Encanto, Flee and More Nominated Filmmakers on Secondary Characters

Encanto’s Bruno

Bruno, voiced by John Leguizamo, has always been the mysterious uncle in the Madrigal family, but his appearance has also evolved, in contrast to his depiction in the movie “We Don’t Talk About Bruno” by him. Disney. Head of animation Kira Lehtomaki explained, “there was this myth made about him – the 7-foot tall frame, the terrifying mythology built around him – [that was] contrasts with the real Bruno when we meet him behind the walls. He’s gotten shorter, thinner, and is a really sweet and unintimidating kind of guy. “

Reflecting that Bruno was in hiding, his palette is “much darker and darker, and even his skin tone has a bit of a gray tint just because he’s forgotten and he’s about to fade.” Hidden from the world, he wore the same old clothes. “We love his poncho because not only does it provide a mythical story, but it also offers a lot of fun animations when playing. [shape-shifting cousin] Camilo transforms into him because they both have the same fabric arrangement. There’s a spooky style to that coat. “

Luca’s Giulia

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Courtesy of Disney/Pixar

In Disney/Pixar’s Italian Riviera set, sea monsters Luca and Alberto take on the form of terrestrial humans, where they befriend a single, confident and alert child named Giulia (Emma Berman). language). Animation supervisor Mike Venturini said: “She’s learned to live on her own and she’s docile, but she’s also a pagan, a bit outcast.” “She never really integrated into her community, which is what would make her a great friend to Luca and Alberto, who are also outsiders.”

While Luca and Alberto are round in their designs, Guilia is more angular. “She has an angular figure that matches her keen intelligence,” says Venturini. “Guilia is a bold person, so in a lot of poses she is very busty, confident and loves to lean forward. She has an angled nose and a slightly more pointed chin. All those details add strength to her personality.”

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Designed to fit the late 50s scene while reflecting that her father was a fisherman, Venturini said, “Giulia wears her cap and her pants are oversized because they are second-hand. She comes from a modest upbringing, which matches her outward personality. “

The Mitchells vs The Machines’ Rick Mitchell

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The Mitchells vs The Machines
History of Neon

The look of Rick Mitchell (voiced by Danny McBride) – the nature-loving father who stuck in the past at the start of the Sony Pictures Animation and Netflix series – is based on director Mike Rianda’s own father. “We wanted the characters to feel real and concrete… and the way we did it was observation,” he said.

The pilot jacket is described in the film as “an actual jacket my dad wore when I was growing up. … It’s like putting him in the past, because it’s a jacket from the 70s,” he added. “We were very specific about the wrinkles on his coat and we have these hand painted swirls in the fur so it looks like an illustration and not a CG, which is what we’re trying to do with the whole movie.”

“Even thinking he’s a little rough around the edges, he’s illustrated with a lot of warmth,” the director added of the concerned father’s look, noting that this is very important. to producer and character designer Lindsey Olivares. “It was almost [daughter] Katie, the main character, is drawing the characters herself. He has instilled the love you have for your father, even though you are aware of his faults. “

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Rianda confirms that the resemblance is there, and says his father told him, “The people at the Elks Club are giving me crap.”

Escape ‘s Kasper

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History of Neon

Escape – the first film to win an Oscar nomination for best animated feature, documentary and international film (representing Denmark) – themed under the pseudonym “Amin” who is preparing to marry her husband , Kasper, shares her extraordinary escape from Afghanistan as a refugee child. His fiancé in the movie, released by Neon and Participant, is based on the real Kasper. But because Amin was designed to protect his identity, “we tried to be as honest with the characters as possible, but at the same time changing their perspective so that they [kept their] anonymously,” says writer and director Jonas Poher Rasmussen.

He provided character designer Mikkel Sommer with references to the look, although the character is quite different from the real person. “He has a different hair color and he doesn’t wear glasses and he doesn’t have a bit of a mustache,” the director said, adding that his style of clothing has also been changed, though still true. period.

He added, “Everything in the movie was also shot on video, so [animation director Kenneth Ladekjaer] can take gestures and expressions from that and bring it into animation… because realism is so important to the story, so it will still feel like a real person.”

Raya and the last dragon’s Sisu

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Raya and the last dragon
Courtesy of Disney

Sisu is a mythical creature that can transform from a dragon to a human in the Walt Disney Animation Studios film. Her look was influenced by the filmmakers’ research trip to Southeast Asia, including her outfit while in human form. And the dragon itself is inspired by the Southeast Asian god Naga – semi-demon creatures that can manifest as snakes or humans. Her blue color was chosen to reflect her strong connection to water.

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Sisu also drew inspiration from Awkwafina, who voiced the character. “Awkwafina is very expressive,” said head of animation Amy Speed, taking as an example, “she would talk with a smaller mouth and then she would flash a wide smile very quickly. . And we tried to put that into Sisu both in dragon and human form, which only enhanced the charm of her personality. “

Regarding the dragon’s appearance, she explains, “we didn’t want to simplify her anatomy, make sure that structure stays in there. You’ll see a lot of S-shapes on her body, and one of the interesting things for us is, when she transforms into a human, she’s a bit awkward at first.”

This story first appeared in the March issue of The Hollywood Reporter. To receive the magazine, click here to subscribe.

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