Official Narnia News Thread

[Fanible]

No one appears to have created one, and I didn't know where else to add general news rather than creating brand new threads every time.



Release Date: December 9, 2005
Studio: Walt Disney Pictures, Walden Media
Director: Andrew Adamson (Shrek, Shrek 2)
Screenwriter: Andrew Adamson, Christopher Markus, Stephen McFeely, Ann Peacock
Starring: Tilda Swinton, Liam Neeson, Georgie Henley, William Moseley, Skandar Keynes, Anna Popplewell, Rupert Everett, Dawn French, James McAvoy, Shane Rangi, Patrick Kake, Elizabeth Hawthorne, Kiran Shah, James Cosmo, Judy McIntosh, Sala Baker, Jim Broadbent, Stephen Ure, Ray Winstone
Genre: Adventure, Family, Fantasy
Website: http://www.narnia.com
Plot Summary: "The Chronicles of Narnia: The Lion, The Witch and The Wardrobe," a spectacular live-action/CGI motion picture adaptation of C.S. Lewis' beloved literary classic. Lewis' timeless adventure follows the exploits of the four Pevensie siblings - Lucy, Edmund, Susan and Peter - in World War II England who enter the world of Narnia through a magical wardrobe while playing a game of 'hide-and-seek' in the rural country home of an elderly professor. Once there, the children discover a charming, peaceful land inhabited by talking beasts, dwarfs, fauns, centaurs and giants that has become a world cursed to eternal winter by the evil White Witch, Jadis. Under the guidance of a nobel and mystical ruler, the lion Aslan, the children fight to overcome the White Witch's powerful hold over Narnia in a spectacular, climactic battle that will free Narnia from Jadis' icy spell forever.

[Fanible]

To start out, CS! just recently posted an exclusive interview with Anna Popplewell (who plays Susan in the film):

CS!: Can you tell us about yourself?
Anna Popplewell: I lived in London with my family. I go to an all-girl school there. I got into The Lion and the Witch after a long casting process. It was like 18 months, 2 years. I originally went to meetings just to set up any auditions and then kept going back and back and back until I was screen tested. And that was that.

CS!: And they said, "Anna's the one we want!"
Popplewell: Well, I hope so otherwise they've got some wrong names.


CS!: When you got the role, how did you prepare for it?
Popplewell: I reread the books a few times and worked on the scripts. And we had a rehearsal period in New Zealand and got to read through in the UK.

CS!: So, you had read the books before?
Popplewell: When I was younger I read all seven. During the casting I reread "The Lion, The Witch and The Wardrobe". And then after I got the role I reread them all. I'm a big fan of the books.

CS!: How did you start the production?
Popplewell: After a few weeks of readings we had fittings and had tests and those kinds of things. Then we all flew out to New Zealand and finished up tests and rehearsals there and then starting shooting. We shot for four months in Auckland and then we were down in South Island and Akaroa and then in Christ's Church.

CS!: Did you leave there and go to the Czech Republic?
Popplewell: Yeah, we finished shooting in December and went to the Czech Republic early this year. It was fun. I love traveling. It was fun to get to see new faces and do new things.

CS!: You went to some pretty spectacular places.
Popplewell: The scenery in the South Island is absolutely incredible. It's something that I was really happy to get the opportunity to see. It's really beautiful there.

CS!: How long did it take you to film?
Popplewell: I was in New Zealand for six months - pretty much to the day. It was six months. And then in Prague, I was there for two weeks.

CS!: How did the acting go? What did you most enjoy about the process?
Popplewell: The most enjoyable thing about the process of being on that set was the number of really wonderful people. We were so lucky we had such a great crew and great cast and a really nice set of people from the top right down. We were really lucky. It was a really nice set to be on. A great atmosphere. And really good fun. That was one of the best things about the experience…meeting all those people.

