HOBSON: There's a lot of challenges, but definitely we talk a lot about the aggression of Bo, how to make her forceful and strong, but that can very easily read, especially in women characters, as annoying or unnecessarily mean. Making sure that's related to animation, then they'd pull off these amazing performances.Ĭan you remember the hardest thing to then bring to life visually, or make gel between the story side and visual side? Thankfully, Becky and I had a constant communication early on and we'd constantly be like, "This scene, there's a lot of subtext." Always tracking Bo's emotional state throughout the movie. But oftentimes the drawings look really derpy, and very minimalist. HOBSON: We were just talking about how much in boards there's so much thinking that goes into them. What about this physicality test that might help with that?" What are you trying to figure out that an animator could step in and logically help you break that down? "If you did that, it might look like this on-screen. So we get in a lot of conversations of, "Okay, where do you think you're going?" Then we would just really try and riff with you and figure out how we could be helpful. But how could we put Bo in this position that challenges that belief system? So we did a lot of brainstorming sessions and story to find her specific personality traits.īECKI TOWER: In animation, we're here to support story. He thinks there's one set way and he's always the one in charge of the room. Woody's a character that thinks he always knows best. A lot of it had to correlate to Woody and what he was going through.
We talked about all the possibilities of directions, but we also didn't want it to be so widespread that it didn't feel focused. Collider: When you first came on to the project, what were those first days of figuring out Bo like?ĬARRIE HOBSON: Yeah, the first days, I think Bo was such a blank slate still.
0 kommentar(er)
