Julie Anne San Jose open to working with Elmo Magalona - CNN Philippines
But even before their love can bloom, fate plays a trick on the young couple. On the eve of her 18th birthday, Julie Anne's arranged marriage to the mayor's son. One council member, Julie Fliflet, said she was pleased to see Bendel None more so than City Council Member Anne Smith, perhaps the most clerk, the assistant city administrator, the taxpayer relations manager and the city receptionist all left. . I especially appreciated the “poop in the pipe” quote!. Metro Manila (CNN Philippines, February 21) — Asia's pop sweetheart Julie Anne San Jose is open to collaborating with her former love team.
After its thirtieth anniversary in and due to the popularity of the Muppet Elmothe show also incorporated a popular segment known as " Elmo's World ". Format of Sesame Street From its first episode, Sesame Street has structured its format by using "a strong visual style, fast-moving action, humor, and music," as well as animation and live-action short films.
At first, the show's "street scenes"—the action taking place on its set—consisted of character-driven interactions and were not written as ongoing stories. Instead, they consisted of individual, curriculum-based segments which were interrupted by "inserts" consisting of puppet sketches, short films, and animations.
This structure allowed the producers to use a mixture of styles and characters, and to vary the show's pace. By season 20, research had shown that children were able to follow a story, and the street scenes, while still interspersed with other segments, became evolving storylines. It's not a magazine format anymore.
It's more like the Sesame hour. Children will be able to navigate through it easier. Inthe popular segment "Elmo's World", a minute-long segment hosted by the Muppet Elmo, was created. The new version, which originally complemented the full-hour series, and was both broadcast weekday afternoons and streamed on the internet.
Educational goals Main article: Educational goals of Sesame Street As author Malcolm Gladwell has stated, "Sesame Street was built around a single, breakthrough insight: Lesserthe CTW's first advisory board chair, went even further, saying that the effective use of television as an educational tool needed to capture, focus, and sustain children's attention. Initially, they focused on cognitive goals, while addressing affective goals indirectly, in the belief that doing so would increase children's self-esteem and feelings of competency.
They made changes in the show's content to increase their viewers' attention and to increase its appeal,  and encouraged "co-viewing" to entice older children and parents to watch the show by including more sophisticated humor, cultural references, and celebrity guest appearances.
These issues were addressed through interpersonal disputes among its Street characters. Hooper and the pregnancy of Sonia Manzano Maria to address affective concerns.
Innovative programs were developed because their target audience, children and their families in low-income, inner-city homes, did not traditionally watch educational programs on television and because traditional methods of promotion and advertising were not effective with these groups. From the first season, they understood that the source of their funding, which they considered "seed" money, would need to be replaced. As a result, the CTW decided to depend upon licensing arrangements with toy companies and other manufacturers, publishing, and international sales for their funding.
Elmo begins to realize that he was selfish not to share his blanket with Zoe. Summoning all of his courage and determination, he sets off to face Huxley to rescue his blanket and make amends with his friend. Packed with action, adventure, humor and original music, The Adventures of Elmo in Grouchland will appeal to children and the adults who care for them. Accompanying the cast of regulars and celebrity guest stars are a variety of new characters designed by Jim Henson's Muppet Workshop, among them a comical bunch called The Pesties, ruled by Bug The Bug; Grouch Girl Grizzy; The Stenchmen, unique trash monsters who sing and dance under the watchful eye of Grouchland's Queen of Trash Williams ; and Huxley Patinkina greedy, grouchy thief who gives villainy a new name.
The film is directed by Gary Halvorson. Screenplay by Mitchell Kriegman and Joseph Mazzarino. Story by Mitchell Kriegman. Baker are executive producers. Bourne serve as co-producers. The creative team includes director of photography Alan Caso, production designer Alan Cassie, editor Alan Baumgarten and costume designer Polly Smith. Relying on the quality of its classic, beloved "Sesame Street" characters as well as a host of new characters, a strong storyline, wonderful music and the Henson philosophyto stay true to entertainment, have fun and celebrate life Jim Henson Pictures and Children's Television Workshop joined together for the first time to make a movie.
We've provided the characters, the Muppeteers and a support base, but the two companies have never actually worked together.
“If what one has to say is not better than silence, then one should keep silent.”
With this movie, we thought we could do that. As an added bonus, we both had arrangements with Columbia Pictures, which gave us the perfect team. Stephanie Allain, president of production for Jim Henson Pictures, feels that the most important thing about filmmaking is "the script, the story that you're telling and how you tell it. If you start with the script, then I don't think you can go wrong.
People go into a dark room to be transported to a different place from their reality, and it's really very important that the story is intact. If it's as good as it can be before the cameras roll, you're halfway there.
