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シンバ| 有名人の最新ニュースを読者にお届けします。

私たちは、人々が好きな有名人について読んで、それについて気分を良くすることができるスペースを作りたかったのです.私たちは、人々が有名人についてポジティブな方法でゴシップできる場所を作りたかった.
私たちは、何年もの間、日本のエンターテインメント ニュースを生き、呼吸してきた情熱的なエンターテインメント ニュース ジャンキーの小さなチームです。

私たちは、有名人の最新のゴシップを分析し、日本のポップ カルチャーの最新トレンドを分析することを何よりも愛しています。私たちはエンターテインメントのすべてに夢中になっており、私たちの情熱を世界と共有したいと考えています。当サイトへようこそ!

シンバ, /%e3%82%b7%e3%83%b3%e3%83%90,

Video: 映画『ライオン・キング/ディズニー デジタル 3D』冒頭シーン

私たちは、人々が好きな有名人について読んで、それについて気分を良くすることができるスペースを作りたかったのです.私たちは、人々が有名人についてポジティブな方法でゴシップできる場所を作りたかった.
私たちは、何年もの間、日本のエンターテインメント ニュースを生き、呼吸してきた情熱的なエンターテインメント ニュース ジャンキーの小さなチームです。

シンバ, 2011-09-12, 映画『ライオン・キング/ディズニー デジタル 3D』冒頭シーン, 動物の王国の王子として生まれたライオン、シンバの成長を、雄大なサバンナの大自然と壮大な音楽を背景に描くディズニー・アニメの3Dバージョン。シンバが体験するロマンスや友情、家族のきずなと共に、命の営みや自然の摂理をつづっていく。『スター・ウォーズ』シリーズのダース・ベイダーの声でおなじみのジェームズ・アール・ジョーンズがシンバの父ムファサを渋い声で演じるほか、ウーピー・ゴールドバーグやローワン・アトキンソンといった多彩な役者陣が動物たちの声を担当。リアルに描かれる大自然と感動的なストーリーに胸が躍る。
配給: ウォルト・ディズニー・スタジオ・ジャパン
オフィシャルサイト:http://LION-KING.jp
(C) Disney, シネマトゥデイ

,

プロフィール

名前 シンバ
英名 Simba
性別
種族 食肉目ネコ科ライオン
日本語CV 宮本充(吹き替え版)、中崎達也(吹き替え版・幼少期)
英語版CV Jonathan Taylor Thomas、Matthew Broderick、Joseph Williams(歌)、Frank Welker(鳴き声)、Cam Clarke(歌)、Matt Weinberg、Rob Lowe
初登場作品 ライオンキング
作者 Linda Woolverton、Jonathan Roberts

概要

ライオンキング』のキャラクターであり、同シリーズの実質的な主人公(派生作品ではこの限りではない)。名前の意味は、スワヒリ語で「ライオン」。

プライド・ランドの王であるムファササラビ息子
父系の祖父母はアハディとウル。曾祖父はモハツ (モハトゥ)。
養叔父(保護者)にミーアキャットのティモンとイボイノシシのプンバァがいる。養兄弟は、彼らの養甥でラーテルのバンガ。
1990年版の『ライオン・キング』と同一または別の『キング・オブ・ジャングル』(後のプライドランダーの先駆けである、プライド・ランドのジャングルに棲むプライド「ンドナ」が舞台)限定では、母系の叔母にナアンダ、ディク、ドゥワラがいる。ナアンダが、最も優れた狩りの名手のメス。同作品での義弟にミェートゥがいる。
母系の従弟にモトトがいる。また、父系か母系か不明の叔父・叔母と2頭の従兄弟(両方とも雄)が確認されている。また、短期間の養兄弟マルカ(雄)もいる。
妻はナラで、長女または次女はキアラ(実写版では長女)、長男または次男はカイオン。その他、別の世界線での子供コパ(長男または次男)がいる。そのほか、第一作目の最後に見られた第一子は別の子ライオンだとされることもある(便宜上、フラッフィーと呼ばれており、実写版の小説では雄)。

長年の故郷からの追放を経て、父系の叔父であり宿敵のスカーを倒して、父のかたき討ちと王位継承に成功した。

シンバズ・プライドではより筋肉質になっている。

1990年版の『ライオン・キング』/『キング・オブ・ジャングル』でも、おおよその立ち位置は同じだが、味方につける動物たちの種類が異なる。また、他のライオンのプライド(かつての敵だが後の同盟の「ムバラ・プライド」)や人間の存在が判明している部分も違う。

詳細については、次の URL をご覧ください。……

Name[edit]

Simba is a Swahili word for lion, reflecting Simba’s origins in sub-Saharan Africa. It also has other definitions, such as king, strong, “born leader” or aggressive.[1]

Development[edit]

Conception[edit]

Simba was framed for this terrible murder, and on the one hand you can say it wasn’t his fault, but he wasn’t a stand-up guy, so a little bit of the theme of the movie is you have to stand up for yourself if you know you’re right. So that idea of redemption, that idea of that day in your life that you have to take responsibility for yourself, that you’re no longer a child, you’re an adult, all those themes resonated with us when we were making the movie and, thankfully, the audience appreciated them, as well.

