That's how much clout these guys had.Įven though Howard Ashman loved Aladdin and wanted to focus all his energy on the movie, he had to finish the music for Beauty and the Beast first. He and Alan Menken wrote six songs and a 40-page summary of what the story could be about. In fact, it was Howard Ashman who pitched the idea for Aladdin to the Disney big wigs in the first place. Then they did it all over again for Beauty and the Beast. When Menken and Ashman wrote the score for The Little Mermaid, it turned about to be a smash hit. Plus, you can put in lots and lots of animated jazz hands if you go the Broadway route. They thought that animation was the perfect fit for these big Broadway-style musical numbers, the kind of numbers that can both drive a story forward and reveal a character's innermost hopes and dreams. (You might have heard of one of their shows, Little Shop of Horrors). Ashman wrote lyrics, Menken composed music, and they both had success in musical theater. That's where Alan Menken and Howard Ashman come in. Older Disney movies had lots and lots of great, hummable tunes, of course, but those weren't necessarily the kind of show-stopping musical numbers that you would see on the Great White Way. When Disney decided to reboot its animation efforts with The Little Mermaid, they went in a different direction musically from previous Disney movies as well. Not bad for a cartoon, right?īut let's rewind a little to get the big picture.
#Aladin film song movie#
Written by Alan Menken, Howard Ashman, and Tim Rice, the tunes from the movie would go on to win Oscars, Golden Globes, and Grammys. “I should have maybe felt more pressure and all these things, but when you’re in that bubble, that lovely bubble of making the movie, and you’re with all these people and you feel really confident about the choices that you’re making and you are very clear about what it is you are looking to achieve, that’s all you can really do because ultimately you know that there are gonna be people that dig it and people that don’t, and that’s like anything that I’ve done up till now, so I’m kind of like, there’s no point over-worrying.The score for Aladdin was yet another musical triumph for Disney. Scott also added something about her approach to dealing with the “Speechless” pressure that really could come in handy when working on just about anything there’s really no point in excessive worrying. Some people are kind of like, ‘No, just stick to how it is.’ You’re never gonna please everyone, but at the very least, I loved the song, I loved the meaning behind the song, I loved the moment that it came in the movie, I loved the fact that away from the movie it felt somewhat modern.”
I’m just like, ‘I think it’s a great song! If I think it’s a great song, everyone else …’ But, you know, some people like new things, some people don’t.
Probably because maybe I just go into these things quite blind. “I think I was more excited than anything else.
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