Документальный фильм о создании Зверополиса [на английском] / Zootopia other :: Zootopia concept :: Zootopia (Зверополис, зверополис) :: фэндомы

Zootopia other Zootopia concept ...Zootopia фэндомы 

Документальный фильм о создании Зверополиса [на английском]


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Imagining Zootopia (Full Documentary),News & Politics,Movie,Zootopia,Documentary,Behind the scenes,animation,walt disney animation studios,What did it take to bring the world of 'Zootopia' to life? Fusion spent two years with the production team of Disney's smash hit film. In 'Imagining Zootopia,' you will travel with the team to Africa to explore the animals in their natural habitat and find out how the storytellers and animators dealt with the very real themes of prejudice and bias.
Zootopia,Зверополис, зверополис,фэндомы,Zootopia other,Zootopia concept
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Стоп! Ошейник реагирует вообще на любые эмоции??? Это довольно жестоко.
А перевод планируют сделать? Хотя бы субтитры.
Вот английские субтитры:
0:16
I think the thing that I find the most moving about the film is that in this
0:23
world of animals were animals are so different from one another as things are
0:26
comments when they find that connection where they find ok we're not so
0:29
different for me you may look different than me
0:32
we may have been brought up differently but in the end we all care about the
0:36
same things and we we all deserve the respect that we want from each other we
0:41
all deserve to be happy in our lives we deserve love you deserve a quality and
0:46
that's why I think these movies could be so powerful because they are modern
0:50
labels were able to talk about things are very very difficult and we're able
0:55
to bring I think it's a conversation things are awkward to talk about but
1:00
that's that's that's what the film is about
1:05
Howard I'm the director of COPD and I've been on this project for four and a half
1:15
almost five years now we've got 500 to 550 people working on this film at any
1:22
one time the people who are on this morning the longest with me are rich
1:26
more I'm directing a film with rich and rich created record ralph is great
1:30
amazing director Gary Bush my creative partners or co-writer and co-director
1:34
brings great sense of humor Negrete screenwriting sensibility the film and
1:39
then Jersey Trinidad and Jim Reardon our heads of story and those guys work with
1:44
us to craft the story and make sure that were staying on track and finally Clark
1:50
Spencer who is a longtime friend of mine and my producer on several films and
1:54
Clark is a great producer because there can be chaos and health fire all around
1:58
New York are canceled somehow make it seem ok the world was it different
2:16
animated feature is amazing
2:22
all mammals city seemed like the perfect it's the perfect cities like nothing
2:27
could be better on our stories about to these animals are rabbit and fox that
2:32
come together across the animal divide and have this amazing adventure
2:35
throughout the city
2:43
utopia when Byron and I shared with each other our love of the type of Disney
2:55
movie Disney animated film where the animals and they're walking upright
3:00
wearing clothes Byron has always loved animal movies I think one of the
3:06
earliest ones he talked about a lot as robin hood is just so charming animals
3:12
in the scales of them are all different and there are wearing clothes and I'd
3:17
love that kind of world and I thought you know we have not made one of those
3:21
kind of movies you know in a long time so before you delve into the story
3:29
headline is in the team's off to do research in this
3:36
we are in the animation research library which has millions of pieces of artwork
3:39
from all of our animated films all the way back to Snow White and the Seven
3:43
Dwarfs which was the first animated feature that vaulted this is the core of
3:50
the Disney legacy this is the source from which everything else brings the
3:57
source of inspiration for even television animation and various other
4:02
animation productions you could walk in in any given evolved on any given day
4:06
for any given project and open up a box and be surprised so 11 are coming here
4:13
Fox said that every day is like Christmas has got a box they want to see
4:20
so what you have here we go right
4:24
amazing to see this in person because i've seen this I grew up on this movie
4:29
she told me i think is here in part because of this film and it really felt
4:33
like if we were gonna do this we have to get the research right we have to make
4:36
sure we know what we're talking about just like these guys do you like they
4:39
brought in real animals for Bambi to study and since you know if you know
4:42
this so then you can go to the next level and really caricature it and bring
4:46
it to life and make it something that's beyond reality
4:51
really believe that the best stories come from real research and we've