CS!: On set there were lots of people in lots of costumes. Monsters and centaurs and minotaurs and all kinds.
Popplewell: There were. There are all sorts of things. It was great. We had the most bizarre lunch tent. You'd be sitting down having lunch with ogres and centaurs and goblins and everything. It was great…it was a very cool tent

CS!: And you're dressed in a World War II period outfit, right?
Popplewell: For the start of the film we have our 1930's, 40's costumes - which is war time period English clothes. And then we get the fur coats. And once we get into Narnia we get our Narnian clothes.


CS!: All of the monsters, all of the creatures around…but, no Aslan on the set.
Popplewell: We had a model Aslan for one scene. For the stone table we had a model Aslan for that. An animatronics one. Which was pretty amazing. And the rest was CGI.

CS!: How did you do the CGI stuff? Was it hard?
Popplewell: It's slightly bizarre acting to nothing. We tried lots of different ways. We had people reading in with eye lines. We had ping pong balls on sticks. And fluorescent markers and all sorts of thing. And it got easier. It was a new experience.

CS!: What was it like working with director Andrew Adamson?
Popplewell: It was fantastic. I think there are high expectations and he meets all of them and exceeds them. He's a really nice man, a really great director. He really knew how to approach all of us as individuals. Especially, you know there could be the danger of us being "the kids" as a unit of four, but he really spoke to all of us in different ways. He had to work with us all differently. He's just a really nice man. And he loves what he does and it really shows.

CS!: Do you have any stories about your favorite time on the set?
Popplewell: We had lots. One of the fun days that we had soon after we arrived was little Georgie's birthday when she turned nine. And she was away from home. It was soon after the start of the shoot…about the fifth of July. And it was just so fun watching her have so much attention. I've never seen a nine-year-old have a birthday like that. It was just huge, huge. If you can imagine 400 people on set, everyone sang happy birthday. And then we changed because we had shootings while we were on set. And we changed our cast room into a party room and spent the day in between shots making cake and biscuits and threw this huge surprise party in there and it was just really cool to see her face…we all got along really well. Even being different ages, it was like a mini family. It was great.

CS!: Are you missing them yet?
Popplewell: I still see them and speak to them. We keep in touch which is really nice.

CS!: Have you signed for sequels?
Popplewell: I don't know if the sequels are happening yet. It's kind of all in the talking stages I think. I think it just depends on this film and what the viewers think afterwards.

CS!: What's next for you?
Popplewell: I'm back in school. I'm keeping my eyes open and seeing what's happening. But, I'm just taking everything as it comes. Yep - back to reality.


CS!: What will you take away from the film?
Popplewell: A lot of happy memories. It was a huge learning experience in terms of being on set. And the really great times.

CS!: What do you hope that the audience will take away?
Popplewell: I know there are a lot of expectations for this film and I hope we have met all of that. I hope people will enjoy all the effort that's gone into the sets and the costumes and costume directing and makeup and all that. And that it matches people's expectations.

CS!: Have you visited any of the fan web sites?
Popplewell: I've seen a couple. I've seen NarniaWeb a while back. But, there seems to be a lot of internet support which is great…I don't think anyone has posted messages on there. I know I haven't. Anyhoo. It's out there but what is reportedly from us really isn't. But, I think we're all aware of the internet. Which is really nice and we all really appreciate it.

[FVD]

Well it so happens that IGN also has interview up on their site. And another with William Mosely on another site.

Interview with William Mosely and Anna Popplewell.
http://filmforce.ign.com/articles/645/645737p1.html

Interview with William Mosely
http://www.cinecon.com/news.php?id=0508261

[FVD]

...and here is a video link to a preview of the Narnia soundtrack. All the songs sound poppy.

http://www.hearitfirst.com/?id=383466&media=win&obj=0

[kazakhrider]

That's only the Christian "Inspired By" soundtrack (basically has nothing to do with the film except for the association of the Narnia name). There's also a secular "Inspired By" soundtrack, an "Inspired By" soundtrack with kiddie songs, and the proper film score soundtrack by Harry Gregson Williams.

