A Dreamer Walking

Pete Docter – Director – Up

Posted in Uncategorized by Jacob on May 20, 2014

Up #3

Few companies can tell their stories better visually then Pixar. Specifically director Pete Docter puts a huge amount of time towards figuring out how to tell his stories in visually rich ways. Animation is a unique medium in terms of visuals because it is less bound by reality. In fact, it’s when trying to make an animated movie look like live action film when filmmakers get into a lot of trouble (just look up the term the uncanny valley or read about director Robert Zemeckis’ misfires in motion capture). Pete Docter maybe more then any other director I know has embraced the power of animation. Each one of the characters in his movies are designed not based on realism but emotion. He wants the audience to understand who his characters are just by looking at them. Docter then creates a world that supports the inner conflicts of his characters. He uses design, music, and color schemes to say something about the story he is telling.

Lets take a look at this shot from Pete Docter’s Up. This is the beginning of the first act of the film. We had a very touching prelude where we watch Carl and his wife Ellie grow old together. This moment is about life after Ellie, yet we can still very much feel her presence. Docter and the other Pixar artists used simple shapes to represent both Ellie and Carl. With Ellie the circular shapes were used and with Carl the shapes are rectangular. The creators also used violet purple to represent the presence of Ellie. In the scenes we see her in she is usually wearing some kind of violet clothing. The badge she gives Carl as a kid is also made from a bright purple bottle cap. The color lingers through out the film including in this shot. You can see light shines on half of the bed Ellie used to sleep on. There are just the smallest hints of violet in the light, cast on the bed and wall behind. Notice the table and lamp on Ellie’s side of the bed, they both have a circular design. There is also Ellie’s picture bordered by a round frame.

This is a wonderful introduction to the post-Ellie Carl. We are introduced to him in a very unglamorous way. I mean you usually are not shown characters just waking up from sleep. Docter wants to hit the audience with a hard dose of reality after the touching marriage montage in the last sequence. We immediately feel restricted with this shot. If you watched the movie in 3D you would notice the extra dimension just added to the feeling of being confined. Notice how none of the light touches Carl. The little touch from the sunlight outside is not meant for Carl. Rather it’s a reminder of Ellie’s absence. It is kind of tough to have the marriage montage just before and then be introduced to an empty half of a bed. From here and through out most of the rest of the film Carl will wear very subdued clothing. However, what really adds to Carl’s closed-off demeanor is his shape. Quite literally everything about him is square. From his unrealistically large square head, to the rest of his body, and the objects surrounding his side of the bed; everything has a rectangular design to it representing Carl’s fatal flaw of being disconnected with the rest of the world. Heck, his bed cover even has a square design. The bottom line is Pixar’s Up will be studied for years to come because the creators made sure every composition spoke to the meaning of the story. This is the only time we see Carl’s bedroom in the movie, yet the artists took the time to deliberate over every detail you see. I guarantee you even the fact that the picture of Carl is slightly tilted was intentional and done to contribute to the story. Now that is what I call dedication.

Tom Hooper – Director – The King’s Speech

Posted in Uncategorized by Jacob on May 15, 2014

Hooper #2

Now this is how you frame a King!…. right?

Actually I would not say this shot is meant to be kingly or flattering. The direct opposite really. It is well composed but the intent is to dwarf Prince Albert and reflect his defeated emotional state. Director Tom Hooper said this wall we see behind Albert was the best set piece in the whole movie. During this production they spent millions on creating sets and were able to shoot in some fantastic locations like St. James’s Palace and the Hatfield House in Herfordshire, England. Yet, this wall seemed to give Hooper the most inspiration. Everything you need to know about the Duke of York is represented in this shot.

First lets focus on Prince Albert. He is dressed in very subdued clothing. Hooper is literally hiding Albert’s true colors. Heck, the king hasn’t even bothered to take off his coat. At this moment he is being interviewed by the speech therapist Lionel. It’s obvious Albert doesn’t feel comfortable. He takes up as little space as possible and he is sitting in a slouched position – a very improper posture for royalty. Albert has come to Lionel to see if he might help him with his speech impediment and inability to talk in public. The framing is a reflection of his speech problem. The prince seems to be engulfed by the wall. Hooper wants to communicate the idea that Albert is alone and dwarfed by his speech defect. The speech defect is represented by the wall. Talking in a position like this makes Albert’s words feel hollow. The wall is meant to be distracting, as if The Duke is hardly worth noticing. In this picture Hooper is setting up how much Prince Albert needs to grow in order to become the king so many of us remember from the History books.