In the (older) version, she’s this thing that people want to own. I wanted her to be a woman who could love and be loved, and not just be objectified or or be a fantasy. And this freedom, this larger-than-life quality and her fearlessness. MILLEPIED: What’s interesting is this woman’s capacity to express herself. What did you save, then, from the older versions? The film is set to an original score by Nicholas Britell. I stripped (plot) away and found ways to tell the story without a lot of dialogue.ĪP: You gave your Carmen a completely new story, as a young woman fleeing Mexico for the United States after the murder of her mother. And photography and lights and moving people on the screen, and knowing when to move the camera and not. Everything else in a way has to do with theater performance. MILLEPIED: The experience of writing was maybe the most foreign thing to me. He also cowrote the script and created numerous dance sequences - including for Barrera and Mescal, neither of whom is a trained dancer. Now, he’s achieving a long-held dream by making his directorial debut with “Carmen,” starring Melissa Barrera and Paul Mescal, which opened Friday. Millepied would go on to make a number of short films, and then in 2010, he choreographed and acted in Darren Aronofsky’s “Black Swan,” alongside future wife Natalie Portman. He also maintained his passion for cinema, sparked during a childhood of watching classic films with his mother. It helped Millepied, who was born and raised in France and Senegal before coming to the United States, keep his love for opera alive while climbing the ranks at New York City Ballet to principal dancer. “We did these totally naughty things,” he says with a laugh. They’d sneak into the Metropolitan Opera House during intermission, or talk their way backstage, relying on a sympathetic usher for seats. Once she sees the world from above, she recognizes that she was right about wanting more than what’s in the palace, and Aladdin helps provide what she wants.When Benjamin Millepied was a teenager starting dance training in New York, he and fellow students got into ballet performances for free, but opera was another story: They had to be creative. That now, I’m in a whole new world with you. That now, I’m in a whole new world with youĪs Jasmine soars above the world on the magic carpet everything is crystal clear
WHOLE NEW WORLD FREE
With Aladdin as her love interest, he presents a new opportunity-the chance to see the world and satisfy her free spirit. Her father won’t let her out of the palace because he fears it’s too dangerous. Jasmine’s life in the palace curtails her free-spirited nature. Jasmine’s Perspectiveįor Jasmine, Aladdin in his disguise symbolizes freedom.
Though he knows that Jasmine’s father is strict, he also recognizes that he doesn’t have a chance with the princess because he is a street urchin. It’s more significant for Aladdin because of their class difference. He secretly pictures a world where there is No one to tell us no or say we’re only dreaming. The lyrics are significant because Aladdin is disguised as a prince.
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