– Producer Don Hahn on Simba’s role in the film.[2]

The idea for The Lion King originated from Disney chairman Jeffrey Katzenberg in 1988[3] and was originally conceived under the title King of the Jungle.[4] The story, which has been compared to Bambi (1942),[5] was jokingly referred to as “Bambi in Africa” because of the similarities between the two films and their respective main characters.[6] Co-director Rob Minkoff said that both films are “more true-life adventure than mythical epic.”[6] Though considered an original[7][8] coming-of-age[9] story that follows the life of Simba as he grows up and “tak[es] on the responsibility of adulthood,” co-directors Roger Allers and Minkoff drew inspiration from other sources. In particular, the biblical figures Moses and Joseph served as creative inspiration for the character.[10] Producer Don Hahn said that, like them, Simba is “born into royalty, is then exiled, and has to return to claim [his] kingdom.”[11]

Unlike the studio’s three previous films The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992) which are essentially love stories, The Lion King revolves around Simba’s relationship with his father instead, which Allers identified as “The real heart and emotional underpinning of the whole story”.[12] In April 1992, the filmmakers hosted a “brainstorming session” in which much of the film’s original story was largely re-written, particularly Simba’s personality.[12] Originally, Simba was intended to remain with the pride after Mufasa’s death until this idea was re-written in order to make the character more “likable and sympathetic.”[12]

Several film and entertainment critics have noted similarities and parallels between the stories of The Lion King and William Shakespeare‘s tragedy Hamlet, and their protagonists.[13][14][15][16] Allers said that these similarities were not initially intentional and came as a surprise to the filmmakers themselves; they noticed the similarities only after the story was established and they eventually decided to pursue it. According to Hahn, “When we first pitched the revised outline of the movie … someone in the room announced that its themes and relationships were similar to Hamlet. Everyone responded favorably to the idea that we were doing something Shakespearean, so we continued to look for ways to model our film on that all-time classic.”[11]

Screenwriter Jonathan Roberts said that, in a musical, songs are used to convey a character’s emotions and “I wants.” Composer Elton John and lyricist Tim Rice wrote the song “I Just Can’t Wait to Be King” in order to give Simba a medium through which he can express his desire to become King of the Pride Lands. Roberts said, “It’s a way for storytellers to move the story and deliver the direction of the character.”[17]

Voice[edit]

Matthew Broderick provided the speaking-voice of adult Simba.[18] The first actor to be assigned to The Lion King,[8] Broderick learned of the role while he was on vacation in Ireland, where he received a telephone call from his agent informing him that the directors were interested in casting him as Simba after seeing his film Ferris Bueller’s Day Off (1986).[19][20] The directors decided to cast him as Simba because they felt that he was “perfect” for the role; according to producer Don Hahn, Broderick’s voice resembled “the kind of character who could be irresponsible and likeable, but you also felt that he could come back in a very heroic way.”[21] Minkoff recalled that the actor “was able to humanize the hero character … and give Simba a lot of depth”, preventing the hero from “becoming 2-dimensional” using “brought a great deal of sensitivity and thoughtfulness to the role along with sincerity and a sense of humor.”[12] Jonathan Taylor Thomas, who was starring as Randy Taylor on the television sitcom Home Improvement at the time,[22] was cast as the speaking voice of young Simba.[23] His appearance and personality would later serve as creative inspiration for supervising animator Mark Henn.[7]

Despite often singing in his work, Broderick opted not to perform his own vocals in the film.[24] Toto lead singer Joseph Williams and actor Jason Weaver were hired to dub their respective singing voices. Williams’ voice is heard on the song “Can You Feel the Love Tonight“.[25] Impressed by Weaver’s performance as a young Michael Jackson in the miniseries The Jacksons: An American Dream, songwriters Elton John and Tim Rice recruited him to record “I Just Can’t Wait to Be King” and “Hakuna Matata[26] while the film was still in its early stages of production.[27] Weaver’s vocal tracks were well-liked by Allers and Minkoff that they offered Weaver the speaking role, but later learned Jonathan Taylor Thomas had already accepted the part.[28] As directors, Allers and Minkoff worked closely with the actors in order to ensure credible performances.[29] As frequently done in animated films, the filmmakers videotaped the actors while they recorded their dialogue, allowing the animators to incorporate their specific mannerisms into the designs of their characters.[30]

