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(INSTRUMENTAL MUSIC PLAYING)

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LIZ TIGELAAR:
We're here at Hulu today to screen

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a couple scenes from the pilot
Little Fires Everywhere.

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ROY CONLI: This scientist works
with some of the smallest animals

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to save one of the biggest animals.

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Today, DCappella is recording Eye to Eye
from A Goofy Movie.

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We're here at Hulu today
to do something really cool.

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We are going to screen a couple scenes

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from the pilot Little Fires Everywhere
for Celeste Ng.

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And Celeste wrote the novel
that our adaptation is based on,

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and we're gonna get to see
what she thinks.

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The show is a one-hour drama

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about a picture-perfect family,
the Richardsons,

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and what happens when this
mother-daughter duo move into town

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and kind of upend their lives.

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I'm a bit late but we're hurrying
and we're gonna see

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if we can find Celeste.

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-Hey!
-Hi.

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-This is the trailer.
-You watching something?

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(CHUCKLES) I know!

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-It looks amazing.
-It's your show!

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-It's our show.
-I know.

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I know, it's incredible.

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I actually can't stop looking at it.

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I'm so excited to show you
some of the pilot.

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-I can't wait.
-You wanna see it?

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-Yes.
-Okay, good. Let's go.

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-A little thing about work...
-"Hulugans at work"?

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So, they call themselves "hulugans,"

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they celebrate holidays like "Huluween."

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There's a whole lingo here,
it's very inside but it's fun.

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This is where all the food is.

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I feel like...

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-maybe this is a good spot.
-Middle?

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Either here or here.

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NG: Working with Liz
was actually a real joy.

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I feel like she came in
and got the heart of the project.

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She would come with ideas and say,

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"We're thinking about the character,
"so what's their background?"

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And I'd tell her about
what I had envisioned for the character,

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she'd tell me what they thought,

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and those two things
dovetailed beautifully.

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Okay, I'm super excited about this.

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I know you haven't seen
the finished product yet.

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No, I haven't.

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Hit it, Johnny.

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(INSTRUMENTAL MUSIC PLAYING)

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We loved having these headlines
of Shaker Heights, like modern day utopia.

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I love the props.
That's a Shaker letter jacket.

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I love this fortune cookie
that's tumbling by on fire,

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because readers will understand
what it means in the story.

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This is my first book
that's been adapted,

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so going into it,
I wasn't sure what to expect.

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And my friends who are also fiction
writers were like, "Are you nervous?"

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I really thought about it
and the answer was no,

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because I really trusted
the team that we had.

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TIGELAAR: We loved this scene
from the book.

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This culminating moment
at the end of Act 4,

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which is kind of building
for the height of conflict.

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When we shot it and cut it together,

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we were like, "Are we really
getting the full impact?"

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(ORCHESTRA PLAYING)

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-(WHISPERS) Why isn't she playing?
-I don't know.

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TIGELAAR: We were feeling like when we
watched the first incarnation of the cut,

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it wasn't landing as well.

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You didn't feel what "not a puppet"
was really about.

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So we actually went back
and did some reshoots to earn it.

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What we first did was
we added a scene before this

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where Elena comes into Izzy's room and
Izzy's getting ready to go to the concert.

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What are you wearing?

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I'm gonna button it.

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No, just no. Where's the dress
that I bought you last week?

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-Mom, please stop. It's not me.
-Here, put this on.

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Put on the dress
and brush what's left of your hair.

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TIGELAAR: We had this idea
where you felt like you could flashback

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inside Izzy's memory and her head,

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and so that's kind of the sequence
we're building here.

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We're gonna see Izzy,

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-a little bit of her back story.
-Yeah.

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So you're seeing her pain in the bathroom.

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The music starts, Izzy doesn't play.

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Wait, what is she doing?

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TIGELAAR:
Elena's not sure what's going on.

