Here are a few fun facts about the making of the film that shows just how much thought, planning and detail went into making Aladdin.

Production designer Gemma Jackson, who won an Emmy Award® for her production design work on “Game of Thrones,” was tasked with bringing Agrabah to life. She envisioned the city as a gateway to the Eastern world with a vibrant array of colors, cultures and sounds. Her inspirations came primarily from Moroccan, Persian and Turkish architecture and featured elements of Arab, Indian and South Asian cultures, since Agrabah is an Arab country on the Silk Road where cultural influences from other cultures in the regions could be found. The art department, under the supervision of Gemma Jackson, built the massive Agrabah set outdoors on a tarmac the size of two football fields at Longcross Studios in just 15 weeks.

Set decoration for Agrabah included fabrics, textiles and carvings similar to those found in Marrakesh, lots of colorful woods, metals, fruits and vegetables and a 1,000-year-old olive tree.

The Agrabah courtyard, market stalls, narrow alleys and cluttered rooftops were designed to accommodate the extensive choreography and stunts featured in the musical numbers “One Jump Ahead” and “Prince Ali.”

The “Prince Ali” musical sequence is the biggest production number in the film with 250 dancers and 200 extras. Costume designer Michael Wilkinson and his team created more than 200 costumes from scratch just for the extras.

The 30-foot yellow flower camel on which Prince Ali arrives at the palace was made from 37,000 flower heads and took 15 model makers three weeks to build.

Jasmine’s bedroom in the palace reflects the intelligence and strength of her character. Set decoration included books, maps, opulent tapestries and pieces of art collected by the princess.

The bed in Jasmine’s bedroom was doubled in size to accommodate both the princess and her tiger Rajah. The accompanying bedspread was hand-embroidered in Pakistan to honor Jasmine’s late mother’s kingdom of Shehrabad, which is based in South Asia.

The Cave of Wonders was created via a combination of practical sets and VFX work. The cavernous interiors were built on soundstages at Longcross Studios and included an enormous lion’s head at the cave’s entrance and artificial rock formations covered with jewels and miscellaneous treasures. Set decorator Tina Jones sourced jewels from across the region as they are quite colorful, sparkling and bright. Some were recast in rubber and placed on the floor of the cave so the cast and crew could walk comfortably.

Visual effects supervisor Chas Jarrett built a 6-axis hydraulic platform for use in the flying carpet sequence in “A Whole New World.” The rig on which Mena Massoud and Naomi Scott sat was controlled by a hand-operated input device which moved hundreds of metallic pins up and down and from side to side against a blue screen with pre-filmed backgrounds.

Aladdin’s sidekick Abu, while entirely digital, and was based on a Capuchin monkey.

Makeup and hair designer Christine Blundell created the wig, beard and mustache worn by Navid Negahban as the Sultan. The separate pieces, which were colored to match his natural color, were meshed with his real hair. The entire process took 45 minutes daily.

Are you excited to go see Aladdin yet? I am so ready to go see it again!