This year’s animated Oscar contenders offer brave new worlds: a unique mammal metropolis (“Zootopia”), a fantasy Japan (“Kubo and the Two Strings”), an untapped Polynesian paradise (“Moana”), a fuzzy fiber art environment (“Trolls”) and a tactile hybrid between storybook fantasy and reality (“The Little Prince”).
“Zootopia”
Disney’s design team built an imaginatively diverse animal world where predator and prey co-exist comprised of five boroughs: Savanna Central (downtown), Tundratown, Rain Forest District, Sahara Square and Bunnyburrow. But what’s unique about Zootopia is that it’s a global city built by animals for animals.
As a result, there are multipurpose public buildings where all animals can interact with each other along with others specifically designed for certain mammals. However, human architecture is evident throughout while animal patterns are part of the design DNA. They experimented with different layouts for the various districts in a Disneyland-like pattern, which required both logistical and dramatic logic.
“Zootopia”
Disney’s design team built an imaginatively diverse animal world where predator and prey co-exist comprised of five boroughs: Savanna Central (downtown), Tundratown, Rain Forest District, Sahara Square and Bunnyburrow. But what’s unique about Zootopia is that it’s a global city built by animals for animals.
As a result, there are multipurpose public buildings where all animals can interact with each other along with others specifically designed for certain mammals. However, human architecture is evident throughout while animal patterns are part of the design DNA. They experimented with different layouts for the various districts in a Disneyland-like pattern, which required both logistical and dramatic logic.
- 12/27/2016
- by Bill Desowitz
- Indiewire
Director Mark Osborne (“Kung Fu Panda”) knew instantly that “The Little Prince” wouldn’t work in CG. The world was too delicate and tactile. He also didn’t want to merely adapt the popular novella by Antoine de Saint-Exupéry. So he came up with a hybrid approach with stop-motion and CG to delineate storybook fantasy from reality in exploring the tender friendship between The Aviator (Jeff Bridges) and The Little Girl (Mackenzie Foy).
Read More: ‘The Little Prince’ Review: Netflix Delivers A Strange, Satisfying, Star-Studded Adaptation Of The Kid Lit Classic
“I had to do some creative experimentation to protect the book and use CG in a way that would help reflect some themes in the book,” Osborne told IndieWire. “And using the two techniques was one of those early ideas that everybody was intrigued by but nobody knew how we were going to pull off.”
Turns out that the...
Read More: ‘The Little Prince’ Review: Netflix Delivers A Strange, Satisfying, Star-Studded Adaptation Of The Kid Lit Classic
“I had to do some creative experimentation to protect the book and use CG in a way that would help reflect some themes in the book,” Osborne told IndieWire. “And using the two techniques was one of those early ideas that everybody was intrigued by but nobody knew how we were going to pull off.”
Turns out that the...
- 11/23/2016
- by Bill Desowitz
- Indiewire
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