![]() “This is the type of thing we think complicates in a beautiful way the movement of the character,” says del Toro. We place our hand on a wall and lean on it for a moment, then find a better hold and move our hand. ![]() Next is probably the hands.”ĪNIMATE MISTAKES: We often take three moves to put on a shoe, two tries to close a door, or stumble on a step. “It’s almost all in the eyes, so if you’re going to spend your time on anything, spend it on the eyes. “If there are two characters in a scene, it’s important to just make sure that the other character is actively listening and thinking and processing information,” expands Gustafson. Please animate this space/silence/listening before charging into an answer or a line. In live-action, one of the paradigms of acting is to learn to listen. THE EIGHT COMMANDMENTS OF PINOCCHIO ANIMATIONĪNIMATE SILENCE: Seek to animate the characters listening. The directives were put on paper by del Toro, the document becoming an animation bible of sorts for the production and a mission statement for the project. I wanted to do ten, but came up with eight good ones.” It was important to set a few directives. “Less and less of that occurs as animation gets more technologically advanced and more and more people put their hands on the same shot.”Īdds del Toro: “We discussed treating the animators like cast and elevating the animation to a more The Actors Studio level, if you will. “One of the founding principles of the film that we discussed very early on was giving the animators ownership of the performances as much as possible,” says Gustafson. In November 2019, two months before Pinocchio was scheduled to start production in ShadowMachine’s Portland offices, del Toro and Gustafson sat down with their team and outlined a set of guidelines that they felt were critical. It’s part of the story process.”Īs Schretzmann was finalizing the animatic with del Toro and Gustafson, the directors were also meeting with animation supervisor Brian Leif Hansen and the team of more than forty animators he had helped assemble to discuss the project. “You give the directors and the animators a chance to see the entire film before they commit to it, and it also gives you an opportunity for rewrites. “I’m basically building this film from scratch, pacing it out, putting all the pieces together,” Schretzmann says. To work out the pacing of the film and the rhythm of the shots, editor Ken Schretzmann (2010’s Toy Story assembled a detailed animatic comprising storyboards drawn by the film’s team of story artists, as well as dialogue, preliminary sound effects, and score. With this, you have to preplan the chess moves before building the set and the characters-you have to plan the accidents of the shoot before the shoot happens.” ![]() You’re working with things that you can alter. It’s an artistic endeavor but also an engineering and mechanical clockwork-like exercise, much more than live-action. Shape of Pan’s were the templates.”Īdds del Toro: “Shooting a stop-motion animated movie requires such discipline-nobody who hasn’t experienced it can understand. “Guillermo sets a very high bar and expects the crew to perform,” says producer Alex Bulkley. (Artist: Piet Kroon)Īlthough stop-motion filmmaking is a uniquely painstaking process, the sheer scope of Pinocchio made the project an especially challenging endeavor-the animators needed to stage large choreographed musical numbers and epic action scenes as well as capture fleeting, intimate moments between Geppetto and Pinocchio. (Artist: Victor Sampaio)Ī storyboard panel for the scene in which Geppetto and Pinocchio walk through Birch Woods. In this storyboard panel, Volpe speaks with Pinocchio at the village. ![]() The Cricket puppet with quill and journal in hand. Guillermo del Toro poses with the heads of various Pinocchio puppets.Ī Black Rabbit puppet created by León Fernandez. ![]()
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