[Fanible]

CS! has now posted another exclusive interview, this time with William Mosely:

For Peter, the eldest of the Pevensie clan, Adamson chose William Moseley, a British actor who had only appeared in a few small projects, but suddenly found himself in New Zealand, taking part in huge battle sequences often involving creatures that would be added later using computer effects.

In this exclusive interview with ComingSoon.net, Moseley told us how he got the job and how it was an experience that changed his life.

CS!: How did you find out about this movie or how did Andrew find you?
William Moseley: Well, basically what happened was I had a casting director who knew me from a period drama. She liked me and remembered me from this agency. If you'd like, I can tell you the story. What happened was I was at this tiny little primary school when I was ten years old. There, we studied the three core subjects and it was relaxed and easy and everyone knew everyone else. One day, this casting director comes to town looking for a knobbly-kneed red-faced village child. I sort of fitted the bill. I was not self-conscious; I was a total show-off. I just loved all the attention and I loved doing these improvisations and just being in the moment. It was for this period drama on BBC that I couldn't do because I was too young for the older role and too old for the younger role.


CS!: Were you doing theatre at the school at that time?
Moseley: No, I wasn't. This tiny primary school didn't even do theatre, so I was like totally natural. I was that five-year-old kid you see in those films where you go "Oh my God. How did that kid act so well?" You're not self-conscious at all. You're just instinctual and just living off your moment. And so, I wanted to carry on acting. Of course, I wanted to keep showing off. And Pippa Hall, who cast "Billy Elliot", gave me this tiny little agency almost in the middle of nowhere. I don't know if you've ever read the book "The Curious Incident of the Dog in the Night Time". That's in Swinden where this agency was.

CS!: Oh, wait a sec. Are you from England or from New Zealand?
Moseley: I'm from England, about an hour and a half West of London. It's Gloucestershire of Henry the 5th [fame], that kind of area. And it's just beautiful and still untouched. And then through this agency, I was always down to the last two. It was just so annoying. I must have gone out for eight things and got down to the final two for all of them. One day, Pippa comes again and she's casting for "The Lion, The Witch and The Wardrobe" like five years later, and my agent doesn't send me up, because she doesn't want me to get down to the final two or doesn't want me to audition, because she thinks I might kill Pippa if I didn't get the part. But anyway, she remembered my little red face and shouting kid, so I go up to audition, and I meet Andrew, the director. It was funny, because I met Anna, who plays Susan, in the first audition I ever had. Through 18 months auditioning, I finally got the part.

CS!: Were you familiar with C.S. Lewis' books before you heard about this part?
Moseley: I think I knew the story. I used to read like fantasy stories, but "The Lion, The Witch and The Wardrobe" I listened to on story tape every night. I would listen to the first ten or fifteen minutes and I'd know it by heart, and then I would just fall asleep, so I wouldn't know the rest of the book. It was so weird. I would know the first ten or fifteen minutes perfectly, but the rest of it would kind of be oblivious. I remember reading the books when I was auditioning, and you know, I loved it. It's funny, because for a 17 year old to actually enjoy what's essentially a children's story was kind of laugh. Maybe it was because my reading ability is of a child. (laughs) I remember when I read the script to my parents and I used to get to the battle bit. Because in the book, it's like "Peter fights in the battle" but whereas in the script, it's like "Peter gallops furiously into battle." And I would smile when I read that, just like I'm smiling now.


CS!: For how long were you in New Zealand and how was it shooting down there?
Moseley: Well, it was amazing. I mean, we shot seven months in New Zealand and then we shot for two weeks in Prague. It was a life-changing experience. New Zealand is an amazing setting for such an amazing film. I feel like a big city like Los Angeles or London or New York just wouldn't have been right for such a film like that. It almost needs to be in its element. It's a free story about free things, and it needs to be in a free place, and I'm so glad we shot it in New Zealand. I think it was just right.

