How was writing Top there? When I joined, they had already started the first and second act. I am more present in the second and especially the third act. As usual, there was a lot of rewriting. What was most interesting about this production is that we really worked together. For example, early on we wrote the third act, his action and his final, brainstorming. The result is that the party has changed little and remained nearly the same in the final version. This was the approach of the broader history and the largest that I have ever had. We all worked on a large number of different sequences by exchanging our thoughts. It was such a team it is difficult to find a sequence that is mine. But it is ultimately not important insofar as there are ideas to me rather scattered throughout the film. More specifically, I had the pleasure of storyboarder the end credits with my colleague Bill Presinge. A great time!
This seems particularly pleased to have you! I think this is mainly due to this collaboration closely with Pete Docter and Bob Peterson, insofar as they have a sensitivity very close to mine. We understand very quickly and very easily. And it's not really a movie like the others! A film like this, it does not happen often in the business! I feel very lucky to have participated!
The first shock of the film comes from this sequence without words telling the common life of Carl and Ellie, and Ellie's disappearance.
The credit belongs to Ronnie Del Carmen who storyboarded most of this sequence. It was fashioned with great care throughout the production. For the first screening test, we noticed how the public reacted very emotionally, and then we realized we had touched on something essential.
The heart of the film is based on the relationship between Carl and Russel. How did you approach?
We knew that we should approach it with great care. It was very important to ensure that these two characters go well together and that little boy stirs a little old man. This is what can happen to a worse grumpy old man! He had to keep a constant connection between the two. A certain emptiness in their respective lives that the other will be fill. This arc has been the subject of our attention.
Here High racontre the story of an old man and a young boy, and you, Pixar, you've mostly between 30 and 40 years-so just in between. How did you manage to forge a link between these two heroes?
Initially, Pete Docter and Bob Peterson tried to link them to their own lives. Pete was really inspired by his own grandfather, for example. And then they studied a lot by visiting retirement homes. They have offered to play their music. Both are excellent musicians, including Pete, who plays bass. They had fun and seniors too! And meanwhile, they watched and studied them carefully, looking at their postures and attitudes. Of what they bathed their lives, how they move and react. Unfortunately, they did this before I arrived on the project. Overall I think what is very tender in this story and what we decided to take part, is that made us think our own lives. I personally thought a lot about my grandfather, and I tried to gather my memories. My grandmother died quite a few years before my grandfather and it has always been the object of resentment. He has always wanted God to be forced to survive as long in it. It spends its life with the woman you love, and suddenly, when one of the two disappears, we hope that something is going with her or him. I'm sure he would like to join as soon as possible. This sent me back to my own wife and when life shall separate us. These sad thoughts, but ultimately, they must give us the strength to enjoy life, the present moment.
Regarding the boy, it was more difficult to create a personal relationship with him. It's more a character inspired by the cartoon, but it also has problems. His family is fragmented, making it also lacks something. The meeting of Carl and Russell takes a lot of sense in that both have missing pieces to the puzzle of their lives. We have therefore tried to ensure that they really need each other. This is what makes the value of a story like this. It allows you to think about things as important as death, and makes you realize that you are still on earth, and you still have something to do with your life, meetings and to live it all full!
Another element of the story I love is that, somehow, we can say that Carl is going to South America to die, it's somehow his last trip. I've always seen my share things like that. And this little boy is here to give him a taste for life. Carl tries to fulfill the last wish of his wife, but at the same time trying to join her in this crazy journey. Of course, this appears as a watermark, but I always liked this view. It is this child that allows him to realize that maybe Ellie does not want Carl to join her immediately, and must still accomplish many things. It really is a deep, subtle, with an emotional essential. But, I think: we really talking about a movie here?
How did you get into these characters in this very special environment that are tepuis South America?
From the beginning, we thought we should address this tepuis and any mountain environment as a character in itself. This was one of our challenges. How to do? It was a challenge in the sense that this place was so unknown, so different from what we can imagine. Pete, Ronnie and different artists have production could realize on the spot. The idea was to give credibility to this incredible place. It must be said that some forms of rock are really weird. So the art department has put all his talent to make sure to give the feeling that this place really exists.
It's not just the environment that is special. Kevin is also!
is a character who has changed significantly during the production. At first, he must have something of a dinosaur in that it would be very special, and should be the missing link between dinosaurs and modern animals. So we played with this idea and others. We really tried to find out who was actually Kevin and we went through different designs. And compared to Muntz, the villain of the story, he had to understand that this bird was special enough for someone to hunt for years. At one point there was even talk for Kevin to have eggs and be linked to the Fountain of Youth. We were really on the side of fantasy. That's when we realized that for what these interesting ideas, it turned a little grotesque and does not really fit the themes we wanted deal in our history. That's why I think the idea of a bird classic works much better in the end. It was always this idea that Kevin is the missing link and that is why we have approached as a cross between dinosaurs and birds. That is where are these huge feet. We also had ostrich who came a few hours in the lawns of Pixar to make crunching by our designers, to serve as a reference. It was also interesting to find the right balance to his personality. We had to perceive it as a real bird and give it a behavior that is not too human.
Can you say a few words about Cars 2, which is currently being prepared?
There are more things I can not tell you how many things I can! And I'm currently on another project in development so I can talk to you even less! That said, Cars 2 is very promising! There are many new characters brilliant. And then there's something very exciting in the fact of representing the world in style Cars . Everything I've seen really makes you want! All major cities in the world will be transformed according to this philosophy "automobile." This will be an international action film since many countries will be able to see their version "because -FEAI. It will be very nice!
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