From the exciting opening night race, dusty and faded facades of the street of Radiator Springs until the climax of the race day trepidente California, production designers and artistic team of Pixar stepped on the accelerator to reflect the vicissitudes of "CARS" to the best style. Lasseter, who believes in karma documentation experience first hand, in 2001 led his team to a road trip down Route 66 to prepare their work. Nine people, nine days, four white Cadillacs. Michael Wallis, a specialist on Route 66, led the expedition and shepherded through a set of walky-talkies.
Bob Pauley, production designer born in Detroit and a passion for cars, oversaw the design of the characters and cars two stages of the race. Recalls: "Michael told us at the beginning of the voyage 'does not know what awaits you out there. Going to live a lot of new experiences. You will have to meet them and enjoy them and above all be open to all. " And he was right. We used to reach people and hear all those wonderful stories of the people. Soak us all as we cut the hair at the salon, we took an ice cream or a steak we dared to give the Big Texan giant. We came to take samples of soil from the ground. It was awesome - purple, red, orange, ocher. So many colors!
"One of the most unforgettable moments occurred to us when we made a stop somewhere in Arizona," he continues Pauley. "We were on a road that is attached to the superhighway. It was a fantastic road that merged beautifully with the landscape. As we sat there appeared a truck with an American Indian and his grandson. We asked, 'What do you think our land? " We said that we felt wonderful and he told us he was just here when blown up the mountain to build the superhighway that runs through the sacred land of their ancestors. It was a moment very strong: being on a road that fits so well with the surroundings and see how the interstate has destroyed everything, without observing anything. It was amazing to hear all these stories told by the person whose family has generations in that place. "
Tom Porter, associate producer, recalls: "When John and his team returned from their trip on Route 66, we talked a lot to try to reproduce the patina of the Southwest. They wanted the film to have had many nuances to the authenticity of those years 40, 50 or 60, everything that had gone fifty years later. John wanted the reflect all the complex film authenticity of a Southwestern city and also in the racing world. "
Bill Cone is the production designer who was responsible for creating the look of the film environments and building a road section of 3 km in and out of town Radiator Springs. And we note the following: "For me the style of this film is realistic cartoon. There are cars that talk, and with that we turn away a lot of reality. The forms are a bit extravagant. You can see these types of cars on the rocks, and clouds are stylized. I came to the conclusion that human beings in a human universe would see their own forms in nature, which often happens. Put names to things like Indian Head Rock. So in a world of cars, metaphors would be based on cars. Suddenly, they are rocks that have a car hood. The great American artists as Maynard Dixon also had a great influence on us with their landscapes of the Southwest and painted clouds. "
Sophie Vincelette, supervisor on the film set, was commissioned to create the mountain range of the film paying homage to the famous Cadillacs that dot Route 66. Other mountains are shaped like flying or paracoches.
Undoubtedly, "CARS" represents a new level of attention to detail by Pixar. With its cracked concrete blocks, the accumulated dust and layers of faded advertisements painted on brick walls, Radiator Springs is a place people could visit.
According Vincelette, "Our challenge was to give story buildings. We work closely with teams of models and shading to give the patina that gives over time, and does not seem perfect. The weed grows in sidewalk cracks. "
To add authenticity to the locations of the desert, the department sets modelers had to plant the landscape with thousands of pieces of vegetation, including cactus, sage (brown, green, yellow and ocher) and grass. Rocks were also added many trainings to be more interesting scenarios.
To ensure the authenticity of the car designs, the production design team conducted research in salons car, spent time in Detroit with auto designers and manufacturers, came to racing, and made detailed studies of car materials.
"Research is very important to John," says Pauley. "It was also the most fun part of work because we had to go to all those rooms and car racing, and so on. One of the things did was to visit the workshop Manuel's Body Shop next to the study. He gave us lots of details and helped us understand how to apply layers of paint on a car. "
Thomas Jordan, character shading supervisor, explains: "The chrome and paint the car were our two biggest challenges in this film. We started learning and reading a lot of things. The workshop which was near the study we look at how mixed the paint and how to apply the layers.
"We try to dissect what happens to the actual painting to recreate in the computer," he continues. He added: "We needed a primer, which is where does the color, and a final layer is what gives the reflection. Then we add things as metal flakes to give a special glow, a glow that changes color pearl depending on the angle, and even "threaded" lines that are hand painted with special brushes on the paintwork, for characters like Ramone. "
Tia Krater, shading art director, added: "One day while we were in the workshop of Manuel, we found this old paracoches chromium and asked if we could stay with him. He began to clean it but we said, 'No, no, do not clean! " It was exactly what we were looking. We loved how dirty it was and the patina that covered him. He had almost everything we wanted: bites, scratches, stains, rust and dents. All in a paracoches! One of our technicians, who finished shading to Mater, put the sun and spent a lot of time watching and taking pictures to analyze the textures and surfaces. "
Source: Walt Disney Pictures and Pixar Animation Studios
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