CS!: How was it to act opposite all sorts of creatures that weren't really there?
Moseley: That's a good question, because when I first got there, I found it kind of weird, because you have this guy just holding a pole with a piece tape or something on it, and you have to be scared or empowered or frustrated by it. What we all did as almost child actors was we used our imaginations and we created the perfect Aslan or the perfect Beavers or the perfect wolves, which were scary. We saw them in our minds and it was almost better that way, because they were perfect to us and unique to our imagination. I remember watching "The Lord of the Rings" one day and I could see that the guy was looking at an "X" on the matte box of the camera. That was his sightline and that was supposed to be Gollum. I remember thinking that his eyes weren't moving. When you talk to someone, your eyes and your face are constantly moving. Your eyes aren't locked, so that was something that Andrew helped with. He could become the eyeline of that character, because he knew everything about it, as far as the dimensions.

CS!: What were your favorite scenes to shoot? All the war stuff?
Moseley: Yeah, that is an easy question, because that was amazing. I couldn't have enjoyed that any more than I did. Like I said, I rode on this perfectly trained white Spanish Andalusian horse, bareback with a full suit of armor, sword and a shield across a battlefield, galloping towards snow-capped New Zealand mountains. I mean, that was the greatest experience of my life.


CS!: Were you the one who had problems with armor constantly having to be refitted?
Moseley: No, actually that was Skandar [Keynes], who played Edmond. He grew six and a half inches. I think I grew a bit, so they had to do me now and again, but he grew weekly.

CS!: Peter also appears in the second Narnia book, so do you know if you're already signed to do another movie?
Moseley: Well, the script isn't totally done yet, and they're still working on it, but I'm very happy and willing and looking forward to doing the next one.

CS!: A lot of people are familiar with the books, but those who aren't, see the trailer and compared it to "Harry Potter" and "The Lord of the Rings." Everyone in those movies have become huge stars, so are you prepared for that sort of fame yet?
Moseley: What I hope is that I don't just become "Peter from The Lion, The Witch and The Wardrobe." I want to try and do something else to be a good actor and a respected actor. I'm not saying that they're not good actors, but essentially, someone might call him "the Harry Potter kid", they don't say Daniel Radcliffe, his actual name. That's what I'd like to break out of. It's kind of fortunate, in a way, that I'm in this film and the next one, and then I'll be perhaps 19 when the next one's done. That will be a good foundation to step forward.

CS!: Have you had any time in between to look for other things?
Moseley: Recently, I had some agents from UCA come to my country house in England. They drove all the way there, and it was amazing. I've just been setting some foundations up for myself in Los Angeles, and they've been planning things out for me, so I'm just sort of keeping an open mind. I'm just reading scripts and if I like them, I like them.

[Fanible]

CS! at Comic-Con,
Interview with the effects team, WETA's Richard Taylor and Dean Wright, and KNB FX's Howard Berger:

CS: In terms of the scale and the amount of practical effects work, how did it compare with Lord of the Rings?
Dean Wright: I wasn't on the film for the initial shooting; I came onto the trilogy for "The Two Towers" and "Return of the King." On "Rings" we had Gollum, which was really the one character that had to act alongside the actors, and you had to believe him. In "Narnia," we've got Aslan who's the key character for the film, and he basically drives the whole story. And the lion has to be entirely CG, except for some scenes where Howard created an animatronic character for us for a very pivotal moment in the film when he gets man-handled by some creatures. The first creature that the kids meet is Mr. Tumnus and he's half human and half CG, and then they run into other characters called The Beavers, and they're all CG. There are tons of scenes where they have to interact and talk and bring the story to life.

Richard Taylor:: As a single movie it was still considerably smaller in sheer bulk, but the focus on the work was much more acute. Like the level of prosthetics that Howard had to do on Mr. Tumnus was very complex work, compared to say an Orc that has an elaborate prosthetic piece, but it's a creature so you're able to hide some of the sins in the design. The purity of the human form in front of the camera almost makes it unbelievably difficult.