4:58
already been on a research trip to New York and Las Vegas and Florida to animal
5:02
kingdom but actually get to go to Africa and see these animals that were
5:06
portrayed in the movie in the wild
5:12
we are in Kenya holds utopia leadership team here to do research to make the
5:21
movie better and more immersive and I couldn't be more excited to be here
5:27
information we did in the feelings that we get news research research trip will
5:30
be felt throughout the film representative Department is looking for
5:40
something different
5:41
the color palette of the soil to the grass to the trees to the phone
5:52
looking at looking at how the light is playing with with something this big
5:56
scale the mountain is from the next valley from the planes that are in front
6:01
of us
6:03
the cloud formations the cloud shadows moving across the landscape there's so
6:08
much to see here it's it's pretty amazing
6:14
looked at and you see you know a place for all the animal all animals trails
6:18
come together to cross the river and then they all spread out again and
6:21
there's this really rich red earth is that's really beautiful so we're going
6:24
to imitate kind of like that feeling of the animal trails leading to a water
6:40
they all gather
6:43
hours so different from every animal specially elephants here behind us like
6:48
summer dark some really red summer grade we talked a lot about the babies they're
6:56
so many little children animals around inside then it can really change the
7:00
landscape of our movies thinking about how many you baby animals to bring in
7:04
there
7:07
designed I don't think actually made the most ships doing when you get back
7:15
there's a lot of change we can do
7:19
perfect at some point you there is no transition where you went from trying to
7:25
like I'm here to work and then I really taking everything in and you're in a
7:30
weird way by not looking for what the work equivalents are and just sort of
7:34
experiencing it I think for a lot of us that's where you got the most
7:39
interesting nuggets that you needed for the movie
7:43
you wonder why we do these readership so why disney spent so much time in
7:48
research but it's this stuff that you can't really put your finger on like you
7:51
would never know about any of this stuff before you went but once you get there
7:55
and you experience this stuff then it kind of works its way into your system
7:58
to bring it back with you and and then people communicating with the show can
8:03
then take their their work to the next level and that's that's been amazing
8:10
when I first came here a little over three years ago at the time the movie
8:17
was an all animal world in the first act you're done with the animal world and
8:22
then you went to this sort of fantasy island where the bulk of the movie took
8:26
place early on during a lot of notes saying that first that city is so cool
8:32
what if we make the whole movie with in that city and so I was really really
8:37
lucky and excited to come in right as Bayern was reconsidering what animals
8:42
City version of this movie can be right now the film making is broken into two
8:49
parts you know that overlap a little bit there is development you know where
8:54
that's kind of planning the story writing the script you know beginning
8:58
storyboarding and then there's production you know and that's the
9:03
actual kind of making the movie it's interesting because everyone's excited
9:10
about that idea of you don't know how long it's gonna take to take that
9:13
original idea and flush down into a full story at the same time
9:18
stories happening we have digital development and visual development is a
9:21
team of artists that are really trying to look at what is this world gonna look
9:25
like they have to come in and they build those models for the buildings and put
9:30
the characters in the Raiders committed to give us the ability to actual
9:33
characters in those buildings around to create the shapes and then from Regina
9:38
goes into luck and we actually have a team of artists who prefer on the
9:41
characters the clock on the characters are put the look on the actual buildings
9:44
and then from look at goes into class simulations we have to have people
9:47
thinking about housing
9:50
move and then we actually start building shots we have allowed to use placing a
9:54
camera into the shot shootout and what's that Khamis place we're going to
9:59
animation animations for sexual mood those characters around and then finally
10:03
let him comes in and my team puts that pass on that they're actually letting
10:07
the characters in a way that makes that shot come to life things are just
10:13
cartoons to as the real films are real stories and so we start to think about
10:17
these characters like real human beings have a soul and they have a life to them
10:23
that really makes them make key decisions that guides them through the
10:27
story of my name is Cory Loftis in Armley character design supervisor my