Personality and design[edit]

When The Lion King was green-lit, its concept and story were not well received by studio employees. To guarantee the release of at least one successful film, Disney chairman Jeffrey Katzenberg divided the studio into two separate projects: The Lion King and Pocahontas (1995), with Pocahontas expected to be the more successful of the two. Because of this assumption, the majority of the studio’s more seasoned animators gravitated towards Pocahontas, while less experienced animators were assigned to work on The Lion King, which was deemed a “risk”.[31] Co-director Rob Minkoff received this positively, saying that this decision “gave a lot of newer animators a chance to step up to leadership roles.”[32]

You can’t just use your house cat as a model, thinking, “I can just draw him, only bigger.” You need to know why a lion is a lion, the difference in movements between a lion, a tiger, a leopard or your house cat. We looked at this film as our Bambi. They had the same approach. Look at the way the deer are drawn in Snow White and the way they drew the deer in Bambi just a few years later. They look like real deer because the artists did their homework.

– Supervising animator Mark Henn on animating Simba.[33]

The role of animating Simba was divided between Ruben A. Aquino and Mark Henn, the former of whom was the first animator to be assigned to the project.[12] While Henn served as the supervising animator of Simba as a cub, credited as young Simba,[34] Aquino was placed in charge of animating the character as he appears as an adult.[35] The Lion King was Disney’s first animated feature film to feature absolutely no humans since Robin Hood (1973). According to Aquino, animating four-legged creatures is difficult because the artists are faced with the task of drawing “twice as many legs … as you do with human characters” and must also attribute to them both human and animal-like qualities. For assistance, Aquino drew influence from previous animated films that feature four-legged creatures as their main characters, citing Bambi, Lady and the Tramp (1955) and The Jungle Book (1967) as his main sources of inspiration.[36]

Before The Lion King, Henn’s experience as a supervising animator was limited to predominantly female characters;[5][37] he had just recently completed work on Ariel from The Little Mermaid (1989), Belle from Beauty and the Beast (1991) and Jasmine from Aladdin (1992).[33] When he became involved with The Lion King, Henn initially expressed interest in animating the film’s villain, Scar, because he wanted to do “something different.”[5] However, producer Don Hahn felt that he was better suited for animating Simba.[38] Henn approaches animating new characters by “put[ting himself] into the character’s situation.” Simba proved to be a challenge because Henn was faced with the task of creating an animated character who would both appear and behave like a real lion cub. To achieve this, Henn visited zoos, sketched and studied live lion cubs that were brought into the studio for research, and frequently consulted with wildlife experts.[39] Simba’s short hair follows from the extreme heat of the lion’s native climate, as does the thickness of the skin depicted on each paw, allowing him to swiftly navigate the grasslands.

When it came time to animate Simba during the “I Just Can’t Wait to Be King” musical sequence, Henn felt it essential that the character remain on all fours at all times, despite the fact that he is meant to be dancing.[37] In terms of personality, Henn aimed to depict Simba as a “cocky, confident character” at the beginning of the film, who must eventually mature and learn to take responsibility.[5] The animators would often observe and document the voice actors while they recorded their dialogue, using their movements and mannerisms as a visual aid. Actor Jonathan Taylor Thomas, who provided the voice of young Simba, served as inspiration for the design and personality of Simba. Henn said, “I loved watching Jonathan Taylor Thomas when he was a boy on Home Improvement, and getting to meet him and observe him.”[40] Although Aquino was responsible for animating the majority of Simba’s adult sequences, Henn animated the character’s first appearance as an adult that occurs near the end of the “Hakuna Matata” musical number.[41]

詳細については、次の URL をご覧ください。……

シンバのぬいぐるみ「ライオン・キング」(ディズニー/Disney)|通販のベルメゾンネット

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詳細については、次の URL をご覧ください。……

ユーザーがトピックに関連して検索するキーワード シンバ シンバ

ライオン・キング/ディズニー, デジタル, 3D

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結論として、日本のエンタメニュースは興味深くエキサイティングな話題です。日本の文化やエンターテインメント業界について学ぶことはたくさんあります。日本のエンタメニュースはとても面白いです。新鮮でわくわくする情報が満載です。ぜひ、この本を読んで、この国とその文化についてもっと学んでください。この記事が有益で役立つことを願っています。読んでくれてありがとう!

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