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A unique 16th century woman, Danielle possesses a love of books, and can easily quote from Sir Thomas Mores Utopia. An
interesting mix of tomboyish athleticism and physical beauty, she has more than enough charm to capture the heart of a prince ...
after hitting him with an apple.
This spirited "Cinderella" is certainly no victim - against all odds, she stands up against a powerful and scheming stepmother, while
honoring her late and beloved father.
With her sharp intelligence and independence, Danielle definitely is not waiting around for the prince to rescue her; in fact, she
often comes to his aid, offering him direction, and even saving the prince's life by carrying him on her back.
When Danielle does receive help, it comes not from a "fairy godmother," but from one of history's most notable figures, Leonardo
da Vinci. And, while she does wear a gorgeous pair of glass slippers, the words "magic pumpkin" are not in her vocabulary.
This is not your grandmother's Cinderella.
There are approximately 500 versions of the Cinderella story in circulation, making it the most famous tale in the world. The
earliest apparently originated in China where the craze with tiny feet found a highly satisfactory outcome in the search for
someone who could wear an exquisite, small glass slipper. Over hundreds of years the story has been refined and reworked,
whether as the French "Cendrillon" or as the Brothers Grimm "Cinderella." It has, however, been a story of a passive woman
waiting for a strong, handsome (and nearly silent) prince to rescue her. Until now. "I wanted to tell a very different version of
'Cinderella' because I have two daughters," director and co-screenwriter Andy Tennant explains. "I did not want them growing up
believing you have to marry a rich guy with a big house in order to live happily ever after."
Engaged on turning the tale on its tail, Tennant puts a whole new spin on Cinderella's message. "Our story," the director explains,
"says that Cinderella's magic comes from within, not from some fairy godmother." Tennant was never less than passionate about
delivering a realistic, different "Cinderella" to the screen. "EVER AFTER," he insists, "is not a cartoon or fairytale - it's an
adventure with a completely unexpected attitude." He also insisted on giving the tale a sense of logic, that there be specific
reasons for certain actions and choices. "This 'Cinderella' isn't a victim," Tennant states. "She stays on in her father's house, after
he dies, from choice. There are reasons given for stepmother Rodmilla's appalling behavior. We also tried to provide some realistic
touches to the famous glass slippers and masked ball.


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