“He saw her as a tra­gic charac­ter”

Times of Suriname - - ENGELS -

USA - All Pixar mo­vies are be­lo­ved. But even by Pixar standards, Fin­ding Ne­mo is a fa­vo­ri­te. Un­til the re­lea­se of Toy Sto­ry 3 in 2010, it was the hig­hest-gros­sing Pixar mo­vie of all ti­me in the Uni­ted Sta­tes. It al­so bro­ke the re­cord for dvd sa­les in just two weeks and is ge­ner­al­ly a sta­p­le in any child­hood ho­me.

The sta­kes we­re de­fi­ni­te­ly high when ma­king the se­quel, 2016’s Fin­ding Do­ry. Pixar en­li­sted And­rew Stan­ton and An­gus MacLa­ne, to di­rect. Stan­ton’s list of bo­na fi­des at Pixar are long: he di­rec­ted the ori­gi­nal Fin­ding Ne­mo, Wall-E, and co-di­rec­ted A Bug’s Li­fe.

MacLa­ne himself has been with Pixar for two de­ca­des. He first wor­ked on the 1997 short Ge­ri’s Ga­me as an ani­ma­tor and wor­ked his way up to di­rec­ting short films. Do­ry was the first full-length fea­tu­re he di­rec­ted.

As a way of ho­no­ring Fin­ding Ne­mo and ma­king su­re they got eve­ry de­tail right, Stan­ton was con­stant­ly wat­ching the mo­vie whi­le wor­king on the se­quel.

“He al­ways had ‘Ne­mo’ on his pho­ne, at a mo­ment’s no­ti­ce, to re­fe­ren­ce,” MacLa­ne told IN­SI­DER. “He had an idea about how the charac­ters we­re, and he al­ways had a dif­fe­rent idea of how the charac­ters we­re than al­most eve­ry­o­ne el­se.”

The sto­ry­li­ne for Fin­ding Do­ry for­med when Stan­ton had a re­ve­la­ti­on that he un­der­stood Do­ry dif­fe­rent­ly from eve­ry­o­ne el­se. He wan­ted to show the world the hi­d­den di­men­si­ons of Do­ry’s charac­ter in a new mo­vie. “He saw her as a tra­gic charac­ter,” MacLa­ne said. “She would al­ways apo­lo­gi­ze be­cau­se she felt that she was con­stant­ly in­con­ve­nien­cing pe­o­p­le with her short term me­mo­ry loss.”

MacLa­ne was the per­fect per­son at Pixar to high­light Do­ry’s charac­ter along with Stan­ton. The two had be­co­me clo­se whi­le wor­king on Wall-E, for which MacLa­ne was the di­rec­ting ani­ma­tor. Ear­lier in MacLa­ne’s ca­reer, he saw Stan­ton as his men­tor. “He would say he lear­ned to ma­ke mo­vies by sit­ting next to (Pixar foun­der Jo­hn Las­seter), when Jo­hn was ma­king the first films,” MacLa­ne said. “So for him, the best way to learn the most you can about di­rec­ting a film is by being men­to­red. And And­rew has just been a fan­tas­tic men­tor to me on this film and other films we’ve wor­ked on to­gether.”


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