So that when you go to the future, the view is unobstructed, the building shapes are very curved. Everything's on a grid, everything's a little repetitive, everything's a little busy. In the shape design, we tried to keep the present day very boxy and square. The present is in between those worlds, color wise: it's very warm, it's nice we save those blue notes for the future: the blue sky, the bright magentas. Every time we go into the past, we pull most of the blues and the higher saturated colors out. Every time he thinks about the past, every time he gets further from his answer, we pull more color out. According to art director Robh Ruppel, who studied, among other things, the way cinematographers Vittorio Storaro ( Reds) and Caleb Deschanel ( The Natural) handle period looks, the philosophy could be summed up thusly: "We know that Lewis' answer lies in the future. Given Joyce's retro style - influenced by everything from Technicolor movies to '40s architectural design - Anderson and his design team looked for dramatic contrasts to depict the present and future. cartoons.Īfter six months of boarding the movie and putting them up on reels, production began in 2004 with a crew of 350. They referred to Disney animation from the 50s as the present while in the future things zip around like Warner Bros. The filmmakers had to visually define the present and future time periods. "Steve had a very strong sense of the story and connected on a personal level because he had been adopted, and because they had only five people on story, they were asked to try an experiment unheard of at Disney: board the entire movie at once," recalls Dorothy McKim, the first-time producer who joined WDFA in 1984, working in production on The Little Mermaid, Beauty and the Beast, The Lion King and Tarzan, who will now head Feature Animation's development. But you feel the flesh, you feel the muscles, you feel the chins and knees." I'm really pleased with what we came up with because there's a very simple graphic language with a real appeal to their faces. That was the journey that we had from the very beginning. The trick for me was that the choices we made could never pull the audience out of the movie and distance them from the characters. We knew we had such a range of emotion after boarding our movie and the dynamics we'd have to achieve with our acting, so we kept pushing to find the balance between a realistic and cartoony kind of human. Lewis has a broom bristle style and the Bob's Big Boy do of Wilbur, and Uncle Art, the guy who drives the spaceship, looks very much like he came out of a `50s sci-fi movie. ![]() "We loved the charm and warmth of his illustrations, and a lot of the ideas that he has in his book, like the hairstyles. We worked with Bill with designing all the elements from the very beginning," Anderson confirms. He realized that the trick was to make choices that would never pull the audience out of the movie and distance them from the characters. It's a madcap cross between Back to the Future and Bringing Up Baby, and instantly appealed to Anderson, a Disney vet who was story supervisor on Brother Bear and The Emperor's New Groove, and storyboard artist on Tarzan.ĭirector Steve Anderson had to find the balance between a realistic and a cartoony kind of human. ![]() It's about an orphan named Lewis who's a genius inventor on a quest to find his birth mother, who's whisked away in a time machine by a mysterious kid named Wilbur Robinson who needs him to save the future from a strange Bowler Hat Guy. ![]() Obviously it's that delicate balance between the past and the future that lies at the heart of Steve Anderson's directorial debut, and the implicit message by John Lasseter in re-imagining Walt's vision as Disney's new chief creative officer.īased on William Joyce's illustrated book, A Day With Wilbur Robinson, this 3D-animated follow-up to Chicken Little is a witty, breathless, zip-a-dee-doo-dah adventure. The theme of Meet The Robinsons (opening March 30) aptly ties directly to Walt Disney's own philosophy: " We keep moving forward " In fact, the movie ends with the full quote from Disney, yet begins with a new Walt Disney Feature Animation logo built around Steamboat Willie. Based on the William Joyce illustrated book, Meet The Robinsons features a retro style influenced by everything from Technicolor movies to 40s architectural design.
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