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And then we go back to her taking off
this outfit that she worked so hard on

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and put on this dress that we saw
Elena hand to her in an earlier scene.

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She's taking out a Sharpie.

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TIGELAAR: By having her do this,
we're keeping the story alive in a way

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that it wasn't before.

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-(WHISPERS) Why isn't she playing?
-I don't know.

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TIGELAAR: Finally,
now she looks and we understand

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where this "not your puppet" comes from,
'cause now we've seen the whole story.

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I'm thrilled with the job you guys did.

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I feel you took the book
and took it two degrees

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and you made it into something new.

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And it's the analogy I keep saying.

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I told you before, it's like a cover song.

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You don't want a cover that's exactly
the same as the old one.

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You wanna hear the melody that you love,

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you wanna hear all the things
that touch you,

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but you still want it to be something new.

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And I feel like that's what you all did

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and I'm so grateful to you for that.

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It makes me so happy.

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I'm Roy Conli, and I'm a five-year veteran
of Disneynature.

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I am here in Orlando today
to talk with a scientist

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who works with
some of the smallest animals on Earth

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that may just save
one of the biggest animals on Earth.

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JOSEPH SOLTIS: As it happened, I came here
to study elephant vocal communication.

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We learn a lot about wildlife here,

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which can be used
for managing animals in the wild.

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We learn from the wild
how to care for animals here.

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I think it can be a mutually beneficial

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-relationship going forward.
-Right.

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We use our labor and expertise
to go into the field

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and help on-the-ground
conservation as well.

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So we send our Cast Members
to places like Kenya

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to do conservation work.

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I was lucky enough a couple years in
to join the Elephants and Bees Project,

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which was started by Lucy King in Kenya.

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We are partnered with Disney.

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They've been instrumental
in joining our team.

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They've helped us do detailed research,
not only in Disney's Animal Kingdom,

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but out in Kenya as well.

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The elephants in Kenya roam free,
and they come across small farms.

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And we're trying to stop elephants
from breaking into small-scale farmland.

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SOLTIS: With help from Disney,

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Save the Elephants
started building beehive fences

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around these local farmers' crops.

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KING: We're using this discovery that
elephants are scared of bees

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to keep elephants out of the farms.

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Right there within sight
is one of the farms with beehive fences?

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That's Jennifer's farm
with the beehive fence.

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ZAK GEZON: It's about the bees.

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My entire Ph.D. is about bees,
and bees are truly my passion.

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When I went down there most recently,

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we started the experiments
and we got them going.

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They build them and put them in the farms,

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and then hope that wild bees show up
and make use of them.

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-How does a bee bother an elephant?
-It is kinda crazy, right?

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Who would think
elephants are afraid of bees?

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There were these trees
the elephants visited.

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They're big fellas,
so they've destroyed almost all the trees.

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Except for a few.

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Conservationists were like,
"Okay, what's up with that?"

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Some of these trees are safe.
The Samburu tribesmen said,

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"There's beehives in those trees,
and elephants are afraid of bees."

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Well, if elephants
really are afraid of bees,

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then maybe, just maybe,

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we could use them as a natural deterrent.

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This is the fruition of all the research

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that Disney and Save the Elephants did.

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Lucy King, through a trial and error
process built these beehive fences.

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It's a man-made beehive,
and they're colonized by wild bees.

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KING: Having these interlinked
all the way around the farm

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really has a deterrent effect.

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And what happens is if an elephant tries
to approach the farm from outside,

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pushing into the farm,

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it actually causes
all the beehives to swing.

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And it releases the bees,
makes the elephants run away.

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The beehive fences
are relatively cheap to build,

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but they're also
incredibly easy to maintain.

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The farmers are managing
their own deterrent system.

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All they have to do
is keep the post upright,

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keep the beehive hung nicely
and look after the beehive.

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When I heard about
the elephants and the bees,

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I thought, "You're missing
a piece of the story."

