Jackson envisioned Agrabah as a bustling, vibrant port city, “heaving with details and stuff.” Early on, she made a trip to Morocco and did a “big haul with lots of architectural details-doors, windows, a lot of timber.” She did research on Iranian architecture and mosaics. So you take the bits you want, and I think that’s part of the joy of this film. And it’s not set in a certain period it just kind of is. “For me, it was really a very blank canvas in a sense, so I could just go to the parts of the world that I love.… I’m very happy in the East, and my mind wanders off in that direction when there’s no restrictions, so that was where I ventured to. He didn’t want it to be of any particular religion or race, and to keep it in this imaginary world,” Jackson says. “Guy wanted it to feel very international. So Ritchie made Agrabah’s location purely fictional. While many viewers assume that Aladdin is set in the Middle East, the 1991 animated film draws many aesthetic cues from India, and the original folktale, “Aladdin’s Wonderful Lamp” from One Thousand and One Nights, actually takes place in China. But she says that Ritchie’s vision for Aladdin was particularly liberating, because it was so abstract. She built the sets of Bridget Jones’s Diary, Finding Neverland, King Arthur: Legend of the Sword, and the first three seasons of Game of Thrones. You’ve likely spent some time in a cinematic world conceived by Jackson. Though the crew initially considered filming Aladdin on location, building Agrabah on a set was a more feasible way to accommodate the flick's large dance numbers. But the question we asked at the beginning was, Where is this imaginary place that we’ve created, and who’s living there? Who are all these people roaming around?” It’s very character driven, so you’ll find a lot of blank walls and not much detail, which is fine for me! I’m there to find all the details. “But in fact the clever thing about animation is that they don’t give you that much information. “Obviously, the animation is completely adorable, and we all know it so well and love it,” Jackson tells AD. But the unknown is in the rich, real-life particulars of the fantasy city he moves through, Agrabah- which is where production designer Gemma Jackson comes in. The known, of course, is the handsome “street rat” Aladdin, singing “One Jump” as he dashes down alleyways and vaults across rooftops, pursued by men brandishing sabers-all while wooing a disguised Princess Jasmine. Eight-time Academy Award®-winning composer Alan Menken provides the score, which includes new recordings of the original songs written by Menken and Oscar®-winning lyricists Howard Ashman and Tim Rice and includes new music written by Menken and Oscar and Tony Award®-winning songwriters Benj Pasek and Justin Paul.When “A Whole New World” is the most iconic song of the film you’re remaking, you better be sure your version truly has “a new fantastic point of view.” And from the opening sequence of Guy Ritchie’s live-action version of the classic Disney film Aladdin, viewers are merrily disoriented by a wash of known and unknown elements. “Aladdin” is produced by Dan Lin, p.g.a., and Jonathan Eirich, p.g.a., with Marc Platt and Kevin De La Noy serving as executive producers. Directed by Guy Ritchie, who brings his singular flair for fast-paced, visceral action to the fictitious port city of Agrabah, “Aladdin” is written by John August and Ritchie based on Disney’s “Aladdin.” The film stars Will Smith as the Genie Mena Massoud as Aladdin Naomi Scott as Jasmine Marwan Kenzari as Jafar Navid Negahban as the Sultan Nasim Pedrad as Dalia Billy Magnussen as Prince Anders and Numan Acar as Hakim. A thrilling and vibrant live-action adaptation of Disney’s animated classic, “Aladdin” is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future.
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