“So what we decided is that what Peter sees is this angry symbol that represents death that moves in an erratic way.”ĭear, who is primarily a stop-motion director, oversaw the live-action shoot at Clapham Road Studios in South London, where the miniature environments were built. “You couldn’t have the symbol of the wolf in animation language terms bumping up against Peter,” added McNally. The solution was the creation of a chalk line as a mask superimposed over an elegant-looking 2D wolf. The most complex animation involved the wolf because Bono’s illustrations consisted of white, scratchy lines as a symbol that evoked fear. Additionally, there were 22 on the clean-up team led by 2D clean-up supervisor Eleonora Quario and five on the shadows team. “I’d give them 3D volume so that the animators could understand them from various angles so that they were animatable and people would want to look at them.”Īnimation director Yoshimichi Tamura and animation supervisor Robert Milne oversaw a key team of 17 artists. “How could we bring order to them so that they were still recognizable, so that Bono could see the genesis in his own artwork?” McNally continued. “They were relatively inconsistent, and the type of animation that we work on relies on consistency, so the biggest challenge was to make these illustrations animatable. “They were energetic kind of brush marks, very loose in form in a good way,” McNally told IndieWire. The greatest challenge for the animation team at Blink was adapting Bono’s punkish drawings (with occasional red streaks), which were done on the wall of a gallery. Those were the two cornerstones of the retelling.” And then there were the logical concerns about Peter and why he is living with his grandfather. But when we were talking with HBO we realized that you can’t kill the wolf and you can’t put it in a zoo, so we came up with a new for today. “Then we put together a test film and we came over to Dublin with and then came the lockdown. “It was very late in 2018 that we first had discussions about the animation,” Friday told IndieWire. Netflix in 2024: Watch 3 Episodes, Get the Fourth Ad-Free “Peter & the Wolf” It’s produced by Adriana Piasek-Wanski for BMG and Blink Industries and directed by Elliot Dear and Stephen McNally. Coinciding with the short, there’s a new edition of the book along with a new release of the score and a theme song by Friday titled “There’s Nothing to Be Afraid Of,” in continuing support of the Irish Hospice Foundation. They contain a rough, hand-of-the-artist aesthetic, bolstered by miniature sets to complete the monochromatic, hybrid look. It’s about 12-year-old Peter who lives with his grandfather and explores a vast meadow and forest to find a wolf - with the help of some animals - while fending off hunters.īased on the 2003 book by Irish musician/composer Gavin Friday (with illustrations by Bono) and accompanying CD with The Friday-Seezer Ensemble, the 30-minute black-and-white short animates the characters in 2D. Max’s new animated short, “Peter & the Wolf” (now streaming), turns the beloved folktale and Sergei Prokofiev symphony into a Gothic re-invention about grief and environmental protection.
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