![]() ![]() It helped her find Giselles float - a way of moving that feels like shes not taking firm, deep steps.īefore we had anybody in front of a camera as real people, we had already animated maybe a quarter of our scenes. On the other hand, James Baxter ( Enchanteds 2D animation director) did some animation tests which I shared with Amy. I shot live-action reference footage of Amy doing some of the scenes her character would be doing in animation and gave them to the animators so they could understand how Amy was going to translate her character in the real world. His solution was to go back and forth between the two media to create a consistent performance style. Lima acknowledges that having actors perform like cartoon characters while maintaining their humanity and avoiding turning into caricatures was a dangerous tightrope. Then I read this script and said its the next best thing. I never could quite find the right piece. When the 101 sequel came along, she championed me with the studio to do that film.Īfter Tarzan I thought it would be great to make an animated Disney film in live action and I went looking for a fairy tale to tell. When we were doing Glenn Closes recording session on Tarzan (where she voiced the ape-mans ape-mother Kala) she told me I directed more like a live-action director than an animation director. ![]() In what might have been a harbinger of things to come, Lima invested Disneys (theres no avoiding it) goofiest cartoon character with surprising emotional depth as a single father trying to bond with a rebellious teenage son.īut Limas first shot at depicting a cartoon character in live action came in 2000 when he directed Glenn Closes return appearance as Cruella deVil in 102 Dalmations.ġ02 came about in such a strange way, he recalls. Kevin Limas animation career dates back to the mid-1980s, with credits on Oliver and Company, The Brave Little Toaster, The Little Mermaid, Beauty and the Beast and Aladdin before his breakthrough directing 1995s The Goofy Movie. If youre making a film about what happens when animated characters show up in the real world and suddenly find themselves flesh and blood human beings, it helps to have a director whos worked both sides of the street.ĭirectors making the jump from animation to live action are an increasingly common phenomenon, one that began with Frank Tashlin back in the 1950s and has become more common since Disney escapee Tim Burton directed Pee-wees Big Adventure in 1985.
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