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That's that you have bees next to farms.

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And so, we went there,
we did a study and we found that

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significantly more pollen
is being moved around

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in the farms with beehive fences
than without.

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SOLTIS: So, it's pretty awesome.
The bees deter elephants, they get honey.

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And now we're looking in to see
if we can maximize their use

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-to increase the crops.
-Crop flow.

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SOLTIS: It all comes back
to making life easier for the farmers.

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And at the same time
co-existing with these big elephants

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-that are around.
-Protecting elephants.

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I'm so proud of the conservation efforts
that we're involved in.

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Sustainability is such an important part
of the world today

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and what we need to be
paying attention to.

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(ALL VOCALIZING)

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(BEATBOXING)

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(VOCALIZING CONTINUES)

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(SINGING)

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-We'll go from the top.
-Cool.

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-MAN: We'll do that.
-Okay.

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(INDISTINCT CHATTER)

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-Hey. Good morning.
-Good morning.

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-Who do I get first?
-Both.

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ALL: Aw!

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DEKE SHARON: So, today we're recording
Eye to Eye from A Goofy Movie.

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It's a great pop tune. It's kinda that
throwback mid-'90s boyband vibe,

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and it's the 25th anniversary
of A Goofy Movie.

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So the structure of DCappella
is unlike your typical a cappella group.

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Most of the groups you think of are four
or five voices that are very similar.

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The concept behind DCappella
is the opposite.

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Let's get people who are all rock stars,
incredible singers in their own right,

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and bring together seven
very different voices and personalities.

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And we'll have a super group

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that's capable of singing
in tons of different styles.

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DCappella kind of formed through
a big audition process.

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There was a lot of callbacks and stuff,

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but it happened very quickly.

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We were all sitting in a circle,
ready to do the last round of callbacks

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and they ended up telling us
that we were in the group.

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Then we're like, "Oh. Okay."

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An hour later,
they handed us a binder of music,

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and they were like,
"We're gonna record an album."

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And we're like, "Huh? What?"

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KEENE: We've gotten so close
really quickly. We had to.

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You know, we recorded an album
two hours after meeting each other.

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DANI MARKMAN: Okay, so I'm playing back
the video from Monday...

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-Okay.
-...of Eye to Eye.

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ANTONIO FERNANDEZ: Awesome. Perfect.

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MARKMAN: Would you do it?
FERNANDEZ: Here we go.

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I have a muffin in my mouth.

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-MAN: One, two... One, two, three, four.
-(MARKMAN LAUGHS)

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(ALL VOCALIZING)

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MAN: Hey.

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KALEN KELLY: Eye to Eye was really special
for me. I love A Goofy Movie.

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The music is incredible.
A great soundtrack.

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(ALL SINGING)

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(LAUGHTER)

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MARKMAN: Kind of like that.

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(MARKMAN LAUGHS)

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I'm sorry!

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RJ WOESSNER: We've only been working
on Eye to Eye for a few days, honestly.

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Most of what we do is learning
our individual parts on our own.

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When we come together, boom.
You have to know your part.

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Going into the key change,
it'd be really cool

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if the girls did
a synchronized riff into that key change.

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I think it would help us
get the key change.

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It would build better into the change.

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00:12:22,034 --> 00:12:23,744
-ALL: Yeah.
-It would be a nice build.

234
00:12:23,827 --> 00:12:26,827
JOE SANTONI: So, the process
behind creating a song,

235
00:12:26,914 --> 00:12:29,504
especially doing an a cappella,
is one piece at a time.

236
00:12:29,583 --> 00:12:32,173
Being the bass, I'm part of
the rhythm section with Antonio.

237
00:12:32,252 --> 00:12:36,342
Antonio holds down the beats,
and I'm the bass that aids him,

238
00:12:36,423 --> 00:12:39,593
to round out the bottom
and to give all of our DCappella songs

239
00:12:39,676 --> 00:12:41,846
kind of that big bass-y hit that you want.

