It’s pretty incredible, what these guys do.ĭid you guys also go to the theme parks, and do you take your kids there now? KANE: They shape childhoods and they teach life lessons. They’re very humble about their accomplishments. They just look like dudes, walking down the street. Their contribution to our culture is insane, and you would never know. They were behind The Little Mermaid and Aladdin, and then jumping all the way forward to The Princess and The Frog and Moana. You would never know, seeing them walk down the street, that you’re dealing with legends. Ron and John would cover and be like, “Maybe you could try it again,” and be practically whispering, and they’re still like that. I don’t know why, but when you work on live-action things, it’s a more blustery crowd. The funny thing about these Disney animation guys is that they’re very quiet and soft-spoken and very understated. What was it like to work with these directors, Ron Clements and John Musker, who are legendary, in their own right? It’s nice that the movie grows with the times, as well. Mena is terrific, and all of the actors were great. It’s nice that they shot it in the Middle East and that they used a lot of Middle Eastern actors. For me, seeing how Disney took a representational angle was really important. It’s weird, anytime you have an experience that you had as a kid, and then you’re there with your own kid. It was an exciting premiere, and it was weird being back in the same theater, where we had the original Aladdin premiere, sitting there with my kid. First of all, I took my son to the premiere, so that was really cool. What did you think of the recent live-action film, and seeing other people take on these characters? We just need Moana’s children in there, and the circle will be complete. My daughter actually goes to school and is very close friends with Josh Gad’s daughter, and he’s Olaf. As time goes by, it becomes a distant feeling more than a memory, but it’s nice that it keeps coming up, that new generations are introduced to it, and that our kids get to experience it and know that their dads were a part of it. Every time we recorded, there was a whole orchestra playing for me to sing to, and that was just a magical experience, in and of itself. We actually recorded to a 70-piece orchestra, so it wasn’t to a tape playback, and that was really cool. KANE: It was pretty magical, just recording it in the studio. What was your reaction to hearing the song, for the first time? So, it’s grown more, for me, over time, as I’ve seen how much it’s meant to people, for years and years. People have told me that it was playing when their kids were born because it meant something to them and they wanted their kids to hear it when they came out. KANE: I never hated the song, but it’s definitely something that I’ve grown to appreciate more, over time, as I’ve seen people utilize it in their lives, to either get through tough times, or for milestones, like weddings or birthdays. But now, as an adult who’s lived a little, the message is much more meaningful to me.īrad, having sung “A Whole New World” so many times, do you have a different appreciation for it now, or were there times that you got so sing of it that you hated it? On the other side of it now, being old, the idea that the message of the movie, which is that you shouldn’t try to be anything that you’re not, and that you should just be yourself because that’s good enough, I guess I understood, as a kid, in a superficial way. WEINGER: When you’re 17, it’s hard to appreciate this stuff. Scott, are there things that you appreciate about Aladdin now, that you maybe didn’t when you did this? How cool is it then to be able to interact with fans and see the generations of families who love the film? What’s the coolest thing that’s come from being involved with this? Disney will probably own the cemetery, at that point. “Here lies the singing voice of Aladdin.” It doesn’t matter what else I do, Disney trumps everything. KANE: I always tell people that I have nothing to prove in life ‘cause I know, no matter what I do and no matter what I accomplish, I know what my epitaph will be. It’s a pretty cool thing that this movie will be around forever, for posterity, so it’s out posterity. WEINGER: They have footage of me from the press kit, when they asked me, “Do think that, in 30 years, you’re gonna tell your kids about this movie?” I said, “What the hell are you talking about?!” It was like they were speaking another language.ĭid you have a moment when you realized that the movie was always going to be associated with you, in some way?
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