Interview with producer of a completely new animal movie "Zootopia"
The creation of an animal paradise was overwhelming technology and commitment.
Disney's latest 3DCG animated movie "Zootopia", which has a huge hit over "Ana and the Snow Queen" in the United States.This time, we have been interviewing Clark Spencer, the producer of this work.
"Zootopia" is attracting attention on the condition of the animal hair, but if you look at the main story, you will be drawn into its charm once.We are talking about the differences between animation movies and live -action movies that seem to be approaching more and more due to the design of the design and technology.
―― Looking back on the history of the movie, there are many works that set up “animals talk like humans”, but what are the works you refer to when making “Zootopia”?
クラーク・スペンサー（以下、スペンサー）：ディズニーには伝説的な｢しゃべる動物｣作品がたくさんあるので、｢ダンボ｣、｢ジャングル・ブック｣、｢バンビ｣、｢ライオン・キング｣、そして監督のバイロン（・ハワード）が好きな｢ロビン・フッド｣などを見ながら、何がこれらの作品を良作にしているのか？ そして、何が観客にキャラクターを愛させているのか？ を知ろうとしました。At the same time, John Laster (conducted by the production) told me, "Let's make a" speaking animal "movie that has never been seen before," but one leg is in the past masterpiece.One leg was made with the feeling that a new, modern "speaking animal" movie must be made.
――What are new, modern elements specifically?
スペンサー：いくつかあるんですが、まずは登場する動物たちのサイズのスケールが自然界の動物たちと同じだということです。たとえば、キリンの身長はネズミが95匹上に重なったのと同じ大きさで描かれています。これは過去の｢しゃべる動物｣映画では採用されていません。大小をある程度すり合わせないと撮影の時に困りますからね（笑）。だからこそ面白いと思って、本作ではチャレンジしました。それによって｢ズートピア｣という世界自体が1つのキャラクターになったと思います。乗る動物によって車がそれぞれ違ったり、そこに住んでいる動物によって家のドアのサイズがそれぞれ違ったり、さまざまな動物たちがどのように共同生活をおくっているのか？を見せることで、1つのキャラクターとして｢ズートピア｣が生まれ、それがまったく新しい｢しゃべる動物｣映画につながったと思います。After that, I tried to make animals so that they would not look like an animal skin.There are 64 kinds of animals, and all animals have both animal -specific characteristics and humanity.
For example, Judy has human -like qualities, but at the same time, if you are a little nervous, your nose will move or you will walk 4 legs.As a result, she feels like an animal when she sees it, but she is a character model that makes it easy for humans to empathize.
――I felt that there were more tribute to movies and small stories that would respond to adults compared to past Disney movies.Is there a special intention or aim for such depictions?
スペンサー：私たちは常にすべての年齢層が楽しんでほしいと思って作っていますが、大人と子どもを同じように感動させたり、笑わせたりするのは難しいので毎回が挑戦です。Regarding this work, all the staff said, "Let's enjoy various things!"I decided to create a work that allows you to enjoy the same scene from an adult's perspective and a child's perspective at various levels.
For example, the scene where Mr. Big of the North Pole Togarinz appears is "Godfather!" In the image of an adult's point of view, "What is the name of Mr. Big, but what's so small!?"I think.
The flash of a sloth can be empathized by adults, saying, "There are people who are relaxing in such a job in the government office, and I'm sure I'm frustrated."And the extreme slowness of the movement is interesting.
Judy's chase scene in Little Rhodencia (all rats live in a miniature -sized city) is associated with "King Kong" and "Godzilla" as well as adults, but even children have a sense of size.I think it's interesting.
In addition, there are tribute to products from companies such as Nike, Burberry, and Apple.Everything was born from the thought of trying to get rid of various pleasures.
――This work is a buddy movie of the police, but I felt it was a very rare genre for Disney.Why did you choose such a setting?Also, are there any buddy movies and police movies you refer to?
