Once inside Gusteau's, Remy has a chance to get what he has dreamed all his life, even if they do dressed: a menu completely revolutionize very dull thanks to the creativity of the dishes. For the filmmakers, the key to the whole story lies in giving life to all the gastronomic world is everything to Remy, and do it accurately and attractively. So the first thing they did was dive into the world of haute cuisine. "The story goes far beyond knowing how to cook, but I realized that if recreating the atmosphere of a real kitchen, and managed to be very nice, this will lend credibility to the fantasy, "says Bird. The process began in Paris where the" investigation "of the filmmakers was to eat at best restaurants, trying all sorts of delicacies and taking a look at the world's most creative kitchens. "We were worried a bit to eat as much and so well within such a short time," Bird said, laughing. "But we learned a lot of fun things that are reflected in the film." Back home, the entire team wore the apron and attended a series of classes in which concia computer artists, more accustomed the mouse and keyboard, learning to cut and slice like the pros do. This was very important to understand the small but essential details such as the manner in which the chef takes a knife, cut onion, stir soup or communicate with others in a kitchen in which reigns a feverish pace. Cooking classes provided many creative skills and also some very funny side effects. "I almost ruined," he laughs Mark Walsh, supervising animator. "I was a frozen food eater and cans of tuna and I suddenly realized I was much more fun to eat something good."
Meanwhile, Brad Lewis moved to Napa Valley, where he made a two-day intensive course in one of the best restaurants in the United States, which incidentally is almost impossible to get a table: the French Laundry. There, the famous chef Thomas Keller, considered one of the most innovative professional kitchen every night revolutionizes the classic dishes and more appreciated.
When Keller learned the story of Remy, he was fascinated. "People thought it would scare the idea of \u200b\u200ba rat in the kitchen," he laughs. "Quite the contrary, I think Remy is someone with which it is easy to identify. Is an outsider who wins, and that's wonderful. "
Besides lending his voice to a restaurant owner in the film, the lead role in the world of gastronomy was much more important to Lewis. "Brad wanted to know what a real kitchen, energy, dynamics and how people move in a kitchen -" the dance "as we say in our restaurant," explains Keller. "Brad and his team also filmed a lot of video material on the French Laundry in order to study and move from reality to animation."
Lewis, the first night he worked until 1:30 in the morning and returned the next day at 5:30, says that it was worth it because he understood what motivated the character of Remy, a passion for good food. "In a kitchen like the French Laundry many details and many secrets to learn," notes Lewis. He adds, "but more important was the discovery that Thomas has the same emotional connection with their dishes and their clients with the public we going to see the Pixar movies. So we had a lot more in common than we thought: it is essential for both involved to feel our computers at work to do. Also I discovered that I like to cook for the same reason that most of the chefs, because it brings people together. "
But despite all that the filmmakers had seen and tasted in Paris, cooking classes and the French Laundry, they knew to be transformed into computer images that wonderful feeling that provides a plate of good food , would be an arduous task. "Our mission was to create the most wonderful food ever seen in an animated film. We wanted the audience to think, 'Hmmm, I'd like to get into the screen and eat it so good! "It is difficult to create all those dishes real life, so do not say in the environment of computer-generated images, "said Michael Fong." So the filmmakers had to 'cook' a series of creative and technical processes completely unique.
To begin The technical team realized they needed real food models to study it. "The only way to recreate the look with the dishes when the sauces are simmering and steam smokes was really cooking the dishes in the kitchen of truth and then photograph them, "says Fong.
Here enters the house culinary consultant, Michael Warche, which was a professional chef before joining the film industry, and also worked as manager of the department layout and sets of RATATOUILLE (Ra.ta.tui). "I had to always be prepared. Effects people called me and told me I needed to recreate the soup that Remy has just redone. So I went and made the soup, "says Warche.
Warche worked throughout the film to ensure that authenticity that even gourmets more snob would value. This occurred especially in the kitchen of Gusteau's.
"The idea was to create something that would be stylish and fun but also resembled as closely as possible to a true French cuisine, "he says." We needed to have the typical French copper pots, knives, real French, the chain of work that makes the chefs are always in motion until the food is emplatado with different sauces and the architectural presentation. We wanted everyone who had ever been in the kitchen of a great restaurant to say, 'Wow, they have achieved'! "
When it came time to transform the food computer-generated images, the team faced a host of technical problems. "We found that the simulation group needed to soften much food to mix well in the plate, "says Fong." That made him look even more delicious. The lighting and modeling group also added transparency that makes food more appetizing . And finally, the effect group created steam and heat waves coming out of the dish. All this meant that the dish was very appetizing. "
Some foods were harder than others. For example, bread, which seems easy to reproduce. But if you want to give that aspect of 'wanting to devour', a lot of difficulties arose. "Bread is complicated because it gives a sense of volume, "explains Fong." You can not paint a flat surface that looks like bread. Must have air bubbles formed when baking bread and give it a fresh look. The bark must have scales so it looks crisp. So we had to have highly specialized people to overcome all these problems. "
Another problem the team had to address the food was plenty of liquid in a restaurant from a thick red wine sauce. "Simulate things like mandarin sauce is very complex and can be a real feat," Fong notes. "Simulating water also poses a major challenge. Simulating a viscous fluid that seems to move in slow motion as salsa and sauces made decor is very difficult because there are few simulators that can reproduce the physical. And things suspended in the fluid is even more difficult. " He continues, "We also needed special fluid simulations such as moving a liquid into a spoon, for example, in the scene where Remy saves a soup important."
The best proof that the food team was doing well was that when he saw them, Thomas Keller will open your appetite. "Some of the dishes they created were so good that I felt like to test them, "says Keller." The way Emplate, presented and pepper the food was fantastic and managed to transfer the animation process that wonderful aspect that has good food. "
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