![]() ![]() Ariel always feels comfortable being her real self around Eric, and he ultimately decides he still wants a relationship with her after discovering she was born a mermaid. In fact, many of the things that make Ariel unique are things that Eric likes about her and feels attracted to, since he's a rather atypical prince himself (preferring the company of working-class sailors over the pomp and circumstance of royal affairs). Human Ariel is a very odd and peculiar young lady for her time (instead of being dignified or reserved, she wears her heart on her sleeve and has a bubbly, quirky, tomboyish, and endlessly curious personality), but Eric never treats her with anything less than kindness and respect, and he never tries to change her for his benefit. Like Flounder and Scuttle, Prince Eric is one of the few characters in the film who's always accepting of Ariel. Sebastian's Character Development allows his relationship with Ariel to evolve and become much warmer in the second half of the film as he becomes a parental figure towards her in Triton's absence. She's her own person with her own thoughts and feelings, so he starts treating her as such for the rest of the movie. It's not until he sees how badly Triton hurts her and he knows his own part in that that Sebastian realizes Ariel is more than just the king's daughter. As the king's right-hand man, he's only interested in keeping her in line and urging her to conform to maintain the usual status quo, so they both can avoid invoking the king's anger. Sebastian as well is initially very dismissive of the things that make Ariel unique, including her desire to be human. Eventually, he gives her a pair of human legs with no strings attached so she can make her own decisions and do whatever she chooses with her adult life. Once he realizes what he's done, he winds up regretting it dearly later and does whatever he can to reconcile with her. King Triton loves his youngest daughter, but he doesn't respect her values or her opinions about the human world, and he places his Fantastic Racism towards humans over her desires for the future, trying to force her to be something that she's not to the point where he unwittingly becomes an abusive parent to her and destroys her trust in him. Moral: Part of loving someone means respecting their individuality and their emotional needs. ![]() As the film neared completion, Katzenberg was forced to backtrack and admit that he thought that the studio had a major hit in the making. ![]() Early in production, Katzenberg warned Clements and John Musker that their film would be perceived as a "girl's film" and that it would make less money at the box office than Oliver & Company. Both of them passed on the idea Katzenberg changed his mind the next day and gave it the green light along with Oliver & Company (1988), but not Treasure Planet (2002) due to the technology, at the time, not being sophisticated and advanced enough to capture the filmmakers' vision for the film. He subsequently presented a two-page story treatment of both the film and Treasure Planet (2002) to Disney CEO Michael Eisner and chairman Jeffrey Katzenberg at a 'gong show' idea suggestion meeting where everyone at Walt Disney Feature Animation is supposed to come up with at least five new ideas for animated features an idea Katzenberg came up with when he was working at Paramount Pictures. In 1985, Clements, while finishing work on The Great Mouse Detective (1986), was browsing through a bookstore and chanced upon a copy of Hans Christian Andersen's fairy tales, and found "The Little Mermaid" most fascinating, cinematic, and intriguing of all. According to Entertainment Weekly, co-director Ron Clements brought the film's concept to Disney in 1985, but it was vetoed because it was considered too similar to a Splash (1984) sequel that was in development at Disney. ![]()
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