240
00:12:41,929 --> 00:12:43,389
(SANTONI VOCALIZING)

241
00:12:48,727 --> 00:12:50,147
(BEATBOXING)

242
00:12:56,318 --> 00:12:59,818
FERNANDEZ: For Eye to Eye, that drum beat
is actually very particular.

243
00:12:59,905 --> 00:13:01,405
It's not... (BEATBOXING)

244
00:13:04,159 --> 00:13:07,079
It's this whole, like,
syncopated drum pad type of thing.

245
00:13:07,162 --> 00:13:09,622
I'm trying to literally be a sequencer.

246
00:13:09,706 --> 00:13:11,876
A machine which is... (BEATBOXING)

247
00:13:13,627 --> 00:13:16,707
(VOCALIZING)

248
00:13:17,673 --> 00:13:19,553
KELLY DENISE TAYLOR:
I'm the alto in DCappella.

249
00:13:19,633 --> 00:13:23,103
The lowest part
for the 3-part female stack.

250
00:13:23,178 --> 00:13:24,598
And I'm the newest member, yeah.

251
00:13:24,680 --> 00:13:27,930
It's been a couple days so far. (LAUGHS)

252
00:13:28,016 --> 00:13:32,806
A lot of this has been very, like,
"Go, go, go, go."

253
00:13:32,896 --> 00:13:36,436
Today, we came in, we bash it out,
we go note by note by note,

254
00:13:36,525 --> 00:13:39,105
and we're like, "Cool."
And then we go and record it,

255
00:13:39,194 --> 00:13:43,494
change things around, like...
It's an all-day process for just one song.

256
00:13:43,574 --> 00:13:45,414
I wanna hear what Orlando's gonna do.

257
00:13:45,492 --> 00:13:47,372
He makes really good choices

258
00:13:47,452 --> 00:13:51,082
on embellishing
and ornamenting the melody.

259
00:13:51,164 --> 00:13:52,674
Play it back. Play it back.

260
00:13:53,250 --> 00:13:54,670
(SINGING)

261
00:13:56,712 --> 00:13:58,302
-Ooh ,okay, I like that.
-Yeah.

262
00:13:58,380 --> 00:13:59,380
Dope.

263
00:13:59,464 --> 00:14:01,304
(BOTH SINGING)

264
00:14:02,926 --> 00:14:04,216
-Oh. Okay.
-Yeah.

265
00:14:04,303 --> 00:14:07,603
KELLY: Seeing this all come to fruition
and how we've been able to take this song,

266
00:14:07,681 --> 00:14:10,681
put our own spin on it,
being able to do all this stuff

267
00:14:10,767 --> 00:14:13,767
with a song that means so much to me
is really, really cool.

268
00:14:13,854 --> 00:14:16,734
WOESSNER: We are the ambassadors
of the Disney Songbooks

269
00:14:16,815 --> 00:14:19,065
from 100 years ago up till now.

270
00:14:19,151 --> 00:14:24,361
And we get to reimagine them
in an all a cappella, all vocal way.

271
00:14:24,448 --> 00:14:26,368
And that is an amazing thing.

272
00:14:26,450 --> 00:14:29,490
And being able to do it with Disney
is a dream.

273
00:14:29,578 --> 00:14:31,078
(SINGING)

274
00:14:34,416 --> 00:14:36,336
(ALL VOCALIZING)

275
00:14:44,343 --> 00:14:45,763
(SINGING)

276
00:14:50,557 --> 00:14:52,557
(ALL SINGING AND VOCALIZING)

277
00:15:20,045 --> 00:15:21,505
-Dope.
-(ALL CHEER)

278
00:15:21,588 --> 00:15:23,298
-Yeah, that's it.
-That's how you do it.

279
00:15:23,382 --> 00:15:24,382
(PLAYS END NOTE)