| 02:26:52 -0.17 |
"Yea, Toronto, yea. There's a very big Portuguese population in Toronto."
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| 02:27:08 15.83 |
"My task is to design the look of the film. So really everything you see on the screen. The characters. The environments the characters are in. The lighting design.. everything on the screen – I’m responsible for."
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| 02:30:01 188.83 |
"Yes! … it absolutely does.. we paint and illustrate and work in Photoshop. We sculpt the characters in clay. We build foam core models of the sets that are practical that you can move around and look at. And then we draft those models; blue prints of it. So yea, we still work traditionally on paper. We love to do that."
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| 02:30:46 234.83 |
"Yea. In the beginning – I work really closely to those of the head of the departments. Like.. Rex and Malana and Rob to work on the character. We all know going in what the expectation is for this character – we knew we wanted to make a very cartoony film with a lot of squash and stretch in our characters. So when the characters were designed, there was a a theory that we had that our character designer felt was really important and that was if you don’t design a real looking lion, you don’t expect it to move like a real lion. And I think that’s why the design of the characters work really well with how they move. And why we’re able to have such freedom in our animation style. Because they’re not anatomically correct. You don’t feel like bones are snapping. Or you know – It makes sense together. So that collaboration is important and it’s the same with the sets. With Philippe Gluckman who’s the CG supervisor and makes it possible to get this all in the computer. He and I have MANY conversations. I’m heated you know about like ‘I want this – I want you know a hundred plants in the jungle and he’s like ‘well, I think I can give you 60’… haha… and we always have these creative discussions about whats important you know and what isn’t and just trying to get that vision of what we have up there in the theaters in the end. "
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| 02:32:20 327.83 |
"You know there were a lot of technical challenges for us. Uhm.. all those fury lemur crowds in a a very lush dense jungle of hundreds of trees and thousands of leaves.. we’d never done anything like that before.. we didn’t even know if the computer could actually render it. So it took production and technology to really get together on that and make it possible which they did which is really incredible.
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| 02:32:48 356.83 |
"The squash and stretch part of the characters was a real technological advancement. And then for me just making sure that what we intended, vision-wise in the beginning, made it onto the screen in the end and making sure our consistency was there design-wise during the process. “
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Specialty CollectionGenre: CELEBRITIES
Description: HRN-007 Madagascar Kendal Cronkhite – production designer (art director) In: 26.51.06 out: 33.14.15 HRN-007 In: 27.08.23 out: 27.27.08 “my task is to design the look of the film. So really everything you see on the screen. The characters. The environments the characters are in. the lighting design.. everything on the screen – I’m responsible for.” HRN-007 In: 30.01.10 out: 02.30.28.18 “yes! … it absolutely does.. we paint and illustrate and work on photoshop. We sculpt the characters in clay. We build foam chorb models of the sets that are practical that you can move around and look at. And then we draft those models; blue prints of it. So ya, we still owkr traditionally on paper. We love to do that. “ HRN-007 In: 02.30.47.03 0ut: 02.32.19.00 “ya. In the beginning – I work really closely to those of the head of the departments. Like.. rex and malana and rob to work on the character. We all know going in what the expectation is for this character – we knew we wanted to make a very cartoony film with a lot of squash and stretch in our characters. So when the characters were designed, there was a a theory that we had that our character designer felt was really important and that was if you don’t design a real looking lion, you don’t expect it to move like a real lion. And I think that’s why the design of the characters work really well with how they move. And why we’re able to have such freedom in our animation style. Because they’re not anatomically correct. You don’t feel like bones are snapping. Or you know – It makes sense together. So that collaboration is important and it’s the same with the sets. With Philippe Gluckman who’s the CG supervisor and makes it possible to get this all in the computer. He and I have MANY conversations. I’m heated you know about like ‘I want this – I want you know a hundred plants in the jungle and he’s like ‘well, I think I can give you 60’… haha… and we always have these creative discussions about whats important you know and what isn’t and just trying to get that vision of what we have up there in the theaters in the end. “ HRN-007 In: 02.32.20.07 out: 02.32.49.14 You know there were a lot of technical challenges for us. Uhm.. all those fury leamer crowds in a a very lush dense jungle of hundreds of trees and thousands of leaves.. we’d never done anything like that before.. we didn’t even know if the computer could actually render it. So it took production and technology to really get together on that and make it possible which they did which is really incredible. HRN-007 In: 02.32.49.14 out: 02.033.12.08 The squash and stress part of the characters was a real technological advancement. And then for me just making sure that what we intended, vision-wise in the beginning, made it onto the screen in the end and making sure our consistency was there design-wise during the process. “
Keywords: junket