10:33
favorite characters and utopia definitely are two main characters neck
10:37
and arms they're my favorites not only just because they're fantastic
10:40
characters but because they were the most challenging and they need to go on
10:45
through all of these different emotions because we really want them to feel like
10:49
real handles and nod animals that we forced human characteristics to
10:56
and then at some point the animators come on and we work with the designer go
11:01
back and forth what would work good friend nation and modeling says what
11:05
would be good for them and and we are kind of work together to come up with
11:09
this package which is this character these were expressions that are
11:15
character designer corologis did and then I will try to match these as close
11:22
as possible I would describe it as like wish I actors but we actually get to you
11:27
know sort of crashed the performance we don't have to perform it live like an
11:31
actor does in front of the camera or on stage so we really get the time to kind
11:35
of think about like what's going on inside the characters minded and try to
11:39
find the best way to convene I need your audience to believe that this character
11:46
is breathing breathing and if they're just going through the motions if
11:53
there's just emotion attached to a piece of dialogue even even had even if it's
12:02
somebody who doesn't know anything about him usually they see it there's
12:04
something not quite right and i think that's the tricky part is literally have
12:10
to trick the audience and a scene for not seeing the animators here and
12:14
mammals were divided into two groups with sharp teeth and pray with the flat
12:22
and why weren't we friends vinik as we share clothes because predators in this
12:35
world
12:36
predator and prey have figured out a way to live and coexist in the same city but
12:40
we're going to find out is that coexistence isn't as utopian as you
12:45
might think there is truly a problem in the city and that is the fundamental
12:50
part of the story that gets to this idea of bias about two groups and assume
12:54
something about somebody else in the beginning was this place that that the
12:58
prey kind of the prey animals ran it and predator characters were kind of a
13:07
subservient to the pray without about this movie is a movie about instances
13:11
about predators overcoming their instinct but very quickly we started
13:15
realizing now this is about bias because we said those things don't exist anymore
13:19
for this group once we got talking about bias then that really I think for us we
13:25
will discuss this movie should really say something it's a great difficult
13:29
subject to talk about and and something that having an all animal world is great
13:33
for because it becomes her this 21st century they can really talk about bias
13:38
is difficult human subject and it was really one of the things you drew me
13:43
into one it produces movie was this idea I'm talking about bias in a modern way
13:48
because buy something that is universal it exists everywhere around the world
13:54
opportunity
14:03
everything we do at animation is in service to story every lighting decision
14:11
you make every emotion that we play out on screen is all in service
14:15
telling a better story and that's what makes stories so difficult that's why we
14:19
spend years developing the script and screening and restricting his films
14:24
because if your story isn't working then the most beautiful shots in the world's
14:29
most beautiful animation will it save that film
14:34
of story manages a team of about 10 story artists and we work really closely
14:41
with directors and the writer and we basically take the movie from a script
14:48
words on a page and we mail it out and we turn those words individuals this to
14:56
me is my acting I'm acting on paper by a car in this hotel and then you start
15:07
this traffic ticket i think thats a version of its takes I don't know I hope
15:14
it doesn't actually your storyboard artist here it is you have to be
15:19
comfortable with your work getting thrown away all of us
15:23
boorda storyboard in this movie have done literally thousands of drawings it
15:28
wound up in the garbage because these ideas come in and go out of the film is
15:32
very very quickly and the idea what that is to be wrong as quickly as possible so
15:39
we really try to you know it try out as many ideas as we can and then when the
15:43
right ideas really click in then you'll see from screening screening will start
15:47
to build the rest of them will start to build around those key ideas does not be
15:52
very many but just a few of the kind of hold up the structure of the film where
15:56
you can really like into like okay that's your character that's your movie
15:59
and then everything else build from there we make movies like this we we
16:11
screen them repeatedly as we're making them not not like the general audience
16:18