We finally decided that we wanted to make a movie with Elmo. It was before he became so popular, but we recognized that he was the up-and-coming star of 'Sesame Street,' and the idea of doing a movie around him felt right and very contemporary. One of the writers liked the way he looked and decided to write for him. Richard Hunt, who was doing the show at the time and originated Forgetful Jones, Gladys the Cow and, of course, Stadtler, one of the "old guys" in the "Muppets Tonight" balcony, asked Clash if he'd like to take over.
That's how it happened," says Clash. He's one of these performers that is so brilliant at his job that, if he picks up a character, it will become a big hit. He's just one of those wonderful performers who can push through a 'good' performance to do something that is so inspired and entertaining. Elmo is as successful as he is because of the man under him. That can be a bit confusing sometimes. That led us to think about a far-away land like Grouchland.
What if Elmo lost his ball down Oscar's trash can and ended up in Grouchland to get it back? We didn't have a whole lot more than that, so we took it to screenwriter Mitchell Kriegman for his ideas.
We came to the conclusion that it had to incorporate a strong adventure story and, at the same time, have all the elements of 'Sesame Street' that kids know and love. It's Elmo's blanket, and he wants it back. That's what kids really lovetheir blankets. He's a trickster who pops up out of a hole and says irreverent things, so I put all of these elements together and said, 'let's find a way for Elmo to go into the heart of Oscar's territory, where no one has ever been before.
And then Joey Mazzarino came in, who knew the characters much better because he's been performing and writing for 'Sesame Street' for the past nine years and has won three Emmys for his work. Joey rewrote all the characters and got their voices really working.
Then he added some really wonderful, off-the-wall comedy. The two talentsMitchell and Joeyworked terrifically well together. You have to keep it light and funny and, of course, the adults must enjoy it. The humor has to come from a happy place combined with good-natured fun that will make people laugh.
We just write down the jokes, and if everybody laughs, we know it's going to be okay. Either they'll make the Muppet do something that you didn't think they could, or they'll say a joke in a different way and it's a hundred times better than when it came out of your word processor. And you've got to have Elmo. You've got to have lots of Elmo. In addition to being the color red, which is "very attractive," says Allain, "His simplicity is very appealing.
I think it's his heart, his spirit that draws people to him. You can't stop Elmo. He won't take no for an answer, and he goes after what he wants, but he goes after it with an innocence that is very endearing and enviable.
I think kids and adults zero in on that determination and say that it's a good place to be. Gary Halvorson, who had directed 13 episodes of "Muppets Tonight," was approached by Henson to make his feature film directorial debut. Also, he had the experience in television that would allow him to make this movie quickly. I gave him a script, he read it and made lots of notes which he gave to me at a meeting with Columbia Pictures. We only had that one meeting, and the studio said, 'Go make it!
Among his long list of credits, he's directed opera. He brings an incredible tapestry of talent with him. A movie is about images and ideas without dialogue. When I started working on the script, I was asking myself, 'how can I do this scene without any dialogue? Traditionally, that's a pretty short amount of time for a Muppet movie, so that was a little scary.
Every minute of every day had to be carefully laid out, and the schedule had to be rigidly adhered to. For example, for a Muppet to go over and pick up a glass of water, I have to have three shots. It takes an hour and a half to rig the glass so that the Muppet can reach in, grab the glass, and then make a camera cut so that the glass sticks to the hand.
We have to do an insert of the hand.
Alden Richards and Julie Anne San Jose Photos, News and Videos, Trivia and Quotes - FamousFix
What would be a very simple human action becomes extremely complicated. They have to have the proper rigs; they have a different armature to reach for the glass; they have to have a certain kind of hand to pick up the glass. It takes a huge amount of preparation, and it's not something you can improvise on the set as you can with a human. Thirty days suddenly seemed very short. It ended with the casting of two of show business' biggest talents, Vanessa Williams and Mandy Patinkin.
We found Vanessa, who had everything that we had envisioned for the part. It's truly wonderful to be working with him and to have such a fabulously rich musical number that I believe will be a show-stopper.
But more than that, it's wonderful to be doing something that my kids will be able to enjoy and cherish for the rest of their lives. He's an incredibly flexible actor, and it just so happens that he is an incredible singer.
So as it worked out, we had two great musical actors. I found that, as far as I'm concerned, working with the Muppets is a hundred thousand times better than working with real people.
It is the best time I've ever had on a movie, and I'm not exaggerating. My advice is, if you can't work with Muppets, don't work!
These guys are particularly talented at creating depth and a cinematic look with every set. We use all sorts of movie tricks to make the picture look deeper and make the movie look bigger, and it's that sort of trickery that Val is particularly good at.
The whole thing should be as grouchy as those who live there. I thought, let's make it look silly, make it look funny. Almost like a child would draw, with crazy angles. The foundations were real but we twisted them. They live on trash.
They think it is better than good stuff. So Grouchland became organized trash. They bought 10 truckloads of it. He just wanted other people's belongings, but it came from Grouchland because that was the only place he went. He had toys, teddy bears, Lionel trains, umbrellas, musical instruments It was finally decided that it would be a huge moving mountain of trash that the Queen would rise out from underneath to reveal herself.
