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Movie Title Year Distributor Notes Rev Formats She-Male Idol: The Auditions 4 2014 Evil Angel 1 DRO Chris Sanders as Little Brother (Mulan's dog) Mary Kay Bergman as various ancestors Additionally, Rodger Bumpass & Richard Steven Horvitz provide additional uncredited voices. Kelly Chen, Coco Lee and Xu Qing voiced Mulan in the Cantonese, Taiwanese Mandarin and Mainland standard versions of the film respectively, while Jackie Chan provided the voice of Li Shang in all three Chinese versions and appeared in the version of promotional music videos of "I'll Make a Man Out of You". Taiwanese comedian Jacky Wu provided the voice of Mushu in the Mandarin version.
Production Development In 1989, Walt Disney Feature Animation Florida had opened with 40 to 50 employees,[5] with its original purpose to produce cartoon shorts and featurettes.[6] However, by late 1993, following several animation duties on Beauty and the Beast, Aladdin, and The Lion King, Disney executives were convinced to allow the Feature Animation Florida studios to produce their first independent film.[7] Around that same time, Disney Feature Animation developed an interest into Asian-themed legends beginning with the optioning several books by children's book author Robert D. San Souci who had a consulting relationship with Disney executive Jay Dyer.[8] Around that same time, a short straight-to-video film titled China Doll about an oppressed and miserable Chinese girl who is whisked away by a British Prince Charming to happiness in the West was in development. Thomas Schumacher asked Souci if he had any additional stories, in which Souci turned in a manuscript of a book based on the Chinese poem "The Song of Fa Mu Lan". Ultimately, Disney decided to combine the two separate projects.[9][10] Following the opening of the Feature Animation Florida studios, Barry Cook, who had served as a special-effects animator since 1982,[11] had directed the Roger Rabbit cartoon Trail Mix-Up produced at the satellite studio. Upon a lunch invitation with Thomas Schumacher, Cook was offered two projects in development: a Scottish folk tale with a dragon or Mulan. Knowledgeable about the existence of dragons in Chinese mythology, Cook suggested adding a dragon to Mulan, in which a week later, Schumacher urged Cook to drop the Scottish project and accept Mulan as his next project.[12] Following this, Cook was immediately assigned as the initial director of the project,[13] and cited influences from Charlie Chaplin and David Lean during production.[14] While working as an animator on the gargoyles for The Hunchback of Notre Dame, Tony Bancroft was offered to co-direct the film following a recommendation from Rob Minkoff, co-director of The Lion King, to Schumacher, in which he accepted,[15] and joined the creative team by early 1995.[16]



The crew toured various parts of China for inspiration. In 1994, the production team sent a select group of artistic supervisors to China for three weeks to take photographs and drawings of local landmarks for inspiration; and to soak up local culture.[17] Key members of the creative team at the time – Pam Coats, Barry Cook, Ric Sluiter, Robert Walker, and Mark Henn – were invited to travel to China as a research trip to study the landscape, people, and history of the original legend. From June 17 to July 2, 1994, the research trip flew to Beijing, China, which is where Pam Coats became inspired by the placement of flags on the Great Wall. They also toured Datong, Luoyang, Xi'an, Jiayuguan, Dunhuang, and Guilin.[18] Writing In its earliest stages, the story was originally conceived as a Tootsie-like romantic comedy film where Mulan, who was a misfit tomboy that loves her father, is betrothed to Shang, whom she has not met. On her betrothal day, her father Fa Zhou carves her destiny on a stone tablet in the family temple, which she shatters in anger, running away to forge her own destiny.[19] In November 1993, Chris Sanders, who had just finished storyboard work on The Lion King, was hoping to work on The Hunchback of Notre Dame until Schumacher appointed him to work on Mulan instead.[20] Acting as Head of Story, Sanders grew frustrated with the romantic comedy aspect of the story, and urged producer Pam Coats to be more faithful to the original legend by having Mulan leave home because of the love for her father.[21] This convinced the filmmakers to decide to change Mulan's character in order to make her more appealing and selfless.[22] Sequence Six – in which Mulan takes her father's conscription order, cuts her long hair, and dons her father's armor – served as a pivotal moment in the evolution of Mulan's character. Director Barry Cook explained that the sequence initially started as a song storyboarded by Barry Johnson and redrawn by character designer Chen-Yi Chang. Following the story changes to have Mulan leave to save her father, the song was dropped. Storyboard artist and co-head of story Dean DeBlois was tasked to revise the sequence, and decided to board the sequence with "minimal dialogue".