brothers and sisters, and make Mom and Dad laugh out loud,” says Executive Producer John Lasseter. “The personalities of A.A. Milne’s characters are so sharply drawn, so elegant in their simplicity, we found that they were amazingly funny before we even made our first story sketch. These are characters most of us have grown up with—characters we all want to introduce to our little ones and rediscover with all the loved ones in our lives.”

“Winnie the Pooh” not only features characters parents love to share with their children, but values and simple joys of life. That sharing among generations is reflective of Walt Disney’s philosophy.

“I do not make films primarily for children,” said of the late Walt Disney. “I make them for the child in all of us, whether we be 6 or 60. Call the child ‘innocence.’ The worst of us is not without innocence, although buried deeply it might be. In my work, I try to reach and speak to that innocence, showing it the fun and joy of living; showing it that laughter is healthy; showing it that the human species, although happily ridiculous at times, is still reaching for the stars.”

Funnyman John Cleese (“Shrek Forever After,” “A Fish Called Wanda”) serves as the narrator for “Winnie the Pooh.” The voice cast features some returning favorites who’ve voiced their characters before: Jim Cummings (“Gnomeo & Juliet,” “The Princess and the Frog,” “Shrek”) lends his voice to Winnie the Pooh and Tigger, and Travis Oates, who’s provided the voice of Piglet for seven years, returns as the voice of Pooh’s nervous little friend.

The cast also includes Pooh newcomers Bud Luckey (“Toy Story 3”) as the voice of Eeyore, Craig Ferguson (“The Late Late Show with Craig Ferguson”) as the voice of Owl, and Tom Kenny (“SpongeBob SquarePants”) as the voice of Rabbit. Kristen Anderson-Lopez, who also co-wrote original songs for the film (TV’s “The Wonder Pets,” off-Broadway’s “In Transit”) is the voice of Kanga; Wyatt Hall, the 7-year-old son of Director Don Hall, is the voice of Roo; and Jack Boulter is the voice of Christopher Robin.

The film is directed by Stephen Anderson (director, “Meet the Robinsons”) and Don Hall (head of story, “The Princess and the Frog”); Peter Del Vecho (“The Princess and the Frog”) produces. “Winnie the Pooh” is executive-produced by John Lasseter. Robert Lopez (Broadway’s “Avenue Q”) and wife Anderson-Lopez (“In Transit”) provide original songs; the original score is by Henry Jackman (“Kick-Ass,” “Monsters vs. Aliens”).

Actress/musician/singer/songwriter Zooey Deschanel (indie folk band She & Him) provides the vocals for a special rendition of the beloved “Winnie the Pooh” theme song as well as additional songs from the film, including the end-credit song, “So Long,” which she wrote.