The Sorcerer’s Apprentice: How did the cult Fantasia scene inspire this adventure film?

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The Sorcerer's Apprentice / Fantasia
Disney

Nicolas Cage and Jay Baruchel are having fun in this Disney production.

W9 will rebroadcast this Sunday The Sorcerer’s Apprentice, a summer blockbuster from Disney studios released in 2010, which was inspired by the broom scene from Fantasia (1940). This is not necessarily the first live that we think of when evoking the adaptations of the studio’s animated classics, and yet: it is the sequence where Mickey is enchanting his brooms that gave the idea of ​​this film. fantastic with Nicolas cage and Jay baruchel, realized by John Turtletaub (who had already rotated Cage in the Benjamin gates). The proof with this making-of, where the team looks back on its creation which required a lot of special effects.

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Moreover, the quality of the visual effects largely contributed to the pleasure taken in front of this family film full of good ideas. At its output, First had been charmed: “We have rarely seen a better use of digital effects: incredible creatures, moving spaces, multiple transformations, super powers, obligatory passages resuming Fantasia (with brooms, buckets etc.), magic is everywhere, subject and object of the film. nothing is too much. A sequence in Chinatown where Cage and Baruchel fight against a giant dragon is a model of precision, clarity, staging. The action punctuates the film without crushing its characters, making it rush right in. arranging ideal breaks: to relaunch the love story between Baruchel and his girlfriend, to have fun with the bad guy (Alfred Molina) who has for once a real scale – unlike a lot of recent Hollywood productions. this film, as if it were the unexpected answer to this 80’s kids cinema that we thought had disappeared. A pretty scene at the beginning announces his marvelous and candid program, when Baruchel, at ten years old, draws a King Kong on the glass of his school bus. This is superimposed for the duration of a shot on the Empire State Building: the splendor of a fleeting illusion that will delight the future beauty of her heart. Everything is there, in this phantasmal childish and apparently derisory scribbling that the film will achieve to a disproportionate dimension, with feelings, absolute generosity, a powerful taste for the spectacle that knows where he is, knows and loves his characters in two dimensions. The Sorcerer’s Apprentice is Walsh’s The Thief of Baghdad in 2010, in other words the film that still makes people believe in the magic of cinema. “

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