but 22 ourselves you know to the people working at the studio to colleagues to
16:24
the people up at Pixar the filmmakers there and as a way of kind of taking
16:31
yourself to make sure that we're making progress
16:34
you know with the story screen version number five in the movie and that means
16:40
basically we've already looked at four times tomorrow is the first and the way
16:44
it works for us as those first versions are really testing out ideas and learn
16:49
about the characters and so there's pressure to make sure your story is
16:52
appalling and your characters are landing but the real pressure starts
16:56
tomorrow because that's what we actually start to put things into production
17:00
which means you have to be struck cementing those ideas in a way that
17:04
they're not going to change because you don't want to push something forward
17:06
into the hands of the cinematographer into the hands of the animators and tell
17:10
you know for sure it's actually gonna be in the movie only eight weeks have
17:14
returned this movie around which is an incredibly short period of time to do it
17:17
and an immense amount of work each screening becomes a little bit more
17:20
nerve-wracking bit more pressure the unless weeks to do it screening
17:24
processes we will screen the rough versions of these films are just done
17:28
with storyboards and it feels like you're watching the real film but you
17:31
know we're just sitting here saying thousands of images hand-drawn images go
17:34
by that tell you how the story is progressing and then after that
17:38
screening anyone in the theater can send us notes in terms of how they feel about
17:43
the military but a smaller core group of people about 40 people will come into
17:47
this run and we will spend three hours where people basically talk about what's
17:51
working and not working
17:53
tremendous strides in NY
17:57
casino when we make a film the number one thing that's important to me is the
18:01
heart emotion within the movie and to get that true emotion the audience needs
18:08
to really be engaged in in the journey of the main character try
18:17
every time we screened the film every three months or so we actually
18:30
completely reinvented a lot of people and around a lot of people really a lot
18:45
of people going to look at my ideas and they're going to say what's good and bad
18:48
to listen and then I gotta go back and get a rethink and I'm gonna throw out
18:51
and so that's why it takes a certain type of personality to really want to
18:55
participate in this type of environment in this very very collaborative where
18:59
everybody gets staff
19:30
collaborative place it's really incredible to be here and we really rely
19:48
on each other to push in these films to make them better and better and if
19:56
racism is right there in front of the ideas from day to day when we're not
20:01
doing our job
20:02
the challenge was how can you then make a light funny charming family film but
20:10
still have this really deep subject matter morning after Martin Luther King
20:18
were killed
20:19
I came into the room and said they had a game last night by today to the things I
20:25
think children have to be golden
20:26
and telling them they continue to be involved in finding out what happened I
20:33
want them to know at least a little bit about how it feels to be so we saw this
20:38
documentary and where teacher had a group of kids she was talking about bias
20:43
blue eyed kids that are you going to wear collars gonna put these little tiny
20:47
little colors aren't you giving a bunch of girls were just very quickly it was
20:51
very clear wasn't there between these two groups you know an hour into this
20:54
they took a test just in that small amount of time I think maybe it's the
20:58
end of the day a small amount of time the kids wearing the colours who were
21:01
told they were lesser than even though literature teacher just made it up in
21:05
front of them and told them this is just a game we're playing the kids who had to
21:08
wear the colors were told they were less than didn't do as well on those tests
21:11
immediately significantly worse next day the teacher said ok you know why I made
21:16
a mistake it's actually the other way around
21:18
and the kids who have the colors of the day before we're very very happy to have
21:23
this off the kids went away to college who had experienced the same thing today
21:27
before and now they now didn't get to go to the playground I didn't get the same
21:31
snacks and they couldn't do the same water breaks and this movie where where
21:35
predators have been told yet whether scholar but it's really for you guys and
21:41
how that would make them feel was really impactful to us into this documentary
21:45
footage said ok we take these little colors off and one of the kids in the
21:51
documentary
21:52
rich this caller often just returned to break it has it all
21:57
like it's very clear that something you're breathing deeply affected in one