[23] Assisted with an existing musical selection from another film score courtesy of Sanders, the sequence reel was screened for Peter Schneider and Thomas Schumacher, both of whom were impressed. DeBlois stated, "Sequence Six was the first sequence that got put into production, and it helped to establish our 'silent' approach."[24] Additionally, General Li was not originally going to be related to Shang at all, but by changing the story, the filmmakers were able to mirror the stories of both Shang's and Mulan's love for their fathers.[25] As a Christian, Bancroft declined to explore Buddhism within the film.[26] Because there was no dragon in the original legend, Mulan did not have animal companions; it was Roy E. Disney who suggested the character of Mushu.[14] Veteran story artist Joe Grant created the cricket character, Cri-Kee, though animator Barry Temple admitted "the directors didn't want him in the movie, the story department didn't want him in the movie. The only people who truly wanted him in the movie were Michael Eisner and Joe Grant – and myself, because I was assigned the character. I would sit in meetings and they'd say, 'Well, where's the cricket during all this?' Somebody else would say, 'Oh, to hell the cricket.' They felt Cri-Kee was a character who wasn't necessary to tell the story, which is true."[27] Throughout development on the film, Grant would slip sketches of Cri-Kee under the directors' door.[28] Casting Before production began, the production team sought out Chinese, Japanese, Filipino, or Korean vocal talents.[29] Tia Carrere was an early candidate to voice the title character.[30] However, Lea Salonga, who had been the singing voice of Princess Jasmine in Aladdin, was initially cast to provide both Mulan's speaking and singing voices, but the directors did not find her attempt at a deeper speaking voice when Mulan impersonated Ping convincing, so Ming-Na Wen was brought in to speak the role. Salonga returned to provide the singing voice.[31] Wen herself landed the role after the filmmakers listened to her narration at the beginning of The Joy Luck Club. Coats reflected on her decision, stating, "When we heard Ming-Na doing that voice-over, we knew we had our Mulan. She has a very likable and lovely voice, and those are the qualities we were looking for."[32] For the role of Mushu, Disney was aiming for top Hollywood talent in the vein of Robin Williams's performance as the Genie in Aladdin,[32] and approached Eddie Murphy, who at first balked when asked to record at the Disney studios. He then asked to record the voice in his basement at his Bubble Hill mansion in Englewood, New Jersey.[33] For the speaking voice of Captain Li Shang, BD Wong was hired,[34] although his singing voice, for the song "I'll Make a Man Out of You", was performed by Donny Osmond, who had previously auditioned to be the speaking voice of the title character in Hercules.[35] Osmond's casting originated from a suggestion from the casting director,[35] and throughout recording, Osmond studied Wong's dialogue tapes, and aimed to match his inflections and personality.[36] Osmond commented that his sons decided that he had finally "made it" in show business when he was in a Disney film.[37] Likewise for the role of Grandmother Fa, June Foray provided the speaking voice, and Marni Nixon supplied the singing voice.[38] Animation and design The animation crew was inspired by ancient Chinese art for the aesthetics of the movie To achieve a harmonious visual look, producer designer Hans Bacher and art director Ric Sluiter, along with Robert Walker and Head of Backgrounds Robert Stanton collaborated to establish a proper chronological location for the film in Chinese history. Since there was no general consensus on the time of Mulan's existence, they based on the visual design on the Ming and Qing dynasties.[39] An important element of Bacher's design was to turn the art style closer to Chinese painting, with watercolor and simpler design, as opposed to the details of The Lion King and The Hunchback of Notre Dame.[40] Bacher further studied more than thirty-five film directors ranging from the silent era German Expressionism, British and American epics of the 1950s and 60s, and the spaghetti westerns for inspiration for composition, lighting, and staging that would establish settings that enhanced the characters.[41] Additional inspiration was found in the earlier Disney animated films such as Bambi, Pinocchio, and Dumbo to establish a sense of staging.[42] In October 1997, the Walt Disney Company announced a major expansion of its Florida animation operations constructing a 200,000-square-foot, four-story animation building and the addition of 400 animators to the workforce.