At Disney’s D23 Expo last weekend, Wreck-It Ralph was officially unleashed! (Though the expo seems to have escaped unscathed. Perhaps we can thank Fix-it Felix, Jr. for that.)
I’m really excited about both the logo and the reaction that the film has been getting. I can’t tell you how hard we’ve been working on the movie (no really—I can’t), but I can say that I think it’s going to be something really special and unique when it wrecks theaters next November.
Here’s some info on the story (warning: spoilers!), and here are some great pictures of the arcade cabinet that was on the floor of the expo.
As for me? Back to work!
All you can do sometimes is just press harder on your pencil to try to make the drawing express what you’re feeling in your heart, and you hope that the audience can feel it as they’re looking at it.
— Glen Keane
The stunning animation of the characters in this video quickly make you forget that you’re watching pencil tests, scribbles of graphite on paper. And hearing Glenn Keane explain his process makes you realize why he is a master animator: there is thought and emotion behind every stroke of the pencil. There is nothing random about the work you see here.
There’s an interesting parallel between bringing animated characters to life and infusing characters on the page with spirit. Both mediums, even at their most simplistic, are capable of stirring emotion in an audience. A screenplay is a lot like a pencil test, in much the same way that a frame of film is like an animation cel. And yet both forms can affect us.
There should be thought and emotion behind every keystroke of our screenplays. That will give our characters shape and solidity, transforming them from vaporous imaginings into real people.
This is one of the most beautiful and truly moving pieces of animation I have ever seen. The simplicity of form allows you to step into the shoes of these characters, emoting along with them, being stirred in your own life. And while I’m not typically one for choreography, the expressiveness of this dialogue-less piece is undeniable.
If you enjoy it, there’s also a making-of that takes you through Ryan’s creative process.
Thanks to the person I think of, Brooke, for the link!
We can break the rules here; we can make it more like real filmmaking.
Brad Bird
In early 2010, Brad Bird stopped by Chapman University in southern California to talk about his work and philosophy of filmmaking. It was a fascinating conversation, full of Bird’s infectious humor and enthusiasm, as well as a plethora of rare peeks into the Pixar process.
Unfortunately, I wasn’t there.
But my wife was, and she graciously recorded the event for me on her iPhone. Here it is, cleaned up as best as can be. There are still occasional moments of quiet audio and peaking applause – but if you can get past those, there is a lot of wisdom and fun here.
Brad discusses his live action approach to animation, extensive use of After Effects for previs, creating spontaneity in animated films (by making each department fly blind), how the first 20 minutes of Back to the Future are critical, and yes, Edna Mode even shows up for a visit.
So check it out! And be inspired – perhaps inspired enough to make a film of your own.
Anyone can [insert job here]!
“How do people get a job in animation? Three words: jump in now. … It’s not easy to ‘jump in.’ You have to stay in constant contact with recruiters. You have to be the champion of your own work. You have to work on your resume and portfolio, attend conferences, and be persistent. Most of all, you have to believe that you have something to contribute to the art form. … Animation is the highest form of this ancient, almost genetic desire to bring things to life – to be the creator of amazing worlds populated by amazing beings. It’s a great world. Jump in now.”
I know, I post a lot about finding a job in film. Helping people navigate the long and treacherous process is something I’ve become passionate about; in some ways, I see it as my mission.
This quote from Don Hahn’s The Alchemy of Animation really encapsulates the entire process: persistent, bold, inspired – these are the qualities you need to embody to make it.
So jump in! The water’s (reasonably) warm, and it’s a great place to be.
Ok, now I’ll be quiet. For awhile. :)
The Early Art of Pete Docter
Though it hasn’t been updated in many years (it mentions Toy Story as a recent accomplishment), this site offers a terrific glimpse into the mind of the young animator who we now know as the director of Monsters, Inc. and Up.
I’m not sure that I’d ever seen any of this art before, and I certainly hadn’t seen the clip from Pete’s short Palm Springs that Pete apparently gave the site owner permission to upload in the mid-90s.
There’s a youth and newness to the art and text that energizes. Rummage through this collection and be inspired.
The Iterative Process of Animation
From Don Hahn’s book The Alchemy of Animation:
- Screen it.
- Discuss it.
- Get that sinking feeling that you don’t know what you’re doing.
- Weep openly.
- Tear it apart.
- Correct it.
- Re-board it.
- Screen it again.
- Repeat as necessary.
Right now we’re somewhere between “Weep openly” and “Tear it apart.” But as Ed Catmull likes to say, trust the process!