22:01
day and you're going this is this is just pretend these are little kids in
22:08
this is just a pretend day of bias for them how does that affect the entire
22:12
world who's dealing with bias words every day and a teacher can say okay the
22:17
game's over
22:27
there's a very fine line to walk and so going through we want to make sure that
22:33
those little things feel very much like something that experience right now
22:37
we've been working with this incredible expert unbiased dr Shah keep an
22:42
important partner to us talking to us about bias and what it is and how it
22:48
exists in today's world
22:50
his role in creating culture is profound culture teaches you who you are where
22:58
your places in the world and a lot of it is implicit so if I go to school and I
23:06
see all the former presidents of the school or principles of the school there
23:11
are white and they're all male I'm learning about power if you're going to
23:15
create a society that's equitable you can't do it without changing culture and
23:21
so when we ship culture and children conceived themselves inside of a story
23:26
and that they can play all different kinds of roles become that degree of
23:32
flexibility is very important
23:35
prejudices something of course that everybody has prejudice come from it
23:40
comes from
23:42
the way that we're taught to be biased
23:46
and those two elements are linked together and also linked to the largest
23:51
system that I think that's one of the biggest things for us is it's it's not a
23:56
specific group specific race it's not it's not a gender it's none of those
24:01
things it's simply it's two groups that do not get along and one group that's
24:07
feeling lesser than and sort of how big of a problem is that a huge problem how
24:14
do you overcome its really really difficult and so for me thinking about
24:18
what are we trying to say is it really should feel universal
24:30
anyone in thousands of years but just to be exercised today we have the same
24:37
comment
24:45
are mammals can be together in the beginning was this place that the
24:51
predator characters had to wear these callers that would give them a shock if
24:56
they you know they had like bad thoughts sir where they became too emotional and
25:03
that's kind of what created the peace between the predators and prey we kept
25:08
working with it working with it in all of us would look at it and go oh yeah
25:12
this is really clever it's interesting and I like that but but there was
25:15
something I can't just knowing it all of us have seemed like you know we're we're
25:20
showing this beautiful world showing it being kind of like unfair from the very
25:27
beginning it was really kind of tricky because we had to we wanted that
25:31
wonderful in droves utopia wanted an optimistic view 10 colors inner world
25:36
but in a way thats yourself earlier in story trust meetings and a lot of people
25:50
you know you can tell the story without the callers I think that callers should
25:55
be mundane things up after every screening it was really the first thing
25:58
York everybody kept talking about and then we would change it in rework it and
26:03
stuff to soften it to make it and we kept kept trying in there was some great
26:08
moments with that there was a really emotional moment with a young man home
26:14
becomes of age their collar on and in the little kids would look at its own
26:21
gonna grow up but the parents know there's a sadness to it
26:25
of wind they have to put this on their young child
26:29
was always really emotional that scene in what we're showing so we felt like we
26:44
had something going on but it puts us in a situation where of course the world is
26:48
biased against animals like Nicki as predators prey animals don't like
26:52
predators that makes sense but it was very obvious no big science seen
26:58
anything nothing we showed it to them and the notes that we got back was so
27:06
profound because it was it was what I think all of us were feeling deep inside
27:12
but we just kept work trying to work around it but they give us the cold hard
27:18
facts and truth about what we're doing and they said you know I admire what
27:24
you're trying to do here
27:26
you're trying to make us love this world of animals and make it seem fun but from
27:31
the get-go I don't like the idea of colors and it's preventing me from
27:36
enjoying the movie I want to love this world
27:42
because of the colors for the very beginning I hate you should rethink
27:49
things that make us of the world and then potentially see it get broken we
27:58
had two screenings after that and getting rid of getting rid of this whole
28:04
idea of shock collars on the predator characters in on making everyone just
28:09
you know in the city and making you feel like a real city you know that we all
28:16
agree that's great you know that the fact that you could be more than a fox
28:26
and we as a group story trust included all accepted that this movie was going