スペンサー：5年前の企画段階では｢007｣シリーズのようなスパイ映画だったんです。最初の10分間の舞台がズートピアで、その後ズートピアを離れて島へ行くという物語を考えていました。その内容に対して、楽しいのはズートピアの部分だという意見と舞台がズートピアに限定された映画を作ったら？という声が多かったので、スパイ映画にするというアイデアはやめたんです。でもミステリーの要素は残したいと思って、謎を追う警察もののバディムービーを作る方向に固まりました。It was my first time to make a movie of such a genre at Disney, and it was really difficult.The most difficult work was to balance the elements that the audience could laugh, the elements of the mystery, and the theme we wanted to convey, and the theme that we wanted to be important in 90 minutes.What time of the movie will increase the specific gravity of the movie?And how do you convey the story correctly?It took a long time to derive.However, I had a strong desire to complete this concept in an optimal balance, so I was spared my efforts.
I saw quite a lot of movies, but in the movie, "48 hours", "Midnight Run", "Godfather", in the old movie, Frank Capura "Go to Smith", "Opera Hut", TV dramaSo I refer to "X file".From these works, how is it interesting to draw the process of deepening trust between the duo who doesn't like each other so much about solving the case?I learned.
――The car that appears in this work is designed by car designer J. Maiz.I guess he has participated in the past, but what was the reason Disney used him?And how did you ask him and decide the design in this work?
スペンサー：J・メイズは｢カーズ｣の時からジョン・ラセターとつながりがあって、｢ズートピア｣の製作に着手した時にラセターから｢Jに電話しろ｣と言われたんです。実際にJに会って作品の話を伝えたら、すごくワクワクしてくれました。特に動物たちが乗る車を、動物たちならどのようにデザインするか？ということにすごく興味を持ってくれたんです。There are various animals, so you have to have a car tailored to each animal.So what functions and mechanisms do each animal's car have?J was very excited about it (laughs).
For example, giraffes are long and tall, so if you make a normal car that just fits, you will roll over when you turn the curve, right?So, the car on which the giraffe is riding is designed like an accordon, so that the car body does not fall down even if the curve is turned with centrifugal force.
Hippo cars have more suspensions and tires than normal cars to support their weight.How do you open the door even if your limbs are very small in a rat car?As a result, we use a door that opens and closes in front of the car instead of opening and closing next to the car.
In this way, how does J make a car that animals can ride without any problems?How do animals design a car?While thinking about, I really enjoyed it.
――What do you think is the biggest difference between the two in the modern age where the border between animation films and live -action movies is becoming more and more due to the evolution of technology?Also, how do you feel that animated movies and live -action movies will evolve in the future?
スペンサー：確かにアニメーションと実写映画の距離が近づいてきているというのは事実です。だからこそ私たちは常に｢アニメーションの映画を作っている｣ということを忘れてはいけないと思っています。なので、どんなにテクノロジーを駆使してリアリズムを押し出して作ったとしても、カリカチュアの要素というのは絶対に必要です。そうでなければ実写で作ればいいですからね。In the case of "Zootopia", each character looks like a real animal, and at the same time, it feels like "Disney".There is a design of Disney -like characters on the roots, giving a real fur into it, so that the action is realistic.By doing so, all residents who do not actually exist can create animal cities.The important thing is to choose the story that you need to make with animation.
No matter how much technology evolves, I think the clear boundary between animation and live -action movies will continue to exist.In live -action movies, the needs of the audience "I want to see the actor" have never changed.For example, if you have a movie featuring Leonardo DiCaprio, you want to see DiCaprio's performance, you don't want to see DiCaprio made by CG, right?
The same is true for animation, and I think that the audience will see the world view and character that can be seen and believed, and in search of the world view and character that can be seen and believed.Of course, it depends on the voice actor, but the character is still selected by the animator.I think that is a very different part from the live -action movie.
Personally, the storytelling of animated movies is becoming more and more sophisticated, and I'm excited to be approaching live -action movies.
予告編"Zootopia" is a 2D/3D national road show on Saturday, April 23.
©2016 Disney. All Rights Reserved.／Disney.jp/ZootopiaSource: "Zootopia" official website, YouTube1, 2, 3
(Stanner Matsui)