The Stenchmen were made out of plastic and paper trash bags. One of the biggest challenges that we faced was the Queen of Trash rising out of the center of Da Dump on a turntable with the trash parting on each side to reveal her. It turned out to be a fantastic set.
Sesame Street - Wikipedia
Designing the set was a challenge, according to Cassie. They were apprehensive about it because no one had ever seen it So now, for the first time, you get to see what's in that can. It was more like looking at it from a child's knees. The Muppeteers hold the Muppets up over their heads so that they are about six feet up in the air, and any humans in the scene are up in the air about nine feet because they stand on three-foot platforms in order to be in perspective with the Muppets.
I'm standing on the floor looking up at everything. We had to work off ladders and platforms using a remote camera on a large crane which didn't allow us to look through the camera while we were lighting and shooting, but through a videotape on a remote head. It was a big cylinder that made getting light down in and around it difficult.
It was also the darkest and moodiest set. The most rewarding was the Queen of Trash at Da Dump. When the Queen emerges from the depths of her trash kingdom, all the trash starts to glow and throb with sort of volcanic light.
We underlit and upglowed the insides of these piles of trash until we got it to a point of translucence that worked. We were able to turn focus and change colors on the lights via remote, adding a kind of 'rock 'n' roll,' theatrical look to it. We didn't want the dump number to look like a theatrical piece, but we wanted to use the lights to give it this kind of earth-cracking-open, lava-spewing, ripping-open-from-the-center-of-the-earth kind of feel. The song starts with a crack of lightning.
It had the nice feel of a moving, living set with pieces that glinted. There were a couple of light sconces and some chandeliers, but mostly this kind of murkybut not too murkylight and cobwebs. It was the lack of a scheme that was the scheme.
He was so red that we tried to use a different light to offset some of the redness. The thing about all Muppets is that they suck up the light. Elmo, Grover, Telly, Cookie Monster those characters really suck up the light. Oscar lit the best. There were definite considerations to be dealt with in keeping light on the Muppets and trying to minimize it on the humans. You don't want to scare the children. You don't want these dark creatures popping out at four- and six-year-olds.
These are characters that they see every morning on 'Sesame Street,' and though we certainly gave it a different look because it's a theatrical film, you do have to keep it in context to the children and the story. She has this great face. She was so easy to light.
And the same with Mandy. His face is so expressive. His talent is so infinite. You'd say, 'Okay, give me something different,' and in one take, he'd give it to you five different ways, one right after the other Ed Christie, Muppet art director for The Adventures of Elmo in Grouchland, was involved in designing the new characters for the film as well as supervising the overall build of the show.
They appeared mainly in the 'Sesame Street' scenes. As we approached Grouchland, we focused on the new characters.
We also created a group called the Pesties. They're more like cockroachesfurry things with big eyes that get in the way. They're like the Keystone Cops, always clanging into each other and running errands for Huxley.
One is a football head, the other is made out of a spaghetti strainer, and the chorus is made of plastic garbage bags and paper bags. Some of the other Grouchland characters are Stuckweed, a plant that helps Elmo on his journey through Grouchland; a caterpillar that advises Elmo; a giant Godzilla-type chicken that pesters little Elmo; and 25 new grouches that populate Grouchland. We were able to re-dress them and use them again in the same town.
They look the same, have a certain shape to their heads and a certain bad attitude. They're grouchy, grumpy, smell bad, love smelly things.
They wear distasteful clothes and use junk to adorn themselves. The other grouches are designed to reflect a mailman, a chef, a policeman we have an ice cream man called the Bad Humor Man. All totaled we have about 75 puppet costumes that are new. She is not the typical grouch.
She tries to help Elmo, and consequently she wears clothes that aren't quite as distressed.
They are a little nicer, a little newer and a little cleaner to help distinguish her from the other grouches, who have absolutely no taste. There's one scene where the lady grouches are coming out of the 'ugly parlor' and their hair is in obvious disarray with things like pot scrubbers, old tin cans and soda cans, which they find attractive. We finally agreed on design, fabrics, colors and then sent it to Vanessa for her approval. The clock was ticking.
We had one week to build a costume and have it ready for our one and only fitting. The final fitting was done in North Carolina. It's a leotard with bits of rag and painted gossamer fabric so you can see through it. It shimmers when she moves.
Her headdress is made out of bits of garbage. I think it's a combination of both. And my headdress is full of lovely knick-knacks: It has to be safe enough so that parents feel they can bring their youngest child to his or her very first movie, and at the same time entertain seven- eight- ten-year-olds, as well as young adults and parents.
That's a very big challenge. It's about getting the comedy to work but always remaining innocent. But when you get right down to it, it was the talents of the production designers, lighting technicians, cameramen, director, performers and the Workshop that made the characters.
It was all of the wonderful, enthusiastic people who were part of this project.