28:30
to have colors Pixar and they talked about this idea they said what about
28:35
using stereotypes instead but you can still get the same thing is funny in my
28:39
son nosed animal stereotypes and so what I tell me a bedtime story at Fox Cities
28:44
10 the box and just sort of weird way he already has the thing that the NICU just
28:50
going through my seven-year-old is already thinking
28:53
just a little hands I think we can push to be a little more minutes it's not the
28:59
bias is the stereotypes she wants to be more than just a funny that's why she's
29:06
striving to be something that is just the bunnies just aren't meant to do that
29:11
and something like like honey is essentially the same text as I know I'm
29:17
just trying to be real nick is is is basically exactly what everybody thinks
29:23
I am clipper ship the Fox
29:28
when you do a change like that it ripples through dozens even maybe more
29:33
than like a hundred and seeing so it's a huge impact but the thing is that if we
29:37
know if we make that change then the movie itself will be stronger it's it's
29:41
not something you do lightly because it means we have to throw out a lot of
29:45
great work that's already been done about the the benefit of it is that in
29:49
the end of the movie will as a whole be much much stronger in her character will
29:53
be stronger for it for this particular show we understand that there was a lot
30:01
of animal characters and we wanted to get a sense of what the first was gonna
30:05
be like so we've done a lot of research and understanding what what is for like
30:10
how distinct accountable for his character character it's a big challenge
30:14
in the show where all the characters weren't as animals and try to get the
30:23
first to resemble what they look like in real life animals that you get it to
30:31
have the quality that we offer supposed to have when light hits it when I passes
30:36
through it we're getting into this kind of scientific and then pull back from
30:41
all of that and say how do we how do we translate that into something that's
30:46
artistic
30:47
and something that we can tune as an artist to make it work good what we did
30:54
get into screenings one thing that people realize was how amazing the
30:58
animal world is that we're trying to represent because we have everything
31:01
from every member you can think of you as a criminal offense to my so we have
31:05
the scale that's this incredible scale throughout the city where you have to
31:09
figure out how these animals are going to live together so we did a ton of
31:12
research and really try to make it feel like some place when you look at the
31:16
screen that you feel like you can step in to the screen and really Xperia go
31:20
there
31:21
the major challenge the show is creating a world that is recognizable humans but
31:28
animals animals look like animals designed it basically does all these
31:34
different habitats and some of them are in the desert some of them are in the
31:38
tundra downtown is where all the animals meet so you have multiscale buildings
31:44
moderates big tours and transportation that can take different browsers but we
31:48
want to give it an animal twists and so there's there's a fine line you can
31:54
wonder where it doesn't become comfortable for the audience anymore and
31:58
then the other thing that we thought a lot about is how do animals like how
32:03
does analysis across the street with a mouse you know how whitewater the
32:06
systems that you put together so that all these animals can Mike especially
32:10
through downtown walk through downtown together our job is to create this
32:14
universe that people don't question
32:18
not seen this is different you can literally running down the street and
32:27
all of a sudden you're in the world for wrote it so you went from this place
32:30
that an elephant can walk into the front door into a place where a three-inch
32:34
animal walks into the front door and everything has changed and who are you
32:39
shooting for and who and who are they and what prospective are you shooting
32:43
from again increasing from the fox or fishing for right now it's a very
32:47
different experience and I as much as I want as much as possible
32:51
want you to believe that you're in there in that place so the scale definitely
32:55
going to be a challenge all the way through this movie and not just because
32:58
of the animals but because of the University ailing for the animals as
33:02
well
33:03
it's not just art for art's sake it's trying to bring you an emotion is trying
33:08
to tell you a story is trying to involve you in these characters and these worlds
33:11
in something that I think no one really ever tried before which is trying to
33:15
create this real metropolis that felt populated and genuine and believable
33:21
something you'd actually step into a square really trying to make something
33:24
lasting and trying to connect with the Jeep parts of our souls that make us
33:30