[43] To create 2,000 Hun soldiers during the Huns' attack sequence, the production team developed crowd simulation software called Attila. This software allows thousands of unique characters to move autonomously. A variant of the program called Dynasty was used in the final battle sequence to create a crowd of 3,000 in the Forbidden City. Pixar's photorealistic open API RenderMan was used to render the crowd. Another software developed for this movie was Faux Plane, which was used to add depth to flat two-dimensional painting. Although developed late in production progress, Faux Plane was used in five shots, including the dramatic sequence which features the Great Wall of China, and the final battle sequence when Mulan runs to the Forbidden City. During the scene in which the citizens of China are bowing to Mulan, the crowd is a panoramic film of real people bowing. It was edited into the animated foreground of the scene.[44] Music Main article: Mulan (soundtrack) In March 1994, Stephen Schwartz was attached to compose the lyrics and music for the songs for the film.[45] Following the research trip to China in June 1994, Schwartz was contacted by former Disney studio chairman Jeffrey Katzenberg to compose songs for The Prince of Egypt, which he agreed. Peter Schneider, then-president of Walt Disney Feature Animation, threatened to have Schwartz's name removed from any publicity materials for Pocahontas and The Hunchback of Notre Dame. Michael Eisner phoned Schwartz, and urged him to back out of his commitment to DreamWorks, but he refused and left the project.[46] After Schwartz's departure, his three songs, "Written in Stone", "Destiny", and "China Doll", were dropped amid story and character changes by 1995.[47][48] Shortly after, Disney music executive Chris Montan heard Matthew Wilder's demo for a stage musical adaptation of Anne Rice's Cry to Heaven, and selected Wilder to replace Schwartz.[47] In July 1997, David Zippel joined to write the lyrics.[49] The film featured five songs composed by Wilder and Zippel, with a sixth originally planned for Mushu, but dropped following Eddie Murphy's involvement with the character.[50] Although Danny Elfman and Thomas Newman were considered to score the film, English composer Rachel Portman was selected as the film composer. However, Portman became pregnant during production, and decided to back out.[15] Following Portman's departure, Randy Edelman—whose Dragonheart theme was used in the trailer—and Kitaro were considered,[47] until Jerry Goldsmith became available and signed on after dropping out of a project.[15] The film's soundtrack is credited for starting the career of pop singer Christina Aguilera, whose first song to be released in the U.S. was her rendition of "Reflection", the first single from the Mulan soundtrack. The song, and Aguilera's vocals, were so well received that it landed her a recording contract with RCA Records.[51] In 1999, she would go on to release her self-titled debut album, on which "Reflection" was also included. The pop version of "Reflection" has a Polish version ("Lustro" performed by Edyta Górniak) and two Spanish versions, for Spain (performed by Malú) and Latin America (performed by Lucero). Other international versions include a Brazilian Portuguese version by Sandy & Junior ("Imagem"), a Korean version performed by Lena Park, and a Mandarin version by Coco Lee. The music featured during the haircut scene, titled Mulan's Decision, is different in the soundtrack album. The soundtrack album uses an orchestrated score while the movie uses heavy synthesizer music. The synthesizer version is available on the limited edition CD.[52] Salonga, who often sings movie music in her concerts, has done a Disney medley which climaxes with an expanded version of "Reflection" (not the same as those in Aguilera's version). Salonga also provided the singing voice for Mulan in the film's sequel, Mulan II. Release Because of the disappointing box office performances of The Hunchback of Notre Dame and Hercules, Disney restricted its marketing campaign for Mulan, spending $30 million on promotional advertisements compared to more than $60 million for Hercules the year before.[53] Instead of the lavish media event premieres of Pocahontas in Central Park and the electric light parade on Fifth Avenue for Hercules, Disney opted to premiere the film at the Hollywood Bowl complete with Chinese lanterns and fortune cookies.[53][54] Two days before the general release, McDonald's launched its promotional campaign by including one of eight toys free with the purchase of a Happy Meal.[55] The promotion also included Szechuan sauce for its Chicken McNuggets, which would be referenced in a 2017 episode of the Adult Swim series Rick and Morty and subsequently brought back by McDonald's as a promotional item related to that show.