Howard Berger: Very difficult. Tami Lane, who was my second on the film, worked with Richard on "Lord of the Rings." When we were in the heat of it, she just looked at me and said, "Rings was like shooting a commercial compared to this." This was so labor-intense, and we ended up having 42 make-up people on our crew that traveled with us from September to December wherever we shot. There's a large variety of creatures and species--23 different species on set. We had monsters all day long. We ended up standing there everyday doing all these make-ups, all these suits, all these creatures. We pulled every trick out of the bag. We had prosthetic stuff, heavy or light prosthetics, full suits, mechanical heads, background heads, puppets, etc. We used everything to just make it all work. Also, it's nice talking about the digital thing. If the audience sees that there's an actor in makeup yet he has dog-jointed legs, it might throw them off, thinking "That's not a full digital character, so how are they going about that?" I think that's where that plays best, instead of having a full CG creature running around. I think it's much more believable to have that human aspect.

Taylor:: One of the things that we've been a little bit disappointed with is that the press has asked us "What can you do to top Lord of the Rings?" With our work, especially with the armor and the weapons, it was monumentally more difficult than working on the weapons for "Lord of the Rings," because of the challenge we set for ourselves. We set about making much more complex armor, and the quality of the swords. We could have done it with much greater simplicity on ourselves but we didn't want to do that, we wanted to up our game and we hope that you'll see that in the film. For this film, to get it done in time, we actually had to commercially create a process, and we formed a business partnership in China to get it all done. To get through the massive amount of swords in such a short length of time, we actually had to invent a machine that could make the swords.

CS: What about some of the bigger challenges of the CG work and what was done to help improve those techniques?
Wright: Where we are growing on the technology developed during the Rings trilogy, is one of the climactic moments of the film where we have a battle sequence. Peter leads Aslan's troops to fight against the White Witch's bad guys, which are filled with all these mythological creatures. The technology developed for the battle sequences for the Rings was using a software program called Massive. One of the main companies that is providing the effects for the film, Rhythm and Hues, contacted the developer of that software project and invited them down. The challenges in this film are immense in that you've got not only thousands of creatures that have to attack each other and look believable, but the variety is much greater scope than we had to deal with on the "Rings." On this, there's 20-30 different creatures that could be battling in a scene at any one time, and each of them have their own unique attributes in terms of how they walk, move, bite. It would create an enormous challenge to the developers to allow us to create these battle sequences and make them be believable. You don't want it to just look like a mess out there. That's why some of the stuff can be too calm if you're not careful. You have to have the tools to run these computer simulations and have it look as good as you want it to be.

CS: Obviously you did a lot of design preparation before you entered the project. How was it working with Andrew on set? If you had already built something was it hard to make changes?
Berger: What was great is that Andrew, because he comes from a digital background, came into this saying, "I don't know much about this practical stuff. Teach me." Some directors you get don't care, but Andrew wanted to know everything. He wanted to absorb everything that we could teach him. There were a lot of things that were storyboarded in the animatics that were to be digital, but we ended up doing practical, because we were able to build all of our mechanical heads. Andrew understood the limitations of what we were able to do but also understood how much we could do. This is how KNB and Weta are. We know what needs to happen, so we'll overbuild at a cost to ourselves to make sure that what ends up on set is the best and that the director has everything he needs at no cost. Also, I made it mandatory to read the book; no one was allowed to be working at the shop unless they had read the book. I wanted them to understand the source material and then be along on this journey of working on the film.

Taylor:: We loved photocopying the pages of the book and pinning them around the work place so that the technicians would see the structure as they worked, because it's all gotta come from the words.

CS: And how much freedom did Walden and Disney give the production team?
Berger: It was all about Andrew Adamson, and everyone gave carte blanche to Andrew. Basically, once a week, we would have these show-and-tells at the shop and we would have all these sculptures, concepts, etc, and Andrew would come in and look through them and decide what he liked or disliked or wanted to change or didn't want to change. But there was zero interference from the studios.

Taylor:: We never had to send a single piece of design to Disney for approval.