human beings
33:41
there was one suit store for all males with me and my boy have a plan we have a
33:48
location and we have a dream all we need is a loan to make it happen it's not due
33:52
to its wild and sons told you we have been telling stories through Knicks
34:01
point of view for the longest time for all six screenings and people believe
34:05
that that's the way to do it this way we should be doing it very interesting when
34:09
you have that is a concept that sometimes you continue to try and figure
34:12
out how to make that work and that's what we did screening after screening we
34:16
would sit within the story trust and talk about let's make it work for neck
34:19
what do we need to do and in each of those cases what we did was he kept
34:23
giving Nick more and more backstory so we could really empathize with him as a
34:27
character and all that did was make the movie less and less fun finding that the
34:36
story computing darker and darker and darker and people weren't connecting
34:40
with the main characters as much as we wanted to and so after while we thought
34:45
he will we really need to try something drastic to see if we can shift the movie
34:48
to make it real and emotionally
34:55
one which we've talked about a lot of which is is Nick really the protagonist
35:03
of the film is the right character to be following and we've had this
35:06
conversation many times where people say I really understand haha pieces which I
35:11
still think we have an issue with that it is what it seems to change the most
35:16
part occurred to us what if we try to tell a story through hobson's eyes
35:20
instead because one thing that I had always been the case was that people
35:24
always got very quickly so we broke it down the movie down to the studs and
35:31
when we really went back and movie is this canopy hobson's too much
35:41
push forward we then went to the version or maybe two hops she has she's the main
35:46
character and the first version without her was she truly is not by she doesn't
35:51
see it and come to see that bias exists in the world but they didn't really feel
35:55
like modern-day muscles know the bias exists and they're sort of pushing into
35:59
well maybe she is dealing with her own issues people putting her in a box and
36:04
then you bring in a little that underneath said she has some issues of
36:07
her own to work for that sort of feeling really contemporary and sort of feeling
36:12
like something that I think many people can relate to find is a big mistake and
36:20
without limit spent now many many weeks figuring out how to get rid of the
36:26
caller is how to make the city feel more positive how to make hops the
36:31
protagonist and that was all massive ships are now we have this problem of
36:35
time the crew has been waiting for us to get these story issues worked out
36:40
needs time to finish the film the interesting thing is always at this
36:44
moment in time as a producer you're nervous because irrespective of making a
36:48
big change in the story at this moment in time you always have this pressure
36:52
trying to make sure it's all going to get figured out at the right moment in
36:55
time and you can't make that happen you can't say that people be creative today
36:59
and solve this problem has to happen in an organic way we also have to shepherd
37:03
it in a way that makes it happen there's kind of that balance between those two
37:07
ideas so I always look at it and feel like this is the part of the production
37:11
has the most stress points because you now put stuff into production and you
37:16
have to keep feeding the team more work and more work that I think in
37:22
transplanting you or say anything about how we think you said plenty we've been
37:29
really focusing on an economic relationship over the last couple months
37:32
is their break-up scene
37:34
well there is a point in the movie where are two main characters and their kin
37:39
Hobbs an argument she kinda becomes aware through Nick that the core of who
37:49
she is a bit of her that believes that predators like Nick are are dangerous
37:53
and it really hurts Nick that animals mammalogy he's come to trust over the
37:58
last couple days it's gotten very close to think that he could possibly be a
38:04
dangerous bad mammal this assumption she makes sports the city destroyed our
38:11
relationship with Nick it also makes her look at herself differently we have
38:18
worked the scene over and over again and we looked at a version of it here in the
38:24
building
38:24
entity that instead and it didn't work
38:27
timing of the plot is forcing things in this way to get out to sea
38:34
we actually wrote the scene as a group we got everyone together so that
38:57
everyone is on the same page that everyone understands exactly what the
39:00
emotional beats have to be the issue with this breakup scene is that this is
39:05
the critical moment in the hearts relationship it's also the moment that
39:09
