The Grand Duke informs the King that Cinderella, who remains anonymous, has escaped, and that the Prince wishes to marry her. The lost glass slipper is the only piece of evidence. The King issues a royal proclamation ordering every maiden in the kingdom to try on the slipper for size in an effort to find the girl. After this news reaches Cinderella's household, Lady Tremaine overhears Cinderella humming the waltz played at the ball. Realizing that Cinderella is the mysterious girl, Lady Tremaine locks her in her attic bedroom. Later, the Duke arrives at the château, and Jaq and Gus steal the key from Lady Tremaine's dress pocket and take it up to the attic as Anastasia and Drizella unsuccessfully try on the slipper. Lady Tremaine's cat, Lucifer, ambushes the mice, but Bruno chases him out of the house, allowing the mice to free Cinderella. As the Duke is about to leave, Cinderella appears and asks to try on the slipper. Knowing it will fit, Lady Tremaine trips the footman as he brings the Duke the slipper, causing it to shatter on the floor. Much to her horror, and the Grand Duke's profound relief, Cinderella presents the Duke with the other slipper, which fits perfectly. The film ends with a now-married Prince and Cinderella at their wedding, sharing a kiss as they leave.
Following the theatrical release of Fun and Fancy Free, Walt Disney Productions' bank debt declined from $4.2 million to $3 million. Around this time, Disney acknowledged the need for sound economic policies, but emphasized to the loaners that slashing production would be suicidal. In order to restore the studio to full financial health, he expressed his desire to return to producing full-length animated films. By then, three animated projects—Cinderella, Alice in Wonderland, and Peter Pan—were in development. Disney felt the characters in Alice in Wonderland and Peter Pan were too cold, while Cinderella contained elements similar to Snow White, and greenlit the project. Selecting his top-tier animation talent, Ben Sharpsteen was assigned as supervising producer while Hamilton Luske, Wilfred Jackson, and Clyde Geronimi became the sequence directors. Nevertheless, production on Alice resumed so that both animation crews would effectively compete against each other to see which film would finish first.
On June 7, 2013, news confirmed that composer Patrick Doyle would score the film, with the music having an emphasis on romance. Doyle has previously scored several Branagh films, including Hamlet and Thor. He has also scored the Disney·Pixar computer-animated fantasy-comedy film Brave. Doyle recorded the film's score with the London Symphony Orchestra conducted by James Shearman  at the Air Lyndhurst Studios in London.
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The film was Disney's greatest box office success since Snow White and the Seven Dwarfs earning $8 million in gross rentals. By the end of its original run, it was the sixth highest-grossing film in 1950 earning $4.15 million in distributor rentals (the distributor's share of the box office gross). It was the fifth most popular movie at the British box office in 1951. The film is France's sixteenth biggest film of all time in terms of admissions with 13.2 million tickets sold.
By September 1943, Disney had assigned Dick Huemer and Joe Grant to begin work on Cinderella as story supervisors and given a preliminary budget of $1 million. However, by 1945, their preliminary story work was halted. During the writing stages of Song of the South, Dalton S. Reymond and Maurice Rapf quarreled, and Rapf was reassigned to work on Cinderella. In his version, Cinderella was written to be a less passive character than Snow White, and more rebellious against her stepfamily. Rapf explained, "My thinking was you can't have somebody who comes in and changes everything for you. You can't be delivered it on a platter. You've got to earn it. So in my version, the Fairy Godmother said, 'It's okay till midnight but from then on it's up to you.' I made her earn it, and what she had to do to achieve it was to rebel against her stepmother and stepsisters, to stop being a slave in her own home. So I had a scene where they're ordering her around and she throws the stuff back at them. She revolts, so they lock her up in the attic. I don't think anyone took (my idea) very seriously."
The Prince rejects every girl at the ball until he sees Cinderella, who agrees to dance with him, unaware of who he is. The two fall in love and go out for a stroll together in the castle gardens. As they are about to kiss, Cinderella hears the clock start to chime midnight and flees. As she leaves the castle, one of her slippers falls off. The palace guards give chase as Cinderella flees in the coach before the spell breaks on the last stroke of midnight. Cinderella, her pets, and the mice hide in a wooded area as the guards pass. The only remaining piece Cinderella has of her costume is the one glass slipper on her foot.
At its core, The Venus Factor program is a calorie reduction and exercise regimen, so you know it’s not a scam. The author dresses it up with fancy terms like “Reverse Taper Protocol” and “Ego Depletion” but at the end of the day, the goal is to expend more calories than you consume. This is good news as sustaining a calorie deficit is the only reliable and healthy way to burn fat.
Walt Disney hired actress Helene Stanley to perform the live-action reference for Cinderella, that she before artists began sketching, playing the role of Cinderella in a particular scene, and artists to draw animated frames based on the movements of the actress. She later did the same kind of work for the characters of Princess Aurora in Sleeping Beauty and Anita Radcliff in One Hundred and One Dalmatians. Animators modeled Prince Charming on actor Jeffrey Stone, who also provided some additional voices for the film. Mary Alice O'Connor served as the live-action reference for the Fairy Godmother.
I’ve got to say, I’m really impressed with the workout system provided by the Venus Factor. The plan is built around a variety of basic strength-building moves. You need to do these three times a week for the duration of the program. Nothing too intense – don’t worry, you’re not going to end up looking like a female Arnold Schwarzenegger with this program (unless you want to – you’re free to up the intensity!).
Most fitness and nutrition experts agree that the right way to lose weight is to aim for a safe, healthy rate of weight loss of 1 to 1½ pounds per week. Short-term dramatic weight loss is rarely healthy or sustainable over time. Modification of eating habits along with regular exercise is the most effective way to lose weight over the long term. It is also the ideal way to ensure that the weight stays off.