Berger: There was a tremendous amount of backing from the studio and from Walden. Disney was behind Andrew the whole time, and he would just give us the encouragement to keep going forward. If we saw we could do something better, Andrew always pushed the envelope, and we would keep pushing until it was far beyond what we ever thought we could do in that time frame. Ultimately, we would have loved to have a year to prep the show, but we only had six months. It had 170 creatures and 150 shooting days, and that's a lot just to produce enough prosthetics for each character.

CS: Do you think there's been a backlash to all-CGI movies like "Star Wars" or "Sky Captain"?
Berger: I never believed in fighting the digital revolution. I think it's a great tool and we utilize it all the time. There's some stuff we can't do and we're the first guys to go, "That should really be digital." I'm really big on augmenting and I feel that this film has used every trick in the book. There are digital creatures, there's a combination, there's augmentation, everything. But we approached it because we're practical effects guys, from doing as much as we can practical and giving the director as many possibilities on set as possible. And then what he needs to fill in, he can. That's where Dean Wright has come in and Rhythm & Hues and Sony ImageWorks. We knew we could never do Mr. Tumnus' lower half--the goat-dog leg thing--practical in all these shots, and we never fooled ourselves that we could. We tried stuff for specific things, but we ultimately knew that we were going to go the digital route, so it was a good combination.

Taylor:: From their own perspective it's been wonderful over the years co-owning both a digital facility and a workshop facility, because it doesn't become a combative process. So it's good.

Berger: Very good. Everything we do nowadays, there's going to be some digital augmentation or replacement. There's times we are hired to do a show and do months and months of work and spend a lot of money, and you go see the film and everything is digital. And we're like, "Well, what the heck were we doing on set the whole time?"

Taylor:: It's best to identify it before you start shooting. At the end of the day, the money's the money, but it's the fact that the creative energy from all those artists has been thrown away. You may as well go and torch the Mona Lisa. These are artists giving their lifeblood to build these beautiful works of art, and then it's thrown in the burner. Why would you bother? So identify it at the beginning, storyboard it well, and do it.

Berger: And that's the issue in filmmaking, where for some reason, there's quite a few directors who don't like to do their homework and it's easy—just figure out what you're going to shoot, and how you're going to shoot it, and what you need. Andrew is the exception to the rule. He came onboard and knew everything, he has already made that movie in his head backwards and forwards. There were very few questions that we had to ask, although there was a lot of room for being spontaneous and coming up with different alternatives.
Taylor:: There is no doubt that Andrew has come from the perfect background to have ended up on this film. I would argue that there are very few directors with the right recipe of skills. Andrew invited me to a meeting in a café to talk about this film 3 years ago, before it really had got going. The last time I had seen him, I was applying a skull-makeup to his face for a party we were having in the middle of Peter Jackson's "The Frighteners." The next time I meet him we are talking about making this massive film.

[Fanible]

Originally Posted by MovieWes

Well, it's official.

Rated PG for battle sequences and frightening moments.

A PG rating doesn't sound so good to me. That doesn't mean it'll be bad, but the battle sequences and "frightening" moments can't be that horrible if they passed on a PG rating. =\

[MischiefLawnGnome]

Eh, I think it'll be alright. I think PG-13 would have been to harsh for this kind of movie. And besides, the battle is not the main focus of the story anyway. Everyone who loves the book did not like it for the battle sequence. Apparently they didnt let the battle/action overtake the story or else it would have been rated higher for a differnt audiance.

I think the only one Id really wanna see a PG-13 rating attached too would be The Last Battle... and possibly The Silver Chair.

[Fanible]

Of course there isn't as much battling in it, compared to something like LOTR, in which received a PG-13 rating, and it wasn't exactly "harsh".

It's just the fact that it received a PG rating for "battle sequences and frightening moments".... I have no clue what that could possibly mean. The two don't seem to coincide exactly.

