And of course, that first shot, which is a two-and-a-half-minute shot, one take is beep to do. Split screens are tricky for the pipeline.
We had to develop all that pipeline for speed lines. But we added a lot of speed lines to it and that was something that hadn’t been done before at the studio at least. Snap zooms and whip pans, no, that’s not a big deal because you keep so many frames, it’s like actually easier. Those are a little tricky in our pipeline to do. Did that add to the complexity?Ĭomplex transitions that happen sometime during heist, yes. There’s also all these wonderful flourishes like the super long take at the beginning and all sorts of snap zooms and split-screens. Character animation really stayed on ones because it would’ve too complex for us to… We didn’t have enough time to dev the right tech to do that on twos for the film. What’s on twos is really character effects. All of that was in there from the beginning. Face expression that pushed, we have different set of teeth… We have line work on the faces. Hold the poses and then if you go for some acting voice, it’s a bit broader. I wanted something more stylized really, and very appealing. It was supposed to not be as photo video reference as what we see nowadays, which is like, whether it’s DreamWorks or Disney or Pixar animators use a lot of video reference to get very subtle acting in there.
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Or you see the character in full profile, which is somewhat unusual. It’s in a way, the look, that animation style is very French but international, at the same time. Of course, I want a more stylized, more cartoony flavor than this.
You just go in and impregnate yourself with this. Look at Miyazaki, look at “Lupin,” look at “Sherlock Hound,” look at “Cowboy Bebop.” “FLCL” All of these references. This is “Ernest & Celestine.” Look at all the Kasuga type of demo reels from Japan. Or not teaching, but actually really just telling the teams that’s the reference we are going for. I started, during the film, just teaching a little bit. It’s something that I’ve wanted to see for a long time. That also was in my head from the beginning. To really just prove a point and say, “This is where we’re going,” which they never said no and they were always encouraging us to go there. All in After Effects and Maya, which is not our pipeline, but just to illustrate the look and the style and was even more pushed than what we have now, but very 2D looking. It was a very comprehensive presentation for them to understand what I was trying to do.īut yes, from the beginning, we quickly did the vis dev look test. All of these three elements were there, the way to cut this movie, the look of it, and the music. I really hinted at the kind of music that I wanted. This kind of character design-ish, even though we were not there yet. In the visual presentation, I was really hinting that I want to do something more painterly, more illustrated with 2D effects and certain style of animation. First of all, the trailer was really clear in stating the style of animation, the style of editing that I wanted, and also the story and the humor. From the beginning, there was very clear. I want to direct it.”Ĭan we talk about the look of the movie? In that initial pitch, did it look like it does now? And then a few months later she was like, “You want to direct it?” I was like, “Yep. We did a whole presentation for Margie and she was like, “Yep, I see this movie. Just decided to set it up in Los Angeles. I started doing some vis dev and artwork. I want to see Tarantino and I want to see Soderbergh in there. It was just like, those characters were really just straight criminals in the books, but for me, it was like, oh, I know. That trailer was really influenced by all those heist movies, mostly “Snatch,” “Baby Driver” and “Ocean’s Eleven.” I wanted to show the studio what I would do with this franchise.
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