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DGA QUARTERLY 47 "They came with a ton of sophisticated equipment and figured out where the reflections would go based on shiny objects that weren't there," he continues, echoing Favreau's note on interactivity. "So, there's moonlight refracted off of reflective surfaces and there are butter dishes that have candles in them, which are half open to create foot lights, with other objects creating shadows. Light goes against a punchbowl filled with a pink liquid that then refracts into the chan- delier and creates a little pink spot. That's how crazy it was. You could have done it with CG light later, but you wouldn't have had that same feeling of 'Oh, my God, this is like you're here. Somehow this is some- thing real.'" Studios are increasingly relying on remakes of prior titles to fill and ensure their pipelines, so it stands to reason there will be more trans- ference between animated and live-action properties, though after Carrie Fisher's and Peter Cushing 's CG appearances in Rogue One: A Star Wars Story, what live action means could prove increasingly malleable. But Star Wars points particularly to what Favreau identi- fies as making these fantasy-based films ripe for reinvention: mythic journey and iconography. "There's something really magical about the iconography of Disney that we share, not just as an American culture, but globally," he says. "Walt was a bit of a Johnny Appleseed in pulling stories from every- where and making them feel emotionally charged, allowing there to be great laughter but also sadness and fear, experienced as a kid with your parents or people close to you. "Simultaneously, though," he adds, "how do you make these old stories relevant? And how do you take advantage of the new tools and techniques that are available? Hopefully, you want to reference and add to the older film, not replace it, and then maybe open the door for a younger generation, if they like what you did, to go seek out what was done 25 or 50 years ago. Ultimately, you want to keep that tradi- tion connected to the things you yourself loved." ® "Everything that's to do with how Cinderella's character was formed had an opportunity in this live-action version," says Kenneth Branagh. "Live-action human beings could convey familial love and devotion that was going to pay off emotionally many times throughout the movie. We just care differently when they look, talk, walk and speak like us."