[56] In collaboration with Disney, Hyperion Books published The Art of Mulan authored by Jeff Kurtti, which chronicled the production of the film. In addition with its publication, Hyperion Books also issued a collector's "folding, accordion book" of the ancient poem that inspired the film.[57] On August 18, 1998, around 3,700 backpacks and 1,800 pieces of luggage were recalled back to their manufacturer, Pyramid Accessories Inc., when it was discovered they contained lead-based paint.[58] Home media The film was first released on VHS on February 2, 1999, as part of the Walt Disney Masterpiece Collection lineup. Mulan was released on DVD on November 9, 1999, as a Walt Disney Limited Issue for a limited sixty-day time period before going into moratorium.[59] On February 1, 2000, it was re-released on VHS and DVD as part of the Walt Disney Gold Classic Collection lineup.[60] The VHS and DVD were accompanied by two music videos of "Reflection" and "True to Your Heart" while the DVD additionally contained the theatrical trailer and character artwork.[61] The Gold Collection release was returned into the Disney Vault on January 31, 2002.[62] On October 26, 2004, Walt Disney Home Entertainment re-released a restored print of Mulan on VHS and as a 2-disc Special Edition DVD.[63] In March 2013, Walt Disney Studios Home Entertainment released Mulan and Mulan II on Blu-ray and DVD to coincide with the film's 15th anniversary.[64] In September 2017, Mulan became available to Netflix users through their streaming service.[65] Reception Box office Mulan grossed $22.8 million in its opening weekend,[2] ranking second behind The X-Files.[66] It went on to gross $120 million in the United States and Canada combined, and $304 million worldwide, making it the second-highest grossing family film of the year, behind A Bug's Life, and the seventh-highest-grossing film of the year overall.[67] While Mulan domestically out-grossed the previous two Disney animated films which had preceded it, The Hunchback of Notre Dame and Hercules, its box office returns failed to match those of the Disney films from the first half of the Renaissance such as Beauty and the Beast, Aladdin, and The Lion King.[68] Internationally, its highest grossing releases included those in the United Kingdom ($14.6 million) and France ($10.2 million).[69] Critical reception The review aggregator website Rotten Tomatoes gave the film an approval rating of 86%, based on 74 reviews, with an average rating of 7.52/10. The site's consensus reads, "Exploring themes of family duty and honor, Mulan breaks new ground as a Disney film, while still bringing vibrant animation and sprightly characters to the screen."[70] In a 2009 countdown, Rotten Tomatoes ranked it twenty-fourth out of the fifty canonical animated Disney features.[71] On Metacritic, the film has a score of 71 out of 100, based on 24 critics, indicating "generally favorable reviews".[72] CinemaScore reported that audiences gave the film a rare "A+" grade.[73] Roger Ebert, reviewing for the Chicago Sun-Times, gave Mulan three-and-a-half stars out of four in his written review. He said that "Mulan is an impressive achievement, with a story and treatment ranking with Beauty and the Beast and The Lion King".[74] Likewise, James Berardinelli of ReelViews awarded the film three-and-a-half stars out of four praising the lead character, its theme of war, and the animation. He concluded that "Adults will appreciate the depth of characterization while kids will love Mulan's sidekick, a colorful dragon named Mushu. Everyone will be entertained [by] the fast-moving plot and rich animation."[75] Owen Gleiberman of Entertainment Weekly graded the film a B+ writing "Vividly animated, with a bursting palette that evokes both the wintry grandeur and decorative splendor of ancient China, Mulan is artful and satisfying in a slightly remote way."[76] Gene Siskel of the Chicago Tribune described the film as "a big disappointment when compared with the studio's other recent films about a female hero searching for independence." He was further critical of Mulan's characterization in comparison to Ariel and Belle, and claimed the "design of the film does not take advantage of the inspiration provided by classic Chinese artists, and the songs are not memorable."[77] Reviewing the film for the Los Angeles Times, Kenneth Turan wrote "Mulan has its accomplishments, but unlike the best of Disney's output, it comes off as more manufactured than magical." While he praised the title character, he highlighted that the "by-now-standard hip patter (prepare for jokes about cross-dressing) is so tepid that not even five credited writers can revive it, and the songs by Matthew Wilder and David Zippel (with Lea Salonga and Donny Osmond singing for the leads) lack the spark that Zippel's lyrics brought to the underappreciated Hercules."[78] Ed Gonzalez of Slant Magazine criticized the film as "soulless" in its portrayal of East Asian soci


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