Today’s Rapunzel Disney’s modern CG tale | Computer Graphics World
Flynn's curious captor, who's looking for her ticket out of the tower where she's complete with a super-cop horse (Maximus), an over-protective chameleon. After four years of watching this, the studio shut down the project in early When Flynn and Rapunzel visit the library, they find a number of . Even Maximus the horse, in general deeply unimpressed by humans, is charmed. ( who barely meet Rapunzel in the film, and are completely won over by. Featuring Rapunzel, Flynn, Pascal, Maximus and other favorites from Disney's Tangled, this finely detailed Tangled Rapunzel Figure Play Set brings the.
However, they reveal that they know about Rapunzel and her hair, and express their desire to use her for money.
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He is knocked unconscious and tied to a boat, which is set to sail toward the Kingdom. When Rapunzel sees his silhouette steering the boat away from her, she is tricked into believing Eugene abandoned her and returns with Mother Gothel to the tower. Later, Eugene's boat crashes into the guard tower near the jail, jolting him back to consciousness, but as he realizes that Rapunzel is in trouble and calls out for her, he is captured by the guards.
The next day, as he is taken to be hanged, he notices the Stabbington Brothers in their own cell. Breaking free from the guards momentarily, he confronts them, forcing them to reveal that Mother Gothel has told them about Rapunzel and her hair.
However, when he climbs jubilantly through the tower window, he finds Rapunzel gagged and chained to the wall. He pauses for a second, evidently confused and shocked, and is then mortally stabbed by Mother Gothel.
Mother Gothel attempts to flee with the captive Rapunzel, leaving him there to die. Rapunzel resists her and refuses to go willingly, but then promises to submit completely to Mother Gothel if she will only let her heal Eugene. Mother Gothel agrees and chains the wounded Eugene instead.
Rapunzel rushes to his side, but Eugene pleads with her not go through with it, preferring to die rather than let Rapunzel forever submit to Mother Gothel. When his attempts to dissuade her fail, he uses a shard of a shattered mirror to cut Rapunzel's hair, which causes it to lose its power and turn brown.
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Mother Gothel rapidly ages and dies without the magic from Rapunzel's hair. Rapunzel tries desperately to save the dying Eugene by singing the healing incantation. Eugene stops her and, with his last breaths, tells Rapunzel that she was his new dream, to which she tells him, in reply, that he had been hers.
Eugene smiles and dies, leaving a heartbroken Rapunzel to hopelessly finish the healing incantation. She begins to sob, letting a single tear fall onto his cheek. Resurection The tear, which is the original drop of sunshine which created the magic flower that healed her mother, shines as it dissolves into the skin and heals Eugene's chest wound, reviving him.
He regains consciousness, and jokingly asks Rapunzel, "Did I ever tell you I have a thing for brunettes? Eugene accompanies Rapunzel during her return to the Kingdom, as she has discovered that she has been its lost princess, and witnesses her reunion with her parents.TANGLED - Extended Scene
He appears to have been graciously accepted by the King and Queen. During his closing narration, Eugene implies that Rapunzel eventually ruled the Kingdom. As the kingdom celebrates the return of the lost princess, the two are shown together, both wearing nicer clothing and clearly still in love. After explaining that he has readopted his original name and stopped thieving, Eugene then claims that he accepted Rapunzel's proposal of marriage after years and years of asking, only to be corrected by her.
He then amends by admitting that he asked her, to which she states in support that the two are living happily ever after, which presumes that they have wed. Flynn's Tangled Tales In a collection of animated, stylized shorts, Flynn chronicles his former days as a thief in the kingdom of Corona, revealing some of his adventures and misadventures with the law.
Rapunzel, on the other hand, trapped out of sight in a hidden valley, has apparently never met anybody but Gothel in her entire life, so she has no such frame of reference. In the end, the outside world must come to Rapunzel. When Flynn sneaks into the tower, she learns a lot about herself after knocking him senseless with a cast-iron frying pan damn, girl. The incident allows her to prove herself to herself, showing her that she is not as helpless as Gothel has tried to make her feel.
However, caught on the spot, Gothel simply loses her temper with Rapunzel, screaming that she will never leave the tower, ever. All of this demonstrates a strong streak of ingenuity; from what we see of her talents and skills in the first few scenes, Rapunzel is clearly an intelligent and highly creative person.
Once Rapunzel has gotten Gothel to leave, she promptly ties Flynn up with her own hair and proceeds to grill him about his motives, overcoming her initial fear of him. In the end, she manages to force the cunning criminal into a deal and gets her chance to go outside at last. This is my favourite shot in the whole film!
Of course, all those years of psychological manipulation have left their mark, causing a great deal of inner conflict in Rapunzel from the moment she leaves the tower. The remarkable thing is just how adaptable Rapunzel turns out to be. This was a plot point the writers paid particular attention to: When she has something to focus on, Rapunzel is as determined and committed to achieving that goal as Tiana, never losing sight of the dream of reaching the lanterns no matter how worried she is about Gothel.
It is this very passion which sets off the budding romance of the film, in a similar manner to that of the last one. Here, as there, the dashing womanising hero finds himself unexpectedly falling for this driven and intelligent young woman, and although they start out very much opposed to one another, they gradually develop some chemistry, let their walls down and become friends.
Gothel never stops trying to get Rapunzel back, however, and she cleverly reinforces her mental hold over the girl by engineering a scenario whereby it looks like Flynn has betrayed her.
In a nicely handled moment of realisation, Rapunzel suddenly puts all the pieces together and works out her true identity — she is the lost princess from the nearby kingdom. This, too, almost works, but Rapunzel then offers her another of her deals — she will accompany Gothel with no further resistance, on the condition that she be allowed to save Flynn.
The fact that she is willing to give up a lifetime of freedom for Flynn just goes to show how deeply she has come to care about him, and Gothel knows Rapunzel well enough to trust that she keeps her promises, so she allows it — her fatal mistake. There is one last thing Rapunzel must do. After having her entire life changed, she must begin again by finally reuniting with the birth parents she never knew. This is done with a simple but affecting scene with no dialogue, in which the four characters Rapunzel, Flynn, the King and the Queen face each other across a courtyard and approach each other with a gentle hesitancy, expressing a great deal of feeling through animation alone.
Greno and Howard invited many of the female staff at the studio to bring pictures of their favourite hunks and discuss what made them attractive even subjecting the directors themselves to some humbling critical dissectionwith video footage of the meeting showing photos of celebrities like Johnny Dep, Hugh Jackman, Brad Pitt, David Beckham and Gene Kelly on the walls.
The result of all this discussion was Flynn Rider, our first computer-animated prince. The natural comparison here is with Aladdinanother charming young con-artist who winds up a prince after falling for a spirited princess. When it comes to animating hair, Keane is perhaps the ruling expert on the subject.
With the Beast, his hair is a constant reminder of fur. This represents her spiritual side, and her struggle to communicate the invisible spiritual nature of the new world to those who see it only for its gold.
In the case of Rapunzel, her hair is a constant reminder that she has incredible potential. It seemed the more you hold her back, the more it has to get out. Even her hair is pushing out.
Film Review: Tangled (2010)
He wanted it to be visually appealing. It had to have volume, sensuous twists, graceful turns, breaking strands and a trademark swoop in the front. For every shot, we had to pose and simulate the hair according to those guidelines.
The technical team would animate different tubes representing the structure of the hair, which would then be rendered into a final image with up toindividual strands of hair. Goetz relied on a saturated color palette to get the heightened reality the filmmakers wanted. Rapunzel documents the things she discovers over the years, and uses this outlet to express her emotions and desires.