And I do think there are some scenes that should be all out, scary monsters and tense situations, the works. If they make it in, fine, but obviously I can't figure it, because clearly they did some edge work if it managed to pass PG. I'm just wondering if it was intentional, and they aimed for the PG rating, changing or lightening certain sequences to make sure it was so. That's what I wouldn't want. Or did the MPAA simply see the general cut and it just happened to get a PG. Those two different scenarios can make a difference on how a film should and shouldn't be.

[Sock-Man]

I read this short review in The times today.

IN Hollywood, they say, there’s no such thing as a sure thing — but The Chronicles of Narnia must have seemed close to one. C.S. Lewis’s seven-book fantasy series has sold 85 million copies, bettered only by Harry Potter.
But Disney didn’t get where it is today by leaving even the smallest matter to chance. For The Lion, the Witch and The Wardrobe it hired Andrew Adamson, the director of the Shrek films. It shot the film in New Zealand, which provided such breathtaking landscapes for The Lord of the Rings. And to maximise the audience, it ensured a PG certificate where The Lord of the Rings and even the latest Potter earned 12As. Despite battle scenes, not a drop of blood is shed.



And therein lies the film’s downfall. Any writer of fantasy or science-fiction will tell you that there is just one cardinal rule for success: however outlandish your creation, your imaginary world must appear real and obey its internal logic. So from the moment a child piles out of an enchanted wardrobe into a winter forest, and casually allows the “snow” to touch his bare flesh as though it wasn’t cold at all, the film is doomed: your disbelief falls from suspension and comes crashing to the floor.

There are pluses. Tilda Swinton, as the White Witch who has condemned Narnia to be “always winter, and never Christmas”, is splendid in anger. The four children who, evacuated from London to a country mansion during the Second World War, discover the portal to of Narnia, are no worse than most child actors; the youngest, Lucy (Georgie Henley), is actively good.

James McAvoy provides the film’s only real pathos and danger and Ray Winstone displays a flair for comedy as the voice of an eager beaver.

But it’s all about as believable and as moving as a pantomime horse. A huge opening weekend is pre-ordained, but it falls far short of filling a Rings-shaped hole.

http://www.timesonline.co.uk/article...890229,00.html

Now I'm worried.

[Fanible]

That's exactly what I was talking about in my post before this latest review article.

There's just certain things you shouldn't do as far as the ratings go.

[JackBauer]

i've read narnia when i was 9. i'm not religious and i'm no fanboy, it is just something dear to me, and i don't want it to be screwed up ROTK-style.(i won't go back to that topic, it was bad. deal with it.)

just saw an 9min clip and it was realy realy good material. i'm looking forward to december 7th.

btw, does anyone remember the old 90's narnia tv series? i don't remember much, i just know i liked it alot. we didn't have anything comparable to it in east europe and it was a huge spectacle back in days.

[FVD]

The BBC series you mean. Yeah I saw those. It was only 4 of the books that were adapted as I recall. LWW, Prince Caspian, The Voyage Of The Dawn Treader and the Silver Chair.

[Jason Krueger]

Walmart has the first BBC movie for 13.99, I think I may go ahead and buy it after I see the movie

[Fanible]

Besides LWW, I thought they all kinda sucked.

The actress they chose for Lucy, though, was pretty bad.

[Jason Krueger]

I actually like sucky movies, I mean nothing extremely bad, just like things with weird puppets on the frits, and what not.

[adt100]

I watched the BBC's LWW when it was first shown and absolutely loved it. I couldn't wait to see the rest! They were all shown towards christmas time IIRC over a few years, but the other 3 adaptations I ended up missing parts and having to tape them as I was often out of the house when they were on. I almost considered buying the box set when I saw it last week, but not sure if I will. When you're a child you can forgive a lot of 'suckiness' in films/tv and usually look back upon such things with rose-tinted glasses.

[FVD]

I look back at them now and I actually think they're not too bad for their time. Quite watchable I say.

[DanielLB]

Has everyone heard about the possible release of Prince Caspian in 2007?! If not....go visit narniaweb.com

how long does Disney usually take to get DVD's out