the film as as a piece to communicate with your audiences speak the most
39:14
clearly in since the movie is about bias that's where we have to be the most
39:18
surgical and precise about what we're saying and the big thing that which was
39:24
so important
39:25
the character should have to make a choice and then she gets up on stage and
39:28
she has to make a choice looking into I do it nigga said to me we're doing do
39:32
what I think is in my heart right you got everyone together so that everyone
39:35
is on the same page that everyone understands exactly what the emotional
39:38
beings have to be and then from that point once we have that landed will get
39:42
the performance from Jennifer Jason these predators may be reverting back to
39:47
their primitive savage wayz are you serious I just stated the facts of the
39:52
case I mean it's not like a bunny could go savage know but a fox could write
39:57
next stop it you know them well I mean you're not that kind of predator and
40:05
once we get that truly emotional performance it feels great everyone go
40:09
through editorial and then we'll carry it forward into
40:12
the animators and then their job will be to really use every thing that they
40:18
possibly have in their toolbox to make that scene feel real and genuine and
40:23
deep because as fun as the movie ads and is much of a random visit is it has this
40:29
very very deep or about something is very serious and very insidious and
40:33
indeed very very subtle like them now after struggling with this breakup scene
40:45
from months we screened it today this new version of it for John last year in
40:50
the story trust and everyone body into this is the right person this is the
40:54
final piece of the puzzle that makes this whole story complete and now we
40:59
have to do is just take this movie to the finish line
41:04
actually I grew up fairly privileged and from a survey middle class white family
41:10
and you know I grew up in the outskirts of philadelphia and stuff and you know
41:14
my dad was sort of middle income and we know I never really wanted for anything
41:18
in my life you know I'm I'm game and I'm married to my husband for 28 years and
41:24
so I you know the the film isn't necessarily about that but i think is I
41:28
think there's something about the fact that everybody wants to feel accepted
41:32
everyone wants to feel supported for me personally you certainly look at the
41:38
world through a different lens after telling a story like this I was think of
41:42
myself as a pretty open minded person even with that thinking about this story
41:46
and look at your everyday life and what can I do better how can i maybe I'm
41:51
looking at things the wrong way there was a really important
41:55
thinking about how to have this conversation is my kids that I'm already
42:01
starting to have now before the movies come out but I think the process of even
42:05
change how I talk to them about things and how I want them to hopefully
42:09
perceive the world differently so that's been pretty huge family look at my
42:17
little boy very I first and foremost want to instill that he should be proud
42:25
of who is a matter what you know
42:29
world not be quite so much kinda inner strength and inner confidence
42:43
and and belief do anything this what I want until I hope this movie is part of
42:51
that I'd rather be working on something with a message with a good message
42:57
strong message that I can stand behind them put mining you know I'd be proud to
43:03
put my name in the credits of that kind of this year is gone
43:08
incredibly fast the amount of changes we've made to the movie and the amount
43:18
of production compressed production schedule that has happened over the last
43:27
year is pretty unbelievable we we were developing and producing the movie at
43:33
the same time so it's been a wild ride
43:38
storytelling is really hard it's it's a very difficult thing to do it takes a
43:42
lot of pieces exactly correctly for you to take any audience on any journey and
43:48
help them buy into it and this more than any other has been a very difficult
43:53
story to tell down dealing with this important topic and we needed to be told
43:58
in a very elegant lighting and need to be something that you sort of evolved
44:02
into there's a responsibility they don't have to all be enormous eighty years but
44:07
there should be something very positive optimistic very hopeful for story time
44:12
that allows kids teenagers adults to relate to that story in a way that say
44:19
that that makes them think about something and watch this team over the
44:24
last six months really bring this movie to its conclusion it's been a phenomenal
44:29
thing to actually experience in five hundred and fifty people and
44:37
the time under 250 people who put a lot of love and whether doing in the next
44:42
big sacrifices and just want to know how much you care and how much you
44:47
appreciate that they put into everyday
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