О каком Сургуте мы говорим лисьем или кроличем? Если об литьём можно и маму Ника подключить или родственников на худой конец подключить. Если об кроличем вообще проблем минимум мама Джуди в помощь или старшая сестрёнка какая ни будь поможет.
Со слов триллера к мультфиму этот в котором люди так и не появились. ЛЮДИ КАРЛ ЛЮДИ. Так продолжим. Я думал над тем как эти хромосомы обойти, что можно придумать лекарство или растение или магию или науку (генную инженерию) которые могла бы помочь решить нашу фанатскую проблему.
Та же фигня с геномами у кроликов 44 хромосом, а у лис 34. Вывод нет потомства, но если ты предлагаешь вариант при котором Джуди с Ником пойдут в банк спермы, где они будут искать подходящего "донора"? Но всё же проще и дешевле усыновить или удочерить.
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
Грустно но Джуди и Ник скорее всего усыновили или удочерили лиса. В подтверждение своих слов пишу причины: во первых одни выходной раз в две недели, во вторых отсутствие декретного отпуска, в третьих возможной не совместимости генов и хромосом.
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