[ SECRET POST #3210 ]

[case]

⌈ Secret Post #3210 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 02 pages, 045 secrets from Secret Submission Post #459.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

Yeah. I mean, if it were true that'd be cool. But considering there is 0 evidence that it's true, and I can't find the interview where Kenneth Branagh supposedly confirmed it, I'm very certain it's just an internet urban legend.

[(Anonymous)]

It's like the Loch Ness monster of fandom then.

[(Anonymous)]

I think it comes from an interview with the animators. Can't find links either, but I remember that right when the movie came out, a friend of mine who is an animator (and quite homophobic) told me that he had seen an interview when they said that the Chel character had been added when a lot of scenes were already underway due to exec's pressure and that he (my friend) was really glad they did, because if not the movie would be gay.

There's also the fact that the song when they are fighting is a damn Elton John break up love song. So... it is easy to know why the rummor is so persistent.

[solticisekf]

idk, Chel's plotline made everything more gay for me because !jealousy and !breaking up.

[(Anonymous)]

Same for me. Even as a little kid it felt like Tulio was cheating on Miguel, heh.
I mean I guess friends can also get jealous if someone new comes in, but all that stuff with them subtly breaking each others stuff and giving the silent treatment while the Elton John song plays reminded me so much of a bitter break up.

[solticisekf]

exactly! I watched it in my pre slashy googles years and it seems quite slashy even back then.
It's good that they've made up after that.

[(Anonymous)]

The writers of a movie are, obviously, involved well before the animators are, and it so happens that the writers of Road To El Dorado have an extensive archive of their thoughts and experiences about writing. Here, from their site at: http://www.wordplayer.com/columns/wp40.Off-Screen.Movie.html

"In our original structure, our guys meet a native woman, Chel. She appears in the jungle pursued by warriors. Our heroes fight them off, and save this damsel in distress. But Chel is hardly grateful; she disappears. Tulio and Miguel get captured and led to the city, where they find themselves mistaken for Gods. Which seems okay until they're called upon to preside over a ceremony. A prisoner is brought forth... and it turns out to be the native woman, Chel. She's a thief, and is to be killed, dropped into a ceynote well, sacrificed in their honor.
Following the off-screen movie notion, this structure works. We're surprised to see Chel again, but quickly fill in what must have happened. The reason the warriors were chasing her in the beginning was because she stole something. Our guys actually saved a thief instead of an innocent woman. But she must have been caught at some point, and convicted of a crime, and sentenced to be sacrificed. And now our guys have to do something about it -- the poor girl is dangling there, held by guards, about to drop to her death.
In the film as revised, that's not now how the story goes. The powers-that-be changed it to --
Chel is still introduced as being chased. But instead of heading off-screen, she hangs around, going with our guys into the city. Our heroes get mistaken for gods, and dismiss her. When they find her again, she's waiting at their temple.
It's not a terrible change. But it is flat. And part of the reason it's flat is because the off-screen movie is empty. And by leaving the Chel character on screen with nothing to do, it helps to establish her as someone who does nothing. Oddly, in this case, character complexity is lost by giving her meaningless screen time. (Plus, in this structure, you lose a good surprise, and a story twist.)"

[solticisekf]

Interesting.