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- For this film specifically
- Yes.

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- What influenced your approach

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on the musical aspects
of "The Little Mermaid?"

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We've seen you do big grand musicals.

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But this one kind of splits time between

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land and sea.
- Yes.

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- And I loved your interpretation of land

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specifically with immersing
Ariel and Eric with a culture

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and everything, and I just wanted

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you know,
- Oh, good.

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- Pick your brain on what
inspired that aspect?

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- Well, I really felt like
Eric needed to be developed.

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I mean, that was a big part of it.

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And I saw it kind of as a
Romeo and Juliet-esque tale.

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You know, these two sort of young spirits

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from completely different worlds

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that weren't meant to
be together, you know?

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But they find each other anyway

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and break down those barriers and walls

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between these two cultures.

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And so that led to sort of like

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how we reinterpret this film.

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I mean, it is a very contemporary
piece to me in a way.

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You know?

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Especially as our world gets more divided,

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that these two people don't listen to

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what people are telling them to do.

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"Don't go here, don't go there,
don't speak to the humans,

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don't be with the sea creatures."

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You know, whatever.

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And they don't listen to that
and they see ahead of that.

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And ultimately find each other.

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So it's a beautiful, I mean,
for me it was beautiful to make

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because the entire time
I'm thinking, you know,

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"wow, it's really a vital reminder

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that we're really all one,

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even if you're a mermaid or a man."

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You know?

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But then you realize, "wow."

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That was back in the 1830s

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Hans Christian Anderson wrote that.

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He was so ahead of this time.

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(air whooshing)
(steady hip hop music)