Editor David Burrows had to keep the heart of the story as his first priority when working on Legend of the Guardians: The Owls of Ga’Hoole.
How do you combine the rhythm expected of an animated epic, and the pace that family films usually employ?
Today’s audiences are very smart, very film-literate – so you’ve got to try and stay ahead of them without ever leaving them behind! At the forefront of my mind when cutting any scene is getting to the heart of the story – and this very much dictated how I would approach any given scene – whether it was an intimate scene involving the family or a full-on battle scene. In Guardians the obvious through line of film is Soren’s story so keeping that front and centre was always the priority.. A good example of this is the scene where he and Gylfie try to escape from St Aggies.
How do you combine the rhythm expected of an animated epic, and the pace that family films usually employ?
Today’s audiences are very smart, very film-literate – so you’ve got to try and stay ahead of them without ever leaving them behind! At the forefront of my mind when cutting any scene is getting to the heart of the story – and this very much dictated how I would approach any given scene – whether it was an intimate scene involving the family or a full-on battle scene. In Guardians the obvious through line of film is Soren’s story so keeping that front and centre was always the priority.. A good example of this is the scene where he and Gylfie try to escape from St Aggies.
- 9/28/2010
- by Miguel Gonzalez
- Encore Magazine
To celebrate the release of Legend of the Guardians: The Owls of Ga’Hoole, Encore will publish a series of interviews with the key creatives behind the animated film.
Today we start with art director Grant Freckelton, who had to draw the line between visual realism and storytelling to create the owl world of the film.
Where do you draw the line between photorealism and a sense of artistic interpretation of this world?
Serving the story is more important than being a slave to realism, so I believe strict photorealism is not as important as creating dramatic imagery and eliciting and emotional response from the audience. When it comes down to it, we have to start reinterpreting reality the moment we stick a helmet on an owl and expect it to talk.
Part of the design process on Guardians was to figure out what we wanted to keep from reality,...
Today we start with art director Grant Freckelton, who had to draw the line between visual realism and storytelling to create the owl world of the film.
Where do you draw the line between photorealism and a sense of artistic interpretation of this world?
Serving the story is more important than being a slave to realism, so I believe strict photorealism is not as important as creating dramatic imagery and eliciting and emotional response from the audience. When it comes down to it, we have to start reinterpreting reality the moment we stick a helmet on an owl and expect it to talk.
Part of the design process on Guardians was to figure out what we wanted to keep from reality,...
- 9/27/2010
- by Miguel Gonzalez
- Encore Magazine
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