The Pixar animation team, full of talent, has overcome seemingly intractable problems in the movies that you created in this way has set the bar higher and higher. From toys to ants, rats superheroes are chefs ... have created memorable characters that have been etched in the minds and hearts of people around the world. In his latest film, "WALL • E", had to face new challenges, because they had to create a fabulous cast of robots and humans. Thanks to the direction of the supervising animators Alan Barillaro and Steve Hunter (50 animators at the peak of production), and experience and talent of directing animator Angus MacLean, this film is another triumph for the art of animation. Jim Reardon, head of story on "WALL • E", observes: "I did not want to do in this film was to draw robots that look human, with arms, legs, heads and eyes, and also spoke. We wanted to use objects not normally associate with human characteristics and see what we could do to serve us the drawing and animation. " Stanton said: "We wanted the audience to believe they were watching a machine acquired its own life. The more they believe is a machine will attract more history. " One of the greatest challenges faced by the leaders was the need to clearly communicate feelings and actions without resorting to traditional dialogue. "We thought we could do without a traditional dialogue, maintaining consistency of character," says Stanton .. "In the real world, when characters can not speak (a baby, an animal), people tend to pass on their own feelings: 'I think you said', 'liked' ... it attracts a lot of the public. " According to Ed Catmull, president of Walt Disney and Pixar Animation Studios, "In 'WALL • E' animators have worked to the limit in order to transmit feelings and complex thoughts with so few words. It is reaching people through animation. "
Stanton says: "In the world of animation, comedy is what I like most entertainers. With comedy feel at his best for them is instinctive. John Lasseter realized when he made the animation and directed his first short for Pixar, 'Luxo Jr', starring two lamps that are expressed without any dialogue. The desire to give life to a inanimate object is innate in animators. For the animators 'WALL • E' was like taking the handcuffs and let go. Could allow the visual effects will most history. They also found that it is an incredibly difficult task.
"the animators tried to limit verifications themselves, because I wanted the construction of the machines and how they were designed were apparent," he adds. "The characters seem to robots because they do not shrink or stretch. For animators was a puzzle to devise a narrative form that resembled the traditional but that suited a machine with the constraints of its design and construction. It was a great challenge, but it was very satisfying to find the focus and appropriate resolution. "
To assist in this task, the filmmakers and the entertainment team met with experts who designed robots actually visited scientists at NASA's Jet Propulsion Laboratory attended lectures on robots, and even took some robots to study, including a bomb detector of local police department. To understand what might look humans after hundreds of years of living in luxury in space, NASA expert Jim Hicks helped us talking about the atrophy and the effects of zero gravity on the body.
Jason Deamer, artistic director of the characters in the film, recalled that one of the points of departure for the design of WALL • E were his eyes. "One day, Andrew was inspired to create the eyes of WALL • E. He had been in a baseball game and used binoculars. He suddenly realized that if the sides slightly bent, the view you get is very different. That was one of the key design elements the protagonist. "
The rest of the design of WALL • E was based on its functionality. "How do you enter the garbage within itself and how the compact?" Question Deamer. It made several visits to recycling plants for operation of machines to compact trash. "We knew we needed to climb hills and mountains of garbage," he says. "We also had to compact trash cans, and have some type of hands to gesticulate."
One of the main discussion points when creating the character of WALL • E was whether to have elbows or not.
"We had initially designed to WALL • E elbows," says animation supervisor Steve Hunter. "That allowed him to bend your arms. As animators, we tried that was able to touch the face, could hang on a spacecraft, had a lot of movement. But when we looked, we did not like too much. It is designed to do a task, that is to get away in the belly. Why would he have elbows? It made no sense. With the help of Andrew and an inspired idea of \u200b\u200bdirecting animator Angus MacLane, did a slot on the side that lets you put your arms in different positions and that gives plenty of movement. We helped give a lot more life to the character. To have or not have elbows may seem trivial, but the way we solved the problem makes you believe more in WALL • E, because we did not choose the easy way. "
Despite the relative simplicity of their movements, to encourage WALL • E was one of the most challenging tasks for computer animation. According to the Barillaro animation supervisor, "" WALL • E has many controls, including a 50 only for the head. It is not organic like a human. We had to reduce their movements to the smallest expression that would be effective. The first thing leaders did when they had to do a scene with him was to test all the movements, like moving his head sideways. Tried that had a lot of mobility, such as a human being. We had to continually remind them that we wanted an animation as smooth as possible. In this case, there is no doubt that the more simple the better. "
As the voice of WALL • E was such an important part of his personality, the animators worked closely with sound designer Ben Burtt to inspire one another. Typically, the animators working with the sketches to develop animation tests. Then the voice said Burtt WALL • E and send it back to the animators for another pass. The voice and animation were assembled this montage together and did the final result.
The group also faced many challenges in making the animation of EVE. Although only two blinking eyes and four moving parts, it was necessary to analyze every move, no matter how subtle it was. EVE, which was designed to look like a robot futuristic, is the epitome of elegance and simplicity.
"We wanted it to be elegant," says Stanton .. "In this world there are different ways of conveying the masculine and feminine, and wanted that his movements were fluid, and were endowed with the charm of femininity."
MacLane explains: "While the movements of WALL • E are more traditional with motors, gears and teeth, EVE is a sleek oval-shaped robot that moves by magnets. All the structures and compositions are well cared for that the result is appealing. His movements are very graceful, which is expected of a technically advanced robot. "
Hunter added: "Every plane change, every angle, and even the way they bend their head when broken had to be done a certain way to achieve proper . All you have to do with his head had to be very subtle. Basically consists of four parts and two blinking eyes. We discussed a lot about how I should move my arms. We work on designs until we found the right positions to express different emotions. It transmits all that impressive. "
Besides some robots players (Auto, MO and bad robots among others), the character design team created a catalog of human robots and 10,000 people the Axiom. We designed a modular robot system using a series of heads of robots that could be combined with a variety of arms and bodies. Robots were created many different colors and distinct.
Collins co-producer said: "We created a library of characters with interchangeable parts to create a program to build robots. We could choose between different types of bodies and arms. We could change them to create different shapes and characters. We had almost a hundred variations and about 25 different basic shapes that we could mix and match to look like there were more characters in the film. "
For MacLane, was Stanton who inspired the animators to bear the best of themselves. "What makes Andrew a highly successful director," says MacLane, "is his ability to ever imagine all the movies. Is able to look at what you're doing and suggest how you can do better for the sequence. Has highly developed sense of narrative and history and knows how to pass it to the animators. Compare the best stories with jokes. In fact, what it does is tell a good joke that lasts about 90 minutes. We have several blocks that evoke different feelings, and he tries to imagine the best way to bring them together to tell a good story. In animation, our main task is to communicate things clearly and provide a platform to convey their story. "
Stanton also praised the work of animators in the film. "It's been great champions of this film. They liked the concept, especially the challenges and limitations that were faced to design all the characters as they have done. They did very well from the beginning. "
Source: Walt Disney Studios
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